O objeto central desta pesquisa é o termo \"Maker Innovation\", uma síntese de estratégias \"makers\", tornando-as legíveis, replicáveis e contextualizadas dentro de um processo de Inovação pelo Design. Este conceito foi alcançado através do estudo qualitativo: (1) das práticas abertas provenientes do \"Open Design\" e conceitos relacionados, (2) dos ambientes colaborativos do tipo Fab Lab, e (3) das ações de indivíduos intitulados \"makers\". Ambos estão fazendo emergir um novo sistema, o chamado Ecossistema Maker. / The central object of this research is the term \"Maker Innovation\", a synthesis of \"maker\" strategies, presented in a readable, replicable and contextualized manner within a process of Innovation by Design. This concept was achieved through qualitative study of open practices from: (1) the \"Open Design\" and re¬lated concepts, (2) collaborative environments like Fab Lab and (3) the actions of individuals entitled \"makers\". Both are bringing out a new system, called Ecosystem Maker.

L’open-source a révolutionné le secteur informatique par une nouvelle approche publique, décentralisée, et asynchrone de la conception qui encouragela collaboration entre pairs. De nouveaux acteurs et pratiques ont bouleverséle processus de conception, mais aussi donné lieu à des succès industriels.Cette approche se répand aujourd’hui à la conception de produits tangibles,à cause de la numérisation et la démocratisation de ce processus — c’est laconception ouverte.Nombre de pratiques hétérogènes sont cependant regroupées sous ceterme. Les liens avec les pratiques existantes ne sont pas non plus clairementidentifiés. Enfin, peu d’informations à propos du processus de conception ontété formalisées dans la littérature scientifique. Cela freine le développementd’outils pertinents qui permettraient aux concepteurs d’exploiter pleinementles spécificités de la conception ouverte.Ainsi, nous nous sommes intéressés à la modélisation du processus deconception ouverte, dans le cadre du développement de produits tangibles.Nous avons d’abord élaboré une typologie des pratiques via une revue systématique de la littérature. Ensuite, via une approche par théorisation ancrée,nous avons construit des modèles mettant en lumière les différentes facettesdu processus de conception : phases, acteurs, représentations intermédiaires.À travers notre état de l’art, nous avons défini et cartographié la conception ouverte et les notions connexes. Par l’étude de 624 entrées de la base dedonnées Scopus, nous avons identifié trois types de pratiques : do-it-yourself,meta-design, and industrial ecosystem. Elles sont liées au statut (amateur ouprofessionnel) des concepteurs et destinataires du processus. Nous avonsaussi construit deux modèles du ‘do-it-yourself open-design’ à partir d’interviews semi-directifs de 11 participants à des projets de conception ouverte.Cette approche apparaît influencée à la fois par le logiciel libre et la conception amateur. La qualité de nos modèles et de notre modélisation a été validéepar l’outil statistique.Cette étude ambitionne d’être une référence pour de futures recherchessur la conception ouverte, en proposant un panorama détaillé des pratiquesliées à ce phénomène. Nos modèles descriptifs doivent servir de point dedépart pour développer des outils pertinents à l’intention des praticiens.Notre méthode de modélisation peut également être répliquée dans d’autrescontextes pour formaliser des processus encore non cartographiés. / Open-source revolutionized the software industry through a public, decentralized, and asynchronous development paradigm that fosters collaboration among peers. New practices and stakeholders disrupted the designingprocess, yet led to industrial successes. Due to the digitalization and democratization of the designing process, this approach now spreads to thedevelopment of tangible artifacts. This is open-design.However, open-design currently appears as an umbrella term that encompasses from amateur do-it-yourself projects to sector-scale industrialcollaborations. It is not clear either, how these practices relate to existing designing approaches. Finally, little knowledge about the open-design processis formalized. This impedes the development of adequate tools for helpingpractitioners to make the most of it.Therefore, we investigated how to model the open-design process in thedevelopment of tangible products. First, we developed a typology of open-design practices based on a systematic search and review of the scientificliterature. Then, we selected one of the types identified and modeled thedifferent facets of the designing process (activities carried out, stakeholdersinvolved, and boundary objects used) in this context, using a groundedtheory-based approach.Through our literature review, we mapped open-design in relation to existing designing approaches, and to coined a new definition thereof. Based on624 papers indexed in the Scopus database, we identified three types of practices — do-it-yourself, meta-design, and industrial ecosystem — which arerelated to the status (professional or amateurs) of the processes’ stakeholders and addressees. We also constructed two models of the ‘do-it-yourselfopen-design’ process using semi-directive interviews of 11 project leaderswho took part in the PoC21 innovation camp. They depict open-design as adesigning process influenced by both open-source software developmentand amateur design. We tested the quality of our models and our modelingmethod via statistical analysis.This study aims to be a cornerstone for future research on open-designby providing an overview of practices linked to this phenomenon. Ourdescriptive models should serve researchers for providing practitioners ofopen-design projects with relevant tools and methods. Our modeling methodcould also be applied in other contexts to formalize uninvestigated designingpractices.

O objeto central desta pesquisa é o termo \"Maker Innovation\", uma síntese de estratégias \"makers\", tornando-as legíveis, replicáveis e contextualizadas dentro de um processo de Inovação pelo Design. Este conceito foi alcançado através do estudo qualitativo: (1) das práticas abertas provenientes do \"Open Design\" e conceitos relacionados, (2) dos ambientes colaborativos do tipo Fab Lab, e (3) das ações de indivíduos intitulados \"makers\". Ambos estão fazendo emergir um novo sistema, o chamado Ecossistema Maker. / The central object of this research is the term \"Maker Innovation\", a synthesis of \"maker\" strategies, presented in a readable, replicable and contextualized manner within a process of Innovation by Design. This concept was achieved through qualitative study of open practices from: (1) the \"Open Design\" and re¬lated concepts, (2) collaborative environments like Fab Lab and (3) the actions of individuals entitled \"makers\". Both are bringing out a new system, called Ecosystem Maker.

Orientador: Mônica Cristina Moura / Resumo: A presente pesquisa partiu da necessidade de explorar projetos Open Design dentro da moda contemporânea brasileira, visto que inúmeros autores apontam que os projetos abertos ainda são escassos no setor. Dessa forma, buscou-se saber quantos e quais foram as marcas e profissionais contemporâneos inseridos no setor de moda do país que já executaram vertentes do design aberto em suas empresas. Para tanto, utilizou-se o método hipotético-dedutivo cuja abordagem dos dados se deu de maneira quali-quantitativa de modo que a pesquisa valeu-se da metodologia da Revisão Bibliográfica que, por sua vez, foi empregada em três modos de prática distintos: Revisão Bibliográfica Assistemática, Revisão Bibliográfica Sistemática e Revisão Agregativa. Tal metodologia possibilitou a descoberta das publicações mais relevantes a respeito do tema, permitindo inteirar-se sobre a história do open design, conceituá-lo e compreender melhor seus pontos positivos e negativos quando praticado no setor de moda. Além disso, a partir dos dados obtidos, foi possível realizar o levantamento e a sistematização dos projetos contemporâneos brasileiros, o que evidenciou a baixa quantidade de iniciativas open design, bem como a quantidade significativa de projetos que se encontram estagnados. Acredita-se que a pesquisa resultou em dados interessantes para o esclarecimento do assunto: contribuindo com as pesquisas sobre o tema (que ainda são escassas), corroborando com certos autores do assunto, atualizando dados apr... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The present research started from the need to explore Open Design projects within contemporary Brazilian fashion, since numerous authors point out that open projects are still scarce in the sector. Thus, it was sought to know how many and what were the brands and contemporary professionals inserted in the fashion sector of the country who have already carried out strands of open design in their companies. For that, we used the hypothetical-deductive method whose approach to the data was made in a quali-quantitative way so that the research made use of the methodology of the Bibliographic Review that, in turn, was used in three different modes of practice: Unsystematic Bibliographic Review, Systematic Bibliographic Review and Aggregative Review. Such methodology made it possible to discover the most relevant publications on the subject, allowing to learn about the history of open design, conceptualize it and better understand its positive and negative points when practiced in the fashion sector. In addition, from the data obtained, it was possible to carry out the survey and systematization of contemporary Brazilian projects, which evidenced the low number of open design initiatives, as well as the significant number of projects that are stagnant. It is believed that the research resulted in interesting data to clarify the subject: contributing to research on the topic (which is still scarce), corroborating with certain authors of the subject, updating data presented by previo... (Complete abstract click electronic access below) / Mestre

Partindo da suposição de que o design é uma disciplina em constante transformação e que as últimas décadas têm sido marcadas pelo crescente desenvolvimento de processos de abertura de autoria e produção nos mais variados meios (tecnológicos, científicos e culturais), a pesquisa pretende investigar como a emergência da questão da colaboração interfere na disciplina do design na atualidade. Apesar de hoje a questão da colaboração estar adquirindo força e visibilidade devido a mudanças culturais baseadas nas tecnologias da informação e comunicação, podem ser observadas manifestações que já tratam de formas de colaboração desde as décadas de 1960 e 1970, seja no campo teórico e crítico como no artístico, literário ou do design. O termo e os princípios do Open Design ou design aberto , cunhados recentemente para dar conta de mudanças mais recentes na disciplina, têm sua origem no conceito Open Source, originário da área da informática, sendo ambos impulsionados a partir do incômodo gerado pelo oferecimento de produtos que não permitem modificações para atender a necessidades pessoais, sejam eles softwares ou objetos. Entretanto, embora os movimentos que se classificam como pertencentes ao universo desse design colaborativo tomem como central a característica emancipatória que a atividade estaria trazendo ao usuário, quando assumem as ferramentas de projeto e produção de uma maneira que se pretende acessível, colaborativa e independente da indústria de massa, é perceptível que algumas críticas a respeito do movimento têm se desenhado, baseando-se em certa distância que por vezes tem se estabelecido entre discursos e práticas. O trabalho tem por objetivo identificar frentes colaborativas do design na atualidade e discutí-las criticamente, de forma a aproximá-las para que o movimento de adaptação do design, hoje disperso em linhas variadas, possa ser melhor compreendido como uma totalidade em seu processo de transformação. / Based on the assumption that design is a discipline in constant transformation and the last decades have been marked by an increasing development of openness in processes of authorship and production, in the most varied environments (technological, scientific and cultural), the research intends to investigate how the emergence of the collaboration interferes on design nowadays. Although today the issue of collaboration is gaining strength and visibility due to cultural changes based on information and communication technologies, its possible to observe manifestations that have dealt with forms of collaboration since the 1960s and 1970s, both in the theoretical/ critical field, and in artistic, literary and design fields. The term and the principles of Open Design, recently coined to account for more recent changes in the discipline have their origin in the Open Source concept, originating in the area of computer science, both of which are boosted by the annoyance generated by the offer of products that do not allow modifications to meet personal needs, be they softwares or objects. However, although the movements classified as belonging to the universe of the collaborative design take as central the emancipatory characteristic that the activity would be bringing to the user, when assumes the tools of design and production in a way that is accessible, collaborative and independent of the industry it is noticeable that some criticisms of the movement is drawing, based on a certain distance that sometimes is establishing between discourses and practices. The objective of this work is to identify collaborative fronts of design in the present time and to discuss them critically, in order to approximate them so that the movement of adaptation of the design, now dispersed in varied lines, can be better understood as a totality in its process of transformation.

abstract: Open Design is a crowd-driven global ecosystem which tries to challenge and alter contemporary modes of capitalistic hardware production. It strives to build on the collective skills, expertise and efforts of people regardless of their educational, social or political backgrounds to develop and disseminate physical products, machines and systems. In contrast to capitalistic hardware production, Open Design practitioners publicly share design files, blueprints and knowhow through various channels including internet platforms and in-person workshops. These designs are typically replicated, modified, improved and reshared by individuals and groups who are broadly referred to as ‘makers’. This dissertation aims to expand the current scope of Open Design within human-computer interaction (HCI) research through a long-term exploration of Open Design’s socio-technical processes. I examine Open Design from three perspectives: the functional—materials, tools, and platforms that enable crowd-driven open hardware production, the critical—materially-oriented engagements within open design as a site for sociotechnical discourse, and the speculative—crowd-driven critical envisioning of future hardware. More specifically, this dissertation first explores the growing global scene of Open Design through a long-term ethnographic study of the open science hardware (OScH) movement, a genre of Open Design. This long-term study of OScH provides a focal point for HCI to deeply understand Open Design's growing global landscape. Second, it examines the application of Critical Making within Open Design through an OScH workshop with designers, engineers, artists and makers from local communities. This work foregrounds the role of HCI researchers as facilitators of collaborative critical engagements within Open Design. Third, this dissertation introduces the concept of crowd-driven Design Fiction through the development of a publicly accessible online Design Fiction platform named Dream Drones. Through a six month long development and a study with drone related practitioners, it offers several pragmatic insights into the challenges and opportunities for crowd-driven Design Fiction. Through these explorations, I highlight the broader implications and novel research pathways for HCI to shape and be shaped by the global Open Design movement. / Dissertation/Thesis / Doctoral Dissertation Media Arts and Sciences 2020

Die additive Fertigungstechnologie hat in den vergangenen Jahren durch kostengünstige Systeme Einzug in den Massen- und Consumer-Markt erhalten. Diese Entwicklung befähigte die sogenannte Maker-Szene, eine Gruppierung von Heimwerkern mit Bezügen zur Hacker- und Do-it-yourself-Kultur, kostengünstig und schnell Produktideen in Funktionsprototypen umzusetzen. Neben der reinen Hobbyanwendung bietet die Entwicklung der letzten Jahre aus Sicht der Produktentwicklung auch neue Chancen für die Strategie des Open Design. Demgegenüber steht das Problem der unterschiedlichsten Bildungs- und Ausbildungshintergründe der sich freiwillig beteiligenden Entwickler, eine stark iterative Vorgehensweise in der Produktentwicklung mit häufigen Anpassungszyklen und vielen physischen Teilprototypen, sowie einer lokal sehr unterschiedlichen qualitativen Fertigungsinfrastruktur. Diese Umstände führen derzeit zu einer schwankenden Qualitätsgüte der Ergebnisse und stellen gerade im Hinblick auf die Produktsicherheit eine immense Herausforderung dar. Aus den genannten Gründen soll die Maker-Szene mit Hilfe des vorliegenden Beitrags zur Erzeugung funktional abgesicherter Geometriemodelle befähigt werden.

Design har en otrolig förmåga att föra utvecklingen framåt men det finns många som är kritiska till hur design utvecklas i västvärldens samhälle. Syftet med denna uppsats är att analysera open design för att ge ett alternativt perspektiv på industridesign. Open design handlar om en designprocess där vem som helst kan delta, utveckla och tillverka produkter. Metoden har sin grund i open source-rörelsen som hastigt spreds i och med internets utbredning. Open design är dock inte lika välutvecklat då rådande marknads- och företagssystem till viss del hämmar detta. Dock finns det krafter som visar på att sättet vi idag ser på bland annat kreativitet och motivation är förlegat och behöver updaderas. Detta för att vi ska kunna möta de problem vi idag står inför beträffande miljö och rättvisa. Tanken med open design är att människor på lika villkor jorden över ska få samma chans att utveckla och använda ändamålsenliga produkter och idéer. Denna uppsats har en kritisk ställning till västvärldens sätt att behandla design och designprocessen. I det rådande systemet kommer design bara en del till nytta och överkonsumtion i väst har ofta en smutsig baksida i bland annat orättvisa handelsvillkor och arbetsförhållanden hos producenter. Uppsatsen är en litteraturstudie som beskriver och analyserar öppna ickekommersiella kollaborativa designprojekt.

Submitted by VALÉRIA RAMOS FRISO null (valeriafriso@yahoo.com.br) on 2016-04-23T13:07:48Z No. of bitstreams: 1 Dissertação VF rev.08.pdf: 6604615 bytes, checksum: 788a6fb6c268c81d14b2cad053f29b1f (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-04-26T19:37:41Z (GMT) No. of bitstreams: 1 friso_vr_me_bauru.pdf: 6604615 bytes, checksum: 788a6fb6c268c81d14b2cad053f29b1f (MD5) / Made available in DSpace on 2016-04-26T19:37:41Z (GMT). No. of bitstreams: 1 friso_vr_me_bauru.pdf: 6604615 bytes, checksum: 788a6fb6c268c81d14b2cad053f29b1f (MD5) Previous issue date: 2016-03-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho tem por objetivo analisar as relações sensoriais e funcionais estabelecidas entre as crianças e produtos cotidianos, divididos entre aqueles com características que privilegiam a função e outros que apresentem elementos diferenciadores, aplicados como brinquedos não estruturados. Correlacionar os resultados aos novos conceitos de design com enfoque sistêmico gerando discussões acerca do desenvolvimento de produtos. Material e Método: A pesquisa foi dividida em duas fases. A primeira consistiu em detectar brinquedos não estruturados em ambiente lúdico doméstico. Foram investigadas 8 casas, e a partir dos objetos encontrados entre os brinquedos determinou-se os materiais a serem utilizados na segunda fase. Na segunda fase, em ambiente lúdico controlado, foram usados como brinquedos não estruturados 60 artefatos de uso cotidiano estando divididos entre pentes, embalagens e recipientes vazios e colheres. Desses, 30 tinham características comuns e que identificavam a função e 30 continham elementos estéticos diferenciadores. Resultados: Foram perceptíveis a capacidade e a necessidade de adaptações das crianças à aplicação dos artefatos. As novas leituras sobre os artefatos se sobrepuseram a sua função explicita no ambiente lúdico. Os objetos com design diferenciado e com aspectos inusitados ofereceram maior estímulos criativos que os com aspecto explicitamente funcionais. / Objective: To analyze the sensory and functional relations between the children and everyday products, divided into those with features that emphasize the function and others presenting differentiating elements, applied as unstructured toys. Correlate the results to new design concepts with systemic approach generating discussions about product development. Material and Methods: The research was divided into two phases. The first was to detect unstructured toys in domestic playful environment. They were investigated eight houses, and from the objects found among the toys determined if the materials to be used in the second phase. In the second phase, in controlled playful environment, they were used as toys unstructured 60 articles of everyday use being divided between combs, packaging and empty containers and spoons. Of these, 30 had common characteristics that identify the function and 30 contained differentiating aesthetic elements. Results: There were noticeable capacity and the need for adaptations of children the application of artifacts. The new readings on the artifacts have overshadowed its function explicit in playful environment. Objects with different design and unusual aspects offered greater creative stimuli that with respect explicitly functional.

Open Source och relaterade mjukvarukoncept och utvecklingsmodeller är vid det här laget allmänt bekanta och har varit föremål för många studier. Open Source Hardware är mindre spritt och studerat, och så även emergent teknologi som för in traditionellt industriella tekniker som 3D-printing, laserskärare, och CAD-baserade produktionsverktyg i mindre skala i hem- och hobbymiljöer. Dessa ämnen har främst studerats ur mer renodlat tekniska perspektiv, snarare än att sättas i samband i en vidare kontext. Denna kombinerar internet som infrastruktur och socialt medium för kunskaps- och resursdelning; open source-koncept; de möjligheter som tillgängligheten av mer och mer kapabel och överkomlig hårdvara byggd på öppen design bereder; och andra relaterade socio-tekniska fenomen vilka börjat framträda de senaste 5-10 åren. I denna uppsats undersöker jag denna större kontext. Uppsatsen har utförts i form av en litteraturstudie av existerande forskning inom ovanstående diskreta områden, och i den mån de finns även dess inbördes relationer. Denna kontext framträder som ett emergent paradigm kring produktion av hemelektronik, och även som exemplifierande trenden av teknologins fortsatta intåg som allestädes närvarande i våra liv och vår omgivning. Resultaten indikerar en gryende förändring i hur vi interagerar med teknik, vilka som gör det och varför, i vilka kontexter, och ett framträdande av en ny ekonomi. Jag visar på att ytterligare forskning behövs, och att perspektivet bör flyttas från att analyseras enbart i diskreta termer som teknik, open source-principer, DIY et cetera, utan även till vad som framstår som resultatet där dessa konvergerar, den naturliga konsekvensen av ett folkligt anammande av denna teknik och open source-koncept.