The maker movement is a growing social phenomenon that is being embraced in various fields, including education. There are many advantages to incorporating making into education, especially in engineering design, such as supporting real-life application of knowledge, multidisciplinary collaboration, problem-solving and teamwork. Elements that have not been looked at in the literature are the impacts of these making elements on students, more specifically on their feelings of inclusion in making and engineering environments. The extent of the impacts of making on project outcomes and teamwork in project-based learning engineering design courses are also contested. This thesis fills those research gaps by exploring students’ feelings and behaviours in a university makerspace and cornerstone engineering design courses. The general objectives are to study the effects of the makerspace as well as team dynamics and personality traits on student perception and behaviour in the Faculty of Engineering, specifically in cornerstone engineering design courses. This will be achieved by exploring factors that lead to feelings of inclusion in making and engineering, identify reasons students participate in these communities and exploring factors that influence team performance in a project-based engineering design course. Three studies are then conducted to meet these objectives. The first study found that in both the making and engineering contexts, connecting with the identity, participation and distinctiveness were identified as themes that provide reasons for feeling or not feeling included. Sustained involvement was identified as being an important factor in leading to increased feelings of inclusion. The second study found a difference between men and women, where the adjusted project grade for male students can be in part explained by some personality traits, but no traits were found to be significant for female students. The average team conscientiousness was also found to be a predictor of the team project grade. The last study found that the course has an equalizing effect on feelings of inclusion for students in engineering. Making seems to have the same effect as engineering for male students; however, not for females. Adjusted project grade was also found to be a significant predictor of the change in scores for all students’ feelings of inclusion in making and for the female students’ feelings of inclusion in engineering.

Em fases transformadoras como a que se vive na atualidade com as tecnologias que impactam os processos produtivos de moda, os papéis desempenhados pelos designers se alteram. Neste contexto, o designer de moda parece se deparar entre as narrativas da cultura maker (influenciados por movimentos de contra-cultura, ao clamar por autonomia como o Arts & Crafts, DIY, movimento do software livre e open-source) e, por outro, os direcionamentos tomados pela indústria 4.0. (produção em escala, ultra-personalizadas, distribuída e com uso de dados). Estes dois âmbitos têm em comum interesse o uso de ferramentas de fabricação digital, por isso, os conhecimentos necessários para projetos desenvolvidos nestes espaços se difundem rapidamente. Contudo, ímpetos, narrativas, valores iniciais e interesses de diversas origens se mesclam de um modo difícil de distinguir (NASCIMENTO, S.; PÓLVORA, A.; 2016), mas que continuam a gerar agenciamentos. Esta investigação tem como objetivo apresentar um panorama dos percursos do designer de moda em meio ao contexto cultural e operacional da fabricação digital afim de destacar pontos de tensão e de disparidades sociais que passam pelo campo produtivo, afim de encontrar quais os próximos e melhores passos a serem dados. Deste modo, busca-se utilizar ferramentas digitais como impressoras 3D, escaners 3D e máquinas de corte a laser na com a intenção de trazer mais autonomia, acessibilidade, igualdade nas relações para designers de moda no Brasil. / In a phase of deep transformations with new technologies that impact the productive processes in the fashion field. In this context, the fashion designer finds himself between narratives devired from the the maker culture (following counter-culture movements, claiming for autonomy with the Arts & Crafts movement, DIY, later the free software movement, open-source) and the 4.0 industry (scale, ultrapersonalized, distributed production based on data). Both areas have the interest on digital fabrication in common, therefore, the required knowledge for projects developed in these spaces spreads rapidly. Yet, impulses, narratives and initial values cultuated by the maker movement seems to be mixed and dispersed (NASCIMENTO, S.; PÓLVORA, A.; 2016) while agency keep happening. The present investigation\'s aim is to present the paths followed by the fashion designer immersed in a cultural context and in the operational digital fabrication\'s context in order to find which are the best actions to be taken. In this sense, digital fabrication tools such as 3D printers, 3D scanners, laser cutter machines can be used to bring more autonomy, accessibility, equality in the relations and in the ways of producing for fashion designers in Brasil.

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.

Em fases transformadoras como a que se vive na atualidade com as tecnologias que impactam os processos produtivos de moda, os papéis desempenhados pelos designers se alteram. Neste contexto, o designer de moda parece se deparar entre as narrativas da cultura maker (influenciados por movimentos de contra-cultura, ao clamar por autonomia como o Arts & Crafts, DIY, movimento do software livre e open-source) e, por outro, os direcionamentos tomados pela indústria 4.0. (produção em escala, ultra-personalizadas, distribuída e com uso de dados). Estes dois âmbitos têm em comum interesse o uso de ferramentas de fabricação digital, por isso, os conhecimentos necessários para projetos desenvolvidos nestes espaços se difundem rapidamente. Contudo, ímpetos, narrativas, valores iniciais e interesses de diversas origens se mesclam de um modo difícil de distinguir (NASCIMENTO, S.; PÓLVORA, A.; 2016), mas que continuam a gerar agenciamentos. Esta investigação tem como objetivo apresentar um panorama dos percursos do designer de moda em meio ao contexto cultural e operacional da fabricação digital afim de destacar pontos de tensão e de disparidades sociais que passam pelo campo produtivo, afim de encontrar quais os próximos e melhores passos a serem dados. Deste modo, busca-se utilizar ferramentas digitais como impressoras 3D, escaners 3D e máquinas de corte a laser na com a intenção de trazer mais autonomia, acessibilidade, igualdade nas relações para designers de moda no Brasil. / In a phase of deep transformations with new technologies that impact the productive processes in the fashion field. In this context, the fashion designer finds himself between narratives devired from the the maker culture (following counter-culture movements, claiming for autonomy with the Arts & Crafts movement, DIY, later the free software movement, open-source) and the 4.0 industry (scale, ultrapersonalized, distributed production based on data). Both areas have the interest on digital fabrication in common, therefore, the required knowledge for projects developed in these spaces spreads rapidly. Yet, impulses, narratives and initial values cultuated by the maker movement seems to be mixed and dispersed (NASCIMENTO, S.; PÓLVORA, A.; 2016) while agency keep happening. The present investigation\'s aim is to present the paths followed by the fashion designer immersed in a cultural context and in the operational digital fabrication\'s context in order to find which are the best actions to be taken. In this sense, digital fabrication tools such as 3D printers, 3D scanners, laser cutter machines can be used to bring more autonomy, accessibility, equality in the relations and in the ways of producing for fashion designers in Brasil.

Dans cette thèse, nous étudions les concepts de durabilité et de responsabilité à l’ère de la numérisation, époque marquée par l’émergence de nouvelles technologies numériques de rupture. Nous cherchons à identifier dans quelle mesure les technologies numériques peuvent contribuer aux objectifs de durabilité et de responsabilité et comment une technologie numérique spécifique peut faciliter l’atteinte de ces objectifs.Ces critères nous ont conduits au choix de la fabrication additive, plus communément connue sous le nom de « technologie d'impression 3D » (3DP). Observée à travers du prisme conceptuel de l'innovation responsable, notre étude dévoile au travers de ses principaux résultats certains des mystères que revêtent les 3DP auprès du grand public. En combinant le concept d'innovation responsable avec une technologie numérique spécifique, nous avons adopté une approche de recherche utilisant la théorie enracinée pour suivre les processus d'adoption/diffusion actuels à partir du terrain, et identifier les utilisateurs précurseurs et influents du domaine des 3DP. Ainsi, les principaux résultats peuvent être divisés en deux thèmes, dans un premier temps pour expliquer les caractéristiques des systèmes sociotechniques dans lequel la 3DP est située et, dans un deuxième temps, discuter des avantages et des défis sociaux, économiques et environnementaux de 3DP pour le grand public. Dans la seconde partie, la première section, consacrée aux caractéristiques du système sociotechnique, se concentre sur le processus d'adoption actuel, l'identification des utilisateurs influents prenant forme dans la culture ‘Maker’ et dans les espaces de coworking. Cette section présente également les caractéristiques actuelles de ces primo utilisateurs et les particularités de 3DP pour le grand public, telles que le déséquilibre hommes-femmes pour les utilisateurs actuels, et la manière dont contribueront la 3DP au développement de nouveaux produits. La seconde section de nos principaux résultats offre une analyse détaillée des avantages et des défis sociaux, économiques et environnementaux spécifiques de 3DP au niveau consommateur.Ces résultats indiquent qu'il existe une attente sociétale croissante auprès des 3DP pour adoucir les systèmes de production actuels et aboutir à des logiques de production plus durables. Par conséquent, les opportunités économiques offrent la possibilité de développer de nouveaux services et produits dans le marché des 3DP, caractérisé par une forte expansion et de faibles barrières à l'entrée, qui séduisent une grande variété de petites et moyennes entreprises (PME). Enfin, la nature environnementale des 3DP au niveau consommateur, même si elle offre des possibilités prometteuses pour préserver les ressources, optimiser la production, maîtriser l’obsolescence planifiée et recycler et réutiliser les matériaux, fait toujours face à un certain nombre de problèmes, qui limitent les apports environnementaux dans le cas d’une adoption de masse. Les contributions théoriques correspondent principalement aux spécificités du processus d'adoption des 3DP au niveau consommateur, à l’identification des caractéristiques des primo utilisateurs et des utilisateurs influents, mais aussi aux implications en termes de développement durable, sujets rarement traités dans la littérature en gestion. Nos principales conclusions apportent également des informations détaillées aux praticiens qui peuvent mener leurs activités entrepreneuriales, en mobilisant ces technologies pour améliorer les modèles d’affaires existants ou en développant des produits et services entièrement nouveaux. Les législateurs peuvent tirer parti des informations sur les pratiques 3DP actuelles et élaborer des politiques pour soutenir la recherche et l'innovation dans le domaine des 3DP ou pour identifier les menaces potentielles pour le public, telles que les risques liés à la propriété intellectuelle ou les problématiques de standard. / This study investigates the concepts of sustainability and responsibility in innovation through the processes of digitalization, marked by the emergence of new disruptive digital technologies. We observe the link between the digitalization and sustainability to understand how a specific digital technology can lead to sustainable and responsible outcomes. These criteria led us to additive manufacturing, or more commonly known, 3D Printing (3DP) technology.We adopted a responsible innovation concept as a set of principles to guide our study on 3DP. Moreover, this study design enabled us to align responsible innovation with existing research methods such as grounded theory. Through a bottom-up research approach, we observed trajectories of the current 3DP adoption/diffusion process and identified early users within their sociotechnical environment where 3DP is currently available. This constituted a solid ground to discuss 3DP sustainable and responsible nature and related implications. Responsible innovation concept, 3DP technology and our research methods are described in the Part I of this document.Part II elaborates main findings that can be divided into two sections. In the first section, we present characteristics of the sociotechnical system, current adoption process, 3DP innovation characteristics, and identify lead users. Current lead users of consumer-level 3DP are seen in the form of Maker culture and the coworking spaces. We present the insights on this specific interaction between the 3DP and Maker culture, whilst also discussing characteristic gender imbalance and new product development.The second section offers detailed analysis of consumer-level 3DP social, economic and environmental implications. Social implications indicate that there is an increasing societal expectation where 3DP is expected to lead a transformation towards more sustainable means of production. Economic implications are concentrated on the business opportunities relying on the growing 3DP market. As an evolving and niche market, current expansion and low-entry barriers are attracting interest of Small and Medium Entrepreneurs (SMEs) who develop new 3DP services and products. Lastly, even though with a promising potential to preserve raw resources, optimize production, tackle planned obsolescence, ensure recycling and reuse of materials, consumer-level 3DP still faces several environmental challenges. Possible rebound effect in energy and resources could lead to consequences that undermine its additive nature, where ecology is not a central topic for 3DP further development.Theoretical contributions of our study can be summarized in the specificities of consumer-level 3DP adoption process, characteristics of the early adopters and sustainability implications. These topics are scarcely covered in management research. Moreover, our key findings also provide detailed managerial contributions for the practitioners and the policy-makers. These can contribute to entrepreneurial activities that demand 3DP alignment with existing business models or development of new products and services based on this technology. Policy-makers can obtain insights on the current 3DP practices that can help guide policies to support research and innovation linked to 3DP technology. Our study insights can assist their understanding of possible threats hidden in Intellectual Property (IP), security and standardization issues related to 3DP technology.Finally, our main intention was to contribute to the ongoing scholar debate about the 3DP technology, digitalization and sustainability. For these purposes, we have developed a detailed thesis monograph offering a broad range of findings, whilst two fully published peer-reviewed publications, alongside several conference papers, ensure public visibility of our work. The published peer-reviewed articles are available in the Appendices section of this document.

This dissertation explores the maker economy and culture in Detroit, MI and Portland, OR and queries the "Made in Place" branding strategy that relies so heavily on a shared imagination of cities, identities, and values. Bridging the gap between urban economic development, political economy, and affect theory, this dissertation is centrally concerned with how imagination works as a commons and how such "imaginaries" shape each city's milieu of small, entrepreneurial, artisanal producers ("makers"). The constituent elements of "Made in" branding "made" and "place" suggest common understandings of each; this sense of coherence is critical for how value is added to a maker's product. Rather than coherence, however, my data revealed a great deal of tension and ambiguity: how can something be coherent, ambiguous, and mobilized as economic value all at the same time? I answer this question by analyzing data from over 70 interviews with makers in Detroit and Portland, two cities experiencing rapid development and perceptive shifts from "old" to "new." I conclude that the various imaginaries so critical to "Made in Place" branding suggest not just economic rationality, but also a desire for stability in a turbulent world. Theoretically informed by Lauren Berlant, Gilles Deleuze, and Walter Benjamin, I argue that makers' imaginaries of identity, value, and place provide a collective sense of grounding amidst the flux of transition and uncertainty.

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.

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: Dorival Campos Rossi / Resumo: Há uma problemática imensa entre as produções e os consumos em nossa sociedade. Se o nosso desejo opera por produção, registro e consumo, nas sociedades pré-industriais eles eram esferas da mesma subjetividade, mas com o surgimento do ‘casa de ferreiro espeto é de pau’, dos modelos de produção da sociedade industrial, começou-se a fabricar aquilo que não se consumia, e começou a se produzir muito. O registro se estabeleceu pelas narrativas que nos são despejadas diariamente, e o consumo, ora, é só o que fazemos. Essa dissociação do processo do viver impera sobre nós limitações cruéis. Identificamos aqui nosso foco: a despotencialização da subjetividade pela expropriação da produção desejante de si, pela introjeção de consumos pelas vias do capitalismo mundial integrado e que se registra pela lógica do mais-valor. E assim apontamos nossa hipótese: de que a reapropriação de máquinas desejantes das mais diversas pela experiência do fazer será capaz de acordar o corpo, despertar a mente e reativar os mecanismos do desejo no sujeito despotencializado. O objetivo geral deste trabalho é compreender as forças repressivas que atuam sobre os corpos numa dita sociedade pós-industrial e neoliberal e apontar o movimento maker como um modo de subjetivação que nos permita enfrentar tais forças repressivas, encontrando nos FAB LABs, e principalmente na rede FAB LAB Livre da cidade de São Paulo, a primeira e única rede de laboratórios públicos do mundo, apontamentos sobre como o empoderamento... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: There is intense problem between production and consumption in our society. If our desire functions through production, registration and consumption, in the pre-industrial society these were all spheres within the same subjectivity, but with the appearance of the “the shoemaker’s son always goes barefoot”, the mode of production in the industrial society, were have started producing that which we do not consume. The record was established by the narratives that are poured onto us daily, and consumption, well, that is just what we do. This dissociation of the process of living, reigns over us setting its cruel boundaries. Here we identify our focus: the depotentialization of subjectivity by the expropriation of desiring production itself, by the introjection of consumption through the paths of integrated world capitalism and registered by surplus value logic. And so, propose our hypothesis: that the re-appropriation of the most diverse desiring machines by the experience of doing, will be able to wake the body, awaken the mind and reactivate the mechanisms of desire in the depotentialized subject. The general objective of this work is to comprehend the repressive forces that act over bodies in the so called post-industrial and neoliberal society and indicate the maker movement as the mode of subjectivation that allows us to face these repressive forces, finding in FAB LABs, and mainly in the FAB LAB Livre SP network, in São Paulo, the first and only public laboratories network... (Complete abstract click electronic access below) / Mestre

The fourth industrial revolution brought a change in the scope of skills sets required for today's job market. To be part of today's digital society there is a widely recognized need for developing digital competence which requires new and relevant knowledge, skills and attitudes. The labor market demands a high level of technical professionals who have skillsneeded for the jobs of the digital age. However, many scholars discussed that the problem with shortage of professionals lies deeper in educational structure. The European Commission issued the European Digital Competence Framework where they proposed empowering digital competences among students in schools. Since Croatia did not explicitly introduce empowering digital competence into their curriculum from the year 2018/2019, there was an association that offers workshops to K12 students in order to empower digital competence in primary schools and it is offered as extracurricular activities.      Master thesis aims to investigate the potential of makerspace and digital educational tools for empowering digital competence among students in Croatian primary schools, and whether they fit requirements that are suggested in the European Digital Competence Framework.     Based on a focused ethnographic approach, participants of Croatian Makers workshop were interviewed and observed. Empirical data was analyzed according to Thematic analyses and four themes were emerged and discussed together with suggestions of literature review.     Results of this master’s thesis showed that digital educational tools and maker approach have potential in empowering digital competences through following skills: learning by using maker tools, curiosity and maker mind, problem solving skills, collaboration and communication. However, based on empirical findings, the environment of a maker workshop can be far from reality or practice. Furthermore, digital skills empowered through maker workshops fits the requirements proposed in European Digital Competence Framework except one which fits partially and it is related to protection of personal data and privacy.     Suggestion for future work is to investigate how a maker workshop could empower digital competence but at the same time be the environment as similar as possible to external and market conditions. Second topic is related to protection of personal data and privacy, since it is a very important competence that deals with the digital age. Suggestion is to investigate how maker workshops empower digital competence and at the same time include this important factor as well.