Disegno Journal of Design Culture On "Open" AuthOrship: the Afterlife Of A Design

Megan Blissick, Belinda, Deanna Herst, Deanna Herst, Michelle Kasprzak
Aims and Scope Disegno publishes original research papers, essays, reviews on all possible aspects of design cultures. The notion of design culture is understood by us as resolutely vague: our aim is to freely discuss the designed environment as mutually intertwined flows of sociocultural products, practices and discourses. This attitude openly ventures beyond the academic distinctions between art, design and visual culture being accordingly open to all themes with relation to sociocultural
more » ... o sociocultural creativity and innovation. Our post-disciplinary undertaking expects intellectual contribution from all potential members of different design cultures. Besides providing a living platform for debating issues of design culture our particular aim is to consolidate and enhance the social legitimacy of design culture studies as an emerging field in the Central European academe providing criticism of fundamental biases and misleading cultural imprinting with respect to the field of design. All articles published in Disegno will go through a rigorous double-blind peer review process. This journal does not charge APCs or submission charges. Editors and authors 006 010 028 044 072 096 118 132 150 168 184 200 214 AbstrAct This article discusses the ramifications of open design for "author-driven" contexts in the curriculum of the Open Design program (profile: Social Practice) at the Willem de Kooning Academy, University of Applied Sciences, Rotterdam, as a primary case study. We intend to question the supposed juxtaposition between the principles of open design (sharing, participation) and traditional notions of authorship (exclusivity) by investigating "open authorship". Moreover, how could the aesthetic dimension contribute to a socially or individually relevant "afterlife" of the design for the user? Open design is defined as design whose creators allow it to be freely distributed and documented and condone modifications and derivations of it (Abel, Bas van, and R. Klaassen, 2011). It mainly borrows from two traditions: open-source technology (accessible digital fabrication) and participatory design (social involvement and relevance). These perspectives secure the "afterlife" of a design the user iterations. Besides these user-driven domains, we can also witness the emergence of open design in 'author driven' design fields. Besides open source software and online sharing, the visual language and open-ended structure of Jens Dyvik's Layer Chair (2012), for example, provokes user iteration. In its afterlife, his chair becomes an object in flux. This open form of authorship questions the author's exclusivity, embodying a paradigm shift in authorship. This paper also explores the notion of "open authorship" through examples from the Open Design program of the Willem de Kooning Academy, University of Applied Sciences, Rotterdam. One of the objectives is to investigate the as yet underexposed aesthetic tradition of open design and its possible relevance for art and design education. This is embodied as "open form", a (historical) perspective on openness from an author's point of view (Wölfflin 1929, Eco 1962, Hansen 1959, Raaijmakers 1988-92). We discuss how a series of open-design methods and working with "non-expert expert" communities have encouraged new design approaches to aesthetics and participation. The results show that an aesthetic is not necessarily about beauty, but more importantly functions as evidence of a process that allows for flaws to become a part of a product. We believe these are the hallmarks of an emerging "open design aesthetic". #open design, #open authorship, #open-design aesthetics, #knowledge sharing, #participation, #non-expert experts, #social design