1 Mak

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hina Recommendations Report

Autumn 2016

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Makers in China Recommendations ReportAuthorsRachael Turner & Asa Calow MadLab

AcknowledgementsLiz Corbin, Fiona Dowling, Martin Hennessey, Dr. Justin Marshall, Molly Price, Dr. Sara Robertson, Dr. Catharine Rossi, Joel Trotter, David Li, Lit Liao, Mitch Altman, Ian Lesnet

Rebecca Shoesmith, British Council

Images: Asa Calow

About the British Council

The British Council was founded to create friendly knowledge and understanding between the people of the UK and the wider world. We do this by making a positive contribution to the countries we work with, using the cultural resources of the UK such as art, sport, education, science, culture, language, innovation, creativity.

As part of the British Council, the Creative Economy team develops new collaborations, innovation and enterprise with the rapidly-changing creative and cultural industries worldwide

For more information, please visit: creativeconomy.britishcouncil.org

twitter.com/uk_ce

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2 Authors & Acknowledgements

3 Contents

4 Foreword

5 Background

6 China is changing

8 How to get things made in China

9 Mass entrepreneurship

10 China makers

11 What can the UK offer Chinese makers?

12 Recommendations

15 Annexe: Useful Resources, Interesting Media

Contents

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China has recently undergone an accelerated economic and cultural transformation, with more than half a billion people lifted from poverty in just a few decades. A key driver of this far-reaching social change has been the incredible growth brought about by China’s manufacturing industry – that of the special economic zone of Shenzhen in particular.

But China’s precipitous rate of growth is now slowing, the country adjusting to a “new normal”. As it does so, Shenzhen’s makers and manufacturers are finding themselves in a landscape of shifting priorities. In early 2015, following a visit by Chinese Premier Li Keqiang to maker-manufacturer Seeed Studio’s Chaihuo makerspace, the company’s state council issued an official guideline announcing an aspiration for “mass makerspace” entrepreneurship, and for China to become an Innovation Nation in its own right by 2020.

This new development represents an incredible cross-border collaboration opportunity for UK and Chinese makers, designers, and creatives.

For the UK, an opportunity to reinvigorate grassroots manufacturing with making at its heart, by learning from and engaging with those in the “Hollywood for makers”, the “Silicon Valley for Hardware” that is Shenzhen’s manufacturing ecosystem.

For China, a country where productivity is worshipped and fear of failure is rife, an opportunity to engage with a different kind of complementary maker culture: where entrepreneurship and innovation are a natural outcome of boundless play and experimentation with new technologies, amongst cross-disciplinary communities of experts in the UK’s makerspaces, open workshops, and creative hubs. Where individual “failures” lead to success overall.

To arrive at this point, a journey of learning has taken place – starting with the first Living Research trips in late 2015 and early 2016 – initiated by the British Council’s Creative Economy team, in partnership with NESTA and the AHRC’s Newton Fund – then continued through subsequent visits and discussions with global maker experts.

There is still much to learn, and this summary report represents just a snapshot in what is still a rapidly changing environment. Nevertheless, we feel that we can make a few sound recommendations for how to proceed at this time:

Firstly, to actively seek out China’s emergent grassroots creative communities, and to support the community champions at their heart by linking them into a UK-China support network of like-minded people.

Secondly, to create more opportunities for UK-China cross-border collaboration through an exchange programme, to foster an open dialogue on maker-manufacturing and creative economies which makes the most of differing expertise.

Thirdly, to work with Chinese partners – designers, makers, and artists – to explore the untapped potential for China’s maker movement in taking on a wider cultural role, to reach beyond its manufacturing and entrepreneurial roots.

Foreword

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In collaboration with David Li of Hacked Matter and Shenzhen Open Innovation Lab, the British Council and AHRC developed the ‘Living Research’ programme with the aim of gaining a deeper and more human understanding of the differences between the “maker movement” in the UK and China.

In October 2015, five UK makers and four UK academics were sent to work with Chinese makers in Shenzhen and Shanghai. This was followed by a second trip in January 2016, during which a Shenzhen roundtable was convened which brought together key voices from across the maker spectrum – local makerspace organisers through to manufacturing and electronics industry representatives. This roundtable was

followed by a second, smaller meeting of Living Research participants in London to reflect on the outcomes.

This report is based on a synthesis of the research made during these two trips, plus additional follow-up discussions with global maker-manufacturing experts. It is intended as a working document, highlighting the first steps recommended by those who took part in Living Research and the subsequent discussions.

All recommendations have been included with the intention of kickstarting a conversation on how a potential UK-China maker collaboration might best move forward; some threads may resonate more strongly.

A further, more in-depth report will be published before the end of the year.

BackgroundShanghai Maker Carnival

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Shenzhen, “The World’s Workshop”

Up until the 1970s, the region in and around Shenzhen consisted of a cluster of fishing villages, with a population of roughly 30,000. This came to an end in May 1980 when the Chinese government conducted the first of many experiments to boost its national economy, allowing the Guangdong province to create a number of Special Economic Zones (SEZs). Shenzhen, neighbouring the financial centre of Hong Kong, was one of these. The SEZs actively encouraged foreign investment and, in an unprecedented move for a Communist country, allowed for the limited repatriation of profits for foreign-owned businesses based in the region – “socialism with Chinese characteristics”. In 1988, with the experiment having been deemed a success, Shenzhen was declared a “comprehensive economic reform area” and given almost complete financial autonomy from mainland China to experiment with market capitalism.

As a consequence, Shenzhen has grown to become the largest urban area in the world in less than half a century, today accounting for more than 10% of China’s GDP – an amount greater than any other city-region in China. Since 1980 it has been “the fastest growing city of the fastest growing province in the fastest growing large economy in the world” (Source: Wikipedia).

There have been huge benefits to this rapid growth – foremost, China’s grand economic experiment which started in Shenzhen has been transferred to other regions, to date lifting more than half a billion of people out of poverty. But there have also been costs – in December 2015, a twenty-storey high landslide of construction waste destroyed and buried 33 buildings in the East of Shenzhen, killing 77 people. A human tragedy on its own terms, but also an indicator that the wider geographical and ecological costs of the region’s development have as yet not been fully appreciated.

China Makers?

One of the main drivers of the region’s explosive growth has been the rise and rise of the region’s consumer electronics manufacturing industries, fuelled by cheap migrant labour.

In the early days therefore, the primary appeal of manufacturing in China was based on price alone. However, after several decades of insourcing, Shenzhen’s manufacturing ecosystem has become significantly more sophisticated.

China is changing

In the past quarter of a decade, China has undergone massive and rapid change, both economically and culturally. A visible sign of this upheaval has been the rise of China’s middle class1, from 4% of the population in 2000, to 68% of the population in 2012, and growing.

These changes in economic circumstances bring other cultural shifts also – in aesthetics, tastes, and cultural attitudes in particular. Nowhere is this shift more evident than in Shenzhen and the Pearl River Delta region, immediately adjacent to Hong Kong.

Urban Villages

As Shenzhen has grown, many of the original fishing villages have maintained their independence, creating the uniquely Chinese phenomenon of urban villages, maintained and governed separately from surrounding city infrastructure. These villages are a source of some controversy – heavily populated, poorly maintained, and frequently crime-ridden. However they also play an essential role as a transition point in city life, providing inexpensive accommodation to new and prospective contract workers arriving into the city.

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A Shanzhai Lexicon

Gongban 公办

Component wholesalers in China produce gongban – free reference circuit designs for common electronic goods such as phones and tablets – which manufacturers can easily adapt and incorporate into new products, thus increasing demand for their components.

Gongmo 共模

Like gongban but for mechanical parts such as phone and tablet enclosures.

Liangdian 亮点

“Shiny points”. Your product’s unique and obvious sales features. Shanzhai products are typically aimed at an unsophisticated consumer, so no need for subtlety here – massive battery, shaped like a Ferrari, multiple SIM card slots, hovers, …

Guanxi 关系

Protection for intellectual property in China is minimal (although this is changing), so personal trust and a strong social network of complementary innovators is essential when attempting to outmaneuver the competition.

“The New Shanzhai”

Family-run and small-scale shanzhai (“bandit fort”) manufacturers – whilst unpopular with the Chinese authorities for their notoriously fast and loose attitude to quality control and intellectual property – have been a mainstay of product innovation in Shenzhen over many years. By coming together into loose networks (held together through strong personal ties, guanxi), groups of specialised producers can rapidly produce small batches of new products for market testing. Successful products can be quickly scaled up and brought to market in a matter of weeks, as opposed to months or years.

In the UK we are used to seeing the collective output of this system of production in the cheap but low quality electronic goods found in the nation’s toy stores and pound shops. Elsewhere in the world, shanzhai goods – smartphones primarily, rapidly assembled using off-the-shelf gongban and gongmo components (see side panel) – have become a mainstay2. In China however, many designers and manufacturers who started out producing Shanzhai goods are now moving up the value chain.

What started out as “Made in China” is giving way to “Made with China”. Chinese manufacturers at all scales – from Foxconn and PCH through to family-scale operations – are seeking to combine their expertise with those of professional makers to create new products and businesses, using crowdfunding as a means to quickly test these new ideas out on a global market.

This agile, low-volume manufacturing approach is what David Li and others refer to as “the new shanzhai”3.

Workers in a shanzhai factory

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At the top of the pyramid in Shenzhen are the mega-companies you’ve never heard of such as 3nod and Artop, whose main product is minimally-modified, white-label (OEM: “original equipment manufacture”) goods for overseas brands such as Philips and Panasonic.

For those looking to manufacture their own product in Shenzhen however, a contract manufacturer is often the answer. Working with a good “CM” is not a hands-off process: companies will step into the trenches with you, managing the complexity of the manufacturing process – including supply chains and quality control – and sharing the risk involved in getting your product to market.

Typically, these kinds of services have only been available to businesses with significant capital, but this is one of the routes to manufacture which is changing most rapidly. Buoyed by the early success of crowdfunded hardware products such as Pebble and Oculus Rift, a number of groups are offering capital and contract manufacturing services to UK and Chinese makers with ideas which show growth potential. Rone Design, through their Phoenix Nest programme, and the HAX and Higgs Hub product accelerators for instance.

A popular alternative to contract manufacturing for many makers is to go full shanzhai – moving to Shenzhen for a few weeks or months and getting fully immersed in the maker-manufacturing landscape. This approach offers several benefits – opportunities to learn from other maker-manufacturers, such as Dangerous Prototypes and Seeed Studio, and to develop insight into new tools, techniques and approaches for low-volume manufacturing which are just as applicable in the UK as in China.

How to get things made in China“If software is like a band, hardware is like an orchestra”– quote from Seeed Studio

Makers as “accidental innovators”

Mitch Altman – proprietor of Cornfield Electronics, creator of the TV-B-Gone remote control – and Dangerous Prototype’s Ian Lesnet are both examples of accidental innovators who set out initially to “scratch their own itch”, and subsequently built multi-million dollar businesses off their inventions.

A worker on Seeed’s agile manufacturing floor

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“Being a significant channel for creating jobs, mass innovation and entrepreneurship is regarded as a new engine for future economic growth in China”

– State Council Guideline on Mass Entrepreneurship and Innovation, March 20154

In January 2015, Chinese Premier Li Keqiang visited Chaihuo Makerspace in Shenzhen. His visit was shortly followed by the publishing of an official guideline from China’s State Council, announcing a new 5-year mass entrepreneurship plan to turn China into an “innovation nation” by 2020. A central element of the plan is the creation of makerspaces and “innovation factories” offering community, financing and support to new digital technology startups.

With the primary aim of generating innovation-led economic growth, these spaces have only a little in common with the open-access workshops, hackerspaces, and creative hubs familiar to UK makers. A more appropriate analogue would be the UK’s burgeoning network of entrepreneurial community and co-working spaces such as Rise, Google Campus, and Central Research Laboratory – which typically offer more startup-focussed activities such as investors’ coffee mornings and in-house accelerator programmes – albeit with Shenzhen’s equivalent having more of an industrial design and consumer electronics focus.

Mass entrepreneurship

Government maker initiatives

United StatesIn June 2014, President Obama launched the Nation of Makers initiative, with a programme of expanded STEM learning for children and adults, and greater support for maker entrepreneurs. This was additionally backed by a pledge from Google to open 100 new makerspaces across the country.

Electronic Components

UKWhilst George Osborne’s 2011 “March of the Makers” was not backed up with targeted policy support for small-scale creative businesses, there have been a number of overlapping initiatives across the UK. In 2016 these include a £20m Regeneration Fund fund from the Greater London Authority to create innovation-boosting communities and workplaces such as Enfield’s Building Bloqs makerspace, and three £4m “Northern Powerhouse” tech hubs in Manchester, Sheffield, and Leeds.

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Businesses such as Seeed Studio in Shenzhen and Shanghai’s DFRobot have seized this opportunity – acting as a go-between linking global makers with their Chinese counterparts: organising the country’s first Maker Faires and Maker Carnivals, and seeding their own creative communities – Shenzhen’s Chaihuo and Shanghai’s Mushroom Cloud, respectively. As in the UK, independent creative hubs and communities are also forming – brought together by enthusiastic community champions such as Litchee Lab’s Lit Liao, SZOIL’s David Li, and SZDIY’s Ryan Liang.

These creative hubs are beginning to attract a dynamic mix of hobbyists, maker-entrepreneurs, sustainable micro-businesses, artists, designers, and the maker-curious – providing a safe space to play and experiment with new technologies, and where there is less of a distinct dividing line between “success” and “failure”. Many of these spaces are also finding opportunity in the overlap between community maker priorities and “mass innovation”. Both Litchee Labs and Chaihuo have enthusiastically embraced the shift towards maker education, providing tailored programmes to help schools incorporate creative technology and playful experimentation into their curricula.

For many of the reasons given elsewhere in this report – proximity to a sophisticated manufacturing ecosystem and an experimental shanzhai product playground, a major government initiative which equates makers with entrepreneurs, and differing cultural attitudes towards “make do and mend” practical skills and exposure to creative risk – what has developed in China thus far has been described as a “maker movement with Chinese characteristics”.

China’s rapidly expanding middle class, many of whom have more disposable income and leisure time than ever before – are also beginning to show an interest in making as a hobby or professional side-interest.

China makers

Meanwhile, back in China, nothing in the Maker Movement is taking place against a background of nostalgia, because “the time when this country knew how to make things” is just a synonym for “this morning.”– Clay Shirky7

“If you can’t open it, you don’t own it”– Make: Magazine’s “Maker Bill of Rights”6

Who is a “maker”?

“Broadly, a maker is someone who derives identity and meaning from the act of creation”

– A Movement in the Making, Deloitte University Press

“The Chinese term for maker 创客 is not an invention by the government, but was coined by China’s makers themselves, when back in 2012 they organized China’s first international maker event: the Maker Carnival. They chose the term to distinguish their work from the more negative 黑客 or hacker – 创客 has the benefit to connote related words such as 创新 (innovation), 创业 (start-up a business), and 创意 (creativity). The character 创 features in all of these words and so the meaning of 创客 itself is flexible and can be used in a variety of ways.”

– Silvia Lindtner, “Mass Making in China: Cultivating an Entrepreneurial Mindset”8

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Makerspaces and maker zones are cropping up everywhere from local libraries and museums, schools, grassroots community initiatives, and even farms: making is going mainstream, on its makers’ terms.

As a result, there is also a growing distinction between “engaging with making” and “engaging through making” (Source: From Now On, “The cultural role(s) of makerspaces”). The latter, where tools and techniques are not the main focus, has generated potential for new services to be offered by UK makers, whilst also offering cultural organisations the opportunity to take part in the maker movement, with new methods for engaging audiences.

The UK’s makers are also becoming involved more in a wider conversation which goes beyond the purely technical – in areas such as environmental sustainability, social innovation, critical making, and the circular economy.

Strength and diversity are two of the key features of the UK maker ecosystem, which has grown organically over the past decade. The latest, and most complete dataset on UK makers – NESTA’s Open Dataset, gathered in early 2015 – recorded 97 makerspaces, with the actual number estimated to be much higher9. Many of these were set up within the past two or three years, but there are several – Manchester’s MadLab, and the UCL’s Institute of Making for instance – which have been around a lot longer, having overcome many of the most commonly faced obstacles such as financing and community building.

Fuelled by British inventions such as the Raspberry Pi microcomputer and the BBC’s Micro:Bit project, UK makers have developed a strong sense of self-identity. This has allowed UK maker culture to step outside of its comfort zone, and transcend its “hardcore geek” roots.

“UK Makerspaces… are places to prototype a new way of living – one that responds to the opportunities and challenges of a world in which technology is ubiquitous “– Ours To Master, RSA Report

UK Makers, Beyond Electronics

LJ:Works is a forthcoming affordable workspace project in Lambeth, East London which incorporates a makerspace, community kitchen, and food growing project.

MAKLab is a network of makerspaces across Scotland which incorporates urban and rural workshops, digital and traditional technologies such as ceramics and glassblowing, a makerspace in a secondary school, and a forthcoming mobile workshop in a bus.

FabLab London hosts the RSA’s Great Recovery team, running circular economy workshops on a regular basis.

What can the UK offer Chinese makers?

Designer at Rone

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Action points

To seek out and support current and future community champions in the UK and China.

To nurture an active UK-China collaboration network, making best use of its members’ shared knowledge, and allowing for those with specific interests or needs to more easily find what or who might help them.

To uncover and share the most interesting and successful makerspace practices in the UK and China. This is particularly important in understanding how community is established and maintained, and will go some way towards helping China’s burgeoning maker movement find new ways of supporting itself.

To promote the values of UK-China creative hubs – playful experimentation, failure as a precursor to success, and the social values of making – to a wider audience.

China’s version of the maker movement is inextricably bound up with its manufacturing industry, alongside official notions of creativity and entrepreneurism aimed at growing the next generation of businesses and opening the next chapter for China’s incredible rate of economic growth.

Whilst many will stay close to this definition and experience success, there are a growing number of people and organisations in China that are prepared to take a less explicitly growth-driven approach. In the UK we have gone some way towards building a thriving and creative maker economy – where innovation and entrepreneurship are a natural outcome of a vibrant, diverse, and playful community.

Those creative hubs which are thriving always have one or more community champions which act as “social glue”, prepared to weather the challenges typically faced in the early days. People such as Litchee Lab’s Lit Liao, SZDIY’s Ryan Liang and SZOIL’s David Li have demonstrated this to be true in China also.

The cultural meeting point between the UK and China’s grassroots creative communities, facilitated through its community champions, is therefore a logical starting point when seeking to build a cross-border collaboration with great potential. This is where we must start.

Creative Hubs and Community Champions

“The practice of making and crafting for the sheer fun of it is what leads to the ideas and the businesses”

– Mitch Altman, Cornfield Electronics

“The culture needs to move away from reliance on funding; whether via government or commercial, and instead look at the value of space and the “long-term customer” that is not just startups”

– Lit Liao, Litchee Labs

“Money should be spent on evaluating what people do, rather than just opening more space”

– Rebecca Shoesmith, British Council

“By finding the community leaders who can lead change and listen to the voices of the people using spaces, they can facilitate access to wider groups”

– David Li, Shenzhen Open Innovation Lab

Recommendations

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Action points

Create a bilateral exchange programme, giving experts the time to immerse themselves fully in the unique making contexts of the UK and China.

Build on existing UK-China networks, to create unique and tailored exchange opportunities through a process of community matchmaking.

Widen the dialogue on UK-China maker-manufacturing, by involving a range of partners from across the maker spectrum to help shape a programme which serves a diverse set of interests.

Organise hands-on workshops and presentations to share exchange opportunities widely, giving UK-China makers from all quarters the opportunity to take part.

We have seen how much of the “maker instinct” in the UK and China is built on shared values: open collaboration and enthusiastic sharing of knowledge; the power of making as a means to reach new audiences; and how access to tools and techniques gives a maker the agency to create new futures, for themselves and others.

How these values are expressed differs between countries. An essential first step in building a common lexicon around UK-China making, is for those involved to experience both cultures first-hand, and in-depth.

For UK makers, spending time in China – where relationships and collaboration between manufacturers are a natural extension of the collaborative instinct found amongst maker communities – is an eye-opening first step towards rediscovering our own future. Seeing up close the breakneck development speed of Chinese maker-manufacturers, and the tools and techniques of low-volume production, will act as a catalyst for creative entrepreneurship, leading to the development of new business models and ways of working for UK makers.

For Chinese makers, spending time in the UK offers a potential opening up of creative possibilities – an opportunity to draw on a rich and varied discussion around maker culture, where its participants are in dialogue with all corners of society: from museum curators, social innovators, and local communities through to industry and governmental representatives.

Overall, for UK-China makers to spend time in each other’s company is to create a mutual understanding which will inevitably lead to a better quality of collaboration, driven by the sense of a mission shared.

Creative Exchange

“… a programme of collaboration between UK designers and Chinese makerspaces, and individuals, institutions and phenomena outside of ‘official’ maker culture, such as crafts people, the urban villages, and the vibrant culture of repair and fixing that we encountered.” – Cat Rossi, Kingston University

“… the basic idea being a more compressive accelerator exchange program, where we bring a small group of UK makers and their products to Shenzhen for a few weeks, to help bring them to manufacture.” – Liz Corbin, Institute of Making

“UK makers typically aren’t tooled up enough for Shenzhen” – Ian Lesnet, Dangerous Prototypes

Chaihuo makerspace

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Action points

Celebrate the diversity of skills expressed within maker communities, and to nurture cross-disciplinary dialogue in both the UK and China.

Promote a wider understanding of maker culture, that goes beyond physical production – circular economy, critical making, open access.

Put makers in unexpected places, such as urban villages, and shopping malls. Don’t be afraid to experiment!

Maker education is an obvious shared priority for UK-China makers – create a platform to share best practice, and help steer the conversation towards play and creativity.

Work with UK and Chinese cultural institutions to develop new programmes which engage audiences through making.

“Encourage people to not just reflect on the how, but also the why and the for whom” – Justin Marshall, Makernow

China has an incredible cultural legacy, and there is great untapped potential in utilising maker tools and techniques towards its exploration – whether finding new ways to engage with craft heritage digitally, social innovation in urban “maker” villages, or creating greater opportunity for art-science-technology cross-fertilisation.

In addition, the recent arrival of the V&A Gallery in Shenzhen presents a clear opportunity for experimentation with “engagement through making”. This is turn will create new possibility for other UK cultural organisations to engage a Chinese audience and vice versa, using the tools and techniques of making as a common language.

“Diverse tools are needed for diverse communities… This is equates to empowerment – giving people the practical tools to make things with their hands, experiment, and ultimately build their own personal freedom”

– Mitch Altman Cornfield Electronics

“Workshops and training are often a key part of makerspace activity, providing opportunities for those who may not otherwise have access to tools or the chance to learn how to use them”

– Fiona Dowling, The Laser House

“There are wide calls to develop a considered, critically engaged, ethically and environmentally conscious design culture, in order to help allay the multiple crises of our materialistic and wasteful economies”

– Cat Rossi, Kingston University

Crazyflie Open Source Hardware drone

Making Culture

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Annexe: Useful Resources, Interesting MediaWeChatMobile App

China’s “kitchen sink” answer to WhatsApp, and an essential communication tool when collaborating with anyone in China. Of particular interest are the discussion groups, some of which – such as the popular “SZ Makers” – have hundreds of contributors.

wechat.com

TaoBaoWebsite

China’s version of Ebay has largely usurped the electronics markets of Huaqiangbei as the primary source of electronics components for makers and hackers in Shenzhen. It is also a useful resource for maker hardware (e.g. sub-£100 PCB engravers, 3D printer kits), and services such as electronics assembly. Of most use when in China, but it is possible to set up an account and order remotely via freight-forwarding agents.

taobao.com

Bunnie Huang’s “The Essential Guide to Electronics in Shenzhen”

Released in February 2016, the book is “specifically designed to help non-Mandarin speakers navigate the electronics markets of Shenzhen”.

“Shenzhen: The Silicon Valley of Hardware”

An hour-long video documentary from Wired Magazine.

wired.co.uk/video/shenzhen-full-documentary

Endnotes

1 Those earning between £6700 and £25700 a year http://www.mckinsey.com/industries/retail/our-insights/mapping-chinas-middle-class

2 https://www.fastcompany.com/1758927/chinas-cell-phone-pirates-are-bringing-down-middle-eastern-governments

3 http://www.paristechreview.com/2014/12/24/shanzhai-innovation-china/

4 http://english.gov.cn/policies/latest_releases/2015/03/11/con-tent_281475069667730.htm

5 http://www.pri.org/stories/2016-08-11/maker-movement-was-born-usa-has-tak-en-chinese-characteristics

6 http://makezine.com/2006/11/26/owners-manifesto/

7 http://fortune.com/2015/10/21/chinas-version-of-the-maker-mov-ment-puts-the-u-s-to-shame/

8 http://techculturematters.com/2015/11/06/mass-making-in-china/

9 http://www.nesta.org.uk/blog/top-find-ings-open-dataset-uk-makerspaces

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