The Make Works Tour was a three month design-research expedition. The aim was to find, visit, map, film, photograph and interview 180 Scottish factories, makers and workshops in 90 days. The information gathered kickstarts the Make Works Directory, a digital tool connecting creative industries with local material supply, production and manufacture.

The team travelled over 3000 miles in an 1979 VWCampervan, visiting textile mills, ceramic manufacturers, stonemasons, bronze-foundries, digital fabrication labs, wood suppliers and everything in-between. We investigated local industry, established relationships and collected in-depth data about the people, businesses and facilities that can enable designers to make work locally.

Local manufacture is important and valuable. It is empowering to be able to understand how something is made. The quality and integrity of what is produced also improves if designers understand the materials and processes within it. On a practical level, it’s easier to discuss projects if you can meet a company face to face. Local production also creates skilled local employment, and outsourcing production abroad is increasing in price.

With these interests in mind we investigated methods of local manufacture in Scotland. In the context of a global open-design movement; where were the open-workshops; and what machines, factories and skills were already on our doorstep to work with?

The reality was that accessing these resources and businesses was intimidating and difficult. A perception of declining Scottish industry means skilled jobs are being lost. Many local manufacturers are also still known by word of mouth or outdated industry databases, rather than online.

There was a direct mis-connection between creatives looking for a means of production; and the machines, facilities and skills to enable them to do so. The tour acted as a vehicle to increase confidence in the quality of craftsmanship and material that can be fabricated in Scotland, and to get 'hidden' local industries online.

The underlying challenge was a strategy to kickstart the company itself. We had been turned down for funding countless times, so the solution was to borrow a van, get on the road (on a shoestring) and highlight that these factories really did still exist.

We undertook the research from a user-centred, design-led approach. We realised that it was important not only to map fabrication facilities, but to understand how each aspect of the industry and processes within it worked. A strategy of direct user-engagement was used, in visiting and interviewing each factory in order to establish a relationship and trust with the key partners and business owners involved.

We then brought our understanding of digital design, online platforms and digital business models to find opportunities for innovation to new relationships and new services that could be offered by more traditional industries.

On realising part of the value in our work was in the re-branding of Scottish manufacturing; we introduced photography and film. We commissioned photographer Ross Fraser McLean to document each visit, gathering our own original visually engaging content. We then partnered with The Edinburgh Film Company to capture production processes and the people behind each factory. The edited content has been specifically designed into 90-second clips, to enable end-users to browse facilities quickly (similar to 1980's video dating).

To ensure perspective was wider than our own we also established a residency programme. By taking 8 visual artists, makers and designers with us for one week at a time, insight was added from the residents exploration of the landscapes, factories and workshops visited. Their experiences were documented on our radio show and blog. The residents were Dominic Wilcox, Neil McGuire, Katy West, Janine Matheson, Joy Bonfield-Colombara, Hrafnhildur Halldorsdottir, Kathy Beckett and Ewan Sinclair.

Initial desk research of factories to visit had been built up over two years previously. This list was established through tips from design consultancies, individual makers and contacts; and finding contact numbers from older databases. Extensive interviews and workshops had also been held with designers, artists and those in the creative industries, to explore the difficulties that needed addressing, the requirements and information that was being looked for when in the process of producing and manufacturing work.

We then consulted local authorities, business support organisations and trade bodies (such as Scottish Enterprise, Highlands and Islands Enterprise, Scottish Development International, Scottish Textiles Association, the Scottish Rubber and Plastics Association etc) for specialist local business knowledge in each council area of the country.

On the road, the emphasis was in documenting field research and building direct face to face relationships. The research strategy was specifically designed to allow us to capture these insights; and to connect with and gain feedback from our end users.

We spent (on average) three hours in each factory or workshop. Over this time we interviewed every business owner, took photographs of the space and processes, captured film footage and recorded sound. Our interviews followed a standard series of questions, followed by an open discussion. This first enquired about the basic services provided by the company (laser cutting, yarn dying, commission weaving, 3D printing etc) - before opening up the discussion to the reasons for still manufacturing in that specific location.

We asked about frustrations with the business; and with working with designers to better understand ways we can broker more meaningful relationships - or provide resources to support these. We established everything what "what file types are required?", through to "what previous knowledge of the material is needed?", average cost, and which part of the production process each factory worked with. For example, in samples, pattern cutting, tooling; or whether they would do bespoke pieces, prototypes and one-offs. Each business owner also filled out a data collection form with core information.

We also went on a tour of each factory to understand production processes and materials. To gather data on the specialist material knowledge, we also recorded technicians talking about each process or machine. Being in the field meant we were able to get our hands on, and collect unique data; creating audience specific, valuable content.

Visiting meant that we were able to directly understand the day to day life of each business; the difference in geographical settings across the country, and the infrastructure that was in place. It also meant that we were testing the customer service of each factory to be listed; allowing us to curate the quality of the end digital tool.

Each business we visited often informed us of ten more companies in the local area, that we would not have found through other means, due to the fact that many of these companies or tradesmen are not visible online.

The impact of the project is in being able to open up, connect, rebrand and promote design, craftsmanship, manufacturing and industry in a local context; with a global network in mind.

The project has already increased economic opportunities on a local level in Scotland through more open access to practical facilities and tools. This enables new collaborations between the creative industry, trades and manufacture. On a practical level this improves the quality of the design process for those practicing here. Culturally, this impacts the value of the creative industry as it improves in production quality and material understanding. It also empowers and educates individuals to be able to make (or repair) things themselves.

Already connections and successful collaborations have been made. For example, a sailmaker in Montrose is now working on the fabrication of building structures with an architecture practice in Glasgow. An industrial lace facility in Ayrshire, have had been able to repair their 19th century looms through working with a factory that house a water jet cutter. Textile designers have been able to access 3D printing facilities held within universities to work with. These connections have both cultural and economic value; as well as increasing the investment interests to train apprentices for skilled local employment.

Taking this forward, we look to take the research model to other areas. From the UK, Europe, and the rest of the world; enabling and inspiring designers to access facilities, skills, machines and tools to make their work locally, anywhere.

Our understanding of the geographical implications in rural vs urban production chains changed significantly as we travelled it ourselves. We realised the impact of the tourist industry in rural Scotland and how this impacts on business and local communities. This also brought the value of international trade and export into consideration of the project.

It was also established that internet broadband speeds, especially in the highlands and islands of the country, remain slow. Actions such as uploading high-resolution photographs were a significant problem on the road. This meant we realised that we need to design with this in mind for manufacturers that are living and working in rural areas - potentially supporting alternative methods of communication.

We also developed our communications and language to be clearer about the aims of the project. There were moments where we were perceived as a free photography and film service rather than a design-research project. At other times, those with a ‘Made in Scotland’ product wished to be visited and filmed; even if they did not provide a fabrication service or facility. This meant that we established a criteria list for those to be listed as the project expands going forward.

We also gained deeper understanding of the differences in production needs across the creative sectors. As we collected information relevant for architecture production, fine art fabrication, exhibition production, design (from textile design collections, print production to product prototypes or electronics) there was value in realising the different contexts and needs within these.