Pixel International Conferences

Digital fabrication technology, 3D printing in particular, has evolved from industrial use and is entering different social and cultural contexts, such as schools, FabLabs, libraries and universities. As it enters schools and educative facilities, some of the challenges related to this pedagogically are time, availability, guidance and creative permission.

Digital fabrication technology, 3D printing in particular, has evolved from industrial use and is entering different social and cultural contexts, such as schools, FabLabs, libraries and universities. As it enters schools and educative facilities, some of the challenges related to this pedagogically are time, availability, guidance and creative permission.

With 3D printing, the convergence between analogue and digital, imaginary and physical, allows for a wider range of students to conceptualise and visualise their ideas. However, the process of making with 3D printing involves more than just fabricating artefacts. From a design point of view, I consider the process of making to include several phases. An initial idea is conceived, designed and processed by the 3D printer, before a physical artefact is outputted. All these stages may require new skills and learning, ranging from ideation and digital drawing in CAD, to the actual fabrication process.

The argument of this paper is that 3D printing is a valuable tool to facilitate experienced-based knowledge, although it is not necessary for educators to have the technology locally present. Through the context of use in design education at The Oslo School of Architecture and Design, I discuss the various advantages and disadvantages of having remote and local access to the 3D printer.