Construct3D 2017

3D printing is mainstream and readily available. It fits nicely in the STEAM model—integrating science, technology, engineering, art, and math with meaningful personalized learning opportunities. It can be seen as a creative technology that to allows us to express ourselves, explore 3D puzzles and solve authentic problems. It might even be considered as a 21st century form of whittling—allowing us to create and refine artefacts that meet our desires and needs. Artefacts that we might choose to share with others who might simply rescale and adjust to print, or who might remix and reform to fill a different need—and share again. 3D printing is accessible to intermediate and middle school children. Besides the creative potential, it brings a tangible object and process to support the learning of fundamental mathematical concepts (coordinate systems, scale, mirroring, rotation, time, rate, density, etc.). As teachers of mathematics, we need to engage with 3D printing, we need to climb over the threshold of the technology by tinkering, exploring and mastering its potential and then develop accessible, low friction activities and challenges that allow for personalized learning. In this presentation, we will share our experiences and thoughts on this engagement and development process.

Digital fabrication tools offer exciting possibilities in the realm of fine art, however for many who want to offer these processes to their students, there may be no clear path regarding how to incorporate such methods into their current curriculum or coursework. In an effort to contribute one version of how that can work, Associate Professor Colby Parsons will present his own efforts to expose students to 3D printing, CNC milling, and laser cutting, particularly by introducing these things as part of foundational art coursework in a relatively small art department.

Printing using alphabet blocks made out of wood or lead has been around for over 600 years, since Gutenberg and before. 3D printed alphabet blocks show promise in supplementing or replacing the decades old subtractive technology. This presentation shows how researchers and students at Ryerson University use scientific methods to measure and compare old subtractive and the new additive technology.

Desktop 3D printing arrived in the center of a perfect storm of accessible open hardware, software and 3D scanning, a virtuous circle that offered pathways and entry points into a previously inaccessible and expensive process. At the School of the Art Institute of Chicago (SAIC) the introduction of low cost, 3D printing on campus opened the floodgates to a sea change in making for the campus community. This presentation will discuss the challenges of integrating digital fabrication workflows into the SAIC curriculum and talk about lessons learned over the last 6 years of desktop 3D printing, sharing creative outcomes, curricula experiments and current projects.

Research and collaboration with innovative universities has been a key contributor to Essentium's success. As a way to foster that relationship and give back, Essentium has started the EssentiumU Program which provides Universities and K-12 institutions with student internship opportunities, research collaboration, discounted filament and many more perks. With the support of other leading 3D printing companies and partner universities, EssentiumU is able to help support and grow your 3D printing program

The Bauhaus was a German art school in the early 20th century that brought about a new style in architecture and design marked by the absence of ornamentation. The movement aimed to reconcile mass production with individual artistic spirit and create harmony between function and design. Much like the Bauhaus Movement united creativity and manufacturing - the Maker Movement aims to achieve similar goals, only here with 21st century technology that is no longer bound to the elite within a particular school, but open to everyone in the community.
The Discovery Corner (DISCO) at El Paso Community College Community has developed a program to provide students, who may think of fabrication machinery to be elusive and complicated, an opportunity to realize their inner maker. We have students and members of the community, with no training in digital fabrication, make all the furniture for an entire new building. The goal and hope is to engage and educate students in the field of digital design fabrication by letting them make human-scale everyday object that they will use and in turn be excited to be autonomous makers themselves.

The blending of classical and contemporary ways of making is quickly becoming required curriculum at elite art schools and studios across the country. I will provide information about how and why I chose to create the program where I did and the advantages it provides for cross disciplinary collaboration with our engineering, career technical education, and digital media departments, philanthropy through our veterans program, and entrepreneurial opportunities through our fab lab club. I will talk about the challenges of creating curriculum for a community college that has students from all different walks of life and everything from retired computer engineers from silicon valley to kids right out of highschool. I will speak to how this helped develop course content and curriculum that keeps more experienced students challenged, yet simplistic enough that the younger students aren't overwhelmed. With an emphasis in design, technique, and material characteristics I'm able to teach collaboration, resourcefulness, problem solving, and time management. Sample curriculum and projects will be provided for all attendees.

3D printing is an exciting tool that enables individuals to go from idea to object in very little time, and with minimal startup skill. This low barrier to entry allows for the quick iteration of ideas, and allows users to make increasingly sophisticated designs and objects as they build skills. In this session, Daniel Robinson, Associate Director of the Institute for Visual Studies, will discuss ways artists are integrating 3D printing into their creative practice. He will share examples from his 3D Printing for the Arts class that focussed on 3D printing as means to creative ends.

Digital fabrication is poised to change the architectural design industry in both compelling and concerning ways. Virtual and physical spaces, objects, and designs are on a converging path. Understanding the skillset inherent to this intersection is key to engaging the opportunities and developing designs that are not driven by, but inspired through the use of digital fabrication. In his book Change by Design, President of IDEO Tim Brown discusses three overlapping courses of a project describing an “inspiration space, ideation space, and an implementation space” each of which build a comprehensive design process. Adding a digital fabrication process to these first two phases of design (inspiration and ideation) builds stronger critical thinking, and has the possibility of building a stronger customer value proposition through new forms of communication and education. The implementation space that Tim Brown discusses though is an entirely new mode of development for designers outside of the “design-build” business model. Final implementation of the physical forms through digital fabrication of a design has incredible potential to significantly increase project scope, build office backlogs, and construct a bridge toward retail markets previously unimaginable at a wide scale within the design industry.

Makers are often identified as with those with high levels of artistic and technical skill. But many people live in settings of poverty, with few educational options. A unique program from the University of Illinois provides a pathway for these individuals to create and “make” to improve their livelihoods regardless of their literacy or resources.

3D Printing has the potential to revolutionize the way in which products are made, bought, and sold. However, 99.9% of the world has never actually seen a 3D printer or know how to use it. Thus, there is a need to teach the world how to 3D print. To help accomplish this goal, we recently developed and launched a 3D Printing Specialization via Coursea. The courses are developed in a unique academic/industry collaboration with Autodesk and Ultimaker as lead partners, and platforms such as Shapeways and 3D Hubs as fulfillment partners. In less than 6 months, over 10,000 learners have enrolled in this specialization. During this presentation, we will discuss the origin and impact of this specialization and share insights about what we have learned thus far about the global market for 3D Printing education and how others can share our vision for bringing 3D Printing to the world.

Mathematica has amazing graphics and design capabilities that I have been using to design 3D works of art and teach my students the same. I will discuss the commands and techniques that I have found useful, along with the frustrations and work-arounds that I have has to institute in order to cajole Mathematica into creating (and then exporting!) the desired artwork. I will also focus on how I teach my students these same methods.

Learn how to get the most out of your classroom 3D printer by developing creative lesson plans that incorporate art, technology, design, science, and math. We will examine ways to blend art and technology in practical ways and look at interdisciplinary applications that will be relevant to K-12 teachers in any subject area. Examples of student prints and lesson plans will be shared to help get you inspired to create your own projects and lessons.


Presentation Link: https://docs.google.com/presentation/d/11DFNQ3ow3SVXa7J7irKg8TcR08t3eEPm-4pEa4G-ua8/edit?usp=sharing

3D printing has shown to expand the potentials of the creative and innovative minds of today's tech-savvy generation. This presentation will cover how East Stroudsburg University's Art + Design Department is taking its 3D printing program to the next level in curriculum development and leading future generations into limitless worlds of possibilities. Explore examples of how to transform a space filled with traditional facilities to a high tech and cutting edge 3D printing and additive manufacturing lab, utilize best practices of grant based and philanthropic funding and gain advice on how educators can acquire necessary professional development. Learn how to sustain a lab with in the educational institution by combining incoming resources from community industry partners through service learning initiatives that provide opportunity and experience for the students.

While 3D printing continues to rank among the most significant and quickly maturing technologies in the professional world, logistical challenges and perceived irrelevance for many fields have limited its use in the classroom. This is true even in the teaching of art history and archaeology, where frequently the materiality of objects is integral to their interpretations. Our presentation will outline the potential benefits and challenges of using 3D printed objects and 3D printing activities in the study of visual and material culture. Focusing on examples from our teaching and making work, we will consider the practice of 3D printing art historical and archaeological artefacts through the lens of well-established theories of teaching and learning such as critical making and experiential learning. In addition, the value of advances in 3D printing technology (e.g. metal and ceramic filaments) for teaching with, and about, historical objects will be highlighted.

In addition to wood, clay and paint, in recent years 3D printing has become a basic material at the City and Country School in New York City. Exploration with this technology is giving our students a new dimension in modeling their ideas and actualizing their designs. See how 5th and 6th graders at our school are using 3D printing to make meaningful connections with their social studies curricula. Student projects to be discussed include: Mesopotamian themed cylinder seals, Medieval wax seals, movable type for the school’s 19th century printing press, Viking themed chess pieces and Renaissance architecture.

At the intersection of digital fabrication technologies, human-centered design practices, and constructivist orientations to domain-related thinking and learning, students and teachers are afforded a host of expanded possibilities. As education researchers exploring how these technologies might be used to engage students and teachers in new learning experiences, we hypothesized that a digital design and fabrication approach to pedagogical, technological and curricular exploration aligns with the kind of progressive, inquiry-oriented pedagogy we aim to cultivate in K-12 teachers. Moreover, we anticipated that this engagement would diversify pathways for them to understand the complex challenges of teaching and learning, prepare them for a STEAM-infused changing world, and support the development of their 21st Century skills. In this presentation, we will facilitate a discussion about the potential of digital design and fabrication experiences within teacher preparation and professional development and share findings from our research into design practices we created for pre-service and in-service teachers. We’ll also share we’ve learned about the knowledge these teachers bring to bear on their design work and the implications for their pedagogy. We draw on these findings to suggest the promise of a digital design and fabrication experience within teacher preparation and professional development.