The Need for New Media Technologies in the Teaching of Computer Aided Design Courses in the Digital Design Studio: a Case in the Architecture Department, Covenant University (original) (raw)
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This chapter focuses on the development and adoption of new Multimedia, Computer Aided Design, and other ICT technologies for both Architecture and Computer Sciences curricula and highlights the multidisciplinary work that can be accomplished when these two areas work together. We describe in detail the addressed educational skills and the developed research and we highlight the contributions towards the improvements of teaching and learning in those areas. We discuss in detail the role of Digital technologies, such as Virtual Reality, Augmented Reality, Multimedia, 3D Modelling software systems, Design Processes and its evaluation tools, such as Shape Grammar and Space Syntax, within the Architecture curricula.
Design in the New Media - Digital Design Pedagogy at the SoA, University of British Columbia
eCAADe proceedings
The idea of the Bauhaus education was born out of the conviction that designs for mass production and modern architecture needed a new fundamental design strategy. Today, seventy-five years later, the modern, basic design pedagogy needs to be revisited, as the impact of the Information Technology Revolution on design practice and education is now extensive. The illustrations and reflections on a modern curriculum for fundamental design and communication presented in this paper are derived from the authors' introduction of the new media to design studios at UBC and from design practice. In the case of the nascent student of architecture, a different, rudimentary approach is required: one calling for the combining of the modern, basic design agenda with the introduction of the new media. The fundamental digital design pedagogy is young and not fully established. This is a considerable problem, since the practice and learning of architecture today is increasingly aided by and dependent upon digital media. Parallel to the traditional methods, the contemporary student of design is now obliged to engage new and dynamic conditions at the formative stage of his or her education. In the recent past, the computer was considered as just another device, requiring the development of mechanical techniques or skills. While those skills still have to be mastered, more recently in design education and practice, IT has become accepted as MEDIA-not just as a drafting or modeling tool. This process is perhaps due to the rapid dissemination of computing literacy and to the progressive accessibility and ease of use of IT. At UBC, Techniques and the Foundation Studio are introductory courses intended to make students engage the new media in parallel with, and complimentary to, established conventions in design.
Alternative Methods for Teaching Digital Design
have the potential to radically change the process of architectural design, and match more closely the formal aspirations of contemporary designers. What, then, should be the direction educators take in response to the opportunities created by the use of computers in the design process? There are, perhaps, two obvious methods of teaching Digital Design at a university level; a course adjunct to a design studio, or a course offered independently of a design studio.
Integrating Digital Media in Design Studio: Six Paradigms
Digital media are transforming the practice and teaching of architecture. This article outlines various ways to integrate computation and digital media into design teaching. It describes six alternative models for 'digital design studios'. Each of these models has been explored in teaching practice to varying degrees and at different schools. This article aims to locate these different approaches and, in a preliminary fashion, to organize efforts to employ digital media in design studio education.
Pedagogical Synergies: Integrating Digital into Design
Proceedings of the 30th National Conference on the Beginning Design Student, 2014
Pedagogical Synergies : Integrating Digital into Design "“Architects tend to draw what they can build, and build what they can draw.”1 - William J. Mitchell The topic of how to introduce digital representation techniques and programs into the beginning design curriculum is an ongoing and evolving debate. Arguments can be made for compartmentalizing both analog and digital representation courses, thus freeing them from the constraints of the studio curriculum and affording greater freedom towards the exploration of the respective mediums. However, as the primary means of architectural exploration, these skills also benefit greatly from being contextualized within the design studio, such that the gradual mastery of technique while embedded within the design process leads to generative design thinking which utilizes drawings as architectural process and not mere representation. Tracking over a time period of four years, this paper will examine one recurring studio project and the corresponding "Introduction to Digital Architecture" course situated in the second year of the design curriculum. The "Door Window Stair" project is a 7-week project occupying the first half of the semester which runs parallel with the introduction of digital representational techniques as a support course. Covering 2D drafting (Autocad), simple 3D modeling (Sketchup), image creation and manipulation (Photoshop, Illustrator), layouts (InDesign), abstract rendering (Brazil for Rhino), and all the associated interoperability between the above programs, this is essentially an intense crash course on all the primary digital concepts and techniques an architecture student is required to learn in order to succeed as a beginning designer. Delivered in a compact time frame of 8 weeks, the most feasible method for delivery is to actively seek out synergies with the studio design curriculum, constructing very precisely targeted assignments that align with studio explorations. Very specific workflows that correlate with desired studio outcomes are scripted and developed as the primary framework, while latent possibilities are pointed out but not always elaborated in depth. As both curriculums advance, observations can be made regarding the studio outcomes that point to tendencies students exhibit due to the specific digital techniques being taught in parallel. As a "jack of all trades, master of none" survey course of digital techniques, the intent is to cultivate a comprehensive conceptual understanding of digital workflows that is embedded within the design thinking process, while providing students with the basic tools of the trade and adaptability to new tools in the future. 1 William J. Mitchell, 'Roll Over Euclid: How Frank Gehry Designs and Builds,' in J. Fiona Ragheb, ed., Frank Gehry, Architect, New York: The Solomon R. Guggenheim Foundation, 2001, Quoted from p. 354.
Procedia - Social and Behavioral Sciences, 2012
Computers today play an increasingly important role for architectural design. Traditional education tools such as sketch drawings, technical drawing and models are unseperable part of this education. We have been facing problems about how to use computer tools for architectural education such as data collection, archiving, data processing, sketches and visualization. Students who are not able to use computer during the first semester spend much time to use these tools. In this study, architectural design process is divided into stages in order to find a solution to this basic problem, and at every stage, usage of traditional and digital technologies are observed as the usage density of students and usage methods. At the end of the study, it is evaluated that d uring architectural education when and how to teach traditional and digital technologies, and in the design studios, during the design sub-process, at which stages these technologies should be used. According to the data achieved durig the evaluation; it is eviden t that at the early stages of design traditional methods, while developing the design both technologies, and at the later stages such as size, proportion, material, texture, photorealism only the digital methods and materials are used by the majority of students. As a result, it has been tried to define the stages and processes when to use these different techniques. Selection and/or peer review under responsibility of Prof. Dr. Ayse Çak r Ilhan.
HOW DIGITAL TOOLS ARE INTEGRATED IN THE TEACHING OF ART AND DESIGN
This report is concerned with how a vocational teacher/instructor uses digital tools in teaching Art and design. It stresses the ways in which a teacher /instructor can develop digital competences to teach vocational subjects. The report also gives challenges and opportunities teachers /instructors encounter in the process of teaching with digital tools. Various examples are given in specific reference to Art and design as a trade. The aim is to demonstrate how Information Communication Digital tools (ICT) can be integrated into vocational education and training which can later be adopted and employed in teaching practice.
Design and Technology Education: An International Journal 21.1 Design and Technology Education
The education of architectural designers begins by learning drawing and digital modelling following the notion that students learn these new modes as instruments of thinking in design process. Curricular arguments persist about which mode should follow the other. Difficulties occur when one mode replaces the other. Students uninitiated to design seem to prefer the more immediate volumetric visualization of digital modelling over plans, sections, and elevations, representational views resulting from the unreal 'viewpoint' of the section-cut, a means only drawn out of reality through a way-of-looking NOT natural-to-experience. Therefore, the primary difficulty in learning to think through drawings is their abstraction from, rather than connection to, realness-a needless initiating ordeal that confuses rather than clarifies. Digital modelling offers virtual three-dimensional images that seem to students, by contrast, not quite as abstracted from natural experience, albeit framed by non-physical, seductive, machine 'otherness'. This paper proposes drawing pedagogy that learns from digital modelling by making connections rather than distinctions that more seamlessly connect abstract to actual. Projects will be demonstrated that manipulate three-dimensional forms to initiate drawing learning experiences. Drawing and its abstractions can thus more readily be drawn out of experience and made ultimately more concrete for design thinking.