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After more than four decades of its beginnings, Computer Aided Architectural Design (CAAD) has already reached a level of maturity in both the education and the profession. There is an ever-growing amount of literature on the subject; however, relatively few studies have taken a systematic approach to analyze CAAD education. Moreover, design institutions often view CAAD merely as a technical issue ignoring socio-cultural and theoretical aspects. In order to alleviate these problems, this paper presents a structured analysis of CAAD education based on Prof. Necdet Teymur's theory of architectural education. Prof. Teymur claims that the components of architectural education should be studied in terms of objectives (why), contents (what), methodology (how) and management (who) along with four different knowledge and disciplinary levels (viewpoints); namely, sociological, ideological, epistemological, and pedagogical. In this paper, current issues of CAAD education are addressed within this framework and several proposals are presented.

Digital images can play a crucial role in communication and the exploration of design concepts in distant learning environments. First described is the general context in which the authors are working: the ideas behind the AVOCAAD project, the AVOCAAD conferences and their E‐ducation system. Then the importance of digital image databases for architectural education is outlined. The roles of imaging in design and the concept of “information pumps” are explained. It is argued that different types of digital images are required at different stages of the design process.

Highly sophisticated digital technologies have distanced architects and designers from intimate and immediate hand-drawing practices. Meanwhile the changes they rapidly bring come with undetected changes in cultural and social norms regarding the built environment. The growing dependence on computers calls for a more holistic, socially inclusive and place-responsive design practice. This paper aims to shed light on what we are losing in the design process as we rapidly transition to communicate architecture using digital media. The authors contemplate the paradigms in which the human body and physical objects still play an important role in today's design environment.

The paper looks at current trends in developing and establishing “computer imaging” within architectural education, and the architectural profession through parametric design and the area of sustainability. In order to reveal novel and hybrid ways of architectural image-making, it also looks into art forms that already experiment with bodily practices in design by taking an artisanal animation project as a case study.

The renewed longing for craft, haptic environments, tactile experiences and hand-crafted artifacts and artworks that engage the senses can be exemplified with the success of the documentary Last Dance on the Main, an animated film on the endangered layers of human presence in one of Montreal's downtown neighborhoods. The open possibilities for creative hybridizations between the handmade and the digital in architecture practice and education are exposed.

The influence of film on the perception and consequent design of cities is well documented. There is little literature, however, on how the materiality and process of artisanal film animation can provide alternative, if not additional, insights on how to communicate various aspects of the built environment, particularly those rooted in the human body. Furthermore, handmade film explores a broader understanding of sustainability, which includes considerations for social and cultural contexts.

The influence of digital media and information technology on architecture is increasingly evident. Architectural design, practice, fabrication and construction are increasingly aided by and dependent on digital technology. The proliferation of computers and telecomputing in design education and practice has resulted in a major paradigm shift and a reorientation in theoretical and conceptual assumptions considered to be central to traditional design education and practice.

The influence of digital media and information technology on architectural design education and practice is increasingly evident. There has been an astonishing shift in the way architecture is being taught and produced. Networked virtual design environments such as the virtual design studio (VDS) have been introduced in many architectural schools as new ways of teaching and learning design. Applying virtual design education in developing countries such as the Arab states brings with it various opportunities and challenges. As a new phenomenon, little research has been done to study the cultural implications of the new virtual design environments (VDE). This paper examines the new paradigm of teaching and learning design virtually and the possible cultural implications of its implementation in developing countries such as the Arab world.

Traditional architectural curricula have been based on the design studio model, which emphasizes learning by doing. Under this model, a typical architectural curriculum offers a sequence of design studios in which students learn to design by actually engaging in designing. Until very recently the design studio culture remained largely unchanged. The introduction of the virtual design studio and the paperless studio in early 1990s has resulted in fundamental changes in design studio pedagogy. The paper examines the impact of computers and information technology, as applied in the paperless studio and the virtual design studio, on design studio education. Based on literature reviews on paperless studio and virtual design studio and examination of architectural studio instruction, including several experiences in conducting paperless studios, the author considers the pedagogical shift occurring in design studio instruction as a result of integrating digital media in the design studio. The paper considers two types of transformations in studio instruction: pedagogical transformations related to using digital media as a design tool and pedagogical transformations related to distributing the design studio with some or all participants in remote locations.

Having been a promising visualization tool since 1950s, ironically, virtual reality is not widely used in the architectural design and evaluation process due to several constrains, such as the high cost of equipments and advanced programming skills required. This paper described the collaboration between design computing courses and architecture design studios that have been taught at Savannah College of Art and Design (SCAD) in 2004 and 2005. These courses explored several practical methods to integrate Low Cost Virtual Reality Aided Design (LC-VRAD) in the architectural design process. As a summary of the collaboration, this paper refers to three main aspects: (1) How to use game engine to design an affordable VR system in the ordinary studio environment. (2) How to integrate VR, into the design process, not only as a visualization tool, but also as a design instrument. (3) How to evaluate different methods of representing architectural models based on the efficiency of workflow, rendering quality and users' feedback.

Support by the Game and Interactive Design Department at SCAD, students in the School of Building Arts implemented two Low Cost VRAD methods in various design phases, starting from site analysis, schematic design, design development to the final presentation. Two popular game engines, Epic Game's Unreal engine and Director MX's Shockwave engine, were introduced to students to visualize their project in real-time. We discussed computer-aided design theories including the application of VR, as well as digital computing and human computer interaction. At the end of each quarter, feedbacks from students and faculties were collected and analyzed. These methods were revised and improved consistently across 2004 and 2005 academic year.

Technology development quality in architectural design is affected by the quality of the process and factors used to develop it. The purpose of this study is to investigate the factors for effective enhancement (EE) of technologies in design process improvement (DPI).

Major databases have been explored to identify a list of factors affecting technology development in DPI because of the main elements of architecture design education. Then, a survey-based empirical study has been done in two high-rank architecture schools (one in a developing country and one in a developed country), during the years 2015–2018. Data have been collected from analyzing the design process, design reviews, design team viewpoints, researchers' observations and organizations' features about the development of production, conceptualization and communication technologies in DPI initiatives. Both quantitative and qualitative approaches have been utilized to provide deep contextual data.

Comparative analysis of the groups showed that high levels of EE of technologies lead to high levels of DPI, and these are because of the positive performance of conceptualization, communication and production technologies.

Comparing two groups, the category of design process and the factors related to the design stages of ask, imagine and improve approved to be the right factors to use technologies in more effective ways. Efficiency in collecting information and doing research, efficiency in developing solutions, efficiency in communicating results, team processes and organization communications have been rated top most effective factors based upon overall categories.

This paper aims to describe the immersive atelier model (IAM), a pedagogical model for remote inter-university studios that promotes quality education. The IAM uses multi-user virtual environments (MUVEs) in two atelier types: A predefined MUVE and a student-shaped one. The study questions how the IAM, using MUVEs, meets the needs of remote inter-university studios. The research explores how MUVE types are used and experienced by students.

Forty-six students that participated in a remote studio course involving three universities were monitored through observations and a post-course questionnaire, responded to by twenty-five students.

Findings provide insights into the learners’ experience and a rich description of the teaching and learning acts that emerged while using the MUVEs types. Student-shaped MUVEs were found particularly supportive of acts associated with indirect learning and conceptualization. The study identifies subtypes of student-shaped MUVEs that support these desired educational acts.

Findings provide encouraging insights for expanding the traditional atelier beyond its physical constraints and supporting sustainable quality education in remote inter-university studios.

The IAM can assist tutors in designing future virtual design studios to achieve diverse knowledge and learning progress.

This paper fulfills an identified need to update the atelier pedagogical model to support sustainable quality education in remote inter-university studios. Based on the affordances of MUVEs, the IAM expands the traditional atelier with types of virtual ateliers to support the learners’ sense of belongingness and engagement.

Innovatively, the IAM simultaneously uses MUVEs as educational and design spaces that enhance learning.