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Complete and accurate design is critical for construction project success. Manifesting design intent in the constructed facility depends on coordinated design documents that are developed through design realization. This process evolves design intent from architects and engineers to contractors, through the production and review of shop drawings and other submittals. Information technology has been promoted as a tool to improve this process, but is not being fully utilized for this purpose. A case study investigates the impacts of computed aided design (CAD) on design realization. Comparative analysis between shop drawings prepared by hand and those done with CAD quantify notes, corrections and information transfer errors. Results support the hypothesis that utilizing CAD can improve design accuracy and lower project costs. Barriers to wider adoption, implications for practice and further research are discussed.

Architectural drawing is changing because architects today draw with computers. Due to this change digital diagrams employed by computational architectural practices are often emphasized as powerful structures of control and organisation in the design process. But there are also diagrams, which do not follow computational logic worth paying attention to. In the following I will investigate one such other kind of diagram, a sketch diagram, which has a play-like capacity where rules can be invented and changed as you go. In that way, sketch diagrams are related to steered indeterminacy and authorial ways of directing behaviour of artefacts and living things without controlling this behaviour completely. I analyse a musical composition by John Cage as an example of a sketch diagram, and then hypothesize that orthogonal, architectural drawing can work in similar ways. Thereby I hope to point out important affordance of architectural drawing as a ¬hybrid between the openness of hand-sketching and the rule-basedness of diagramming, an affordance which might be useful in the migrational zone of current architectural drawing where traditional hand drawing techniques and computer drawing techniques are being combined with each other.

Whereas the Minister of Labour (hereafter in this Order referred to as the “Minister”) has received from the Brush and Broom Wages Council (Great Britain) the wages regulation proposals set out in Schedules 1 and 2 hereof;

Teaching drawing in architectural education raises questions regarding the representation of spatial experiences: to what extent can sensory experiences of space be intensified through observing and drawing and, perhaps equally important, what those drawings would look like?

In the context of their drawing classes, the authors started to inquire the discrepancy between conceiving and perceiving space, and the aptitude of representing spatial concepts upon a two dimensional surface. Through observation and translating observation into drawings, students discover that conventionalised ways of drawing, such as linear perspective, only reveal part of the story. While linear perspective remains the dominant way of representing space, obviously visible in photography, film, 3D-imaging and architectural impressions, the authors started looking for ways of drawing which inquire possibilities of expressing spatial experiences. Drawing as an activity which is able to enhance spatial understanding, rather than as a tool to communicate virtual spaces. Next to drawing as a ‘skill’, which can be learnt, the drawing classes started to inquire non-visual aspects of space by analysing attributes of spatiality, which are difficult to convey through two dimensional drawings.

Starting from a contextualisation of spatial drawing within architectural practice, the article examines the discrepancy between geometric space and lived space, in order to reveal the dubious role of linear perspective within (architectural) culture and history. After a brief return to how we imagined and represented space in our childhood, the article presents a series of practice based examples. Drawing on the authors’ teaching practice, it illustrates possibilities to expand our visual language by exploring space and spatiality through observing and drawing.

This paper aims to present an interpretation of freehand drawings produced by a sample of final year degree level learners in response to the question: “What is civic engagement”? The aim in using this approach, with final year degree learners from different countries, but pursuing the same degree, was to compare and contrast their understanding of civic engagement.

Learners completed their drawings and then discussed their drawings in small groups. All of their drawings were initially examined quantitatively before a sample of six drawings were selected for in-depth qualitative examination.

Using learner-generated drawings enables learners convey visually what can be challenging to verbalise. After the exercise, some learners discovered that they had a good basic appreciation of civic engagement.

Describing civic engagement pictorially forced participants to think about what the essence of civic engagement was for them.

This study shows how a collaborative learning experience, rather than a competitive comparison of performance, facilitates learners readily demonstrating their level of understanding and appreciation for civic engagement.

The purpose of this paper is to examine how knowledge is constructed and risk is induced within the workgroup environment of a large North American aerospace company.

Based on an epistemological position on knowledge and risk, an initial conceptual framework is proposed. This is then evaluated and re‐constructed across a qualitative and ethnographic case study approach involving direct observations and interviews, whereby empirical results were interpreted and analysed across discourse analysis.

A dialogical model is proposed describing both verbal and non‐verbal interactions between group members leading towards knowledge complexification on the one hand and risk mitigation on the other hand. Factors leading towards dialogical breakdown and subsequent risk induction are also presented.

This single case study prevents generalizing the findings across the entire firm in question, and by extension any manner of external validity outside of the firm's context. Additional workgroups/teams within the firm need to be evaluated, while similar studies in other institutions within the knowledge economy are to be envisaged.

Workgroup managers must nurture an environment conducive towards mutual trust and respect, where individuals are given the time and freedom to express themselves, all the while being open to differing viewpoints and experiences. Coercive dialogue between members should be discouraged. It is proposed that this can be achieved across a parental “safety net” approach.

The paper presents the “how” and “why” of an effective dialogical knowledge constructing process occurring at the interpersonal level, attempts to propose how management can to help achieve this within their organisation, and attempts to bridge the areas of knowledge creation and risk induction at the interpersonal/workgroup level.

While the COVID-19 outbreak affects all aspects of life in the world, there is also a global impact in the field of education. Within the scope of the measures to control the epidemic, distance education was started shortly after the starting of the spring semester in all primary and secondary schools and universities. In this process, architectural design courses, which are one of the most fundamental courses of architectural education, started to be held in online studios. The purpose of this paper is to investigate the evaluations of architecture students about the online design studio courses carried out during the COVID-19 outbreak.

This research used a qualitative approach to evaluate the ideas of first, second, third and fourth grade students of architectural design studios in the host university. A questionnaire was directed to students in order to see their opinions about the online design studio education.

Results shows that students think the most prominent benefit of online studios appears in the use of digital tools. Another important result is that if they are equipped with the necessary tools and given the chance to realize themselves, students can work efficiently even in the distance education process.

This study is important in terms of learning the expectations of students from the online process and to identify important issues that should be considered for the next semesters. In addition, this study will serve as a basis for comparative evaluation of architectural education during and after the epidemic. In this context, the study will shed light on future academic research.

Whereas the Minister of Labour (hereafter in this Order referred to as “the Minister”) has received from the Brush and Broom Wages Council (Great Britain) the wages regulation proposals set out in the Schedule hereto;

The purpose of this study is to explore a support system for beginners in drawing in a networked environment. Learners can receive advice and assessments from art experts without time and/or place constraints by using the proposed system. The authors investigate the possibilities of online supporting drawing learning. Two key factors are introduced: a digital pen as a drawing tool and a drawing process model (DPM).

The major difference between an offline drawing class and an online drawing class is the availability of instruction during learners' drawing. The instruction for the learners' drawing process is more important than instructional comments for his/her work. Therefore, quick and personalized feedback from a tutor is an indispensable function for a networked learning environment. In this study, the learner's drawing process that is recorded by a digital pen is reused in order to replay and refer his/her drawing process. To generate an evaluation for the drawing process automatically, these data are also reused in the system the authors propose.

The paper provides three findings. One is the DPM to capture learner's drawing features. Second is a drawing learning support system based on the DPM. And third is a feasibility study of the support system in a real art school. In this study, the learner's drawing process is reused in two evaluations. One is the tutors' evaluation, and the other is the system's evaluation. For the latter, the authors implemented the automated evaluation function based on the DPM. This model consists of three types of parameters. They are the drawing step, the drawing phase and the features of the drawing strokes.

Because of the art school curriculum, the authors cannot examine the learning effectiveness deeply. So the research results in this paper may lack generality. Therefore, researchers are encouraged to test the proposed approach further.

The paper includes implication for the skill learning support based on the ICT.

This paper fulfils an identified need to capture and support how drawing behaviour can be done.