Emerging cad and bim trends in the aec education: An analysis from students\u27 perspective

As the construction industry is moving towards collaborative design and construction practices globally, training the architecture, engineering, and construction (AEC) students professionally related to CAD and BIM became a necessity rather than an option. The advancement in the industry has led to collaborative modelling environments, such as building information modelling (BIM), as an alternative to computer-aided design (CAD) drafting. Educators have shown interest in integrating BIM into the AEC curriculum, where teaching CAD and BIM simultaneously became a challenge due to the differences of two systems. One of the major challenges was to find the appropriate teaching techniques, as educators were unaware of the AEC students’ learning path in CAD and BIM. In order to make sure students learn and benefit from both CAD and BIM, the learning path should be revealed from students’ perspective. This paper summarizes the background and differences of CAD and BIM education, and how the transition from CAD to BIM can be achieved for collaborative working practices. The analysis was performed on freshman and junior level courses to learn the perception of students about CAD and BIM education. A dual-track survey was used to collect responses from AEC students in four consecutive years. The results showed that students prefer BIM to CAD in terms of the friendliness of the user-interface, help functions, and self-detection of mistakes. The survey also revealed that most of the students believed in the need for a BIM specialty course with Construction Management (CM), Structure, and Mechanical-Electrical-Plumbing (MEP) areas. The benefits and challenges of both CAD and BIM-based software from students’ perspectives helps to improve the learning outcomes of CAD/BIM courses to better help students in their learning process, and works as a guideline for educators on how to design and teach CAD/BIM courses simultaneously by considering the learning process and perspectives of students. © 2018 The autho

Exploring perceptions and attitudes towards teaching and learning manual technical drawing in a digital age

This paper examines the place of manual technical drawing in the 21st century by discussing the perceived value and relevance of teaching school students how to draw using traditional instruments, in a world of computer aided drafting (CAD). Views were obtained through an e-survey, questionnaires and structured interviews. The sample groups represent professional CAD users (e.g. engineers, architects); university lecturers; Technology Education teachers and student teachers; and school students taking Scottish Qualification Authority (SQA) Graphic Communication courses. An analysis of these personal views and attitudes indicates some common values between the various groups canvassed of what instruction in traditional manual technical drafting contributes towards learning. Themes emerge such as problem solving, visualisation, accuracy, co-ordination, use of standard conventions, personal discipline and artistry. In contrast to the assumptions of Prensky's thesis (2001a&b) of digital natives, the study reported in this paper indicate that the school students apparently appreciate the experience of traditional drafting. In conclusion, the paper illustrates the perceived value of such learning in terms of transferable skills, personal achievement and enjoyment

Agile thinking in motion graphics practice and its potential for design education

Motion Graphics is relatively new subject and its methodologies are still being developed. There are useful lessons to be learnt from the practice in early cinema from the 1890's to the 1930's where Agile thinking was used by a number of practitioners including Fritz Lang. Recent studies in MA Motion Graphics have accessed some of this thinking incorporating them in a series of Motion Graphic tests and experiments culminating in a two minute animation “1896 Olympic Marathon”. This paper demonstrates how the project and its design methodology can contribute new knowledge for the practice and teaching of this relatively new and expanding area of Motion Graphic Design. This would be not only invaluable to the International community of Motion Graphic practitioners, Educators and Researchers in their development of this maturing field. But also to the broader Multidisciplinary disciplines within Design Education. These methodologies have been arrived at by accessing the work of creative and reflective practice as defined by Carol Grey and Julian Marlin in Visualizing Research (2004) and reflective practice as defined by Donald Schon (1983). Central to the investigation has been the approach of Agile thinking from the methodology of "Bricolage" by Levi Strauss "The Savage Mind" (1966)

Friendly chimeras: the evolution of critical creative practice in exhibition design

This paper aims to develop and articulate an historical perspective on the relationships between exhibition design, academic endeavour in the humanities and professional development. It reflects on design culture and educational philosophy and traces the recent history of curriculum development in exhibition design. The exhibition design course at University of Lincoln has a sixty-year history. Reviewing the way its philosophy has evolved reveals a consistently dynamic reflection of real-world interests. This has involved a pragmatic and somewhat eclectic appropriation of theory, particularly from the expanding field of museology, and its integration into an increasingly critical mode of creative practice. When the course became an undergraduate honours degree in 1991 the �project rationale� was introduced as an alternative to the traditional undergraduate dissertation. The principle of integrating theory and practice proved enormously successful and now applies throughout the curriculum. Discourse analysis is applied to articles and course documents from the period 1970 to 1999. Bibliographical survey is also used to analyse the range and type of literature used to support students� studies. This is set against a background of influences on the exhibition design curriculum. These include contemporary changes in design practice, the growth of research into and for design, and changes in the national and institutional frameworks for course development. The paper concludes with an evaluation of the role of the humanities in exhibition design creativity and highlights outstanding issues in the discipline

Cleveland College of Art and Design: report from the Inspectorate (FEFC inspection report; 48/96 and 94/00)

Comprises two Further Education Funding Council (FEFC) inspection reports for the periods 1995-96 and 1999-2000

Teaching with infographics: practising new digital competencies and visual literacies

This position paper examines the use of infographics as a teaching assignment in the online college classroom. It argues for the benefits of adopting this type of creative assignment for teaching and learning, and considers the pedagogic and technical challenges that may arise in doing so. Data and insights are drawn from two case studies, both from the communications field, one online class and a blended one, taught at two different institutions. The paper demonstrates how incorporating a research-based graphic design assignment into coursework challenges and encourages students' visual digital literacies. The paper includes practical insights and identifies best practices emerging from the authors' classroom experience with the infographic assignment, and from student feedback. The paper suggests that this kind of creative assignment requires students to practice exactly those digital competencies required to participate in an increasingly visual digital culture