Two disruptive technologies have had an important approach to the field of Architecture. The first is Virtual Reality which has shown significant advantages in the visualization, simulation, and evaluation of architectural designs. The second is Digital Fabrication and more specifically 3D printing which has shown strength in rapid prototyping of previously unbuildable forms. This research argues that the use of immersive virtual reality tools complemented with 3D printing tools in the process of creating a conceptual idea can be an advantageous alternative to the traditional architectural design workshop. To demonstrate this hypothesis, the design process of conceptual models has been addressed from two approaches, the first one has developed the traditional and artisanal methods and the second one has introduced immersive virtual reality and 3D printing. The experimentation has been carried out with two groups of students of the subject Architectural Design 1 of the Faculty of Architecture and Urbanism. The results have been compared in five criteria, multiple solutions, compositional principles, shapes and volumes, relationship with the environment and communication of the idea. It is concluded that the complementarity of both technologies does not alter the cognitive processes of architectural ideation and, on the contrary, it offers important advantages over the traditional and artisanal way of creating conceptual models.
The teaching of architectural design is traditionally done in design workshops where theory and
creativity are linked in a manual work. For this, an efficient didactic strategy in the training of
future architects is done through drawings and models. These traditional methods of teaching
design develop manual skills, and in turn develop creative skills in the design process from a
critical, experimental, and collaborative environment. However, since the 1980s, the
development of computer technology has made increasing incursion in the different phases of the
design process and in the different levels of design, displacing manual craftsmanship. The model
as a mechanism for representing architecture has remained throughout history, but with the
emergence of the digital model, it has been strongly displaced. And although there is a
hybridization between both systems nowadays [
0000-0002-2251-0103 (H Gómez-Tone); 0000-0002-5485-9772 (C. Butrón-Revilla); 0000-0002-9982-694X (E.G. Manchego-Huaquipaco); 0000-0003-2782-7270 (M. Dueñas Silva)
The purpose of this research is to compare the use of traditional manual and handmade methods, versus methods that incorporate technological tools such as virtual reality and digital fabrication in the approach of an initial architectural concept through small conceptual models. From both approaches, a conceptual model was designed and built that allowed the student to carry out a volumetric study of the architectural project. This research argues that the complementarity of these two disruptive technologies does not alter the cognitive processes of architectural ideation performed through the creation of a conceptual model and on the contrary, they offer many advantages compared to manual and handmade creation.
Although the architectural design process is not linear, it is recognized that it has different stages
or phases. After the preliminary phase of analysis or known as pre-design, the schematic design
phase follows, which is the most complex because it requires the participation of various
cognitive processes such as critical thinking, imagination, and creativity. This phase, also known
as ideation, is critical in the whole process, both for teaching and learning. It establishes a design
concept or an abstract idea to solve the design problem, which is the most relevant part of the
narrative of the design. This design concept must be expressed visually through shapes and it has
traditionally been the drawing the most efficient and quickest way to make such ideas and
concepts visible [
The pedagogical strategy of using small conceptual models to complement the conception
drawings has the following characteristics and advantages: They are three-dimensional
synthesized expressions of the conceptual idea. They share with the conception drawing an
expressive synthesis that makes them instruments of knowledge of the ideas underlying the
architectural form [
Teaching in architectural design has undergone a deep transformation in the era of digitalization.
In recent years, digital design seems to be a dominant phenomenon. Therefore, digitization in
architectural education is and remains a controversial process [
While change has been exponential since the 1960s, it is not difficult to assimilate architecture
without the digital part. In this way, digital design theory tends to acquire a presence in the
academic discourse in order to create theoretical bases for new design processes that transform
traditional education models, as well as architectural projects [
Furthermore, it is relevant to highlight that the various responses to digitalization have shown
the need to analyze the teaching of design and the profile of the future professional of students
[
Since the beginning of this century, digital fabrication laboratories (FabLab) have been implemented as centers of innovation, entrepreneurship and as allies to personal design and production [16]. Its definition indicates the digitization of manufacturing processes, the term is broad, ranging from the technical to the social, where a range of tools and concepts converge, from nanometer precision to machines capable of self-replication, to programming languages for digital manufacturing in virtual reality [17]. Digital fabrication creates finished parts from computer-designed models based on manufacturing processes [18] that open the way to flexibility and productivity in industry.
Digital fabrication laboratories are essential elements in contemporary education and scientific research. Digital fabrication, which includes technologies such as 3D printing among others, has revolutionized the way researchers prototype and produce components, accelerating the development process. These labs allow students to apply that knowledge in the creation of real prototypes. Several researches highlight the importance of this combination in training practical skills and preparing students to solve real or everyday problems [19]. In addition, the availability of online resources and open source software have democratized access to digital fabrication tools, expanding learning opportunities worldwide [20].
The integration of digital fabrication techniques into architectural design processes is a major challenge to create a digital building culture but is of enormous impact since traditional construction techniques and complex forms difficult to implement in the past are challenged [21]. On the other hand, 3D Printing can favor a better communication of ideas in the design process among participants generating a collaborative approach is the generation of innovative and sustainable design processes [22].
Virtual laboratories have gained relevance in science education due to their ability to provide hands-on experiences through digital environments [23]. Several studies indicate that virtual laboratories allow students to explore scientific concepts in a safe and repeatable manner [24, 25]. Virtual design refers to the creation and manipulation of three-dimensional objects and spaces in digital environments [26]. In addition, digital design tools are fundamental to the creation and editing of graphic and architectural content since they provide a range of options for conceptualization and representation of designs.
These methodologies and tools have expanded the creative possibilities. Therefore, several authors [27, 28] point out that virtual reality and 3D rendering have raised the quality of presentations, which is crucial for conveying design ideas effectively.
Virtual models allow architects and designers to visually explore a project before it is built, which can be valuable for decision making and communication with clients. Various research has highlighted the effectiveness of virtual models in architectural design evaluation [26, 15, 29]. On the other hand, traditional architectural models are physical mock-ups made by hand with materials such as cardboard, wood or foam. Research indicates that traditional models can be more useful for evaluating tactile and scale aspects, but are less efficient in the evaluation of light and views, compared to virtual models [30]. It should be noted that virtual and traditional models are valuable tools in the architectural design process, each with their own advantages and disadvantages. The choice between the two depends on the specific project objectives and representation needs. Therefore, combining both approaches can provide a more complete and effective understanding of an architectural design.
The purpose of this research is to determine the impact of the adoption of emerging technologies on architectural design processes. Specifically in the early stages of architectural design where the cognitive processes of critical thinking, creativity and imagination must maintain their natural flows without mediations that alter or distort such processes. To determine this impact, a case study has been carried out with new architecture students in the creation of conceptual models. In this case study, a group that has developed traditional, artisanal methods of creating and constructing conceptual models has been compared with another group that has developed a method that has incorporated immersive virtual reality with haptic controls and 3D printing. By comparing the two methods, results can be obtained that will help architects and designers make more informed decisions about when and how to use each approach based on their specific goals and the needs of each project. These results can contribute to the improvement of the design process and decision making in architecture.
The methodological design to determine the advantages and disadvantages of innovation in the teaching and learning strategies of architectural design in the elaboration of a conceptual model was based on the case study of students in the first cycle of architecture. For this purpose, a comparison of two experimental groups was made. Each group consisted of students enrolled in Architectural Design Workshop 1 at the Faculty of Architecture and Urbanism of the Universidad Nacional de San Agustín de Arequipa in Peru. This subject is of a theoretical-practical nature and its main competence is the approach to knowledge and experimentation of form and space in the design process. Within this process, it is the phase of conceptual ideation of the first forms that requires the greatest contribution of critical thinking, creativity, and imagination on the part of the student, and it is in this phase that this research has focused its analysis. The case study for this research was the final practical work of the subject, which consisted of the design of a small boat landing and viewpoint located on the banks of the Chili River in the city of Arequipa. The students conducted an analysis of the site, the user and the activity to define an architectural program for three spaces. The students then had to define a conceptualization and a first threedimensional solution through a conceptual model. The time allotted for the conceptual ideation process was five days.
The experimentation was carried out with the 33 students enrolled in group B of that subject. The group was divided equally according to their previous grades and randomly, so that their previous learning would not be a variable that would distort the experimentation. Group 1 consisted of 15 students who were assigned to work in the virtual reality and digital fabrication laboratory and Group 2 consisted of 18 students who worked in the conventional design workshop classroom.
The students in Group 1 worked in a differentiated manner as follows. On the first day they had training in the handling of the HTC Vive HMD and Google's "Blocks" software. This application allows creating 3D objects using simple geometric shapes, a color palette, and a set of helper tools. This session ended with each participant using the equipment and software for 20 minutes (Figure 1). On days 2 and 3 they did work in the design workshop classroom. On the fourth day, according to the previously established schedule and for 45 minutes they used the hardware and software to create their three-dimensional proposal in the virtual environment (figure 1). Immediately after finishing the three-dimensional conceptual model, the file was exported. The file was processed with the free Ultimaker Cura software to be sent to three Creality 3D printers in the Digital Design and Fabrication Lab (Figure 2). On the fifth day, the 15 students in this group were given the printed pieces for assembly and presentation together with the students in Group 2. Group 2 students worked independently in the workshop, applying the traditional strategies of the design workshop, and making a model with cardboard, cardboard, and other materials.
The comparison of the conceptual models was carried out using the following evaluation instrument based on five criteria: (i) multiple solutions, (ii) compositional principles, (iii) shapes and volumes, (iv) relationship with the environment and (v) communication of the idea.
Creation of solutions with new and ingenious forms in response to the main idea of the proposal.
Integration of the volumetry to the idealized slope of the terrain and orientation towards the surrounding visuals.
Regarding the first comparison criterion, multiple solutions, it was found to be quick and easy to create several alternatives in the immersive environment. Most of the students created between two and five virtual models. On the other hand, the creation of hand-made models did not allow this multiplicity. The delay in the construction of a model, even a schematic one, prevented students from creating more than one. Only in the few cases in which the construction of the model did not respond to the student's idea, they created a second model (Figure 3).
For the second criterion, called compositional principles, it was observed that the virtual models presented a greater development of the conceptual idea and therefore a greater presence of compositional criteria. The compositional criteria that were evidenced were rhythm, repetition, balance, unity, and movement. On the other hand, the manual models showed simpler solutions with basic compositional principles such as unity and symmetry (Figure 4).
For the criterion of shapes and volumes, we found in the virtual models the predominant use of polyhedral volumes such as cubes, parallelepipeds, and pyramids. Despite this, most of them were complex volumes with inclinations, deformations, intersections, etc. On the other hand, in the manual models, curved shapes were used in addition to polyhedral shapes (Figure 5).
In Figure 6, relationship with the environment, it was observed that the manual models mostly present a limited relationship with the site (specifically with the slope). In several works it was observed that the proposal simply overlaps superficially with the terrain. On the other hand, in the virtual models, the responses use the slope in favor, constituting a better response as a pier and consistent with the topography of the site (Figure 6).
Finally, for the criterion comparing the communication of the idea, the responses from both groups presented a variety of characteristics. In the case of the virtual models, which were then materialized with 3D printing, they showed the same physical qualities as the manually produced models. On the other hand, it has been found that printed models in general present a more complete conceptual idea than manual models that have been shown to be unfinished or incomplete. It has also been found that the 3D printed mockups present a greater threedimensional development, unlike the manual models that have shown conceptual ideas more thought out in two dimensions, usually in plan (Figure 7).
Three findings were found outside the comparison criteria. The first one has to deal with the execution time of the models. The execution of the models first created in a virtual environment and then printed in 3D was much shorter than those created manually. In the first case, such construction has only been reduced to the assembly of the pieces on the base terrain. The second finding is related to the previous one. By having the pieces of the models printed in 3D, the students in the process of assembling them have been able to have that ideal haptic linkage that is conferred to the manual model and that has also allowed the students to make final adjustments of proximity (Figure 8). The last finding is that the printed models are very difficult to modify unlike the manual models built with cardboard.
The first disruptive technology used to develop the conceptual model was immersive virtual
reality. The immersive environment provided by this medium added to the interaction and the
benefits of Google Blocks software has shown to have the following advantages compared to the
creation of handmade models. It allows the quick and easy creation of polyhedral shapes as well
as free forms (curves) in direct relation to the movement of the hands. This form is very similar
to traditional drawing where thinking, sight and hand movement are linked with a pencil on a
sheet of paper, but this time with three-dimensional strokes. This form of creation generates a
haptic link between the body and the hand with the created object [
The second technology applied was digital fabrication. In this case the use of 3D printing with
FDM technology has proven to have the following advantages. It has favored the materialization
of any shape previously created in virtual reality. This workflow has been very simple since the
exported virtual reality file was recognized by the software to laminate the 3D models for
subsequent printing. This material creation of the conceptual model made it possible to solve the
disadvantages of the virtual model, that is, its intangibility, its immateriality and its permanent
physical presence [
The inclusion of digital tools in the methodology of the architectural design process, from the early years of training promotes openness to new models and ways of dealing with design, which complement the traditional physical models to give better results in the academic performance of students. In this context, it is important to include digital fabrication and virtual reality laboratories within the methodology of the architectural design process to explore other attitudes and qualities in university students in addition to the aforementioned.
After carrying out a case study to determine the advantages and disadvantages of using immersive virtual reality and 3D printing in the creation of conceptual models by first year architecture students, the following conclusions were reached:
The qualities that immersive virtual reality has such as immersion, presence, and interaction, added to the easy creation of objects with haptic controls that are achieved with the Google Blocks application allow: (a) To create very quickly and easily multiple responses in the inquiry and search for forms that materialize the main idea. (b) Manipulate, transform, and copy objects in a simple way to test and verify arrangements and composition criteria. (c) Create a very wide diversity of shapes, from simple polyhedral shapes, through curves, to more complex and free shapes with the simple movement of the hands. Moreover, these forms can become more complex with manipulation. (d) To better understand the three-dimensionality of the proposal by the possibility of perceiving the model from different angles, different scales, and different points of the observer. (e) To propose ideas relevant to the place due to the pertinence of creating the model always over the idealized terrain.
On the other hand, the qualities of 3D printing, such as the materialization of almost any threedimensional shape, low costs and accessibility and automation, as well as its compatibility with the files exported by the IVR application, allow: (f) To reduce the effective time of the student for the manufacture of the model, giving more time to cognitive processes. (g) Achieve a haptic link with the student from the moment of grabbing the printed pieces to assemble the model and arrange them on the cardboard terrain. (g) Perceive the relationships of the volumes to scale, proportion and proximity to make adjustments at the time of presenting the model. (h) Study the interaction of the model with natural light to determine a sun exposure study and the impact of the sun's rays and shadows.
Therefore, from the proposed methodology it is concluded that the complementary introduction of these two disruptive technologies in the processes of ideation and creation of a conceptual model does not alter the cognitive processes of architectural ideation; on the contrary, they provide important advantages that may be the indication of the rupture of some paradigms of the teaching-learning process of architectural design.
The use of other software for artistic creation in conjunction with other digital fabrication techniques is proposed as future research, always looking for innovations in traditional strategies in the methodology of architectural design.
Acknowledgement is extended to the Universidad Nacional de San Agustín de Arequipa in Peru and to the students of semester 2023 - A of group B of the Architectural Design Workshop 1 subject of the Faculty of Architecture and Urbanism. Also, thanks to the Design and Digital Fabrication Laboratory of the UNSA where the experiments were carried out. [15] M.N. Campos Soto, M.R. Navas-Parejo, A.J. Moreno Guerrero, Realidad virtual y motivación en el contexto educativo: Estudio bibliométrico de los últimos veinte años de Scopus, Alteridad. Revista de Educación. 15 (2020) 47–60. [16] P.C. Herrera Polo, B. Juárez, Perspectivas en los laboratorios de fabricación digital en
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