The intent of my research is to carry out a systematic investigation to discover and examine the facts about models in architecture as digital, through computer programs or physicists, using traditional approach, this means a predominantly use of hand drawings and prototype models, and what role the computer plays as a visualization and illustration tool in the creation of an architectural design. The idea is to propose and discover an adequate understanding of our experience of eminent computing domains. This requires exploring and questioning the “necessity” of anticipating in our imagination the image of a construction or building before it is realized in practice and to what extent CAD programs are used as the main device for methods and testing and evaluate the forms of design. In examining the benefits that computers have in the field of design and architecture, I have observed how much they have separated people who have very extensive training in architecture from manual illustrations and physical model making, and how virtual design can cause harm to the disciplinary system. field - Involve the development of a “paper” architecture that demonstrates hypothetical propositions using representations. Many architects and designers believe that traditional drawings, manual renderings, models and conceptual sketches have now become an unappreciated skill at the expense of structural outlines, such as architectural design. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The exam examines how these advanced computerized technologies help architects or designers outline or create and how perceptions serve as a method of matching between client and architect. This includes an investigation into compositional illustrations as a promoting device and an investigation into the ultimate fate of computational strategies as a visual and improved construction plan device. Subsequently, the investigation will be proposed as to whether architects and creators (designers) have kept pace with the method, or whether it has been abandoned in favor of computer illustrations as a visual tool. Computers are moving away from classical methods and from traditional design mechanisms and, if so, what are the circumstances conducive to the practice? Methodology To examine how much CAD programming helps architectural plans and design studios, I examined two companies that rely heavily on CAD programming as a design apparatus. outline and a single company, which develops a conventional and classical approach, as well as predominantly using hand-made models and illustrations and drawings for sketches or conceptual phases of a project. This included the investigation of critics' perspectives, judgment individual and the breakdown, the analysis of the directions they took in relation to the briefs and initial ideas, from concepts to development phases. It is expected that the three chosen contextual investigations will demonstrate the different use of processing programming, software and its adaptation to different office association styles and nationalities. A representation of the working techniques of the three companies is analyzed and the examinations are based on these contextual investigations focusing on the different working strategies. The examination at that point constituted the premise of a decision in which a summary of the results is reported. Literature review on current trends in computing What is or what should be the implication of a precise scope for an electronic device,like a computer, in the architectural or design field. This investigation has been available since the beginning of the use of the computer which was aided to help easily design and develop projects with special architectural software. It is surprising that a significant number of projects we find and see in the presentThe world of architecture and design would have been almost impossible to realize, without the use of computer perceptions and algorithms, graphics and three-dimensional (3D) images. However, the issue relating to the methods of calculating the amount to be used is and will always be constantly current. Would the consolidated smoothed two-dimensional image offer the way to advanced three-dimensional cunning models and prototypes as a matching method? As basic as this question may be, the appropriate and logical answers are much more perplexing. From the beginning, an architect has communicated his ideas and proposals with a pen or pencil and the space where the ideas should lie, paper. They have a quick ability to distinguish their initiatives and how projects work and particularities with a simple sketch or doodle. According to Vesselin Gueorguiev (2008, p.6) “the architecture and design visualization industry is expected to grow by 23% in the next 7 years and this is much larger than expected”. Another era of structures and ideas is being created that perceives the computer as a drawing, creating and rendering device, as well as a potential capable of powerful and almost unlimited energy, in the era of outlines themselves, using other words to describe it: an intelligent and powerful machine that helps the user create sketches, sketches and renders with a high quality product. With the use of three-dimensional modeling, rendering and images, a designer or architect has a brilliant chance to play with his own creative abilities, imagination or ideas, to succeed in his task, to make a high-quality project, empowering to the creation of fragments, segments or parts of architecture that would never have been justified with the use of pen and paper alone. An increasing number of advanced patterns are now being deployed and applauded by experts as important and powerful for the structural field. This development of “paper” and hypothetical design is rapidly expanding with numerous architects embracing an examination method to approach the process, driven predominantly by computers as a method of testing structures, aesthetic design, forms and communicating what the examinations they accomplished. For example, Helen Castle describes “how city forms could be “grown” in digital laboratories to evolve urban design. If the application of digital processes is a constant theme of the issue, so too is the way in which it is perceived.”(Castle H. 2009, p.4).“For a long time, architecture has been thought of as a reality solid and entity: buildings, objects, matter, place and a set of geometric relationships. But recently, architects have started to consider their products as a liquid, which animates their bodies, makes their walls emerge, crosses different places, experiments with new geometries. And it's just the beginning. We will see more and more architects creating spatialized moments, through permanent narratives, through designing events, working with effects and emotions.”(Castle H. 2005, p.22). It is undoubtedly obvious that the exceptional rendering and three-dimensionality Frameworks can produce a high-quality image of what the design could be like or how it will appear, however, the computer is not a person, a being and should not be treated as a living being. Ultimately, the designers or architects control the concepts, programming, and ideas, and the computer doesIt simply encourages, shows, and points out directions to make creative processing easier. Consequently, the computer is only a method to replicate, re-implement or supplant manual design and creation strategies, it is only a tool to supplant the pencil and paper documentation. What Kostas Terzidis specifies about computers and the human mind is that a computer is not aware of its surroundings, unlike a human being, a person. However, for a person to use the computer to its maximum capacity “requires a synergistic relationship between the human mind and a computer system.” (2006, p.37)[5]. In these days when computers are almost everywhere and in everything, architects and designers continually try to use these technologies to the fullest of their capabilities to help them generate, create and introduce a new way of designing and a new way of thinking about creativity . The problem is that normally neither the architect nor the designer knows the potential results that the applied schemes can offer, nor can the product packages anticipate the moves or identity of each individual user. The result in this way is that computers are used more as a means of articulation rather than as an auxiliary tool for architectural experimentation. Has the rise of advanced domains thanks to the detailed details of computers pushed architecture to be presented as an image of mass communication, an image as opposed to a perfectly crafted, practical and innovative piece of design? Architects, for example Beatriz Colomina, considered the media, such as advertising or broadcasting, design and architecture as a flagship from the 1920s to the 1950s, thus these extravagant images, illustrations of design and architecture have not simply been exposed by the advanced era of technologies. The extremely three-dimensional visual notion of illustrations, renderings and modeling of architecture and projects has been highly criticized by many architects and designers, who believe that the current technology that creates the image is unreal and far from reality, but also the majority he believed that technology aid the process of creating a more realistic image than traditional methods. Branko Kolarevic mentions the problem highlighted by Mark Goulthorpe: “Typically, students come with programming or parametric skills and teach us something. I think academia has an incredible role to play in enabling the necessary accumulation of skills into offices. Students after five years of college education should prove useful. Hopefully.” (Branko K., 2005, p.70) Today, the use of the computer as a marketing tool, or for design and illustration, is very strong. This is especially vital in the midst of the economic downturn where every specialty should be able to have training in illustration, this skill will be used to offer more attractive product and support to the customer. Today very often a project, in architecture and also in the artistic field, is sold for its image, graphics and the quality of its creation, like an illustration. Therefore, numerous graduating architects and designers are hired solely to use their computer rendering skills rather than planning or design; this effect of turning graduates into simple computer-aided design (CAD) users, simply using computer commands to make an illustration or drawing, rather than specialists in architecture and design. The image, with a high quality result, that a computer provides is seen as a myth by numerous people. For many architects and.