Happy World Architecture Day! Today is the International Union of Architects’ annual celebration of the built world, and since this year’s theme is “Design a Better World,” we’re highlighting how design helps alleviate human suffering, reduce planetary burdens, and enhance the quality of life for communities through a selection of blogs, articles, and videos. 

Quick Reads

Designing for Disaster with Pedestrian Simulation Software SimTread

Directing people through a museum, expediting fans’ exit from a football stadium, and simulating the evacuation of entire cities in response to natural disasters all share one common thread: they benefit from SimTread pedestrian simulation software.

Environmental Consciousness Meets Urban Development

Landscape architecture and urban design firm McGregor Coxall is dedicated to preparing the built environment for increased population density, as well as environmental and economic changes in the coming decades.

Offshore Windfarms and the Future of Green Energy

One of the projects that architect and long-time Vectorworks software user Nathan Kipnis is most passionate about is the advanced development of an offshore wind farm on the Evanston, Illinois shoreline.

Articles for Credit

Resilient Building Design (1 AIA LU/HSW; 1 GBCI CE Hour)

Discover how when eco-friendly tools offered in digital technologies work together, they can yield remarkable results.

Sustainability, Modular Design, and BIM (1 AIA LU/HSW)

Architects who recognize these emerging movements and are able to incorporate them into their practice will see benefits with their projects, clients, and firms.

Merging Architecture and Landscape Designs (1 AIA LU)

Examine the sustainability benefits that stem from fusing landscape design and architecture.

Webinars for Credit

Introduction to Energy Modeling Using Energos (1 AIA LU

Investigate how using an integrated energy analysis tool in the early stages of a BIM workflow can optimize schematic design.


Purpose-Driven Design: The Impact of Social Responsibility on Architecture (1 AIA LU)

Architectural design begins with a desire to fulfill a client’s specific needs. But what if the design also needs to address the aspirations of an entire civilization?

Celebrate With Us In Person

If you’re attending Greenbuild 2016 this week, continue your celebration of eco-friendly architecture at booth #543 with us! We’ll be giving away two FLIR ONEs, t-shirts, and two editions of BIM in Small-Scale Sustainable Design by François Lévy of Lévy Kohlhaas Architecture.


While you might think the star-studded cast and crew of Game of Thrones hogged the spotlight at this year’s 86th Emmy Awards, Vectorworks software users left the second night of the ceremonies with their share of awards. Let’s take a moment to congratulate these people who work behind-the-scenes to create the inspiring productions and lighting designs that took home top awards.

Outstanding Production Design for a Variety, Nonfiction Event, or Award Special – David Korins and Joe Celli for “Grease: Live!”

Picture by Michael Becker/FOX

Picture by Michael Becker/FOX

David Korins, Production Designer
From designing concert sets for music artists such as Kanye West and Mariah Carey to tackling sets for Broadway shows like “Hamilton” and “Dear Evan Hansen,” Korins has a long, impressive resume. In 2004, he founded David Korins Design, a multidisciplinary design and experience firm that specializes in creating detailed, 360-degree worlds. It was this history in bringing full, detailed worlds to life that helped him create the immersive world of “Grease: Live!” and excel at live-staging a TV musical. “When we were done with it, we knew exactly what the show was going to look and move like,” he told Broadway Box in a recent interview. “Right now, I am shivering with anticipation for the next one…because I loved the medium so much.”

Joe Celli, Art Director
Joe Celli is an award-winning production designer and art director for television, film, and theatre. Previously, he won three Emmys for Outstanding Art Direction for Variety, Nonfiction, Reality or Reality-Competition Programming for his work on the 86th, 82th, and 80th Academy Awards. Currently, Celli is working on “Hairspray Live” as an art director and recently returned from China where he worked on Zhang Yimou’s upcoming film, “The Great Wall,” for nine months.

Outstanding Lighting Design | Lighting Direction for a Variety Series – Oscar Dominguez, Samuel Barker, Daniel K. Boland, Craig Housenick, and Johnny Bradley for “The Voice: Episode 917A”

Picture by Tyler Golden/NBC

Picture by Tyler Golden/NBC

Oscar Dominguez, Lighting Designer
Oscar Dominguez started his career 26 years ago in a small Los Angeles studio. Working his way up doing odd jobs, he eventually became a gaffer for award-winning Lighting Designer Simon Miles. Now as founder and head designer of DARKFIRE INC., Dominguez brings home his third Emmy for “The Voice.” His previous projects include lighting shows such as “The Bachelor,” “America’s Next Top Model,” and “Are You Smarter Than a 5th Grader?”

Samuel Barker, Lighting Director
Samuel Barker has worked in lighting design for 17 years. This is his third Emmy and fourth nomination for his work as a lighting director for “The Voice.” After starting in 1999 as an electrician, Barker has worked on shows including “Beauty and The Geek,” “Conan,” and “Shark Tank.”

Daniel K. Boland, Lighting Director
Daniel K. Boland has worked in the Los Angeles entertainment industry since 1995, primarily specializing in lighting design for musical artists’ tours, like Eminem and Blue Man Group, a background that is well-suited for his work on “The Voice.” This is his third Emmy and fifth nomination for his work on the show, which he has been with since 2012. Currently, Boland is CFO and a lighting designer of Team Boland Productions. Previously, he worked for NYXdesign as a lighting programmer.

Craig Housenick, Lighting Director
Craig Housenick is a lighting designer and director for film, television, and live events. Owner of CMH Design and winner of three Emmy’s for his work on “The Voice,” his previous work includes being lighting director for “The Taste” and lighting programmer for the 19th Annual Critics’ Choice Movie Awards. After working on shows like “Jimmy Kimmel Live” and “American Idol,” Housenick joined “The Voice” in 2012.

Johnny Bradley, Media Server Operator
Winning his second Emmy for Outstanding Lighting Design as a media server operator, this is Johnny Bradley’s third nomination for his work on “The Voice.” In 2014, he was nominated as a lighting director. Bradley’s resume includes work on shows such as “Wipeout,” “The Bachelor,” “Shark Tank,” and the film “Oz the Great and Powerful.”

Outstanding Lighting Design | Lighting Direction for a Variety Special ​– Travis Hagenbuch, Madigan Stehly, and Will Gossett for Grease: Live!

Picture by Michael Becker/FOX

Picture by Michael Becker/FOX

Travis Hagenbuch, Lighting Director
A 2007 graduate of University of Cincinnati’s College-Conservatory of Music, Travis Hagenbuch discovered his love of lighting at ten years-old, building lights from plywood and spare parts. Now, he is on his fifth Emmy and seventh nomination. Hagenbuch specializes in lighting for live, televised events, and his previous experience includes the Academy Awards, the Grammy Awards, and the 2010 Olympics opening ceremony. Currently, Hagenbuch works as a lighting designer and director for Full Flood, Inc.

Madigan Stehly, Lighting Director
California-native and University of Southern California graduate Madigan Stehly claimed his first Emmy for Outstanding Lighting Design this year as a lighting director. He has a background in musical theatre and his previous work includes the 66th Primetime Emmy Awards and seasons 10 and 11 of “So You Think You Can Dance.”

Will Gossett, Lighting Director
Will Gosset is currently a lighting director of “Greatest Hits.” He graduated from Carnegie Mellon University with a degree emphasis in lighting design and has interned with leading companies in the lighting industry such as Full Flood, Inc., 22 Degrees, and Chris Werner Design. This is Gosset’s first Emmy nomination and award.

Congratulations to all the winners and nominees!

You can explore the full list of winners on the Emmy Awards website and read more about other award-winning entertainment designers here.

The word “home” means different things to different people, and no matter where you call home, it’s hard to imagine what you would do if you were forced out into the world and had nowhere else to go. This is the reality for millions of refugees displaced by war, famine, or disease. Few people would consider a makeshift tent to be a home, but families seeking asylum often have no other choice, as permanent buildings aren’t allowed in refugee camps.

That’s where The Maggie Program steps in, helping displaced people secure a more stable future through the creation of portable, sustainable shelters that have the advantages of modern buildings. The program is the brainchild of Belgian relief worker Bart Peeters, along with the efforts of researchers at the University of Leuven and several private companies and NGOs. The shelters are designed by Vectorworks software users at Belgian architecture and engineering firm DMOA architecten, whose designs express an awareness of the relationship between the built and natural environment.


The maggie shelters help refugee communities build durable classrooms, medical centers, dormitories, and climate-controlled warehouses, all of which are necessary spaces that equip them to rebuild their lives. Designed to resemble a tent, the structure features a solid aluminum framework and a two layers of canvas that form a “jacket.” The jacket is then filled with whatever insulation materials are readily available, such as sand, soil, or even recycled materials and insulation products. This creates sturdy, durable buildings that allow for better health and safety for residents. The shelters adapt to all seasons, are fire proof, and can withstand wind and heavy snow loads.


Maggies can be fitted with low and renewable energy systems, electric lighting, and ventilation, and feature double entryways for increased security. The maggie shelter’s shape allows for multiple structures to be combined into a variety of modular combinations, forming village or city centers.

The maggie prototype debuted in July 2015 in Heverlee, Belgium, and the first real maggie was constructed this year in early March as a space to host children’s activities at the Fedasil refugee center in Steenokkerzeel, Belgium. The reception to the project has been overwhelmingly positive, and the program was recently exhibited at the World Humanitarian Summit in Istanbul, Turkey, in May.


There is still work to be done to make maggies even better before the next proof of concept shelter can be used in an active refugee camp. The future goals for the project are to lower the maggie’s construction time and make the shelters even more energy-efficient, including reducing heating costs and even integrating solar panels to allow the shelters to provide their own energy.

DMOA’s designs show how good architecture can not only amaze and inspire, but also bring hope to communities around the world.


Interested in learning more about durable designs that impact lives? Check out the Architectural Record course “Resilient Building Design” to learn about building designs that can adapt to all kinds of environmental conditions and help communities recover when disasters strike, while also earning Continuing Education credits.

Everyone has a message to tell through their work. In our latest Industry Insights video, Alfonso Femia, CEO, and Simonetta Cenci of the award-winning 5+1AA Architectures explain the design philosophy that has evolved within their Italian-based firm over its twenty-year history: that architecture has the ability to create a dialogue between history and the human experience.

For further insights and inspiration, check out our case studies page.

By Steve Johnson, Vice President of Product Development at Vectorworks, Inc.

*Editor’s Note: Some of this content originally appeared in Metal Architecture Magazine’s September 2016 article, “Bringing Buildings to Life.”

With Pokémon Go’s quick rise to fame showcasing the accessibility of augmented reality (AR), it’s clear that immersive technologies such as AR and virtual reality (VR) are here to stay. AR technology superimposes a computer-generated image on a user’s view of reality in real time, while VR technology generates a 3D simulation that allows users to “walk” and “explore” designs. However, these technologies are used for more than just games.

The AEC, landscape, and entertainment industries are using these technologies, especially VR currently, to revolutionize how designs are presented to clients or judges for competitions. The way I see it, there are three huge benefits to adopting VR technology.

  1. Attracting clients: Virtual reality software will give firms a leg up on competitors who don’t have the same technology, as clients will be intrigued and excited at the opportunities the technology presents. Providing an additional immersive experience via virtual reality on top of high-quality renderings is likely to sway clients to choose a firm that showcases their designs this way.
  1. The development of designs: Designers are making use of virtual reality’s immersive capabilities to better experience how all the different facets of a design come together to define that space. As a result, they’ll be able to better evaluate and make updates to perfect their designs prior to the final presentations to clients, which will leave designers confident and positioned for success.
  1. The presentation process: Never before have we been able to actually put our clients right in the middle of a design. They can walk from room to room, even up and down stairs in a completed structure. With this in-depth experience, not only will clients be much more likely to be pleased with the presented designs as-is, but they’ll be able to voice any objections prior to the construction to ensure the final design is exactly what they want. They’ll see how different colors, shapes, textures, etc. work together in context to voice any other concerns earlier on.

So really, no matter what niche market you serve, you can clearly see that there are big benefits to VR. In particular, more complex and bold projects will benefit from virtual reality technology because designers will be able to test that the elements of their design work together prior to presentation, as well as better emulate their desired vision in the final presentation. Additionally, if you’re ever dealing with a tough client, presenting your design to them in virtual reality could tip the scales in your favor — they’ll be able to experience how the presented design works and imagine the elements coming together in real life.

Whether or not you’ve been exposed to virtual reality, I truly believe that one day most designs will be presented to clients and judges of competitions using virtual reality, in addition to the traditional methods of sharing models. Architecture wasn’t meant to be experienced only through a flat computer screen, as it doesn’t always do a design justice.

Currently, designers looking for a better way to pitch their designs might get stumped by the expensive price tag surrounding Oculus Rift or HTC Vive, but there are other options out there worth considering. That’s why I’m so excited about our web view and virtual reality features in Vectorworks 2017. All you have to do is use the new Export Web View command to access your 3D information model on any web-based browser and then generate a shareable link to your model. Then, the model can be viewed by anyone on a computer, iPad/tablet, or any mobile device without additional hardware. On these devices, the model can be viewed in normal 3D where the viewer can click or use their finger to orbit around the design. On a mobile device, all one has to do is activate stereoscopic or 360 degree view to enable virtual reality-like functionality where every step you take in the real world is reflected in the model. With a Google Cardboard headset and a mobile device, the viewer is guaranteed the best virtual reality experience with the model. Get a taste for the new feature with this video below.


Excited about this new feature yet? We sure are here at Vectorworks. This technology will take the industry to the next level and really lowers the barrier to entry for VR technology. Firms don’t have to spend thousands on headsets and upgrades to their computers, all you need is a pair of Google cardboard goggles, Vectorworks 2017 software, and an Internet connection.

Otherwise, the only other limits to virtual reality with our software is the need for a 3D model, challenging designers who still do not model in 3D to convert to model-based workflows in order to exploit the benefits of virtual reality.

So, now that you know you have access to virtual reality with one simple command in Vectorworks 2017, you might ask: what’s next? I think virtual reality’s capabilities will continue to expand and become much more accessible and common, resulting in experiences no longer tied to a computer mouse. I predict that more senses will be incorporated besides just sight, such as touch, smell, etc., as more content is captured in 3D models to create a more immersive 3D experience that better communicates a design. Being able to feel the difference in texture between a metal, concrete, or wood façade without having to execute the actual construction will change the world of architecture.

And I don’t think Pokémon Go is just a passing phenomenon. I think that augmented and mixed reality is the next frontier for VR technology, as illustrated by Pokémon Go’s functionality where you can see your location-specific information in your current reality. Moving forward, this will translate to the design industry in various ways. One obvious medium is through using a mobile device to experience an exact proposed design while standing in the pre-existing site. And, like Pokémon Go, it will be fun!

You can try out a Vectorworks model in web view and virtual reality here. If you’re on a desktop computer, you can click and drag to move around the model in 360-degree mode. If you’re on a smart device, enable mono mode where the model responds to device movement to orbit the model. Alternatively, you can click first person to use the arrows to move throughout the model. Only use stereo view if you’re viewing the model on a mobile device and have google cardboard goggles.

Creating functional designs that balance the wants, needs, and budgets of clients can be a time-consuming process — one that’s further complicated by the complexity of AV projects. Take the first step toward streamlining your design and budget processes and enhancing your collaboration with the “Streamlining Your Audio-Visual Workflow” webinar hosted by Audio-Visual Design Consultant Chuck Walthall of Walthall and Associates.


A thirty-year veteran of the AV industry, Walthall explains how 3D renderings help reveal budgetary and logistical difficulties while in the first stages of design, and he uses real world examples to demonstrate how tools like the connectCAD plug-in and Renderworks feature set can increase efficiency and help communicate complex ideas with clients and contractors.


Find more webinars and learn new, innovative techniques and design trends on our Inspiration page.


“I don’t know what it is with me, but I guess I like to improve things,” says Kenn Bates with a chuckle as he reflects on his upcoming elevation to the ASLA Council of Fellows. Bates feels humbled to be recognized on the same level as other fellows who have all exhibited extraordinary work and service because he doesn’t feel that he has done anything other than what is expected of him. “I was raised to give back to the community and do what you can to make it better,” says Bates. “To me, it’s just what I do.”

Bates (left) with Dana Worthington, former FL ASLA trustee (right), advocating for the profession with U.S. Rep. Daniel Webster.

Bates (left) with Dana Worthington, former FL ASLA trustee (right), advocating for the profession with U.S. Rep. Daniel Webster.

Despite his astonishment at his impending fellow status, Bates has demonstrated incredible work as he’s risen through the ranks of the ASLA, constantly exhibiting his commitment to improving everything he touches. In the many roles he’s played, rising from member to committee head and then president of the Florida Chapter of the ASLA, and then becoming chair of the ASLA National Chapter Presidents Council, Bates has brought his showmanship and selflessness to all he’s done.

Starting with the Design Awards Committee for the Florida Chapter of ASLA, Bates strove to make the awards program something more than just, “landscape architects standing in a ballroom, patting each other on the back.” Bates learned how to put on a show from his professional experiences of designing for themed entertainment, and he brought those skills and keen eye for design to the awards ceremonies.

In addition to producing more engaging events, Bates added student awards to the program, as well as the Edward D. Stone, Jr. Landmark Award, which honors Stone, a pioneer in the landscape architecture industry, and his legacy. Bates was also responsible for resurrecting Florida ASLA Landscape Architecture, a design awards publication that issued 30,000 print copies along with digital versions in the time he served on the Florida Chapter.

Presentation of the Edward D. Stone, Jr. Landmark Award at the 2010 FASLA Award Ceremony.

Presentation of the Edward D. Stone, Jr. Landmark Award at the 2010 FLASLA Award Ceremony.

In 2011, while Bates was chapter president, Florida legislature introduced a bill that threatened deregulation of the landscape architecture industry. By quickly galvanizing the 700 members of the chapter to reach out to representatives about the importance of the industry and licensure, Bates was successful in leading the charge that halted deregulation.

“Two days after finding out that we were in this bill, the plan was going full steam,” recalls Bates. “Within the first three days we had made 3,000 contacts to the state House. And within two weeks we were successful in being removed from the deregulation bill. We estimate that we had made 10,000 touches by that time.”

Bates as FASLA Chapter President.

Bates as FLASLA Chapter President.

“For our chapter, or really any chapter in the ASLA, to make that kind of effort in the first few hours is pretty important,” Bates explains. He remembers that people were so engaged in spreading the message that he actually had his own email encouraging people to reach out to their local representative forwarded to him several times. Laughing about it, Bates says, “I took that more as a positive than a negative — that we were able to activate people that quickly.”

Bates took his service to ASLA one step further by serving as chair of the Chapter Presidents Council. One of his focuses as chair was to improve the mid-year and annual meetings that all ASLA chapter presidents attend. “There are a lot of billable hours in that room, and I certainly don’t want to waste anyone’s time,” explains Bates. He encouraged different meeting formats and discussions to make sure everyone in the room felt involved in the conversation.

Bates (second from left) at ASLA Annual Meeting with former and upcoming Chapter Presidents Council Chairs.

Bates (second from left) at ASLA Annual Meeting with former and upcoming Chapter Presidents Council Chairs.

In his professional experience, Bates has worked on many themed entertainment projects, but he highlights one project that has particular sentimental value. When his son was four years old, Bates was working as the senior project manager for landscape and parkscape of the new LEGOLAND® Florida Resort on the site of the former Cypress Gardens, which Bates recalls visiting with his parents when he was four.

“That kind of experiential connection really made me feel like I had a vested interest in this park and getting it right,” reflects Bates. “And then on opening day, walking with my son under the same large trees — trees greater than 50 years old that our team had worked to save — being able to walk under those same trees that I had walked under with my dad, was really, really cool.”

Bates enjoying the park’s success with lead Landscape Architect Todd McCurdy at LEGOLAND® Florida.

Bates enjoying the park’s success with lead Landscape Architect Todd McCurdy, of Morris Architects, at LEGOLAND® Florida.

Over the years, Bates has not only served ASLA tirelessly, but he has also helped improve Vectorworks Landmark software. “What struck me about Vectorworks software was that it made doing what I do even more fun,” explains Bates. Having participated as a beta tester several times, Bates says, “the Vectorworks software programmers really do pay attention to what the beta tester group is telling them and what we’re suggesting, and it’s so rewarding to see your suggestions actually implemented in the software.”

This year’s ASLA Annual Meeting and Expo, taking place in New Orleans on October 21-24, will recognize Bates and the other new Fellows. Read about all of the Fellows being elevated here, and if you’re going to be at the conference, you can sign up to receive a personal demo of the new capabilities of Vectorworks 2017.

Over its 30-year history, the Rock in Rio music festival has entertained thousands by bringing some of the biggest musical acts from across the globe to cities like Rio de Janeiro, Las Vegas, and this year’s location, Lisbon, Portugal. Our latest success story highlights how the event’s lighting designers took advantage of the Vision Studio, a previsualization suite set up by PRG where designers could program their shows before the artists hit the stage, ensuring days of seamless shows for the expectant crowds.


Stay inspired and continue exploring lighting design, and more, by heading over to our case studies page.

You asked — we delivered. Vectorworks 2017 software includes more than 100 improvements and new features, over 70 percent of which were driven by designer feedback. From a best-in-industry Resource Manager and innovative irrigation tools to an improved Vectorworks Graphics Module and immersive virtual reality features, our new line of software empowers you to create unmatched experiences like never before.


“Vectorworks software is unique compared to other competing products because of our company’s dedication to pushing the programming of the products to maintain flexibility while offering state-of-the art technology,” says Vectorworks CEO Dr. Biplab Sarkar. “Our continued commitment to reengineering parts of the code base enables Vectorworks products to constantly evolve with the demands of designers resulting in improved software performance, reliability, and functionality.”

2017-product-boxshotsDon’t just take our word for it. Some of your fellow designers have already tested out the features in Vectorworks 2017 and shared their insights.

“I have to say thank you to everyone at Vectorworks for giving us some great irrigation tools in the 2017 version of Landmark,” says licensed irrigator Kellan Vincent, project lead and vice president at Vincent Landscapes, Inc. “Previously, I was using another AutoCAD-based module that really made for an irritating workflow when going back and forth between the two programs. Now the entire design process can be managed within Landmark, saving me time and creating a better, more complete end product.”

irrigation-designThe updates extend throughout our entire software line, including Spotlight improvements such as the introduction of cable tools, enhanced interoperability with Vision, our previsualization software, and other functionality upgrades.

“3D label legends will be a massive time saver for folks who have to draw a lot of plots with stacked trusses,” says Tyler Littman of entertainment design company Sholight, LLC. “Production electricians can also rejoice since Vectorworks 2017 now offers cable tools.”

3D_LABEL_LEGEND_V2And, of course, there are plenty of architectural advancements and features.

“The Structural Member tool in Vectorworks 2017 makes BIM work better with smaller projects, as well as larger, more complex projects,” says Chad Hamilton, AIA, LEED, AP, principal architect at Hamilton Aitken Architects. “Since it’s easier to draw the actual structure of a complex building, the model is more complete and our coordination of the work is better because it’s easier to make the design look more realistic.”

STRUCTURAL_MEMBERS_bkgdBut the developments aren’t just industry-specific — this release includes updates to the software’s overall usability, streamlining your workflow and enabling you to be more efficient.

“The Graphics Module improvements in Vectorworks 2017 allow me to remain engaged with my design in a much more fluid way than before,” says Neil Barman, intern architect at Barman+Smart Design. “In turn, I have definitely noticed how interacting with my work now feels more seamless and natural.”

VGM_TOP_PLANThe upgrades benefit both designers and their clients, as well.

“I exported my first model to virtual reality, viewed it on my phone, iPad, and desktop browser, and it was fabulous,” says Ion Webster, principal of Pults & Associates, LLP. “I am chomping at the bit to send links like this to clients! I can’t believe how easy the transition has been, and I look forward to delving deeper into some of the other new tools.”

WEBVIEW_VRWe’re sure you’re eager to dive headfirst into Vectorworks 2017 for yourself, but before you do, make sure you check out our 2017 page to learn more about the updates, and sign up for one (or all) of our upcoming webinars covering everything new in Vectorworks Architect, Landmark, and Spotlight. If you can’t make the live airdate, register anyway and we’ll send you a link to the recording once it’s available on demand.

P.S. — Don’t forget to share your excitement on social media using #Vectorworks2017.

Since its inception in 1999, the Vectorworks Community Board has acted as a hub for designers to exchange ideas and advice, engage in industry discussions, and troubleshoot issues with our internal team, all while enabling designers to play a role in our software development by submitting their feedback through our Feature and Content Requests Wishlist forum. Continuing with our dedication to valuing and responding to your feedback, we’ve completely reengineered our Community Board to create a better user experience.

One Community Board superstar is our own User Experience Manager Jim Wilson. Known by many designers on the forum for his expertise and sharp sense of humor, Wilson is always a valuable resource for all things Vectorworks software on both the Community Board and our Tech Support Twitter.

“We hope the new Community Board acts as a fast, powerful, and comprehensive tool to facilitate communication, debate, and discussion between designers and our user success and R&D teams,” said Wilson. “We have renewed focus on communicating with our users both to revamp existing features and to help plan out new ones, both in the software and the other various services we develop.”

Before you start exploring our new Community Board, check out this introductory playlist where Wilson will guide you through the new interface and setting up a signature.


This improvement is the first of many steps we’re taking in the coming months to reshape how we communicate with designers, so if you like this upgrade, you’ll love where we go next. In the meantime, head on over to the new Vectorworks Community Board and start exploring now.