they may not always give you a clear picture of their precise functionality. I thought this may be an issue with many users so I decided to use this opportunity to list all the parameters with my quick take at describing their functionality. Here it goes:
DEFAULT VERTICAL SHIFT -- Number - Shifts panels vertically creating a custom-sized panel with height of the specified dimension at first row of skin.
DEFAULT HORIZONTAL SHIFT -- Number - Shifts panels horizontally creating a custom-sized panel with width of the specified dimension at first column of skin.
DEFAULT SKIN CHAMFERED CORNER--True/False - If "True" wraps panels around surface corners. If '"False" creates a custom-sized panel if necessary to complete the skin surface at the shared edge, defining this way a sharp corner.
RESET BAY AT POINTS-- True/False - When using Panel Bays (Group of Panels) this option restarts the panel bay at a surface corner.
FLOOR HEIGHT-- Number - The Floor To Floor value of the Skin generated. If Panels are shorter than this value, a leftover 'gap' will be seen at top of panels.
MINIMUM PANEL WIDTH -- Number - If the width of a panel (standard or customized) created during the skin generation is less than this value, the panel won't be created and the placement will be skipped.
MINIMUM PANEL HEIGHT -- Number - If the height of a panel (standard or customized) created during the skin generation is less than this value, the panel won't be created and the placement will be skipped.
MINIMUM PANEL AREA-- Number - If the area of a panel (standard or customized) created during the skin generation is less than this value, the panel won't be created and the placement will be skipped.
PANEL PROFILE TOLERANCE-- Number - If a resulting panel shape is within the specified tolerance value to any already created panel, this panel is used instead of creating a new panel shape. The tolerance specifically tracks the distance between each corner of the new panel and the corresponding corners of the existing panels. This parameter is mostly used in "SURFACE PANEL MODE'', where a large number of custom-shaped panels can be generated, to reduce the number of unique panels created.
GENERATE PANEL TYPES ONLY-- True/False - This parameter allows the Skin Generator to discard the creation of scene geometry but still have the grasshopper panel data being generated. The skin panels can be retrieved as grasshopper geometry using SkinDesinger's Display components.
RESET DF BETWEEN SURFACES-- True/False - When "True", the Design Controllers (Design Functions in v.01) resets to its initial values each time it starts a new skin surface. Used for instance to restart a layout pattern at every new surface.
SURFACE PANEL MODE-- True/False - The "SURFACE PANEL MODE" is used to generate panels matching the shape of the surfaces included in the "skinSurfaceList" input.
SURFACE PANEL ORIENTATION -- Orientation Type - When activating the "SURFACE PANEL MODE'', this parameter defines the orientation of the panel generated relative to the normal of the surface that defines its shape. The acceptable values (found in the "Surface-Panel Mode Orientations" dropdown) are:RESETFLIPROTATE 90ROTATE 90 FLIPROTATE 180ROTATE 180 FLIPROTATE 270ROTATE 270 FLIP
I hope this helps but feel free to reach out if you have any questions!
Santiago
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cnicas y estrategias para resolver problemas que hoy se presentan en el diseño y fabricación digital de formas complejas y euclidianas. Se podrá entender mejor la diferencia entre el estilo Modernista y el Parametricismo que vivimos desde el 2000.
Tomando como plataforma básica Rhino, se explora y optimiza el diseño y fabricación de topologías complejas bajo los entornos de Rhino, Grasshopper y RhinoNest.
Instructores:
Andrés Gonzalez, McNeel Miami.
Director de RhinoFabLab.
MSc. María Mena Deferme, Directora de Arquitectura.
Tecnológico de Monterrey campus León, Mexico.
NOTA 1: Tendremos el patrocinio de LaserCUT.mx y podremos usar un Láser Industrial durante todo el taller, mas el laboratorio del iTesm.
NOTA 2: Estudiantes y docentes podrán adquirir Rhino 4.0 con un descuento del 50% sobre el precio de lista en USA.
Descarga el Outline del workshop PDF
http://www.screencast.com/t/M2FjOTBi…
at the same time just seems logical to me that a force would always seek the path of least resistance, so rather than making a 90 degree turn follow a more similar direction. The thought of separating stresslines into groups of tension and compression ist interesting from a design perspective. I wondered how tension and compression forces relate to the S1 and S2 lines, so what I did is pluging the outputs of P1 and P2 into the respective vector display for S1 and S2 and coloring the vectors blue for compression (negative values) and red for tension (positive values). So when you look at the upper side of the surface S1 (SC_02), Tensors along S1 show compression towards the middle and towards the supports Tension. However the Principal Stress Display of the Mesh Visualisation Component for the upper side shows it the other way round, again Red/ Tension and Cyan/ Compression as it says in your manual. Did I miss out on something ? When I look at the lower side (SC_03) I find it more or less matching up (I am just decerning between negative and positive values) so that might make the difference in the size of the compression area. So, does this mean that the S1 and S2 lines are related to the upper and lower side of the surface ? One beeing predominantely in compression(upper side) and one being stressed(lower side) ? That would also explain to me why S1 and S2 swap when you change the side of the surface. I am sorry, many questions... If you have time to explain, would be great. Also, maybe you have a book or article in mind which would explain those things more in depth....
Many thanks,
Philipp…
returned to GSA, it is solving. You might have to reset result scales using the GSA button.
Cheers,
Jon
Checking Input Data - this may take some time.
________________________________________
Data checks commenced at 23/08/2017 4:59:18 PM.
Checking input data for static analysis by GSS.
Shortest element (element 9) is 5 m long.Longest element (element 1) is 6 m long.
Data checks completed at 23/08/2017 4:59:18 PM. No errors or warnings found.
Analysis commenced at 23/08/2017 4:59:18 PM.
Analysis by Gss Static analysis
Initialising results modulesSolving for displacementsSolution statisticsSparse Parallel Direct 12 active nodes 14 active elements 2 analysis cases 24 degrees of freedom Minimum degree ordering 90 terms in stiffness matrix Maximum stiffness is 4.804e+009 at node 4 in direction z Minimum stiffness is 3.132e+008 at node 2 in direction yy Condition number of the stiffness matrix is ~ 5328. Maximum relative error in displacements will be 2.4e-10 percent. Factorization in 109 msSolving for element forces and reactionsCalculation completeAnalysis completed with no errors
Analysis completed at 23/08/2017 4:59:18 PM.Analysis time: 0.172 seconds
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ted a picture of in your post. The reason is that sound has larger wavelengths than light.
With a light rendering model, energy can be said to reflect specularly, relative to their geometry, because the wavelength of light is inifinitesimally small relative to any object you might have modelled. With sound, energy may travel and reflect diffusely, or move around objects, depending on the scale of those objects. Think of the fundamental equation of frequency to wavelength - speed of sound = frequency X wavelength. Using that, you can see that a wave in the 125 hz octave is about as tall as a human being (or maybe a little taller) and would easily move around your body, not being reflected at all. A wave in the 1000 Hz. octave band is as big as your forearm, and might reflect specularly from your torso. A wave in the 4000 hz. octave band is about as long as your index finger, and might reflect off of your torso, or even your head.
Similarly, if you were to model the seats explicitly, it might be relatively accurate at very high frequencies (say 4000 hz. and above) but that is a very small part of the answer. Consensus in the field is that the most accurate way to model the seats is with a flat plane, raised to about shoulder height, and then with scattering coefficients applied to represent the varying effects of geometry on sound. I tend to use low coefficents below 250 hz. (say around 30%) and high coefficents above 250 Hz.(90%).
Absorption depends on the seat which was chosen. This is often a good area to use for a model calibration based on measured reverberation time.
Arthur…
ces are distorted (second). What is going on?
Surfaces in the second are a rhino cage edit of the surfaces in the first image. They were originally all closed polysrfs exploded just to input into grasshopper.
In the definition attached, each surface is compared to an original (its the small box in the far left of the top image) The point there is the ability to select for more than just the 6 faces of a cube, but find the closest match to more complicated inputs. In the second image, distorted surfaces are being compared to a distorted original.
If I have my math right, two parallel unitized normal vectors should have a dot product of 1, and the further away from 1 their dot product the further away from parallel, no? Why does it fail when I leave the comfy land of 90 degrees?…
Added by Peter Stone at 2:39pm on January 28, 2015
e to constrains, I HAVE to do it like this (I can't 3D print everything or opposite).
First
I have no idea how to make the panels, without so many duplicate Edges, Faces etc.
Second
I can't figure out how to align the triangle panels to fit in the construction, so it can be assembled ideally without glue. This problem is both conceptual (I can't figure out how to do it fiscally) and grasshoper-wise - I don't know how to organize data list and produce a global movement, so that the triangle parts do not intersect with each other, BUT intersect the 3d printed construction part (where they fit fix in or just fit and can be glued).
Triangles will be milled out from 3mm Plexiglas, BUT I will not have an option to mill at an angle, so only 90° edges.
3D printed parts will be executed by a high level production powder printer, so it should hold good.
Any ideas?
best,
cuki
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File) 2. I have designed a curved Trichordal-Truss from one curve in Rhino.
The Truss is lying in the XY direction and the footer is placed on the zero point.
3. And now my problem:
I want to put the Truss-object on the feet, move 90°
(from the XY axis to Z axis, see sketch 1).
4. Then copy / move the truss to all 36-points of ellipse (see sketch 1).
5. Align the 36 trusses with the center of the triangle .
pointing at the center of the ellipse (see sketch 2).
6. Using a slider to change the position of the 36-Trusses at der ellipse.
Variable distance between Truss and ellipse (see sketch 3).
Thanks for you Answer.
Best regards
Noureddine…
multiply of variants from Galapagos, to have a chance for better analysis and comparability after. I also would like to use more then one solution in my design after.
In old topics i found kind of 3 solutions.
1.Change Galapagos to octopus ( what don t really want to do, i am kind of happy with Galapagos)
2. Use Slingshot! and MySQL Database ( it s look a little bit too complicated from the first view)
3. Use Colibri and Design Explorer Platform (looks kind of pretty way to solve my problem)
So i tried to add Colibri components to my definition , but have some mistake in the Colibri Aggregator after adding the Genome "An item with the same key already been added". I think it comes because for some steps i am using the "Gen Pool" and not a normal slider. Is it a way to connect Gen Pool and Colibri (i really prefer to have it, then a lot of sliders in some cases)?
And the second question (if i will get it solved with gen pool), could i somehow controll the recording process? For example i would likte to record only variants wit fitness over 90% or start recording just after 20. generation and record till the end?
I also opend for all other possibilities to reach the same goal (record/save/bake multiply variants from galapagos)
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ace Syntax." eCAADe 2013 18 (2013): 357.
http://www.sss9.or.kr/paperpdf/mmd/sss9_2013_ref048_p.pdf
The measure Entropy is newer. I hereby explain it (from my PhD dissertation):
Entropy values, as described in (Hillier & Hanson, The Social Logic of Space, 1984) and specified in (Turner A. , “Depthmap: A Program to Perform Visibility Graph Analysis, 2007), intuitively describe the difficulty of getting to other spaces from a certain space. In other words, the higher the entropy value, the more difficult it is to reach other spaces from that space and vice-versa. We compute the spatial entropy of the node as using the point depth set:
(11)
“The term is the maximum depth from vertex and is the frequency of point depth *d* from the vertex” (ibid). Technically, we compute it using the function below, which itself uses some outputs and by-products from previous calculations:
Algorithm 4: Entropy Computation
Given the graph (adjacency lists), Depths as List of List of integer, DepthMap as Dictionary of integer
Initialize Entropies as List(double)
For node as integer in range [0, |V|)
integer How_Many_of_D=0
double S_node=0
For depth as integer in range [1, Depths[node].Max()]
How_Many_of_D=DepthMap.Branch[(node,depth)].Count
double frequency= How_Many_of_D/|V|
S_node = S_node - frequency * Math.Log(frequency, 2)
Next
Entropies [node] = S_node
Next
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