ers and researchers, programmers and artists, professionals and academics who come together for 4 days of intense collaboration, development, and design.
The sg2012 Workshop will be organised around Clusters. Clusters are hubs of expertise. They comprise of people, knowledge, tools, materials and machines. The Clusters provide a focus for workshop participants working together within a common framework.
Clusters provide a forum for the exchange of ideas, processes and techniques and act as a catalyst for design resolution. The Workshop is made up of ten Clusters that respond in diverse ways to the sg2012 Challenge Material Intensities.
Applicants to the sg2012 Workshop will select their preferred cluster from the following:
Beyond Mechanics
Micro Synergetics
Composite Territories
Ceramics 2.0
Material Conflicts
Transgranular Perspiration
Reactive Acoustic Environments
Form Follows Flow
Bioresponsive Building Envelopes
Gridshell Digital Tectonics
More information about the Workshop and Clusters can be found here:
http://smartgeometry.org/index.php?option=com_content&view=article&id=116&Itemid=131
The application process will close on January 15th, 2012.
Full Fee $1500
Reduced Fee $750
Scholarship Fee $350
Fees include attendance to both the workshop and conference from March 19th-24th.
Reduced Fee and Scholarships are available only for Academics, Students and Young Practitioners, and are awarded during a competitive peer review process.
sg2012 takes place from 19-24 March 2012 at EMPAC (http://empac.rpi.edu/) and is hosted by Rensselaer Polytechnic Institute in Troy, upstate New York USA. The Workshop and Conference will be a gathering of the global community of innovators and pioneers in the fields of architecture, design and engineering.
The event will be in two parts: a four day Workshop 19-22 March, and a public conference beginning with Talkshop 23 March, followed by a Symposium 24 March. The event follows the format of the highly successful preceding events sg2010 Barcelona and sg2011 Copenhagen.
sg2012 Challenge Material Intensities
Simulation, Energy, Environment
Imagine the design space of architecture was no longer at the scale of rooms, walls and atria, but that of cells, grains and vapour droplets. Rather than the flow of people, services, or construction schedules, the focus becomes the flow of light, vapour, molecular vibrations and growth schedules: design from the inside out.
The sg2012 challenge, Material Intensities, is intended to dissolve our notion of the built environment as inert constructions enclosing physically sealed spaces. Spaces and boundaries are abundant with vibration, fluctuating intensities, shifting gradients and flows. The materials that define them are in a continual state of becoming: a dance of energy and information. Material potential is defined by multiple properties: acoustical, chemical, electrical, environmental, magnetic, manufacturing, mechanical, optical, radiological, sensorial, and thermal. The challenge for sg2012 Material Intensities is to consider material economy when creating environments, micro-climates and contexts congenial for social interaction, activities and organisation. This challenge calls for design innovation and dialogue between disciplines and responsibilities. sg2010 Working Prototypes strove to emancipate digital design from the hard drive by moving from the virtual to the actual in wrestling with the tangible world of physical fabrication. sg2011 Building the Invisible focused on informing digital design with real world data. sg2012 Material Intensities strives to energise our digital prototypes and infuse them with material behaviour. They have the potential to become rich simulations informed by the material dynamics, chemical composition, energy flows, force fields and environmental conditions that feed back into the design process.
More information can be found at http://www.smartgeometry.org
Follow us on Twitter at http://twitter.com/smartgeometry…
Added by Shane Burger at 12:29pm on December 13, 2011
We invite participants of the eCAADe 2015 conference to propose workshops on their current research. The workshops will be held on the 14th an the 15th of September…
diseño, construcción y entendimiento de nuestro entorno.
BIM está poniendo a disposición de los diseñadores y gestores auténticas bases de datos que pueden generarse, conectarse y editarse de forma paramétrica, proporcionando una sólida capa de realidad a los ejercicios de diseño generativo y computación que son objeto de estudio en Algomad, el seminario que busca popularizar la programación y la parametrización en el diseño y en la experiencia de nuestro entorno construido.
Tras un paréntesis en 2015, Algomad vuelve con el objetivo de demostrar cómo una visión computacional del BIM es una oportunidad para mejorar la forma de trabajar de ingenieros, arquitectos, constructoras y operadores de edificios e infraestructuras, tendiendo un puente entre las técnicas de diseño digital más avanzadas y la realidad de la construcción.
Algomad 2016 tendrá lugar en el centro de Madrid, en IE School of Architecture and Design, IE University, los días 3, 4 y 5 de Noviembre de 2016 y comprenderá 4 talleres así como ponencias a cargo de expertos de primer nivel.
Estructura de Algomad 2016
Algomad 2016 se estructura en torno a tres áreas temáticas principales:
BIM, como la metodología total específica para el sector de la construcción.
Computación, englobando las aplicaciones de programación y parametrización al diseño de edificios e infraestructuras.
Realidad, como marco de trabajo, buscando siempre resolver problemas reales a través de los dos puntos anteriores.
Público objetivo
Arquitectos, arquitectos técnicos, ingenieros y en general académicos, estudiantes de últimos cursos y profesionales del mundo inmobiliario y de la construcción que compartan un interés por la digitalización de nuestro sector. Se espera un nivel mínimo en el uso de herramientas BIM y de parametrización. Algomad proporcionará formación adicional y gratuita en las herramientas básicas a emplear en los talleres para asegurar un correcto desempeño.…
te some implications and questions so I will go one by one:
"Now I would like to use a single VRay material as a template for creating multiple identical materials"I hope this will work, but as VRay does not expose any SDK, I would not guarantee any specific result.
"Now I need to add them to the document material table"This is done with a reference to a document instance, such as the one you get with the code doc.Materials (both in C# and Vb.Net).
"I'm not going to learn C# to modify his script"That's a pity, it would be nice to pass on this troublemaker to somebody else! :)Btw, C# and Vb.Net are very very similar. This script could be written in Vb.Net too.
"Reference to a non-shared member requires an object reference. (line 96)"This only means that you need to access the Materials property on an instance, not on the type (class) name. Change that line using what is written at point 2.
"Do I understand that the material has to be assigned to a particular object in order to enter the Material Table?"No it does not. But if you call the _Purge command it will be removed if it does not have an object that references it.
"Can I assign it to a Layer instead?"You do not need to. But this would be achieved with doc.Layers[whichLayer].RenderMaterialIndex = materialIndex; in C# or doc.Layers(whichLayer).RenderMaterialIndex = materialIndex in Vb.Net.
"Any ideas? A better way to do this?"If you found a way to bypass the VRay SDK not being there, this should work.
"Giulio's component has a type hint defined as a Material"It does not any longer. The hint was there in earlier versions of Grasshopper, but now the hint has disappeared. This is not so bad, and it is also the only way you would be able to use either a Material instance already or a string for a material name.
"How was that done?"Probably it was done in an older version of Grasshopper. But which version are you using?
"I can't figure out how to cast the input as a Rhino.DocObjects.Material, so you can see that I have cast it as a compatible type in the first 2 lines... is there a cleaner way?"That sounds like a good way actually. Be sure your component responds properly when something wrong is inputted, though.Dim mTemp As Rhino.DocObjects.Material = CType(M, Rhino.DocObjects.Material)in one line might also work. See msdn for more conversion operators and functions.
I hope this helps,
- Giulio_______________giulio@mcneel.com…
ther math and logic. i can usually conceptualise what i want to do and cobble some semi working thing together but don't know which components to use and how to patch it. so i'm super happy to have someone who knows what he's doing to find this interesting.
and i'm glad you mention the fanned frets again, there is one input parameter that's still missing for the multiscale frets to be fully parametric, it's the angle of the nut or which fret should be straight. it depends a bit on personal preferences and playing posture what is more comfortable. so being able to adjust this easily would be cool. again i have no idea how the maths for that work or if you can just rotate each fret the same amount around it's middle point. The input either as fret number (for the straight fret) or as a simple slider from bridge to nut should do as input setting.
Here are the two extremes and the middle ground:
i've been thinkin today while analysing your patches and cleaning up my mess what exactly the monster should do.
Here are the input parameters needed, i think it's the complete list
scale length low E string
scale length high e string
fret angle/straight fret
string width at nut
string width at bridge
number of frets
fretboard overhang at nut (distance from string to fretboard bounds)
fretboard overhang at last fret
string gauges
string tensions
fretboard radius at nut (for compound radius fretboard radius at bridge is calculated with the stewmac formula)
fretwire crown width
fretwire crown height
action height at nut (distance between bottom of string and fretwire crown top)
action height at last fret
pickup 1 neck position
pickup 2 middle position
pickup 3 bridge position
nut width
the pickup positions should be used to draw circles for the magnet poles on each string so they are perfectly aligned and can be used for the pickup flatwork construction. ideally they would need a rotation control aligning the center line of the pickup so it's somewher between the last fret angle and bridge angle. personally i do this visually depending on the design i'm looking for, some people have huge theories on pickup positioning but personally i don't believe in it.
that should result in everything needed to quickly generate all the necessary construction curves or geometry for nut/fingerboard/frets/pickups. this is the core of what makes a guitar work, the more precise this dynamic system is the better the guitar plays and sounds.
i posted another thread trying to understand how i could use datasets form spreadsheets,databse, csv to organize the input parameters. What would make sense for the strings for example is hook into a spreadsheet with the different string sets, i attached one for the d'Addario NYXL string line which basically covers all combos that make sense.
The string tension is an interesting one, and implmenting it would sure be overkill albeit super interesting to try. it should be possible to extrapolate from the scale length of each string what the tension for a given string gauge of that string would be so that you could say 'i want a fully balanced set' or 'heavy top light bottom) and it would calculate which SKU from d'addario would best match the required tension. All the strings listed in the spreadsheet are available as single strings to buy.
i'm trying to reorganize everything which helps me understand it. i just discovered the 'hidden wires' feature which is great since once i understood what a certain block does or have finished one of my own, i can get the wires out of the way to carry on undistracted. a bit risky to hide so many wires but it makes it so much easier not to get completely lost :-)
btw, the 'fanned fret' term is trademarked, some guy tried to patent it in the 80's which is a bit silly since it has been done for centuries. there is a level of sophistication above this as well, check out http://www.truetemperament.com/ and that really is something else. it really is astounding how superior the tuning is on those wigglefrets, the problem is that it's rather awkward for string bending and also you can't easily recrown or level the frets when they are used. …
e matching with a dedicated component which creates combinations of items. You can find the [Cross Reference] component in the Sets.List panel.
When Grasshopper iterates over lists of items, it will match the first item in list A with the first item in list B. Then the second item in list A with the second item in list B and so on and so forth. Sometimes however you want all items in list A to combine with all items in list B, the [Cross Reference] component allows you to do this.
Here we have two input lists {A,B,C} and {X,Y,Z}. Normally Grasshopper would iterate over these lists and only consider the combinations {A,X}, {B,Y} and {C,Z}. There are however six more combinations that are not typically considered, to wit: {A,Y}, {A,Z}, {B,X}, {B,Z}, {C,X} and {C,Y}. As you can see the output of the [Cross Reference] component is such that all nine permutations are indeed present.
We can denote the behaviour of data cross referencing using a table. The rows represent the first list of items, the columns the second. If we create all possible permutations, the table will have a dot in every single cell, as every cell represents a unique combination of two source list indices:
Sometimes however you don't want all possible permutations. Sometimes you wish to exclude certain areas because they would result in meaningless or invalid computations. A common exclusion principle is to ignore all cells that are on the diagonal of the table. The image above shows a 'holistic' matching, whereas the 'diagonal' option (available from the [Cross Reference] component menu) has gaps for {0,0}, {1,1}, {2,2} and {3,3}:
If we apply this to our {A,B,C}, {X,Y,Z} example, we should expect to not see the combinations for {A,X}, {B,Y} and {C,Z}:
The rule that is applied to 'diagonal' matching is: "Skip all permutations where all items have the same list index". 'Coincident' matching is the same as 'diagonal' matching in the case of two input lists which is why I won't show an example of it here (since we are only dealing with 2-list examples), but the rule is subtly different: "Skip all permutations where any two items have the same list index".
The four remaining matching algorithms are all variations on the same theme. 'Lower triangle' matching applies the rule: "Skip all permutations where the index of an item is less than the index of the item in the next list", resulting in an empty triangle but with items on the diagonal.
'Lower triangle (strict)' matching goes one step further and also eliminates the items on the diagonal:
'Upper Triangle' and 'Upper Triangle (strict)' are mirror images of the previous two algorithms, resulting in empty triangles on the other side of the diagonal line:
…
mmon.sdk ,but i herad its used in rhino5.
or example: the book grasshopper primer second edition ,page 98
i dont know what is the "doc.absolutetolerance" and where i can find about it....i dont kow it should be a class or a fuction,i tried to search the rhino4. net sdk,i cant find it ....maybe its my searching problem.
but according to the grasshopper primer, i indeed know many kind of Variables,many functions,basic structure, loops, and conditions,and what is onutil.xxxx and rhutil.xxxx.but i found all this imformation is not helpful enough to me when reading the examples downloaded from many disscussions.when i found a new variable or new funcion,i dont know where i can find the introduction about them,such as the upper coding:"doc.absolutetolerance".i tried to use the auto complete such as
dim xxxx as oncurve
xxxx. to find the class oncurve's funtions and variables ,but its too uneffcient.
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And,i dont know the difference between the components vb script and dotnet vb script....
because i found when i type onutil. the auto complete has noting appear...and the variables declaring is not the same. in vb script dim xxxx as curve but in dotnet vb script its dim xxxx as oncurve,which is the same as the grasshopper primer teached me...but i guess.... the vb script component is just like the rhinoscript(not the same),and the dotnet vb script is more powerful than it. am i right?
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at last i dont know these.
Imports System Imports System.IO Imports System.Xml Imports System.Data Imports System.Drawing Imports System.Reflection Imports System.Collections Imports System.Windows.Forms Imports Microsoft.VisualBasic Imports System.Collections.Generic Imports System.Runtime.InteropServices
when i search google about them,the introduction about them is too professinal for me to understand......i just want to know what i can do by using them ...
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sorry for disturbing you so much!!!
best regards!
yours truly
YUAN.T
…
d the fact that one pipe goes out and one goes in, that the surface normal direction is opposite for the two surfaces? Based on an earlier thread, you should know why by now. The two curves have opposite directions (again!); see the white arrows using Rhino 'Analyze | Direction'?
As before, you can fix that by flipping one curve to match the other. HOWEVER, you connected your curves directly to the 'Divide' components instead of using 'Crv' geometry params - bad form. And as before, you "fixed it" by reversing the list of starting points ('S' input to 'BiArc'). Better like this - 'Crv' params are internalized, no need for Rhino file:
Well, well! That didn't fix the opposite surface normals after all! Trust me, though, using geometry params and being conscious about matching curve directions is "best practice". But I haven't lofted 'BiArc' curves for awhile, it's late and I want to move on. OH! I just noticed that you reversed the 'Z' direction for one half of the 'BiArc' - that explains it:
Moving on... You've basically got it, though I would do it differently - same result, like this:
I haven't really explained surface normal vectors - can you figure it out from here? One more little wrinkle (Normal_2017Mar17b.gh):
…
Added by Joseph Oster at 12:03am on March 18, 2017
ails.
Some word about the mesh... (see Image_01)
I took a flat 4 points NURBS surface as imput (very easy, it defines the total area of my pavilion) and some points (that defines the contact with the ground).
Then I extracted a grid of points from the NURBS (Surface_Util_Divide surface) and compared 'em with the contol points, in order to associate to each grid's point its own attractor (Vector_Point_Closest Point).
Than I moved the points down. I used the distance from each point to its attractor (inverted) as amplitude for the vector of the movement, in order to say: the nearer you are to the control point, the more intense your movement will be. During this operation I've passed the distances' data list into a graph mapper (Params_Special_Graph Mapper), in order to regulate in a very intuitive and interactive way the shaping of my canopy.
At the end of the process I asked GH for a simple Delaunay mesh (Mesh_Triangulation_Delaunay Mesh). It's a very cool command, I believe!!!
Ok, now some word about the component, it's design and it's repetition/adaptation to the mesh...
(see Image_02)
I took the mesh and extracted components on first and faces's information on second. Then I selected and separated the vertexes (1°, 2°, 3°) of each triangular face into threee well defined list.
Then I re-created the triangles' edges. Please pay attention because it's not the same if you use output information from Delaunay components, because here we need a justapposition of edges where triangles touches each others.
After this work I joined the edges and found their centroid. At the same time I found the mid point of each edge.
Now the component... (see Image_03)
It' a little bit longer to describe: I'll try to be synthetic.
Substantially it is a loft from a curve to a point, repeated three times for each triangle (Surface_Freeform_Extrude Point). The point is an elevation of the centroid of the triangle (you can choose if the exstrusion has a single height or it's related to an attractor. In my case it was fixed). The curve is combination of things. There's an arch, which starts on the edge (there's an offset from the corner) end terminates on the same edge (on the other side, obviously). While it's generation the arch passes through a third point which belong to another segment. This last connects the mid point of the original edge (base triangle) with the centroid. The result is a kind of polyline, with two segments and an arch. If you go back to the image of the component that I posted probably you'll understand what I'm saying better than with the definition.
The posit…