ppresentazione di modelli per l’architettura ed il design, verso un apprendimento d' alto livello delle tecniche di modellazione parametrica 3D.
Il corso si svolgerà nei seguenti giorni:
Sabato 19/10 dalle 10.00 alle 19.00
Domenica 20/10 dalle 10.00 alle 19.00
Scadenza preiscrizione: 16/10
Contenuti
Durante questo corso, attraverso l' uso di tecniche avanzate di modellazione Nurbs,
si potranno costruire modelli tridimensionali complessi che permetteranno di comprendere le tematiche legate alle forme complesse dell’architettura.
Particolare attenzione verrà data allo studio delle superfici a doppia curvatura, alle superfici rigate e alle superfici sviluppabili, quest’ultime adatte alla creazione di manufatti rivolti alla produzione. Allo studio delle superfici sarà affiancata la logica della loro tassellazione, quindi il passaggio da entità continue ad entità discrete, indagandone il valore attraverso esercitazioni pratiche.
Per comprendere meglio le finalità pratiche della tassellazione verrà adoperata una plug-in integrativa specifica per questo tipo di operazione: Paneling Tools. Le lezioni pratiche saranno arricchite da brevi comunicazioni teoriche utili a perseguire l’obiettivo della costruzione di modelli complessi. Sintesi programma
Costruzione di superfici free-form facilmente editabili attraverso tecniche di sculpting ed una gabbia adeguata di punti di controllo;
Presentazione e spiegazione delle superfici a doppia curvatura, rigate, sviluppabili e loro pannellizzazione attraverso elementi lineari o tasselli piani;
Studio della tassellazione attraverso la plug-in Paneling Tools per lo sviluppo di tasselli tridimensionali complessi;
Modellazione di un'architettura complessa, costruita avvalendosi della anche della tecnica del morphing.
Preparazione della mesh e del file per il rendering.
Alla fine del corso, verrà rilasciato l’attestato di partecipazione ad un corso di Rhinoceros qualificato e certificato dalla casa sviluppatrice McNeel, valido anche per la richiesta di crediti formativi universitari.
Docente del corso
Il corso è tenuto da un docente qualificato, con riconosciuta esperienza universitaria, esperto in disegno e rappresentazione dell' architettura e del design ed istruttore McNeel:
Michele Calvano|_architetto, dottore di ricerca in rappresentazione architettonica specializzato nella modellazione matematica (Nurbs) e modellazione parametrica.
Docente ART (Autorized Rhino Trainer) - [vedi CV]
Info
Per ulteriori informazioni di carattere didattico sono a disposizione i seguenti contatti: Responsabile didattico: arch. Michele Calvano
Info mail: parametricart@gmail.com
cell: 340 3476330
…
de geometries, which can easily be adapted to changing design intentions and requirements. The core concept of the software is that the brick unit is the basis for every action performed. Basically, a design is generated through drawing, placing and manipulating individual bricks. BrickDesignoffers different methods to manipulate the individual bricks in order to map patterns on a façade. These methods can be extended ad libitum through an open script interface, which gives access to a number of brick parameters.…
Added by Ayuka Oomura at 3:40am on November 4, 2013
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DP ($$$ aside), GC, and Grasshopper. Arthur’s original question is very important
and the exact question (and hopefully answer) I was hoping to find on a
forum.
“How to take intelligent 3D parametric generative design models (scripting, etc.) into 2D documents?" Or, deliver the 3D design for evaluation, bid, construction, etc.
I am intrigued by Jon’s comments in the same thread and would like to know how I can learn more about the process (and
pitfalls) of turning over a 3D digital generative models to a contractor/fabricator.
Are there any industry guidelines established I could use as a reference to guide our firm through this type of uncharted territory?
Arthur’s question is very reminiscent of 10 years ago when I was frustrated with the amount of time spent on the development of a 3D model design (physical and/or virtual) only to have to wipe the table clean and start the process all over again in 2D in order to document the project for delivery. From this I jumped head first into BIM and Revit, vowing never to go back to unintelligent 2D line work. I am now working on Bentley software (v8i: Microstation and Bentley Architecture) with the access and desire to venture into Generative Components. I am very intrigued by Rhino/Grasshopper primarily with the apparent ease of use and available resources assisting in the learning process – something not really available with Bentley.
In hindsight, as I am doing my software research I think the current use of Revit and BA (Bentley Architecture) are more of a “bridge”
between the past (decades of digital 2D work, i.e. AutoCAD) and where hopefully
we all will be someday in the near future (100% 3D modeling, i.e. Digital
Project??). Without having the experience
it would appear that DP/CATIA (PLM software) are closer to this than any other
type of software. As complicated as the
industry standards are for the automobile and airline industry, I feel we
(architectural industry and others) are heading in a similar direction with
total understanding (PLM/ Evidence Based Design) of a design (a whole other topic). If anything I think the market will begin to
demand it sooner or later.
Gehry (DP) article NY Times:
http://www.nytimes.com/2009/02/11/business/11gehry.html
I know these type of broad discussions (software vs. software) can be blown out of proportion on forums, but I am would like to read
the pulse of those who are already in the trenches (using Grasshopper, CATIA, Digital Project, Generative Components, others??) and hear your thoughts. Just as valuable would be other threads,
industry articles/reviews of 3D parametric generative design software.
Thanks,
Boyd…
connected hyperspace where architecture can be fluid, flexible and vivid, yet the aspect of materiality requires more attention.
Action-designed structures begin to move beyond the utopian proposals of the 20th century’s manifestos and hold a place in the world of realized designs. The AA Athens Visiting School aims to bring users closer to the built environment while revisiting habits of designing, building and experiencing space through materiality. Understanding materiality and form as a ‘unified whole’, the programme integrates manufacturing techniques through the experimentation fabrication of prototypes at a 1:1 scale.
Prominent Features of the workshop/ skills developed
Participants become part of an active learning environment where the large tutor to student ratio allows for personalized tutorials and debates.
The toolset of the Athens VS includes but is not limited to Processing and Grasshopper for Rhinoceros, as well as design analysis software.
Participants gain hands-on experience on digital fabrication.
Design seminars and a series of lectures support the key objectives of the programme, disseminating fundamental computational techniques, relevant critical thinking, theoretical understanding and professional awareness.
Applications
1) You can make an application by completing the online application found under ‘Links and Downloads’ on the AA Visiting School page. If you are not able to make an online application, email visitingschool@aaschool.ac.uk for instructions to pay by bank transfer. 2) Once you complete the online application and make a full payment, you are registered to the programme. A CV or a portfolio is NOT required.
The deadline for applications is 28 June.
Location AKTO College – Athens Campus 11Α Evelpidon Street (Pedion Areos) Athens, 113 62, Greece
Fees
The AA Visiting School requires a fee of £695 per participant, which includes a £60 Visiting membership fee. Fees do not include flights or accommodation, but accommodation options can be advised.
Eligibility The workshop is open to current Undergrad and Graduate architecture and design students, PhD candidates and young professionals. Software Requirements: Adobe Creative Suite, Rhino 5.
For more information, please visit:
http://www.aaschool.ac.uk/STUDY/VISITING/athens
http://ai.aaschool.ac.uk/athens/
For inquiries, please contact:
alexandros.kallegias@aaschool.ac.uk…
work with color to fit it into this logic (porous structure)?the range of colors: from white to yellow, orange, red. to blackis not so nice, saying, does not match to the design of the house.So there for it should only show the material what carries this pattern.So my question in yours case:i think that the picture of you must be thought as invert, so that it's become functional as well. if you thought this as invert,than you musst icrease the surface division,so that the rays of the sun can be disturbed to penetrate the house.that is a good the example:http://www.detail.de/inspiration/fuenf-hoefe-in-muenchen-100701.htmlin your case, the function of the patterns would get parametric significance. where more sunlight, consequently a denser pattern, and of course vice versa.therefore, the attractor should be the solar/sun system.http://digitalsubstance.wordpress.com/2011/12/07/facade-porosity-ad...What do you mean, i still see a version of you?http://www.youtube.com/watch?v=JoqDYcCDOTgThanks…
roduced the same error.
I tried to run them again with the file already open and I got this (I imagine predictable) error:
Sorry! But the number of available CPUs on your machine is 4.
Honeybee set the number of CPUs to 4.
Grid-based Radiance simulation
The component is checking ad, as, ar and aa values. This is just to make sure that the results are accurate enough.
Good to go!
Current working directory is set to: C:\ladybug\Parametric_Shading_Wall\psw_z0.25_t.025_y.2_r90_m3_lux\gridBasedSimulation\
Failed to remove the old directory.
WindowsError(32, 'The process cannot access the file because it is being used by another process')
Failed to read the results!
rtrace: fatal - (psw_z0.25_t.025_y.2_r90_m3_lux_RAD.oct): truncated octree
rtrace: fatal - (psw_z0.25_t.025_y.2_r90_m3_lux_RAD.oct): truncated octree
rtrace: fatal - (psw_z0.25_t.025_y.2_r90_m3_lux_RAD.oct): truncated octree
rtrace: fatal - (psw_z0.25_t.025_y.2_r90_m3_lux_RAD.oct): truncated octree
Runtime error (PythonException): Failed to read the results!
rtrace: fatal - (psw_z0.25_t.025_y.2_r90_m3_lux_RAD.oct): truncated octree
rtrace: fatal - (psw_z0.25_t.025_y.2_r90_m3_lux_RAD.oct): truncated octree
rtrace: fatal - (psw_z0.25_t.025_y.2_r90_m3_lux_RAD.oct): truncated octree
rtrace: fatal - (psw_z0.25_t.025_y.2_r90_m3_lux_RAD.oct): truncated octree
Traceback:
line 336, in script
@Mostapha, if it is indeed a different issue, what do you think it could be?
Thanks again,
-Nicholas…
r graphics get saved as 24x24 pixel images before they are put into the grasshopper application, which means the icons look like crap when you zoom in. This is the aforementioned problem that needs to be addressed in GH2. There have historically been two approaches to this issue:
Provide pixel images with several sizes.
Render vector graphics directly.
Option 1 is common for apps that do not have variable levels of zoom, such as Windows Explorer. When explorer shows file icons it either shows them in 16x16, 32x32, 48x48, 96x96, or these days, various HUGE sizes. As a result *.ico files allow you put in different images for all these target sizes. Since Grasshopper has variable zoom levels, this is not an ideal solution. Also, it requires a lot more work per icon.
Option 2 is becoming more and more popular as increased graphics speed now allows for the real-time rendering of vector graphics. Yet, you still need a renderer that knows how to draw vector geometry crisply at low sizes. All vector renderers I know just interpolate the geometry linearly and if a line happens to end up 'between pixels' it's just fuzzy.
I don't have hard and fast rules for the icons, but I try to adhere to at least these:
Keep a border of 2 pixels free around the icon content. So basically only use the inner 20x20 pixels rather than the 24x24 you're allowed. This is needed because the drop shadow needs to go there.
Only draw silhouette edges around shapes, not inner creases. Typically a 1-pixel line will do. I prefer to use a dark version of the fill colour rather than black for edges.
Loose curves can be drawn in 1 or 2 pixel thicknesses, depending on how important the curve is.
Try to avoid text in your icons (not always possible).
Stick to 1 colour family per icon, preferably per icon family. You can add highlights with another colour if you must, but too many hues make an icon hard to read (for the example the [Voronoi] icon, it has red, green and blue and it's a bit of a mess, on the other hand [Colour Wheel] has the full spectrum and seems to work quite well...).
Very roughly speaking, if there's both black and red geometry in an icon, it means the red is component input and the black is component output.
Drop shadows are pixel effects, applied to the 24x24 image. They have a blurring radius of 2 pixels, a horizontal offset of 1 pixel to the right, a vertical offset of 1 pixel to the bottom and they are 65% black.
When you use high contrast shapes (for example black edges on a light background) the anti-aliasing provided by vector renderers such as Xara or Illustrator won't be enough to make it look smooth. I'd recommend avoiding high contrast if at all possible, but if not possible then draw a 1-pixel line around the dark bits in 95% transparent black. This effectively extends the anti-aliasing range from 1.5 to 2.5 pixels and it helps make things looks smoother.
--
David Rutten
david@mcneel.com…