s levels of detail by subdividing a 6 sided cube mesh and projecting its vertices according to a referenced height map. This is one of the standard conventions for building full sizes planets. At the lowest level (0) the mesh planet is made of 6 pieces(each 32x32 resolution). The next level down (1) is made of 24 pieces... 6 divided by 4 = 24. Level (2) is 96 quads etc etc. The script will generate each quad at its sub-division level and compare edge vertices to neighboring quads. It will then make sure any shared vertices are in fact at the same projected vector. This ensures a planet quad with edge vertices that match.
The problems comes in texturing each quad.
If I build the quad as a nurb surface from points I can place the texture easily because each surface UV maps squarely to my texture map (which is also square).
If I build the quad as a mesh I cannot just apply the square texture to the mesh UVs. This is because when you unwrap the UVs from a mesh they will not unwrap like a nurb surface's UVs. Therefore to get the correct mapping I would have to manipulate each UV back to an evenly aligned array (which is 1024 points in a 32x32 resolution UV). Maya and blender have 'relax uv' and 'align UV' functions but they don't do the trick and manual corrections are out of the question. So why not skip the mesh method and use the nurb method?
I did this and there is a trade off. The nurb will accept the material texture I want with no other work on my end but when I export the object as an .obj rhino creates its own mesh to describe the nurb(with various unsatisfactory setting options). This works great up to a point because at some level the interpreted mesh will have vertices that do no match at the edges, ie .. creating visible seams in the mesh. The picture below is the nearly seamless planet at LOD(1) made of 24 quads, each with 32x32 vertice resolution and a 512x512 jpg texture running in Unity3d 5. It works but at close level there are seams. This will be resolved simply by having the next LOD(x) instantiate before getting close enough to see the seam but at core nerd level I want the seamless mesh.
So, I can make the seamless mesh but I can not realistically texture map it. I can also make the nurb surface from points and texture it at the expense of the edge vertices matching. I am at the split in the road but I want to have my cake and eat it too. Thoughts, comments, trolls...?
Thanks for reading =)
Footnote: For you pros I am not using seamless noise across the map I am using grasshopper to sew up my otherwise non perfect edges.
Other programs in the pipeline:
-WorldMachine 2
-Wilbur
-Photoshop
-Unity3d…
ive collaborative environment.
TYPE : Course module and Workshop
The event is open for anybody interested from all the fields of design, including: architecture, interior design, furniture design, product design, fashion design, scenography, and engineering.
1. COURSE MODULE (20-23 April 2014) - optional
+ type: 3 days intensive course regarding basic knowledge in parametric design (LEVEL 1)
+ software: Rhinoceros & Grasshopper
+ plugins: Kangaroo, Weaver Bird, Lunch box, Ghowl, Geco
+ achievements:
- acquainting to the components & the concept of Generative Design
- understanding the strategies in Algorithmic Design
- how to easily insert simple mathematical equation into the project to gain more control
- how to utilize proper plugins with respect to their nature of the project
- interacting with different analysis platforms such as Ecotect & remote controller
- solving several exercises with different scales( 2D- 3D ) during each phase of the workshop
2. WORKSHOP (23-27 April 2014)
A 5 day Design-Based Research Workshop exploring new techniques in Digital Architecture/Fabrication, with a specific focus on the use of generative systems and parametric modeling as tools for creative expression.
Our ultimate goal is to increasing the efficiency of utilizing digital tools in parallel with geometric performance of the primitive design agent.
+ + CONCEPT
Fashion and Architecture are both based on basic life necessities – clothing and shelter.
However, they are also forms of self-expression – for both creators and consumers.
Both fashion and architecture affect our emotional being in many ways.
The agenda of this workshop is to investigate on the overlap between these two areas of design, art & fashion.
Fashion and architecture express ideas of personal, social and cultural identity, reflecting the concerns of the user and the ambition of the age. Their relationship is a symbiotic one and throughout history, clothing and buildings have echoed each other in form and appearance. This only seems natural as they not only share the primary function of providing shelter and protection for the body, but also because they both create space and volume out of flat, two-dimensional materials.
While they have much in common, they are also intrinsically different – address the human scale, but the proportions, sizes and shapes differ enormously.
+ + + OBJECTIVES
So far, Architects have been using techniques such as folding, bending etc. to create space, structural roofs or different other structural shapes.
The agenda of this workshop goes further with the investigation of algorithmic thinking through generative tools Integrated in design.
The challenge is creating a bridge that connects these two areas of design, architecture and fashion that perform at two opposite scales.
+ + + + TECHNICAL BRIEF
In the early stages physical models and low-tech strategies will be used, allowing the participants to gain a greater understanding of materials, fabrication and assembly methods as well as simple, yet pragmatic structural solutions.
Later in the workshop these strategies will be digitalized and elaborated using software visualizing tools such as Rhinoceros and the algorithmic plug-in Grasshopper.…
ve Intermediate Insight of Computational Design Strategies While Exploring Rangoli Art form in 2 Dimension and 3Dimesion in which Participants will not only be trained to Digitally Design using Parametric software's but they will also be trained to Fabricate them in reality.
This Course will be explored in manner where Participants will understand inter-dependency of Rhinoceros3D & Grasshoper3D through a unique Hybrid Teaching Method While Exploring Rangoli Geometry .
The course will also take participants through Topics such as - Computational Thinking, - Computational / Parametric Design, - Computational Rangoli Exploration, - Digital Fabrication, - 3D Visualization ( Rhino3D 6), - Making Info-graphics & Design Diagrams ( Rhino3d 6 ).
Participants will also be doing a Project at the last Leg of Workshop in which they will implement the skill they gained in first Few Weeks.
{ Tutor } Nitant Pixelkar (Computational Artist / Designer, Mumbai)
Nitant Hirlekar A.k.a. Pixelkar, is a Computational Artist. He graduated from Rachana Sansad school of Interior Design 2011, Mumbai. In Academics He Bagged Two Gold and One Silver Medal on National Level.
In his post academic days, he came across the Emerging Computational Techniques in Design industry in which Algorithm serves as a main Functional part. He uses Algorithms to Deconstruct the Captured images in Pixelated form using the Grid of the Desired Indian Art Forms.
He Heads Collective Group Named "Mutation Lab” which is a multidisciplinary Design & Art Cell. Where they Explore Computational Approach while Designing Various Scales Spatial Installation, Digital Fabrication, Interactive Installations and Computational Consultancy for Various Architects.
He has exhibited his first artwork in Kalaghoda Arts Festival for in 2014 And further in 2016 and 2017.In 2015 he exhibited in Dharavi Biennale” organized by Wellcome Trust,London & Sneha Organisation, Mumbai Which was internationally acclaimed. In 2016 he got Featured on a TV show - The Creative Indian's as an Absolut Creative Indian of the Week.
Academically he is been involved in Many Computational Design Workshops / Elective Studios for School of Interior Design (Rachna Sansad), LS Raheja College of Architecture & Rat-Lab (Delhi).
{ Participants } The Course is aimed at Architecture, Interior Design, Product Design,Furniture Design & Fashion Design Students and Professionals. However we would be thrilled to have any Interdisciplinary Artist / Creator/ Maker to join the Course as well.
{ Level }
Intermediate
{ Timing } Monday To Friday - 6:00 PM to 9:00 PM (15 Hours/ Week = 5 Week X 15 Hours = 75 Hours )
{ Dates } Registration Ends - 24th April 2020 **Subejct to Availablity
{ Workshop Dates } 4th May 2020 To 5th June 2020
{ Venue } Lower Parel,Mumbai ( Details To Be Announced )
{ Schedule }
{Registration Form}…
answer further on Friday.
The "ghdoc" variable and rhinoscriptsyntaxThe ghdoc variable is provided by the component if you select it as "target".You might ask yourself: "why do we need it"?Its use comes from the very design of the established RhinoScript library. This library is imperative, which means it is build from a set of procedures or functions that act on various geometrical types. Additionally, there is one level of indirection: most of the time, the user does not work with the geometry itself in the variable, but rather with Guid of geometry that is present in a document. This is exactly what ghdoc is: it is the document that the RhinoScript library always implicitly targets with all AddSomething() calls (for example, AddLine()).
Based on this comment...RhinoScript use within GhPython may be less idealThat comment is from a previous version of this component that did not have the ghdoc yet.With the ghdoc variable, the standard Rhino document target of RhinoScript is replaced, therefore we can use Grasshopper while leaving the Rhino document unchanged. This saves uncountable Undo's, and makes it easy to structure ideas through the definition graph
...is the rhinoscriptsyntax target irrelevant if using solely RhinoCommon classesYes. If you create class instances (objects), you will need to create also your own collection objects to store them (mostly lists, trees). You can imagine the ghdoc as being an alternative to them, just that you do not access data by index (number), but by Guid. So you can use the RhinoScript or the RhinoCommon libraries independently or mix them. The RhinoScript implementation in Rhino is open-source and is all written in RhinoCommon. Also the ghdoc implementation is open-source, and is here.
RhinoScript and/or RhinoCommon objects which are not recognized as valid Grasshopper geometryYes, sure, Grasshopper handles only a portion of all available types. Basically, unhandled types are all the types that do not exists in the 'Params' tab. For example, there is no textdot and no leader, so on line 149 there is a throw statement and all TextDot calls (about line 350) are commented out. When/if Grasshopper one day will support these types, these calls will be implemented.
DataTreeHere is a small sample. However, I think that 80% of the times it is not necessary to program for DataTrees, as the logic itself can be applied per-list and Grasshopper handles list-iteration.
I hope this helps,
- Giulio_______________giulio@mcneel.comMcNeel Europe…
ger 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
sg2012 take place at Rensselaer Polytechnic Institute, Troy, in upstate New York from 19-24 March 2012. 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.…
y using the Honeybee_Update Honeybee component.
The video below (best viewed in full-screen mode) provides an idea of what these components are capable of being used for:
The video below shows how these components can be used in an existing Honeybee project (for additional links please open this video in youtube):
I have uploaded two examples as Hydra files that show how these components can be used for grid-point and image-based simulations:
Example1 : Grid Point Calculations
Example2: Image based simulation
Finally, a more esoteric application is demonstrated in this video:
These components are still in the beta-testing stage. Some of the limitations of the components are:
1. Only Type C photometry IES files are supported at present.
2. Rhino is likely to get sluggish if there are too many luminaires (i.e. light fixtures) present in a scene.
3. Due to the spectral limitations of the ray-tracing software (RADIANCE), simulations involving color mixing might not be physically realizable.
Additional details about photometric and spectral calculations are probably an overkill for this forum. However, I'd be glad to answer any related questions. Please report any bugs or request new features either on this forum or on Github.
Mostapha, Leland Curtis, Reinhardt Swart and Dr. Richard Mistrick provided valuable inputs during the development of these components.
Thanks,
Sarith
Update 16th January 2017:
An example with some new components and bug fixes since the initial release announcement can be found here
…
ay how many valid permutations exist.
But allow me to guesstimate a number for 20 components (no more, no less). Here are my starting assumptions:
Let's say the average input and output parameter count of any component is 2. So we have 20 components, each with 2 inputs and 2 outputs.
There are roughly 35 types of parameter, so the odds of connecting two parameters at random that have the same type are roughly 3%. However there are many conversions defined and often you want a parameter of type A to seed a parameter of type B. So let's say that 10% of random connections are in fact valid. (This assumption ignores the obvious fact that certain parameters (number, point, vector) are far more common than others, so the odds of connecting identical types are actually much higher than 3%)
Now even when data can be shared between two parameters, that doesn't mean that hooking them up will result in a valid operation (let's ignore for the time being that the far majority of combinations that are valid are also bullshit). So let's say that even when we manage to pick two parameters that can communicate, the odds of us ending up with a valid component combo are still only 1 in 2.
We will limit ourselves to only single connections between parameters. At no point will a single parameter seed more than one recipient and at no point will any parameter have more than one source. We do allow for parameters which do not share or receive data.
So let's start by creating the total number of permutations that are possible simply by positioning all 20 components from left to right. This is important because we're not allowed to make wires go from right to left. The left most component can be any one of 20. So we have 20 possible permutations for the first one. Then for each of those we have 19 options to fill the second-left-most slot. 20×19×18×17×...×3×2×1 = 20! ~2.5×1018.
We can now start drawing wires from the output of component #1 to the inputs of any of the other components. We can choose to share no outputs, output #1, output #2 or both with any of the downstream components (19 of them, with two inputs each). That's 2×(19×2) + (19×2)×(19×2-1) ~ 1500 possible connections we can make for the outputs of the first component. The second component is very similar, but it only has 18 possible targets and some of the inputs will already have been used. So now we have 2×(18×2-1) + (18×2-1)×(18×2-1) ~1300. If we very roughly (not to mention very incorrectly, but I'm too tired to do the math properly) extrapolate to the other 18 components where the number of possible connections decreases in a similar fashion thoughout, we end up with a total number of 1500×1300×1140×1007×891×789×697×...×83×51×24×1 which is roughly 6.5×1050. However note that only 10% of these wires connect compatible parameters and only 50% of those will connect compatible components. So the number of valid connections we can make is roughly 3×1049.
All we have to do now is multiply the total number of valid connection per permutation with the total number of possible permutations; 20! × 3×1049 which comes to 7×1067 or 72 unvigintillion as Wolfram|Alpha tells me.
Impressive as these numbers sound, remember that by far the most of these permutations result in utter nonsense. Nonsense that produces a result, but not a meaningful one.
EDIT: This computation is way off, see this response for an improved estimate.
--
David Rutten
david@mcneel.com
Poprad, Slovakia…
Added by David Rutten at 12:06pm on March 15, 2013
th one element which is a list of 10 numbers?
I can flatten it and get (I think) a list of 10 elements (even though when I hover over the output of "Flatten" it says "Tree(T) as tree"). I'm surprised I can flatten at all what would appear to common sense to be a simple list of 10 numbers.
I'm hoping that if I can get this answered it will become obvious why we have trees of lists rather than just lists of lists as you would in most computer languages. That's my real goal - to understand the purpose of adding what seems like an unnecessary complication - trees - to the concept of lists in GH. It seems to me as though a "tree" is just a list of other "trees" until you get to the leaves where you can have "lists" which are identical to trees but can have something other than a tree in them. Whether you can have lists of trees or trees with no lists I'm unclear on. Do the leaves of trees have to be lists? Do lists have to be contained in trees? It would appear from the series example where a tree is produced for no obvious reason to contain the list that this is the case but given that you can flatten it, I guess not - or is the "List" I see in the param viewer just another type of "tree"?
I've found many tutorials that talk about how to manipulate trees and lists and I've managed to get along fairly well with them so far, but nothing seems to explain the reasoning behind the existence of trees and the philosophy for how and when they should be used and when lists should/could be used and precisely what the difference is between them.
Sorry to be long winded but I'm so confused!
Darrell Plank
P.S. I've seen David Rutten's diagram with the colored leaves in Grasshopper Primer 2 and that seems helpful. It would appear that trees can only have lists at their leaves and lists can't have trees although I'm not sure that it comes out and says that directly but at least there are no examples of this shown in his tree diagram. I thought I had it down pretty much so decided to test myself. Apparently I'm as confused as ever:
It certainly appears to me that this tree has two levels - a first level with one limb and a second with 10 limbs - and that I should be able to index it with {0;0} and retrieve a tree with one item in it - the list {0}. The panel data seems to confirm this with indices of {0;0;0}, etc. so I put this path in with quite a bit of confidence that it would work and...bust. The error reads "Path {0;0} does not exist within this tree". Huh? Again, I'm just so confused.…
Added by Darrell Plank at 12:17am on January 20, 2015