of a hack to push it to an android device, and you can't use labels, which is a very bad point!
...
I won't buy an Iphone!
The other is Control OSC. It looks rougher, but it has a lot of advantages to me.
+ Game of Life included!
+ you can use and update labels :))
+ Has a nice muti touch widget unfeatured in touch osc
+ You can script the interface using java script manipulation in gh, stream it to your dropbox and update in one "tap", as follows
Does anyone have experience with scripting interfaces for this software? I'm stuck already. I know nothing of java script to begin with. As you can see I managed to format the labels but the osc message I could not find a way, it stays untouched.
Just in case someone knows better, here are my "objects" (I said that right?). The userXXX are replaced in GH.
{ "name":"userName", "type":"Slider", "x":(xPadding + .11), "y": yPadding, "width":.82, "height":.082, "color":"userColor", "min":userMin, "max":userMax, "ontouchmove" : "var roundedvalue = this.value.toFixed(userFix); LbluserName2.changeValue(roundedvalue)", "onvaluechange": "oscManager.sendOSC('/userName', 'f', this.value.toFixed(userFix))",},{ "name":"LbluserName1", "type":"Label", "x":xPadding, "y": yPadding, "width":.1, "height":.05, "color":"userColor", "value": "userName"},{ "name":"LbluserName2", "type":"Label", "x":xPadding, "y": (yPadding + 0.05), "width":.1, "height":.05, "address":"/userName", "color":"userColor", "value": 0},…
Introduzione a Grasshopper", il primo manuale su Grasshopper.
.
I corsi PLUG IT nascono dalla volontà di promuovere le nuove tecnologie digitali di supporto alla progettazione e condividere il know-how maturato attraverso ricerca, collaborazione con i più importanti studi di architettura e pubblicazioni internazionali.
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Verranno introdotte le nozioni base di Grasshopper approfondendo le metodologie della progettazione parametrica e le tecniche di modellazione algoritmica per la generazione di forme complesse. Il corso è rivolto a studenti e professionisti con esperienza minima nella modellazione 3D e si articolerà in lezioni teoriche ed esercitazioni.
. Argomenti trattati:
- Introduzione alla progettazione parametrica: teoria, esempi, casi studio - Grasshopper: concetti base, logica algoritmica, interfaccia grafica - Nozioni fondamentali: componenti, connessioni, data flow
- Funzioni matematiche e logiche, serie, gestione dei dati - Analisi e definizione di curve e superfici
- Definizione di griglie e pattern complessi - Trasformazioni geometriche, paneling - Attrattori, image sampler
- Data tree: gestione di dati complessi - Digital fabrication: teoria ed esempi - Nesting: scomposizione di oggetti tridimensionali in sezioni piane per macchine CNC
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Verrà rilasciato un attestato finale.
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Ulteriori info e programma completo su: www.arturotedeschi.com e su www.samilolab.it…
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…
ceros.
Public concerné /
Architectes et designers, utilisateurs de Rhino souhaitant paramétrer Rhinocéros à l’aide de Grasshopper, programme
associant des composants et une structure de graphe interagissants avec le modèle Rhino.
Une bonne connaissance de Rhinocéros est nécessaire. La langue de la formation est le français.
Structure et Objectif de la formation /
La formation se déroule sur 3 jours : les 2 premières journées sont consacrées aux « fondamentaux » de Grasshopper
avec en préambule une introduction au design et à l’architecture paramétrique et leurs impacts dans la conception, la
création et la construction.
La troisième journée sous forme d’atelier est dédiée à l’étude de cas concrets proposés par les stagiaires, qui, quelques
jours avant la formation, pourront envoyer leurs projets par mail à info AT rhinoforyou DOT com
Les stagiaires, après la formation, pourront rester en contact avec les formateurs de HDA par le biais du blog
complexitys.com et le twitter @HDA_Paris. La durée de cette formation permettra d’atteindre une autonomie et une
bonne compréhension basée sur des exemples concrets.
3 Formules possibles /
3 jours ( Initiation+Atelier ) : du lundi 20 septembre au mercredi 22 septembre
2 jours ( Initiation ) : lundi 20 et mardi 21 septembre
1 jour ( Atelier ) : mercredi 22 septembre
Programme ind icatif des notions traitéES pendan t la formation /
Introduction à la conception Paramétrique . Rhinoscript, Grasshopper: différences et similarités . Interface
graphique de Grasshopper . Objets, Données, Listes . Opérateurs scalaires : La mathématique de
Grasshopper . Gestions des données : la logique de Grasshopper . Vecteurs, Points, Lignes, Surfaces : La
géométrie de Grasshopper . Listes, Arbres, Branches . Le dessin paramétrique: exercices divers et exemples
. Références, Bibliographie, Support de cours . Ateliers d’architecture et design paramétrique (3ème jour) .
Moda lité de la formation /
Venir avec un PC portable équipé de Rhinocéros version 4.0 SR 7 et de la dernière version du plug-in
Grasshopper (téléchargeable sur www.grasshopper3d.com).
Le coût du stage est de 350 € HT/jour par personne.
Réserver votre place dès que possible car les places sont limitées à 10 participants maximum.
Inscriptions et renseignements: Jacques Hababou, info AT rhinoforyou DOT com
Pour en savoir plus sur l’architecture paramétrique: www.complexitys.com…
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…
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.…
ARRAY with certain spatial order or mechanism under consideration of ecological design. The evaluation and definition of “ARRAY” are open to applicants’ imaginations. While the term “ecological” is subjected to many definitions: social, ecological, sustainable, its re-evaluations are open to students’ interpretations. Entrants are free to choose or make site, real or virtual.
ELIGIBILITY
Open to international students in the fields of architecture and design related disciplines from an accredited four-year or five-year architecture program. Graduates with certificate in 2011 are accepted. Teamed collaboration consisting of no more than 3 students in the above mentioned fields is permitted. Works submitted must be of applicants’ original works. Works done through school studios are accepted, but limited to 2011 term.
ENTRY FEE
Free
DEADLINES
Online Registration deadline: Oct 30th, 2011, 17:00 Taipei Time
(Upon completing registration, applicant will receive a registration number via email.)
Submission deadline: email sent by Nov 3rd, 2011, 17:00 Taipei Time
SUBMISSION REQUIREMENTS
This is a digital competition and no hardcopies are necessary. Entrants must submit their proposal via email no later than Nov 3rd, 2011 17:00 (Taipei Time) to the following email address:
hojenhwang@mail.ntut.edu.tw
The project submission must contain the following files:
1. Two A1 boards in portrait format (594mm x 841mm), with identification number at the upper right corner. Names and other identifying information are not allowed on front side of the boards. The resolution of the boards must be 300dpi, RGB mode and saved as JPG files.. The files must be named after the registration number followed by the board number. For example: 03956-board1.jpg and 03956-board2.jpg.
2. A DOC file containing the project discription (600 words max). This file must be named after the registration number followed by the word "discription". For example: 03956-discription.doc.
3. A scan of statement form. This file must be named after the registration number followed by the word "statement_scan". For example: 03956-statement_scan.jpg.
4. All the files must be placed in a ZIP folder named after your registration number. For example: 03956.zip. Size of the ZIP folder is suggested to be less than 15mb, while size more than 25mb will not be accepted
AWARDS
(1) Gold Prize winner will be awarded TWD 60,000 and a trophy.
(2) Silver Prize winner will be awarded TWD 30,000 and a trophy
(3) Bronze Prize winner will be awarded TWD 15,000 and a trophy
(4) Honorable Mention winners will be awarded TWD 5,000 and a merit certificate
Winners will be announced and notified by mid of Nov, 2011.
JURY
Two stages of open jury. Details to be announced
PUBLIC EXHIBITION
Nov 13, 2011~ Nov 18, 2011 at NTUT, Taipei
…
Added by Yu-Min Su at 2:03am on September 23, 2011
he Cordyceps. Maybe some of you find this helpful/useful.
So basically, the Cordyceps is a physical module with 4 knobs and 1 slider. The knobs give an output between 1 and 1000, while the physical slider outputs 0-359. And of course, for this physical module I wrote a plugin to communicate with it. The knobs are intended to be the variables that modifies the design, while the physical slider is intended to be connected to the camera component.
Here I will put up "the recipe" for all to make their own module. You will be able to download the plugin as well.
Please send me a message if you want the 3D-files for the knobs, the box and slider knob. They've been made to directly 3D-print.
Plugin:
https://github.com/zakadjeb/Cordyceps/blob/master/Cordyceps/Cordyce...
Code for Arduino IDE:
https://github.com/zakadjeb/Cordyceps/blob/master/Arduino/_Arduino_...
What you need:
1x - Arduino (Leonardo, UNO or whatever)
4x - Potentiometers
1x - Sliding potentiometer
1x - Breadboard
Bundle of jump wires.
1. So, a potentiometer is a variable resistor, which is basically a component that changes the resistance between the voltage and the ground.
If A is supplied with 5V then B must be connected to Ground. The W will give "read" the resistance, and thus should be placed in Analog input (A0-A5) on the Arduino. The slider potentiometer works the same way.
2. Now connect the 4 pots to each their Analog input. The slider is supposed to be in A4. So to make sure:
A0: Knob1
A1: Knob2
A2: Knob3
A3: Knob4
A4: Slider
3. Now it's time to connect the voltage! Using the breadboard, the voltage can be sent through 1 line, the Ground as well. It should be quite easy to connect them.
4. Now, download the Arduino IDE and copy-paste the code I supplied above. In the IDE, you need to let it know which Arduino you're working with, and which port is should send the script.
5. Almost there. Download the plugin. Open the port you're using through the plugin. Set Start to True and the Cordyceps should be within you.
This recipe will be updated!
Let me know if there are any issues.
// Zakaria Djebbara…
he Cordyceps. Maybe some of you find this helpful/useful.
So basically, the Cordyceps is a physical module with 4 knobs and 1 slider. The knobs give an output between 1 and 1000, while the physical slider outputs 0-359. And of course, for this physical module I wrote a plugin to communicate with it. The knobs are intended to be the variables that modifies the design, while the physical slider is intended to be connected to the camera component.
Here I will put up "the recipe" for all to make their own module. You will be able to download the plugin as well.
Please send me a message if you want the 3D-files for the knobs, the box and slider knob. They've been made to directly 3D-print.
Plugin:
https://github.com/zakadjeb/Cordyceps/blob/master/Cordyceps/Cordyce...
Code for Arduino IDE:
https://github.com/zakadjeb/Cordyceps/blob/master/Arduino/_Arduino_...
What you need:
1x - Arduino (Leonardo, UNO or whatever)
4x - Potentiometers
1x - Sliding potentiometer
1x - Breadboard
Bundle of jump wires.
1. So, a potentiometer is a variable resistor, which is basically a component that changes the resistance between the voltage and the ground.
If A is supplied with 5V then B must be connected to Ground. The W will give "read" the resistance, and thus should be placed in Analog input (A0-A5) on the Arduino. The slider potentiometer works the same way.
2. Now connect the 4 pots to each their Analog input. The slider is supposed to be in A4. So to make sure:
A0: Knob1
A1: Knob2
A2: Knob3
A3: Knob4
A4: Slider
3. Now it's time to connect the voltage! Using the breadboard, the voltage can be sent through 1 line, the Ground as well. It should be quite easy to connect them.
4. Now, download the Arduino IDE and copy-paste the code I supplied above. In the IDE, you need to let it know which Arduino you're working with, and which port is should send the script.
5. Almost there. Download the plugin. Open the port you're using through the plugin. Set Start to True and the Cordyceps should be within you.
This recipe will be updated!
Let me know if there are any issues.
// Zakaria Djebbara…