her people) a tremendous amount of time creating them by hand. Dog Treat was far from perfect, however it was good enough to use almost daily.
Three years is a long time. Since 2016 my Gh knowledge has expanded and I’ve seen how dodgy some of the scripting is. With this in mind I started work on a new build. Many things have been tweaked and some things have been rebuilt from the ground up.
Everything has been designed to be leaner and be a general solution to the problem of creating dog bone corners on geometry for quick, efficient and safe CNC fabrication.
Some of these things are:
Adding prompts about user geometry to make them aware about open curves, varying curve heights and if their geometry had been altered (mostly removing unnecessary points on curves).
Smooth Transfers. If you’re in a rush and need to speed through cutting, smooth transfers mean that a lead in geometry is now created alongside the actual dog bone arc. This means the router bit doesn’t have to come to a minute stop at every corner. This is turned on by default.
Acute Angle Condition If the angle between the two curves adjacent to a dog bone point is acute, previously the dog bone corner was useless. This was because the distance between the end points of the dog bone arc were less than the diameter of the router bit. There are many ways this condition could be addressed. I chose to circumscribe a larger arc based on the original angle between the adjacent curves. While it removes more material from the corner, it minimises tool wear and any potential for material to burn.
Single Curve A single curve can now be input into Dog Treat. It will be output with both internal and external treatments.
I’ll continue to update Dog Treat as the need arises, it’s become somewhat of a hobby now. Maybe one day it will become part of a Plug-in… once I learn to code it though!
Happy Treating!
Hi Everyone,
Here's a tool I've been working on for the past 4 months or so in my free time. It's a dog bone corner generator, however it's a little different to some of the existing ones. It's designed to be used for large amounts of geometry and as such, it avoids using any curve boolean operations that are computationally taxing. You don't have to split your curves up into internal and external lots either, it works it all out so you can be lazy. I've also incorporated Lunch Box's Object Bake Component for a one click operation that bakes geometry back out to Internal and External profile layers.
Let me know how it goes, will update where necessary.
Best,
Darcy
Change Log
06/11/19 - Version 2.0 SECOND DINNER - Rebuild
29/09/17 - Version 1.3 - Now with smooth corners option, True for smooth default/False for original
18/05/17 - Version 1.2 - Now includes variable angle domain input (defaults at 90°) for angled corners
13/11/16 - slight change to enable acceptance of very large interior curves
…
Added by Darcy Zelenko at 8:44pm on November 9, 2016
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
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:
…
it seems that was this. Now all is working fine !
Glad that it worked! But I am still a bit worried. Gismo components only modify the gdal-data/osmconf.ini file and no other MapWinGIS file. So your MapWinGIS installation files should not be compromised. The fact that you did not get the "COM CLSID" error message when running the "Gismo Gismo" component suggests that MapWinGIS has been properly installed. So I wonder if the cause for the permanent "invalid shapes" warning has again something with the fact that your system is again not allowing the MapWinGIS to properly edit the osmconf.ini. Maybe this problem will appear again, and again, and reinstallation of MapWinGIS every time can be somewhat bothersome.
- About the terrain generation, is it possible to have the texture from google or other provider mapped onto the terrain surface from gismo component ? (Same as using the ladybug terrain generator in fact). I try to used the image extracted by ladybug component and then applied it to the gismo terrain but the texture is rotated by 90°.
The issue with the rotation can be solved by swapping/reversing the U,V directions of the terrain surface. A slightly more important issue is that terrain surface generated with Gismo "Terrain Generator" component might have a bit smaller radius than what the radius_ input required. This stems from the fact that the terrain data first needs to be downloaded in geographic coordinate system, and then projected. Some projecting issues may occur at the very edges of the projected terrain, so I had to slightly cut out the very edges of the terrain which results in the actual terrain diameters being slightly shorted in both directions. This means that if you apply the same satellite image from Ladybug "Terrain Generator" component to Gismo "Terrain Generator" component the results may not be the same.I attached below a python component which tries to solve this issue by extending the edges of Gismo "Terrain Generator" terrain, and then cutting them with the cuboid of the exact dimensions as the radius_ input. Have in mind that this extension of the original terrain at its edges is not a correct representation of the actual terrain in that location. But rather just an extension of the isoparameteric curve of the terrain surface. So basically: some 0 to 10% (0 to 10 percent of the width and length) of the terrain around all four edges is not the actual terrain for that location, but rather just its extension.The python component is located at the very right of the definition attached below.
Also, if you would like to use the satellite images from Ladybug "Terrain Generator" component along with "OSM shapes", sometimes you may find slight differences in position of the shapes. This is due to openstreetmap data not being based on Google Maps (that's what Ladybug "Terrain Generator" component is using), but rather on Bing, MapQuest and a few others.
- About the requiredKeys_ input of OSM shapes, I understand what you mean and your advice, but in most cases I use it, the component was working fine even without input. I think it's better to extract all tags, values and keys of the selected area, instead of searching for specific ones as I try to find all data related to what I want after, isn't it ? To check what keys are present on the area also.
Ineed, you are correct.I though you were trying to only create a terrain, 3d buildings and maybe find some school or similar 3d building, for these two locations. The recommendation I mentioned previously is due to shapefiles having a limit (2044) to how many keys it can contain. This requires further testing of some big cities locations with maybe larger radii, which I haven't performed due to my poor PC configuration. But in theory, I imagine that it may happen that a downloaded .osm file may have more than 2044 keys. In that case shapefile will only record 2044 of them, and disregard the others. That was my point.But again 2044 is a lot of keys, and I haven't been checking much this in practice. For example, when I set the radius_ to 1000 meters, and use your "3 Rue de Bretonvilliers Paris" location I get around 350 something keys, which is way below the 2044.Another reason why one should use the requiredKeys_ input is to make the Gismo OSM components run quicker: for example, the upper mentioned 350 something keys will result in 350 values for each branch of the "OSM shapes" component's "values" output.Which means if you have 10 000 shapes, the "OSM shapes" component will have 10 000 branches with 350 items on each branch (values). This can make all Gismo OSM components very heavy, and significantly elongate the calculation process.With requiredKeys_ input you may end up with only a couple of tens of items per each branch.Sorry for the long reply.…
Added by djordje to Gismo at 8:57am on June 11, 2017
ram.com/Helicoid.html.
To be more precise, I'm not quite clear how to apply this equation to the helicoid and integrate it into my code:
where corresponds to a helicoid and to a catenoid.
I've made some attempts not worth to be shown here. Maybe somebody can help me with a pseudocode or a simple description how to start solving this classic geometric transformation.
Thanks, Sebastian
…
Added by Sebastian at 11:19am on December 27, 2012
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…
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.
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 de 3 jours est de 1050 € HT 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…
Introduzione a Grasshopper", il primo manuale su Grasshopper.
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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…