llowing for higher skyline and construction areas along public transportation corridors. Up until now, neighborhoods once characterized by two-story houses, gardens and ground- floor open shopfront programs, have been completely transformed by the introduction of fortressed monolithic residential and office towers, which lack any sort of urban street life.
The new master-plan, however, now requires buildings to have an open street façade to accommodate multiple programs. Led by tutors from UNStudio (www.unstudio.com), the AA Visiting School São Paulo will address the changes being prescribed by the new masterplan through the redefinition of the tower typology in the extending of the ground of street culture, green landscapes and ecological mediation along the vertical axis of these buildings. For this, the workshop will teach advanced digital design and fabrication techniques to explore a series of novel differentiating structural and environmental organizations in the redefinition of the São Paulo skyscraper.
For more information:
saopaulo.aaschool.ac.uk
Applications:
https://www.aaschool.ac.uk/STUDY/ONLINEAPPLICATION/visitingApplication.php?schoolID=303
For any queries, please email: brazilvisitingschool@aaschool.ac.uk.…
llowing for higher skyline and construction areas along public transportation corridors. Up until now, neighborhoods once characterized by two-story houses, gardens and ground- floor open shopfront programs, have been completely transformed by the introduction of fortressed monolithic residential and office towers, which lack any sort of urban street life.
The new master-plan, however, now requires buildings to have an open street façade to accommodate multiple programs. Led by tutors from UNStudio (www.unstudio.com), the AA Visiting School São Paulo will address the changes being prescribed by the new masterplan through the redefinition of the tower typology in the extending of the ground of street culture, green landscapes and ecological mediation along the vertical axis of these buildings. For this, the workshop will teach advanced digital design and fabrication techniques to explore a series of novel differentiating structural and environmental organizations in the redefinition of the São Paulo skyscraper.
For more information:
saopaulo.aaschool.ac.uk
Applications:
https://www.aaschool.ac.uk/STUDY/ONLINEAPPLICATION/visitingApplication.php?schoolID=303
For any queries, please email: brazilvisitingschool@aaschool.ac.uk.…
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…
ich is the following :
"in a box", i would like to create structure made by wooden blades that follow floor, wall and ceiling, but moving from this support due to "curves" which are the most important variables.
Here is my "logic". You will find enclosed to this post my files as well.
In bold what i'm unable to do by myself (i guess) :
Take the square of 25 m x 12 m ; make it a surface
I divide it in "blades" of 20 cm
I take the edges of the "blades"
I divide this edges in 40 points (or equivalent) (A)
I identify my curves (curves) which are on the floors
I identify the crosspoint between my edge-blade and the curves (B)
I have to test the difference between X Y Z of each A and B.
I have to test which B point is the closest of each A
Each A points which is close to B (Distance < 40 cm) must be on the floor
I have to input a math formula in order to représent the movement of A points regarding their distance to B (example : A1 Z = Distance between A1 and B / 2)
If there are 2+ B, that mean that i have "to do something" to get a correct movement. I mean
2 consecutives points must be on the same "plan"
2 height difference between each point must be 0 or a dedicated value
Regarding Ceiling, it is a duplication of the floor but there is coef to apply with Z distance.
2 parallele points on a define axis, example : X, and consecutive can't have more than 20cm of difference
When all points have moves regarding "parameters" and "curves"; i have to do curve linking all the point of a same "line".
After that i duplicate this curve to a upper curve.
Loft
Extrude surface and then, it's done ?
To be clear, i miss the part where i need to make my points move regarding variables...
I'm sorry, RHI Grasshopper projet.3dm does not represent the "need" to have to consecutive point on the same plan
…
fear that it would be too hard, but I was pleasantly surprised. Not that bad, even for a C# novice. I am attaching the *.cs files for three components:
SerialCreate component creates the serial port instance. This component controls port parameters and opens/closes the port. (It won't close the port, however.) SerialWrite and Read try to interact with the port created by SerialCreate. I can verify that the port opens because it's unavailable to other terminal applications, but if I try to close the port, it won't...it stays open until I restart Rhino. SerialWrite works, because I can see the rx light on my device light up when I enter text in grasshopper. SerialRead does not work. I blue screen with a DPC WATCHDOG VIOLATION.
All in all, not too bad for a day's work. I'll forget the user objects and go for custom components. The question that still remains is that I don't think I'm correctly or efficiently sharing the serial port instance with the other classes. Again, this is just a hack, but I'm happy I'm closer to solving the problem (or so it seems). If anyone has any ideas about how to better go about this, I'd appreciate any suggestions.
Thanks again,
~BB~…
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…