es has guided me in a - what I once thought - specific path within architecture, but recent discoveries (like the Grasshopper-community etc.) have learned me that the field of digital and parametric architecture is so-to-speak alive and kicking. This is also the main subject I would like to write my thesis about. It is however mainly the subject and defining its boundaries – what do I really want to explore and research? – which is the most difficult factor at this time.
A concrete idea is non-existant, and my current visions will probably be redirected when I have a first meeting with the promotors in February. Moreover there is the knowledge that it is impossible to make a thesis at the institute in Antwerp on no matter what subject in the world of digital architecture. Understandably too, it’s a small world and does not always result in realised projects, but in impressive imagery. At this moment however, I am thinking of two possible research fields to focus on.
In a first option the focus might lie on how digital design tools can be used to bring a certain aspect of interactivity to building facades. Such interactivity can occur both in the design phase and throughout the use of the building. The first scenario, in which the interactivity occurs when designing, I would focus on how the designer can shape a building’s outer perspective in function of environmental parameters: obstacles, elements that block sunlight from entering the building, visually important landmarks, etc. It should be noted however that focus will mostly lie on the design element, and less on the energy-efficiency and sustainability. Tools that will be researched would include Grasshopper, Rhino Scripting, Processing and ParaCloud.
A second possible approach could be categorized under both Swarm Intelligence and Generative Design and might study how the aforementioned digital techniques might be implemented in the new urbanism. We notably see more (innovative) interventions in which the design and planning is heavily influenced by movement patterns and morphogenetic parameters and functions. Based on the outcome of these scripted techniques, designers tend to work towards a proposal which answers a certain urbanistic issue.
All additional insights, guidelines, tips, comments are more than welcome in order to help me define the scope of my thesis subject. I must admit I am pretty new to this digital design world (it is not actively promoted at my home university, but it is promoted at the university where I am studying for one year now) and thus have limited experience at the time of writing.
Please also feel free to check out the blog post concerning this topic, which is a little more elaborate: http://nielswouters.be/thesis-digital-design-english/
Thanks for all your help!
…
y in English. ○Presenter
Robert (Bob) McNeel (McNeel & Associates founder) Robert (Bob) McNeel is the founder and president of Robert McNeel & Associates (RMA). Founded in 1978, RMA originally focused on developing accounting software for accounting, architecture, engineering, and other personal services firms. Within a few years, RMA expanded its services to include selling and supporting microprocessor-based engineering and design software including AutoCAD. By 1985, the main focus of the business had shifted to AutoCAD sales, service, training, and software development. Bob McNeel grew up in the mountains of southern Washington State on a subsistence dairy farm. To pay for college, he worked in construction as a carpenter, welder, and cement finisher. Bob has a BA in Accounting from Washington State University. Prior to founding McNeel & Associates, he was a practicing Certified Public Accountant and the comptroller for a large construction company in Spokane. Andrés González (Rhino Fablab director) Andrés is a software trainer and developer since the 1980s. He has developed applications for diverse design markets as well as training materials for different CAD and Design software including the community of training materialswww.Rhino3D.TV Andrés has been working with the Rhino Team since the very early stages. He is now the head of the McNeel Southeast US & Latin American Division. He is the worldwide director of the digital fabrication community called RhinoFabLabwww.RhinoFabLab.com as well as the Generative Jewelry & Fashion Design community GJD3D www.GJD3d.com and Generative Furniture Design community GFD3D www.GFD3d.com 1981 -1985 University of North Carolina at Charlotte N.C. - EE.UU. B.S., Bachelor of Science in Engineering
…
Added by Yusuke Oono at 9:28pm on October 16, 2013
he example file to this file so you can give it a try with any version of Honeybee that you're already using. The only requirement is to have OpenStudio installed as the component is using OpenStudio libraries to parse gbXML files. If you're using the latest version available on github the component is also available under WIP tab.
Why?
The main purpose of developing this component is to save time and effort for importing Revit models for energy and daylight analysis. It bothers me to see a lot of smart people spend a lot of time to just come up with solutions just to get the geometry from Revit to Honeybee for analysis. This component is not solving all the issue but is a first step forward. In an ideal world, the future version of Honeybee, which works both under DynamoBIM and Grasshopper should address this issue but that can take some time to be fully ready!
How?
To use this component you need to Export your Revit model as gbXML and then use the file path to load the file into Grasshopper. There are several resources available online on how to prepare the analytical model in Revit and export the gbXML file. Here is an image for importing the Revit 2017 sample model using the default settings. As you can see the model will be just as good as what your original gbXML file from Revit is.
What can be improved?
Well, there are several items that can be improved and they are mostly not on us. To get it started I add what I think are the 3 main shortcomings and my thoughts on how they can be addressed in the future. Feel free to add what you think needs to be added to this list in the comments section.
1. Revit analytical models and as the results gbXML files, by design, are not intended to be clean. Watch this presentation from the Autodesk University to see the logic behind this approach which in short is it doesn't matter for a large scale early stage energy model. Well, This will be quite a problem for studies that you can do with Honeybee. Included but not limited to daylight and comfort analysis.
The best solution that I can think of, until Autodesk fixes their exporter, is to use Revit Rooms and Spaces and generate a clean model from the scratch. We have already tried this approach in Revit but since the Revit API doesn't provide access to Room openings we had a very hard time to get it to work.
That's why that I opened an idea on Revit ideas to get over this issue. With your support we already have 81 votes, but it hasn't been enough to make them to consider the idea for an official review. If you haven't voted already and you think this will be a helpful feature take a moment and vote so we can have it implemented at some point in the future.
2. There is no way (that I know) to export only part of the model. The way export gbXML is set up in Revit is to export the whole model once together. As a result, if you have a huge model with 100 rooms and you want to get one of the rooms into Honeybee using this component you have to export the whole model, which can take some time, and then import them all back into Grasshopper. To partially address this issue I added an input to the component that allows you input a list of names for rooms that you're interested to be loaded into Grasshopper. You can use the name of the room/space in Revit as an input for the component.
3. The component doesn't import adjacencies, loads, schedules and HVAC systems. I wasn't able to export a gbXML file from Revit with any of this data except for the adjacency, but even if you can do that, the component currently can only import geometries and constructions. I hope we get access to 1 and so we don't have to use the xml file approach at all, but if that takes a very long time then we will add these features to the component.
Happy 2017!
Mostapha…
levator over the automobile, complex issues are at play in concentrating population and built infrastructure in contemporary high-rise cities. How do you meet the challenges of system design for high quality compact urban environments?
The Smartgeometry Workshop is a unique creative cauldron attracting attendees from across the world of academia, professional practice and industry. The workshop is open to 100 applicants who come together for four intensive days of design and collaboration.
More Info and to Apply
The application deadline to attend the sg2014 Workshop has been extended to June 1st, 2014 at midnight PST. Reviews and early notifications will proceed for those who have already applied.
Image: Cities without Ground - Adam Frampton, Jonathan D Solomon and Clara Wong
WORKSHOP CLUSTERS
The sg2014 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 sg2014 Workshop is made up of ten Clusters that respond in diverse ways to the challenge Urban Compaction.
sg2014 WORKSHOP CLUSTERS
The Bearable Lightness of Being
Block
Deep Space
Design Space Exploration
Flows, Bits, Relationships
Fulldome Projections
HK_smarTowers
Private Microclimates
Resilient Networks
Spaces in Experience
CONFERENCE
After four intense days of innovative work, the 2-day sgConference offers an opportunity for critical reflection on what has been accomplished in the Workshop and in the global design arena. It will be an opportunity to open debates, pose questions, challenge orthodoxies, and propose new ideas.
The sgConference features invited keynote speakers showcasing major projects and research from around the globe, mixed with panel sessions for open debate. The end of the first day will include reports and highlights from the Workshop, giving an opportunity to view work created during the previous four days of intensive collaboration, design and development, followed by an exhibition of the work.
Invited Speakers & Panelists:Carlo Ratti Sensable City Lab, MITCristiano Ceccato Zaha HadidTom Kvan & Justyna Karakiewicz Melbourne UniversityJun Sato Jun Sato Structural EngineersMario Carpo Yale UniversityEddie Can Zaha HadidLi Xinggang Atelier Li Xinggang, China Architecture Design & Research GroupMartin Reise FrontPhilip Yuan Tongji ShanghaiYusuke Obuchi Tokyo UniversityYusushi Ikada Ikada-Lab Keio University, Japan
Additional speakers to be announced soon. Registration to open soon.
www.Smartgeometry.org…
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:
…
nowledge, 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. The Call for Clusters is now open to proposals which respond in innovative ways to this year's challenge.
Deadline: September 19 2011
More information can be found here:
http://smartgeometry.org/index.php?option=com_content&view=article&id=129&Itemid=146
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…
t. So here we go!
1. Honeybee is brown and not yellow [stupid!]...
As you probably remember Honeybee logo was initially yellow because of my ignorance about Honeybees. With the help of our Honeybee expert, Michalina, now the color is corrected. I promised her to update everyone about this. Below are photos of her working on the honeybee logo and the results of her study.
If you think I'm exaggerating by calling her a honeybee expert you better watch this video:
Thank you Michalina for the great work! :). I corrected the colors. No yellow anymore. The only yellow arrows represent sun rays and not the honeybee!
2. Yellow or brown, W[here]TH Honeybee is?
I know. It has been a long time after I posted the initial video and it is not fun at all to wait for a long time. Here is the good news. If you are following the Facebook page you probably now that the Daylighting components are almost ready.
Couple of friends from Grasshopper community and RADIANCE community has been helping me with testing/debugging the components. I still think/hope to release the daylighting components at some point in January before Ladybug gets one year old.
There have been multiple changes. I finally feel that the current version of Honeybee is simple enough for non-expert users to start running initial studies and flexible enough for advanced users to run advanced studies. I will post a video soon and walk you through different components.
I think I still need more time to modify the energy simulation components so they are not going to be part of the next release. Unfortunately, there are so many ways to set up and run a wrong energy simulation and I really don’t want to add one new GIGO app to the world of simulation. We already have enough of that. Moreover I’m still not quite happy with the workflow. Please bear with me for few more months and then we can all celebrate!
I recently tested the idea of connecting Grasshopper to OpenStudio by using OpenStudio API successfully. If nothing else, I really want to release the EnergyPlus components so I can concentrate on Grasshopper > OpenStudio development which I personally think is the best approach.
3. What about wind analysis?
I have been asked multiple times that if Ladybug will have a component for wind study. The short answer is YES! I have been working with EFRI-PULSE project during the last year to develop a free and open source web-based CFD simulation platform for outdoor analysis.
We had a very good progress so far and our rockstar Stefan recently presented the results of the work at the American Physical Society’s 66th annual DFD meeting and the results looks pretty convincing in comparison to measured data. Here is an image from the presentation. All the credits go to Stefan Gracik and EFRI-PULSE project.
The project will go live at some point next year and after that I will release the Butterfly which will let you prepare the model for the CFD simulation and send it to EFRI-PULSE project. I haven’t tried to run the simulations locally yet but I’m considering that as a further development. Here is how the component and the logo looks like right now.
4. Teaching resources
It has been almost 11 months from the first public release of Ladybug. I know that I didn't do a good job in providing enough tutorials/teaching materials and I know that I won’t be able to put something comprehensive together soon.
Fortunately, ladybug has been flying in multiple schools during the last year. Several design, engineering and consultant firms are using it and it has been thought in several workshops. As I checked with multiple of you, almost everyone told me that they will be happy to share their teaching materials; hence I started the teaching resources page. Please share your materials on the page. They can be in any format and any language. Thanks in advance!
I hope you enjoyed/are enjoying/will enjoy the longest night of the year. Happy Yalda!
Cheers,
-Mostapha
…
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…
greatly appreciate it!!
You can write the number of the question and write your answer next to it, example:
1) a
2) c
3) a) Washington University in St. Louis
4) 2 weeks (1week+1week shipping)
5) 130
6) b
7) b
The survey questions are as follows:
1)
Did you 3D print before?
5)
How much did it cost (in dollars)?
a.
Yes, for a school project
a.
Between 20 & 50
b.
Yes, for a personal project
b.
Between 50 & 80
c.
Between 80 & 120
2)
Print size
d.
Please specify if otherwise: _____ dollars
a.
Between 2 & 6 cubic inches
b.
Between 6 & 12 cubic inches
6)
Do you think the price was expensive?
c.
Between 12 & 20 cubic inches
a.
Not at all
d.
Please specify if otherwise: ____cubic inches
b.
A little bit expensive
c.
Very expensive
3)
Where did you print your object?
a.
School
7)
Were you satisfied with the printed object?
b.
Outside school: _________________
a.
Yes, it was a great print without problems
b.
Not bad, some issues
4)
How long did it take to print?
c.
I was not satisfied, very bad quality
a.
___ days
b.
___ weeks
Thank you very much to all!!
PS: If you did many 3D prints, you can post multiple answers.
Wassef…