Pérez Albà McNeel Europe presents Rhino 5.0, Matus Nedecký (flying architecture) and Fabio Palvelli (3D Dreaming) show VRAY for Rhino and rendering services for architecture. We also show the new Wacom Cintiq 22 HD touch.
There are 2 events, the first at 15:00 and the second at 18:30. Places are limited to 30 people each.
As a special event you can switch between the events at a basic coffee seminar "Coffee - from the plant to the cup" part. Coffee Museum in Austrian society and economy museum was founded by Edmund Mayr, who injected together with Arch Wilhelm Holzbauer, the increase of the flak tower in Esterhazy Park. His passion for collecting are also due to the many exhibits that he has collected from all over the world. Additionally Mag. Just shows a quick roundup of "100 Years of Life and Living in Vienna" and how the inventions of Dr. Carl Auer von Welsbach changed the world significantly.
program: 15:00 to 15:45 Presentation software Autodesk Maya 2014 (group 1)
15:45 -. 16:00 Tour "100 years of life and living in Vienna / Dr Carl Auer von Welsbach in the Agricultural Museum (Group 1)
16:00 to 16:45 Presentation software Rhino 5.0 and VRAY (group 1)
5:00 p.m. to 6:15 p.m. basic coffee seminar "Coffee - from the plant to the cup" with Mr Edmund Mayr
18:30 to 19:15 Presentation software Autodesk Maya 2014 (Group 2)
19:15 -. 19:30 Tour "100 years of life and living in Vienna / Dr Carl Auer von Welsbach in the Agricultural Museum (Group 1)
19:30 to 20:15 Presentation software Rhino 5.0 and VRAY (Group 2)
20:15 finger found, drinks and "Come Together"
22:00 End of the event
Participation is FREE, due to the limited number of places but registration is required. To register for the event, we ask you to select the following options:
Online Registration 15:00 http://www.kkkc.at/component/seminar/?task=3&cid=5
Online Registration 18:30 http://www.kkkc.at/component/seminar/?task=3&cid=6
or by email: office@kkkc.at
or Tel: 01-545 78 25…
mensiones extraordinariamente usada tanto en el diseño industrial como en arquitectura. Durante las sesiones de clase el alumno aprende con una metodología orientada a la práctica progresiva, comenzando por aprender las herramientas básicas de Rhinoceros, el manejo de las vistas, el historial, la creación de objetos 2D para más adelante introducirse en el aprendizaje de operaciones más avanzadas como la creación de sólidos, el trabajo con curvas y polilíneas, las operaciones booleanas, las fusiones, el modelado de precisión con Rhinoceros 3D, la manipulación de bloques, los recortes, el trabajo con matrices, etc.
< entrega de DIPLOMA CERTIFICADO en castellano y DIPLOMA CERTIFICADO en inglés al finalizar el curso >
Perfil del alumno al que va dirigido el curso: Profesionales titulados y estudiantes universitarios de las carreras técnicas de: . Arquitectura . Arquitectura Técnica . Ingeniería de Edificación Profesionales que buscan reciclar sus conocimientos de 3D y/o iniciarse en modelado basado en NURBS: . Arquitectos . Aparejadores . Delineantes . Ingenieros . Diseñadores Gráficos, Digital Artists, CG Artists, etc.
REQUISITOS: No se requieren conocimientos previos de CAD ni de modelado 3D (Autocad, Sketchup, 3dsmax, etc.). Al comienzo del Workshop se parte de cero en Rhinoceros.
Del jueves 27 febrero al martes 25 marzo 2014 Martes y Jueves de 16.30 a 20.30h
Lugar de celebración: Centro CIENCIAS (Virgen de Luján - Los Remedios) Calle Virgen de Luján nº32 - 41011 SEVILLE (SPAIN)
Inscripciones y más información: http://www.rendersfactory.es/sevilla/cursos-de-infoarquitectura/3d-workshop-de-modelado/…
hops, design sessions & symposia across 5 cities in India. We encourage all architecture & design students and professionals to join us in this novel experimentation event and aid in 'Filling The Void'; Void in Architecture, Void in our Cities, Void in Education. REGISTRATIONS ARE OPEN NOW.
rat[LAB] Computational Design Tour - INDIA
Agenda // Filling The Void
1 country // 5 cities // 1 agenda // 100+ students // 25+ professionals // 5 exhibitions // 1 publication
Void is typically defined as null, invalid, empty or redundant and has a psychological perception of a ‘negative’. Through years of development in India, there has been an organic urban growth and inorganic architectural growth which has led to formation of voids in a physical and a metaphorical sense. There also exist voids as gaps between architecture, cities, education and technology. ‘Filling The Void’ looks at void as an opportunity, potential and a driver of change for architecture & design education in India.
// Cities & Dates*
Mumbai – 22nd June to 24th June 2015 (Monday to Wednesday)
Chennai - 29th June to 1st July 2015 (Monday to Wednesday)
Bengaluru – 3rd July to 5th July 2015 (Friday to Sunday)
Chandigarh - 16th July to 18th July 2015 (Thursday to Saturday)
New Delhi – 6th August to 8th August 2015 (Thursday to Saturday)
*Venue details are published on rat[LAB] website.
// Registration Dates
// Early-bird Registrations Open: 08 May 2015
// EXTENDED Early-bird registrations End: 05 June 2015
// General Registrations End: 15 June 2015 (Or till seats last)
…
anymore but here it is in french :
« au fondement du design génératif ne se posent pas des questions formelles, mais la reconnaissance de phénomènes[1] ».
[1] Julia Laub, Hartmut Bohnacker, Benedikt Groß , Claudius Lazzeroni.- Design Génératif : Concevoir Programmer Visualiser – Éditions PYRAMID, 2e semestre 2010, Paris. p.5
titre original « Generative gestaltung », Hermann Schmidt Mainz, 2009.
This mean you design a process rather than just one final object. In this way, grasshopper is generative.
But as you mentionned, it's often strongly linked with emergence, and therefore, with simulation. For some academic writing, I was (i'm still on it) trying to define the difference and complementarity between parametric (as animation) and agent like system (as simulation or emergence).
In my view, Animation refers to the variation of a reference element to fit in a certain context (non standard connexion node in a beam network for example), this use is well exemplified by DigitalProject's "PowerCopy" or any grasshopper geometry defined on a reference surface that follows the reference variation. So parametric via animation would be the "distribution of difference"
Simulation refers to circle packing, dynamic relaxation, agent based modelling, etc. The resolution of a global problem at a local scale. Emerging design via simulation would be the "distibution of complexity"
With these definition, grasshopper enters in the animation (and so in the parametric) definition and not so much in the simulation (and generative design as an emergence tool) but kangaroo would be more about simulation than animation.
my interest in the topic came from these lines by Roland Snook :
« Parametric models are structured hierarchically, however, having direct cascading, causal relationships –an obvious impediment to this description of generative design [designing process rather than artifact]. The parameters within these models -the ubiquitous sliders in software programs epitomize- confine the model to a known set of limits. So while parametric models enable a distribution of difference, this is not the difference that emerges from intensive processes, but rather a directly described, top-down, smooth gradient operating within a predefined range. Here, all possibility is already given within the starting condition[1] ».
[1] Roland Snook.- Volatile Formation, in ‘Reclaim Resi[lience]stance // ……R²’ Log°25, summer 2012, edité par AnyCorporation and MIT Press, pp.56-62
…
Added by Sylvain Usai at 3:28pm on September 6, 2013
ingle surface. But as seen on left surfaces in attached zip screenshot "A" and proj. "6b-RnGH_Simpdatainter-TTTWriteXL_J gh.3dm", i spent more time attempting correction of the patched polysurf many errors, artifacts and lack of original surface topology, all regardless of uv count or "flexibility". Fortunately, as seen on upper right surf of screenshot A & proj., a Quad polygon Mesh patches to an accurate surface and texture (even with backside "spike" artifacts) so long as patch Spans and Flexibility are sufficient. Also, Grasshoppers patch reproduces surf's far more accurate than Rhinos (possibly due to Rhinos patch, 100 unit uv count limitation? or my ill use).Would like to send the polysurface for you as well Dave(Hello &feel free to chime in), but even zipped the .3dm is 25 mb over GH3D site 5mg limit, so i had to remove it.- is there another way, perhaps Pm, email etc. i could send this to you both?,A)WRITEXL:As seen in screenshot "2.jpg", my WriteXL output is not in the same "Set1-5" format as yours, so perhaps won't be read properly by your Simpledatainterpolation def.1) how to fill each XL cell with single x,y,z coordinate or corresponding row name and column group numbers?, ..same as your XL format. Once answered i can finally blend my surfaces in your Awesome! def.,....i've used: Right-click panel > Stream Contents to.txt format, then on Excel sheet, click empty cell Data tab > Get External Data > From Text. This imports x coordinates into a column, then y and z coord's one at a time. But please show any method to import all coord's simultaneously if possible?, and possibly how to use .xyz export format?,2) how to trim off excess Patch surface?, ..Patch > Trim is set to True but surface remains untrimmed,.B)INTERPOLATION:Screenshot 1 previews baked, Mesh deconstructed points,screenshot 3&4 shows results of Interpolation when mesh points are Set in Point component AND Set as one file path in ReadXL using "6b-RnGH_Simpdatainter-TTTWriteXL_J gh.xlsx", which contains the same "Streamed" X,Y,Z mesh points.It interpolates INcorrectly: moving vertically with the top left corner as high point, and does not change shape as your interpolated points\surface does.3) how to correct my mesh points interpolation to same as yours?,.4) how to alter your def. so it interpolates between 2 excel .xlsx containing surface xyz points?,Really impressed and appreciate your example instruction and powerful def's,hope to talk soon and learn more.Big fan, Jeff…
mething? I think it would be very useful to have a mapping of light intensity over the field of view of the used camera, and possibly and option to overlay it on the luminance mapping. It would in a very visual way provide information about contrast and glare.
Doesn't the falsecolor option already do that for luminance mappings? If not can you post an image/screenshot of such a mapping from Dialux/AGI32 or any other software.
4. It's just a shoebox type simulation. 11x11 luminaires pointing down to simple materials. The default elapsed time was 3m40s. I have found the _RadParameters component meanwhile, and got it down to 0m30s. I have noticed that the simulation doesn't tax multiple cpu threads completely, most of the time cpu is at 25% during execution.
The under-utlization of CPUs is a known issue with Radiance (the calculation engine) on Windows based systems. Unfortunately there isn't much that can be done about it at the moment.
5. Is it possible to map different degrees of translucency, diffuse color, absorptance, reflectance, etc..., by means of a bitmap image, expression, or other?
6. There is a feature that I consider absolutely necessary (and I haven't found it yet), which is the emitting surface feature, with the ability to stipulate homogeneous intensity with luminance values (in cd/m^2) or flux; and by mapped distribution of intensities or luminances (in cd or cd/m^2).
By emitting surface I don't mean just a flat rectangular plane, such as an area light. It would be absolutely amazing! to perform photometric analysis on irregular and convoluted shapes and the light falling on neighbouring surfaces. 3DS Max with MentalRay provides similar functionality, but without the power of GH + HB.
In the image below, the HB logo is assigned as a texture to a glass which then creates a pattern of that on the wall when daylight falls on it.
ln the image below the light from the Batman logo illumninates the scene.
The images above were Rendered with Radiance. While these things are possible with Radiance, and therefore HB, the reason why they aren't incorporated into the code is that these effects are not "physically based" and are not rooted in reality. Radiance is arguably the most intensively tested and validated lighting simulation software in the world. However, once we start applying such "magic" to it, the results from it are no longer reliable and therefore no different from other photorealistic engines such as V-ray, Mental-Ray etc. …
te some cut sheets, but not to optmize material, rather define some cut lines. Everything that I am cutting is made of planar wood elements, but there are very specific geometries (mostly straight lines) and I have to put tolerances and radiasas at the corners in order to cut on the cnc mill. Spending time to figure out how to automate is necessary, but I am stuck!
One thing the definition is doing is taking my brep modeled components in rhino and makking them into 2d close curves and laying them side by side. It works...not ideal as its not layed out in a sheet, but that is not the most important part.
Another particular problem is that you will see some notches in the curves, which other pieces will slip into, so different slots need different specific offsets (making them larger) as a toelrance to allow for material play. This I don't even know how to set up so maybe it will just have to wait.
THE MAIN QUESTION, and super important would be, LIFESAVER:
At all 'inward' corners...which I think will always mean concave corners (most are 90 degrees, but are within to sides, instead of a corner sticking out). I'm sure its obviousy, but the reason being the outward corners a circular dril bit can cut, but inward ones need an arc profile extended beyond where the corner of the other piece will fit into. The drill bit i am using is 6mm, so 6mm diamters arcs is what i'm working with.
I have managed to put such an arc at every vertices of each cut piece. The problem being some stick outward isntead of cutting into the piece. So each one needs to be orieneted correctly. Ideally they would also only draw into inward corners, but I can always delete them out. I think maybe I am missing a more logical mathematical way of defining?
For these geometries it is not very important which side the half circle arc in on in the inward corners, but I also have some geometries that I will have to control where the circles face according to the rest of the cut piece.
The cutouts in the middle of the pieces that are curves do not need such corners obviously.
The picture is an example drawn
I hope this isn't too specific and long. in general though automating fabrication, and controling pracitcal math and orientation problems like this is itnersting to me!
THANKS…
perienced with grasshopper, but so far I've managed to combine the following:
Giulio Piacentino's "Catenary arch from height" script
Pirouz Nourian's "Mobius" script (Obtained from a friend)
End Result:
Here's where I'm stuck: I want the mobius twist to revolve around the midpoint of the arch, but the script uses the input values to determine the endpoints, resulting in a weird sinuous shape when viewed from above. Also, the secondary end points (generated by the mobius script, determining the width of the surface) are generated by default along the z axis, resulting in an arch that only touches the "ground" at two points. I attempted to work around this issue by trying to force the zHeight parameter to correspond with the y axis (thus rotating the arch 90 degrees so it would lay "flat"), but the script interprets the third point as a value and not as an actual point to bisect. I thought this might be an issue with the C# component that I obtained from Giulio Piacentino's script, so I attempted to tinker around with the source code. Unfortunately, I'm not fluent in C# so I only managed to mess everything up (I've since recovered the code from the cache). Anybody got some ideas? -BC …
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
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