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~…
have some spare time please fill in my 3D Printing Open Survey - If you could make almost anything, what would it be ? Updated results are publicly available after completing questionnaire (Please press "Wyślij" - Send button and "Wyniki ankiety" - Results button at the end). This survey will be used to evaluate demand for 3d printing services globally. It consist of 30 questions about: - open-source 3d printers - future of additive manufacturing - 3d printing services - ecology in 3d printing - copyright issues and 3d printing Three example questions: 2. Which of the following 3d printing applications is the most interesting? * - Things personalization - Printing food - Attempts to print structures resembles in functioning living tissues or blood vessels - Creating impossible or difficult to create by using conventional technology things - Printing rooms or buildings on earth/moon - Printing chemical compounds (for example drugs) - Using in renewable energy sources - Printing parts and/or mechanical vehicles 3 . Have you ever heard about cheap DIY 3D Printers (for example RepRap, PrintrBot, MakiBox A6) ? * DIY - Do It Yourself - Yes - No 4 . When 3D Printers will become one of the typical household appliances ? * - After 5 years - After 10 years - After 15 years - After 20 years or later - Never - I don't know Feel free to ask questions!…
assume we want to format two numbers, one integer and a floating point value. The integer represents an index and it should appear inside square brackets, then we want the floating point number rounded to a maximum of 4 decimal places (but always using at least one decimal place, even if it's zero), and then, in parentheses a scientific notation representation using 8 decimal digits of the number.
So, assuming the index is 16 and the value is 47.280006208, what we are after is:
[16] 47.28 (4.72800062E+001)
To make this work, we need a formatting pattern that looks like:
[{0}] {1:0.0###} ({1:E8})
The square brackets, spaces and parenthesis are just part of the output, they have no meaning whilst formatting. Everything inside the curly brackets though will be replaced with a specific formatting of one of the values.
When using the Format component as shown above, the formatting pattern is just text data. The component knows that it is supposed to use the Format() function using the pattern text and whatever additional data is provided.
When you invoke the Format() method in an expression, you do need to make sure that the pattern is actually text:
So here the pattern needs to be encased in double quotes, otherwise it will be treated as code, rather than text.
You cannot use the formatting method in the internal expression of a number parameter, because this method returns text, whereas the number parameter is only capable of storing numbers. Any expression that you put into a number parameter had better return numbers as a result.…
n make it possible to Motivation generate
a variety of interesting objects, from abstract fractals to plant-like
branching structures, their modeling power is quite limited. A major
problem can be traced to the reduction of all lines to integer multiples
of the unit segment. As a result, even such a simple figure as an
isosceles right-angled triangle cannot be traced exactly, since the ratio
of its hypotenuse length to the length of a side is expressed by the irrational
number √2. Rational approximation of line length provides only
a limited solution, because the unit step must be the smallest common
1
1
√2
denominator of all line lengths in the modeled structure. Consequently,
the representation of a simple plant module, such as an internode, may
require a large number of symbols. The same argument applies to angles.
Problems become even more pronounced while simulating changes
to the modeled structure over time, since some growth functions cannot
be expressed conveniently using L-systems. Generally, it is difficult
1.10. Parametric L-systems 41
to capture continuous phenomena, since the obvious technique of discretizing
continuous values may require a large number of quantization
levels, yielding L-systems with hundreds of symbols and productions.
Consequently, model specification becomes difficult, and the mathematical
beauty of L-systems is lost.
In order to solve similar problems, Lindenmayer proposed that numerical
parameters be associated with L-system symbols [83]. He illustrated
this idea by referring to the continuous development of branching
structures and diffusion of chemical compounds in a nonbranching filament
of Anabaena catenula.
The following is an example of its application:
starting string: A
p1: A F(1)[+A][-A]
P2: F(s) F(s*R)
which I think is basically trying to say
F(s) = move forwar a step of length s > 0.
Thanks again,
Mateo…
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. …