a curve in Rhino and fully create the extruded wall that I want. The problem I'm having is that I want to apply this process on each of the 145 curves I have, but if I simply add all these references to my "crv" object in grasshopper, each curve interacts with all other curves.
For example, at one point I move the curve up (in the z direction) to create the height I want and then loft those two lines together. It works fine if I only reference a single one of my curves, but when I reference multiple it creates one loft through all of the lines I created, as opposed to 3 lofts, each through the original curve and the moved/copied curve.
Is there any way I can have my process work on each curve individually and iteratively without having to copy my logic 144 times? Thanks!…
cy of design communication and the control of information-flow are as important as the creativity of ideas. In response to the concurrent digital evolution emerging in the architectural industry world-wide, the Faculty of Architecture at The University of Hong Kong will host a two week intensive summer program named Digital Practice.Led by professors from The University of Hong Kong, as well as invited practitioners with expertise in practice of cutting edge digital techniques, the program offers participants opportunities to experience applications of computational tools during different stages of an architectural project, i.e. concept design, form finding and optimization, delivery, management and communication of design information under the team-based working environment. By learning advanced computational techniques through case studies in the context of Hong Kong, participants are expected to go beyond the conventional perception of technology, considering users and tools as a feedback-based entity instead of a dichotomy. The program, which is taught in English, includes a series of evening lectures related delivered by teaching staff and invited local architects.對於高品質的建築專案,創意之外,專案過程中高效的設計資訊管理和交流成為項目設計深化和實施必不可少的環節。今天,數字化技術不但改變了建築師的繪圖工具,影響了設計的過程,而且提供了工程建造和管理實施的更有效、更高效的手段。針對建築的數位化演進,香港大學建築學院將於2011年暑假期間,在香港大學建築學院舉辦“數位化實踐”國際研習班。在香港大學建築學院教授及有著相關豐富經驗的外聘實踐建築師的指導下,學員將有機會體驗在專案的不同階段(如概念設計、設計形式的生成、優化,設計資訊的管理和交流),如何有效地應用各種運算智慧化技術(從設計的數位化生成和建築資訊類比到物理模型),提升設計實施的品質,增加設計團隊對於方案的控制。我們將挑戰對於“技術”的傳統認知,即相對於使用者它不僅是工具,更是與使用者互動的媒介,二者形成一個有機的合體。研習班期間會安排系列講座,展現數位化技術在實踐工程中的廣泛應用。…
ectural project, the efficiency of design communication and the control of information-flow are as important as the creativity of ideas. In response to the concurrent digital evolution emerging in the architectural industry world-wide, the Faculty of Architecture at The University of Hong Kong will host a two week intensive summer program named Digital Practice.Led by professors from The University of Hong Kong, as well as invited practitioners with expertise in practice of cutting edge digital techniques, the program offers participants opportunities to experience applications of computational tools during different stages of an architectural project, i.e. concept design, form finding and optimization, delivery, management and communication of design information under the team-based working environment. By learning advanced computational techniques through case studies in the context of Hong Kong, participants are expected to go beyond the conventional perception of technology, considering users and tools as a feedback-based entity instead of a dichotomy. The program, which is taught in English, includes a series of evening lectures related delivered by teaching staff and invited local architects.對於高品質的建築專案,創意之外,專案過程中高效的設計資訊管理和交流成為項目設計深化和實施必不可少的環節。今天,數字化技術不但改變了建築師的繪圖工具,影響了設計的過程,而且提供了工程建造和管理實施的更有效、更高效的手段。針對建築的數位化演進,香港大學建築學院將於2011年暑假期間,在香港大學建築學院舉辦“數位化實踐”國際研習班。在香港大學建築學院教授及有著相關豐富經驗的外聘實踐建築師的指導下,學員將有機會體驗在專案的不同階段(如概念設計、設計形式的生成、優化,設計資訊的管理和交流),如何有效地應用各種運算智慧化技術(從設計的數位化生成和建築資訊類比到物理模型),提升設計實施的品質,增加設計團隊對於方案的控制。我們將挑戰對於“技術”的傳統認知,即相對於使用者它不僅是工具,更是與使用者互動的媒介,二者形成一個有機的合體。研習班期間會安排系列講座,展現數位化技術在實踐工程中的廣泛應用。…
tween 3 different types of sky for Ladybug and also Radiance and the difference is less than 5%.
2. Ladybug is using gendaymtx to generate the sky. You can read the details here: http://www.radiance-online.org/learning/documentation/manual-pages/pdfs/gendaymtx.pdf
3. You can use Daysim subprogram ds_shortterm to generate the sky for less than and hour timesteps (http://daysim.ning.com/page/daysim-subprogram-ds-shortterm-1) but then the number of patches will be limited to 145 patches. It is not applied to Honeybee.
4. Sky is almost 0 on the top because of the bug that you found. The value for the last row of patches was missing from the code. It should be fixed now.
Mostapha…
eometry.org
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sg2012 TALKSHOP23 March 2012
The Talkshop is an opportunity to share perspectives, open debates, pose questions, challenge orthodoxies and propose new ideas in informal and open discussions between cluster participants, leading practitioners in various fields of expertise and emerging talents in digital design.
Topics:Shifting Attitudes How do we, as design professionals of the built environment, relate ourselves to materials?Material Energies: Effects An investigation of how energy interacts with intensive material properties and what this could mean for architecture.Material Flows: Applications The reality of the design practise.The Scale of Life An investigation on how material intensities vary through different scales.
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Keynote Speakers:Enric Ruiz-Geli Cloud 9Robert Hull Head of Department of Material Science and Engineering, Rensselaer Polytechnic InstituteManfred Grohmann Bollinger+Grohmann EngineeringPerry Hall ArtistEvan Douglis Evan Douglis Studio, Dean of the School of Architecture RPI
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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.
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Added by Shane Burger at 11:21pm on February 12, 2012
ost inversely proportional to the number of faces created for analysis. In your model, for a gridsize of 6, I get 100 faces. For a gridsize of 1 it is around 3700 faces, 0.5 - 15000 faces etc. So, a gridsize of 0.1 is likely to be around 370000 faces (which probably accounts for why your runtime and computational cost is so high). Considering that the cumulative sky model that generates these results resolves to 145 or 577 luminous patches only, at some point you'd start getting diminishing results from increasing the grid-sizes.
Sarith…
d it with the following:
"An integer that is greater than or equal to 0, which to sets the number of times that the Tergenza sky patches are split. Set to 0 to view a sky mask with the typical Tregenza sky, which will divide up the sky with a coarse density of 145 sky patches. Set to 1 to view a sky mask of a Reinhart sky, which will divide up each of these Tergenza patches into 4 patches to make a sky with a total of 580 sky patches. Higher numbers input here will ensure a greater accuracy but will also take longer. The default is set to 3 to give you a high accuracy."
To answer the question of what the number is supposed to be, it is really whatever level of accuracy that you need the results to be. You can put it as high of a number as you like until your system crashes :)…