ld see were the set of basic tutorials. I've run through a few other folk's video tutorials also.
The test case I chose, I picked because it is a super simplification of an actual space I'm trying to model (a large school sports complex - see below). Ive modelled it as a closed volume, with a few solid objects inside it, and it is a much less box-shaped space, with a ceiling that is not flat, and a significant lattice of acoustic panelling that encloses the roof trusses.
the volume of this space is around 50000 cubic metres, which if I followed the guidelines o0f 50-100 rays per cubic metre, would be 2.5 - 5 million rays. I ran a simulation on the test simplified box space with 100k rays, which took about 2 hours running on a macbook pro booted into windows. Perhaps I need to find a much more serious machine to run this on. would it be a reasonable assumption to think that as more rays are added, the results would converge on a particular solution? if so, if you had to take a guess, how many rays/m3 would be required to get a solid estimate of reverb time +/- 0.1s?
I don't mean to imply that Pachyderm isnt up to scratch - simply that I'm trying to find some way of determining whether a given set of simulation parameters are going to give a result that will be enough to make decisions about surface materials and treatments that will be required. I tried a bunch of different methods and simulation parameters to see if they were even remotely similar, and unsurprisingly, they werent. I'm not an acoustic engineer, I'm an architect who has studied some acoustics in addition to my regular subjects. I know enough to be dangerous, but I'm trying to convert that into enough to be useful. :). I'm totally open to any advice anyone might offer.
One last thing, could you confirm that the T-30 parameter is T-30 (and so needs to be doubled to get RT60)
Thanks for responding,
Ben
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ask for some help and I sent the def to someone who tested the def out and made it work and send it right back to me and I got the same error I realized something wasnt right.
here some images of what the def does
Flat hexagonal panels over a given surface.
I get errors with the sliders and the VB script. Original script by Luis Fraguada from LAN then Davide del Giudice/ from madeincalifornia Checked out the definition because I have almost no knowledge with scripting and he made it work and sent those images back to me and this definition fixed, wich doesnt work on my computer and here some images of the problem.
and here some images of the problem.
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peuvent se diviser une surface avec ne importe quel motif imaginable. 3. Ici, je fournir un moyen de le faire via Lunchbox ... cela fonctionne mais il est fixe et donc nous avons besoin de jouer avec des arbres de données afin de créer le motif approprié par cas. 4. L'autre composante est un joint C # qui fait beaucoup de choses autres que de diviser ne importe quelle collection de points avec de nombreux modèles (voir le modèle ANDRE que je ai fait pour vous). 5. Vous devez décomposer une polysurface en morceaux afin de travailler sur les subdivisions. 6. Je donne une autre définition ainsi que pourrait agir comme un tutoriel sur la façon de traiter des ensembles de points via des composants de GH standards et des méthodes classiques.
Avertissez si tous ceux-ci apparaissent floue pour vous: Si oui, je pourrais écrire une définition utilisant des composants de GH classiques - mais vous perdrez les variations de motifs de division.
mieux, Peter
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and export the geometry out to VVVV to render it LIVE! RawRRRR. In this case, a digital audio workstation Ableton Live, a leading industrial standard in contemporary music production.
the good news is that VVVV and ableton live lite is both free.
https://www.ableton.com/en/products/live-lite/
i am not trying to use ipad as a controller for grasshoppper. I wanted to work with a timeline (similar to MAYA or Ableton or any other DAW(digital audio workstation)) inside grasshopper in an intuitive way. Currently there is no way of SEQUENCING your definition the way you want to see that i know of.
no more combersome export import workflows... i dont need hyperrealistic renderings most of the time. so much time invested in googling the right way to import, export ... mesh settings...this workflow works for some, for some not ...that workflow works if ... and still you cannot render it live nor change sequence of instruction WHILE THE VIDEO is played. and I think no one wants to present rhinoceros viewport. BUT vvvv veiwport is different. it is used for VJing and many custom audio visual installation for events, done professionally. you can see an example of how sound and visuals come together from this post, using only VVVV and ableton. http://vvvv.org/documentation/meso-amstel-pulse
I propose a NEW method. make a definition, wire it to ableton, draw in some midi notes, and see it thru VVVV LIVE while you sequence the animation the WAY YOU WANT TO BE SEEN DURING YOUR PRESENTATION FROM THE BEGINNING, make a whole set of sequences in ableton, go back change some notes in ableton and the whole sequence will change RIGHT INFRONT of you. yes, you can just add some sound anywhere in the process. or take the sound waves (sqaure, saw, whateve) or take the audio and influence geometric parameters using custom patches via vvvv. I cannot even begin to tell you how sophisticated digital audio sound design technology got last ten year.. this is just one example which isn't even that advanced in todays standard in sound design ( and the famous producers would say its not about the tools at all.) http://www.youtube.com/watch?v=Iwz32bEgV8o
I just want to point out that grasshopper shares the same interface with VVVV (1998) and maxforlive, a plug in inside ableton. audio mulch is yet another one that shares this interface of plugging components to each other and allows users to create their own sound instruments. vvvv is built based on vb, i believe.
so current wish list is ...
1) grasshopper recieves a sequence of commands from ableton DONE
thanks to sebastian's OSCglue vvvv patch and this one http://vvvv.org/contribution/vvvv-and-grasshopper-demo-with-ghowl-udp
after this is done, its a matter of trimming and splitting the incoming string.
2) translate numeric oscillation from ableton to change GH values
video below shows what the controll interface of both values (numbers) and the midi notes look like.
https://vimeo.com/19743303
3) midi note in = toggle GH component (this one could be tricky)
for this... i am thinking it would be great if ...it is possible to make "midi learn" function in grasshopper where one can DROP IN A COMPONENT LIKE GALAPAGOS OR TIMER and assign the component to a signal in, in this case a midi note. there are total 128 midi notes (http://www.midimountain.com/midi/midi_note_numbers.html) and this is only for one channel. there are infinite channels in ableton. I usually use 16.
I have already figured out a way to send string into grasshopper from ableton live. but problem is, how for grasshopper to listen, not just take it in, and interpret midi and cc value changes ( usually runs from 0 to 128) and perform certain actions.
Basically what I am trying to achieve is this : some time passes then a parameter is set to change from value 0 to 50, for example. then some time passes again, then another parameter becomes "previewed", then baked. I have seen some examples of hoopsnake but I couldn't tell that you can really control the values in a clear x and y graph where x is time and y is the value. but this woud be considered a basic feature of modulation and automation in music production. NVM, its been DONE by Mr Heumann. https://vimeo.com/39730831
4) send points, lines, surfaces and meshes back out to VVVV
5) render it using VVVV and play with enormous collection of components in VVVV..its been around since 1998 for the sake of awesomeness.
this kind of a digital operation-hardware connection is usually whats done in digital music production solutions. I did look into midi controller - grasshopper work, and I know its been done, but that has obvious limitations of not being precise. and it only takes 0 o 128. I am thinking that midi can be useful for this because then I can program very precise and complex sequence with ease from music production software like ableton live.
This is an ongoing design research for a performative exhibition due in Bochum, Germany, this January. I will post definition if I get somewhere. A good place to start for me is the nesting sliders by Monique . http://www.grasshopper3d.com/forum/topics/nesting-sliders
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ers can be applied from the right click Context Menu of either a component's input or output parameters. With the exception of <Principal> and <Degrees> they work exactly like their corresponding Grasshopper Component. When a I/O Modifier is applied to a parameter a visual Tag (icon) is displayed. If you hover over a Tag a tool tip will be displayed showing what it is and what it does.
The full list of these Tags:
1) Principal
An input with the Principal Icon is designated the principal input of a component for the purposes of path assignment.
For example:
2) Reverse
The Reverse I/O Modifier will reverse the order of a list (or lists in a multiple path structure)
3) Flatten
The Flatten I/O Modifier will reduce a multi-path tree down to a single list on the {0} path
4) Graft
The Graft I/O Modifier will create a new branch for each individual item in a list (or lists)
5) Simplify
The Simplify I/O Modifier will remove the overlap shared amongst all branches. [Note that a single branch does not share any overlap with anything else.]
6) Degrees
The Degrees Input Modifier indicates that the numbers received are actually measured in Degrees rather than Radians. Think of it more like a preference setting for each angle input on a Grasshopper Component that state you prefer to work in Degrees. There is no Output option as this is only available on Angle Inputs.
7) Expression
The Expression I/O Modifier allows you change the input value by evaluating an expression such as -x/2 which will have the input and make it negative. If you hover over the Tag a tool tip will be displayed with the expression. Since the release of GH version 0.9.0068 all I/O Expression Modifiers use "x" instead of the nickname of the parameter.
8) Reparameterize
The Reparameterize I/O Modifier will only work on lines, curves and surfaces forcing the domains of all geometry to the [0.0 to 1.0] range.
9) Invert
The Invert Input Modifier works in a similar way to a Not Gate in Boolean Logic negating the input. A good example of when to use this is on [Cull Pattern] where you wish to invert the logic to get the opposite results. There is no Output option as this is only available on Boolean Inputs.
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ing the maps to the broader community.
At the moment, there are just a few known issues left that I have to fix for complex geometric cases but they should run smoothly for most energy models that you generate with Honeybee. Within the next month, I will be clearing up these last issues and, by the end of the month, there will be an updated youtube tutorial playlist on the comfort tools and how to use them.
In the meantime, there's an updated example file (http://hydrashare.github.io/hydra/viewer?owner=chriswmackey&fork=hydra_2&id=Indoor_Microclimate_Map) and I wanted to get you all excited with some images and animations coming out of the design part of my thesis. I also wanted to post some documentation of all of the previous research that has made these climate maps possible and give out some much deserved thanks. To begin, this image gives you a sense of how the thermal maps are made by integrating several streams of data for EnergyPlus:
(https://drive.google.com/file/d/0Bz2PwDvkjovJaTMtWDRHMExvLUk/view?usp=sharing)
To get you excited, this youtube playlist has a whole bunch of time-lapse thermal animations that a lot of you should enjoy:
https://www.youtube.com/playlist?list=PLruLh1AdY-Sj3ehUTSfKa1IHPSiuJU52A
To give a brief summary of what you are looking at in the playlist, there are two proposed designs for completely passive co-habitation spaces in New York and Los Angeles.
These diagrams explain the Los Angeles design:
(https://drive.google.com/file/d/0Bz2PwDvkjovJM0JkM0tLZ1kxUmc/view?usp=sharing)
And this video gives you and idea of how it thermally performs:
These diagrams explain the New York design:
(https://drive.google.com/file/d/0Bz2PwDvkjovJS1BZVVZiTWF4MXM/view?usp=sharing)
And this video shows you the thermal performance:
Now to credit all of the awesome people that have made the creation of these thermal maps possible:
1) As any HB user knows, the open source engines and libraries under the hood of HB are EnergyPlus and OpenStudio and the incredible thermal richness of these maps would not have been possible without these DoE teams creating such a robust modeler so a big credit is definitely due to them.
2) Many of the initial ideas for these thermal maps come from an MIT Masters thesis that was completed a few years ago by Amanda Webb called "cMap". Even though these cMaps were only taking into account surface temperature from E+, it was the viewing of her radiant temperature maps that initially touched-off the series of events that led to my thesis so a great credit is due to her. You can find her thesis here (http://dspace.mit.edu/handle/1721.1/72870).
3) Since the thesis of A. Webb, there were two key developments that made the high resolution of the current maps believable as a good approximation of the actual thermal environment of a building. The first is a PhD thesis by Alejandra Menchaca (also conducted here at MIT) that developed a computationally fast way of estimating sub-zone air temperature stratification. The method, which works simply by weighing the heat gain in a room against the incoming airflow was validated by many CFD simulations over the course of Alejandra's thesis. You can find here final thesis document here (http://dspace.mit.edu/handle/1721.1/74907).
4) The other main development since the A. Webb thesis that made the radiant map much more accurate is a fast means of estimating the radiant temperature increase felt by an occupant sitting in the sun. This method was developed by some awesome scientists at the UC Berkeley Center for the Built Environment (CBE) Including Tyler Hoyt, who has been particularly helpful to me by supporting the CBE's Github page. The original paper on this fast means of estimating the solar temperature delta can be found here (http://escholarship.org/uc/item/89m1h2dg) although they should have an official publication in a journal soon.
5) The ASHRAE comfort models under the hood of LB+HB all are derived from the javascript of the CBE comfort tool (http://smap.cbe.berkeley.edu/comforttool). A huge chunk of credit definitely goes to this group and I encourage any other researchers who are getting deep into comfort to check the code resources on their github page (https://github.com/CenterForTheBuiltEnvironment/comfort_tool).
6) And, last but not least, a huge share of credit is due to Mostapha and all members of the LB+HB community. It is because of resources and help that Mostapha initially gave me that I learned how to code in the first place and the knowledge of a community that would use the things that I developed was, by fa,r the biggest motivation throughout this thesis and all of my LB efforts.
Thank you all and stay awesome,
-Chris…
able and it needs to know how to convert itself from/to other types of data.
Let's say that you have a simple data type that combines a point and an integer:
public struct PointIndexData
{
public Point3d Point;
public int Index;
}
It doesn't really matter whether it's a class or a struct. Once you have your data type you can 'wrap' it up in goo in order to make it Grasshopper compliant:
public class PointIndexGHData : GH_Goo<PointIndexData>
{
//...
}
At this point you'll need to implement the 5 abstract methods that are not implemented by GH_Goo<T>. They might look something like this:
public class PointIndexGHData : GH_Goo<PointIndexData>{ public override IGH_Goo Duplicate() { PointIndexGHData dup = new PointIndexGHData(); dup.Value = Value; return dup; }
public override bool IsValid { get { return Value.Index >= 0; } }
public override string ToString() { return string.Format("{0} [{1}]", Value.Point, Value.Index); }
public override string TypeDescription { get { return "Points and Integers, living in perfect harmony"; } }
public override string TypeName { get { return "IndexPoint"; } }}
You'll probably also want to override the CastFrom and CastTo methods so that your data can easily be used by any component which takes in simple points or integers, and -in this case- you want your data to also implement the Grasshopper.Kernel.IGH_PreviewData interface as this data can -and should- be displayed in the Rhino viewports.
--
David Rutten
david@mcneel.com
Poprad, Slovakia…
your fully glazed building). Once a person looks away from the glazed building, they no longer experience glare. If you know the view that someone will have looking at your building, Honeybee has a large number of tools that will give you real and reliable numbers for glare.
I know that you are planning to use a different method here but I point out the above just to be clear that you are not necessarily sure that people will experience glare if you are just looking at the times of the year when direct sun will be bouncing off of the glass building onto another building. However, I can see this as a good starting point to assess the hours where there is a risk of glare in the building where light is being bounced to.
With that preamble out of the way, I can say that you are using a version of Ladybug that is 6 months old and I have updated your file for you. To update your components and to be sure that the file below works correctly, you should re-download the user objects from the main Ladybug page and drag them onto your canvas.
If you want to look at sunrays for a whole year, I would keep your number of test points low by increasing your grid size (I think 5 should suit your purposes). Also, you should only set the number of bounces to 1 as you are only really concerned about the one bounce off of the glass building. With these two things done, you can then hook up an analysis period and have it do bounces for every sun-up hour of the period an not take for ever to calculate on your machine. Perhaps an easier way to do this would be to take a sun-up hour for every month instead of a full analysis period, as I have done in your attached file.
Finally, you need to make the last bounce length long enough to intersect the neighboring building (I increased it to 15 meters). Then you can use the native grasshopper components to count the number of intersections.
You can see this all in this file:
https://www.dropbox.com/s/poe7i1zwut2fjg6/Glarescript19sept_CWM.gh?dl=0…
go and sulk in the corner, my C# is non existent, although i am making progress on python unfortunately slower than my grasshopper.
Attached is a typical relatively simple planar grillage model for a bridge form that is common in Australia/NZ/Asia. The analysis package has a good graphical interface, however i am looking at replicating the process ideally with GH. I am getting there.
There are a few constraints in the use of a super T, the precast mould is governed by two critical dimensions:
1. from the beams soffit to the underside of the precast flange, normally Depth -75 or 100mm. Depths that are common are 1200/1500/1800.
2.The real sweet spot dimension is the 1027mm dimension to the outside of the webs, this is a constraint
The actual shapes of the prestressed beams are governened by AS5100:5 Appendix H (from memory)
In my definition I included the super T cross section which is parametric.
The other definition is where I have got to with the grillage.
I am a little one dimensional: point-line-surface-volume. I think I am getting to grips with manageing data i lists.
My ulimate aim is to:
generate basic geometry in gh, the type of analysis will be a space frame or FE, these analysis types require different geometries imported to a structural analysis package
ideally utilise IFC, for materials, 2D, 3D drawings and project documentation
At the moment I am looking to generate all of my gemetry in GH, that seems to generate a lot of doubled up geometry. Deconstruct Brep may become my favourite.
A little excesive is the inclined members spilt into the same no. of points at the grillage length.
again thanks for you time, oh! took a a few minutes to work out how to plug your def's in.
kenyon
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Added by Kenyon Graham at 7:57pm on December 3, 2015
y interesting and smart way to construct surface. I tried some experiments out using a similar idea - take a developable surface which has a series of holes cut through it now offset that surface and unroll both of them, once both have been cut out insert a dowel into the holes (the dowel represents the offset distance). In the end the shape is recreated via tension and in that way there are some similarities. With your concept the thing I have trouble figuring out is how do you cut the variable angle kerfs. Are you using a 5-axis swarf cut, a cnc panel saw - how do you control this? It would be great to have a set of constraints which limit the number of possible angled cuts - these limits would equal the number of v-groove bits you have in the cnc - and then you could just cut the lines with the programmed tool which matches the given angle. Or maybe I am completely wrong, now I think I am wrong, about the execution and you are only changing the gap between each kerf and the angle of the side wall stays constant.
Anyway to answer your question catia can analyze the characteristics of a piece of formed material (this analysis is usually applied to sheet metal and to design forming tools)it's just a matter or defining the material to match that which you are using. Another possibility although not as numerically clear is using a simulation tool like Maya cloth or Virtools. I know this maybe less likely but you can define all sorts of materials in Maya and then simulate their behavior under numerous forces and constraints. I think it would work it's just how do you extrapolate the values Maya needs and then correlate them back into the cloth parameters. Once it yields the final formed mesh then further analysis could be performed in cosmos, ansys, or catia.
I have one other suggestion. In solidworks if you perform a lofted bend on a sheet metal part and then generate a flat pattern it creates a large set of bend lines representing how to perform the bending of an unusual shape using a metal brake. It seems like those bend lines could be machined with you technique to create lofted forms instead of extrusions.
What materials seem to work best so far, have you only been using wood (the purple stuff is probably not wood)?
If you are ever in Los Angeles I have a shop with a 3 axis and 5 axis router, a large vacuum bag, and all the other things to experiment on this and would be open to this.…