lite’ of education that promotes the Architectural Association’s exclusive, intensive form of teaching and learning around the country. AA Greece VS aims on visiting a different city each year and construct a single large-scale model which will act as an active nod of communication among the various locations.
In 2014, the School will initiate its design agenda with an architectural approach that is focused on the aspect of connection. The city of Patras which is the starting node of AA Greece VS, was chosen by the European Commission to be the European Capital of Culture for the year 2006. The concept of the event revolved around the main theme of "Bridges" and "Dialogues", drawing benefit from the city's rich history and its position as a "Gate to the West", to underline the essence of the productive interaction of culture and civilizations in Europe. The AA Greece Visiting School investigates how well existing buildings with various sightlines and variant spatial grammars perform according to human perception. In sync with the flexible and adaptive concept of parasitical structures, the research focuses on the making of transformable large-scale creations that accentuate prominent architectural features of existing buildings. The research looks at how cultural factors, specific preferences, experiences, and expectations can lead to the transformation of architectural parasitical structures.
Discounts
1. Standard application
The AA Visiting School requires a fee of £600 per participant, which includes a £60 Visiting Membership. If you are already a member, the total fee will be reduced automatically by £60 by the online payment system. Fees are non-refundable.
2. Group registration
For group applications, there will be a range of discounts depending on the number of people in the group. The discounted fee will be applied to each individual in the group.
1. 3-6 people group: £60 (AA Membership fee) + 540*0.75 = £465 (25 %)
2. 7-15 people group: £60 + 540*0.70 = £438 (30%)
3. more than 15 people group: £60 + 540*0.65 = £411 (35%)
3. AA students
For current AA students studying in Undergraduate or Graduate programs, a discount of 50% will be made for each participant. (AA students are exempt of paying the £60 membership fee.)
Eligibility The workshop is open to architecture and design students and professionals worldwide. Participants receive the Architectural Association certificate of participation upon completion.
Applications
The deadline for applications is 15 September 2014. Online application form and payment required. No portfolio/CV required. The online application can be reached from the link below:
https://www.aaschool.ac.uk/STUDY/ONLINEAPPLICATION/visitingApplication.php?schoolID=273
Contact:
Alexandros.Kallegias@aaschool.ac.uk…
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For my project I want to make a sphere or spherical-like shape and pack it with circles of varying sizes. The circles all have to touch each other and thus on a point where three circles 'sort of' meet, there can only be three circles. This is shown in the second picture I have attached, a 2D circle packing made by Daniel Piker. So basically what I want to achieve is having the second picture projected on a 3d surface, that I can also edit. Also I would like to be able to change the size and amount of the circles that populate the surface. This means that I would be able to say 'there should be 30 circles with a radius of 2, 40 circles with a radius of 3 and 50 circles with a radius of 4, put them on this particular shape'.
As I've just started the project I haven't done so much research yet. What I have found is for example this Kangaroo definition of circle packing in 2D: http://www.grasshopper3d.com/group/kangaroo/forum/topics/circle-packing-definition?xg_source=activity
It is very beautiful and does exactly what I want to achieve, except that it is in two dimensions. I also have to say that I feel pretty confident working with both Grasshopper and Rhino, but not really with Kangaroo. I have used it a few times but not extensively.
So what I'm wondering is, how could I best approach this project? I looked into the concept of 'circle packing' and I noticed that it can be approached very mathematically. As I am an architecture student I don't know much about the math behind the geometry (although I do think it is very interesting) and thus I'm wondering if I will be able to achieve what I want to achieve. Also, do you think I could best approach the project in Kangaroo and do you think it is realistic for me to think I could finish the project? I'm just trying to see if I'm not going to try to tackle a problem that is very difficult to solve even for skilled mathematicans or something. Sorry for the long and perhaps vague read, but I would be very happy with any sort of input you might have on my problem!
Thanks in advance!
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he last nights, let me try to describe it:-disclaimer: I'm an industrial designer, my coding experience can be compared to your, when you were 4 year old :)-disclaimer 2: I did a picture at the end of the post that maybe explains more than my words
the component has 2 inputs (Start Value, End Value) and one output (Picked Value)
this phantomatic component (which I would refere to as "dynamic value picker") supports any amount of domains on every input -> it works as if they come grafted, from a "longest list" component
The component "at rest" shows only one slider -with question marks on both edges-
For every couple on inputs you connect (1 Start Value connection + 1 End Value connection) it would visually generate a new slider (exactly like a "number slider" component)main difference from the "number slider" component, this one would show the Start Value and End Value numbers at the edges of each thus generated slider
Right click -> edit on it would recall a window similar to the "number slider", with the main difference that only the first part of those options would be present (see attached image for clarity)Whatever slide accuracy you set, it will affect the whole "dinamic value picker" phantom component (if you set "integer numbers" and for any reason one or more inputs are "floating points numbers", the component automatically rounds the inputs to the best "Integer", and allows you only to pick integer numbers in-between)
If you suddenly change a "Start Value" or an "End Value" input, the affected slider/sliders in the component will try to stay as close as possible to the same % value they were before (example if the domain was from 5 to 11, integers only, and you first picked the value 8, the slider was exactly in position 50%: when you change the End Value domain to 21 the slider will set itself to 13 - yes, I picked an easy one lol )
When you first plug a couple of Start Value + End Value, the slider sets itself to Picked Value = Start Value
It could also be possible to supply negative values as Value End and positive values as Value Start: the slider let you pick a number on that domain regardless of the numerical order you use
Last thing, but it's just fancy imagination, if you zoom-in the output (Picked Value) connection dot, a little - and + appears (like in other common components), letting you add a new cursor to every existing slider (it could be possible to customize the color of the new cursor to avoid confusion)
This is the exact description of what I would ask to the lamp genie :)
I attach a pic I just did, in the hope to better explain myself: picture link
and of course thank you again for reading this long poem!
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ach object has a "Source" property (layer, parent, object) - my fix causes it to look at this source property in order to determine where to draw the plot width value from. I was already doing this for color and material, but had neglected to do it for plot width.
2. The "Print Preview" viewport display option is calling the "PrintDisplay" command in Rhino, which you will notice takes a "Thickness" value - this is the conversion factor between plot weights/print widths (in mm) and the number of pixels in absolute screen width. As you note, this is a relative and not an absolute width in model units, so it does not change when you zoom. In most design applications it would be quite strange to specify the print widths of your geometry in absolute units - e.g. setting your lines to be 50 ft thick. In illustrator you are always working in "Paper Space" whereas in Rhino you have to be aware of the differences between Model Space and Paper Space (or Layout Space in Rhino terminology.)
My lineweight preview component operates on the basis of pixels - if you tell it "2" it will display a 2px-wide line irrespective of your zoom. The 4x conversion ratio you note is purely a function of the setting of your PrintDisplay command in Rhino.
3. The good news is my custom preview component ALSO supports "Absolute" lineweights in world-space units - so that they create a line that gets fatter when you zoom in and thinner when you zoom out (though it can't get thinner than a pixel, naturally.) Set the "Absolute" toggle (the 4th option" on the component - I think it will create the "Illustrator-like" behavior you're looking for, without having to create surfaces from your lines.
4. The dynamic pipeline component updates when the by-object plot weight changes. It does not update when the layer-level plot weight changes. In the end I have had to make some judgment calls about what kinds of changes should trigger a component refresh: too sensitive, and a definition could be forced to recompute unnecessarily on every little change; too insensitive, and you require too many forced refreshes.
In general I have focused on triggering updates from object-level attribute changes (Where they conceptually represent data about THIS OBJECT) and NOT from layer-level attribute changes (Where they conceptually represent data about a category). The Layer Table is the component that is designed to report changes to layer-level settings - and with "Auto Update" enabled on this component, it will in fact trigger an update on layer-level attribute changes.
With this approach, you may have to match up your geometry to the layers it belongs to, and then use the layer table component to retrieve the plot weight settings. The definition shown below is an example of how to do this. It assumes you are using layer-level plot weights.
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d of interpenetrating surfaces somewhere:
Now all links (except a possible single ball on the very end of odd numbered ball series) are four balls long, including the jostled ones. Without that step, those items simply don't appear in the output, leaving way too big of gaps to ignore, eventually leaving huge gaps at later stages of segment doubling:
So if I turn the jostling multiplication factor way down it should work imperceptibly:
Ta-dah! The jostling strategy WORKS! Granted, only in this special case where I know I'm dealing with adjacent pairs of worms along a curve, not generic objects arranged in space by some artist.
Now I just need to wrap the multiple Python script components I'm stringing together into one script.
How long does the full 2400 balls take, finally? It took 12 Python scripts that merge pairs, to achieve this breakdown: 2400 -> 1200 -> 600 -> 300 -> 150 -> 75 -> 38 -> 19 -> 9 -> 5 -> 3 -> 2 -> 1. Time was 2 minutes 50 seconds, so there is some extra struggle for 2X as many balls as 1200 that took 1 minute 20 seconds, but only ten more seconds.
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Added by Nik Willmore at 9:06pm on February 17, 2016
etric/parəˈmɛtrɪk/adjectiverelating to or expressed in terms of a parameter or parameters.art/ɑːt/nounthe expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.// Summer School 2017 3 day intensive workshop for design students & professionals will delve into computational & parametric methods (using Rhino3D & Grasshopper3D) to create data-driven art installations, physically manifested into a space through hands-on fabrication & assembly.The experimental studio will run across 2 cities in India (New Delhi & Mumbai) and investigate the agenda of ‘filling the void’ at art installation scale, through the use of computation and parametric methods. Studio is designed as a 3-day event in both cities comprising of technical tutorials, teaching sessions, prototyping & presentations culminating in a symposium / round-table conference / open discussion with leading / emerging professionals that demonstrate computation, parametric design or alternative techniques in their work / practice / academia. // Cities & Dates*New Delhi – 30th June to 2nd July 2017 (Friday to Sunday)Mumbai – 7th July to 9th July 2017 (Friday to Sunday)//VENUE: DELHI: Startup Tunnel, Vihara Innovation CampusD-57, 100 Feet Rd, Pocket D, Dr Ambedkar Colony, Chhattarpur, New Delhi - 110074MUMBAI: Raffles Design International, MumbaiHi Life, 2nd Floor, Phirozshah Mehta Road,Santacruz (W). Mumbai – 400054// Registration DatesAll Registrations End 4 days prior to workshop start date (Or till seats last)// About rat[LAB] EDUCATIONrat[LAB] EDUCATION is an initiative by rat[LAB]-Research in Architecture & Technology (www.rat-lab.org) to start a new discourse in architecture & parallel design disciplines with the use of ‘computational design’ & it’s various subsets. Spread across various cities / countries, we are establishing a global dialogue in the domain of computational design by actively organizing and participating in workshops, lectures, presentations & symposia. While rat[LAB] has taken a top-down approach of exploring computational design through industry, a parallel, bottom-up approach is also in-line to involve students of all levels, from design & related backgrounds.…
metric/parəˈmɛtrɪk/adjectiverelating to or expressed in terms of a parameter or parameters.art/ɑːt/nounthe expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.// Summer School 2017 3 day intensive workshop for design students & professionals will delve into computational & parametric methods (using Rhino3D & Grasshopper3D) to create data-driven art installations, physically manifested into a space through hands-on fabrication & assembly.The experimental studio will run across 2 cities in India (New Delhi & Mumbai) and investigate the agenda of ‘filling the void’ at art installation scale, through the use of computation and parametric methods. Studio is designed as a 3-day event in both cities comprising of technical tutorials, teaching sessions, prototyping & presentations culminating in a symposium / round-table conference / open discussion with leading / emerging professionals that demonstrate computation, parametric design or alternative techniques in their work / practice / academia. // Cities & Dates*New Delhi – 30th June to 2nd July 2017 (Friday to Sunday)Mumbai – 7th July to 9th July 2017 (Friday to Sunday)//VENUE: DELHI: Startup Tunnel, Vihara Innovation CampusD-57, 100 Feet Rd, Pocket D, Dr Ambedkar Colony, Chhattarpur, New Delhi - 110074MUMBAI: Raffles Design International, MumbaiHi Life, 2nd Floor, Phirozshah Mehta Road,Santacruz (W). Mumbai – 400054// Registration DatesAll Registrations End 4 days prior to workshop start date (Or till seats last)// About rat[LAB] EDUCATIONrat[LAB] EDUCATION is an initiative by rat[LAB]-Research in Architecture & Technology (www.rat-lab.org) to start a new discourse in architecture & parallel design disciplines with the use of ‘computational design’ & it’s various subsets. Spread across various cities / countries, we are establishing a global dialogue in the domain of computational design by actively organizing and participating in workshops, lectures, presentations & symposia. While rat[LAB] has taken a top-down approach of exploring computational design through industry, a parallel, bottom-up approach is also in-line to involve students of all levels, from design & related backgrounds.…
a machine that is light and very sturdy. I have taken my Macbook Pro all around the world, carry it with me every day, even dropped it a few times and its still totally fine. Its thin and light.
2) You get some actual support for your hardware even a few years down the line. My Macbook Pro is from 2012 and I can still walk in to any Apple Store and get help with it, which I have done many, many times in different places around the world - I never had to show a receipt or was charged any money for help. There is no PC/Laptop manufacturer in the world with anything close to that, because companies like Asus, Dell, etc. bring out dozens of new versions of laptops every year, so its much harder to service them after a few years.
3) This is the most important one, which usually people forget when they say that Macbooks are overpriced: Resale Value. If you have ever tried to sell an old PC/Laptop (I have a few times), you will know how little value they have even after just 2-3 years. Macbooks retain their value very well and even after 4 years you can still get 50% of your original price.
4) Of course you can install Windows on it and it runs perfectly. I have MacOS and Windows on it and both run absolutely fine. On the Windows side I have Rhino+GH, Maya and a few others. Having Windows is good, because some software still only runs on Windows (looking at you, 3DSMax!). Most other software also runs on MacOS. In the interest of sanity it is great to have an alternative to Windows for all the day to day stuff, like Mail, Calender, Photos, Presentations, etc. that just always works.
5) As for performance: Yes, Macbook Pros dont necessarily have the latest and greatest in graphics cards (the rest is on par with PC laptops), but unless you want to play games you will not need it. VRay RT can do GPU rendering, but you wont get great performance from a Notebook GPU anyways and it doesnt make sense to do rendering on a laptop (especially since you have a workstation). You could get one of the older Macbook Pro Retina Late 2013 or Mid 2014 models with the GTX750M by Nvidia, which will be usable to render using VRay RT, but of course not huge performance. Better to invest in a good used graphics card for your workstation like an Nvdia GTX980ti, which is the best value for money for GPU rendering right now (lots of used ones available).
So at least consider also getting a Macbook Pro. You can buy refurbished models (depending where you are) and they are like new, but a lot cheaper or even get an older one thats used. It will be a worthwile investment.
Take it from someone who has used dozens of PCs and Macs in my lifetime and have to do the IT support here at work (where we also use both).
I still have my Macbook Pro Retina from 2012 and its still running perfectly, super fast, and I can use Rhino and GH for huge files, do GPU Rendering with Octane Render and all sorts of other heavy computing stuff.
Hope that helps.…
Added by Armin Seltz at 11:12am on September 19, 2016
Karamba.
I am using your plug-in for normal forces evaluation in the transvere wires and spreaders of a sailboat. Mast is solved in another way, so I am not taking forces from Karamba in that case.
Basing on the forces value an adequate wire size (diameter) is choosen. Then masses of wires are being calculated. Loads (forces) on longitudinal wires are calculated without Karamba. The problem is when choosing transverse wires’ mass minimization as a criteria, the Octopus doesn’t get any results - is changing the sliders (genes) too fast for Karamba to calculate the forces (so Octopus gets only nulls):
When minimization of a e.g. longitudinal wires’ mass (calculated without Karamba) is taken as a criteria Octopus works fine.
Which suggests that the problem is in interaction of two plug-ins.
Any ideas how to avoid that problem?
Thanks,
M.
Below some screenshots of definition part with Karamba:
1675×807 200 K
image.png1680×789 398 KB
Despite the ‘orange warning’ the values are correct (double checked with other software).However I don't know why does it say that there is a part that can move freely without deformation,as the model looks like this:
image.png1239×343 55.5 KB
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Introduction to Grasshopper Videos by David Rutten.
Wondering how to get started with Grasshopper? Look no further. Spend an some time with the creator of Grasshopper, David Rutten, to learn the