square units. Then you have an integral number of fragments on each side. This means that if all fragments need to have the same surface area, you can only have the following possibilities for side A:
1 fragment = 100 square units
2 fragments = 50 square units each
3 fragments = 33⅓ square units each
4 fragments = 25 square units each
5 fragments = 20 " "
6 fragments = 16⅔ " "
etc.
For side B, the numbers are mostly different
1 fragment = 300 unit²
2 fragments = 150 unit²
3 fragments = 100 unit²
4 fragments = 75 unit²
For side C they are different still. Unless you join fragments across on both sides of the edges of the box, I very much doubt you'll be able to pull this off.
The solution I attached will create fragments as identical as possible, but it's a very boring outcome...
--
David Rutten
david@mcneel.com
Poprad, Slovakia…
t and L,
so (L+(L/(3*π)))/2
and so on
I guess I could make theoretically make this value an input parameter.
With all the different features and controls people are asking for though, I'm concerned that if I keeping on adding them to one component it makes it an unwieldy 50 input monster.
I think it will be better to make several components each geared towards particular usage. For this it would be helpful to hear from all of you about what you are using or want to use it for.…
cotains 5 data. if the "y" is 3, the a is 34 branch ,the branch in 1 to 33,contains 3 data,and the 34th branch contains 1 data.. i dont know how to write the python code.…
iable will also be jiggled one quarter of the time. And once every 16 times the two subsequent variables will be jiggled.
It's difficult to say but if I had to pull some numbers out of my bottom I'd say that rates between 25% and 75% make the most sense.
The only real setting that is worth changing is the cooling factor. Actually you can set it quite low 50% even or less. The lower the setting the more distinct runs the algorithm will make in the same amount of time and the larger the area of explored phase space. It's a good way to quickly home in on some promising answers, especially if there are lots of local optima.…
Added by David Rutten at 3:58pm on December 20, 2014
Is your tuition and subsequent student debt worth it?
https://blackspectacles.com/blog/software-licensure-requirements-to-work-top-50-architecture-firms
often, however, the term is read in its narrowest sense- the aura that Walter Benjamin mourned the loss of in his famous essay Work of Art in the Age of Mechanical Reproduction, now 75 years old. Rather than taking up the terms of that debate, asking whether or not art today has lost its aura, this collection aims to reclaim a broader understanding of aura in contemporary practices today.
In popular culture, aura is generally defined as a symptom of altered visual or sensual states. Reflecting this, the current exhibition includes works that produce visceral affect-based responses. These works operate through material richness, surface tactility, striking geometry, animate form, and light. Also included are works that encompass an inventive reading of aura. In this context, the exhibition models creative studio practice as a general force that extends beyond boundaries and containers- the aura here is not so much a property of an object that can be sensed, but rather a conceptual ambition to start with the everyday and then expand beyond it, producing new structures, symbols, or social interactions.
Other works look at an interior aura- they focus on individual subjects who are lost in an environment, engrossed in their own world. Through narrative, these works look at the psychological potential of aura to produce new experiences of reality. Linking the works is the "business of art- the buying and selling of designed objects located within a market". As much as art relies on creating "otherness", the art market is ultimately about the desire of the intangible, the aura of the work. The art business provides a stage for aura. The exhibition is a testimony to a multitude of perspectives, showing that the Business of Aura remains as intangible yet present today as it was seventy-five years ago.
Artists & architecturally trained designers at Elga Wimmer Gallery include - Helen Brough, Elizabeth Cooper, Cmmnwlth (Zoe Coombes & David Boira)-in collaboration with Timothy Saccenti, Kelsey Harrington, Jon Meyer, Steve Orlando, Devin Powers, Snarkitecture, SOFTlab, Studio Mode, and yo_cy (Christine Yogiaman & Ken Tracy).
Elga Wimmer Gallery
526 West 26th St. NYC #310
August 12 - September 18, 2010
Opening reception Thursday August 12 6:00-8:00pm
Summer hours - Tuesday - Friday 12-6pm
Hours after Labor Day Tuesday - Saturday 12-6pm…
urveys.ngdc.noaa.gov/mgg/NOS/hsmdb/H06001-H08000/H06563_hsmdb.xml&view=hydro/survey&header=none
where it appears there is an XML format of the data:
http://www.ngdc.noaa.gov/metadata/published/NOAA/NESDIS/NGDC/MGG/NOS/H06001-H08000/iso/xml/H06563.xml
and, under the "Bathymetry" tab, a file called 'H06563.xyz.gz', described as:
Point Soundings from the survey Smooth Sheet or of similar density. Depths in meters. The data file format is : Lat, Long, Depth. H06563.xyz.gz 125.8kb XYZ format.
The .gz is a compressed file; when uncompressed, it looks like this:
survey_id,lat,long,depth,quality_code,activeH06563,41.896498,-70.198429,28.7,1,1H06563,41.899195,-70.198549,29.0,1,1H06563,41.77109,-70.377519,18.6,1,1H06563,41.861888,-70.501026,15.5,1,1H06563,41.865797,-70.504674,17.1,1,1H06563,41.870119,-70.49984,18.9,1,1H06563,41.895249,-70.477895,26.2,1,1H06563,41.897911,-70.472365,25.3,1,1H06563,41.885424,-70.492723,22.9,1,1H06563,41.889527,-70.489167,22.6,1,1H06563,41.940991,-70.488168,30.8,1,1H06563,41.944298,-70.495507,31.1,1,1H06563,41.966051,-70.296954,40.5,1,1H06563,41.953468,-70.308646,38.4,1,1H06563,41.953568,-70.312074,38.1,1,1H06563,41.855453,-70.377527,27.4,1,1H06563,41.801242,-70.454872,19.8,1,1H06563,41.957215,-70.130018,21.0,1,1H06563,41.960348,-70.11791,16.8,1,1
etc.
This format is standard .csv Excel comma delimited data, easily imported and parsed by Grasshopper.…
Added by Joseph Oster at 1:02pm on September 26, 2015
with ladybug.I have made pavilion as you see:Few points, 4 curves, 3 lofts between them, voronoi, mesh pipe for construction. Then I scaled each fragment so it's a little smaller and used move component with random value from 0 to 50. Now what I want to do. I want my panels (each of them separately) to move out according to the amount of sunlight they get. If panel get's the most sunlight possible for this panel it moves out (to let more sun inside) the most from 0(night) to 50(best possible). So my question is how to connect sunpath with move component and what more to do with my panels for this to work.I attach gh file.Greetings,Karol…
each control point and using UVsurface, there is a circle... all diameters and all x,y,z cooridnates of the control points can be freely moved, but this would be a nightmare to control, so you must make relationships between all the data, for instance that the top radious is 50% of the bottom radious and so on... then all the circles of each branch are lofted and closed, the you can make a boolean union... hope i helped....
cheers,…