mainly quads and sometimes triangles if some lines are not connected. As half sections are quite whatever you want it could be possible to make watertigh model with some smooth exterior and with interiors fins in order to have a better rigidity and a low weight. The script provided contains many examples of use.
As inputs
Necessary
* Points (P)
* Connection between points (LP)
* Point to points connection (PP)
* and a minimum one width (WidtsAtPoint), or a width (radius) for each point.
Optional
* NormalsAtPoint, you could provide one normal per point in order to orient sections
* Number of sections is the number of sections used to generate the mesh (minimum 2)
* Striction a numeric value between -3. and 3 used to modify striction of nodes
* The sections definitions is given through to same size list of double
* Lateral coordinates : first and last lateral coodinate must be 0.0 for watertight mesh
* Height coordinates
Output :
* Many meshes which could be joined
P/LP/PP comes from topology of network, you could use SandBoxTopology plugin or mine component
…
This is the actual reason I'm going through all this. I want to develop an algorithm that can be applied consistently and produce good results.
Here is a a little background. I'm working on my master's thesis in structural analysis. My thesis is on seismic behaviour of a roman temple in Portugal. I will be using a method of analysis suitable for block structures called the discrete element method. I am using a commercial code called 3DEC for this.
Now in order to the analysis I need to construct a 3D block model of my structure. I received a 3D scan of the entire structure (in *.wrl) format and spent a week trying to clean it up and slice it into the blocks that make up the structure. Now I want to use the scanned geometry of the blocks and describe a simplified prism around each that will represent the block in my analysis. I've attached a file with one of the columns in the temple. I think (at least with my tests so far) that it is representative of the all the blocks I'm dealing with.
Now my criteria for creation of the blocks:
I would like the contact area between the blocks to be as close as possible to the actual drum contact area,
I would like to get the volume of the blocks to be as close as possible (secondary to the contact area) to the volume of the actual drums in order to insure that the weight distribution in the structure is as close to reality as possible,
I would like the shape of the contact area to be as close to reality as possible
I order to satisfy all these requirements, I've done the following in my grasshopper file:
I take a section at the top and bottom of each of the drum meshes. I use this to extract the contact outline at the top and bottom of the drum. This is sometimes problematic and requires me to clean up the model and remove features that interfere.
Next I take each surface and try to fit a minimum circle around it. I try to do this because in my mind this is the best possible way to find the actual centre of the drum when there is cut outs and deterioration. This works well as long as more than half of the contact surface is still in its circular shape (third block from bottom in the example file doesn't satisfy this requirement and thus causes problems).
Knowing the centre, I use an algorithm I created in VB to search for one of the flutes on the contact profile. My ideas is that if I can find one of the flutes, I can then find the others by just going around at 30 degrees (there are 12 flutes) and find the location of all the flutes. In the VB code I've tried to explain my algorithm so I won't explain it here. I also think this algorithm is needlessly complicated and stupid as I'll explain later.
Once I've got one of the flutes, I just find the intersection of a line with at every 30 degrees with the outline curve.
Having all (12) points around the perimeter, I use an loop to scale the shape around the centre of the circle I found in step 1 to get the area within a tolerance value of the actual contact area (satisfying requirement 1). I was using HoopSnake before, but it required resetting every time so I decided to write my own thing.
I then connect the points on both top and bottom to get a solid block.
Now the problems are as follows:
Sometimes the algorithm doesn't find the best location as the starting point. As I said an important thing is that the circle is tangent to the flutes and that is true only if the column profile is larger than a half-circle.
The software I use requires convex blocks. I've tried to remedy this by using convex hull component before step 5 to insure the surfaces are convex.
I'm having issues sometimes with the alignment of top and bottom points. I think I just need to implement a component that sorts the points around a single basis so that there is no twisting.
I've been experimenting with convex hull as a general approach for defining the corner points, but I'm having problem take the convex hull curve and breaking it into a 12 sided polygon, preserving as much as possible the location of the flutes and the general shape of the contact surface.
I'm really sorry about the long post and complicated question. I hope someone can give some pointers on what I could try. I understand that this is not an easy question and that it is more a question of doing something rather than asking about grasshopper itself. My goal is to have an algorithm that I can explain as a general method for others to use in the future when dealing with these structures. This is only a small minor part of my thesis (the analysis is what is important) but it is taking a lot of time to figure out.
If you have any other questions, I would be more than happy to provide a better explanation. In the file I have created a region with all my input parameters. You can choose a different mesh from that point and change various settings. I hope that is self-explanatory.
Thanks for all your help,
Ali
BTW: I'm really sorry for the poor way I've done this stuff so far. I'm not a programmer and apart from some small macros in Excel I don't know much about this stuff. To add to that, I've just started with Rhino and Grasshopper about five days ago after almost pulling out all my hair trying to do this with AutoCAD!…
the daylighting and energy sim with Nat Vent create many complex questions.
Daylighting :
1. Adding shading to energy AND daylight simulation: Can I add HBconext to Honeybee_run daylight simulation HBobject input ?
Looking at the results it seems like daylight simulation doesn't recognize HBcontext, or maybe the difference is minute. Am I doing this correctly? Is there a possible error due to redundancy ? (meaning I am introducing the HBcontext twice, one time to the Honeybee_run daylight simulation AND energy simulation)
2. One of the component, Honeybee_Read annual result 1 keeps failing and says that ''1. Solution exception:index out of range: 0." I read here input needs to be internalize data but maybe there is a better solution?
Shading :
I want to study life cycle perspective of
A) Optimal ratio of fixed vs dynamic louvers for economic implementation,
B) Assess whether it makes more sense for the dynamic louvers to functions as light shelvs or the fixed ones for economic reasons
C) Simulate dynamic/fixed hybrid louver system schedule, and show it in a manner similiar to lighting schedule.
For this I would need to simulate the effect of dynamic and-or fixed shades in reducing annual lighting cost while reducing cumulative heat gain.
3_How to introduce Dynamic shading schedule for custom shades? Is this done with EPtranschedule input of the HB EP context component? I would like to keep the louvers branched so that it is possible to assign different modes i.e. fixed or dynamic
Light Shelf:
4_Is the lighting schedule effected by light shelves introduced in the annual daylighting simulation?
5_Does energy simulation take account of additional heat gain from light shelvs ?
6_When I use Honeybee_createHBSrfs with Honeybee_radiance Mirror material, it crashes rhino. The geometry input is not branched. Any report similar crashes?
Nat Vent:
I want to design to combine passivhaus principles with Natural ventilation.
My goal to simulate the energy performance of passivhaus house like building system with Bouyancy driven Nat Vent design which maximizing the percentage of the year Nat Vent takes care of ventilation and cooling, and in cloud days heat exchanger with fans kicks in.
using a trombe roof that heats air and using a vertical shaft that recirculate air, want to minimize the use of fans, Ducts, Heating etc. and I want to use the HB Set_Air flow component to evaluate such system if I can.
while I have heard that bouncy driven system may only be reserved for tall buildings, I still would to simulate the effectiveness for mid rizes and podium- types. I am skeptical whether there will be enough pressure difference for effective ventilation of 1.5ms so I would like to test.
How to set up models to evaluate bouyancy driven ventilation :
7 About HB Set_Air Flow, with Natural ventilation, If I use the HB Set_air the honeyzone output is null. I am not sure why, no error messages.
8_ When using the HB Set Air component to include Nat Vent with bouyancy,
does the result of reduced temperature to take effect into the cooling/equipment/ventilation schedule of the Honeybee_set Energy plus zone schedules?
Additionally I want to incorporate Nat vent analysis with the light shelf, since both would effect indoor temperature.
A wish list: as if it were all this has been not.
9_I wish there is something like a deconstruct honeybee zone component that basically breaks down all the options (mechanically ventilated or not) that is associated with the honeybee zones so that it is easy to document all the properties in text.…
nd linear/planar tectonics. Within this new field of investigation, the Stuttgart VS will be researching into novel techniques of material mixtures and grading, associative design and double curvature surface generation.
For the second cycle of this exploration we will be based at the Institute for Lightweight Structures and Conceptual Design (ILEK) at the University of Stuttgart. Drawing from the Institute’s long history of experimentation and research on tensile structures instigated by Frei Otto in the 1960s and conducted at present by Werner Sobek, this year we will be focusing on the design and fabrication of materially graded membranes, as well as the application of UHPC and FGC on fabric formworks. The workflow followed will be divided into two stages:
1. Computing Membranes: Computational form finding methods will be taught by professional engineers and architects from ILEK and str.ucture GmbH. The aim will be to utilise the latest software technologies to form find membranes for textile structures, or fabric formworks for complex concrete structures. The results will be evaluated against criteria such as internal air pressure, as well as asymmetric and wind loading. The outcome of this research will inform the material grading procedures (i.e. changing the stiffness, thickness or porosity of the membranes themselves, or the consistency of the concrete poured into the formworks) that will follow in stage two.
2. Fabricated Grading: The digitally computed membranes or formworks will eventually be fabricated physically, utilising the workshop and robotic fabrication facilities at ILEK. The objective will be to rethink conventional research on tensile and concrete structures as isotropic constructs, by customising attributes such as materiality, reinforcement, rigidity, translucency, patterning, and porosity among others. The final, graded prototypes will be made up of mixtures of materials, all accurately engineered to respond to variable environmental, structural and aesthetic criteria, in essence forming multi-material structures that have finally caught up with the latest material developments.
Prominent Features of the workshop/ skills developed:
Teaching team consisting of AA diploma tutors and ILEK and str.ucture GmbH engineers.
Access to the Institute of Lightweight Structures and Conceptual Design (ILEK), the Materials Testing Institute and Concrete Spraying Robotic facilities at the University of Stuttgart, as well as to the office of str.ucture GmbH Structural Design Engineering.
Computational skills tuition on Grasshopper, Rhino Membrane, and Karamba.
Lectures series by leading academics and practitioners in architecture and engineering.
Fabrication of functionally graded membrane and/or concrete structures.
Eligibility
The workshop is open to current architecture and design students, PhD candidates and young professionals. Software Requirements: Rhino (SR7 or later) and Grasshopper.
Fees
The AA Visiting School requires a student fee of £595 and a young professional fee of £895 per participant, which includes a £60 Visiting membership fee.
The deadline for applications is 10 July 2017.
For more information, please visit:
http://www.aaschool.ac.uk/STUDY/VISITING/stuttgart?name=stuttgart
For inquiries, please contact:
mixedmatters@aaschool.ac.uk…
to explain the ultimate goal in case it helps to clarify. I have all the elements i need now to pull this together thanks to your help, as you say most critical things are already implemented or not relevant to this particular thread. With your fret generator and equal spacing generator and my primitive convoluted solution for compound radius fretboard i have everything i need but need some time to cleanly implement and pull it together now.
as to your questions/coments:
1/ I don't care about Excel files in this context. The SIMPLE solution is to just copy/paste sets of string gauges into as many panels as you need and switch between them.
this was just to explain that ultimately there are a lot of different input patterns but all the data for them does already exist. for sure it is not necessary but in the end it's a feature i would like to implement since it will make the patch much more practical.
2/ What are "scale length low E string" and "scale length high e string"? Are they the actual string lengths of the bass and treble strings?
This is the initial decision taken by the luthier: which scale lengths to use for the multiscale build. While anything that makes sense goes here luthiers will probably want to choose some common values, say 24.75" (like most Gibson guitars) or 25.5" (like a Fender Stratocaster)
P.S. I did the rotations at the points where the treble string intersects the virtual bridge and nut (blue lines), so rotation has no effect on its length.
P.P.S. In case it isn't obvious, rotation has no effect on string spacing either.
This is the kind of things i don't know cause i'm zero in maths and i usually have to try out and measure to know for sure :-) as i said my initial instinct would have been to rotate around the 'zero frets' center point simply because everything is built aroun d the X axis. If you rotate around the treble string (the high e string) would the distance of the upper fretboard edge to the x-axis be the same than from the lower fretboard edge to the x-axis ?
for running data through panels, thanks for the tip, i do this mainly to visualize the values without having to hover over the outputs, good to know i shouldn't patch them onward from the panel.
PS: For the height of the strings above the fretboard (the 'action'), it's not as complicated as it sounds and most of the time an experienced luthier or guitar tech will have no problem achieving whatever low action desired if the neck is straight and built properly and the frets level and dressed properly. there's a german company who's built a machine to do the 'perfect setup': the PLEK machine
i'm sorry it takes me much longer to digest and implement all this, i will post back when i've merged everything together but i think i have evrything so far
…
is a tour through the different workshops we have organized in theTPceu from September 2010 when we started with this initiative.I take this opportunity to thank you all for your participation directly or indirectly to make all of this possible.
La exposición consiste en un recorrido por los diferentes talleres que hemos organizado en el TPceu desde septiembre de 2010 que arrancamos con ésta iniciativa.
Aprovecho para agradeceros a todos vuestra participación dirécta o indirecta para conseguir que todo ésto se haya hecho posible.
Organization: Pablo Delgado, Andrés Velasco Muro, Jaime Díaz Álvarez
more info at TP ceu…
urve. In this Curve I have defined the points, I exploded the segments and have added a Perp Frame on the ends of each segment.
Oriented on each Perp Frame I have created a Rectangle from which I have drawn a Box Rectangle.
Each 'other' (odd or even, or each 'second' rectangle in the list) of these rectangles needs to get a negative length value so it doesn't point outward of the curve, but instead so that it has it's length perpendicular to the segment.
So, eventually I want to make it so that each segment has a Box Rectangle placed on it's outermost point, pointing inwards. Half of these Box Rectangles is already oriented in the right direction, but I don't know how to single out half of them, or construct two lists with the 1st, 3rd, 5th, 7th, etc. and the 2nd, 4th, 6th, 8th etc.
I have added screenshots, I am making this as a personal project for a school project on the Art Academy and am really eager to learn to master this Grasshopper a bit more.
Before trying to do it this way, I tried to do it with Sweep1 Rail, but could not get the orientation along the segment, and also I didn't manage to find out how to limit the Sweep1 Rail to a certain distance (like 30mm for example).
I had imagined this should be done by projecting a second line of 30mm from a segment outer end inwards from both sides and using this second 30mm long line to put the Sweep 1 Rail on. Then I could close the ends, do a Union, Merge all Faces and be done.
However, I couldn't figure it out and the method I'm trying to solve now has gotten me further down the line of the process.
The next step in my process will be to be able to generate a structure on a point of a curve where I can project a certain shape on. Then I want to export this collection of shapes as an STL and 3D-print them. (I have built 2 3D-printer all by myself).
The parts are connectors to connect cheap aluminium extrusions together with minimal effort so I can start prototyping a shape for a small carriage I am designing.
If my explanation is unclear, please tell me, I am new to this, and my mother-language is Dutch, so mathematical terms are a bit difficult for me to understand, but please do use diffcult terms in an explanation where needed. I can only learn :)
Hi from a very happy new user of Grasshopper!
…
the application of the forces ...
The structure is designed to be then realized by using bent wood panels.
To stabilize the whole stucture, two methods are avaiable: the first one is to create a double shell with spacers inbetween (and other covering elements) and the second one is to insert element between the various openings. (see photos below)
Method 1.
Method 2.
Problem: I have to build two models, one for each type of structure, by using 1mm plywood panels. (Dimension more or less 60x40 cm).
The only way to obtain the exactly shape of the all pieces of the model (for laser cutting techniques) ist to digitalize the structure, or rather to simulate the bending of the panel after the application of the forces.
I create the surface with Rhino and now my question is: is there a method to simulate the bending of the wood panel with its cuts or opening? …otherwise the pieces of the model will always be inaccurate and the whole model difficult to assemble…
Thank you!
…
Added by Sandra Camini at 7:29am on November 9, 2017
arametric Design, in the history of architecture, has defined many rules for current designers and for future practitioners to follow. One of the strongest aspects that are prominent from this style is ‘geometry’. Arguably, there is nothing new about geometry and aesthetics forming the most prominent aspect of any style or era. The language of any style, in the long history of architecture, is visually defined by geometry or shape, beyond the principles that define the core of the style. In the distinguishable style of parametric architecture, geometry has played and is continuing to play an integral role. And with this fairly young style, there are many strings of myths and false notions associated.
The workshop aims to provide a detailed insight to ‘parametric design’ and embedded logics behind it through a series of design explorations using Rhinoceros & Grasshopper platforms, along with understanding of data-driven fabrication strategies. An insight to Computational Design and its subsets of Parametric Design, Algorithmic Design, Generative Design and Evolutionary Design will be provided through presentations, technical sessions & studio work, with highlighting agenda of using data into Hands-on fabrication of a parametrically generated design. A strong focus will be made on ‘geometry’ and ‘matter’.
// Methodology
Workshop has been structured to teach participants the use of Grasshopper® (Generative modelling plug-in for Rhinoceros) as a generative tool, and ways to integrate it with Hands-on Fabrication process. A strong agenda on ‘geometry’ and ‘matter’ will form the focus of the studio with design experimentation through computational & parametric techniques, culminating into a manually fabricated wall panel using understanding of data-driven design during the course of workshop.
Day 1 Topics / Agenda
Rhinoceros 3D GUI and basic use
Installing Grasshopper & plug-ins
Grasshopper GUI
Basic logic, components, parameters, inputs, numbers, simple geometry, referenced geometry, locally defined geometry, baking, etc.
Lists & Data Tree: management, manipulation, visualization, etc.
Design Experimentations with Geometry & Data
Understanding Data for Manual Fabrication
Day 2 Topics / Agenda
Design Experimentations with Geometry, Form, Matter
Data for effective numbering and strategizing during Manual Fabrication
Collaborative effort for Hands-on ‘making’ process
Analysis & Evaluation of Fabricated Geometry
Documentation…