en la práctica de nuevos métodos de diseño y fabricación utilizando herramientas digitales. Estos procedimientos emergentes están cambiando radicalmente la manera en que nos aproximamos al proceso de diseño en términos de concepción y producción. Los participantes serán introducidos en el uso de softwares de modelado 2d y 3d para la generación de geometrías que serán posteriormente mecanizadas in situ en una máquina de control numérico CNC de 3 ejes.
¡AL FINAL DEL CURSO TE LLEVAS TU LÁMPARA A CASA!
Profesores: Equipo MEDIODESIGN* + TOOLINGROUP*
*Official Rhino Trainners. Acreditación otorgada por McNeel, desarrolladores del software Rhinoceros.
Lugar: Mediodesign. Pallars 85-91 5-2 BCN
Duración: 16 / 20 horas
Fecha: sábado 9 / domingo 10 julio de 2011
Horario: de 10h a 14h / de 16h a 20h
Plazas: 20 participantes
REQUISITOS
< Dirigido a estudiantes y profesionales de la arquitectura, diseño y profesiones afines.
< Ordenador portátil.
< Softwares instalados. En el momento de la inscripción, los participantes recibirán las instrucciones para la descarga e instalación de versiones gratuitas (trials) de los softwares.
CONTENIDOS
< Introducción al diseño avanzado y la fabricación digital.
< Entorno Rhinoceros y sus plug-ins.
< Herramientas y estrategias de trabajo CNC.
< Materiales y sus características.
< Planteamiento del ejercicio: diseño de una luminaria
< Desarrollo del archivo de RhinoCam para el mecanizado CNC.
< Mecanizado y post-producción.
< Entrega de propuestas: Presentación en formato digital del proceso de diseño y fabricación (pdf, powerpoint, etc…) y del prototipo de luminaria realizado.
INSCRIPCIONES
Precio: 199 € Materiales incluidos.
Forma de pago: mediante transferencia bancaria.
Límite fecha de inscripción: lunes 4 de julio 2011
Se otorgará certificado de asistencia. …
with Istanbul Technical University, will continue to rediscover verticality through novel generative design techniques and large-scale physical prototypes. Abstracted as a fusion of various sub-systems, each subsystem of the tower will be investigated in relation to their various performance criteria. The correlations between the separate sets of performance criteria and evaluation methods will be analyzed, leading to the generation of unified design alternatives for a vertical system typology. In addition to the custom-made digital design and evaluation tools supporting the core methodology, Vertical Interventions will also highlight the fabrication and assembly of a large scale working prototype integrating the performative characteristics of each system in examination.
As in 2012, the design agendas of AA Athens and AA Istanbul Visiting Schools will directly create feedback on one another, allowing participation in either one or both Programmes.
Discounts
The AA offers several discount options for participants wishing to apply as a group or participants wishing to apply for both AA Istanbul and AA Athens Visiting Schools:
1. Standard application
The AA Visiting School requires a fee of £695 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.
Type A. 3-6 people group: £60 (AA Membership fee) + 635*0.75 = £536.25 (25 %) Type B. 6-15 people group: £60 + 635*0.70 = £504.5 (30%) Type C. more than 15 people group: £60 + 635*0.65 = £472.75 (35%)
3. Participants attending both AA Istanbul and AA Athens | 40% discount
For people wishing to attend both AA Istanbul 2013 and AA Athens 2013, a discount of 40% will be made for each participant. (The participant will pay the £60 membership fee only once.)
£60 (AA Membership fee) + (635*0.60)*2 = £822
For more information in discounts, please visit:
http://ai.aaschool.ac.uk/istanbul/portfolio/discounts-2013/
Applications
The deadline for applications is 21 March 2013. A portfolio or CV is not required, only the online application form and payment. The online application can be reached from:
http://www.aaschool.ac.uk/STUDY/VISITING/istanbul…
Added by elif erdine at 11:41am on December 13, 2012
and 3d rapid prototyping using state of the art material simulation and optimisation. Participants will be guided through methods of advanced structural analysis and evolutionary algorithms implemented in Grasshopper, Karamba and Octopus in a 5 day workshop taught by Robert Vierlinger and Matthew Tam within the premises of the Academy of Fine Arts & Design in Bratislava, Slovakia. The workshop will cover the basics of setting up a karamba definition and more advanced form finding techniques with beams and shells through to preparing files for 3d printing and 2d documentation. For the Grasshopper newcomers there is a preparatory crash course on 20 July 2015 taught by Ján Pernecký. The workshop will be held entirely in English. VENUE Academy of Fine Arts and Design in Bratislava: VŠVU / AFAD, Hviezdoslavovo námestie 18, Bratislava, Slovakia ROOM 135 PRICING Early bird Student (until Jun 30, 2015) €320 Early bird Professional (until Jun 30, 2015) €380 Regular Student (from Jun 30, 2015) €400 Regular Professional (from Jun 30, 2015) €475 The fee covers only the tuition. Travel expenses, accommodation and food is to be covered by the participants. SCHEDULE Day 1 Lecture - Karamba in Projects from Competition to Construction Introduction to karamba - Setting up a basic karamba model Shells & Beams - Understanding the impact of load on geometries. Beams - Cross Section Optimization, Load Path Emergence Day 2 Extraction and Visualization of data from Karamba Complex Geometry - Processing of Free Forms for Karamba Force Flow - Understanding and Visualizing results on shells 3d Printing - Preparing geometries for rapid prototyping Day 3 Lecture - Form Finding in Karamba Isler Shells - Hanging Forms with karamba Shells - Shape Optimisation with Galapagos Trusses - Topology Optimization with Galapagos Columns - Positioning with Galapagos Multiobjective optimisation strategies with Octopus Day 4 Frequency Analysis & Non-Linear Analysis with Karamba Extraction and Visualization Part 2 BIS - Building Information Systems with karamba Day 5 Participant’s Examples and Topics Reviewing 3d Print Studies Large Complex Models Reviewing learn techniques and strategies Concluding lecture - public PARTNERS rese arch Academy of fine arts and design…
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.…
ails.
Some word about the mesh... (see Image_01)
I took a flat 4 points NURBS surface as imput (very easy, it defines the total area of my pavilion) and some points (that defines the contact with the ground).
Then I extracted a grid of points from the NURBS (Surface_Util_Divide surface) and compared 'em with the contol points, in order to associate to each grid's point its own attractor (Vector_Point_Closest Point).
Than I moved the points down. I used the distance from each point to its attractor (inverted) as amplitude for the vector of the movement, in order to say: the nearer you are to the control point, the more intense your movement will be. During this operation I've passed the distances' data list into a graph mapper (Params_Special_Graph Mapper), in order to regulate in a very intuitive and interactive way the shaping of my canopy.
At the end of the process I asked GH for a simple Delaunay mesh (Mesh_Triangulation_Delaunay Mesh). It's a very cool command, I believe!!!
Ok, now some word about the component, it's design and it's repetition/adaptation to the mesh...
(see Image_02)
I took the mesh and extracted components on first and faces's information on second. Then I selected and separated the vertexes (1°, 2°, 3°) of each triangular face into threee well defined list.
Then I re-created the triangles' edges. Please pay attention because it's not the same if you use output information from Delaunay components, because here we need a justapposition of edges where triangles touches each others.
After this work I joined the edges and found their centroid. At the same time I found the mid point of each edge.
Now the component... (see Image_03)
It' a little bit longer to describe: I'll try to be synthetic.
Substantially it is a loft from a curve to a point, repeated three times for each triangle (Surface_Freeform_Extrude Point). The point is an elevation of the centroid of the triangle (you can choose if the exstrusion has a single height or it's related to an attractor. In my case it was fixed). The curve is combination of things. There's an arch, which starts on the edge (there's an offset from the corner) end terminates on the same edge (on the other side, obviously). While it's generation the arch passes through a third point which belong to another segment. This last connects the mid point of the original edge (base triangle) with the centroid. The result is a kind of polyline, with two segments and an arch. If you go back to the image of the component that I posted probably you'll understand what I'm saying better than with the definition.
The posit…
o it would cause troubles with unfolding and fabricating... that's why I used Extrude point component- it will give you similar result, but all surfaces are planar.. you can control extrusion direction with a tip point in rhino...
2)I changed tagging so every tube has 8 points form list A and 8 points from list B... first number of tag is a number of point within one tube... last number of the tag is order of tubes (I draw a little picture in GH, hope you'll understand)...I think original way of tagging wasn't really usefull.. but you can change tagging by yourself...
3) the definition is really messy, sorry about that, but it's just quite complicated task...
4)if you find some incorrect order of tagging, use the slider that controls Shift List component ... it will shift tagging..
5) if you won't be using this definition or find some better way, pleeeease don't tell me - I'll jump out the window :D ... it took me whole day to make it work :D
6)I can't guarantee you anything- I hope it works, but if not - at least I tried... so check everything (especially order of tags and points) twice before you fabricate it.. or print few tubes and make them paper first..
7)there is a part of original definition, that is not useful anymore.. I left it there, but you can delete it (I called it "UNUSED PARTS OF ORIGINAL FILE")
..good luck
Dimitri…
ou mean by 'Activate Direct Rhino Modifying'. Perhaps you could expand?
I like the idea of mixing and matching script and 'direct' modeling. There seems to be a lot of potential platforms for this:
1. Implict History: Is there a way for GH to read the direct modifications (with History activated) and translate this as a component (or cluster of components?)? IH seems to record the UI events and the associated elements. GH would need to write as well as read the IH info, in order to preserve as much flexibility downstream as possible. You mentioned Houdini. H seems to record all 'implicit' or direct mods, done via the CAD mouse-based UI, in its network graph. Maybe, this should be captured in the IH cluster/component mentioned above.
2. RhinoParametrics: RP has done a lot of work to intercept and translate Rhino commands into its version of Implicit History. Seems to be centred on points, which makes sense as so much of the traditional 'dumb' way of inputing CAD info is based on mouse clicks on screen (points) predicated by commands, active locks, workplanes etc.
3. Gumball: Rubberduck's use of the new Gumball tool to capture 'direct' modeling inputs thru the Gumball points to a good source for capturing this kind or input, that is related to the 'macro recorder' approach taken by RP and IH.
4. The new Geom Cache component seems to be able to preserve a lot of info about the baked object. There may be even a way to read tagged info generated both GH baked with the "reference" object, and external to GH (by IH, the gumball or even third party apps like RP).
Would be interesting to know what kind of info is 'preserved'. Houdini seems to have a pretty consistent approach to geometric data, that seems to allow parallel NURBS/subD/mesh versions of the geometry. It also seems to have a coherent heirarchical approach to vertices/edges/loops/faces etc that allows the subelements to be arbitarily grouped for 'direct' modeling, and still be part of a procedural script.
I guess the polygon / mesh approach to geometry lends itself to this. If all the procedural commands/components all understand mesh geometry in either vertex, edge, face format, then combining direct and script modeling is doable in transparent way?
In your example above, the Geo Cache node 'flattens' the object to dumb geometry which is manipulated using Rhino, then used as a Reference object, in the next section of the graph. I guess there is nothing to stop the follow on components reading the precedenting graph for parameters, for additional intelligence?
Does GH 'get' or 'put' parameter data?
…
hopper and the GH file.
2. There is a drop down menu at the top of Pure Data that reads "Media". Click on "Midi". If your device connection is working, you should see it show up as an option. Set the device to MIDI in. You don't really need to set a MIDI out unless you are planning to send messages back to the device (not sure why you would want to).
3. The boxes labeled "ctlin" with a number are the Control Change in's. In Pure Data go to the "Edit" menu and click on "Edit Mode". Click on one of the "ctlin #" boxes and change the number to match the Control Change number of your physical controller. Mine starts with 5 in the upper right and goes to 65. Each control change number shows up on the display window of my device when I use it which made it easy.
4. Continue this process for all your controls. Delete the unneccesary "ctlin #" boxes by selecting them with a fence and clicking "delete". When you hover over one of the wires you should see and "x". Press the "backspace" key to delete it.
5. Now go down to the "pack f f f ..." box. There should be as many "f" or "floats" in that box as there are you number of controllers. Delete the remaining "f".
6. Next look at the box below that reads "send /0...". Make sure to keep the "/0". If you delete the "/" it will crash Grasshopper. Change the number "5" to match your first control change number. Leave the $numbers alone. You'll want to keep them sequential. Continue change the control change numbers to match all of yours. The $numbers should match the order in which you wired each controller to the "pack f f f..." box.
7. For testing purposes hover over the input on the upper let of the "print" box and connect it to the out of the "send" box. If everything is mapped correctly, working properly, and you go back to the "main" PD window you should see a list of all controllers will a value (0 to 127) next to it. As you turn a knob, the value next to the control change number will increase from 0 to 127. This will give you a good indication of whether or not everything is working and if you mapped it correctly.
8. Click on the "connect OSC" box. You might need to exit out of "edit mode" and back to "performance" mode in the PD canvas.
9. Go To Grasshopper. If everything is working you should see the Panel read "new message" when you turn a knob. At this point it should be pretty obvious how to modify the Grasshopper components. I've tried to keep everything as consistent as possible. Since I filtered out the "/0", the "explode data treat" component starts at 0, the numbers are shifted down by 1.
I just left the IP address, etc. alone on the gHowl UDP component. Just make sure the "port number" matches the OSC port number on the send in Pure Data. If you crash, you may need to choose a new number.
Hope that helps. Let me know if you have any questions. If your computer is not recognizing your midi controller, you may need to install "Midiyoke". I did at first, but it turns out I didn't need it after all.
Best of luck.
…
sophy though, I have a rudimentary grasp of the Ancient Greeks and modern schools of thought such as Existentialism and Pragmatism, but there is certainly no depth in my understanding. However here the same rule applies. You can quote philosophy all you want, but unless you understand that which you're channelling you can be -at best- accidentally correct.
According to you, these are all vital characteristics:
Aesthetic judgement
Intuition about spatial effectiveness
Knowledge of construction materials & assembly systems
Consideration of performance-driven design properties
Mad synthesizing skillz
[1] and [2] are pretty much worthless, especially when we're dealing with students. Aesthetic judgement is not something that can be wrong or right. You can hone your aesthetic skills but you cannot cultivate better tastes. Intuition is also problematic. It's basically a stand-in for argumentation. Instead of saying "these buildings have to have 20 meters apart because of wind/sound/human perception/human psychology/light/shadow/etc. etc" is a far stronger statement than "these buildings have to have 20 meters apart because of my feelings". Who are you to be trusted? If you have a long and distinguished career backing you up, maybe your opinions carry some weight, but until that point you'd better be prepared to justify your decisions with cold hard logic and data.
[3] is certainly important for certain jobs in construction, but it can be argued that implementation details are not necessarily central to a design. One can design a good computer interface without having to be able to program, and certainly without being familiar with all the idiosyncrasies of a particular programming language. Conversely, one can design an excellent space without knowing exactly how strong certain atomic bonds are. If what you design is physically impossible, then obviously something has to change, but it doesn't mean that the design as an abstract idea was bad. Of course on the other hand one can argue that designing impossible things is not doing anyone any favours. I'm not exactly certain where I stand on this issue, probably comfortably in the middle; YES, students need to learn about what can be build in the physical world, but NO that is not part of design training.
I'm not quite sure what [4] means.
[5] is true for a lot of professions, not just Architects. I would concede that architects probably have more to take into account than most designers and that it is indeed an important skill to have.
I would say that -especially for students, who have little experience- an incredibly important skill to be able to ask yourself "why am I doing this?" about pretty much every decision you make. Basically you need to get very comfortable applying the Socratic method to everything you do.
--
David Rutten
david@mcneel.com
Tirol, Austria…
Added by David Rutten at 11:03am on August 14, 2013