Back in early August, I had the privilege of speaking at USC’s annual BIM Symposium on the topic of visual programming. This post is my attempt at a sort of editorial that follows the narrative of that talk. Along the way, I’ll include a few of the videos that I shared at the presentation which hopefully demonstrate the kind of tool creation I’m talking about. Hope you enjoy.
It’s been 5 years since we officially launched our research program at the Yazdani Studio of Cannon Design. During that period we’ve come to understand that the evolution of our process reflects the larger, changing relationship architects have with their means of production. We’ve always been a profession of hackers. Every building is a one-off made up of countless elegant hacks, each bringing disparate materials and systems together into a cohesive whole. But when it comes to the software that designers have come to rely on, most of us have been content with enthusiastic consumerism, eagerly awaiting the next releases from software developers like Autodesk, McNeel and Bentley. In late 2007 something changed. McNeel introduced a visual programming plugin called Grasshopper authored by David Rutten, and more and more architects began to hack their tools as well as their buildings. Read the rest of this entry »
This past fall, the Yazdani Studio, along with Gruen Associates and builders Hensel Phelps participated in an invited competition to design a new US Courthouse in the heart of downtown Los Angeles. The site for the project is located at the intersection of Broadway and 1st, one block West of the LA times building and a few blocks east of the Walt Disney Concert Hall. Read the rest of this entry »
Developing the kinetic facade on the CJ R&D Center presented some unique technical challenges in terms of visualizing a range of motion for a mechanical assembly of parts. As architectural designers, we’re accustomed to working with static elements. CJ called for new methodologies that would enable us to easily manipulate hierarchical structures of linked components, allowing us to visualize how a modification to one part would effect the whole system. To do this, we used a combination of tools (inverse kinematics, wire parameters and animation constraints) originally intended for use in character animation within 3ds Max . Read the rest of this entry »
As part of a recent design effort here in the studio we attempted to develop a kinetic facade that could respond and adapt in real-time to both solar radiation and user input. The client, CJ Corporation of Korea, was enthusiastic about the idea as part of their “only one” initiative which promotes unique one-of-a-kind thinking. While this certainly isn’t the only kinetic facade in the world, it presented our team with a new set of challenges.
[vimeo http://vimeo.com/19900510 w=460&h=259] Read the rest of this entry »
For many of us, the holy grail of modeling surface detail is the ability to “paint” geometry directly onto a surface in 3d space – being able to generate complex effects, or influence subtle variation with the stroke of the mouse or stylus. Tools such as Mudbox and Zbrush already support this exact mode of working, however combining geometry painting with the parametrics of 3ds Max to achieve responsive panel behavior would be a “best of both worlds” scenario. We’ll test this concept in the video below. Using the new viewport canvas tool in combination with the displacement modifier, we’ll attempt to build and manipulate surface effects similar to the embossed pattern on Zaha Hadid’s footware for Lacoste.
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Many of us have struggled with incorporating analysis data from energy consultants or software like Ecotect and Energy Plus into the the early stages of design. This is largely due to the cumbersome process of moving models between design and analysis software, or worse, the necessity to completely rebuild a model to suit a particular type of analysis or tool. To complicate things further, the result of such efforts isn’t easily incorporated back into the design process, because the data harvested is usually output in a static format such as a chart or two-dimensional graphic. A large part of our research is focused on discovering methods of improving the design/ analysis workflow so that that analytic tools can inform decisions made in the early stages of design. In this post we demonstrate a workflow for moving 3d geometry from our design tool, 3DStudio Max through Rhino/ Grasshopper, into our analysis tool, Ecotect. After gathering data, we import a 3-dimensional representation of that information back into Max to help shape the design. This process is also compatible for use with Maya or any other 3d modeling tool that can work with vertex colors (known as false color in Rhino) such as Blender or Unity.
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