Grasshopper and Rhino Journal
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Architecture Design Studio Three: Air
RHINO AND GRASSHOPPER
Michael J Stephenson 329784
week 1 - E.O.I. Case for Innovation : Architecture as a Discourse - Rhino Webinar defi nition
ns - Parts 2 and 3
Example of what goes wrong when selecting curves individually and not through autosort,
in this case whilst using the loft command.
The Rhino tutorials for this week introduce the most fundamental idea in Architecture,
which is space, and how we enclose/address that space. Whilst rudimentry, the simple
task of creating a defi ned space is the very fi rst step to creating any building.
Rotate AXIS
‘Mushroom’
EX-LAB BEND
GRASSHOPPER DEFINITIONS
Rotate 3D
week 2 - E.O.I Case for Innovation : Computation in Architecture - EX LAB BEND TUTORIAL
L
Bezier Curves:
Standard (Above)
Loft Added (Right)
week 2 - E.O.I Case for Innovation : Computation in Architecture - EX LAB BEND TUTORIAL
With Parametric Modelling comes a
entirely new method of design. The ability
to make countless iterations which can be
almost infi nite in their degrees apart, is made
relatively extremely fast and easy compared
to other methods (such as hand drawings or
computerized models). When used correctly
with the appropriate structure present in
programs such as ‘Grasshopper’, the slight
change of a single variable can drastically alter
the entire design. The scope possible from
such actions is infi nite and of a completely new
genesis compared to iterations by hand (or by
singular steps through computer modelling).
The designer can now experiment at his or
her fl eeting desire without having to invest
hours of work into an iteration which has no
guarantee of success. Instead, they can make a
couple of quick changes to variables concerning
things as simple as magnitude, or dimensional
plane, or the relationship between two discrete
components, and end up with a form which is
entirely unexpected.
As such, the use of Parametric Design should
not inherently present the risk of restricting the
creativity of the designer (due to the softwares
pre supposed ideas of the design process),
but rather present them with so much creative
freedom that the risk involved relates to having
too many ideas. Creative constraints will be
self-imposed by the designer, allowing for very
personal designs to be created (perhaps more
individual than those possible with pencil and
paper).
RESPONSE TO LECTURE
L
Rotation on Axis - 1
Rotation on Axis - 2
The only difference between these two forms,
is the ‘t’ input on the PERP FRAME node.
week 3 - E.O.I Case for Innovation : Parametric Design - EX LAB BEND TUTORIAL
These are the results from the defi nitions on ‘Extracting Iso curves from a surface’. Creating a
curve in rhino, referencing said curve in Grasshopper and then Lofting gave rise to the above
form. Extracting the curves created the mesh like network of curves on the surface.
I then added a Sum Surfaces component into Grasshopper which has the inputs for a start and
end curve. I used the U direction output and V direction ouputs from the ISO component as these
inputs. With multiple start and end curves, all of which were in pairs, the resulting form has the
same basic structure as the original surface, but is now a series of surfaces.
I would put the form on the right down as one of the unexpected results one can get from
parametric operations. It is totally arbitrary, but none the less looks very interesting... a lot like a
turbine of sorts.
week 3 - E.O.I Case for Innovation : Parametric Design - EX LAB BEND TUTORIAL
SECTIONING A SURFACE WITH HORIZONTAL PLANES
Grasshopper Defi nition I realise now after completing this excercise, that
did not fully understand what I was doing at the ti
Retrospectively I see that this Grasshopper defi nit
is for creating uniform sections within a specifi c
boundary (something I should have grasped from
the title alone). This would be particulary useful
when it comes to creating section elevations for a
2D presentation, or more importantly, for allowing
detailed analysis of the model’s form during the
design process.
I
me.
tion
m
a
g
week 3 - E.O.I Case for Innovation : Parametric Design - EX LAB BEND TUTORIAL
This is a very useful
defi nition to know.
It allows you to
turn your 3D model
(a solid) into a
bounding box, and
then project planes
onto it. The projected
planes can then be
used as sectional
cuts through your
model.
SECTIONING A SOLID USING MOVABLE POINT AND VARIABLE PLANE ROTATIONS
ORIENT OBJECTS AROUND A CIRCLE
Iteration 1 Ite
3D SERIES ARRAY MOVE Defi nition.
This script allows us to generate a huge
number of repeating forms very ‘cheaply’
(low use of Grasshopper components).
Ensuring to select the ‘Graft’ mode on the
output from the ‘MOVE’ component, we can
plug the results from a single dimensional
move into a second dimension, and again
into a third.
It seems easily possible that we could
add more steps into the script so that
every repeating move is slightly different...
perhaps based on a random number
generator. We could design a script that
adds a different direction onto every
second repeat, which then goes onto start
its own series array. I imagine this would
be something like rampant cell mutation,
growing exponentially and out of control.
This defi nition allows us to create repeating copies of an object (in this case a curve) around a
circle. We have variables such as the radius of the circle and the number of repeats (planes).
Simple manipulation of the radius can give very dynamic results.
ration 2
week 4 - E.O.I. Research Project : CUT (Develop) - MATRIX
CUT RESEARCH PROJECT: Inputs, Associations, Outputs.
INPUTS
ASSOCIATION TYPE‘MATHS FUNCTION’
OUTP
UTS
ARBI
TRAR
Y PO
INTS
CURV
E INT
ERSE
CTS
NORM
AL TO
SUR
FACE
PLA
NE
DATA DRIVENGEOMETRY
DATA DRIVENCOMPONENTS
DATA DRIVENLINES
DATA DRIVENEXTRUSION
DATA DRIVEN ROTATION
DATA DRIVENSHADING
week 4 - E.O.I. Research Project : CUT (Develop) - EX LAB BEND TUTORIAL
CREATE A 3D GRID OF POINTS FROM REFERRED GEOMETRY
The defi nition for creating a 3D grid based from a single referenced point in Rhino.
The defi nition for creating a 3D grid based from a single referenced surface in Rhino.
I was unable to get this script to work correctly. I had to reference the surface a second
time as the base geometry for the MOVE component to acheive the following form.
MOVE A GRID OF POINTS USING A MATHEMATICAL FUNCTION
Iteration 1
MOVE A GRID OF POINTS USING GRAPHS
week 4 - E.O.I. Research Project : CUT (Develop) - EX LAB BEND TUTORIAL
Iteration 2
week 4 - E.O.I. Research Project : CUT (Develop) - EX LAB BEND TUTORIAL
MOVE A GRID OF POINTS USING A RANDOM FUNCTION
Here, I used the arbitrary curve
from the previous excercise
and added the random function
defi nition to it. I used a high
multiplication for the amplitude
of the random number
generator, so it resulted in
quite a tall form. I then baked
the resultant points into Rhino
and used an autosort ‘curve
from points grid’ command to
create a curve. I extruded the
curve in one direction, then
again in a different direction,
creating the 3D form seen here.
week 4 - E.O.I. Research Project : CUT (Develop) - EX LAB BEND TUTORIAL
Parametric Brick Wall
VILLA SAVOYE In this weeks EX LAB: BEND tutorial, there was an example of how to build a parametric brick wall, using
a referenced surface, referenced geometry and the image sampler associative technique. The grasshopper
defi nition is as follows.
The Divide Surface component splits our referenced surface into a series of division points and UV coordinates,
the amount of which we can control by the U and V inputs. We reparametricise the surface to ensure all data is
in the same domain. The division points output we Flatten into a list of data and then designate each point as a XY
plane.
We feed the UV coordinates into a Flatten component and then into the Image Sampler. Using an image of Le
Corbusier’s Villa Savoye in Poissy and setting the Image Sampler to brightness, we get a list of values which
describe the intensity of brightness in the image. The image becomes black and white to give a clear indication of
the values (white is 100% intensity and black is 0%). These values become the angle of rotation in the Plane Rotate
Component. The XY planes become the base planes in the Plane Rotate component. Each plane’s original division
point matches up with a UV coordinate that was fed into the image sampler, so every plane has it’s own angle of
rotation.
The rotated planes become the input for the ‘Final’ plane in the Orient component. The orient component takes a
base geometry and places it onto whatever plane(s) we reference into the component. We reference a geometry
built in Rhino to become the base geometry and use the list of rotated planes as our ‘Final’ planes. The orient
component also needs to know which plane the base geometry is orientated in, so we pull a point from the
geometry and affi x a plane to it (using the box corners component). We also cull both the division point and UV
point lists with the same pattern so that the bricks are offset and take on a typical brick wall arrangement. The
cull pattern must be identical so that the matching UV and Division point pairs are culled in those pairs.
We can adjust the resolution of the image by reducing the size of the
referenced geometry, and increasing the amount of division points on
the surface. Using a mesh instead of a solid geometry also frees up
memory and is quicker to work with.
week 5 - E.O.I. Research Project : CUT (Develop)
REVERSE ENGINEERING CASE STUDY - ‘ARTICULATED CLOUD’
Children’s Museum of PittsburghNed Kahn in collaboration with Koning Eizenberg Architecture, Santa Monica, California
For my Reverse Engineering Case Study project, I chose ‘Articulated Cloud’ shown here on this spread. A.C. interacts directly with its environment through its unique hanging tiles. These tiles ripple in the wind much like grass ripples in a field. What is interesting, is that A.C. uses this effect to mimic the form of clouds in the sky, hence its name. It is even more interesting to note however, that this only really works when viewing a snapshot of the buil-ing, like the one on this page. In real life, the rippling effect is very fast and is continious and is not remotely like the slow moving if not virtually still clouds above it.
Still, this idea of a design directly displaying the effects of its environment is strong, both visually and in terms of meaning. The design for the Wyndham Gateway could benefit greatly from a similar concept. Perhaps the design is built in such a way so that the cars
moving past the design are the environmental influence that is being reflected.
Images via LMS. Intially from Christine Killory, and René Davids, ‘Children’s Museum of Pittsburgh’, in Detail in Process. 1st edn, Asbuilt (New York: Princeton Architectural Press,
2008), pp. 112 - 117
week 5 - E.O.I. Research Project : CUT (Develop)
REVERSE ENGINEERING CASE STUDY - ‘ARTICULATED CLOUD’
Children’s Museum of Pittsburgh
‘Articulated Cloud’ has a very strong resemblance to the possible forms that can come out of image sampling, so to try
and reverse engineer this project using Grasshopper, I thought I would start with my Villa Savoye defi nition.
I realise that ‘Articulated Cloud’ doesnt actually move
the tiles to resemble clouds on purpose, but rather
lets them ripple in the wind. I really only needed
to recreate the geometry of the hanging tiles, but I
thought that if I designed Articulated Cloud, I would
need to demonstrate how it could look in action before
it was actually built, so using the image sampler here
would help demonstrate its active form.
On left is the image I knocked up in Photoshop to
become the clouds.
week 5 - E.O.I. Research Project : CUT (Develop)
REVERSE ENGINEERING CASE STUDY - ‘ARTICULATED CLOUD’
Children’s Museum of PittsburghInitially, the results of this defi nition were unusable.
Whilst the image was coming up, the
tiles were rotating on the wrong axis,
(see TOP view above). The tiles on
‘Articulated Cloud’ rotate/swing around a
horizontal axis.
The tiles were rotating around the
z-axis due to my use of the Plane Rotate
component which is set to the z-axis.
So I altered the defi nition to use the
Rotate Axis component, which allowed
the choice of axis.
I used a Line between Two Points component to draw a line between two parallel, in-line points on the referenced
geometry, and then used this line as the axis of rotation for the planes....
week 5 - E.O.I. Research Project : CUT (Develop)
REVERSE ENGINEERING CASE STUDY - ‘ARTICULATED CLOUD’
Children’s Museum of PittsburghUnfortunately the results of this defi nition were also unusable.
The tiles were rotating around a single horizontal axis, and not on their own individual axis’. As the angle
increased, the tiles moved away from the surface.
week 5 - E.O.I. Research Project : CUT (Develop)
REVERSE ENGINEERING CASE STUDY - ‘ARTICULATED CLOUD’
Children’s Museum of PittsburghI edited the defi nition, defi ning an axis that was placed between two points on the already ORIENTATED tile
geometry. I then used the list of axis’ as the input for the Rotate Axis component, and the list of orientated tiles for
the geometry input. I could now input the list from the image sampler as the angle, and the tiles would now rotate
around their own individual matched axis.
Notice now how the tiles are rotating on a horizontal axis and not a vertical one.
week 5 - E.O.I. Research Project : CUT (Develop)
REVERSE ENGINEERING CASE STUDY - ‘ARTICULATED CLOUD’
Children’s Museum of PittsburghThis problem of defi ning the axis of rotation was the hardest obstacle to overcome. Now all I had to do was simply
place this axis at the top of each tile, and then duplicate the screen of tiles four times as per the real ‘Articulated
Cloud’. Below is the section of the defi nition that takes the average of two corner points to create one in the center.
I use this defi nition on the top four corners of the tile geometry and then feed it in to a line component to create a
center line across the top of the tile. This becomes the axis of rotation, so that the tile is ‘hanging’ from this axis as
per ‘Articulated Cloud’.
Hanging tiles in Articulated Cloud. Hanging tiles in Grasshopper.
This section of defi nition is used to create a duplicate of the screen 90 degrees offset from the original. The result
is fed into a copy of the same script to obtain a copy at 180 degrees, and then again to obtain one at 270 degrees.
This totals four screens enclosing a sqaure center.
This section counters the 90 degree
rotation of the entire screen’s effect on
the tile’s rotation. Without this section,
the screen to the left or right of the last
screen will exhibit the negative of the
image on the current screen.
The two screen perpendicular to the
original need their own script after
this point for orientating the tiles
rotation, as otherwise they will not
be rotating perpendicular the their
surfaces’ ‘normal’.
REVE
RSE
ENGI
NEER
ING
CASE
STU
DY -
‘ART
ICUL
ATED
CLO
UD’
Child
ren’
s M
useu
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f Pitt
sbur
gh
we
ek
5 -
E.O
.I. R
es
ea
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Pro
ject
: C
UT
(D
eve
lop
)This is the entire Grasshopper Defi nition.
Every component is adjustable except the
surface (immediately on right), which is
still under construction. At the moment this
defi nition still relies on referencing the
surface from Rhino.
week 5 : E.O.I. Research Project - CUT (Develop)
REVERSE ENGINEERING CASE STUDY - ‘ARTICULATED CLOUD’
Children’s Museum of Pittsburgh
Above: Iteration # 1. The tiles rotate around
their centre, and the image is inverse on
perpendicular sides.
Left: Iteration # 3. Data driven shading is
used to actually colour the cloud in addition
to rotation being used to creat the image. This
was scrapped as it did not refl ect the way in
which Articulated Cloud operates (rotation
only).
Above left and right:
Iteration # 2. Tiles now
rotate from an axis at their
top so that they ‘hang’.
Image is uniform across all
walls.
Left: Iteration # 4. Additional
vertical components added
to furthur capture the
geometry of A.C.
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