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1 Day to Pumpkin!!

on October 27, 2012

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Digging on Shigeru

I’m fascinated by Shigeru Ban’s Nine Bridge Club house. The projection of the a rectangular grid down into these funnel shapes is such a simple idea on a large scale and totally mind bending in the details. For my sketch, I made a quarter of one funnel with a revolve, cut it down to a square edge, divided the surface, then turned off the U and V grids, and used intersects projected from Level 1. The panel is just a half step pattern with this geometry. Plenty of flaws in the lattice (intersect based gridlines can get a little funky at the edges, particularly in tangency conditions) but it’s getting there.

Export Vasari/Revit to Rhino

While sending data out of Rhino and into Revit is pretty commonplace, I've seen a bunch of situations where folks need to go from Revit to Rhino and run into trouble. Data is imported and doesn't show up, imported geometry is faceted, or in some way not what you're looking for. Luckily, it doesn't have to be like this, you just need to change a couple default settings. Here's how to get a nice clean, smooth DWG into Rhino Step 1: Solids v. Polymesh Strangely, the default setting for DWG exports is polymesh. Assuming you want to bring in real smooth, accurate, analytic surfaces and solids, open up Export, Options, Export Setups DWG/DXF Go to the "Solids" tab and change "exports solids as" from the default "Polymesh" to "ACIS Solids" Step 2: DWG Versions Every 3 years, the folks who make DWG update the file format and often times it takes a couple releases for other companies to incorporate the n

Color By Numbers

We have all been rasterized and reduced to pixels that live on each other’s screens. Which got me thinking about how much of what we see is really a trick of the eye in pixel graphics. And thinking about the long history of this kind of abstraction underlying our perception of smooth imagery, usually done for the purposes of mass production Many of these mass production methods have been recycled back into the fine arts world, see Roy Lichtenstein and Chuck Close . . . And I got to playing around with a simple method in Dynamo to take regular photo inputs and convert them to the familiar CMYK color space for physical printing so that I could decompose any image and recompose it in a new format One that has multiple readings, from the up close to the resolved distance view And then making more of a physicality or requirement for presence to really see the drawings at multiple levels And trying to get a range of drawings, one that is seen from a distance, on that is seen in extreme close

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1 Day to Pumpkin!!

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