buildz
practical notes on making impractical things

  • Making the Revit 2010 splash screen panel



    An often asked reader question: how can I make the nice pillowy triangular panels that you see in the startup screen for Revit 2010?



    There are a few methods that I can think of, but this video shows my current favorite.




    File Posted Here



  • BeeHives are Back: Real Equilateral Hexagons


    Last year I did a post on making custom panel patterns. It was noted that among other limitations, Revit's out of the box hexagons kind of stink. I finally got around to figuring out how to make a real equilateral hexagon, where there is no overlap between panels, they count right, and they flex. One problem: they are a little funky on really irregular grids, curvy things, etc, but they work on most regular surfaces. If you download this file, and keep your UV divisions to a proportion of 1 to 1.73, and don't ask any questions, you'll be fine.

    For those who prefer to suffer and learn how, read on.

    First, why do the out of the box hexes look so . . . soooo . . . clumsy? Distorted? Unsatisfying?


    Basically a rectangular grid cannot define an equilateral hexagon, at least not by connecting intersection points, and the divided surface patterns will only use rectangular grids. So the results are NEVER going to be a well proportioned hex. Or, more accurately, there will be certain limitations on the proportions which you may find unsatisfying.


    So we have to do a little work.


    Nasty, but trust me, this is all stuff from high school. The short version is this: An Eq Hex has 6 corners that are all at 120 degree angles. That means you can decompose it into 30 and 60 degree pieces.


     



     

    Now you can whip out your handy dandy brain cells from when you were a teenager (got any left?) and recall that the good old Ancients figured out all sorts of things about 30/60/90 triangles, namely this:


     



     

    That is, the proportions of a 30/60/90 triangle are always 1 X 2 X sqrt3.


     

    So we know that the "2" is a distance between 2 points on the grid, and the 2 end of our hypotenuse are equal distances from the grid points, as long as our rectangular grid remains at a set proportion namely, 1x Sqrt3, or 1 to 1.73205


     



     

    [Deep breath]


     

    Therefore, as long as your grid is proportioned at 1x1.73 . . ., and your hexagonal points are offset from their neighboring/host points by (b/sqrt3)*.5, all is good.


     

    And it gets a little freaky on curves. I'm pretty sure you can account for this by adding more reporting parameters between points to drive the individual offsets. But who has time to do THAT?


     



  • Image du jour: gradient star
    Just passing along an image that I like. Here's the revit file and the gradient that I used with the bitmap plugin.


  • Making Revit forms from image files in 9 EZ steps


    I've gotten a lot of questions about how to get up and running on the bitmap to panel plug-in that I posted about here

    buildz: API Yi Yi: bitmap to panel plugin
    and here
    Bitmap Panel Video by Emanuel Favreau

    This is a relatively simplified and updated description of how to get a relatively simple Revit file up and running on release 2011. More details on how to operate it can be found here, but the following information should get you going.

    The following assumes that you have Revit 2011 installed and are curious about API plugins



    1. Unzip this file to some place on your hard drive

    2. Move ParameterValuesFromImage.addin to the following place on your computer:

    XP:


    C:\Documents and Settings\<user>\Application Data\Autodesk\Revit\Addins\2011\


    Vista/Win7:


    C:\Users\<user>\AppData\Roaming\Autodesk\Revit\Addins\2011\


    3. Open ParameterValuesFromImage.addin in a text editor (such as notepad) and change the path of this line


    <Assembly>C:\Revit SDK 2011\ParameterValuesFromImage.dll</Assembly>



    to where ever you unpacked the .dll file


    For example, the new line might read:



    <Assembly>C:\buildz\ParameterValuesFromImage.dll</Assembly>

    4. Open PanelHosted.rfa
    5. You should now have a new tab called "Add-Ins", with a button called "external tools".
    6. Hit drop down in external tools, you should have "Set Parameter Values From Image data". Click this
    7. Divided surface should become a blocky slope.
    8. Edit PanelHosted.rfa_grayscale.bmp in an image editor
    9. Repeat step 6.



  • Look Ma, No API: making a sun tracker


    Last post I was showing some uses for the "Orientation" parameter for adaptive points, particularly "orthogonal on placement". Now, if building masonry walls is not your thing, then you might find this more compelling. Using the same features, you can design a panel that creates optimized relationships to solar orientation regardless of where it is placed on a particular surface. Download the example file from here, watch the video below.




  • Orthogonal on Placement: making a brick wall

    The birds are singing, the sun is shining, and all the world is once again aglow with the rosy effervescence of global orthogonality.

    All adaptive points (this includes adaptive points in Adaptive Components and Curtain Panels by Pattern) have a property called Orientation. This allows certain subtle controls over the way that elements point themselves when the family is hosted in another family. What good is this? Well, if for nothing else, you can make a bitchin' CMU wall. Come On . . . grab yer trowel and let's get started.

    Pop open your Revit 2011 get yourself a piping hot Curtain Panel by Points template, select the grid and in the type selector pick "1/2 Step",






    and draw a rectangle on the horizontal workplane of point 1. Select the model lines and make a Form Element.






    I'm also going to cut a hole in it, because this is too simple, but you can leave it nice and boxy






    Load into a host rfa, divide a surface






    Pattern to something close to the size of your form element






    and apply the panel.






    Well, it's not without charm, but we can do better. One thing to note is that all the panel geometry is the same, although the cell spacings are all different. This is about half of what you want to get a masonry wall.



    Now, go back into your curtain panel, select point 1 and in the properties, set Orientation to Orthogonal on Placement






    Reload






    Getting closer to something buildable,






    but still having some collisions.



    Now if you really have control issues, or believe in basic physics, or just want to get the damn blocks to stack, couple this panel with intersects.



    Draw lines on the vertical workplane that are the desired spacing for your block






    Turn of U and V grids and pick your model lines as intersects.






    Voila! Stackable blocks


















    Download this file from here. Poke, dissect, and examine.



  • Adaptive Components: making an angle bisector

    User problem:
    "I’m trying to generate a point that would be at the intersection of two planes offset to the placement geometry, a point in space that I’d host another piece of geometry on. "

    Another way to think about this is to create a re-usable angle bisector.

    Possible Solution: bisector.rfa

    SuperFastExtraQuiet Demo:


    http://www.youtube.com/watch?v=VnNLOe471n8

    Suggested Anxiety Provoking Listening: Conlon Nancarrow - Study for Player Piano No. 3e
    http://www.youtube.com/watch?v=pkAFKfAX_WA

    Thanks Greg!


  • Blistering Barnacles: 3d printing smackdown


    So now I have TWO Barnacle lamps.


    After reading my post on 3d printing a lamp on a Zcorp 450 out in ADSK land, Jesse Roitenberg from Stratasys was kind enough to print a version on a Dimension uPrint. So I wired it up with a Sylvania portable LED work light . . .




    which is nice because it has a magnetic base that I can stick to stuff.






    There is a lot to say in favor and against the uPrint and Zcorp 450 printing process. In the end, which process you choose really depends on what surface you are going for, what your facilities are, and how much time you have available.

    Post Processing

    uPrint
    Out of the machine, the piece appears much more durable. I didn't finish this one myself but Jesse said:
    "Once the model is taken out of the printer you just put it into an agitation bath with heated water and a solution and the supports dissolve away. I believe this model was in the tank for 2-4 hours. Then you remove the model and the supports are gone. A quick rinse and I shipped it off . . ."


    Zcorp:

    I'm still amazed that I managed to get this one finished without breaking it. After excavating the barnacle from the powder by delicately vacuuming around the edges, and blowing the remaining surface powder off the exterior, I started blowing out every individual cell. This quickly became boring, so I took it outside for a good blasting with the shop vac on reverse, which worked well (although my car looked like a mime). I don't have access to a larger dipping or spraying facility to cure the final product in what is essentially superglue (I also don't like the finish this gives, a bit too shiny for me), so I've been using a clear enamel Rustolem spray finish. I emptied an entire can on this piece, in about 3 or 4 coats. The result is a very smooth, durable matte finish that has held up great for almost 2 years hanging from my ceiling. However, it took over 2 weeks of off gassing before I left the light on for more than a few minutes.


    Durability

    uPrint

    The object is quite sturdy, and comes to seriously pokey edges. My desk is littered with fairly fragile Zcorp prints that my colleges have learned to handle carefully after a few tragic drops and smashes. I toss around the Strata print with abandon, which freaks out those who associate it with the more delicate counterparts.

    Zcorp:
    Using the Rustoleum finish, the object is still pretty fragile. I make sure that people are on alert when they interact with the thing. Again, the company recommends using a superglue finish, which is VERY durable, but I find the application process really unpleasant and the finish too plasticy. After a few coats of spray finish, I am able to do things like drilling and sawing the objects.


    Surface Finish

    Dimension:





    Closer inspection reveals a pretty rough surface appearance. The dimension's printing process is similar to coiling a pile of thread, with one thin continuous extrusion of plastic being coiled upon itself over and over. Back in grad school about a thousand years ago I spent some time with a similar machine. Both this newer model and the older have the same thready surface, and in sharper area you can see/feel protruding loops . From a distance this is not noticeable, but is a significant aspect of the tactile experience.


    The other distinguishing characteristic of this print in this application is it's translucency. With back lighting , the dimension transmits significantly more light.





    Zcorp:




    The surface of this print is quite smooth. Not autobody smooth, but like a piece of well loved sidewalk chalk. Part of this is due to the brittle product that comes out of the machine, where very sharp edges simply don't survive. But this is also a result of using the spray finish, which just slightly melts the granular surface.


    The 450 is essentially printing in a gypsum based material, and is translucent only at its most thin areas. The result is a much higher contrast lamp.




    I'm posting the original stl file here, so if anyone else would like to give it a whirl, send me a copy. Laser sintered steel anyone?




  • Bouncin' and Behavin' Building Volumes

    Quick quiz: what do these shapes all have in common?


    Boxes? Well, yes boxes, and we at Buildz Internationale usually shun boxes. No, the bigger idea is that they are all boxes with about 50,000 SF of floor area. But the fun part is that they are all the same family.


    So lets say I have a program calling for 50,000 sf of floor area but I have freedom to make the space a tall and skinny or short and fat (I know, I know, it doesn't usually work that way, just bear with me, sheesh!). Let's also say I'm going to nail my floor to floor heights at 10'. This means at 50,000 sf x10', I will need a volume of 500,000 cubic feet of building in which to stash my floors. 500,000 CF can look like a lot of different things. However, for a boxy building, it is basically going to be width x length x height = 500,000 CF



    Back to our boxes. These are each the same loaded family, with some yanked instance parameters. Looking at the parameters of the family:


    There is an instance parameter for the length and width of the box, the result of which drives the height. But the height is mediated by 2 factors. The first is that I always want my length x width x height to be the same, but I also don't want my top floor to come out at some stupid height like 3.14159'. So hInteger is an integer parameter, which means it will only return whole numbers. This is the "close enough" part of the equation. I take my total volume/(length x width) to get the optimum height to get 500,000 CF, divided by ten and rounded to the closest integer gives me the number of floors in my building. Multiplied by ten feet, this now gives the resulting height of my building.


    But the fun part is dropping the family into your rvt file, giving it floor area faces, and stretching it around.





    Or, glom a few together to make a 200,000 sqft development.

    The principles involved for making a simple box are the same for then making something more complex, like this.





    All Approx 11 million sqft. For this you have to get a little more inventive to figure out how to get the top and bottom to work together, and there is a balancing act with the pleats, but the basic ideas are all the same.


    Download the files and have some stretchy volumetric fun.


  • "Geometry is Trivial, What are you trying to accomplish?"
    You can model goddamn anything in Revit.

    [mmmm . . . except this:



    Regardless . . . it isn't interesting to ask "Why the hell can't Revit make [insert shape]?" Because Revit can. It is YOU that is inadequate. Also, your shoes are ugly. Gaudi drew the Sagrada Familia with a ruler, a compass, a french curve, and a bunch of string. Man up.

    [Oh, and it would be a major pain to make this:

    The more interesting thing to ask is "why do you even WANT to make it in Revit?"

    Do you want to create variations on a theme?

    Do you want to understand the logic of the form?

    Do you want to analyze it?

    Do you want to optimize it?

    Do you want to document it?

    Do you want to make changes late in the game?

    Do you want to build it?

    Do you want to build it and still be able to pay the mortgage?

    Do you drink Moxie, run marathons, or date Charlie Sheen? [This is just a calibration question to control for masochists. If you said yes, go ahead and make your goofy ass stuff in Revit. Don't forget the alligator clips and candle wax.]

    If you said yes to any of these, then your life might have just got a little harder (but perhaps more interesting). If you said no, or even said yes to a couple of these, stick to your non-Workplane based, nurby, subD mesh 3d package with more robust booleans and fillets. Workplanes are a pain in the butt for freeform modeling. Make it in your unconstrained environment (without meshing it if you can), import or link the damn thing into an in-place mass, and hang some walls on it. Done.



  • Form Finding with Solar Radiation Analysis



    There's been a Solar Radiation "Technology Preview" plug-in for Revit available up on Autodesk Labs for a while now. I've been curious about it, but haven't had an idea to apply to it till now. So I mixed up a little form study of Foster and Partners' London City Hall to give it a test spin. Foster's design is a nice test case as the building form is directly driven by some relatively simple principles about passive solar design. In a temperate zone, maximize winter solar gain and minimize peak summer sun exposure. Through some clever geometric arrangements, the south face shades itself in the summer, and is basically fully exposed in the winter.


    The idea of the Solar Radiation plug-in is that it allows Revit to "to understand and quantify solar radiation on various surfaces of your conceptual building model". There are a number of tutorials and demos about how to use it, so I won't cover that stuff. The thing that is particularly interesting to me about it is that the plug-in uses a new to r2011 API feature that allows the code to monitor and update the analysis model (also new to 2011) dynamically. That means that I can get the initial solar analysis up and running and then manipulate the model to get live feedback on the building's performance.


    So my rough model of the building is based on an adaptive component. I won't go into detail here, but will mention that it is important to make the adaptive components category set to NOT "shared", that way, the adaptive component geometry will be subsumed in the mass into which it is nested. The solar radiation plug-in only works on mass category, so you need to expose the nested component geometry as mass. You can download the final file and dissect it if you like.











    This component is nested into a partial ellipse with parameters to control the width and angle, as well as how tall the overall form is.





    For this exercise, I only manipulate the angle, but you could play with all sorts of settings, including floor to floor height. I started off with the form loaded into an RVT environment, at a relatively upright 65 degree angle and ran the analysis




    Units for the color gradient are displayed in the model space.




    Now, if you want to monkey with the geometry, you need to keep the analysis dialog open, otherwise you get all sorts of out of sync data. (The plug-in actually creates "analysis results" geometry, which has an odd relationship to regular Revit elements. It is a temporary element that you can select and delete, and it disappears on save. Basically you need to save out images if you want to keep a record. Proceed with caution.)


    With the dialog still active, I start incrementing the angle of the form downwards.




    As I lower the angle, the form's self shading increases.






    While it looks like I could probably get a little more shade out of the façade by tilting further, I'm already at 45 degrees, and the upper portions of the form are starting to increase their exposure (more yellow). And besides, my constraints start falling apart around 43. This is probably significantly steeper than the real thing in London, but it's interesting to see how far you could push the idea.


    Now, if I change my view settings to Winter Solstice, I see a nice (perhaps blinding) exposure to the low angle sunlight.




    So, this was quick and dirty, but you can get a sense for how the plug-in allows for interactive analysis of building form. What you choose to do with the results and how you interpret them is of course up to you.


    You can download my rvt file from here. The plug-in is available here.


    Here's a 2 minute realtime demonstration of making the manipulations and getting analysis results.





  • AU 2010: Vote

    This is old news, but . . . Vote for AU 2010 classes now! Polls close soon.
    Amid the wide variety of classes and lab offerings, Robert Manna and I have two dealing with adaptive components and panels:
    Au Bon Panel: baking your own Adaptive Components and Panels with Autodesk Revit (Lab)
    Parametrics Laid Bare: Panels and Adaptive Components in Autodesk Revit (Lecture)






  • Help! I broke my pattern

    User question: "How do you make a smooth, continuously divided pattern across multiple surfaces"

    The problem here is that Revit does one divided surface per face, so you can't identify multiple faces and have a uniform pattern across them all by default. This video demonstrates a method for using the divided surface properties to even out your pattern.




  • Look Ma, no API: analyzing panel deflection

    In designing curved surfaces, oftentimes it is not necessary that your panel be entirely planar, but rather planar within a tolerance. In the past, there were ways to do this with the API, but by using reporting parameters in conjunction with the adaptive component functionality, you can make a panel that will tell you how out of plan it is without any coding. In the above image, red is really out of plane, blue is pretty flat.


    You need an adaptive component because you can only drive formulas with reporting parameters based on host references (otherwise you have a reporting parameter that can be used for scheduling, but not driving formulas). In a curtain panel by pattern template, the only applicable relationships are the built in points that come with the pattern, and for this application we need to measure something off the surface. Adaptive Point families, on the other hand, have as many host references as you want!

    So, back to the conceptual level, first you need to have an element that can detect how far out of plane it is, and then repeat it along the surface.

    With the above image you have a five point adaptive component, the little tail has a reporting parameter that controls the visibility of 5 different co-located colored surfaces, different increments of the reporting parameter allow different colors to be visible. So, if you pull the tail longer in the host file, the color of the component changes.




    I figure there is a better way to do the coloration part, but I haven’t got it yet. It’s also tricky finding the right way to build a reporting parameter in the adaptive component family such that it relies on “host” references. The main thing to watch for is that you are dimensioning to the adaptive point itself and not the point’s Workplane.

    Now load this 5 point adaptive component into a curtain panel by pattern family. You need to construct a three point surface that defines the plane of the panel (see this post on the Invisible 3 Point Workplane Hack), and create a measure by which it goes out of plane. This requires projecting the plane to an intersection point offset from the fourth point of the panel.

    Now you have your 5 host points for your adaptive component. (In fact, if you are only interested in scheduling panel deformation and not getting visual feedback, this curtain panel design will be enough to achieve that, just slap a reporting parameter to the 5th point that is derived by intersection.)
    Place the adaptive component as shown below.
    Load the panels into a freeform surface, and shazaam!

    There are probably some sizable gaps in the above description, but here is the file for your dissection.


  • Bitmap Panel Video by Emanuel Favreau

    Emanuel Favreau, a Canadian architect, did a lovely video of some walls made using the Bitmap to Panel API that was posted here. It was done in the context of a presentation for Revit users in Montreal as an example of the potential for architects and designers to use the API in their projects.


    [BTW, The bitmap to panel API script is now in the r2011 SDK samples. And luckily for all us non-programmers, Redbolt has compiled all the SDK samples for your enjoyment.]




  • Badass Wall Trimming Method

    This is just too nasty, you should stop reading.


    You're still here? OK, well, since it's just the two of us, I'll show you. But you have to promise not to use this, definitely not in a project, OK? OK.


    And don't tell anyone.


    User question: "Walls don't join to curtain panels, so how do I trim my walls against a curved panel system?"


    [Sigh . . .well, if you're still going to watch, you should play this at the same time. And yes, that really is Jesse Jackson.]





  • The QA Day Job
    Robert Manna does an awesome job of summing up what happens over at the Factory.


  • The Elephant in the room

    Marcello Sgambelluri has done what I think it is safe to say no one has done before in Revit. Yes, this is a 100% native Revit elephant. No Shit.

    And it apparently wasn't enough to just model it . . . he made it parametric . . . and did a stop action animation.



    Last year he did a 747 and a Lexus, so this year he wanted to push a little further.
    I hope that this puts to rest the question "can you make [insert geomtric desctiption here] in Revit?" It's just not an interesting question anymore.
    Yes, you can make it. Of course you still need to ask "Why?!?!", but yes, you can.

    Marcello is the BIM Manager at John A Martin and Associates Structural Engineers in LA. He builds families to Beta Test revit in his spare time and has also spoken at AU about Revit.



    We are humbled, Marcello, and look forward to what comes next.


  • Look Ma, no API: rule based form creation

    I've been looking at some exercises for ramping up on Generative Components and looking at what can and can't be done in Revit 2011. So, after some discussions with Robert and David, and looking at this example, and also this, I came up with a method to start to do this sort of rule based form creation in Revit. Download the example file from here.

    Buildz.info - Revit 2011 Adaptive Component: Pincushion Modeling from Zach Kron on Vimeo.
















  • Getting Starting with adaptive components: Primitives
    Here's a quick exercise to get familiar with adaptive components



    Don't forget to read the Help Docs! F1 is your friend.


  • Performative Design

    Andrew Marsh, who brought you the smash hit Ecotect, has a website where he pours out very, very smart things for your consideration. Stop reading this blog and go there now.

    Start here:


  • Parametric Thinking and Pandora
    Careful . . . I haven't really thought this through entirely but here goes:

    You're having guests and you're putting music on via Pandora. You think, something a little folksy, simple, a little gritty. Bob Dylan before he went electric! So you pop on a new station for Bob and 15 minutes later, you're wondering why you're listening to the Traveling Wilbury's and Credence Clearwater Revival, and all that stuff from Stealer Wheels. Well, you asked for something really general and you're going to get something really general. It's all Dylanesque, the problem is, which Dylan did you mean?

    Pandora is a system, not a DJ or a librarian, and like any other system, it isn't going to be any smarter than the information you give it. I don't know technically how it works, but it seems to work in some derivative fashion. You give it Bob Dylan, and it will give you back music that was inspired by Bob or very near to him in musical time/space, which is a pretty large patch of musical history. To get effective playlists, you have to go one step back or above your target.

    I've heard a lot of questions from Revit users about why it doesn't do what they intended. Yes, sometimes there are bugs. But more often than not, the problem is that Revit is not yet telepathic (fingers crossed for 2012!) and the user has not given the system enough information to properly define the performance of their geometry. One user was confused about the behavior of an arch that was "defined" by two points (center and radius). An arch must have three points to be defined (arc length or angle!), otherwise you get "Stuck in the middle with you" or "The Joker".

    If you want the gritty/soulful/folksy Dylan, don't ask for Dylan. When he's doing that sort of music, he's inspired by Woody Guthrie. So if you put in Woody Guthrie, you get Woody and all the music that is derived from and lateral to him. Generally I have found that this is how Pandora works. You need to ask for something slightly more ideal than you want to hear. If you ask for Woody, you get Leadbelly, the early Johnny Cash, lots of fantastic hillbillies that you've never heard of plunking on banjos (or at least I haven't), and pre-Royal Albert Hall Dylan. (BTW, Don't even try putting in "Johnny Cash".)

    Parametric design is the same way. You need to identify the underlying principles that you are after. You want a curvy thing . . . what kind of curvy thing? An ellipse, an arc, a spline? In particular instances they can all look almost identical, change the context and they diverge greatly. Dylan's "Knockin' on Heaven's door" can quickly become Guns n' Roses "Knockin' on Heaven's Door". Iy, iy, iy-yi-yi.

    You can of course define geometry in a sculptural manner. This is totally valid, but don't expect it to be dynamic or rapidly reconfigurable. Sculptural work is defined manually, by personal sensitivity or measurement to specific and static context. Parametric design needs to define performative goals, and the form is derived from this framework. In this way, if you adjust the goals, the form flows out of this change "for free". Sculptural design says the lines should intersect THERE. And the next point of the sculpture must similarly be pinpointed for that space/time instant regardless of how it was specified in the last instant. Parametric design says that the line should intersect at a defined distance from some contextually significant element. This relationship may then be applied as a RULE in all such recurring instances. Parametric geometry defines relationships rather than forms, to achieve the form in your head you need to understand it's derivation.

    This is the difference between a playlist/sculptural and a Pandora/parametric approach. A playlist is direct, inflexible, and highly predictable after it has been made. Pandora is - or at least can be - exploratory, dynamic, and surprising after it has been set in motion.



  • Adaptive Components: The Frame

    This is a work flow that the Conceptual Modeling team looked at while developing the new Adaptive Component toolset.

    This particular construction method was first attempted by Rahul, the brains behind much of the Adaptive Components code and one of the many hard working developers at the factory to whom I sacrifice a goat every full moon. (Look for the infinitely extended intersection line hack, this will start showing up more and more.)

    Generally, this tutorial (in 2 parts) is riffing on a project that has been done in Catia/Digital Project and Inventor.
    For these examples, check out the posts on DesignReform










  • Adding reporting parameters to curtain panels


    In Revit 2011 we (finally) have something that I've been hoping for since I started in on the whole BIM thing. With the exception of things like old style curtain panels and beams, you could never get a placed family to tell you anything about the context that it was placed in. Lots of work has been done in the API with users trying to get doors and windows to "know" how thick the walls are that they are hosted in, and curtain panels have had this power, as long as they were flat, four sided and had all right angle corners. But now, we have the "reporting parameter", which is a labeled dimension that simply tells you what it is. "Hi, in the family editor I was hosted in a 8" wall, but over here in the project you placed me in a 6" wall, and over here I'm in a 12" wall. I'm good, schedule me, please".


    But then, if you make your reporting parameter to "host" geometry (a concept I still have a shaky grasp of, loosely, geometry that was baked into the family before you got there) you can use that dimension to drive formulas. So, now your door family can not only tell you how thick the wall is that it is hosted in, it can adjust itself accordingly. "I'm in a 12" wall, so I'm going to be a six panel door instead of 2" or whatever.


    So in these two videos, I'm going to show how to apply reporting parameters to a curtain panel by pattern and use that information to schedule and drive geometry. The first is simple length dimensioning, the second is slightly more complex, dealing with angular measurement.






  • The On Ramp to Conceptual Modeling in Revit

    Before leaping headlong into the Revit 2011 release, I thought I would make a list of suggested reading for those who would like to catch up with 2010 Conceptual Massing and Curtain Paneling first. Here is a pretty good list of essential/startup knowledge for 2010 functionality outside of just reading the user’s manual. Apologies to those I have not included, there are many others but I think that these links make a solid base to begin exploring, and can be plowed through in a few hours. Please add more resources in the comments.

    General
    http://images.autodesk.com/adsk/files/revitarch10_whitepaper_conceptual_design_modeling.pdf
    http://usa.autodesk.com/adsk/servlet/item?siteID=123112&id=13709407&linkID=9243097

    Paneling:
    http://designreform.net/2009/04/revit-2010-revolve-and-new-surface-patterning-paneling/
    http://designreform.net/2009/04/revit-2010-curtain-panel-pattern-based-hexagons/
    http://designreform.net/2009/04/revit-2010-pattern-based-curtain-panels/

    Form Making
    http://designreform.net/2010/03/revit-pattern-based-curtain-panel/
    http://designreform.net/2009/03/revit-2010-make-form-add-edge-add-profile/
    http://designreform.net/2009/03/revit-2010-new-features-conceptual-mass-make-form-lofting/

    Point Behavior
    http://autodesk-revit.blogspot.com/2010/02/get-hosted-point.html
    http://autodesk-revit.blogspot.com/2010/02/pointless-stuff-offset-parameter-in.html
    http://autodesk-revit.blogspot.com/2010/02/point-colour-in-revit-2010.html