IntroductionWelcome| 00:04 | Hi! My name is Paul F. Aubin and I am
thrilled to be here at lynda.com again
| | 00:08 | teaching Advanced
Modeling in Revit Architecture.
| | 00:11 | We have an exciting course planned for you.
| | 00:13 | The conceptual modeling
environment is a dynamic, free-form 3D
| | 00:16 | modeling workspace.
| | 00:17 | I'll be presenting the course in Revit
2012, but rest assured that most of the
| | 00:21 | features I present will work nearly
the same in releases 2011 and 2010.
| | 00:26 | I'll start with creating basic forms,
modifying forms, and the difference
| | 00:30 | between model and reference-based forms.
| | 00:32 | From there it gets really fun,
working in the context of a theoretical new
| | 00:36 | museum of modern art facility, we will
look at applying geometry to the massing
| | 00:40 | surfaces, configure divided surfaces,
apply custom curtain panels, and use
| | 00:45 | adaptive components to refine
the many architectural details.
| | 00:48 | We will discuss traditional forms,
such as dormers and moldings and build
| | 00:52 | contemporary forms, like a custom grand
stair and free-form mural wall devoted
| | 00:56 | to modern street art.
| | 00:58 | So if you're ready to begin your
journey into Revit's exciting conceptual
| | 01:01 | massing environment, you
have come to the right place.
| | 01:04 | Let's dive in.
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| What you should know| 00:00 | This is an intermediate to advanced
level course, therefore you should be
| | 00:03 | familiar with the basics of Revit.
| | 00:05 | If you need brushing up in any of the
basic skills, we have a few courses here on
| | 00:09 | lynda.com to help you.
| | 00:10 | Revit Architecture Essential Training
and Revit Architecture: The Family Editor.
| | 00:14 | Feel free to review any of the content
in those courses before proceeding, or if
| | 00:18 | you'd like to just start right into
this course, no worries, go ahead and get
| | 00:21 | started and if you get stuck in
anything along the way you can refer back to
| | 00:25 | these courses I have mentioned here.
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| Designing the assets| 00:00 | I would like to take a few minutes to
give you a tour of the project that we'll
| | 00:03 | be building in this course.
| | 00:05 | The conceptual modeling environment
was conceived as an environment where you
| | 00:08 | could explore design ideas in
a fluid and unencumbered way.
| | 00:11 | It is intended primarily as
a conceptual design platform.
| | 00:15 | As such, we thought it would be
appropriate and exciting to create a new
| | 00:18 | building design from scratch and
watch it evolve in the conceptual massing
| | 00:21 | environment as we proceed through the course.
| | 00:24 | With this in mind, allow me to
introduce you to the San Angelico Museum
| | 00:27 | of Contemporary Art.
| | 00:28 | When preparing this course I found
myself wearing two hats, my architectural hat
| | 00:33 | and my educator's hat.
| | 00:35 | Architecturally, we wanted to make an
interesting facility that reflects the many
| | 00:38 | challenges that you typically
face in architectural projects.
| | 00:42 | Educationally, we wanted a project that
would allow us a fun and interesting way
| | 00:46 | to explore the many features that the
Revit Massing Environment has to offer.
| | 00:50 | The most interesting part of
the story is how we get started.
| | 00:53 | Early in the process we discussed how it
would be nice to follow a project-based
| | 00:56 | approach and there was a photograph.
| | 00:59 | My producer shared with me
this image of the SAMOCA Museum.
| | 01:02 | Intrigued, I set off to create the
Revit model and see if I could match
| | 01:05 | it, maybe not the way that most projects
begin, but certainly it was fun and interesting.
| | 01:10 | The initial photograph we worked
from had a very contemporary feel.
| | 01:13 | I knew it would be a nice fit for
Revit's conceptual tools, but even though the
| | 01:17 | tools are often showcased in creating
such contemporary forms, I also wanted to
| | 01:21 | show how they can use successfully
to create traditional forms as well.
| | 01:25 | This lead me to the idea of marrying the
two styles together in the same building.
| | 01:29 | The site I chose for the building has
low-density residential on one side and
| | 01:33 | medium density on the other.
| | 01:35 | This made it easy to imagine that our
local residents would be concerned with
| | 01:39 | the scale of the proposed facility and
it's being overpowering to the feel and
| | 01:44 | fabric of their neighborhood.
| | 01:45 | So our design combines a striking
contemporary main building to the south with
| | 01:50 | the north wing that takes on the
vernacular of the neighborhood by incorporating
| | 01:53 | a series of townhouse facades.
| | 01:55 | With the overall form addressing
both our architectural and educational
| | 01:59 | goals, we involved the designer who
helped us develop the interior program
| | 02:03 | and layout of the facility.
| | 02:05 | The result was a main building that
contains a grand stair that takes on
| | 02:08 | a sculptural feel and connects all of the
gallery spaces in a hub around the center.
| | 02:13 | A striking light wall cuts through
the center of the facility mirroring the
| | 02:17 | angle of the townhouse wing.
| | 02:19 | The main floor contains gallery
spaces, an outdoor sculpture garden and a
| | 02:22 | three-story Graffiti Gallery.
| | 02:25 | The Graffiti Gallery is one of
my favorite parts of the design.
| | 02:28 | It features a massive two-story
rendered block wall that soars above the space
| | 02:32 | and is bathed in natural light.
| | 02:34 | The wall's mass protects the
interior galleries from that same light.
| | 02:38 | To complete the effect, we even commissioned a
custom-designed graffiti mural to adorn the wall.
| | 02:43 | We've gone to great lengths to show a
diversity of techniques here using the
| | 02:46 | SAMOCA Museum Project.
| | 02:48 | We'll look at many tools and techniques
throughout the course with SAMOCA providing
| | 02:52 | an architecturally interesting backdrop.
| | 02:54 | I hope you've enjoyed this quick tour of
SAMOCA, now please join me as we rollup
| | 02:59 | our sleeves and begin building.
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| Using the exercise files| 00:00 | If you're a Premium member of the lynda.com
Online Training Library you have
| | 00:04 | access to the exercise files
used throughout this title.
| | 00:07 | I've placed the Exercise Files here on
my Desktop, and you'll see that they are
| | 00:10 | organized into folders that
correspond to the various chapters.
| | 00:13 | We have a chapter for each folder and
in those Chapter folders you'll find the
| | 00:17 | files that I reference
throughout the various movies.
| | 00:20 | In addition, we've provided finished
versions of many of the movies in a Finished
| | 00:24 | Files folder, also organized in the same
Chapter folders, and finally a couple of
| | 00:29 | the files require Revit links, you'll
find those here in the Links folder.
| | 00:34 | If you're a monthly member or an
annual member of lynda.com, you don't have
| | 00:38 | access to the exercise files but you can
follow along from scratch in your own assets.
| | 00:42 | So let's go ahead and get started with
Advanced Modeling in Revit Architecture.
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|
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1. Getting Started with the Massing EnvironmentExploring modeling approaches| 00:00 | There are many approaches to creating
3D geometry and designing building forms,
| | 00:04 | and in Revit we have several
environments in which to do this.
| | 00:08 | So in this movie, I want to showcase
to you each of the working environments
| | 00:12 | that we have available to us.
| | 00:13 | And don't try to follow along, I have
a few files open on screen, one showing
| | 00:18 | each of the working environments, and
just kind of watch what I'm doing and let's
| | 00:23 | kind of get familiar with the ways
that we can identify each of the working
| | 00:26 | environments, and then in the movies
that follow, we'll get into the hands on.
| | 00:30 | So the first environment
is the Project Environment.
| | 00:33 | So this is probably the environment
that's most familiar to you if you've been
| | 00:36 | using Revit for awhile.
| | 00:37 | This is the Project Environment.
| | 00:39 | Your standard Project Environment,
| | 00:40 | it has Walls, Doors, Windows,
Components, Columns and so forth.
| | 00:45 | These are all on the Home tab.
| | 00:47 | Over here on the Project Browser, I
have different kinds of Views, my Floor
| | 00:51 | Plans, my Ceiling Plans, my
Elevations, and the easiest thing about this
| | 00:55 | environment is I just simply
pick up a tool and I start working.
| | 00:59 | If a tool is grayed out, like over here
on the Home tab, the Level and the Grid
| | 01:03 | tools, then that simply means I
can't add those items in this view.
| | 01:08 | So here in the 3D View, I'm not able
to add Levels and Grids, but if I was
| | 01:12 | in the Floor Plan, I could add Grids and if
I was in an Elevation, I could add Levels.
| | 01:19 | So Revit kind of keeps track of the
view that I'm in and lets me know with
| | 01:23 | little clues, by the way things gray-out on
the Ribbon tab, what's available in each view.
| | 01:29 | On screen here I just
have this really simple desk.
| | 01:31 | It's one of the out-of-the-box families,
and I'm going to use that to talk about
| | 01:35 | the next environment, which is
the Family Editor Environment.
| | 01:39 | And so, I have it open here and we're
looking at four different views of the
| | 01:43 | desk, and the environment in the Family
Editor is very similar to the Project
| | 01:49 | Environment but there are
some distinct differences.
| | 01:51 | So, we have multiple views possible.
| | 01:54 | If you look at the Project Browser, we
do see Floor Plans, we do see Elevations,
| | 01:59 | 3D Views; similar to what we
had in the Project Environment.
| | 02:02 | If you look at the Ribbon, however, you
could see that all the tools have been
| | 02:05 | swapped out with Family Editor tools.
| | 02:08 | So probably the easiest way to tell
that you're in the Family Editor is to look
| | 02:12 | up at your Home tab of your Ribbon
and see what tools are available.
| | 02:15 | So here I have things like Extrusion
and Blends and Revolves, as opposed to
| | 02:19 | Walls, Doors and Windows that I
had in the Project Environment.
| | 02:23 | Now the other thing that's a little
different here is we don't have Levels and Grids.
| | 02:29 | In the Family Editor Environment, we
work with Reference Planes, and Reference
| | 02:32 | Planes, if you know anything about the
Family Editor, are sort of part of the
| | 02:37 | core structure of any good family.
| | 02:39 | If you want to learn more about that
we have an entire course on the Family
| | 02:42 | Editor here at lynda.com.
| | 02:44 | But you use Reference Planes and use those to
determine where the geometry gets built from.
| | 02:50 | Now that's a little different than
our Project Environment where just simply
| | 02:54 | going to the View is usually
enough to set the working plane.
| | 02:58 | Here in the Family Editor, we could
tell that I want to draw on this plane or
| | 03:02 | I want to draw on this plane, and set that plane
as a working plane and then add my geometry there.
| | 03:07 | The Conceptual Massing
Environment is our next environment.
| | 03:11 | In a way, it's actually a special case
of the Family Editor but as you can see
| | 03:16 | right away on screen, it looks quite
different than both the Project or the
| | 03:20 | Family Editor Environments did.
| | 03:22 | We've got this gradient-fill background,
which is sort of our biggest telltale
| | 03:27 | sign that we're somewhere else.
| | 03:29 | The other thing that we see is, unlike
the other two, this environment actually
| | 03:33 | shows us Levels and Reference Planes
directly on screen and you can see them
| | 03:39 | highlight there when I put my mouse over them.
| | 03:41 | Those are the working planes in this
environment and you can simply select
| | 03:46 | them to make them work planes, and by
selecting them, I could actually draw
| | 03:50 | directly on that plane.
| | 03:51 | So it's a little bit more direct
manipulation that we're able to do.
| | 03:55 | If you look at the Ribbon here, you can
see a totally different complement of tools.
| | 04:00 | You don't see 3D forms directly.
| | 04:03 | So the difference here is if I want
to create form in this environment, I
| | 04:06 | actually start off by drawing a shape,
and then when I select that shape, I
| | 04:10 | can turn it into form.
| | 04:12 | So as opposed to what I do in the
Family Editor or in the Project Environment
| | 04:16 | where I pick an explicit object and I
say I want to draw this object, here in
| | 04:21 | the Massing Environment, I actually
start with the shape of the object and
| | 04:24 | then turn it into form.
| | 04:25 | We're going to get into that in a lot
more detail in the next several movies,
| | 04:29 | but that is our Conceptual Massing Environment.
| | 04:32 | There really is a fourth option and
this fourth option is sort of a hybrid
| | 04:37 | between the Project and the Massing
Environment, and we call this the In-Place
| | 04:42 | Massing Environment.
| | 04:44 | The In-Place Environment is perhaps the
most confusing of the bunch, because I'm
| | 04:49 | in a project initially, so here you can
see I'm in this project here, the Site
| | 04:53 | project and we're going to
use this later in the course.
| | 04:57 | But on screen, I've got this Mass
object here, which represents all of these
| | 05:02 | buildings together, and up on the
Ribbon, there is an Edit In-Place that
| | 05:07 | appears, and if I click on that, that
actually takes me into a special case
| | 05:12 | version of the Conceptual Massing Environment.
| | 05:15 | So if you look at my Ribbon, you can
see that I've got all the same tools that
| | 05:19 | I just showed you in the
Conceptual Massing Environment.
| | 05:22 | The difference is I'm now
viewing them from within a project.
| | 05:27 | So it definitely is of the bunch,
the most confusing and perhaps the least
| | 05:32 | desirable of the bunch to be in.
| | 05:35 | So I'll talk about when to use In-
Place Massing in a little bit more detail in
| | 05:40 | later movies, but just in terms of
giving you a complete inventory, those are
| | 05:45 | four different possible environments.
| | 05:47 | The Project Environment, which is
you're most familiar, your Family Editor
| | 05:50 | Environment, your Conceptual Massing,
and then your In-Place Conceptual Massing.
| | 05:54 | We've explored the four different
environments from a very high-level.
| | 05:58 | Any of these can and often are
employed in typical building design projects.
| | 06:03 | In fact, you'll often see several of
these approaches used at the same time.
| | 06:07 | In the lessons that follow, we will
begin exploring detailed techniques
| | 06:10 | involving several of the approaches noted
here, and we'll begin those explorations
| | 06:14 | with the Revit Conceptual Massing Environment.
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| Understanding the massing environment| 00:00 | When beginning the design process for a
new building, the establishment of the
| | 00:03 | buildings overall form can
happen in a variety of ways.
| | 00:06 | For example, traditional approaches
include clay models, styrofoam and
| | 00:10 | cardboard study models, sketches, or
we can work the model in a computer
| | 00:13 | program such as Revit.
| | 00:15 | Often a combination of
these techniques is employed.
| | 00:18 | The Conceptual Massing Environment in
Revit is a free-form work environment
| | 00:21 | which allows you to explore and
iterate many design concepts quickly.
| | 00:25 | In this environment, there are no walls,
doors, or roofs, only forms and relationships.
| | 00:31 | The first time you enter the Massing
Environment, it can be a little confusing.
| | 00:34 | It looks very similar to Revit, but
it has a lot of differences as well.
| | 00:38 | So in this movie, we're going to take
an overview of the user interface of
| | 00:41 | the Conceptual Massing Environment and focus
on how it differs from the standard Revit UI.
| | 00:46 | So I am in a file called CME.rfa.
| | 00:49 | Now you'll notice that it
does have an RFA extension.
| | 00:53 | This is actually a Family Editor
Environment, so the Conceptual Massing
| | 00:56 | Environment is a version of the
Family Editor, not a version of the
| | 01:00 | Project Environment.
| | 01:01 | And if you watched the last movie where
we got a quick overview, the first thing
| | 01:06 | that we notice is the Gradient Fill
background that we see in the Conceptual
| | 01:11 | Environment; that's our first
telltale sign that we're here.
| | 01:15 | Another thing that's pretty different
about the Conceptual Environment is,
| | 01:18 | objects like Levels and Reference
Planes actually appear in 3D in this
| | 01:24 | environment, so that's something that we
don't see anywhere else in Revit as well.
| | 01:28 | Now when you look at the Ribbon, it's
perhaps the most confusing aspect of the
| | 01:33 | Conceptual Massing Environment of all,
and that is, we are in here because we
| | 01:37 | want to model 3D forms and yet we
don't see any 3D form tools whatsoever.
| | 01:44 | The basic workflow in this
environment is you set a Work Plane, you draw a
| | 01:49 | shape, and then you turn that shape into form.
| | 01:53 | So the Work Plane, I am going to just
accept the default for the time being.
| | 01:58 | And I'm going to go right to creating a
shape, so I am just going to do a simple
| | 02:02 | circle, draw a circle out on this Work Plane.
| | 02:07 | You'll notice that it's actually
highlighting the Ground Plane, so the default
| | 02:10 | Work Plane is the Ground Plane.
| | 02:12 | And then cancel out of there and select
the circle, and that's going to give me
| | 02:18 | access to the Create Form button.
| | 02:21 | So we had our Work Plane, we draw
a shape, and then we create form.
| | 02:26 | If it's obvious the form that you want to
create, Revit will just simply create it.
| | 02:31 | If there's any question as to what
you're trying to create, then it will
| | 02:34 | basically ask you which form you had in mind
using what they call here the Intent Stack.
| | 02:40 | Now I can either make a
cylinder or a ball from this shape.
| | 02:45 | So by just highlighting the one I want
and clicking it, Revit will give me the
| | 02:49 | appropriate 3D form.
| | 02:51 | If I selected a shape that was non-
ambiguous and click Create Form, it would
| | 02:57 | just simply create it.
| | 02:59 | So when I click a box shape, it really
doesn't have to ask me any questions, it
| | 03:03 | just simply creates a box from it,
and we see it create that form.
| | 03:07 | We mentioned the Work Plane and I
just accepted the default initially.
| | 03:11 | Well, the way that you set Work
Plane in the Conceptual Environment is
| | 03:15 | actually fairly simple.
| | 03:16 | You just simply click the plane that
you want to use as a Work Plane and that
| | 03:21 | will automatically set that as the Work Plane.
| | 03:23 | And so now if I go back and I
draw my shape, cancel out of there.
| | 03:29 | Hold down my Shift key and drag my
wheel to orbit around, you'll notice that
| | 03:33 | that circle is now actually drawn
up right on that vertical plane.
| | 03:39 | And then I could select it, Create Form,
choose my intent, and it will create my
| | 03:45 | cylinder on that plane.
| | 03:47 | Now I can also use Reference Lines.
| | 03:52 | If you are not familiar with Reference
Lines, they are similar to Model Lines,
| | 03:56 | except that they have all of these
integrated work planes within them.
| | 04:00 | Now notice by just simply clicking that,
it actually highlights a little gray,
| | 04:05 | bluish shaded plane right there.
| | 04:08 | The easier way to see that is to
actually come up here to the Work Plane panel
| | 04:13 | and click this Show button, and that will show
me the Work Plane even when it's not selected.
| | 04:20 | So without all that clutter in the way, I
can see that this Work Plane is now active.
| | 04:25 | If I were to draw something, I'd be
drawing it right on that reference life.
| | 04:29 | If I want to set one of those other
planes, what we'll notice here is there is a
| | 04:34 | Work Plane here, press my Tab key,
there's another one here, move down toward
| | 04:39 | the end, there's another one here.
| | 04:41 | And I could make any of those the
active Work Plane, and then when I draw the
| | 04:48 | object I'm drawing would
actually appear on that Work Plane.
| | 04:53 | And the neat thing about doing that
is, if I were to edit these grips you
| | 04:58 | can see that that object stays associated
with that Work Plane as it changes in real-time.
| | 05:04 | So using Reference Lines can be a
way to create a Work Plane that then
| | 05:09 | can become variable.
| | 05:10 | So if you're building a more complex
form and you want to be able to flex it in
| | 05:14 | various ways, using Reference Lines
instead of either Reference Planes or Levels
| | 05:19 | can actually be a better choice for
your Work Plane and we'll see more examples
| | 05:23 | of that later in the course.
| | 05:24 | So the Work Plane is one difference.
| | 05:27 | You simply select the object, or use the
Set Work Plane button and that's pretty
| | 05:30 | different way of working
here in the Massing Environment.
| | 05:34 | What's another difference
here in the Massing Environment?
| | 05:36 | Over here I had a rectangle and I turned
it into a box, I am going to draw a new
| | 05:40 | rectangle but I want to set my Work
Plane, and draw a new rectangle over here.
| | 05:45 | I want to talk a little bit about
selection that's different in this environment.
| | 05:50 | Notice that when you highlight the edge
of a rectangle or any shape, it actually
| | 05:55 | highlights the chain first by default.
| | 05:58 | Now that's exactly the opposite of
what we have in the Project Environment.
| | 06:01 | In the Project Environment, we
highlight one wall and then we have to press the
| | 06:04 | Tab key to get the chain.
| | 06:05 | Here, if I want to get just one line, I
would actually have to use the Tab key.
| | 06:10 | So the default is chain and
then I use the Tab key to get an
| | 06:14 | individual selection. Default is chain;
| | 06:17 | Tab key gives me the individual selection.
| | 06:20 | Now, it turns out you can actually
create form even from that individual line.
| | 06:26 | notice that what Revit will give us--
if I just zoom in a little on that, is a
| | 06:31 | plane that's extruded up from that line.
| | 06:35 | If I select the rest of the chain,
Create Form again, it kind of get this
| | 06:39 | shelled out form right here.
| | 06:42 | So we can create solids or we can
create surfaces in this environment.
| | 06:48 | Now another difference is the
way that we actually select forms.
| | 06:51 | If you move your mouse over to one of
these existing forms, what you'll notice
| | 06:55 | is, the actual individual parts and
pieces of the form will highlight like the
| | 06:59 | surface or this surface or even the edges.
| | 07:02 | And if I click on them they will
select, click on it, it will select.
| | 07:06 | And I'll get this little control handle.
| | 07:08 | If I want to select the entire form, I
have to actually press Tab to get the
| | 07:14 | form and then I won't get a control handle, I
am going to be moving just that entire form.
| | 07:19 | So the control handles are actually a
really powerful feature in this environment.
| | 07:24 | They have the three different colored arrows,
each one representing one of the standard axes;
| | 07:29 | X, Y and Z.
| | 07:31 | So if I want to move this plane and
move it along the X axis, I can simply
| | 07:36 | drag that red arrow.
| | 07:38 | If I move either the green or the blue,
the Y or the Z and drag that, it will
| | 07:44 | actually shear my box and change its
shape, and I can kind of shear it in
| | 07:49 | either direction there.
| | 07:51 | And if orbit around a little, you
can kind of see that my box is now all
| | 07:55 | distorted in three directions.
| | 07:58 | Now if we look carefully here at
these little angled portions that kind of
| | 08:04 | connect two of the arrows, that is a way
of changing the form along both of those
| | 08:10 | axes at the same time.
| | 08:12 | So if I were to drag this one, I would
actually be changing it both in the Z and
| | 08:17 | in the Y at the same time.
| | 08:19 | And so I could move really in any
angle, but I'm constrained to that plane.
| | 08:23 | I could move at any angle, but now I
am constrained to the X and Y plane.
| | 08:28 | So using those control handles, you
can freely manipulate the form either
| | 08:34 | directly on the surface or
even on the edges, like so, okay.
| | 08:40 | Now, I come over here to this form
and I highlight it and it highlights a
| | 08:45 | little differently.
| | 08:46 | I didn't press the Tab key and yet
it's highlighting the entire object.
| | 08:50 | This one here, when I click on it,
what we see is it's actually an object.
| | 08:55 | This is a nested massing family that's
just brought right into this project.
| | 09:00 | So just like we can bring in any family
into any project or other family, we can
| | 09:06 | do the same thing here in
the Massing Environment.
| | 09:08 | The way this thing got here, was on
the Home tab, using the Component button.
| | 09:13 | so the same way that you would
do it in the project or Family
| | 09:16 | Editor Environment.
| | 09:17 | You click Component, you open up your
list, you've got some different choices
| | 09:22 | here Cylinder, Cone, Arch, right, this
is the one looking we are looking at is
| | 09:25 | Arch, may be I want to use a Cone.
| | 09:27 | And you can place these
things in a variety of ways.
| | 09:31 | Now notice that right now it's
saying that I can't actually place it.
| | 09:34 | I am getting a circle with a line through it.
| | 09:36 | The placement options over here on the
Ribbon indicate how it's going to be placed.
| | 09:41 | I can either place it on faces, which is
what it defaults to, and then you'll see
| | 09:46 | it highlighting the faces of existing
geometry as I move my mouse around.
| | 09:51 | I can even place it on
other nested objects here;
| | 09:55 | give my little arch a hat.
| | 09:58 | Or I can place it on a Work Plane.
| | 10:01 | So if I do Work Plane, then what I
would have to do is cancel out of here, set
| | 10:08 | the Work Plane first, go to Home, go to
Component and then choose Place on Work
| | 10:14 | Plane and now I can place it
freely anywhere on that Work Plane.
| | 10:19 | So I have to choose which placement
mode I want and then I can place it in
| | 10:24 | one of those two ways.
| | 10:25 | Now, when you're done building your
form and we've been kind of messing around
| | 10:29 | here so there's really nothing
terribly exciting here to save.
| | 10:32 | But the last step of working in the
Massing Environment is you build up your
| | 10:36 | form, but then in order to actually use
it, you need to load it into a project.
| | 10:41 | And that project is what will
ultimately become your building design.
| | 10:45 | So I don't actually have a
project loaded right now.
| | 10:48 | So I'm going to go to the big R, go to
New, and create a new project, and I'll
| | 10:53 | just use the standard
default template and click OK.
| | 10:57 | And so here I am in my
standard Revit Project Environment.
| | 11:00 | I am going to minimize the view, I'm
back here in my Massing Environment and
| | 11:07 | then I use the Load into Project button.
| | 11:10 | Now, if you've ever worked in the Family
Editor, and again, it's not required as
| | 11:13 | a prerequisite to this course, but if
you've ever done any work in the Family
| | 11:16 | Editor, then this is a similar workflow.
| | 11:18 | You go from your family and you load it
into your project, and so in this case
| | 11:23 | our massing family, we are
going to load it into our project.
| | 11:27 | And the difference between loading a
standard family and loading a massing
| | 11:31 | family is the massing family will tell us
that it has to enable the Show Mass mode.
| | 11:38 | And this is because, by default,
masses are a hidden object type in Revit, so
| | 11:44 | we need to unhide them. We need to display
masses before your family will actually show.
| | 11:49 | So it's offering to do that for you here
with this very long-winded message here.
| | 11:52 | So I'd just simply click Close and then
I get similar placement options that we
| | 11:57 | just saw a moment ago.
| | 11:58 | Now there are no faces for me to place
this thing on, so I'll simply do Work Plane.
| | 12:02 | In this case, the Work Plane will be
Level 1, and you could see that I can place
| | 12:07 | my mass somewhere on screen.
| | 12:10 | And it's warning me that it
contains both solid and mesh geometry.
| | 12:14 | You recall that we did extrude up,
if I go to 3D, we did extrude up some
| | 12:19 | surfaces here and it's just simply
complaining that the Project Environment
| | 12:23 | might not fully
understand some of those surfaces.
| | 12:26 | And then you can see that here is my mass
form ready to be used here in my project.
| | 12:32 | Now I am not going to get into the
details of how we use it just yet.
| | 12:36 | That will be the subject of later movies.
| | 12:38 | But at this point we would now have
our clay model, if you will, our digital
| | 12:42 | clay model and we'd be ready to go
the next step of our design phase.
| | 12:46 | So the Conceptual Massing Environment
has some distinct differences from the
| | 12:51 | Standard Revit Work Environment.
| | 12:52 | The idea is that, you use the
Conceptual Environment to explore forms and
| | 12:57 | perform massing studies and
iterate design ideas about your building.
| | 13:02 | If you've used Revit for a while, but
you're new to conceptual environment, it's
| | 13:05 | going to take a little getting used to.
| | 13:07 | But however hopefully, you'll find
that the design freedom that's afforded by
| | 13:12 | the environment will make the
initial discomfort a small price to pay.
| | Collapse this transcript |
| Building an in-place mass| 00:00 | If you watched the last movie, you
now have a pretty good idea of how the
| | 00:03 | Conceptual Massing Environment
workflow is intended to function.
| | 00:07 | But it turns out that the Conceptual
Massing Environment can actually be
| | 00:09 | accessed in two ways.
| | 00:11 | You can create a new Conceptual
Massing family, which is what we looked at in
| | 00:15 | the previous movie, where you're working
in a Family Editor Environment, you get
| | 00:18 | the Gradient Fill background, the Levels,
the Work Planes, and so on, or you can
| | 00:24 | create your massing in-place
in the project environment.
| | 00:28 | Now the advantage of creating it In-
Place in the Project Environment is you're
| | 00:32 | in more of a sketch mode.
| | 00:34 | So you actually get your building model
grayed out in the background and you can
| | 00:39 | snap to its geometry to help you
build your mass with respect to that
| | 00:44 | surrounding context.
| | 00:46 | The disadvantage is that when working
in the Massing Environment, you don't
| | 00:49 | have full access to all of the
tools that you would see in the Massing
| | 00:54 | Environment family.
| | 00:56 | So there's a little bit of a trade-off.
| | 00:58 | But in the interest of completeness,
in this movie, I wanted to do a quick
| | 01:02 | In-Place Massing example.
| | 01:04 | We will actually have another
example of In-Place Massing later in the
| | 01:08 | course, but for the most part, most of
the work that we're going to do in the
| | 01:12 | Massing Environment, we're going to
actually do in the Conceptual Massing
| | 01:15 | Environment Family Editor.
| | 01:17 | So just to be clear on that.
| | 01:19 | So I'm in a really simple file here
called Inplace Mass and this is a Revit
| | 01:23 | project file, so it does have an RVT
extension and it's a very simple project.
| | 01:28 | It just has two walls in it.
| | 01:30 | The first thing is, again, if you
watched the previous movie, you remember at
| | 01:34 | the end of the movie when we loaded
the mass into the project, we had to
| | 01:38 | actually enable Show Mass mode.
| | 01:41 | Now Revit offered to do that for us when
we loaded the massing in automatically.
| | 01:47 | Here if we want to create a massing
family, we need to come over to the Massing
| | 01:52 | & Site tab and we need to tell
Revit that we want to see the masses.
| | 01:56 | We need to show mass ourselves.
| | 01:58 | We're going to use this button here to do that.
| | 02:01 | And when I click that, it turns on that mode.
| | 02:04 | Now nothing actually happens on screen
because we haven't built any masses yet,
| | 02:09 | but when we do, they will actually appear.
| | 02:11 | If you try to create masses without
Show Mass on, you'll get that message again
| | 02:16 | where Revit will say, hey, you might
want to turn on the Show Mass mode because
| | 02:20 | it's not displayed right now.
| | 02:22 | Right next to that button, we have the
In-Place Mass button and this is what
| | 02:28 | we use to actually create a new
massing family on the fly directly in our
| | 02:33 | project environment.
| | 02:34 | And I'm going to call
this Test Mass and click OK.
| | 02:39 | The name in this case is not important,
but normally you'd want to choose a good
| | 02:44 | descriptive name so that you can
remember what you intended later.
| | 02:48 | Here's one of the downsides that
you see right away to the In-Place
| | 02:51 | Massing Environment.
| | 02:53 | Unlike the Massing Family Editor, we
do not see the Level, we do not see the
| | 02:58 | Reference Planes showing on screen in 3D.
| | 03:00 | If you wanted to see levels, because
you're in the Project Environment, you'd
| | 03:04 | have to go to an Elevation View and
then your levels would appear, or if you
| | 03:11 | want to see reference planes or any
other kind of work plane, you'd have to go
| | 03:15 | to a Floor Plan View and then you'll
see that the Ribbon tab is similar to the
| | 03:23 | Massing Environment, and therefore,
the Reference Plane button is actually
| | 03:27 | kind of stashed away right here, not
where you'd normally find it in the
| | 03:31 | Project Environment.
| | 03:32 | So you do have to realize that some
parts of the In-Place Environment do match
| | 03:37 | the Massing mode and
some match the Project mode.
| | 03:42 | So here's a reference plane, for
example, but if I go back to 3D View, notice
| | 03:47 | it does not display.
| | 03:49 | So there are some trade-offs when you
go into the In-Place mode versus the
| | 03:53 | actual Massing Environment mode.
| | 03:55 | Now I do have the Set Work Plane buttons,
I do have all the same Sketch tools, I
| | 04:00 | do create form the same way.
| | 04:02 | So I want to make sure that my active
workplane is the level and you can see
| | 04:08 | that I can turn on the Show Mode, zoom
out a little bit, and my Floor Plan level
| | 04:13 | is actually my current
workplane, and I'll zoom back in.
| | 04:17 | And then let's say that I wanted to
build some sort of mass form and use these
| | 04:21 | walls here in the background to help me do that.
| | 04:24 | So I can use this Pick Lines option, and
this is really the biggest advantage of
| | 04:30 | doing In-Place, is that I could say,
well, give me a line here, and give me
| | 04:33 | another line here, and maybe I want to
back that one up, like so, and take this one
| | 04:40 | and back that one up, like so.
| | 04:44 | So I want to draw an arc next, and I
want to make sure that the Placement Plane
| | 04:49 | is on Level 1 and I'll just kind of
draw out a shape here, cancel out of there,
| | 04:56 | and then I'll use my Trim and Extend to
a Corner tool to clean this up like so.
| | 05:03 | Now I can select this, and you'll
notice that because we're in the Massing
| | 05:07 | Environment, it actually does
select Chain by default, so that is a
| | 05:12 | little different here.
| | 05:14 | Click on it, use my Create Form, it
will create the form, I get the same little
| | 05:20 | control handles here where I could just
the X, Y, or Z and I've got that form.
| | 05:26 | And in addition to creating solid forms,
we can also create Void Forms, and we
| | 05:32 | can also create directly on the
surfaces of this existing geometry.
| | 05:38 | So I can go to my Set Work Plane and I
can use the wall surface as a Work Plane
| | 05:45 | like so, and then once I have that, I can draw
out a form, like maybe this circle right here.
| | 05:54 | And this time when I select this,
instead of going to Create Form, I'm going to
| | 05:59 | click the dropdown and you
can actually create a Void Form.
| | 06:03 | Now we can do this in the regular
Family Environment as well, but here this is
| | 06:07 | how you do it in the Massing Environment.
| | 06:10 | It will suggest either a--little
difficult to see from these glyphs here--but it
| | 06:15 | will suggest either a
cylindrical form or a circular form.
| | 06:20 | And I was going to go with the
cylinder but I actually kind of like the Swiss
| | 06:23 | cheese effect right here.
| | 06:24 | So I'm going to go ahead and choose
that and it sort of looks like I have a big
| | 06:28 | old piece of Swiss cheese right here,
so I'm kind of liking this form, and I'm
| | 06:33 | going to go ahead and finish it up there.
| | 06:35 | Now when you're done, you click the
Finish Mass button and that completes
| | 06:42 | your work in that In-Place Massing
mode and then you can see that you've got
| | 06:48 | this final mass form.
| | 06:49 | While you will get similar behavior and
features from both massing families and
| | 06:54 | In-Place Masses, the majority of the
lessons we will explore in this course will
| | 06:58 | focus on massing families in the
Conceptual Massing Environment.
| | 07:01 | In general, In-Place Families whether
massing or standard families, should be
| | 07:06 | reserved for very unique situations
where they will not be reused and where
| | 07:11 | the context of the existing building forms is
critical to determining the form of the In-Place.
| | 07:17 | If you can build your form in the
Family Editor instead of doing it
| | 07:20 | In-Place, it's typically more
flexible in the long run and it's typically
| | 07:24 | what's recommended.
| | Collapse this transcript |
| Creating massing forms| 00:00 | Creating forms is the most basic skill
you need to develop when working in the
| | 00:03 | Conceptual Massing Environment.
| | 00:05 | Form making in the Massing Environment
differs quite a bit from the standard
| | 00:09 | Revit Project Environment or the Family Editor.
| | 00:12 | Therefore, the focus of this movie
will be on the basics of form making.
| | 00:16 | We will not be building anything
particular, but rather we're going to learn the
| | 00:20 | concepts required and the techniques
required to create many common forms.
| | 00:24 | Now I am going to start with some of
the forms that you can create in the
| | 00:28 | Standard Family Environment
like, extrudes, blends or sweeps.
| | 00:32 | Now you may recall if you've watched
some of the previous movies that we have a
| | 00:36 | single Create Form button.
| | 00:38 | So how does it know whether you wanted
to do an extrude or whether you want to
| | 00:42 | do a revolve or whether you want to do a blend?
| | 00:44 | Well, it largely guesses based on the
objects that you draw, the shapes you draw
| | 00:49 | and how you select them.
| | 00:51 | So I am in a file called Create Forms
and it has several shapes in here already
| | 00:55 | to get us started, so that
will help us speed things along.
| | 00:59 | From previous movies, you may recall
that what's required to create form in
| | 01:03 | the Massing Environment is you set
your Work Plane, you draw your sketch, and
| | 01:06 | then you create form.
| | 01:08 | I've already got several sketches here,
they are already established, most of
| | 01:11 | them to this Work Plane.
| | 01:12 | So I am just going to simply select the
form that I want to create and then come
| | 01:16 | over here and click Create Form.
| | 01:17 | And at its most basic it will guess what
the appropriate form is and simply create it.
| | 01:23 | Now in that case, we just had a basic
rectangle and there was really only one
| | 01:27 | thing that it could do with
that, it could extrude it.
| | 01:30 | Now, if I came over here, did the
same thing with this form, it will just
| | 01:35 | simply extrude it again.
| | 01:36 | But what would happen here, if I selected
two forms, stacked on top of one another.
| | 01:41 | Now for if I just kind of take a quick
look at this, orbit it around, what you
| | 01:45 | see is, those things are
stacked relative to one another.
| | 01:50 | In height, one of them is
associated with this plane;
| | 01:52 | the other one is associated with this plane.
| | 01:54 | If I do Create Form there, I get
essentially the equivalent of a blend.
| | 01:59 | So in the traditional Family Editor
Environment, you would click the Blend tool
| | 02:03 | and then you'd sketch your base
and then you'd sketch your top.
| | 02:06 | Here in the Conceptual Environment, you
set your Work Plane, you draw your first
| | 02:11 | shape, cancel out of there, you set
your next Work Plane, you draw your second
| | 02:17 | shape, and then you select these two,
and there is really only one thing that
| | 02:22 | Revit can give you with this and that's a blend.
| | 02:25 | And you can see here that it blends
between the rectangle and the circle in much
| | 02:31 | the same way that it did with
little pyramid shape right here.
| | 02:34 | So that's the basic idea, so again
I've just got the forms here just to move
| | 02:37 | things along a little bit.
| | 02:39 | We saw in previous movies that in some
cases when you choose something, you'll
| | 02:44 | get more than one choice, so there was
really no ambiguity with any of these
| | 02:48 | forms here, but this one could
either be a cylinder or a sphere.
| | 02:53 | So I can choose whichever I prefer.
| | 02:56 | There's another way to create a sphere
as well, so that was certainly one way
| | 03:00 | that I could do it, where it basically
revolved that circle to give me a sphere,
| | 03:04 | but if you look over here, you'll
notice I've got a line and half an arc, and
| | 03:09 | I've got a similar version of it here
with another line and have an arc, but
| | 03:12 | this one you'll notice has a line
connecting the arc there, this one does not.
| | 03:17 | So the difference is that technically
these two shapes here, and let me do it
| | 03:21 | with a window selection.
| | 03:24 | Technically, what I am going to get
here is actually a surface revolve.
| | 03:29 | When I do Create Form, there's
really only one thing that it can give me.
| | 03:32 | Notice that it didn't actually show me
multiple glyphs, because the only thing
| | 03:37 | it could do with that, and it was
really this straight line that was the
| | 03:40 | giveaway, is revolve that
arc around to form a sphere.
| | 03:45 | So with this shape, the difference is
that I actually have two lines, let me
| | 03:49 | zoom in slightly here to show you.
| | 03:51 | I actually have two lines there, this
one and this one, and so really if we
| | 03:56 | select just this portion right here.
| | 03:59 | If I were to just go right to create
form with only that, it would actually
| | 04:02 | extrude that, because it would
assume that that's what we had in mind.
| | 04:06 | If I undo that with Ctrl+Z and I
select everything including this line here,
| | 04:13 | then it makes my intent a little bit more
obvious and I end up with a revolve again.
| | 04:18 | So you'll notice that the same basic
shape by introducing this additional line
| | 04:23 | that becomes an axis line, there is
really only one thing that Revit can
| | 04:26 | properly assume to do with that,
and that's to turn it into a revolve.
| | 04:31 | So sometimes, when answering that
first basic question, how does it know what
| | 04:36 | shape to create, sometimes you have to
kind of help it along by introducing an
| | 04:41 | additional bit of line work to
kind of get what you intend in mind.
| | 04:45 | Again, sometimes it will not be clear,
it will give you more than one choice and
| | 04:50 | in this case I could go to the cylinder,
other times you're going to have to
| | 04:53 | make it clear by
introducing that additional shape.
| | 04:56 | Now what about a sweep?
| | 04:58 | Well here, if I zoom in on these two
little S-curves over here, I've drawn the
| | 05:03 | S-curve in two different ways.
| | 05:04 | In this case I have a chain of lines and arcs.
| | 05:07 | So here, if I do my Tab key, there
is one arc here, there is a line here,
| | 05:13 | and another arc here.
| | 05:14 | Here, I just have a spline, a continuous spline.
| | 05:17 | Now in both cases, I am going to select
this polygon and then the chain with the
| | 05:23 | Ctrl key and go to Create
Form and that gives me a sweep.
| | 05:27 | Here's the spline with the hexagon,
Create Form and there is a sweep.
| | 05:34 | But notice the difference
between these two when I zoom in.
| | 05:38 | Here, I've got a seam where it went
from arc to straight line, back to arc.
| | 05:42 | Here, it was seamless, because I'm
sweeping along a continuous spline.
| | 05:48 | So if the seam is important to you and
you want to avoid getting the seam, then
| | 05:52 | this is the approach you have
to take as you can use a spline.
| | 05:55 | Now if I direct your attention over
here to the toolbox, we have two kinds of
| | 06:00 | splines, we have the spline with the
control handles, and this is more of like a
| | 06:04 | Bezier curve, and we have
this one Spline Through Points.
| | 06:07 | So there's actually two ways you can
create the curve and both would give you
| | 06:12 | the same result here, but it's just a
different kind of curve and you can feel
| | 06:15 | free to experiment with those.
| | 06:17 | Now something that you can't really
easily do in the traditional environment is
| | 06:22 | what would be termed a
loft in most 3D applications.
| | 06:26 | A loft is where you create multiple
shapes like multiple cross-sections and then
| | 06:31 | essentially do a continuous blend from
shape A to B to C. So to do this in the
| | 06:37 | traditional family environment, I would
have to blend from the first rectangle
| | 06:41 | to the second and then
from the second to the third.
| | 06:44 | But of course when I do that, I
would get straight segments in each case.
| | 06:47 | In other words, if I take this guy
like this and do this, you see how I get
| | 06:54 | a straight line here.
| | 06:55 | I am going to undo that.
| | 06:57 | But if I select all three together, and
do Create Form, then Revit will actually
| | 07:02 | average the path between the three
shapes and it'll have this curvature to it
| | 07:08 | and that's more of a loft.
| | 07:10 | So you actually do get a quite different
result when you select all three shapes at once.
| | 07:15 | And if I select this guy and kind of
spin it around a little, you can see that
| | 07:21 | the three cross-sections are still in
there as rectangles, but they have that
| | 07:26 | curved path which blends
between each of the three.
| | 07:29 | So it would be much more difficult, if
not impossible, to get that form in the
| | 07:34 | traditional Family Editor.
| | 07:35 | Okay, so that's sort of something
that's pretty unique here in the
| | 07:38 | Massing Environment.
| | 07:40 | Now we already talked about this in a
previous movie, but I just wanted to
| | 07:42 | remind you that if you use your Tab
key, you can select just a single edge
| | 07:47 | and then if you create form what you
get instead of a solid form is you get
| | 07:52 | an individual plane.
| | 07:53 | Okay, and if I select the others,
they will extrude separately and I get an
| | 07:57 | individual plane there.
| | 07:58 | So it becomes like a hollow shape there.
| | 08:02 | Now, what about something like a pyramid form?
| | 08:05 | Now, by the way, what I'm
doing here is a little trick here.
| | 08:07 | I want to point out is if you select
something first and then hold down the
| | 08:11 | Shift key and drag your wheel, it
orbits around what you have selected.
| | 08:16 | This is a much better way to control your orbit.
| | 08:19 | If I didn't have anything selected
and I do that, you see how I am kind of
| | 08:24 | orbiting around the center point, and
sometimes the thing that you're trying to
| | 08:29 | look at could spin right off screen.
| | 08:31 | But if you select something first
and you orbit, then it centers the
| | 08:35 | rotation around there.
| | 08:36 | So it's usually a better thing to do
if you can remind yourself to always
| | 08:39 | select something first.
| | 08:40 | Now what I have here is a square here
and a really tiny square up above it.
| | 08:45 | To get a pyramid shape, there really
isn't any way that you can extrude from
| | 08:50 | a square to a point.
| | 08:52 | So if your pyramid has a little top shape
here, then you could do it with a blend.
| | 08:59 | But what you'll see, if I zoom in, is that I
do have this flattened out top surface there.
| | 09:05 | Now technically speaking, if we were
going to go build a pyramid, it probably
| | 09:08 | wouldn't end at just a perfect point,
so that might actually be appropriate.
| | 09:12 | But if you actually wanted it pointed,
then what I am going to do with these
| | 09:16 | shapes over here is show you how we
could do this using a combination of solid
| | 09:21 | forms and Void Forms.
| | 09:23 | And this will give us an opportunity to
also talk about voids, because up until
| | 09:27 | now, all the forms we've been
creating we've been using the solid.
| | 09:30 | So, I am going to start with this one
and it was drawn on a vertical plane,
| | 09:36 | which is actually buried under here
somewhere, there it is right there.
| | 09:40 | That was drawn if I use the Tab key on
a reference plane, which you can see is
| | 09:45 | kind of buried underneath there and
that's where this triangle was drawn.
| | 09:49 | And so it's pointing straight upright,
and I'll just do Create Form for that.
| | 09:53 | And you can see that it's only a
short depth of about 10 feet there.
| | 09:58 | I could type in directly some number
or I can use these control handles and
| | 10:04 | actually snap it, and you could see
right there that it's snapped to that plane.
| | 10:08 | Let me show you that again.
| | 10:09 | If I back it off a little bit and kind
of pull it forward, you can kind of see
| | 10:12 | it highlighting when I get close by, so
it snaps right to that, and it turns out
| | 10:16 | that was 28 feet, so I could've typed that in.
| | 10:19 | And so that gives me just an extruded wedge.
| | 10:22 | Now I am going to create a Void Form
and I do that by selecting one of these
| | 10:25 | triangle shapes here, which was also
drawn on a vertical reference plane.
| | 10:30 | Go to the dropdown here, go to Void
Form, and it again creates just a short
| | 10:38 | depth void, in this case it's only
about 7 feet, and what I am going to do is
| | 10:43 | simply take this grip here.
| | 10:46 | And you can kind of see it cutting
through as I drag, so if I stop short, it
| | 10:52 | kind of did it, but you notice how it
doesn't look like it's doing anything,
| | 10:54 | you've got to deselect it to see the effect.
| | 10:57 | So you can kind of see that
it's only cutting halfway through.
| | 11:00 | Now if I want to adjust it later, I've
got to move my mouse over here and Tab,
| | 11:05 | and I might have to do it a few times to
get back to the void, it's still there, okay.
| | 11:11 | And I can tab in to that face again,
right there, and continue to stretch it so
| | 11:18 | that it cuts all the way through.
| | 11:20 | And again, the effect is concealed
while the void is selected, but as soon as
| | 11:25 | you deselect the void, it applies the cut,
and if I select this and spin around,
| | 11:32 | you can kind of see the effect there.
| | 11:34 | So I just need to repeat that
process with this one, make it a Void Form,
| | 11:41 | stretch it all the way out here, deselect.
| | 11:45 | Select something so that I am orbiting
around it, and there is a pyramid that
| | 11:50 | has a point at the top.
| | 11:53 | So it's a slightly
different approach to the issue.
| | 11:55 | If having a flat top bothers you, then you
can use a combination of solids and voids there.
| | 12:02 | So as you can see that basic form
making in the Conceptual Massing Environment
| | 12:06 | is easy once you know the process and workflow.
| | 12:08 | It does take a little bit of getting
used to at first, but the basic idea is
| | 12:13 | begin with an idea of what you want to
create, set your active Work Plane to
| | 12:16 | draw one or more shapes.
| | 12:18 | You select those shapes, either the
one shape or multiple shapes and use the
| | 12:22 | Create Form button and that gives you your form.
| | 12:25 | If you want a Void Form, you use the
drop down and you create Void Form.
| | 12:29 | And that gives you something that
will cut away from a Solid Form.
| | 12:33 | So with a little bit of practice
even complex forms can be created
| | 12:36 | quite efficiently.
| | Collapse this transcript |
| Manipulating forms| 00:00 | A big part of the design
process is making changes.
| | 00:03 | Design ideas evolve over time.
| | 00:06 | Once you have your basic forms, there
are many ways you can modify them in the
| | 00:09 | Conceptual Massing Environment.
| | 00:11 | In this movie, we'll explore some of the
basics of form manipulation in Revit massing.
| | 00:16 | So I'm in a file here called
Manipulate Forms and it's largely similar to the
| | 00:21 | one that we completed in
the end of the last movie.
| | 00:24 | I have several different forms on screen here.
| | 00:27 | The ones here in the middle were
created with basic extrusions, this one was
| | 00:31 | more of a blend, this was our loft,
this was our sweep, and so on.
| | 00:35 | So I'm going to start off by talking
about some of the really basics and review
| | 00:39 | a few of the things that we've covered
in previous movies in case you need
| | 00:42 | a review of those, for example, selection.
| | 00:45 | So as you move your mouse around,
remember that if the form already exists,
| | 00:51 | Revit will initially default to selecting
individual parts and pieces of the form.
| | 00:56 | So I can select the surface of that
form, or the edge of that form, or even the
| | 01:01 | point associated with the corner there.
| | 01:04 | I'm going to zoom in a little bit and
get into that in a little more detail here.
| | 01:08 | So there is the surface and we talked
in a previous movie about this little
| | 01:12 | gizmo which allows us to push and pull the
edges, I'm going to undo that. Same thing here.
| | 01:17 | I could change the height by
pushing and pulling in the Z direction.
| | 01:21 | I'm going to undo that.
| | 01:22 | I can do the same thing with
the surface or with the edge.
| | 01:29 | Now what you'll notice is a little different
on this one that's at an angle than this one.
| | 01:34 | Here I get the blue, red, and green
axis indicators for Z is the blue, X is the
| | 01:41 | red, and Y is the green.
| | 01:43 | Well, when I click this one, I still
have the blue Z axis, but then these
| | 01:48 | other two turn orange.
| | 01:50 | Think of those as local coordinates to
that surface, so when your surface is not
| | 01:55 | parallel and perpendicular to the X, Y,
and Z, it gives you these local axes.
| | 02:01 | Now if I pull this, this will just simply
pull that surface perpendicular to its own face.
| | 02:08 | Another way to say that is it stays
parallel to its previous position.
| | 02:11 | If I grab this one and pull it, it
stays in plane but just moves side to side
| | 02:18 | and then ends up shearing the
edges that are attached to it.
| | 02:21 | I'm going to undo a couple times there.
| | 02:23 | So that's what's different about the
axes when they turn to this orange color.
| | 02:28 | If I tap the Spacebar, it will actually
toggle the axes indicator to go back to
| | 02:36 | the standard X, Y, and Z. And then if
I pull this, you're going to see that
| | 02:41 | that plane still moves parallel to its
previous position but it travels along the X axis.
| | 02:47 | So the impact that it has on this face
is to just simply lengthen it, but the
| | 02:51 | angle of this face
actually changed. I'll undo that.
| | 02:56 | So that's the difference between the
red, green, and blue indicators versus
| | 03:01 | the orange indicator.
| | 03:02 | So really it depends on the surface you
select which one you'll get, and if you
| | 03:07 | want the other, you just tap the
Spacebar and it will toggle between the two.
| | 03:12 | Now the next thing I want to discuss
is just basic modification commands.
| | 03:15 | Now I'm not going to go through each
one of these because they are really the
| | 03:19 | same here in the massing environment as
they are in standard Revit, but that's
| | 03:22 | your typical Move, Copy,
Rotate, these kind of commands.
| | 03:26 | The only thing you need to pay
attention to here is what you have selected
| | 03:31 | before you run the command.
| | 03:32 | So if I go to the Move command for
example and I had only this surface
| | 03:36 | selected, then it's actually going to
have the same effect as if I pulled up on
| | 03:44 | the control handle.
| | 03:45 | It's moving that surface and in that
case it moved it parallel to itself and
| | 03:49 | basically increased the height of the box.
| | 03:52 | If I tab first and select the entire
box and then use the Move command, you'll
| | 03:59 | see that the result is the entire box moves.
| | 04:02 | So the main thing here is before you use
any of these tools, Move, Copy, Rotate,
| | 04:07 | you want to pay attention to what's selected.
| | 04:09 | Here's Rotate and that will actually
twist the box versus this, where I tab and
| | 04:17 | I go to Rotate, and it
will rotate the entire box.
| | 04:21 | So those are the basic modification tools.
| | 04:24 | In addition to the standards that we
have, the little gizmos that appear when
| | 04:28 | you select the faces and the edges and
the standard Move, Copy, Rotate commands,
| | 04:32 | we also have many tools over here
that are unique to form elements.
| | 04:38 | So the two that I want to look at here in
this movie are Add Edge and Add Profile.
| | 04:43 | Now I've got this box over here
selected and you can select an individual face
| | 04:48 | or it might be a little safer to
actually tab first and select the entire box.
| | 04:53 | And I can either add an edge which will
run vertically, or I can add a profile
| | 04:59 | which will be parallel to
the plane it was created in.
| | 05:02 | So let me start with the Add Profile,
and as I move my mouse around, you'll
| | 05:07 | see that it's creating another profile
parallel to the original plane of this extrusion.
| | 05:15 | And I click to set the location of that profile.
| | 05:18 | Once I have that profile, you can see
now that if I deselect and then move my
| | 05:23 | mouse over there, I can actually
click that individual edge and start to
| | 05:28 | manipulate it and I can take what was a
simple extruded box and start bowing out
| | 05:33 | the edges of the form, for
example, like I've done here.
| | 05:37 | Now if I select it again and I use
this other feature Add Edge, now you could
| | 05:43 | see that I'm running perpendicular to
the creation plane or vertical if you want
| | 05:47 | to think of it that way, and I can
create an edge here, create an edge there.
| | 05:51 | And again, if I cancel out of there, I
can now select that edge and start to
| | 05:57 | pull it and transform the shape,
start to pull it and transform the shape.
| | 06:03 | So you can start with a very simple
form and just by adding some edges and some
| | 06:08 | profiles, turn it into
something that's much more complex.
| | 06:11 | What you have to remember is, start off
by selecting the object that you want
| | 06:16 | to add these forms to.
| | 06:17 | Now this one is a compound object.
| | 06:19 | So it's got the voids cutting away,
the sides of the pyramid, so you can see
| | 06:24 | that those two tools are not available.
| | 06:26 | So Revit will tell you whether
or not those tools are available.
| | 06:29 | If I pick this one instead, the one
that has the little flattened top, that one
| | 06:35 | does have these features available.
| | 06:37 | So I could add an edge;
| | 06:40 | only thing is it's got to be right
inside there, let me zoom in a little.
| | 06:44 | You see how if I go past that little
tiny line at the top, it won't work.
| | 06:49 | So the edge has to connect
all the way from top to bottom.
| | 06:54 | The profile on the other
hand, that can go anywhere.
| | 07:00 | But I can't use either of those
features here because this is a compound shape.
| | 07:05 | If you recall from the previous movie,
if I move in and start tabbing, there is
| | 07:09 | an extrusion here cut by these void forms here.
| | 07:16 | Interestingly enough, the void form
could have edges and profiles, the wedge
| | 07:21 | form could have edges and profiles.
| | 07:25 | So the way that you would modify
this form isn't by modifying the overall
| | 07:28 | compound shape, rather what you
would do is add edges and profiles to the
| | 07:34 | underlying forms that make up the
form, and then when it's done, it would
| | 07:38 | reapply and you would see the result.
| | 07:40 | So, for example, if I came in here and
added an edge maybe like right there and
| | 07:48 | then tab into that, pull that edge out a
little bit, and then when I deselect the
| | 07:57 | whole thing, you'll see the result that it had.
| | 08:00 | I want to orbit this thing around.
| | 08:01 | Remember, to orbit it, you first select
the object and then you use your Shift
| | 08:06 | and your wheel and you'll be spinning
around the object you have selected.
| | 08:09 | If you don't remember to do that, it'll
spin the whole drawing around the center.
| | 08:12 | But you can see that the result of that
modification was that the overall joined
| | 08:18 | form is modifying as well.
| | 08:20 | So being able to quickly edit the form
as the design needs change is critical in
| | 08:26 | a fast-paced design environment.
| | 08:28 | The Conceptual Modeling Environment
offers many tools and techniques to modify
| | 08:32 | forms and to modify them efficiently.
| | 08:35 | So take some time to
practice some of these techniques.
| | 08:38 | Here we looked at Add Edge and Edit
Profile and basic Move and Rotate.
| | 08:42 | In the next movie, we'll look a
little further at some of the other
| | 08:46 | form-specific modifications that we can perform.
| | Collapse this transcript |
| Using X-Ray and Dissolve| 00:00 | There are many ways you can
manipulate an existing form.
| | 00:03 | Sometimes it is easier to return to
the original primitives that were used to
| | 00:06 | create the form in the
first place in order to edit it.
| | 00:09 | The Conceptual Massing Environment
offers a few different ways to do this.
| | 00:13 | A simple approach is you can
edit one of the profiles directly.
| | 00:16 | You can do this with the Edit
Profile and/or the X-Ray tool.
| | 00:20 | The Dissolve tool can also be used if
you wish to completely dissolve the form
| | 00:25 | and return to the original
curves that were used to create it.
| | 00:28 | So in this movie we'll look at each of
these tools and specifically how we can
| | 00:32 | get back to the original forms
used to create the objects from.
| | 00:35 | I'm in a file called Xray Dissolve and
this file is just another copy of the
| | 00:40 | same file that we've been looking at in
the last few movies and I have several
| | 00:43 | different examples here on screen.
| | 00:45 | So we'll look at a few of them and feel
free to experiment further on your own.
| | 00:49 | So let's start with the Edit Profile option.
| | 00:51 | So I'm going to start off with this
simple box here in the middle and I will
| | 00:56 | zoom in just a little bit, use
my Tab key, and select the box.
| | 01:00 | So over here on the Ribbon on the
Mode panel is an Edit Profile button.
| | 01:05 | Now this is a lot like the same kind of
button that you would see in the Project
| | 01:08 | Environment when you have a sketch-
based object like a floor or a roof slab or
| | 01:12 | something like that.
| | 01:13 | So when you choose Edit Profile and
then you move your mouse around on the
| | 01:17 | screen, you can actually select and you
can sometimes highlight different parts.
| | 01:22 | I can select the bottom edge or I
could select the top edge, but you can
| | 01:26 | actually select the surface that you
want to modify and that will take you to a
| | 01:31 | Sketch Mode complete with your
individual edges here and you can simply select
| | 01:36 | these edges and manipulate them
in any way that's appropriate.
| | 01:39 | So, for example, maybe I want to reduce
the size of that rectangle on the top.
| | 01:45 | What this will give me when I click
Finish here is it will convert my extruded
| | 01:50 | rectangle, my box, into basically a blend.
| | 01:54 | So when I click Finish here, hold my
Shift key down and orbit around with the
| | 01:58 | wheel and you can see that I now have
a chamfered box because I simply edited
| | 02:02 | that profile at the top.
| | 02:04 | Now I could do this again using my
Tab key, select that edge at the bottom,
| | 02:10 | select this, maybe kick it out a
little bit, make it a little larger.
| | 02:14 | When I click Finish, I'll now
have a double chamfer on both sides.
| | 02:19 | So if the change you want to make is
as simple as just modifying the shape of
| | 02:23 | the profiles used to create the
shape, then Edit Profile can be a very
| | 02:27 | effective way to do that.
| | 02:28 | Now an alternative approach is to use
the X-Ray Mode, so I'm going to come over
| | 02:34 | here and select this object.
| | 02:35 | And over here on the Form Element panel,
we've got an X-Ray button, and when I
| | 02:42 | click on that, it will kind of
make the object semitransparent.
| | 02:46 | It will highlight all of the shapes
that were used to create it in this dark
| | 02:51 | purple color with points at each of the corners.
| | 02:54 | And then in the center there will either be
a solid black line or a dashed black line.
| | 03:00 | Now this one is dashed indicating that
the path along the center of this form
| | 03:05 | was determined by Revit, and I'm
going to zoom back out and pan over here.
| | 03:10 | If you use the X-Ray Mode on an
object that has a path built into it, like
| | 03:15 | our sweeps over here on the side, now watch
what happens to this one when I click X-Ray.
| | 03:22 | Notice that the X-Ray turns off
over here and it turns on over here.
| | 03:26 | So X-Ray Mode is limited to one object
at a time and when you click it for a new
| | 03:31 | object, it just simply turns
it off for the previous one.
| | 03:33 | But if I zoom in over here, notice that
the path on the inside, that black line,
| | 03:38 | has now turned black solid.
| | 03:40 | It's no longer dashed.
| | 03:42 | That's indicating that I drew the path.
| | 03:44 | So the dashed is a path
that Revit determines for you;
| | 03:48 | the solid is a path that you drew yourself.
| | 03:50 | But otherwise, we get the same basic
idea, is that here is this purple shape
| | 03:55 | moving around and this black
shape indicating the path of travel.
| | 03:59 | Now I could select the individual
points, manipulate them with the standard
| | 04:04 | modification, select the individual
edges, manipulate those, and you could
| | 04:09 | see in real time, in the background, my sweep
shape changing in the ghosted-out form there.
| | 04:16 | So when you're working in X-Ray Mode, it
allows you to directly manipulate those
| | 04:20 | original shapes that you used to
create it and see the changes in real time.
| | 04:24 | Take a look at one more
example right here with this guy.
| | 04:28 | Go to X-Ray, here're all of our forms,
and again, as I start to manipulate this,
| | 04:34 | you could see the effect that
it has on the shape in real time.
| | 04:38 | If you just click X-Ray again, it turns
the mode off and you're back to looking
| | 04:43 | at your final forms.
| | 04:45 | The final way that we can
manipulate these forms is to use Dissolve.
| | 04:49 | Now Dissolve is what you use if you
don't want to edit it directly, you'd
| | 04:54 | actually rather get back to the
original shapes that were used to create it
| | 04:58 | and remove the form.
| | 05:00 | So I'll just show you really
quickly here with this cylinder,
| | 05:03 | if I click on the Dissolve button over
here on the Form Element, it will remove
| | 05:09 | the cylinder, and in its place, it will
leave behind two circles in this case.
| | 05:16 | If I did Dissolve on this guy, it will
remove the object, create these forms
| | 05:23 | here, and then in this case, it
says Highlighted lines overlap and it's
| | 05:26 | highlighting this orange line here.
| | 05:28 | That's because what Revit has actually done--
| | 05:30 | See how there's actually two lines,
there is one long line, and the short line
| | 05:37 | right here, because it drew one line
sort of a half-moon shape and then a
| | 05:42 | second line for the axis
line to revolve it around.
| | 05:45 | Usually when I want to do a revolve,
I'll make my axis line longer than the
| | 05:52 | original form, or actually here's a
little trick that I always like to do.
| | 05:56 | I like to put my axis line
outside of the form over here.
| | 06:00 | Now let's say that I wanted to take
this shape, tab into the circle, maybe make
| | 06:05 | the radius a little bit larger, take
this axis line, move it again a little
| | 06:10 | further, that one stayed connected.
| | 06:13 | Now when I select this and this, because
I'm picking that extra line there, that
| | 06:20 | should indicate to Revit pretty
cleanly that what I intended was a revolve.
| | 06:25 | But by putting the axis line outside
of the shape, I avoid that error message
| | 06:29 | that we got a moment ago.
| | 06:31 | If I were to later dissolve this,
it's not going to complain and give me an
| | 06:36 | error because this axis
line is outside the object.
| | 06:39 | The error was just simply saying
you have an axis line on top of a line
| | 06:43 | that matched your shape, and that's all
that was and so I can avoid that easily enough.
| | 06:46 | Edit Profile, X-Ray, and Dissolve offers
varying degrees of essentially the same idea.
| | 06:52 | We take our 3D form and we return to the
original 2D shapes that were used to create it.
| | 06:57 | With X-Ray and Edit Profile, we're doing
this directly while preserving the 3D form.
| | 07:03 | With Dissolve, we're removing the 3D
form, returning it to the original 2D
| | 07:07 | shapes that we can manipulate, make
changes to, and then recreate the 3D
| | 07:12 | form from.
| | Collapse this transcript |
| Understanding reference-based and model-based lines| 00:00 | In the Conceptual Massing Environment,
forms can be created from either model
| | 00:03 | lines or reference lines.
| | 00:05 | The final 3D shape is
indistinguishable in either case.
| | 00:08 | But the features of the resulting
forms and the ways in which they can be
| | 00:12 | manipulated vary in several significant ways.
| | 00:15 | When a form is created using model lines,
we simply call it a model-based form,
| | 00:19 | and when it's created using
reference lines it's referred to as a
| | 00:22 | reference-based form.
| | 00:23 | In this movie, we will look at how to
create each type of form and explore the
| | 00:26 | differences and similarities.
| | 00:27 | So I've a file here called Model
Reference, and there are several existing model
| | 00:33 | and reference lines already here on screen.
| | 00:36 | On the top left portion of the screen,
these black lines here, those are the
| | 00:40 | model lines and these purple ones
down here in the lower right, those are
| | 00:44 | the reference lines.
| | 00:45 | So why don't we start
with how they each got there.
| | 00:48 | When you look over here on your Ribbon,
either the Home Ribbon or the Modify
| | 00:53 | Ribbon, you can see that in the Draw
panel, you get exactly the same features.
| | 00:57 | If I click Home or Modify, there
is no change here on the Draw panel.
| | 01:02 | There's a Model button and a Reference button.
| | 01:06 | If you click the Model button,
these are the shapes you can draw.
| | 01:10 | Now watch when I click the Reference button.
| | 01:13 | The shapes do not change at all.
| | 01:15 | So you can draw all of the shapes using
either model lines or reference lines.
| | 01:21 | Let me cancel out of here.
| | 01:22 | If you go right to a tool and just
click a shape, it defaults to model lines,
| | 01:29 | and right there you can see this work
plane is active, so let me cancel that,
| | 01:33 | set the Level 1 level active first and
then go back to that, and if I draw, I'm
| | 01:40 | going to get a model line.
| | 01:42 | You see it's in that black color.
| | 01:44 | If I go to Reference lines
first, and then click Rectangle.
| | 01:49 | Now we'll be drawing your reference line.
| | 01:51 | So that's important, because a lot of
times we'll jump right to the shape that
| | 01:55 | we want, and we won't pay attention to
whether it's Model or Reference and we'll
| | 01:59 | end up getting maybe the wrong one.
| | 02:01 | There is however a way to switch from one to
the other, if you accidentally do the wrong one.
| | 02:07 | You can select, in this case, the
model lines and if I wanted those to be
| | 02:11 | reference lines, over here on the
Properties palette there is a feature here
| | 02:16 | called Is Reference Line, and it's a
check box and if you just simply check it
| | 02:21 | and then apply that or just move out
to here, you'll see it'll convert those
| | 02:24 | to Reference lines.
| | 02:25 | If I select it again, uncheck it,
it'll go back to being model lines.
| | 02:31 | So it's nice if you remember which one
you want first, and draw it directly,
| | 02:37 | but if you accidentally picked the wrong one,
it's not that hard to switch from one to the other.
| | 02:42 | In addition to the color, the black
color for model lines and the purple color
| | 02:47 | for reference lines, another way to
tell which one you have is, when you
| | 02:51 | highlight a model line, it just
simply highlights the edges themselves.
| | 02:55 | But as we've seen in previous movies
when you highlight a reference line, you
| | 02:58 | also see those Work Planes attached to it.
| | 03:01 | Now it's real obvious with shapes like
the rectangle or the hexagon or even the
| | 03:06 | arc here that's connected with a line.
| | 03:08 | But notice here with the spline,
those work planes only appear at the ends.
| | 03:12 | So not every reference line shape
has Work Planes on every surface.
| | 03:17 | Sometimes they only have them at the ends.
| | 03:19 | So creating form is exactly the
same for either kind of object.
| | 03:24 | If I select a chain of model lines and
click Create Form, the only difference
| | 03:30 | is, this will immediately create
an extrusion when I select that box.
| | 03:35 | But often with reference lines, you
will get an Intent Stack even when it's a
| | 03:40 | simple shape like the rectangle.
| | 03:43 | And that Intent Stack will show us
that we can create either a box or we can
| | 03:48 | actually create a plane
from that same shape there.
| | 03:52 | Now it turns out that if you pick
that plane later, it gets these control
| | 03:56 | handles and you can extrude it
on the fly and turn it into a box.
| | 04:01 | So you can end up at the same place,
but you can start off by creating just a
| | 04:05 | simple plane, and that would be true
on almost any chain of reference lines.
| | 04:11 | So here I'm going to get an
extrusion, here I'm going to get a plane.
| | 04:15 | I'm actually going to press Escape to
cancel out of there because here I want to
| | 04:19 | use my Ctrl Key and select both.
| | 04:22 | That will not be ambiguous.
| | 04:24 | To give me that blend idea, it basically
can only do one thing and that's pretty
| | 04:30 | much the same thing that we saw,
when we had the model line equivalent.
| | 04:34 | Now what's the difference really?
| | 04:36 | Once the form is created, there are
still a lot of similarities between the
| | 04:41 | two, but then as you start to select
the object, that's when you start to see
| | 04:45 | some of the differences.
| | 04:46 | So here, as we saw before, we've got
our control handles when we click on the
| | 04:50 | faces around the edges, but look what I
get when I start to click on the faces
| | 04:56 | or the edges of this reference line.
| | 04:59 | First of all, let me zoom in a little here.
| | 05:03 | If I go to the sides of the box, you
notice how it doesn't highlight the side
| | 05:08 | of the box separately.
| | 05:09 | And it shows me this little lock
icon on here, and what that means is the
| | 05:15 | profiles of this shape
are locked to the original.
| | 05:20 | In other words, those original
reference lines are seen as the profile for the
| | 05:26 | shape and that's locked down.
| | 05:28 | So it's a straight extrusion all the way up,
and the same is true with this guy here.
| | 05:33 | The profiles are still locked at top and bottom.
| | 05:36 | I can't modify those.
| | 05:37 | They're connected to those reference
lines, unlike here where I can actually
| | 05:42 | push and pull those faces.
| | 05:44 | Now if I tab in, I can get the face
but it still shows me that it's locked.
| | 05:50 | So I don't get the control handle to
allow myself to be able to manipulate it.
| | 05:55 | That seems like a limitation until
you realize that the reference lines are
| | 06:00 | still selectable, down below, and the
grips appear right here, and as I start to
| | 06:06 | manipulate those grips, you're going to
see that shape modify in real time with
| | 06:14 | the changing of the shape of
those reference lines underneath.
| | 06:17 | So this can be seen as a pretty
significant advantage to using the reference
| | 06:21 | lines, because instead of having to go
to Edit Profile or X-Ray or Dissolve
| | 06:26 | or any of the modes we looked at in
the previous movie, we can manipulate
| | 06:30 | those forms directly.
| | 06:32 | The same is true up here, with the top
of this blend, and as I manipulate those
| | 06:39 | forms, spin this thing around.
| | 06:42 | You can see that has a
direct impact on the shape.
| | 06:45 | Let me zoom back out here.
| | 06:48 | I encourage you to take the additional
forms that we have here on the screen and
| | 06:53 | try creating each of the forms, you have
an opportunity for a Loft over here and
| | 06:57 | for some Sweeps and for some Revolves,
and then experiment with manipulating the
| | 07:02 | reference line version directly, versus
the Edit Profile X-Ray approach to the
| | 07:08 | model-based forms, and just kind of
compare and contrast the behaviors and get it
| | 07:11 | in a little bit of practice.
| | 07:13 | It is theoretically possible to use one
or the other of the two types of forms
| | 07:18 | model-based or reference-based
exclusively in your design work.
| | 07:21 | Model-based forms tend to offer more
simplicity in creation and planning at the
| | 07:26 | expense of flexibility and later editing.
| | 07:29 | Reference-based forms, on the other hand,
tend to be a good choice if you plan
| | 07:33 | to apply constraints and parameters to
your forms, which we'll look at in the
| | 07:36 | next movie, and perform
multiple design iterations.
| | 07:40 | Like most concepts covered in this
chapter, practice is the key to understanding
| | 07:44 | not only the picks and clicks
associated with various tools, but also
| | 07:47 | internalizing the nuances of their use.
| | Collapse this transcript |
| Designing parametric masses| 00:00 | As you continue your exploration of the
Conceptual Massing Environment, you slowly
| | 00:03 | become familiar with both how it is
similar and how it differs from the
| | 00:07 | traditional Revit environment.
| | 00:08 | One such area is how we go about applying
constrains when working in a 3D environment.
| | 00:13 | If you've worked in the Family Editor
before, then perhaps you know that one of
| | 00:16 | the most basic tasks you'll do is to
create a parametrically driven box.
| | 00:21 | However, achieving such a thing in the
Conceptual Massing Environment is simple
| | 00:24 | as it seems, can be
challenging the first time you try it.
| | 00:27 | In this movie, we'll walk through
the steps required to create a fully
| | 00:31 | parametric box form in the Conceptual
Massing Environment, and contrast that to
| | 00:35 | the approach that we would typically
take in the traditional Family Editor.
| | 00:38 | Now to get us started, I'm
starting without any file this time.
| | 00:40 | We're going to create it from scratch.
| | 00:42 | We've always provided a
file to get us started with.
| | 00:45 | All of those files were actually
created using this feature right here,
| | 00:50 | New Conceptual Mass.
| | 00:51 | Now we can get it here on the Recent
Files screen and if you're not looking at
| | 00:55 | the Recent Files screen, you can go to
your Application menu, the big R button,
| | 00:59 | highlight New and choose Conceptual Mass here.
| | 01:02 | Both of those commands take you to the
exact same place, which is, this folder
| | 01:07 | here which has a single Massing template.
| | 01:10 | So like the traditional Family Editor,
where you have to start your family with a
| | 01:14 | template, we do the same thing in the
Conceptual Mass but it's easier because
| | 01:18 | there's only one template.
| | 01:20 | Now when I open that, it will look much
like the other files that we've used so
| | 01:23 | far in this chapter.
| | 01:24 | We have the gradient background.
| | 01:26 | We have the 3D environment with
the levels and Reference Planes.
| | 01:29 | Now in the traditional Family Editor,
what you would typically do is lay
| | 01:33 | down Reference Planes, add parameters
to them, and then build the geometry
| | 01:37 | off of that structure.
| | 01:38 | Here in the Conceptual environment, you
might be tempted therefore to do the same thing.
| | 01:42 | We do have a Reference Plane
button right here, on the Home tab.
| | 01:46 | I can lay down Reference Planes in much
the same way, set them to standard sizes
| | 01:52 | like I might typically do.
| | 01:57 | Click on the Dimension tool next, lay
down some dimensions, perhaps equalize
| | 02:03 | those, add an overall dimension.
| | 02:08 | And by the way I'm doing this a
little bit quickly because I'm actually
| | 02:11 | reviewing a process that is somewhat
familiar if you've already used the
| | 02:15 | Family Editor before.
| | 02:16 | If you're new to Family Editor, then
you might want to review Chapter 3 of the
| | 02:20 | Family Editor course here on lynda.com.
| | 02:22 | But you don't necessarily have to try
and follow along with these steps that
| | 02:25 | I'm doing right now.
| | 02:26 | I'm mainly showing you, contrasting
really, the process that we typically follow
| | 02:31 | and why that won't work so well
here in the Conceptual environment.
| | 02:33 | So for the next few minutes, you might
want to just watch me and then I'll let
| | 02:36 | you know when you can join in.
| | 02:38 | So if I look here at this dimension then,
then the next step in the traditional
| | 02:43 | environment would be to label that and
add a parameter, and I would call this
| | 02:47 | parameter maybe Width.
| | 02:49 | I'm going to make it a Type parameter,
just to keep it simple, and there is the
| | 02:54 | parameter, and then of course now, if I
flex to another size, and click Apply,
| | 03:01 | that moves the Reference Planes and it
moves them in equal amount on either side
| | 03:06 | and so, so far so good.
| | 03:08 | So everything is working the way I
expect and the way that it does in the
| | 03:11 | traditional environment.
| | 03:13 | So why not add some geometry?
| | 03:15 | So I'm going to snap from here to here.
| | 03:17 | Now I'm only doing the width
right now, just to illustrate.
| | 03:20 | I'm just going to lock it on both sides,
Modify, select that box, and Create Form.
| | 03:27 | This is just like we've
done the previous few movies.
| | 03:30 | Now let's go back to 3D.
| | 03:32 | So there is my box, here is my
dimension, and everything is great, right?
| | 03:37 | Well, it's great until we come
back to here and try and flex the box.
| | 03:42 | So let me go back to my original
dimension of 40 feet and when I click Apply,
| | 03:47 | you'll notice what happens.
| | 03:48 | Let's do something a little more dramatic,
so we can really see what happened there.
| | 03:51 | Let's go to 20 feet.
| | 03:53 | So you see what's happening there?
| | 03:54 | Is that for whatever reason only
that initial profile of the Mass got
| | 03:59 | constrained to the Reference Planes.
| | 04:01 | Even though the Reference Planes are
moving in, even though everything is
| | 04:04 | flexing the way that it's
supposed to, the form is not cooperating.
| | 04:09 | So this is partly a problem to do with
differences in the massing environment
| | 04:14 | and also partly an issue to do with,
how you choose to build the form.
| | 04:19 | So really what we're doing actually is
tying together a lot of concepts that
| | 04:22 | we've talked about in the last several
movies including the last movie where we
| | 04:26 | talked about model forms
versus reference-based forms.
| | 04:29 | So if you haven't watched that movie, I
encourage you to go back and look at it.
| | 04:32 | We have two approaches
that we could take right now.
| | 04:35 | If we want to work with a model-based
form, we can build the form directly in
| | 04:40 | the 3D environment and set up the
constraints differently than we would in the
| | 04:43 | traditional environment, that's one approach.
| | 04:46 | Or, if we want to do a little bit more
like the traditional approach that we've
| | 04:50 | just walked through here, we can do it
with a reference-based form and get a
| | 04:53 | little bit closer there.
| | 04:54 | But either way we had to do
some things a little differently.
| | 04:57 | So what I'm going to do here is throw
this file away, start a new one, and this
| | 05:05 | is where, if you want to follow along
with me, we'll go ahead and make a box
| | 05:08 | here that will flex properly.
| | 05:11 | So here I am back in the
traditional environment.
| | 05:14 | Now to do this with the model-based
form, it's as simple as going right to
| | 05:18 | rectangle, drawing my box.
| | 05:23 | You can set your standard sizes if you want.
| | 05:25 | So I'll make that 20 feet and I'll
make this 25 feet, and then deselect and I
| | 05:31 | wanted all nice and centered.
| | 05:33 | So this is where I'm going
to tab and pick just one edge.
| | 05:37 | Now I made this 25 feet here
to the center, so that's 52.
| | 05:41 | So I'll just make that 50, and because I
have only one edge selected, it pulls in closer.
| | 05:46 | Do the same thing in the other
direction over here, that's currently 36 feet.
| | 05:51 | So I will make it 40, and so now
everything should be nicely centered.
| | 05:57 | You could put your equal-equal
dimensions on their, but I'm not going
| | 06:01 | to actually do that.
| | 06:02 | I'm just going to go right to Create Form.
| | 06:04 | You can see there is a height right there.
| | 06:07 | Now that's the first thing that we'll
do is I'm going to click this little Make
| | 06:11 | this temporary dimension
permanent icon right there.
| | 06:16 | This dimension, let me just pull it
out here so we can see it a little.
| | 06:19 | That dimension I can turn into a
parameter by labeling it the same way I
| | 06:25 | would in the traditional environment,
so that doesn't change, and I'm going
| | 06:29 | to call this Height.
| | 06:31 | I am going to leave it a Type
based parameter and click OK.
| | 06:35 | So now you see it says Height right there.
| | 06:37 | If I go to Family Types and I flex
the Height, let's try 30 feet, and click
| | 06:42 | Apply, you'll see that that
will pick up the height of the box.
| | 06:46 | So that's probably the easiest one to do.
| | 06:48 | That's working pretty well.
| | 06:50 | This is still a model-based form.
| | 06:52 | The problem we had with the previous
one was it was the edges, these bottom
| | 06:57 | edges down here that were actually
getting constrained to the Reference
| | 07:01 | Plane, not the top edges.
| | 07:03 | So you either need to constrain
both set of edges and lock them both to
| | 07:07 | the Reference Plane.
| | 07:08 | So it actually is possible to do, but
there're a lot of extra steps in using
| | 07:12 | your Align tool and locking.
| | 07:13 | Or, you simply add the dimensions
right here in 3D and make sure you're
| | 07:20 | dimensioning face-to-face.
| | 07:22 | So I'm going to put my dimension
directly on this face, hold down the Shift Key,
| | 07:28 | spin around to the other
side, and then pick this face.
| | 07:32 | You see the difference? And then click.
| | 07:36 | Click on this face, spin it around,
click on that face, and click.
| | 07:42 | So there is my 50 feet.
| | 07:44 | There's my 40 feet.
| | 07:45 | I can label both of these.
| | 07:48 | Make sure it's Type, label this, make
sure it's Type, and now let's flex that.
| | 07:59 | Let's move this over here, so we
can see, bring up the Flex box, 30.
| | 08:04 | We've already tested the height, but
what the heck, I'll try it again, 25 and
| | 08:09 | the depth, let's make that 40.
| | 08:10 | It doesn't matter what numbers you
put in here, and when you apply now you
| | 08:14 | see it stays a box.
| | 08:16 | So because we've assigned the
dimensions directly to the faces instead of the
| | 08:20 | edges, we're now controlling
it and keeping it as a box.
| | 08:23 | If you don't do that, that's
when you run into problems.
| | 08:26 | Now again, like I said, if I
really wanted to, let me undo that.
| | 08:32 | If I really wanted to, I could have
gone from here to here, spin around, and
| | 08:39 | then to here, and lock that equal, so
that when you flex your Depth, it will
| | 08:48 | stay centered on those Reference Planes,
and that's usually not a bad idea to do,
| | 08:52 | to keep it centered, so that when you
insert this thing into a project, because
| | 08:57 | remember ultimately, what we
want to do is have a new project.
| | 09:05 | We want to switch back over to our Family5 here.
| | 09:09 | Let me save it, call it Box,
load it into that project.
| | 09:17 | It will prompt me as it did before to
show the Mass Mode. I'll turn that on.
| | 09:23 | Let's place on the Work Plane, and
now when I select this, let's go to 3D.
| | 09:29 | When I select this and edit its Type,
there is the Width, the Height, and the Depth.
| | 09:36 | So even though, we've built this box in
the Conceptual Massing Environment, by
| | 09:40 | doing it this way, you can now create
a situation where the designer can vary
| | 09:46 | the sizes of this box in real time
back in the Project Environment without
| | 09:51 | having to constantly go to Edit
Family and modify it in the Family Editor.
| | 09:56 | So we can certainly introduce
parameters, just like we can in the traditional
| | 10:01 | Family Editor Environment.
| | 10:02 | We just have to be a little bit
more careful about the way we do it and
| | 10:05 | understand how the massing forms
want to flex versus how the traditional
| | 10:11 | forms want to flex.
| | 10:13 | And once you have that understood, then
it's just as easy to control the forms
| | 10:17 | in the massing environment as it
is in the traditional Family Editor.
| | Collapse this transcript |
|
|
2. Using Massing to Design Building FormsImporting a site image| 00:00 | In this movie, we will begin creating
our museum project that we talked about in
| | 00:04 | the Intro chapter to the course.
| | 00:06 | What I have here on screen is a JPEG of
the site that we are going to use for
| | 00:11 | our project, and we got this from Google
Maps and you can see here that we have a
| | 00:15 | fairly large site available to us
with a residential neighborhood up to the
| | 00:21 | north and a little bit more medium
density developments down towards the south.
| | 00:26 | Now when we did our preliminary designs,
we decided that the building is going
| | 00:31 | to go kind of in the center of the map
right here and we are going to do our
| | 00:35 | main entrance with a nice big long
promenade along this direction here.
| | 00:39 | So that raises a couple challenges
that we want to get into right away.
| | 00:43 | The first is we want to create our new
Revit project and we want to bring this
| | 00:47 | image in to our work off of, and
secondly we want to reorient it to match a
| | 00:52 | more convenient orientation for
building the Revit model, but maintain the
| | 00:58 | actual direction of north as we go
along so that later we can do some accurate
| | 01:02 | shadow studies and so on.
| | 01:04 | So let me switch over to Revit.
| | 01:07 | Here in Revit, I have a file called Site.rvt.
| | 01:11 | This is a Revit project file, and we
have actually seen a version of this before
| | 01:15 | in the previous chapter.
| | 01:17 | All I've done here is created a
Toposurface or actually a series of Toposurface
| | 01:22 | objects that match up with that site
plan that we were just looking at, that
| | 01:27 | aerial photograph, so the roads here
match the shape from the map and I literally
| | 01:31 | just traced those over that map
and then here's the topography.
| | 01:35 | The existing buildings are representational.
| | 01:38 | All of this was built
from the aerial photograph.
| | 01:41 | So if I go over here to the Site
plan, you can see there is that aerial
| | 01:45 | photograph we were just looking at, and
I've changed it to Wireframe right here
| | 01:51 | so that we can see through the Topo if
it's set to Hidden Line or something then
| | 01:55 | it covers up everything underneath.
| | 01:56 | So I wanted to be able to see through
it first and you could see here that I
| | 02:01 | have just basically traced over all of
the houses and other buildings around
| | 02:06 | just to give us a sense of the context
in the surrounding neighborhood, and you
| | 02:10 | can see where the roads and the Toposurface
match up to the illustration and so forth.
| | 02:15 | Back here in the 3D View, in the
previous chapter, we talked a little bit about
| | 02:20 | the difference between massing
families versus in-place masses, and these are
| | 02:25 | created just as a simple in-place mass.
| | 02:28 | So if we click on those and we did
Edit In-Place, what you would see is that
| | 02:33 | each of these is just a massing form.
| | 02:36 | If you select it, it's got the control
handles and Create Form, and everything is
| | 02:41 | the same as what we've been
talking about in the previous chapter.
| | 02:44 | So feel free to explore that a
little bit if you like, but all of that
| | 02:48 | I've provided for you.
| | 02:50 | Now I will just say that we will have
an opportunity to talk about how these
| | 02:53 | houses were created a little bit
later on in the course, but here the
| | 02:58 | difference was, if we look at these, I
actually used existing mass families so
| | 03:05 | these gable forms are just existing
mass families that have been brought into
| | 03:08 | create those houses, and I found that a
little bit easier than actually modeling
| | 03:12 | each one of those from scratch.
| | 03:13 | So there's a portion of our museum that
we will look at that we'll be using that
| | 03:17 | same basic technique.
| | 03:19 | Now one last thing that I did here in the
file is I've overridden the default behavior.
| | 03:24 | If you watched the last chapter then
you know that normally you have to click
| | 03:27 | Show Mass in order to see the massing forms.
| | 03:30 | What I did in this view, just this 3D
view, is I went to visibility graphic
| | 03:36 | overrides, which you can find in the
View tab here or the VG is the shortcut,
| | 03:41 | VG, and I scrolled down and I turned
on the massing category all the time.
| | 03:48 | So rather than toggling it on and off
just when I needed it, if this had been
| | 03:52 | turned off, then you would see that
none of those existing neighborhood
| | 03:58 | buildings would show.
| | 03:59 | So I just turned them on all the
time so that we would always see the
| | 04:03 | surrounding neighborhood buildings.
| | 04:05 | So what we want to do is we could start
building up our form as an In-Place mass
| | 04:11 | the same way as the neighborhood was,
but again, if you watch the previous
| | 04:15 | chapter, you know that there are some
pros and cons to doing that and it will be
| | 04:18 | better, we will get more flexibility,
and more control if we actually work
| | 04:23 | directly in the massing environment.
| | 04:25 | So rather than do it as In-Place, we
want to create a whole new massing family.
| | 04:30 | That raises an interesting challenge though.
| | 04:32 | So the first thing that I want to do
is do a new Conceptual Mass, use the
| | 04:36 | Conceptual Mass template and I've got
that file here and then I'm going to
| | 04:42 | switch to Level 1 Floor Plan and zoom
out just a touch, and I need to make this
| | 04:48 | match up to what I have in the other project.
| | 04:52 | The challenge is that we can't
actually copy and paste directly between a
| | 04:57 | project, which is what Site
is, and the new massing family.
| | 05:01 | For example, if we go to the Site
plan, I want to make sure that this
| | 05:05 | orientation that we've configured for
the Site plan matches in the two different
| | 05:11 | views, and in order to do that
I've drawn some lines around here.
| | 05:16 | You could see there is a detail
line here and a detail line here just
| | 05:19 | tracing the rectangle.
| | 05:20 | Now I can select those lines, but if I
do Ctrl+C to copy them, switch back over
| | 05:26 | to my new Family file, and do
Paste either here on Modify > Paste.
| | 05:33 | Usually, you'd want to do it this
way so you could get Paste Aligned.
| | 05:36 | But if I say Paste > Aligned to
Current View, it will complain that I can't
| | 05:41 | copy between projects and families.
| | 05:44 | That's always been a little bit of
a frustration when working in Revit.
| | 05:47 | This is true not just of massing
families, but any kind of family.
| | 05:50 | You can't copy between
the project and the family.
| | 05:53 | So here's the workaround.
| | 05:55 | I'm going to switch back over here to
the Site plan and I need to take these
| | 06:01 | lines and instead of having them in a
project, they need to come from a family.
| | 06:05 | You can copy from family to family.
| | 06:08 | So if I take my massing family that I
have in this other file or create a whole
| | 06:16 | new one, which actually might be a
little bit easier, In-Place mass.
| | 06:20 | When I do In-Place mass, Revit will
say you can't create a mass unless
| | 06:24 | masses are showing.
| | 06:25 | Now you might be saying, well, wait Paul,
you just showed me that you turned on masses.
| | 06:29 | I turned on masses in the 3D view only.
| | 06:31 | Masses are still off everywhere else.
| | 06:33 | So I am going to go ahead and accept
that and Masse 1 is fine, because what I am
| | 06:38 | going to create is totally temporary
massing file and I'm going to simply select
| | 06:44 | a line here and snap to the
corners of this existing JPEG like so.
| | 06:55 | Select that chain, do Ctrl+C, so I'm
copying from an In-Place mass, switch back
| | 07:02 | over here to my family, and now I can
do Paste Aligned to the current view and
| | 07:09 | it won't complain, because I'm
copying and pasting from family to family.
| | 07:13 | So it's kind of a silly little way to do
it, but it works around the problem and
| | 07:16 | it allows me to guarantee that the
orientation of these two things matches.
| | 07:21 | So I want to show you one more thing in
the site file before we continue here.
| | 07:25 | I can just cancel this mass now and discard
it, because I don't really need to keep that.
| | 07:30 | Over here you'll notice that Google Maps
gave me a scale and it tells me how big
| | 07:36 | this is and I've got these
two little lines over here.
| | 07:39 | I use those lines to scale this image
and make sure that it was the correct size.
| | 07:44 | So it says that's 85 meters.
| | 07:47 | So I am going to show you that now.
| | 07:49 | We are going to switch back over here
to our family and go to Insert and I
| | 07:56 | want to insert an image.
| | 07:58 | It's going warn me that the imported image won't be
visible when I load it into Projects, and that's fine.
| | 08:02 | I don't care about it being visible in Projects,
| | 08:05 | I just want to use it for
reference when I build my mass.
| | 08:08 | So that's perfectly fine.
Here's the site file.
| | 08:10 | It's called Site_Ariel.jpeg
and it's in the exercise files.
| | 08:14 | I am going to open that up and for now, I
will just kind of place it off to the side here.
| | 08:18 | You can see there's the
image we were just looking at.
| | 08:21 | Now if I zoom in over here I
know that this represents 85 meters.
| | 08:26 | What I did before was I just drew some lines
right on there to kind of match up to that.
| | 08:34 | It looks like I got to nudge
that one over just a touch.
| | 08:38 | If you zoom in just a little bit more, you can
nudge it a little more precisely. There it is.
| | 08:43 | Remember, you're working on image so
it's only so precise you're going to get it.
| | 08:46 | I am going to select this and
these two lines with the Ctrl key.
| | 08:51 | I am going to go to the Scale
command right here, and you can either scale
| | 08:58 | graphically or numerically.
| | 09:01 | So I am going to do graphically and
I am going to set my first point to
| | 09:05 | somewhere on this line, my next point
on this line, and then I'm going to start
| | 09:11 | moving this way and I don't know if you
can see--let me stretch it over so that
| | 09:15 | it's on the white part of the image.
| | 09:16 | Do you see that dimension right there 191-
6 it says right now? I can type in 85m.
| | 09:23 | If you put an m, it will know that
that means meters, press Enter, zoom back
| | 09:29 | out, and now if I measure the distance
between this line and this line, it's 278
| | 09:38 | feet 10 inches, and if you did
that math, that's about 85 meters.
| | 09:42 | So it's pretty easy to get this
thing scaled to the correct size.
| | 09:47 | I might be slightly off, but we
will check that out in just a minute.
| | 09:51 | The next step is to move it from its
endpoint here and you see how it only wants
| | 09:57 | to move this way or this way?
| | 10:00 | That's because of this
Constrain check box right here.
| | 10:02 | So I am just going to uncheck that.
| | 10:04 | That's going to allow me free range of
motion so I can move it at both X and
| | 10:07 | Y at the same time, and I am going to snap
to that little rectangle that I drew before.
| | 10:12 | If you want, you can move those lines
with it, but it doesn't really matter.
| | 10:16 | I can leave those behind.
| | 10:17 | It doesn't really make
much difference in this case.
| | 10:19 | Let me go to Rotate, the center point of
the rotation starts off in the middle here.
| | 10:25 | I am going to tap the Spacebar.
| | 10:27 | That's going to allow me to relocate it.
| | 10:29 | I'll put it right there at that
endpoint, do my start angle here, and arc it
| | 10:35 | down to there, and now you can
see it's a pretty good match.
| | 10:40 | So I've got this image correctly
scaled to the right size and oriented in
| | 10:47 | the correct location.
| | 10:48 | If you want, you can delete these lines,
and that gets me in the correct general
| | 10:53 | vicinity, oriented the way that
I want to position my building.
| | 10:58 | So now that we have our image all
positioned the way we want it to go, and that
| | 11:02 | gives us a good starting point, we
are ready to move onto the next step,
| | 11:05 | which is to go in and start adding
our levels and any reference planes that
| | 11:09 | we need and building the structure and the
setup for us to start creating our massing forms.
| | 11:14 | We will make that the subject of the next movie.
| | Collapse this transcript |
| Setting up a massing file| 00:00 | In the previous movie, we added a
image file to our massing family here and
| | 00:05 | positioned it to match up to the
site file that we had already provided.
| | 00:09 | We scaled everything, we rotated and got
it oriented, and that gives us a basic
| | 00:13 | starting point for our project.
| | 00:15 | The next thing we want to do is start
deciding what levels and other references
| | 00:20 | we want to have here to work in our massing
environment so we can begin creating form.
| | 00:24 | Currently, we only have
one level called Level 1.
| | 00:27 | So let's go to our 3D View for a moment,
and what you will see here is the image
| | 00:32 | file doesn't actually display in 3D.
| | 00:35 | And that's fine, we can easily switch
back and forth between the Floor Plan and
| | 00:39 | the 3D as necessary.
| | 00:41 | Here in this level what we do see is,
as we discussed in the previous chapter,
| | 00:46 | Levels and Reference
Planes do appear here in 3D.
| | 00:49 | Not only do they appear in 3D, but if I
zoom in, we can actually manipulate them
| | 00:55 | in 3D both the name and the height.
| | 00:58 | You can also do it here in the
Properties palette, and we can also create, over
| | 01:02 | here in the Home tab, new Levels
directly here in the 3D environment.
| | 01:08 | So I want to start off by taking this
first level and either here or here on
| | 01:12 | Properties, changing the name to the Main Level.
| | 01:18 | Now it will ask me if I want to
rename the corresponding views, I am going
| | 01:20 | to Yes, and then over here you are going to
see my Floor Plan is now called Main Level.
| | 01:25 | Now let me go back to the Home tab.
| | 01:27 | I am going to click on the Level
button and you'll see the levels starting to
| | 01:32 | appear here in 3D and I get
a little temporary dimension.
| | 01:35 | And I can watch that dimension and use
that to position where I want the level
| | 01:39 | to go or I can place it, click the
Modify tool to cancel out of there, select
| | 01:44 | it, and then modify the height afterwards.
| | 01:47 | It's probably a little bit easier to
actually watch those dimensions as I go, so
| | 01:52 | let me just pan down slightly here to
give myself a little bit of room, go back
| | 01:56 | to Home, and go to Level, because I
actually want to have a few levels here, so
| | 02:00 | I am going to try and get
these at 20 feet, each of them.
| | 02:04 | So here's 20 feet, and here's the next
one at 20 feet, and the next one, and then
| | 02:14 | I'll cancel out of there.
| | 02:17 | Now I am going to select
each of these and rename them.
| | 02:19 | This is going to be my Second Level and
I will say Yes, my Admin Level, say Yes.
| | 02:30 | This would be the Roof Level, and
finally I have a Tower Level up here.
| | 02:41 | Again, if any of these didn't end up
with the correct height, we could easily
| | 02:44 | modify the dimensions later to
reposition them, and if I zoom back out, you can
| | 02:49 | see that there are all of our levels.
| | 02:51 | Now I also want to add in a couple
Reference Planes that I am going to use to
| | 02:56 | kind of help me get the size of
the overall building form correct.
| | 03:01 | Now I'm pretty sure that I want them
parallel to this reference plane right
| | 03:04 | here, and you can use the View tab here
to help situate yourself, so you can see
| | 03:08 | there's front view and here is top view.
| | 03:10 | So this is pretty much your vertical
Reference Plane, but if I want to be
| | 03:14 | absolutely sure, I can go back to the
Main Level Floor Plan, zoom in, and then
| | 03:20 | work here straight up and down, and
that way I know that I'm drawing them in to
| | 03:24 | correct orientation, but it's really up to you.
| | 03:26 | There is not really a
right or wrong way to do that.
| | 03:28 | So I will go to the Reference Plane
tool over here on the Ribbon, and I'm going
| | 03:32 | to draw--make sure that it's vertical,
so you see there my 90 degree angle.
| | 03:37 | I want to make sure that I am snapping
vertically, click on the dimension here
| | 03:41 | and I'll set that to
whatever number I want it to be.
| | 03:43 | I am going to use 30 feet.
| | 03:44 | I am going to cancel out of there,
select it, and use my Mirror command to
| | 03:51 | mirror over to the other side, so I have
one on each side now, 30 feet and 30 feet.
| | 03:56 | Over here, you could see the
street of the neighborhood.
| | 03:59 | We are going to have part of the
building over here which is going to react to
| | 04:04 | that sort of street scale, that
neighborhood scale, and so we kind of want to
| | 04:08 | match up to that same angle.
| | 04:09 | So the easiest way to kind of figure
out what that angle is, is to draw a line
| | 04:15 | kind of along this street here, and you
can see the dimension that appears there
| | 04:20 | but just to make sure that I got it
right, I am going to draw another little
| | 04:23 | vertical piece, come over here to my
Dimension tool, make sure that I am using
| | 04:28 | Angular Dimension and measure between
these two lines that I have drawn, like
| | 04:34 | so, and if I zoom in, that's 11 degrees.
| | 04:39 | So I can take this stuff and delete it,
so I didn't really need to keep that,
| | 04:44 | zoom back out, and somewhere down here
I want to create another Reference Plane
| | 04:49 | that sort of matches that angle that's going to
help me with the front facade of my building.
| | 04:54 | So I am going to Reference Plane and
I am going to start about along here
| | 05:00 | somewhere, at about 120 feet, I mean,
again this is something that will vary as
| | 05:04 | the design progresses.
| | 05:06 | And watch my angular reference there,
set it at 11 degrees and kind of pull
| | 05:13 | it out over this way.
| | 05:15 | After I have drawn it, if I want, I can
stretch it out to make it a little bit
| | 05:19 | longer, there's my Reference Plane right there.
| | 05:22 | And if I go back to my 3D View, we
can now see that we've got those two
| | 05:27 | Reference Planes here and here, and we
have got that third one there running
| | 05:32 | along at an angle like so.
| | 05:35 | So if I kind of orbit this around a
little bit, you can kind of see the
| | 05:39 | structure that we have.
| | 05:40 | So let's return back to the Main Level
one more time and if you look at what we
| | 05:46 | started with, which was these
original two Reference Planes, and then we've
| | 05:49 | added to it a couple more on
the sides and down along here.
| | 05:53 | The purpose of these additional
Reference Planes is just simply going to help us
| | 05:56 | with the framework to lay out the
overall building form that we are going to
| | 06:00 | begin working on in the next movie.
| | Collapse this transcript |
| Adding basic forms| 00:00 | With all of our Reference Planes and
levels in place, in this movie we will begin
| | 00:04 | massing out the basic building form.
| | 00:06 | In the previous chapter we looked at
several ways that we can approach the
| | 00:09 | creation of forms, but we saw that in
all approaches we use that single Create
| | 00:13 | Form button to generate the 3D forms.
| | 00:15 | In this movie, we will put those
techniques to practice and rough out the overall
| | 00:19 | form of our museum building.
| | 00:21 | So here I am in a project file called
Add Basic Forms, and it's just a version of
| | 00:26 | the one that we've been working on in
the last few movies, and I'm going to use
| | 00:31 | Reference forms to create my forms with.
| | 00:34 | You could use either Model or Reference,
but I tend to prefer Reference forms,
| | 00:38 | because I feel like they
give me a little more control.
| | 00:41 | I like having the reference lines
there to allow me to manipulate the forms
| | 00:44 | after the fact and it gives me
additional Work Planes to work on.
| | 00:48 | So for all those reasons I tend to
prefer the Reference-based forms, but you can
| | 00:52 | certainly use Model-based forms
for many of these options as well.
| | 00:55 | Now, remember that the basic process
is set your Work Plane, draw your shape,
| | 01:00 | and then create form.
| | 01:01 | So for this first object I want my
Work Plane to be this level right here.
| | 01:07 | Main Level, the bottom level.
| | 01:09 | So I am going to select it, and that
sets that as the active Work Plane.
| | 01:12 | Then I am going to come up here and
choose the Reference button to make sure I
| | 01:16 | am getting Reference-based forms.
| | 01:18 | I can verify right here that
Main Level is the placement plane.
| | 01:22 | Then I want the Inscribed Polygon,
because I am going to make a hexagonal shaped
| | 01:26 | building and therefore I want to
make sure that I've got six sides.
| | 01:29 | I'll start right here at the
intersection of these two Reference Planes.
| | 01:34 | I start moving my mouse down along this
Reference Plane and I want 124 feet on the side.
| | 01:41 | So that means that I am going to come
out here to 124 feet and click, and that's
| | 01:47 | going to give me my basic hexagonal form.
| | 01:50 | Now I am going to zoom in just touch
here, click the Modify tool, select the
| | 01:56 | object, and click Create Form.
| | 02:00 | It will ask me, do I want a plane or a
3D form, I am going to choose a 3D form
| | 02:05 | and you'll see that it just
extrudes it up in this case 100 feet.
| | 02:09 | I could click in that dimension and
edit it to do what I want it to be, or I could
| | 02:14 | use the blue grip handle here to
stretch it, and you'll see that it sort of
| | 02:19 | highlights the levels as we go.
| | 02:22 | So if I snap to the Admin Level that
does the same thing as if I clicked in here
| | 02:28 | and made it 40 feet.
| | 02:29 | So I like snapping it wherever possible
since I've built those levels and that
| | 02:34 | will help me do that.
| | 02:35 | For the next form, I actually want to
work right up on top of this surface.
| | 02:40 | I could actually set that surface as
the Work Plane or I could just simply
| | 02:44 | click on the Admin Level.
| | 02:46 | So that's what I am going to do here.
| | 02:48 | And I can work directly here in the 3D
view and create the form, but this form
| | 02:54 | is going to be a little bit more complicated.
| | 02:56 | I kind of want to make this sort of
star form that's based on the hexagon here.
| | 03:01 | So for this one I want to show you that
if it's more convenient for you, you can switch
| | 03:05 | to any view you like.
| | 03:06 | It's still Revit after all.
| | 03:07 | So I'm going to actually go to the
Admin Level floor plan and now I'm seeing
| | 03:13 | just the top of my hexagon.
| | 03:15 | Now you will notice that the
image file does not display here.
| | 03:18 | That's because the image file is
actually in the Main Level floor plan and it
| | 03:22 | only shows in the view
that it was actually added in.
| | 03:24 | So, a little bit cleaner view here to work in.
| | 03:28 | What I want to do is select these
lines here and offset them out into these
| | 03:34 | locations over here.
| | 03:36 | So I can do this with a variety of ways.
| | 03:38 | I can use this Pick Lines feature.
| | 03:40 | So here's my Reference Line command, Pick Lines.
| | 03:44 | I can establish what offset I want.
| | 03:46 | I want 45 feet and then I can
highlight the individual edges.
| | 03:52 | Now if I wanted to offset the entire
hexagon and I have to make sure that I am
| | 03:56 | actually in the drawing window first.
| | 03:58 | So I just sort of clicked in empty
space to do that, and I could press the
| | 04:02 | Tab key and you would see it would
give me the whole hexagon, but I actually
| | 04:06 | just want the one edge.
| | 04:07 | So I am just going to click that.
| | 04:09 | Now, if you few moves subtly from left
to right, it will offset either in or
| | 04:12 | out, and I wanted to go inside.
| | 04:14 | And I'll do it again over
here and again over here.
| | 04:19 | So that gives me that.
| | 04:20 | Now the reason I have these two
Reference Planes here is I want to turn off the
| | 04:26 | offset here, set it back to 0, and
switch to just drawing regular lines, because
| | 04:31 | what I want to do is just draw along
that Reference Plane and snapping to the
| | 04:38 | nearby line, like so.
| | 04:42 | Now at this point I could draw
additional ones here and here.
| | 04:46 | So what I am going to do is
actually select these two lines here.
| | 04:50 | So I am going to kind of click out
here and make a little window to get just
| | 04:55 | those two lines and I can use the
Rotate command in conjunction with this Copy
| | 05:02 | feature and actually rotate
and copy at the same time.
| | 05:07 | Now in order to get it in the right
place over here I need to move the center
| | 05:10 | point of the rotation.
| | 05:12 | You can click the little dot and move
it that way or just tap your spacebar,
| | 05:16 | snap right there and now I'll go from
here and rotate it around to there and you
| | 05:23 | see that makes a copy.
| | 05:24 | Let me repeat that.
| | 05:27 | Tap the spacebar, click
right there, turn on copy.
| | 05:32 | It doesn't remember it.
| | 05:33 | So you've got to remember to turn it
on yourself, and snap it around to there.
| | 05:38 | I'll draw another reference line from
here to here, Escape one time from here to
| | 05:48 | here, Escape one time and
then from here to here.
| | 05:52 | Now had I done at first I could've
rotated those around, not a big deal.
| | 05:58 | I am going to go to Trim and Extend to
a corner, clean this up, clean that up,
| | 06:04 | that up, and all of these.
| | 06:10 | Now I want to actually
create a form from this shape.
| | 06:14 | Normally, I should be able to click
right here and it would chain-select the
| | 06:19 | whole thing, but you'll
notice it's not doing that.
| | 06:22 | As I move around here these things
are highlighting individually. Oops!
| | 06:25 | There is one.
| | 06:26 | So what's going on here?
| | 06:27 | Why are these chain-selecting and these are not?
| | 06:30 | Oh, there, that one is doing it,
and this isn't, it's kind of puzzling.
| | 06:34 | Well, if you click any one of these
objects, Revit sometimes tries to be clever
| | 06:40 | and sometimes it's a little
too clever for its own good.
| | 06:43 | So what you will notice there is
with that line selected, notice what's
| | 06:46 | highlighted in the background, my 3D
form is actually highlighted and you could
| | 06:51 | see here that the host for
that element is the Form Element.
| | 06:55 | Well, actually what I wanted
was it to be the Admin Level.
| | 07:00 | Now if I click this one, it is the Admin Level,
but this one is back to the Form Element.
| | 07:05 | So some of them hosted to the level,
some of them hosted to the form,
| | 07:10 | but before you can chain-select
they all have to be on the same host.
| | 07:14 | Now it doesn't matter if you make them
all the Form Element or all the level,
| | 07:19 | it's just a matter of which one you
want controlling, but since I have created
| | 07:23 | levels that's what I prefer.
| | 07:25 | So what I am going to do is do a Window
selection here, and you can see I'm being
| | 07:29 | careful not to get the overall hexagon.
| | 07:32 | So I'm trying to get just those objects.
| | 07:35 | I will set all of those to the Admin Level.
| | 07:39 | Now be careful, don't start
dragging in here, because you see
| | 07:42 | what's highlighting?
| | 07:43 | If I do that, it'll start trying to drag
that Form Element and I'll get an error.
| | 07:48 | So be careful.
| | 07:49 | I am going to cancel that and I am
going to instead start out here and you see
| | 07:54 | how I'm trying to surround just those lines
and notice I didn't get any part of the hexagon.
| | 07:59 | So sometimes you've got to
be a little clever about this.
| | 08:02 | You just also just your Ctrl key and click
them one at a time, whatever is easier for you.
| | 08:07 | But I am going to make that all Admin
Level and now the whole thing should
| | 08:11 | highlight as a chain.
| | 08:12 | So that's unfortunately a little extra
step that you'll have to do sometimes,
| | 08:16 | but now that I've got all
that selected, I can create form.
| | 08:22 | This is a little tricky if you do it
here in Plan view because it's giving
| | 08:25 | you the two glyphs.
| | 08:26 | Well, if you remember the one on the left-hand
side was a 3D form and the one on
| | 08:31 | the right was a plane, even though here
in Plan view it kind of looks the same.
| | 08:34 | So let me just go to the 3D one.
| | 08:37 | If you get it wrong, it's not a big deal,
because even if it's a plane, you'll
| | 08:42 | still get a blue grip on it and you
will be able to drag it up into a form.
| | 08:47 | So not a big deal but let me drag
that down and snap it to the roof and I
| | 08:53 | now have that form.
| | 08:56 | All right, so here in this movie let's add one
more feature to this main form and that
| | 09:02 | will be--let's jump up to the Roof Level--and we
are going to add a little tower element over here.
| | 09:09 | And we haven't quite decided yet what
shape we want the tower to take on, so for
| | 09:13 | now as a stand-in we will just do a
simple circle and I am going to go right
| | 09:16 | from the center here, snap
out to my Reference Planes.
| | 09:22 | Make sure that this is hosted to, not
the Form Element, but to the Roof Level.
| | 09:29 | This time I will go to 3D.
| | 09:31 | You could see its selected
right there. I'll create form.
| | 09:35 | I do want a cylinder, not a ball.
| | 09:38 | But if you wanted a dome you could choose
the ball, and I'll drag it down and snap
| | 09:42 | it to the Roof Level like so.
| | 09:44 | Now you can even lock these so that
they stay constrained to that Roof Level.
| | 09:48 | That can be helpful if later you
decide to move the Roof Level, you'll see it
| | 09:54 | will take the height of that tower with it.
| | 09:57 | For now I'll just leave it at the 20 feet.
| | 09:59 | We have more to do to mass out our
building form, but this gives us the overall
| | 10:04 | main hub of the museum form there
and you can see that we are leveraging
| | 10:08 | techniques that we've covered in
other places and coupling that with the
| | 10:12 | structure and the form work that we've
set up for this project here, and it's the
| | 10:16 | process of just going through and adding
these various forms and working out the
| | 10:21 | building form as you go and
basically using it as a design tool.
| | 10:25 | So in the next movie we will move
over to the right-hand side where the
| | 10:28 | residential neighborhood is, and we'll
work on that portion of the building.
| | Collapse this transcript |
| Building the annex| 00:00 | In this movie we'll continue working on the
basic building form for our museum project.
| | 00:05 | I'm in a file called Annex, and if you
watched the last movie we massed-out the
| | 00:10 | basic main form of the building.
| | 00:12 | We have an annex over here which
includes a lower gallery space over here and
| | 00:17 | then a slightly taller space,
which will abut up to the residential
| | 00:21 | neighborhood along the street there,
and we want to treat that a little bit
| | 00:25 | differently from the main building.
| | 00:27 | So we're going to use separate forms
initially, in the early design phase, and
| | 00:30 | then as we refine the design, those
forms will take shape and become those
| | 00:34 | various portions of the building.
| | 00:36 | So, to get started I'm going to jump
over here to the Main Level Floor Plan, and
| | 00:41 | as you may recall this is the Floor
Plan where we added the illustration, or the
| | 00:46 | aerial photograph rather, of the site
and I'm going to zoom-in to the area that
| | 00:51 | we want work in right over here.
| | 00:53 | I want to take a quick measurement
from this corner of the building here out
| | 00:57 | to a little before the street to give me an
idea of how much room I have to work with.
| | 01:01 | So, I can get the Measure tool up here
on the Quick Access toolbar or you can
| | 01:05 | also find it on the Modify ribbon right here,
whichever place you want to choose it from.
| | 01:11 | And I'm going to snap right to
the endpoint of the building.
| | 01:15 | Make sure that I'm going parallel to that
Reference Plane that we drew in a previous movie.
| | 01:20 | And allowing for a little bit of
setback here. It looks like I've got about
| | 01:25 | 148 feet to work with.
| | 01:27 | So, that's the number that I'm going
to kind of internalize, and the reason I
| | 01:30 | want to have that number is because at
the moment this aerial photograph is a
| | 01:34 | little distracting, it's kind of a
little tough to draw my sketches.
| | 01:37 | So, I'm going to actually select it,
come down here to the Temporary
| | 01:40 | Hide/Isolate, it looks like little
sunglasses and I'm just going to temporarily
| | 01:45 | hide that photograph from view.
| | 01:47 | And that will make it a little easier
for me to work in this general area here.
| | 01:51 | Now I'm going to work with Reference
Lines like we did in the last movie, and
| | 01:54 | I'm going to just draw one kind of
randomly, but making sure that it's
| | 01:58 | perpendicular to that reference plane.
| | 02:01 | So, I just want to get the angle
correct first, select it, and then I'll go
| | 02:06 | to the Move tool here on the Ribbon,
and pick any point on the Reference
| | 02:11 | Line, midpoint is just as good as any
other, and snap that directly to that
| | 02:15 | endpoint right there.
| | 02:16 | So that will establish
that sort of leading edge.
| | 02:19 | Now it's a little bit short.
| | 02:20 | So I'll do Trim/Extend to a single element.
| | 02:23 | Use this as my boundary edge
and extend that line like so.
| | 02:28 | Now I'm going to select this line,
use my Copy tool and copy it, making sure
| | 02:36 | that I'm going parallel, and
I really want to go parallel.
| | 02:39 | So I'm going to move a little further
and I'll type in that 148 feet that we
| | 02:43 | measured earlier, and that
gives me the far extent over here.
| | 02:47 | Now with it still selected, I'm going
to Copy again and go back in the opposite
| | 02:53 | direction also running parallel.
| | 02:55 | And I'm going to just make up a number
here about 88 feet, and the reason I'm
| | 02:59 | doing that is, again, I said there was
going to be a taller portion of the
| | 03:02 | building with this sort of
low portion connecting the two.
| | 03:05 | So this will be the low portion in here
and the tall portion will be over here.
| | 03:09 | Now, let's go to Reference Line.
| | 03:11 | I'm going to start right here at
this endpoint, draw it over here to this
| | 03:15 | intersection, and keep going straight up
and I'll just try to stop out here somewhere.
| | 03:21 | I'm going to press Escape one time,
because that will break the chain right here,
| | 03:26 | but I'm still in the Reference Line command.
| | 03:28 | And I'm going to draw a second
Reference Line at about 20 feet off the back
| | 03:34 | of the building, just out here somewhere, and
Escape out of there, and click the Modify tool.
| | 03:40 | Now, if I select it I want to
verify that I got the 20 feet there.
| | 03:43 | You can see there's a temporary dimension
right here and it's actually saying 16 feet.
| | 03:47 | So I'm going to click in there and
set that to 20, and again, there's not
| | 03:51 | necessarily anything
special about these numbers.
| | 03:53 | At this early stage of the design,
we're just picking some numbers that we
| | 03:57 | think are going to work pretty good and of
course the design will change as we move along.
| | 04:01 | I'm going to highlight this line down here
and you'll notice it highlights the full chain.
| | 04:06 | So I'm going to press the Tab key to
select just this one, go again to my Copy
| | 04:11 | command, pick my start point, start
moving along this line, and then again choose
| | 04:18 | a number that I want to put in here.
| | 04:19 | I'm going to try 280 feet.
| | 04:21 | That gives me the overall
footprint that I'm looking for.
| | 04:25 | But I now need to use my Trim/Extend
to Corner to clean all this up.
| | 04:29 | So I'll trim this one to this one, and
this guy to this guy, and then what'll
| | 04:36 | happen here is these two lines don't touch.
| | 04:39 | So I use Trim/Extend to a single
element and make that and make that.
| | 04:44 | So now everything should be cleaned
up nicely and you'll notice here when I
| | 04:48 | highlight I get a nice chain of lines and walls.
| | 04:52 | If I wanted one continuous form here
I could just go right to Create Form.
| | 04:56 | But I actually want a separate form in
this space and another form over here.
| | 05:02 | So what I'm going to do is come up
here to the Modify panel again and use my
| | 05:06 | Split tool, and choose
right there and right there.
| | 05:14 | And that will allow me to--if I move
my mouse around a little bit you can see
| | 05:18 | now that I've got a new chain on the
inside, that's the one that I'm going to
| | 05:22 | click, and I can go to Create
Form and I'll get the two glyphs.
| | 05:27 | Now, the one in the left is actually
the 3D form, the one in the right is
| | 05:30 | actually just a plane.
| | 05:32 | You'd see this better in a 3D View,
because I'm here in plane it's kind of
| | 05:35 | showing me both from the top down.
| | 05:36 | Let's say that I chose the
plane maybe accidentally.
| | 05:40 | It's not really that big of a deal
because if you go to the 3D View, here's
| | 05:44 | the plane right here.
| | 05:45 | I can select it and you'll still get
these two little control handles here and
| | 05:49 | I can just simply extrude it after
the fact, and like before it will try and
| | 05:53 | snap to things nearby.
| | 05:55 | I'm going to pull it up kind of in
that middle range there between the two
| | 05:59 | roofs and then click on this
dimension, and instead of this sort of oddball
| | 06:03 | number here, I'll just make that
something in between, a nice 50 feet, a nice
| | 06:07 | round number, and that puts the roof
of this Annex somewhere between the low
| | 06:12 | roof and the high roof.
| | 06:14 | Moving my attention over here I want to
actually extrude this next into a box.
| | 06:20 | So, again, the way you move your mouse,
notice that the outside edge gives me
| | 06:24 | the outer chain, the
inside gives me the inner chain.
| | 06:27 | So just simply moving the mouse around
is going to switch which chain is being selected.
| | 06:32 | So I'm going to select this chain here,
just this box, and click Create Form and
| | 06:37 | it looks like it came out a little odd, right?
| | 06:40 | We actually got a hollowed out form there.
| | 06:43 | So if I investigate, I see that the
reason for that is that I'm not actually
| | 06:48 | closed here at the corner.
| | 06:50 | So let me do Ctrl+Z to undo that.
| | 06:52 | Let me clean up that corner first and
I'm going to do Trim/Extend to Corner,
| | 06:59 | click this guy to this guy, Modify,
| | 07:03 | now I'll select this chain, and this
time when I Create Form I should get the
| | 07:08 | two choices just like we got
before; I can do a plane or a solid.
| | 07:11 | I'll do a solid and let
me orbit it down slightly.
| | 07:16 | Use my blue grip and pull this down
to a more reasonable height like so.
| | 07:22 | So there's our basic Annex form.
| | 07:26 | So at this stage I'm ready to take
my model to the next stage, which is to
| | 07:31 | start running some analysis on this model.
| | 07:34 | We can actually load it into a project
and calculate square footage and run some
| | 07:38 | preliminary energy analyses and
some other kinds of studies for it.
| | 07:43 | And so that'll be a good way to tell
our designers how we're progressing and
| | 07:47 | give us information that we need to
make design decisions moving forward.
| | 07:50 | And so we'll start looking at some
of those features in the next couple
| | 07:53 | of movies.
| | Collapse this transcript |
| Cutting mass floors| 00:00 | Most jurisdictions have zoning
requirements to define floor area ratios, height
| | 00:04 | restrictions, natural
lighting minimums and much more.
| | 00:07 | One of the earliest tasks that a
designer must do, therefore, is determine how
| | 00:10 | closely their proposed design is achieving
these program requirements and code requirements.
| | 00:16 | In this movie, we'll take our
massing study that we begun in the last few
| | 00:19 | movies and begin performing a pro
forma study to analyze how our design fares
| | 00:24 | against these requirements.
| | 00:26 | So what I have on screen is actually two files.
| | 00:28 | I have the SAMOCA_V1 Family file.
| | 00:33 | This is a completed version of the
massing study that we performed over the
| | 00:37 | last few movies, and on the right-hand
side I have Proforma.rvt, which is a
| | 00:42 | project file, which we've seen before which
includes the surrounding neighboring buildings.
| | 00:48 | So what we're going to do is, starting
over here in the Family file the SAMOCA
| | 00:51 | V1, is we're going to make sure that's
the active window and then come up here
| | 00:56 | on the Ribbon and click Load into Project.
| | 01:00 | And when I do that it will switch the
active window and because it's a massing
| | 01:05 | file, as it's prompted us in the past, it
will remind us that in order to see this
| | 01:09 | file, we need to enable the Show Mass mode.
| | 01:12 | So this message is probably not
the first time you've seen this.
| | 01:15 | We'll go ahead and click Close and accept that.
| | 01:18 | And then the next challenge we run into
is the sorry, you can't place this, and
| | 01:23 | that's because up here on the Ribbon, the
default Placement option is Place it on a Face.
| | 01:28 | So if you wanted to place your
building on the roof of the nearby buildings
| | 01:32 | you'd have no problem, but to place it out
here on the site, little bit more of an issue.
| | 01:37 | So we're going to switch to the Place
on Work Plane, and then verify that our
| | 01:43 | Work Plane that we desire is chosen
over here, so our Main Level will work just
| | 01:48 | fine, and if you wanted to you could
actually rotate it after placement.
| | 01:52 | We're not going to do that.
| | 01:53 | And then you can see that we're able to
place it wherever we want to go and it
| | 01:57 | goes right about here.
| | 01:59 | But to get that a little more fine-
tuned I think it would be better for us to
| | 02:04 | take a look in the Plane
View rather than the 3D here.
| | 02:07 | So I'm going to double-click the
Main Level Floor Plan and let's go ahead
| | 02:12 | and maximize this up.
| | 02:14 | And as you can see we're only seeing
the neighboring buildings but we're not
| | 02:18 | actually seeing any of the site, so that
image file that we had loaded in is not
| | 02:23 | loaded into this particular project.
| | 02:25 | However, we can go to our Visibility/
Graphics VG, and scroll down and you'll
| | 02:35 | notice that Topography is
actually turned off in this view.
| | 02:39 | So it's turned off in the Floor Plan
and I'm just going to temporarily turn
| | 02:42 | that on, click OK, and then you'll see
my topo, which has the roads over here and
| | 02:49 | over here, and that will make it
possible for me to zoom in a little bit, and you
| | 02:56 | know kind of fine-tune the
placement of this building.
| | 03:00 | There are actually some Reference Planes there.
| | 03:02 | So you look at those and you go, hmm okay,
well, maybe we can make use of that.
| | 03:07 | So you notice that there is a Reference
Plane that's highlighting here and here.
| | 03:12 | So what I'm going to do instead is
I'm actually going to use my Align tool,
| | 03:17 | because down the middle of this hexagon in
the family file, we had two Reference Planes.
| | 03:23 | So all I have to do is select this
one, the Align tool, and select this
| | 03:28 | Reference Plane as the reference for
alignment, and then line that up with
| | 03:33 | this Reference Plane, which is inside
the SAMOCA file, and do the same thing
| | 03:38 | in the other direction.
| | 03:40 | And there's one there and this one here.
| | 03:43 | I want the one down the center.
| | 03:44 | Actually it looks pretty close. Let me do this.
| | 03:50 | Usually, it's a better idea to drag it
over so you can make sure that you're
| | 03:56 | getting the right one.
| | 03:57 | So because we have one, two, three
Reference Planes inside that file.
| | 04:03 | I want to make sure I'm
getting the one in the middle.
| | 04:05 | So that's why I slid it over first.
| | 04:07 | Okay, so now it's positioned pretty
much centered on where I intended it.
| | 04:11 | You can kind of see now that this
leading edge of the building kind of
| | 04:14 | follows the line of the fronts of
these houses, so that was kind of what the
| | 04:18 | designer had in mind.
| | 04:19 | The building sits here, we're going
to enter the building from over here.
| | 04:23 | So we're pretty good.
| | 04:23 | So now I'm going to return back to my 3D View.
| | 04:28 | So you'll notice that the mass is
this transparent material that's just the
| | 04:33 | default material that gets assigned
to masses and that's actually going to
| | 04:37 | be helpful in the next step because
what we're going to do now is create
| | 04:40 | what we call Mass Floors.
| | 04:43 | And Mass Floors are going to slice
through the model at the heights of the floor
| | 04:48 | levels and they are going to be this
also transparent bluish color, but we will
| | 04:52 | be able to see them through the building.
| | 04:54 | So that's why having it be
semitransparent like this is actually helpful.
| | 04:57 | So I'm going to select the building,
and then up here on the Ribbon I'm going
| | 05:02 | to get Mass Floors.
| | 05:04 | So I just click on that and the list of
levels that are currently in my project
| | 05:10 | will appear, and you'll notice that we've
got the same levels here in the project
| | 05:14 | that were in the original massing file.
| | 05:17 | And I want to create a floor at the
Admin Level, the Main Level, the Second
| | 05:22 | Level and even at the Roof Level
because this little Tower element right here--
| | 05:27 | I can create kind of a floor right there at the
bottom of the Tower, which is where the roof is.
| | 05:32 | Now, if I wanted a floor at the top of
the Tower I could choose that one too but
| | 05:36 | I'm actually going to leave that one unchecked.
| | 05:37 | I'm going to click OK, and you'll see
this sort of bluish purple color planes
| | 05:43 | that are cutting all the way through
the building here, and let me go ahead and
| | 05:46 | select it and hold my Shift key and
drag my wheel and kind of orbit this
| | 05:50 | little so you can see.
| | 05:51 | You see there, the little circular
plane floating there and then this other one
| | 05:56 | up in the upper level.
| | 05:57 | So we've actually got these floors
slicing through here at the various levels.
| | 06:04 | You can go to the View tab, you can
create a new Schedule and you can create
| | 06:09 | a schedule from Mass Floors, then you go
to Next, you add your fields and so forth.
| | 06:16 | I'm going to cancel that because here
in the file I've already created a Mass
| | 06:21 | Floor Schedule for us and it's pretty simple.
| | 06:23 | If I just double-click it, you'll see there's
just a Mark, a Floor Perimeter and a Floor Area.
| | 06:28 | Now, the Mark is not filled in but you
can see that the Perimeter and the Floor
| | 06:32 | Area are coming automatically from
those slices that we've just cut through and
| | 06:37 | we can tell here at a glance how much
square footage there is on each floor, and
| | 06:42 | the total square footage for
the entire proposed building.
| | 06:45 | So we currently have about 268,000 square feet.
| | 06:49 | So now we can take that number, go
back to our designers, compare it against
| | 06:52 | the zoning requirements, and so on, and make
decisions about how that impacts the design.
| | 06:57 | So that's all there is to taking
your mass model and bringing it into your
| | 07:05 | project file, loading it in, selecting
it, clicking on Create Mass Floors, do a
| | 07:11 | quick schedule and you get a really good
sense of how much square footage you're
| | 07:15 | building is taking up on each of its floors.
| | 07:19 | So one of the main benefits of
creating massing models is they can allow us to
| | 07:22 | quickly answer many early
design questions in a very fluid way.
| | 07:26 | Masses give us an overall sense of the
building form, but do not burden us
| | 07:29 | unnecessarily with the
specifics of construction.
| | 07:32 | From these simple mass forms we can
extract the square footage and compare those
| | 07:36 | against the programmatic and
building code requirements.
| | 07:39 | We can also run basic energy
analysis and that will be the subject of the
| | 07:43 | next movie.
| | Collapse this transcript |
| Performing an energy analysis| 00:00 | In the last movie we took our mass
model, we brought it into the project file,
| | 00:03 | positioned it on the site and created
mass floors to give ourselves a rough idea
| | 00:08 | what square footage is of the building.
| | 00:10 | In this movie we are going to take it
little bit further and actually perform a
| | 00:13 | preliminary energy analysis on the building.
| | 00:16 | Now I should say that energy analysis
could be the topic of an entire course.
| | 00:20 | We are just going to do a quick
introduction to the process here.
| | 00:23 | So I should also mention that in order
to use this feature you have to have a
| | 00:26 | subscription with Autodesk.
| | 00:27 | And your login will be required.
| | 00:29 | So I have here on screen a file called
Energy Model and this is just simply a
| | 00:33 | copy of the file that we
ended with in the last movie.
| | 00:36 | So the first thing I am going to do
is actually sign in to my account.
| | 00:39 | Now I can do that directly from the Revit
interface up here at the top of the screen.
| | 00:44 | So you'll see that there's
a Sign In button right here.
| | 00:47 | And it says Autodesk Online Services,
and I will click that, choose Sign In
| | 00:52 | and put in my username.
| | 00:56 | And then my Password, and
then I will click Sign In.
| | 01:02 | Okay, so now I am signed in.
| | 01:03 | And the next thing that I want to do
is click over here on the Analyze tab.
| | 01:08 | And there is only a few buttons
here so that makes it pretty simple.
| | 01:11 | And I am going to click the Energy
Settings button first, the one in the middle.
| | 01:16 | Now there's a whole bunch of settings
here and I'm not going to go through each
| | 01:20 | and every one, but I'm just going to
set a few basic parameters that are
| | 01:22 | necessary to at least get some useful results.
| | 01:25 | And the first one is
going to be the Building Type.
| | 01:28 | You scroll through this list;
| | 01:29 | you will see there are all sorts
of standard building types in here.
| | 01:32 | And right above the default
which is Office is Museum.
| | 01:36 | So since we are working on a
Museum we are going to choose that.
| | 01:40 | The Ground Plane is at our main level, but
you can see all of our levels are listed.
| | 01:44 | And the Location, it says default
initially, well the default location in
| | 01:50 | Revit and let me widen the screen here
a little bit when it loads up, because
| | 01:55 | you can see it's very difficult to
actually see the map here, so let's make
| | 02:00 | that a little bit larger.
| | 02:02 | You could see that the default
location is Boston, Massachusetts.
| | 02:07 | Well we are in Southern
California here for our museum.
| | 02:09 | So what I am going to do is type
in Ventura, CA and do a search.
| | 02:18 | And it will take me there.
| | 02:20 | Now if you know the exact address of
your project or the latitude and longitude,
| | 02:25 | you can type those in instead, in this
case I am going to just get it in the
| | 02:28 | general area that we plan this on.
| | 02:30 | And then over here there
are weather stations listed.
| | 02:33 | So you probably want to
choose one that's close by.
| | 02:35 | So I am going to choose that one
right there. And I'll click OK.
| | 02:40 | And that sets the location, and you
are going to get a more accurate energy
| | 02:43 | analysis if you've got
the proper location chosen.
| | 02:46 | Is it New Construction, Sliver Space,
it's actually looking at your 3D model and
| | 02:51 | it's looking for a Tolerance, if the
faces don't line up exactly so it defaults
| | 02:56 | to 1 foot. I am going to start with that.
| | 02:57 | And I am going to really leave all the
other settings the way they are, but I do
| | 03:01 | want to create an Energy Model.
| | 03:03 | So I am going to check that box and I am
going to accept all the defaults, click OK.
| | 03:07 | And it'll tell me if it found any problems.
| | 03:12 | So it found an overlap between some of
the solids and they are going to merge
| | 03:15 | them together, so it's actually--I am going
to merge in some of the forms of my building.
| | 03:20 | And you can already see that it's kind of
changed the way that the building looks.
| | 03:26 | So there's like this perimeter zone
that's been defined all the way around the
| | 03:30 | exterior, because you will get
different energy requirements for the exterior
| | 03:34 | shell than you do for the inner cores.
| | 03:35 | And then similarly it's kind of
divided up the outside surfaces and so on.
| | 03:41 | Let's go on to Analyze Model.
| | 03:45 | Because this is the first time I'm
running it I have to accept the terms.
| | 03:51 | Please read them carefully, and then I
can give my energy analysis a name and
| | 03:56 | I'll call this SAMOCA_V1, and then we
just wait for the analysis to complete.
| | 04:03 | So it's doing all this up in the cloud in
the background and you can continue working.
| | 04:07 | And when it's done, you can click
the Results & Compare button and see.
| | 04:12 | Now if I click that right now, it's
going to tell me that it's still processing
| | 04:15 | and it's at 35%, well now it's at
42% so it's moving pretty quickly.
| | 04:20 | But we do have to wait
for it to finish processing.
| | 04:23 | And so basically we can continue our work in
the model and come back and check it later.
| | 04:27 | So let me come back and check my results here.
| | 04:30 | You could see that the results have
finished, it's listed over here.
| | 04:33 | We got a little thumbnail preview of the result.
| | 04:37 | And if I scroll down, I get some
basic performance factors at the top,
| | 04:42 | different kinds of the information
here of renewable energy, lifecycle costs
| | 04:48 | and lots of tables and graphs, which are
showing me the annual cost, the fuel
| | 04:53 | usage, monthly heating loads,
cooling loads, fuel consumption, energy
| | 05:00 | consumption and so on.
| | 05:01 | Even wind roses; this was based on
those locations that we indicated, the
| | 05:05 | Ventura CA and that
weather station that we chose.
| | 05:09 | So lots of data that we can take back
to our designers and use as a basis to
| | 05:15 | possibly make changes to the design
in order to achieve more efficiency.
| | 05:18 | So that's a really basic
overview of the process.
| | 05:21 | As I said, we could do an
entire course on energy modeling.
| | 05:24 | There are lots of resources online both
at autodesk.com and a lot of the other
| | 05:29 | sites devoted to Revit.
| | 05:30 | So I encourage you start at
Autodesk and look for the tutorials and the
| | 05:35 | information resources that are there.
| | 05:37 | And then may be just do a Google search
and see what's up online at some of the
| | 05:40 | various sites, but there are lots
of resources devoted to this topic.
| | 05:43 | Once we take that information back
to our designers they may decide that
| | 05:47 | they want to start making some
changes and then rerun the analysis to see
| | 05:50 | what the results are.
| | 05:52 | So if I scroll down here on the
Project browser, you'll notice that under
| | 05:57 | Families, right here is all the
families in the project, there is a Mass
| | 06:01 | category, right there.
| | 06:03 | And if I expand that, here's my Mass model.
| | 06:05 | So I can expand that out, right-click
right here and choose Edit and that will
| | 06:10 | take me back to my Massing Family, I am
going to expand the Views here and go to
| | 06:17 | my Axonometric View instead of a
Camera View that they started off in there.
| | 06:21 | And maybe I want to make some changes here.
| | 06:23 | So perhaps let's just make a fairly
simple change, perhaps we wanted to explore
| | 06:27 | what would happen if this tower was much taller.
| | 06:30 | Let's try something like 120 feet, and
perhaps likewise with this tower we want
| | 06:36 | to try making that a little bit taller.
| | 06:38 | Now it was constrained to that top level,
so I'm going to remove that constraint
| | 06:43 | to allow me to make it higher.
| | 06:45 | Now both of those changes should
have some impact on the overall energy
| | 06:50 | model, but I want to do one other
quick change here that will also have an
| | 06:54 | impact possibly on the energy model, but
actually also on our square footage calculation.
| | 06:59 | Actually let's do it a run this
side where it's a little more obvious.
| | 07:02 | And that is to just sort of take this
Reference Line and I am going to kind
| | 07:06 | of pull it out here.
| | 07:07 | Now I realize that we are
crashing into the street.
| | 07:09 | So this is more proof of concept
than it is an actual change, okay.
| | 07:13 | But I'm going to pull it out there and
you could see that's now a lot larger, so
| | 07:16 | we have made this annex of the
building considerably bigger.
| | 07:19 | That should have an impact on our
square footage and it should also have an
| | 07:22 | impact on our energy model.
| | 07:23 | So I am going to reload this back into
my project and it will tell me that it
| | 07:28 | already exists, and I am going to
overwrite that existing version.
| | 07:34 | And you can see that everything
got significantly larger here.
| | 07:37 | And now what I am going to
do is analyze the model again.
| | 07:42 | And I'll call this SAMOCA_V2.
| | 07:47 | And then we will wait for that to process.
| | 07:48 | All right, so let's check the results
and you could see now that I have two sets
| | 07:53 | of results here, here's our
original V1, here is our V2.
| | 07:56 | And you could scroll through them
individually and look at all the charts and
| | 07:59 | numbers or you can actually hold down
the Ctrl key and select both together and
| | 08:05 | click on this Compare.
| | 08:07 | You kind of see things refresh over here.
| | 08:08 | Well, you've got to make this window
little bit wider and then you'll see all of
| | 08:16 | the results listed side-by-side.
| | 08:18 | Now if you have a wide enough
monitor you can actually do this without a
| | 08:21 | scrollbar, but it gives you the
general idea and we can start to see some
| | 08:26 | differences in the numbers
as we scroll through here.
| | 08:31 | Some of the numbers are going to be
unchanged particularly things like the wind
| | 08:34 | roses and so forth, because we
are still in the same location.
| | 08:36 | So we wouldn't expect to see any
change here, but for the actual amount of
| | 08:42 | fuel usage and the amount of energy consumption
you should expect to see some differences here.
| | 08:47 | You know they are not dramatically
different, but certainly some numbers for us
| | 08:51 | to take these comparisons back to our
designers and our clients and talk about
| | 08:55 | which way we want to go with the design.
| | 08:57 | And we are going to assume for the
sake of argument that this new design,
| | 09:01 | particularly since it encroaches on the
street, is probably not the best choice.
| | 09:05 | So we are probably going to go
back to something that's closer to V1.
| | 09:08 | But that gives you some idea of how
those energy numbers can be used to help you
| | 09:11 | make those decisions.
| | 09:12 | Now just real quickly here, let me jump
back down to my Mass Floor Schedule and
| | 09:17 | if you recall in the previous movie,
that we were at about 280 square feet.
| | 09:21 | But you could now see that the result
of these changes as we've added a pretty
| | 09:25 | significant amount of square footage.
| | 09:27 | So that's another talking point that we can
take back to our design team to make decisions.
| | 09:32 | So in the next movie what we are going
to do is taking some of that data and
| | 09:36 | refining the design.
| | Collapse this transcript |
| Modifying building forms| 00:00 | As a design progresses you will
get feedback from various sources.
| | 00:03 | Your client may have requests. You
may have to react to site conditions, or
| | 00:07 | your energy analysis, or other code
requirements might indicate changes that need to be made.
| | 00:12 | The Conceptual Massing Environment
allows you to make many edits and receive
| | 00:16 | immediate and fluid feedback as you work.
| | 00:18 | In this movie we will take our
conceptual building form that we have been
| | 00:21 | working in the last several movies,
and we will make some modifications.
| | 00:24 | Now here I have a version of the file that
we have been working on in last few movies.
| | 00:28 | This is the Massing file, again we are
back in the Massing Family Editor, and it's
| | 00:32 | called Modified Building forms.
| | 00:34 | It's the same basic model that we
started with, with the simple addition of a
| | 00:39 | Void Form right in this
general area, right there.
| | 00:43 | So I've got a couple Void Forms just
in this area, because one of the changes
| | 00:47 | that we want to consider is
creating an outdoor sculpture garden.
| | 00:50 | Another change that we want to
consider is a different form for the tower and
| | 00:54 | finally this block that we had over
here is really more of a stand-in for a
| | 00:59 | future development of townhouse facades
that are going to come later.
| | 01:02 | So we are going to look at those three
areas of the design here, right now and
| | 01:06 | we'll start with the building Tower.
| | 01:09 | So I am going to go up to the Roof Level and
I am going to zoom in on the Tower element.
| | 01:15 | I am going to select it;
| | 01:16 | I am going to delete that Tower element.
| | 01:18 | Now we have decided that instead of a
round tower we want to do something a
| | 01:21 | little more square in form, and we
want to pick up some of the lines of the
| | 01:27 | existing triangular forms
that we already have here.
| | 01:29 | So I want to start by choosing a
Reference Line and I want to place that
| | 01:33 | Reference Line here in the Roof
Level and I will just a simple line.
| | 01:37 | And I'll pick the midpoint there and
run it across to the midpoint here.
| | 01:44 | Now you can see that I am
having a little difficulty.
| | 01:47 | If you have a hard time getting the
midpoint you can use your keyboard shortcut
| | 01:51 | for midpoint which is S+M, and then
that will make it a little easier to force
| | 01:56 | it to snap to the midpoint.
| | 01:58 | I am going to click to Modify, I am
going to select this line and I want to
| | 02:01 | verify that the host is in fact the Roof Level.
| | 02:04 | Because you saw that it was
highlighting the top of the form element.
| | 02:07 | So sometimes it tries to
host itself to the form instead.
| | 02:10 | Now, you may recall in the previous
chapter that we actually said that Reference
| | 02:14 | Lines could become hosts for other elements.
| | 02:16 | So what we want to do next is, I want
to use the Set Work Plane option, pick a
| | 02:22 | Plane, click OK and I want to highlight
this Reference Line and make it the host
| | 02:29 | for the next set of geometry.
| | 02:31 | And that next of geometry is
going to be Reference Lines again.
| | 02:35 | And I will draw some lines here
running perpendicular and parallel to
| | 02:41 | the existing line.
| | 02:43 | Now I am going to select this one and
stretch it out a little bit and like so.
| | 02:50 | Now, I want to control all this
in a more parametric kind of way.
| | 02:54 | Remember, this is the Family Editor,
so we can add constraints, we can add
| | 02:58 | parameters and so on.
| | 03:00 | I want to make sure that this Reference Line
stays in the center of the top Work Plane here.
| | 03:06 | So I am going to choose an Aligned
Dimension, and I don't want the Form Element,
| | 03:10 | so I am going to press Tab until I get
the Reference Line underneath, and then
| | 03:17 | go to this Reference Line and then again
press Tab over here, you see it says Form Element.
| | 03:21 | Now I want it to say Reference Line,
to get that Reference Line underneath.
| | 03:25 | And even though we snap to the
midpoint I am going to toggle on this equal to
| | 03:29 | make sure that that stays equal.
| | 03:31 | The next thing I want to do is take
this line right here using my Tab key,
| | 03:37 | and mirror it to the other side, like so.
| | 03:43 | I use my Trim and Extend to
a corner to clean that up.
| | 03:49 | Select this one with the tab;
| | 03:52 | mirror it from the
midpoint of that line, like so.
| | 03:59 | So that I have a nice rectangular form
right there, and now I want to set that up
| | 04:03 | parametrically as well.
| | 04:05 | So I want to go from here to here, from
here to here, and then finally I want to
| | 04:12 | keep it centered on its Reference Line.
| | 04:15 | So I am going to go from here to here, to here.
| | 04:18 | Now, that one needs to be equal/equal.
| | 04:20 | You may be wondering why we need
both an equal/equal here and here.
| | 04:24 | Well this one keeps the host line
right down the center, but this second one
| | 04:30 | keeps all of this centered.
| | 04:32 | Now at this point, if I were to do
this you see what happens to my rectangle.
| | 04:38 | Now of course the dimensions are doing
some really wonky things, but notice that
| | 04:42 | the angle of that rectangle is
staying all centered and so forth.
| | 04:46 | Now this dimension became invalid when
I did that, so I am going to cancel this
| | 04:50 | because I just wanted you to see
that this was actually hosted on this.
| | 04:55 | But what that allows us to do is if
this overall form out here changes shape,
| | 05:00 | the tower will always stay in the
center, that's what I am looking for there.
| | 05:04 | Now here, I want to take this
dimension and label it with a parameter, and I
| | 05:10 | am going to call this Tower W for width. I
want to make that a Type parameter and click OK.
| | 05:18 | And then this one, add a parameter,
Tower Length, make that a Type parameter.
| | 05:28 | Now I can go to Family Types and I
can flex these to anything I want.
| | 05:32 | So maybe I want the width to be, let's
do about 58 feet, and the length there to
| | 05:37 | be may be about 40 feet, and let's click
Apply and you can see that those changes
| | 05:42 | are taking place there.
| | 05:44 | So now what happens is if I select this
and Create Form and I'll choose the one
| | 05:50 | on the left which I know is the
3D form, let's go look at it in 3D.
| | 05:54 | Okay, you see I have a nice square tower
there, but because all these parameters
| | 06:00 | are established on there I can go in
and change those numbers, let's try 40 and
| | 06:07 | 50, and click Apply and the size of
my tower will change to react to that.
| | 06:13 | I am going to go back to 58x44.
| | 06:18 | And then one more thing I am going to
select this and toggle this on right
| | 06:22 | here and deselect it.
| | 06:25 | And I am going to make that a parameter as
well, and call that Tower H for the height.
| | 06:33 | And so now I can flex that one as well and
let's make a tower a little bit taller there.
| | 06:40 | So I now have a fully parametric tower
and we've also changed the shape of it.
| | 06:45 | So instead of it being
round it's more rectangular.
| | 06:48 | Over here, I provided the voids already
ready as I noted at the start of the movie.
| | 06:52 | So we have a Void Form right
here and we want to actually start carving
| | 06:57 | away from this annex over here and
turning it into more of an outdoor sculpture
| | 07:02 | garden in that area.
| | 07:03 | So there are actually two voids in
this area, so we can't see the second one
| | 07:07 | because it's buried inside.
| | 07:08 | So I am going to take this first one here
and I am going to use the Cut Geometry tool.
| | 07:14 | So when I click on that, it asks me
to select the solid geometry to be cut
| | 07:20 | that's going to be this guy.
| | 07:21 | And then to select the object that's going to
do the cutting and that's going to this guy.
| | 07:26 | And you can see that that sort of carves away.
| | 07:28 | Now you get this other effect over here
because that's actually the hexagon form
| | 07:33 | that's now been revealed when
we carved away from this form.
| | 07:37 | But if you notice if I highlight this
form the void did cut away the part that
| | 07:41 | overlaps the hexagon.
| | 07:42 | But we get this sort of
interesting form that happens in there.
| | 07:45 | But now we have a roof down here, well
I actually want to cut it again and you
| | 07:49 | can kind of see this second form here.
| | 07:51 | So I am going to pick it a second time,
the Cut Geometry tool remained active.
| | 07:56 | And then pick the second void object
and now you can see that I sort of have
| | 08:00 | this double tiered void carving away and
leaving behind this little like wall right here.
| | 08:06 | If I go to the Main Level, that wall
area right there kind of tapers, it's got
| | 08:12 | this width to it, because right now the
shape is following exactly along this
| | 08:18 | straight line right here.
| | 08:20 | So I am going to go to my Split tool,
right here, and I am going to find that
| | 08:25 | Vertical Reference Line and
split it right at this point.
| | 08:28 | And when I do that, that'll give me
these as two separate Reference Lines now,
| | 08:33 | which is good because I
can change the shape of this.
| | 08:35 | But you'll notice that
something has happened over here.
| | 08:37 | What actually happened is as soon as
I split that Reference Line these are
| | 08:41 | reference-based forms, which means
that the overall form has actually just
| | 08:46 | changed and it's affected the way
that the void was being applied to it.
| | 08:52 | So we'll have to fix
that after we are done here.
| | 08:54 | So I am going to click my Modify tool to
get out of the Split tool and I'm going
| | 08:59 | to select this Reference Line right here,
that gives me this little grip, and I am
| | 09:04 | just going to drag it back along this
line right here until it intersects with
| | 09:10 | the point right there.
| | 09:12 | And you can kind of see that it's now
parallel to there, it stays lined up with
| | 09:16 | this Reference plane and it
more closely matches that angle.
| | 09:20 | Now let's go back to 3D to see what happened.
| | 09:23 | Notice that if I deselect everything here that
this form element actually went a little haywire.
| | 09:29 | Let me select something here.
| | 09:31 | It kind of turned itself into just
planes instead of an actual form and that's
| | 09:37 | just simply because this Reference Line changed.
| | 09:39 | So what I am going to do is delete
this that I have selected, when I orbit around
| | 09:46 | you can kind of see.
| | 09:47 | I can reselect this--make
sure you are getting right one.
| | 09:51 | If I move my mouse it changes
which chain is being selected.
| | 09:54 | So I want that inner chain of lines
that goes all the way around the form.
| | 09:58 | Let me orbit around to show you.
| | 10:00 | All right, so it goes all the way
around in the inside of this form here.
| | 10:06 | I am going to re-create that form, do
the 3D, change the height back to 50
| | 10:12 | feet, and then this just gives us a
little bit of extra practice here with
| | 10:17 | applying the Void Forms.
| | 10:20 | We will do Cut Geometry, select this,
pick the void, Cut Geometry again, pick
| | 10:26 | this and select the void and then
we are back to where we started from.
| | 10:32 | So now we have our little
sculpture garden carved away.
| | 10:36 | And the last thing that we want to do
here is we are actually going to select
| | 10:40 | this form and delete it.
| | 10:43 | Because in the next movie we're going
to talk about how we are going to create
| | 10:48 | the townhouse facades there in a
little bit more of a sculptural kind of way.
| | 10:52 | So rather than being one big old block
of material, they're actually going to
| | 10:57 | look like several small town houses that
are all kind of attached to one another
| | 11:01 | along the street front there.
| | 11:02 | So for now we'll just delete that from
our form, we will save what we have here.
| | 11:06 | And in the next movie we will
look at the townhouse facades.
| | Collapse this transcript |
| Laying out a floor plan| 00:00 | So as we continue to refine our design,
I want to look at a couple of different
| | 00:03 | approaches to the way
that we've built form so far.
| | 00:06 | Sometimes you can actually create your
forms from a series of building blocks
| | 00:10 | that you already have,
sort of pre-made families.
| | 00:13 | When doing that, it's often useful to
have some reference geometry to work from
| | 00:17 | so that you can get things in the correct place.
| | 00:20 | So in this movie we are actually going
to create that reference geometry and
| | 00:24 | then in the next we are going to work
from those building blocks or those forms.
| | 00:28 | Now what I have on screen here is just
a file that we ended with in the last
| | 00:31 | movie where if you watched that movie you
recall we deleted the large block over
| | 00:36 | here that was a budding up to
the residential neighborhood.
| | 00:39 | So let's pretend that the residential
neighborhood association complained about
| | 00:44 | the scale of our building.
| | 00:46 | They weren't too happy about having
this very large edifice budding up to all
| | 00:49 | their residential structures.
| | 00:51 | The design team has gone back and
looked for a solution on how to satisfy that
| | 00:55 | group and still maintain the design that
they were trying to maintain the square
| | 00:59 | footage and the other requirements.
| | 01:01 | And they have come up with this idea of
doing a series of townhouse like facades
| | 01:05 | that butt up against the
residential neighborhood, but is a little more
| | 01:08 | sensitive to the style and
the architecture they are in.
| | 01:12 | This is the backdrop or the scenario
that we are going to use in looking at
| | 01:15 | these two new techniques.
| | 01:17 | To get myself started here, I'm
going to actually borrow this series of
| | 01:22 | Reference Lines right here.
| | 01:24 | So make sure I'm getting just that
rectangular form and I am going to go up to
| | 01:29 | Copy to Clipboard or do Ctrl+C and
copy those items out of this file.
| | 01:36 | Then I want to go to the Application menu,
go to New and choose a new Conceptual
| | 01:41 | Mass family using the Mass Template.
| | 01:45 | And go back to Modify and
paste Aligned to Selected Level.
| | 01:52 | Now this is going to be important.
| | 01:54 | Even though the level doesn't have
the same name it's just called Level 1
| | 01:56 | because it's a default, the Align 2 is
the important thing because as you can
| | 02:01 | see, that rectangle came in at the
same relative location to the insertion
| | 02:06 | point where it came from.
| | 02:07 | And this is going to be important to keep
everything lined up when we pull them together.
| | 02:10 | Sometimes it's easier when you're
doing a design iteration to actually work
| | 02:14 | off in a separate file.
| | 02:15 | You can do this because you are not sure
if you like it yet, you can because you
| | 02:19 | want to have two people working
together on the team at the same time.
| | 02:22 | And then later when you pull them
together, you want them to have the same
| | 02:25 | insertion points so that
everything comes in, in the right spot.
| | 02:28 | Now I'm going to jump over to the
Level 1 Floor Plan, and it may not be that
| | 02:33 | convenient to actually work at this orientation.
| | 02:36 | There's another neat trick that we can
do here, where I can toggle on down here
| | 02:41 | on the View Control bar, the Crop region.
| | 02:44 | And you can see it right there
the crop region of this floor plan.
| | 02:48 | Now I am going to select that, and we can
actually rotate the crop region and the
| | 02:53 | result will be that the view with in
the Viewport is actually going to rotate.
| | 02:57 | So I am going to click on this, use
my Place center of rotation, or tap
| | 03:03 | my spacebar, and click it right
there at the intersection between those
| | 03:09 | two reference planes.
| | 03:11 | And then if you recall we were at an 11
degree rotation in the Project file, but I
| | 03:16 | actually don't want to work with the
rectangle running long ways vertically up I
| | 03:20 | actually want to run it horizontal, so I
will take that 11 degrees and subtract it off
| | 03:24 | from 90 and I am going to use a
79 degree angle here and press Enter.
| | 03:29 | It's a little counterintuitive because
the crop region didn't actually rotate,
| | 03:32 | what rotated instead was the
image within the crop region.
| | 03:36 | But that gives me exactly what I want,
I use the grips here to adjust the size
| | 03:40 | of the crop region, get it a
little closer to the rectangle.
| | 03:44 | Crop down, but I want to keep the
insertion point in view, zoom in a little.
| | 03:50 | And if you want, you can even hide
that crop region when you are done.
| | 03:53 | So that gives me a good starting
point and it allows me to kind of design
| | 03:56 | these townhouse facades in a rectilinear fashion,
which maybe is a little bit more convenient.
| | 04:01 | Now to do this I am actually
going to just use some model lines.
| | 04:05 | So I am just going to take a
line here and start drawing a shape.
| | 04:11 | And initially, I am just going to start in the
normal Revit fashion of sketch and then modify.
| | 04:18 | And maybe I will go about that far for now.
| | 04:21 | And use Dimensions to set
them to more rational numbers.
| | 04:27 | So I will go to my Dimension tool or
press D+I, dimension each of these model
| | 04:32 | lines that appear, dimension here in
this direction as well,
| | 04:42 | maybe a couple of those.
| | 04:44 | Now you could see some of numbers are
nice whole numbers, but maybe I want to
| | 04:47 | adjust them a little bit.
| | 04:49 | So I might want this guy to be some
other value and then perhaps this guys,
| | 04:55 | maybe these two are the same size base or
maybe those are going to be like 35 feet each.
| | 05:02 | Then, come in to here,
make some adjustments to that.
| | 05:06 | And the design would continue to iterate.
| | 05:09 | And you can imagine by keeping the
dimensions there, it makes it really
| | 05:12 | convenient for the designer to go in
and fine-tune and tweak and make those
| | 05:16 | adjustments as they make changes.
| | 05:18 | I could continue working on this one
here, but actually what I'm going to do is
| | 05:23 | instead of drawing this whole thing
here, I am actually going to get rid of
| | 05:27 | this and flip over here.
| | 05:31 | I have a file already open called
Townhouse Footprints, and you can find with
| | 05:36 | the exercise files.
| | 05:37 | And it's kind of the same exact layout
that I was just working on, starting over
| | 05:41 | here, you know with the 46 and the 16 and the 35.
| | 05:44 | So you can kind of see, but I have
added some little ins and outs for bay
| | 05:48 | windows and over here
there is a little hexagon bay.
| | 05:51 | And it continues down the entire facade,
all the way to the end here.
| | 05:56 | And there is an additional model line
back here, which is where this townhouse
| | 06:01 | portion of the project is going to abut
up against the annex of the building.
| | 06:05 | So we have one continuous model
line running here and another one here.
| | 06:09 | And again, everything's been dimensioned,
so that later if the designer wants
| | 06:14 | to go in and fine-tune the spacings of
any of this line work, it's very easy
| | 06:19 | to do by just coming in here tabbing in and
selecting the line and making a modification.
| | 06:24 | And you can feel free to
experiment with that if you like.
| | 06:26 | But now because I deleted the line work
out of the other file, what I'm going to
| | 06:31 | do with this is, I'm actually going
to load it into that other family.
| | 06:36 | Now you could see it here it's just
called Family15, it's just a--because I
| | 06:40 | haven't saved it yet.
| | 06:42 | That switches me over to the Family
file, and as we've seen before we have got
| | 06:46 | either place on face or place on work
plane, so I need to switch to work plane in
| | 06:50 | order to place it on the ground plane here.
| | 06:53 | And what you see is that it's coming in
at the original angle, it's not actually
| | 06:57 | rotated to match our screen here.
| | 07:00 | So what we can do is, this'll give us an
opportunity to use this Rotate after placement.
| | 07:05 | So I am going to check that box, right
there, click to place it in, and then type
| | 07:11 | in an angle here of -79 degrees.
| | 07:16 | And you'll see that that will rotate
it around and orient it now to my box,
| | 07:21 | it wants to place another one, so let's
click the Modify tool to cancel out of there.
| | 07:26 | And then I can go to--let's position
it kind of roughly where it needs to go,
| | 07:33 | just kind of by eye.
| | 07:34 | And then I'll go to Align tool, pick
up a Reference Plane and kind of move
| | 07:40 | around and you can see that I just have
to sort of know where it is, but there's
| | 07:43 | a Reference Plane right there, and I will
align that and then I will do the same
| | 07:47 | thing in this direction and I will align that.
| | 07:50 | And that gets it positioned
exactly where it needs to go.
| | 07:54 | And if I zoom in just a touch you can
sort of see how it matches up with this
| | 07:58 | rectangle and so we are in pretty good shape.
| | 08:01 | So, we are going to save this file off
and then in the next movie we are going
| | 08:05 | to start actually using--
| | 08:06 | I'm going to call them like blocks, what they
basically are is they are almost like
| | 08:10 | children's wooden blocks; is they are
existing massing files that are already
| | 08:14 | created and saved in standard forms like
boxes and gables and triangles and so forth.
| | 08:20 | And I want to show you how we can
actually take those forms and assemble them
| | 08:24 | on this framework here and use this
as a guideline to help us build up our
| | 08:28 | townhouse facades.
| | 08:29 | And so we will be looking at that in
the next sequence, but by loading this in
| | 08:34 | as a separate family, it allows us to snap to
those points without it getting in the way.
| | 08:41 | If we had left those individual lines
as separate model lines, then when you
| | 08:46 | try and select, it would think you're trying to
create form directly out of those model lines.
| | 08:51 | So by burying it in a nested family we
kind of moved it back one step and we can
| | 08:55 | use it more easily as a guideline, as
opposed to the actual geometry from which
| | 09:00 | we are creating the form.
| | Collapse this transcript |
| Modeling with standard building blocks| 00:00 | In this movie, we'll continue working on
our townhouse facades and refining them
| | 00:04 | a little bit further.
| | 00:05 | In the last movie, we created this
outline footprint here which was going to
| | 00:09 | help us get everything positioned.
| | 00:11 | And in this movie we are going to use
these really simple Platonic Forms that
| | 00:15 | are actually existing mass
families that come with the software.
| | 00:19 | And we are just going to be placing
those almost like working with blocks and
| | 00:22 | just kind of placing children's blocks
around and stretching them and pulling
| | 00:26 | them to the forms that we want.
| | 00:27 | So I've already created a few here off
on this side and we're kind of fill in
| | 00:31 | the missing blanks and I'll
kind of show you how I did that.
| | 00:34 | Now let me just give you a quick
overview of the file setup before we continue.
| | 00:39 | It's largely similar to the files that we've
been working on in the last several movies.
| | 00:43 | We've got our rectangular reference
lines down here, which was back from our
| | 00:47 | original massing model.
| | 00:49 | We've got these two reference
planes here in the center, marking the
| | 00:51 | original insertion point.
| | 00:53 | And if you look over here, I am
going to zoom in slightly, we've got our
| | 00:57 | Main Level and our Second Level, but I've snuck
in a new level in between called Townhouses.
| | 01:04 | And that's because over here in this
part of the design, the townhouses are
| | 01:08 | actually sitting more up on a hill in
that residential part of the neighborhood.
| | 01:12 | And so, by putting that new level up at
that 10 foot, we're sitting more at an
| | 01:17 | appropriate height for where
the geometry will actually be.
| | 01:21 | So let's talk about how these forms got in here.
| | 01:24 | These are just basically component
families that you can actually load in to the
| | 01:28 | Massing Environment.
| | 01:29 | Now if I hover over one of these,
it says it's Mass, then Gable Gable.
| | 01:33 | So Mass is the category, it's a
Massing Family, Gable is its family name, and
| | 01:37 | again Gable is the type name.
| | 01:39 | This one is Box, this one's
also Gable, this one is Cylinder.
| | 01:43 | Okay, so those are just different families.
| | 01:45 | Now where did they come from?
| | 01:47 | On the Home tab, if I click the
Component tool and then come over here to
| | 01:52 | the Load Family button, that takes
me to the library that's installed by
| | 01:57 | default with my software.
| | 01:58 | I'm in the Imperial version of Revit;
| | 01:59 | so I go to the Imperial folder.
| | 02:01 | There is also a Metric version
that takes you to Metric folder.
| | 02:04 | Same thing, there should be
a Mass folder in either case.
| | 02:07 | And then if I single click the first
item on the list and just use the arrow
| | 02:11 | key on my keyboard, you could see that
I can page through these various forms
| | 02:16 | here, and several different shapes have
already been created and included with the software.
| | 02:22 | And these are all Massing Families, but
they just have these sort of basic shapes.
| | 02:26 | So if you want to build up a model,
like we're doing here with these townhouse
| | 02:29 | facades, you can load in one or
more of these shapes and then actually
| | 02:33 | manipulate them parametrically and
place them around in the design, and that's
| | 02:37 | exactly what we are going to do here.
| | 02:39 | When I cancel out of there, you'll see
that I already had the Box, the Cone, the
| | 02:44 | Cylinder, and the Gable loaded in my project.
| | 02:48 | So the box is currently on my cursor
and I'll start with that because it's
| | 02:52 | a pretty simple one.
| | 02:53 | And I could either Place
on Face or on Work Plane.
| | 02:56 | I want to place on the Work Plane, and
I want to make sure that my placement
| | 03:00 | plane is the Townhouses Level.
| | 03:02 | It was already defaulting to that,
but I just want to make sure.
| | 03:04 | Now I am going to use my Shift and
wheel to kind of spin around a little
| | 03:09 | bit, because I am going to place this one
kind of in this general vicinity right here.
| | 03:15 | And what you'll notice is, if you hover
over some existing geometry, like this
| | 03:21 | line right here, and then tap your
spacebar, it will actually match the
| | 03:26 | orientation of that object to the
underlying geometry, so that can be a really
| | 03:30 | quick and effective way to get it
lined up with the geometry underneath.
| | 03:35 | And then I'll just sort of place this
right about there, click the Modify tool,
| | 03:40 | and then I'll select on this
box to show us what we've got.
| | 03:43 | All of these forms;
| | 03:45 | Gables, Boxes, what have you, if you
scroll down in the Properties palette under
| | 03:49 | Dimensions, they have some settings
Width, Depth, and Height usually, sometimes
| | 03:53 | they have additional settings.
| | 03:55 | The box is the simplest, so it
just has Width, Depth and Height.
| | 03:59 | Now let's start with the Height,
that's pretty obvious, right.
| | 04:02 | If I want to increase the height of
this townhouse block here, I can make it
| | 04:06 | about 40 feet tall and Apply that.
| | 04:09 | You'll see that'll jump up a
little taller next to its neighbor.
| | 04:12 | If I change the Width, let's try about
20 feet there, and I'm mainly doing that
| | 04:19 | just to see which direction is which,
because when I brought it in, I'm pretty
| | 04:22 | sure that that width matched up with
this line, because of the way I tapped the
| | 04:26 | Spacebar, but I just wanted to verify that.
| | 04:28 | The width is in fact in the
direction I think it's in.
| | 04:31 | Now let's say that the width was
opposite of what you thought it was.
| | 04:35 | You can actually tap the Spacebar after
the fact and it will spin the box around
| | 04:40 | 90 degrees and if I tap it again,
it will go around another 90 degrees.
| | 04:44 | So if your Width and your Depth aren't
oriented the way that you want, that's
| | 04:48 | all you have to do to
reorient them before you continue.
| | 04:52 | What I want to do next is take the
dimensions here of this block that it's
| | 04:56 | supposed to sit in and just
get my box to match up to that.
| | 04:59 | So let's do a couple of quick
dimensions here, just to take a measurement.
| | 05:03 | So I am going to measure from
here to here, that's 40 feet.
| | 05:07 | I'll just press Escape, I don't
actually need to create the dimension;
| | 05:10 | I just wanted to see what the number is.
| | 05:12 | And in that direction it's 88
feet, so I'll Escape out of there.
| | 05:15 | So I am going to select the box,
scroll down, and I'll make the Width 40 feet
| | 05:22 | and the Depth 88 feet, click Apply, and
you'll see the box will now conform to that shape.
| | 05:29 | It's not quite in the right position,
so I'll just go to the Move tool, grab a
| | 05:33 | convenient insertion point, and a
convenient ending point, and move it like so,
| | 05:41 | and now we've got that box
positioned roughly where it needs to go.
| | 05:44 | On the front of this particular block,
I might want to include an additional
| | 05:49 | form, like maybe I want to have
a bay similar to this one here.
| | 05:53 | So let's add another box.
| | 05:56 | So again, I go to the Home tab,
click on Component, add another box;
| | 06:01 | make sure I am placing on a Work Plane.
| | 06:03 | This one I am going to place out here,
tap my Spacebar to get it rotated.
| | 06:08 | I am just going to place it out here
for the time being, select it, and change
| | 06:14 | the Width of the box to about 10
feet and the Depth to only about 4 feet,
| | 06:20 | because I just want some long thin box like so.
| | 06:24 | Then I'll move it from an endpoint
here right to that corner and then move it
| | 06:31 | again just using the temporary
dimension, maybe over about 5 feet.
| | 06:37 | Now this is going to be a little bay
out in the front and I want to put a
| | 06:41 | barrel vault top on that.
| | 06:44 | So if I go back to Home one more time,
click Component and open up the list, I
| | 06:49 | don't see a barrel vault loaded.
| | 06:51 | So I'll go to Load Family, go back to my
Massing folder and there was actually a
| | 06:59 | Barrel Vault form in my Massing folder,
which we were paging through before.
| | 07:03 | So let's open that up.
| | 07:05 | Now this time, I will actually use the
Place on Face option, because I want to
| | 07:10 | place it right here on the top surface
of this existing form and I am going to
| | 07:16 | do it right at the midpoint, right there.
| | 07:20 | Click Modify, select it, you remember
I went 10 feet wide right here, so I am
| | 07:25 | going to make that width
also match 10 feet wide.
| | 07:30 | Notice the Height is grayed out, that's
because this is a Barrel Vault and they
| | 07:34 | are controlling the height with a formula.
| | 07:37 | So if I apply the Width, it will
automatically change the Height to half of that
| | 07:42 | in order to keep it a half round shape.
| | 07:44 | Let me change the Depth to
4 feet, let's apply that.
| | 07:49 | And then, of course, if I zoom in a touch,
you can see that because I snapped to
| | 07:52 | the midpoint, that was actually the
center of the original form, so all I have to
| | 07:56 | do is just move it from endpoint to
endpoint like so, I'll zoom back out.
| | 08:02 | And now I have a little barrel
vault form on the top of that.
| | 08:05 | I want to take these three forms and
kind of smooth them out a little bit.
| | 08:10 | So I can actually use the Join Geometry tool,
select the Main form, and join it to this box.
| | 08:18 | Do it again, select this form and select this
guy and one more time join this to this.
| | 08:26 | And you can kind of see that when you
join all the parts and pieces together, it
| | 08:30 | smooths it out and it takes care of
that little seam right there, and so it
| | 08:34 | makes that behave a little bit
more as if it was one continuous form.
| | 08:39 | So let's do one or two more examples here.
| | 08:41 | I am going to go back to Home, click on
Component, change Forms to a Gable form
| | 08:49 | and it's much the same process.
| | 08:50 | I want to place it on a Work Plane, highlight
an edge, press the Spacebar to get it oriented.
| | 08:57 | Notice that the Gable is going in the
correct orientation but if it wasn't I
| | 09:01 | could just Spacebar again, so
you can hit it more than one time.
| | 09:05 | But the first time, you want to make
sure you're highlighting that edge, that's
| | 09:08 | what gets it to match that angle.
| | 09:10 | I'll place it, click Modify, select it.
| | 09:15 | I usually like to start with the Height.
| | 09:17 | You can see that the Gable also has a
Height parameter, right here, but notice
| | 09:22 | that it's also got this
Eave Height parameter here.
| | 09:26 | So if I apply this,
watch what's going to happen.
| | 09:27 | We are going to get this really tall
peaked roof right here, it's almost like it
| | 09:32 | was up in the Swiss Alps or something,
because the Height is measured from the
| | 09:35 | base here all the way up to the top
of the form to the top of the ridge.
| | 09:40 | So this Eave Height here is actually
measured from the bottom as well up to
| | 09:44 | this location here.
| | 09:46 | What this tells me is, looking at this--
that I probably need my Height to be even a
| | 09:52 | little taller than it is.
| | 09:53 | This box is at 40 feet and I just
made that one at 45, so why don't I try
| | 09:58 | maybe about 48 here.
| | 10:00 | Now I'm going for a slightly eclectic look.
| | 10:03 | I don't want all the roof lines to
be perfectly lined up with each other.
| | 10:05 | So I'm deliberately making them
shifted a little bit from one another.
| | 10:09 | Let's try a 38 foot Eave Height
and see what that does for me.
| | 10:13 | So you can kind of see there that the
eave is a little bit lower but the ridge
| | 10:18 | would actually, if we spin it around,
the ridge would actually pop up taller
| | 10:23 | than the neighboring building.
| | 10:24 | So this is kind of what
we'd see in elevation here.
| | 10:27 | So that's the look that I was going for there.
| | 10:31 | Let's do a couple of quick measurements
from here to here, that's 88-6.
| | 10:36 | And from here to here it should be 40
feet again, and it is, so let's go ahead
| | 10:41 | and set those numbers.
| | 10:44 | The Width is 40 and the Depth 88-6, Apply it.
| | 10:53 | Go to the Move tool and
move it on to its platform.
| | 10:57 | I could do the same thing for this box
over here, I'll leave that one for you to
| | 11:03 | practice on, but let me do
this final bay right here.
| | 11:07 | If you go to the Home tab and click the
Component tool and Load Family, what you
| | 11:13 | won't find in this Massing folder, if you
page through all of these, is you won't
| | 11:17 | find anything that matches that
hexagonal shape, so that one we're just going to
| | 11:21 | have to kind of build.
| | 11:22 | We can build it the normal way.
| | 11:24 | We've got all the normal tools at our disposal.
| | 11:27 | I am going to use Reference Lines for
this, because Reference Lines, if you
| | 11:31 | recall, lock the profiles.
| | 11:33 | So I am going to be drawing a profile
down here at the base and I want that
| | 11:36 | profile to be continuous as it
moves up the height of the bay.
| | 11:40 | So if we change the shape of the
profile and plan, I don't want it to end up
| | 11:44 | tapering in a strange way.
| | 11:46 | I want it to stay consistently the same shape.
| | 11:49 | So I am going to draw along the back
edge, and if I wanted to, I could keep going
| | 11:54 | tracing here, but I am actually going to
escape one time and switch to this tool
| | 11:59 | instead, Pick Lines, because this
will allow me to reach right into that
| | 12:03 | underlying family and just pick the
edges right in that family there, and that
| | 12:10 | gives me a little continuous--
| | 12:14 | Ah okay, small problem right here.
| | 12:16 | Notice that the host for this guy says Gable.
| | 12:19 | So when I drew those two points, it
hosted it to the surface of this edge
| | 12:24 | instead of the ground plane.
| | 12:26 | Now let me see if I can change that right here.
| | 12:29 | It's not giving me the option to
choose a level, so I am just going to delete
| | 12:32 | that line and draw it again.
| | 12:36 | I need these four sketch lines to
all be on the same host, otherwise it
| | 12:40 | won't work properly.
| | 12:41 | So let's make the Placement plane
Townhouses, and then draw it from here to here,
| | 12:48 | and that time it should work.
| | 12:50 | You see how I get the chain.
| | 12:51 | So always be looking out for that
because sometimes you'll be drawing and you
| | 12:55 | won't notice that there wasn't an
associated work plane and it will just jump
| | 12:59 | onto another plane on you and then
you're going to be wondering, well why isn't
| | 13:02 | it selecting a chain of lines, and so always
kind of look over here and see what the host is.
| | 13:07 | Let's go ahead and create form out of that.
| | 13:09 | I'll create a 3D form, use my little
grip, pull it up to about where I want it
| | 13:15 | to go, and then I'll look at this number
and I'll just kind of pick something as
| | 13:19 | a whole round number.
| | 13:21 | So that kind of gives us a basic idea of
how we can take these existing families
| | 13:26 | that are in the library and just sort
of bring them in almost like children's
| | 13:29 | building blocks and assemble
them into a more complex form.
| | 13:34 | We have all the parameters to work with;
| | 13:36 | the Width and the Depth and the Height,
and you get them adjusted and position
| | 13:39 | them relative to one another and then
you can even join them together as we did
| | 13:44 | here, right, and join them into a
single piece of geometry and that can be your
| | 13:50 | massing form moving forward
into the next stage of design.
| | Collapse this transcript |
| Applying geometry to surfaces| 00:00 | After your initial masking
explorations, you have likely settled on a form
| | 00:03 | that you're satisfied with and that
meets your initial pro forma and energy
| | 00:07 | analysis requirements.
| | 00:08 | So at this stage, you can begin
using the massing model to create an
| | 00:11 | actual building model.
| | 00:13 | This is one of the neat
benefits of the massing toolset.
| | 00:16 | We can take our massing model, bring it
into a project, and then start applying
| | 00:20 | actual model geometry to it.
| | 00:22 | The kinds of geometry you can add are
walls, floors, roofs and curtain systems.
| | 00:27 | So in this movie we are going
to take a look at that process.
| | 00:30 | So what I have here on screen is
a file called Apply Geometry.rvt.
| | 00:35 | It's just a version of our project
that we have been following along with and
| | 00:40 | you can see that the site
has been refined slightly.
| | 00:43 | There are some recesses here in the site,
this is called a Building Pad and we
| | 00:48 | will actually have an opportunity to
talk about the building pads a little bit
| | 00:51 | more in the later chapter.
| | 00:52 | So for right now, we will just use
this one that's already got the pads
| | 00:55 | incorporated into it.
| | 00:57 | The massing model is already loaded
here, but we are just not seeing it because
| | 01:01 | we have to go to the Massing & Site
tab and click on Show Mass button.
| | 01:07 | Now when we do that you will see the
massing model appear, and I will zoom in,
| | 01:12 | and there're actually
three separate models here.
| | 01:14 | We have got our Main Building Form, we
have got our Townhouses, and back here we
| | 01:19 | have a Graffiti Gallery, which we will
actually have an opportunity to explore in
| | 01:23 | more detail in the next chapter.
| | 01:25 | The Townhouses, we worked on in the last
movie, have been refined just a little bit.
| | 01:29 | As you can see, we have completed the
final block that was missing and I have
| | 01:33 | added some dormers up here and I have
carved away at some of the roofs, but
| | 01:37 | otherwise it's largely the same
forms that we were looking at previously.
| | 01:41 | You can see ghosted in
here these Mass Floor objects.
| | 01:45 | Now we did actually do that previously as well.
| | 01:48 | So just to remind you of how that occurs,
you select the Mass Object, you click
| | 01:54 | on Mass Floors, and you simply select
the levels that you want to cut floors at.
| | 01:59 | Now for the Main Building block, it was
just these levels, the Townhouses uses
| | 02:03 | slightly different levels, and then
what you can do is you can actually take
| | 02:08 | those Mass Floors and in addition to
measuring the square footage, which we
| | 02:12 | did in the previous movie, you can actually
apply real floor slabs to those Mass Floors.
| | 02:18 | So here on the Massing & Site tab, you
see buttons for the four objects that we
| | 02:22 | can apply and it's under this Model by Face tab.
| | 02:26 | So here we have got Floor, and when I
select that, you can see that it allows me
| | 02:31 | to reach in and click on those Mass
Floor objects that we created, and then I
| | 02:38 | can say Create Floor over here.
| | 02:40 | And so what that did was it created
an actual floor slab, right there, it's
| | 02:46 | just using the Generic floor slab type, but it
created an actual floor slab from that Mass Floor.
| | 02:52 | So let me just repeat that again.
| | 02:54 | Back here on the Massing & Site, here
is the Floor button, I will click on
| | 02:58 | this slab right here.
| | 03:01 | Now you can actually pick more than
one at a time if you want to, but in this
| | 03:06 | case these two are on different levels,
so I will just do Create Floor, do it
| | 03:09 | again right here, Create Floor do it
again right here, Create Floor and so on.
| | 03:15 | So you could continue walking around
the building in all of the locations where
| | 03:19 | you want to turn those Mass Floors
into actual floors, you could create them.
| | 03:23 | Now I am going to go to Modify,
temporarily toggle off Show Mass, and you can
| | 03:29 | see that what I'm left with
is a series of floor slabs.
| | 03:34 | So that's the first step of Model by
Face, is taking your Mass Floors and turning
| | 03:40 | those into actual floor slabs.
| | 03:42 | Let's continue, let's turn on Show
Mass again and look at the next type of
| | 03:46 | object that we can create.
| | 03:48 | We can create roofs in a
similar way that we created floors.
| | 03:53 | So I'm going to click on the Roof
button and it has the same basic interface
| | 03:57 | allowing you to select more than one
slab at a time if you like, or you can
| | 04:02 | just select the one, click Create Roof,
click on this surface, Create Roof, but
| | 04:08 | before I do, let me just show you a
couple of the settings over here on the
| | 04:11 | Properties palette.
| | 04:12 | You can actually choose a roof type
ahead of time, so if I didn't want
| | 04:16 | Generic 12, I can choose a 9-Inch Roof,
for example, up here on the tower,
| | 04:21 | and then right here, the Picked
Faces can either represent the top of the
| | 04:26 | roof or the bottom of the roof.
| | 04:28 | So if I wanted to take this roof plane
of the tower and actually bump it up, let
| | 04:32 | me just show you what that looks like.
| | 04:33 | I will do Bottom of the roof, and
then I will come over here and say Create
| | 04:37 | Roof, let me zoom in to show you.
| | 04:40 | You can see that here is the edge of the
mass and the roof went up from that location.
| | 04:47 | If I zoom in over here, let me try
right there, and here is a better example.
| | 04:52 | Here is the face of the mass and you
can see the roof went down, because that
| | 04:57 | one use the default options which was
faces were the top of the roof, and you
| | 05:03 | can actually change this after the fact
by just choosing it off the list here.
| | 05:07 | So you don't have to keep it that
setting, if you realize later that you
| | 05:12 | chose the wrong one.
| | 05:13 | So that's Roof by Face.
| | 05:15 | Let me just do a couple more, set this
roof, maybe do this one, Create Roof, and
| | 05:25 | then over here it gets more interesting,
because these roofs--you can actually
| | 05:30 | pick more than one face at a time.
| | 05:32 | And so, for example, this gable
right here, I could select both of those
| | 05:36 | together and create a single gable roof
from both of those edges, so I can click
| | 05:41 | this face, this face, create the roof.
| | 05:44 | Now here I want a flat roof in here,
so I won't actually create around there
| | 05:48 | but maybe this surface and this surface, maybe I
want both of those to be part of the same roof.
| | 05:55 | So as you can see, you can kind of
walk around and add roofs to all of the
| | 05:59 | Townhouse forms, and you can select
multiple faces at the same time if necessary.
| | 06:05 | Now let me select the Graffiti
Gallery first that centers my orbiting.
| | 06:10 | I am going to spin around here to the
opposite side and you can see that the
| | 06:14 | Graffiti Gallery has this
like recessed panel in here.
| | 06:18 | That recess panel is actually going to be a
big wall of glass in the Graffiti Gallery.
| | 06:23 | So what I want to do is, here on the
Massing & Site tab, I want to do Curtain
| | 06:28 | System and this is going to represent
that glass surface for now until we refine
| | 06:32 | it further in later chapters.
| | 06:34 | And I will just simply select that
surface, click Create System, and you'll see
| | 06:39 | I get this grid pattern across that surface.
| | 06:42 | Now if I cancel out of there and I just
come in and select it over here at the edge.
| | 06:48 | I might need my Tab key, there it is
right there, there is the Curtain System
| | 06:52 | and you can see over here it's
just using the default 5x10 system.
| | 06:56 | Now I can leave that for now, we're at a
schematic phase, but just using regular Revit
| | 07:01 | techniques, I could choose Edit Type,
Duplicate and change the spacing to
| | 07:06 | something more appropriate to the design.
| | 07:08 | But I will save that for a later
movie and I will spin us around.
| | 07:12 | Let's do one more Curtain
System up here on the tower.
| | 07:16 | This is the north side of the building,
so we want to be careful about natural
| | 07:19 | light here in our museum, so it's okay
to put natural light on the north facing
| | 07:25 | side, because it won't affect the
artwork, but we really want to leave solid
| | 07:28 | walls around the other sides.
| | 07:31 | Let me spin this around again.
| | 07:34 | And the remaining surfaces, we
are just going to skin with walls.
| | 07:38 | So I will do Wall by Face as the last
example, and I am just going to start with
| | 07:45 | a simple generic wall.
| | 07:47 | So we've got different sizes here.
| | 07:49 | I am actually going to use the 8-inch
Generic wall which was already chosen as
| | 07:52 | my default, but just to show
you we have our different types.
| | 07:56 | And here I want to pay attention to
what the Location Line is, because the
| | 08:02 | Location Line of the wall is actually
going to become the face that we pick
| | 08:06 | on the massing model.
| | 08:07 | So if you remember with the roof, we
were able to say the faces were either the
| | 08:11 | top surface or the bottom surface, with
the walls, you'll use the Location Line
| | 08:16 | to achieve the same thing.
| | 08:18 | So I'm going to start off on the main
part of the building using Finish Face
| | 08:22 | Exterior as the Location Line.
| | 08:25 | So what I'm saying is this face
right here, that actually represents the
| | 08:30 | exterior face of the wall, and you can kind of
see that the wall thickness went into the building.
| | 08:34 | Now we are going to clean that up a
little bit later, and it will become a
| | 08:38 | little more evident when we start
dividing the surface of the exterior wall, why
| | 08:42 | I'm choosing that Location Line.
| | 08:43 | But I am going to choose a different
line with Townhouses in just a minute.
| | 08:46 | But I am just going to do a few of
these walls here and you can see that this
| | 08:50 | happens immediately.
| | 08:52 | So unlike Floors, Roofs and Curtain
Systems, where you choose your face and then
| | 08:57 | you have to say Create Surface,
with Walls, it just does it.
| | 09:01 | I am going to spin up just a little
here and this is really kind of neat,
| | 09:05 | because I can actually take that barrel
vault shape right there and put a wall on it.
| | 09:11 | So that I can outline my doorway here,
my main entrance, with walls going
| | 09:15 | all the way around.
| | 09:16 | I can select this face, this face,
this face, and I'll leave the rest of the
| | 09:22 | faces for you to do around rest of the building.
| | 09:25 | So the main hexagon portion of the main
building and the tower here, we want all
| | 09:30 | of those with this 8-inch Generic
Wall and the Finish Face Exterior.
| | 09:35 | Now I am going to change to
a brick wall type up here.
| | 09:39 | I'm going to choose Exterior Brick on Metal
| | 09:42 | Stud, and then instead of Finish Face
Exterior, I am going to choose Core Face
| | 09:48 | Exterior, and that's the one that I'm
going to use for the Townhouses and watch
| | 09:54 | the difference here.
| | 09:55 | When I select one of these faces now,
you are not going to see any of the floors
| | 10:00 | protruding through, and I will show you
with the section in a minute, because it
| | 10:03 | will be easier to see there, but I
can start by clicking on these faces and
| | 10:07 | skinning these walls and you
see how it follows the shapes.
| | 10:11 | I can even do these little leading ends
of these dormers here, but it follows the
| | 10:15 | shapes of the forms as
they are cut, gables and all.
| | 10:19 | So again, you can continue doing that
around the building, I will leave that for
| | 10:24 | you, and let me go to my Main Level
floor plan, zoom in a little bit, go up here
| | 10:31 | to my Quick Axis toolbar and cut a
section, and I am going to do a quick little
| | 10:35 | section right there but
let me pull it back to there.
| | 10:42 | Deselect it, you have to deselect it
first, then double-click, and if we zoom in
| | 10:48 | here, you can see the result.
| | 10:49 | There is my 8-inch wall, there is my
floor, and they overlap one another.
| | 10:54 | Now we can actually use
Join geometry to clean that up.
| | 10:57 | We will look at that in a later movie
but you see that effect right there, let's
| | 11:00 | contrast that to what we see in the Townhouses.
| | 11:03 | So here's the Townhouse floor plan.
| | 11:06 | Here is a section already cutting through here.
| | 11:09 | Here's a wall right there, so let's
double-click that section and open it up,
| | 11:14 | zoom in, and you can kind
of see the difference here.
| | 11:17 | The wall is right there but you can
see that the face of the mass goes down
| | 11:26 | the middle of the wall.
| | 11:28 | Let me turn on, instead of Coarse, let me
turn on Medium detail and it becomes a
| | 11:32 | little bit more clear.
| | 11:33 | There is the core of the wall right
there and here's the brick appearing to the
| | 11:38 | outside of that core.
| | 11:40 | So that was the difference between using
Finish Face Exterior versus Core Face Exterior.
| | 11:46 | When you're skinning the masses using
walls, you want to pay attention to that
| | 11:50 | Location Line, because that'll make a
big difference in what you get, what your
| | 11:54 | end result is, as you apply these faces.
| | 11:57 | So all of these tools collectively are
the so-called building maker tools in Revit.
| | 12:04 | If you looked in the Help system, you
would actually see Building Maker listed
| | 12:07 | there, and so collectively all this
Model by Faces is what we refer to as this
| | 12:13 | sort of building maker idea.
| | 12:15 | But the idea is you start with the
massing form and then you bring that
| | 12:18 | into your project and then you can
essentially skin that massing form using
| | 12:23 | the various tools to give you
standard Revit walls, floors, curtain
| | 12:28 | systems, and roofs.
| | 12:29 | And it gives you an excellent way
to take that mass model and start
| | 12:33 | transitioning it into more of a design
development model, which will eventually
| | 12:38 | become construction document model.
| | Collapse this transcript |
|
|
3. Rationalizing Massing FormsConfiguring divided surfaces| 00:00 | The conceptual massing environment
allows us to create many wonderful things.
| | 00:03 | We can imagine forms that are simple and
rectilinear or freeform and curvaceous.
| | 00:08 | Regardless of the specific shape that
our designs to take on, at some point we
| | 00:12 | will need to begin considering how they
will come into being in the real world.
| | 00:16 | Often this means taking the surfaces
of our 3D forms and subdividing them down
| | 00:20 | into some smaller and buildable components.
| | 00:23 | Such rationalization can take
place directly within the conceptual
| | 00:27 | massing environment.
| | 00:28 | This gives us an excellent way to test
our concepts for buildability before
| | 00:33 | progressing too far in a
particular design iteration.
| | 00:35 | In this movie, we will look at the
first step of this process by covering the
| | 00:39 | basics of the Divided Surfaces feature.
| | 00:42 | So to get us started I'm working in a
file here called Divided Surface.rfa. It's
| | 00:47 | a massing family file.
| | 00:49 | And its version of the project we have
been working on throughout the course
| | 00:52 | of the last chapter.
| | 00:53 | Now mostly, I've got the forms directly
here in this file so as you can see, I have
| | 00:58 | got the various edges and forms that I
can highlight, but I do have one loaded-
| | 01:03 | in mass family over here on the side
that is the Graffiti Gallery that we will
| | 01:08 | actually explore a little
bit later in this chapter.
| | 01:10 | And for now I am going to select that
and use it just to center my orbiting and
| | 01:16 | spin the model around to the other side here.
| | 01:19 | And then I'll zoom in on this
surface right here, of the model.
| | 01:24 | I am going to deselect the Graffiti
Gallery. And what I want to do is highlight
| | 01:27 | the model and press Tab to
get in and select that face.
| | 01:32 | Now the reason I have to tab is because
I've actually joined together, using the
| | 01:38 | Join Geometry tool, I've actually joined
the hexagon with this shape up here and
| | 01:43 | the box so that they all are merged
together into one continuous form.
| | 01:48 | If I deselect here, the first thing it
wants the highlight is that overall form.
| | 01:53 | Sometimes if you move the mouse around,
you can get it to highlight other things.
| | 01:57 | But the easiest way to get it to
highlight what you want, instead of just
| | 02:00 | jiggling the mouse, is to just press the Tab key.
| | 02:03 | So this is why I'm
tabbing in to get this surface.
| | 02:06 | And when you select an individual
surface, over on the ribbon you will get
| | 02:11 | access to the Divided Surfaces button.
| | 02:14 | So I am going to click on that button.
| | 02:16 | And it will take that surface
and subdivide it with a blue grid.
| | 02:22 | On the Options bar are several choices,
and we also see those same choices over
| | 02:27 | here on the Properties palette.
| | 02:29 | And the first thing you typically want
to do with your divided surface is decide
| | 02:34 | how you want it divided up,
what the spacing is going to be.
| | 02:37 | So if I scroll down here, you can see
that I've got a U Grid and a V Grid and
| | 02:42 | again you have also got those same
features here: U Grid and V Grid.
| | 02:46 | We can choose from a variety of layout
options, and this is one of the reasons I
| | 02:49 | like to do it on the Properties palette,
because the Options bar gives me either
| | 02:53 | number or distance, but I like
to see what all my choices are.
| | 02:57 | This defaulted to a fixed number or
a fixed quantity, and you can see that
| | 03:02 | that quantity is 12.
| | 03:04 | Now I could use the little spinner here
to increase the quantity, and you'll see
| | 03:09 | that I'll get more grids; decrease
the quantity, I will get fewer grids.
| | 03:13 | But what I actually want to do is
change the way the layout is being
| | 03:17 | applied altogether.
| | 03:18 | So I'm in a use a fixed distance and
then I am going to change that Distance to
| | 03:23 | 4 feet and apply it.
| | 03:25 | That was in the vertical
direction or the U Grid.
| | 03:29 | They use U to describe one
direction on the surface and V the other.
| | 03:33 | These are pretty standard
3D modeling nomenclature.
| | 03:36 | X, Y, and Z typically are used to
reference the overall world coordinates, and
| | 03:42 | then U and V are typically used to
describe the local coordinates that are
| | 03:46 | perpendicular and
parallel to the surfaces itself.
| | 03:49 | So we would use the same U and V
designations even along the sloping surface
| | 03:53 | over here, for example.
| | 03:55 | Over here in V direction, I am going to
do the same thing, a fixed distance, and
| | 03:59 | instead of 10 foot 4 which it
defaulted to, I will set it to 4 feet.
| | 04:04 | And the reason I'm using four and four,
if I zoom in, is because my hexagon, if
| | 04:09 | you recall back in the previous
chapter, was 124 feet on a side.
| | 04:14 | So I know that four is a nice easy multiple.
| | 04:17 | And if my goal is to rationalize the
surface then ideally I would have a nice
| | 04:23 | number that I could divide everything
by, and a 4-foot panel is pretty easy to
| | 04:27 | come by in pre-manufactured components.
| | 04:31 | In both cases, the justification can
be modified to either be the beginning,
| | 04:37 | the center, or the end.
| | 04:40 | In this case, because everything works
out nice and evenly, it's pretty much going
| | 04:44 | to be indistinguishable choosing either one.
| | 04:47 | But if I choose the beginning, for
example, it's going to start down here and
| | 04:51 | measure up, in that case. And then on
this one, beginning or end, we'll just
| | 04:55 | decide left or right. It's right
now starting, right down the center.
| | 04:59 | Well let me show you another example up
here where it might be more pertinent.
| | 05:04 | So let's do Divided Surface, and you can
see that again it used the same defaults.
| | 05:10 | So let me change that to a Fixed
Distance, scroll down, a Fixed Distance. Let's
| | 05:16 | set them both to 4 feet so that it matches
| | 05:20 | what I'm doing in the other areas and
let's apply just that. And you can sort of
| | 05:25 | see here we're getting the 4 feet.
I get a little sliver, so in this
| | 05:29 | direction it still works, fine 4 feet,
because we have a nice even multiple, we
| | 05:33 | see here I have get the little sliver
and here I have got the little sliver.
| | 05:36 | If I wanted to actually start with a
whole grid on one side or another, that's
| | 05:41 | when I would choose to either go
beginning and you could see now I get a full
| | 05:46 | grid at that end and I guess I have a
nice even multiple four feeder. It might
| | 05:50 | be a little bit smaller here.
| | 05:52 | I am going to see if I could measure that.
| | 05:54 | No, it's not going to snap to grid.
| | 05:57 | It looks really close to me. It's hard
to say, but I could select it, shift it
| | 06:02 | again to the end, and let's
see if we can see a change.
| | 06:06 | So it shifted slightly, so that last bay,
it's just a little bit less than 4 feet.
| | 06:12 | But this is where if it was important
to me design-wise to start in a whole
| | 06:16 | tile or end on a whole tile, that's when
shifting it either left or right would matter.
| | 06:21 | Now this one, if I tab in there, I will
select it and you'll see that it just
| | 06:27 | selects that surface right there.
| | 06:28 | So if I divide that, you can already see
here how this one got two whole squares
| | 06:34 | vertically and then half a square.
| | 06:36 | So if I take this and set it to the
same settings, Fixed Distance and Fixed
| | 06:42 | Distance, 4 feet and 4 feet, and apply it,
| | 06:51 | you'll see that again it wanted to
do everything from the center. So I am
| | 06:54 | getting a little tiny sliver and a
little tiny sliver here and here.
| | 06:58 | This is where I would want to
make it match, vertically, this one.
| | 07:01 | So this one here is set to Center.
| | 07:05 | So let's make that one go to end, which
would start at the top edge here, and then
| | 07:10 | I am going to select this
one and also make it end.
| | 07:13 | And that will shift it up so that
now this line is continuous along here.
| | 07:19 | And the cut tile is down at the bottom.
| | 07:21 | If I shifted it down to start, it would
start with a full 4 feet and it would
| | 07:25 | end with a little sliver of the top.
| | 07:27 | And it would be more difficult to get
this one to match up to it, so that's
| | 07:30 | why I went end and end.
| | 07:32 | And then in the other direction, again, I
can either choose beginning or end, and
| | 07:37 | either I will get the full sliver over
there and a full tile on this end, and we
| | 07:40 | will go to end, which I think I like a
little better, and I get a full tire here
| | 07:45 | and a little cut over there.
| | 07:46 | And it's really a design decision at
that point, where you want the partial tile
| | 07:50 | to be and where you want the full tile to be.
| | 07:53 | We could continue in this way and
sometimes you can even select, with your
| | 07:58 | Ctrl key, more than one surface.
| | 08:00 | I will do these over here.
Use my Tab, hold the Ctrl.
| | 08:06 | And you can divide them at the same time.
Then you can actually select, with the
| | 08:10 | Ctrl, both of those
surfaces, go to Fixed Distance.
| | 08:14 | So you don't have to do these one at a
time. You can actually do several of them
| | 08:17 | together, set your distances, and you can
even decide whether they're going to go
| | 08:23 | beginning or end all together at once.
| | 08:25 | And you see that I am applying those
changes to both grids at the same time.
| | 08:30 | And so what you want to do here--and I'll
leave this for you as an exercise--is go
| | 08:34 | on all sides of the hexagon,
| | 08:37 | this surface here and these sides here
around this triangular portion, but not
| | 08:42 | this portion of the building just yet.
| | 08:44 | We are just going to do the hexagon portion.
| | 08:47 | And I just want to point out one last
thing here before I leave you to that task.
| | 08:52 | So I am going to tab into right here
and select just this surface, and you can
| | 08:56 | kind of see that the surface is going
right into the Graffiti Gallery here; it's
| | 09:00 | passing right through.
| | 09:01 | So if we use Divided Surface, it
would divide all the way along that panel
| | 09:06 | there, which may or may not be a problem.
| | 09:08 | But if we want a nice clean break
right here, then we have to approach that a
| | 09:12 | little bit differently first.
| | 09:14 | We could try Join Geometry--here's my
main form and here's my other form--but
| | 09:19 | notice it doesn't want to highlight this.
| | 09:20 | That's because this is actually a
nested mass family and for whatever reason,
| | 09:25 | Revit doesn't want to join that mass
family directly with the stand-alone masses here.
| | 09:30 | So what we can do instead
is we can use Cut Geometry.
| | 09:34 | And I'm going to select this guy and
then highlight my Graffiti form, which is a
| | 09:40 | nested family, click on it, and it
will make a nice clean cut right there.
| | 09:46 | So that gives me the line and then when
I tab into here, you can see that I can
| | 09:50 | select just that surface.
| | 09:53 | Sometimes Joint Geometry does the trick.
Failing that we can try to Cut Geometry.
| | 09:57 | But the two tools together are really
terrific to help us clean up the geometry
| | 10:02 | and give us those nice well-
defined edges right there.
| | 10:05 | I will do Divided Surface and then I
could continue on with the rest of the
| | 10:09 | steps that we've done before and setting
it to a fixed distance and 4 feet and so on.
| | 10:14 | So I do encourage you to continue going
around here and finish up around the hexagon form.
| | 10:19 | In the next movie, we'll begin adding
patterns to the surface and then actually
| | 10:23 | applying panels to it.
| | 10:24 | So it's a multi-step process, and the
first step is just simply dividing the
| | 10:29 | surface and then setting up the
spacing, as we've done here in this movie.
| | Collapse this transcript |
| Adding patterns| 00:00 | Once you have a divided surface,
you'll want to apply a pattern to it.
| | 00:04 | There are several built-in
patterns that we can choose from.
| | 00:06 | Patterns are part of the underlying
framework or the armature of the divided surface.
| | 00:11 | In other words, don't think of the pattern as
the final expression of your form or design.
| | 00:16 | You're not choosing from a list of
10 predefined wallpapers; rather, what
| | 00:20 | you're doing is choosing from a list of
substrates, upon which you'll apply your wallpaper.
| | 00:26 | So there're really three steps.
| | 00:28 | We need the divided surface,
the subject of last movie;
| | 00:31 | the pattern, sort of the underlying framework;
| | 00:34 | and then the actual geometric panels,
and we'll look at that in the next movie.
| | 00:38 | What I have here is a simple file that
just pulls up the Graffiti Gallery and a
| | 00:43 | couple other forms, and I'm just going
to select one of these guys and spin
| | 00:49 | around to the other side so we can
actually see what we've got here, and zoom in.
| | 00:54 | And I have a nice flat pattern over
here and a couple curved ones over here,
| | 00:59 | so we can compare and
contrast some of the differences.
| | 01:02 | Like we saw in last movie, these are
just simple divided surfaces where I've set
| | 01:06 | a regular pattern of about
5 feet in both directions.
| | 01:09 | Up at the top it says No Pattern.
| | 01:13 | If you open up that list, there is a
list of predefined patterns. We've got
| | 01:16 | everything from arrows to hexagons to
squares and rhomboids and triangles.
| | 01:21 | We have all sorts of patterns here, and
these form the underlying framework for
| | 01:25 | our panelized grid surface.
| | 01:27 | Now you can choose any one of
these and see how they look.
| | 01:30 | There are some arrows, there is a
hexagon, and what you see is that it
| | 01:35 | takes that pattern and it basically makes it
fit into the grid that you have established.
| | 01:42 | So even though the grid gets turned off--
notice that the grid no longer displays
| | 01:47 | when we choose one of these patterns here.
| | 01:49 | Now you can choose a Rectangular pattern--
that would match the grid directly--but
| | 01:52 | if you choose any of the others, the
grid gets turned off, and the underlying
| | 01:58 | pattern, though, is still there.
| | 02:00 | And if we look over here at the spacing,
it's still controlling the size of this pattern.
| | 02:05 | So, for example, if I change this
distance in the U direction down to 2 feet
| | 02:10 | and click Apply, all of my hexagons are
going to squish down and become really
| | 02:15 | short, because the underlying grid is now
being squished and it takes the pattern with it.
| | 02:20 | I can reset it there, and I could do
the same thing in the other direction.
| | 02:25 | Now it turns out that the default behavior of
what you're seeing is something we can control.
| | 02:30 | So at the moment, we're seeing the
pattern, but you'll notice here that you can
| | 02:35 | also toggle this button on and turn on
the surface--and let me zoom in a little--
| | 02:40 | and there it kind of gives you a
pretty good idea of how your underlying grid
| | 02:45 | relates to the pattern.
| | 02:47 | So here you can see that it actually
takes 6 squares of my grid to form 1 hexagon.
| | 02:54 | Now if I change that pattern to Arrows
and turned on the surface, you'll see
| | 02:59 | that it takes--I don't know, it looks
like 12 squares to make one arrow. So it
| | 03:05 | really depends on the pattern, how
it applies to the underlying squares.
| | 03:09 | Here are some triangles.
| | 03:12 | Those fit into just 2 squares.
| | 03:15 | You always have the opportunity to
toggle on and off what you're seeing.
| | 03:18 | We can even toggle off the pattern and
go back to the surface if we want to.
| | 03:22 | Now let me come over here and talk
about some differences when we apply this
| | 03:27 | along the curve. Because if you look at
the pattern choices, sometimes there is
| | 03:33 | one that says bent and other times it
says flat, and you really can't tell the
| | 03:37 | difference when you're looking at a flat plane.
| | 03:39 | You've really got to apply that to
a curved surface to see that.
| | 03:42 | On this one, I'm going to apply the
Triangle Checkerboard (bent) and on this one
| | 03:48 | I'll do the Triangle Checkerboard (flat).
| | 03:52 | Now when you just have the pattern
applied, you really don't see any difference.
| | 03:56 | If you zoom in, they look exactly the
same, because remember, the pattern is
| | 04:01 | really the underlying framework.
| | 04:04 | To help us understand the Curved panels
here, I've created some and loaded them into
| | 04:09 | this family already.
| | 04:10 | Here, under Triangle Bent, I have
a Bent panel and I'll apply that.
| | 04:15 | It takes a few minutes to re-gen.
And then over here, I've got a corresponding
| | 04:20 | flat version, Flat panel.
| | 04:22 | Now if I zoom in, you can kind of
already start to see what the difference is.
| | 04:26 | You notice that little seam right
there and compare that to over here?
| | 04:31 | When it says Flat, they're literally
talking about the panel geometry itself.
| | 04:35 | The panel geometry is Flat, and
therefore the way it applies to the curve is a
| | 04:40 | little different than this one, which
is actually bent to match the curve.
| | 04:45 | Bent panels will do a nicer job
of maintaining your design intent,
| | 04:50 | but they're a lot more expensive to
manufacture. That's you're trade-off.
| | 04:54 | But you do have both kinds of patterns.
| | 04:57 | Now if you adjust this--and let me
just check this Keep Concentric here so I
| | 05:04 | can pull this arc and can change the radius--
| | 05:07 | you can really start to see
where that might come into play.
| | 05:11 | So as I pull that curve out,
the pattern does adjust and stay applied, but you
| | 05:17 | see it starts to get a
little distorted down here.
| | 05:20 | So these are things you want to keep in
mind when you're designing with these.
| | 05:23 | Now the last point I want to make here
about pattern surfaces is what's going
| | 05:27 | on here around the edges.
| | 05:30 | Over here under Constraints, we
have the Border Tile, and there're three
| | 05:34 | conditions we can choose from:
Partial, Overhanging, and Empty.
| | 05:37 | So Partial, you can see, is doing a nice
job on this side but not so nice on this side.
| | 05:43 | Overhanging does as its name implies,
and it makes all the edges overhang the
| | 05:49 | panel. And finally Empty would just
remove all the edges and not put any
| | 05:55 | panels there whatsoever if they're
partial, but you end up with some strange
| | 05:58 | little gaps left over.
| | 06:00 | In this movie, we've looked at the
intermediate step of doing panelize surfaces.
| | 06:05 | It's a three-step process.
| | 06:06 | You need to select your surface and
divide the surface, then you apply a pattern
| | 06:12 | to that divided surface, and then in
the next movie we'll look at how we
| | 06:16 | actually apply panels to that surface
to complete the curtain panel design.
| | Collapse this transcript |
| Creating a custom panel family| 00:00 | In this movie, we're going to create
a custom curtain panel to apply to our
| | 00:05 | panelized divided surface.
| | 00:07 | This is the third step in the process:
first step being to divide the surface,
| | 00:11 | second step being to apply a pattern to
the surface, and then the third step to
| | 00:16 | apply a panel to that surface.
| | 00:19 | In this case, we're actually
going to build the panel and apply it.
| | 00:22 | So I've got a version of the
file that we've been working on.
| | 00:25 | It's our Main Building form here, of the
museum. And I am going to spin around to
| | 00:31 | this side, looks like a good place to
start, and I'll zoom in. And I am going to
| | 00:36 | select a couple of these surfaces
ahead of time, maybe all of these that I'm
| | 00:41 | looking at right here, using my Ctrl key.
| | 00:45 | So I've got all of those surfaces.
| | 00:47 | Over here on the Pattern dropdown, I
am going to choose the 1/3 Step pattern.
| | 00:54 | Now when I do that you get these kind
of large rectangular patterns that get
| | 00:58 | applied to that. And as we saw in the
last movie, the Grid pattern disappears,
| | 01:03 | because visibility-wise the
Pattern is on and Surface is off.
| | 01:08 | If you need to see the Surface, you can
turn it back on, but I am going to leave
| | 01:11 | it off for the time being.
| | 01:13 | That's just the patternized surface.
| | 01:15 | What I want to do next is create a
panel that actually gets applied into
| | 01:20 | that 1/3 Step Pattern.
| | 01:22 | Now to do that, I actually leave this
file and create a totally new family.
| | 01:27 | So I am going to go to the
Application menu, go to New.
| | 01:30 | Now I am not going to do new
Conceptual Mass; I am actually going to do new
| | 01:33 | Family, because for whatever reason,
they put the Curtain panel pattern-based
| | 01:39 | family template outside of the Conceptual
Mass folder. That's why I went to new Family.
| | 01:45 | So here it is, right here. This is the
template that I want to use, and I click
| | 01:49 | open. And we do have that telltale
gradient fill background which kind of lets
| | 01:55 | us know that even though it's a
different template, we are still in the
| | 01:58 | conceptual environment.
| | 02:00 | If you look at my Ribbon tab, you can
see that I've got the same tools, so I am
| | 02:04 | still in the conceptual environment.
| | 02:06 | The biggest difference
here is I've got these points.
| | 02:08 | So there's a series of reference points
here at the corners and I also have this
| | 02:14 | grid floating over here.
| | 02:16 | So when you do the curtain panel
template, they give you a little section of
| | 02:22 | grid that you can select, and then over
here on the Properties palette, you get
| | 02:28 | the same list of patterns that are
available in the regular massing environment.
| | 02:34 | So what you want to do here is because
we're creating a panel for a 1/3 step
| | 02:40 | pattern in the other project, we want
to choose that same pattern here. And
| | 02:45 | you'll see this grid adjust, and it
will stretch out, and it will add more of
| | 02:52 | these little reference points and
more reference lines to go around that.
| | 02:56 | Now, this is fairly important here,
because the pattern determines how many of
| | 03:02 | these little reference points and
reference lines you get, and you want to build
| | 03:06 | all of your geometry hosted onto those
objects so that it will conform to the
| | 03:12 | shape of the overall pattern
when you load it into the project.
| | 03:16 | If you just build it off to the side or not
related to those points then that won't happen.
| | 03:20 | So it's pretty important that you use these
references that they give you as a starting point.
| | 03:25 | Now the other thing you can do is you
can take these dimensions here and make
| | 03:30 | them match the grid that you're actually
using so that you get a better sense of scale.
| | 03:35 | So I am going to set that to 4x4
and you'll see the whole thing will kind of
| | 03:39 | reduce down a little bit. And now there is one,
two, three bays that are each 4 feet wide.
| | 03:45 | So, one full panel is actually going
to be 12 feet by 4 feet in my design. So
| | 03:50 | that's the setup part of the process.
| | 03:52 | The next step is to just create the geometry.
| | 03:55 | These existing reference lines that
are here make it really easy to do.
| | 03:59 | All I have to do is select this chain of
lines and Create Form. And as we've seen
| | 04:06 | before, it will suggest either a 3D
form or 2D form. I am going to choose a 3D.
| | 04:11 | And then over here, you are going to see
a dimension appear. And it's currently 4
| | 04:16 | feet thick and I'm going to take
that and make it only 4 inches thick.
| | 04:21 | So I am going to drop that way
down to a much thinner-size panel.
| | 04:26 | Now I'm going to select this form again,
click this little icon right here to
| | 04:32 | make that a permanent dimension, and you
can even select that dimension and label
| | 04:38 | it with a parameter. And I am
going to call this Panel Thickness.
| | 04:43 | Now you don't have to do this step, but
I find it's a good thing to do because
| | 04:48 | later in the project if you want to
vary the thickness of the panel, you don't
| | 04:52 | actually have to come out to the
Family Editor in order to do that; you can
| | 04:55 | actually do that directly.
| | 04:57 | Now let's start with that really simple design.
| | 04:59 | We've got a four-inch-thick panel.
| | 05:01 | We've got a variable
thickness that we can apply to it.
| | 05:04 | Let's go up to the big R here and
save it, and I'll call this Main Building
| | 05:12 | panel, because we might want to use a
different panel elsewhere in the building.
| | 05:16 | And I'll save that right
in the Chapter03 folder.
| | 05:19 | Now I am going to Load it into Project.
| | 05:22 | Back here in the project, I can
select one or more of these surfaces that I
| | 05:29 | have previously applied the pattern
to, and instead of the generic 1/3 step,
| | 05:35 | I'll now choose my Main Building panel,
and you're going to see that get applied.
| | 05:41 | And in order to really see it, I'm
going to want to zoom in a little bit here.
| | 05:46 | And you can kind of see now there is
actually a thickness that's been applied
| | 05:50 | to all of these panels.
| | 05:52 | If we look at it really carefully--and
it might actually be better to see this
| | 05:57 | by going to a Plan view, so I am going
to go to the main floor plan and zoom in
| | 06:02 | down here at the corner--
| | 06:05 | you can kind of see that the surface is here,
but the panel projects out from the surface.
| | 06:12 | Now we actually have control over that.
| | 06:15 | So if I tab in and select this divided
surface, this is something that I can
| | 06:21 | actually flip directly on the surface.
| | 06:24 | Down here, there are some checkboxes,
and this one here at the bottom is called
| | 06:30 | Component Flip. And I can check that and
apply it and you're going to see all the
| | 06:35 | components on that surface flip to the inside.
| | 06:38 | Let me do it again over here. So I am
going to Tab until I get the divided
| | 06:43 | surface, check the Component Flip, and
apply it, and you'll see that flip around.
| | 06:48 | Now we do have some issues at the corners, but
we are going to work those out in a later movie.
| | 06:52 | Let me return to the 3D view, and you
can kind of see how that's been applied.
| | 06:59 | The really neat thing about this
feature is we can now continue to experiment.
| | 07:05 | If we don't like the way things are
starting and ending, we can select the
| | 07:08 | pattern and experiment with the
justification of, let's say the V Grid, like
| | 07:14 | maybe you want to try seeing what it
looks like if we start at beginning, or if
| | 07:18 | we start at the end and see if
that changes the outcome.
| | 07:21 | We can also go back to our family--so
I'll go to my Main Building panel--and we
| | 07:27 | can vary this panel.
| | 07:29 | Now I am going to do something really simple
here and add a circle right on the surface.
| | 07:36 | Let me do Placement Plane > Pick, and I
am going to pick this surface right here
| | 07:42 | and draw a circle right on that surface,
like so, select that, and make it a Void
| | 07:51 | Form, and you see how it'll cut right
through the panel. And let me reload that
| | 07:58 | back into the project.
| | 08:00 | When I get here, it'll say you have to
Overwrite the existing family, so I'll do that.
| | 08:04 | Now I am in Plan view, but
you can already kind of see that
| | 08:07 | something's happened.
| | 08:08 | So now I have a hole in all of my panels.
| | 08:13 | I mean that was a really simple design
and I can easily go back again and remove
| | 08:18 | that hole, but it gives you an idea of
the power of working in this system, is
| | 08:22 | that as you build this framework,
you can then go in and try different
| | 08:26 | variations and very
quickly make those modifications.
| | 08:30 | Now what about that parameter that we added?
| | 08:33 | Well, if I tab in and select one
panel, we don't see that panel thickness
| | 08:40 | anywhere here in the properties.
| | 08:41 | Well, we did it as a type-based parameter,
which is more powerful, because I can
| | 08:45 | go to Edit Type, there is panel
Thickness, and I am going to do this somewhat
| | 08:50 | dramatic here. I am going to make it 1
foot thick and click Apply, and you can
| | 08:55 | already see what it's done out here,
but if I click OK, you can see that all of
| | 09:00 | the panels have gotten thicker, and
in this case they've gotten thicker but
| | 09:03 | pushed into the building. And notice that
my void is not thick enough to actually
| | 09:09 | cut all the way through the panel
anymore, because I didn't make the void
| | 09:12 | parametric. So in these panels that I
flipped, we no longer see the void, but in
| | 09:17 | these that are still flipped
the other way, we do see the void.
| | 09:20 | Feel free to experiment further with
this, but in this very simple example, you
| | 09:24 | can begin to see how the entire process works.
| | 09:27 | We start with our basic 3D form, we
divide the surface, we add the panelization
| | 09:32 | and then we start building one or more
custom panels to apply to that, and then
| | 09:37 | that really gives us the opportunity
to start iterating the design and really
| | 09:40 | exploring opportunities.
| | Collapse this transcript |
| Nesting families| 00:00 | Creating a pattern-based curtain pane,l like
any family, can be either simple or complex.
| | 00:05 | In this movie, we'll look at a
different portion of our building, the Graffiti
| | 00:08 | Gallery, and create a panel that has
a little bit more complexity to it.
| | 00:12 | The panel itself is
actually going to be fairly simple.
| | 00:14 | It just going to be a simple rectangular
piece of glass. But we're going to nest
| | 00:17 | into it a Spider Clamp family that
I've built and provided here in the file
| | 00:21 | that's going to occur at each of the corners.
| | 00:24 | To get us started, I'm looking at
a file called Curtain Panel Nested.
| | 00:27 | We are looking at the Graffiti
Gallery from behind, from the outside.
| | 00:32 | I am going to select the Divided
Surface here, and it's currently set to No
| | 00:37 | Pattern, and it's at a 5x5 foot spacing.
| | 00:42 | I am going to change it to a
rectangular pattern here on the list, like so, and
| | 00:49 | then I'll deselect it.
| | 00:50 | So that's my pattern applied to it.
| | 00:53 | Now the next step is, down here in the
corner, you can see that there's a tiny
| | 00:57 | little item inserted here in the file,
and it's a Generic Model called Spider
| | 01:01 | Clamp. And if we zoom in on it, you
can kind of start to see it, and it'll be
| | 01:06 | easier if I click it and do Edit
Family, and there it is right there.
| | 01:12 | This family actually has nested within
it an additional family that makes up
| | 01:16 | each of the spokes, and
it's been repeated four times.
| | 01:19 | Inside of each of those spokes you
have a basic extrusion and then a blend
| | 01:23 | for the little arm right here, and then
another extrusion over here. And if you
| | 01:27 | want to learn more about creating
families in the traditional Family Editor
| | 01:30 | environment, you can check out the Family
Editor course that we have here on lynda.com.
| | 01:34 | So I am going to leave this spider
clamp open, because we're going to need it
| | 01:39 | in a few moments and I'm going to go up to my
Application menu, go to New, and choose family.
| | 01:46 | You may recall from the previous
movie that the Curtain Panel Pattern Based
| | 01:51 | template is actually stored in the
Family folder, as opposed to the Conceptual
| | 01:54 | Mass folder, and that's why I did new
Family instead of new Conceptual Mass.
| | 01:59 | Curtain Panel Pattern Based, click Open.
| | 02:02 | It starts with the grid onscreen here,
and if you select it, you'll notice that
| | 02:06 | that grid is already set
to a rectangular pattern.
| | 02:09 | So there is nothing for me to change there.
| | 02:11 | However, I might want to change the
spacing here, instead of 10x10, to 5x5 so
| | 02:19 | that it more closely matches what
we have in our Graffiti Gallery.
| | 02:22 | I am going to zoom in a little bit,
and I am going to select the chain of
| | 02:27 | reference lines that are
already here in the template.
| | 02:30 | In the last movie, we talked about how
it's important that you build all your
| | 02:33 | geometry from these existing references.
That's what keeps it attached to the
| | 02:37 | pattern as it flexes. And I'm going to
create a form. It will offer the Solid
| | 02:42 | Form or the Flat form. I'm going to
choose the Solid Form and then I'll come
| | 02:46 | over here to this temporary dimension
and I'll change this to just 1 inch thick.
| | 02:50 | I want to just have a
thin, little plane of glass.
| | 02:53 | Now with it still selected, over
here on the Properties palette, I can
| | 02:57 | change the Material.
| | 02:58 | So it's currently set to By Category,
and I am going to click right there and
| | 03:01 | click the Browse button and set it to Glass.
| | 03:04 | Now doing it this way, I'm
permanently making it glass within the family.
| | 03:08 | I would also have the option of
clicking this little button here and creating
| | 03:11 | a parameter for that glass, and you
might want to do that if you wanted to
| | 03:15 | sometimes have it be clear glass and
other times be reflective glass, and so
| | 03:19 | on, but for this example, I am going
to keep it somewhat simple and just go
| | 03:23 | with straight glass.
| | 03:24 | Now let me zoom in a little bit, come
up here to the Switch Windows, and I am
| | 03:29 | going to switch back over to the Spider
Clamp family which we left open a moment ago.
| | 03:34 | I want to take this family and load it
into my family that I've just created,
| | 03:40 | which is currently called Family21
because I haven't saved it. Yours might
| | 03:44 | have a different name.
| | 03:45 | I am going to click OK.
| | 03:47 | So as I move this thing around on the
screen, I can place it really anywhere I
| | 03:51 | want it to go, but if you look up
here on the Options bar, it says it's
| | 03:56 | associating with Level 1.
| | 03:58 | What I really would rather it do is
I would rather it associates with the
| | 04:02 | surface of this plane of glass.
| | 04:05 | So I am going to press Escape here
for a minute and we're going to make a
| | 04:08 | modification to that family
and bring it back in again.
| | 04:13 | So let me go back to Switch Windows, go
to the spider clamp, and over here on the
| | 04:18 | Properties palette, we're seeing
the properties for the family itself.
| | 04:21 | If you scroll down, one of
the options is Work Plane-Based.
| | 04:26 | So I am going to check that, save the
family, it will ask me where I want to put
| | 04:32 | it--I'll save it right here in the
Chapter03 folder--and then I am going to load
| | 04:36 | that back into my project, choose
Family21 again, click OK, and it will recognize
| | 04:43 | that I've made a change.
| | 04:43 | So I am going to say Overwrite the existing.
| | 04:46 | So it overwrote the family, but I now
have to go back over here to Home tab,
| | 04:51 | click the Component button to restart
the placement of this. The change we just
| | 04:56 | made will activate the two placement
options that we've become so familiar with.
| | 05:01 | So it's still defaulting to Level 1,
but now you see how it says Place on Face.
| | 05:07 | So watch what happens.
| | 05:08 | I can't place it out here, but as soon
as I move my mouse in, it highlights the
| | 05:13 | surface of the glass, and I now can place it.
| | 05:15 | So I am going to place it over here, kind of
near the corner, and then I'll get out of there.
| | 05:21 | By making it face-based, we've allowed
it to highlight the surface of this form
| | 05:26 | element and place itself right there.
| | 05:29 | Now to get it positioned correctly in
the corner and keep it there, I want to
| | 05:34 | switch over here on the Project Browser
to the Level 1 Floor Plan view. And let
| | 05:38 | me zoom in on this corner, and you can
see that clamp sitting right over there.
| | 05:42 | Now I deliberately left it off the edge
a little bit because the Align tool will
| | 05:46 | take me the rest of the way.
| | 05:47 | So I am going to click on the Align
tool, highlight the edge. It's going to
| | 05:52 | say Form Element first. You want to make
sure that you tab and get the Reference Line.
| | 05:58 | I want to go from the Reference Line
to the center of the clamp and lock it.
| | 06:04 | From the Reference Line tab to the
center of the clamp and lock it again.
| | 06:10 | Once I have that, I'll zoom out a touch,
select it, do my Mirror - Draw Axis,
| | 06:19 | pick a midpoint as the starting point,
pull it straight down, mirror it to the
| | 06:24 | other side, hold my Ctrl key, do it
again, using this midpoint, pull it straight
| | 06:32 | across, and now I have it
over on these four sides.
| | 06:35 | However, if you were to flex this thing
right now--maybe make this 6x8--you'll
| | 06:42 | notice that the one in the corner
stays put, but these three got left behind.
| | 06:47 | So let me undo that.
| | 06:50 | You need to separately align each one of these.
| | 06:52 | Mirroring them does not actually align them.
| | 06:54 | So I am going to repeat the steps.
Don't forget your tab right there, to get the
| | 07:00 | Reference Line and then the center and lock.
| | 07:03 | Tab, center, lock, and then
repeat on the four sides.
| | 07:09 | Go from the Reference Line to the
center of the clamp and lock it, and that
| | 07:16 | completes the four of them.
| | 07:18 | So now if you want to test it out, you
select your grid again, try a different
| | 07:22 | size, and when you apply it, all
the clamps should stay at the corners.
| | 07:27 | So at this point, we're ready to save our family.
| | 07:31 | I'll call this Panel with Spider Clamps,
load it into Project, and I'll load it
| | 07:39 | into Curtain Panel Nested, click OK.
| | 07:44 | Zoom out a little, select our Pattern
Surface, click on Rectangle, and you'll now
| | 07:49 | see Panel with Spider Clamps nested
beneath our rectangular pattern. Choose that
| | 07:55 | and it will apply it everywhere and if
you zoom in, you have a nice little spider
| | 08:00 | clamp at each of the corners.
| | 08:02 | Now you may need to flip this.
| | 08:03 | It depends on which way it's pointing.
| | 08:05 | So the clamps could be on
the outside of the building.
| | 08:08 | If they are--we talked about that in a
previous movie--you just come over here
| | 08:11 | to the Component Flip and check the box
and the clamps will flip to the inside.
| | 08:16 | So now that you've seen in this simple
example how you can add a spider clamp to
| | 08:19 | our simple glass panel family, you could
use this technique to add any number of
| | 08:24 | architectural details to your designs.
| | Collapse this transcript |
| Creating complex panels| 00:00 | I have created a few examples of
curtain panels so far in this chapter.
| | 00:03 | In this movie, we are going to do
our most complex example so far.
| | 00:06 | We are going to create a space-frame
structure that supports the glazing in
| | 00:10 | our Graffiti Gallery.
| | 00:12 | Now what I have here onscreen is a
file called Graffiti Gallery Complex.
| | 00:16 | We've reduced it down to just
the surface of the glazed wall.
| | 00:21 | You can see that it has a slight
curvature to it; it kind of bows out.
| | 00:26 | It's been assigned a Divided Surface.
The Divided Surface is 5x5, and it's been
| | 00:32 | assigned a rhomboid pattern.
| | 00:35 | You are not seeing the pattern, because
in the file I saved it with the pattern
| | 00:39 | and the components turned off.
| | 00:41 | We can actually turn on the pattern, and
there you can see the rhomboid pattern
| | 00:45 | is like these diamond shaped patterns.
| | 00:47 | When you turn off the surface, there's
just the rhomboids. And I can actually turn
| | 00:51 | on the components, and this is what we
are going to build in this exercise.
| | 00:56 | Let's turn off the Pattern, tab in and
select one of these panels, and kind of
| | 01:04 | spin it around, like so.
| | 01:08 | You can see that it's a little space-
frame structure that's following along the
| | 01:13 | curve of the Graffiti Gallery.
| | 01:15 | So we have got a lot to do. Let's go
ahead and jump in and get started.
| | 01:19 | I am going to go to the Application
menu, go to New, and choose Family.
| | 01:23 | And I am going to choose my Curtain
Panel Pattern Based, like we have done
| | 01:26 | before, click Open, select the grid,
change it to 5x5, and set it to a rhomboid
| | 01:36 | pattern so that it matches the
shape that we are looking for.
| | 01:39 | That will rescale and adjust
my existing reference lines.
| | 01:44 | You can see that they take up
a single bay of four squares.
| | 01:47 | So I am going to go to the Application
menu and save this family, and I am going
| | 01:53 | to call this Complex Panel and save.
| | 01:58 | What we are going to focus on primarily in
this movie is understanding the references.
| | 02:03 | We've got these points here at
the corners of this family template.
| | 02:08 | If I select one of these points and move
it, you will see that it actually takes
| | 02:13 | these reference lines with it
and actually warped the panel.
| | 02:17 | I am going to undo that.
| | 02:19 | So that's pretty important because those points
are controlling the shape of the entire family.
| | 02:24 | If you build your geometry relative
to those points, you can do some pretty
| | 02:28 | interesting and powerful things.
| | 02:29 | Now what we need to do is create
that sort of pyramid-type form.
| | 02:33 | So ultimately, what I want is another one of
those points kind of floating up here somewhere.
| | 02:38 | To do that, I've got a build a rather
complex armature of components that are
| | 02:43 | all linked together.
| | 02:45 | If you look at these points, they have
these three planes associated with them.
| | 02:48 | Those are work planes in the same way
as these planes on the reference lines.
| | 02:52 | So if I go to the Set Work Plane button,
I can actually set, using my Tab key, any
| | 02:58 | one of those three planes as a work plane.
| | 03:01 | So what I am going to do is set that
plane right there as a reference plane.
| | 03:07 | I am going to come over here and click
the Point Element tool, and you'll see
| | 03:13 | that the Placement Plane says Placement
Point because I just set the work plane,
| | 03:18 | and I'm going to put it
right there on that location.
| | 03:22 | Now I'm going to open up this list.
The two choices here are Level 1
| | 03:27 | and Placement Point 2.
| | 03:29 | I am going to change to Pick.
| | 03:30 | I am going to come over here and pick this one--
| | 03:34 | that's Placement Point 4--
and then place another point.
| | 03:38 | I click my Modify tool, come in here,
select that point and this point using my
| | 03:46 | Tab key, with the Ctrl key.
| | 03:48 | So now I have both of those points selected.
| | 03:51 | Over here it says Reference Points 2.
| | 03:54 | What you'll see is there is an Offset
parameter right here, and I am going to
| | 03:59 | set that to 2 feet.
| | 04:01 | And when I apply that, you are going to
see both of those points raise up above
| | 04:06 | their Reference Planes.
| | 04:08 | Now those points are
hosted to the underlying points.
| | 04:12 | So if I were to deselect those, select
this point, and drag it like we did before,
| | 04:17 | not only will these lines warp, but
that point will move because it's remaining
| | 04:23 | at 2 feet above its Reference Point.
| | 04:26 | Now I am going to undo that
to pull it back down here.
| | 04:29 | For this movie, I'm not going to set that
as a parameter, but you always have the
| | 04:34 | option to click this little button here
and actually create a parameter for that
| | 04:39 | offset so that later you can
actually vary that height parametrically.
| | 04:44 | But to keep things a little bit simple,
I'm not going to do that for right now.
| | 04:48 | That's hosting and hosting relative to points.
| | 04:51 | It's a really important skill when
working in the massing environment.
| | 04:54 | The next skill that I want to talk
about is going to a Reference line,
| | 04:58 | I am going to leave it set to Align,
and this feature right, here 3D Snapping.
| | 05:04 | When I choose that, that allows me to
snap in three-dimensional space and more
| | 05:09 | importantly, when you highlight something,
you see how this point will highlight
| | 05:13 | and I click it and I come over here and
I click this point? This Reference line
| | 05:18 | that I've just drawn is now
associated to those two points.
| | 05:22 | I am going to Escape out of there,
click Modify, select this original point
| | 05:27 | again, move it, and notice what's happening.
| | 05:31 | The underlying point that we created
with a 2-foot offset is moving as well, and
| | 05:36 | it's taking this
Reference line along for the ride.
| | 05:40 | Now I am going to go back to Point element
and I am going to highlight my Reference line.
| | 05:46 | Notice that any reference line you
highlight, it will actually highlight it
| | 05:50 | and when you click--
| | 05:51 | so now a place that one right at the
midpoint and it came in much smaller and
| | 05:56 | when I click on it, it only shows a
single Reference plane right there at that
| | 06:02 | perpendicular plane to the line.
| | 06:04 | This point is now hosted to this line,
and again, you could test all this one
| | 06:10 | more time, by just dragging that up and
you'll see that that point moves this point
| | 06:15 | which in turn moves this line,
which in turn moves that point.
| | 06:18 | You can see the relatively complex
relationship that I am building here, but by
| | 06:23 | doing it this way, I'm ensuring that all
the parts and pieces are going to flex
| | 06:27 | together in a predictable way.
| | 06:30 | Now let's select this little point
right here and look at its properties.
| | 06:35 | Down here we have a lot of
ways we can control that.
| | 06:38 | The measurement type for
this point has several options.
| | 06:43 | Now this Normalized Curve
Parameter is the default, and the Normalized
| | 06:49 | Parameter is .5. And that simply means
this point will always stay halfway on
| | 06:56 | this reference line.
| | 06:58 | If I take my grid for example and I
change the shape to a 10x10 grid and apply
| | 07:06 | that, you're going to see everything
flexes, these two points get further
| | 07:11 | apart because they are hosted to their
respective lines, and this point stayed
| | 07:15 | halfway on this line.
| | 07:17 | Now I am going to undo that to set that
back again to the default 5x5. We have
| | 07:25 | got this center point
established and all this framework working.
| | 07:29 | I now want to go back to Reference
Line, make sure 3D Snapping is on, and
| | 07:35 | start at one of these Reference
points and end at that point that we placed
| | 07:40 | right in the center.
| | 07:41 | I am going to press Escape, start at
this Reference point, end at that reference
| | 07:47 | point, press Escape, this one to that
one, Escape again, this one to that one.
| | 07:55 | Now what does that I do for me?
| | 07:56 | I now have this framework,
| | 07:59 | this sort of pyramidal form, that if we
move around, you can see that those are
| | 08:05 | the forms that we are going to use to
create the arms of our space frame. And if
| | 08:11 | again, you flex any of this,
everything should go along for the ride.
| | 08:17 | Using a variety of tools, we can
build this very detailed framework where
| | 08:22 | everything is associated to one another.
| | 08:24 | In the next movie, we are going to take
this a little bit further actually start
| | 08:27 | applying the geometry to this framework.
| | Collapse this transcript |
| Finishing complex panels| 00:00 | In the previous movie we set up a
framework of reference lines, reference
| | 00:03 | points, and relationships to get us
started creating a complex space-frame
| | 00:08 | curtain panel family.
| | 00:09 | In this movie, we will continue on
where we left off and build the actual forms
| | 00:14 | and the geometry to actually
finish out the space frame.
| | 00:17 | So what I have here onscreen is a file
called Complex Forms, and it's a family
| | 00:22 | file, and it's a saved version of
where we left off at the end of the last movie, with a
| | 00:27 | small additional component in here.
| | 00:30 | At the center of each of these
reference lines, I've added a reference point.
| | 00:35 | Now we talked about this in the last
movie, about how each of these points has
| | 00:39 | a parameter that determines where it
occurs along its host line, and these are
| | 00:45 | all set at the midpoint so that they're at 0.5
distance with respect to their reference lines.
| | 00:51 | If you want to, you can actually change
that to measure off the segment length or
| | 00:56 | off of cord length, if it happens to be curve.
| | 00:58 | So there are other options and that will
change the units that are used here to measure.
| | 01:03 | You can also choose whether or not it's
measured from the beginning or the end.
| | 01:07 | Now you may recall when we drew these
reference lines, we started here and ended
| | 01:13 | here, and I had you press Escape each time.
| | 01:15 | Start here and end here.
| | 01:17 | So they're all kind of
going in the right direction.
| | 01:19 | So if I took all these points, for
example, select them with my Ctrl key,
| | 01:26 | and just show you how we could actually vary
all these points together in a predictable way,
| | 01:31 | suppose instead of a Normalized Curve
Parameter, I wanted Segment Length and
| | 01:36 | let's say that I want it to start from
the beginning and have those things set at
| | 01:41 | 6 inches from the end.
| | 01:44 | When I apply this, you're going to see
all of those points move way down here to
| | 01:49 | 6 inches off their respective ends.
| | 01:52 | That's something that you could do if
it made sense to do it for the design.
| | 01:55 | In this case, I am actually going to
undo that and leave them in the center.
| | 01:59 | What I do want to change about these
points--so let me select them again--is we
| | 02:04 | have the ability to display the
reference planes all the time.
| | 02:09 | So you'll see that the
default behavior says When Selected.
| | 02:13 | When you click an individual point,
it shows just that one reference plane that's
| | 02:17 | running perpendicular to the line.
| | 02:19 | You can tell it to never show those
planes or to always show those planes.
| | 02:23 | So I am going to choose Always and
you're going to see that all of those
| | 02:26 | reference planes now display, and I
want to do the same thing with this one
| | 02:30 | right here, Always. And that just
makes it a little bit more obvious that I
| | 02:35 | have those points there and makes it easier
for me to set those points as work planes.
| | 02:41 | Now what I want to do next is draw
circles on each of those work planes and then
| | 02:46 | that gives me what I need to
start creating my solid forms.
| | 02:51 | So the first thing I want
to do is set the work plane,
| | 02:53 | so let me do Set Work Plane right here,
come over here, and highlight the plane.
| | 02:58 | You might have to press
Tab to get the right one.
| | 03:02 | That establishes that as the work plane.
| | 03:04 | Then I am going to go to Reference,
click Circle, pick a point right there at
| | 03:09 | the intersection, draw out my circle. I will
go with about 1 inch for that spoke right there.
| | 03:16 | Click on Set Work Plane again, pick the
next work plane, make sure I am still in
| | 03:21 | Circle, draw that out also at 1 inch,
and then repeat for the other two spokes.
| | 03:29 | Now for this one down here, I am
going to use a slightly larger radius.
| | 03:33 | So let me just spin the view just a
touch, go back to Set. I will set this work
| | 03:40 | plane right here, start right there, and
let's go with a 2-inch radius for that.
| | 03:45 | Click Modify. Cancel out of there.
| | 03:47 | So if I spin around here, you can see
that I now have a circle at each of those
| | 03:52 | work planes, and all those circles
are hosted on their respective points.
| | 03:57 | If you want to test that out, tab into
the point, select it, and try changing
| | 04:03 | this parameter right here, 0.25 for
example. As that point moves, it will take
| | 04:09 | the circle along with it.
| | 04:10 | I am going to undo that.
| | 04:13 | So we are now ready to create our 3D forms.
| | 04:15 | I am going to select each of these four
lines that started off the original family.
| | 04:22 | I am going to take those with this
circle, so hold down my Ctrl key and grab
| | 04:28 | that circle, and click Create Form.
| | 04:30 | Now when you do that, it will automatically
create a sweep there of all of those bars.
| | 04:37 | Then I'll repeat that same process,
but this time just select one circle and one
| | 04:42 | bar, Create Form. One circle
one bar, Create Form, and so on.
| | 04:52 | At this stage, we are ready to test this out
and see if it's behaving the way we expect.
| | 04:57 | We can test it right here in the Family
Editor by moving one of these points as
| | 05:01 | we've done before and you should see everything
flexing along for the ride. Let me undo that.
| | 05:07 | Also, it might be a good idea
to actually have some glass here.
| | 05:11 | Right now we only have the space frame.
| | 05:13 | So let me just select this sweep
form here, temporarily hide it.
| | 05:19 | That gives me access to the four original lines.
| | 05:23 | I am going to create form and this time
I will just do it as a flat plane, just
| | 05:28 | to keep it simple, and I'll
assign the material to Glass.
| | 05:34 | Let's reset the temporary hide and so now we
have a glass plane in there. We have our form.
| | 05:40 | Let's save this.
| | 05:42 | Now we are ready to load this into a project.
| | 05:45 | We don't currently have a project loaded.
| | 05:47 | We just have our Complex Panel Family open.
| | 05:50 | So let's go over to Open, choose a
file to load it into. I have got one here
| | 05:56 | called Load Complex.
| | 05:58 | Let's open that up. Zoom in.
| | 06:01 | Now this is a version of the curved
divided surface that we had in the
| | 06:05 | Graffiti Gallery, and it's got the
rhomboid surface pattern applied to it, but
| | 06:11 | currently no custom panels.
| | 06:13 | We will switch back over on Switch
Windows to our Complex Panel Forms family,
| | 06:18 | load it into project, it will come over here,
| | 06:22 | I'll select the surface again, and
we will now have Complex Panel Forms
| | 06:26 | available on the list.
| | 06:28 | I will choose that, allow it
to regen, and there you have it.
| | 06:33 | Let's zoom in and take a look.
| | 06:35 | There is our little space frame form.
| | 06:37 | I am going to hold down my Shift
key and drag my wheel and spin it around.
| | 06:40 | You can see how it's
been applied to the surface.
| | 06:43 | It looks pretty good.
| | 06:45 | For now that leaves us only with one
more task to perform on this design, and
| | 06:50 | that is stitching in the edges, and that
will be the subject of our next movie.
| | Collapse this transcript |
| Stitching borders| 00:00 | In the previous movies, we explored a
few examples of building custom curtain
| | 00:04 | panels to apply to our patterned surfaces.
| | 00:07 | In these cases the pattern applied
nicely along the field of the surface but
| | 00:10 | had some difficulty at the edges.
| | 00:13 | In this movie, we will begin looking at
the process of how to deal with the edge
| | 00:16 | conditions in your curtain panel families.
| | 00:19 | So I have here a file called Stitch
Edges, and it is a complete version of the
| | 00:25 | main hub of the museum, and it
incorporates the Graffiti Gallery on the backside,
| | 00:31 | with its curved wall and space frame.
| | 00:33 | Now I'm going to use my View cube
here and click the back corner to spin
| | 00:39 | around to the opposite side, because
I think it'd be good to start with a
| | 00:43 | fairly regular wall.
| | 00:44 | Then I want to actually zoom in closely on
this corner right here to talk about the
| | 00:51 | problem. Wherever there's a full
panel, we are getting a clean ending, but
| | 00:57 | wherever we have a partial panel, you can
kind of see that it's sort of overlapping
| | 01:02 | a little bit past the corner,
and it doesn't look quite so good.
| | 01:06 | That's what we want to clean up in this movie.
| | 01:09 | To do that, we have a process of
stitching, we call it manually stitching the
| | 01:14 | edges, and we do this with
an adaptive panel family.
| | 01:17 | I have got the families already here in
the file so I want to just show them to you.
| | 01:21 | If I scroll down on the Project
browser, under Families, there's a Curtain
| | 01:25 | panels category, and there are several
panels already loaded into this project.
| | 01:30 | Here's the one that we created
together in a previous movie.
| | 01:33 | It's called Exterior Wall Panel.
And I am going to right-click and choose Edit.
| | 01:38 | You can see that this is just the same
panel we started with that's set to 1/3 Step.
| | 01:44 | If you look here, there are these
points and if I hover over those points, you
| | 01:48 | will notice they say they are Adaptive Points.
| | 01:51 | So those are special kind of
points here in the panel family.
| | 01:55 | There are 1, 2, 3, 4 on this
side, four on the other side.
| | 01:58 | So this 1/3 Step pattern
actually takes eight adaptive points.
| | 02:03 | Now I am not going to change anything here.
| | 02:05 | I just wanted to point that out to you.
| | 02:06 | I am going to close this, not save it,
scroll back down, and you don't want to
| | 02:13 | do the family, but rather the
type that's indented beneath it.
| | 02:16 | You can drag that and drop it into the file.
| | 02:21 | This is what we mean by an adaptive
panel, is that when you drop it in, it will
| | 02:26 | actually allow you to start
placing the panel point by point.
| | 02:30 | I am going to click 1, 2, 3, 4, 5, 6, 7, and 8.
| | 02:40 | Now I did a kind of zig-zagy here so
that you can see what adaptive means.
| | 02:45 | When you place your adaptive points,
it allows the panel's shape to actually
| | 02:49 | adapt to the positions of those points.
| | 02:53 | We can use this panel that we have
already to clean up our edges, but the
| | 02:58 | trouble is, that's an awful lot clicking.
| | 03:00 | That's eight points.
| | 03:01 | Now what I have next to it--
| | 03:03 | I am going to cancel out of there--is
one called Exterior Wall panel Edge.
| | 03:08 | Now if I right-click and edit that one
in the Family Editor, this all I did was;
| | 03:14 | it's exactly the same panel that
we built in the previous movie.
| | 03:18 | I changed the pattern to just simply
Rectangle. That gives me four adaptive
| | 03:23 | points instead of eight, which means it's half
as much clicking. Close this one, not save it.
| | 03:29 | Scroll down. And if I drag the Edge panel
in, now it's just one 1, 2, 3, 4 clicks
| | 03:39 | instead of 8 clicks.
| | 03:41 | You could use this panel that we already
have as your adaptive panel, double the
| | 03:46 | clicking, or you can build a
custom one at a different shape.
| | 03:50 | Now let me delete both of those.
| | 03:52 | That's the process that we need to do, is
we need to drag it in and place the points.
| | 03:56 | Now are we going to do that?
| | 03:57 | Well, we have to get ourselves
set up over here in the model.
| | 04:01 | The first thing that I want to do is
select this surface. Come over here, you
| | 04:06 | can see there is my 1/3 Step.
| | 04:08 | Down here is all the settings that
we have looked at in previous movies.
| | 04:11 | I am going to change the Border Tile to Empty.
| | 04:15 | That will remove all of the partial
tiles and if I do the same thing on the
| | 04:20 | neighboring one, you can now see, if I
zoom in, where the full tiles come together,
| | 04:27 | we have a nice clean
conditioning and right at the same point.
| | 04:31 | So the problem is really at these partial tiles.
| | 04:34 | The next thing is, you could try to
snap with your adaptive panel to these
| | 04:39 | end points and it might work just fine,
but sometimes it's nicer to actually have
| | 04:44 | some guidelines or some points to
actually snap to, to make your job little easier.
| | 04:48 | So let me just show you a
trick that we can do here.
| | 04:51 | I'm going to select the surface and
over here on the ribbon, we've got these
| | 04:55 | buttons of what we want to show.
| | 04:57 | I want to turn on the surface.
That gives me back the original grid. And then
| | 05:02 | right here, there is this tiny little
icon. They call these Dialog Launchers.
| | 05:07 | And if I click this Dialog Launcher
right here, there is a tab for each of these
| | 05:12 | viewing conditions: the
Components, the Patterns, the Surface.
| | 05:15 | We just turned on the surface.
I am going to click Surface over here and
| | 05:19 | toggle on the nodes.
| | 05:21 | Now when I do that, you'll see a
little tiny dot appear at each of the
| | 05:26 | intersections along the grid.
| | 05:28 | I can now snap to those nodes and it
will make my job a little bit easier to
| | 05:33 | place these manual panels.
| | 05:36 | Let me come down and grab an Edge panel here.
| | 05:39 | Remember to pick the type that is
indented beneath the family, not the family
| | 05:43 | itself. Drag it out of the
browser and into the project.
| | 05:49 | Then you locate one of these nodes.
Notice that the snap will give you a little
| | 05:54 | circle with an X through it.
| | 05:56 | That's how you know you're snapping to a node.
| | 05:59 | And I'll click 1, 2, 3, and the
fourth point is going to be on that
| | 06:07 | end point right there.
| | 06:08 | And I might need to zoom in to get it. There.
| | 06:11 | Notice that that panel kind of
popped out from the surface of the wall.
| | 06:15 | We can easily fix that later,
| | 06:17 | so don't escape and undo here.
| | 06:19 | So if you get it going in the wrong
direction, it's not a problem. But it
| | 06:23 | actually matters which
direction you draw these in.
| | 06:26 | So if I go in the opposite direction,
you're to see, that one is nice and
| | 06:31 | flush with the wall.
| | 06:33 | For this one that I just did that's
going the wrong way, I can simply click on
| | 06:37 | it and down here on the Properties
palette, click the Flip checkbox, and it will
| | 06:41 | flip it the other way.
| | 06:42 | So that's why I said don't
escape and undo. Just flip it.
| | 06:46 | You can't select multiple surfaces and change
the surface representation at the same time.
| | 06:52 | If you pick two surfaces, that goes away.
| | 06:55 | That's unfortunate that you
have to do this one at a time.
| | 06:57 | So I am going to select the
neighboring one, turn on the surface, turn on the
| | 07:01 | Surface Representation, and add the
nodes, click OK, orbit this slightly, and
| | 07:09 | then I'll clean up this area right here
so you can see the complete condition.
| | 07:13 | Drag in the Edge panel. Start here, go
to here, and then here, and then to here,
| | 07:21 | and same thing. Here, here to here.
| | 07:25 | You can see that in just this little
simple corner area that's a much nicer edge.
| | 07:31 | However, if you zoom back and you look
at the amount of work you have ahead of
| | 07:35 | you, it does take a decent amount of time.
| | 07:38 | Unfortunately, you can't just copy them.
| | 07:40 | But in terms of refining your design
and moving it to the next level, it really
| | 07:44 | is a pretty important thing to do.
| | 07:46 | So we have a few more a little
special case conditions that need to be
| | 07:49 | addressed--the front facade of the
building and graffiti wall in particular--but
| | 07:53 | we will save those topics for the next movie.
| | Collapse this transcript |
| Exploring advanced stitching strategies| 00:00 | In this movie we'll continue our
stitching of the edge conditions on the curtain
| | 00:04 | panels, picking up where we
left off in the last movie.
| | 00:07 | I am in a file called Advanced
Stitching Strategies, looking at the front of the
| | 00:12 | building, and I'm going to use my Shift
and wheel and just sort of spin around
| | 00:16 | and zoom in on the front.
| | 00:19 | If you watched the last movie,
you remember that we started off by selecting the
| | 00:23 | surface and changing the partial tiles to Empty.
| | 00:27 | Well, the trouble we're going to have
when we do this here is we lose that
| | 00:31 | really nice condition that we
had around the doorway opening.
| | 00:35 | Now I'm going to set it back to
Partial and show you that this is sort of a
| | 00:39 | trade-off, but this opening here,
I really like the way that it is doing the
| | 00:45 | partial tiles around there.
| | 00:47 | I'm just not satisfied with it around
these edges in these conditions here.
| | 00:51 | A different strategy that we can take
is, instead of changing the entire wall to
| | 00:57 | node partial tiles, what we'll do
instead is use our Tab key and we will tab
| | 01:02 | into the actual panels, and I can use my
Ctrl key and select any of the partial
| | 01:09 | tiles and simply delete them.
| | 01:12 | So rather than making the entire wall
no partial tiles, I can just remove the
| | 01:16 | ones I don't like, like this guy right here.
| | 01:18 | Notice how strange that one ended up.
| | 01:21 | It's got this little extra hook to it.
| | 01:23 | So we'll get rid of that, and
this, and this one, delete those.
| | 01:29 | Then on this side we've got a similar
kind of condition, because over here where
| | 01:35 | the two walls meet in an inside corner,
I don't really mind so much that there's
| | 01:40 | an overlap, because we're not seeing it.
| | 01:42 | It ends up inside that scene.
| | 01:45 | We still get a nice clean corner here.
| | 01:47 | So I'm going to use the same strategy
here to tab in and select the partial
| | 01:52 | tiles and delete them.
| | 01:55 | The last thing here is even though I
have a full tile, I might still want to
| | 02:00 | delete this, because notice that it
comes all the way through to the front of
| | 02:04 | the building. And where you have these
outside corners, you probably want to
| | 02:08 | decide which panels butt into which ones.
| | 02:10 | So I'm going to delete that panel
as well and then go back and manually
| | 02:15 | stitch all those corners.
| | 02:17 | So I'll select this Surface, turn on
the Surface Representation, add the nodes,
| | 02:23 | click OK, start down over here, drag
down in my Project Browser, you find my
| | 02:30 | Edge panel, drag it in--remember to drag
the type not the family--zoom in on it,
| | 02:38 | start up here, and go one, two,
three, four around the nodes.
| | 02:44 | I could continue and do each one.
And then up here when I do these corners I'm
| | 02:55 | going to make sure that all of these are
nice and flush to the front facade. And
| | 03:02 | then let me cancel out of there,
because I didn't turn on the Surface
| | 03:06 | Representation for this surface.
| | 03:08 | So let's turn it on, add the nodes.
| | 03:12 | Remember, unfortunately, you
have to do this one wall at a time.
| | 03:15 | There isn't any way to do several
walls together. And even though I would
| | 03:19 | normally have a full panel there,
I'm going to stitch one in. Node, node.
| | 03:25 | Here, instead of snapping to node, I
want to snap to end point and end point,
| | 03:31 | and that will give me a panel that butts in
right there and makes a much nicer corner, I think.
| | 03:39 | So node to node and then end point
to get it to the backside there.
| | 03:45 | Again, it's a decent amount of work, but
when you take the time to put those in,
| | 03:49 | they're going to give you
a nice clean corner there.
| | 03:51 | Now let's look at one last
example around the back of the building.
| | 03:54 | So let me zoom out. And I'll select my
graffiti wall back here, spin around.
| | 04:01 | This is the space frame design that we
were working on in a previous movie.
| | 04:06 | I'm going to select that surface, and
you can see that I've got all kinds of
| | 04:09 | crazy things happening around to the edges.
| | 04:11 | So the partial panels are just not working here,
| | 04:15 | so let's make them empty. And that
already makes it look ten times better, but we
| | 04:20 | do have all these missing panels now.
| | 04:24 | If you watched the last movie,
you recall that I created that custom edge panel
| | 04:28 | for the edges of the rectangular.
| | 04:31 | I've also got a custom edge panel
here that's in the shape of a triangle.
| | 04:34 | So the rhomboid shape, if you try and
stitch that in, what will happen is the one
| | 04:40 | bar that's going out to the fourth
corner of the square is going to get twisted
| | 04:44 | on itself and it will probably fail.
| | 04:47 | So instead, if I open up this triangular
panel, you can see that it's just using
| | 04:53 | the triangle pattern and it
doesn't have that fourth bar.
| | 04:58 | It makes the stitching here a little bit nicer.
| | 05:01 | So in this case building a custom panel
really was an important part of the solution.
| | 05:08 | Go to Surface, turn on the Nodes. And
the only other thing you need to pay
| | 05:12 | attention to then is even though it's a
triangular shape, it actually has four nodes.
| | 05:18 | If I take this triangle panel, drag
it in, I want to go one, two, three,
| | 05:26 | somewhere along the
outside edge here, and then four.
| | 05:32 | And that will give me the panel
where this line right here actually has
| | 05:36 | an intermediate point.
| | 05:38 | Now it looks a little strange because
it's actually pointing the other way, but
| | 05:41 | we can flip that later.
| | 05:42 | So again, it's one, two, three,
somewhere along the edge, and then four at the
| | 05:50 | other corner. And let me cancel out of
there. I am going to select both of these,
| | 05:54 | come over here to the Properties, and
flip them, and now they point the same way
| | 06:00 | as the rest of the design.
| | 06:02 | And if we wanted to spin that around and
look a little bit, you'll see right there.
| | 06:06 | You can continue to stitching all
the edges for practice if you like.
| | 06:11 | It is a little bit tedious, but
stitching edges is an important part of the
| | 06:15 | complete solution and something that
you will definitely have to do if you want
| | 06:19 | to create a nice curtain panel design.
| | Collapse this transcript |
| Working with reporting parameters| 00:00 | So the designers have put in all this
effort into building these custom curtain
| | 00:03 | panels and skinning the building and
spending a lot of time stitching the edges,
| | 00:07 | and at some point we probably want to
know, well, just how many of these panels
| | 00:10 | do we really have, so that we can start doing
cost estimates or other kind of quantity take-offs.
| | 00:16 | In this movie, we're going to
look at reporting parameters.
| | 00:18 | reporting parameters are simply a
parameter that instead of driving geometry and
| | 00:23 | making the geometry change, it actually
just reports on what it finds there and
| | 00:27 | gives us back the value.
| | 00:29 | If you set up the reporting parameters
correctly, we can see them in schedules,
| | 00:33 | which means we can very quickly pull
out a quantity take-off of everything
| | 00:37 | we've got in our model.
| | 00:38 | So I have a completed version of our
Curtain panels here. It's called Reporting.
| | 00:44 | If you zoom in a little bit, you can
see that this one is finalized. All the
| | 00:48 | edges have been stitched in nicely, and we
have got our partial panels and our full panels.
| | 00:52 | So if you watched the last few movies, this
represents the completed version from that.
| | 00:57 | What we are going to have to do is
modify a few of these panels, add the
| | 01:02 | reporting parameters to them,
and then generate the schedule.
| | 01:05 | Now I also want to point out that we are
in a Revit project file, and notice that
| | 01:11 | these panels actually show through
even though Show Mass is not turned on.
| | 01:15 | So one of the really unique
features of curtain panels in the massing
| | 01:20 | environment is, they actually
are categorized as curtain panels.
| | 01:24 | If I highlight over this, you'll
see that it says it's a curtain panel.
| | 01:28 | You don't need to have
show mass on to see these.
| | 01:30 | They remain visible and selectable in the model.
| | 01:34 | Now let me scroll down,
here on the Project Browser.
| | 01:38 | I'm going to go to Families and notice
that as a consequence of that, all of the
| | 01:42 | curtain panels are actually listed here.
| | 01:44 | For this movie, I am just going to
focus on the stone panels here, the Exterior
| | 01:48 | Wall Panel and the Exterior Wall Panel Edge.
| | 01:51 | I am going to right-click one of these
and choose Edit and that will open that
| | 01:55 | panel in the Family Editor.
| | 01:58 | Now, in order to make a reporting
parameter work correctly, it has to be set up
| | 02:02 | as a shared parameter.
| | 02:04 | Now shared parameters are a little
bit more advanced and if you're not
| | 02:07 | quite familiar with shared
parameters or if you don't have this setup in
| | 02:10 | your firm already, we do have this
topic covered in the Family Editor
| | 02:14 | course here on lynda.com.
| | 02:16 | So I encourage you to jump over there
and watch those lessons so that you can
| | 02:19 | learn a little bit more about shared parameters.
| | 02:21 | I am going to review the steps here a
little bit, but I am going to assume that
| | 02:24 | a lot of the setup is already in place.
| | 02:27 | What I want to do here is add my
parameters, and the first thing I want to do is
| | 02:32 | get this form out of my way.
| | 02:34 | So I just tabbed in to select the form,
and I'm going to select my sunglasses
| | 02:40 | here and hide that element.
| | 02:42 | That gives me a real easy way
to select these reference lines.
| | 02:46 | By now, you've heard me say on several
occasions that it's really important that
| | 02:50 | we dimension to the
references, not the geometry.
| | 02:52 | I'm going to use my align dimension and
add a dimension from this reference line
| | 02:58 | to this one and another dimension
from this reference line to this one.
| | 03:03 | That's going to be my panel height
and that's going to be my panel length.
| | 03:06 | I'll select the dimension and label it
with a parameter. And if you look here, it
| | 03:13 | can't be a Family parameter, because
we want to report it in schedules.
| | 03:18 | This is not a good option.
That's why we have to use a shared parameter.
| | 03:22 | I am going to click Select. And I
already have a shared parameter file loaded,
| | 03:27 | but if you don't have a shared parameter
file loaded, I've actually provided one
| | 03:33 | with the exercise files that you can load up.
| | 03:35 | So the dialog would pop up, it would
ask you where the file is, and you can just
| | 03:38 | simply point to it, and it's
called LDC Shared parameters.
| | 03:43 | But I've already got the parameters
defined here, and I am going to choose
| | 03:46 | Panel Height, click OK.
| | 03:49 | In order to be a reporting parameter,
it's got to be Instance, and then there is
| | 03:54 | the Reporting Parameter checkbox.
And it says right here what that does.
| | 03:58 | It can be used to extract the value from a
geometric condition and reported in a schedule.
| | 04:03 | That's exactly what we're trying to do.
| | 04:04 | We want this panel to tell us how tall it is.
| | 04:09 | Click OK, select the other dimension,
| | 04:12 | label it the same way,
| | 04:14 | add a parameter, Shared parameter, Select,
Panel Length, Instance, and reporting.
| | 04:21 | You've got to remember to do that.
| | 04:23 | There it is, and there it is.
| | 04:25 | I am going to reload this panel into the
project and overwrite the existing version.
| | 04:32 | That will just take a second while it
regenerates. Scroll back down in the project
| | 04:37 | browser, and I need to repeat that
entire process for the Edge panel as well.
| | 04:42 | So let's right-click and choose Edit, tab in
and select my form and hide it. Go to Dimensions.
| | 04:52 | This is going to panel height and
this is going to be panel length.
| | 04:58 | Select this one, label it with a parameter.
| | 05:02 | Again, it's got to be a shared parameter,
Select. I use the same panel Height parameter;
| | 05:08 | make it an Instance and Report. And then
last time, add parameter, Shared, Panel
| | 05:17 | Length, Instance, and Report.
| | 05:20 | You may notice that in there I had a
couple of others, so feel free, if you want
| | 05:24 | to, to add Panel Material and
Thickness as shared parameters as well, and then
| | 05:29 | you could query not only the length and
the height of the panels, but also what
| | 05:33 | they're made out of and how thick they are.
| | 05:35 | For this example I just
kept it to the two dimensions.
| | 05:39 | So let's load it into project and then
overwrite it again. And so now we are ready to go.
| | 05:45 | At this point, if you tab in and select--
actually I don't even need to tab, it's
| | 05:50 | going right to it, but tab if it
doesn't highlight--and select one of these
| | 05:54 | panels, you should see right over here
in the Properties palette that there is
| | 05:58 | the Panel Length and there is the Panel Height.
| | 05:59 | Now that one is a full panel, so it's 12 x 4.
| | 06:02 | This one is 7.8 x 4.0
because it's a partial panel.
| | 06:07 | So the parameters are actually working
and telling us the values of those objects.
| | 06:12 | What I want to do is go to the
View tab, go to Schedules, and add a
| | 06:18 | Schedules/Quantities and add a panel schedule.
| | 06:21 | I am going to choose New Schedule here
and I am going to choose Curtain panels,
| | 06:26 | click OK, and then add the fields that I
want to include. So I am going to choose
| | 06:30 | the Family and Type and add it.
| | 06:33 | You could add other fields if you're
interested in these other fields, but I am
| | 06:37 | going to scroll down.
| | 06:38 | Here is Panel Height. Here is Panel Length.
| | 06:42 | Because they are shared parameters,
they show up here in the schedule list as
| | 06:46 | parameters we can add to the schedule.
| | 06:48 | Let me add that Count as well.
| | 06:51 | I could click OK and I'll just get a
bit, long flat list of panels, but what I
| | 06:54 | want to do is jump over here to Sorting/
Grouping and I want to clean this up a little bit.
| | 06:59 | If you're not familiar with Schedules,
again we've covered Schedules pretty
| | 07:02 | extensively in the Essentials course at
lynda.com, so you could check it out there.
| | 07:08 | But I am going to add the Family and
Type as the first Sort by and make that a
| | 07:12 | Header and put a Blank line--that
just adds a little breathing room.
| | 07:17 | Then I am going to sort by
the Panel Height and the Length.
| | 07:21 | I want Grand totals at the bottom, and I
want to turn off the Itemize every instance.
| | 07:27 | Now doing that means that this Count
field will actually come into play.
| | 07:32 | The Count field will instead tell me
how many of each panel I have instead of
| | 07:37 | just having each one listed one after the other.
| | 07:40 | Finally, on Formatting, I am going to
take Family and Type and I am going to
| | 07:44 | make that Hidden. Because I made it a
Header over here, that's the only place I
| | 07:48 | want to see it. And when I click OK,
you'll now see the Family and Type name
| | 07:54 | listed across here.
| | 07:55 | You can widen these columns if
necessary so that you can read things a little
| | 07:59 | bit better. And all of the
panel Heights are listed here,
| | 08:03 | all of the panel Lengths
here, and here is the Counts.
| | 08:06 | Because I turned off Itemize every
instance, I now see the values listed over here.
| | 08:13 | You've got the two different panels,
the Edge and the Wall panel, listed there
| | 08:17 | with their total quantities.
| | 08:18 | Down here, the Graffiti panels are
not listing, simply because those shared
| | 08:24 | parameters haven't been added to those panels.
| | 08:27 | So if you want to get your quantities
for your Graffiti panels as well, you just
| | 08:31 | have to open up those families and
repeat the steps we did earlier in the movie.
| | 08:35 | But as you can see, the reporting
parameter is an excellent way for you to go in
| | 08:40 | and pull information out of your
geometry and then report it on a schedule.
| | 08:45 | The key thing that you need to remember
there is, to get it on a schedule, it has
| | 08:49 | to be set up as a Shared parameter.
| | 08:52 | This is an excellent way to bridge
from your design files over to doing
| | 08:56 | your quantity take-offs.
| | Collapse this transcript |
|
|
4. Using Massing to Create Unique FormsUnderstanding adaptive points| 00:00 | Adaptive components were first
conceived as a way to create flexible elements
| | 00:04 | that can fill in the irregular
edges of panelized divided surfaces.
| | 00:09 | We saw examples of this at
the end of the last chapter.
| | 00:12 | In this chapter, we're going to
look at some of the ways we can use
| | 00:14 | adaptive components.
| | 00:15 | But in this movie we're going
start with a quick exploration of the
| | 00:19 | adaptive points themselves.
| | 00:20 | The points have many options, and we
want to just take a quick inventory of what
| | 00:25 | some of the key options are of those points.
| | 00:27 | I have got a file open here called
Points.rfa and it's a really simple family, as you
| | 00:32 | can see, and it has several points onscreen.
| | 00:35 | They are actually three stand-alone points.
| | 00:37 | So this one right here which is
an adaptive point Placement Point.
| | 00:41 | This one right here which is an
adaptive point Shape Handle Point, and this one
| | 00:45 | right here which is just a Reference Point.
| | 00:48 | Now there is also this two here, but
those are actually part of the line, and
| | 00:51 | I'll talk about those a little bit later.
| | 00:53 | So we really have the three
conditions: this one, this one, and this one.
| | 00:57 | So I am going to start off by selecting
this point right here and take you over
| | 01:01 | the Properties palette and
scroll down toward the bottom.
| | 01:04 | You'll see, under Adaptive Component,
you've a little dropdown here, and those are
| | 01:10 | the three conditions that we
can have for reference points.
| | 01:13 | They can be a Reference Point, a
Placement Point (Adaptive), or Shape Handle
| | 01:17 | Point (Adaptive). And again,
I have three examples there.
| | 01:21 | So let's start with the simplest
one, which is this reference point.
| | 01:24 | We've seen examples of reference points before.
| | 01:27 | They can actually be in any massing family
or they can be an adaptive component family.
| | 01:33 | I have an adaptive component family
here onscreen, but a regular reference
| | 01:37 | point can actually be placed in
regular massing family as well.
| | 01:40 | But the main purpose of a reference
point is is you go your Set tools, you
| | 01:46 | highlight the point, press the Tab key,
and you get those three work planes--one,
| | 01:50 | two, three--and you could
set those work planes active.
| | 01:54 | So, for example, if I made this plane
active and now I drew something, you would
| | 02:00 | see that the thing I drew
is hosted on that point.
| | 02:04 | If I selected that point later and moved it,
it would take the object along for the ride.
| | 02:10 | So that's the main use of the reference point.
| | 02:13 | It just gives you a host. It gives
your work plane to build geometry on.
| | 02:17 | Now what about the adaptive points?
| | 02:20 | We have the Placement
Point and the Shape Handle.
| | 02:23 | The Placement Point we saw examples of
in the end of the last chapter when we
| | 02:27 | did the adaptive component families.
| | 02:30 | If you watched that chapter, you we
call that we dragged in those panels and
| | 02:34 | we were prompted to walk around the panel
and place several points to place the panel.
| | 02:40 | The number of points that was in the
panel depends on the design of the panel.
| | 02:45 | But you can think of them as each one is
actually like an insertion point and it
| | 02:49 | has an impact on the shape of the family.
| | 02:53 | In this case, I only have
the one Placement Point.
| | 02:55 | So if I were to go to a new project--and
I'll just accept the default template there--
| | 03:03 | go back to my points file, load it
into project, what you are going to see is
| | 03:08 | it's coming into the project
by that single Placement Point.
| | 03:12 | That's what we mean by Placement Point.
| | 03:14 | Now I am going to click.
| | 03:15 | If I had an additional Placement Point,
it would prompt me for the next one and
| | 03:20 | the next one and the next one.
| | 03:21 | So that's what's adaptive
Placement Points are for.
| | 03:24 | They just basically establish one or
more insertion points for the family.
| | 03:29 | Now I am going to escape out of here,
select this guy, and these other points,
| | 03:35 | while they're all visible when it selected,
| | 03:36 | but if I deselect, this one is still visible.
| | 03:39 | This is what we call a Shape Handle Point.
| | 03:41 | And if I select this guy, you can see
that I can click right on the point and
| | 03:45 | it actually has grips.
| | 03:47 | If I just click here, I don't get those grips.
| | 03:51 | But if I click right on the point,
I get the control handle, and I can start to
| | 03:56 | manipulate that point.
| | 03:58 | Now notice that the arrow is bending with it.
| | 04:01 | If I jump back to the family, I can show
you why. There is a reference line right
| | 04:06 | here that connects between
this point and this point.
| | 04:10 | That reference line is the host for this arrow.
| | 04:13 | So if I select the arrow and I
say Show Host, you can see that.
| | 04:17 | That's why, when I jump back over here
to the project, this control handle is
| | 04:22 | actually reshaping the arrow.
| | 04:24 | Now if I went to 3D, it can do
that three-dimensionally as well.
| | 04:30 | So if you have a family that you want
to create where you actually want to give
| | 04:34 | people a grip that they can manipulate,
then you add in an Adaptive Shape Handle Point.
| | 04:41 | That will give you this behavior.
| | 04:43 | So let me go back to the Points file
one more time, and let's wrap up with this
| | 04:49 | last couple points right here.
| | 04:51 | These select individually as separate
points and if you move them, you see
| | 04:55 | they're having an impact on this line.
| | 04:58 | So you might be tempted to think they're
actually the same as the Shape Handle Point.
| | 05:03 | In fact, where this came from is
simply when you choose either Model or
| | 05:08 | Reference Line and then you check
the 3D Snapping feature--and you can see
| | 05:13 | right now I've got a vertical work plane here,
| | 05:15 | so let me cancel out there and
just set the ground plane as the work
| | 05:19 | plane before I do this.
| | 05:20 | But we've got the 3D Snapping feature.
| | 05:23 | It gives me an end point at each end
that's actually an integral reference point.
| | 05:29 | Now those reference points, if I cancel
out there, do behave like reference points.
| | 05:33 | You get the grips, you can go to Set Work
Plane, and you can actually set the work planes.
| | 05:39 | But you can't disassociate them with the line.
| | 05:42 | If I deleted this point,
it actually deletes the entire line.
| | 05:46 | So it really is the part of the line
and again, it's a consequence of the
| | 05:50 | 3D Snapping behavior.
| | 05:52 | If you turn off 3D Snapping, you'll just
get a line without any reference points.
| | 05:57 | Big black dot is a reference point;
these blue dots are adaptive points; and
| | 06:03 | to change it from either a Placement Point or
Shape Handle use to drop-down right over here.
| | 06:11 | As you're building your Adaptive
Component Families, establishing the Points is
| | 06:17 | really a critical first step to get
everything hosting correctly and behaving
| | 06:21 | the way that you want.
| | 06:23 | Even if you consider yourself a
seasoned Family Editor expert, adaptive
| | 06:27 | components are going to add
plenty of new material to the mix.
| | 06:30 | So you're certainly going to want to
experiment with these and do a little bit
| | 06:34 | of practice before you dive in full
long and start creating your first
| | 06:38 | adaptive component families.
| | Collapse this transcript |
| Knowing when to use adaptive components| 00:00 | In the last movie, I mentioned how we
can use adaptive components to build some
| | 00:04 | rather interesting and unusual things.
| | 00:06 | In this movie I would like to
talk about why that's the case.
| | 00:09 | So, I don't have any files open right now;
we are actually going to create it from scratch.
| | 00:13 | And I want to show you why
adaptive components are intriguing.
| | 00:17 | In this chapter I wanted to show you
that if we come over here and we create a
| | 00:22 | brand new family--now I am not doing new
Conceptual Mass; I am doing new Family--
| | 00:27 | that takes me to the Standard Revit
Family Template folder. I'm in the imperial
| | 00:32 | version; there is also a metric version.
| | 00:34 | If you scroll down, you'll notice that
under the Generic Model Templates, there
| | 00:38 | is a special template called Generic
Model Adaptive, and this is actually what
| | 00:43 | makes these adaptive components unique
is that their category starts off being
| | 00:49 | generic model and you can actually
change that category to many other things.
| | 00:54 | So let me go ahead and open this
template, Generic Model Adaptive.
| | 00:59 | At first blush, it looks
like the Massing Environment;
| | 01:01 | in fact, it has all of the
same Massing Environment tools.
| | 01:04 | It has the visible levels and reference planes.
| | 01:08 | In pretty much all ways it is
the Massing Environment, with one
| | 01:13 | significant difference.
| | 01:14 | If I come over here to the Family and
Categories button up on the Home ribbon
| | 01:19 | and click it, notice that the list of
categories that you would normally find in
| | 01:24 | the traditional Family
Editor is also included here.
| | 01:27 | Now I'm currently set to Generic Model.
| | 01:29 | I can actually change the category
to just about anything on this list.
| | 01:34 | When doing that, if I load this family
into a project, Revit will actually see
| | 01:39 | this object as that category. It won't
require me to turn on Show Mass and then
| | 01:45 | hide it again when Show Mass is toggled off.
| | 01:47 | It will actually see the object as
the category that it's assigned to.
| | 01:51 | I will leave it to Generic
Model, and I want to contrast that to
| | 01:55 | New > Conceptual Mass.
| | 01:58 | If I open this up, this is the one we have
been working on throughout the course so far.
| | 02:03 | If I go to Family Category Parameters,
if you try to change the category here,
| | 02:08 | Revit will tell you that you're not allowed.
| | 02:10 | So they kind of tease you by giving
you the list, but then as soon as you try
| | 02:14 | and change something, it says it's prohibited.
| | 02:17 | So I am going to close out there and cancel.
| | 02:20 | That ability to change categories is the
main difference of an adaptive component
| | 02:24 | that allows us to take the modeling
capabilities that we have in the massing
| | 02:28 | environment and use them to build forms
that can be categorized as any category
| | 02:33 | and appear directly in a project environment.
| | 02:36 | And that's an example we are going to
look at over the next couple of movies.
| | Collapse this transcript |
| Nesting adaptive families| 00:00 | We often use profile families to create
3D forms in both the project environment
| | 00:05 | where we use them for railings or sweeps
and the Family Editor environment where
| | 00:09 | we also can use them for sweeps or swept blends.
| | 00:12 | A profile is a simple 2D shape
created in the Family Editor in a profile
| | 00:15 | family and then loaded into one of these other
environments and used to create the 3D object.
| | 00:21 | In the massing environment we can't
actually load in profile families directly.
| | 00:26 | That workflow won't work the same way.
| | 00:29 | But we can do almost exactly the same
thing that we can do with profile families,
| | 00:33 | using simple generic model families.
| | 00:35 | You create a generic model family, you
draw your profile shape there, load it
| | 00:40 | into your massing family, and then
you can use it much the same way.
| | 00:44 | For example, I can create a shape
and sweep it along this path that I've
| | 00:48 | got drawn right here.
| | 00:49 | So what I have open onscreen is a
massing family which is called Main Entrance
| | 00:55 | Molding, and this is actually an
adaptive component Family. And if you watched
| | 00:58 | the last movie then you'll recall that
we can go to Family Category and Parameters
| | 01:03 | here on the Ribbon and it could be Generic Model
or we could choose some other category for this.
| | 01:08 | So for example, I could put this in the Doors
category or the Curtain panels or even Casework.
| | 01:14 | It's an exterior molding, so casework
may not be exactly the right category, but
| | 01:18 | just to show you that we can choose a
different category, I am going to go ahead
| | 01:21 | and choose that as Casework for the time being.
| | 01:24 | Now these reference lines I simply
traced on top of the main entrance of our
| | 01:29 | museum file and copied and pasted
them out here and you can see that their
| | 01:33 | distance away from the center matches
where they should go back in that file.
| | 01:39 | To create the profile, you would go to
New > Family, scroll down and instead of
| | 01:45 | choosing the profile template, which
is what you would typically do in the
| | 01:48 | project environment, here you would
choose just the Generic Model template.
| | 01:53 | Open that up, and you would just simply
start drawing with model lines here on
| | 01:58 | the Home tab and draw whatever shape
you wanted your profile to be, save that,
| | 02:05 | load it into your family, and then that
profile would become the shape that you
| | 02:09 | could use to base your 3D geometry on.
| | 02:12 | Now, I'm actually going to close this
one and I'm not going to save it, because
| | 02:17 | over here I have a file already created
as a molding, called molding profile, and
| | 02:22 | it is a generic model.
| | 02:24 | So you can there, it's just a generic
model family. And these are just model
| | 02:28 | lines and I've drawn them in the shape
that I want the profile to be, and I've
| | 02:32 | drawn them relative to the two
reference planes to get the insertion point
| | 02:36 | right there at that corner.
| | 02:37 | The dimensions just help me design the
molding at the sizes I wanted, and they
| | 02:42 | won't show up later when
I load it into the file.
| | 02:44 | I'm going to click Load into Project
up here on the Ribbon, choose my Main
| | 02:49 | Entrance Molding as the file I want to
load it into. You'll see it come in.
| | 02:54 | If I zoom in over here,
| | 02:57 | you can see that I've got the insertion
point right at that corner there. And I'm
| | 03:01 | going to snap it to this gray line
that I've pasted in from the other file to
| | 03:05 | tell me where the little alcove
is at the entrance to the museum.
| | 03:08 | So that gets the molding right in
the correct spot where I need it to go.
| | 03:13 | Even though it's a generic model, if I
select it, zoom out a little bit, and this
| | 03:19 | path with my Ctrl key and do Create Form,
it will create that 3D form directly
| | 03:25 | from that generic model shape.
| | 03:27 | And so that's really all there is to
it, to use a generic model as a profile.
| | 03:33 | What's the advantage of doing so?
| | 03:35 | In the same way that we use profile
families in the traditional environment and
| | 03:39 | later we can open up that profile
family and edit it if we wanted to and then
| | 03:43 | reload it in, all of the forms and
shapes that we've used based on that profile
| | 03:47 | will update as a consequence.
| | 03:49 | So let's say that we decided that we
wanted to return to our molding profile
| | 03:54 | and make a modification.
| | 03:56 | Perhaps I want this little flat
area here to be a little bit broader.
| | 03:59 | So I'm going to make a windows
selection around all of this line work.
| | 04:03 | Come up here. I'm going to
use the Activate Dimensions;
| | 04:06 | you could also use the Move
tool if you prefer, but I like the
| | 04:08 | Activate Dimensions option.
| | 04:10 | That lights up the dimensions that I
can change, like this one right here, and
| | 04:14 | perhaps I want that distance to
the 8 inches instead of 4 1/2.
| | 04:16 | So I'll just type in 8 inches,
load it back into my project, Main
| | 04:22 | Entrance Molding, click OK.
| | 04:25 | When it prompts me, I'll overwrite the
existing, and you'll see that it grows
| | 04:28 | right there, and the molding
updates all the way around.
| | 04:32 | And so that's really the
advantage of using this external shape.
| | 04:36 | The other advantage is I could use it on
multiple moldings, but I wouldn't have
| | 04:39 | to keep redrawing it. I could just use that
one shape over and over again on several forms.
| | 04:43 | Now let's take this family and load it
into project, and this time we'll load
| | 04:48 | it into SAMOCA_V2. That's another file
that I had open in the background. It's
| | 04:53 | with the exercise files.
| | 04:54 | That's actually a Revit project file,
rvt. Click OK and that takes me into the
| | 05:01 | floor plan of the SAMOCA_V2 project.
| | 05:04 | Right at my cursor, there is this big
old dot. That's the actual insertion
| | 05:07 | point. And then below it are these two smaller
dots. That's the actual 3D model of the molding.
| | 05:14 | Like our other massing families, you
may notice that it's actually highlighting
| | 05:18 | a plane here in kind of an odd way.
| | 05:20 | And more importantly, if I start moving
around in the file to try and place it,
| | 05:25 | you'll see it jumped to
the wrong face altogether.
| | 05:27 | See here it's oriented we
want it and suddenly it jumps.
| | 05:30 | That's because up here, my two Placement
options that we've looked at before in
| | 05:34 | previous movies, are active,
and it defaults the Place on Face.
| | 05:38 | What I want to do is place it on the
Work Plane. And the Work Plane in this case
| | 05:42 | is the Main Level Floor Plan.
| | 05:45 | So now, if I come in here, you can see
that if I snap right to--and let me zoom in
| | 05:49 | and make sure I'm getting it, right
there, the molding will drop in, in exactly
| | 05:55 | the correct location.
| | 05:56 | I had to zoom in pretty far to see it.
| | 05:58 | So what I'm going to do instead is go
to 3D view. Let's click the Modify tool,
| | 06:04 | just to make sure that we're not placing
any additional moldings, cancel out
| | 06:07 | of that. And then I will zoom in, and
there is the molding in exactly the spot
| | 06:13 | where it needs to go.
| | 06:15 | To get the same basic behavior as
profile families that you would normally have
| | 06:19 | in projects or in standard families,
| | 06:22 | you use generic models in
the massing environment.
| | 06:25 | In other ways they behave exactly the
way as profiles do. You draw your shape
| | 06:29 | in the generic model and you load it in and
then you can use it to create your 3D forms.
| | 06:33 | Then with adaptive components, as we
saw in the last movie, we can actually
| | 06:37 | take those 3D forms and categorize
them as anything we like, like casework in
| | 06:42 | this case.
| | Collapse this transcript |
| Understanding lofting techniques| 00:00 | In this movie, we are going to look at a
slightly more advanced way to create a lofted form.
| | 00:05 | So I want to create a freeform large,
massive wall that will occupy the Graffiti
| | 00:10 | Gallery of my museum.
| | 00:13 | Using techniques from the last several
movies, I can incorporate them all together
| | 00:17 | into a process here that gives me of
very fluid and easy-to-modify loft form.
| | 00:25 | So we are going to start off by
looking at what I've got here onscreen, which
| | 00:28 | is a file called Adaptive Loft, and
it contains, among other things, a few
| | 00:33 | reference planes here just to kind of
help me keep my bearings, a reference back
| | 00:37 | to this insertion point which is where
it fits in the main museum, and we are
| | 00:41 | actually looking around the back side of the
museum, so this would be in the Graffiti Gallery.
| | 00:46 | So we have two reference points here,
and these reference points I am using
| | 00:50 | primarily as work planes.
| | 00:52 | If you look at them, you'll
notice the work planes are displaying.
| | 00:55 | So if I select one of these, you will
see that over here on the Properties
| | 01:00 | palette, it says Reference Points, and
if I scroll down, under Graphics it says
| | 01:04 | Show Reference Planes.
And you've got three options.
| | 01:08 | The default is just When Selected.
| | 01:10 | So normally, you'd have to select
the point to see the reference planes.
| | 01:14 | You can also tell it never to display them.
| | 01:16 | I changed it to Always, and that's why
when they are deselected like they are
| | 01:19 | right now, those reference planes
still show, and then it becomes a little
| | 01:23 | easier to use my Set Work Plane and
highlight any one of these work planes
| | 01:28 | without even using the Tab key.
| | 01:31 | If I select either one of these bits
of line work here--I have got a line
| | 01:35 | here and an arc here--
| | 01:36 | up here on the Ribbon choose Show Host
you can see that it is hosted to that point.
| | 01:41 | So that's why what I am using those
points for, and I have got the same thing
| | 01:43 | going on the other side.
| | 01:44 | We are going to use those two arcs on
either side as the form work for this big,
| | 01:51 | massive wall that we're constructing.
| | 01:54 | To build the shape itself, to build
the part that's going to be lofted, we
| | 01:57 | are going to use a technique that's
similar to what we looked at in the last
| | 02:01 | movie, and that is we are going to
create a generic model family which is just
| | 02:04 | basically the outline and then by creating
several copies of that, we can build our loft.
| | 02:09 | So I am going to go to the Application
menu, go to New, and choose Family, scroll
| | 02:15 | down, and I want the
Generic Model Adaptive component.
| | 02:21 | Now in the last movie we used just the
plane old generic model family, but you
| | 02:25 | can also create your profiles
using the adaptive component.
| | 02:28 | Let me zoom in a little here.
| | 02:30 | The advantage of using the adaptive
component is I get access to point elements.
| | 02:35 | And so now I can create some points and
I need four of them because back in the
| | 02:39 | other file I have two lines and two
arcs, so I want to use each of those as the
| | 02:42 | corners of the wall.
So I want one, two, three, four points.
| | 02:47 | Now notice that I've
placed those somewhat randomly.
| | 02:51 | Because they're going to be
adaptive points, the actual locations is
| | 02:55 | not terribly important.
| | 02:56 | I am going to select all four and I am
going to turn them into adaptive points
| | 03:00 | right here, on the Ribbon. So Make Adaptive.
| | 03:03 | And you will see them appear with the
reference planes and they even have number
| | 03:07 | on them, and notice the numbers are
in the order that I place them in.
| | 03:11 | Now if you needed to change the numbers,
you could select it and change the number here.
| | 03:16 | But notice that each of these became a
placement point, and that's what I want.
| | 03:20 | So if you want to go back and review
the movie on points, if you need to, on what
| | 03:24 | is the difference is between a placement
point. But these are going to placement points.
| | 03:28 | Next step is I want to draw the shape,
and the shape that I am going to use is a
| | 03:33 | Model line. I'm going to choose the line
here. And very important is I want to make
| | 03:39 | sure that 3D Snapping is turned on.
| | 03:42 | The 3D Snapping feature is going to
keep the line work attached to the
| | 03:47 | points that I snap it to.
| | 03:49 | If you don't turn on 3D Snapping then
the lines are really going to be planular.
| | 03:53 | But we are going to get a lot more
functionality from them if we use 3D Snapping.
| | 03:58 | Now notice here that it will highlight
the points as I click, like so. And I am
| | 04:04 | going to make three straight lines
around those three sides. Escape out of there.
| | 04:09 | And I want a curved edge on this side.
| | 04:12 | I would go to the arc, except that arc
doesn't have 3D Snapping. Notice it says
| | 04:16 | it's not available here, and it
doesn't snap to the points the same way.
| | 04:20 | But right below arc, we have this object here,
Spline Through Points. So if choose that one,
| | 04:27 | this one is by definition a 3D object, so
even though it doesn't have 3D Snapping,
| | 04:32 | it still behaves the same way.
| | 04:34 | Notice it will highlight the point.
| | 04:36 | Then I can place an
intermediate point out here somewhere.
| | 04:39 | Don't snap it to the reference plane;
just kind of place it out here somewhere.
| | 04:43 | And then in my final point right there, and
make sure you're snapping to point on those.
| | 04:48 | And then you could keep going and
make a more curvy shape, but I am going to
| | 04:51 | escape out of there. And now the way
this works is, if I tab into this guy,
| | 04:57 | this is largely like an arc and if I
were to pick any one of these points, we
| | 05:04 | can change the curvature of the arc
either here or--because this is adaptive,
| | 05:10 | notice what happens.
| | 05:12 | So as I start to move my adaptive points,
it will actually change the shape of
| | 05:18 | the lines that are
attached to it and the spline.
| | 05:21 | Unlike the profile that we did in
the previous movie, which was flat, this
| | 05:25 | profile can actually bend and twist in 3D space.
| | 05:29 | Now let's go ahead and save it and
give it a name, so I am going to call this
| | 05:33 | Ribs. And then I am going
to load it into my project.
| | 05:36 | Now I have got two projects loaded right
now, my Adaptive Loft and SAMOCA_V2, so
| | 05:40 | I want to choose Adaptive Loft.
| | 05:42 | Click OK and then you will
see it coming into the file.
| | 05:48 | I want to make sure that I'm placing on
face, and I want to zoom in a little bit,
| | 05:53 | and notice that I can snap
right to this line work here.
| | 05:58 | So I am going to highlight somewhere
in the line work toward the bottom and
| | 06:01 | click, come over here on the opposite
side and click on this arc, come across to
| | 06:08 | this line, and then end up over here.
| | 06:12 | And you see when I place the last point
that I now have a shape--let me click the
| | 06:16 | Modify tool and cancel out of there--
I now have a shape that follows those ribs.
| | 06:21 | Let me orbit slightly. And more importantly,
if I start to drag this, watch what happens.
| | 06:29 | Notice how it's conforming to the shape
of those ribs, and it will even bend and
| | 06:34 | twist in 3D space if it has
to, in order to stay attached.
| | 06:38 | So I am going to take this first rib and
kind of pull it down towards the bottom.
| | 06:43 | That's going to be my lowest rib there.
| | 06:45 | Leave it selected, put my mouse on the
edge here, and hold down the Ctrl key.
| | 06:51 | When you start to drag with the Ctrl key
held down, what you'll actually get is a copy.
| | 06:56 | So I am going to copy one rib, two ribs,
maybe about three or four of these.
| | 07:03 | Do one and maybe one more up
over here, towards the top.
| | 07:08 | Now let's orbit around a little
and start to see what we've got.
| | 07:11 | Those ribs are going to become our lofted shape.
| | 07:16 | Some really interesting things start to happen.
| | 07:18 | If you were to select one of these
scaffolding lines that I called it before,
| | 07:23 | if you drag that end point, you'll see that
it has a direct impact on all of the ribs.
| | 07:31 | Because of the adaptive points,
the adaptive points remain hosted to that line work.
| | 07:35 | Let me undo that.
| | 07:36 | I could do the same thing here with this curve.
| | 07:39 | Now if you just pull this middle grip,
it will just kind of widen parallel
| | 07:43 | because it's changing the radius.
But if instead, you uncheck this Keep
| | 07:47 | Concentric, what you can do is
actually bow that curve out and that will push
| | 07:52 | and pull the shape of those ribs.
| | 07:54 | So you can really start to
have some immediate feedback from
| | 07:58 | these manipulations.
| | 08:00 | Let's take all of these ribs. I am
going to go up here to Filter, and I want to
| | 08:05 | make sure that I only
have Generic Models selected.
| | 08:08 | So I am going to uncheck Reference
Planes. You see I have got a few reference
| | 08:11 | planes in the selection there.
| | 08:13 | And once I have those ribs selected,
I am going to click Create Form, and Revit
| | 08:18 | will create the lofted form.
| | 08:20 | This lofted form is not much
different than the lofted forms we created in
| | 08:25 | earlier chapters, except for the fact
that it still knows that it's attached
| | 08:31 | to those adaptive rib components, and
so you can do direct manipulations and
| | 08:38 | immediately see the result changing.
| | 08:40 | I can tab into this rib here
and start to pull it a little bit.
| | 08:47 | And again, it will slide along those
scaffolding lines, stay attached to it, and
| | 08:53 | now the top edge of this is got a
little bit of a taper to it. I can move the
| | 08:58 | intermediate ribs the same way.
| | 09:01 | And you could see that it's direct
manipulation and direct form-making.
| | 09:05 | I want to actually really emphasize the
mass of this wall, so I've also created
| | 09:12 | a void family. And I am going to go
here to the Open command. And it's with the
| | 09:16 | exercise files, and it's called
Graffiti Void. I am going open that up.
| | 09:21 | And this is just a really simple face-
based void family which just has this void
| | 09:25 | object cutting through the face.
| | 09:27 | Let's load it in to our Adaptive Loft and
place it somewhere on the face of this curve here.
| | 09:36 | Now you'll see it comes in initially at
just a pretty standard size. Let me tab
| | 09:41 | into that and select it.
| | 09:43 | I've created three parameters in that family--
| | 09:46 | Width, Height and Depth--and you can
modify these and start exploring some
| | 09:51 | possibilities. And the depth is the one
that I really want to manipulate here
| | 09:56 | because that will push that thing all
the way through, and it looks like I made
| | 10:00 | it all the way through.
Let's spin around. There we go.
| | 10:02 | So if you make it deep enough, it will
cut all the way through the wall, and we
| | 10:06 | can really start to emphasize
the massiveness of this wall here.
| | 10:11 | Feel free to experiment further
with this--add additional voids,
| | 10:15 | vary the ribs a little bit, whatever
you want to do until you're satisfied
| | 10:18 | with the design.
| | Collapse this transcript |
| Strategizing with adaptive components| 00:00 | To finish out this chapter,
I'd like to share with you one more use of
| | 00:03 | adaptive components.
| | 00:04 | At this point, if you've used both the
traditional Family Editor and the Massing
| | 00:07 | Family Editor, you've have no doubt
developed your own personal preference.
| | 00:11 | Let's assume that you like the
massing environment for its freeform direct
| | 00:15 | 3D manipulation and you wanted to use that
sort of modeling when building components.
| | 00:21 | It turns out that with adaptive
components, even though they are technically
| | 00:24 | designed to be adaptive, to actually
adjust to the conditions they are placed in,
| | 00:30 | there's really nothing that says
that you can't use an adaptive component
| | 00:33 | family, change its category, and just
build geometry, and that's exactly what we
| | 00:37 | are going to look at here in this example.
| | 00:40 | So I have open a file called Entrance
Canopy, and this is going to adorn the
| | 00:43 | front entrance to our museum.
| | 00:46 | So I have already done most of the
modeling because a lot of the techniques that
| | 00:49 | were used to create this portion
of the canopy we've already covered.
| | 00:52 | So I have just a big form element here
which is just big piece of glass, and this
| | 00:57 | is more like a sweep that goes all
the way around, which uses this series of
| | 01:01 | reference lines to sweep it, and then
these bars, which is a lot like the space
| | 01:04 | frame that we looked at when
we did the Graffiti Gallery.
| | 01:07 | And then we have this bar here in the center.
| | 01:09 | What we're going to build right now is
the part that connects it back to the
| | 01:13 | building and the supports here.
And I've got some reference lines to get us
| | 01:17 | started, and we'll use those to create
basically a blend form along here and a
| | 01:23 | lost form along here.
Then we'll load it into the project.
| | 01:26 | This family was created from the
Generic Model Adaptive Family template, like we
| | 01:30 | saw in previous movies.
| | 01:32 | One of the first things we did in
those cases, we went to Family Category and
| | 01:36 | Parameters and we chose an
appropriate category for it.
| | 01:40 | It's important that you familiarize
yourself with this list of categories
| | 01:43 | because if it's not on this list, then maybe
going the adaptive route is not such a good idea.
| | 01:49 | These are the lists of categories that
are available for adaptive components.
| | 01:53 | So if you want to create Casework or
Columns or Generic Models or Planting, then
| | 01:57 | you could do it as an adaptive component.
| | 01:59 | Now this one defaulted to Generic
Model. Perhaps we might want it to be
| | 02:05 | Specialty Equipment, but I actually
prefer the graphical display properties of
| | 02:09 | Generic Model better in this case.
| | 02:11 | It'll cut in sections, and we have an
easier time showing it above our ahead, if
| | 02:16 | that's something we want to do.
| | 02:17 | So for this example I am going to
leave it to Generic Model, but feel free to
| | 02:21 | choose a different category if
you think it's more appropriate.
| | 02:23 | So I'll click OK there.
| | 02:24 | Now the next thing I want to do is kind
of get some of this clutter out of my way.
| | 02:28 | I am going to just kind of to do a little
crossing window through some of this stuff.
| | 02:33 | Come down here to the Temporary Hide
Isolate, and I'll choose Hide Elements. And
| | 02:39 | that's going to give me a little
bit easier time looking in here.
| | 02:42 | Let me grab these guys and hide those
as well, and then maybe do the same thing
| | 02:49 | in here. This one is a little trickier
because you can't do a crossing for that.
| | 02:52 | I'm going to use my Ctrl key,
select some of this stuff.
| | 02:57 | So what I want to do is just give
myself a little easier time to see what we've
| | 03:02 | got over here. We have one little
stray point. Why don't we hide that too?
| | 03:06 | So I have this line right here, if I tab,
this reference line, and then attached to
| | 03:12 | it are two points. There is a point
right there and another point right there.
| | 03:17 | Now you may recall in an earlier movie,
we talked about reference points being
| | 03:23 | hosted to lines, and they had this
measurement type parameter. And if you open the
| | 03:28 | list, there is a lot of choices
here. And I want to revisit that now.
| | 03:31 | The one on the right I have set to 0.1
from the end, and the one over here--
| | 03:39 | let's zoom in get a little tab in there--
you could see that that one I have at
| | 03:45 | 0.25, so it's about a quarter
of the way down the length there.
| | 03:49 | That's just a percentage, so you could
change it and move it one way, change it
| | 03:56 | again, move it the other way. But by
pulling them off the ends, it's going to
| | 04:00 | make it a little bit easier for me to
take this chain of lines, which is just a
| | 04:05 | rectangular shape of reference lines,
similar to this one, Ctrl key, this chain
| | 04:11 | of lines, select both of those.
| | 04:12 | I have eighth lines selected. You could
see here, right here, Reference Lines (8).
| | 04:17 | And I'll go to Create Form, and that
essentially gives me a blend, because I go
| | 04:22 | from small rectangle to the large rectangle.
| | 04:25 | Now the neat thing about this is I can
tab in here and grab that point again and
| | 04:31 | change this parameter--
| | 04:33 | let's try 0.1--and when it moves, because
that chain of reference lines hosted to
| | 04:40 | it, it will actually stretch the 3D form.
| | 04:43 | Now I happen to know that this bar
in the middle is a 3-inch radius.
| | 04:48 | If I want to get this to touch right
up against the surface of that bar, it
| | 04:52 | might actually be nicer to change
this to Segment Length instead of the
| | 04:58 | Normalized parameter. And you could see
it's right now 3 feet because it just
| | 05:03 | figured out the math.
| | 05:04 | Well I could change this now using
numbers, like 1 foot--that gets a little closer--
| | 05:10 | or go all the way in to the 3 inches.
| | 05:13 | So let's try the 3 inches and you'll see
it will touch exactly on the bar there.
| | 05:20 | Now I am going to actually back off for
a second because it'll be easier for me
| | 05:24 | to do the next step if I can get a
clear view at it. And let's back it off
| | 05:28 | actually about 2 feet.
| | 05:30 | That'll give me the opportunity
to make a little window right here.
| | 05:34 | That selects both the point
and the four reference lines.
| | 05:37 | I'll hold down my Ctrl key, make a
little window right there, do the same thing
| | 05:41 | on the other end, and then hold down
my Ctrl key one more time but do a
| | 05:45 | crossing window this time, to get both
the 3D form and the reference line here
| | 05:51 | that goes down the middle.
| | 05:52 | I have got Common (12).
I have got 12 objects selected.
| | 05:56 | If I go to Filter, it tells me that
I have one Other. That's the 3D form.
| | 06:01 | I don't why they don't just say 3D form.
| | 06:03 | I have nine Reference Lines, so if
you think about that makes sense.
| | 06:06 | A rectangle at each end. That's eight
and the one going down the middle. And then
| | 06:10 | I have two reference
points. That's my selection.
| | 06:13 | Pay attention to the quantity that's
selected and the type of objects that
| | 06:17 | are selected because that will help you make
sure that you've got the right things selected.
| | 06:21 | Now I want to mirror this to the other side.
| | 06:23 | It's going to be easier to do that in Plan View.
| | 06:25 | So I am going to come here
to Reference Level Floor Plan.
| | 06:28 | The item should still be selected,
but if for any reason they deselect, you can
| | 06:32 | right-click and choose Select
Previous and it will reselect those objects.
| | 06:37 | I am going to click over here to cancel
that menu without changing the selection.
| | 06:41 | Now I am going to go over to the
Mirror - Pick Axis and click on this reference
| | 06:47 | plane, which is right down the middle, and it
should mirror everything over to the other side.
| | 06:53 | I will get this little warning that I
have got identical points in the same place.
| | 06:56 | That's because I have just made a
triangle. I don't know if you can see, but the
| | 07:00 | right in the middle there,
it was highlighted in orange.
| | 07:03 | That's where the two points are.
| | 07:04 | Well, that's kind of unavoidable when you
mirror these two lines on top of one another.
| | 07:08 | So I am not really too concerned
about that warning, so I am just going to
| | 07:11 | ignore it and go back here to my 3D.
You can see it's highlighted there as well.
| | 07:16 | Deselect everything here. That'll
dismiss the warning automatically.
| | 07:20 | Zoom in just a touch. And I am going
to select this point, come over here,
| | 07:25 | highlight, Ctrl key, select that
point, and I can take both of those now and
| | 07:32 | change their segment length to 3 inches.
And that will stretch both blend objects
| | 07:38 | to meet the bar there at the end, and
then I can do the same thing on this end.
| | 07:42 | Select this one and this one.
| | 07:45 | Now in this case, they're still set to
the Normalize at a 10th of the length away.
| | 07:50 | I am just going to set it to zero.
| | 07:53 | Now, I'll get a similar
warning to the one that we just saw:
| | 07:56 | there are identical points in the same place.
| | 07:58 | As you can see here in the background,
there is a point running along this
| | 08:01 | line and those points are right on top
of each other, but I am going to click
| | 08:04 | OK and accept that.
| | 08:06 | So for the last piece of geometry here,
I'll simply select this rectangle, Ctrl
| | 08:12 | key, this rectangle, and this one, Create Form.
| | 08:16 | And if we spin this around a little
bit, you can kind of see that I kept it
| | 08:22 | really subtle, but this one's a little
deeper than the others, so it has a tiny
| | 08:26 | bit of a swoop to the end there.
| | 08:28 | If you're not satisfied with that,
you can always fiddle around with it. And
| | 08:31 | again, that's the beauty of reference-
based forms is I could tab in here--I am
| | 08:35 | going to zoom a little closer--and get
that reference line--let me do it this
| | 08:40 | way--and I could actually move that down.
| | 08:44 | So I could select this here and I
could do maybe 1 foot 10, and you'll see how
| | 08:48 | that creates a little bit more
curvature along that bottom edge.
| | 08:52 | So that's the beauty of reference-
based forms is that you can continue to
| | 08:56 | fine-tune them to your liking.
| | 08:58 | So at this point, the canopy is complete.
| | 09:01 | I can reset the Temporary Hide Isolate.
| | 09:05 | Now we should save this. And then I
have already the SAMOCA_V2 project open in
| | 09:12 | the background, so I am going
to choose Load into Project.
| | 09:17 | It will come in and I get my usual two
choices here: Place on Face and Place on Work Plane.
| | 09:22 | If I hit Face of course it's going
to move in all kinds of strange ways.
| | 09:25 | If I go to Place on Work Plane, sometimes
what will happen is it'll change it and
| | 09:29 | it'll actually cancel the
command; sometimes it won't.
| | 09:32 | If it cancels the command on you,
just go to the Home tab and click the
| | 09:35 | Component button and you'll get back to it.
| | 09:38 | It's just a component at this
point, and we can place it in.
| | 09:41 | Now what I want to do here is place it
relative to this reference plane right
| | 09:46 | there. That at least gets it centered.
| | 09:49 | And then to get it positioned the rest
of the way, I'll zoom in a little bit
| | 09:54 | and maybe use my Align tool and pick up a face
of the building here. Tab into a face right there.
| | 10:01 | All right, so let's look at in front view
just to be sure it's at the right height.
| | 10:06 | So I'll cut a quick section right here,
deselect it, double-click to open it up,
| | 10:13 | and you can see it's kind of sitting
on the floor there, so I'll just select
| | 10:17 | it, go to the Move command, and move it up to
a more appropriate height, right about there.
| | 10:24 | If we go to 3D, zoom in,
there is our entrance canopy.
| | 10:31 | What we've got here is a situation
where we are just simply using an adaptive
| | 10:35 | component for no other reason that we
like the 3D modeling that we can do in the
| | 10:40 | massing environment.
| | 10:41 | And by changing the category of the
adaptive component, this object can be
| | 10:46 | categorized as a generic model and
will show, even when Show Masses is
| | 10:49 | turned off.
| | Collapse this transcript |
|
|
5. Refining Building Maker ElementsEditing floors| 00:00 | Earlier in the course we used the massing
tools to create our overall building form.
| | 00:04 | Then we created floors, walls, and
roofs directly from that building form using
| | 00:09 | the Building Maker feature in Revit,
where we can apply these objects to the
| | 00:13 | faces of the masses.
| | 00:15 | As your design progresses and your
design team starts to make changes, you'll
| | 00:18 | most likely need to go back and
revisit some of those Model by Face elements.
| | 00:22 | What we're going to do in this chapter
is look at a few different ways that we
| | 00:26 | can approach that, and we're going to
start with the floors here in this movie.
| | 00:31 | So I've got a version of the file open
here, and it's called Modify Floors. And
| | 00:36 | I'm going to zoom in a little bit over
here by the town houses, and you'll see
| | 00:41 | that there's a little piece of floor
there peeking outside of the walls.
| | 00:45 | So maybe at an earlier stage of the
design, this turret was a different
| | 00:48 | radius, or in a different position, and
so clearly that floor object no longer
| | 00:52 | matches the design.
| | 00:54 | There may be other places that are less
obvious from view, where things have changed,
| | 00:59 | so every so often we're going to
want to go back and review the validity of
| | 01:03 | the forms that we've created from
the masses and see if they still apply.
| | 01:08 | The easiest thing that I can do here to
illustrate the process is I'm going to
| | 01:12 | select one of these floors here.
| | 01:15 | And if your mass is still up to date--in
other words, if you've gone back to the
| | 01:21 | massing environment, changed the shape
of that turret, and that turret still
| | 01:24 | matches what you want the design to be--
then you simply take the object that
| | 01:29 | you've modeled by face, and there's
usually a button up here on the Ribbon that
| | 01:32 | allows you to update it to
the face that it was applied to.
| | 01:35 | Let me zoom in here so we can see it happen.
| | 01:37 | I've got that floor selected.
| | 01:40 | If I just click this button, you're
going to see it change, and it now
| | 01:44 | matches the shape beyond.
| | 01:45 | Now, the trouble with that is, is once
it's beyond, it's a little tough to see.
| | 01:49 | So the floor is still selected.
| | 01:51 | So, what I'm going to do here is go
to my Temporary Hide/Isolate, my little
| | 01:54 | sunglasses, click on that,
and choose Isolate Category.
| | 02:00 | What that will do is hide everything in
my model that's not a floor. And you can
| | 02:06 | see now that if I spin around here,
I'm seeing all of the floor slabs.
| | 02:10 | Now, this gives me a clearer idea of
which floors are still correct and which
| | 02:15 | ones may not be correct.
| | 02:16 | So what I'm going to do is select this
floor down here. And I'm not even really
| | 02:20 | sure I still need that one.
| | 02:22 | At this stage of the design, maybe the
town houses only use this floor. There
| | 02:27 | might be a lower level, but maybe not.
| | 02:29 | Well, let's try and update it, and you'll
see that the shape didn't really change.
| | 02:33 | But also, if I've decided I no longer
need that floor, I can simply delete it.
| | 02:38 | Now, this one up here, the
Model by Face is quite literal.
| | 02:42 | So you see how it came in here and it
actually followed around the turret?
| | 02:46 | What that means is even if I do update
to face, it still might not match what
| | 02:51 | my design intent is.
| | 02:52 | In other words, this floor up here
is just going to stop right there.
| | 02:56 | We're not going to have this thin,
little floor going through there.
| | 02:59 | So, all I have to do is open up that
floor plan, and that's actually the town-
| | 03:04 | house's upper level.
| | 03:06 | Here in this view, everything is
still displaying, because Temporary
| | 03:10 | Hide/Isolate is a view-by-view setting.
So if I want to isolate just the floors,
| | 03:14 | I have to repeat the little sunglasses,
and again, choose Isolate Category.
| | 03:19 | And I can zoom in, and all I have to
do here is use my Edit Boundary tool.
| | 03:24 | So, even though this floor object was
created from the mass objects, it doesn't
| | 03:30 | prevent me from editing it, going into
the Sketch mode, and making changes to it
| | 03:34 | in the same way that I always would.
| | 03:36 | So I can select all of this stuff over
here that I don't need and delete it.
| | 03:42 | And then if I want this line, I can
draw a little small line in there, but
| | 03:46 | actually I'm going to delete that line
too, and just do Trim/Extend To A Corner,
| | 03:51 | and clean that, and that, and make a
nice tight corner there and finish it.
| | 03:56 | So as long as I've created an
enclosed boundary, it will work just fine.
| | 04:01 | Switch back over here to my 3D view again, and
you'll see that that slab has shortened out.
| | 04:07 | So what we can do is go slab by slab
here and make similar modifications. The
| | 04:12 | ones that make sense to do
update to face we'll do update to face.
| | 04:15 | But in the cases where it doesn't make
sense, we can just simply edit the boundary.
| | 04:19 | Here's another great example right there.
| | 04:21 | We can do edit the boundary on that one.
| | 04:23 | I'll leave that to you for an exercise.
| | 04:25 | But any of the Building Maker
components that you've created, you can simply go
| | 04:30 | in and either update them to the face
if, it makes sense to do so; otherwise,
| | 04:34 | you have to modify them
using standard Revit techniques.
| | Collapse this transcript |
| Refining face-based walls| 00:00 | In this movie, we'll continue
refining our Building Maker components.
| | 00:03 | We looked at floors in the last movie, and in
this movie, we're going to look at our walls.
| | 00:08 | Now, we have a few different
conditions of walls that are applied to the
| | 00:12 | faces of our 3D masses, and I want to focus
on the main building form for this movie here.
| | 00:19 | I'm in a file called Modify Walls, and
I'm going to zoom in here in the 3D view.
| | 00:24 | And the first thing that we're going
to notice is if I select one of these
| | 00:28 | walls, there is that grid pattern back there.
| | 00:31 | It's kind of superimposed directly over
that curtain panel system that we built
| | 00:36 | in the last chapter.
| | 00:38 | We had those walls hidden in the last
chapter, but they're revealed again here now.
| | 00:42 | These walls were the ones that we
created by face back earlier on in the course.
| | 00:47 | When we applied these by face,
we had to pay attention to things like the
| | 00:51 | location line and so on to
determine where they went.
| | 00:55 | After a wall is created, if you change
the location line, it doesn't actually
| | 00:59 | shift the wall; it just changes where
the location line is relative to the wall
| | 01:04 | itself, but the wall's position stays put.
| | 01:07 | That's really a one-time operation.
| | 01:09 | So even though I could come in here
and change this location line, doing so
| | 01:14 | really wouldn't change the outcome at all.
| | 01:16 | The wall would still be in the same place.
| | 01:18 | So I'm going to leave
that at Core Face: Exterior.
| | 01:22 | If I choose Edit Type, first of all,
what you'll see is the wall I have selected
| | 01:27 | is one called Exterior-Main Building.
| | 01:29 | Now that's just a temporary name
that I assigned to these walls that
| | 01:34 | surround the main building.
| | 01:36 | If I click the Edit button, you can
see that the Core is right here--it's 6
| | 01:40 | inches--and the Finish materials on
the Exterior side total up to about
| | 01:46 | five-and-a-half, five-and-three-
quarter inches. And on the Interior side, we
| | 01:49 | just have about a half-an-inch.
| | 01:51 | That Core Face Exterior doesn't put me exactly
in the center of the wall, but it puts me close.
| | 01:57 | That's the first thing.
| | 01:58 | Now, the second thing is, I don't
really need all of these layers for this wall
| | 02:05 | because I've created my panelized system.
| | 02:08 | So what I can do is actually
use the backup wall as just that.
| | 02:12 | It can be the backup material, the stud,
and the drywall, and the inside the
| | 02:15 | building, but I can remove the
EIFS Exterior Finish, and I can remove
| | 02:21 | potentially the Air layer, or I can leave that.
| | 02:23 | But at the very least I want to remove
the EIFS because we have this panelized
| | 02:28 | system in its place.
| | 02:30 | And then I want to shift the position of the
wall to match up to where that location is.
| | 02:35 | So I'm going to cancel out of
here, zoom out just a little bit.
| | 02:39 | I will right-click and choose Select All
Instances > Visible in View and I'm doing
| | 02:44 | this just to show you the extent of this change.
| | 02:46 | So it's going to affect all of these
walls because they all share the same type.
| | 02:51 | I'm going to deselect that, select just
one of them again, go to Edit Type, go
| | 02:57 | to Edit, and I'm going to
select this EIFS and just delete it.
| | 03:03 | Now, that's actually going to
make this wall 3 inches smaller.
| | 03:06 | The Core Face Exterior is
still the location line.
| | 03:09 | Click OK, click OK again, and
that will affect all of the walls.
| | 03:13 | Now, you can kind of see that by
removing that, it's changed slightly.
| | 03:18 | What we're actually seeing is the air gap
material, which is this white material beyond.
| | 03:24 | The next thing I want to do is actually
shift where these walls occur and get
| | 03:28 | them flushed up against these
stone panels that we've applied.
| | 03:32 | So I'm going to do that in floor plan.
| | 03:34 | I'm going to go to the Main Level
floor plan, zoom in. And you can really do
| | 03:40 | this on any wall that you like,
| | 03:41 | but I'm going to zoom in nice
and close so I can get a good look.
| | 03:45 | Over here on Modify, I'm going to
choose my Measure tool, and I want to measure
| | 03:50 | from the outside face of the wall's
current position to the inside face of the
| | 03:55 | metal panel, because that's how
far I want to move these walls by.
| | 04:00 | And you can see that that's
six-and-three-quarter inches.
| | 04:04 | I need to take all of my
exterior walls and move them in
| | 04:08 | six-and-three-quarter inches.
| | 04:10 | Now, if I turn on Medium level
of detail, you'll see the internal
| | 04:15 | components display, and this is just
to verify that the walls are actually
| | 04:20 | pointing the correct way.
| | 04:21 | So, the interior face is here. There
is the six-inch metal stud. There's the
| | 04:26 | substrate material and the air gap.
| | 04:28 | And so by pushing it six-and-three-
quarter inches to the inside, it will flush
| | 04:33 | up to this, and these stone panels
will behave like our exterior finish.
| | 04:36 | So let me turn this back to Coarse.
| | 04:40 | I'm going to select one of these walls,
and the way that I'm going to do this is
| | 04:45 | with the Offset tool.
| | 04:46 | When I click the Offset tool,
I want to consult the Options bar.
| | 04:50 | We can offset graphically
onscreen, or numerically.
| | 04:55 | Now in this case, it really doesn't
matter which one you do because we've
| | 04:59 | measured the distance.
| | 05:00 | So we know what the numerical
distance is; it's six-and-three-quarters.
| | 05:03 | Graphically would mean
you would pick two points.
| | 05:06 | So if you don't want to measure
first, you can use that option.
| | 05:09 | So, I'm going to put in six-and-three-
quarter inches. Don't forget inches;
| | 05:14 | otherwise, it'll be six-and-three-
quarter feet if you're working in Imperial.
| | 05:18 | You see this option right here?
I want to make sure I uncheck that Copy.
| | 05:22 | If I don't uncheck Copy, then I
will literally get a second wall
| | 05:27 | six-and-three-quarter inches
away, and that's not what I want.
| | 05:29 | What I want is this wall to offset--
| | 05:32 | you see the little dash green line.
| | 05:34 | If you're here, it goes to the outside,
and if you're here, goes to the inside.
| | 05:38 | And I'm going to click, and that
wall will shift in and appear at that
| | 05:44 | six-and-three-quarters away, and you see the
stone panels would be right in front of it.
| | 05:47 | Now, all I have to do is just pan
around the plan and keep clicking each of
| | 05:53 | the exterior walls.
| | 05:54 | It might be easier to zoom out just a
touch, make a little bit less panning.
| | 06:02 | That one is a different wall type,
so I'll leave that one alone.
| | 06:06 | You might have to do this in more than one
floor plan, and this one I believe is already done.
| | 06:12 | No, it's not. Let's do that one.
| | 06:15 | And you go up to an upper level, like the
Admin Level, and we would have some more
| | 06:21 | to do up there as well.
| | 06:23 | I'll leave that to you.
| | 06:24 | You can do that as a practice exercise.
| | 06:26 | But that essentially gets all of our
walls positioned where they need to be.
| | 06:30 | I'm going to just show you what it
looks like in 3D. And you can see now that
| | 06:33 | all of my panels are showing through.
| | 06:36 | So that's a quick little
refinement that keeps us attached to the
| | 06:40 | underlying massing form.
| | 06:42 | If the form changes dramatically, we still
have the option of clicking Update to Face.
| | 06:46 | But we're fine-tuning the position of
that wall and the composition of that
| | 06:51 | wall to make it better match
the design of the current stage.
| | Collapse this transcript |
| Building walls from floor edges| 00:00 | Let's continue our work
on the Model by Face forms.
| | 00:03 | In the last two movies, we looked at
the Floors by Face and the Walls by Faces.
| | 00:07 | We are going to continue on the walls
but refocus our attention over here on
| | 00:12 | the townhouse facades, because the
walls are a little bit more intricate.
| | 00:15 | I am looking at this file
here called Townhouse Walls.
| | 00:19 | And if you zoom in, you kind of start
to see some of the problems. We've got
| | 00:23 | some double walls there. We've got strange
conditions here. Things don't join up so well.
| | 00:29 | So we could spend a lot of time
selecting the walls, using Edit Profile, and
| | 00:35 | trying to fix the shapes and
get them to match up correctly,
| | 00:38 | but we'd probably still end
up a little bit frustrated.
| | 00:41 | What I want to do instead is
something that seems a little bit drastic.
| | 00:45 | I am going to select one of these
walls, right-click, and choose Select All
| | 00:49 | Instances > Visible in View.
| | 00:52 | Now, I'll zoom out a touch, and you can see
that's pretty much all of my townhouse walls.
| | 00:56 | Now, maybe for early schematic
design, those serve me well,
| | 01:00 | but now I'm going to delete them.
| | 01:03 | That leaves me with the
floor slabs and the roofs.
| | 01:06 | Now eventually, I might decide to
re-create some of the roofs as well, but for
| | 01:10 | now I am going to leave the roofs
because I want to remember what those roof
| | 01:13 | pitches were and what the shapes of the
roofs were from the original design, and
| | 01:18 | then any that I decide to re-create, I
will kind of re-create them in the same
| | 01:21 | general location and then delete the
old one out of its place, or possibly even
| | 01:26 | just work with the one that's
there; it depends on the situation.
| | 01:29 | Now, I've got this floor slab right here.
| | 01:31 | I'm actually going to use that floor
slab, which is still, if you remember,
| | 01:36 | connected to the underlying mass model.
| | 01:38 | So we haven't completely
abandoned the mass model.
| | 01:40 | But I am going to use that floor
slab's edges to help me rebuild the walls.
| | 01:45 | I am going to do this
right here in this 3D view.
| | 01:48 | I am going to go to Wall command,
change to the wall type that I want to use.
| | 01:52 | So for the Townhouse we
were using Brick on Mtl. Stud.
| | 01:55 | I want a Core Face Exterior, because I
still think that's a good point to line
| | 02:00 | up with the floor slab.
| | 02:01 | I am going to set the Base
Constraint to the Townhouses Level and the Top
| | 02:08 | Constraint, I'll do the
Townhouses Upper Level for now.
| | 02:12 | Now, we can change these on a wall-by-
wall basis later, but I just want to get
| | 02:15 | started with something.
| | 02:16 | Now, I am going to come over here and
use the Pick Lines option of the wall,
| | 02:21 | so instead of drawing these line by
line. And I can come in here and actually
| | 02:26 | highlight the edges of that floor slab.
| | 02:29 | Now, if I press the Tab key, I will
get a chain selection, and you see it will
| | 02:35 | highlight the edge of the floor all
the way around. And then I am going to
| | 02:39 | click, and that will give me a series of walls.
| | 02:43 | Now, right here I get a message that
some of the walls overlap, and you can see
| | 02:46 | them highlighted in orange back here.
| | 02:49 | Now, I have a few options here:
| | 02:50 | I could choose to ignore that, or I
could actually go in and deal with
| | 02:54 | the offending walls.
| | 02:55 | I am still in the Wall command here.
| | 02:57 | Let me click my Modify tool to cancel that.
| | 02:59 | I'm simply going to click this wall,
which is also a Wall by Face, and delete it,
| | 03:04 | and this other wall and delete it.
| | 03:06 | Those are really the two
redundant walls that it's talking about.
| | 03:09 | Now, I possibly will get another error
later about this wall, but that one I
| | 03:15 | think is manageable,
| | 03:16 | so I am going to leave that one alone.
| | 03:18 | Notice that all my brick is
on the inside of the building.
| | 03:21 | So everything is backwards.
| | 03:22 | Well again, I am going to highlight one
of these walls, press Tab. That selects
| | 03:26 | the whole chain of walls I just created.
And then I'll just tap my Spacebar on
| | 03:31 | the keyboard to flip all the walls.
And if I deselect them, you now see all the
| | 03:35 | brick is on the outside.
| | 03:37 | I've got all these walls now following
the basic shape of the floor slab, and so
| | 03:43 | they're still connected
back to my original form.
| | 03:46 | Now, the next step is to start
considering what the heights do.
| | 03:50 | I have a variety of ways
that I can deal with this.
| | 03:53 | I can select these individual walls, and of
course, I can change their Top Constraints.
| | 03:58 | For example here, if I select that
front wall there and change it, instead of
| | 04:04 | the Townhouse Upper Level to the
Townhouse Roofs, you will see it jump up.
| | 04:08 | And Townhouse Roofs is just a level that
I put in at about the average height of
| | 04:13 | all the roofs. So you can see that it's
not really gaining me a whole lot, but
| | 04:17 | it's a pretty decent data.
| | 04:19 | Let me show you actually
where Townhouse Roofs is.
| | 04:22 | I am going to come down here and open up
this section that I've called Elevation
| | 04:26 | of Townhouse Facades, and that's
looking right at all the townhouses.
| | 04:30 | Then I am going to do W+T for window
tile. And we are currently working on
| | 04:36 | this wall right here,
| | 04:38 | so I'll zoom that in both views.
| | 04:41 | So if I select it, you can
see it highlights in both cases.
| | 04:44 | But this is Townhouse Roofs right there,
so it's just sort of at the average height
| | 04:49 | of many of the roofs.
| | 04:50 | Well, what I can do instead is I can
take this wall and attach its top or base
| | 04:58 | to other geometry like this roof.
| | 05:01 | And when I do that and deselect it,
you'll see it looks kind of bizarre.
| | 05:06 | That's because it's still going up
to the level, but this roof doesn't go
| | 05:11 | all the way through.
| | 05:12 | But if I grab these little grips here
and kind of pull it through and give
| | 05:15 | it an overhang, that cleans it up a
little better. And except for this little
| | 05:19 | tail over here at the end, if I select
this and change my mind about going up
| | 05:25 | to Townhouse Roofs and change it back to upper
level, it still remains attached to the roof.
| | 05:32 | I can do this with any of these walls:
Attach Top/Base right there, and the one
| | 05:37 | on the other side, right over here.
| | 05:40 | I can kind of walk my way around the building.
| | 05:45 | Now again, the brick isn't matching, so I can
simply pull that forward and pull that forward.
| | 05:53 | Your task at this point is to
basically go wall by wall and kind of walk
| | 05:57 | around and see how they join up with
the corresponding roofs, adjust the roofs
| | 06:03 | as necessary, project the top edges,
maybe move the Top Constraint, and just
| | 06:08 | sort of work your way around the
facade to clean it up and make it match the
| | 06:13 | original design intent.
| | 06:14 | Now here, the grips was a little
sloppy way of doing the roof, so your other
| | 06:18 | option with the roof is you
can just simply draw a new roof.
| | 06:21 | So you're not limited to just this Roof
by Face; you can always come back in and
| | 06:25 | create a new one by footprint.
| | Collapse this transcript |
| Adding dormers| 00:00 | Dormers are a common architectural feature.
| | 00:03 | You can create them in Revit without
too much trouble, but there are some
| | 00:05 | specific steps that you need to
follow to create them successfully.
| | 00:08 | So in this movie, we will look at
the complete process to create dormers.
| | 00:12 | Now, I am in a file called Dormers.
| | 00:14 | It is a completed version of the file
we were working on in the last movie, and
| | 00:18 | you can see I have gone around and
finished all of the walls and updated them
| | 00:22 | to the roofs, and even
added new roofs in some cases.
| | 00:26 | And over here in this area,
I've created three out of the four dormers already,
| | 00:30 | and I've provided the three walls
that we need to create the fourth dormer.
| | 00:36 | So, the first step is of course to
build your little shack on top of the roof
| | 00:40 | for the vertical wall portions of the dormer.
| | 00:43 | So we'll start with those. And you
can actually work in 3D or 2D; it's
| | 00:48 | really your preference.
| | 00:49 | But I am going to go ahead and
do this right in this 3D view here.
| | 00:52 | I am going to go to the
Roof by Footprint command.
| | 00:56 | And because I'm working in 3D, it will
want to know what level to put the roof at.
| | 01:01 | And I am going to put that
at the Townhouse Roofs level.
| | 01:05 | Answer Yes. And then I will come up
here to the Options bar, make sure that
| | 01:10 | Defines slope is turned on, and
set the Overhang to about 1 foot.
| | 01:16 | When I highlight the wall,
you'll see the little dash green line appear.
| | 01:19 | So I want it to go to the outside of the
wall there and the outside of the wall there.
| | 01:24 | Now, it defaults to a 9 and 12 slope,
and I am going to accept that because that
| | 01:27 | matches the neighboring roofs.
| | 01:28 | Then I am going to turn off define
slope for the third pick, and I am going
| | 01:33 | to select this horizontal wall here
because I want a gable end, so I don't
| | 01:37 | want that end to slope.
| | 01:39 | For the final line,
you need to close your sketch.
| | 01:41 | I am just going to draw a line instead
of pick walls because I don't have a wall
| | 01:45 | back there, and I'll go
from end point to end point.
| | 01:49 | What this will give me, when I click Finish, is
just a tiny, little roof right in that vicinity.
| | 01:55 | Now, you can sort of tell here, if I
orbit around just a touch, that it's a little
| | 01:59 | taller than the nearby roofs.
| | 02:02 | If you really want to measure and see
exactly how tall it is, you can cut a
| | 02:06 | section in that area and take a look.
| | 02:08 | That's easy enough to do.
| | 02:09 | I go to Townhouse Roofs, the floor plan
that is, and go to my Section tool, draw
| | 02:16 | a little section right here parallel to
that roof looking at it. Section wants
| | 02:22 | to go back the full depth of the building,
but I think we can reduce that just a
| | 02:26 | little bit with this grip, like so.
| | 02:30 | And then I am going to double-click and open
up this section and zoom in and take a look.
| | 02:35 | You can see it right there, but
it definitely is a little higher.
| | 02:39 | Now, of course the other thing I could
have done is right in 3D I could have
| | 02:41 | just picked the neighboring roof and
read off the Base Offset there and then
| | 02:46 | select this one and make it match.
| | 02:49 | So -4 feet, and that certainly is the
other way that I could have addressed that.
| | 02:55 | I'm going to Window Tile, W+T, close
my floor plan, and then do it again, W+T,
| | 03:02 | and this gives me the section on the
one view and the 3D view on another.
| | 03:08 | Let's move on to the next step.
| | 03:09 | That is to take these three walls--it's
going to be easiest to select them back
| | 03:13 | here in 3D using my Ctrl key.
| | 03:15 | We will use this command right here,
Attach Top/Base and we will attach them to
| | 03:21 | the roof that we've just drawn.
| | 03:23 | They will connect themselves
to the underside of the roof.
| | 03:27 | Now, if I select the roof and orbit
around slightly, you'll see that there's a
| | 03:33 | gap here between it and the parent roof beyond.
| | 03:37 | If you go to your Modify Tab, over
here on the Geometry panel, there is a
| | 03:42 | Join/Unjoin Roof command. And we are
going to use that next. Click on it.
| | 03:47 | Sometimes, the tooltip will appear
onscreen, but if it doesn't appear on-
| | 03:51 | screen, you can always find it down on the
status bar, letting you know what to do next.
| | 03:57 | So it's telling me to select the roof
edge that I want to join, and that's this
| | 04:01 | back edge of the small roof.
| | 04:04 | And then the prompt is going to tell
me to select what I want to attach to, and
| | 04:09 | that's going to be this guy right here.
| | 04:12 | Suddenly, when I do that, I get some
strange little artifacts that occur right
| | 04:16 | there and right there.
| | 04:18 | This is simply because now that I've
cut the roof, the portion that that
| | 04:22 | section of the wall was attached
to is actually no longer there.
| | 04:26 | Now, I'll fix that in just a second here.
| | 04:28 | So I am just going to select the roof
and spin around a little bit, so you can
| | 04:34 | kind of see the way those things are popping up.
| | 04:35 | It's pretty easy to remedy this.
| | 04:37 | We can actually select these and use these
little grips here and just pull it back a touch.
| | 04:42 | We want to make sure it's not going at
an angle, because that would be bad, but
| | 04:46 | just keep it here perpendicular, pull it back.
| | 04:50 | When I stretch that, I only stretched
it about 6 inches, and my guess is that
| | 04:55 | Revit is unhappy now with how this
wall attaches to the roof, so it's
| | 04:59 | complaining about it.
| | 05:00 | So my only real remedy here is to click
Unjoin the roof, and that will give me an
| | 05:05 | opportunity to stretch the wall again.
| | 05:08 | I could do it with the grip, or actually
there is a dimension right here. And so,
| | 05:12 | I think I am going to do this
numerically this time, to be a little more precise.
| | 05:15 | Then I'll simply reattach
back to the roof, like so.
| | 05:21 | Sometimes, it gets a little fussy on
us. Let's see if this time I can be a
| | 05:25 | little more proactive and just go
right to 3 feet in the dimension. There, that
| | 05:30 | seems to work a little bit better.
| | 05:32 | The final step of creating this dormer
is to cut a hole in the parent roof so
| | 05:36 | that somebody can actually look out this window.
| | 05:39 | What we are going to do with that is go
to the Home tab and use the Dormer tool
| | 05:44 | on the opening panel. Click on that.
| | 05:46 | This tool will ask us to first select the
roof that's going to be cut by the opening,
| | 05:51 | so I am going to pick this roof
right here. And then we can actually pick,
| | 05:56 | using this tool--there is only one tool
on the Modify Ribbon for this command--
| | 06:01 | we can use that tool right there to
actually pick the roofs and walls that
| | 06:06 | make up the dormer.
| | 06:07 | So when I click this dormer, it will
give me this little V-shape sketch line.
| | 06:12 | Sometimes, it's tricky to get the little,
small walls that are in here. The front
| | 06:17 | wall should be pretty easy.
| | 06:20 | I've got that one easy enough.
| | 06:22 | This one looks like I can get. Here is, oops!
| | 06:24 | I just had it.
There is the wall right there.
| | 06:27 | So sometimes you have to move around
carefully to try and get that wall.
| | 06:32 | Sometimes you have to switch to another view.
| | 06:34 | Now, over here in my other view, what I
notice is when I clicked it, it actually
| | 06:38 | went to the inside face.
| | 06:40 | Now that may be okay, but if I want it to
the outside face, I can use this little
| | 06:45 | flip right over here.
| | 06:46 | So let me activate the section view, just by
clicking its title bar, and then flip that.
| | 06:52 | It doesn't really matter inside or out--
that's a design decision--but you should
| | 06:55 | probably make them both consistent.
| | 06:57 | I'll do them both on the out.
And I'll flip back over here to 3D, go to my
| | 07:02 | Trim/Extend To A Corner, and
just clean up all these corners.
| | 07:07 | Remember with Trim/Extend To A Corner,
you pick the side you want to keep.
| | 07:10 | So don't click out here, click in here.
| | 07:14 | Then you will get a nice clean
sketch all the way around there.
| | 07:16 | I will click on Modify and then the
Finnish Edit Mode. And if we were to take
| | 07:23 | this and maybe this wall here, select a
few of these items, and go down here to
| | 07:31 | Temporary Hide/Isolate and hide the
elements, you can see that we've got a nice
| | 07:35 | hole right there, going through our roof.
| | 07:38 | Let me reset the temporary hide.
And that's how we create a dormer.
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| Creating soffits| 00:00 | There are many small architectural
details that can make a schematic form to
| | 00:03 | begin to take shape and allow your
design intent to really show through.
| | 00:07 | And one such detail is the soffit
conditions at the edge of the roofs.
| | 00:11 | So I'm in a file here called Soffits,
and if we look around, you can see that
| | 00:16 | I've already done several of the conditions.
| | 00:18 | But if you have a roof like this, it
looks okay, but in a lot of cases it
| | 00:23 | really makes a different kind of a
return here. And I've got this little box
| | 00:26 | condition right here.
| | 00:28 | This is a little bit more common
situation that you'll see a lot of time.
| | 00:32 | Now it's not to say that this isn't a
valid condition--it certainly can be--but
| | 00:36 | that one is easy to achieve because
Revit gives us that automatically.
| | 00:40 | This is a little bit more challenging because
we have to be clever about how we achieve it.
| | 00:44 | If you look at the Roof tool, we have a
couple of different options here. There
| | 00:48 | is actually a Roof Soffit tool.
| | 00:51 | I'm not particularly fond of this
though, because it just creates a flat
| | 00:55 | slab, and it doesn't actually fill in the
area between that slab and the roof up above.
| | 01:01 | We also have a Fascia tool.
| | 01:02 | Now the Fascia tool is the one I am
actually going to take advantage of here,
| | 01:06 | because the Fascia tool just simply
uses a profile family. And we can draw
| | 01:11 | profile family in any shape
we like, including a triangle.
| | 01:16 | Let me scroll down here on the Project
Browser, go to the Families branch, and
| | 01:21 | then under Profiles, I'm going to
expand that, and I've got a profile here that
| | 01:26 | I've called Box Soffit.
| | 01:28 | I'm going to right-click that and
choose Edit, and I just want to show you what
| | 01:31 | this family looks like real quick.
| | 01:33 | It's nothing more than a simple
triangular form that incorporates a Rise and a
| | 01:39 | Run parameter so that you can make the shape
of this triangle match the slope of your roof.
| | 01:45 | I've provided this file already, and
it's included directly in the Project file
| | 01:50 | so I'm not going to save it. There is
no need to. And using that, all we need to
| | 01:54 | know is what the slope of our roof is.
| | 01:58 | This roof is a 6' and 12' slope, and so I
can go to the Roof dropdown here, choose
| | 02:05 | Fascia instead of Soffit, and then from
the dropdown list, I have several that
| | 02:10 | have already been predefined.
| | 02:12 | I have one here called 6/12, for example.
| | 02:16 | I'm going to choose that and edit its
type, just so you can see how that profile
| | 02:20 | that I just showed you is applied.
| | 02:23 | That's really the only setting in the
Fascia dialog, is the Profile setting and
| | 02:28 | you choose that 6/12 type.
| | 02:31 | That particular family has several types in
it, so I created an 8/12 and an 6/12 and an 5/12.
| | 02:38 | You could go to the profiles that I
just showed you on the Project Browser,
| | 02:42 | right-click, choose Duplicate, and create
a 4/12 if you needed that size, or really
| | 02:46 | any size that you want, just
by dialing in the new numbers.
| | 02:50 | But all you really have to do here to
make it a fascia is assign the profile and
| | 02:54 | if you want to, give it a material.
| | 02:56 | So I'm going to click OK. And then you
just simply highlight the edge of the roof
| | 03:02 | where you want to put it, and applies
it there. Let's spin around to the other
| | 03:06 | side, and it applies it there.
| | 03:09 | Now I'm picking the bottom edge; if I
pick the top edge, it's not going to come
| | 03:12 | in the right place, but that's
just the way I built the profile.
| | 03:15 | And I'll put it there. And then the
finishing touch is to use Modify tab and the
| | 03:22 | Join command and I will join this to
this, and that cleans it up all nice and
| | 03:29 | neat. And I think that looks a lot more
finished and complete than just leaving
| | 03:33 | those edges with the default roof.
| | 03:36 | That's a technique that you
can use to create box soffits.
| | Collapse this transcript |
|
|
6. Choosing Wall Modeling StrategiesCreating vertically compound walls| 00:00 | Basic walls are the same
material from bottom all the way to top.
| | 00:04 | To get more variety along the height of
the wall, you have several options in Revit.
| | 00:07 | You can use sweeps, reveals,
stacked or curtain walls.
| | 00:11 | You can also use vertically compound walls.
| | 00:14 | Any of these is acceptable, given the
current circumstances and design goals.
| | 00:17 | In this movie, we're going to
look at vertically compound walls.
| | 00:20 | What a vertically compound wall does
is it allows you to vary the material of
| | 00:25 | the wall as it moves up the height of the wall.
| | 00:27 | All this means is we're going to be
changing the structure of the wall as it
| | 00:30 | moves vertically, thus the
name vertically compound.
| | 00:34 | To do this, I'm in a file here called
SAMOCA_V4, and I'm going to zoom in on our
| | 00:39 | tower element. And I'm going to select
one of these walls and kind of spin the
| | 00:45 | model around, just so we can see the
backside here. And I'll use my Ctrl key and
| | 00:50 | select these three walls at the top.
| | 00:53 | So what I want to do is add some
horizontal bands along the lengths of these
| | 00:56 | walls that are in a
different material and color.
| | 00:59 | So I've got them selected, and to do
this, I'm going to click on Edit Type. And
| | 01:05 | the existing wall Type here is just
one of the standard ones out of the box.
| | 01:08 | I want to duplicate that, and I'll
just give it a name like Tower Walls.
| | 01:13 | Where all the action takes place is
here in the Edit Structure dialog, so we're
| | 01:18 | going to click this big old Edit button.
And I'm not going to talk a lot about
| | 01:21 | all the different layers. You should
be somewhat familiar with these already.
| | 01:25 | If you're not, we actually cover
this in the Essentials course here on
| | 01:28 | lynda.com, so you can feel free
to go back and take a look there.
| | 01:31 | All I want to do in this list is
just insert a new material at the top of
| | 01:36 | the list for my bands.
| | 01:39 | This will become my banded material.
And I'm going to make it match the same
| | 01:42 | function as the one below it. And
here in the file, SAMOCA_V4, I've already
| | 01:47 | included a material which is just a copy of
the existing material, and I just made it red.
| | 01:54 | So I added the name red at the end to,
make that clear, and so we have these two
| | 01:57 | different materials.
| | 01:58 | I am not going to worry about the
Thickness just yet. That will take care of itself.
| | 02:02 | Revit will handle that for me.
| | 02:03 | What we really want to get to is these
buttons down here, because that's what's
| | 02:06 | going to allow us to
actually add the vertical structure.
| | 02:09 | And you'll see it says Section Preview only.
| | 02:11 | That's the only clue we get of how to get these
otherwise grayed-out buttons to become enabled.
| | 02:16 | We click the Preview button right here
and then it defaults to a plan preview.
| | 02:23 | So right here, you can change to a
Section Preview, and that's what that
| | 02:27 | little message means.
| | 02:28 | So now you can see we're looking at
this wall in section and all of these
| | 02:32 | buttons light up and become available.
| | 02:34 | The two we're going to look at in this
movie here are Split Region and Assign layers.
| | 02:38 | I'm going to start with Split Region.
And it turns out you can actually zoom and
| | 02:42 | pan in this preview.
| | 02:44 | I'm using my wheel mouse to do this
like I do in the regular drawing window, and
| | 02:48 | I'm going to zoom in.
| | 02:49 | Sometimes the pan works; sometimes it doesn't.
| | 02:53 | If it doesn't, you have scrollbars here.
| | 02:55 | So rather than get frustrated, why isn't
the pan working, just use the scrollbars.
| | 03:00 | Here is my insulation
material as it exists right now.
| | 03:04 | I'm going to use Split Region, and this
tool allows me to actually break that
| | 03:09 | layer into sections.
| | 03:11 | So as I move my mouse over here,
you can see a dimension appearing. And maybe I
| | 03:17 | want the first band to start at about 3 feet,
| | 03:19 | so I'll just kind of move along here
and click with this little knife cursor.
| | 03:24 | And sometimes it doesn't
take on the first click,
| | 03:26 | so there: click it a second time
and that usually does the trick.
| | 03:30 | So this window does take a
little bit of getting used to.
| | 03:34 | I'm going to move up for the first band
to about two feet and I'm going to
| | 03:38 | click again, and that splits
my second region at 2 feet.
| | 03:43 | What I can do is, actually assign this
material that I've created to this new band.
| | 03:50 | There's a very specific sequence of
clicks that you need to make in order to
| | 03:54 | assign that next band.
| | 03:56 | So I'm going to give you a little three-
letter acronym to try and remember this:
| | 03:59 | B for Button, P for Preview, and L for List.
| | 04:04 | In other words, the button is assign
layers, so I'm going to click that.
| | 04:08 | That's B for button.
| | 04:10 | Then I click over here in the Preview
image, on the layer that I want to assign.
| | 04:15 | Notice that it will highlight in the
Preview window. And then finally, I come
| | 04:19 | over here and click in the list, the
material that I want to assign it to,
| | 04:24 | that one right there.
| | 04:26 | To make sure that it's actually
taken, you can go down here and click
| | 04:31 | this Modify button.
| | 04:32 | This is exactly the same as the
Modify tool in the regular drawing window.
| | 04:37 | And when you click that, that deselects the
object and you can see that it is now red.
| | 04:43 | So B for Button, P for Preview,
L for List. If you kind of just remember
| | 04:47 | that sequence, you'll usually have a
really easy time at getting this all
| | 04:51 | configured properly.
| | 04:52 | Now I'm going to zoom out just a touch,
scroll up to the top here, and just
| | 05:00 | repeat the whole process
again, adding a band at the top.
| | 05:03 | Split Region, come over here. I'll do
the same dimension, so I'll do about
| | 05:09 | 3 feet from the top.
| | 05:10 | Come down a little bit, do about 2 feet
from the top again, so I have a 2-foot band.
| | 05:16 | B for button Assign layer, P for Preview,
click on the layer, and finally, click
| | 05:23 | in the list, and you can see
it's the same red band material.
| | 05:28 | When I zoom out and look
at the entire preview here,
| | 05:33 | you can see that the dimensions kind
of stay behind, and they are both red, and
| | 05:37 | watch what happens here.
| | 05:38 | When I click this layer, it now
highlights the original material and when I click
| | 05:44 | this one, it highlights the two bands.
And you'll see here that the Thickness
| | 05:47 | changes to Variable.
| | 05:48 | That's why I said that we didn't have to
worry about that, because Revit is going
| | 05:51 | to manage the thickness now for
us from now on. So let's click OK.
| | 05:56 | OK again, and see the result.
| | 05:58 | I'll deselect the walls, and there we
have some nice red bands moving along the
| | 06:03 | lengths of these walls, and we have
created a nice custom wall type here that has
| | 06:08 | a little bit more interest
than just a standard, basic wall.
| | Collapse this transcript |
| Adding sweeps and reveals| 00:00 | In the previous movie we have looked
at vertically compound walls as a way of
| | 00:03 | adding banding along the length of a wall type.
| | 00:06 | In this movie, we're going
to look at sweeps and reveals.
| | 00:09 | Sweeps and reveals offer another way
to modify the wall along its length with
| | 00:13 | banding, and they can either
be additive or subtractive.
| | 00:17 | So we use a sweep to add material to
the wall; we use a reveal to actually cut
| | 00:22 | material away from the wall.
| | 00:23 | Both of these use a profile family.
| | 00:26 | A profile family is just simply a 2D
shape saved in a family and loaded in, and
| | 00:32 | then you take that profile and you sweep or
create a reveal along the length of the wall.
| | 00:38 | To do this we, are going to work in
SAMOCA_V4 again. And I have four walls along
| | 00:43 | the front of the building here: this one
right here, this one here, and these two
| | 00:49 | here and here. And I've previously
gone in and created a wall type for those
| | 00:54 | called Entrance Banded.
| | 00:56 | The banding is not there yet, and
that's what we're going look at right now.
| | 00:59 | So, I'm going to zoom in just a touch
more. And I only have to select one of
| | 01:03 | these, because all four walls are the
same type. And when I go to Edit Type, the
| | 01:09 | modification I make will
automatically apply to all walls of that type.
| | 01:14 | I'm going to go to Edit Structure, and the
Sweep and Reveal buttons are down here, but
| | 01:19 | they are grayed out. And we talked about
this in the last movie, but let me just
| | 01:22 | review it again here.
| | 01:24 | To get to the vertical structure,
you need to have the Section Preview open, so
| | 01:28 | that means you click this Preview button
right here and then you change the view
| | 01:33 | to a Section cut. You are looking at a
section of the wall here and then the
| | 01:37 | buttons become available.
| | 01:38 | So, I'm going to start with Sweeps.
| | 01:41 | Go ahead and click that button, and
this box will come up, the Wall Sweeps box.
| | 01:45 | You can add sweeps directly with this
button right here, and then you have got
| | 01:50 | a whole bunch of settings that you can
configure, so let's kind of walk through these.
| | 01:54 | The Profile is the first thing, and it
goes to your default, which is just a square.
| | 02:00 | The shape I'm going to do is pretty
much a rectangle, but I don't want it to be
| | 02:03 | a perfect square, so I'm going to
open up this list here and look at what
| | 02:06 | choices I have. And there are several
profiles that are currently loaded.
| | 02:10 | The one I'm going to use is this
2 Brick Soldier Course profile.
| | 02:14 | If the one I wanted wasn't here, I can
use this Load Profile button down at the
| | 02:19 | bottom, and then browse out to the hard
drive and find an appropriate profile.
| | 02:23 | The next setting is Material, so I'm
going to click on that. And I'll just use a
| | 02:28 | standard material here,
like Cast-in-Place Concrete.
| | 02:31 | Click OK for that. And then we have Distance.
| | 02:36 | The first band I'm going to put right at
the bottom of the wall. So the next two
| | 02:41 | settings actually work
together: Distance and From.
| | 02:43 | Now this just says Ba.
It's actually Base or Top if you look at that.
| | 02:48 | I'm measuring from the base at zero,
so the first band is going to be right
| | 02:52 | down at the bottom.
| | 02:53 | The next one I add will move the
distance. You can put it on the interior side
| | 02:58 | or the exterior side, I'll leave
it Exterior. You can offset it.
| | 03:02 | This I'm going to do because right now
if I click Apply, you'll see it appear
| | 03:07 | here and it adds itself to the
surface of the wall on the exterior side.
| | 03:12 | What I actually want to do is kind of
merge it into the wall material a little bit.
| | 03:17 | A positive offset here would shift it
away from the wall and a negative offset
| | 03:22 | would push it into the thickness of the wall.
| | 03:24 | I'm going to do -3 5/8 inches.
Don't forget the inches or you will get 3 and 5/8
| | 03:31 | feet and it will shoot
through the wall on the other side.
| | 03:34 | If necessary you could flip it.
I don't need to do that in this case. It's a
| | 03:38 | rectangle; it wouldn't really matter.
But let's say it was a triangle; it would just
| | 03:41 | flip the direction of the triangle.
| | 03:43 | Setback is actually along the length of
the wall, so it's actually possible to
| | 03:47 | tell this band to not go the full
length of the wall, or to actually keep going
| | 03:52 | past the end of the wall.
| | 03:54 | So, if you put in a positive setback, it
will keep going past the end of the wall,
| | 03:58 | and a negative setback, it would
actually pull it in and not go the full length
| | 04:02 | of the wall, so that's something you
could experiment with a little bit later.
| | 04:05 | Cuts Wall, we're going to here because
we're pushing it, when I click Apply here,
| | 04:10 | you see how it's now
pushing into the wall material?
| | 04:13 | This sweep will actually cut then into
that material and create that interference.
| | 04:19 | And finally, Cuttable is a setting you
can check if you want to be able to put
| | 04:23 | windows and doors in this wall and
actually have it cut through the bands.
| | 04:28 | I don't anticipate putting any
windows or doors in this wall, but it's not
| | 04:32 | going to hurt anything to make it
cuttable just in case, if the design
| | 04:35 | progresses that way.
| | 04:36 | That's my first sweep.
| | 04:37 | Let me click Add again and
choose pretty much the same settings.
| | 04:43 | I will choose Concrete again.
| | 04:48 | The only thing I want to do
differently this time is set the next band at 4
| | 04:52 | feet. Here, if I want to, I can select
this Distance, do a Ctrl+C, come over here
| | 04:59 | and do a Ctrl+V. That makes that a
little bit easier to set, so I don't have to
| | 05:05 | type it again. And I will make that
one Cuttable. And I've got a couple more
| | 05:08 | that I'm going to do.
| | 05:10 | I've now got five sweeps total, and you
can see that all the settings match one
| | 05:14 | another except for the distances.
So I'm going to go from zero on the first one
| | 05:17 | then every 4 feet and if we click
Apply here, we can test out how we did and
| | 05:22 | make sure that we didn't make any
mistakes, and there they all are along the
| | 05:26 | height of the wall.
| | 05:27 | So let's click OK, OK again, one more
time, and you'll now see that banding
| | 05:35 | appear on all four of those walls.
| | 05:39 | A really neat thing here is, as you can
see, there is little grip handles at the
| | 05:45 | end of each of these sweeps, so it
turns out that you can further refine this.
| | 05:50 | This is kind of equivalent to that
setback option I was talking about,
| | 05:53 | except the difference here is you're
actually doing these setbacks individually
| | 05:58 | on a band-by-band basis.
| | 05:59 | So, if you want to start doing some
variation on the wall, you can actually use
| | 06:03 | the grips here and do it directly on the screen.
| | 06:06 | But a Sweep and/or a Reveal actually
would allow you to do a very similar thing here.
| | 06:11 | I'll let you try the reveal on your own.
It's exactly the same interface; the
| | 06:15 | only difference is it's going to cut out
from the wall instead of adding to the wall.
| | 06:19 | Both of these allow you an
opportunity to add banding or other visual
| | 06:23 | interest to your wall types.
| | Collapse this transcript |
| Understanding host sweeps and reveals| 00:00 | Sweeps and reveals offer way to modify
the volume of your walls using an element
| | 00:04 | that extrudes along its length.
| | 00:06 | Sweeps add material to the wall and
reveals cut away from the material of the wall.
| | 00:10 | In the previous movie, we looked at sweeps
and reveals applied directly to the wall type.
| | 00:15 | In this movie, we are going to look at
host sweeps and host reveals which you
| | 00:19 | place on the walls, wall by wall.
| | 00:21 | So you can choose which walls get them,
and they don't apply across the entire type.
| | 00:26 | Both are similar. They both use
profile families to determine the shape of
| | 00:29 | either the sweep or the reveal.
| | 00:30 | I am going to start there, by talking
about where the profiles are in the project
| | 00:35 | and what we can do to load additional
ones if we don't have the one we need.
| | 00:38 | I am in a file called SAMOCA_V4, and I am
going to zoom in here on this townhouse
| | 00:44 | with turret here at the corner.
| | 00:46 | Over here on the Project Browser, if we
scroll down to the Families branch, right
| | 00:51 | here, and little further down to the
Profile category, you can take a quick
| | 00:57 | inventory of the profiles that
are currently in your project.
| | 01:02 | Profiles are used for all sorts of
things, not just sweeps and reveals, so
| | 01:05 | sometimes you'll see ones that have
names like Handrails or stair nosing.
| | 01:11 | Obviously those are not going to
be used for sweeps and reveals.
| | 01:14 | So you kind of just have to either be
familiar with the shape or look at the
| | 01:17 | name for a clue as to what its usage should be.
| | 01:21 | What I'm looking for is a precast cornice
and I'm not seeing anything on the list here.
| | 01:25 | So to bring one in, I am going to go
to my Insert tab and load a family.
| | 01:30 | Now the other option is you can go to the
Family Editor and actually build it yourself.
| | 01:34 | Let's start with what's available in
the library and then we can decide if we
| | 01:37 | are happy with those.
| | 01:38 | I'm in US Imperial Library.
| | 01:40 | The Metric Library has similar choices.
| | 01:42 | Here is the Profiles folder. And what I
usually do is click the first one and
| | 01:47 | then just use the arrows on my keyboard
to page through them and see a preview
| | 01:52 | over on the right-hand side.
| | 01:53 | If you scroll down here a little bit,
you see there are several cornice options
| | 01:58 | like so, and I am going to choose
this one here called Cornice-Precast.
| | 02:01 | So let's see what that does for us.
| | 02:04 | Let's open that up. That's not a sweep
yet. All that is is a profile, and you can
| | 02:09 | see that it loaded it right
here in my Project browser.
| | 02:12 | So the next step is to go to the Home
tab and use the dropdown on the Wall
| | 02:17 | button to get to your Wall Sweep
command or your Wall Reveal command.
| | 02:21 | So let's do Wall Sweep.
| | 02:23 | There are some sweeps already here in the file.
| | 02:27 | What I am going to do is just whatever
one is chosen, I am going to click Edit
| | 02:30 | Type and instead of modifying
it, I will duplicate it first.
| | 02:35 | So I will click the Duplicate button
and I will call this Cornice Precast.
| | 02:41 | I am going to modify the settings.
| | 02:44 | So here is the profile. That's the most
important setting, because I can scroll
| | 02:48 | up here and choose the Cornice-
Precast profile that I just loaded.
| | 02:54 | You can change the Material if you
like, but I am going to leave it Precast
| | 02:57 | Concrete. And then a feature that we
don't have available for the sweeps we
| | 03:01 | added directly to our
wall types is a subcategory.
| | 03:05 | When we do this, we can actually assign
this host sweep to its own subcategory
| | 03:10 | and then that allows us to actually
control the visibility of the sweeps
| | 03:14 | separately from the visibility
of walls, on a view-by-view basis.
| | 03:17 | There is a built in subcategory called
Wall Sweeps - Cornice, and I'll choose
| | 03:21 | that one. Click OK. And now if you
move your mouse into the drawing area and
| | 03:28 | highlight a wall, you can see that I can
place this anywhere along the height of the wall.
| | 03:32 | So my next click is going to determine
where it goes in the height, and I will
| | 03:36 | click right here and place this at the
top of this wall. Click my Modify tool.
| | 03:42 | If you get it a little too tall, like
I have done here, it's not a big deal.
| | 03:46 | You can just simply click on it, and
you've got a dimension right here. And let's
| | 03:50 | try about 40 feet maybe.
No, that's a little too low. How about 42?
| | 03:53 | So you can actually fine-tune the
placement of it directly on the screen
| | 03:58 | after you place it.
| | 03:59 | But it adds that material and even cuts
around the windows, and so that's the basic process.
| | 04:05 | It's even easier if you've already got
the sweep defined that you want to use.
| | 04:10 | So if I go back to the command, go to
Wall Sweep, and open up the list here,
| | 04:14 | there is already one defined for a soldier course.
| | 04:17 | So I want to add a little more interest
to these walls, so I am going to add the
| | 04:21 | first one right about here.
| | 04:23 | And then the way that these actually work is
you can continue to add walls to the host sweep.
| | 04:30 | So by just simply clicking on the
neighboring wall, you can add that, and it's
| | 04:35 | all part of the same continuous sweep.
| | 04:38 | Each wall that I click
will match the same height.
| | 04:41 | So the first click determines the height, and
all the subsequent clicks are part of that one.
| | 04:46 | So if you want to start adding a new
sweep at a different height, then you use
| | 04:51 | this button up here on the
Ribbon called Restart Wall Sweep.
| | 04:54 | So if I click that, it will finalize
the one that I was working on and allow me
| | 05:00 | to set a new one at a different height.
And then again, I could click Restart or
| | 05:05 | if I am all done, I can
click the Modify tool to finish.
| | 05:08 | Now I realized I forgot
to add this wall over here.
| | 05:12 | Notice that this whole thing
highlights as a single piece.
| | 05:15 | When you click on it, on the Ribbon you
will get an Add and Remove Walls button,
| | 05:20 | and you can use this to do just that.
| | 05:22 | So I can click on this wall and add it.
I can select another wall or remove it,
| | 05:27 | and modify the sweep in that way.
| | 05:29 | Let me cancel out of there.
| | 05:31 | And the final way that you can modify
the sweeps is you can actually use these
| | 05:35 | little grips, and you can stretch and change
the extent of it along the length of the wall.
| | 05:40 | You get a little bit more direct control
this way, because you're picking wall by
| | 05:44 | wall and your choosing
exactly which walls get the effect.
| | 05:48 | Reveals work the same way.
| | 05:49 | Here is a reveal. Snd they've got all
the same controls, and the only one we
| | 05:53 | really haven't looked at
yet is placing it vertically.
| | 05:56 | So let's take a quick look at that,
and let's add a reveal right here.
| | 06:00 | I want to add one on the opposite side
of the window. Notice it won't let me.
| | 06:03 | I have got to choose Restart Reveal and
then I can add the one on the opposite side.
| | 06:09 | So otherwise, it works exactly the same way.
| | 06:12 | If you wanted a new reveal shape, you
could choose Edit Type > Duplicate and build
| | 06:16 | that shape with another profile.
| | 06:17 | So Host sweeps and reveals give us a
lot of the same benefits that we had with
| | 06:22 | the sweeps and reveals that were
built directly into the wall type.
| | 06:25 | They allow us to modify the structure
of the wall and add these bandings and
| | 06:28 | visual design interest, but it allows
us to do it on a wall-by-wall basis.
| | Collapse this transcript |
| Sculpting a wall| 00:00 | Sometimes you can design a unique look
to wall simply by adding wall- or face-
| | 00:04 | hosted families to it.
| | 00:06 | In this movie we will move inside the
museum project, where we will build a large
| | 00:10 | feature wall in the main lobby.
| | 00:12 | The wall is a simple, basic wall, but
with the use of a custom-built void family,
| | 00:16 | we can make it a focal point in the space.
| | 00:19 | To help you visualize what we are
after here, I have got the final version of
| | 00:23 | the lobby wall open onscreen right now,
but this is ultimately what we want to create.
| | 00:27 | It looks a lot more complicated than it is.
| | 00:29 | So let's switch back over
to SAMOCA_V4 and get started.
| | 00:35 | Let me go on the floor plans to the Main
Level, and I'll zoom in a little bit.
| | 00:40 | And what I have provided here to get it
started is just a basic wall, and there is
| | 00:45 | this one opening penetrating through it.
| | 00:47 | Now the easiest way to see that is to
open up this section here, so I am going
| | 00:51 | to double-click that section head to
open that up. Here is the basic wall, and
| | 00:55 | here is the opening cut through it.
| | 00:58 | The final thing that I have added is,
in the later chapter we are going to be
| | 01:00 | creating a big, grand stair in this
space, so I've added some detail lines
| | 01:05 | directly on this view to let you know
kind of what area to avoid when you're
| | 01:11 | adding the void objects later to this wall.
| | 01:13 | So we are not going to want the
penetrations in this space right here.
| | 01:16 | Let's get started. I am going to take
this wall and select it, and over here on
| | 01:21 | the Properties palette,
I am going to give it a height.
| | 01:24 | I am not sure exactly what height I want,
so I want to drag it first to get close.
| | 01:29 | And that's about good. That's 54 6.
Let's may we try about 58 feet and see
| | 01:36 | what that gives me.
| | 01:37 | So that gives me just about up to
the ceiling. That looks pretty good.
| | 01:42 | What you'll notice here is it's kind of
doing something a little strange right there.
| | 01:46 | If I go back out to the outside,
what you'll see is this wall is actually
| | 01:56 | punching through the
exterior when it goes up that tall.
| | 02:00 | The simple solution to that is to just
simply notch out that part of the wall.
| | 02:05 | So I am going to go back to my floor plan,
go back to my section view, and I want
| | 02:10 | to just notch out this part of the wall here.
| | 02:13 | So I am going to select it, and we can
use the Edit Profile feature to do this.
| | 02:18 | So I choose Edit Profile and that puts
me in Sketch mode, and I will just draw a
| | 02:24 | little notch over here.
| | 02:25 | And about 15 feet off the corner, I
think will do the trick, and pull it down
| | 02:31 | maybe about 20-21 feet, somewhere
in that neighborhood over here,
| | 02:36 | and just kind of do a little L shape,
and then I will use my Trim tool to clean
| | 02:41 | that up, here and here.
And then I will finish that.
| | 02:45 | And so now that kind of gives me a nice
clean corner there and if you return to
| | 02:49 | your 3D view, you'll see that the wall no
longer penetrates outside the building.
| | 02:54 | Next, I am going to take this opening
here and we need a similar opening on the
| | 02:58 | second floor and on the admin level, and
so I am just simply going to copy that.
| | 03:04 | And the second floor one is going to be
about over here, and the admin floor one
| | 03:10 | is going to be about over here.
| | 03:13 | And I have rough dimensions for that.
This one is about 26 feet off of here.
| | 03:18 | This one is about 53 feet off of here.
| | 03:21 | If you want, you can set those at exact
locations, but this is about okay for a
| | 03:26 | configuration here for now.
| | 03:27 | Now I am going to go back to the Main
Level floor plan, and I want to select this
| | 03:33 | wall and make it a little thicker.
| | 03:35 | That's just simply Edit Type > Duplicate,
and I will call this Lobby light Wall.
| | 03:43 | Now I am calling light Wall because
all of those features you saw at the
| | 03:47 | beginning when I showed you the final
version are actually voids cutting into
| | 03:51 | the wall and there is a light fixture
behind them to light up the whole wall and
| | 03:54 | make it a lot more visually interesting.
| | 03:57 | All I want to do here is keep
this basically a generic wall.
| | 04:01 | I just want to double its thickness.
| | 04:02 | I am going to make it about 2 feet
thick. And for the Material, instead of by
| | 04:07 | category, I have created a material
which is just sort of like stone panels, and
| | 04:12 | that's called Lobby Light Wall.
| | 04:13 | So you can just choose that, and
they are like alabaster stone.
| | 04:17 | That's the wall type.
Pretty simple. Let's click OK.
| | 04:21 | You can see the wall thickens up.
And the next thing I want to do is give myself
| | 04:26 | some guidelines to use
to place the void objects.
| | 04:30 | So I am going to do that with Reference
Planes. I am going to the Home tab, I am
| | 04:33 | going to select the Reference Plane
button way over here at the right.
| | 04:37 | And the first one I am going to draw
here towards the end of the wall right
| | 04:43 | about there, running parallel and
perpendicular to the wall itself.
| | 04:48 | Now if I deselect that, you can
see I have just got a short, little
| | 04:52 | reference plane right there.
| | 04:53 | I am going to use the Array command
right here, pick my start point, start
| | 05:01 | moving in the general direction that I
want to go in. And you'll notice that the
| | 05:07 | Group And Associate feature is turned
on here, the quantity is currently just
| | 05:11 | set to 2 and we are moving to the second item.
| | 05:14 | Let me just show you with just those settings.
| | 05:16 | So I am going to start moving in this
perpendicular--let me zoom in a little, so
| | 05:19 | I can get this parallel--and I am
going to go at about 5 feet, and click.
| | 05:25 | The number 2 will appear here.
| | 05:27 | The array currently contains only two items.
| | 05:29 | What Group and Associate means is, you
can actually change the quantity anytime
| | 05:35 | and the Array will update itself.
| | 05:37 | So if I put in 20 here, you are going to
see, if I zoom out, that I now have 20 of
| | 05:42 | those reference planes.
| | 05:43 | If I click it again and I say, well, what
about 30, and it actually turns out that
| | 05:48 | for this design I need 31, so that's
the number that I am going to settle on.
| | 05:53 | What that does for me is, when I open
up the section again, is it gives me all
| | 05:57 | these guidelines right over here.
And now you can snap your voids to those
| | 06:02 | guidelines and even though the voids
are varying sizes, they'll all be lined up
| | 06:07 | on the same verticals.
| | 06:08 | The nice thing about the grouped array
is you can actually change the spacing
| | 06:13 | after the fact as well.
| | 06:15 | So I am going to stick with the 5 foot
spacing, but let me just show you quickly
| | 06:18 | how you could do that.
| | 06:19 | I could put a quick dimension on here,
select one of these items, activate the
| | 06:27 | dimension, and if I change this number, it
would actually affect the entire array.
| | 06:32 | Now I am going to undo that and stick
with the 5 feet, but just so you know in
| | 06:36 | the future how you can control a
grouped array, it's a pretty nice feature.
| | 06:41 | That leaves us with the voids.
| | 06:43 | I've built the family already,
so we'll just go over and click the Component
| | 06:46 | tool on the Home tab and open up our
list of choices here on the Properties
| | 06:51 | palette. Scroll down.
| | 06:55 | And I have got a family called Wall
Void, and there are quite a few sizes.
| | 07:00 | So I will start off with one of the
larger ones. Let's do maybe an 8x96 and
| | 07:06 | bring it in, and you can kind of see that you
can place this really anywhere you want to go.
| | 07:11 | What you do is just sort of place it
nearby these grid lines, or maybe I can
| | 07:16 | place a few of them like over here and
over here and over here, and then after
| | 07:21 | you have done however many you want
of this size--and again avoid this area
| | 07:26 | here where the stairs are--you cancel
out of there, you go to the Modify tab,
| | 07:31 | and you use your Align tool, and you
just align from the Reference Plane to the
| | 07:37 | center of the void.
| | 07:38 | You can even lock those if you want to.
| | 07:41 | The advantage of locking them is if you
anticipate changing the spacing of the
| | 07:46 | Reference Planes, like I
showed you a few moments ago.
| | 07:48 | So if you're not settled on the 5-foot
spacing yet and you want to try varying it around,
| | 07:53 | then it would be a good idea to lock
these. Align it, lock it. Align it, lock it.
| | 08:02 | When I did this, sometimes I used
dimensions to set the verticals; sometimes I just
| | 08:07 | eyeballed where I wanted them vertically.
| | 08:09 | You can get as detailed
with this as you want to get.
| | 08:12 | So you could even add a series of
Reference Planes running vertically.
| | 08:15 | But I was more concerned with them
lining up in this direction and the
| | 08:21 | horizontal spacings of where they actually
ended up along that line, I wasn't I concerned with.
| | 08:27 | But to get the effect that I showed you
at the start of the movie, it's just a
| | 08:31 | matter of choosing alternate sizes
and placing them somewhat randomly.
| | 08:37 | Let's place a few small ones,
and here's a nice thin one.
| | 08:44 | Let's find some short ones here.
Here's a nice short one. And you just have to
| | 08:49 | go here, and that's the design part, and
kind of make a pattern that's pleasing to
| | 08:55 | you. And your end result, again,
will look something like that.
| | 09:01 | Using a simple void family, we can
take what's otherwise a very boring
| | 09:05 | and mundane wall and turn it into an
interesting feature in the middle of
| | 09:09 | our design.
| | Collapse this transcript |
| Building shafts| 00:00 | Many buildings have double-volume
spaces in their lobbies, stairwells, and
| | 00:04 | other important spaces.
| | 00:05 | Since such a space might impact
several floor and ceiling elements, editing
| | 00:09 | the sketches of all those elements to create
those openings in the slabs can be time consuming.
| | 00:14 | Furthermore, if the shape of the
opening changes, you will potentially have to
| | 00:18 | edit multiple sketches to update your design.
| | 00:21 | This is where a shaft opening comes in.
| | 00:23 | In this movie, we will continue our work
in the lobby of our museum, and using a
| | 00:26 | shaft opening, we're going to cut the
large double-volume space to reveal the
| | 00:30 | light wall that we just
designed in the last movie.
| | 00:34 | To show you the area we're going to be
working in, I'm going to open up this 3D
| | 00:38 | view on my project browser called
Camera at Lobby Light Wall. And here is the
| | 00:44 | completed light wall that we worked on
in the last movie, and it's got all the
| | 00:48 | void openings and so forth.
| | 00:50 | But we're only seeing a small portion
of it because this large gray thing right
| | 00:54 | here is the floor slab cutting through.
| | 00:57 | Well this light wall actually spans
three stories tall, so what we want to do is
| | 01:01 | start carving that space out.
| | 01:03 | So I'm going to start in the Main Level
floor plan and zoom in on the plan, and
| | 01:12 | we want to create our
opening in this general area here.
| | 01:15 | We don't want just a simple rectangular opening;
| | 01:17 | we want something that follows
the design a little bit more.
| | 01:20 | So the shape that we're going to create
here will be a little bit more intricate.
| | 01:24 | But the process is pretty simple.
| | 01:26 | You go to the Home tab, and on the
Opening panel, you've got a Shaft opening
| | 01:31 | right here, so we are going to click on that.
| | 01:33 | And the main feature of the Shaft
opening is it will cut all horizontal objects
| | 01:38 | in its path: floors, ceilings,
roofs, all of those objects will be cut.
| | 01:43 | So the height of the shaft will
determine just how many objects it will impact.
| | 01:47 | Let's get started with the Pick Lines
option, and I'm going to pick a line here
| | 01:54 | right on the face of the wall and that
will be the easiest part of the shaft.
| | 02:01 | The next one, I want to follow this
angle, so I'll use this wall here, even
| | 02:06 | though it's outside the building, but we
can just extend it. And I'll do that with
| | 02:10 | the grip and just make
sure that it stays parallel.
| | 02:14 | And I'll extend it out a little bit
longer than I need it because we can
| | 02:17 | always trim it later.
| | 02:19 | So those are the two easy parts of the sketch.
| | 02:21 | The rest of the sketch is
really just the design at this point.
| | 02:26 | This one here, I've kind of done some
sketches and I want this to be about 41 degrees,
| | 02:32 | so I am just kind of kind a draw that in.
| | 02:36 | Feel free to vary the design if you prefer.
| | 02:39 | And then working this way, I need a
horizontal line here and another one above it.
| | 02:46 | I'm going to cancel.
| | 02:49 | These two are 10 feet apart.
And then I'll select both of them and use
| | 02:56 | Activate Dimensions.
| | 02:58 | The two of them are about
27 feet off the exterior wall.
| | 03:03 | And then I need another horizontal
line out here somewhere, like so.
| | 03:10 | At this stage, I can start to clean
up at least this portion of the shaft.
| | 03:14 | This is going to double-volume space here.
| | 03:17 | This is going to be like a little
bridge the goes across on the second floor.
| | 03:20 | I'm going to use my Split command,
with the Delete Inner Segment option, to
| | 03:26 | split out this portion of the line,
from here to here and from there to there.
| | 03:35 | Pay attention to what it's highlighting.
| | 03:36 | And then I can use Trim to Corner
and clean up at least this half, like so.
| | 03:46 | That portion right there is complete.
| | 03:49 | Over here I need an additional line.
| | 03:51 | I want something at an angle coming
over here to close this up. And that angle
| | 03:56 | is about 20 degrees off of this angle.
| | 04:00 | So it's actually going to
be easier for me to do this.
| | 04:03 | I'm going to select this line, go to
the Rotate command, check the Copy option,
| | 04:10 | and put in an angle of -20 degrees,
because I want it to rotate it to my right.
| | 04:15 | So I'm going to put in -20 like so,
and what that does is it preserves the
| | 04:20 | original line, but it rotates
off the second line as a copy.
| | 04:24 | Then I will move that line
over here somewhere, like that.
| | 04:30 | I need a temporary guideline to
help me here, because where I want the
| | 04:34 | intersection right here is about 26 feet
away, and that's where I want to match this--
| | 04:42 | I'll use intersection to intersection--
| | 04:47 | that's where I want to match that up to.
| | 04:49 | So that means I can delete this line.
| | 04:50 | I don't need that anymore. And the
rest of it, I can do trim and extend.
| | 04:55 | Clean that up, clean that up. Remember to
pick the part you want to keep, and like so.
| | 05:02 | And there is the shape of my void.
And the final step is over here on the
| | 05:07 | Properties palette, to make
sure that the heights are correct.
| | 05:10 | So you can do this now or you can do after
you finish the sketch; it's really up to you.
| | 05:15 | The Base Offset is -1.
| | 05:17 | I don't really want that, because that
would actually cut down into the floor
| | 05:20 | slab below and I'd be looking down
into a basement or something like that.
| | 05:24 | So I'm going to put 0 for that, and then
I'm going to go up to the second level.
| | 05:30 | That should do the trick. Let's apply that.
| | 05:33 | Let's click Finish.
| | 05:35 | You won't see anything here in the floor plan.
| | 05:37 | It's a little deceiving. It's there.
| | 05:39 | That's why I have that Camera view.
| | 05:40 | Let's open that up again, and now you can
see that my void is cutting up through there.
| | 05:46 | I picked the face of this wall, and you
can kind of see that the slab is coming
| | 05:50 | all the way through.
| | 05:51 | So that's not quite the effect I had in mind.
| | 05:54 | Well, because this is a sketch-based
object, it's real easy to just go in,
| | 05:59 | select it again, edit the sketch, and I can just
take these lines and just move them over some.
| | 06:06 | So what I'm going to do is align them
to the center of the wall--and I have to
| | 06:09 | use my Tab key to get that--
instead of the edge of the wall.
| | 06:15 | Click Finish, go back to the Camera
view, and that gives me a much nicer effect.
| | 06:23 | The shape of the void on the
second floor is almost identical.
| | 06:28 | So to wrap this up, all I'll do is
select this shape, copy it to my clipboard,
| | 06:35 | paste it aligned to selected levels,
and I'll paste it up to the second level.
| | 06:41 | Than I'm going to go to the Second
Level floor plan. It's still selected.
| | 06:46 | I'll edit the sketch. And the only thing
that's different here is that this bridge moves.
| | 06:54 | So I'm going to take both of these items,
activate the dimensions, and I'll try a
| | 06:59 | number of about 40 feet here,
and then let's try about 45.
| | 07:04 | You see that change, click Finish, and
then let's go check it out in our Camera
| | 07:09 | view. And you can kind of see back there--
let's zoom out just a touch and I'll
| | 07:14 | increase my camera view just a little bit--
| | 07:17 | but you can see back there that it poked
up to reveal the rest of my light wall.
| | 07:21 | If I want to zoom in just a little
closer here, you can start to get a better
| | 07:28 | look, and you can even look up into there.
| | 07:31 | A shaft opening will cut through
everything in its path: floors, ceilings, roofs.
| | 07:36 | Later if we add ceiling objects, we're
not going to do anything special to them.
| | 07:40 | The shaft will just cut right through
those. And it's a sketch-based object, so
| | 07:44 | it's real easy to manipulate
after the fact as the design changes.
| | Collapse this transcript |
|
|
7. Working with Curtain WallsDesigning with curtain wall types| 00:00 | Curtain walls come in a few varieties in Revit.
| | 00:03 | We have curtain walls, curtain systems,
| | 00:05 | sloped glazing, and of course
our panelized divided surfaces.
| | 00:09 | In the earlier chapters, we spent
a lot of time covering examples of
| | 00:12 | the panelized systems.
| | 00:14 | We also created some placeholder
curtain system elements directly from the
| | 00:17 | faces of our mass model.
| | 00:19 | In this chapter, we will refine the
placeholder elements a bit more and explore
| | 00:23 | some of the features of the standard
curtain wall and sloped glazing elements.
| | 00:28 | In this movie, I'm going to start with
the entrances to our building and to the
| | 00:33 | outdoor sculpture gallery.
| | 00:34 | So what I have here onscreen is the
final version of the project file for
| | 00:39 | this chapter called Ch07 (Finish), and
I just wanted to show you what the end
| | 00:44 | result will look like.
| | 00:45 | Now I'm in Temporary Hide/Isolate mode
because I have the entrance canopy turned
| | 00:49 | off, so that you can see that all I'm
doing here is adding a few revolving doors
| | 00:53 | to the main entrance and refining the
design of the curtain wall a little bit.
| | 00:57 | And then over here I'm building a new
curtain wall element with three
| | 01:01 | nested door elements to allow
us into the sculpture garden.
| | 01:06 | Now I'm going to start with that
element over there in the sculpture garden.
| | 01:09 | So let's switch over to SAMOCA_V5.
And if I zoom in on these two areas, you can
| | 01:17 | see that what we start with is the
default curtain system that we got from
| | 01:22 | applying geometry to the underlying mass
objects, and over here of course we just
| | 01:26 | have our blank wall.
| | 01:27 | Let's start here. And the easiest way to
do this is going to be to go to the Main
| | 01:31 | Level floor plan, zoom in on that area,
and I want to draw that new curtain wall
| | 01:37 | right in this location.
| | 01:38 | A curtain wall is actually a type of wall,
| | 01:41 | if you haven't used these before, and
so I'm going to go to the Wall command,
| | 01:44 | open up the list, scroll down, and you'll
see that Curtain Wall is one of my wall
| | 01:50 | families. And there are three
types loaded in with the project.
| | 01:53 | I'm going to choose this one here called
Storefront because it's got spacing and
| | 01:58 | mullions and panels already built into
it. And I'll start maybe about here and
| | 02:03 | draw about 36 feet long, like so.
| | 02:08 | And the first thing you'll notice is it
cuts right into the existing wall, which
| | 02:13 | is kind of a nice feature.
| | 02:14 | It's a little off-center,
| | 02:16 | so let me just drag it slightly to
center it up a little bit better and of
| | 02:21 | course you could do this very
precisely with the dimensions here if you like.
| | 02:24 | And if we zoom in a little, you can
see that this curtain wall has the glass
| | 02:29 | and it's got the mullions and so on. And in fact,
I think I need to flip that to go the other way.
| | 02:35 | There, that puts the glass on the outside.
| | 02:38 | Let's get a better look at this curtain wall.
| | 02:40 | I have an elevation looking right
at it right here, and I'm going to
| | 02:43 | double-click that to open it up.
And what you can see is here is the curtain
| | 02:47 | wall and if you move your mouse towards
the edge, it'll highlight with a dashed
| | 02:51 | line all the way around.
| | 02:52 | Notice that it's equally spaced in the
vertical direction, but in the horizontal
| | 02:56 | direction, it's equally spaced but
then the top bay is a little shorter.
| | 03:01 | Let me show you that.
| | 03:02 | Click on this, and I'm going
to change the height here.
| | 03:05 | It goes all the way up to the second level.
| | 03:08 | I'm going to drop it down a couple feet,
-2, and you'll see that when it drops
| | 03:14 | down, it makes no difference to the
overall spacing of those horizontal lines.
| | 03:19 | However, if I were to change the width of
this thing, it would re-space all of the bays.
| | 03:24 | I'm going to undo that last
change to get it back to 36 feet.
| | 03:28 | If we click right on the curtain wall--and again,
I might hit the tab to get it to highlight;
| | 03:34 | there it is right there, the dashed edge--
| | 03:36 | I'll click on it and I'm
going to go to Edit Type.
| | 03:40 | The Vertical Grid Pattern and Horizontal
Grid Pattern is what determines those
| | 03:44 | rules we just witnessed.
| | 03:46 | In the vertical direction, we
have a maximum spacing of 5 feet.
| | 03:51 | Because its Maximum Spacing, it forces
it to stay equal, and that's why even if
| | 03:55 | we stretched it, it still gave us an
equal number of spaces. What that also
| | 03:59 | means though, is that each bay might not
actually be a full 5 feet; it might be smaller.
| | 04:03 | In the other direction, it's always
going to be 8 feet, starting at the
| | 04:07 | bottom, but then whatever is left over occurs
at the top because we're using a fixed distance.
| | 04:13 | You're also noticing that there are
mullions applied in both directions.
| | 04:18 | That's all controlled here.
| | 04:20 | You can see that there's a 2.5x5 inch
rectangular mullion applied to all the
| | 04:25 | conditions, interior and
border types on both sides.
| | 04:28 | So I'm going to OK out of here without
making any changes, and that's really what
| | 04:32 | we mean by a type-driven curtain wall.
| | 04:35 | If I were to make a change in that Type
dialog, it would actually apply across
| | 04:39 | the entire curtain wall like changing the
spacing or the kind of mullion that's being used.
| | 04:44 | If I didn't need any entrances or other
openings or if I was satisfied with the
| | 04:48 | spacing, then I could call this one
done and I could move on to the next one.
| | 04:52 | What I actually want to do here is create
some doorways that go out into the courtyard.
| | 04:57 | It turns out that even though this
is a type-driven curtain wall it's
| | 05:00 | pretty easy to modify it.
| | 05:02 | So let's go ahead and zoom in and take a look.
| | 05:05 | So, the first thing I want to do is go to the
Home tab and I'm going to add a curtain grid.
| | 05:10 | So when I click on this tool, you
can either add the grids vertically by
| | 05:15 | highlighting the horizontal edge or if you
highlight the vertical edge, you get a horizontal grid.
| | 05:19 | So let's do that. And it's going to
come in at 7 feet, but I think I want to
| | 05:24 | change that number. I'll use the
temporary dimension, and I'm going to make that
| | 05:28 | about 6 foot 8, to reduce that down a little bit.
| | 05:32 | I want doors in this bay, this bay, and this bay.
| | 05:37 | I don't really want this here.
| | 05:38 | I want this to go full height here.
| | 05:40 | So if I put my mouse near this mullion,
you see how it wants to select the mullion.
| | 05:45 | Press the Tab key a few times and a
dashed line underneath highlights,
| | 05:49 | and up here on the Ribbon I get
an Add/Remove Segments button.
| | 05:55 | So I can click that and click on the
segments that I don't want at either end,
| | 06:01 | and when I cancel out of there with
the Modify command, you see that not only
| | 06:05 | did it remove the segment, but it also
removed the mullion that was associated with that.
| | 06:10 | The grid line is still there.
| | 06:12 | If I tab in, there's still a grid line
there, even in the invisible portion; it's
| | 06:18 | just invisible, and that's what
Add/Remove Segments does for me.
| | 06:22 | So, using that same technique, I can
remove these middle bays here to create a
| | 06:27 | wider bay to receive a door.
| | 06:29 | Let me show you a trick before we do that.
| | 06:30 | I could certainly Tab in here to get
that grid line again, but if I select the
| | 06:36 | mullion first, I can use my Temporary
Hide/Isolate to hide that category, and now
| | 06:42 | I can reach in there and
click the grid line very easily.
| | 06:46 | You still see the spacing.
| | 06:47 | That's actually the edge of the panels
you're seeing; that's not the mullion.
| | 06:50 | But you can see it's very easy to
select the grid line, Add/Remove Segments, and
| | 06:54 | I'll remove that segment.
| | 06:56 | I'm going to click next to it to
deselect it, go to the next one, Add/Remove
| | 07:00 | Segments, next to it, click the next
one, Add/Remove Segments, and then click
| | 07:07 | next to it to deselect.
| | 07:08 | So we're almost ready, except that this
is an awfully wide bay now and that would
| | 07:14 | make for a very wide door.
| | 07:15 | So let's go back to our Curtain Grid.
And it turns out that the default behavior
| | 07:20 | is All Segments, so when you add a grid
line, it adds it all the way across the
| | 07:24 | entire Curtain Wall, but you
can also do one segment at a time.
| | 07:29 | So this is kind of the opposite
approach to what we just looked at.
| | 07:31 | Instead of building the whole
segment and then removing the segments you
| | 07:34 | don't want, you can just put one
segment and it automatically removes the
| | 07:37 | ones you don't want. Let me show you.
| | 07:39 | Let me add one here at 1 foot 6,
another one here at 1 foot 6, and continue.
| | 07:48 | If your mouse moves on you at the last
minute, remember, you can use the temporary
| | 07:52 | dimension to fix it.
| | 07:55 | And notice that the grid line is still there.
| | 07:58 | You see how that invisible
portion, it's still there;
| | 08:01 | it just did Add/Remove Segments for me and
removed all of those segments I didn't want.
| | 08:06 | So now at this stage if I reset
the Temporary Hide, all the mullions
| | 08:11 | come back and I can select them, like so, and
notice they all have this little pushpin on there.
| | 08:21 | That's telling me they're
controlled by this type.
| | 08:23 | So remember, our type setting said use
the same mullion for all conditions.
| | 08:29 | But up here on the ribbon, we can unpin
them with this button, or you can type UP,
| | 08:34 | which is the shortcut. And then once
we've unpinned them, we can either change
| | 08:39 | the type they're using here
or we could simply delete them.
| | 08:42 | I don't need a mullion underneath my doors.
| | 08:45 | I don't actually have a door for
the curtain wall loaded in yet.
| | 08:48 | It turns out you can't
just use a plain-old door;
| | 08:50 | you actually have to use a special door
that's created to go inside a curtain wall.
| | 08:55 | So I'm going to go to my Insert tab
first, Load Family, and in the default
| | 09:01 | library, in the Doors folder, there
is this Curtain Wall-Store Front-Dbl.
| | 09:06 | We can open it up here, but actually,
in the front entrance I also want a
| | 09:10 | revolving door, and that's not here in this list.
| | 09:13 | I provided that one in the exercise files.
| | 09:16 | So I'm going to go to my Desktop
instead, Exercise Files/Chapter07. And I've
| | 09:21 | given you a copy of the Store-Front-
Dbl that's included with the software and
| | 09:26 | the Revolving Door here.
| | 09:27 | So I'm going to use my Ctrl key and
select both of them, load them in, and now
| | 09:33 | the way this works is put your mouse
nearby the bay that you want to replace,
| | 09:38 | Tab--you might have to Tab a
couple of times--and there is the bay.
| | 09:42 | Do it again, hold the Ctrl key.
Do it again, hold the Ctrl key.
| | 09:48 | I now have those three bays selected.
| | 09:51 | I'll unpin them and then here in the
list, I will either choose my Revolving door
| | 09:58 | or my Store Front-Dbl. Let's do the Store Front-Dbl
here, and you can see them apply.
| | 10:04 | That completes that design.
| | 10:06 | If I go back to my 3D View, that still
leaves us with the main front entry, but
| | 10:12 | you can see this looks pretty good.
| | 10:14 | Using the exact same techniques,
we could take care of the front entry, but we
| | 10:17 | have to do one other thing first.
| | 10:19 | Let's get this canopy out of the way, hide the
element, select this and kind of spin around.
| | 10:27 | This is a curtain system that's been
applied to the face of our mass model.
| | 10:33 | That curtain system uses
the same basic methodology.
| | 10:36 | If you went to Edit Type, you're
going to see a very similar dialog.
| | 10:40 | We could build a type that was similar
to the storefront but fortunately the
| | 10:45 | Store Front type is not here on the list.
| | 10:48 | So what I'm going to do instead is I
want to use that same Store Front type.
| | 10:52 | I don't want to have to build a new one.
| | 10:54 | I'm going to delete this curtain
system that's been added to the mass model.
| | 11:00 | Go back to Massing & Site, turn on Show Mass.
| | 11:05 | My mass model is still here underneath.
| | 11:08 | I'm going to do Wall by Face, and notice
that it remembers the last wall that I
| | 11:15 | drew was a Store Front.
| | 11:16 | You can use Curtain Walls;
| | 11:19 | you don't have to use just plain-old walls.
| | 11:22 | We can take a Store Front Curtain Wall and
we can apply that to the face of that mass.
| | 11:30 | I'll turn off Show Mass, and I'm left
with a storefront. And now at this stage I
| | 11:36 | can tab into it the same way, I can
remove mullions, I can merge the cells, add
| | 11:44 | the grid lines, and add in the revolving doors.
| | 11:47 | So I'll leave that to you as a
practice exercise, if you want to take it from
| | 11:51 | there, and you should end up with,
again, something that looks like this.
| | 11:57 | Even if you begin the design with
masses and elements by face, you can swap
| | 12:02 | those out with curtain wall types
that are more refined and robust, and have
| | 12:08 | designated panels and mullions and
spacings already built into them.
| | 12:12 | You can modify those existing spaces
directly in the Type dialog, but more
| | 12:17 | importantly, you can manually place
your own grids and mullions to customize a
| | 12:23 | design and add things like special
openings and other design conditions that
| | 12:28 | would not be easy to do
directly within the type.
| | Collapse this transcript |
| Creating custom curtain walls| 00:00 | Sometimes the curtain wall you have
in mind is not easy to achieve with a
| | 00:04 | regular spacing in the
horizontal or vertical directions.
| | 00:07 | In such a case, using the Type
Properties dialog won't be of much help to you.
| | 00:11 | Instead what you can do is use the
Curtain Grid and Mullion tools to start with
| | 00:16 | a basic curtain wall that has no grids
at all and just lay them out manually.
| | 00:21 | So in this movie I would like to look
at that process, and we are going to do so
| | 00:24 | up here on the tower wall.
| | 00:28 | Currently, we have this curtain system
here that was placed on the faces of the
| | 00:33 | underlying mass model.
| | 00:34 | So we did this early on as like a
stand-in for the design that would come later.
| | 00:38 | Now what I'm after is, if I switch
over here on the Switch windows to Ch07
| | 00:43 | (Finish), is I am after
something that kind of looks like this.
| | 00:46 | I want to do a little bit more custom design.
| | 00:49 | I am going to switch back to SAMOCA_V5.
| | 00:52 | To get there, I'm going to delete
this curtain system, and I need to put a
| | 00:57 | new wall in its place.
| | 00:59 | And I'd like to actually start with one
of these walls here, this Tower Wall, and
| | 01:04 | create that over here.
| | 01:05 | Now I suppose I could just copy from
one of the ones that's already here, but
| | 01:09 | it might be a little bit easier to show the
masses and see my underlying mass model back there.
| | 01:15 | Do a wall by face.
| | 01:18 | I'll choose the Tower Wall type.
And the others are set using a Core Face
| | 01:25 | Exterior, so I want to make sure that
I choose that. And I will pick on the
| | 01:30 | surface of this wall right here.
| | 01:35 | And that will place in that wall, and
then I'll hide the masses, and that gives me
| | 01:41 | the basic starting point for the wall.
| | 01:44 | If I go up to the Tower Level, I have
got a floor plan here which is oriented to
| | 01:48 | the tower, and you can see I have got a
section cut in both directions to make it
| | 01:51 | a little easier to work.
| | 01:53 | And there is the wall that we
just added. It's covering across this
| | 01:56 | opening right here.
| | 01:57 | If I go back to the Home tab, click on the
Wall tool and open up the list of choices,
| | 02:03 | under my Curtain Walls, we did
Storefront in the previous movie, but we have
| | 02:07 | two other choices here.
| | 02:08 | Now this Curtain Wall 1 is the
most basic curtain wall of all.
| | 02:13 | It's basically one big, large plate of glass.
| | 02:16 | So I am going to choose that as my
starting point and then just draw everything
| | 02:21 | that I want, all the mullions and all the grids.
| | 02:24 | So I am going to start here at about
two feet away and draw this thing about
| | 02:29 | right there, and I will get an error
message that says that these highlighted
| | 02:34 | walls overlap one another.
| | 02:36 | But it's telling me exactly what I
have to do to remedy the situation.
| | 02:39 | It says to use the Cut Geometry tool, so
that's exactly what I am going to do right here.
| | 02:45 | I am going to use Cut Geometry, and I am
going to select this wall and then I'll
| | 02:49 | pick on my curtain wall and it
will embed itself into that wall.
| | 02:54 | Let me open up this section and take a look.
| | 02:57 | You can see that that Curtain Wall
is a little bit high at the moment.
| | 03:01 | So I'm going to adjust
its top and bottom offsets.
| | 03:04 | For the Base Offset, I am going
to do 6 feet. Let's apply that.
| | 03:08 | That brings it up just above that
horizontal band right there. And for the Top
| | 03:13 | Offset I will do -6 feet and apply that,
and that brings it down just below that
| | 03:20 | horizontal band right there.
| | 03:21 | So now I'm ready to start adding some grids.
| | 03:24 | So I will go to Curtain Grid, and I
will just sort of move my mouse. And I can
| | 03:29 | follow the temporary dimensions. And I
want a 4-foot bay and then a 6-foot bay,
| | 03:35 | and then at the other side I want to match
that same thing: 4-foot bay and 6-foot bay.
| | 03:42 | Move and Copy are options here, but
just make sure that if you are going to
| | 03:46 | use Move and Copy--let me cancel out
of here--you are actually selecting the
| | 03:49 | grid line to move and copy, because there
actually is a curtain panel in there as well.
| | 03:57 | So if you select both, you are going
to be copping the curtain panel. That's
| | 03:59 | probably going to cause an error.
| | 04:00 | So if you just copy the grid line,
it will actually cut and form two new panels.
| | 04:09 | And if you delete a grid line,
it will heal that panel up.
| | 04:13 | So you certainly can use Move and Copy
but in this case I think the temporary
| | 04:17 | dimensions are just as easy. So I am
going to run the command again, do a 4-foot
| | 04:21 | bay and a 6-foot bay and then down
here a 4-foot bay and a 6-foot bay.
| | 04:30 | These lines go all the way across.
And the inner squares I don't want to run all
| | 04:34 | the way through, so I am going to
select the grid line and use my Add/Remove
| | 04:38 | Segments, and I want to remove
this segment and this segment.
| | 04:43 | I will click next to it to deselect,
| | 04:46 | select the next grid line, and repeat.
| | 04:49 | Remove this segment and this segment,
click off to the side to deselect,
| | 04:54 | this one, Add/Remove and the
final one right here, Add/Remove.
| | 05:02 | It's already starting to look pretty
much like the design that we had in mind,
| | 05:06 | so the next step now is to start
expressing this design using mullions and panels.
| | 05:12 | I can tab in and select individual
components, like these panels here.
| | 05:19 | And perhaps I want to do something
different in the corners. So I am holding
| | 05:24 | down my Ctrl key to select more than
one, and I've got those four corners
| | 05:30 | selected. And you can see here that
it's currently set to System Panel Glazed.
| | 05:36 | I will just do a really simple example
here and change it to System Panel Solid.
| | 05:40 | Currently in the elevation view, we are
not shaded so it's a little difficult to
| | 05:44 | tell what that did, so if I change to
a Shaded mode, you can see the glass is
| | 05:49 | blue, and it all turns blue, and by
changing those to Solid, they turn gray.
| | 05:54 | Now I will leave it shaded just for
a few minutes here while we continue.
| | 05:57 | And let me go to the Mullion tool next.
| | 06:00 | And I'll start with the 2.5 x 5
rectangular, and I'll do that around the four
| | 06:07 | outside edges. And I'm using
the Grid Line option right here.
| | 06:12 | Then I'm going to switch to the smaller
size, the 1.5 x 2.5, and I'll do the next
| | 06:19 | series of grid lines in. And then I
might want to go even smaller still and I
| | 06:26 | could do the 1" square ones
on the inside ones, like so.
| | 06:31 | And here I would like to do
something a little bit more interesting.
| | 06:36 | I can tab in and select this panel.
| | 06:39 | And if you open up your list of
choices here, you can put in not only curtain
| | 06:44 | panels that are actually defined as
curtain panels, but you can actually put in
| | 06:50 | other types of walls, or even
other types of curtain walls.
| | 06:55 | So if I wanted to fill that in with a
brick wall, that's an option, or I could
| | 06:59 | fill it in with some other wall type.
| | 07:00 | I want to choose the Exterior
Glazing right now. And it's not really the
| | 07:05 | spacing I was after,
| | 07:06 | so I am going to Edit Type and
duplicate it, and I am going to create a new one
| | 07:11 | called Tower Infill. And then I wanted a fixed
distance in both directions, 5 x 5 square.
| | 07:21 | I want to come down here and tell it to use
the square mullions, but just on the interior.
| | 07:31 | So I'm not going to do any border mullions.
And that looks pretty good. Let's click OK.
| | 07:37 | And as a final step here, I am going to
click on this, scroll down over here, and
| | 07:45 | I am going to change the Angle to 45
degrees in both directions on the Properties
| | 07:51 | palette. And there is the completed design.
| | 07:55 | Let's go back to our 3D view and take a look.
| | 07:59 | So you can see that without too
much effort at all, we can start with a
| | 08:02 | completely blank curtain wall, add some
grids, adds some mullions, get a little
| | 08:07 | clever with how we are nesting
components, and do a completely custom design that
| | 08:11 | otherwise wouldn't be
possible directly in the Type dialog.
| | Collapse this transcript |
| Working with curtain panels| 00:00 | In earlier chapters, we discussed
curtain panel families in the context of the
| | 00:04 | conceptual massing environment.
| | 00:06 | Traditional curtain walls and curtain
systems also use curtain panels, and
| | 00:09 | while we can't use the same panels that
we built in the conceptual environment
| | 00:13 | for traditional curtain walls, we
can build custom families that are very
| | 00:17 | similar in the Family Editor.
| | 00:19 | In this movie, we will revisit the
graffiti gallery on the rear of our building
| | 00:23 | and consider another
alternative for the glazed wall.
| | 00:26 | Since we want to preserve the original
design, just in case we decide to return
| | 00:29 | to it later, in this movie, we'll also
take a quick look at the Design Options
| | 00:33 | feature, which allows us to maintain
more than one scheme for a particular
| | 00:37 | design within our project.
| | 00:39 | Let me spin around to the
back side of the building here.
| | 00:41 | I'm in SAMOCA_V5, and I'm going to select
something over here, just to target my orbiting.
| | 00:47 | I will spin this around,
maybe like so, and then zoom in.
| | 00:53 | What I'm looking at right now is the
space frame design that we completed in
| | 00:58 | an earlier chapter.
| | 01:00 | We want to consider another
possible alternative here,
| | 01:03 | so what I want to do is preserve this one
and put it in what we call a design option.
| | 01:08 | So, I am going to come down here
to this icon right here. This is the
| | 01:12 | Design Options dialog.
| | 01:13 | You can also get there from
the Manage Ribbon if you prefer.
| | 01:16 | Now, when I open the Design Options,
there are two main things that you create
| | 01:20 | in here: you create an option
set, and you create an option.
| | 01:24 | So I am going to start off by clicking
an Option Set, and when I click New, that
| | 01:28 | actually gives me both the set
and the first option within it.
| | 01:33 | When I rename these, it might make
them a little bit more clear as to
| | 01:36 | what they're used for.
| | 01:37 | I am going to rename this one
to Graffiti Gallery Glazing.
| | 01:44 | An option set is an area of work in
your building that you're considering more
| | 01:49 | than one scheme for.
| | 01:51 | Then Option 1, I am going to rename
to Space Frame. And then I am going to
| | 01:58 | create a second option, select it and
rename it, and call it Spider Clamps.
| | 02:06 | So I think sometimes it actually is
easier to rename it first and then it
| | 02:10 | becomes a little more clear
what each of these is for.
| | 02:13 | So this is the area of work that I'm
considering more than one scheme for, and
| | 02:17 | these are descriptions of the two
schemes that I'm actually considering.
| | 02:21 | You can have plenty of option
sets, and plenty of options.
| | 02:24 | The quantity is really up to you.
| | 02:26 | So, I am going to close out of here,
and the next thing I want to do is take my
| | 02:30 | existing design and move it
to the space frame option.
| | 02:35 | So, to select this--you notice I
can only select the individual panels--
| | 02:38 | to select the entire curtain system, I
need to go to Massing & Site, and Show Masses.
| | 02:45 | Then I can select that entire surface,
like so. And then down here, right next to
| | 02:51 | the Design Options button,
is the Add to Set button.
| | 02:54 | This is also on the Manage Ribbon.
And it will suggest adding it to both sets.
| | 03:00 | Now you would do that if you wanted
it to add it to both sets and then make
| | 03:03 | a variation of it; in this case, I only wanted
to go to the Space Frame set and I'll click OK.
| | 03:09 | Now, I'm going to come down here,
and you'll see it says Main Model.
| | 03:13 | When I open this up, Main Model is the
whole part of the model that's not being
| | 03:18 | affected by the options. And then Space
Frame and Spider Clamps are only those
| | 03:22 | portions of the model.
| | 03:23 | So watch what happens
when I choose Spider Clamps.
| | 03:28 | My space frame will disappear
| | 03:31 | because it belongs to this other
option, so it gets hidden from view.
| | 03:35 | The rest of my model will gray out,
because at the moment, there is nothing in
| | 03:41 | the Spider Clamps option. And we're
going to take care of that by coming over
| | 03:45 | here and creating the Curtain System
by Face. And I'll come into this and
| | 03:51 | highlight this face of the
underlying mass and create the system.
| | 03:56 | So now I have this curtain system
grid, and I am going make a quick
| | 04:01 | modification to it.
| | 04:02 | I am going to select it, Edit Type, and
duplicate that type, and I am going to
| | 04:08 | call this 5x5. And as you might expect,
I am going to change the spacing to match
| | 04:15 | that description and click OK.
| | 04:18 | So now I have this 5x5 grid curtain
system applied to the surface of that
| | 04:23 | massing object. I don't need
to see the massing anymore.
| | 04:26 | I can hide it again.
| | 04:29 | But this belongs only to the
Spider Clamps design option set.
| | 04:33 | I've already got a custom
curtain panel loaded in this project.
| | 04:37 | So I am going to select this curtain
system again, go to Edit Type, and I can
| | 04:43 | actually define that
curtain panel at the type level.
| | 04:46 | So right here is the curtain panel.
| | 04:48 | I am going to open up the list,
and I've got this one called Curtain
| | 04:52 | Panel Spider Clamp.
| | 04:53 | And the way it was created is very similar
to how it was created in the earlier chapter.
| | 04:59 | So if you want to revisit that chapter,
you can go ahead and take a look at that yourself.
| | 05:03 | And when I apply it and zoom in,
you'll see that we now have the glazing with
| | 05:09 | all the spider clamps integrated into them.
| | 05:12 | Zoom back out. And if I choose this pop-
up again, I can change back to the Space
| | 05:19 | Frame, and it comes into view, change
back to the Spider Clamps, it comes into
| | 05:25 | view. Or when I go to Main Model,
notice that the space frame returns to view.
| | 05:31 | The reason for that is if we go back to
Design Options, the Space Frame is set as primary.
| | 05:37 | So when you return to the main model, it
displays whatever the primary option is
| | 05:42 | for each option set.
| | 05:44 | Now, I only have one option set, but
if I had more than one, each one would
| | 05:47 | have its own primary.
| | 05:48 | And what you can do is you can present
each option to your client and then talk
| | 05:53 | about it, and then once you settle on
one, you can actually select the set and
| | 05:59 | choose Accept Primary.
| | 06:00 | That would delete the other options
and make the primary one permanent.
| | 06:04 | But for now, we're going to
leave both active in the model.
| | 06:07 | So Design Options offers a way to
consider more than one scheme within the same
| | 06:11 | model, and this is often more efficient
than saving the project as a new name and
| | 06:15 | maintaining two or more separate models.
| | Collapse this transcript |
| Building sloped glazing| 00:00 | We have one more curtain wall
object to consider, sloped glazing.
| | 00:04 | Sloped glazing is a roof family that
is basically a curtain wall or curtain
| | 00:07 | system that follows the shape of the roof.
| | 00:10 | You can use it for sloped-glaze walls
like greenhouses, or even the graffiti
| | 00:15 | gallery, or we can use it for skylights or
really anything that has to follow a sloping surface.
| | 00:20 | So in this movie we are going to add
some skylights and look at the Sloped
| | 00:23 | Glazing tool to do that.
| | 00:25 | So what I want to do is find a good
view to get started from, because if I am
| | 00:31 | going to create a skylight, I need to
make sure that it actually penetrates up
| | 00:34 | through the building in a proper location.
| | 00:36 | So I want to start in the second floor
level floor plan here, and maybe work in
| | 00:44 | this general area right here.
And we have these walls here which are for
| | 00:48 | displaying gallery work. These are
open galleries here, and I want to put the
| | 00:52 | skylight maybe down the middle,
about halfway between these two.
| | 00:57 | What I am going to actually do is draw
some temporary line work to help me get
| | 01:00 | this in the correct location.
| | 01:01 | So I am going to go to the Annotate tab,
and I am going to just use Detail Lines for this.
| | 01:06 | So I will draw a detail line. And I am
going to start right at the end point of
| | 01:11 | this wall and go to the end point of
that wall, press Escape one time.
| | 01:18 | This wall to that wall. Now sometimes it
doesn't give you the right snap so I am
| | 01:22 | going to do S+E, which forces it
to snap to endpoint, right there.
| | 01:28 | I will Escape one time. And then I am
going to go from midpoint to midpoint.
| | 01:33 | And again, the perpendicular is
probably okay, but I want to make sure S+M for
| | 01:39 | snap to midpoint, and make sure that
I am going from midpoint to midpoint.
| | 01:43 | That's a really quick way to kind of
bisect that angle there and give me the
| | 01:47 | centerline of my skylight
right down between those two walls.
| | 01:51 | The next thing I am going to do
is click this Pick Lines option.
| | 01:55 | Change the Offset here to 2 feet,
which is half of my skylight size that I'm
| | 02:01 | looking for. And I will offset on that
side and on that side, go to my Modify
| | 02:06 | tool, go to Modify tab, Trim/Extend to a corner,
and I am going to clean all this up, like so.
| | 02:20 | Now I don't really need the
centerline anymore--we can delete that--and I am
| | 02:25 | going to use a Tab key here to get
the chain, and I want to move this just a
| | 02:31 | little bit this way. And you'll see it
kind of gives me these guidelines there,
| | 02:35 | so it's kind of following in a parallel
direction. And it's saying about 17-4.
| | 02:40 | I am just going to make that a nice
round number of about 18 feet, and that's
| | 02:44 | where I want to position this skylight,
or at least start off with it there.
| | 02:49 | What I am going to do next is create a
shaft that goes--we are on the second
| | 02:53 | floor here and I need to go
all the way up to the roof.
| | 02:55 | So I am going to use that
sketch to build my shaft.
| | 02:58 | I will go to the Home tab, click my
Shaft opening, Pick Lines, highlight one
| | 03:04 | of these lines, press the Tab key--
that will give me all four--and click, and
| | 03:09 | then let's finish that.
| | 03:11 | With the Shaft still selected--you can
see it over on the Properties palette--I
| | 03:15 | want the Base Offset this time to stay
at -1, because I am here on the second
| | 03:20 | floor, so I want it to actually go
through the second floor, but I want to make
| | 03:25 | sure that it's actually the
second floor and not the main level.
| | 03:29 | So I am going to change the Base
Constraint to Second Level at -1, and then the
| | 03:34 | Top Constraint is going to go all the
way up to the roof of the admin, which is
| | 03:40 | actually at the Tower Level.
| | 03:44 | That's right there. And so that'll gray
out the unconnected height, and we apply that.
| | 03:50 | And just to make sure that that's
doing what I think it's doing, I'll draw a
| | 03:54 | quick little section through here,
deselect it, double-click on it, and you
| | 03:59 | can see, there is the shaft, and it starts
there and it cuts all the way up to the roof.
| | 04:05 | So let's go up to that Tower Level
next, and there we are, right there.
| | 04:12 | It's a little close to the edge of the
building there, so that 18 feet might have
| | 04:15 | been a bit aggressive.
| | 04:17 | So I'm actually going to select
that and just move it back a touch,
| | 04:23 | but keeping it parallel. Let's go back
maybe about 10 feet there. And it's saying
| | 04:29 | it can't unjoin elements because it's
trying to attach to those drafting lines,
| | 04:33 | and I am just going to unjoin that.
| | 04:35 | This error is generating because it's
still trying to keep itself attached to
| | 04:39 | those drafting lines that I
drew back on the second floor.
| | 04:42 | I don't really care about that, so I am
going to unjoin those, and then I get a
| | 04:47 | new error here about the line is too
short, so it's again trying to stretch that
| | 04:51 | line work. And I am just going to say
delete those elements because I really
| | 04:55 | don't care about that line work
anymore, now that I have my shaft.
| | 04:59 | So it's really the shaft
that I am most interested in.
| | 05:02 | Now I want to draw some little walls
here around the shaft opening, up on the
| | 05:07 | roof, that will serve as like a curb.
So I will go to Wall command and I am just
| | 05:12 | going to use a Generic 5-inch wall for this,
| | 05:17 | with a Wall Centerline. And I want the
Base Constraint to be at the Tower Level,
| | 05:23 | and I am going to drop it down just a
little bit so I am going to do a -2-foot
| | 05:26 | offset. And instead of going all the
way up to the roof--that would be an
| | 05:30 | awfully tall curb--I am just going to
make this unconnected and 2 feet tall.
| | 05:36 | It's actually -2 to 2 feet so
it's really going to 4 feet tall.
| | 05:40 | I'll apply that, and then I am going to
use my Pick Lines, and I can place these
| | 05:46 | on the four edges of the shaft opening.
| | 05:49 | And just so that it's clear what we did,
let me reopen the section, zoom in here
| | 05:53 | up here at the top, and that's what we have
just created, these little, tiny walls right here.
| | 05:57 | And on top of those walls is where
we are going to build our skylight.
| | 06:01 | Let me go back to the Tower Level roof
plan and zoom in a little bit more, and
| | 06:07 | let's go ahead and create the skylight.
| | 06:08 | To start creating the skylight, it's just a roof.
| | 06:11 | So we are going to use the Roof
by Footprint tool on the Home tab.
| | 06:13 | I am going to choose my Pick Walls
here and pick the edges of my four little
| | 06:20 | walls. And then depending on how
you want your skylight to slope,
| | 06:26 | if you just want it to slope in one
direction, you could select just one of
| | 06:30 | these lines and Defines Slope.
| | 06:33 | I am actually going to take all four
of them, make a selection here, hold my
| | 06:38 | Ctrl key to get the one I missed,
| | 06:40 | and I am going to make them all Defines
Slope, so I am going to get this little
| | 06:43 | hip-shaped skylight.
| | 06:45 | So I've got them all defining slope,
and 9 and 12 is a bit steep, so let me
| | 06:50 | change that to 6 and 12.
| | 06:54 | What I want to do next is click Finish,
and it initially creates a basic roof.
| | 07:00 | I am going to open up that list, and one
of the choices I have is Sloped Glazing.
| | 07:06 | So when I choose that, I will now have
a sloped glazing roof there. And the
| | 07:13 | only trouble is, where did the roof go?
| | 07:16 | There is probably a roof offset that I
didn't pay attention to when I was building it.
| | 07:19 | So let's open up our section again and
see, and here it is, sitting right down here.
| | 07:26 | If I click on it, there is a
Base Offset from level of -11 feet.
| | 07:30 | This is just leftover from one of the
previous roofs that were created in the
| | 07:33 | project, and Revit always
remembers what you did the last time.
| | 07:38 | So all I have to do zero this out and make
sure that my base level is here at the
| | 07:43 | roof level. You'll see that'll jump up
there--let's zoom in--and then there it is,
| | 07:47 | a little bit more logically
where it's supposed to be.
| | 07:50 | So let's go back to the Tower Level. And at
this point, it's one large piece of glass.
| | 07:56 | It's very much like the curtain wall
that we built in the previous movie.
| | 08:01 | But now we can use exactly
the same techniques and tools.
| | 08:04 | On the Home tab, we can click Curtain Grid.
| | 08:07 | Let me go ahead and do that.
| | 08:08 | I am going to place several grid lines
along the entire length at 5 foot intervals.
| | 08:13 | So now I've placed all the grid lines.
| | 08:15 | Now let me select them.
| | 08:17 | You can use any selection technique,
but I think in this case I am just
| | 08:20 | going to pick them one at a time with
the Ctrl key. And then I am going to
| | 08:26 | use my Mirror - Draw Axis.
| | 08:30 | Use the midpoint of this line right here, and
make sure that I'm drawing at the same angle.
| | 08:36 | It'll show you that it's parallel, and
that will allow me to mirror all those
| | 08:40 | over to the other side.
| | 08:42 | Let's switch to our 3D view because I
think the rest of this will be a little
| | 08:45 | easier to see in the 3D, select
something over here so I can spin around, zoom
| | 08:53 | in on that, and we can add some mullions.
| | 08:57 | Now I am going to add these mullions
a little more quickly than we did in
| | 09:00 | previous movies, because I am going to
use this button right here, All Grid Lines.
| | 09:04 | I am going to choose the 1.5 x 2.5
rectangular, click on there, and it adds it
| | 09:11 | to the entire grid.
| | 09:12 | And I do have to click on each of the
four sides, but that completes my skylight.
| | 09:21 | So Sloped Glazing is basically a curtain
wall that follows the shape of the roof,
| | 09:24 | and anything you can do a curtain wall,
like I adding grid lines or mullions or
| | 09:28 | swapping out the panels, you can do
equally well to the sloped glazing.
| | Collapse this transcript |
|
|
8. Applying Finishing TouchesSetting up a stair type| 00:01 | Throughout this course we've
considered many ways to explore a building
| | 00:03 | design using both massing forms and basic
model components like walls, floors, and roofs.
| | 00:09 | Our museum building has certainly come a
long way from the beginning of the course.
| | 00:12 | In this chapter, we'll look at a few
miscellaneous items to round out the design.
| | 00:16 | In this movie, we're going to start a three-
part series on the grand stair in the main lobby.
| | 00:21 | There are no stair-modeling tools
in the conceptual massing environment,
| | 00:25 | so we're going to take a look
at what our end goal is here.
| | 00:29 | And this is what we will have at the
completion of the three movies. And it is
| | 00:36 | one large grand stair here with a
triangular taper on both ends that goes up to
| | 00:40 | the second floor, and then at the
landing, it tapers off into this second flight
| | 00:45 | of stairs running off in this direction here.
| | 00:47 | In the first movie here, we're going
to actually just build the stair type.
| | 00:51 | If you look at this stair, it's got
open risers, it's got stringers that are
| | 00:56 | inset from the edges, a stringer
down the middle. The risers are actually
| | 01:00 | semitransparent, frosty glass material.
| | 01:04 | So we're going to set up
all those settings first.
| | 01:06 | To do this, let me switch over to
SAMOCA_V6, and I'm just looking at the overall
| | 01:12 | building here. And I am going to scroll
down on the Project Browser, underneath
| | 01:18 | the Families branch, and
locate the Stairs category.
| | 01:22 | I am going to expand that, expand
Stair, and I'm just simply going to
| | 01:27 | right-click the 7 inch maximum riser,
11 inch tread type that's already here,
| | 01:33 | that default type, and choose Duplicate.
| | 01:38 | That will create 7 inch max riser,
11 inch tread 2, so I am going to
| | 01:43 | right-click that and choose Type Properties,
rename it. And I'll call this Grand Lobby Stair.
| | 01:53 | Let's click OK.
| | 01:55 | We don't have to look at every
single setting in this dialog. For this
| | 01:58 | particular stair, I am more concerned with the
overall geometric settings and the materials,
| | 02:03 | so I am going to skip over the
Construction and the Graphics for now, and I am
| | 02:07 | going to scroll down here
to these areas of concern.
| | 02:11 | So the Tread Material, for example.
| | 02:13 | We have that semi-transparent glass
material. I've provided that here in the
| | 02:17 | file, and it is called Glass Treads.
| | 02:21 | You can see it's got a grayish color
and a little bit of transparency to it.
| | 02:26 | I'm not going to concern myself with
the Riser material because as you recall
| | 02:29 | from the other illustration, there is no risers.
| | 02:31 | So we have those turned off.
| | 02:33 | So I just skip over that, and I'll set
the Stringer material to some sort of a
| | 02:37 | metal, and I'll just use one
of the default metals here.
| | 02:40 | I am going to use the Aluminum, but
feel free to choose Bronze or Chrome or
| | 02:44 | something else if you prefer.
| | 02:45 | Now, I am going to skip past the Treads
for a moment, jump down here to the Risers.
| | 02:49 | Our stair doesn't have any risers, so
the Riser type can either be Straight or
| | 02:54 | Slanted, or you can set it to None.
| | 02:56 | When you set it to None, that grays out
these settings that are no longer pertinent.
| | 03:00 | But of course the Riser Height is still
pertinent because even though we're not
| | 03:05 | expressing the risers with a piece of
geometry, we still have to determine what
| | 03:09 | height separates each of our treads.
| | 03:11 | So that's what this 7 inch Maximum is doing.
| | 03:15 | Over here, I want to increase the
Minimum Tread Depth from 11 inches to
| | 03:20 | something a little bit larger for
my grand stair, and I am going to use
| | 03:24 | maybe one foot eight.
| | 03:26 | I also want to thicken my tread,
| | 03:28 | so I am going to go to 3 inches for that.
| | 03:30 | And because I have the open risers,
I don't really need any kind of a
| | 03:34 | special nosing condition,
| | 03:36 | so I am just going to set that to
default, which removes any profile around the
| | 03:40 | edge of the nosing and just
cuts it off at a straight line.
| | 03:44 | So we'll set that that way and then
come down here and consider our stringers.
| | 03:50 | The stringers are underneath the
stairs, supporting them from below.
| | 03:54 | Instead of a closed stringer, we're going
to use an open stringer, which will give
| | 03:58 | them that sort of sawtooth-cut
look, more of a carriage look.
| | 04:02 | I am going to do that on both
the left and the right stringer.
| | 04:05 | For the middle stringers, because my
stair is so wide, I'm going to actually
| | 04:09 | add a middle stringer.
| | 04:11 | You could add as many middle
stringers as you want, but one should be
| | 04:14 | sufficient in this case.
| | 04:15 | I am going to leave the Thickness at 2 inches.
| | 04:17 | I am not going to change the
Stringer Height or the Carriage,
| | 04:20 | but I do want to do the Open Stringer Offset.
| | 04:25 | This number will move the
stringers on the two outside edges into the
| | 04:30 | thickness of the stairs some.
| | 04:32 | I'm going to set that at 2 feet, and then let's
click OK here. And that gives us our stair type.
| | 04:40 | Our next step is we could go
ahead and start building our stair.
| | 04:43 | But now that we have the stair type
and we've established those settings, that
| | 04:47 | will get us set up nicely to build the
stair, which we'll do in the course of
| | 04:50 | the next movie.
| | Collapse this transcript |
| Building a custom stair| 00:00 | In this movie, we'll continue building
the grand stair for our museum project.
| | 00:05 | In the last movie, we set up a custom
stair type which has all the settings we
| | 00:08 | need to create this stair.
| | 00:12 | Let me just show you the
final product once again.
| | 00:14 | We've got our open risers and our inset stringers.
| | 00:16 | So we've got all that set up and ready
to go here in our SAMOCA_V6 project.
| | 00:24 | And to do the actual stair sketch, I'm
going to go to the Second Level floor plan.
| | 00:29 | Zoom in on the middle of the plan here
and you can see that in the double-
| | 00:34 | volume space here, I've got some
drafting lines, some detail lines here, that
| | 00:38 | map out the rough shape of that wedge-
shaped stair, those sort of triangular
| | 00:44 | runs that we're going to have there.
| | 00:46 | We're going to start down here and go
up to a landing here and then continue up
| | 00:50 | to there with our first stair.
| | 00:52 | Let's get started here.
| | 00:53 | On the Home tab, Circulation panel,
we're going to click on the Stairs button.
| | 00:58 | And from the Properties palette here,
I can choose the Stair type that I
| | 01:04 | created in last movie.
| | 01:05 | If you didn't watch the last movie,
there's already one here in the file
| | 01:09 | called Grand Stair Complete. And you
can use that type, and either one should
| | 01:14 | have the same settings,
| | 01:15 | so feel free to use whichever one you like.
| | 01:18 | But before I start sketching, I
want to make a couple other quick
| | 01:21 | modifications here.
| | 01:23 | The Stair type settings are very
important, and that's the overall stair itself,
| | 01:26 | but we also need to tell Revit the
basic constraints of this particular stair
| | 01:31 | that we're sketching.
| | 01:32 | So because I'm in the second floor,
it's assuming that I want to draw the stair
| | 01:36 | starting at the second floor and going
up to the Admin Level, and I actually
| | 01:40 | want to change that.
| | 01:41 | I want to make my base level the main
level and my top level the second level.
| | 01:48 | So even though I'm drawing from the second
floor, I want to draw it on the level below.
| | 01:52 | So Main to Second.
| | 01:54 | And when you scroll down a little bit,
what you'll see is Revit does the
| | 01:59 | calculation, and based on that maximum
riser height that's built into the stair
| | 02:02 | type, it does the math and it
figures out that I need 35 risers.
| | 02:07 | And here's the actual size of those risers.
| | 02:09 | Now there's the actual tread size that
we indicated in the last movie. And the
| | 02:13 | Width is just the width of the stair run.
| | 02:16 | Our stairs are going to taper.
| | 02:18 | So you can really put any width you
want in here, but I'm going to start with
| | 02:21 | a number like 8 feet, just to give
me something a little bit larger to work
| | 02:25 | with, and then when we taper, you'll see
that it will change a little bit later.
| | 02:29 | For the first run of the stair, make
sure that up here on your Modify tab
| | 02:34 | you've got the Run button selected, and
for the first run of the stair, I just
| | 02:39 | want to start somewhere on this line right here.
| | 02:42 | Click and start to move my mouse in
this general direction, making sure that
| | 02:47 | it's perpendicular to that edge I started at.
| | 02:50 | Look down at the bottom of the stair
where you clicked, and there's a very
| | 02:54 | light-gray message there.
| | 02:56 | And I want to make sure that it says "17
Risers are Created and 18 Remaining" and
| | 03:01 | that's when I'm going to click.
| | 03:02 | So I'm going to click to set
the first run of the stair.
| | 03:07 | Now I had the sketch line there, which
made it easy to place that one, but over
| | 03:11 | here, I don't have any kind
of a sketch line to start from.
| | 03:15 | So what I'm going to do is come over
here to the Modify tab and choose the
| | 03:20 | Reference Plane button, and start
drawing right at this end point and draw it out
| | 03:26 | perpendicular to this edge here.
| | 03:28 | There it is, right there. You'll see
it highlight when it's perpendicular. And
| | 03:31 | let me click, and that just basically
gives me a guideline to work from for the
| | 03:36 | second run of the stairs.
| | 03:38 | So I'll choose Run again, pick
somewhere on this reference line, on this
| | 03:44 | reference plane, and I'll draw out again
perpendicular to draw the second run of the stair.
| | 03:52 | At this point, if I were to click Finish,
it's not exactly the stair I had in mind.
| | 03:56 | All Revit does is it tries to connect
to two runs in the most logical way that
| | 04:00 | it can think of to give me a landing.
| | 04:02 | So I've got all these extra
lines here that I don't need.
| | 04:05 | What I'm going to do is delete some of these.
| | 04:07 | So I'm going to delete this green line,
this blue line, and this green line.
| | 04:13 | Next, I'm going to take these three--
and let me zoom in just a little--and use
| | 04:17 | the grips at the end to disconnect
them from the other run of the stair.
| | 04:23 | So in other words, I want to be able to
first consider my two runs, and then I'll
| | 04:29 | come back and deal with the landing.
| | 04:32 | So I'll use these lines to help me
draw the landing later, but for now, I just
| | 04:36 | kind of want to get them out of the way.
| | 04:38 | The next step is, I'm going to take
this whole run right here and I'm going to
| | 04:42 | do a box selection to surround the
whole thing, and use my Move command and
| | 04:47 | zoom in, and move it from this
end point at the top of the run and snap that
| | 04:53 | right to this end point here on the
underlying sketch. And I'm going to do the
| | 04:58 | same thing with this run,
| | 05:03 | Move command, that end point,
right to that endpoint there.
| | 05:07 | If it's not giving you the end point,
type S E to get it to snap to the end point.
| | 05:14 | We're starting from those
two respective sides there.
| | 05:18 | The next thing I'm going to do is use
my Align tool, and I'm going to pick the
| | 05:22 | face of the wall here--and then let's zoom
in just a touch--and pick this green line.
| | 05:29 | That does a really nice job--until you
come over here and do it again on this
| | 05:35 | side, and then the whole thing goes crazy.
| | 05:40 | So let me undo that last and show you the
way that we can prevent that from happening.
| | 05:44 | When I align this side to the green
line, I want to make sure I lock that.
| | 05:50 | I am going to zoom back out, come
over here, pick on this one, pick on this
| | 05:56 | green line, and lock that.
| | 05:59 | Now if you really want to be sure, you
can lock these sides as well, but it looks
| | 06:03 | like I'm in pretty good shape.
| | 06:05 | We might have one more occurrence where
Revit tries to get clever on us and it
| | 06:09 | kind of throws things a little haywire.
| | 06:11 | I should be okay editing this boundary line.
| | 06:15 | I'm going to just do that with
the grips, end point to end point.
| | 06:19 | So I'm going to edit the blue line next,
which is the path line. And sometimes
| | 06:23 | when you do this, it will work just
fine, and other times Revit might complain
| | 06:28 | and generate error messages.
| | 06:30 | Now in this case, it looks like I didn't
get any errors, but if you get a dialog
| | 06:34 | that comes up, just read
it carefully and respond.
| | 06:37 | Sometimes it might attach itself to
some other object and it'll force you to
| | 06:41 | remove a constraint.
| | 06:42 | If that happens, you can just remove
the constraint and then realign the object
| | 06:46 | back again; it shouldn't be a problem.
| | 06:48 | Let's do the last line here.
| | 06:50 | Snap to there and then to here. And let's
zoom out. And there's our completed sketch.
| | 06:58 | Let's go ahead and finish it.
And there it is in Plan.
| | 07:04 | Let's scroll down here and find the
camera at our lobby, and there it is, in 3D.
| | 07:12 | Not quite done yet. We still have to
add the other run of the stair, and we have
| | 07:16 | to do something about these railings, which
are not quite the right look for our museum here.
| | 07:21 | But it's a good starting point, and that's
what we'll leave it here for this movie.
| | 07:24 | In the next movie, we'll look
at the next run of the stair.
| | Collapse this transcript |
| Finishing a custom stair| 00:00 | In this movie, we will complete the
grand stair in the lobby of our museum.
| | 00:04 | In order to do that, we need to build
the new run of the stair, starting at the
| | 00:07 | landing of the existing one.
| | 00:09 | So I am going to file here called Stair
Landing, and it's already got the first
| | 00:13 | portion of the stair in it. And what I
will do is go to our Second Level, zoom
| | 00:21 | in a little bit, and we want to
start building right on that landing.
| | 00:26 | Now I have a section cutting through
there. And the easiest way to do that is
| | 00:30 | going to be to open up this section,
zoom in over here where the stair landing
| | 00:34 | is, and I am going to put a level
right there at the top of that landing.
| | 00:40 | Because you may recall that when you
build your stairs, it starts from a level
| | 00:43 | and ends at a level much
the same way that walls do.
| | 00:46 | So the easiest way to control where
the stair begins is to add a level.
| | 00:50 | So on the Home tab, I click the Level
button. And unless you want extra floor
| | 00:55 | plans in new Project Browser, its a pretty
good idea to uncheck this box right here, and
| | 01:00 | then I want to create that level using
the Pick Lines option. And I will pick
| | 01:05 | right on the top surface of the landing,
and it will create a new level called
| | 01:10 | Level 17 in this case.
| | 01:12 | I'll just click right on that Level 17
and rename that to Grand Stair Landing.
| | 01:23 | So that gives me the reference
point to start the stairs from.
| | 01:27 | Let me go back to the Second Level,
zoom in, and if I use my Tab key right here,
| | 01:34 | you'll see we've got our detail lines
and we've got our railing right here.
| | 01:40 | The railing is going to kind of
be in the way for the moment,
| | 01:42 | so what I am going to do is to choose my
Temporary Hide/Isolate and hide that element.
| | 01:47 | That's going to give me a clearer
view of just that line right there.
| | 01:51 | And actually, let's hide that line as well,
because what I really want to see is the
| | 01:55 | edge of the stair. There it is, right there.
| | 01:58 | And that way I can be sure that I'm
building my new stair based on the existing stair.
| | 02:03 | So let's to the Stair command. I want to
use my Grand Stair Complete stair type.
| | 02:09 | It's got all the settings I need.
| | 02:11 | The Base Level, I want to set to that
New Level that we just drew, Grand Stair
| | 02:16 | Landing. And I want to go up to the
Second Level. It'll do the math and figure
| | 02:23 | out that I need 18 risers. And I am
going to increase the width of this run of
| | 02:28 | stairs to 10 feet, because that's
actually how wide these two lines are right here,
| | 02:32 | which means that if I can find the
midpoint right there, it should fall nicely
| | 02:37 | right between those lines.
| | 02:39 | Let's pull that run out straight over
to here and click. And that gives me
| | 02:46 | almost exactly what I need.
| | 02:48 | Right here, at the end, this line is
the edge of the floor slab up above, and
| | 02:54 | here is where my stair is ending.
| | 02:55 | So I am going to go to my Align tool,
click on this line right here, and
| | 03:01 | then click this, and it will take that last
tread line and angle it to match that direction.
| | 03:07 | When I finish the stair, it's
going to complain a little bit.
| | 03:11 | It's saying the slope of the railing may not
be parallel, et cetera, et cetera.
| | 03:13 | I think it's easy for me to show you
what the problem is, by cutting a section
| | 03:20 | through this stair. Let me deselect
it and double-click it to open it up.
| | 03:25 | And let's zoom in here. You see what's
happening to the railing here, how it's
| | 03:29 | kind of shooting off and
continuing that same angle there?
| | 03:33 | What I've actually done by angling
that tread is made a really long tread.
| | 03:38 | But Revit didn't have any way to
calculate that, so it kind of just kept going
| | 03:43 | with the same slope of the existing stair.
| | 03:46 | What I need to do is go back to the
stair, click on it, edit the sketch.
| | 03:52 | If you highlight this boundary line,
it's one continuous line. And so the trick
| | 03:57 | here is that I want most of that line
to follow the slope of the stair, but
| | 04:03 | then I want just the little part at the end
from my mouse pointer to the right to stay flat.
| | 04:08 | To do that, I am going to take my Split
tool and get it right about here, and
| | 04:16 | click, and that will split this into two lines.
| | 04:22 | Now I can click this portion, and over
here, instead of the Slope staying Auto
| | 04:27 | detect, I can make it Flat. And now
when I finish that will take care of the
| | 04:34 | stair portion, but now I need to
do the same thing on the railing.
| | 04:38 | So I'll select it, edit the path. It's
already split, but I just need to take
| | 04:43 | this line and make it flat.
| | 04:47 | When I finish and open up the section,
now the railing follows the slope a
| | 04:53 | little bit more correctly.
| | 04:54 | We've got some strange stuff going on here,
but we're not going to keep this railing.
| | 04:58 | Anyway, in the next movie we're going
to do a railing that's a little bit more
| | 05:02 | conducive to the design that we have here,
| | 05:05 | so we're not going to worry so much
about those balusters for right now.
| | 05:08 | So why don't we go back to our 3D view,
camera at the lobby, and see how our
| | 05:13 | stair has shaped up?
| | 05:14 | So our stair is looking really good.
We've got it configured the way we want,
| | 05:18 | and so our next task is to address the railings.
| | Collapse this transcript |
| Editing railings| 00:00 | When you create stairs in Revit,
they automatically create railings.
| | 00:04 | In the case of our grand stair here in
our museum, we got the default railing
| | 00:09 | with the regular-space balusters.
| | 00:12 | I would like to use something here
that's a little bit more conducive to the
| | 00:15 | design that we have,
| | 00:16 | so in this movie we are going to
look at how we can not only swap out the
| | 00:20 | types of railings that we are using, but also
how we can change the path that they follow.
| | 00:25 | Let's take care of the railing that
goes along the edge of the wall first.
| | 00:29 | That's definitely our easier one.
| | 00:31 | Let's select that railing.
| | 00:32 | I can do it right here in the
Perspective view. And over here on the Properties
| | 00:36 | palette, I can open up a Type selector.
And I have got some railings already
| | 00:40 | loaded in the project here, and this one
here is called Handrail-Pipe-Wall-Ramp.
| | 00:42 | I am going to choose that, and that
removes all the balusters and just gives us a
| | 00:48 | simple handrail with some wall
supports at regular intervals.
| | 00:53 | That railing type, and, if I zoom in,
this one up here, both came from a file
| | 01:00 | called railingsamples.rvt which
is available on Autodesk Seek.
| | 01:05 | So if you want to see where that
original file is, you can go to your Insert
| | 01:09 | tab, click here in the Seek panel, and
type in Railing Samples, press Enter. It
| | 01:14 | will take you out to your web
browser and it will find that file.
| | 01:17 | You can download it, and there are actually
other railings in there that you can look at.
| | 01:20 | So I do encourage you to do that,
because it's a pretty interesting file.
| | 01:24 | All I've done is copied and pasted
those two railing types into this file so
| | 01:27 | that I could use those railings in our design.
| | 01:30 | To do this side, and all of these
railings over here, we have to do a little bit
| | 01:34 | more than just swapping out the type.
| | 01:36 | We also have to change the path of the railing.
| | 01:39 | So to do that, I am going to go to my
Second Floor plan, I'll zoom in, and
| | 01:44 | because we built this stair in two
pieces, here and here, notice that the
| | 01:49 | railing goes right past the second stair run
and doesn't allow us any way to enter that stair.
| | 01:56 | A railing can't break in the middle,
| | 01:59 | so we couldn't just use our Split
tool and split it here and here.
| | 02:03 | It won't allow that.
| | 02:04 | It's going to have to be two separate railings.
| | 02:06 | So what I'm actually going to do is
select this existing railing and I am going
| | 02:12 | to copy it on my clipboard, and then I'm
going to edit the path of that railing.
| | 02:20 | I copied it first for safekeeping.
| | 02:22 | I am going to trim it right here.
| | 02:24 | So I'm going to go to my Split tool
and I am going to split it right at that
| | 02:29 | point. And I am going to delete this
and this. And when I finish that, I'm only
| | 02:37 | going to have the railing
in this portion over here.
| | 02:41 | Let me go back to my Camera view to see that.
| | 02:46 | It wasn't showing up in the Plan
view, but we can still see it here.
| | 02:49 | Let's select it, and let's make
it the Glass Panels with Brackets.
| | 02:54 | So we'll see it right there.
| | 02:56 | Let me do a window tile.
| | 02:58 | I can get that either from the View tab,
with the Tile button, or I can type WT.
| | 03:03 | I am going to type WT, and that's going
to put my camera on one side and my Plan
| | 03:08 | view on the other side, and that will
make it a little easier for me to make my
| | 03:10 | selections going forward.
| | 03:11 | So let me switch back over here the
Plan view, and now what I want to do is
| | 03:17 | remember that we copied
our railing to the clipboard,
| | 03:21 | so now I am going to choose
Paste > Aligned to Same Place.
| | 03:27 | When I choose that, you are going to get
a new railing that goes directly on top
| | 03:31 | of where the old one was, and still is.
And notice in the 3D view we've got two
| | 03:36 | railings on top of each other.
| | 03:38 | Back up in this portion, we deleted that part
of the sketch so we only have the one railing.
| | 03:43 | I am going to keep it selected and edit
its path, and I'll just do the same step
| | 03:48 | I did a moment ago, except this time
I'll split it here, click my Modify tool,
| | 03:54 | and this time I will delete the
lower portions, and finish that.
| | 03:59 | The railing is still selected in the
background, and I will change it to the Glass panels.
| | 04:07 | These two on this run are a little
bit easier, because they don't need any
| | 04:12 | modification, but I am going to have to
use my Tab key to help me select them.
| | 04:18 | I have got both of those railings
selected. Verify that it's says railings here
| | 04:25 | and 2, and that's how I know that I got
two railings and not something else, and
| | 04:29 | then I will do Glass panels with
Bracket, and it looks like that.
| | 04:34 | One last thing that I will show you
here is this one comes up and just sort
| | 04:39 | of stops right there.
| | 04:41 | There is no guardrail around
this part of the floor slab here.
| | 04:46 | You probably would want a guardrail there.
| | 04:48 | There are two ways you can approach that.
| | 04:50 | You can draw a whole new railing in
that location or you could actually edit
| | 04:56 | this railing, edit its path,
and add onto it up along here.
| | 05:03 | The choice is really up to you.
| | 05:04 | But let me go in here and start adding a
little segment, pull it along this way.
| | 05:14 | I don't have Chain turned on.
| | 05:15 | Let me turn Chain on.
| | 05:18 | Start at that end point.
| | 05:19 | With Chain turned on, I will now be able
to keep going instead of having to start
| | 05:23 | over again each time.
| | 05:26 | Let's do that, and let's take this
one and push it back just a touch.
| | 05:30 | I am using the arrow key to do that.
And this one here, same thing, just a
| | 05:35 | touch, use the arrow key to do
that, and let's click Finish.
| | 05:41 | So I don't know if you could see it
there beyond in the 3D view, now I've got
| | 05:45 | that guardrail up as part of that.
| | 05:48 | Even though the stair gives you a
railing to start off with, it may not be the
| | 05:52 | railing you had in mind, but it turns
out it's pretty easy to just select it
| | 05:56 | and either change its type and/or edit the sketch
and actually change its shape and configuration.
| | 06:02 | Sometimes you need to do one of those
things, sometimes both, but that's really
| | 06:06 | your finishing touch to
setting up your stairs and railings.
| | Collapse this transcript |
| Importing a CAD file| 00:00 | Often when you work on a project you
will get resources from outside firms or
| | 00:05 | outside designers and they may
be working in other file formats.
| | 00:09 | The most common file format of
course is a DWG file from AutoCAD.
| | 00:13 | The designer that created the sculpture
garden for our museum project worked in
| | 00:18 | AutoCAD and created a 3D file.
| | 00:20 | We have two options in how we
could deal with that 3D file.
| | 00:24 | We could open it up and actually
re-create the geometry using Revit families,
| | 00:29 | and you're welcome to try that on
your own if that's something that you're
| | 00:33 | interested in doing.
| | 00:34 | But the simplest way to incorporate
the design is to simply link in the DWG
| | 00:38 | file directly, and of course Revit does a really
nice job of bringing in file formats like DWG.
| | 00:45 | You can also bring in SketchUp
files and some other 3D formats as well.
| | 00:49 | So in this movie we'll just take a quick
look at bringing in our 3D file. And the
| | 00:54 | sculpture garden is right in this
general area here, and I'm in SAMOCA_V6.
| | 00:58 | So let me just spin around here, and
I'm going to work right in this 3D view.
| | 01:02 | I will orbit down slightly
and zoom in just a touch.
| | 01:07 | All we I really need to do is go browse
out to that file, locate it, and bring it in.
| | 01:11 | So I'm going to go to the Insert tab,
and I'm going to click on the Link CAD
| | 01:15 | button, and then you want to browse to
wherever your exercise files are for this
| | 01:19 | course. And in that folder I have a
Links folder, and I can double-click in
| | 01:23 | there, and there's a single DWG
file right here, Sculpture Garden.
| | 01:27 | I would like to point out that you
can also bring in DXFs, DGNs from
| | 01:32 | MicroStation, SAT files, which are
generic 3D files, and SketchUp files.
| | 01:36 | So if you get files in any of those
other sources, you can use those as well.
| | 01:39 | Then down here you have several options.
| | 01:42 | Depending on whether you want to
preserve the colors that are in the original
| | 01:46 | file or not, you can
either invert or preserve them.
| | 01:49 | You can even bring in the file
completely in black and white.
| | 01:52 | In this case, I'm going to leave the color,
| | 01:53 | so I'm going to choose Preserve.
| | 01:55 | Later if we change our mind, we
can always modify those colors.
| | 01:58 | CAD files are organized in layers.
| | 02:00 | So you can either bring in all the
layers in the file, or if you're familiar
| | 02:04 | with the file, you can actually choose
from other options here, like Specify or
| | 02:08 | just the Visible layers.
| | 02:09 | In this case, I'll bring them all in.
| | 02:12 | Revit does a pretty good job
interpreting the units in most cases,
| | 02:15 | so usually you won't have to choose
anything here, but you'll notice that all of
| | 02:18 | the standard measuring systems are
available if for some reason it doesn't come
| | 02:22 | in at the correct size.
| | 02:23 | Then the main two settings that we're
concerned with is where we want to place it.
| | 02:28 | We're going to bring it in at the main
level, but you can see that in some cases
| | 02:32 | you might have other levels here.
| | 02:34 | In this case, it's defaulting to the
main level because I'm in the 3D view,
| | 02:38 | so it's not giving me any other options.
| | 02:40 | Then here, under Positioning, we can
either bring it in automatically in a few
| | 02:45 | different ways, or manually.
| | 02:47 | This file I've simplified for us, and
I've placed the origin at the same point as
| | 02:52 | our building, so we can use the
Auto - Origin to Origin. You're not going to
| | 02:56 | always be that lucky.
| | 02:57 | So sometimes you're going to have to
bring it in one of the other choices and
| | 03:00 | then just simply move it into place, but in
this case Origin to Origin ought to do the trick.
| | 03:05 | Let me go ahead and click Open, and you
can see our Sculpture Garden comes in, in
| | 03:10 | exactly the right place.
| | 03:12 | At this point, if we wanted to fiddle
with any of those colors, if we were
| | 03:15 | unhappy with that, we could
go to VG, Visibility/Graphics.
| | 03:19 | In the Visibility Graphics Override
dialog, we could go to the Import Categories
| | 03:24 | tab and you would see the Sculpture
Garden file listed here, and each of the
| | 03:29 | layers in that file would be listed.
| | 03:32 | For example, if you didn't like that
orange color for the sculpture, I could
| | 03:36 | select the sculpture, apply an
override, and change it to some other color.
| | 03:40 | Let me try a nice blue color here.
| | 03:42 | Click OK, apply that, you'll
see the outlines turn blue.
| | 03:47 | Notice that the surfaces,
you're kind of stuck with.
| | 03:50 | There's no way to change the surfaces.
| | 03:52 | So if you wanted to change the
surfaces from that orange color, you'd actually
| | 03:57 | have to go into that CAD file using
AutoCAD or some other program that reads DWG
| | 04:01 | and make the change directly in the file.
| | 04:04 | That's the simple process to bring in
an outside file, such as an AutoCAD file.
| | 04:08 | This is probably the most common format.
| | 04:10 | You link it in and if the sculpture
garden actually changes in its host
| | 04:14 | application in AutoCAD, by doing it as a
link, all we have to do is update it and
| | 04:19 | we'll get the latest change
directly here in our project.
| | Collapse this transcript |
| Applying decals| 00:00 | So the preliminary design of our museum
is coming along really nicely, and we're
| | 00:04 | on our way to a client meeting.
| | 00:05 | But since we are working on a museum
here, it probably would be a good idea to
| | 00:08 | have it at least some views
that showed some artwork.
| | 00:11 | So in the next couple of movies we are
going to have a little bit of fun and we
| | 00:14 | are going to add some artwork to the
gallery walls and to our Graffiti gallery.
| | 00:18 | So in this movie we're going to look at
the Decal feature and using this feature,
| | 00:22 | we can take a bitmap and apply
it to the surface of our geometry.
| | 00:26 | I am in SOMACO_V6, and I'm going to
scroll down here on the Project Browser to
| | 00:32 | 3D Views. And I've got a view called
Artwork and another one called Camera at Gallery.
| | 00:38 | This is the axonometric artwork
and this one is a perspective view.
| | 00:42 | So let's start with the axonometric
artwork, and that will take me to this
| | 00:47 | gallery space. And you can see that I
just have a few families here called
| | 00:52 | picture frame, and they're just
attached to the wall. And were going to create
| | 00:56 | some Decal Types and assign
them to these picture frames.
| | 01:00 | So to do that, we go to the Insert tab.
The Decal button is right here, and if
| | 01:04 | you click the dropdown, there are two things
you can do: you can place decals and create types.
| | 01:08 | So let's go to the Decal Types.
| | 01:11 | Down here at the bottom I can create a new
decal, and I'm going to call this Artwork1.
| | 01:20 | I am going to click on the Browse
button over here on the right-hand side to
| | 01:24 | choose the source, and I've got the three
image files in my Exercise Files folder
| | 01:29 | here called brush1, brush2, and brush3.
| | 01:31 | So I am going to choose brush1.
And there's my artwork right there.
| | 01:36 | There is a variety of other
settings we could configure.
| | 01:39 | You can actually use this Decal feature
for static artwork like we're doing, or
| | 01:43 | you can use it for television screens,
or illuminated signs, or neon signs.
| | 01:48 | So that's what a lot of these other
settings have to do with, the transparency
| | 01:51 | and the reflectivity and so on.
| | 01:53 | I think for an artwork all we
really need to do is consider the finish,
| | 01:56 | so let's open up this list here and
instead of High Gloss Finish, why don't
| | 02:00 | we set that to Matte.
| | 02:01 | We are going to come over here and
repeat the process, creating another new
| | 02:05 | decal. Call this Artwork2.
| | 02:10 | Go to my Source, brush2, make that Matte
and finally Artwork3, and make it Matte.
| | 02:26 | I will click OK here, and now when I
choose my Place Decal command, over here on
| | 02:34 | the Type Selector I'll see
Artwork1, Artwork2, and Artwork3.
| | 02:36 | So I am going to choose Artwork1, and you
can set the size of your decal ahead of
| | 02:42 | time, Width and Height, or
you can change it later.
| | 02:46 | So this is kind of small right now.
You can see that it looks little bit small,
| | 02:49 | but it will actually find
the surfaces of the geometry.
| | 02:53 | So why don't I increase the width of
this a little bit. I am going to make this
| | 02:56 | piece of artwork about 6 feet wide.
| | 02:59 | And over here, the Lock
Proportions checkbox was already ticked on,
| | 03:04 | so when I went to 6 feet wide,
it changed the Height to 4 foot 6.
| | 03:08 | And I am going to place this
one somewhere in this picture frame.
| | 03:13 | I just want to do a rough
placement for right now.
| | 03:15 | I'll go to Artwork2, maybe set that one
to, let's do 5 feet for that one, tab
| | 03:23 | over. That will automatically set the
height of this, and that one is a little
| | 03:30 | more vertical, so I'll place it
over here in this picture frame.
| | 03:34 | And finally, Artwork3, I am going to
make that one also about 5 feet, see what
| | 03:42 | that gives me. And let's place that
one in this picture frame right here.
| | 03:47 | I am going to select the picture
frame, and I've made these parametric.
| | 03:51 | So this guy was 6 feet wide by 4 foot 6 tall,
| | 03:56 | so I can take the picture frame and
make it match exactly the same sizes.
| | 04:00 | 6 feet by 4 foot 6, and apply that.
| | 04:05 | And now all I have to do is let's zoom
in just a touch here, take that decal and
| | 04:11 | position it a little more carefully.
| | 04:14 | At the moment, we are just seeing this
big old X. So what you do next is you
| | 04:17 | come down here to the Visual Style on the
View Control bar and if you choose Realistic,
| | 04:23 | it will actually show you the
materials that are applied to the surfaces of
| | 04:28 | objects, including the decals.
| | 04:30 | So now the artwork will actually show up
within the picture frame, and it looks a lot nicer.
| | 04:36 | Now of course you can see here when
I'm trying to pan that it takes a little
| | 04:39 | bit longer to regen.
| | 04:41 | That's the price you pay for
the Realistic Visual style.
| | 04:44 | So, it's one of those settings you
probably want to toggle on and off when
| | 04:47 | you're done with it, so that you don't
spend a lot of time waiting for a regen.
| | 04:51 | Well let's go ahead and
configure the last of these.
| | 04:55 | This one here is a little small, so let
me rotate it to 90 degrees here because it's
| | 05:00 | giving me the width on the other side.
| | 05:01 | So let me do a rotation on this, like
that. And let's make it a little wider.
| | 05:10 | Let's go with 6 feet, tab over, and then
take this guy, make it 6 feet wide, and
| | 05:20 | the Height was 4 foot 1 approximately.
| | 05:30 | That's apparently rotated.
Let me tap my spacebar.
| | 05:35 | This warning is not going to affect
anything we're doing here, so I'm just
| | 05:38 | going to dismiss it by saying Remove
Reference and then I am going to drag the
| | 05:41 | artwork over to picture frame.
| | 05:43 | You could repeat the process on the last
one. I'll let you do that for practice.
| | 05:48 | But as you can see here if I back out,
the decal is a pretty effective way for
| | 05:54 | us to add, in this case, artwork to our
picture frames or to put an image on a
| | 06:00 | projector or a television
screen or anything along those lines,
| | 06:04 | so that when you do your presentation,
the illustrations have a little bit
| | 06:08 | more interest to them.
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| Creating a custom material| 00:00 | In this movie, we're going to look at
another approach that we can take to
| | 00:03 | adding custom artwork to
the surfaces of our model.
| | 00:08 | In our Graffiti Gallery, we have
that large, massive wall that we created
| | 00:12 | that was created from some freeform
massing components, and it curves in
| | 00:17 | multiple directions.
| | 00:18 | You can't use the Decal feature
on something that's double-curving.
| | 00:22 | If we wanted to add a decal to the turret
here on the townhouse, that would work
| | 00:26 | just fine, but if it's curving in two
directions at the same time, then the
| | 00:30 | Decal feature doesn't work.
| | 00:32 | But it turns out that we can create
a custom material instead and achieve
| | 00:38 | basically the same result.
| | 00:39 | It just takes a little bit
more effort to set it up.
| | 00:42 | So let me show you the process here.
And I'm going to go down to my 3D Views.
| | 00:47 | I'm in the file called SAMOCA_V6. And I
have a couple 3D Views of the Graffiti
| | 00:53 | Gallery. And I'm going to open up
this one right here, which is a nice
| | 00:57 | axonometric, double-click that.
| | 01:00 | And what I've done here is I've cropped
everything away using a section box, and
| | 01:04 | if I do reveal hidden
elements, it's this box right here.
| | 01:08 | So that's what's cutting everything
else away, so that I can focus just on the
| | 01:13 | Graffiti wall itself.
| | 01:15 | And what I want to do is put a
nice big mural here of some graffiti.
| | 01:20 | Currently, this wall has got concrete
block material assigned to it, and I'm
| | 01:26 | going to take that material, make a
copy of it, and apply the graffiti bitmap
| | 01:31 | texture to it that we've
provided in the exercise files.
| | 01:34 | So let me go to the Manage tab and
click on Materials. And I'm going to start
| | 01:39 | with that Concrete Masonry Units material.
| | 01:42 | This is just the out-of-the-box
material, and I'm going to duplicate that.
| | 01:47 | And I'll call this Graffiti Wall.
| | 01:51 | Sometimes I put in underscore in
front of the name, just to make it go to
| | 01:55 | the top of the list;
| | 01:56 | it makes it a little easier to find it later.
| | 01:58 | So there's _Graffiti Wall.
| | 02:00 | Now on the Graphics tab, the only thing I
want to do is change the surface pattern.
| | 02:04 | I don't want it to be
the concrete block pattern.
| | 02:07 | Even though I'm envisioning this being
a block wall that's painted, I want to
| | 02:11 | use a pattern that actually matches the
size of the bitmap texture that I have.
| | 02:16 | So I've measured the entire wall, and
the entire wall is about 73 feet wide
| | 02:21 | by about 39 feet tall.
| | 02:23 | So what I'm going to do here is click
this Browse button, make sure that Model
| | 02:28 | pattern is selected, and I want
to create a new Model pattern.
| | 02:33 | Now this new pattern is going to be
called Graffiti Texture, and I want it to
| | 02:42 | be a crosshatch pattern, 0 degrees.
So that one is rotated 45 and I'll change
| | 02:48 | it to 0. And I want that to be my 39
feet in one direction by my 73 feet in
| | 02:56 | the other direction.
How do I know which is which?
| | 02:59 | Frankly, I just did some trial and error.
| | 03:01 | At a 0 degree, I want it 39 x 73.
| | 03:05 | If you put 73 x 39, it just means
you've to come back and Line angle 90.
| | 03:09 | Six of one, half dozen of the other,
I will leave that up to you.
| | 03:14 | There's my graffiti texture.
I'm going to click OK, and that's right there.
| | 03:18 | If I just apply that to the surface,
we would just see maybe one or two lines
| | 03:22 | appear on the surface of that wall.
| | 03:24 | So the next thing we have to do is go
to the Appearance tab, and this loads up
| | 03:29 | the Appearance Properties Set library.
And we can choose either from existing
| | 03:34 | materials that are already in the
Autodesk library or we can create our own.
| | 03:38 | Well, what I'm doing here is I'm fine
with the relief pattern that's already
| | 03:43 | assigned to this. That's why I started
with the brick wall, because I want it to
| | 03:46 | kind of look like it's painted on bricks.
| | 03:48 | So I'm going to anything there.
| | 03:50 | What I am going to do is click right
here. You see how this kind of highlights
| | 03:53 | like a hyperlink when I move over it?
| | 03:55 | If you click on that, it takes you
a Browse window and you can choose
| | 04:00 | a different texture.
| | 04:01 | Now it's taking me to the default
material library that comes with the software.
| | 04:06 | I'm going to go to my Desktop, my
Exercise Files, and Chapter 8, and I'm going to
| | 04:10 | choose this file called
graffiti. And I'll open that up.
| | 04:14 | I want to click right on the little
swatch here and make some modifications,
| | 04:20 | because clearly this is
not quite what I had in mind.
| | 04:23 | First of all, it defaults to a 4 x 4 repeat.
| | 04:27 | Secondly, it defaults to a repeat.
| | 04:29 | Neither of those I want.
| | 04:30 | I want to set it to the sizes that my wall
actually is, and I don't want it to repeat.
| | 04:35 | So I'm going to scroll down over here,
and for the Scale, I want to make sure
| | 04:41 | that I'm not linked.
| | 04:43 | You see this little thing? If
you click that in, it's keeping the
| | 04:46 | proportions locked.
| | 04:47 | I want to make sure that's not checked,
so that I can put in the actual width
| | 04:51 | and the actual height.
| | 04:52 | So it's 73 feet wide and in this
dialog you've got to remember to type feet.
| | 04:57 | I'm not really sure why that is, but if you
just type 73, it actually sees it as inches.
| | 05:02 | I'll do 39 feet. That resizes it.
| | 05:07 | You can see here and here.
| | 05:09 | The next thing is it defaults to
Tile and Tile in the Horizontal,
| | 05:13 | Vertical direction.
| | 05:14 | I'm going to change that to None and None.
| | 05:17 | So we're only going to get it one time.
| | 05:20 | And then one last thing. In order to
help me position this texture on the
| | 05:26 | surface of the wall, I'm going to
check this box right here to link
| | 05:30 | texture transforms.
| | 05:32 | What that does, when I clicked Done and
I go back to Materials and Graphics, is
| | 05:38 | that links it up to the surface
pattern that we set up a moment ago.
| | 05:42 | So the whole reason I did the surface
pattern is just to help me position this
| | 05:46 | texture on the surface of the wall.
| | 05:48 | So let's click OK, and now I need to
apply that new material to this wall.
| | 05:54 | I could select the wall and go to Edit
Type and apply it to the wall, but then
| | 05:58 | it would apply it to every instance of
this wall throughout the project, and that
| | 06:02 | may not be what I had in mind.
| | 06:03 | So instead, I'm going to go to Modify
and I'm going to use the Paint tool.
| | 06:09 | So the Paint tool allows me to
literally use a material, like a bucket of paint,
| | 06:14 | and just paint it on a surface.
| | 06:16 | So there's _Graffiti Wall right at the
top. That's why I used the underscore to
| | 06:20 | make it easier to find.
| | 06:22 | Click on it, and then you see how it
highlights this surface of the wall?
| | 06:26 | I'll paintbrush it right
on there and click Done.
| | 06:30 | If I tab in here, you see this line
right here, and this line right here? That's
| | 06:36 | that texture that we set up.
| | 06:37 | So you can see that it went right to
the middle, and what I want to do is shift
| | 06:43 | it over and shift it down. And I can do
that right here in 3D, but it might be a
| | 06:49 | little easier to use this
section that I have set up right here.
| | 06:53 | So I'm going to Section at Graffiti Wall,
tab in to this line here, and I don't
| | 07:01 | have to do this terribly precisely.
| | 07:03 | I'm just going to drag it to about
there and then do the same thing here,
| | 07:10 | drag it to about there.
| | 07:14 | Now let me toggle on Realistic here.
And we're really close, though we might want
| | 07:20 | to fine-tune the position
of this texture a little bit.
| | 07:23 | If I go back to hidden line, the
trouble is I've lost my line there that I
| | 07:29 | used on my texture.
| | 07:31 | So I just set the texture size initially
to the same size as the overall bitmap,
| | 07:36 | just because that seemed like a logical
thing to do, and it was convenient, but
| | 07:40 | there's nothing saying I can't go to
Manage tab, click on Additional Settings, go
| | 07:45 | to Fill Patterns, and change this to
Model Pattern, because that's the kind of
| | 07:50 | pattern I was doing, and just change
the spacing of my graffiti texture.
| | 07:54 | So let's edit it and I'm just going to
half this size to give myself an extra
| | 07:59 | line to use to move this around.
| | 08:01 | So instead of the 73 feet, I will put in 36 6.
| | 08:07 | So let's click OK, OK again, and that
gives me just an extra line right here
| | 08:13 | that I can now tab into again and
maybe just nudge that just a little
| | 08:18 | further, about there.
| | 08:22 | It's just a little bit of back and
forth between making the adjustment,
| | 08:27 | seeing how you like it, trying again.
It looks like I could even go a little bit
| | 08:31 | further, because the bitmap kind of
ends at an angle here, so it's not a
| | 08:35 | perfect square. Neither is my wall.
| | 08:37 | That's part of the challenge there.
| | 08:38 | Let me go back to hidden line, tab in
one more time, just nudge just a little
| | 08:45 | more, right about there. And I'm
feeling pretty good about that one.
| | 08:52 | Let's go to our Camera view of
this gallery. Graffiti Wall Camera,
| | 08:57 | let's double-click that.
| | 08:59 | That will give me the view with a little
bit of the surrounding context. And I've
| | 09:04 | previously set up the sun position
to match the north direction of the
| | 09:08 | building, and I've also turned on the
shadows here, using this control right
| | 09:14 | here. And on the Sun Settings, I
created setting called Graffiti, which I just
| | 09:21 | figured out what time of day it would
take to get the sun to come streaming in
| | 09:25 | through that window, and it looks pretty good.
| | 09:29 | So we're now ready to go off to our
client meeting and wow them with we've
| | 09:32 | come up with.
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ConclusionWhat's next| 00:00 | I hope you've enjoyed our explanation
of Revit's conceptual modeling and design
| | 00:03 | tools as much as I have.
| | 00:05 | As you might imagine, we've only
scratched the surface of what's possible.
| | 00:08 | Now, a next stop might be to go out
on the web and look at some of the
| | 00:11 | resources that are available.
| | 00:13 | The Autodesk web site is of course a
first logical stop, and they have lots of
| | 00:17 | information about Revit Architecture,
including training tools and resources
| | 00:20 | and plug-ins and so on.
| | 00:21 | And a couple of my favorite blogs
are Zach Kron's Buildz blog, Buildz at
| | 00:26 | blogspot, and David Light's blog on
Revit at autodesk-revit.blogspot.com.
| | 00:32 | There are dozens more sites devoted
to not only Revit in general, but the
| | 00:35 | conceptual modeling environment, so
have fun exploring and take what you've
| | 00:39 | learned and get out there and start designing.
| | 00:41 | Good luck and have fun, and thanks for watching.
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