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- Understanding some different approaches to modeling
- Building an in-place mass
- Creating and manipulating massing forms
- Using X-Ray and Dissolve
- Performing an energy analysis
- Applying geometry to surfaces
- Configuring divided surfaces
- Nesting massing families
- Stitching borders with adaptive components
- Working with lofting techniques
- Adding dormers and soffits
- Choosing a wall modeling strategy
- Working with curtain walls
- Building custom stairs
- Creating a custom material
Skill Level Intermediate
I would like to take a few minutes to give you a tour of the project that we'll be building in this course. The conceptual modeling environment was conceived as an environment where you could explore design ideas in a fluid and unencumbered way. It is intended primarily as a conceptual design platform. As such, we thought it would be appropriate and exciting to create a new building design from scratch and watch it evolve in the conceptual massing environment as we proceed through the course. With this in mind, allow me to introduce you to the San Angelico Museum of Contemporary Art. When preparing this course I found myself wearing two hats, my architectural hat and my educator's hat.
Architecturally, we wanted to make an interesting facility that reflects the many challenges that you typically face in architectural projects. Educationally, we wanted a project that would allow us a fun and interesting way to explore the many features that the Revit Massing Environment has to offer. The most interesting part of the story is how we get started. Early in the process we discussed how it would be nice to follow a project-based approach and there was a photograph. My producer shared with me this image of the SAMOCA Museum. Intrigued, I set off to create the Revit model and see if I could match it, maybe not the way that most projects begin, but certainly it was fun and interesting.
The initial photograph we worked from had a very contemporary feel. I knew it would be a nice fit for Revit's conceptual tools, but even though the tools are often showcased in creating such contemporary forms, I also wanted to show how they can use successfully to create traditional forms as well. This lead me to the idea of marrying the two styles together in the same building. The site I chose for the building has low-density residential on one side and medium density on the other. This made it easy to imagine that our local residents would be concerned with the scale of the proposed facility and it's being overpowering to the feel and fabric of their neighborhood.
So our design combines a striking contemporary main building to the south with the north wing that takes on the vernacular of the neighborhood by incorporating a series of townhouse facades. With the overall form addressing both our architectural and educational goals, we involved the designer who helped us develop the interior program and layout of the facility. The result was a main building that contains a grand stair that takes on a sculptural feel and connects all of the gallery spaces in a hub around the center. A striking light wall cuts through the center of the facility mirroring the angle of the townhouse wing.
The main floor contains gallery spaces, an outdoor sculpture garden and a three-story Graffiti Gallery. The Graffiti Gallery is one of my favorite parts of the design. It features a massive two-story rendered block wall that soars above the space and is bathed in natural light. The wall's mass protects the interior galleries from that same light. To complete the effect, we even commissioned a custom-designed graffiti mural to adorn the wall. We've gone to great lengths to show a diversity of techniques here using the SAMOCA Museum Project. We'll look at many tools and techniques throughout the course with SAMOCA providing an architecturally interesting backdrop.
I hope you've enjoyed this quick tour of SAMOCA, now please join me as we rollup our sleeves and begin building.