The first time I “met” Ion Cuervas-Mons was on twitter, when he still was in Shanghai to direct the construction of Madrid Pavilion for Shanghai Expo. The second time I’ve heard of him it was because he was working on relationships between parametric design and games and we started exchanging a lot of interesting ideas - here is an article in French .

Once Ion invited me to a meeting to discuss a project called OPENARCH.
He absolutely wanted to design and build a house to create a new model of living, strongly connected to the Internet and inspired by the open-source philosophy.

That idea has now turned into a real appartement, located next to Bilbao – map.
The project has been officially launched last friday 25th of November at openarch.cc

Do you want to visit this prototype ? Just ask Ion at info@thinkbig-factory.com

Openarch is a real prototype of a smart home.
The first home designed from scratch to incorporate a digital layer connecting the house and its elements to the Internet.
Its inhabitants lead a new digital and connected life. It is flexible and thanks to its ability to transform, it can adapt to any condition that the user requires.

The digital layer – which from now on we will call D. OS (domestic operating system) – includes a series of components that allow users to stay connected to anyone or any place; control the house’s components by the movement of the body; hold conferences from home; know the power consumption at any time; activate any electrical household appliance from work; share a live video of your cooking recipes with the rest of the world; create your own TV set in the lounge, and so on.

Openarch is a platform based on open software and hardware philosophy.
An inhabited playground where technologies can be tested. It is an open-living lab where other companies, artists or organizations can evaluate their products and services through the infrastructure and the participation of the house’s inhabitants.
D. OS updates and the incorporation of new technologies will be documented and registered under creative commons licenses and available to download as KITS.

It sounds like living inside the Internet…
What do you think?
Would you like it? 

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OPENARCH is the first project by Thinkbig Factory, an innovative architecture and design consultancy.
The project is directed by Ion Cuervas-Mons and it is distributed under a Creative Commons license.

web : openarch.cc
blog: thinkbig-lab.com

After several months of blood, sweat and tears, we are very happy to share with you a free download of our CAD Standards, the Electronic File Naming Convention and the Project Folder Organisation we will be using at HDA, with immediate effect.

We are a hybrid team of architects, designers and engineers. Even though we strongly believe in this interdisciplinary approach, we understand that it presents difficulties in achieving coherence and clarity in our management systems. The files we are sharing today with our readers are the first outcome of a thorough review and coordination process intended to make our different design tools and activities more coherent.

As noted elsewhere on this blog, at HDA we believe in an open culture, that sharing content can be useful, productive and not anti-economic, and therefore offer these free to download in the hope that they may be useful to others.
As noted earlier, HDA is a French company. Therefore the naming of folders, files, CAD layers, etc. were prepared originally in French. The document text however, was prepared in English (due to that being the author’s native language). For these downloads, all document text, file names, folder names, layer names and abbreviations have been put into English.

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Document 1/3 | HDA – CAD Standard
VIEW or DOWNLOAD CAD Standard (750)

Document 2/3 | HDA – Electronic File Naming Convention
VIEW or DOWNLOAD HDA - Electronic File Naming Convention (428)

Document 3/3 | HDA – Project Folder Organisation
VIEW or DOWNLOAD Project Folder Organisation (439)

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It is hoped that soon we will produce a full set of documents in French also. Each document is designed to be printed out A4 portrait, double-sided (duplex).

Here is a text by Phil Barrett, who has been mainly involved in this process and who produced these documents for HDA

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CAD Standard

The management of CAD standards is an area that is commonly neglected as small companies expand and grow.
This is due in part to it being an area of work that is not directly ‘chargeable’ (with companies preferring to concentrate their resources on fee-paying project work), and partly due to its importance and effect on company efficiency not being fully understood by those not directly involved in it.

Like many architectural/engineering/design companies HDA had a basic CAD standard in place at the company’s inception. As the company grew this standard was updated intermittently in line with the progressive releases of existing design software programs (primarily AutoCAD), the introduction of new software (particularly for HDA the introduction of Rhinoceros), and the natural rotation of company personnel.

Just as with the evolution of design as a whole, there arrives a point at which it is no longer viable to further revise and ‘patch up’ an outdated model. The introduction of a new CAD standard can be a disruptive and time-consuming process, but the risk for companies is that the longer they continue with an inefficient system, the more disruptive, time consuming, and ultimately costly it becomes to replace it when they later have more staff and project work attached to it.

With the securing of several new projects, and the consequent arrival of new personnel to HDA, the decision was taken earlier this year to conduct a review of our existing system, and to design from scratch a system to properly suit our current (and expected future) requirements.

It was accepted from the outset that there is no one perfect system that will suit all companies and all projects, and that there is no single, globally accepted standard. HDA is particular too in the sense that it is a French company, with a mixture of French, Italian and British/Irish staff, and working on projects worldwide in French, Italian and English. As part of the research undertaken for the design of our new standard, a variety of existing standards have been consulted, including ISO 13567, BS 1192, AIA, Uniclass and AEC (UK), and whilst we have incorporated ideas into our standard where applicable to aid the compatibility of standards as a whole, trying to fully implement any one of these standards wholesale would be impractical, and largely unworkable. HDA CAD files are worked on by architects, designers, drafters and engineers, and it is accepted that most architects, engineers and designers do not have the same skills as experienced drafters. Therefore our standard has been designed to be as minimal as possible in certain areas, to make it more accessible to less experienced users and to lessen the scope for errors and differences in presentation styles.

As noted earlier, HDA primarily uses AutoCAD and Rhino software at present. Our previous CAD standard was designed exclusively for AutoCAD, therefore when Rhino was introduced there was no particular standard to be adhered to. This resulted in a variety of organizational styles arising, and a lack of uniformity and coherence in our project files. While still focusing primarily on the preparation and presentation of drawings in AutoCAD, much of this standard is designed to be applied to both AutoCAD and Rhino (and possibly other design software programs which may be used), with the aim of increasing compatibility between the two.

Document 1/3 | HDA – CAD Standard
DOWNLOAD CAD Standard (750)
VIEW on SCRIBD

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File Naming Convention and Project Folder Organisation

In addition to a new CAD standard, HDA has also produced two further standards documents.
The design of a file naming convention, and the re-design our existing project folder structure both arose from the questions posed by the design of our new CAD standard. In order to implement an effective CAD standard, it was necessary to have a more logical and effective folder structure in which to put the CAD files, and likewise a systematic and logical file naming convention to enable them to be located and identified.

Document 2/3 | HDA – Electronic File Naming Convention
DOWNLOAD HDA - Electronic File Naming Convention (428)
VIEW on SCRIBD

Document 3/3 | HDA – Project Folder Organisation
DOWNLOAD Project Folder Organisation (439)
VIEW on SCRIBD

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Thanks

Thanks to Craig Miller, Alex Jones and the London CAD team at Heatherwick Studio for their assistance with the issues of compatibility between AutoCAD and Rhino, your input was much appreciated.
Thanks to Ecosistema Urbano for sending us their standard for reference, and to all the people and companies who have published their standards online which have aided us during our research.
Thanks also to the number of online CAD forums that we have searched through for answers (CADTutor.net, CADforum.cz, CADForums.net, themadcadder.blogs.com, 3Dcadforums.com, CADDManager.com, autocadeverything.com).

Nous avons souvent parlé dans ce blog de grasshopper 3d, un éditeur graphique d’algorithmes integré aux outils de modélisation de Rhino 3D.

Aujourd’hui nous vous présentons ce que nous avons appelé ”le grasshopper du flash”.
Il s’appelle Source Binder et son fonctionnement rappelle vraiment celui de grasshopper: au lieu d’écrire du code vous assemblé des objets dans un environnement graphique, comme l’on peut voir dans la video ci-dessous:
xxx
Pour plus d’information > sourcebinder.org <

Par analogie, je profite pour dire qu’il existe aussi un “grasshopper des flux RSS”: il s’agit du service Yahoo Pipes, qui permet d’effectuer des operations complexes avec des flus d’information RSS (image ci-dessous).

image above by Daniele Muscetta (flickr)

SMAAD is the abbreviated form of “Smart Material Aided Architectural Design” or “Shape Memory Alloy Aided Architectural Design”. SMAAD Surface is a fabric input/output device that uses fibrous shape memory alloy (SMA).
By referencing Surflex (the first programmable surface [Coelho et.al 08]), we have improved the ability to maintain, record and play back arbitrary surface shapes through feed-back loop. This fabric functions as a smart material and designers can modify its shape through manual operations. As the flex sensor detects the fabric shape and the actuator works to maintain the shape, a designer can model the fabric shape as if he/she manually models a free-form surface. The surface shape is sent to a 3D CAD through a microcontroller and the digital data can be modified in the same manner as the shape of the fabric device. In the same way, if the digital data is modified in the 3D CAD, the command is sent to the fabric device so that the fabric shape can be modified to follow the digital data.
(source: youtube)

+ more info: metamo.sfc.keio.ac.jp

+ (probably) found via @digitag

Tronic Studio tapped into their architecture backgrounds for the film they created for Herzog & de Meuron’s 57-story hi-rise residential tower in Tribeca. Combining a live action helicopter shoot with extensive CG modeling, the film shows the poetic beauty of how the building was conceived, beginning with the elements of each floor descending from the Manhattan sky and landing into place on top of the Anish Kapoor sculpture.

56_Leonard_Herzog_and_Demeuron from TronicStudio on Vimeo

Fully integrated into the architecture itself as if to say that culture and the city are indivisible, Kapoor’s massive, reflective stainless steel piece – an enigmatic balloon-like form that appears to be combating compression from above – will be a new cultural landmark in Tribeca and the artist’s first permanent public work in New York City.
Kapoor’s sculptural contribution to 56 Leonard Street extends his ongoing exploration of physical and psychological space, as in such works as the “Cloud Gate” in Chicago’s Millennium Park and the recent mammoth temporary installation “Sky Mirror” at Rockefeller Center in Midtown Manhattan. (source: dezeen)

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Tronic is a NYC based directing, design and animation studio founded in 2001 by Columbia Architecture graduates Jesse Seppi and Vivian Rosenthal. They’ve directed and animated spots for Target, Adidas, Microsoft and Sony, designed and executed installations and new media campaigns for Diesel, GE, Nike, Sharp and Hitachi, and in general, have worked to eliminate lines delineating one form of creative media output from another. These visual futurists are boldly combining architecture, new media, animation and branding through new uses of technology to create visually striking and conceptually based work.

Tronic also directed and animated the spot below on the loss of nature in our increasingly man-made landscape. I AM shows a bleak future, where animals, now a recent memory, are constructed from detritus. This is their plea to us.

I AM from TronicStudio on Vimeo.

Interesting links:
Tronic Studio
Anish Kapoor
56 Leonard Tribeca

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I have found the 56 Leonard video via @eiza

Dans un échange récent avec l’architecte espagnol Ion Cuervas Mons, nous avons discuté d’architecture paramétrique et design associatif, en relation avec les concepts de culture libre ( Open Source, Creative Commons ) et le questionnement sur le nouveau rôle de l’architecte pour l’avenir.

La discussion a démarré sur un projet de recherche auquel Ion travaille en ce moment: il s’agit d’explorer la possibilité de réaliser un logiciel, à mi-chemin entre un jeu-vidéo et un outil de travail, capable de permettre à tout le monde (les habitants et non seulement les architectes) de dessiner leur propre appartement.

La recherche a tout de suite tourné vers des expériences telles que celle de la vidéo ci-dessus et, bien sur, vers des outils de paramétrisation comme Grasshopper. Effectivement, nous avons trouvé qu’il y déjà des recherche qui sont en train de se développer, comme par exemple celle des images ci-dessous développé par LMN Tech Studio à Seattle, qui cherchent à trouver des méthodes de connexion entre des définitions Grasshopper et les programmes fonctionnels complexes des bâtiments d’architecture.

Cette recherche, appelé Grasshopper Space Planner, reste bien sur encore assez basique et peut-être très orientée à l’outil de travail d’architecte, plutôt que se focaliser sur l’objectif exposé ci-dessus, c’est à dire de donner aux non-architectes la capacité de dessiner leurs propres maisons.

Le rêve de [re?]mettre l’architecture dans les mains de ses propres usagers n’est surement quelque chose de nouveau ni de caractéristique de l’époque des nouvelles technologies;  je pense à la notion d’ “architecture participative” très chère à l’architecte Lucien Kroll, ou à l’exercice “Les gens chez eux” de Jacques Famery.
Il semblerait aujourd’hui que les nouvelles technologies peuvent donner un nouveau élan à ces tendances; ce qui s’est passé avec le web 2.0 pourrait se reproduire avec l’architecture?
Même si je suis en train de contredire complètement ce que j’avais écrit il y a quelques mois (ARCHITECTURE IS NOT 2.0, en espagnol), c’est parce que les réflexions ci-dessus montre que c’est, dans tout les cas, une voie possible et qui mérite d’être explorée.

Bien sur, il faut cadrer la recherche et les limites de cette approche, car si d’un coté nous croyons dans une architecture libérée de la standardisation, de l’autre il ne faut pas tomber dans le rêve d’une l’architecture libre de toute contrainte: la figure de l’architecte ne va pas disparaitre, elle va juste changer et peut être l’architecte ne sera plus un artiste-dictateur (pardon…) , mais plutôt un conseiller et un gérant/créateur d’espaces et propulseur de dynamiques spatiales.

Architecture non standard: projet Pylons of the future - Dancing with Nature -
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Nous allons revenir sur le sujet pour le développer, ainsi que pour expliquer la phrase avec laquelle Ion a conclu notre réunion:
“Le paramétrique est le rêve ultime de l’architecture creative commons et libre de droits”.
En effet, pour la diffusion des productions libres de droits, que pourrait-on imaginer de mieux qu’un systeme de conception basé sur la capacité de tout le monde de modifier, adapter, améliorer et ensuite de partager à nouveau son propre travail?
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Vous pouvez suivre les activitées de Ion Cuervas Mons sur Twitter et sur Flickr, ou vous trouverez pas mal de photos de la suivi du chantier du projet Arbol de Aire - arbre d’air - conçu par Ecosistema Urbano pour l’Expo 2010 Shangai (photo ci-dessous).
Également, vous pouvez lire, en espagnole, ses articles “L’architecture est en train de disparaitre?” et “Ne rien faire, et avec urgence”

In the last month, we’ve often read about Politecnico di Milano and its recent activities, especially in field of innovation and technologies.

We have already talked in this blog about the Urban Hybridization conference about hybrid public spaces, organized by prof. Fabrizio Zanni, and we would like to talk today about an interesting project called DECODE.

The 22nd of June, the project has been presented at Politecnico by the two founders, Luca Dal Cerro and Valerio Bonora, during a conference specifically dedicated to innovative technologies for the construction industry.

The conference, organized by Prof. Ingrid Paoletti and Elena Magarotto [Building Environment Science and Technology Department], was a presentation of current state of the art methods in innovative design and construction technologies, focusing on all aspects linked to projects, industrial processes and scientific research, highlighting the fruitful synergies.

DECODE is a young company deeply involved in the Discretization of Complex Projects (also the title given to Luca and Valerio’s speech). The role of this specialised cell can be defined as a technical intermediary between all the professionals participating in the development and realization of a complex project. Architects, engineers, façade specialists, constructors, all these categories produce data inputs related to specific aspects of the project and require data outputs in order to check the quality of their contribution. All this information has to be merged into a single and complex “4D digital model” (3D + dynamic data base).

The intervention at the Politecnico di Milano was particularly focused on the advantages provided by complex 3D models in order to verify a wide series of problems which are difficult to evaluate through 2D drawings and documents, which do not help in the comprehension of the complexity and intricacy of a tridimensional structure. Moreover the use of BIM and IFC technologies allows the implementation of the model with a series of information which may not be necessary for architects and engineers (where already known) but define all those technical aspects which have to be understood from the constructor.

In this sense, at the end of the whole process, the 4D model as realised constitutes a powerful instrument for the management and the comprehension of complex projects, which reveals itself as very useful in order to optimize the construction process through time and cost reduction.

Currently DECODE is working on a project by the architect Patrick Berger’s, La Canopee – Les Halles (image below), supporting the engineering company INGEROP to develop the data needed to optimise the production processes and construction phases.

Source image: Le blog du Forum des Halles Paris
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For more info, you can contact:
Conference scientific coordinator, Ingrid Paoletti |   ingrid.paoletti  [AT]  polimi  [DOT]  it
and Luca Del Cerro, Directeur Generale of Decode |   decode.ldalcerro[AT]gmail  [DOT]  com

We often talk about relevance of network effects in our jobs: networking dynamics can  be acheived both virtually and phisically. We first “met” Jon Mirtschin on his blog Geometry Gym, then we discovered he also was on twitter and finally we met him at HDA, thanks to Rhinoforyou.

We invite you readers to discover some interesting topics and posts we have selected from the Geometry Gym blog:

Exchanging Structure Models to/from Rhino3d (BIM and Analysis)

Generation of Structure Models from Grasshopper3d

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Minimal Surface Exploration

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Tesselation

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Geometry Gym is  a company based in the UK, formed by Jon Mirtschin, a structural engineer of 10 years experience.
Geometry Gym is aiming to provide innovative design tools within rapid response time frames needed by projects.

As a graduate engineer, Jon joined Connell Wagner (now Aurecon) in Melbourne, having graduated from the University of Melbourne with a double degree in Civil Engineering and Computer Science.  Projects he worked on included Eureka Tower (300m tall residential tower), the Melbourne Cricket Ground Northern Stand Redevelopment (MCG) and Wembley Stadium.  All projects challenged the capability of the software used to analyze, design and document these structures, and Jon frequently found himself developing custom and innovative scripts and spreadsheets to link and automate generation, processes and data information flow.

In 2005, Jon left Melbourne bound for a working holiday in London, an agency sent him to an interview at Expedition, which is not a typical engineering consultancy.  Jon discovered Rhino3d, and the fantastic development and design platform it provides. Infinity Footbridge (IStructE Champion Award Recipient), the 2012 Olympic Velodrome and 55 Baker Street are great examples of efficient form finding and trail blazing design and documentation.  All heavily utilized programs and plug-ins developed by Jon, in the evolutionary state of the plug-ins available today.

Late 2009, Jon left Expedition to form Geometry Gym, as a means to act as a sub-consultant and to distribute the software tools to the wider design industry (although the tools were also externally beta tested during the 10 months prior on some fantastic projects).  Why the name Geometry Gym? Well gyms challenge and demand their visitors aspiring to achieve goals and improvements.  And geometric manipulations and modifications take up so much time of consulting engineers and architects that all improvements are for the benefit of the industry.

Jon is particularly driven and interested in improving repetitive and time consuming tasks in consulting design, and in reducing the amount of replicated modelling work requiring coordination and checking. The premise of BIM (Building Information Modelling) and exchanging/extracting models for particular purpose and needs is core to the development.

A significant differentiation of the service provided to users of the Geometry Gym tools is prompt support and custom development.  Typical CAD/Software firms have lead times of months and years to implement customer suggestions and requirements, making them redundant for active projects, Geometry Gym endeavours to assist within days or weeks.

The Geometry Gym Blog provides demonstrations, insights and examples of how to use the Rhino3d tools being developed.  Jon’s take on how to explore the geometry of some well known projects including the Beijing Water Cube, 2012 Olympic Stadium and British Museum Great Court Roof have been popular with designers and students.

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A special thanks to Jon for sharing with us these high-quality contents every day!

Modèle Rhinoceros (image du dessus) et Modèle Straus7 (image du dessous)
images: HDA | Hugh Dutton Associés
projet: Philarmonie de Paris, arch: Jean Nouvel
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Comme nous avons déjà introduit jeudi dernier, le processus  de conception que nous développons dans l’agence  s’appuie sur des aller-retours constants entre différents outils de travail. Les logiciels de dessin 3D (Rhinoceros, Autocad), les croquis, les maquettes physiques, les logiciels de calcul de structures (Straus7), les outils de paramétrisation (RhinoScript, Grasshopper et API de Straus7) sont ainsi utilisés simultanément. Chacun de ces instruments représentent des modèles capables à la fois de simuler la réalité et de provoquer – stimuler – le processus créatif.
Nous avons expressément utilisé le mot « modèle ». La définition de ce concept donnée par le wikipedia français est particulièrement utile au développement de notre discours.
« Le mot modèle synthétise les deux sens symétriques et opposés de la notion de ressemblance, d’imitation, de représentation. En effet, il est utilisé :

- pour un concept ou objet qui est la représentation d’un autre (le « modèle réduit » ou maquette, le « modèle » du scientifique), à construire ou déjà existant.

- pour un objet réel dont on cherche à donner une représentation, qu’on cherche à imiter (exemple : le « modèle » du peintre, le « modèle » que constitue le maître pour le disciple).

Le premier sens est le sens original. Le second sens dérive de la pratique des architectes et ingénieurs (puis des scientifiques) consistant à construire d’abord un prototype, concret ou conceptuel, qui servira de « modèle » à une construction réelle : le modèle est ainsi devenu, en outre, l’assemblage de concepts représentant de manière simplifiée une chose réelle déjà existante (objet, phénomène, etc.), en vue de la comprendre, d’en prédire le comportement, etc. »

En effet, les outils dont nous nous servons pour façonner la réalité, présentent tous des caractéristiques différentes, ainsi que des degrés d’approximation variables et complémentaires. C’est pourquoi nous privilégions dans le processus de conception une approche à la fois simultanée, synthétique et non exclusive. Ce point est aussi mis en valeur dans wikipedia :

« Le modèle représente une réalité. Il ne constitue pas cette réalité, comme l’énonce l’adage « la carte n’est pas le territoire » ;
Un modèle n’est pas (et n’a pas à être) parfaitement ressemblant : on vise une ressemblance suffisante, qui dépend de l’utilisation souhaitée (ainsi, un sculpteur et un médecin n’utilisent pas le même modèle d’un corps humain) ; La qualité d’un modèle dépend des techniques disponibles ; Le comportement du modèle correspond dans une certaine mesure, et dans une certaine plage de validité seulement, au comportement de la réalité ; la ressemblance est, dans quelques cas, quantifiable.

La démarche est similaire à celle consistant à remplacer localement une courbe complexe par son cercle osculateur : licite, elle nécessite cependant du discernement. »


Compte tenu que le concepteur travaille avec des représentations de la réalité et que celles-ci sont intrinsèquement limitées et approximatives, la combinaison d’une multiplicité de points de vue s’avère d’autant plus nécessaire. Dans la démarche spécifique de notre agence, cette pluralité de regards se voit aussi accompagnée par l’intérêt porté sur le développement d’une approche multidisciplinaire.

Dans le domaine de l’architecture, la pratique courante propose la réalisation d’un parcours linéaire. Autrement dit, les différentes professions apportent leur savoir-faire à des moments temporellement ordonnés et successifs.
Contrairement à cette approche, notre démarche se caractérise clairement par la circularité (comme cela est signalé dans le diagramme ci-dessus), y compris pour les disciplines de l’architecture et de l’ingénierie. En effet, bien que historiquement les figures de l’architecte et de l’ingénieur aient été toujours fondues en une seule (Hugh Dutton cite l’exemple classique de Brunelleschi dans son entretien ), nous avons assisté depuis le XIXe siècle à une séparation de plus en plus nette entre les deux professions : « un état d’éloignement [...] » « comme un couple dont les partenaires ne se parlent plus ».

Notre démarche est celle de privilégier le retour à l’idée de l’architecte-constructeur, c’est-à-dire de favoriser un dialogue intime entre l’architecture et l’ingénierie. En effet, la mixité de notre équipe, composée d’architectes, d’ingénieurs et de designers, nous permet de travailler avec une méthodologie synthétique.
HDA est parmi les quelques agences d’architecture à intégrer des architectes, des ingénieurs, des designers travaillant ensemble au quotidien dans la même équipe. Ce fait apparait fortement significatif de la méthodologie de conception non-standard que nous formalisons par l’expression “conception hybride”.

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Ce texte est un extrait adapté de l’article Architecture Hybride: espaces sensibles et nouvelle conception. Credits article: Francesco Cingolani, Pierre Chassagne, agence HDA | Hugh Dutton Associés

“Architecture Hybride” est une série de 10 post que nous proposons tout les jeudis; voici les post des jeudis passés:

ARCHITECTURE HYBRIDE 1/10 : Espaces Sensibles et Nouvelle Conception

ARCHITECTURE HYBRIDE 2/10 : VERS UN NOUVEAU PARADIGME – LE MODELE APERTURE(S)ARCHITECTURE HYBRIDE 3/10 : ESPACES HYBRIDES

ARCHITECTURE HYBRIDE 3/10 : ESPACES HYBRIDES

ARCHITECTURE HYBRIDE 4/10 : ESPACES SENSIBLES

ARCHITECTURE HYBRIDE 5/10 : L’HOMME AU CENTRE DU NOUVEL ESPACE PUBLIC RELATIONNEL

ARCHITECTURE HYBRIDE 6/10 : HYBRIDITÉ, CONCEPTION ARCHITECTURALE, DESIGN

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Comme nous avions dejà annoncé sur Twitter, nous organisons en collaboration avec Rhinoforyou une formation Grasshopper à Paris incluant un Atelier d’Architecture Paramétrique. Le stage est prévu pour le 28,29 et 30 juin prochains.

Les 2 premières journées sont consacrées aux « fondamentaux » de Grasshopper avec en préambule une introduction au design et à l’architecture paramétrique et leurs impacts dans la conception, la création et la construction. La troisième journée sous forme d’atelier est dédiée à l’étude de cas concrets proposés par les stagiaires, qui, quelques jours avant la formation, pourront envoyer leurs projets par mail à info@rhinoforyou.com.

D’après ce que j’ai pu constater, les formations de design paramétrique et de Grasshopper en France, et en langue française, sont encore assez rares, mais nous allons essayer d’y remédier…
Si vous êtes intéressez, réserver votre place dès que possible car nous avons décidé de limiter les places à 10 participants maximum.

Pour voir le programme ou pour plus d’information, consulter le PDF ci-dessous où téléchargez Formation Grasshopper (313)