Friday, July 21, 2017


Sadly this is already more that a week old.  Read on.

It's been a bit of a disastrous few days for me.  Maybe that's putting a melodramatic spin on it, but firstly I am recovering from a very sore shoulder which seems to be a result of posture and mouse use.  I actually spent the last day of the week trying to use my left hand.  Interesting, but very clumsy.
It makes me realise how much of my time is spent in dialogue with a computer screen.  It's been extremely wierd spending a three day weekend almost completely ignoring my laptop. Which brings me to the next catastrophe.  The wonderful new laptop I received from HP as a reward for my work on Project Soane has suddenly stopped working.  Fortunately I have my old machine and just about everything is backed up via OneDrive, but it still feels like a mortal blow.

One of the things I did with my left hand, was to make a task chair family.  I came across this thing called the "Trinetic" which offered a download of drawings and images.  I thought it looked quite sweet, and decided to remind myself how to convert a 3d mesh into a useable family via 3dmax (and Autocad)  I had forgotten, but was able to follow my own post from early 2016.  Basically it's all about hiding the edges of the polygons.     be-gone-sharp-edges

There will be the usual complaints about nested CAD, but I am over this now.  You can't model something like this convincingly with Revit native geometry.  It's not the kind of shape that those tools were designed to make.  Here is a nice smooth version, all ready made, so let's use it.  Solids are great for things that need to be sectioned.  That doesn't apply to furniture. Mesh is the way everyone models this kind of stuff for visualisation, movies, etc.  The minute you try to get half way to modeling these double curved shapes with native tools there's going to be lots of gymnastics cutting with voids and the file size will shoot up.  Really, I love some of the stuff that has been done for people like Herman Miller, but looking through that again, there is nothing that comes close to the smooth flowing tapered curves of a chair like this. 

Add to that the whole "cross-platform" debate and I just don't see the point of turning your noses up at mesh geometry.  Revit can handle it.  We know how to hide the edges.  File sizes are very reasonable.  So if someone has already done the modelling for you as a CAD mesh, gobble it up.
Having hidden the edges in 3dmax, exported to DXF2014 and resaved as DWG, I inserted the mesh into an RFA template.  For the most part the geometry was already sorted into layers by material.  I just had to put the wheels on to a different layer.  The layer names weren't very helpful, so I renamed them in Object Styles, which is of course where you go (within the project environment) to apply materials.

Revit has this habit of creating a bunch of materials with dumb names (Render Material 0-0-255, etc) I like to delete all these. Then I usually apply some of the default materials to the layers, just to give some definition to the family, which will also show up in the thumbnail.  I use the default materials because I believe in sharing with the global Revit community, and I don't particularly want to inflict my material naming conventions on everyone else.  It's called being polite.

Here's how my cleanup process in Object Styles played out

The next point of controversy is the use of symbolics.  I'll state my position once more.  I like to be able to produce crisp linework on sheet sets.  Maybe it's because I grew up drawing by hand, maybe it's because I think people respond better to visual communication that delights the senses.  Look at web site design, advertising, company logos, product packaging.  We have a sense of beauty and elegance, and we are subconsciously influenced in positive and negative ways.  "Old Fashioned" ideas of draughtmanship and layout do matter, whether you are trying to sell a design to a client, or communicate intentions to a construction worker.  So messy, fuzzy edges to furniture objects in my plans and elevations really bug me.  They also bug senior management who don't need to have their negative prejudices towards BIM confirmed.

In short, I may be working left handed at the moment, but I don't want my families to look like they were drawn that way.  So I have chosen to create crisp linework and masking regions in the 3 orthographic planes.  Revit doesn't make it easy for me to differentiate between front and back elevations, but usually front will do fine.

Here I am going to agree with the CAD haters.  There are 2D CAD files in the download, and it would save a bit of time to use these, but I want to have masking regions anyway, and I usually find that manufacturer drawings show too much fine detail for architectural purposes.  I'm not going to be using these at a scale of 1:5.  I want them to look right at 1:20 & 1:50. So I am redrawing and simplifying as I go.  I have also introduced a certain amount of "coarse-medium-fine" differentiation.  It's quite subtle, but might as well do it while I can.

But what about the 3d geometry? Do we need 3 versions? I suggest not.  I hate the all-purpose boxes that are so commonly used.  What's the point if you can't tell whether it's a chair or a WC?  But it may be worthwhile using 3 simple extrusions to represent a generic task chair.  Have that for coarse 3d views and the CAD import for medium and fine. Use symbolics in plan/section/elevation.

Finally I tried a quick render ... could this be another downside of meshes?  Seems like the seat is distorting render bitmaps in rather strange ways.  The back is fine, so maybe it's not meshes per se that are the problem.  Might be worth exploring that a bit more some time.  In any case it's only really an issue with large scale patterns like the striped fabric.
Anybody else want to help make families like this from available 3d CAD?  Fancy a bit of crowd sourcing?  Or maybe we could make some "collections" up ... like this one I assembled from an Italian furniture maker that I stumbled across.  Seems to me that even half a dozen experienced Revit users willing to cooperate on something like this could significantly improve the range of content available online.

link to my version of the Trinetic chair


(sharing of this link should now be fixed)

By the way it's about 900kb which is much smaller than it would be if you tried to do this with Revit native geometry. even if you accepted lots of sharp edges where this is nice and smooth and rounded off.

Oh, and while we're here, Kak-Handed, or Cack-handed as some would have it, means left handed in the part of the world where I grew up, and my association comes to mean "incompetent"

On that note, here's a recent quote from a government minister in my home country of Zimbabwe, and I can assure you it was said in all seriousness.

Saturday, July 1, 2017


I an recently back in Dubai after 2 glorious, eventful weeks in the UK. I'm going to review it backwards.  Maybe that will shed fresh light on the experience, a bit like holding a picture upside down, or viewing it in the mirror.

The climax was a gig in Reading with my "schoolboy band", the core of the band being 3 of us who were at Barnsley Grammar School together in the 1960s.  By coincidence I watched "8 days a week" on the return flight which was another way of reliving that startling decade. I did a short solo set at the beginning of the evening which went down really well.  Great to be performing again.

I had spent a few days staying in Reading with my old friends Jo & Ian, practising during the days, talking in the evenings.  I got to walk around the neighbourhood a bit more than I have before and enjoyed the red brick architecture with decorative banding.  Clearly it is influenced by the nearby Reading School by Alfred Waterhouse, as well as local vernacular tradition.  I would love to know more.

On the Friday morning I took the train into London to meet Jenni Muir of the Bank of England Museum.  We had a very interesting chat about possible future collaboration, much of the time standing in front of a large framed copy of Gandy's painting of the Bank as a classical ruin.
Seeing it blown up to that size and sharing ideas with another well informed observer, I started to notice all kinds of things I hadn't really seen before.  For example, there is some very useful information about the roofscape in the south-west corner of the Garden Court, including Soane's first floor addition. There are several drawings of this, but I couldn't work out how it related to the internal parapet/balustrade.  Then there are the lanterns and chimney stacks above the rooms along Threadneedle Street.  Very clearly shown in the "ruin painting", but obviously changed some years later, as one of the demolition photos shows.

So always there are these detective games to be played.  In the painting there is no door leading into the governor's office and the window giving onto the corner of the waiting room court is altogether wrong.  Poetic license I suppose.  Elsewhere in the museum displays there are drawings and photographs that hint at design details that I had missed: a large chimney in the printing works, & the top storey of residence court, for example.

When I first started to model the outer screen wall almost 2 years ago, the parapet was a real brain-teaser.  I think it was Cockerell who completely ruined the proportions by extending it upwards under instruction from his client.  A demolition photo that I had not studied before seemed to suggest that Soane's original pedimented column caps were somehow hidden behind the new extended parapet. Eventually I realised that I had the viewpoint wrong, this was taken from Bartholomew Way, and the dome being demolished is Taylor's entrance vestibule.

I'm starting to think there must be a lot more demolition pictures and I'd love to study them.  I've long been wondering whether the walkway around the battlements had an internal railing, or if the night guard just had to walk carefully whenever they passed an internal courtyard space.  Nothing shown on the drawings, and demolition photos I saw at the museum suggest a simple stone shelf with no guarding to the inside.  It would be helpful to engage a wider community of Soane enthusiasts on questions like this.

For the Board of Trade, Soane wanted to use the same version of Corinthian as he had at the Bank. (Temple of Vesta, Tivoli) His clients insisted on Jupiter Stator and he produced an interesting set of comparative drawings in his (unsuccessful) attempts to dissuade them. On this visit, I noticed that the two types of capital co-exist today in Threadneedle Street. The Royal Exchange opposite the bank boasts capitals of the Jupiter Stator type.

Soane argued that the smooth curves and elaborate entablature of Stator were appropriate to the size and scale of the original. while the simpler, more compact form of Vesta worked better for the sizes he needed at the Bank and the Board of Trade.  For the moment I am just trying to get my head around these complexities of the classical style and the question of how to represent these elements in interpretative studies.

There's a lot to learn, and I'm enjoying the process of discovery as a by-product of serious modelling efforts based on diverse source material.

That morning, as I set off on the train from Reading to London, the tabloids were dominated by pictures of Jeremy Corby as a caring "man of the people" contrasted against Theresa May as "cold fish" defender of capitalism.  That was a remarkable U-turn and almost as disconcerting to me as their previous oversimplifications and melodramatics.  I guess my view is that life in the "Western World" is rather bland and civilised compared to most anywhere else, so people blow every small blip up into a minor crisis.

As for the tragic fire in London, I was relieved to receive from the RIBA a balance between solid practical design advice and a plea to reserve judgement while a proper investigation is carried out.  I find myself pondering the fine line between idealist and idealogue.  It's so tempting to stoke the fires of indignation when you have nailed your colours to a noble cause.

Multi-culturism is a hot topic these days and I've been watching a number of discussions on YouTube.  Once again I am suspicious of polarised opinions and the false dichotomy of left-wing / right-wing. That categorisation seemed to make a lot of sense when I was younger, but just as my understanding of classicism has become ever more layered and complex ... well, I think the political issues of our day don't respond well to sweeping certainties.

I do feel that the enlightenment values that meant so much to John Soane are hugely valuable. They certainly imply an opening up to "other cultures" as is immediately obvious in the diversity of his own collections.  But the museum is also a protected world.  The richness of its contents is preserved within its boundaries and by the strict conditions of entry.  I was interested to learn, during this visit, that he was in the habit of turning visitors away on rainy days (often by subterfuge) because he wanted people to see sunlight streaming through his wonderful daylight contrivances.

Before moving to Reading I had spent the weekend with family.  I got the chance to see Salisbury Cathedral at last.  Here is a building erected over a 38 year period some 750 years ago, and substantially intact.  The balance between regularity and irregularity is therefore intentional, rather than being the result of pragmatic changes made by succeeding generations.  I used to characterise Gothic as "organic" and Classical as "formal" but once again, this is far too simplistic.  At Salisbury the overall scheme is very regular and symmetrical with variation confined to elements such as column capitals.  This is worthy of Soane himself, as we will see, but the extent to which those capitals vary is rather greater than you would expect in a classical composition. 

Salisbury itself was a walled city with several gates, some of which are still visible.  Soane's Bank of England expresses this walled city idea in its overall form, a reference perhaps to the medieval guilds from which modern banking emerged.  Everything I do on this blog, (from Project Soane to studies of Sash Windows, or reflections on the intersection of Art with digital technology), is an attempt to make sense of our history as a city-building species.  Civilisation, Cities, Agriculture: it's an integrated package we've been living with for several thousand years now.  That package has a down side of course: waste-disposal, disease, warfare.  My grandson Jack had chicken pox while I was there, a classic example of the kind of species-jumping virus that helped Eurasians to conquer new worlds.

Salisbury was actually an afterthought to a farm open-day visit which gave Jack a chance to sit in a combine harvester and ride behind a tractor across rolling meadows, where free-range cows manufacture milk for city dwellers.  Many of our domestic animals live in cages of course, raising yet more complex moral questions.  Personally I don't eat meat (never have) but I do consume milk, eggs and fish. It was fun to watch the cows being milked on a giant, rotating machine.

Towards the end of our visit, my son spent time with Jack in the play zone, and drew a picture in the typical laconic style he developed as a child over 25 years ago.  He works in the digital sphere and thinks of himself as a bit of a geek, but I've always been impressed by the fluidity of his visual imagination.  Drawing is a way of thinking.  To me it is one of the most fundamental underpinnings of BIM. I'm referring to drawing in the broadest sense: a way of attending more closely to the world around us.

That was Sunday.  On Saturday we visited The Vyne, an Elizabethan mansion close to Basingstoke. Soane lived in the age of picturesque landscape gardens, when designers strove to emulate the wild and the natural.  Elizabethans followed an earlier Baroque tradition when gardeners bent nature to their will and imposed formal geometries upon the plant kingdom.

Inside the house I was interested by the way some of the doors were constructed.  These old buildings have thick walls.  The door openings usually have "linings" which are framed and panelled in a similar way to the doors themselves. (unlike modern doors which tend to have solid frames)  Looking at photographs of the Bank I noticed that doors are almost always on the side facing the photographer.  How could this be? I've been wondering if they have doors on both sides with a gap between.  That would help with soundproofing of course, which might be important in rooms where confidential discussions are held.

At the Vyne, there are openings with a normal door on one side and a pair of shutters on the other, that fold back into the lining.  This is quite similar to the way shutters are built into the sash window linings (except for the position of the hinges)  It's pure speculation at the moment, but I wonder if this idea was used by Soane at the bank.

I've recently become aware of a thing called HBIM (Heritage BIM) In a way it's a parallel strand to the kind of work I've been doing.  It's the Commercial version of my "hobby" perhaps: day job v private passion.  Of course that's an oversimplification again, a caricature. But there is a heritage to be preserved, much of it (like The Vyne) is open to the public, and why wouldn't you use a collaborative, BIM approach to the restoration and maintenance work. 

I'm not sure how this has impacted on the current restoration work taking place at the Vyne, but luckily for us that work has been opened up to the public.  There is a scaffolding "tent" spanning the whole building so that they can take the roof to bits, record what they find, and decide how to restore it.  It's a complex structure built over many generations with different materials. Mostly it's a series of steeply pitched clay tiled roofs, but slate was also used , and some low-pitched sections were covered with lead.  I really enjoyed seeing the diagonal boarding and the support for the raised joints between the lead sheets.

I spent most of the previous week in London, primarily pursuing Project Soane.  On the evening after the general election I found myself strolling through "change alley": the narrow passages where modern finance took shape in fashionable new coffee houses. Tobacco, coffee, sugar, Spanish gold, stocks & shares: these are some of the factors that combined to overturn the world of medieval guild halls whose traces still remain in the City of London. Which brings us to the Bank.  I've walked around the screen wall many times now, and I'm very familiar with what is Soane's and what has been simplified and juggled around by Baker.

But while I'm here I might as well take a few more photos.  I decided to zoom in from afar to capture the Vesta/Tivoli capital "side on" and check the proportions of my current interpretation.  Suddenly I noticed for the first time that the flower motif comes in different versions.  I've spotted three.  What's more some capitals have type A on the side and type B on the front.  In the side rows of six columns, there is a symmetrical alternation of types.  So is this Soane or is it a little joke inserted by Baker?  Well Soane did use types A & B, that much is clear from pre-demolition photos.  Tivoli Corner is all type B, and the centre block on Threadneedle street is all type A. (before and after in both cases)  I'm pretty confident about the alternation of types in the side ranges of 6 as well, but the resolution in the printed versions of Yerbury's photos is not so great.

On the way to the Bank, I had taken another look at Walbrook Wharf. This is where one branch of the ancient watercourse entered the Thames, and there is still an outfall there, although I couldn't get down to look at it because it was high tide.  Most of the water flow was diverted parallel to the Thames in Victorian Times, part of Bazalgette's sewage system.  Further upstream Walbrook followed the original route of Princes Street and therefore still flows underneath the Bank, cutting the corner diagonally from the old Doric Vestibule entrance and heading towards St Margaret Lothbury.

Although the water borne sewage no longer flows into the Thames, much of the City's waste still floats down that way inside containers, neatly stacked on Barges.

Earlier in the day I had spent a morning at the Victoria & Albert Museum. First time to go inside.  I'm usually so busy looking at the architecture of the streets that I don't get around to exploring the museums and galleries.  I went to take a look at the architecture section.  Saw some interesting, rather loose interpretations of Corinthian. Two of them are part of the building itself, so that's down to C19 free eclecticism.  The others are from the height of the Italian Renaissance, demonstrating how inventive architects could be during that hallowed period.

At the conclusion of the Architecture section, there is a large drawing of St Paul's cathedral. Don't have a date for it, but the named collaborators were active about a hundred years ago.  It's a cutaway isometric revealing the construction and seems to me once again to show how BIM is simply a continuation of earlier drawing traditions. I see BIM as a thinking tool and a way of opening ideas up to enable collaboration.

Earlier on there was a drawing by Eric Mendelsohn of the main staircase in his De la Warr pavilion. I'm for ever chasing this kind of expressive spontaneity using digital tools in a BIM context.  There is a clear and present danger of "design" and "production" becoming confined to separate silos.  I did start to model that building after visiting it 3 years ago to see how it had been restored.  Yes modernism is also part of our heritage, and subject to another polarised debate.  I guess I am arguing for less of the polemics and more serious, practical, hands-on research. 

There's another spiral stair in the V&A. This one is solid oak, and originated in a town called Morlaix in Brittany. It comes from a type of house with a central hall (a common medieval feature) This one fell into disrepair, was removed from the house, acquired by a private collector and passed on to the V&A around 100 years ago. I was impressed by the huge solid sections of hardwood used in medieval construction in Europe. Imagine living in a world where you treat oak almost as we treat concrete today, a primary structural material.  

The previous afternoon I had visited Pitzhanger Manor for the first time. You can't get inside because it's under renovation, but the public park behind is accessible. This used to be John Soane's "country estate". Here we have the romantic, picturesque, enlightenment landscape. Soane used random knapped flint occasionally in his work to evoke a rustic feel.  It's found here in a playful bridge design and in the entrance gateway to the house.

Note also, yet another interpretation of the canopy dome that inspired the classic red telephone box.  As chance would have it there is a modern reinterpretation of that design just across the street.  Maybe we should design a mobile phone inspired by his starfish ceiling motif, as a twenty-first century continuation of that tradition: a Soane-Phone.

Pitzhanger is in Ealing. I took the district line out there after walking around Whitehall.  I wanted to just deepen my connection to the area where the Board of Trade building was built, and to get better reference photos of Kent's Treasury.  I already had quite good photos of his Horseguards. and of Scott's Foreign Office, which is nominally classical but somewhat Gothic in spirit.  There are allegorical figures referencing the British Empire's civilising mission.  I was drawn to the african mother and child with a banana plant and a hippo in the background.  Easy to be flippant and condescending about the past.  My intention is to engage a little more deeply with the subject matter, to keep probing and revisiting the sources.

The day began at Chelsea Hospital, a Wren project that Soane added to, though most of his contribution is now lost.  There are fragments remaining, the most substantial, and best known being a stables block.  Lots of interesting things here.  His dramatic use of concentric arched recesses is much admired.  I was drawn to the brick corbelled eaves, which I had also recorded at the Soane Museum.  He used this idea many times during his career, yet another example of variations on a theme.  It's amazing how inventive you can get with a simple idea.  In music, I find myself endlessly revisiting the 12 bar blues and there always seems to be something fresh waiting to be found.

When I got back to Dubai I was moved to model this detail to get a deeper understanding.  So far I've only done the Chelsea Stables version.  I drew it out in elevation first (2d modelling) then used a simple parametric cuboid family to explore the modularity.  It gets out of step with the Flemish Bond below, but hits the same spot every six brick lengths (in theory at least)  The overall impression is of a highly abstracted version of a Doric entablature, vastly cheaper than the carved stone version of course.  Mr Soane had quite a few tricks up his sleeve and a deep understanding of the building trades.

That was my second day in London.  The first was devoted to the Soane Museum.  I enjoyed two guided tours, a free walkabout with sketchbook in hand, and a very enjoyable second meeting with Sue and Frances, who work there.  Members of the Heritage professions you might say, but very willing to engage with amateurs like myself.  We had a very fruitful discussion, and I made lots of new observations, including the fact that Soane's window sashes don't extend at the corners to form "horns".  This made me look closer at other older buildings, and I realised that horns must be a rather late development.  The idea is to guard against splitting of the wood when the mortise hole is close to the corner and you are driving in a wedge to tighten up the fit of the tenon. I guess the older craftsmen were more confident in their ability to get things "just right".

I also noted how very delicate some of Soane's mouldings are, introducing an extra curve into the section of the glazing bars (muntins) for example.  It's fascinating really how he ranges from highly abstracted and simplified to finely detailed and delicate.  I think he really enjoyed exploring the full range of possibilities, not to mention agonising over what was appropriate in each particular circumstance.

That brings me to the first weekend of my stay, another family affair.  We took a drive down to the coast, a place called Lepe, opposite the Isle of White.  I was testing out my new camera and zoomed in on a couple of guys digging for shellfish.  It strikes me that this is a link to our beachcombing ancestors who drifted out of Africa, all the way down the coast of India and island hopped to Australia.  What kind of tools did they use to dig up the mud I wonder?  What was it like to live in that world?  Will humans still be around 70 thousand years from now, digging in the mud for food?

The current lock screen for my ageing but much loved green Windows Nokia is a photo from that weekend.  I'm sleeping on the living room floor on an air bed, and Jack comes in to play with his grandpa, still spotty-faced but much more lively than the day before. That was a special moment for me.

Basingstoke is classic, post-war, English new-town planning: pedestrians segregated from traffic, ring road with roundabouts, semi-traditional housing in a variety of materials mixed in with apartment blocks, neighbourhoods clustered around schools, local shops and playgrounds.  But it also has quite a deep history and walking into town with my son Joe on the first night, I was surprised to see how close he lived to a charming little "village square" with parish church and timber-frame housing clearly dating back to Tudor times.  How English can you get?  And how seemingly natural and unspoilt.  Am I fooling myself?

In the course of my journey from Dubai I picked up some reading matter (as you do) The Economist was concerned about polarisation in British politics.  Will Labour dive into this gaping hole and claim centre stage again?  It didn't seem possible when I bought the magazine, but less than a month later things have changed quite dramatically.  It seems as if they could, but do they want to?  Or perhaps I should ask if they can find the unity of purpose to do something so sensible as appeal to the middle ground?  Or maybe ... whether they can target the "average brit" without selling their souls?  Melodrama raises its ugly head once more.

I have started to read an interesting history of consumerism.  There's another tainted word.  I think it's worth trying to understand the history.  Most of us feel that we accumulate too much "stuff" and generate far too much waste.  But our economy is based on growth and crude attempts to impose a new model seem to make things much worse.  Can we evolve a more stable, sustainable economic model over time?  Over to you Jack.

I've tried to describe this visit as part of ongoing attempts to study human civlisation using my "BIM pencil". Part of the fascination for me has been looking at something a second time, then a third and fourth time, gradually realising what a depth of history and understanding can be extracted from the source material by engaging with it over an extended period of time.  So every time I go back to the Bank of England, or the Soane Museum, or to the City of London as a whole I am drawn deeper into this endlessly fascinating story.

Some links:

sash windows & horns

BIM pencil & de la war

Bank of England as a Ruin

Wednesday, May 31, 2017


I'm heading for England tomorrow night, visiting my grandson, playing some music, calling in at the Soane Museum.  Looking forward to a change of scene for a couple of weeks.

Before I set off, I wanted to report on the work we have done modelling John Soane's Board of Trade Building.  There's still a fair amount of work to do, but it's coming along nicely.  Quite a decent sheet set coming out and lots of interesting questions about the design process have been revealed.

You can see a detailed report on by following this link, which itself has links to a downloadable sheet set and three panoramas exported from Enscape 3d.  I have to say that the quality and variety of images you can generate in a short space of time with this plugin is really impressive

Thursday, May 18, 2017


I had a problem syncing to C4R last weekend. Checking the cache I realised that the file size had jumped up rather alarmingly.  It's the Site Context file for the Board of Trade building on Project Soane, and I had been working up some design development studies using Phasing.  At first I thought phasing might be the problem (can definitely slow things down) but the way I fixed it was by simplifying my Corinthian Column family.

It's a massing study so I don't need all that detail anyway.  But next morning I was struck by the idea of using a new approach to a simplified Corinthian Capital.  Basically it uses two octagonal blends, (one rotated 22.5 degrees in relation to the other) to stand as placeholders for the two rows of acanthus leaves. For the scrolls I used extremely simple extrusions and the whole thing turned out to be extremely lightweight: 600kb as opposed to the 6mb of my original.  I had been quite proud of getting a Corinthian column down to 6mb.  One of the versions we had during the competition stage of Project Soane was over 100mb.  But there's a lot to be said for a really lightweight placeholder.

By elaborating the sketch for the blends slightly I got something even better with a negligible increase in file size.  But then I got to wondering what it is that pushes the file size up by a factor of 10.

I tried deleting different parts of the capital one by one and soon discovered that my scrolls were the main offender.  So although I had started this exploration with an idea for replacing the leaves, the real breakthrough came from remaking the scrolls.  And in my view they were the weakest link anyway.  I was never really happy with the way they looked, but hadn't found the energy to try again.

It seemed to me that the trick was to just use a series of solid extrusions.  Has to be the lightest of lightweight modelling methods.  So I made a sketch like an apostrophe (or a tadpole) and to be more faithful to @theRealCorinthian, had two of these at each corner, splayed apart slightly. Then borrowing a trick from the Funny Fireplace post I did a couple of weeks ago, I added a cylinder that passes through both and projects slightly at each side. 

I'm happy with this as a way of tricking the eye into seeing what it expects to see.  The result is a Corinthian Column that weights in at about a quarter of the size of my previous attempt, and to my eye it looks a good deal better also.

I get a lot of pleasure from this kind of exercise.  The art of "keeping it simple" is very satisfying once you hit on the right approach.  So that's my current best effort at the Corinthian Order: a double-nested planting object (and therefore scalable) that weighs in at around 1.5mb 
I will be updating my column collection and re-sharing it shortly.

Tuesday, May 2, 2017


Project Soane continues to surprise me with new twists and turns.  The Slack group we started a few weeks ago has proved very fertile.  I do encourage more people to join (or rejoin) our little endeavour.  If you have any interest at all in History, Buildings, Architecture, the Enlightenment, the Industrial Revolution ... this is a splendid way to pursue that interest in a very practical way.

We have been exploring the broader sweep of John Soane's career, and in particular his work in and around Whitehall, an area of Westminster which has become synonymous with the executive arm of government in the UK. He built Law Courts, nestled into the ancient buttresses of Westminster Hall, produced numerous schemes for alterations to the old Houses of Parliament, repaired and maintained the Banqueting House (Inigo Jones) and the Old Treasury (William Kent)

The Law Courts project is fascinating, but was demolished in Victorian times.  Even shorter lived was his Board of Trade building, (although parts of this remain).  This is the focus of our current work and has entailed some revisiting of the Timber Sash Window, which I studied some years ago


That study was a non-parametric analysis of how the technology works, and I used Revit because it's my favourite drawing tool.  The ease with which you can develop multiple orthographic views of an object from a 3d model, (dimensioned, annotated and arranged on sheets) is hugely valuable when you are exploring building technologies, whether old or new.  I am dumbfounded that this has not caught on more as a didactic method in Universities around the world.  

Over the past couple of weeks, I have taken the knowledge gained in my previous study and applied it to creating useable families for our model of the Board of Trade building, at the corner of Whitehall and Downing Street.  There are two models, loaded up into the Project Soane website on BIM360 and accessible using C4R.  The first is a context model, quick massing studies of some of the very interesting historical buildings that are crammed into this area, so familiar to tourists from all around the world. 

In the view below, they are colour coded by age.  Those that were there in Soane's day are solid. Those built later are transparent.  Yellow means medieval. Orange is 17 century and Red 18th. Soane's Board of Trade is the more heavily detailed, monochrome, L-shaped block. 19th century is transparent pink, and 20th very pale violet.  Westminster Bridge was the second bridge to be built across the Thames, and was still quite new in Soane's day.

You can immediately see that the Board of Trade represents the beginnings of a huge expansion of the Civil Service that was to occur during the Industrial Revolution as Britain flooded the world with Cotton and other factory-made goods.  This was the first model I ever opened up in Enscape and I was immediately impressed by this shot of Whitehall from the Thames, with Westminster bridge and the Houses of Parliament on the left, and the 1940s Ministry of Defence, centre right.

At that stage the Board of Trade itself was fairly crudely modelled.  This is the second file on C4R of course, and here it is, viewed using Enscape, with Downing Street centre left, heading towards St James Park. The space behind the buildings (top right) is Horseguards Parade, where you can watch the "changing of the guards" ceremony: uniformed men with swords, on horseback. 

It's a remnant of the age that was slipping away almost imperceptibly during Soane's lifetime, when the Privy Council Chamber was still a meeting place where senior members of the aristocracy met to advise the king.  That's the open-topped space that terminates the shorter leg of Soane's building as it projects into Downing Street.  By the way the building is incorrectly labelled as "Soane's Treasury" in these images.  I was taking my lead from Wikipedia which is quite misleading. It is now known as Treasury Buildings, and houses the Cabinet Office but in Soane's day housed the Board of Trade and Privy Council Offices.

The buildings in the Site Context model are represented by families. This keeps everything nice and lightweight, while allowing properties to be added and scheduled, so we can keep track of the architects and dates of construction.  Eventually I would love to apply phasing to this model and create some kind of a time lapse study.  There is also a sheet of compiled web clippings recording research done to date.

Getting back to the windows, I have been pursuing "modularity" for some time in my families, using reloadable, nested components, often with standardised names so that all the parameter linking is preserved when you load a different version.  This is quite fully developed for doors, and I'm in process of extending it to Windows. The nested components are "SASH" and "GRILLE" (grille is nested inside sash) plus, more recently, VOID (which is a replacement for the usual opening cut)

Often these windows have splayed internal reveals that extend to floor level and may contain folding shutters.  By making the void cut as a nested component, we can swap out different versions.  Later sash windows fitted into thinner walls would be finished more simply with architraves and a horizontal wooden sill, finishing flush with the interior wall face.

I haven't modelled any internal shutters yet, but the splayed reveals are showing up nicely.  I love the quality of light in Enscape's internal views.  It takes so long to get a decent internal render with Revit's built-in engine, but here we are getting splendid results almost instantly. Notice that the 'trial version" watermark has disappeared now.  I have activated the 6 month license that they so kindly donated to the cause of Project Soane.

The glazing bar profiles started as a simple rectangle, but later I developed a parametric version of the typical "lamb's tongue design" that became more or less standard.  It's amazing how much slimmer they appear, after adding a couple of delicate mouldings to the corners of a square piece of timber.

There are a few basic formulas to allow for equal-sized top and bottom lights (or not), with a simple tick box.  I had more elaborate versions that allowed the setting of different glazing bar configurations parametrically, but this started to affect performance, so currently I have a collection of "GRILLE" components to cover the different cases, and load whatever I need for each particular case.

While I was at it, I spent a day or so building standard steel windows on the same lines. These are very common in Africa and provide an excellent solution, given the local climate and the nature of the construction industry.  I developed a set of Autocad blocks for these over 20 years ago, so it felt quite good to do the "BIM equivalent"  I hope to share these later on, once I've cleaned them up a bit.

I also did a couple of posts on steel windows, as a follow on to the sliding sash study.  You can take a look    HERE

Meanwhile the timber windows are looking quite good in a plan view.  The inset shows the state of the model at this stage.  I decided to break off the family development exercise and put some time into the building itself.

A day or so later the rear elevation is shaping up nicely.  It seems that Soane incorporated an existing house into his design (the previous location of the Board of Trade, I think)  At first his commission was simply to enlarge this house, but at some point the Privy Council Offices were added to the brief and the project doubled in size.  I love to trace his design development processes and building a Revit model is a great way to query the source material. To one side of the original building he added (or extended?) a staircase which provided access to the new attic rooms along the Whitehall frontage.
There is a magnificent central corridor with barrel-vaulted skylights, running down the centre of the main block.  Figuring out how this works was another rewarding detective puzzle.  As usual he is quite inventive in the way he divides the wall surface up with decorative panels.

Anyone familiar with London will know about the recessed "areas" between pavement and building that provide light and ventilation to the basements.  Very often these are semi-basements, two thirds of a storey down from the street, with a substantial number of stairs leading up to the ground floor entrance doors.

I always think that one of the marks of a good architect is the ability to blur the lines between spatial drama and pragmatic solution.  The central corridor is/was a magnificent space but it also serves to bring borrowed light into the attic rooms, separated as they are from the external wall along Whitehall by an access passage.

I have a tendency to flit back and forth when I'm modelling.  I suppose I'm trying to balance things off, gradually raise the level of development across the whole model, whether that should be "getting the planning right" or "fleshing out the details"  Nothing quite like an entablature moulding for raising the impression of completeness.

Mr Soane did like his complex roofscapes, but there's always a rationale in terms of bringing light in from unexpected angles, especially into stairs and corridors, which can so easily become such dismal spaces.

Starting to develop sheets in the model now.  It's interesting to compare the front and rear elevations.  He has created a grand colonnade along Whitehall.  In fact he produced many, many schemes to extend this further, but was thwarted by their lordships, (his clients).  But to the rear, the impression is of a row of varied terraced houses, very much the way that the Whitehall façade was before his intervention.  So he leaves a memory of the past at the rear of the building.  Note how I'm still using placeholder families here to represent the windows.

Adding rooms (with the automatic placement feature) allows us to use a colour scheme to show how the building is divided into two departments. Hopefully we can allocate names to most of these rooms by poring over the drawings and accompanying notes in the Soane Museum online archive.  I've said it before, but what an incredible resource!

And finally sections through the main spine, looking both ways.  You can see the borrowed lights at high level, and the way he uses the moulded panels to hide the irregularity of their placement.  Lots of detail to add yet, there are brackets at ceiling level (modillions) and Greek key designs in the long horizontal panels.  What larks Pip!