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ARCHICAD Training Lesson Outline
Conceptual Design - Start Simple Then Add Detail (Part 2)
We'll look at three examples of this methodology in this lesson.
Develop Walls and Roofs from Concept to A Detailed Model
NOTE: Model taken from Jared Banks Shoegnome Open Template
We start the conceptual model with simple walls and roofs made of a single generic exterior building material.
We develop the model further by selecting and changing the walls to a composite.
The simple roof system (a single multi-plane roof) is duplicated then modified to create 3 separate roofs. One is the structural, insulated roof within the building footprint; one defines the structural elements in the overhang section outside the walls; one defines the top sheathing and shingles or tiles that run on top of both of these lower roofs.
Tim Ball's Approach: Start With a Complex Profile then Redefine It
In this approach, the walls are drawn from the beginning as a complex profile, which can be as simple as a rectangular wall section made of a single building material.
Later, one redefines that profile to add more detail; all walls that use that profile will update.
One can do this in any of several methods:
- In Profile editor, draw in more detail using Fills
- Copy and paste the fills from another Profile into the active one, edit as needed
- Copy and paste a Profile from another project, then use the approach in step 2
One can also use Attribute Manager to import a profile from another project, then either use step 2 or the following quick method to overwrite the original, active profile:
- Open Attribute Manager from the Options menu, then open the Complex Profile tab
- Click the Import button on the top of the right hand side, then browse and select a project PLN or PLA, a template file TPL, or an AAT attribute file
- Select and highlight the desired profile from the list of available profiles on the right hand side
- Use the Append button* to add this profile to the end of the list
- Click the X to close the file on the right-hand side; it will now be an empty list
- Select the new profile at the bottom of the left hand side, and use the Append button to add it to the empty list
- Edit the name of the profile on the right side to match the active profile, leave it selected
- Use the By Name button to overwrite the active profile
*NOTE: If the profile in the external file has the same name as active one that you want to overwrite you may use By Name instead of Append, and skip the rest of these steps.
Hotlinked Modules - Start with a Simple Design, Develop and Update
This approach is ideal for unit plans for apartments, multi-family housing, hotels, condos, offices, etc.
As soon as you have a context for the unit (such as the walls separating the units), place in a few elements then select them and use the File menu > External Contents > Save Selection as Module.
Create the new Hotlinked Module (HLM) but do not check the box to replace the elements with an instance of the module. This allows you to edit the definition in context, rather than needing to open up the module file to work on it. Check the box if you prefer to work on the design in a separate file; this is useful when you want to have a staff member work on it independently from the main file.
Develop and update the elements in this unit, then repeat the Save Selection as Module (overwriting the file) and use the File menu > External Content > Hotlinked Module Manager whenever you wish to Update the module to the latest versions.
ARCHICAD Training Lesson Transcript
Hey, welcome, everyone, to the ARCHICAD Best Practices 2020 training lesson. Today is Wednesday, April 3rd, 2019, and we will be talking about conceptual design, just one more time, and expanding on the ideas of starting simple and then adding detail as an effective workflow. Let me know that you can hear me and that you see my screen, and we’ll get going. [0:00:31]
Alright, so I see Ken, Tom, Lou, Zlatko, Tracy, etc., Henry. OK, so I have just a concept of what I want to talk about, and I’m going to be developing it as we go, sort of like the idea that you start your design with a concept, and then you develop it as you go. So, we’re going to be looking at 3 examples of starting simple, then adding detail. Just to essentially make it tangible – so, what does that mean in practice? [0:01:15]
I do invite your comments and questions, specifically in this presentation, because I think the types of challenges and workflow that you’ve developed or that you face in your practice are ones that I’m less familiar with than the ones that I deal with week in, week out, which have to do with how to get the model to look a certain way. How do I get the drawings to output a certain way? So, the design process is something that I’m less familiar with. [0:01:50]
People don’t generally ask me for help with the design. So, this is going to be a look from my perspective, but with your help, at the conceptual design process and some of the workflow. OK, so we’re going to look at Jared Banks’s Shoegnome template because it’s a very simple project that he has in the template. So, he provides a free template that you can download if you go to Shoegnome.com. If you look up here on the screen, Shoegnome here. That’s his firm name, and the open template is a very well-developed template with a lot of thought behind it. [0:02:41]
I don’t agree with everything that’s in there, but that’s fine. I think there is a lot there, and I’ve learned some good things from it. Now, in terms of the 3D model that we see here, it’s just a very simple building, just to show some of the ways he approaches modeling, and we’ve talked about this before. There are things like a top roof surface here that is just the skin, and there are things like the fascia, rake – all those details as separate elements, and then actually inside the model, we see the roof is actually made of several different pieces. [0:03:28]
Let me just get that section open here, so we can see that again. So, we have, for example, the main structural part of the roof just going out to the edge of the wall and sitting on top of the wall, with a cut-out for its support, and then we have a separate piece of roof out here, which is a roof, and it actually is connected on multiple sides of the building, and then, if we zoom in here, this is just the cladding of the roof going out here. [0:04:13]
So, we’re going to look just at the process of how you would work with walls in a simple fashion, then develop them further, and how you’d work with roofs in this strategy with a simple concept and then develop it into the multiple pieces that we see here that do create nice-looking drawings and well-detailed models. [0:04:37]
So, if I go off to the side here and create something similar own below, let’s just see what the measurements are. So, if I measure – and I’m hitting the M key for measure. That’s a shortcut. I think I use it all the time, and it allows me to just click on a point, click on another point or hover over it and see that OK, that’s 40 feet. Go down here. It’s 20 feet, so I know it’s a 40 by 20 space, and if I select the main wall, it’s going up 18 feet, so it’s 2 stories in height – roughly 5 ½ meters up here, and its thickness is 6 ½ inches. [0:05:20]
OK, so what I’m going to do is just do a concept wall that’s similar to that down below. So, I’ll go to the Wall tool, and we’ll say to just create a simple volume made out of generic exterior material. It’s fine, so basically we’re saying, “I don’t know what this will be, but it’s the outside of the building,” and it’s got the 6 ½ inches and the 18 feet that are already set in the default. So, if I go create this as a box of walls like this, and I type in 40, tab, 20, I now have a box that’s the same dimensions as that. [0:06:06]
Now, if I go to the Roof tool, let’s go up to the roof plan layer level, and I select – that’s interesting. With the Arrow tool, I need to have the – OK, so this is the plan, and what am I seeing here? Yeah, that’s the roof. Alright, so this roof here is a 6 in 12 slope, which if you were not using that methodology, if we looked at degrees, it’s 26.57 or percent – 50%, so 50% slope there. [0:06:47]
So, 6 in 12 slope. I’m going to make a similar one – not quite sure how thick it is. Let’s go to that section and just see what the overall thickness would be. Again, I can measure, and I can just go to an edge here and then go along here, and when I find the perpendicular, that says 1 foot and 7/8 inches. So, let me just make it 1 foot thick, as a nominal measurement when I do it, and we’ll do it at that 6 in 12, 50% slope when we create it. [0:07:18]
So, in order to be able to see the walls that we’re coming up with, I’ll go and show the lower plan here as a trace reference. So, now we should see – why are we not seeing it? If I go back down to the – oh, maybe main level is trace reference. There we go. OK, so the main level is the trace reference. So, now I can go to the Roof tool, set it for, say, a 6 in 12 slope, and we’ll make this just a simple shape here, and while there will be wood as part of the framing, I’ll even make it just a generic exterior material as well on the outside of the building, just for a really simple model. [0:08:13]
We’ll go and make the cross-sectional thickness – you can say the thickness vertically at the fascia or cross-sectionally. Let’s see. This is cross-sectional one here, and we’ll make that 1 foot to be approximately the same, and the – not quite sure. The height. We’ll have to see the – this is relative to the current story. It’s probably going to be zero. I’m not quite sure what that will be, but we’ll do this just as a box of walls. [0:08:56]
Let’s see. Go to the rectangular method. Alright, let’s see. So, it’s saying that the layer that I’m using right now is – I don’t know why the roof was set temporarily, or the last time it was used, it was set for floor slab. I’ll go and change this to something. If we go up to the – what is the roof layer? Let me just go here. I could actually go and eye drop this roof here to get the setting. That actually would be a quicker way to do it. [0:09:38]
Now I have everything set up at 17 feet, relative to the zero that’s, I guess, this level here, where the underside would meet the outside framing, and here’s the 1 foot and a half-inch cross section there. So, I’ll go back now to the roof plan here, and we’ll do the 17 feet here, and we’ll go in, and it’s on the roof sheathing layer. So, that could be a structural roof layer, but let’s just see. If I place this here – now, this is set up initially because of the way that I had it indicated, it’s doing it with hips. [0:10:34]
In this case, we don’t want that, so I’ll go to the edge of each one of these and change the edge definition to a gable and do the same thing with this one. Press down, use the pet palette editing here, and do a gable, and now we need an offset. So, if I measure this from here to here, 1’-2”, alright. So, we’ll do a similar offset, and I’m not sure if it’s the same on the ends, but we’ll use that for now for the concept. [0:11:15]
So, I’ll go to the outside polygon and use the offset edge here by 1’-2”. Now, here we have an issue in the sense that what I was modifying is the blue line reference line, and the reference line here is where the roof sits at that specific height – in this case, the 17 feet, and actually, even though the roof does go out here, we do want the reference line to stay related to the wall, so I’ll undo that, and how would we be able to control that? [0:12:00]
If I go to a corner here, the blue line is coincident with the contours. So, the reference line and the contour are in the same place. What we actually need to do when we have a poly-roof like this, where we have a roof with multiple planes or a multi-plane roof, rather, is set the offset, and I’ll just say this is going to be the 1’-2” here. That’s, in fact, where it’s best to do that. Then, once you separated them, if it’s appropriate, then you have access to the polygon here separately. [0:12:45]
So, if I did want to offset, for example, the ends a little bit more, maybe we’re going to take this out another few inches. Let’s say 4 inches, so it’ll be 1’-6” at each end. We can do that. Let’s see, 4 inches in that direction. There we go. OK, so now if we look at this in 3D – let’s just say in 3D here. Now, by the way, we can see that the building looks naked. We’re not seeing the cladding, and we’re not seeing the site. Why? Because we’re looking at a 3D view with the layers turned on that were on the plan. [0:13:27]
Now, if I double-click on the generic perspective here – this view, it comes from one of the saved views here, and if I hover over this, you can see this little exclamation mark, saying you’ve currently got a setting different than what the saved view is. Now, let me go ahead and just double-click on this, and the exclamation mark will disappear, and now we’re seeing the original saved view. [0:13:54]
Of course, we’ve got this new little building here that is the same size and generally the same sort of geometry, but in a pure concept model. Now, in order to just continue the conceptual design, I’m going to take these two ends, and we’ll take the height of the wall up to the top point or anywhere as far as it needs to go to be cut off, and then I’ll select this roof here, and when the roof and those 2 walls selected, I’ll go and say to connect and trim elements to roof or shell using the roofs in the current selection, and we now have a simple model. [0:14:46]
Now, I could have include the end walls as well. That is optional, in this case, because the roof is just resting on them. Now, that’s a concept model. We can put in some windows and doors like you always would, but at some point, you’re going to start to ask what type of wall this is. How is that roof actually constructed? [0:15:12]
Now, this roof here – actually, in fact, I didn’t change it to the concept roof. Let’s just put it to a simple roof with generic exterior, and now we really do have a conceptual style model. So, when we want to develop this further at whatever point is appropriate, you can select the walls and change their settings. So, I’m going to go now to the section and eye drop this wall. [0:15:49]
So, what is this? This wall that I’ve just eye dropped is a composite. So, in this case, in the Shoegnome example project, these walls are composites as opposed to complex profiles. Now, if I go, having eye dropped it, go back to the 3D view here, and inject using the keyboard shortcut Command+Option or Ctrl+Alt, I can make this wall the same type. [0:16:20]
Now, in this case, I don’t really want to do that because, of course, it’s pulled the wall down. Let’s just look on the side ones first, and then we can talk about the way that you would do it on the other ends. So, if I transfer the settings here, you can see that it’s now got the basic wall composite. We don’t have the cladding because that’s what Jared does there, but I can force in these settings here. Now, I can also go to these two ends and just select them and make a change to composite and then pick the particular one that they’re using. [0:17:12]
Now, I’m not quite sure. Let’s see. I should have made a note of this here. This is the composite. It’s exterior wall 2x6 half-inch gyp board, etc. there, and so if I select these two here, and we actually – it did. When I switched to composite, it used that setting. Now, obviously, we’ve got some issues here. These walls are now going up through the roof because, in part, the roof is made out of the generic building material, and that generic building material doesn’t have a high enough priority. [0:17:57]
So, the framing of these walls is coming up through. Now, the point here is that when you’re laying out your initial design, you want to just focus on whatever your key constraints and requirements are. So, setbacks, amount of area, layout of the building, and you may know what type of wall you’re going to be using. Certainly, there are some things that you may know right away. You’re going to be doing 2x6 with stucco or whatever construction it’s going to be. [0:18:33]
As an example, if you haven’t decided certain things, you just draw them with the basic shape and then later come in and redefine them. Then, clean up, of course, anything that needs to happen in terms of the way that they connect together. Now, let’s look at the roof now and see what the roof is made of in the section. So, the roof has got this composite. If we open up the composite that’s for the main structural roof, it’s called 4 Roof Framing/Sheathing 2x12, and it’s made of certain components that I’, sure are very familiar to you. [0:19:20]
So, this roof is only going out to the end of the wall. Actually, it’s to the wall framing line here, and then we have the other change here for what ix exposed out beyond the wall. Obviously, it’s insulated in this area. It’s not insulated in this section, and the plywood here is continuous. So, it would be constructed with continuous plywood, but for modeling purposes, these are done separately. [0:20:03]
So, how would we get one roof into, in this case, two or possibly more roofs because we are going to have a roof around all sides. So, how do we do that? What’s the simplest way to do that? So, if I take this roof here – actually, make sure. Let’s take this roof here, and I drag a copy of it, I can then modify each copy independently. So, if I drag a copy, and I right-click here and say to move or drag the copy or use any of the keyboard shortcuts that we need, and I’ll just say to take this down to here. [0:20:46]
I now have two roofs that I can work with independently, but I really don’t want to have the roof off to the side. I want to have it exactly in the same place, so what I’m going to do is actually drag a copy right on top of itself. So, I’ll undo that and use the keyboard shortcut Command+D and instead of moving this, first of all, we’ll press the Option key, which gives me the plus sign, so that’s drag a copy or Ctrl+D, and Ctrl will give you the copy. [0:21:20]
Now, I’m going to drag that copy exactly on top. Now, the new copy is what is selected, and the original copy is still in its position. So, in other words, there are now two on top of each other. With this one, I’m going to go to the corner of it and use the Boolean subtract. So, this is the polygon subtract, and say that this new copy, I’d like to cut out the entire core – basically the footprint of the building. So, I’ll say to use this cutout, and then I’ll draw a box here. [0:21:59]
So, now you can see the green shaded area is the shape of the roof that I’ve got selected, and it’s voided in the center area. Now, if I deselect this and select the shape that is underneath the cursor in the center part, now this is the original roof, and with the original roof, I want to just move the borders back in. So, let me just go in and, in this case, we’ll say that it has a zero offset, and you notice that it has this little red warning sign. [0:22:40]
It’s essentially saying that there are custom planes or edges as well. Now, I could say to make them all zero by clicking on it, but what that is going to do is it’s going to make all of them zero, but it would also restore those edges from gable, which I had set it to hip. So, in this case, I would prefer not to have to fix that again, so I will not apply it to here. We’ll retain the custom edges. [0:23:16]
So, when I say OK, then only the two edges that were unmodified move to zero. Of course, I can go in here and take this edge manually and just snap it in. So, I’m using the pet palette – the option for adjusting the polygon outline, offsetting just the one edge that I happen to be clicking on and bringing it in. So, now if we go to 3D, we’re going to see that there is an inner roof here, and there is – I’ll deselect this. It’s just taking a little while to refresh every time, and here’s the outer roof. [0:24:02]
Now that I’ve done that, I can change the definition of the outer roof. So, let’s go to the section from the original one and see what this is here. For roof framing/sheathing, no insulation, so 2x8 – no insulation is the one we want, and I could actually eye drop this here because I’m just going to go back and make the other roof change. So, if I use the syringe on this outer piece, you can see that it changed. [0:24:47]
Now, that actually wasn’t the most efficient thing to do because although it did change the type of roof, it lost the polygons. Now it is passing through, so when I use the syringe in this case, it would cause more work than I needed, so I’m going to undo that, and we’ll just manually change it. Now, ideally, what we would have is a favorite. So, we would apply the favorite, which would not include polygon information, but it would include the settings, but here I’ll go and just switch it to the composite, and then in the composite, I’ll switch it to the 2x8 – no insulation here. [0:25:30]
So, now we have the center roof and this outer edge, but of course, they’re not at the same height because one is thinner than the other, and they both have the same plate height – the 17 feet here. So, in this case, I’ll just go and drag this up. So, I’m just using Command+D and dragging it up to be at that same level. Now, we can put the plywood on top of the roofs. [0:26:07]
Now, if I had been smart, I would have actually saved a copy of the roof elements that I worked on because that went out as far as everything needed, but I’m going to just go and recreate this with the new plywood top. So, if I eye drop this top, which is just the roof finish here – asphalt shingles, and then I draw it on top of this one, we’re going to very quickly have the shape. So, again, I’ll do a box here. [0:26:44]
Now, I’ll actually use the shortcut that says to create a gable roof. In other words, don’t have hips. I had forgotten about that, but this is now a good way to remember. I can go in and say to draw this. Now, the new roof that I did, I did it from the outside here. Now, because of the way that this is set up, it really would be fine to do it that way, and in fact, it might be good to just go and separate out these blue reference lines to match what we’ve got. [0:27:26]
You could also have it follow the wall outlines and then have offsets to do the overhang, but let’s just take this look here and see if we go to 3D, what we’ve got. So, you can see this little thin piece of roof here is floating underneath everything. So, I’m going to go now and just drag this up. Now, probably good to do it in a section because the precision here would be absolutely required, and it is good to understand that all of the editing that I’m doing here just casually in 3D can be done very precisely in section as long as you’re seeing what you need to. [0:28:16]
So, how would we get a section to show there? Well, one way would be to just take this existing section and extend it over. Now, let’s see. This section here is looking towards – I’ll just get an orientation. In fact, what I’ll do – this is a nice thing. Sometimes you’re saying you’re in a section here, and you don’t quite know where it is on the plan. If we look at the view here – this is a section looking east. If I right-click on this and say to select section marker on the home story and zoom to it, this will allow me to see which section it is. [0:28:57]
Alright, so it’s this one here. So, obviously, I could extend this down. Now, I can just grab this end point and stretch it, but I wanted to show you something that was introduced into maybe ARCHICAD 20. I can’t remember when it was, and that is if you realize a section or elevation is not quite cropped the way you need, you can adjust it right in the view. So, how would I do that? I’m going to go back to the section here, and knowing that the new building that I’ve just created is off to the right, I’ll hover over this edge here and extend it. [0:29:36]
You can see there’s the new building. So, we can fine-tune this. Now, the option here for allowing you to do that – I believe it’s set under the Work Environment and maybe on-screen options. Trying to remember where that option is there. We have a boundary. OK, I’m not quite sure. Maybe one of you remembers where this setting is that allows you to adjust it because you can turn that off or on. So, I don’t recall right now. [0:30:27]
In any event, let’s take a look at what we’ve got here now, and we can see that this roof here should be dragged up to sit on top of the plywood. So, I’m going to drag it from this point up to here. Now, there might be a little airspace gap or something like that in the original one, but we’re getting into ever-finer details with this now. Now, let’s go get the settings for this roof because obviously, this is still the generic roof, and we’ll go figure that out. [0:31:10]
So, I’ll select this main structural roof. It’s 4 Roof Framing/Sheathing 2x12. So, we’ll go in and select this one and say to make it a composite and 4 Roof Framing 2x12 Insulation. I think that’s it. 5-inch gyp board – is that the one? Yep. OK, so there. So, now we have something pretty close to what we had before. Now, these side walls – remember, I didn’t include in the connect operation, so I can go and select this structural roof and the side wall roof and this other side wall, right-click and say to connect, trim elements to roof shell, trim, and you can see that now, we have something that looks very very similar to the original design over here. [0:32:15]
So, there may be some slight changes, and I can see that he’s got the sheathing here with a slight gap, so that’s raised up for air space, and it does need to go a little bit further in order to have the fascia there, but the idea here is that we started with something very simple and then later – simply by redefining the walls and splitting up the roof into 3 pieces, were able to work with it. [0:32:50]
Now, if you had practice – if I had practiced that, that one roof – I could have made two copies of it without redrawing it. So, imagine you have a very complex roof system and you don’t want to necessarily redraw it. You basically make 3 copies, and on one of them, you trim off the inside so you end up with the outer piece. On the middle part, of course, you remove the eaves and the overhangs there, and the original roof that’s maybe going out, you just change to the thin sheathing there and possibly extend a little further to accommodate the fascia pieces. [0:33:37]
So, draw the roof once, get it working with the way your building is, and then go and repeat it several times and just edit it, and within – clearly, if you’re comfortable with that, within 5 minutes, you would have this all working in terms of the basic structural section. So, let’s see if there are any questions or comments on what I’ve just done, and I’d like to know if any of you are actually using an approach similar to this, in terms of having multiple roof pieces to create the structural roof. [0:34:18]
So, I think that it’s a very clever way to do this. It gives you very clean sections. Obviously, that’s the primary thing. We’re looking and saying that it’s got a lot of detail and is correct. Secondly, it does keep the roof plan clean because we’re seeing the top roof section with the shingles. It covers the whole area, just like the roofers are going to put the plywood and the shingle or tiles – whatever it is, in one continuous coverage whereas the structural stuff is going to be done in a more delineated fashion – inside, insulated. Outside, not insulated. [0:35:02]
So, it does give you realism as well as a nice, clean look on the roof plan. So, Roger says, “Would you go so far as to add the drip edge in the model?” OK, so you can add absolutely as much detail as you need. So, the flashing and drip edge and any ornamental moldings – all that stuff can be put in with complex profiles, and while there are going to be some questions of how things join at corners and when you have a horizontal edge and a rake or other things, you’re going to be essentially trying to do something similar to what is done in construction – in the field, and creating the complex profile is really pretty straightforward. [0:36:00]
I know, Roger, you’ve been doing that with the weep screed, so that would be part of it. So, Lou says, “Just did a house that still needs some improvement done, the same as in the field.” OK, and Eric Gedney. “In residential construction, most of the systems are the same and defined. I would go straight to the wall, roof, floor definition that I will be using. OK, so you don’t start simple and then change it but just go straight to that. [0:36:24]
What I do have is the services more generic, then I change to what the client wants – i.e., cardboard or white, and then you change it to the lap siding. OK, so that sounds like a very efficient way to do it, since you know some of these things before you start modeling, and so you don’t need to start with your hands tied behind your back, with just a simple wall. You can already start with a composite. [0:36:54]
Now, let’s look at the siding that Jared has here. So, if we look at the siding that he’s got – so, you can see there’s this complex shape here. It’s certainly not a composite. What is it? It is a complex profile here that’s siding. Let’s go and open it and see what it looks like. So, we’re going to edit the selected composite or profile, and we’ll see what it is. [0:37:33]
I zoom in on it, and it is a fill that represents the siding. Now, obviously, in actual construction, there will be separate pieces of siding, and there would be a line here, and he’s opted for something – because this is thin enough in any drawing, let’s say, in drawings of certain scale, where you’re seeing the whole wall, we’re not going to be able to delineate this line. In other words, the thickness of this element at quarter-inch or even half-inch in scale – 1 to 50 or 1 to 20 scale – you may not really be able to see those edges. [0:38:24]
If we go to the true line weight here, and we set this – ah, so one of the things that I’ve noticed is a little bit odd in terms of editing a complex profile is that the scale factor is not a view of the model. You’re actually creating the model information, but if we change this temporarily to what it looked like at quarter-inch, then we can see at quarter-inch scale, you can see the bumpiness of the lap siding, but we’re not able to really see the definition there. [0:39:10]
Even if we go up to something like half-inch to a foot, it’s still going to be overlapping the lines here. Now, in fact, this is the outer line, and this is the inner line here. You can now see some differentiation there, and he’s chosen to say this part is against the air, and therefore, it should be a bold line, and this should be thin. Let’s just see how that’s done because that will show up in some of the drawings, depending upon the scale and your other settings. [0:39:40]
So, if I go temporarily turn the true line weight off and select this, we’ll see that this particular fill here is made of siding. It has a solid line here that is going to be Pen 1, which is a thick pen here. This is – this is .18 millimeter. If we go to this edge here and ask what this edge looks like, here’s Pen 11, which is the very thick one. So, this particular edge – and he would have created this going for all of the ones that are on the outside, and said that this clicked edge is Pen 11 here. [0:40:31]
So, Pen 11 is a much thicker line than the Pen 1, which is the .18. You can see the little update here – the preview. So, that’s how Jared created that. So, it’s not literally 20 different pieces of wood. It’s 1 simulation of the way that the siding would go. So, he’s taking it up to a certain level of detail. OK, now when that goes into the model here, and we go back, and I’ll just double-click on the view that’s saved. It now has another layer turned on. The other layer for the cladding was turned off a moment ago because I was going to 3D with just the elements that we’re seeing on the plan. [0:41:23]
So, we don’t see this layer here – exterior vertical finish – on the plan. That’s turned off on the floor plan because on the floor plan, you don’t need to see that. How did he create an opening here? There’s actually a door, of course. That door is in the main wall. This outside cladding has another door, but what is that other door? If I deselect the cladding and just select the opening here, he’s actually got that set as a rectangular window opening. [0:42:01]
So, it isn’t a door. It’s an opening in the wall, and he’s using the window opening to be able to create that, and so that is one that does not, of course, have any framing on it. If we go to here, he has the ID and properties. He uses the code OFF, saying that this element I’ve got selected should not be seen in a schedule. So, he probably has in his schedule something that says to show windows, as long as the ID is not equal to OFF. [0:42:40]
So, that’s a simple way to do it. OK, let’s see. Any other comments, questions, before we move on? Taren says, “We use a similar technique to model a roof fascia using a copy of the roof.” OK. CADImage Wall Builder does this automatically with tons more options, such as casing, corner trim, multiple siding options. OK, so CADImage – very powerful set of tools available from the New Zealand developer that you can buy. There’s a cost, but obviously, with all costs, there’s some benefit, and so Eric, you find CADImage Wall Builder to be a very useful thing. So, check that out if you like. [0:43:27]
In general, over the years, I’ve found that CADImage tools are well put together and well-supported, so check that out. Alright, so we’ll move on to a second example. So, you can see we’re talking about the Jared Banks example with the concept model and then developing it further by changing the definition of the walls or reworking the roofs. [0:43:56]
Now, in this case, I selected the walls, and I changed them, or I selected the roof, and I changed it. Now, with Tim Ball’s approach, he starts with the walls as a complex profile, and he leaves the wall as a complex profile and actually redefines that complex profile. I believe this is the way that he has found to be very effective, so it’s a slightly different developmental approach here. [0:44:29]
So, let’s take a look at that. So, if we look in 3D at his little example – and by the way, this file is available for you in the Resources area of Slack. So, we’re in the 2020 channel. If we go to Resource Sharing, and we look in here, Tim Ball Construction Detail Examples here. March 18th, 2019 there, and I also believe I have a link to that placed on that lesson where that was discussed, so you can download that file if you’re using ARCHICAD 22 and play around with it. [0:45:25]
So, if we look at this wall here, and we have spent some time earlier with looking at it. So, this wall – if I just look at the complex profile, it is much more detailed than what Jared is doing because every single brick and every single block is delineated, and even the mortar here – all of these things are delineated. So, it does make the model have more polygons. [0:46:04]
Now, Tim does do some fairly sizeable projects. He’s doing – I know one of the projects he showed me was a care home. So, I guess you would call this an institutional project for seniors or people who need care, and so I don’t know how many units there are, but I’m going to guess there were several dozen – maybe even a hundred or more habitation units as well as administrative and all different sorts of things, so it’s a decent-sized building. It’s not just a house, and he used this approach with that. [0:46:44]
Now, if you were doing a shopping center or a hundred-story building or something like that, then there are some things that you need to optimize so you don’t end up bogging down ARCHICAD, but for small to medium-sized projects, you can certainly do this sort of thing. Now, this particular level of detail – he won’t start with that, and you can see that even down here, he’s got all of these little pieces, etc. So, what I believe that Tim does, and I’m going to demonstrate just conceptually because I’m not going to try to build a whole model here, but just conceptually is that he redefines the complex profile that he places. [0:47:28]
So, I don’t know if he has one – we’ll go back to the floor plan here. Here’s wall coping. OK, so block partition. OK, so these are some example ones that he’s just putting on the side to show some options, but let’s see. If I go to the Wall tool, and I say that instead of a simple one or a composite – if I know I want to do a complex profile like this at some point in the development – even if I don’t have everything delineated, what he does is he starts with one here, and let’s see. Does he have one? [0:48:14]
OK, here’s Partition B. Those are partitions. Alright, well, let’s just see what this Partition B is. Let me just draw a single wall, and we’ll open this. OK, so this one is still delineated, and what I’ll do is I’m going to show you how we can draw something that is a placeholder and then add some more definition. So, let’s say we’re going to be aiming for this partition. So, it’s a partition rather than an exterior, but it’s the same idea of starting with something simple, then swapping it in. [0:49:01]
So, if I go to – let’s just measure here. What has he got here? So, this is lining. OK, so if I measure the whole thickness across here, it’s 143 millimeters. So, what is that. It’s 1/7 of a meter, so about 6 inches – roughly 6 inches thick. So, I’m going to go and create a new one here, and we’ll just call this Interior Partition 1, and again, I’ll go create something simple. So, I’m going to use the Fill tool, which in a complex profile editor is actually referring to building materials, not just graphic fills. [0:50:01]
Instead of saying it’s insulation, which is what it happened to be left on, I’ll just do concept general here, and we’ll go here and take this, and I’m not sure what the height should be, or the scale. Just trying to drag this down here. So, dimension 1. What did I say? It was 143, so we’ll say 143, and the height? Let’s say 2750 or something like that. So, that’s 2 ¾ meters, roughly 8 or 9 feet – something like that. [0:50:42]
Now, not quite sure which side this should be on. I think maybe it should be, if I’m not mistaken, this way. Now, the reason why this is important, and let’s just go and move this annotation off to the side. It’s because wherever this X is is going to be the reference line of the wall when you’re drawing it. Now, of course, you can flip the wall from one side to another, but you want to ideally have this in line, either on one side, the center, or the face of framing – whatever is going to be your most commonly referenced plane or referenced like for the wall. [0:51:30]
So, I’m going to save this here. It’s going to be used for walls, and let’s say that I draw that on the plan. So, I’m going to go to the Wall tool and say that I’m using a complex profile, and I’m going to pick this one that’s Interior Partition 1, and let’s just draw a couple of walls here. Oh, let’s see. Did I – OK, so I actually had this selected. I didn’t realize that. Let me just delete that, then we’ll go set it to the Interior Partition 1, and I’m just going to draw a couple of interior walls here. [0:52:19]
So, if we look at this in 3D – not that there’s anything to see, but if I look in 3D here, we’ll see what they’re made of. Now, right now they have no detail. Later on, we can go and edit this, and I know he had some of the cladding he called Lining, etc. Let me go and pull this in. Whoops, and I don’t know the distance here in metric standards. So, I’ll just do, let’s say, 30 here and 30 there. So, that’s actually probably way too thick, but we’ll just do it for conceptual purposes, and I’ll go and say to take the Fill tool here, and we’ll take this as interior finish – plaster or something like that. [0:53:26]
I’m not quite sure what would be appropriate, but I’ll take that, and I’ll draw the box up to there, and then I’ll do a similar one, lining it up with this point and taking it to the 30. So, now it’s going to be the same thickness as it was – the 143 here, the 6 inches, roughly, and I’ll say to save it, and now when I go back to that 3D view that I had, we can see that it’s now redefined. [0:53:59]
So, conceptually, what’s happened is I’ve said that here’s my geometry. Here’s where my walls are going to be. Here’s what defines the building layout, but I don’t quite know how this is going to be done, or I don’t want to take the time to get all the details. I’m just going to call it Wall Type 1, Wall Type 2, and then go in and redefine it. Now, remember that he had this very highly-detailed one. How would we get that wherever these interior partitions were placed? [0:54:30]
While I could select these 2 and switch them to this here and get that detail, ideally – it’s interesting. I guess the height is different for the one that was saved, but ideally, what we want to do is just redefine it so that we don’t have to select all these walls in 3D or on plan. We don’t have to select and change. We simply redefine, so how would you do that? There are 2 ways that I can say to do it, beyond simply draw the new details, and one would be if we go to the partition here, and we select all of this information. So, it’s 2422. So, it was certainly shorter. [0:55:24]
I’m going to select all this information here – maybe deselect these lines and copy them, and I’ll go now to the interior partition and select all these things here and paste. We’ll say to keep them in the original location. That will keep the reference point the same there. OK, now I’m not quite sure how this will all work in terms of the arrangement. You can see that the origin point is here. It’s actually going down below the finish floor to the structural floor, I presume there. [0:56:10]
Now, if I save this, and we go back to that 3D view, you can see how those walls are redefined. So, I would have to select all those walls. I just simply redefine them. Now, that works fine if it’s in the same file that you have that definition, but let’s say that you have that definition in another file. You decide that you’re going to be using a complex profile that you created in one project, and you’re now ready to drop it into this other project. [0:56:45]
Then, you would use Attribute Manager as the simplest way to manage it. So, we’ll go, and let’s see. If we go back to this one, I don’t know if we can actually undo. No. I did Command+Z for Undo, and it didn’t work, so let me go, and again, we’ll just go to the generic concept general here, and I’m going to do something like that. I’ll take it up all the way, full height, in a minute, but now I’m going to select all the fills except for this one and delete it, and so now I can go and put this back, essentially to a concept one. [0:57:37]
So, we’ll go in here and take this up to just that height here. Alright, so now if I save it, and we go back to our 3D view, we’ll have the simple material there. Alright, so let’s say that we wanted to bring it in from another file. Now, if it were the other file that was named Interior Partition 1, we could overwrite it by name. If it was the same index number in the system of complex profiles, we could overwrite by index, but what if it is just some arbitrary name that describes it, and its index has no correlation to what’s in this project? How could you bring that in and tell it you want to redefine this? [0:58:26]
So, it’s a little trick you need to understand that can work very beautifully. So, let’s go, and in fact, what I’ll do is I will go and do this in another project. I’ll go into – well, there are some complications, and it’s worth seeing how the complications work. So, we’ll go define in a brand new project here, go to our complex profile, profile manager, and I’m going to create a new profile, and we’ll call this Wall Type 1. Remember, we just did a generic name like that, and now this is in the U.S. version, so it’s going to be a little bit different, but let’s take this up and say it’s going to be 6 inches, roughly, and the height is going to be 9 feet there. [0:59:40]
Alright, so now this wall here – I save it, and we’re going to go back to the plan and draw just some walls. I’m not going to worry about layer. I’m just going to switch it to the complex profile, and we’ll have the Wall Type 1. Oh, my geometry method – I thought that’s what I was doing in straight segments here. What is going on here? Well, we’ll just do a box here for now. OK, that’s a box of these walls, and if I look in 3D, of course, it’s going to be just a simple shape here. [1:00:29]
So, now, what if I say I want to bring this in from somewhere else? It isn’t in my template. Let’s see how I can do that. I can go to the Options menu, Attribute Manager. It’s underneath the Options menu, or it would be in a submenu under Element Attributes off to the side, and in Attribute Manager, I can go to complex profiles, and remember I’ve got this one called Wall Type 1, and let’s go and find that file that has this from Tim Ball’s example. [1:01:00]
So, I’ll go and click on the Import and go find the file. It’s taking a moment to refresh the screen, and still a spinning beach ball. I’m not quite sure how long that will take. Let’s see if there are any questions or comments as we’re doing this. Yeah, it’s still got the spinning beach ball. Alright, so I don’t see any comments there. Alright, so it finally did come and allows me to go and select, so I’ll go and select the one here. [1:01:53]
So, this is before I made any changes today. This is from a couple of weeks ago there, so we’ll go and open up this file, and what we’ll see is here are the complex profiles that exist in that other project. Remember, this K3 Partition B is the one that I was interested in. Now, an issue here is that he’s using a totally different set of fill names, surface names, building materials, and so this is going to mess up this particular file that I’m in. [1:02:26]
It doesn’t matter because this is just for teaching purposes, but you do have to be careful when you’re bringing something in from another file. It will be simplest and cleanest if that other file has a common environment, and certainly, working in your own office where you’ve got projects – whenever you create a new project or where you maintain information, it’s going to have mostly the same framework. Here, it’s radically different. [1:02:56]
So, I’ll show you what happens is that when we bring this in, you won’t have the same issues in general when you’re working inside your own office, but I’m going to take this one here. Now, if I said overwrite by index, using this button here, then number 12 would overwrite this railing post. So, basically, that wouldn’t be very good because we’d lose this one, even though it’s not in use. You can see the checkbox is not turned on. You would lose it, and it would replace it with this. [1:03:32]
Now, if I said by name, if there was something with the same name, then it would overwrite that, and that might actually make a lot of sense if we had K3 Partition B, and we had a better definition of K3 Partition B in this other file. Cool, but whether I do it by name or append, it’s going to put it at the end of the list, so I think this will work just fine. By name, if there’s no match, I think it just appends it. [1:03:59]
So, I’m going to say Append. Now, when I append it, you can see here’s K3 Partition B, and it’s still referring to all of these things here because I’m bringing in all associated attributes in Attribute Manager. So, it’s going to bring in all of these things that don’t exist in this file, again, messing things up a bit, but that’s OK, in this context. You notice it has background 1 as opposed to background because there already is a background fill here, and it’s saying, “Well, I want to make sure that this comes in perfectly the way it was. I don’t want to overwrite or assume that the fill with a certain name like background is the same in the receiving file.” [1:04:43]
So, again, this is going to be more complicated than it needs to be, but let’s just say OK. Are you sure you want to apply the 14 changes? What it’ll do is bring in that one new wall type and a bunch of supporting pieces, and I’ll say yeah, go ahead and apply and close. Now, there is a button here. I could apply and close and then reopen this. It’ll take just a minute or two to do that, but what I’m going to do is instead, I’ll go to the changes so far – this little diamond or warning thing here, and I’ll say Apply All. So, this would apply and not close, so it allows me to move on more quickly. So, do remember that, that you don’t have to import and then leave it and come back in. You can just say Apply. [1:05:34]
Do you want to apply this? Yes? OK. Now, after a brief second, it reopens here. There’s no changes here, and now we’re back into this, and here’s its partition. Now, what I want to do is have this partition replaced with Wall Type 1 so that all of the walls that are drawn with that wall type use that. Now, I don’t want to copy this name and paste it in here, because actually, ARCHICAD would say you can’t have 2 attributes like complex profiles with the same name. [1:06:09]
What I want to do is get this definition on top of it. There’s nothing that says to drag this up and put it on there, but what we can do is we can close out the temporary area with this little X, then take this K3 Partition 3 and bring it over by name. You can see that it’s now sitting here by itself in a temporary file. Then, I’m just going to copy the name here. I’m going to select this name, copy it, and go over here and paste it. [1:06:42]
Now, I have a wall that’s all this definition with this name, and now I can go and say to overwrite by name, and what it will do is it will redefine Wall Type 1 by name. So, now this Wall Type 1 is using all this stuff, which of course has got some issues, but I’ve redefined it. Now, I say OK, and look what happens after I apply this. Those walls now are defined that way here, and if we were to do a marquee, just to see the core of them, you can see it’s got all the definition that Tim had put in there. [1:07:32]
So, the very interesting way to develop projects is to define categories. This is going to be Exterior Wall Type 1. This is Wall Type 2, and this is Wall Type 3. Now, maybe you already know what they look like, and you put in some definitions, or you already have some defined, but if you want to do complex profiles eventually, set them up as complex profiles, even if it’s just a simple rectangular volume, and then later, you can either draw more detail to redefine, or you can copy and paste from one profile into the one that you’re using, or you can use the Attribute Manager and follow a process of getting the name to be the same from the source and overwriting by name – using that little dance step to sort of bring it in. We bring our left foot in, and we shake it all around. [1:08:38]
So, anyway, let’s see if there are any questions or comments on this. So, let me know if it’s clear and whether you think it might be useful to approach things this way. I do appreciate those of you who actually type in there because otherwise, I feel like I’m talking to myself. I see several people typing, it says, and Anna says, “Thanks.” Eric says, “On a bigger scale, can zones or masses be converted to rooms?” Alright, Diane says, “So helpful.” Thank you, Diane. [1:09:36]
OK, so I know some more of you are typing. That’s great. Eric’s question. Can zones or masses be converted to rooms? So, in the last session, and in some previous ones as well, we’ve looked at creating some zones that were delineated in terms of area. So, that’s a common thing for defining your program requirements. We need so many rooms of certain types, and these have certain minimum or maximum or optimum sizes, and there is the option in the Zone tool or other similar rectangular shapes to say that I’ve defined something of a certain area – square footage, and I want to make it a little wider or narrower but keep the square footage or square meters. [1:10:28]
So, you end up with these shapes that you then potentially can arrange into a massing model and stacking. Then, of course, you can do that with just slabs or morphs, etc. Can you convert these masses into rooms? Not directly. There’s nothing that says, “Here, take these 50 things and make rooms around them.” Now, if we do have a polygon on the plan like a zone, and you use the Wall tool, you could magic wand the outside, and with the magic wand, it will just put walls on the outside. So, you could do that for these, if you wanted. [1:11:14]
Of course, since you’re likely to have these rooms side by side, many of them adjacent to each other, magic wand is not going to work because you’re going to end up with a magic wand around sort of duplicates of the walls, separating them, so that’s probably not so good. So, what you could do is, of course, place them in. Maybe you snap them together. You place them touching each other and precisely snapping, and then you draw the wall with the center line. [1:11:43]
So, you manually trace it, just snapping to the center line, and now you’ve got some partitions for where they are side by side, and then whether it’s coming to a circulation, you can decide what side of the wall you’re referring to with the zone and draw it, but essentially, I don’t know of any automated AI magic wand to convert those to rooms. You have to essentially trace them intelligently with your own set, your own preferred tools. Well, these are partitions of a certain type. These are different, etc. [1:12:24]
OK, Ken says, “I’m intrigued and somewhat grasp the concept. The recall for the steps to append, etc., escapes me.” So, watch the video again. I don’t want to demonstrate it again. I think it’s pretty clear, and I will write down some steps on the course page. Now, I want to point out something that you may or may not have been paying attention to, and that has to do with the course pages. [1:12:59]
So, we go to ARCHICADtraining.com. So, I’m sure you’re all at least aware that the course lessons are posted in different pages. So, if we look at one that – oh, let’s say the most recent one before this one. Conceptual Designs – Start Simple, Then Add Detail, Part 1. So, here’s the video, and here’s my description, and I went into this description – actually, not a whole lot for this one. Let’s see this one here – 21. I added more description to it, and I added some very detailed step by step notes for this. [1:13:45]
So, in other words, when you come back to this question, I’ll have some more detailed notes that will be step by step. Now, in addition, for the lessons where I’m having Julie Coleary, who’s taking the course – she’s working on creating an index for the lessons. So, I’ve got some conceptual stuff here, and she’s created a little sheet – a spreadsheet with information saying at 4 minutes, I started to talk about Mind Map. At 7:57, started talking about this. [1:14:32]
So, brief descriptions in order. So, I’m talking conceptually with my notes, and it sort of roughly follows the order, but she’s talking about what 2 minutes, 5 minutes, 18 minutes section one was when I was talking about it. So, she’s gone up through I think maybe about 7 so far, out of the 22 I’ve done, and she’s going to be playing catch up probably the rest of the year to do that, but I think it’s going to be very useful as a reference. So, anyway, that will make it easier for everyone who goes through this course to pick and choose what is of most interest and to follow along. [1:15:12]
There’s a video, and there are different types of notes. In the same way, the coaching program – if you haven’t been joining, or even if you have, what you may not know is that for many of the coaching program lessons here – I’ll go to this one from a few weeks back. In addition to the recording, we now have indexes for many of them, which say at what point a particular topic was covered, with a brief explanation of what the demonstration was. [1:15:45]
So, you can look and say, “Oh, I’ve always wondered why my walls don’t show a certain way or how to set up schedules and total the areas.” So, you’ll be able to do that, and I’m going to be setting it up with a global index, so you’ll be able to type in something like area total or window schedule, and you’ll see a list of different pages where that’s referenced. So, I have one more demonstration that I wanted to show, and I think I want to squeeze this in because I’d like to get this all finished up as one concept, which is the starting simple, then adding detail, and that’s using hotlinked modules and starting with a simple definition and then adding more detail. [1:16:32]
So, how does the principle apply in this case? So, we have this simple project. Let me just actually start over. Let me just get rid of these walls here, and I’ll just do this in the empty space over here. Create a wall. I’ll just create a box of walls here – maybe much bigger because what I’d like to do is have something that might be a unit plan. [1:17:12]
Now, units in a condo, a hotel, or an office – sometimes you know exactly what you want, just like what Eric Gedney was talking about. He knows how the walls and roof are going to be constructed, so I’ll just do that right off, but certainly, in a lot of designs, you’re going to just lay out some basic partition settings. You know that you want to have so many divisions, and the width is so much, but initially, you’re just trying to figure out how many units you can fit in, and then later you’re going to be putting in more detail. So, let’s just see how that would potentially go. [1:17:50]
I’m not going to worry about the type of wall or layer right now. I’m just simply going to go and draw in – let’s say, I don’t even know what type of dimension this is, but let’s say we had one bank here. I’ll do another one here, so let’s imagine that this is a corridor, and we have 2 sets of units here, and I don’t know what this distance is. Let’s just say it’s something like that, and we have some interior partition here. [1:18:19]
Alright, so we have this. Just imagine this is one unit and that we’re going to have multiple ones of these units, so I’ll go and one thing I can do is select the interior information that I’ve got here and use the multiply command and say that I’d like to just increment it along whatever distance happens to be here and just keep on repeating. So, if I go and say from this point to that point is the space, we’re going to have uniform ones and then zoom out, and you can see here that I’ve got 4 of them that I’ve repeated. [1:19:01]
So, that’s something that obviously you can do very quickly. Lay something out, figure out how many units you’d have, etc., and say that this unit over here obviously can’t fit another one, so we’ll make it bigger and do some other arrangement there. So, that’s certainly a possibility. Now, let’s say that we wanted to have some information in here. [1:19:29]
If it was a hotel or something, it might be a bed, so we’re just going to start out with the simplest thing to just give you an idea here. So, let’s say that I go and put in a bed and then a toilet here. Alright, so we can just pick a bed here, and we’ll put it in by this corner against the wall, and when I’m popping it in, I’ll say that I’d like to rotate it on the fly because I need to turn it to face the right way. We’ll just say it’s going to be this way here. [1:20:07]
OK, so I’m not going to worry about making it make sense. I just want to show the basic idea. So, let’s say that we’ve defined the partitions, and I want to create copies of this over here but develop more information over time. So, I’ve just deleted the contents here. I left the partitions, and I’m going to go select these elements and go to the external content menu under File and say Save Selection as Module. So, I’m going to save a copy of this tiny bit of information that I’ve got as a module. [1:20:55]
Now, you can save this as a full project, if you were going to create a unit plan or maybe even do a layout book that showed interior elevations and stuff for the A unit and the B unit and the C unit or something, but for now, I’m just going to do the module file, which will simply carry over the elements in the model in a separate file. It won’t have any layout book or other definitions like layer combinations, per se, but it will have all the physical elements and their organization on the layers. [1:21:29]
So, we’ll just call this Unit A Mod here. Alright, now did I – OK, good, and I didn’t check. There’s an option and a box that says to replace these elements with a copy of that mod. I didn’t do that, and that’s important in this case because I want to just keep on editing this and see how it edits these. So, now I’m going to go to the File menu, External Content. Instead of saving the section as a module, I’m going to place a hotlink to that module, and we’ll go and select the module, say that there’s going to be a new module that’s not currently in the project that comes from a file. [1:22:10]
If I already had something in here that was like a unit type A that was already placed, I could place another copy of Unit Type A, but here I’ll go to Unit A Mod, switch the filter to show module files, so it allows me to select this, and say Select. It says, “Alright, we’re going to get this particular information as a hotlink here.” We could do other things for Master ID. I’m not going to worry about that. That typically would have to do with like the room number or some other reference that defines this one versus other ones, but I’m not going to worry about that. [1:22:46]
There’s a master layer that allows me to turn it off and on. Right now, it’s actually defaulting to a sensible layer called G Modules 3D. So, if that layer is turned off, then these elements will hide. I’ll place hotlink, and you can see that it’s showing that it could go right on top of the original elements. That wouldn’t make any sense. I’m going to click in this, to this corner, and then click on the corresponding corner of the new one, and now I’ve tentatively placed it in the proper arrangement, saying what was in this corner should relate to this corner. [1:23:23]
Then, I click outside it. So, now this – when I select it, you can see it’s got grey handles as opposed to this, or sort of slightly greyed out rectangular handles. If I have groups active, then it’s also selecting the other elements in the module. Now that I’ve selected it with groups active, I can drag it. So, I could drag this around, but I can also drag a copy of it. So, I’ll just drag a copy of it from this corner to that corner, and let’s just say I want to make more than one copy. [1:24:04]
I can drag a copy and use the keyboard shortcut to drag multiple copies. That is Option+Command or Alt+Ctrl. You can see the 2 plusses, and you can say you want to go from here to here, and then you want to go down to here, and maybe we’ll just be sort of arbitrary down here. Now, this probably should be reversed. In other words, I’m assuming that from the corridor, you want to have the interior walls set out down below when we reverse it. [1:24:40]
I’ll do that in a moment. When I hit Escape, so now it’s finished adding those multiple copies. Of course, I could use Multiply as well as opposed to Drag Multiple Copies, but let’s see what happens. First of all, I’ll go in here and mirror it. So, I’m going to go and say to mirror, and I’ll just sort of do it arbitrarily along this horizontal line and then move this up so that it is touching the wall there. Let’s see. Drag this – maybe it needs to be like that, probably. Yeah, now it cleans up. In any event, this is now a mirror image. [1:25:23]
Now, we have a concept. Say that we’re going to have so many units here and so many units down here, and just enough to identify that OK, there’s a bed here. There’s a partition for the bathroom over there. Now, we have someone on our team go and add some more information. How does that happen? Well, let’s just say the simplest thing is that I’ll go in, and I’ll put in a chair. So, we’ll just do that to show a concept of tiers. [1:25:55]
So, I’ll say to put in a chair and put that in. Alright, so now we have a tiny bit more detail – not much, of course. I’m going to select these elements here along with this. This is now going to update the module. So, I go to the File menu, External Content, Save Selection as Module, and give it the same name. I clicked on the file here. It picked up the name, and it’s in the same location, and we’ll say Save. [1:26:33]
It’ll say that it already exists. Do you want to replace or overwrite it? I’ll say yes, please. So, now that’s been redefined with a little more information. Now, we don’t see any changes on these guys because we need to go to the File menu, External Content, Hotlink Module Manager, and say that we’d like to refresh the status of this module here. [1:27:00]
So, by the way, there’s an option in the work environment to say whether your module’s – when you open up this dialog, whether it should take the time to go find them and see if they’re up to date. With a project with many, many modules, that could take a little time and be frustrating, so often it’s best just to say I’ll refresh the status when I need to. Let’s say to refresh the status. Oh, it’s been modified. Click on it, and say that I would like to update it, so now it’s going to go find that module file, get the new, updated version, and when I click OK, it’ll update all of them. [1:27:38]
So, now you can see that all of them have an additional chair, and even the one that was reversed, the chair’s in the right place, and it’s facing the opposite direction there. Now, that was a very absurdly simply example, but think about how, for any type of repetitive design, if you start out with something that gives you the basic information you need, how many units there are, and how they’re going to be laid out, and in this case, the partition, the corner unit would have to have a different arrangement unit here. [1:28:22]
Ultimately, even if they’re rotated or mirrored, etc., you can have it defined by one module and then update that module with more information, with changes of information. Maybe you’re changing the wall types or putting in the door. You’re putting in dimensions or all of the types of information that would go into design and documentation, and they’re all going to show here. [1:28:51]
Now, as a little side note about modules, remember that if I go to the Layer settings, and I go to that G modules, and I turn it off, that was the master layer for those modules. I say OK, let’s turn that off. Now, we can see all of the partitions because I didn’t have one down here, but we can see all the partitions for the units without actually seeing the detail. [1:29:20]
So, if you wanted to just have a concept drawing that said we have so many of Unit Type A, so many of B, etc., then you wouldn’t necessarily have to show all of that detail, and in 3D, we’d get the same thing, in terms of having that. Now, you may have noticed a slight glitch here, which is having to do with the fact that these elements here are intersecting. When you have elements on a layer that’s hidden, then they will still interact with elements in the model, and so there would be some extra management that you would have to do, possibly to say that we’ve got some interior partitions. [1:30:08]
This only really affects walls and occasionally columns and beams, but you may put the interior partition walls on a layer that you can put on a different intersection priority, so if I go to the Layer settings for probably Walls – Interior, maybe if I put them on the partition layer, it would have been different. Actually, let’s just do that. I’m going to put that on the partition layer because that’s on a different number. [1:30:40]
So, I’m going to go to these 2 here, and instead of being on the exterior wall layer, let’s put them on the partition layer there and select these guys. Now, instead of having to select them all individually, I can use the Arrow tool. Now, remember the little trick that I showed, which is that if I wanted to, and this partition one – I might want to pull this back here so that these are not actually intersecting there. So, there are some complications here that we need to work with, but let’s say that we wanted to update this so that we wouldn’t get this type of issue. [1:31:24]
Well, I want to select everything that’s in this unit. Here’s 2 ways that we can do it in addition to just selecting the individual ones. I can go draw a selection arrow around this, but instead of having it select things that are partially enclosed, I can change the option for the selection arrow to get only things that are totally enclosed. Now, I can go down like this. Now, you notice that I’m not including the separation partition here because I would totally enclose that one if I did this. Here, I go into this dividing line. That instantly selected just the things that are inside it and not the things it overlapped. [1:32:10]
So, now I’m going to go and save selection as module, overwrite this one, and then External Content, Hotlinked Module Manager, Refresh Status, Update, OK, and now you can see this is cleaning up. It’s not causing any issues, and if I did go back to the layers and turned on the modules, then we’re going to see how they all come back in. So, let’s see if there’s any follow-up questions here. [1:32:54]
Alright, OK. Alright, so if your projects have a limited number of wall types, which is probably pretty common, then some of these strategies may be less important in terms of you already knowing what wall types they are, but as we talk about best practices in general, I want to know that those of you who have larger projects who have more challenges with managing that more detailed design, complex design, the changes and iterations – that you have some strategies that you can use. [1:33:41]
So, Taren asks about the advantage of using Attribute Manager to redefine a wall type from an imported complex profile. Why not just copy-paste a section of that wall from the outside file and then transfer its parameters using eye drop or inject? So, bringing in one or more elements from one file into another will do very similar things to working in Attribute Manager and importing the named, listed items into the project. With Attribute Manager, you have some options for, say, including the additional attributes or not. [1:34:27]
Sometimes, that may be helpful to actually exclude that and then redefine things so you don’t pollute or mess up your definitions. So, the manager interface gives you some more controls. In addition, you don’t necessarily have to open up the other project, go select things, and paste. You can simply go reference the other project in Attribute Manager and find things in a list. So, there are differences in there. [1:34:55]
Now, your idea of eye dropping things – you can eye drop an element and then inject it into another with the syringe, but remember that gable wall that I had. If I injected the wall settings from another wall into it, then it actually went down to the sort of standard height, and then I would have had to stretch it up – not that that’s a big deal, but it would actually force certain settings that may not be appropriate, and also, I have to go and find all the darn things and inject. So, what I was showing was how to redefine the wall type so that you don’t have to select them all. They just change. [1:35:42]
In fact, making sure that if it was different heights of a composite, it wouldn’t be affected by doing that. So, if you had a big project, just think about how much easier it might be to just redefine rather than select and change. OK, and Eric says, “So, that overview that you were pointing out on the lesson pages is helpful.” Alright, so Ken Brooks says, “That missing wall example also happens with the Renovation palette, in terms of that little notch.” [1:36:25]
With the Renovations one, there is a separate setting here that you should know about. We’ll go to the Renovations filter here. So, if we go to something like where we have the demolition plans – OK, so when you’re doing different types of drawings, and you’re showing and hiding different settings of things, there is an option for not intersecting that you can turn on here. So, for example, in the demolition plan, it’s saying that the walls that are shown in demolition mode – I’m not sure. [1:37:09]
I guess these are the doors here. They’re going to be demolished, and this wall here is not going to intersect in this little sample project. So, the Do Not Intersect is an option specific to the Renovation filter that says in certain conditions, I want elements to be demolished or existing elements to potentially not intersect and create holes or extend and cut off with new elements or the final design elements. So, these are some things you may want to look at, separate from the option of making the layers that I showed earlier on a different intersection group. [1:37:58]
So, that may be helpful there. OK, other final comments here. So, Ken says, “Thanks for the Do Not Intersect.” Yeah. Alright, so situation that you experience often is interior walls becoming exterior above a sloped roof plane. What I’ve done is to employ the claddings as separate from the wall types and used SEO to clean up the walls, and it is involved. Well, certainly, there’s a complexity for how you build the darn thing. [1:38:37]
In other words, you’re going to have the wall going up here, and the roof is intersecting it, and then how’s the framing going? Well, framing may go up further and then you have cladding, and the cladding is just above the roof line, and it’s different than what we have below the roof line. So, you’re essentially doing what the construction people have to do, put different cladding for the exterior up here or interior down there, or maybe it’s not clad down below – whatever the condition is. [1:39:08]
You can separate lower and upper walls and sort of stack them on top of each other. Obviously, when you have a slope roof that gets more complicated, you have to use Solid Element Operations, but sometimes you actually change the wall type. So, down below, it’s interior, and it’s one wall type, but up above, it’s exterior, and they are 2 separate walls, even though the framing is continuous, or you can say the framing continues, so let’s make it one wall type but leave off the cladding up above so we can replace it and put on a different cladding. [1:39:45]
Sometimes you just cheat and say you want to give it a different color so that it looks like the exterior cladding of everything else. So, there are complications. I understand. Alright, so I think we’ll finish up, then. Basically, we went through 3 different examples of starting simple and then adding detail. I think, depending upon your style of practice and your skill level and your needs in terms of project types, these will be useful resources for many of you. [1:40:23]
So, be back tomorrow with the coaching call. So, please join me if you have questions on how to apply things in practice, and you want to get things working or find a better way to do things more quickly. Sometimes, I can give you a more efficient, shorter way to get things done. I look forward to sharing that with you, and then next week, of course, continuing on with the 2020 course. I have to figure out where we go from here. [1:40:56]
In the original course lessons, we went into terrain modeling and site design and then went into some controls for snapping and 3D window management – a variety of things just to optimize your workflow. I haven’t quite figured out if I want to do it the same as before or reconfigure that. So, next time, it may be a surprise to all of us what I cover. So, thank you for joining me. I really am enjoying the process and hope you are too. Thanks for watching. [1:41:30]