Revit Architecture 2008

Autodesk Revit Tutorials, Revit Families, BIM Revit

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Home CHAPTER 1 Intrduction What to expect from BIM Where can you go from here The bottom ine CHAPTER 2 Introduction Working with Revit Parametric Elements The Revit User Interface Using the Project Browser The Bottom Line CHAPTER 3 Introduction Selecting, Changing, and Replacing Elements Editing Elements Interactively Other Useful Tools The Bottom Line CHAPTER 4 Introduction Starting a Project with a Custom Template Settings for Graphic Consistency Creating Custom Annotation Tags Creating Custom Title Blocks Creating a Custom Title Block with the Family Editor The Bottom Line CHAPTER 5 Introduction Wall Types Floor and Roof Types Ceiling Types Door and Window Types Stair Types Types and Type Catalogs Graphic Overrides of Host Objects with Complex Structure Additional Global Project Settings The Bottom Line CHAPTER 6 Introduction Modeling with Revit Principles of Modeling in Revit Where Can You Go From Here? The Bottom Line CHAPTER 7 Introduction Massing Studies The Bottom Line CHAPTER 8 Introduction Conceptual Design and Early Studies The Bottom Line CHAPTER 9 Introduction Revit Design Options The Bottom Line CHAPTER 10 Introduction Modeling Parametric 3D Families Choosing the Right Family Template Types of Families Smart Workflow: Nesting One Family into Another Parametric Arrays in the Family Editor Encoding Design Rules Building a Parametric 3D Family The Bottom Line CHAPTER 11 Introduction Basic Walls: Advanced Modeling Techniques Curtain Walls: Advanced Design Techniques Roofs Roofs and Slabs: Advanced Shape Editing Railings and Fences The Bottom Line CHAPTER 12 Introduction Drawings with Shadows Color-Coded Plans and Sections Elevations That Convey Depth Working with Perspective Views Rendering Creating Animated Walkthroughs Exporting to Other Formats The Bottom Line CHAPTER 13 Introduction Preliminary Design Tools Calculating Areas Schedules Using Schedules for Preliminary Cost Estimates The Bottom Line CHAPTER 14 Introduction Sustainability in Architecture Preliminary Design Tools Tracking Recycled Materials Window Surface Percentage vs. Room Area Energy Analysis The Bottom Line CHAPTER 15 Introduction Annotating Your Views Displaying Information about Rooms Schedule Keys Tags Shared Parameters Text and Keynotes The Bottom Line

Massing Studies

There are many ways to start a new design. It often starts as a napkin sketch while you listen to your client’s needs and desires in a coffee shop. These first ideas encapsulate the essence of the design and, unless some unforeseen changes are demanded in the design, usually manifest themselves in recognizable form in the final building. Many architects are known for the remarkable similarity between the first napkin sketches and the final outcomes, as can be seen in drawings by architects such as Frank Gehry, Jorn Utzon, Daniel Libeskind, Frank Lloyd Wright, and countless others. Figure 7.1 shows a hand sketch using very gestural lines, tones, and hatches. The ability to sketch freely and with gestural expression is a fundamental aspect of design iteration and has been part of the architectural profession for centuries.-
Figure 7.1 An inspiring early sketch
Architects have long realized that the only way to make an investor buy in into their early ideas and designs is to make that investor understand the designs. Many investors have difficulty read-ing technical drawings, so architects use creative methods to communicate the design, the space, and the experience of that space. Perspective drawings, photo collages, and 3D physical models made of wood, Styrofoam, cardboard, balsa, Plexiglas, and metals are all used to help the client, and sometimes the public, understand the implications of a given design. In more sophisticated building studios, these models are constructed so that the design can be evaluated by deconstructing the model to examine individual stages of construction and integrated systems. Models can range in fidelity from very rough massing studies to highly photorealistic ren-derings, as Figure 7.2 demonstrates.
Figure 7.2 Models can range from very rough (a and b) to highly refined representa-tions (c and d).
3D physical models offer some obvious advantages for conveying design intent:
You get an immediate feel for proportion, scale, and composition. You can get a feel for spatial volume. Light and shadow can be easily simulated. It’s possible to model the surrounding site and understand how your design relates to its context

3D physical models also have some potential disadvantages:
They take a lot of time and patience to create. They require space for creation as well as storage. They are created in only one scale. They can’t handle design options easily. They require manual work—both in the physical modeling and in performing calculations of area and space. They can be costly in terms of skilled personnel, materials, and equipment.
As clients become more demanding, they aren’t satisfied with understanding how the future building will look, but also want to know how the building will perform in terms of lifecycle costs. They need the ability to compare and contrast multiple solutions in order to arrive with you at an optimized design solution that meets their taste, all the program requirements, and is sustainable economically. To accommodate all that, architects and owners need to analyze the building and experience it in the early stages of design before it’s built. Traditional hand-built models don’t provide this kind of analytical flexibility. This is where using digital models backed up by real data comes into play. See Figure 7.3.
Figure 7.3 Early massing studies
Massing Study Workflows Massing Tools Starting a Conceptual Massing Study Putting Theory into Practice: Making a Parametric Mass Family Taggving and Scheduling Mass Importing 3D Conceptual Models Created in Other Applications Rapid Prototyping and 3D Printing