Model Villa

[Shawana Kallhoff]

TheVR model incorporates data from both past and recent excavations and proposes a scientifically documented reconstruction, as opposed to commercial reconstructions that are influenced by the Getty Villa. I developed the model in discussion with the excavators of the site with the purpose of making it available as a research tool for archaeological excavation. The Villa dei Papiri is located below ground level under layers of rock, and still has not been entirely excavated.

My third aim in creating the VR model was to reincorporate the surviving known fragments of the finds from the villa, such as wall paintings, mosaics, sculptures, and papyri. In the model, visitors can see images of these artworks, which dot the site as shown in the diagrams below.

Reinhard Frtsch and I are currently working together to publish the model online through the websites of the Archaeological Institute at the University of Cologne and the German Archaeological Institute, with the support of the Thyssen Foundation, so that people around the world can pay a virtual visit to this striking Roman villa.

The virtual reality model of the Villa dei Papiri was created at the Experiential Technologies Center, University of California, Los Angeles, with the support of the Friends of Herculaneum Society, University College London, and the Excellence Cluster Topoi (Freie Universitt, Berlin). Special thanks to Diane Favro, Lisa Snyder, Chris Johanson, and Dean Abernathy.

This elegantly designed Aston Villa home model boasts of 2209 Sq Ft living space with a huge 2-car garage. Stainless steel appliances to include a Cooktop, built-in wall oven, vented canopy hood, and dishwasher, much more.

Some of its key features include an open concept area, split floor plan, master bedroom with spacious walk-in closet, master bath with dual sinks and shower with body shower panel, spacious secondary bedrooms with high ceilings & much more. Upgrades include Granite counter-tops, spray foam insulation, 42-inch-high, All-Wood Cabinets with Soft Close Drawers & Lazy Suzy, recessed lighting, an elegant finished garage, a laundry sink, and much more.

So when Ari Villoso reached out about a bridal gown editorial session to photograph their latest collection, I was ecstatic. I knew it would be an opportunity to stretch my creativity, as I do in many of my other editorial sessions.

That included everything from location scouting, vendor selection, and model calls. I organized a team of stylists, assistants, hair and makeup artists, videographers, and of course, my team of photographers.

I wanted to make sure each gown was thoughtfully styled and captured in a way to do it justice. So, I created an overall mood board for the entire editorial session. By doing so, I gave myself and my team a clear understanding of the mood we were creating.

That complemented the designs of the first ten dresses wonderfully. These bridal gowns were full of light, flowy fabric that rippled in the wind as the models walked through the grounds of the villa. They were the epitome of romantic and ethereal.

The second day was held at the Villa Cipressi wedding venue, where Italian history meets modern luxury. My team and I focused on the last ten dresses of the collection. And the venue perfectly encapsulated the aesthetic of the remainder of the collection.

While the dresses were just as romantic as the first ten, they had a more luxurious, modern aesthetic. Many of them were form-fitting, detailed bodices. Some flared into loose, flowing skirts, while others maintained a more structured skirt. No matter the design, they were stunning bridal gowns, especially in the Villa Cipressi wedding setting.

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Patients and methods: A total of 2,164 patients (18 to 80 years old) with aggressive B-cell lymphomas (80% DLBCL) treated with rituximab and CHOP (cyclophosphamide, doxorubicin, vincristine, prednisone)-like chemotherapy, who were enrolled in studies from the German High-Grade Non-Hodgkin Lymphoma Study Group and the MabThera International Trial, were analyzed for occurrence of relapse/progression in the CNS. The resulting risk model was validated in an independent data set of 1,597 patients with DLBCL identified in the British Columbia Cancer Agency Lymphoid Cancer database.

Conclusion: The CNS-IPI is a robust, highly reproducible tool that can be used to estimate the risk of CNS relapse/progression in patients with DLBCL treated with R-CHOP (rituximab plus cyclophosphamide, doxorubicin, vincristine, and prednisone) chemotherapy. Close to 90% of patients with DLBCL belong to the low- and intermediate-risk groups and have a CNS relapse risk 10% risk of CNS relapse and should be considered for CNS-directed investigations and prophylactic interventions.

In this tutorial, we will use Rhino and only Rhino (no grasshopper) to make a 3d model of Villa Savoye. Before you start this tutorial, it is highly recommended that you read the introduction of Rhino first: Rhino Introduction. The introduction provides the essential knowledge of some basics of Rhino, like the command line and the snapping tools.

After importing the AutoCAD file, you will notice that Rhino automatically makes new layers for the imported objects. In this case, Rhino actually used the layer information from the AutoCAD file. Rhino also makes some default layers for you to start. Go ahead and delete them, as we will make our own.

To make Rhino gives us more visual feedback; we should enable the cursor tooltips, which will make modeling in Rhino more interactive. Go to Tools Options, in the option window go to Rhino Options Modeling Aids Cursor ToolTips and enable the following options: Osnaps, Distance and command prompt.

Toggle the visibility of all the layers, except our newly created layer and the floor_00 layer, so we can focus on the ground floor. Pick the Polyline Tool and left-click on it to start drawing a continuous line that is joined together. Right-click will also draw a continuous line, but it will not be joined together.

Make sure Osnap is activated and select End point snap. This snaps the cursor to the endpoints of any curves or lines. With that set up, go ahead and maximize the Top Viewport. Do this by double clicking on the viewport name.

You may also use the Rectangle tool to draw the lines. Draw one wall at a time if you wish to have more control and ability to edit your model later. Otherwise you can make multiple walls with one continuous curve.

After drawing the line, we will extrude the curve to make a solid 3D wall. This is best done in the perspective viewport, because you have visual feedback. Do this by double clicking on the Top viewport to go back to the 4 viewports. Select the curve and go to Solid Extrude Planar Curve Straight.

In the command line, we are asked to enter an extrusion distance, enter 2750 (remember, we are working in millimeters) and within the parenthesis, there are several options that we can toggle for the extrusion. In our case, we want the extrusion to be capped, so we click on the Cap option. This will close the top of the wall, making it into a closed solid.

Notice the curved wall. We will be making this wall in three sections. Before we actually start drawing, we need to toggle the Mid Snap tool in the Osnap toolbar at the bottom of Rhino.

For this wall, we will use a new tool, called the Arc Tool. If you look closely, some tools have a white triangle at the bottom right. If you click and hold on these tools, additional tools with pop up. Go ahead, click and hold on the Arc Tool, you will see a window pop up with 7 more ways to makes arcs. We will use the second one. When using these tools, it is highly recommended to look at the command line to see what the options and requirements are.

We have built this curve of the wall with multiple curves and you can join the curves together for easy selection or just leave them as separate parts. These curves only serve as the profile from which we will extrude our wall from into 3D. If your do want to join them, select all the curves and click on Join (or go to Edit Join).

Now we will model the glass at the entrance. If you take a look at the photo below, you will notice that it consists of multiple glass panels. To draw the curves on the glass wall, we will use the Arc tool. Click and hold on the Arc tools, to get more tools and we will pick the second one again.

When drawing the curves you might encounter some problems and inaccuracies. The longer curve from the AutoCAD drawing might not completely coincide with your curve, but you can ignore that for now (the curve is actually not an exact arc). As for the shorter line you might encounter an additional different problem. For instance, you might get the curve to be like the image to the right.

The reason is that when you draw the curve in the topview, your cursor might snap to the wrong point, because the End Point Osnap snaps your cursor to the endpoint of the upper corner of the wall. The easiest way to fix this is to draw the curve in the perspective view and remember to use End Point and Mid-Point Osnaps.

To give the panels a thickness, we will use the offset curve command. Select the curve and go to Curve Offset Curve. In the command line, Rhino asks us which side we would want to offset, but we would also like to define a thickness, in this case, the distance from the curve. Click on the Distance option between the parenthesis to change the default distance 0f 1 to 30 (we're working in mm, remember?) and hit enter. Click on the inside to offset the curve to the interior and do the same for the other curve.

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