Reimagining the Veterans Memorial Tunnels

Jon Altschuld is a landscape designer for THK Associates in Aurora, Colorado. THK developed the aesthetic design for the Veterans Memorial Tunnels, a major highway infrastructure project currently being constructed along Interstate 70 near Idaho Springs, CO. (If you’ve skied in Colorado, you’ve probably driven through this stretch of highway). We talked with Jon about how SketchUp was used in this project.

One of the final renderings of the proposed tunnel design – SketchUp model rendered with Vue.

Tell us a little more about this project.

These tunnels (formally known as the Twin Tunnels) were originally built in 1961. This project focused on improving mobility within the I-70 corridor by widening both tunnels to three lanes with wider shoulders. The project also focused on addressing safety and creating unique features to serve as gateways for the area.

The previous design of the tunnel portals created a feeling of driving into a headwall, which caused motorists to brake and slow down when approaching the tunnels. The new design resolves this problem by integrating a spiraling tunnel portal that welcomes motorists into the tunnel gradually. These spiraling tunnel portals are the result of evaluating multiple design options on a variety of criteria.

Did you work with any data that was imported into SketchUp? 

Yes, most of this 3D model was based on imported data. The existing terrain information was collected in the field with LiDAR, and the LiDAR data was converted into a TIN (Triangulated Irregular Network) mesh in Microstation. Microstation was used because that’s the main software the transportation engineers use. The Microstation mesh was then exported to AutoCAD .dwg files as both a mesh and as contour lines. We were able to import the mesh file directly into SketchUp, and the contour file was used to create proposed grading files in AutoCAD. The proposed grading files, as well as the plan view geometry (road layout, tunnel layout, retaining walls, etc.) were all created in AutoCAD and the .dwg files were imported into SketchUp. Once in SketchUp, the proposed contours became meshes via the From Contours Sandbox tool, and they were then combined with the existing grade meshes.

How did SketchUp help in the decision-making process? 

This project used a Context Sensitive Solutions (CSS) approach, which involves creating and evaluating a number of options based on a variety of criteria. SketchUp was used to arrive at the final options that were evaluated in the CSS process, and for evaluation during the actual CSS process. Leading up to CSS, over a dozen different design options were created and explored in meetings. For these meetings, SketchUp was more useful than final renderings because we were able to look at any view in real time, as well as make design changes to explore additional options. During the CSS evaluation, SketchUp was used to compare four options side-by-side.

One of the west portal options in SketchUp. The pinkish area is existing terrain, and the purplish area is proposed (the big wall of purple is a large cut where rock was blasted away to create enough space for the wider tunnels).

How did you communicate or collaborate with other colleagues and consultants? 

We used one main SketchUp model with multiple groups and layers. I’m a bit of a grouping (and components) fanatic; it keeps models organized and the file size down. I mainly use layers for separating visual options, which was perfect for this project. One little trick was to place 3D text with the name of the design option in a visible place in the model (as seen in the image above) and put it on the same layer as the geometry for that layer. Whenever Option B was being shown, “Option B” text was visible; this helped reduce confusion.

I think the SketchUp images do a pretty good job of showing how we used SketchUp as a design tool, but what isn’t shown is how interactive it was for meetings. Being able to analyze and compare over a dozen options from any view, modify those options on the fly, and create new options while in meetings was invaluable. To work efficiently on the fly, the model needs to be created with that objective in mind. For example, having the different options on appropriately named layers allows you to quickly compare the options at the request of meeting attendees. Having the model neatly grouped allows you to easily modify pieces without affecting the whole model (be sure to know which pieces are groups and which are components). These in-meeting modifications to the model often are not as clean as the overall model and may require some clean up back at the office. Typically, I will save the ‘meeting’ version of the model, but only use it as a reference to make the refined edits to the final model.

Were there any SketchUp extensions that helped with this project? 

I use extensions every time I open SketchUp. Some that I use on almost every project – including this one – are Weld, Tools On Surface, Joint Push/Pull Interactive, Selection Toys, Bezier Spline, and PathCopy. 

The most challenging piece of the model to create was the spiraling tunnel extensions. I went through a number of trials to get the geometry correct; some of these trials used extensions such as Extrude Tools, Artisan, Curviloft, and Follow Me & Rotate. ThomThom recently released an extension called Bezier Surface that would have been really helpful had it been available when I was working on this model! 

Also, the ivy that is seen in the final Vue renderings was created in SketchUp using the SketchUp Ivy extension – this wasn’t added to the design until I was already working in Vue; that’s why the ivy doesn’t show up in the SketchUp images.

SketchUp view of the east portal exploring the spiraling hood extension at the tunnel entrance.

Tell us about the transition from SketchUp model to the final Vue renderings.

The transition from SketchUp to Vue is fairly simple. I typically change the SketchUp materials to bright solid colors so that I can easily differentiate them in Vue (unless there’s a SketchUp image texture I want to use in Vue). After cleaning up any unnecessary pieces of the model (such as unused options), I export the model to an .obj file and import that into Vue. All of the vegetation (except the ivy) is added in Vue. The boulders and talus slopes were also created in Vue. Vue recognizes objects based on material, so it is fairly easy to create and assign materials one-by-one for the model. The process typically involves a lot of quick, low quality test renders to fine tune the materials, lighting, camera, and atmospheric settings. Once these are all finalized, the high quality final renderings can be created – which can take a while. Some of the renderings for this project took 16+ hours to render! All that remains after that is post-processing work in Photoshop.

Final rendering of the east portal.

How do you go from SketchUp model to tunnel construction? 

For this project, much of the “base pieces” were already engineered and into construction documents when the SketchUp modeling began. For example, the core tunnel structure/bore, the roadway alignment, and the utilities were all pretty much set. The configuration of the tunnel extension walls, retaining walls, and proposed grading were all items that became defined by decisions from the SketchUp model. For these items, the beginnings of the construction documents were already in place from creating the linework in AutoCAD. From there, we simply had to bring these drawings to 100% construction documents and the General Contractor installed them. The General Contractor was involved in many meetings leading up to construction where we used the SketchUp model to better explain details of the design. 

Posted by Josh Reilly, SketchUp Team

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Modeling with architectonic tile: a conversation with Tilelook

Based in the Veneto region of northern Italy, Tilelook is a technology services company that works with manufacturers in the bathroom flooring, coverings, and furnishings world. Now, as a 3D Warehouse content developer, Tilelook makes those products available to SketchUp designers around the world via 3D Warehouse. We spoke with Marco Rossi from Tilelook about their recent work building out the 3D Warehouse catalog for FLEXIBLE ARCHITECTURE tiles from the manufacturer Ceramica Sant’Agostino and designer Philippe Starck.

Ciao, Marco. Can you tell us a bit about who’s behind the FLEXIBLE ARCHITECTURE catalog you recently posted to 3D Warehouse?

Ceramica Sant'Agostino produces floor and wall products made of ceramic and grès, with a range that covers both interiors and exteriors for residential and public use. The company has a 50+ year history in the ceramic tile sector and a reputation for high quality, cutting edge technology, and respect for the environment.
The collaboration between the creative genius of French designer Philippe Starck, and the immense industry know-how of Ceramica Sant’Agostino, has resulted in a project called FLEXIBLE ARCHITECTURE.

The FLEXIBLE ARCHITECTURE modeling set by Philippe Starck (modeled by Tilelook)

What’s unique about FLEXIBLE ARCHITECTURE?

FLEXIBLE ARCHITECTURE represents a new vision in the tile world, brought to architects by an iconic designer. It’s a new territory, a different point of view: the wall tile leaves the two-dimensionality to “invent” the three-dimensional.

The idea behind it is to move beyond the decorative nature of tile as simply a wall covering and use it a modular element that is part of the architecture. With FLEXIBLE ARCHITECTURE, the wall covering takes on a totally new potential: from customary decorative element to architectonic system.

Who will be interested in the FLEXIBLE ARCHITECTURE tiles you’ve posted on behalf of Ceramica Sant’Agostino and Philippe Starck?

SketchUp users who are professional architects and interior designers will definitely be interested in these tiles for their designs. Students who are studying architecture and interior design will also probably be interested in using these tiles in projects. Maybe even amateur designers who are looking to explore ideas for an upcoming project will like to use these too!

Do you have any advice to SketchUp users who want to best utilize these tiles in their SketchUp model?

As Philippe Starck has said, these tiles should be treated as more than just a decorative element. Unlike traditional tile represented as a SketchUp material, the FLEXIBLE ARCHITECTURE models give SketchUp designers the freedom to create their own 3D tile designs. Each element of the FLEXIBLE ARCHITETURE line is represented as its own SketchUp model, so designers can combine elements to create their own unique combination and apply them to their designs.

Have you posted any other tile catalogs to the 3D Warehouse besides the FLEXIBLE ARCHITECTURE catalog?

In addition to the FLEXIBLE ARCHITECTURE catalog, we’ve also uploaded the Folli Follie catalog by Ceramiche Brennero and Tavolato by Casalgrande Padana. We’re working on posting more content soon!

Can you tell us a little bit more about your company Tilelook?

Tilelook is both a technology and services company. The Tilelook web application is our main technology. Users of it can find over 60,000 tile and bathroom products by 200 well-known brands from 23 countries around the world. They can also create and share photo-realistic rooms decorated with the authentic tile products . This is what makes Tilelook unique: it’s an ecosystem where all the stakeholders in the tile industry -- manufacturers, distributors, resellers, architects, designers and private users -- can benefit from being part of the Tilelook community.

In addition to posting content to 3D Warehouse, we’ve also created a Tilelook extension for SketchUp that accesses the Tilelook web application. Users can find this extension, along with an instructional video about how it works, on Extension Warehouse.

Finally, from a services standpoint, we’re interested in building out SketchUp models of bathroom tile, coverings or furnishings for manufacturers in Italy and around the world as part of the 3D Warehouse content developer network.

Grazie, Marco.

If you’re interested in getting your tile or bathroom products built for 3D Warehouse by Tilelook, you can find Tilelook on the 3D Content Developer page, or visit their website here.

Posted by Chris Cronin, Business Development Manager

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SketchUp Pro for set design: A conversation with Andy Walmsley

Andy Walmsley (AndyWalmsley.com) is an Emmy award-winning set and production designer whose work has appeared in television, Broadway, Las Vegas, and beyond. Andy uses SketchUp Pro extensively in his design work, and, in this post, shares how he came to production design as a career and how 3D has changed his work.

Walmsley’s set model for America’s Got Talent, designed in SketchUp Pro

What kind of sets do you work on?

I’m very diverse, especially for someone in my field. I am essentially a set designer although there are many fancier names for my job: art director, production designer, scenic designer, scenographer. Most people in my line of work tend to specialize in one genre. For example, the guys who do Broadway theater set design rarely (if ever) work on TV sets. Television designers who do ‘drama’ don’t do entertainment shows (like award or game shows). And the designers who do opera and ballet don’t do musical theater. Movie designers just do movies. Rock n’ roll touring designers also specialize. I am very unique in that I design for major TV entertainment shows, Broadway musicals, Las Vegas spectaculars, museum projects, ice shows, cruise ship performances, theme parks, circuses, corporate events: essentially, I’ll design a set for any genre as long as it’s entertainment.

The production design for the Tennis Channel's Wimbledon Primetime

How did you get into set and production design as a career?

I come from a family of performers. My great grandfather was a very famous British comedian; my grandmother was a silent movie piano player; my grandfather a big band bass player; my dad was a famous comedian; and my mom a fire eater (yes, a fire eater). So I grew up backstage in Vaudeville theaters, TV studios and the circus. For a while I wanted to be a TV cameraman, so my mom bought me a little Lego TV camera crew and I built Lego TV sets and had my little plastic crew shoot my masterpieces. The models got more and more elaborate, and one day a family friend, magician Paul Daniels (the UK’s David Copperfield) saw my models and said, “You know, people actually do this for a living.“ I owe a lot to Paul and even more to Lego.

Have you worked on any projects that folks might have heard about?

Just a few. Most famously, I designed Who Wants to Be a Millionaire? (before I started using SketchUp). My original design for that show is the most duplicated scenic design in history, as the set has been built to every identical detail in 108 countries around the world. That set was also used in the Oscar-winning film Slumdog Millionaire. I designed for American Idol which is often considered the most successful show in the history of American television. I was nominated for three Emmys for that show and won the Emmy for ‘Outstanding Art Direction.’ I’ve worked on America’s Got Talent, So You Think You Can Dance, and a bunch of other well-known TV projects.

Walmsley's 2009 Emmy-winning production design for American Idol

I’ve designed about 14 Las Vegas shows now, which is more than anyone else I know. In theater my most famous show was Buddy — The Buddy Holly Story. That production was duplicated in 13 countries. My other big theater gig is Blood Brothers, a fantastic musical which is still running in the UK nearly 20 years after I first designed it.

What is your favorite part about your job?

The ultimate satisfaction for me is to spend a few days creating a model, virtually walking around every inch of it, then only a couple of months later find myself walking around the real set. Most of my sets are huge; they usually occupy sound stages that are 100 feet by 200 feet in size. To be walking around something that you visualized and that came out of your head (via SketchUp) 10 weeks previously is an amazing feeling of power. I think a lot of designers are megalomaniacs, and I think I can see why.

A concept design for an "extreme musical chairs" variety show

How long have you worked with 3D modeling software?

I initially invested in a full Mac set up in the 90’s. As if by destiny, the week my hardware and software arrive in the mail, I also landed a huge job and didn’t have the time to learn how to make the leap from a drafting table and pencil to digital tools. Then another job came in, and another, and from that moment I have never been out of work, but also couldn’t find the time to learn to work with the new tools.

Fast forward ten years. I had moved to The States to work on American Idol. Shortly after arriving, I purchased a bells-and-whistle drafting table and rented some office space at Henson Studios so that I could set up a model-making office. Pretty soon, I was being mocked by colleagues for still drafting on paper. I signed up for a Vectorworks course that the Art Directors Guild was offering and struggled for the first month. The instructor, Don Jordan, had the patience of a saint, and during one of the class breaks he showed me a new program that he thought I might find easier to grasp — and that was SketchUp. I remember staring at the screen like a caveman looking at the first wheel: I was in love immediately.

I’m musically inclined so I often relate my experience with 3D modeling to this metaphor: musicians can pick up some instruments and just instinctively be able to play them. I can grab almost any instrument that you blow into and get a tune out of it in seconds. But string instruments, I am hopeless with. SketchUp is just one of those instruments that I could play instantly.

Why is 3D important in set design?

Let me describe the process as it was prior to SketchUp Pro. I would go to a meeting about a new show and get briefed, go back to the office and start drafting roughly in pencil, then take those drawings to my two or three model makers (who I had to pay every Friday). They would then spend a week or longer building the models. I would take the model (often on a crowded London train) to show to the producer, he would inevitably want to make changes, I’d take the model back and the assistants would break the model apart to rebuild it with the adaptations. All of this was extremely time consuming, very expensive. Model materials aren’t cheap, and model-making employees (and their models) take up a lot of space. I also don’t miss constantly breathing in toxic glue and paint fumes.

One of Walmsley's older, physical production models for American Idol

Now with SketchUp Pro, I don’t even need an office. I go for the initial briefing and can usually turn around a very complex SketchUp model in one (or max) two days with no office, no employees, no equipment, no fumes. The best part: I can now email designs to my producer without travel and I can make changes by quickly editing the SKP file, often in a hotel, an airport or a Starbucks. Now, that is Freedom. I have said it many times, and it sounds a bit overdramatic, but SketchUp literally changed my life.

Tell us about a particular design problem that you’ve been able to address in SketchUp.

Glossy floors. So much of entertainment involves GLOSS. We love glossy floors and reflective surfaces: it’s all glitzy showbiz stuff. It’s also a curious modeling problem to solve. Sometimes I will assign the stage floor a smoky, transparent surface and then copy the entire model above and scale it inside out underneath my transparent floor. It will really look like the above scenery is reflected in the floor but really you are looking at a complete copy of the model under the floor.

Do you have any advice for other SketchUp users?

My problem is that I have gotten super fast on SketchUp, but done so using my own little tricks and not really utilizing the software properly. Have you ever seen a bad driver in a car? They can drive well enough but they are using the wrong hand on the wrong side of the steering wheel. Doesn’t seem so safe, right? That is me with SketchUp: I make it do great things, but I always think there may be a better way to save time beyond just working quickly. One of my resolutions this year is to get some one-on-one training from a real expert to help me master some of the fundamentals. That should help me get up to super, scary modeling speed but with my hands at 10 and 2 on the steering wheel.

Posted by Mark Harrison, SketchUp team

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SketchUp for crime scene reconstruction

We’re never surprised to hear that SketchUp is being used in ways we didn’t expect, but we were particularly impressed when we came across this article about SketchUp’s knack for reconstructing crime scenes. We wanted to learn a bit more about how 3D plays into crime scene reconstruction (and yes, some of us are Dexter fan boys), so we tracked down Detective Albert Schade, the article’s co-author and the mind behind Crime Scene Interactive, a website that details workflows for modeling crime scenes in 3D.

A SketchUp model used as the basis for crime scene reconstruction

How long have you worked with 3D modeling software?
I’ve been 3D modeling since the mid 90’s; I got my feet wet with Animation Master and Milkshape: those really broadened my use of computer generated animation and modeling. Since then I’ve toyed with 3D Studio Max, Maya, Blender and SketchUp.

So what is "Crime Scene Interactive?" Who is it for?
Crime Scene Interactive has gotten a lot of attention since the publication of our article in the Association of Crime Scene Reconstruction Journal. Crime Scene Interactive is a workflow that allows you to make interactive courtroom exhibits through the use of SketchUp, Blender, Gimp or Photoshop, Ultimate Unwrap3d and the Unity 3D game engine.

SketchUp, in particular, is a huge part of that workflow thanks to its ease of use and the ability to quickly model in real world measurements. SketchUp also happens to be very expandable with the ability to add features via Ruby and its nice assortment of import/export options.

What role does 3D modeling play in your detective work?
I’m a Detective in the Forensic Services Unit for the Berks County District Attorney’s Office. I investigate homicides, serious bodily injury cases and fatal crashes. I also instruct police officers in fingerprint comparison, blood spatter, evidence processing, and 3D crime scene creation. 3D modeling is a great way to make exhibits for all of these disciplines.

In law enforcement, we face several hurdles when bringing cases to court. During evidence collection and processing we obtain a large amount of information. When we testify in trial, we need to relate that information to juries -- groups of people with very diverse educational backgrounds -- in a very short period of time. Demonstrative exhibits help visually display that information. So 3D models and walkthroughs are incredibly useful for taking the vast data we’ve collected at a crime scene and relaying it in court so that a jury panel can make an informed decision.

Depending on the victim condition or amount of blood in a scene, judges will sometimes not allow actual crime scene photos in a courtroom. SketchUp models afford a neat and clean depiction that still articulates the positioning of the victim.

3D is also important for investigations. Most people don’t realize that police departments spend a lot of resources not only proving what did happen, but what didn’t happen. In pursuit of the truth, rapid availability of reconstruction information helps us decipher witness or suspect statements. We can focus on the right people and not waste time on bad leads.

How did you first come across SketchUp?
I first used SketchUp for personal projects. I like woodworking, so I used SketchUp with the Cutlist plugin to help organize my project and develop a shopping list. Learning how engineers and various other artists and professionals around the world were using SketchUp is what led me to start using it for crime scene work.

Now, SketchUp fits perfectly in my workflow. With a large caseload, I need to keep investigations moving. With SketchUp, I can mock crime scenes very quickly, and then communicate the spatial relationship of items in the scene to other investigators in a clean, concise fashion. From there, we can start the process of testing theories and corroborating witness accounts to physical evidence.

Small apartments often make photography and camera views difficult to share. SketchUp's X-Ray mode provides a good overview of a room and makes it easier to navigate the 3D space.

Are there specific tools in SketchUp that are particularly helpful for your work?
LayOut is a great tool for turning sections of scenes into illustrated visuals for a presentation slide. SketchUp Pro’s reporting function is also very useful, because I often have to provide defense attorneys with data that shows my scene model is accurate. The report option lays out this data in a spreadsheet, saving me a lot of time.

The ability to export models to .FBX format is also important because I currently use the Unity game engine to animate interactive walkthroughs of a scene. The DXF import option also helps because some of our measuring equipment saves to DXF; that import ability makes it easy to load control points directly into SketchUp Pro.

It sounds like you use several 3D tools in cooperation with SketchUp; what else is in the quiver?
I use Blender to make human models animate and any organic models that would otherwise be difficult to create in SketchUp. HemoSpat is a blood spatter analysis suite that allows me to create a 3D model of a bloodletting event’s area of origin. It can then be imported into SketchUp for placement in the crime scene model.

A SketchUp model (running in Unity 3D) with the blood spatter model accurately position. The lines show the trajectory of the blood, and where they intersect shows the area of origin in 3D space.

I also use Unity, a game engine that brings crime scenes to life in an interactive animation. This lets you walk through the crime scene in a courtroom just like a video game. You can interact with items of evidence, and display images from the crime scene in relation to the model.

Posted by Mark Harrison, SketchUp team

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SketchUp Pro Case Study: Environmental Air Systems

Environmental Air Systems (EAS) is a full service mechanical contractor based in North Carolina specializing in mechanical systems for health care, pharmaceutical, and data centers. EAS also has unique capabilities for Off-Site Construction (OSC), which allows for the manufacture of a wide range of products from mechanical skids and air handling units, to full central utility plants and large scale modular data centers.

With SketchUp Pro, Environmental Air Systems has been able to improve communication with their clients as well as increase their Off-Site Construction productivity. Carroll Shephard is the Production Design Coordinator for EAS, and also one of their SketchUp champions. He spoke with us about how EAS uses SketchUp.

SketchUp at EAS
Back in 2007, EAS was working on two data center projects. In an effort to create a more accurate and visual as-built of the product, we switched to SketchUp. We provided our client with an AutoCAD version along with the SketchUp as-built model. The client really liked that we gave them something more visually rich through SketchUp. Since then, we have transitioned all of our production drawings to SketchUp. Now, we are adding SketchUp to more processes than ever.

With SketchUp, we don’t spend a lot of time learning the software, and because it’s so intuitive, we’ve reached a point where we can rapidly turn detailed models into coordinated production drawings for our manufacturing facilities. Then, we generate material lists with an extension plugin.

The use of 3rd party plugins, like Space Design by RenderPlus, allows  for custom report generation directly out of SketchUp

SketchUp has changed the way we design as it enables us to transition from 2D to 3D. The advantage of working in 3D is that our product is “virtually built” before materials are ever ordered. Previously, we coordinated parts by calculating the clearances needed using a calculator or spreadsheet. Now, all the drawings (previously made using AutoCAD) are produced in SketchUp. From there, we have been able to coordinate our products using Navisworks (and we’re now experimenting with Tekla BIMSight).

SketchUp Pro & Client Communication
While communicating with clients, SketchUp most often plays the role of a visual aid. For example, we recently worked on the preliminary design of a pipe rack system to be installed in a pharmaceutical facility. With SketchUp, we were able to model the pipe rack exactly as it would be installed (a retrofit situation). The SketchUp model helped the marketing group clearly communicate the scope of work and make sure that our design was meeting or exceeding client expectations.

Rendered models help clients visualize how projects will look after completion

We also generate concept renderings for potential clients. These allow our clients to see what their project will look like once completed. So to a real extent, we also use SketchUp as both a sales and design-build tool: it enables us to show potential clients our solution for their specific application and then it helps us produce accurate, detailed drawings quickly. Both of these advantages enable us to be more successful and it has been a driving force on many projects.

Guest authored by Carroll Shephard, Environmental Air Systems, LLC

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Creating complete construction docs in LayOut

When we profiled architect Nick Sonders' amazing use of LayOut to create full sets of construction documents for his houses, we knew we were on to something big. The deluge of "TELL ME IMMEDIATELY HOW HE DID THAT" sentiment that ensued prompted us to follow up in two ways:

We invited Nick to present his workflow at our 3D Basecamp event last month. The house was packed and Nick was great, but the audio in the video recording was a little rough, so...

Our videograhper Tyson traveled to Truckee, California to record an in-depth series of videos that document Nick's process in delectable detail.

Half tutorial, half motivational speech and half religious experience (for SketchUp people, at least), the "Sonder Series" is 150% better than anything else we've created for aspiring LayOut users. If you believe in your heart that your SketchUp models deserve to live on, that CAD drafting separate 2D orthographic views is a terrible way to spend your evenings, and that there has to be a better way, this is your path forward. Pop some corn and kick back for some serious edification.

The first video is below; the other five are on online when you're ready.

Posted by Aidan Chopra, SketchUp Evangelist

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SketchUp Pro Case Study: Green building design with Sefaira and SketchUp Pro

This post comes to us from our friends at Sefaira. In this blog, we’ll see how Booth Hansen, a nationally recognized Architecture, Planning, and Interior Design firm, uses Sefaira Concept and the Concept plugin for SketchUp Pro to incorporate green building analyses into the earliest stages of design.

Sefaira Concept + SketchUp Pro for Green Building Design
Traditionally, thermal simulation packages or energy models assess compliance at the end of the design process. Using Sefaira Concept, Booth Hansen can rapidly analyze and evaluate “what-if” scenarios at the earliest stages of design. These scenarios provide clients with the relative energy savings of various design strategies. Using the Concept plugin for SketchUp Pro, Booth Hansen ensures the accurate representation of their models during these early stage sustainability analyses. Simply, it's important that Sefaira Concept knows that a door is a door, and a window is a window; it turns out that SketchUp Pro's dynamic components are pretty good at this. Let’s look at two project examples.

Deming Place
The first step in performing early stage sustainability analysis with Sefaira Concept is to import building geometry from a SketchUp file. Sefaira Concept automatically identifies the physical elements of a model – including floors, walls, glazing, and roofs – so that the software can deliver real-time, iterative analyses that may inform design choices.

Deming Place is located mid-block in an urban context and shares party walls with neighbors on either side. Sefaira Concept initially identified the party walls as standard walls. However, modeling these as standard walls would incorrectly simulate thermal transfer to outside air.

Sefaira Concept classifies the geometry within a SketchUp model for energy analysis:  here, the distinction is only made between walls and glazings.

The Concept plugin for SketchUp allows designers to visualize Sefaira Concept’s interpretation of the model within SketchUp, make adjustments to this interpretation, or provide additional information as necessary. In this case, Booth Hansen designers chose to override the initial designations: the side walls of Deming Place were selected and changed to party walls, which more closely represented the actual building conditions.

Here, the Concept Plugin for SketchUp is used to reclassify walls that are shared with neighboring structures; now Sefaira Concept knows to treat these differently in scenario forecasting

Sefaira Concept then used the party walls to define the enclosed space earmarked for analysis. Ultimately, Booth Hansen determined there was no significant thermal transfer through these walls, under the assumption that the interior of buildings on either side are kept at roughly the same internal temperature as Deming Place.

Children’s Center at the Chicago Botanic Gardens
For the Children’s Center at the Chicago Botanic Gardens, Booth Hansen utilized a series of concentric circles to define the building’s floor plan. This design resulted in a geometrically complex roof structure at the clerestory windows.

The base SketchUp model for the Children's Center at the Chicago Botanic Gardens

To make sure that the energy analysis was accurate, Booth Hansen’s architects needed to know that Sefaira Concept had correctly identified and categorized the building’s different elements.

Sefaira Concept's initial analysis of the model: the clerestory roofs have been classified as a hybrid of wall and roof planes

Using the Concept Plugin, Booth Hansen could see that Sefaira Concept had identified the clerestory roofs as a combination of wall and roof planes. Booth Hansen corrected this initial interpretation using the Concept plugin, so that all clerestory roofs would be correctly analyzed as “roof.”

Using the Concept plugin for SketchUp, the roof geometry is correctly reclassified; the model is now ready for analysis.

Once uploaded into Sefaira Concept for analysis, Booth Hansen was able to parametrically manipulate the properties of the roof surfaces (such as R-value and construction type).

Results
In these projects, Booth Hansen was able to use limited information available in conceptual design (such as basic massings, floor plan layouts, and site location) to measure sustainability impact across their design choices. Particularly with Deming Place, Sefaira Concept and the Concept Plugin for SketchUp helped establish a best practice model for sustainable design of similar buildings.

Posted by Sam Somashekar, Sefaira
Interested to demo Sefaira Concept and the Concept plugin? Check in with Sefaira.

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Telling the full story with SketchUp Pro and LayOut

We often describe SketchUp as both design and communication software. Some folks don’t get the communication element, but for anyone who needs to share and collaborate with clients or partners, the fluid nature of SketchUp Pro and LayOut is essential.

Recently Nick Sonder, who runs a one-man shop for architectural design, sat down with us to talk about how he uses SketchUp Pro through the entire design process: using one 3D model as the basis for interior and exterior detailing, as well as for robust, unified, and precise construction documents used by contractors.

Posted by Mark Harrison, SketchUp Marketing

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Introducing the SketchUp Showcase – A labor of love

It’s our sincere pleasure to unveil The SketchUp Showcase, a home for the most impressive, interesting, and inspiring project stories that have been shared with us.

Why a new showcase? Often, when you find an amazing model in the 3D Warehouse, it doesn't tell the full story behind a project. You can download it and see how it was built. But you probably wouldn’t get a sense of why it was built. Where did the inspiration come from? What were the design challenges the modeler faced? What happened after the model was finished? The story just isn’t complete.

The Showcase is a space where the stories, images, renders, animations, and 3D models of passionate SketchUppers can shine a bit brighter.

What was the inspiration behind this 3D model? | Image courtesy of Roberto Bergamo

But that's not all – the Showcase is also a first look at a new element of SketchUp technology: an online 3D model viewer. This 3D viewer lets you orbit, zoom, and pan 3D models right in your browser! To see it in action, find a project marked with a red flag or simply click here. Please note: you’ll need to use the latest version of Google Chrome to take advantage of the WebGL goodness that makes this viewer possible.

Go ahead and start exploring now; content is organized by category filters, so you can easily find projects based on your interests.

A project page featuring the new online 3D viewer | The Catalyst Playground in Vietnam

Finally, our team would like to dedicate the SketchUp Showcase to all the passionate SketchUppers who’ve supported us for over a decade. As we enter a new chapter with Trimble, we hope the Showcase and the online viewer are proof that SketchUp is only getting better. It’s clichéd to say we wouldn’t be much of anywhere without you, but that doesn’t make it any less true. Thank you for all of the love (sometimes tough) you’ve sent our way. Your passion for SketchUp is still what gets us out of bed in the morning.

Posted by the SketchUp team

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SketchUp Pro Case Study: Alexander James International

We recently came across some marvelous work from Alexander James International (AJI), an interior design firm in the UK that specializes in the Hotel & Leisure market. Michael Reekie, Senior Interior Designer for AJI, was good enough to provide some insight into how they use SketchUp Pro.

I started using SketchUp Pro about five years ago. At that time we considered it a tool to help produce quick 3D line drawings of small areas. Gradually, its value has become more apparent and with the recent addition of Shaderlight, it is now considered to be an invaluable tool by the whole design team.

At the earliest stages of the design concept, I import a CAD plan of the project into SketchUp from which I build a model. It gives us a three dimensional awareness and makes space planning both easier and more accurate.

The SketchUp model offers better awareness of space which aids in the design and in space planning.

I continue to use SketchUp Pro throughout the design process, periodically using a fast, low resolution Shaderlight render to check the progress of lighting levels, features, furniture, and finishes.

SketchUp model with entourage and Shaderlight lighting elements, when rendered, will help validate the design, look and feel.

When I am sure that no other changes are necessary I produce a high resolution rendering which is imported into Photoshop. I can then make any small changes to colours or light levels and add people or anything else that I feel would enhance the final visual.

Final Render: SketchUp Pro + Shaderlight + Photoshop

Before using SketchUp I produced hand-rendered visuals. The uncomplicated nature of the program has made the transition easy and very effective. SketchUp has become an invaluable tool for the whole design team.

A big thanks to Michael Reekie ([email protected]) and the whole AJI team for providing this snapshot into their SketchUp workflow. Great work!

Posted by Chris Dizon, SketchUp Sales

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Modeling cultural heritage sites with SketchUp Pro

CyArk is a non-profit organization dedicated to digitally preserving cultural heritage sites. They do this by collecting, archiving, and providing open access to data created by laser scanning, digital modeling, and other state-of-the-art technologies. CyArk is also one of the many recipients of SketchUp Pro licenses as part of our SketchUp for Nonprofits program. This case study came to us from Justin Barton, a Technical Services Manager at CyArk.

A perspective view of 3D laser scan data (terrestrial LiDAR imagery) of Mission San Francisco de la Espada, San Antonio, Texas.

As part of the ongoing effort to educate the general public and disseminate information in an interactive environment, CyArk uses millimetrically precise data from heritage sites captured with 3D laser scanners to model the sites in SketchUp Pro. In order to do this, we use two methods:

Method 1: Orthorectified imagery

Our 3D laser scan processing software allows us to export orthorectified images of the data. We begin by exporting a plan of the structure to build a basic block model from. The plan is brought into SketchUp Pro, scaled, geo-located (all of our scan data is geo-located with GPS), and then the model is created from the accurate plan data.

Using orthorectified imagery created from laser scan data to trace out the model in SketchUp Pro.

After we create the block model, we import orthorectified elevation views of the structure. We then trace the outline of the building and “push out” the unwanted parts to create the unique architectural shape. The elevation view is also used to overlay the photo-real texture information.

Method 2: Direct modeling from 3D scan data

We are also able to use the Pointools plugin for SketchUp that allows us to load the 3D laser scan data point cloud directly into SketchUp. This allows even more precise modeling directly over the data. Again, orthorectified images of facades are used to overlay texture information.

A 3D laser scan data point cloud, brought into SketchUp Pro using the Pointools plugin. (Note: This image has been altered to improve visualization of the process.)

After modeling is complete, visitors to the CyArk website and projects interact with them in two ways: CyArk has an online, Java-based web app that allows users to view 3D point clouds directly, or view solid models such as those created in SketchUp Pro or other 3D meshing software.

3D model of Mission San Juan Capistrano, San Antonio, Texas created in SketchUp and viewed in CyArk’s free online 3D Viewer.

The other way that users can interact with 3D models on CyArk’s website is by using the Google Earth plugin, which we’ve integrated into a web page on the site. This provides a navigable 3D environment in which users can see geo-located SketchUp models while interacting and viewing geo-located multimedia items such as architectural CAD drawings, videos, 360-degree panoramic images, photographs, historic imagery and more.

A 3D model of Mission San Jose y San Miguel de Aguayo, San Antonio, Texas created in SketchUp and viewed in Google Earth on the CyArk website. Multimedia items (architectural drawings, videos, panos, historic images, etc.) are geolocated on the Google Earth interface and represented as a variety of type-specific icons that surround the model.

In addition to modeling directly from accurate 3D survey information (as seen here in the San Antonio Missions project and associated iOS mobile app), CyArk and our partners have taken advantage of SketchUp Pro’s easy modeling platform to create historic reconstructions of sites and site features that no longer exist. For example, for a project with Fort Laramie National Historic Site, eight historic reconstructions were created in SketchUp. Users visiting the Google Earth map of the project can choose to see the Fort as it appeared in seven different time phases, as well as a detailed reconstruction of the Post Hospital. All were created from extensive research, historic photographs/sketches, consultation with park experts, and metrically accurate laser scan data of structures, standing ruins, and remaining foundations as the base for the models.

SketchUp Pro provides CyArk the tools to quickly and accurately model historic sites to create interactive 3D environments for members of the public, educators, students and researchers to access online. This aids us in fulfilling a significant part of our mission to share, disseminate and educate.

Thanks for sharing this story, Justin. If you’re interested in getting involved with CyArk, you can find out more about volunteering, becoming a partner or donating to CyArk on the Get Involved web page.

Posted by Chris Cronin, SketchUp Pro Sales Team

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SketchUp Pro Case Study: NHS Western Isles Hospital

GreenspaceLive is a software and consultancy shop based on the Isle of Lewis in Scotland. The company was founded in 2008 as a spin-out from the Greenspace Research, a low-carbon building and renewable energy research program at Lews Castle College, University of the Highlands and Islands. This case study about gModeller, the company’s SketchUp energy analysis plugin based on gbXML, comes to us from Donald Macaskill, Technical Manager and Energy Engineer at GreenspaceLive.

Making hospitals more energy efficient

Hospitals have unique energy consumption demands. Not only do a hospitals require lighting and heating 24 hours a day, but they also require ventilation, sterilization, laundry, food preparation and important medical equipment to be powered as well. Therefore, any improvements made to the building could drastically reduce the bills, freeing up money to be spent elsewhere.

The NHS Western Isles Trust are very proactive in trying to reduce their energy costs and carbon footprint. To determine their baseline energy consumption and carbon emissions and then to simulate a number of fabric and technology improvements to their largest building, they turned to GreenspaceLive. A hospital model and energy analysis workflow was created in Google SketchUp Pro with GreenspaceLive’s gTools suite.

Completed model for gModeller

Project Methodology

To start, existing 2D CAD models and scanned paper drawings were shared via gWorkspace. These floor plans were then imported into Google SketchUp Pro. Once the floor plans had been imported, each floor was extruded to the correct height and dimensions. A detailed model is not required for the gModeller plugin, so the model could be simplified to single faces for walls, floors and roofs.

Once completed, attributes were added to the model using the gModeller's customised materials, located within the Paint Bucket tool in SketchUp. Next, spaces were identified using the manual Space tool, which allowed the model to have zone specific information, such as heating, lighting and ventilation for different areas.

The completed gbXmL model

The gbXML building information model generated by gModeller was now ready to be exported to an energy analysis engine. In this case, gEnergy was used, however, exported models can also be imported into Green Building Studio, Ecotect, Trace, DesignBuilder and others. gEnergy was initially run using the Hospital’s existing fabric and technologies to establish a baseline Energy Performance rating, subsequent analysis runs were then carried out with simulated improvements to the building, including proposed refurbishment changes, to determine the impact they would have on performance of the building.

Once gEnergy runs were completed, the model was exported to Google Earth and presented to the clients, showing gDashboard energy results on screen while touring their model.

The model in Google Earth with energy data

Using the gWorkspace cloud platform, the modeling team was able to share and collaborate with the client throughout the process. Team members and client representatives were able to view, download and share files from the project, as well as view all energy runs that were undertaken.

The Results

Armed with the tools and the data, NHS Western Isles Hospital were able to model different scenarios and view the impact these changes would have. The results were dramatic – making a number of changes to the heating system, the team was able to demonstrate that the most effective change would result in over 50% energy savings, while reducing the CO2 emissions by almost 80%.

Dave Tierney, part of the Energy Team at NHS Western Isles Hospital said, “Using gTools, senior executives and staff received an overview of our carbon emissions, energy consumption and the impact changes in technology and fabric will have on our building. We can clearly see the differences in low carbon technology investment options. The results will help shape our plans for tackling carbon emissions and energy consumption in the future."

To learn more about gModeller and the rest of the gTools suite, you can visit the GreenspaceLive website. You can also sign-up for a free trial. Thanks again to Donald and the rest of the gang at GreenspaceLive for sharing this case study with us.

Posted by Chris Cronin, SketchUp Sales

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A conversation with Allied Works

Allied Works is an interdisciplinary architecture and design practice that operates from offices in New York City and Portland, Oregon. Founded by Brad Cloepfil in 1994, the practice has been defined by a deep concern for the landscape, human experience, and craft, as well as the preservation and enhancement of the public realm.The firm drew widespread acclaim for its groundbreaking design for Wieden+Kennedy's world headquarters in Portland's Pearl District in 2000. The firm continues to draw in big-name clients, having most recently completed a new feature animation facility for one of the country's leading moviemakers and the much-anticipated Clyfford Still Museum in Denver, Colorado. We spoke at length with Brent Linden, the Director of Allied Works’ NYC office, about the firm’s work, its creative process, and its use of SketchUp Pro.

concrete and light in three dimensions; construction photo

intersection of earth and sky; physical model, charcoal and resin

What kind of projects does Allied Works take on?

Allied Works can design anything, but in our history, we’ve mostly focused on museums, gallery spaces, creative work spaces, and creative educational spaces. We seek those out, but we’re also actively pursuing a lot of different programs as well.

My impression of Allied Works' design workflow has always gone something like this: Brad Cloepfil (the firm's Founding Principal) sits down with an enormous pad of paper and a lump of charcoal. He proceeds to make huge, gestural drawings that are equal parts light study, parti diagram and abstract rendering. A few years later, the building opens. What happens in between?

Let’s talk about the Clyfford Still Museum, given that it’s at the end of its cycle in terms of design and construction. It was a competition. Brad did have a stroke of insight, much like you were saying. Charcoal and pastel are his main generative tools. The project is really about the earth and about the light, so charcoal happened to be perfect. When he came into the office, he had a sketch which was about the intersection of those two things.

darkness, light, earth and sky; concept sketch, charcoal and pastel on paper

Then we have our design team, which sometimes includes people from outside of our office—collaborators like structural engineers and landscape architects. We spend time figuring out what all the parameters are, all the forces that are involved: cultural, civic, economic, experiential (which is huge) and structural. And then the form is derived from the mixture of all of these design elements. We do heavy investigations with material models; we do a lot of concept models to try to tease out the main essence.

Are those physical models or digital models?

In this case, they were physical models. We were trying to understand, through material manipulation and assembly, more about the experience and the form and the message of the project. "Message" is really the only word I can come up with. How is it “of the place"? How does the material itself communicate something about the experience?

spatial and structural orders; model study

Our design work strives towards a unity of space and form—the form itself trying to be a single body that’s understandable as a single body. With the Clyfford Still Museum, this was especially true. It’s kind of an unfolded plane that’s folding back on itself. It’s solid from the outside, but the space writhes and weaves together on the inside. It’s like a nine-square cube; some planes are subtracted, and some planes are moved around, with the goal of making a space that feels continuous.

The way we work on this kind of project is with physical models, which you can see in front of you and turn around, or to work in a digital 3D space that you can work on quickly. The Clyfford Still Museum was the first project where we explored the interior of the building through a digital 3D model study. We primarily used SketchUp Pro, probably because it's so FAST. And everyone participated—from the people who were actually modeling (I was one of those people), to Brad himself looking at the screen and saying Why don’t we just move this here? Let’s look at it from this other position. Let’s move this wall here, etc.

spatial figures; section sketch, charcoal on paper

spatial figures; 3D model sections, SketchUp

He learned how to navigate the 3D space, and by the end of the project, a lot of our design meetings were just moving through 3D models to make sure that the understanding of the space that we were going for was being supported by all the different orders that were happening in the building: the structural concrete wall order, the order of moveable art partitions, and others. We made sure that we could see through the building the way we wanted to, that everything was supporting the experience we were after.

Would you say that you typically design from the inside out, or is there an idea for an exterior form?

It’s a dialog between the two, but I think the idea for the structure, the idea for the landscape, and the idea for the experience all happen at the same time. In a lot of projects, that ends up feeling like it’s from the inside out. We’re less concerned about the facades than we are about the experience of moving through the building.

space, tangent, and corner study; paper models, SketchUp

3D investigation, representation, and result; SketchUp (top), Maxwell Render (center), and photograph (photo credit: Jeremy Bitterman)

Can you talk a little more about SketchUp's role in Allied Works’ design process?

SketchUp is a tool that we use for design studies and for visualization purposes; also, for making models that end up becoming renderings, or even drawings. We export vector lines and make them into plans or elevations or sections. Sometimes we use it for making diagrams—actually, it’s pretty useful for making diagrams, especially in concept phases or competitions, where you need either a 3D axonometric, or a section cut perspective. I know we used SketchUp to make the model for the animation for the National Music Centre project, and for some extensive renderings that were done for marketing purposes.

ceiling construction diagram; SketchUp

ceiling design light study; SketchUp, Maxwell Render

National Music Centre, early design study; SketchUp

You talk a lot about things like light and materials and the way spaces make people feel—I think I’ve even heard the word “phenomenology” used to refer to how your firm thinks about architecture. Is there anything about SketchUp in particular that makes it useful to you, given the way Allied Works operates?

We’d want any tool we use to help us realize our vision for what the space is going to be like, in terms of its experience. I’d say that materials are key, light is key and the order of the space is key. Of those three, the last one is where SketchUp helps us work. Iterative physical models just seem to take too long to build now that we have a tool that’s much faster.

Another way to think about spatial orders is to think about sculpting space. If you’re sitting inside a network of physical planes that end up making a space, and you can see from where you are to some kernel of space that’s three floors up—and you’re seeing it through an atrium, or a matrix of walls, or something—it can only be done by building a physical model or by using 3D software.

interior spatial study; pencil on paper and 3D section model, SketchUp

The reason we use SketchUp is because we can do so many iterations so quickly. Our design process is very iteration-heavy. On the CSM, we iterated through the configuration of the walls and floor planes and roof plane to make it feel, at the same time, like a complex spatial organism and a single body. Getting those two things to come together is quite difficult. We probably made a thousand models of basically the same thing.

Are you serious? A thousand?

Yeah, but not full-fledged models—study models. We also use the Scenes feature to orchestrate animations of moving through the space. Because it’s not actually about single points of perspective; it’s about the experience of actually moving through the space — people don’t just stand still. I’ll click from scene to scene and we’ll review how the space unfolds as you’re moving through it. It’s like having a small physical model and turning it around in your hands, but with SketchUp, you actually get to be inside the thing.

iterative structural and spatial order study; SketchUp

ceiling / light baffle study; SketchUp, Maxwell Render

What other design tools do you use? How does SketchUp Pro interact with the rest of your toolkit, and how does that interaction support your design process?

Extensive hand drawing, hand sketching, just to get details out. A lot of photo collage, primarily in Photoshop. A lot of concept modeling, which is different from spatial modeling. Our concept models are not white foamcore models; they’re the kind of models that you can only make in a wood shop, or through metal casting, concrete casting, or glass casting. We had a guy make a model where he hammered spikes of glass into this huge chunk of wood. He actually figured out how to do it without breaking the glass, which was ridiculous. Those are the tools we use at the beginning of our process.

concept model study; wood and glass

carving landscape and earth; concept model, wood

Then we use Vectorworks, our drafting software, and Illustrator, and Photoshop, and SketchUp Pro to do diagramming and planning work in our programming and planning phases. When we get into schematic design, it’s basically the same toolset, and even on into design development. We end up doing generative design all the way through the end of CDs.

In some cases, we build concept models even for details. We use SketchUp Pro and Maxwell to visualize how details will look in the space, and how lighting will work. We work extensively—especially on our museum projects—with lighting designers. We’ve worked a lot with Arup Lighting Design. In the past, we’ve built 1 inch = 1 foot physical models that Arup would use for lighting analysis. These days, we’re more likely to build 3D models in SketchUp Pro to give them. They give us back rainbow-colored model renderings that tells us where the light is going to be hot and where it’s not.

gallery view; SketchUp, Maxwell Render

daylight study; physical model

daylight study; physical model

daylight study; SketchUp, analysis software (image credit: ARUP lighting)

What’s your workflow from SketchUp to Vectorworks look like?

Depending on the project, we export vector graphics from SketchUp Pro and import them into VW to use as a baseline for the drawings. With the CSM, we had a model that was 100% accurate to the drawings. People on the team ended up using the model to design the details before they did the drawings.

So your SketchUp model reflects what was actually built?

Almost. I think that during the construction administration phase, they didn’t keep it up—as always, there were some slight modifications made during construction. We used the 100% CD model for coordination with the mechanical engineers. I don’t know if they used SketchUp themselves or converted the model into something else, but I know it was very helpful for them. Like in a lot of our projects, the mechanical space is really tight, so coordination was tough. Having a 3D model was key.

1st floor plan, gallery floor plan, section; Vectorworks

Is there a feature specific to the Pro version of SketchUp that you find particularly valuable?

Going through the list of Pro features, it’s obvious to me that we couldn’t make do with just the free version—primarily for the communication between different software packages. We’re always moving back and forth between SketchUp Pro and Vectorworks using DXFs or DWGs; going back and forth between SketchUp Pro and Rhino using 3DS, and sending MXS files to Maxwell Render Suite.

We also love the Solid modeling in SketchUp Pro 8. We’re doing a lot of furniture work now, and we use SketchUp Pro to do that modeling. For the current version of the furniture we’re working on, it has a lot to do with the idea of carving out of a solid body. So we model the solid body, we model the shape of the “carve”, and we subtract one from the other. Before the Solid tools in SketchUp Pro 8, we would have had to make both of those forms, intersect the two to generate the necessary edges, and delete the extraneous faces. Now I don’t have to do all that. Solid tools are definitely a big thumbs-up for me.

Clyfford Still Museum furniture studies; SketchUp, Maxwell Render

If we told you tomorrow that you couldn’t use SketchUp, what would happen to your design process? How would you work?

I guess someone would just have to get a lot faster on some other kind of software. None of the other programs we use are as fast; we’d be taking a step backward in terms of the speed at which we can produce design iterations and models for visualizations. It would be tough. Please don’t do that.

Posted by Aidan Chopra, SketchUp Evangelist

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