The Ultimate SketchUp 2026 Guide For Architecture

1. Ultimate Guide To SketchUp Trailer: Have you ever wondered how some designers create beautiful accurate sketch upp models that feel effortless to organize well enough for real teams to build from? Hi, I'm Brandon Gibbs, award winning licensed architect and designer, and I'm pleased to present to you the complete sketch of guide for architects. In this course, you'll learn how to think like an architect as you model and create smart systems, building clean geometry, and organizing your SketchUp files for collaboration, construction, and high quality AI powered visuals. That means we're going to go through everything. Most tutorials rush through or skip the thinking behind the design. This course, I'll take you a step by step process giving you time to absorb the bigger concepts like modeling, what you actually build, aligning geometry correctly, and avoiding cluttered hard to edit files. One of the great things about this course is also you can start and focus on topics you need instead of going through everything. But if you do want to go through that beginning to end, you will go through for the mastery journey. So I put all that right in the course, a little bit about myself. I have over two decades of industry experience designing and managing residential commercial projects of all scales around the world. That's from stadiums, houses, the churches, universities. So I've helped train and mentor students in the same time to help professionals learn those key skills, right? It's not just a secret thing, but I love to mentor those around me and I'm helping you have that in the score, the latest version. I love sketch. This course we model a modern A frame cabinet retreat and site, starting with real plans and a provided basis using Geolocation and SketchUp. You'll get all the resources you need to follow along, practice at your own pace, and fits with a polish professional model that you can show and build your skills with. Whether you're a student, creative or architect in training, this course is your next step to mastering SketchUp with confidence. Join now and let's start building smarter, wonderful SketchUp models. 2. Principles To Follow: Sketch upp is an incredible software for architects and designers, anyone who really wants to utilize sketch up, um, abilities to go through, create designs, create design elements, put them together either small or even large scale, and it can incorporate with tools for the real world. So here's some principles to help you in this course, as we will also take a look at some great things. We'll be modeling some designs from elements of a building to a site to elements inside that as well creating views and visualizing with some of the latest tools. So the idea is, here are some principles to guide as we go through those elements. So this course, again, is sketch up for architects. It's for design. So people just want to understand the architectural level, but it goes to a lot of smaller parts, but it helps you design smarter and build better. And here are some principles to help you master those designs for modeling and project planning. The key things you want to do is make sure you're always designing with purpose. Designing with purpose means, you know, there could be a lot of little parts that build it up, but purpose guides it. You know, every wall window, and angle in our model reflexs a special or environmental goal. So learn how to think architectural architecturally while you model is going to really help you because it's like, nothing is insignificant. You know, you'll keep your sketchbook, you'll keep other ways to help you, you know, figure out ideas. But the idea is you'll make sure that you're communicating purpose overall guiding theme to a design. The next is model what you build. Well, that means that when you're putting something in, you know, you'll think about how does it work? You know, how are the geometry? There's no guesswork. Use modeling as a thinking tool for construction, detailing and performance. This will also mean you'll always be aiming at getting good views to model something coherently. So, you know, you don't just lose control and oh, you know, I couldn't finish. You, the idea is, when you get to control over and know that you have to model it, it will get you in the mindset to figure out and get a final result. So I'll go through all the steps, and you'll see also how I can model several situations because of that mindset. Next thing you want to do is always use groups and components early. Now, that's looking into how sketch is organized. And the idea is, it works really on a basis of you understanding. And we'll talk about tags later, but the idea is how things work together help you build, what's called clean geometry. That works and creates clean results. You'll learn to group wisely, so your model stays organized and coherent, okay? The next thing we want to look at is always make sure you keep a clear axis origin. That's also a secondary origin. When you make you know, you start model a lot of different elements. Sometimes there are multiple origins, but the idea is as along as you keep a clear understanding of it, and that's how we'll go through as we model. This helps because good geometry starts with a good alignment. Master these axis discipline and modeling ideas from a known origin. Next thing is in supporting the thinking systems and not shapes, right? Because you could have a lot of different shapes, right? Modeling the doors, windows, decks, roofs, you know, all those elements using components to reflect real world logic. And that's where I'll bring some of my decades of experience in the architecture and design world to you by talking about how those work if you have not had the understanding, and it'll just, you know, ring true because the ideas, those really help someone who is working on a sketch of model. Next, you want to design for sun, for views and flow. And this is really cool because the idea is you'll understand more about architecture when you don't just separate that from design process. You'll make design decisions and sketches that respond to site forces, sunlight, privacy, and movement, and really create better designs because of that. Next, you want to work with tags, scenes and templates. Now, this is, you know, might sound like it might not be the fun part of the architecture project. But if you think like this, you're actually thinking like a project manager, you organize your view, you'll control your visibility, and you prep for documentation. And that will help you guide the project to the next phase because, anyone can start a model, but these are going to help you make it a working process that you can work with larger teams and be more efficient. Next, you want to make sure you're visualizing to communicate, not just to impress, right? So as we work and, you know, work to make some beautiful visuals and beautiful elements, we are going to make sure that we are using sketch, and it's tools like diffusion or smart camera views to clearly communicate our design intent, right? That means that we will make sure to think out the elements, just like, you know, many of those who have gone to design school, we had to have an idea that would refine. And these are ideas that are meant to help you become the best designer and sketch it for whichever project you're working on and really learn from the value of architecture while you're doing schedules. Let's go over those principles again that we'll hope to put throughout the course and the exercises. You want to design with purpose. You want to model what you build. You want to use groups and components early. You want to keep a clear axis and origin. You want to think and systems, not shapes. You want to design for sun, views and flow. You want to work with tag scenes, template. You also want to visualize to communicate, not just impress. This is using the sketch up data phrase to its maximum as a design aid and getting great results. So if you're ready to start modeling, let's go into some of those awesome tools for sketch up using the latest version. 3. Chapter 1: Intro to Sketchup 2026 - Welcome to SketchUp Architecture Overview: Well, this is sketch up 2026. We've come a long way, and we're going to see some of the great features as we go through exercises and also just demos to learn how the interface works. So this is pretty much your starting point where you're going to be able to choose any template. You can create Obus your own. I just typically start with architectural inches or my own if I want to be a little more complex, but the project, obviously, say projects are below, you can always look at any skills that you need to learn. Let's go ahead. In addition, we, of course, have the option to open a file. Let's go ahead and start with the architectural inches file. Again, this is how architecture is made for everyone with sketch up. 4. Reviewing The Interface: Start off our modeling. This is the basic infrastructure for sketch up. We might not need the little person who might be helpful later. We can always load that back up with the components. But what we're going to do is starting with this project, it's going to be starting with a site. But I do want to go over quickly the interface so you can see where everything is for sure. If you look here, I've loaded some of the more common options for my trays here, my outliner, where I can see all the little elements because I might have to pick things and organize scenes. That's going to be also here, right over instructor. Also, shadows are right under tags. These are some of my key areas as well as some of the new features in the latest versions of sketchu of environments. And, of course, my styles, where I can choose the views, my components, where I can add things that need to be in the model. And also my materials and, of course, my entity info where I can just manage everything. And these are the key workflows. I mean, there's a big tool set that we can always load from looking in our toolbar. Obviously, I just like to keep the basic ones generally, and we'll go over some of the shortcuts. But, you know, also, again, we also have Trim Cet here. I also have the views. I have different secton tools, as well as looking at diffusion, if you want to see some cool features. But these are going to be the basic workflow so we can keep things as simple as possible as we're working. And again, if we need to go and, of course, open and save, of course, our general File menu is here. We can open and save. We're going to, you know, get things from three D warehouse. We can also do things like exporting or importing, or, you know, connect with some of the other sketch up elements or at our location from here, as well as our basic editing menu where we can copy paste, as well as invert or, you know, deal with our selection, lock things. Those also can be worked on in the entity info, and we also can create our groups or components here. We also have our views where we can simply do anything needed to control our view, including creating scenes and editing scenes and choosing particular styles that we can also edit in our scenes menu where we can select and refine that view. And, of course, in our camera tab, we get to focus on which view we're in, if we want to zoom in, zoom out, walk, or do anything as required to go between views. And then, of course, we get to our sort of editing for modeling, where we can draw anything that we need, including sandbox tools. And these are also tools. Again, these are also at the top here. Our simple toolbar. Then we can change things for our window, as well as to do things like for collaboration. That's when our schedule connect have Ruby Editor, if I want to do that. And we also have our extension. We're going to do our extension management and some of the, things that we brought into our project. This is our diffusion AR render here, and, of course, I have help menu. So that's a quick overview of what we can do. Now, I think we're about to get ready to jump in by looking at how do we create a site from a sketch up, and this is going to help us to very clearly pinpoint where 5. Chapter 2 - Site Design in Sketchup - Geolocating The Site: Our first thing is going to be adding the location. The location we're going to work on today is actually going to be pretty u Pretty hilly. This is the geolocation tool here, and geolocation is pretty key for when people want to add things in their project. Sometimes you have old address that's sort of in your model. You can always update that. Again, I'll go over the interface just to get you maybe what you need to know. Especially at the top, it talks for pretty much how do you want to locate something? You can give address or latitude and longitude. You put in that address, and our address is actually around Deep Hollow Road. And that's actually going to be in Gatlinburg. And it sort of gives the address that's near. It's maybe a newer site, but I know where the address is. And also gives you a bit of a help for True North offset if you need. So all you need to do is make sure your pen is dropped at that particular location, our location actually closer up on the hill. I can just pull that over here to this more accurate location of where we want to be. And if you want to do, and I pull this up there. I can see all the elements of it, if you want to be a larger site at a smaller site, you can always choose how much after setting these. And right now, since I haven't had anything modeled here, it's sort of not looking 1,000 to contacts. So that's fine. Sotime you can model and then choose where you're going to locate it. But we're going to start with this one first. So you also, of course, can ask questions or get feedback if needed. Yeah, this is actually the side that we want. We probably want to get a little bit of context so that this can be, you know, visible. I'm going to go ahead and set the delocation here. After we get that done, we can choose to add our context, and we get to choose. And you see some auto settings are set up your model is delocated. Shadows are not accurate. That's really great to hear because obviously it's going to help us to design things that are going to really work, right? You know, we won't get into the site. Oh, look, we're buildings not oriented, right, right? And so that's the really key thing about having something built in this way. So we're going to add context, and from clicking that, that gives us the ability to choose how much or how little we'll have brought into our model. Now, it can bring in the model elements. I can bring in the terrain uh, whether you can use all that at once is another situation, as well. Again, this is not a This is just sort of found on the website. Again, I've done projects all around. And so this is if you could choose any site that you might like, you can just go ahead and click it here. So, um, what we can do now is also choose if you want just the flat site or the elevated site. Now, this actually is super hilly. It's almost a 12 on 12 slope. So, you know, it makes it interesting for architecture. But if you're considering things like sustainability, it's actually good to build a place that already has a lot of perhaps access sewer, access to other, you know, things that a building utility might need. That makes a more sustainable building versus just building out. So building out in the wild or in the mountains. So actually, there's some good ideas about, you know, building closer, even if you're trying to get a little bit further out in a place like this. Here's some other options that are selected. It's going to map the texture. That means as it has terrain, you'll see that with the texture on it. So there's going to be a flat one and elevated site, and that's going to be useful. One of them is going to be hidden. We also will get building footprints that are going to be here, as well as Ted building if they are made. So right now this is a site that probably isn't super developed. So all of these are probably going to have to be modeled. And I did go ahead and model them, so you can see that. But this is just sort of seeing what we can get when we geolocate. And so after geolocate, we can just go ahead and import that site context. And, you know, it can be as big or as small as you want. It tells you that it's going to go ahead and hidden by default, and it also is going to give you the control of that in the tags panel. So we can close that and look at what it gave us as we zoom out here. Now we have a site that when we look down, and then we use our views, you know, you'll see that this is where North is, and that's really helpful because, if I put, you know, maybe a 30 foot by 50 foot footprint, and I say this is going to be a 30 foot building and I stay true to something like a frame just to get that modeled as, you know, origin. And I go to my shadows when I go ahead and maybe put view from above. And what I'm going to also do is go ahead and create this as a scene. So now having this as a scene and I turn my shadows on, you see that my sun rises in Ma East, you know, depending on the time of year, looking at our shadows, we can go ahead and see that it's going to be accurately locating, okay? But one of the things that this site brings uniquely, and we'll explore it through the tags menu is we get to go ahead and also see what's happening in elevation, right? And when we look at this way, we see that there's, you know, this steep hill, so we can't build the lowest part where the street might be, we actually have to come up. And this also is a little bit helpful obosy and what I've done, you know, we've come up already 40 feet just to sort of be out of you know, the mountain, right? But at the same time, that's true. And as we start looking at orientation, how we want the site. And I'm going to actually bring in a CAT site sort of where I've already gone through and figured out some of these things. But the idea is this topo is really helpful in thinking about, Hey, look, this is how my building actually works with this site. And, you know, elevated site has, you know, a lot of benefits. You know, being right on the top of the hill obviously is going to bring a lot of issues, you know, because you have to build more road, you know, so a little closer to the street, is going to be helpful. But then at the same time, you can go up a little bit. You can create your access that would calm down, but it's going to go ahead and be, you know, a bit of a feature. And as we see how the sun goes through from, you know, different times of day, that is going to get lots of light. That's going to be a beautiful part about this particular site, you know? It's not too much hidden. And also, it's getting beautiful North well, actually, more south, of course, sun, but it's not in a place where we're, you know, blocked from good site. So that's going to be what we will sort of keep as our base view. I always like to just also just make sure I have a view that may just show our context. And I'm going to rename that view site elevated. So just to keep that, again, if you always want to, you know, crypt view, however, also, as I know, a lot of these lots are grassually going to be divided according to the street. When we bring in that site model, it's going to help us organize how this is actually going to be oriented because we might not want to have it directly facing here, you know, if we have our lot more in this, you know, range, we might want to rotate it a little bit. So we're going to go onto that next. We're also going to go ahead and save our model. 6. Site Placement: To make things easy, I, of course, have saved versions of this file before any need to really, you know, do perfectly. So you can always reference those. That's going to help you in this course case. But we're going to start with the base site if you did not want to go through the geolocation, or if you had your geolocation, you should already have site map in three D. And so that's going to be helpful. I'm going to take away some of the elements that we're going to be modeling shortly, but what I'm going to do primarily is we're going to import in a from the downloads, just the site planning, zip, the property and the site model site trace model. So the site trace will be downloaded first. You can see it already sort of populated here, but you can locate it per this area, and you can also go ahead and import that property line. The property line is something that will be based around the site, and you can locate that a little bit loosely. Obviously, if you hide the delocation, it's going to help you locate this. One thing I've done for this as well is make sure that it does hit the levels that I wanted to use. And that's one of the things by being in another file that it sort of assists. So actually, I think this might locate a little bit to the north. Again, that doesn't have to be 100%, but the idea is our site is going to be pretty much around this area. And I did use a property line layer. And so when you import something in sometime, it doesn't sort of keep some of the retained elements. But you can always just make sure whatever you have if like, right now, this is something that's now a component that was brought in. You can definitely keep it on the layer, okay? Cool. So this layer was created very simply by clicking on one of the layers in our tags or, you know, tags and clicking here and just choosing this dash dot style that's going to help you, of course, if you want to make certain different styles. And the idea is that's going to help us as we're about to go ahead and locate this from a two D perspective. But this is going to be helpful, and we can go ahead and turn back on and proceed with organizing things based on our site. To assist our efforts of understanding, you know, how to incorporate this site, one of the things I've done for our site is I created a location for a lot for where we do our design, as well as a outline of some of the existing buildings on site. So that's going to help in efforts to draw some of it. And if I hide the geolocated site either with tags, come over here. You can see some of that, and you can see that this property line that I've drawn. Again, it's just for reference. And essentially the site as it is, you know, have a Northwest orientation. I can also just create a view from above that just rename as site lines, right where I can hide the gcation information. And so that's going to be a useful way we come back. Essentially that just making sure for me to know where I want my building oriented. The idea is my building is actually going to be on it's going to be in the area above the site. So the idea is, that's where I get to look at three D information. So the idea is we always have a sort of two D understanding of the project as well. And the ideas, we probably want to orient a little more to the street. And you probably even want to have an understanding of some information from the building in terms of the topography. And so this is just a sort of even diagrammatic way of understanding the site. And just knowing where things are. It's always very valuable, and sketchu does have, like, you know, just that ability to understand that. But just always make sure you're, you know, are where everything is. If I would look at this and sort of say what needs to happen, next, we figure out, you know, our location on site. I'm just going to locate the primary cabin probably somewhere back a little bit. So you would, you know, from the two D plan, you could be thinking of someone could go into site. And if yes, we're talking about North South orientation, it would be helpful to angle a little bit to the site because as you'll see, as we deal with the topo, we're going to actually have lines that sort of mimic this. So let's go ahead and quickly just create a level for understanding a little bit what's happening with topography, and we can just create that and just call that our C for civil elevation. And let's go ahead and create some other levels that will help us sort of for architectural and for things like Civil, and also some of the other ones that are needed. And then we're going to go ahead and get to understand the site a little bit more. 7. Preparing Layers: For our levels that we now want to create, we're just going to create them in the base layer. We're going to definitely start with a facade. That's where we're going to be understanding the facade that will sort of govern our model. And I'm going to use uppercase because that is sort of a little bit of habit of how we architecture can make sure everything is using a similar system. I'm going to make sure because we're going to prepare for our floor levels, I'll make our a floor level. We sort of close some of the other levels and just sort of break this all down. Then we have A for a rail so we can prepare for anything like rail. We'll also have A for glass. And we'll have our A for doors. So some of our elements that we'll be adding in the model. Then we're going to add A for I think that's actually might be S S for structure and some of the things we have for structure, where we could even just sort of divide up our beams or S. And I'll just say t. So our vertical structure and our beam structure can be separate and maybe even our S for concrete. Because we will be using piles for this because it's quite a hilly site. We want to get that with good structure. Then I'll make one for C for just general site. Also, I want to have one and we can double click just to get that spelling correct. Sort of, more like a general level or general general items or like levels or grids. We locate that there. And so we just have that and sort of organize from there. Okay? So those are going to be some great layers that we can or tags in sketch that we can use to help us organize our model and move forward. 8. Generating Topo Lines: The next thing we're going to do is we're going to go ahead and get our Geolocation back on not just our geolocation, but our full elevation of our site. And that's going to be elevated site. I'm going to just add a view. I'm just going to rename that to elevated site perspective. And the idea is, I want to know what are the levels from this project, like, you know, is it going up 50 feet? Is it going up 100 feet. And one way to help me organize that is to, for sure, just go ahead and start with a level, and I always actually start by using the untag layer. That's going to be my main layer that I'm working with anything that starts there, you know, we can go ahead and come off from there. So So I'm going to make this group here, and what we're going to do is just go really into intersecting with our elevated particular level, and that's going to help us get section cuts of this at each of these levels. And that's going to help us out tremendously because we just see how high things are. And what I'll do is I'm going to go up ten feet times ten we just go ahead and measure this. This 100 feet doesn't even go to the top of our mountain over here, but it might be a little bit too high of our scale. But we're going to do is we're gonna go ahead and add some other set up here. So these are all going to actually be in a group. We can come in here. And now what I'll do is I really want these all to intersect with the model. And what we can do is from that, get the information about what's happening here. But one thing to also do is make sure and I'll go ahead and create this in our zero level if I hide these levels, I want to make sure I'm not going to get a cut at my building. Again, I'm going to put this as facade. That's where I'm modeling, so to facade element, there's a massing element. So I can go ahead and hide this. But I want to turn my level on. So this one will just go ahead and intersect with the model, all these. So I can intersect faces with model. And so if I just simply come in here and select all these and load. You know, I have a lot of these lines here. And so now I have a good topography. Now, there's a smoothing element that we could do also in sketch up. But anyway, this gives me, like, a very useful idea. And, you know, simply wanted to have one of these that's sort of three D, you said three D, topo, right? And then you can always duplicate that or take this into CAD. And then just have that top one. If you press your control to copy a duplicate, then maybe you go into your front or your side view. This would be more of a side view. And maybe one of you like here. And all you need to do is go onto a elevation, specifically parallel projection view, and you could just come in here and just bring everything down. And you just have your reference sort of level in here. This is also something you can always export this out and take it into CAD to get that perfect topo for your model. And there's a plug in that can also do this. But this is only 15 levels. Doesn't take too long to put that down. I just simply go ahead and put the final level at zero. In there. Okay? So we have all of our levels now here. And so you can simply find the lowest level, which we, of course, can just hide our previous elevated site. We can even hide the whole geolocated site. We just have a flat topo, and we just at the lowest level, and that's where we can course this sort of reference. It's just useful always seeing like a ground as well as a reference model. And you use the same point. Again, the up levels are going to not be at the same place. And that's as can be expected. So yeah, you can just sort of see where you're starting. So if this is a useful way to say, Hey, if we're going to be using a ten foot level to start at, which one are we going to start at here? Um you could very simply just looking at the sight lines, maybe we will hide the three D sort of level lines, and maybe those could be in more of the civil site levels. We just make a S levels three D. And so that could be a good way to organize that. And we can make sure for our sight lines that we are not showing things that are three D, just click on hide that, update this one. And so that could help us out. 9. Choosing Site Elevation: Last. So we know that this is our zero level. So if we know that we don't want to really put the building too far into the site, and we want to make sure, again, we are probably in the parallel projection. Update that. If we want to not dig too much into the site, we probably want to come somewhere close to this level up, which is, like, close to 40. And so these little numbers can be placed within your topo. If you want to just just make it for reference, we could always just open our larger tray just to see where text is. And we don't have to do too much big texts just sort of understanding, where our zero is, and that might not be zero. But it's like a local zero. We just sort of keep that as our zero level. And so we know that we are wanting to build something around maybe 30 feet. So that's really helpful. So now that we have a location on the site, if we want to pull and say, you know, we really want our edges of our house to align a little bit with that topography. Then we have a good location for this, and we'd come up and we'd use our inference 30 feet. And you could take that and move our reference geometry for where some of our structure will be. And you could even just move your point. Yeah, I just move your edge right to here and ideas. This gives us a good item location that can work with our actual elevation 10. Setting Up Views: And sometimes we want to be a little more accurate, of course, with sketch up. So the beautiful thing about it is it doesn't even matter how it's oriented. If you made that group when it's in the normal orientation, your axis will always be aligned here. So we actually won't have any issues. Even if we say, Hey, look, we want to look in the front of this particular model, we can always just create a view that's going to be perfect to the original axis. And we can create that view here, and we'll say just front elevation and we can even be one just to talk about the particular building and have that separate. And we could also have even just a view overhead that's going to be really with that orientation. And we get to add that as our B one plan, and we can break that later into different levels. But we can have our elevation just at the front, and we'll have our elevation on the side probably here. And we just again hide some of the elevated side information, so we don't get that in the way. And we might want to click. Let's see here. Look at our front elevation and yeah, right here. This is our B one side elevation. And if you're using, you know, exporting this out, it would just give you immediately, you know, building elevations. We can go ahead and turn off some of our scene transitions because scene transitions sometimes are a little bit annoying if you don't really need them. So we can just do it that way. So now we have it where we want to look at a particular plan or elevation for our building. We have it there, and it's according to the orientation of the object. And then also, yeah, we just have our typical perspective for looking at the site and how our building will look. So this is just setting up the groundwork. You know, we have the good levels, we have the good views, and now we're really ready to model something that works as a design. And I'm really excited for that because, obviously, we have an interesting site, and we can really get the most of the site from that basis. 11. Generating Topo Lines: The next thing we're going to do is we're going to go ahead and get our Geolocation back on not just our geolocation, but our full elevation of our site. And that's going to be elevated site. I'm going to just add a view. I'm just going to rename that to elevated site perspective. And the idea is, I want to know what are the levels from this project, like, you know, is it going up 50 feet? Is it going up 100 feet. And one way to help me organize that is to, for sure, just go ahead and start with a level, and I always actually start by using the untag layer. That's going to be my main layer that I'm working with anything that starts there, you know, we can go ahead and come off from there. So So I'm going to make this group here, and what we're going to do is just go really into intersecting with our elevated particular level, and that's going to help us get section cuts of this at each of these levels. And that's going to help us out tremendously because we just see how high things are. And what I'll do is I'm going to go up ten feet times ten we just go ahead and measure this. This 100 feet doesn't even go to the top of our mountain over here, but it might be a little bit too high of our scale. But we're going to do is we're gonna go ahead and add some other set up here. So these are all going to actually be in a group. We can come in here. And now what I'll do is I really want these all to intersect with the model. And what we can do is from that, get the information about what's happening here. But one thing to also do is make sure and I'll go ahead and create this in our zero level if I hide these levels, I want to make sure I'm not going to get a cut at my building. Again, I'm going to put this as facade. That's where I'm modeling, so to facade element, there's a massing element. So I can go ahead and hide this. But I want to turn my level on. So this one will just go ahead and intersect with the model, all these. So I can intersect faces with model. And so if I just simply come in here and select all these and load. You know, I have a lot of these lines here. And so now I have a good topography. Now, there's a smoothing element that we could do also in sketch up. But anyway, this gives me, like, a very useful idea. And, you know, simply wanted to have one of these that's sort of three D, you said three D, topo, right? And then you can always duplicate that or take this into CAD. And then just have that top one. If you press your control to copy a duplicate, then maybe you go into your front or your side view. This would be more of a side view. And maybe one of you like here. And all you need to do is go onto a elevation, specifically parallel projection view, and you could just come in here and just bring everything down. And you just have your reference sort of level in here. This is also something you can always export this out and take it into CAD to get that perfect topo for your model. And there's a plug in that can also do this. But this is only 15 levels. Doesn't take too long to put that down. I just simply go ahead and put the final level at zero. In there. Okay? So we have all of our levels now here. And so you can simply find the lowest level, which we, of course, can just hide our previous elevated site. We can even hide the whole geolocated site. We just have a flat topo, and we just at the lowest level, and that's where we can course this sort of reference. It's just useful always seeing like a ground as well as a reference model. And you use the same point. Again, the up levels are going to not be at the same place. And that's as can be expected. So yeah, you can just sort of see where you're starting. So if this is a useful way to say, Hey, if we're going to be using a ten foot level to start at, which one are we going to start at here? Um, you could very simply just looking at the sight lines, maybe we will hide the three D sort of level lines, and maybe those could be in more of the civil site levels. We just make a S levels three D. And so that could be a good way to organize that. And we can make sure for our sight lines that we are not showing things that are three D, just click on hide that, update this one. And so that could help us out. 12. Choosing Site Elevation: Last. So we know that this is our zero level. So if we know that we don't want to really put the building too far into the site, and we want to make sure, again, we are probably in the parallel projection. Update that. If we want to not dig too much into the site, we probably want to come somewhere close to this level up, which is, like, close to 40. And so these little numbers can be placed within your topo. If you want to just just make it for reference, we could always just open our larger tray just to see where text is. And we don't have to do too much big texts just sort of understanding, where our zero is, and that might not be zero. But it's like a local zero. We just sort of keep that as our zero level. And so we know that we are wanting to build something around maybe 30 feet. So that's really helpful. So now that we have a location on the site, if we want to pull and say, you know, we really want our edges of our house to align a little bit with that topography. Then we have a good location for this, and we'd come up and we'd use our inference 30 feet. And you could take that and move our reference geometry for where some of our structure will be. And you could even just move your point. Yeah, I just move your edge right to here and ideas. This gives us a good item location that can work with our actual elevation 13. Setting Up Views: And sometimes we want to be a little more accurate, of course, with sketch up. So the beautiful thing about it is it doesn't even matter how it's oriented. If you made that group when it's in the normal orientation, your axis will always be aligned here. So we actually won't have any issues. Even if we say, Hey, look, we want to look in the front of this particular model, we can always just create a view that's going to be perfect to the original axis. And we can create that view here, and we'll say just front elevation and we can even be one just to talk about the particular building and have that separate. And we could also have even just a view overhead that's going to be really with that orientation. And we get to add that as our B one plan, and we can break that later into different levels. But we can have our elevation just at the front, and we'll have our elevation on the side probably here. And we just again hide some of the elevated side information, so we don't get that in the way. And we might want to click. Let's see here. Look at our front elevation and yeah, right here. This is our B one side elevation. And if you're using, you know, exporting this out, it would just give you immediately, you know, building elevations. We can go ahead and turn off some of our scene transitions because scene transitions sometimes are a little bit annoying if you don't really need them. So we can just do it that way. So now we have it where we want to look at a particular plan or elevation for our building. We have it there, and it's according to the orientation of the object. And then also, yeah, we just have our typical perspective for looking at the site and how our building will look. So this is just setting up the groundwork. You know, we have the good levels, we have the good views, and now we're really ready to model something that works as a design. And I'm really excited for that because, obviously, we have an interesting site, and we can really get the most of the site from that basis. 14. Creating A Site Section: Now that we are ready for a site, one thing that we also want to do, just to help out in understanding what's going on in the design is we want to make sure we're getting a little bit of a section with our three D topo because again, that is where you're going to definitely see the most of what's actually happening in the model. And so I'm going to need to really just benefit from having a two D surface, pretty much a plane to create our section and I always get my section open. And it will just go along this way. And one of the benefits is that that's letting me save something. I'm going to call this and it gives me just a pop up here section through site. And it can say one. And what we can do to, of course, see it, is from our side elevation, if we turn our elevated site on and make sure our section is selected in our outliner. So that's section of the site. Make that as active cut. That's going to really help out a lot. The sites not solid. I will sort of give us a line for saying, this house comes out this much, and we can zoom in as well. You can even sort of keep the same profile of the site. Have that as active cut and show the geolocation and that's going to be how we can preserve a little bit of the side here. So I'm going to. And we'll just get that started again. Side elevation. Make sure we're seeing what we want to see. And one thing we want to do is make sure that we have our tag selected because that's how it helps us out. So we sort of switch back and forth between tags and elevations. Make sure elevated side is visible. Our section is the active cut. And then we're going to say, we're going to add this view is our B one side section. Site section. And it's going to be beautiful when we see the levels. And that's actually where we're actually headed next, as we create a level for the main of the house, as well as some of the upper levels. 15. Adding Levels: So one key thing for us in creating levels for this project is we want to make sure that levels make sense, and they're large enough. So I'm actually going to do 100 by 100 and actually since I'm using my section cut already, but it's useful to have the section cut open. I'm going to do 100 foot by 100 foot for pretty much just a group that operates as a level, right? And so I'm going to put this group on the zero level level there. And it's actually it is going to be in the, you know, of course, when we create something in the view, it's actually elevated up. So that's helpful. We can, of course, measure, just double check that it is 30 feet above. And we also can set, some of the features if you want, of course. This one of the things I would like to have out of my level is, I would definitely love it to have appropriate sort of differentiation from other levels. So I'm going to use sort of dash dot. And so that's going to be for my level here. And so one other level I would like to have for this is what happens above what happens below. I'm going to use side section to sort of locate it. I'm actually going to turn off the elevated site for now. So this is me just manipulating my level to have an important floor height. So I think 12 feet, make sure to press control, so we can go up 12 feet up. It's going to be for the level above. That's going to have our second sort of level there, and then we're going to go 24 feet down. So we have like two levels, and that's going to be sort of our basement level. And that doesn't have to actually, you know, as we're looking at, of course, a section, that doesn't actually have to go in all the way. Maybe this could be a partial level, okay? And so that's useful as a reference for locating my levels in my project. And so, 16. Program Sizing Considerations: One other thing to consider is, of course, with something like an A frame, which is the basis for this model, we actually are going to be losing space on the upper level if we don't create, like, a dormer or some type of other element. So if I go ahead and turn off the section cut just from my outliner, I turn that off. What I can do now is start to visualize how this design really achieves the goal, and I can go ahead and move this reference geometry that I use for that plane. And we can just start to think about how do we divide it up? And again, I'm actually using a reference, and so we don't have to create all this, everything, but the idea is my 30 by 50 was a valuable base understanding of where we're going to locate parts for this model. So we don't have a lot of challenge there. So this part of the model, we're actually going to probably break into just working with the model because pretty much we've decided that, yeah, we will break into the mountain a little bit into the site. You know, If we did want to come up, we obviously have that option. But the idea is, we still want to have something that's nicely oriented, that we can create a road down the path. And, you know, again, if we go back to our sight lines, we can always see how we're oriented, and that can also help us as we figure out how we'll be orienting to the site. 17. Framing The Structure: Alright, so what we're going to do for our levels, as we're now really getting to intimately know how this project is going to be looking in, we're going to go ahead and as we create the floor, sort of the footprint, we're looking at what we're going to also create for the structure. And so a frame structure is going to probably start to really play off of what this facade is. But one way to really understand it is definitely to open it up a little bit. So a frame structure does not need to be super complex. We can use a 12 by 12 member or 12 by six or 12 ", you know, and that could just come in six if we just came in 6 " and do four to six foot on center, that could really solve our structural needs. And so I'm going to make this, and I've also sort of calculated some of the footprint already, so you don't have to worry about sort of figuring out like that is part of the exercise of figuring out an Aframe because we do lose some of the space. We're actually going to go to the front elevation to understand some of this as well. Okay? So from here, essentially, um, lower than six foot eight is, you know, a bit of a problem if someone has their head there. So what we're going to do is actually we're going to create the A frame as a basis that goes to the ridge, and then we will actually have our floor starting at this level and go below it. I'm going to use H to hide up the rest of the model, so we can actually just create this component for our base structure. And this will adjust on certain areas. But this 12 by six member representative and and we can add the material a little bit later. We'll just do hypothetical now. That's going to be the basis to locate, you know, our structure for this model. It is really simple at the end of the day. But yeah, at the same time, it's something that we need to definitely consider to be simple enough that we can sort of locate it. And we're going to pretty much advance all parts of the model. And I'm also going to save it a little bit with a little more advanced naming. Also, I'm not going to purge because I might want to use some of the elements later on. I'm going to go ahead and say this is when we moved up from our base site to our base form. So just sort of give a phase there. And again, this is 30 by 50, and we know if we're going to divide that into giving us four foot or six foot on center, that's going to be eight of these. And so eight of these beams. And one thing if we do want to maybe I have a goal of the stair, and we'll look at that plan that we have. As referenced, we would really want to maybe adjust around that particular area. I'm going to divide it by seven to start with because I know that's going to give us a total of eight. So that's going to be how we sort of build our base outer wall. And for the outer panel, we're going to use a very sustainable panel SIP panel, structurally insulated panel that's about 6 ". And so that's something that we also can actually generate more from profile and sort of extended. But another sort of thing that we can also sort of put into this is a little bit of detail where we can bring out. And this might be best to look at and plan instead of just coming here and adding, you know, the glass on the edge, we can come out with a little bit of a profile that can also help us from having too much glare, just having, like, a straight window with that opening. 18. Adding The Floors: What we're going to do is now set up as now we have our base structure and our base floor, which we actually can just generate from selecting. Now some of the elements that now we have a base we can now make this. Let me see here. Yeah, we can come in and put this floor at 12 ". And this was the floor that we had copied up for. And this actually might end up being more of a 16 inch member, and so I'm coming down 4 " more. And under here, we're actually going to have a series of piles. But again, we haven't locate any of the structure as of yet, but we can go ahead and start to just like we can come here for this structure, and what we can do is also just make sure that we make a group for this facade because we're actually going to use that later, but we want to keep it separate from the structure. So right now, we want to make sure that this actually Oh, one thing we can also set to probably We can go ahead and create maybe a massing layer, because you also have the issue where you can't hide the current pretty much tag. But now we can go ahead and do that separately. Alright? So now we get our structural elements. These are our structural base, so we can sort of put this as a element. So that's going to help us out. 19. Creating Floor Views via Section Cut: Now, what we're going to do to help us sort of understand as we are creating other levels and floors and, you know, sort of architectural, we want to go ahead and make sure as we form this shape to have the reference levels that will help us give us orientation. So we're going to make sure that we're not in any group of exit out. And I'll just create a section, and I'll put the section at level one, and I'll put this L one. And just make capital Section one level one, right? And I'm going to actually stop it from being the active cut. But what I can do is, of course, when I see it, I take it and calm down. And I know that that's going to be from this level to this level, that's going to be 12 feet press control to make sure I'm copying it. And that's going to be our Section two level or section, sorry, zero level zero. We just come back to make sure we're in the right one. Yeah, so section zero level zero, right? And make sure that that one is called that in our symbol, and then we have our last layer up here. 12 feet. And that can be our L two. And we'll say that Section two level two, right? And so what we can do is, of course, have our B one plan. That's just maybe site plan. We can add rename b1lo. This is going to be something and I'm going to save this. I'm not going to purge it. I want to make sure to have this as a good reference. But this is going to help me just organize, what we can accomplish. I pretty much at level zero, I'm going to update. And then I'm going to add another one, and I'm going to make the add level one. And what we also going to do is for all our section and cut, just in general, just so we can see some of the floor element, we're going to come up four feet typical. So, that's a good thing about knowing where your level is versus knowing where your section cut is because we definitely need to be able to see all the other section cuts, it pret much needs a little bit of space, right? So if I go back to our scene ten and set that to active cut of level one, we can rename this here, B one. Level one. Then we come back to B level and zero. One of the things here we want to make sure that we're doing is you can maybe go into a scene that doesn't have any connection to any of these. So we can just sort of see all our section cuts, and we can just click just so we can see all the section planes and make sure they're in the right place. So we know L one, we lifted up. L two and L zero still sort of in the wrong place, so we're going to add those up. So that's going to help us now have a little better L Zero. 20. Adding Remaining Floors And Adjustments: Going to do, even though we're not using it right now. I'm actually looking at Sing well. I'm just going to create a floor level there. We don't have to locate exactly where it needs to be right now. There are some ideas that we have, and I'm going to go ahead and create that turn that to the a floor level. That's a 16 inch floor that's more of a interior floor versus exterior floor. So I'm going to copy that down well, 12 feet. And make sure I'm pressing control 12 feet. And then I'm going to copy it up make sure we're going straight up, right, and that's going to be 24 feet, right? That's already gives me a little bit of set of assumptions. I'm going to also pull the edge in a little bit already because I know I'm going to come in the floor, floor plate, and I also going to come in at this edge As we're coming in maybe 20 feet. And some of these, you know, they can always align with this structure a little bit. But now I have this and also because I know also just like I saw from my side section, I know I might want to pull this in a little bit. I could already just come in and say, maybe I want this to come in at least 30 feet. So that gives me 20 foot. And we might just if we want to stack our stairs, I might come in another, ten feet. So this being like 35 here, we can measure that. But now look at my B zero, while look at my B one. And just make sure that the appropriate section is selected for when you look at any view, B one level one. Make sure the active cut is the correct one. And I'll update that. And then we're going to add another view. Again, this now is going to be our Level two, active cut. And what we're going to do is, of course, rename that and update it. B two level and two. And so I have my three levels here. And I haven't really done any of the structural thing, but, you know, the idea is, I do have the understanding of it. And so we'll be looking at what we want for interior space, what we want to come back out, and we can come back and now we can sort of maybe create a view where we can see the elevated site. We don't need to see a bunch of lines, however, but, I mean, it's going to help us sort of always say, Hey, look, what is our reference perspective view? And so, I'll turn the elevated sites now we're going to just create a close up perspective, right? Okay. And we'll just call that exterior perspective one. So we can always come back to this one. So this is a great example sort of what we can start to do and, you know, make our building with a key understanding of how does it relate to the site? How does it relate? You know, if we look at our side lines, you know, again, sort of use that as a reference. How does it relate in the three D? And we just sort of building on top of levels. And I'm not going to purge, as I save this op keep your saving up. So yeah, so now we have a little bit of understanding. So what's going to be on our first level. And we haven't done any exterior. We haven't even done any detailing of this. But some of the things that we did mention before is we want to have something interesting in terms of how we relate to the outside. But the great thing about it, again, is so we just did, you know, a thin layer for our facade, but we actually want to do more of a four to six inch panel. But knowing how these things relate together is important, from the beginning. 21. Adding structural Piles: And so one thing I can already do to just adds a little bit of level relatism is I can, of course, create my piles, and I could just create those. Again, we just start off with the tag layer, but something like a 24 by 24 just give a place odor if that's not actually going to be, you know, it's going to be too much. We can always sort of, you know, change it. But again, we're just giving like a reference. And so this system, we can, of course, create that as a component. That's going to help later when we want to maybe add materials to it, and I'm going to put this in the pile, and I just did a concrete pile. But you're going to change that future to more of a wood. And what I'm going to do, I'm going to do a just double. It's going to be a lot at the front, and don't forget. We're actually going to add a deck outside, so we're going to adjust it a little bit later, but I just want to give a placeholder four structural, and I'm going to go ahead and create this as A for S level sort of concrete. And I would probably align maybe every ten feet so I would divide that by four. And so that gives us a bit of what happens and then we can connect our perspective to see how that would actually play out. Again, I think some of the foundations might be more toward the front end is if we're going to sort of dig into the rock a little bit. But I also have a little bit of an idea for what's going to be cut out from here. Okay. Alright. So now we have a cool sort of set of our structural layers, what's going on. We might not need the beams as much on this back area, but that's something, of course, we can just keep at a high level now. 22. Adding Vertical Circulation: The next thing what we want to do after knowing these levels, is knowing some of our vertical transportation. That's a really good architectural concern. And since we know pretty much our bay is about six feet on center, we know that this area now, and I can just have just a little bit of a sketch layer, I'm actually going to create a new tag for that, and I'm going to come in and just put it in the base. This is a sketch. I can just go ahead and come into my model here and hide maybe the rest. Just look at the floor plan, even, you know, just do it in the floor. And this might be a useful way you might find out because it does help us avoid creating too much. But essentially, I think it's helpful to sketch out what's going to be, you know, your design, right? And you can always turn your model on and off. So I don't need to see anything that's too high up, but I can always just measure. So have I turned my measure on to just see where things are. So right now, if I come in, it's not exactly a let's see here. We go to center to center. H do have a little bit of unusual spacing because I did sort of do like an average. But if we want to use the exact structure, we always are free to just go ahead and use our baseline, come up and just sort of draw a reference point for our plan. We don't have to keep that in the main layer. Again, after I draw this, I'm going to go ahead and actually take the top layer, make it a group. And so now there's something I can always just hide if I don't want to put in the model and the model also can have its own sort of floor. And even I can just come up 1 ". And this is just a reference tool for designing the project. Make this A sketch and come in this A sketch and make sure that I'm going to put some of the elements that I have. And, again, we're coming in 6 " and because 12 doesn't go all the way in, that might be just a useful sort of placeholder. But what I mean, the beam, we can just sort of show these here. And this would be just useful to have. And what we can do is come in here and select this and do our same sort of divide over seven Yeah, you see how it looks it nicely there. All right. And so what we can do with these get that tructure in. Put that here. Again, we come back to B one to sort of draw what we want to do. And essentially, the idea is to go ahead and create a stair system that can operate within here and access to levels. Doesn't have to come in too much. We probably want to do something of a three foot or three foot six. And so three foot six. We could even just to be a little more clean, three foot six here, come in here. And these steps are going to be about 12 ". And to get to this level, I did do the calculation. The calculation is going to be typically coming up from 12 up to 12, and we can bring out our calculator for this. That is going to help. And we will use that as sort of in the model. But essentially, that 144, which is 12 times 12, with a division of 21 so either 21 and let me see if we can do This is sort of going to be the stair height and the maximum is seven to three quarters. So if we erase this and do our 144/20, we get 7.2 for each step. So that's just FI, the note that for how we're going to get our stairs in here and the ideas, we can start to say what happens for the exterior because sometimes it's nice to get your exterior right here on the structural level, and you know, right now, this is six foot six in between these spaces. So we don't actually have to do. We can make it so that our stair can come perfectly in between this area. And that actually could be a nice little detail where our stair fits versus moving our structure. And so, essentially, people will come up through here, through the structure, and that's going to be a nice little detail to the design. Alright? So then maybe we could have it where half of the stairs out. So that 20 if you say ten on the top, ten on the bottom, that will help us to see, sort of, Hey, you know, how many are we actually coming out here? So maybe I could do five over here. And this right here only gives me, of course, ten. But if we have our landing, and again, I did sort of already model this idea. This is something that, you know, always is helpful, you don't need to sort of model it with your model, but it's bringing that architectural understanding of how things could work. And so now this little stair design is something that's nice and vertical. This right here is a nice sized sort of living room. My entry, I'm really interested, and this is sort of going on multiple levels. We use this as our stair footprint. And this could be our exterior, you know, just a really beautiful way to, you know, people could enter in here, but we also have the lovely ability to this to connect to being if we join that facade, that this could be your deck as someone comes up to the second floor, and then we could come out, of course. And so some of this being on the higher level, I wouldn't sort of touch it too much, but on the main level, if we do enter from the ground level, that does give a nicer access versus starting, you know, building a road up here, you can access from that ground level. This is how we would come into the space. And so this is where we start to figure out how to, you know, organize. Again, someone could think of, you know, a good sized kitchen 23. Planning Programming Space: One thing to note is that we're going to have to come in a certain distance and that's where we can use our elevation to figure it out. If we go to our front elevation, it's helpful for us to know. And this is where we could start just another view. Just looking for where is six foot eight, right? From the edge, right now, it's about three and 37 eighths. So something like three foot four. That's a reference point that we can just go ahead and build into our sketch plan and just hide the rest of the model. Is actually three foot four from the inside that's going to be sort of our safety zone, but we can also put casework within here. So, you know, if you have your, you know, your furniture or, you know, maybe if we think about a good place for our kitchen, that's going to be a good reference point to place that. So this is just sort of preparing the steps for the real design of this space, you know, really thinking at a high level, sort of not breaking into too much of the design, but saying, Hey, look, we do need to consider this six foot eight line. 24. Reviewing Light Access and Phasad Form: And also note that obviously, this side is obviously not going to get a lot of light from this particular side, right? If we go back to our exterior perspective, we do, you know, sort of see that a little light might come in. That's also the North, but being that's a beautiful part about, you know, what we can do with shadows. We can already sort of see, Hey, where is light going to come in? Then we can start to think about where would we prepare some openings for this facade? And we can already actually start to build that in. For instance, if, you know, again, we already are planning out where our stairs would go. We have the ability to come and just also say, Hey, look, if that's going to be where our stairs going to go, let's already come up a certain distance. We might even just say maybe four foot from the top. We know that on one side, we're definitely going to be coming down and really needing to make sure that we have, you know, our vertical opening for our stairs. So we can already have that in place, right? And I even open another bay, but we also can put some of that on the other side as we prepare for, you know, exciting potential for what can be done in opening up. Again, a frame is very beautiful. You don't want to too much puncture. But the idea is if something works on the structure at a reasonable rate, we already have the ability to see how we can start to open up light into other parts of this space. And we can adjust the site as well. I just wanted to go ahead and start off and just from a high level, understand, how do we light this whole facility without doing too much. 25. Adjusting Structure for Circulation: But we have a great set of levels here where we can see what's happening on the ground floor, and we can even start to get some of these other elements, even again, like I can go ahead and just copy our sketch that we've created here. I can just get it to the ground layer, even if it's just for taking it and adjusting particularly. So, of course, you know, none of our structure will particularly interrupt it. And we wouldn't probably need to have too much structure to sort of breaking all these we could simply move these things out to a line here. And so now we have a structure that works with everything. And this is, like, so close to the ground, 20 feet up. It's easier to have your main access here, and then someone could enter in from this area and enter in. And we don't have to even like, again, I had pulled back the footprint a little bit, but now this gives us a lot more context for, Hey, how would we actually site this and now the structure on this level, as opposed to the six by 12 is a 24 by 24, right? And so, you know, this could be very accurate in that basis. For what we want to design for this level. And so it's not that you have to have a double set for every time you're doing a project, but it is, for sure, helpful to know a basis. And again, it's even and I'm going to copy this. It's useful to just have a bit of a meta understanding of your project so that you're never building something without knowing how everything also relates to the whole so yeah, this one gets into the accuracy. And this area, you know, obviously, one of the great things about it again, seeing this system is we obviously are just a regular height level. I'm going to erase some of the stuff we don't need because this is a little bit different, of course. And we can even say, this is this could be, you know, all we need with this level. We don't need to have this infrastructure coming in the same exact way. And what we can do, of course, can also make sure that we're intersecting everything and everything is attached well. And we can delete structure that doesn't exist or doesn't need to exist. Go ahead. Close. Alright, there we go. And so we have a sketch for what we're looking to achieve for our lower level. So again, some of the structure needs to go up to the top. It's not that it just needs to be at the base level. But without putting too much over design in, we have, like, a key understanding for how things come in, how people can enter and enjoy this space. And yeah, I think it's nice to think that people would if you look at the exterior objective, now we're going to start having an idea of where to cut particularly, like, of course, like this three D object does have the ability. It's locked right now. We can always unlock it, start to cut out of it. And that's why, of course, it's good to have that base model that we separate because now we'll have where we need to cut out for our design. And again, because we have our base footprint, we have the ability to just sort of extract up where we need straight from the ground and say, Hey, look, this needs to come out of the site. Now help me. Sort of plan sort of that space. And yeah, um, 26. Sketching Vertical Circulation: Alright, so now that we have pretty much our levels figured out, like, including what we can also copy to our upper level on some levels. We can, of course, just sort of keep it to the footprint. And we can always just make sure it is referential. And again, I think it is a working way of having it come up, and now we have the structure. That sort of shows where it needs to be. We can always just say, Let's pull our lines up. And yeah, now this is helpful to sort of finding the edge. Where does that edge actually live? And we can, of course, make a group and keep that in the sketch layer. Let me just hide everything else. Yeah. And this just helps us now understand what needs to happen. So if we want to choose that people come up through here and then up here, we can always make that decision. It just has that sort of sloping in. And it would probably be nice, obviously, of course, to come in and step up here because you can be looking out toward here. And so this above layer at the top, only needs to have, of course, the part of the structure that looks down. And we, of course, can very soon comment and sort of locate where these come right out of this. But I think this itself is sort of a derivative layer that we can keep And we just always just copy that. So right now, again, I have not located this above the frolin. But again, that might be something that is helpful. One moment, I'm just going to locate it. Well, Alright, so now we have what happens and how this needs to connect. And so the bit fling is gonna You just come in here. And the idea is. The idea is that there's a sloping stair that comes in. 27. Modeling Vertical Enclosure: And now the idea of the enclosure is going to be a lot simpler, and we could do that the same way we were working for here, and we can even just sort of keep it in the same sort of option. Again, this is within the group of mass our first massing. We can leave it here. We can, of course, start it as, you know, secondary. And I will sort of do, like a first iteration, and we can just see if we like the one but that does use some of the elements that we were talking about with just saying, Hey, let's just use some of our floor plan layers. And this could be based off just sort of drawing our If we just draw from the regular site, we're going to use this as our reference here, make that as a group, and that keeps its orientation. Now we can take this up to level one, And the thing is, it's going to have to, for sure, come into the full of the design because we can call it a massing for right now. This will need to extend. And if we look at our exterior perspective, we'll know this is how high it needs to come up. And if it would go up, you know, we have a decent amount of floor space, maybe it comes up ten foot as a structure, you know, that would include some of the slope of the roof. And then what we can do on the top of the roof is do something of a 12 inch rising at 3 ". And what we can do is just make sure that. So that just hits into the facade. And that would be the basis for our roof. Just go ahead and connect this set of element. But that's going to be something that we can use to go ahead and figure out some of our detailing for a ceiling. And we can just make this as glass and use our materials just for a basic idea. Yeah, and we have a lot of potential here. So we haven't even started on looking at exteriors. We're just looking at sort of a basic how something would work as an architecture, and we have a bit of a structural idea, a bit of how there's circulation idea. We haven't taken that from the site, but that's something we're about to get into, and that's going to be, of course, super exciting. Let's get into that. 28. Refining Site Top With Subtraction: The things we want to do now is create our intersection from the site. Especially if we want to take out from the site things that are going to be pretty much blocking the site, right? So what I'll use is, I can hide some layers and just really focus on what needs to be addressed to, to remove some of our elements, right? So, this is our footprint. You know, you can always just copy it, right, and just pull it up. And we're actually going to have to we will have to definitely maybe cut it and then paste it into the site. Now, again I have backed up the site, so we're not losing much here to get this here, but it's useful to deal with it. Alright? So this part of the site is essentially going to be from where the structure comes up, even to the bottom of the floor, and we can export it here. And one thing is we want to make sure we're selecting within the proper part of the site. And we can always just always just turn on our model to see where it is. Yeah, this one just smaller areas where everything is and we can paste in place. Yeah. And so what happens is, this can take out a particular chunk, right? So we can say this is to intersect with selection, and we come in here. And what this also can do is this also can sort of intersect in the same way. But the first part about this is going to be this even beautiful way, we can, of course, explode it now and say that we make sure that this is intersect with that other selection. So now, both we hide everything else, we just take out some of the things like here, and we don't have to fully delete it. We can always just sort of say it as a removed site. If we want to ever come back to it, we don't have to leave it on. We can just, of course, turn it off in our relevant views. So right here, we can go ahead and put that as removed site. And this here our sort of subtraction box. We can just remove it. But that was a really useful way just to get our footprint out of our site. Now, if you want to see our exterior perspective, we can just hide in this view removed sign, right? And now you can sort of see a beautiful site. And, you know, the idea is what we want to do at that site. Now we have the ability also to say, Hey, what do we want to do here? Do we want to come out a little bit more? We have that flexibility. But the idea is in terms of our views, we can do that same element, taking out this particular element. We'll just just extend and just create our box. And the same thing happens when we are talking about when we look at our sight lines, now that we have something that comes down, and we're looking at that base plan, it can just capture some of the elements that are growing and changing in the design. And that would be our basis for where we find where everything needs to go. And this also is out a little bit more, and we haven't done any exterior deck. So, you know, again, we have the ability to do the same method to adjust this site. All right. So what we do is take our lines that we don't want or here, we can copy that. And what we can do is just always just take this. And if you only wanted to definitely deal with this part, we can keep it to that. And what we can do is, of course, move it to the level where we need to sort of affect it. And as you can see, of course, we're dealing with other intersection, we could go ahead and come out and control X to remove it. Click on our layer here and just click until we get to the particular select area and that we paste in place. And we know that we want to do that same sort of process of intersect with selection. We're going to explode this and this right here, and more so this pain in this pain, and we will intersect that with selection or maybe from the inside, intersect those with selection. And then that will help us definitely turn the removed site into its appropriate layer, and then just move it anything that we don't need. And this right here, since that's obviously right in our site, we don't even need it. So we just have the site that sort of goes into a level here. We put that in that same level. You know, you could go ahead and remove all this area above. And we can use that sort of leave that we'll figure out how to deal with that later. But now, you know, we removed from the site area that we want, and we also, you know, just like here, find out how much was that area, so we can do a calculation later on. So that's helpful and also sort of keep those on the same level. So now we have, like, a really good start for understanding this site. We have something that can, you know, have a lot of complexity, and we're working with the site. So this is a beautiful way to get started with a project with 29. Sandbox Workflow for Stamping A Site: There's another method I just wanted to show for removing a site, and that's actually the sandbox tools. And one of the reasons as we often, it actually is a really good tool for sites, but sometimes it doesn't preserve some of the geometry. I did want to go ahead and show that method, so you can also just be perfect in some of the cool things that Sketchup has offered. Okay. So what we do for dealing with something like the sight lines is we definitely would say, we still need to create that footprint. You see here as we have here, what we're going to subtract out. And all you need to do is take the footprint and probably make it into one geometry for simplicity. And come back over here, and you can even put it in a layer, like, you know, subtraction or something if that could help as well and move anything additional from there. And what you can do is go ahead and sort of locate it. So, we actually are going to put it back in its place. And what we can do is copy it because, you know, it sort of might get deleted in terms of how it's going to impact this other geometry. And now we go to the exterior perspective. All we need to do is go ahead and take that little unit, I'm subtracting it, I'm cutting it. And I'm going into the topo. And here, all I need to do is locate it properly, and we use a very cool tool. Even in terms of if we're going to place it, we always can do paste in place. Because it was done right on top of the model. And I can always just check to make sure that's in the right place. And I do believe it is. You see the foundation piles there. And what needs to happen is we can come out of this now. As it's in this model, all we need to do is select two things to work with a sandbox stamp, right? So all you need to do is click on Stamp, and it says, click the mesh to use for the stamp. And we want to make sure we're kicking the right thing at the right time. We try it again, start it again. Click the face of the mesh, click the mesh we want to take from, right? And the thing I like about it is that you'll subtract it out and it'll do all the cuts that we need, right? That's a cool little method that you can use, and it does create a bit of a geometry for that subtracted area. And it's pretty much just two clicks. But obviously, as an architect who likes to control, use BIM projects and BIM tools, sometimes, you know, we do like to do a little bit more control for these type of elements, but that was a cool, simple way to go ahead and also get a similar effect. But it's important definitely to know how to get some of those items. 30. Adding In Context: We're going to do next is we're going to go a little more into some of the interior spaces and sort of refine some of these details that we have, of course, with things like doors, windows, and stairs. But we wanted to get this base, and I think that's done pretty well. And, of course, we can always just come here. Even just from this base level of, you know, just plan and massing, we have enough to go into visualization, and we could see, and I actually did copy these other massing elements. And we can very easily just copy some of those in and, you know, really have an understanding of what's happening on the site. And so I can copy some of the other masking elements that I did create before. I have created that in the file listed below, so you can go ahead and just import that in that in. These are based on where these are on the site and also a little more accurately to their level. This is helping us to understand how this site would work. Sort of this easily could be taken into AI, of course, as well. But it's just licking a massing and how this building works on a site. And as we work on our internal plan, we work on external plan as well to understand better how to relate these. But definitely getting your model working with the site is a key thing and having your views so that you can know also what's happening on each floor plan, you know, is pretty key. 31. Modeling A Road From Topo: One of the important things for our modeling is importance of how do we circulate through our design. One of the things I've also done is I've updated the style. So one of the things is make sure that for your section, you've turned display fill off, and then you can update your section that will update the style. But yeah, before getting to the vertical circulation, we do want to finish and we go to exterior sect one because we definitely know, hey, we want to experience either some lower deck that can connect here, and then also might just want to take and model just like we have our sight lines, model our site road a little bit. And we can even take this what we've copied in here. Again, that's part of the sample files. The idea is all this needs to do is close. And we could use that as a base if it's flat. It really should have no issue closing. So it'll be a little bit of a negotiation to get this close to find out where the open line is, particularly. Um and just make sure you're definitely in the model when you're doing that close. And yeah, now we have, you know, a road that we can have a is a little bit of a base. And so I click here, this is a view that, you know, again set up that is showing, you know, each particular things. We can start to maybe use that base from our sit elines and just sort of shoot it up and we don't have to over moodel the site again. We also have the ability to use the base site if you want to come in and just really take out, again, we don't need always the three D terrain look to get what we need. We do need to have a basic understanding. So one of the ways that we could do that is really by sort of extruding sort of that part of the site with a with the map, we come and we can just take that three D map. We come over maybe 1,000 feet, right? And we'll take also that road element, and we just duplicate that 11000 feet. All right. And so now we just want to make sure we're seeing it. Just delete to sort of check it. And I don't really see it, so I'm going to try that again and make sure that it's copying over 1,000. Let me make sure it's 1,000 feet. I might have copied 100. Big difference, right? All right. And so we just come in here in this duplicate, again, just, you know, make sure that this is just a regular group, so we want to just pretty much extrude it up and get the profile out of the site. And we just have a little three D element that now, hey, you know, we can make a little road connection too. So as we create our exterior, we'll have a very, you know, commonsensical item here. So what I'm going to do is I'm going to go and pull it down. And what we get to do from here is essentially, I want to take that chunk out of the site. And so this is a little duplicate set, and make sure it's a group and not a topo, and we could very simply just take the parts that we need. We just need area that sort of intersects through here. We can even just go down a little bit in. I just using that as our little bit of our profile. If you want to extend it just a little bit. We can do that, as well. You know, again, it's sort of a little bit of rough estimate. If you want to have a little more accurate, you always can even take the line and duplicate it over. That might be a great way to make sure you're getting a little more accuracy here. I could even just reset the profile on this side and just really just use the profile from one direction and come and copy that over to the other side. And that will ensure that we are not have anything that's not straight, you know what I mean? So you click that. We'll have something that has, you know, like a 30 or maybe 60 foot radius. You just meg just a little bit. It's about 26, so it might even be like a little row. If you don't have a survey, you know, that's still a good base point, okay? So we can export that through. And what we want to have is not just to intersect with this area. We'd actually want it to have a solid that we can sort of have two sets on, right? So what I'm going to do is now that this is a solid group, we want to go ahead and really get that type of, you know, fixture here because right now, it would be great if this was either all as one or something. And we just want to make sure these are not components because then it would affect our site. We don't want to affect the site. We just want to take out the area that we want. I'm going to triple click here, select this. And essentially pretty much everything in here. It's four different groups. We're going to explode. And what I want to do is just create a pretty much surface, and I'm just going to go up. And that's not a sort of current feature with this software. I'm going to come up like 3 ". Okay. So I'll just undo maybe some of that. But, yeah, let me just make sure that I guess turn on anything so I can make sure not to see anything that I don't want to see. Okay, so I do have some removed site that I had hidden. So what I'm going to do is really just take this, intersect it with the model, so it intersects with these lines. And then, you know, I can have now that little path. And right now you can see the little solid Boolean tools has given me a bit of a path or road. It's not that smooth, but it's something that at least I can copy up. And I come up probably I could do it 6 ". And actually want to make sure I'm pressing control to go ahead and get that profile. And then what I need to do then is now intersect this model with the model. I guess, little careful operation. We can intersect and actually want to go into the group that's going to make it intersect the best. So intersect with model. It just sort of just doesn't get the full capturing. So what we're going to do is And I'm just checking sort of how it's undue to make sure Alright. Control Z. All right, so it is looking pretty good. Turn off my shadows here. I just want to make sure maybe before deleting this part to go ahead and intersect it with this. And even what I could do is I can always just come and copy this because again, I want to get that six inch offset. All I should do is go ahead. Now, I come in here and this can intersect with model. And now I should have a six inch yellow offset piece, which is cool. The idea I don't really have to create the between surface. I could just go ahead and come in each of these. So there are now two of these where I could just delete the areas that I don't need. Right. And then select the other surface the things that we don't need. And so now we have actually a little bit of a surface here. It is a regular dimension out. You know, again, there's ability to smooth it out. There are some apps that do that. If I did want to do that, I could always just come in here and just if I do want to sort of match my road dimension, I could just choose that particular paint and make sure I come in here. Both the front is going to be fine. And now I have this whole ability to just turn another group for all this element and come back over my 1,000 feet. And so that gives me, like, a little more of a clear basis from my road. Which I can also just elevate if needed, just make a little bit more sense. But it might have adjusted a little bit, but I can take off this. Other one that I was sort of using a little bit, like the sketch, if I want to sort of make that as more of a sketch element and then it wouldn't get in the way of the model. I guess maybe we could see how high it would need to come up. The idea is what actually, it's fine. It's just sort of the flat model. So maybe from my exterior perspective, I'd go ahead and turn off the flat model, and that could be the aid for that one. So we'd just keep that controlled with our tags. All right, so we pretty much turn our flat side off. And we go back through the view, just turn off the flat side so that won't get in the way, update, right? Then we have a little bit of Hey, look, you know, a road and know a little bit of a direction for what's happening. 32. Fixing Tags: Also, if anything was in the wrong layer like this, this is a little bit our map. That something that shouldn't be in that layer, we can make sure to get all that properly where we wanted to go. Yeah, right now, we see that it's in the map. And we don't need to be in the map. We can put that in the floor. And one of the things also for our working view, we actually don't need to have this offset anymore for our sketch. So we can go ahead and put that back to MAT at that level. Like, you actually won't be able to see it as we start to model some of the other elements. But now we see, like, you know, an idea for what happens with the road. And if we just, you know, sort of sketch and do that same process, we can get that and we'll get that done. But 33. Exterior Design Overview: What we're going to now do so as we know what's connecting into the road, we're going to go ahead and start our exterior design. And we can use our levels to do that. And that's going to both be for our upstairs, as well as what's going to happen as we go lower. And one of the things that's probably going to be just really helpful is saying, Hey, you know, where's the best place to put our deck, right? Maybe our **** can come out some just to sort of get this little shade over here. And maybe a little bit can be sort of on this side. So, of course, have not done the upstairs fully, or maybe that could be in the previous map, so we can just be sure that that's going to be in the proper level. So now, yeah, we can go ahead and start to go all of those and start to locate some of these for our exterior. Mm. 34. Planning Exterior Elements: We're going to save the model, and before we go ahead and start some of our exterior path, I'm going to go ahead and sort of set this as our too as we develop our exterior plans. And so what we're going to do now is utilize think we also clean up, you know, sometime we have different little extra geometry in the model that we don't need. We could go ahead and always just take that out. So it won't have any issue. Alright? All right. So the first thing we're going to do is take a look at what's happening on our base level because that's going to be where we're going to figure out how do we get to the road below, right? So I really just want to just maybe keep it simple that you know, we're going to have maybe entry that we come here, um and so that would help me just sort of think about maybe entering into this. We have, of course, our little floor plan here. 35. Modeling An Exterior Deck: Just come into where we have our design here and start to say, Hey, you know, maybe we would keep our exterior where we've already sort of given a line out there. And again, we don't have to be our entry. You know, some of these things sort of left sort of undecided at the moment. But we're just adding lines to sort of show, you know, maybe a base understanding. And then what we can do is come back and, of course, locate anything as needed. So again, it's good to save it if it's going to be sort of sketched out with things like structure. That's one of the great thing about our sketch layer, where we have some of the other elements located. Okay? But this right here is actually going to become like a floor. And what we're going to do for working with that is we're going to do make sure we see which things are sort of located here. For our floors, we always like to create those sort of separate so that we always sort of have a base that's in the base orthagonal. So I want to make this as a group. And then what I need to do is just go ahead and take it into that similar floor level. Now, this is going to be an exterior floor. So that's going to be, of course, the note for this one, right? And so we can always turn on, so make sure that we again, make sure our floor there on the floor layer. We just, of course, always check to make sure those are well. And then just pull that and don't change your orientation in the group so we can keep our uh you know, orthogonal organization when we're working on it. Okay? So as I go to zero, I'm just sort of putting that as something that actually, as opposed to 16 inch, it's more of a 12 inch height. And actually, as you notice, this floor for the main building is not really coming out here. So this is actually more of our exterior floor, and maybe the stair will be its own system just to keep it simple. And also, you see how high it is above the road, even if, you know, when we go ahead and see what's happening here, um, we actually would want to cut in a little bit unless we would just enter in maybe here. And that could be a good opportunity just to sort of have a little landscaping area, a little privacy there. And so that's a consideration. So unless we want to extend our site out, that we could come in here. But I'm just going to leave it as it is right now, and that just gives us, like, a base for our lower level entry. And we could start considering, you know, how do we want to detail different areas around the columns? And so now let's go to our upper level. That's our level one. And so the idea is we could have a little deck that comes out here, something that can just make use of this, you know, view when the sun is coming up, and then we can just come around here. And, you know, this is an excellent opportunity where we could place a door if someone wants to go outside, and we just have, like, a little bit of L shaped deck, doesn't need to integrate too much with the stairs. So to get started with that one, we could always just, like, you know, I use going to sight lines because we just get something that's at our site level. And again, this could be done in a separate model, but, you know, sometimes you do want to keep that a little bit simpler. I'm going to go ahead and put that one on A floor automatically and make sure that our other new floor is also on A floor. And then this deck can come on and come straight to the base of our A frame, and we go ahead and get that model in. And now we come back to our Level one plan, and we can go ahead and just pull it down, again, that 12 inch as opposed to 16 inch. And what we can make sure is that it's actually from our level one view. This is something more of a You know, it's fine to make it pretty big. Maybe 16 feet because that's going to be something that, you know, you can actually have events on, something nice. And then I'll just sort of extend it to the other edge. And we could detail how this triangle comes down as well there. Okay? And now what we can do is also come back on this side, maybe a nice dimension of eight feet. And we can also do, of course, is, uh, if this is our eight feet, and we just check it there. We can see that there. We can go ahead and pull this back, and this could come either we could stop at our deck. But as I know, as we look at our exterior perspective, we see that would start to come into the mountain. We didn't want to stand too far in, we could go ahead and just pull it back. And stop, you know, at the structure level. And again, this is a little bit more lling than looking at, you know, all the elements that would be needed to, you know, figure out. But, you know, as architect, we always like to consider, hey, you know, like, what would be the best use of that space? So, right now, this little deck makes a good use, doesn't cut in too much to the landscape, so that really works out. 36. Modeling The Upper Deck: Okay, now let's look at what we can do for creating our upper maybe this will start to be like that private deck, and that sort of actually favors something that just comes up here. And we're going to go ahead again to our sight lines, where we just looking at the side and create a little bit of eight by eight. Let me just start do that again. Just make sure very doing eight feet by eight feet. And again, this is a preferred modeling method too if you would, you know, consider just throwing everything directly, you know, and because you are preserving orthogonal working. All right. And so one of the things I definitely just keep checking, you always check, just make sure that elements that you want are going to be in the layers that you want to be on. So this is in our floor layer, and Make sure all of these. This actually should be in sketch layer, okay? All right. Cool. And so what we're going to do is we can hide things like sort of massing if we need, and that's definitely going to help us in locate some of the interior items. All right. And this right here is what we're using. I'm going to group it and bring that on up to here in our upper layer. And again, avoiding ever rotating things. So we just keep our nice orthagonal bases. All right. So that doing 12 12 " here. And what we can do is turn our massing back on. So we just to see how it relates. And essentially what we do is essentially this starts to be something that would connect to a little bit of that exterior system. So essentially as someone comes up to that top landing, you know, as we get stairs, it'll be a lot clearer. They also have the ability to either go on the landing or come out to this deck. And so, obviously, where we have our massing, that's going to help us as we start to choose out what's going to happen in terms of where does interior and exterior space meet. Okay. And also, again, some of our footprint from our base level, we actually probably want to go ahead and start to relate that it makes sure we can just click it here. That I would say, I just want to make sure where that's located and make sure that comes out under the stair. Again, I will do the stair structure a little bit separately. And one of the key things for this is actually just because I'm doing the stair here doesn't mean this actually all has to come out. Some of this actually could just be either maybe a little exterior porch or, you know, I bring this in, the roof actually could just overhang maybe the area that comes out of the stair, and then there'd be like the exterior stair area. But anyway, now we've now looking at our model, we can see now, you know, how you know, there's an idea we would deck maybe a little private balcony, a public balcony for the main level, and a lower entry. And so we have our levels. Next thing to do is definitely get into those stairs and start to make sense of those. And again, then we'll be really good for seeing how the building works. And then, you know, we'll be right ready to start adding some of our elements like walls and rails, doors and windows. 37. Calculating and Modeling Stairs: Calculating stairs is a very, you know, precise thing. Obviously, it's going to need a little bit of understanding of how, you know, circulation works, as well as how things are going to connect. So it's actually useful to do it either in the same layer or in the same group. And so what we're going to do to get this on the way, we want to first, you know, look at our side elevation, so our side elevation is very useful because obviously, it has our different floor to floor height. And I do have that measured as a 12 foot so what we can do is really just get our landing levels and turn off, maybe some intermediate levels and just use that as a particular group. So that's going to be a great way to start off the conversation for locating our floors, and it will keep us getting where we want to go, okay? So right now off the bat, again, we modeled about 20 steps per level. So I'm going to make this a group, and this is going to definitely be our A stair. If that hasn't been created, that's going to be a great way to organize things that are related to stairs. And what we can do is, of course, make that object in a stairs. And now, all we need to do is make sure if that's going to be where we're coming up, we're going to just go ahead and come down 12 feet and then do the same thing on our base level 12 feet, right? And so everything really can be done within this group. We don't need to look at a lot of other elements. From our front elevation, we will sort of have pretty much the key of what we need here, right? So just to help the calculations, the normal step is going to be about 12 ". And we can easily just from this little geometry, you know, sort of multiplication, we can understand that if this would come down, we would just take this, this point all the way down to here, and we divide it by 21. That's going to give us particular floor to floor height or step height, six and seven eighths. So, you know, obviously, just to save space, I did 20. So this divided by 19 might get us that information, and we'll just check that 179 16th. So I think that's good. And essentially what we can do is just simply make these as steps, right? 38. Modeling 3D Stairs: See how the model is sort of made already. That's actually part of the landing. So that come down 12 ". And I'll just go ahead. But 12 " here. Let me just again, work to stay within this group, you know, hiding the massing outside. All I need to do is go ahead and turn this into a group so I can separate. And now what we can do is model our step, right? So the steps again, that's 12 ", and it can come down. You know, again, we could start to prepare some of the finish conversation. Essentially, if that's going to be the top of the step, we have like either a three quarter or 1.5 inch pretty much tread and make that as a group. That's going to help us out later, right? Just doing the tread below versus, you know, we're not using concrete, so that's going to help us organize this. And we can already start to locate the next tread. And one of the details of a tread, of course, is to maybe have a lip to it. So really, the stair would really end coming back down, maybe three quarter of an inch to 1 " down. But I can just draw the steps and by having my understanding of sort of how the structure would work, I would get the angle from the top corner of the tread to the next tread, like so. And also, this could be saved as a group in its own, right? This is a little construction element that'll help us, you know, understand better and that is a good way to keep your model in order, right? Alright, so this is cool. And what we could do, again, this is a crisscross stair. And so it's really important for us to have an understanding of where is going to be. So I'm going to bring down this and I'm going to be times nine. So we'll see where we are at ten steps. And essentially that ten step is going to be where we would have the finish for that landing. And we actually we don't need to so much operate and we can even just create a view as well for modeling our steps. And we can even make sure for in this view, that, you know, even if you just come into it, it won't show the outside because we're just trying to really have an accurate inside, right? But as we come into this, we do want to make sure where our landing is, and we do want to test it with the rest of the model, so I'll press H on hid. And this is, again, where we do want it to be. And the idea is what we can do is just go ahead and model the rest of our steps and it could just even be very simply by moving this top of tread to this side and really using that same offset that we had here. So it's pretty much just taken this and, Again, what we want to do is take and use our DIM from here and we'll do top of tread to top of tread, come down. And this definitely is a calculation. We'll take this and make sure we're just using top of tread. This doesn't have to be copy. This could be that's where it is, because we can have our landing continuing here. And what we could do is now just come over here. Times nine. And that actually, well, make sure we get that properly pressed times nine. Okay, so now we hit perfectly at our landing below. And again, the landing below is actually going to be on the step. So we're going to actually because we're going all the way down, we actually can copy this exact stair design. We will just go ahead and take it out of the slab, the area that needs to pretty much open up so someone could go down. And so that's going to be part of the design 39. Adjusting Floors and Landings: So as we get into the floor, that existing floor for that level, we can go ahead and make it a group. And this one actually was resist a top. We actually don't really sort of need that one as much. But we do need this, and we can just use this to sort of make it a solid. And what we're going to do is take out the area that is going to go down into the stair. Right, and what we do here is do that. And we could extend it a little bit more. Again, there's a school of thought on how you can use space under the stair, but that's going to be helpful. And so what we now have is how the stair comes down, we can come back in here, and now we just want to figure out the landing. So essentially, you know, there are a couple ways, of course, someone could do this. We could do the landing with a little bit of a jog here. Stially the steps would become that particular landing set. And, you know, obviously, we could just simplify it by making this whole set. Either we can go to how far we've sort of sun our model, how we come out, because we sort of did model that before. And then we can just go ahead and take our other side and either come down for our edge you know, again, you could make it a little more You know, it's all a bit of a calculation if you wanted to either pull all these back in. That's also an option, sort of extend this landing out so that it doesn't have to have this jog. And that is definitely an aesthetic choice. You know, it depends on how you want to create your stairs. But that would easily be done by just clicking all here and then coming in 12 ", right? And so that would be more of how that would organize. But, you know, it doesn't change a lot of things, you know, organizationally wise, right? And so our sketch one, maybe, of course, can make it easier to see what this is going on. And again, we can make this as a component. We can obviously use that stare component to very simply, and this is just a sketch so we don't need to see 40. Modeling 3D Stair Stringers: So we can from this sketch, actually start to deal with some of our structural elements, right? And that can be done from our front elevation where we, of course, want to say, we just want to come down and use our angle for our underlying structure. And really, all we need to do is get our angle and we'll just go ahead and turn off anything we don't need and just maybe just click our step modeling so we don't have any surfaces we don't want in the way. So I'm thinking a little bit of, you know, lumber framing for this unit. So what I can go ahead and do is pull this line in here and go ahead and make this a group. And all I need for this group is just to know where the bottom of that, that is the shringer comes down. And I can just select all of this. And just sort of use that sort of bottom of string location. And we can again start to model some of the elements in. I would probably come in like 1.5 ". Again, that leaves a place for a little trim at the end. And I would say that this is sort of where we're going to come down, typical and it's really going to be this having enough meat on it. And maybe that could come down, and I'll just copy, come down 5 " And this is really just for getting the idea on some levels, but it can be made to a component that we can use and then we can adjust it if we want to be more precise. Right? So now I've added that, and that should work perfectly with the stair system. Um, and we do want to make sure we're I will be under the steps, so that's definitely going to be one of the little factors. So what we can do is make sure that we come down 1.5 ". And then that's going to help us make sure that this will copy perfectly. If we look at that start point, our goal is to maybe let this one come in here. Make sure the top line. And again, we have this. It's going to stop here at the piece. And so what we can do is just make sure that the next level will be a little bit larger, and we're not fully drawing all the details for it, but just understanding that the top of that stringer, that's the wood piece, is going to go down and have enough meat. All right, so we're going to go ahead and just now copy that. And so that now, I believe, should match perfectly. And so as that comes down, we have intersection here, and now we have the ability to go ahead and choose how this comes down. And we're not fully modeling structural elements, but this sort of riser could meet into structural condition here, and this setback is just so that it would really capture the trim outside of that wood. So there is. We've gone ahead and modeled this our stringer and I'll go ahead and put and just really copy that one point or yeah, just three quarters, probably. 1.5 would be the structure. You know, you can sipfy it and say, I want to really just draw all of it in here. I'm actually going to do a little bit of detailing on it. So that we can have a little more aesthetically pleasing than just going in. What we could do is also go ahead and come again, take out the surface areas for some of the sketches, so we can see what we're doing as we model. But the idea of it is all being figured out as we figure this out. All right. So what I'm going to do this stair is I'm going to make sure also to come in on the other side and we just do it all at once, 1.5. And typically there are three stringers, and we come in maybe 2 " 41. Adjusting Stair Components: And we also can make sure that what we can do is also have our center stringer. That's just the base guide for stringer design. And so that will cover the center of the stair. Yeah, so we can go ahead and copy to that location. And we can delete that little edge sort of factor. So we don't have to even add extra finish here. We can leave it exposed until we sort of want to design it. But this is what we can sort of say is going to be our base structure component for understair because we're used in the same pattern on all levels, we can go ahead and make this as a component, stringer we'll just label that here. Stringer set And the detail might change slightly as we go to lower stairs just because of how we sort of came in, but that's not super hard to organize. So if I put a copy from that same point, it's gonna be here. We could go ahead and just make sure that we're doing 180 let it go. So you see that comes down. And the idea is, this is going to be what we can do is now we can go ahead and make this as our second stringer type. And what we can go ahead and do now is make this a unique group and string are set. And I'll put this is one, and this is two. Okay. And what we can do here is go ahead and where it lands at the floor, it might come in a little bit obviously for coordinating with the structure. But we can get into that group, draw that line where it is, come in and All right. And then we have all we need to do is add our other two. And what we can do for those. It's very simple. And this really should, you know, could serve from being a component as well so we can maybe match the finishes. So stringer unit one, and this is actually two. So times two. So we have our new stringers, and we could remove this. And then when we were adding finishes and everything, it's going to be super simple, okay? And so this is a cool way to get our stairs set up, and we probably come back over here and make this also sort of similar to our previous other stringer family. And we'll just go ahead and save this one here, make component, and just make that stringer unit. And that's number one, right? And another we go ahead. Oh, sorry, I turn on my edges. We can go ahead and turn off the back edges. That's turn on and off with K. Come over here, and all we need to do is sort of locate where the last one needs to be. If you want to just replace these very simply, just go ahead and press Control as you copy and divide by two. And now we have our stair set here. And any sketch element that we might have put in here, we can always just bring that in and either delete it or hide it. It's useful to have some of these as you sort of check your model later, but it's going to be very useful obviously just to have it somewhere, okay? And what we can do also under our floor now we have a, you know, neatly made floor, but we want to maybe have the structure below this element, and we don't have to super detail it out right now, but we can come and make sure that this at least comes down to the same 12 ". And so currently it's that 1.5, so we just need to add 10.5. Right. And this stair system is pretty much a unit as well. This did include an extra step out that doesn't know, isn't needed for the levels below it. And it also depends on how you want to detail your, you know, elements here. But because of our matching systems, we can just come down 12 feet and now we have a working stair, and if we go to our exterior perspective, you now see how sort of our elements relate. And coming up, we're going to also, as we do rails for exterior elements, we'll go ahead and do rails for the stair. And so that'll keep this as a unified system. And yeah, now you can see how someone can up and go through as we put this together. But these are the base system for our levels, and it's going to be great as we get to start to detail out different ways to connect those. 42. 39 Planning Exterior Walls: Adding the walls for a structure like this is not going to be super difficult. One of the great things we think about is, again, you know, how is this actually relating to the site? One of the things I have here is definitely an idea of, you know, with my floor, where do we stop, you know, each particular level? And as we look into the site, we can also see, I've cut into the site. So I'd have a little bit of opportunity for retaining wall. Bello. So I think, you know, a simple system would suffice. We also don't always have to come out to structure. You know, right now, I've created, you know, this basic. But if we can start to add materials to add, you know, complexity, we can go ahead and make this into our concrete. If we want it to be more rustic look or we could have that setup. And what we can now do is start to put some of our walls in and just level by level what things that makes sense. 43. 40 Planning Wall Type Details: What I would do is probably start to come down on the level and make sure that I'm pretty much in the base layer. We're just working from your zero level, and we're talking about adding some basic wall maybe, and I would just simply sort of detail out that a little bit, if I would say, maybe on this level, if I would pretty much keep to my probably a two by six wall. So and I'll do this and create this on my sketch layer 1.5 by six or 5.5 to give me my two by six. And this is my little blocking here. Something that, again, we can always just leave that just two by six. Leave that in our black layer in our sketch layer. Here we have Of course, we come to plans start to help us out. We could could connect to structure. Again, if you notice how I've done my site elevation from the side or the section, you can see sort of where we're actually cutting into the site. We actually do come back on to where my floor is. So there's no need to I do come back a little bit farther here, so that might be the indication that probably, you know, it would be useful to come back from my floor all the way to my structure. Then I could, you know, create my wrap here and how this connects. What we can do now is go ahead and just sort of detail out. So what I would sort of consider for, you know, we can always getting our three D here. This is I would consider us to desire a five eighths inch chip on the inside. Um All right. And that's going to help us, you know, make a system that would work well. And I'll go ahead. I'm actually going to make this as a disk group. We can keep that in our sketch layer. So these two things, one thing I think that actually is sort of happening is actually we're probably might have a just want to make sure that we're making our stuff within the main layer. Make sure everything is appropriate layer, okay? Okay, so we put this in our sketch layer. So we know for our exterior system, we probably want to have something pretty simple. Probably our exterior sheathing, which we could use three quarters inch maybe just do three, three, four by three, four, You know, just go ahead and make a group of this. And this all could be in one big sketch group. And we could always just go ahead and name that exterior wall type one. And that's something we actually always could come back in and take a look at. And so right now, I would probably add an inch and a half if we want to do I think a good system, a good sustainable system having our insulation here would probably be to something that might be siding with a bit of, you know, weather barrier. We could probably do that within an inch and a half. And so that's going to be what would make sense for, like, a wall sort of in the system. So we can take that as the thickness that we want to work with for this project, and we could also come out to face of concrete. So one of the ways this system would probably work, again, you know, structure typically doesn't get poured all at once. There would be an integration at each level for how that concrete would meet each level. So it might not be super where it's breaking up each level. I probably they would pour the level, have the appropriate connections, and then they'll bring this. And so 44. Modeling Walls: The idea is having that as a wall, and I would just start to just draw my lines. And this obviously would be in our a wall layer. I can go ahead and just measure to sort of see my system eight and three eighths. I think that's fine. This is like a simple system that could go ahead and come up. And what we can do also, so we don't really lose our origin. I would just copy that. And you could always in your model, just have like a small little area where you do put things like, Hey, look, I'm going to use, like this particular wall, I've recorded it here and I've saved it here. You could also just make it a component so it doesn't change, right? Um exterior wall type one, right? So that's going to be a great way to avoid losing progress within your model. Okay? We can go back to B level O, and we don't really need that one anymore. That was our basis. If we change that, we can always update this. But, you know, obviously, we don't have any particular control on how these are going to be set. But these are going to be essentially right now the solid walls. And I can go back to my exteriors perspective. So as I'm modeling these out, I can just make sure that that is something that's going to go floor to ceiling. And what I'm going to do so I don't lose it. I want to make sure that now some of this material, and as I come in here, I'm going to go ahead and make this a group. This right here is a wall that sort of really even sort of serves as a retaining wall. So actually, that exterior wall might be a little more beneficial more. If we even go to our zero level, this type would be what we would probably want to use in another area. And one of the things about it, uh is, again, one of the issues for how we did this is we didn't make it within the the rotation of the layer. So we could just come back in here and just rotate it and model. But one thing I do know about this is that we probably don't want this type of wall where we are needing a retaining. I would probably use for my retaining area, I would probably use more of our retaining system. So I don't think this needs to be all over. Like, we don't need 1,000 windows. So what I'm going to do, I'm going to use it as a default wall, and then we'll just figure out where do we want to put things like windows. All right, so this wall can make sure to come up. Yeah, come on down. Here we'll just use our default condition as being sort of flush to this edge of wall. And this could be pretty much our type. We don't have to do too much unnecessary changing to this wall. 45. Setting Wall Materials: But I do want to make sure that when we have an exterior system, we want to make sure that that's going to be like our exterior type, right? If this is going to be a hearty panel, we can go ahead and make that as the hardy panel. So if it's in model, and we can look for what's available because we do have wood I go ahead and just shop through the materials here. We can see which type of panel is there. So this is more for the exterior materials here. So I just pretty much checking where can we find something like a sighting. I might not use a pattern. It might even not be in the model at all, but this is gonna be one way to, you know, help prepare your models for, Hey, you know, what we're gonna do outside. We could just take one of these as a base. So I said vanilla cream. You know, that's going to be what I might use for my siding. I could just use as our base, and then just simply from our we can duplicate the select material, and we're going to say this is finish one. That's our exterior finish one, and this will probably be replaced with a siding. It could be like a texture later, right? But I can go ahead and make sure that this is going to be set to that. And then for our interior, instead of using maybe a generic, maybe we use more of something in our model. So we can use from our solid colors, maybe more of an ivory color, right? And maybe instead of even sort of maybe we'll select actually the Valletta cream ivory dust on the inside, maybe go ahead and duplicate it and call this t finish one. And this is be a dry wall, right? All and make sure that that's gonna be what that's colored as, right? Right, so that's interior finish one. This here, exterior finish one, VanleaKam, right? And so that could be a little base system for how we're finishing our exterior. And now, as we start to say, Hey, you know, how do we put this wall around our model, though, again, I think one thing that would definitely be happening as we go in, and this is a beautiful way of exteriors coming inside is we could go ahead and leave some of the finish and just sort of seal to have that particular opening in. 46. Planning Retaining Wall Design: But again, back in our back section, one of the things we probably to do around, like, maybe a retaining area, if we would even just go back to maybe look at sightlines, look at our previous detail, we probably want to copy that and start to say, Hey, what happens? Let's make a unique that's actually a CMU exterior wall type, and we'll just do two because definitely exterior wall type CMU, two. And so what that would be is, of course, we're not going to use siding. This is, you know, even thinking about this being like, maybe a retaining wall, we'd probably have a seven and five eights by seven and five eighths, right? That's gonna be our CMU area, and we can, for sure put and we can make this as a group. And we can go ahead and just do a little bit of the core here. And even, one of the things this probably could be more like 16 instead of and we just go ahead and put 8 " out. And, uh, All right. And so that's something that we could use to sort of, didn't demonstrate that this is what would be, you know, a CMU wall, and so what this could do this type of wall type, we would make sure that we could just apply we could either put the dry wall on the face of it or we could, of course, do some, you know, spacing out, maybe half inch to 1.5 inch. Let's just allow if we want to have wiring in that level, which might be helpful. And so that give us a thickness for this wall type. And we always can sort of do a dim and sort of save that in the model. And that's always going to be helpful. If we want to do that, just add a dimension, so that we don't lose track of the types of walls we have in opus nicely comes to 1 ft, but seeing that it's a retaining wall, that's going to be super helpful. 47. Modeling The Retaining Wall: We can go ahead and now consider as we go under the mountain, that would be a preferred type. And what we can do here is even like right here. If we had first started that that was going to be Wall type one, and we can always just put this type of information for the instant because this one right here, if we go ahead to our s perspective, we see that part of it's under the wall. This probably would be entirely, you know, best to be that exterior. And we could do stucco as a finish as well. So we don't you know, I'm leaving some of the systems sort of I think it could sort of work within that same basis an inch and a half. And it would just get, you know, a good set of insulation outside by having a certain level. But this needs to be uh 12 ", and that's just a placeholder if we need to adjust it later. But this is going to be great as we get our goal for what this thickness needs to be. And we can to align the wall, we can always just go ahead and make a intersection here, right? So now this wall is going to be that exterior type what we can do is go ahead and use our section to find out where we need to copy it. Then our grid gives us a nice and uniform way of organizing it. And what we can also do is, again, it's going to be a little different on the backside and come in 90 and just go ahead and pull this in. And we can keep that same interior finish. And again, this is a way to keep accuracy in our model, you know, so we can benefit from make sure we're copying that. And as well, times two, yeah, really. So we have our lower level, have two wall types, and we haven't even really discussed what we do if we want to have something that's, you know, breaking into that. But that's going to be a beautiful thing that we can go ahead and start to understand how it's relating to the site. Yeah. And now we need to do here is, again, just copy that one so we have the proper interior and exterior system and pull that on out. And the idea is 48. Fixing Model Accuracy: This particular wall is, and we always come in here and make sure. If we don't have something at the right level, we can go ahead and get it there. And if anything is not precise, we can always make sure that we're measuring where everything is 30 foot. So we would probably go by our system here. And if we want to get something back to precision, again, and one of the issues for this one, as well, that's going to be a load of challenge. Again, that's why I say, go ahead and as opposed to doing these separately, go ahead and do these in the base layer. 30 feet by 50 feet. We want to make sure that we're using a particular orientation or how we organize things. We could always find the point we need, but we do need to make sure we're operating properly within a layer. This is just sort of a correction measure. And we're just repairing the structure because, again, we're going to be connecting that system. We need it to be accurate to some extent. If it's not correct, you know, hey, I don't have a problem with coming in and creating something from scratch, just to have something accurate because I know how important it is. So I'm going to make this group, and this is where I'm actually going to locate the structure, sort of that final structure because we don't have enough time to sort of fix and repair. So that's going to help us always keep it accurate. I'm going to make this a group. And it just now I get to do my 24 by 24. And it was just something that, you know, we did see, it sort of started to screw up. So we're fixing it clean in orthogonal environment. Over three. And what we're going to do is take this, and this is going to come in and replace what we had done before. And we probably going to make a structural only layer just so we can avoid anything sort of, you know, screwing up again. We can even delete the previous one and now just match that to the orthagonality that we want. And we could just go ahead and take out the previous structure and adjust it the same way. Anything that was sort of offset, we can come back and just offset again, but make sure not to delete things we don't want to delete. But we can, of course, even, you know, anything that needs to lower, we can come back in and lower it. But yeah, just go ahead and take all these and if we didn't use it like one of the things I want to definitely do is make sure as we get in here, we're going to make a component again. So this is going to be our pile corrected. You know, you can make that note so you don't lose the progress over three and just go ahead and duplicate it back, and it's probably over. We just check to make sure that that's what we were trying to do over five over four probably. Yeah, that gets our structure that we want. So that's just correcting it. I mean, you can correct anytime in the model, it's going to help. Of course, you get a better result. So it's definitely worth to do early versus late or not at all. And so you come back in here. And now, of course, can make sure we're saving this is our structure field. And make sure that's going to be saved. And S structure SF is gonna be put and we could come back again. This was trying to operate like four foot four, right? And I think it's both this as well as its neighbor four foot four. We could delete anything that was previous. And so now that's going to help us tremendously to have something that we can, you know, depend on, make sure that is actually just going to the right boundaries. Okay. What we can do is again, just now that we have something that's straight, let's go ahead and make sure our walls are hitting appropriately. And there's definitely it's never too late to fix a model. You definitely want to do that earlier than later. Alright. So this helps us now figure out what we want to maybe get with our floor because our floor might need to be or we can just take our structure and the walls now if that upper floor doesn't have a perfect alignment with the lower floor, which we definitely. 49. Creating A Working Layer For Walls: And what we now can do as we're sort of modeling sort of walls, we can just remove this site in a similar fashion to, you know, focusing on what we want to focus on, go ahead and come down and hide things we're not currently focused on. So, elevated site is not going to be as important as we're modeling the walls. And we can also turn off the facade. I'm going to go ahead and add this as walls modeling. This is going to help us as we come through and repair all and just pretty much just continue to keep a good system as we go through the model. So I'm going to go through and add the rest of the walls, and those are going to be our basis for this design. 50. Checking Exterior Wall Geometry: Now, what I've done is I've gone ahead and sort of just fix the structure obses and make sure we are aligning with that first level. And also, now we see where we're going to simply. If you look at sightlines, see our model and how it's sort of arranged on the site. And now I've added the walls for my second level, and I can go to my B one level O, sort of see those, and I've just added and actually, they're actually backwards. Sometimes that happens, but no worries. Sorry. I just want to make sure that the finish that I want is going to be in the backside. I think, these were copied, but we can go ahead and always just set those back to match, like the original. And that is our exterior finish one. So it's sort of funny. Yeah, they're just backwards. And so you can't even really see that that finish is going to actually be very similar, but noise. Nothing is perfect ever. You know, you just figure out how to get things where you needed. Alright, so cool. So those are going to be our exterior walls. And on this side, it's because of our shadow that we are not seeing everything the same sort of color. We do have a little bit of a color. And I did look at a finish, but I've also looked at some components because we want to add that window in here. What we can always do is, again, just turn off our shadows, and we will see everything sort of the same so they'll stop that sort of effect here. Anyway, 51. Planning Windows & Door Components: Um, one thing we want to do is that will be nice, of course, is to start to put in maybe windows, and one thing that's helpful as I go to my exterior perspective, f is I can just say, What do I want that window to be, cut it out. And then go ahead and just put this component that I got from the SketchUp component library. I just look for a window, don't worry. It's included in these files. And I really want that window to be something that's, you know, pretty manageable. So something like a three by six window, and it would be centered. So all I need you to do to get that workflow started is really just start with a line, and we can always come back and take this line out. I'm just going from the middle, and this would be maybe we're going by 12 by 12. This could be like eight by four. And that wouldn't actually take up too much space. It would be nice to go off course the window, but in reality, there's always gonna be just a little bit. So right now, we have a span, and if I would just go from one line to the center, we could see three foot eight being here. These probably could be six by eight. And so, all I need to do is go ahead and um If I get all the edges that are part of this, I can go ahead and make a group. And we're going to make something that we can give a subtraction, I can turn off the model with hide. Again, great one of the challenges this, of course, is going to be that it's not orthogonal. So that's why it might be sometimes more useful to just sort of use this as your reference point for getting center lines and then come off and draw somewhere where you can get a clear dimension. Like we said, if we want to do going six foot by eight foot, but at the same time, we want something that goes through the wall. So I can already set this to be something that is six foot by two foot, right? And all I need to do is come and shoot that up eight foot. And what we'll do is take this, we're going to subtract this, and that's going to be a great way to work with models, model with booleans. That'll help you tremendously with working with walls because you can set up your walls to be what you need. And also, obviously, it's a cleaner process for removing walls versus just making the whole model as, you know, like ungrouped element, okay? And so this will be set to the size of this. Now, this is a parametric window. Again, I did find it by going to the window category here, and I found, as I sort of searched through Windows, like, I see that, you know, I was looking more from parametric window. And that's where I found this model. And there's, you know, some that have a little more detailing than a little less detailing, but the dynamic ones are good. I think this might be similar to the one I have. But again, I have included one. You can check out some of the ones. But one of the benefit of the dynamic windows is it can keep similar elements that stay in the same size, and that's going to help you avoid rescaling, like, different frames. So that's going to be a helpful thing for that. Alright? So we'll use that for this window. 52. Cleaning Up Alignment Elements: So I can, of course, always look at my B one level just for checking these things. And it does like it's going to be not 100%, so we can take it out and go ahead. And this, of course, just to make sure that we are operating with accuracy. We just check on our edges, make sure our points are lining up here. And then we just know maybe our object needs to be rotated properly, so it's not going to have any issue. Alright, so what we can do and again, sometimes that's just because we don't we might not see how something is not lining up 100%. And we can make our adjustments. So essentially, our deck appears to possibly be at an angle. And that's something we can, of course, resolve. But as we go into the model, of course, that's where we can see, finally, you know, did we just rotate something to an angle that we didn't need? And that's one good thing that, you know, again, working with models, we can just make sure that this gets to the angle that it needs to be at. Like, I can just from the above view, just rotate off. And if the point is going to be appropriate, just make sure that's there and just say that we're, of course, using that angle now. I think now that fixed that one. Let me come back with this element and get that there. And it's definitely just sometimes that's why people will use a separate model for their base geometry. And so that always could be an option. But for this model sake, we're just going to rotate it to find the proper one and then go from here. 53. Adding Window Components: Right. All right what I'll do is I'm going to go ahead and get the center of this cube and this extruded mass, and I'll set it here. Now this is done partially. We want to make sure that it's center of this hitting with the center of this particular object we look below maybe we'll find that midpoint in that group. I think this is where at the midpoint of this group. So now we see that the faces are flush. That's what we're trying to do first and we, of course, could measure on both sides. 8 " on one side, 8 " on the other. So that's great. And we just move it in, maybe 8 " or so. And this one now can be duplicated. You know, put times or X two, right? And these are pretty much where now I see where I want my windows to go. You just kind of that perspective over here. And now the idea is, you know, this is a nice little window. It can be flushed against this sell here, and it'll just be taken out of this wall. And obviously, you got also another way to do this, of course, is just to do it per wall, so you just duplicate the wall. But this is a very repeatable system, and here's how we will just take that window out. I just connect both of these, select the object going to select and subtract first. Then we can click on intersect face or actually more solid subtract. We do the same thing for the second one, remembering to subtract the element first or choose this thing to be subtracted first. All tools and subtract, right? And that very simple element has gotten us a beautiful window, and we can go ahead and just copy that times two. All right. So now we have a beautiful window very easily organized, and that's like a simple wall framing. And again, we could do some other type of elements. This deck itself will probably have a little bit of structure that would go through. And again, we're not going to superestimate a bunch of these, but this will allow you to have that 54. Adding A Door Component: The last thing we can do is because we have a good unit for this size, we could actually have a door that has, like, a middle three foot entry, and maybe it could be 1 ft six on side light. So that might be available in the door with side lights. And it just would be nice to have it sort of the same on all the sides. And, you know, obviously, this creates an opportunity to put it on this side, as well, because that's just would be a good way. But we could go into here and check on what SketchUp does have. We probably want a simpler door with skylights. Probably like this that we have here. And one of the things about that is we would, you know, it's sort of interesting. W we do the top band as a transom? And again, that would be the top elements. But, it wouldn't be that bad, okay? But this right now, it's sort of having a little bit of a function where it's like, click here. It's always facing you. I might not need that because I might want to just go like a little more bare bones model. And again, we just want to look at something very simple, probably like a glass door, 'cause you know, it's more of like a lobby area. It might be a little more public. It could, of course, have what it needs in terms of privacy around it. But maybe something like this has a darker finish. So you can load that into the SketchUp model. Again, I don't know that these are going to be working 100% in the model. So, you know, I might need to adjust it, but, you know, again, the idea is having it work in the same footprint is going to be a good starting point. Okay, so I'm going to take this again, my slab from where I'm trying to balance the model, and I'm going to locate this to the center here. And what we can do is go into our sight lines. That's sort of just a layer that doesn't show the topo, which can get in the way if you let it. But I just wanted to get that center point. And I'm going to always group it because it's just going to be the easiest way to delete it if we don't need it any longer, right? And so I'm going to do two things here. I'm going to go ahead and put this door edge specific, right, right onto my subtraction mass. I'm going to line it with that. And actually, it's pretty close. It's a little bit larger. I don't think we have to do 100% same size. I'm gonna come in here in this model, and it does give me like, where I can move things and everything. Obviously, want to get a little more design aesthetic, we would want to try to come and update it. One thing I also want to see if this door does have any particular dynamic component settings. And as I can see from the component options, it does not. So I mean everything here is just sort of a bit of a, you know, custom model. But coming down and making it to match the size that I want, we just have to see sort of how much effort is going to be required. It might be pretty simple right here. I wanted that to come down And I think it might not have been made in the same plane, you know, so it might have been made it flat. Anyway, this is something now we can sort of do with a lot of these elements here. Maybe just double click on these. That's why sometimes, of course, it is easier to maybe model yourself because you have to come in and take, you know, some of the custom elements. But right now I am telling you the keys for simply and quickly editing something like this. And just really making something that would be a little more flush to, you know, the geometry you have in your model. Okay? All right. So this one is also a little bit larger, and it's by a few inches. I think I could live with that in terms of width. I didn't want to have a different head height because that's a very obvious feature, obviously, when the head of a window is a little bit bigger. But this right here is about 2 " of difference. You know, sometimes this might be just a way of, you know, defining a gift. Right. And so that 2 " we can just add to that particular mass. All right. And so what we can do for that is take that and locate it in the middle here and do 90 and pull back in. Alright, sorry, pull back in here. And one of the issues for here would be a little bit that it's going to have to be using the edge because, of course, as we know, that if we're in our base models left and right, it wouldn't go where we needed to go. So this is cool right here where we're on the face that it can follow that axis, but the axis of this Mace model would be different. So that was cool. And so what we can simply do, again, move our reference line. What we can do is also come over here again, you know, we have it recognized that this door is 2 " a little bit wider than these are. But what we can do now is come to our exterior perspective and come and, of course, As we want to take this out, click on this and click on our wall. Make sure we're clicking on subtract that subtracts for our door, and we come over here, and that's where we going to simply toilet tools to subtract from that wall. And the good thing, of course, is, again, we know that we did try a simply different size here, like press control to get that copy. Make sure that I'm going to look down and maybe even go to my B one oh plan to get that located 90. And this is again, like I said, because of our dynamic component, it can come in, and we'll just use the aligned face to get that to be where we need, right? And on this side, we can go ahead and just rotate our door. And this can come in here. All right. And we can go ahead and erase some of our base items. All right, of course, careful not to erase the section. Alright, click on interiors Perdective now we have this level. And now we're about to go to our upper level where we can start to detail a little bit our upper wall, and we can be very simple with that as well, as well as our rail. 55. Adding An Exterior Storefront: As we're working on our A frame and figuring out how we can sort of do the detailing. So I'm also going to actually start this exterior panel system soon. But we're going to first start with just what we intend over our structure for both our cladding. And then when we're coming down to getting something like this, our pretty much storefront system, or it either be Storefront or curtain wall for this large A frame because that's a great opportunity to bring in light for your project. 56. Adding Exterior Panels: We double click inside. And where we're going to start is definitely looking at what happens when we, you know, click on this just our facade layer. What we have here is an ability to just really play with what we have on our structure. I really feel that one good thing that we can always do here is actually not just have a zero edge where structure meets, you know, maybe our framing, but we can work on the detail to consider what happens when we could simply both come out with our detail, and I could just create my surface here and make a group out of that. And the idea is, if I would sort of isolate here, one thing we need to note is we're going to be coming out about 6 " from our structure. For our structural insulated panel that will sit on pretty much supports along our structure, and that's going to be a really important detail for this design. And this structure, the structural insulated panel will have essentially its own structure. So it can, of course, maintain, you know, like, like a curtain over the structural system. The structural system will, of course, hold all the major elements, but this will need to definitely span quite a lot of distance. So I want to give it enough space. So, so what I can do is, of course, just sort of terminate it here at the floor in a deck. If I look at the mall again at the deck, you know, there's a great opportunity, of course, to how, you know, figure out how to make a beautiful termination for this floor. It could be, like, a little roof here that could come down later in, but we don't have to really go into so much of that detailing now. But one cool thing that we could immediately do is know immediately that this, you know, structural insulated panel, which go ahead and helps us with a lot of our um, ways that we're going to keep this, you know, a sustainable building. And what I can do is, of course, push this out. This could come out something like two feet, and I think, you know, we'd have framing around there to make this work to our advantage. And that would allow us to, you know, had a little more shade when people are coming in. One note is we're also going to have a little knee wall, just like I had sort of drawn from where we actually can have the wall that will go up. So we're going to get to interior walls a little bit later. But we're going to take care of this and pretty much export this expand this layer for our wall, and we're going to go to the exterior of this system here. And one thing that's, you know, still not a problem, actually, is just to really even go to the fullness of the structure. And right now, since we were coming to the mountain, we actually don't need to, you know, do too much detail here. I mean, if we feel that we can get some light in here, that's probably not how the structure actually hits. Of course, you know, we'd have to have a little inside a little bit, but if we would sort of be right against the mountain, we'd probably have a little retaining wall on the inside, but this does look like a great little spot for bringing in light. So I'm going to sort of take that to here. 57. Subtracting Envelope Openings: And I'm going to come out from here, and what I'm going to do is go ahead and create as this is a solid group, a solid group for some of this mass, that's going to be our stair tower that brings in also a lot of light. And what we're going to do is go from maybe maybe looking at the sight lines, taking something that would maybe maybe if we came down just looking straight down, and this could just immediately come into a group. And we just come in, pull this in, right? So that's cool. That's on the face, all we need to do is pull that in and pretty much we'll just be able to take that out from and maybe even looking overhead is where we can sort of see how we're going to subtract that because we don't need to subtract it from everywhere. Obviously, we're going to probably close it above the roof. So right now, that's an immediate subtraction that we can take right out of a frame surface, and that'll probably just open up a lot of different myspace. So here we are. Also, we're also going to subtract and we just do it one at a time. We just go ahead and click the subtraction mass and the normal mass, and then right click and click on subtract. So that's cool that that takes out a lot of space that we didn't need. And right now, I just have for the structure. I was sort of leaving this. But again, that is an option we can take out, obviously because I don't have it in the system and what I'm talking about. And I'll go ahead and put this in instead of our massing layer in our facade layer. It's, again, this sort of sort of surface layer, which was really just a placeholder. Now that we have a bit of a clearer understanding of what we're going to accomplish with some of these, we can go, of course, and take something like this out and even just sort of maybe take this out because it's really just reference. But now we see a little more of opportunity. And again, this could be a little deck to overlook the stair. You know, depending on how you want for your privacy, and that's something we do as we're going to work on the interiors. But in terms of now we have our our facade, we have a little bit of outcoming, and now what we can do is we have enough of a basis to go ahead and get some space for our Storefront wall. Looking at how we do a frame, you know, there's an opportunity to come over here, but we do have, again, the opportunity to put over on this side. And if I sort of hide this, you know, the idea is I was still thinking of maybe making an opening here. So I can go ahead and come in and figure out that in a similar way of how I just created my blocking here. And ideas, double click all this make group. And what this can do, of course, is just, you know, pretty much, where do we think it would be valuable for it to come up? I think this could maybe just be on one level, and this might just be where we inset it as a door and we just go ahead or click our subtraction mass and the main mass and go ahead and subtract. And so we have the opportunity to just create a bit of it if we want to just bring the wall down, have a little sort of inset area, and that just gives a little bit of opportunity there. And so what we can do next is go ahead and get ready now that we have our openings to go ahead and do 58. Organizing Model Levels W Tags: What I get to do now is I might, you know, sort of keep this within, you know, as we're looking at a facade, and actually, I really want to sort of keep this as, you know, our massing. And it depends on how you want to do this. You can always continue to really just make all your walls so you're not like sort of now we don't know where the building is sometimes. You could just already just sort of say your levels. And this might be an efficient way of organizing that you can use and just maybe the structure itself is going to be separate cause sometimes it does go multiple levels. But something like your walls, I would consider that be a great thing to group. And what you can also do, of course, I'm going to come out of the, and just look at the level. So now I can select everything that needs to be on this level. You just select it one by one, can the little bits, avoid the section, maybe. Right? And we have all these little elements, and we can just go ahead and turn that into a group. And we can call that level one or level zero. And so, you know, now we have the ability to just say, Hey, look, if you want to see what's on level one, we can always just separate it out like that. Okay? And if you want to put live floor elements, that's also an opportunity, okay? So, next, what we can do is going back to experience perspective. We can get ready for working on taking everything we need to get started for this Storefront. 59. Planning A Storefront Wall: This storefront will probably be very based on this opening. Sometimes a storefront system, and we don't have to go into the facade, but we can definitely use the profile and just sort of trace it. It can stick flush to the opening. But a lot of times it's going to be and I'm going to turn this into a group. This is going to us, you know, needing to give us space for something important, like maybe our 12 foot floor to floor line, and I'm going to just duplicate that up. 12 foot right? And what I'm going to do is sort of create the frame for it, and I'm going to hide the rest of the model. We don't need to create something that's perfectly, you know, symmetrical on every aspect, but it is nice to play off the triangular form of the A frame. It would be nice to have also a door that's right under this. That door might be more valuable at being eight foot, you also want to give us maybe space for a structure. So as we sort of figure that out, I would just think maybe it could be one, six foot door, or it could be two. I'm going to just come out and do three feet. And the idea is, we can already come out and create the frames first and just sort of offset how do we want that pattern to be? Because that patterns gonna definitely it's gonna comun everything about this project, right? So I think something like this is going to be nice. If you look at your B one level and sort of how that will actually start to divide the space, saying, Hey, someone could enter in, and you could have your living room arrangement here, you know, your couch here, and then maybe your back furniture, and then really the kitchen could be something even sort of broken out a little bit into here, and this could be a little bit of that social and dining space. So the dining space would be in between the kitchen and the living. And then we, of course, could have our restroom more close to the back even just be more efficient. You can see that as a space above would be also useful. So looking at that, knowing how we would organize that space in the end, that has helped us to figure out how do we want to open into the storefront area. So, um that would now let us consider how we would pretty much take this base, and we could just start to turn some of these into groups. We would need to keep everything, of course. But each of these can sort of sort of start to figure out how we would operate. But one thing that we know would be helpful is, of course, I think if this could come in and give us a little bit more of how we're going to play off the triangle that might help us out. And so maybe this could come down and I guess I would even just start to take all of this line up and thinking this might be something like if it was needing to be a little bit thicker, I might think of eight and our 12 foot where we have this, maybe that could come down. Maybe eight. And all these can be just offset as as we figure this out. And this area could be just a little bit of a mosaic. It doesn't have to all be triangular. Again, this is where you start to get opportunity to play with the design of it. You might just play with the same angle on the side and right pull this out to see how far it could come and of course, you know, sometimes it just line up perfectly. Sometimes it might not, but the idea of the triangle is a known sort of form that would generate a beautiful aesthetic. But again, we have a door here, and, you know, right now, you can't really sort of see how it would be glass, but we could always just start to now take some of these, turn them into groups, come in and give it a good thickness like eight inch, right? And there's no structure here for, like, a floor, so it does have a little bit more freedom. Um, 60. Modeling Storefront Components: The idea is, some of the basis of it sort of using this as a basis is also a little bit helpful as well. But I can always just come in here and maybe that vertical element might need to be a little bit larger, but this could maybe be six and we could even make this a group that really could be duplicated because we were using it several places. So that's a useful way to do this. And because of that, even that nature, we could go ahead and just make this as our glass. And just go ahead and use our material layer to choose a cool, transparent material. And sometimes, of course, you know, we wanted a thinner aesthetic, that's also potential, but I'm just playing around with this, you know, again, we have the triangle of form. And we can take this out anywhere we need it. But this right now is something that we could play again with. And if we don't, you know, if it's too if it comes in too much, if you want to do a little bit lighter, do maybe 4 ". That would definitely be one idea, but the idea is this does give us a little bit of, you know, structural aesthetic. But noted that, if you're going to do 6 " here, it's going to be 6 " on both sides, right? So might come in because of that if we even undo and want to rethink how we divide this up. We get undo and then saying, Oh, because we're going to come out on each side, maybe we do go for 2 ", right, because it's going to be two, two, and that's not exactly bad. We can take out from the middle, make this a group, come in here, go in six, right? And then come and go ahead and break that down. Make group and come in and that could easily come into the middle. And if we want to do the thickness, we also could do that. But now we have the ability, and we might come up and do a three foot at the door as well. But that gives us something that we can carry across the rest of the design. And again, where we have our half panel, do that at two, as well. And we can always just make a group out of each of these, and that of course generate its own specific lines. And come in and do our six just come in and go ahead and put that in the middle. And again, it might take a little time to locate unless we just use a similar location that we've used over here. Can move this so I can get it in the center. And one thing might help if it's finding a hard time tracking that is I could just come in and do a three, say, Hey, just use this line right here. And one of these might just be because it's a little bit hard to track some of this from that side. Alright? So maybe coming back here is where we can track a little bit better. Let me byte mis to your perspective. Yeah, right now, it's having a little hard time locating right now. But that's fine. If it's too hard, we can always just come out and just take another one. And just draw where we need to draw. Yeah, I took off a little bit of that area. Now that we can take this one now, we go ahead and take this. And we could even take this and just make this a component now. Triangle And the idea is, you know, the upper triangles are a little bit larger, so it's a little bit of aesthetic and hierarchy. And this one, we're going on 180, and it should for most parts, be the same. And so this is a little aesthetic. We can go ahead and put it over here. And then if you want to do, like, a simple door, This might have a larger bottom panel. I come up to 4 ". And that might be something that we might distribute again, we can come back up those and change those as well. And what we can do is again copy something like this out. Make it well, come in here, paint it, make it a group, move from here. This door is going to be a lot thinner. We can do 2 ". Sometimes it's, of course, one and two quarter. Simple way of making a door. And we could just do this for starters. Obviously, we don't get too much into detail at this stage. If we don't want to, you know, of course, have options for working with components. And I could just go ahead and remove sort of that base layer here. It's useful it's helpful, but right now, we'll just go ahead and try maybe some of these. And actually, this one actually is not yet grouped, but if we can go ahead and group it and make it a component, it could be a half triangle window. I had that 180 head over here. One of the things that we would probably do in the real world is, of course, we wouldn't just have this door by itself. And that's something that, again, would help obviously making this panel is we probably have a little bit of a frame on this door, something like 3 ", and probably it can probably go into the top. But just on the side, we'd probably do a frame. I'm gonna go ahead and just pull up a unit here just to reflect a little more accuracy. And and so that would come into the distance that we have that door going in. Or if we want to just push out the other elements. But right now we're just high level, go to leave it there. And this right here would need to be, for sure, a component door, simple. Simple Storefront door that matched our ac needs here, right? 61. Modeling Upper Exterior Wall Elements: So actually, something that people might do, even for some of these sort of large sort of units, you know, it seems like it might be more valuable because of things like glare, because this also could be maybe a roof element, that this could even just be maybe a pattern. It doesn't have to be just because it's, you know, in the Storefront glass. So, again, we could have that more of a design option. But I could, of course, always just come over here. And come out, too, and just maybe make this. Maybe the whole unit could come out. Something like a six. It could be even like a similar type panel system. I come in 8 ", and this could just come in too. And this could be a little aesthetic that we just have both on this side and on the inside. And we don't have to come in too much, we could do 4 ". But this little aesthetic could be something that could both be structured and you know, we're figuring out for how it works in here. So I could do 180. And I would believe that this should be like an average distance. So this three foot eight. But what we can do is, of course, always just test it out. And we of course could just make sure we have a clear location of our centerline. And that'll help us, of course. No, 100%. Does this fit? And it does. So right, we got a full center here. So that's cool. Let's go to C, and we come in here. Maybe we can just take a last unit. All right. And so that's more of aesthetic little piece here. And we can go ahead and just now we have three pieces that are all the same, that actually helps in something that's more modular. This actually might need to be a lot bigger. But I'm going to do TNF now. Again, we don't have the super engineer, everything all the time. We just come out here. Because being a thicker piece of glass, it would likely require a lot more. But we're going to go ahead and just simplify it for now. But it is sitting on a very large eight inch member. So that's one of the pluses for that size. And so we can go ahead and look at that in the middle, and we ahead and make that as a component. And, you know, if you want to make sure we're using good names, can always just sort of see where we're naming everything else. This is a triangle window, and I could just make this as Omega. O. One of the great things about this, even when we put this in the model, SketchUp does let you do a type of takeoff for your model. So you actually can always just sort of see how many of these are in your model. And that actually helps a lot in the pricing phase of a project. We're going to rotate that and locate the final element. So it's good to have good names with your elements in your model, right? So I'm going to locate that. I'm going to go ahead and remove the original. And now we have our new storefront system sort of using a little bit of aesthetic here. And it's not overthinking, not thinking too much. We definitely have some places that we can update as we start to look at other areas in our model. So super exciting to get this on the way. 62. Modeling The Stair Tower Base: Right now, we're well developed with getting, you know, this storefront systems. But before, of course, we, you know, start to do some of the detailing. We do have our mass here that we can simply detail for how we'll really start to create that volume for our transportation, also a great way to bring in light, you know, if we'll go ahead and look at, you know, shadows in the site, you know, having like a stair that bring in light would be really great but obviously, we need to have structure on that as well. So let's go into how to sort of detail that. Obviously, I've subtracted here. I've just sort of some of the area that's inside, though, you know, the idea is, it could be a nice feature inside for possible privacy. But on the overall, maybe we can maybe use some of that geometry later, but right now, let's go ahead and take it from the part of the model. So what I'm going to do is just treat this as a volume and remove all the additional area that would sort of be taking out. So we, of course, have our floor system separate. So this is more of just a massing system, and we don't need it to really come in to here. So we haven't really done a lot to create sort of that interior space. We're going to get to that particular section. That's going to be really fun. But what we're going to do now is just start to consider how do we do structure in a system like this. So one of the key things I would do is, for sure, as this is, you know, really thinking of a lot of different systems, let's go ahead and make things, you know, on the level of what they are, right? Like this right here, if you make this whole sort of connection of this facade, this face, and this face, those are going to be a group. Those are all glass, right? And we can just use our tags and sketch up and make those to be on a glass, right? And what we'll need is the framing that will help us support that, as well as, you know, understanding as part of the framing on this other side, you know, even if we're digging into a hill, we're going to have to do a retaining wall. So we will have a reality of how that system actually works, right? So as we start to sort of figure out, you know, how this actually becomes a system, we'll probably turn this more into more of a facada sort of placeholder. And now what we're going to do we can sort of start to figure out how we're going to make this as a wall. I think we're going to use that same wall we did use before. We come out and we sort of see the thickness from our place holder. We just use, like, a 1 ft wall. I think that's going to be the same here. So, you know, if we use this volume as a subtraction point, we're just going to have maybe a little bit on all of these three sides, and we could even just make a rectangular mass and come in 12 " And all we need to do is pull that in, and that just needs to respond then at the top. We could also make this as group and just pull that up. And then we're going to inherit some of the cutoff points from the different parts in the site, right? I mean, this actually even might be a little bit cleaner to have it maybe go up on both or two sides and then choose maybe one side to come down on. And then we would have something like an embed I'm going to keep that a little bit cleaner. And actually, I'll just even measure this since they even have that as a little more of a clean dimension. Maybe fuse just said this can come up 20 foot, 3 ", and then I'll just squat and pull the top of this panel up. And we can even just move to that point, and, of course, have to make a little bit of intersection point and so that's one of the ways that we could say, let's sort of create this as a more logical system. But on top of this now, which we could just create that as our base of that wall, and it could also, of course, come out. And this system right here would just really interface with some of the structure below, but to potentially, of course, create, you know, just a worked out little area here, we probably have that um where it could be open or we could just bring it in to match sort of just really a meeting in the facade. So some of this stuff will be going to be a little tricky as we start to figure out, you know, where everything is. But we also can just get some simple measurements here, something like here. This is four foot 9.5. By nine foot seven, and we could also just sort of draw that in and then copy it and say, Hey, you know, that's what we would want. We can bring that into this model here, and saying that would be also sort of to match that structure, Allright? Alright. And so that was a useful way of getting that one right there. And if we go ahead and we took that part out, we can place it back in. 63. Adding Section and Views For Modeling: And one of the things that I had done before is looking at the side section where we only looked at one site. We always can go ahead and come and sort of update that side section or really duplicate it. One of the reasons being is if we go ahead and just sort of look all the way far out and watch our sections, it would be really great if we could even maybe looking from the sightlines view, when we start to see our sections visible, and probably our outliner is the best way to go ahead and see all of those and make sure we can see any of those and we just make sure that we can see all of our sect planes. We want to probably copy this section plane. And if we look from above, and also, again, make sure we're turning on the visibility of section planes, we want a section plane that maybe helps us look on the other side. Again, this divided the house in two. It's nice that it's keeping it orthogonal, this is going to be a copy. Now, this will be rotated. 180 degrees. And that's going to be allowing us to work and pretty much just like for our site section, this is going to be the duplicate version. And so if we look down again and make sure we of course, see our planes, we'll make sure that we'll have one variation. So maybe one is facing east section through sight. Maybe we second through sight east, and then we'll make sure that this one is second through sight west on the side to right. And what we're also going to do is make sure that we're going to go ahead and turn our second through espectially first where we are sort of looking west we'll, maybe just make sure we're gonna see what we're gonna see that's gonna help us out right here. Okay, so I think this is showing us the thing we want to see. I'm gonna go ahead and add as safe as a new style is fine. And we'll say B one. Elevation. And right now I'm facing pretty much I'm cutting the West, but I'm viewing east. So that might be something we make sure is also aligned so that we're looking at our site. You know, our first section was looking back at the West. So it's a little bit confusing because if you come out here, you see that it is looking west. So that probably would be a helpful thing to clarify. Looking west. So one is looking west and one is looking if we will click on that one. One is looking west, and one is looking east. All right. And so now we have a side section looking one direction, and one is looking the other. So we can always just make sure that if this one is going to be toward the west, we can make sure that that's going to be in our outliner selected that that's West Active Cut. Update, right? And so we'll be able to look at both sides and if it's not sort of what we're trying to catch or if it's not looking from where we need to look, I think, actually it is actually on the other side, so that's actually helpful for us because, remember I walked inside of the model so I can get that perfect orthagonal to what it needs to face. And then I'll go ahead and just click from the right side, and I think this is the right side. Going to update this. And this is looking East. So this is great because, of course, now I want to model inside of this area, and I want to see inside, if I want to see just the building, I'll just see how things are working here. Alright. And so if we're looking at the West, we're looking at, of course, that side and we haven't really mounted too much of the interior, but we have a lot of opportunities here, and by knowing which one is which it's going to help us organize. 64. Modeling A Storefront Envelope: That's great. That being done, we are actually set up to go ahead a lot further into our model. And sort of seeing what type of interactions we're going to do. One key consideration is, of course, what this area, this massing is going to help us do. As we create the structure and the framing around it, you will also have, like, a door to this outdoor patio, as well as all the system. And we're going to be really straightforward with that system. It doesn't have to be overthought. Also, we want to, of course, make sure to align and deal with things like here, in which now we can see a lot better with the section cup. And we'll know, you know, look here, Hey, you know, we know where we're going to be showing everything. So I'm going to go ahead and click on East again, turn off my session box so I don't get in the way of anything that I want to view and then come in here and adjust a little bit so we can actually have the walls aligning. And so that's going to be a little bit of a joint point. And then we can go ahead and create our system to really have on each side. So what I'm going to do for each of these sides, again, it's going to be really simple now that I know again, where the base is, how does it go up? Essentially, it does have a little bit of interface, you know, the ideas how this actually would be framed, it is likely that we're going to pretty much have everything sort of based on structure, and then I would create my system above. So I turned off my facade layer, you know, and we will go ahead and make sure to put items like this on our facade. That shows a little more clear what's happening. I'll have, like, a little bit of a connection from my structural my framing for my wall system here. So what I'll do now is probably locate something for this system on that basis. And it's, of course, useful when something like here is also going to match the location, you know, S right here, you know, this frame goes up. It does not go up to the only place where that is. So that actually useful to sort of understand. We might come here and do a small roof. So I'm actually going to leave that area a little bit undisturbed. But I do want to make sure that comes up. And so this is going to tell me pretty much the extents. And we could, of course, work out anything for some of those spaces as we go. And we can also look on if we come on this side, just to check if it's actually where we need to get obviously I was at a little bit of an angle before, but now we have something that actually follows the line, right? And we can go ahead and pull this in. And so this would then be where if we would do a storefront system that we would really aim to follow along. And the idea is our system would probably have a little blocking bits that would maybe interface from right here. And that would probably go up to the top of the floor. And that could be just done with sort of framing, make group. But we could totally use what we have here as our basis for our facade. And what we can do is, of course, just start to trim out parts of this area that were on the face of the wall. And we just go ahead and pull this here. And my thought is to go ahead and, you know, have an idea of how it relates to this, but make sure that it's not going to intersect in any funky conditions. So right here, we now have what's needed to sort of create it as a system. And we could do like a six foot system six inch system. So I would just take something like this wall, come in 6 ", and I probably would if it has more lines than it needs, I would probably either I could click all these severally, or I could go ahead and weld the edges. That will keep us from having an unusual profile. And let me see if everything else. We can weld the edges below as well. And come and just make that a six inch system. And what we also, of course, can do is something to make it easier is just go ahead and come in something of a six inch for some of that framing. And actually I'm going to make a group for this part because now I have a part that can be uniquely as glass, right now, I've sort of made it as if that's a s system, and really this part would really be the glass, right? The inset part. So where framing and so on would go, we would probably go ahead and, uh we probably go ahead and make this part to be a little bit different, right? So let me go in here again. And the idea is that we have this here, now we have a frame, and actually it is a little bit connected, which is not really helping us. But we can go ahead and offset this again 6 ". So we just have a clean break of that system, and we come over here, All right. And we don't need anything really right here. So we can sort of see sort of what we have here working. And what we can do now is we can do something like an aluminum material for our storefront systems. We don't have to pay anything now. We can just start off with something like a metal and really something like an aluminum and we could just take one of these and really duplicate it really start with that as a base. And we do have the ability to go ahead and with any material, if you want to create a new material, but it's, like, based off that material, we can just go ahead and see if we can just import it. Let me just go ahead and just select it. B, press B, right? And we have that now, and what we can do is pull this into the middle for our glazing of that system. And we don't have to do all the differentiations, but, obviously, that could be, of course, helpful. And we could always start to consider those following systems to be able to be done in a similar type of way. One thing I haven't done again is maybe thinking about how are we going to do some of the other of these systems. And so that's going to be one of the things we get to face a little bit as we deal with these. So I'm going to go ahead and make this also a group. And this technically is as opposed to just glass. Of course, this is a storefront system. So I think knowing that, particularly, wall Storefront is going to help. And the same thing almost really goes for glass, so that your glass also is not going to be, you know, separate. But, you know, since this is the storefront systems one, we can go ahead and put both of those within that storefront systems, right? Alright. And so we can put that there. One thing someone might do for a system like this is maybe have this go as a straight vertical, you know, because of the size of that glass. And so that's, you know, all some of the opportunities that we can figure out as we organize this. So I could come down from here, 6 " All right. And we also could reflect some of the important dimensions around the site, like, you know, that floor level, that's going to be opportunity that we also could use. And we could simply get one of those points. We can even just draw from that particular point. Now we have an intersection. That's all we really need. We can even delete the base of it. But now we have a point where we can say, look, you know, let's start to divide it in a more artistic way. And since that's the top, we, of course, could click these, weld those edges, and come down and actually, of course, come to the area where we were putting into the frame. Come down 6 ". I just sort of measure this one. All right. And here we are. We can take this get over here. Press our control so we can just sort of get that face out. All right. Yeah. And so, yeah, this is pretty cool. And really just, again, just as we start to divide this up, we can do it in an artistic way, can start to figure out some unique ones. If these are maybe the major frames of that Storefront, we can create some other one. 65. Final Modeling Envelope Edges: One of the things is we did create a bit of a unique detail here where we have a inset. And if we look at the rest of the site, we, of course, can see some more unique sort of conditions of how that site would meet. But we, of course, can resolve this detail and how these things meet, sort of a little bit with blocking. Again, I don't think that's too unusual because a lot of time we have to find creative ways of how do we deal with the edge? Do we bring the whole system out to cover this face or do we just, you know, utilize, you know, another formula? But right now, you know, one of the things that we, of course, know is that we will be terminating some of this system above. So that's going to help us to at least start to outline the direction for the remaining of this system. And then we'll say, how do we solve that with our Storefront? Again, this is sort of showing some of the design decisions that go behind, of course, you can work those out. But for right now, I think we're going to figure out more of a sort of a joint system. I would say that this system right here is fine to be, again, that if we come in. And what we can do just to simplify we can go ahead. We're not going to make a component, but we're just going to offset this 6 ". And again, we have that same head or height, and we could just take and put our outer system, and we're going to again, use that same metal. And I haven't really duplicated that one yet. We can, of course, always do that within if we, of course, want to go into one of our material and customize it, that's sort of sort of the workflow for creating that and we can duplicate it here. And what we'll do is we can instead of starting with aluminum, or starting with metal, start with the aluminum Storefront. So we'll label that as our, you know, exterior material, and we just make sure every time we're seeing that in our model that we're going to be using this particular material instead of the the one, you know, in the model. So we can start to have unique fixtures, unique elements for the design. All right, so I went ahead and, of course, have no MTA group. And again, I'm going to use that same one here. And I'm going to offset this system 6 ". I'm also going to have a little bit of a nicer detail on this side, but maybe to match this partner side and just to really solve this, I might just create a little piece of trim that comes out here. That's going to be that six by six. And that's just going to come up and we're just going to paint that with B. So we have, like, our sort of matching detail, and we're going to put that same detail on this other side. And that's just the way of sometimes, you know, dealing with a system where we have a unique joint. And it's expressing the joint. It's not always easy to figure out joint connections. And I'm going to go ahead and increase this up again on the other side. Again even if you don't see it, I think that's the beauty of design. You have the ability to go ahead and make it beautiful on all sides. And I'm going to do that same edge over here and ideas we actually can use that as part of our system on this side to either, you know, you actually don't have to make it separate, but if you would, again, I can always take that out if I want to just say, Hey, look, let's just have this system utilize that edge, or are we going to have it? I'm just showing the option for that. If we do want to go ahead and make this come out, you know, again, it is going to be a thing that you're going to see different on one side or the other. And if it's nothing you can't live with it, then you can always just go ahead, come over here and, you know, choose that previous detail right here where we came in and came and added six. Six, six. And I just left that within the same, you know, sort of group as that mollon. And over here, now I group that coming here, B, and I'm using that aluminum Storefront. So that's my labeled exterior material. And all you need to do here is go ahead and come in 6 ", right? And this right here, can go ahead and make it a group. Also, again, I was making the storefront system all in a similar group. And also here one of things we can, of course, make sure. This is something that, of course, make your models perfect. And also, if you don't have the other side, sometimes when you extrude, it might miss the other side. You can always come back again. You can either copy it, and this is just sort of that we have a closed geometry. I just using that point, so we have that closed, right? And so I just use that same surface on that side, so that's closed. This is closed. Glass really would need to it would be good for that to be in its own layer. So if you're going to do a separate layer, you might want to either do A Storefront glass. But we're going to keep it simple for now as A glass and have the outer part as the storefront system. And we're going to put that in A wall Storefront. So right now, we have, like, a bit of a design system. So one of the thing is we haven't continued this element, so we can already come ahead and go ahead and copy this point, right? And all we need to do is come over here in and come down 6 " and pull that over here. And we could just remove the face right there and just come in 6 ". Make sure to press control. Come in 6 ". And then, of course, make sure to paint that so that's going to stay in our correct color. And we can come over here in our side unit and come over here and, of course, again, we can see this point that we want to use. And it's just going orthogonal here. And right now, we can take out the line and just come all the way over and then bring that down 6 " already did the inference four, 6 ". Come over here. Remove that line and then just take this. And that could be our principal mollon. You can, of course, start to design down on that basis. And we can remove our construction lines. But now we have a space where, you know, all of that is structured and it's fitted and, you know, we have a bit of a joint detail for how do we deal with that edge. 66. 63 Fixing Interior Clearance: Does interfere with the stair system, and that's not something that's too difficult to deal with where our stair system does come out to that 1 ft. But one of the key things I was just, you know, that's why we always do a little bit of overdesign. Three foot 11 that came in would be about two foot 11. So either we're going to, you know, if you're trying to make this, either you're going to come out with this, I think, since we have already cut our site, I the dimension to come in would be the stair, and that's the stair and the landing system. So if you want to get that 1 ft back, we can just come here 12 ". I don't think that significantly sacrifices too much, but again, we keep pushing, but that's going to help us with a reasonable design for how that exterior system works. And so that's an update to our design just to satisfy that O, of course, you can update the site. But typically, you'll want to work on your exterior footprint first and then, you know, you start to squeeze in, and that's not a terrible amount to come in, but that helps us to get this. And now as we go to maybe our exterior perspective, look at our whole, we start to see, you know, a nice, you know, set of design sets of systems. You know, we see aluminum, we see our roof. We have fully designed this. I think we're definitely going to get some time to do that as we push into the project, and we can organize how we start to interpolate some of these items together, but seeing this as a structure is really helpful, and we're going to about to deal with some of the other systems and as we also can bring light into this base. I think that's a good way to get started for that at a high level. 67. Adjusting Storefront To Add Door: So right now, because we're going to we've just finished sort of modeling this exterior stair tower, what we can do now is for sure, come in and understand a little bit of how this one is going to be the system that's going to open into this upper deck, and we'll start to treat the lower deck and sort of have a design that we can put for all of them. I'm going to come here and fix this one just a little bit. And one of the great things we have what we can do with here is we go into our elevating on our east side, actually, we can start to see where this is located. And I think we actually probably angled up a little and so that's not a big problem. We can, of course, find and locate this to where it needs to be. And that's not going to be too much of a problem. I would simply do that by coming and taking these two panels. It's already 6 " down, and we can adjust it on all the sides. And again, it is something that definitely happens throughout the life of design where you need to move things along to be where they need to be. So what I'm going to do also is make sure, again, to find a place and just give a reference line so these can follow that path. Alright? So I'm just locating these down to where they need to go, or I can just copy it. That's also another solution And you will definitely have to in your sketch of life, always need to, you know, correct things, find how to make things right when they don't really work. So this is not out of the world of things that would be good to learn how to operate on, you know. And we don't need any of the surfaces that are on this side, so we can go ahead and come and take those. But as we get our door ready, it's going to help us to figure out what's going on for the other parts of our space for the rail and just really how someone could enjoy that. Alright. And we're going to make sure just to go ahead and paint all those. And so that lining up the floor is going to help us out, now we're going to start to say, Hey, look, where does, you know, how much space do we have? And then what's going to be put in with the door? So that's about six foot. So that tells us already that if we came straight up with the system that we could go ahead and maybe offset this line. 6 " and then come over here and maybe this could actually be more of a five foot door and come over offset 6 ". And so now we take out these two. We can have these, and that's where we can, of course, do the necessary framing. And of course, we're shooting this Turle and we can take out a place where we just want to either have glass or it could be even infill there. And so now we have a little bit of how our door would enter into this space. And that's going to be just a little cleanup here and also just preparing. We also could, of course, make sure to and this is great to put it in the system because obviously, a storefront systems, it's sometimes helpful just to keep those systems together. I would come up seven foot and just make sure we have enough space. And then this we could just use a line here, seven foot in, and then we can just come up. This could be another 6 ". It is a header unit, so it might be more. But then if we have a nice little space for transom, that's going to be helpful. Press control again, shoot that one. And we could put a door in there later, but that's going to definitely make it clear what we're trying to achieve. We can turn off shadows as we're starting to model this deck out, it's going to help us figure out things without issue. So 68. Planning Exterior Railing: In the window, we can see some exterior railings. You know, we can always go crazy for, like, you know, detail and ornament. But I think a really simple system is really, you know, going to get us started for something like a residential home or even, you know, higher end commercial design. So something like this is actually pretty cool. We can really start to deck these out as we go through the project. But as we sort of want to start to have some of these areas figured out, and open also up some things like our floor system. It's going to help us to really visualize this as space. And some of the things that are going to help as we figure this out are, of course, using a level like AAL, as we start to model and show some of these places. And we're of course going to use some of our sections to help us figure this out. 69. Modeling The Basic Rail: One thing for starting a railing system is we definitely want to know with all of our area railing, and I just want to rail up here first. Again, return back to our reference image so we can sort of see the design we're going forward. And I think it's a little more this design. We just need to have you know, our system of our rail, the end post, then we have intermediate post and the top rail. Um, what we would want to do is make sure we're first out of all the geometry. So we'll do something that's probably going to match, again, our base geometry unless we're going to do this with inside of that model. So that's something that's going to help us out to keep from having out of order. But, you know, the floor level, again, that right now, we just have a deck here. And one of the things about this is this system would likely be a little bit different on the interior piece versus the exterior piece. So that's going to be either an opportunity that we can start to use, but we can also just come and really separate it out. And so one will be really a basis, and it starts to be a system instead of just, you know, just the infiel. So I can use where I'll push that face and really just come into this particular edge. And I can take this side of the system and really have that from the outside because that's going to help understanding and what is needed to detail that space, right? But that's going to be a little bit a good way to start as a base. And this right now would be sort of our system for our exterior, and we go in here and again start to actually make a group for what this would be as a floor. And what we can do, sorry, I accidentally hit that. What we can do is, of course, draw on top of it the outline for our rail. And our rail system, just as a high level placeholder, would be about four to 5 ", right? We could just that follow that line, and that would be the start of how we create this rail system. Now, we can double click on that outline, make that a group, hide everything else. And now we start to take out areas where we wouldn't have a rail. Now, that rail, obviously, if we would come up to, like, a good residential rail requirement height, it would be about 6:30 6 " or three feet. Now, we see here that it would need to come in a little bit. Now, one great thing for us in the design of a rail is, again, if we think about how the system would work, essentially, along this, we can create our post. Along this, we can create our top rail and then start to do infill pieces. And so three feet up is really good for what we have as a basis. What we're going to do is come down here and start to say, how high do we want that top rail to be? And the top is typically going to be something more of a two inch. So what we can do is just strew this up 2 ", make this a group. And come up, and we'll just start to build the system from there, right? We can create our post at the edge, and that could be something like a four by four And that could go all the way to where the deck is. And so right now, obviously, you can't really see that one. We can just move around. And that's the beauty of having it as a system here. All right. And so we can go ahead for this one and make this a component, actually. And this is our post post, and we'll just call it post one. Right? And for this deck, one of the things for and we can take this sort of sort of placeholder sort of sketch down because now we can use our top edges to align. One of the things for a system like this is, you know, this top edge is actually, you know, is actually going to be a little bit larger. I might have a profile just so it would be easier to handle. But again, we could just keep this sort of as placeholder. The blocking for a post, we could copy that to our outer edge and as we come to this side, we sort of dealt with it. But obviously, if we check the length, four foot is probably a maximum span, we can go ahead and start to sort of design out where the post mid post would be. And right here, if I do my measurement, and I see that this one is 14 foot seven. So, right, if four foot is the maximum, we would likely have about four of these. So if I take this do here and divide it by three. Now I have an extra one. Now we have enough to sort of support this system here. And we can start to detail, of course, the top rail a little bit later. But one key thing also, if we look at our reference, and it's always nice to have the sort of spec of a reference. We can have little mid rails. Like the main posts can keep larger. I'm going to keep it simple for now, but also anything we want to do as, you know, intermediaries, sometimes that can actually just be um just figured it out from keeping that base profile. And so I think leaving it at a high level is a cool way to keep it and say, Hey, let's start to copy this design around because then we can figure out how we'll infiel for the remaining spaces. But one key thing to at least have this as a system would be nice to have something sort of of this rail also happening at the bottom, so you could sort of really visualize this. So if it's going three foot up and maybe want to come up 4 ", maybe you're going to go down two foot eight and that would be maybe the bottom of that rail. And that's going to be maybe a little element that would be pushed that would come down u 70. Detailing Rail Look and Finishes: We would have our little cables that would follow through here all the way to the other side. Those could be done pretty simply. You don't have to overthink how to get those in. And really, that's taking one line and really copying it. And that simple can be done by going ahead and using maybe the center line as we figured out this right here. And so right here, I'll just go ahead and take. And now we have a profile direction where we're going. And all we need if we're going to do a circular cable, we can hide the rest of the model and create something maybe like a even if we take this face, this might be something like three quarters. So I can do three eighths as the radius, right? And that would come like here. And all I need to do is, again, maybe these could be one group, all this the profile, direction, and the line outer one, I'll just make that a group and come back in. And now, what we can do is go ahead and uh take and move this, and this is where we can use the beautiful follow me to go ahead and say where we can do the act of welding. So welding is a great way to avoid having to continuously reselect. And all we want to do is follow me. We can go ahead and just look at our big tool to get that or we can just, of course, just do a pull down here. Right? And so that's now set up here, and that one is at our top right now, and we probably want to have those spaced about 3 " apart. And so we started here, we came down 3 " and we could just measure our space between the top to the bottom. If that's two foot six, which is the same as 30 ", then we can say 30 " can divide by about eight. So now I could just maybe go ahead and get eight of these, and that will help us to locate that one. I'm just coming down 3 ", and I'll do time seven, get our quantity there. And we need one more, so we go ahead and add one more three. I think we just kind of the one that was at the top. Right. And this would be good. And, you know, we haven't really selected material. If we want to start to come in and select material, I think wood would be a great material for our top rail, and we could choose a wood here. And again, if we want to just like I said before, apply wood, if and actually obscures, we probably wouldn't do probably would probably want to go ahead and do something like a walnut or wood veneer. We could choose something like that here. And I could say railing. That's going to be something we can go ahead and save. And in our motto, go ahead and paint the whole area. And so we could have that one as that particular color. If we want to go darker on these, again, we could already start to either paint the component if you want to go more of a aluminum, just like our storefront, but, you know, if you want to do more of just a regular dark, like maybe a tan color, we could go ahead and get that as the color that we would use for these. That would be a good way to get that started. And again, I would copy it first. Deal smoke railing. So we just have that finish going around here. So all these would be that color. Now that bottom rail could match the top rail and we can, of course, make sure that you're doing your out when pressing your pick color. Right. And some of the detailing of this could be simpiedO course, right now, you're seeing how it's sort of going in. If it would be something that between the columns or between these posts, we could always just come here and just come in something like 0.5 ". And that would be one way to simplify the detailing of it, but it's also sort of how that would react and just come here as well, 0.5 ". 0.5. Yeah, right. And then all of these, these could also probably be a similar smoke or black. And so what I actually would do for these actually is these also become like a component to an extent, because obviously every profile is going to be a little different. That's part of the thing. I think it could be just useful just to have them all sort of labeled that same, and it actually sort of painted all the extra materials, that particular color. But I think that's a nice design, and that's something that we could probably take to some of the other edges. And so that would be our rail design. And what we could do is anytime we have a system like that, again, that system will be an A rail. And we, of course, could break down that rail to be some of the different finishes of that 71. Duplicating A Rail System: So we can copy that rail and place it on another level. If we go to something like our exterior perspective, we come to that floor system, we now start to maybe sort of group our areas, just like we have our massing. So what I can now do is create create my rail here sort of out of here. Now that I've copied it in, it will copy on that face. I can rotate that 90 degrees, bring that post down and really simplify how I create this. And instead of doing just A floor, I actually can now turn this into maybe, one of my massing because now I'm going to mask that exterior deck. This system is going to be pretty much like the template for how I'll detail this space over here. Now, this right here, I'm going to turn that into a group again and put that A floor. It will pretty much start again, right? It's not super helpful for some of these items because, obviously, when we get that new rail, we would sort of duplicate it again. So, you know, there are a couple of different ways how you would do something like this. But knowing that, of course, we're going to get this to come in, is going to be helpful always. We know that we're just going to copy that and relocate that when we get to this one. And again, this right here is just a group. We're not really changing that component. We're just stretching some of the elements out, and really the template for it is helping us figure out all the little details. But we're just doing that for our top and our bottom, and we will be adjusting some of our other systems. So, you know, it's a work in progress how we will get all these. But the idea is we always can come in and edit any one of these, but the idea is we set the types, we have the materials that are sort of going throughout the project. So right now, I'm going to go ahead and push this over. The end detail might not actually go all the way to, you know, perfect edge. It might have a little bit of a lipo, obviously, to help with draining and other things, but we don't have to consider that too much for now, but at the same time, as long as we sort of use that as our basis. And right here, we can go ahead over here and just come into this right here, that's one reason why sometimes I use push and pull because I know I can come to this face and then go back 0.5 inch. One cool thing here since we already have this pretty much exactly where we need it to be, I could just copy this geometry over and then just come here and really just flip it using the green scale and my, you know, transform tool, scale tool, and I'll put negative one. And now I can put all that geometry right on the other side instead of the previous way it was organized. And all I need to do it's pretty much draw a line. And now that's a new system, right? And so we can even just draw a line that would be right on that edge and take out that in between. 72. Adjusting The Detail Across The Rail: And this would be something you would go ahead and do for all that other side. And right now, you see how we have our wall sort of ending here, where we probably let the side come in. So we don't have to go all the way to the land, but we can just come in maybe to here. And again, using push pull, we can align that other edge, even with structure and do that same thing for the top rail above. We would just come and take this particular set of geometry, come out over here. Use our scale tool to go ahead and align that and then come in and we just can simply click on our edge, and then that would be merged. And then we use our high geometry tool to very simply come in here, join these and remove those in between, and now those are matching. And we can just simply come in And again, we were aligning to the edge here. And we can now just start to measure to figure out where our rail would go. I think this is a nice, not too obtrusive railing system. So right now we had been going to thinking of the four foot maximum forest span. If we measure this, this is 14 feet. Again, it'd be that same divide into four. So we can just move this post with a copy, come to the other side and divide by three. And come over here, right here. Again, we know this is something a little more than 30. So you have this is 38, so something like if we divide by nine, we should get a reasonable amount. Over nine. These. And you always can actually have a larger span, but it doesn't have to be a super maximum. We could do like a six foot if we think there's too many. It's always nice when they sort of match. And on this side, we can divide that by 11 because 44, of course, divided by four is 11. And what I can actually even do is really come from the top that reference point is going to help me out tremendously. Maybe over 11. And our next element, of course, to deal with would be then really it might even be helpful just to start again for looking at our cable because we definitely want to make sure we're not recreating and making it over difficult to get some of these items. So we know we're probably coming in just 2 " so we take two out here, come in over here, and we're just going to do a following for the rail, two. And this will come all the way over to here. And so with that, we know exactly where we want to go. All we need to do is do our three eighths Nth for a circle. Three radius. Make a little group for this. And what we can do again, make sure to weld those edges. And you don't have to weld them to get this, but that is helpful sometimes. So we can always just come in and follow me for that. And of course, can check our path if there's anything that might have intersected it. I think we were using that for reference. All right. I think that cleared it. We're going to weld these edges. I think that'll be fine. And do our following again. And these are going to use that smoke for railing that we had used before. And again, we're coming down here. It's very simple. Coming down here, then coming down 3 " times 80 times nine, actually, right? Oh, times nine. Let's undo that. So just coming down here, coming down 3 " times nine. We can take away at the top one. But now we have our deck detailed on our upper level, where it really doesn't have an offset. So it's actually, you know, we have to, of course, fix our topography, and we'll get that shortly. But then we have our little deck layer where you have enough space to set out chairs and doing events and really just enjoy that deck. So that's a beautiful way of doing it. That same system we can very easily copy down and get to other areas. U 73. Updating The Site Road Geometry: One key thing that's going to help as we sort of keep moving forward. This project is we want to see a nicer road because it's going to help us in visualization. So there are several plugins for working with Topo services, including Artisan or, you know, Topo shaper that you can find. If you just Google search because some of these are not in the extension warehouse, which can be found here, Artisan is visible there. However, you know, I just really simply wanted to model something for you. Essentially, if you ever have, like, you know, unique shape, you can simply, and you know you're maybe trying to match a profile, you know, always feel free to simply do something similar to, like, what I'm doing here, where I just take that endpoint, copy it and divide it maybe by if you divide it into, you know, 18 pieces or something, you have the ability with a topo you know, with any geometry to just sort of start to find a profile, and it's not a super difficult thing to do. It could be just as simple as this. And I actually did go through the effort. I'm not going to go through the full of how I sort of got through with something like this. But essentially, that's how you can start with any surface. And you can help model something like a road like this. Like, you know, it's pretty complicated. And so I went ahead and did that for you. I turned it into a group. We can go ahead and import it in. It's in your sample files. I'm going to go ahead and sort of get this model ready. We actually This is where I'm just starting from. So I can import that in, and really, it's called Smooth Road. So at the point at which we need to bring that in, it will import in, and it's going to be a lot simpler. It does have a little bit of the topography in, but it as a little bit of lift so that when we want to model, we're not going to get, you know, the previous sort of, you know, super topo, because essentially the site probably doesn't do you know, what we saw before. And if I would take that out and look at what we've just sort of brought in, the smooth road, you know, you can't drive on something that slopes like this. And so, by creating this smoother example that is at least parallel, for the most part and a little bit of slope, I've created something that's going to be easy to model tool, and it's also used the elevation where we could simply make a connection, and that's something that's going to really be helpful. As a designer, of course, just to know that we're not going to be going too much into dealing with this. And I say this as the old road in my model that, you know, if you want to come back and use that, we always can adjust that. But the idea is we can hide it in general. And you know, obviously, if you want to see it, we can see that. But in terms of seeing our exterior perspective, it might be a little more helpful to see only the new smooth road, and we can go ahead and just hide the old road and just update that view. That's going to be really helpful. 74. Reviewing Envelope Design & Views: The next thing we can do as we're figuring out this model, again, we can come back toward the end and start to figure out what's going on with the site, but right now we have a lot of opportunity for our shell as we go into our interiors, m And again, we can change things as needed, but in general, one thing that we can immediately see that would be a really great benefit is starting to consider how we would maybe start to add openings within this facility because before, you know, we look at a sort of a plan on what's happening, the ideas, there's some immediately just opportunities inside and we have some opportunities just to really create openings in our frame and that's going to be a beautiful way just like we create typical windows. We might, you know, this area is obviously opening out with our system here, but on this side, we really haven't dealt too much with it. So I think this is the time to go ahead and create maybe an entrance and a window set on this side, and something that works even as we would start to look at our section and more of our um sort of cross section. None our sections that are going through but more like, just as we were looking for our elevation, just looking into the building. Our front elevation. Now, let's go ahead and create a section that just goes and look so we'll start to see what's happening inside the building. And that's going to be really good because when we create something, um, that can be, you know, parallel to our structure. I'm going to go ahead and make sure that it has a appropriate name. This is a section, and this one is if we would be looking north, that's going to be here. And I'm fine for it to be this right now or maybe one end would be helpful. Okay? And so I could go ahead and take this, and it is inside of a group. We're going to go ahead and take it out from this group. We might just do that through potentially a just sort of placing it here, and we're getting paste in place right now. So that's cool that it's still keeping that orthagonal with that, but it's not going to be in any group, and that's going to be helpful for us, of course. And so all we need to do is something like our front elevation, but go ahead and choose that north south, you know, elevation section cut and make that the active cut. And we're going to say this now is going to be our uh B one front section, right? Looking north. Because if we want to come back and look south, we can do that as well. But this also helps us in three D to start to see, Hey, what are we working with? All right. And this, of course, again, it might be something we move around because it is going to be a little bit useful to see this at different places. You know, I like to think maybe if we're looking at different spaces, we would say maybe we would just have A, B, and C for locations. I think, but at the same time, it is something that we want to understand as we're going through a project. So it's not maybe we would actually just even just come back out a little bit and leave that here for now before we start to break it out because it shows us what's happening inside, and we can see places maybe where we haven't really added anything specific. So obviously, we're going to update and add our exterior for our back face, and this is where we are thinking about a little bit of a kitchen. And so just some of the lighting option would be, Hey, you know, how can we get some openings so we can bring light into this kitchen area? And then one of the things, of course, how are we going to get that? And how do we unify this to the space above? You know, if we're thinking about a bedroom starting to utilize some of this space, how can we start to make those work together? Okay? 75. Reviewing Envelope Design: In figuring this out, I think one of the things that's going to help us is definitely getting into our facade layer and really taking now where we've sort of come in and saying, Hey, you know, let's start to make this perhaps as a system. And if we just come out from that particular level, we can actually just start by using this face and make that as a system where maybe we hide the rest of the model. We come here. And now this right here, would be a separate panel, and we're going to go ahead and maybe put something like a six inch frame on this, and this could be sort of how we would deal with that being our opening. Now, one of the things that we're going to do definitely is, Hey, you know, if we want this to be open, that could be a beautiful opportunity. I'm going to go ahead and just turn this into a group, right? And so now what we can do is come on through right? And we haven't really chosen an exterior material for, you know, our model yet in this particular area. But what we can do is, again, make this area inter group here and come back either as a model and make this our glass. It can be a little contiplative space. But of course, if we would use our B tool to match some of the other glass in the model, we can go ahead and get this made as our glass and make this as a group, and come on in. And so that would be a nice little way. And we can, of course, divide it as needed, but this is just sort of giving the opening. But this can be also a model for how do we do windows that are higher. We can even use the same type if we would go ahead and say, Hey, look, let's start to say how we could use this type of detailing up a little bit higher, but maybe even come, of course, so we can miss the floor, maybe this would come up at 12 ". And even need to come up a little bit more like another 1 ft, right? And then, you know, we could always just come in here in the object and draw on the face and this could just offset through, right. And now we start to create a lot of more beautiful opportunities for light to come into this interior space. And one of the key things for here is even right here, this could start to match. And whereas this starts to become an opportunity for maybe a door that would come out. It doesn't have to be a double door. We could have this being duplicated as a window. The idea is now we see how it's a little bit different sizes. It might be the opportunity to figure out maybe how this could start to come in and we can make this as a component that starts to align with the structure. And we call this our slanted window. And just go ahead and take it in. And the idea is we take in our structure here and pull that full length of 6 " in And we come into our glass and do that same thing. And 6 " already sort of shown in that inference. And this is going to be a beautiful way to give us a little bit of a detail here we can also add that back to this layer. It doesn't mean that it would be fully in the system, but in terms of, you know, help us understand, how it's attached and also maybe keeping that same finish. And so all we need to do is now come in here with this little piece, and we don't have to choose everything, but just sort of that panel And I think that's where we're locating it. And that could just come in 6 ". And that same way of how we've detailed there will come up here to this next level, and we could even pull it back and start the same offset of 6 ". And one thing that you can sort of see what's happening here as well, is this upper side does have a little bit of an angle here. We totally could come in. You can sort of see that we can draw a line to just connect it in because we don't need to connect it at all the points, but we've connected here. And we'll connect here. And we've already sort of created a little bit of detail and in reality, again, part of this is already in that window, but it just was sort of not at that panel. And the fact that it comes up, you know, again, it has a little detail about the floor. So that creates an opportunity. But now this unit that we've created the idea would be for that to be the same unit. That's going to save on repeatability. You don't have to create too many unique fixtures. And, of course, now that that's also a component. We have the ability to go ahead and do maybe a detail type thing in there. But that creates a different type of detail for the space. 76. Modeling An Inset Door: And the final thing we're going to do is going to be look at how we can go ahead and create a door. And this door, of course, obviously probably be, you know, just to keep that profile of our shape. We probably have something that just comes along. And if we even go to our first level, it would probably be something now that would just come in and just really be in the center of this sort of section here. And we're not going to have too much of a challenge adding that one. Of course, we just need to probably from our three D sort of look, figure out how we're going to make it. And we can even, again, take that section looking north to start to sort of detail how it comes down. So and we make sure to stay in that sort of envelope layer. And now, this is also looking at the facade. Here. And it's really just a wall system that we get to do within this area. And one of the ways that we can, of course, just make it nice here, again, this is going to be something that would probably come in, and now having this full system here. Again, it sort of starts to play into what's happening here. So we always could take it out and just sort of give it a little bit of a separate character because it is starting to look as if it's another system. Mm. And we can make that a group. And this could probably start to look like if we would go back to our sightlines and start to look at what type of wall we were using as just sort of our two bys, six wall with our finish here, eight and three eights. And we take that back to that section looking north and we could just go ahead and find out where that other edge of that wall is then everything could really be done now here. We just go ahead and maybe set in eight and three eighths. So now this would sort of show the type of wall condition that we're creating. And we would just bring this here. And what we're going to do here is probably put something like a three foot door within this, and I think we have quite a lot of space. And we go ahead and put our 18 " for opening And even anything we actually sort of create here, we actually can go ahead and just consider as mirroring it, really. But of course, knowing one of the key things that we were sort of sort of benefit of, you know, knowing how this would operate as well as we definitely would come down over here. And so this is going to help us a little bit know where this system needs to come down. Right? And so that actually is going to be where we would probably come back and also bring our eight. All this wall would return back because that's where the wall would be really basing. So that's a little update to our detail here. And that's not too much difficult to figure out as we can just even sort of take this line, pull this back here, right? And if you use our measure tool, press T, you have our eight and three eights, and we'll go ahead and pull this in here. Pull this here. And now all this really needs to do is go ahead and take this profile, come up, and there is going to be a little bit of edge here, one of the benefits that we have here is that again, sometimes I sort of angled it, sometimes I didn't we can just make sure that it comes in on that level. But yeah, the wall system does just, you know, we want to have a little bit of interior. Now, I haven't really put any sort of interior system, and we're going to start to look at that as we put that in. But in terms of what you're doing at the end of the day is you're just pulling this up, and you can just come straight in here and even just pull this out here. Here, and this also could just pull out and just press control to make it, you know, sort of not duplicate face. And now we have our system, and we go ahead. You know, it's fine to leave this little profile here. But that's going to be what that wall will achieve. Anything we've done here, again, that's going to be what we would want on the other side. So it might be helpful to click it, make that a group as well. And then this is just really outlook or outline for what we're trying to do on the other side. We can go ahead and click here, click negative one. And just sort of use that profile there, and now we can delete the other elements. And we might also now want to go ahead and just possibly just explode it. Now, again, I think one of the great things about Schedule 226 is it's going to make sure when we save that we're not going to keep too many extra things. So I'm going to go ahead and save as. And I'm going to don't purge right now. The model's not going too far, but that's going to be one thought for how you know, how you use groups, sometimes you have things that you're not going to use yet. So this will probably go up to if we do eight foot on our base level, right? And we can see here that that's our eight foot. Now we can merge these. And now we've created and we don't have to have a transom in every single door. So I just mention that you know, transom is definitely a beautiful thing to put indoors. But because there's such a wonderful window right at this little intersection, it might be useful just to Go ahead and have it like this. And that has opportunities because one of the things that we're going to see happen as we model this out is we're going to start to have fort interior our interior wall and Casework that really starts to meet here. So this is just going to be a way of how do we see this space come outside in a well detailed manner, right? Because you're not always going to have to, you know, just play around with how things are sort of intersecting. So thinking about that is how you start to bring your three D understanding into your modeling. Okay, so this is awesome, as we've figured out a lot of our side and how things are operating. I think, again, every time we add a window, technically, we're going to be doing a lot of structure sort of to support it. But that's going to be something that we can have built in. But in terms of relying on our structure, using that in our detailing is a helpful way that we don't ever get too far away from what built reality 77. Planning Exterior Enclosure Detailing: The last thing we're going to be looking at is, of course, closing up our ends. And when we get those all modeled in, that's going to help us start to look at what happens on the inside. 78. Modeling Exterior Envelope Edge Wall: One of the things that we really need to make as we develop this model for our project is it's going to be important for us to go ahead and on our level one, we have quite a few levels now. We want to make sure that we start to finish off our entire envelope, right? So this is our envelope, our facade. You know, we haven't over detailed it, but we do know some things are going to make it work a lot better. For instance, this edge, um one of the things that would be really great in this is how if we have when we're looking at our facade that we don't just stop here, but actually to prevent certain glare, you know, like, like coming straight in here, we would come off something like 18 ", right? And then we actually exploring this, we don't have to really go into the full structure of it. But again, obviously, we are coming out from the structure immediately. So the idea is this is this extra little detail to add for, you know, a roof system, right? So it already comes out a little bit, but also outside of the storefront, we come out a little bit more. And one of the great things about that, that creates, you know, an opportunity to protect the elements here, and that'll be something that we also we'll probably do a little bit later as we start to detail some of the other items in entrances, okay? So that's a simple way to detail this sort of front side. But as we look at the back side, we see that, you know, we sort of have to sort of add pretty much the whole thing. And one thing we're going to do for that is really treat this as a sort of composite system. Again, one of the key things that you notice is, of course, in terms of digging into a hell, again, this would not be a site of looking at, you know, trees in the Topo, but this actually would probably be all dirt. So, you know, this lower area actually would need to probably be that retaining wall system. And as it comes up to this area, it would probably be more of a window. And we could even just give a line to sort of mark that area. But one key thing about it is it would be something as we look at this particular area, our facade would probably have a type of coming out 12 " sort of to cover this area. And then we'd have a wall system below, right? And that wall system would probably be something like a retaining wall if we're going to come into the site. And right now, all I would want to show that with is pretty much just a triangle. We come here, and then we'll start to do a little bit of detailing for that window at the top, right? And so I'll just take all this, make it a group, right? And then come out 12 ". And what we can do is, again, we can go ahead and look at our front section that we were working on before. And one thing we want to do is have something come down this stem that we have here. We can leave this line here, and that helped us to sort of locate what's sort of the top of our retaining wall opportunity at this area right above to do something special. And probably, if we look at our site, probably through here, probably would, you know, come up a little bit higher. And so we could easily come up maybe 12 inch or, you know, or a foot and then take that all the way through and what the system would be like is a retaining wall system or equivalent. And then we would have the opportunity to come in maybe something close to that 6 ". And this actually be really a little bit smaller. But I would just scroll ahead and create the opening that will come through here, and we could go ahead and sort of let it go ahead naturally join. But, you know, as we start to look at some of the materials, you know, we would see sort of sort of the beauty that could be created with system like this. And then all we need to do is, of course, say, Hey, look, how do we make that window unit, something that would be, you know, artful? We go ahead and make that as a group. This would be like a lot smaller. Something like 6 " come in 6 " again, our magical number in some sense, make that a group and then come in with our glass unit. Make that as group. And you can come in here and make that as glass and just sort of center that. Now, again, we always can make thickness. I want to keep it simple for now, obviously. But if we go onto our front section looking now, you can see how that sort of has the opportunity. And if we go into looking at how the shadows, what happened over the day, it could just be a way to get a look up at the night sky for a room right there. Alright? 79. Updating Site Footprint: Now, as we've done that, I think that would go ahead and really start to make a lot more understanding for what's happening with our system. We will need to make a little bit of adjustment to the site, and that's not going to be too difficult. Just really something that this would clarify some of those relationships so we can come in here and we could do that same two foot offset or sorry, 1 ft come in 12. And I think working with sites is not terribly hard. And this right here. This both could be, of course, just shoot it up and intersected, or we really could just simply, you know, look into some of the sandbags tools and really just sort of stamp this into the topo. The idea is, it might have a little bit of challenge being that it's a little bit connected to here. Okay. But, um I'm finding to just sort of increase that sort of intersection. And if you see all the archive models, we don't have a problem with if we have, you know, save things, we won't lose them or have a fear of losing those from the model. So I'm fine to just start to really, you know, rely on our archive model if we need to change anything. But we can right here, find the area that would need to really operate, and we could even just come here and intersect faces with selection, right, and come and take out this excess line. And one thing that, of course, will make this a little bit more perfect, of course, we probably have some more sort of adjustment to make to this particular extrusion. We definitely need to come in here. We can just pull that, and that's probably a little panel piece if we can select. All right, here, there's actually another little adjustment that we need to make. Of course, coming out here for this particular element, we're coming out something like, and I measured a little bit here, something 18 ". And this site is a little bit flexible, but you might want to go ahead and just pinpoint it in. So there's 18 " in And you could just come in from the back to get that full location of it. It does come the full way, so we're going to go ahead and take this out the full way. This is just really one way of just keeping ownership of the site. So we have clear relationship of what's going on and how is it interacting. So we just have to click these points here, the site, actually, it's already even selected. So we shouldn't have to have too much issue. You can delete that. And I think that's sort of resolved now. Right. And sorry, be careful with what you're clicking here. So we just want to click some of the lines for that area. Now we just have, like, a, you know, clean sort of inset into the site. And we have just creates a cleaner connection there, okay? Cool. And as we look now down on our B one plan or sorry, B one level plan, C, sort of retaining wall. As you go up, you know, it's lower than the level of where the window is, so you won't have that here. But now we get a beautiful opportunity to now come in and start to add some walls to make a more level space, and we go to our exterior perspective we'll go ahead and see what it looks like a worked out site, and it looks a lot more. Go hang 80. Updating Rail Edge: We have, of course, just seem to adjust this, and this is also not going to be too difficult. We just came here and move this our 18 inch offset. The same thing for any edge that's right here. 18 inch. And since these are all actually solid groups, you know, we have the ability to just do the same thing. 18. We don't have to retain that. And we should be fine to probably just duplicate this. There'll be a quick fix going down for that times nine. Alright. That looks lovely. 81. Reviewing Exteriors: I think it's now the time to start to go into our plan and start to create some unique spaces on the interior, as well as detail some of the interior elements and probably just turn off some of the sketches as we only need to see those. So right now, even for this exterior perspective, we can go ahead and click on the sketch and just turn it off in this view because now we're getting closer to an actual building. 82. Planning Interiors Level 1 Update: One of the benefits of sketch up is really the ability to not just create, you know, objects, but actually see what it is to go inside. And we actually can even see that from the perspective of when we would view and walk within the model, as you can see from our camera, as we can get into sort of walking mode, you know, and we could just go around. At the same time, we want to definitely make sure those are detailed first from the point of view of Hey, look, something that works. For instance, you go to level O or level one, you know, does it actually work? And that's one of the things that our sketch is helping us with. And now as we have, you know, detailed out some of our space, it's going to make a lot more sense as we work on our sketch. So that's going to be the first thing that we're going to do is we're starting to figure out our plan, we come at it from the top level of figuring out, Hey, where things need to live and how they need to operate. And then we'll sort of hone it down into each layer by layer. So right now, as we can see, sort of our ground level is going to be something that we need to break into and start to explore, you know, how do we break the space in it's not going to be super detailed. But right now as we look into here, we'll probably want to come in and work on that sketch that really is the key element of what we're working with. And so a lot of that's going to actually be in the floor level. And again, we have our sketch in our floor. And so one of the key things that we would just note again is sometimes the previous sketch is actually going to relate to it, but it's going to be separate. So we probably want to actually come and take this out. And what we're going to do is actually put that in the lower floor. And so that's going to be just a helpful thing just to keep that separate. All right. But if we go back into the Level one, and we're already sort of there plan, we get to figure out and also maybe add some of this detail into the sketch layer. And that's not something that is super difficult. We're just adding it with our basic untagged lines, so we can identify different places where, you know, that we're adding a wall or a door And actually, this is going to be how, you know, it's useful to do it here. Instead of, you know, complicating anything, we'll just start it at the level. And again, we're using the eight and three eighths. We're doing a sort of a high level where we figure out, you know, what are the pieces and parts? And then then we'll go from there to identify the various natures of those spaces. So right here, our door is going to be our key element for our entry. But we have, of course, two entries on this level, and then there's going to be, of course, the level and entry coming from below. And so, again, we did put our sort of dimensional tool for seeing where is our minimum clearance. And so this is going to be something we're going to just continue to utilize as we detail out the sketch, and sketch being separated is not going to, you know, interfere with our zone, but it will just keep as underlay to it. And so this will help us right now as we saw this construction line, help us as we figure out what's going to happen at each particular level. So here we are. Sort of just observing what's happening here is so you know, we always can go ahead and create a door just as inference. Um, it will, of course, check our height or width of that. And we do that three feet by 2 " and make that, you know, just simple group. It could be a component. I'm gonna leave it as a group for right now, but it's going to be a little reference. You know where swing is happening. I think we didn't have the right rotation. Yeah, I think that's going to be what we're going to keep using as a little bit of reference, okay? And so what we've done is we've put both. We've put both where, of course, our structure sort of finishes that. And then we actually have a little bit of a line here. And we actually now you can go ahead and start to show in some of this exterior panel that is going to be in our building. And while being both a sketch, this also becomes a really helpful tool for just understanding what's going on in the building. So this is actually a really useful way to just keep your model under check and just make sure it's accomplishing what you're trying to accomplish with it. And I can go ahead and do that same element of locating where our exterior facade is on this level. And, yeah, this line will come out from here. We can just copy that same one. Move it orthagonally. Again, I do like to have rigid tests to make sure that we're inside the same envelope. But that's one of the key things that we're trying to also maintain here that we're on the same plane. Okay, so this is sort of where we are, where our sort of edge of wall is and where we can put our two foot counter. And if we look here, we sort of see what is sort of being referenced here. And what we can also do is, like, reference issues like this or places like here, where, you know, we would have something of a window. That would be a place where we probably would not create too much, you know, interference. Saying, for our kitchen, you know, this actually starts to open into a really nice dining space, which, you know, you could probably start at something like a ten by ten. But, of course, knowing our spacing, this right here being 14 would be pretty full. But I think what we could also do here is just consider now for what we could really achieve here is something of a very simple way of how do we with our utilization of the space, organize things like restrooms and just room spaces that actually makes sense. 83. Importing The 1st Floor Sketch: Right now, what we're going to do if you've seen in the accessories, you can import in my sketch for the floor plans, the first floor sketch. 84. Planning The 1st Flr Modeling: And so what happened is now we have, you know, a little layout, and all we need to do now is really start to build some of the walls around that. And so one of the cool ways for sketch is really leave your massings for right now, if we go into our larger model, we'll see, of course, we have a massing, you know, layer, and, you know, I've sort of kept them in the same massing group. But these are all going to be helpful as you start to understand, you know, each building can start to have that, and that's one of the things that'll help us out. We put one for our base level. But it's also useful also, just maybe just to start to make these massing per layer. So but for right now, as we're a little more simple, what I can go ahead and do is just really use my view and our level one, where we have our plans. So essentially, we need to go ahead and start to bring walls for the elements. And the best way to really see them might actually be through looking at our, you know, like our front section because it's really a great way just to look and make sure that we're doing things to the right level, right? So we can go all the way up to the ceiling of our sort of floor structure. And so that's going to be a good starting point. But one thing that we know is we also want to make sure that we're always going to consider our doors. And one way to help sort of model is to really create our doors, really as masses, take them out and just really use a similar sort of door family or, you know, any component that we want to use. 85. Modeling Interior Walls: Alright, so what we can do now is go ahead into our massing. We can hide some of the rest of the model. And one thing we also might want to go ahead and do is probably take out the floor because generally, it's going to be good to go ahead and see that plan. And really, that was just a placeholder anyway. We could choose different type of floors, you know, obviously, as we develop in the model, but for right now, it's going to help us to figure out what we're trying to do. All right. So click here. We're trying to create a series of walls that just really follow our floor pattern. And since we can just already sort of create one that works, we don't have to overthink too much of that. We can just start to build those walls and just really lay them out. And we can make this as a group. And this might be a helpful way because what I've seen in the past is, of course, as you're going through and mulling, you just want to really just sort of, you know, model it just like just like clay, you know. So I'm just going to be using this here system to locate how these things operate, and I already know that it has the right height immediately. And when we move it, or we're going to sort of locate it or you can make sure not to change it too much of the level because that will, of course, change its relationship to the level. But creating these masses is going to help you avoid too much editing that would start to make you customize. Just treat them like solids and just create and then we'll add our doors. And one of the great things we can also do with this is, again, we can utilize that same interior finish. This is going to help as we start to figure how we'll visualize. We'll make sure to look at what's in the model. So ivory dust is that interior that we were using. We have an exterior that we're using, and this ivory dust is what we're using on the inside. And so I saw them again just simply paint these. And right now, I just use that as a type then. And they'll stop any, uh any one that we don't want. But if we want to choose the interior finish, we always can just go on top of this. One of the reason why I wouldn't just do that anywhere is because we do have the opportunity to just really specify a nice finish that would go on top of a base coat. So that would be one reason to keep simple Jip wall as the same color, and maybe accent wall, if it's material, we can always change it. So this going be something where we are going to do a little bit different, obviously, along the sloped wall, and we can go ahead and use our section here. So the slope wall is going to be a little bit different, but we don't have to recreate the wheel every time. But our first one that we do on the slope wall, we need to, for sure, make sure that it makes sense, right? You see how this wall sort of hits. The idea is this needs to come up and stay in the exterior panel. So right now we know we're going to put some casework. And so that's going to be something that we're going to really detail out a little bit, so it makes sense. And so what we can do, of course, again, we know that some of these walls are gonna be coming in, so we're just orbiting to come and go where it needs to match, right? And we come into level one. And so we have our wall coming in here. And, you know, obviously, some of these spaces might not be super functional. One of the things here as well is, again, where we start to hit the facade, of course, it's going to be helpful just to understand what the wall needs to do. It doesn't need to, of course, intersect that too much. So what we can do is always, have our section. Either we want to move the section box that's sort of governing this area. Right now, we're touching that, and if we're going to model, it might be helpful just to get a little bit closer. We just move that section, and that's going to help us start to detail out what's happening here. So now we can come in there and we can see where we're intersecting with this our panel And so that's going to be something that we'll definitely want to be keeping a pulse on for this design. Now, we don't have to fully design every particular interior space. But obviously, when we do something like this, for this type of structure, it's going to be helpful to know, Hey, look, we don't need to adjust this anymore because it's sort of where it needs to be. Now, this right here, this is aligning with our structural panel. So this actually will probably come in a little bit 86. Adjusting Modeling View: Differently. And if we go to our B one level one, this is also another sort of example where we might start to play around with our levels. And what I'm going to even do to make this work without an issue, I'm going to go ahead and show my level. And, you know, here's another thing that this is really helpful in. If you're going to now start to just want to look down and really control how things are model, we actually might just use Level two. And just hide the floor. And that's going to be one of the things that starts to help us figure out because, you know, when you're looking at multiple levels, you might just need to just hide that floor above. So that level having its own sort of massing area is going to be helpful. So I'm going to go ahead and now start making a level of zero massing two. So we can start to say what's on the second level of massing. And I'm going to put this on here for now and we can work out later. But in general, I'm going to hide it to start to understand what's going on here. 87. Planning Interior Modeling: Right here, I just put in. We just have a very simple set of walls that are going in for this particular space. And then, of course, that's we have it neatly going down and not interfering with structure. We are going to add that railing for our steer, but this is a nice little way to create some of our walls. And really, we don't need a lot of walls on this level, and now we're going to get in and add some of those doors that will really start to make the space come alive. 88. Adding 3D Doorways: Now for our doors, we're just going to simply create the openings first. Again, we're doing two foot ten, and I'm going to give a placeholder mass of 12. That's my two foot ten by that amount, and I'm going to come up eight feet for the first level. I want to make this as a group. And so this is a solid group, these are solid groups in our massing. I'm actually going to come out and bring it in here in the group. All I want to really sort of have as a key is I'm going to make sure that I keep a center line on this, and this will be sort of copied through and through to each of my masses here. And what I can always just simply do is click on one of these and make sure that I have a very clear center coming out. I can just delete any lines that are sort of leftover, and I'll just come in and I'll copy it because I want to use this probably a lot. And I'll just come in here, remove that center line so it stays as a solid mass, give it a little bit of offset, maybe 2 " or something. And take this, and this can be copied. To this other side, and all I need to do is click on the thing that I want to subtract, click on the main object, and go ahead and to subtract that and do the same thing on this side, going and subtract it. And I can just go ahead and leave my door tool because it's just going to really help me locate that and just start to figure out some ways of getting these spaces created. And now as we look down with our B one level zero, we see doors, we see our tool, and we'll need that as we start to figure out all these 89. Adding Secondary Interior Walls: So let's go ahead and just go through the rest of our space and add some of the walls that really make it come alive. And again, right here, I think this actually is a nice little area to leave as a open kitchen. We don't have to sort of pull it in. I think we can just go ahead and do our casework and wall, and we, of course, can use our other side as reference. And one thing that some people do, you know, for a storage space, we actually might leave some of these areas as unfinished, you could say, or open, because it's not as a necessity. But like in a restroom right here, we might be really benefited by, of course, keeping a wall here. Right, let's go ahead to add our walls to the other side. Alright? So we can take this any wall that, again, is going to be in that interior area, it will probably start off like this wall is right here. And I do want to go ahead and look at what's happening above, but I know I'm going to put some casework, so I think we will start to solve what happens to that wall as we are going up in the model, okay? And then what we can do is on this side, pull this over here. Again, we're gonna figure a detail for how do we deal with the sloped wall. This one right here is just gonna be coming in to here. And very simply deal with that one there. And so what we now have is our key of our base walls. And if we go to our Level two and hide the massing for the second level, we can see sort of what is going on here. But our next layer is adding some of those Casework elements so that we can have a good set for what that interior space would be. 90. Modeling 3D Casework Prototype: And thinking about Casework, one key thing that is important is really not doing an excessive amount of detail. You know, if I would break down a base of what we would consider as a good Casework, we don't have to do too much u over design. But if you're going to do something maybe at 36 by 24 to really say, Hey, look, this is maybe the general outline of what we do as a Casework or a counter, we probably come up three feet. That's going to be the base of it. But what we also want to do is make sure we have some simple detailing, like a kick that's typically 4 " up, but you might want to have one that's 6 " up. And we come in 4 " as well, and we can, inset this one that would be part of our detailing. Then, of course, you know, if you want to show our counter, where we have, like, a useful counter, we'd probably come down and we could use push, and that's 1.75, so one or two quarters. And we turn this one into a group. And we just check that. And then the top of the counter would get that one in three quarters and also it would come out probably like half an inch or three quarters. You know, some people like it flush, but this is a nice little way to have a detail. And that type of counter could be anything. It could be where we have like a six inch top counter and maybe that could be a double cabinet. This, of course, could have a sink. But this essentially could be like a placeholder mask for any type of casework that we want in the project. And so, and, you know, designing to sort of set a standard for what we want in the model, I think this is actually even a good base, but just like before, we want to make sure that we have the layers to hold it, just like you know, we had for A rail to really consider the system. We can go ahead and create A Casework to sort of mention the FF and E, which is the furniture fixtures that is typically needed for a project. And so I could just take any of this and turn it into a group and put that, into Casework. And so as I go through the model, just really use this as the profile. And it's going to work a little uniquely for a frame, obviously, in some areas, but, you know, the idea is we won't have to change detail too much, but, you know, we can start to locate things, and it will read on plan, and it'll be just a good way to understand what the design is accomplishing. 91. Integrating 3D Casework In Model: So I'm going to go ahead and take this, and this is our basis for Casework in a model, and I can actually even just copy it because I know I'm going to really keep it within our model. And so as we go in, probably keep maybe our level two on and just turn off the second floor that's going to help us start to place things like this. Okay? So right now, I'm going to place my Casework family. I'm going to rotate 90 degrees. I'm not really trying to over design too much of anything, but I'm bringing it into the wall. As you can see, it fits pretty perfectly. It doesn't run right into the wall or anything. So that's a cool starting point. And what we can also do is we do want to start to maybe have a material. If we want to create maybe find and work with something like a marble or stone, that's something that we can already start to play with. Just having a stone counter is going to be nice. And we could leave the general Casework is white. Again, it's not going to be too hard to change that. And we know that we want to go and do a turn here. So this could be something that's easily sort of extended. And this would be one of the details as you see where the structure comes in. No, that could be a useful way of how the Casework would be cut to allow for those sort of opportunities. All right. And we don't have in terms of dealing with the turn, we can deal with that pretty simply. I'm going to bring the bottom on over and just take this pull this out. And we can go ahead and rotate this 90 degrees. And you see here, we can pretty much keep the same, you know, strength of this design. And right here, of course, would be the perfect example if we wanted to have upper cabinets. And so we don't have to overthink But also, one of the things I haven't done, of course, is something like maybe a refrigerator. So something like here could be like a good location for your refrigerator. If I would go to my B one level one. This would be a great way to maybe put a stove within this area as well. We could put our sink within our island, and our island could have seats on the other side. So this way could be just a nice way to have like a little unique corner for something like a refrigerator, and I can make that something like a three feet. And right now, we don't have three feet, so I could simply just come in here and get three feet. Some people do like it to have it very, you know, balanced and symmetrical. So, you know, we could find something to sort of do on the other side. And really, to balance, maybe you could have a cabinet here, and that'd be like, you know, potential there. No. But, yeah, now we have our Casework here, and, you know, I did sketch sort of what could sort of be here for how it operates again. That gives someone plenty of space for how they will lay out their space, you know? So I always let, you know, the client, have a great imagination with, hey, how it could be figured out. But it's a good starting point. And we've also, of course, given our location where someone could easily place a refrigerator. 92. Adding An Interior Perspective: And now if we want to see it sort of as an interior space, we actually have the opportunity just to just go into our exterior perspective and really just start to enjoy and walk in the model. And we probably would bring a little more in depth view as we look into the model for that. And now that would be more of a just a entry in. And we could go ahead and save it, and that start to see our space. And we could, of course, just maybe look here and check and get a good field of view. Right now, it's 35. If we do 55 or maybe 20 or 20 is probably a lot pretty tight, maybe, yeah, something like 30, and we could just simply walk into the space a little bit. And we just zoom in a little bit here and look around. And, of course, we're also going to do our island, so that's going to be helpful. But right now, this is something that gets to get a base potential view of what's happened in the kitchen. And we can go ahead and create this as one of our first interior perspectives. We'll just go ahead and rename this. 93. Adding A 3D Island: So we just see our kitchen, right? And it's just a nice little way of getting to see here. And we'll go ahead and just add that additional element of the level one, for our little island. All right? Okay. Island can actually use that same sort of family as we used here to sort of start and we can copy or actually, you can even sort of just use this as the base because it has a lot of what we want to have here. This is not a component, so it's not going to affect that one. But this could go ahead and come in. We don't need to add too much of the elements there. Rotate that 90 and even come back around and do 180 as that would be something that would be a basis for how we're designing that island experience, right? And come here And the idea for an island is not that we're just, you know, going the maximum, and I'm gonna come back 4 ". But the idea is that we're going to make something that's, you know, comfortable and enjoyable. And so we could have any range of how do you detail to bring this sort of system coming forward, and we could also just come out a little bit like a one and three quarter inch here. And for here, maybe we could, of course, extend this out maybe something like 5 " in general for like a little mid structure. And then we could create a simple it could be a four and three quarters inch or it could be something more like timber where we'd come out like seven and one quarter or 7.25 " and you see I'm getting that length, right? Right. So that would be something done in here, 7.25 ". And so this part would probably be we're not gonna make a component, but we're going to come out to a really good distance and whatever I create on one side, I'll duplicate on the other side. And this could be an opportunity, not just for something, you know, super mundane, but maybe we could do something with some curves. Maybe we could very simply have something that would possibly be chamfered. Again, the sky could be the limit. We can just sort of use this, and then we figure out how do we want to champer it later. We can probably do it as a solid group, and I'll probably make it a lot easier. So I'll choose sipopass for that. Okay, so we could use this one and make this a group. And we can even make it a component if you want to detail it later. I'll just say this is our profile come back over here. All right? Now, as we go and look at our interior perspective of our kitchen, we have a unique little profile here. 94. Modeling Space For Stove And Hood: And now we also can go ahead and simpify and do a simple hood because, you know, we would have a stove element here. And what we can do is just come in here and simply do a simple, maybe 38 inch hood, and we could sort of use this sort of space as a divider and maybe 48 inch, 24, and we could go ahead and duplicate this also on the other side, 24, and we could just very simply, really, create that subtraction down and make this a group. And now we have the as already centered. And we can come here and you know that it is solid group. And, uh, and we could just go ahead and just extend it down. Anything that we could just copy it. And then because of, of course, solid geometry, we could just subtract it, go ahead and paste in place and do that same thing for the base cabinet. The idea is you know, we also again, we could look and find a stove component. I think that's not going to be too difficult, but that would be the perfect place for it. I'm not going to overcomplicate right now. We would come into level two here. And just like we said before, we just want to hide our massing two for right now, we're focusing on the first floor, we would probably do something like 18 " or so. And come up a little bit 18 " here. And maybe come up another 6 ", you know, you know, again, I would play it by ear for how you'd do it. But essentially, this is where we would start to get that design for a hood. And what I would come out is the same 24 ". Again, as we did that 48, we'd do that across here. And you get the ability to definitely do something beautiful, come up 6 " and maybe have a profile that would come up and you know, you get where you're may be coming out at 12 ". And then instead of just going down straight, which is also an option if you want to do just a straight line, or you could also just angle it out. And the idea is, you could say, maybe we come in at the top 12 ", right? And we could go ahead and duplicate that edge and use our scale tool, negative one. This would be a nice hood, a nice way to capture that kitchen vibe, make group. Then we could do double cabinets. And as we go to our interiors, you know, we've just created something that can work within that space, right? And, you know, it has, like, a really beautiful look. And this right here is our construction object. We're fine, go ahead and put that on the sketch layer. We don't really need to see that when we're really working on a sketch item. That's for our doors. But this is a nice kitchen already. It's starting to look nice, and, you know, obviously, we have a little termination for how we'll work on our walls. But this is something that, you know, really starts to make sense for, you know, how we're going to start to detail and create in this space. But as we look at something like, you know, looking at level one, we can say, Hey, look, this looks like kitchen. This looks like kitchen. If we want to take off our sketch elements, that's showing us what is being accomplished with our design. And we have our spaces, and that's a beautiful way to get our design on the roll. 95. Intro To SketchUp AI Render: Well, to best utilize AI with SketchUp, I have downloaded the AI render, which is part of the AI Diffusion, which is available in your extension warehouse. So Diffusion is a great plug in, and I'll go through how you can find it. And it's now really easy to get started. It's a free plug in for working with SketchUp, and you could render anything from interiors to exteriors. You can see some great examples here. And I've already installed that, but if you haven't, go ahead and install 96. AI Render Interface: And so what we can do now now that we have some interior perspectives and some exterior perspectives, we can go ahead and start to create something unique with that. So all we need to do to start our diffusion workflow is go ahead and click on the AI render. Thankfully, it already sort of opens up and we'll create autopmpt that we can simply adjust. And we're totally in the realm to see sort of what can it naturally give? And this is a great thing when, you know, even if you haven't even gotten as far, we could have had this super light leave detailed. But the idea is, if you want to, you know, get some time in and render it, that's something that this provides. So this right here is the autopmpt that's generated. That's one of the key features of the AI render. And I'll go ahead to the layout of all the displays so you can see what things are happening. So essentially, Autopmpt is on. It also gives you additional settings, if you want things that you want to avoid from the prompt. You know, essentially, you have the ability to pretty much avoid some things. But your gallery also will be here. So anything that you are generating will be here if you have generated in the past, you, of course, have your credits here. So you always check if you have any credits, and that's going to, of course, impact, you know, how much you can fully render. I'm just doing a basic render at the moment. And as we load this, one of the key things for avoiding too many prompts is also the presets, which we are going to go through a little bit later that are available right in that area at the top. And so the idea is, we're going to be able to really pre load a set view, which is really helpful, of course. You can also create some of your owns or choose your favorites as well. And now we see the final render. And again, this is just sort of taking some of the prompts of what we had in model. And this is awesome to, you know, see, it's not three D, but it's, you know, taken some of the already, you know, model things that I have. And it's just giving it a three D render. Again, that's something. But I just wanted to go through the creation of just a basic prompt and we can always click back over here and change anything. If you want to, you know, maybe adjust the scene to say, you know, from the auto prompt, you know, describe the image you like generate. Maybe you want to do it on a rainy day, you know? So generate a rainy, you know, a rainy day image with modern materials. Again, some of the things that it does say are right here. Again, this is something that I like to take into Chachi But if I'm trying to generate a certain level and just to have it, you know, have the AI sort of communicate what it's trying to communicate within there. But again, it's going to go off what you have. I would probably change at the lower level with modern materials. And I would probably use something more like a siding in the lower levels. So like siding on lower levels and metal exterior panels above. And it's going to be that same sort of, you know, experiment with social media till you really get it. Like, even some of my items like your, you know, framing, you know, I would really love for, you know, that to be sort of standing out. And this is the render directly from that prompt, just new materials. But we also have simpler ways if we don't want to transform the entire model, if you just want to just choose a particular way. And that's the method we're going to show now using the brush tool. But this is, of course, very valuable to see, just to see what would happen if we just sort of do the whole prompting. So we can always just come back into our you know, tab if we're going to generate prompts like this for, like, a particular area. You also can, of course, choose any set of, you know, preset. We can't really just create the presets, but that's sort of what you would create with your prompts as well. We're going to try that with some of the interiors as we also look at some of the other tools. We can always give our feedback as well, which is also nice. And we also have the ability if we ever need to, of course, at the generate an image as a sketch up scene, that means, you know, if we had changed something, the idea is that could be in the background. So that's how we could throw it in to the model. 97. Customizing AI Render With Brush: If you're going to paint over a particular element, you might really focus on that. Like, for instance, if I wanted to just have these as aluminum, you know, I could just to adjust that way. So and I could just go right back to my prompt. And I pretty much want to say, generate aluminum panels and with brushed finish, right? And that can really help me to fix maybe those areas versus going off there. Now, again, I have a sketch of Pro license, so that might be one of the reasons why I have some of the credits. I do know that sketch of diffusion does have, you know, part of the issue of, you know, the license with sketch up. And so as we've adjusted that, we have seen here, again, when I said metal finish, you know, again, you can always make that more specific. If we want to go back to maybe a previous image, you know, you see where it's fully wood versus now where maybe now I have, you know, a variation. And that's one of the things that you can have, you know, like changing it to be what you're getting close to. And again, I didn't really go too much into what needs to go inside. But that's going to be something that you can help, and you can start to refine specific parts of your image based on your prompt. And again, I would like to probably go into some of the other elements as well. But as we were trying to, like, sort of focus on things, you can both do that broad stroke of the whole image or just do that broad or tiny stroke of that particular area, and you can really start to refine something beautifully. And now, this was a outer photograph. And so one of the things we can also do is go ahead and click into maybe interior perspective. And any of these, you know, we can go ahead and save out and just sort of save maybe to our folder that we have, you know, maybe I have this as my, you know, exterior AI render one, right? 98. AI Render For Interior: You go into our text prompt here. If we are trying to adjust it or if we want to autopmpt again, Autopmpt is going to give us something that's going to be unique and we could sort of go with that. Again, since I have a lot of courses on creating prompts, I would definitely defer to those ChatCPD course because it definitely would go into some of the key things that you would need for a prompt. I'll probably get some prompts for you. But essentially, these are really good. I think this is going to be removed as I would save that if we were trying to do a lot of different types, but it is. This is actually, I think, really good for just understanding what we need to do, but we do want to maybe click it more to something like interior. And again, that's one of our presets selection. And so I think these are some good things. I think it's giving some perspective, but since I have it sort of empty, that also really helps us to just go from what you've has already sort of built in there. So I think that's going to be good. We're going to go ahead and generate a prompt from here. This actually is, again, it's pretty smart and intuitive. I do have some lines that, you know, you might in the future, like, if you're trying to get it super clean, you might want to take ahead and take those out, like sketch lines or anything. But this is already sort of leading in a good way to see what AI can do to help me visualize and make this more special. Yeah, and there we go. Definitely have some room to grow as we are looking at the prompt. It obviously has a couple of different iterations. Like, if you wanted to start choosing the finishes, if you wanted to say what's visible and what's going to be not, you know, again, that starts to be something we can start to play in our model. But this is also like, you know, hey, look, maybe this is some way that we could probably detail some of the things of light and start to put in here. Like this right here, our hood, you know, probably want to maybe put some inference so we would avoid that becoming like a light because that would probably be not our intent. But I think in terms of this view, this definitely would capture the most of what we're 99. Refining Model For Best AI Render: As you figure out, you know, what's great with our model, what things might be a little bit unclear that would probably need to be informing here. And so I could even very simply change that. So I have one of these walls here. And the idea is, you know, maybe we need to inform our detail here for our design to come up and simply maybe take a you know, a wall element, and we could even just come back to this base wall. And right now, we could pretty much say, Hey, look, let's work with the floor line because the floor line really does tell us where we need to operate this geometry here. And then we could just simply use this as a key thing to inform what we need to do with this model. And now we close everything else. Of course, we only see the model. We see that we'd hoped that it would be in the same plane, and I think it is. And so that now could be all the way in here. Now, if we come back to the interior perspective, that wall is almost perfectly aligned where it needs to be. But since we could also say, Hey, look, maybe this could be a way to bring in light, but if we didn't want to bring in light, specifically, we of course, could just come in here and say, let's us pull this up. Do you understand? So you know, there's several options that are possible from the modeling side for this, just to really understand and get a better understanding from diffusion because difusion, of course, it just plays on what we give it. If we have something here that we don't want to show, for instance, this is actually one of my levels, and maybe I can definitely just turn off the levels using the tags. So we're not seeing things that are not going to make that much of a difference levels, so that's a sight levels because we really do want to have a little more perfected render. And so that's going to help us out. So at the end of the day, uh cleaning up your model is going to make the best sort of input for your diffusion model, and it's going to help you, as well as you sort of figure, Hey, look, what do you want to see in this model? And again, it's going to respond to what you have in your model. And so you can create the best by sort of working in what do you want to see? What do you not want to see, and then go from there. 100. Refined Interior Render: And for more accuracy, I did come into our modeling image with a little bit of tile texture just to help out the AI because it does sort of maybe, you know, maybe infer this little edge to create a light. But this is something that's a little more realistic also that, you know, in this set of renders, as you know, you can improve the model sometimes, it's not always prompt. It can definitely start to figure out some of the things that you might want to infer Again, it is AI, so you're really telling it what to do. But this right here would definitely show a beautiful way of really just visualizing in some interiors and some ways I could actually start to put into my model and get really a good result. So I'm going to count that success because it's definitely finding what to take out of your model, what to leave in so you can get that beautiful effect.