Portfolio

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ACADEMIC WORK

PG 01-05

thesis project

PG 01-04

403 - research lab

PG 05

PROFESSIONAL WORK PG 06-10 google campus

PG 06

point loma nazarene university chapel

PG 07-08

highrise - tower 180

PG 09-10

PERSONAL WORK

PG 11-16

acadia 2018 - talk to a wall workshop

PG 12-13

7bot robot build

PG 14-15

3d printer builds

PG 16

TL L O ST V R PI M E O H C P SSIP .

L O I T I A S S A I M S R I G C H @ C 4 M GO, L T 8 IE L 3 O 4 N D SA V .

SA 04 U PHER 62 1 TO 87 2 9 RIS 6 4 H 8 C 5) (77

01

PANEL DISASSEMBLY

panel type one

panel type two

TH

ES

panel slots

IS

panel type three

AESTHETIC VALUE

Showcasing the individual panels and the solid they originated from

Shell thickness deep

Using a rapid prototype method to find a module that fits the criteria of aesthetic properties to take in for structural approximation with loads applied, the importance of this process is to select a set of modules that will pass a visual test now to streamline the tedious process of structural simulations, reducing time spent to increase work flow.

Shell thickness moderate

Shell thickness thin

openings moderate

openings large

02 IS S E

TH

[01]

[01]

[01] http://www.probelog.com/

[Shown right] Displacement diagrams showcasing the amount that each module would displace with a load applied on the top surfaces of the mesh containing around a resolution averaging 30,000 faces and a 1000 faces used for the z-axis load to be applied to and another 100 faces to secure the geometry in the X/Y/Z axis, for the sake of the simulation.

This all while also considering the gravity load with each simulation. Scan and Solve was used as a plug-in within Rhino 5 to compile the information using the native Rhino mesh, untouched from Grasshopper to analyze a more accurate representation of the real-world geometry. Each geometry went through the analysis software one by one with a face selection factor of the load to be applied is +/- 100 faces. The analysis was solely used to showcase, based of similar physics based in real life, how the geometry would react to a load applied.

Each module had the same load applied of 120 psi and as expected the thicker the wall the better reaction to the load but as the opening became larger the displacement of the geometry with the same load applied, the difference seemed to be negligible. This resulting in a design choice to consider other factors other than just the load factor.

The reason this system has been chosen as a catalyst for architectural research is due to the structural factors that are presented with the sea urchin.

Bound by a primary and secondary structural system working together to create a system allowing growth but also the secondary system working against the forces in the ocean and the impacts this organism is taking on the sea floor. A system that works well resisting against lateral loads that can relate to architecture and the way that spaces are created allowing for different ways to think about programmatic features and how space is created. Taking inspiration from elements in nature, there are many ways to approach this situation. For example, to the left, the sea urchin has many characteristics that can be useful to the implementation into the built environment as a solution to a technical problem. Similar to a building a sea urchin has to adapt to the site conditions but unlike the static nature of a building structure, the sea urchin adapts continuously due to evolutionary processes. The Skeleton has evolved to this complex arrangement of modular plates.

The sea urchin is a great study due to the discontinuous geometric shell, allowing for the shear forces to isolate in between each polygon where the connection is interlocking similar to fingers. The geometrical arrangement allows three different panels to align up to each other allowing for a higher bearing load. Since the edges act as hinges and allow for this species to grow and morph over time without folding in on it’s self there has to be a force that acts internally within the panels, this is where the porous structure has its function. This inner configuration provides a lighter overall weight while being able to distribute the internal forces more even that a solid wall.

[max stress]

[displacement]

[probability]

[load deformation]

[COLUMN ISOMETRIC]

[3D PRINT]

[WALL EXPLODE]

03

04

[COLUMN SECTION] Module Type One Grout

Cable Tightner Lock Wheel Hard Body Infill Tension Cable Cap Panel Module Finish Material

Module Type Two

[3D PRINT] Cap Type Two

Cap Type One

[CAP 1]

[3D PRINT]

[CAP 2]

Cap Type Three

[CAP 3]

05

[STRUCTURAL SKIN]

[80%]

[50%]

[CIRCULATION] [VISUAL 001]

[20%]

[SECTION 001]

06 S U P

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L G O

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[BUILT 001]

Dr. Seuss tree a medium size fabrication exploration for carrier johnson + culture.

I lead the effort to design and implement an unique geometric tree structure. The interesting aspect of this project was that we were dealing with existing conditions [BUILT 002]

and so many unknowns during the design individual slats end up wrapping around phase. I ended up building a parametric the intersected the geometry, creating a definition for the geometry that allowed for more natural growth to the tree. any new duct work, piping, or other elements that might constrain the design affect the outcome of the final product. The

07 L E P

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A H C

[BUILT 001] [STUDY MODELS] [VISUAL 001]

[VISUAL 002]

[BUIILT 002]

The crown of thrones, one of the firms first digital fabrication/computational design project.

My 3 2 1 colleague lead the project but we worked hand in hand in the development of the project right until we 1 handed the files off2to the4fabricator, this includes the design and construction documents analyzing the best way to execute and create a buildable module that does not ap2 went 4 through 1 pear repetitive. We multiple iterations of development to find the most economical using 1 but3also 2the dimensional lumber most aesthetic.

1

2

SCALE: 1/2" = 1'-0"

SCALE: 3/4" = 1'-0"

UNROLLED WOOD PALLET LAYOUT

WOOD PALLET MODULES AND LAYERING SEQUENCE 3'-2 3/8"

7 3'-0 11/16"

67

6"

0"

10 7' - 8"

17

9 9/16"

9 9/16"

6

10 3/16"

10 3/16"

2x3

2'-0 5/16"

2'-6 1/16"

5 A8.82

9 0'-9 __ " 16

3'-9 3/8"

2 A8.80

9 0'-9 __ " 16

4'-3"

15

11 0'-9 __ " 16

7 0'-9 _" 8

2x3 3 0'-10 __ " 16

3 0'-10 __ " 16

4'-3"

20

5 0'-7 _" 8

9 0'-9 __ " 16

5 2'-0 __ " 16

4'-3 5/8"

8

1 2'-6 __ " 16

1 2'-10 _ " 8

6°

9 0'-9 __ " 16

3 _ 3'-9 " 8

1'-10 5/8"

5

9 0'-9 __ " 16

2x3 .5

9 0'-9 __ " 16

3 0'-10 __ " 16

75

3 0'-10 __ " 16

.5 4°

0'-10"

3 0'-10 __ " 16

4'-3"

2'-0 5/16"

4

5 2'-0 __ " 16

2x4 3 4'-2 _" 4

74

5 1'-8 _" 8

5 __ " 16

2x4 9

5 2'-0 __ " 16

2'-0

4'-3"

9 9/16"

2x4

3 2'-3 __ " 16

1 2'-6 __ " 16

15 0'-7 __ " 16

8°

13 3'-2 __ " 16

9 1'-7 __ " 16

2'-0 5/16"

5

13 2'-4 __ " 16

2 7' - 8"

78 .2

13 __ " 16

1 3'-4 _" 2

8°

3'-3

78 .2

1 2'-6 __ " 16

2x4 8°

5 __ " 16

78 .2

2'-0

2x6

4'-3"

10 2'-0 5/16"

2'-0 5/16"

3

13 2'-9 __ " 16

3 2'-10 __ " 16

2x6 5 2'-0 __ " 16

9 0'-9 __ " 16

3'-0"

1'-0 3/16"

1'-2 5/16"

1'-2 5/16"

2 A8.10

4'-3"

5 4'-3 __ " 16

2x6 5 2'-0 __ " 16

2x6

9 0'-9 __ " 16

5 1'-1 __ " 16

5 2'-0 __ " 16

3'-0"

2'-9 3/16"

2

4'-3"

3x3 11 2'-11 __ " 16

3 1'-0 __ " 16

3 1'-2 _" 8

SCALE: 3x3 1/4" = 1'-0"

3 2'-0 __ " 16

5 2'-0 __ " 16

3x3 3'-0"

3'-0"

7 2'-11 __ " 16

9

5 2'-0 __ " 16

5 2'-0 __ " 16

9 0'-9 __ " 16

3 3 1'-0 __ " 16

3 1'-2 _" 8

3x3

3'-0"

3'-0"

3 2'-9 __ " 16

1

4'-3"

5 4'-3 _ " 8

3 3'-9 _" 8

3 __ " 16

2

1'-0

3 1'-2 _" 8

DIMENSIONAL LUMBER LAYOUT LONGDITUDINAL SECTION A

1

3'-0"

3'-0"

3 2'-9 __ " 16

ALL IDEAS, DESIGN, ARRANGEMENTS AND PLANS INDICATED OR REPRESENTED BY THIS DRAWING ARE OWNED BY, AND THE PROPERTY OF CARRIER JOHNSON + CULTURE AND WERE CREATED, EVOLVED AND DEVELOPED FOR USE ON, AND IN CONNECTION THIS PROJECT. NONE OFBY SUCH DESIGN, ARRANGEMENTS, ORPROPERTY PLANS SHALL BE USEDJOHNSON BY, OR DISCLOSED ANY PERSON, FIRM,EVOLVED OR CORPORATION FOR FOR USE ON, AND IN CONNECTION WITH THIS PROJECT. NONE OF SUCH IDEAS, DESIGN, ARRANGEMENTS, OR PLANS SHALL BE USED BY, OR DISCLOSED TO ANY PERSON, FIRM, OR CORPORATION FOR ALL IDEAS, DESIGN, ARRANGEMENTS AND PLANSWITH INDICATED OR REPRESENTED THISIDEAS, DRAWING ARE OWNED BY, AND THE OF CARRIER + CULTURETO AND WERE CREATED, AND DEVELOPED ANY PURPOSE WHATSOEVER WITHOUT THE WRITTEN PERMISSION OF CARRIER JOHNSON + CULTURE. FILING THESE DRAWINGS OR SPECIFICATIONS WITH ANY PUBLIC AGENCY IS NOT A PUBLICATION OF SAME. NOPURPOSE COPYING,WHATSOEVER REPRODUCTION OR USE THEREOF ISPERMISSION PERMISSIBLE CONSENT OF CARRIER JOHNSON + CULTURE. ANY WITHOUT THE WRITTEN OFWITHOUT CARRIERTHE JOHNSON + CULTURE. FILING THESE DRAWINGS OR SPECIFICATIONS WITH ANY PUBLIC AGENCY IS NOT A PUBLICATION OF SAME. NO COPYING, REPRODUCTION OR USE THEREOF IS PERMISSIBLE WITHOUT THE CONSENT OF CARRIER JOHNSON + CULTURE.

BUILDING SECTIONS 19

7 8

.46°

6 5

9

4

10

13

1/4" / 12"

12

1

3 2

D

5 A8.10

4 A8.85

2x2 3

1 A

SCALE: 1/4" = 1'-0"

LONGDITUDINAL SECTION B

4 C

7

B

B C

A

16

1

TOP OF SKYLIGHT 352' - 0" TOP OF WALL 350' - 6"

1

4 A8.83

1 TOP OF HIGH FINS 344' - 6"

10 TOP OF SHORT FINS 340' - 6" TOP OF CONCRETE SLAB 339' - 2"

4 BOTTOM OF WALL & SLAB 338' - 6" TOP OF STEEL BEAM 338' - 0"

12A 8

9 DATUM & FINISH FLOOR LEVEL 329' - 3"

7' - 0"

FIRST FLOOR 329' - 0" BOTTOM OF WALL 327' - 6"

2 3 LOW POINT PER PROP D, SDMC & BULLETIN BLDG-54 321' - 7"

SCALE: 1/4" = 1'-0"

TRANSVERSE SECTION A PA

65 .3 4°

D

1 TOP OF SKYLIGHT 352' - 0" TOP OF WALL 350' - 6"

2x2

TOP OF HIGH FINS 344' - 6"

TOP OF SHORT FINS 340' - 6" TOP OF CONCRETE SLAB 339' - 2"

BOTTOM OF WALL & SLAB 338' - 6" TOP OF STEEL BEAM 338' - 0"

14a 14 DATUM & FINISH FLOOR LEVEL 329' - 3"

2x2 FIRST FLOOR 329' - 0" BOTTOM OF WALL 327' - 6"

LOW POINT PER PROP D, SDMC & BULLETIN BLDG-54 321' - 7"

SCALE: 1/4" = 1'-0"

TRANSVERSE SECTION B

2x2

4

3D PANEL LAYOUT

4 1 3 2 4 1 3 2 4 1 3 Part 14 2

1 3

3

2

4

1

3

2

4

1

3

2

4

1 3 Part 2

2

4

3

2

4

1

3

2

4

1

3

2

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1 3 Part 3

2

4

4

1

3

2

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1

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1

3

2

1

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Part 4

09 L E P

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[VISUAL 001] [VISUAL 002]

Tower 180 is the current project that I am involved in as my main project in my professional life. This project being a complete re-skinning and renovation of a 1960s office tower. I have taken on much of the responsibility of the workload of the project, with only a project manager that I report to. This being the first of a full coordination effort for design to construction.

Being involved from start to finish, I have been creating a basis of design that will go to the fabricators to create their shop drawings, My knowledge of complex geometry has been a huge asset to the project due to the complexity of some of the metal panel construction.

10

BUILT 003]

BUILT 004]

[VISUAL 003]

The feeling is great when the project is turning out almost exactly how you designed the building in the initial phase.

Photos seen here are from some of the more recent construction progress.

[BUILT 001]

[BUILT 002]

11 T H IG

1 0 0

An exploration in complex geometry to create dynamic lighting quality’s for public spaces Creation of an object of geometric transformations from a set of 20 lines. The complexities arose from the bridging developed between the 20 starting lines to encapsulate the center object but never intersect.

A sense of hierarchy was developed by the three sets of originating lines set at different radii directly corresponding to the length from the surface of the center object.

Separating the full object in to separate pieces that would make for a seamless assembly was challenging task when looking at all the constraints of the 3D printer that was used for the fabrication.

L

[TRANSFORMATION 003]

TRANSFORMATION 002

LIGHT & MATERIAL STUDY 001

[TRANSFORMATION 001]

[TRANSFORMATION 002]

12

[REAL WORLD EXAMPLE]

S G IN

W A R

R U D

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PR

D L A

[GENERATION 001]

[GENERATION 002]

[GENERATION 003]

[GENERATION 004]

[GENERATION 005]

[GENERATION 006]

[Above] Developing generative drawings based off of the research paper by Jeff Jones on the Characteristics of Pattern Formation and Evolution in Approximations of Physarium. These images are the result of the simulations.

[Left] Parameters in the code used to change how the agent grows.

13

This aspect of the workshop we learned how to simulate tool paths using in Rhino/Grasshopper and ExMachina to link directly to ABB Robot Studio.

From the generative drawings we simulated in the previous day, we took the logic and taught the computer to learn how to simulated similar tool paths in a way the robot could understand, using a machine learning process that ran 10,000 iterations overnight. The rastered imaged was then translated into vector lines that we could simulate the robot tool to follow.

E N HI

M O R

A E L

C A M

F N IO

AT L U

IP N A

M C TI

O B O

R

[ABB STUDIO] [RHINO/GRASSHOPPER]

E N R

[FINAL PRODUCT]

L D

S E IN

14 N O I AT

L U IP

IC T O

N A M

B O R

[HOMOGENEOUS TRANSFORMATIONS SKETCH]

To understand how to control the robot I had to understand the joints, for this I used the Devavit-Hartenberg Frame Diagram to find the Homogeneous Transformation Matrix from the base frame to the end-effector frame || Frame Rules: 1. The z axis (n) must be the axis or revolution or the direction of motion

2. The X axis (n) must be perpendicular to the Z axis of the frame before it (n-1) 3. The X axis (n) must intersect the Z axis of the frame before it (n-1) 4. The Y axis must be drawn so the whole frame follows the right hand rule Translating the logic into Python so that could be imported into grasshopper to control the robot in real-time with a platform designers understand.

[PYTHON CODE]

[PLAN VIEW]

[FRAME DIAGRAM]

[RHINO/GRASSHOPPER]

[PATH SIMULATION FRAME001]

[PATH SIMULATION FRAME 002]

15

Building the logic in Grasshopper to develop a way to simulate tool paths on a flat plane while in grasshopper to establish real-time feedback.

N O I AT

L U IP

B O R

IC T O

N A M

[PATH SIMULATION FRAME 003]

[ELEVATION VIEW]

16

A collection of 3D printers I have [MUVE 3D] bought, built, and upgraded throughout the years

[MUVE 3D]

[MUVE 3D]

[MODIFYING DELTA PRINTER] [BUILD SPACE]

[MODIFYING DELTA PRINTER] [DUAL HEAD PRINT DELTA PRINTER]

[UCSD PARTNERSHIP WITH AUTODESK FUSION 360]

[DUAL HEAD PRINT DELTA PRINTER] [MODIFYING DELTA PRINTER]

CHRISTOPHER VOLTL A R C H I T E CT URAL DESIGNER CARRIER JOHNSON + CULTURE SAN DIEGO, CA, USA CHRISTOPHER.VOLTL@GMAIL.COM www.christophervoltl.com

CREATE FABRICATE INNOVATE E D U C AT I O N Newschool Of Architecture + Design Architecture San Diego,Ca B. Arch 2015

EXPERIENCE Carrier Johnson + Culture Designer June 2015 - Present Newschool Of Architecture + Design Adjunct Co-Professor April 2017 - Current Course: Computational Design II

PERSONAL SKILLS Mother Tongue English Communication Skills

Great communication skills acquired during my time at Carrier Johnson while coordinating projects with other construction disciplines and team members

CONFERENCES

SKILLS

BDNY

programs

November 2016 Presentation on the use of 3D printing & digital fabrication in Architecture

AIAS FOURM

January 2018 Presentation on parametrics and Machine Learning how data is creating better informed architecture

AWA R D S A N D ACHIEVEMENTS

1 of 3 finalists in San Diego parklet design

2015

Future Voices Honorable mention Morphilo 2015 3nta Publication Work Featured on Superarchitects Social Medias Accounts Work featured on other media accounts e.g. critday, 3nta, next top architects, SYNArchitecture

PROJECTS

7th & Market. 40 story mixed-use high-rise Jr. Designer on project. I was tasked with creating the entitlement package and making sure the document had all necessary drawing required for the city. Entitled July 2016 (2015-2016) currently on hold for DD.

Managerial Skills

Tower 180. Designer on project. Worked as the main designer under the project Architect. In charge of design input, production of construction Documents, receiving building permits, and currently in charge of construction administration.

(2016-2018)

I currently manage all the construction RFIs for the highrise project I am working on.

Responsible for returning all RFIs back to the contractor on-time. Managing all team members to hit their specific deadlines.

Google. In charge of designing cafe focal point and coordination with fabricator W (2017)

Great - I manage a team for our Design Technology Group at Carrier Johnson.

Focusing on Environmental studies, digital fabrication and Parametric design within the firm.

Rhino 3D Grasshopper 3D Python C++ Cinema 4D Autodesk Maya Autodesk Revit Autodesk 3DS Max Adobe Photoshop Adobe Illustrator CC Adobe Premiere Pro CC Adobe After Effects CC Adobe InDesign CC Microsoft Word Microsoft Excel V-Ray Mental Ray Lumion Enscape VR/AR Physical Renderer Pen and Paper

specialties Generative Design Aesthetics Problem Solving Simulation Works well With Others

ThesisBookLink