VICTOR OTTER
5063 Oakwood Ave, la Canada, 91011 (626) 818-0002 otter@usc.edu http://issuu.com/victor.otter
EDUCATION
University of Southern California
2008-2013
Downside School, Bath, England
2003-2008
Major: Bachelor of Architecture Honors: Cum Laude Recipient of the A. Quincy Jones Scholarship A-AS levels (Physics, Mathematics, Art and Philosophy)
Languages
Bilingual in English and French
PROFESSIONAL WORK EXPERIENCE
Labtop: (Architectural Rendering at Work), Santa Monica
May-July 2012
Aaron Neubert Architects, Los Angeles
May-July 2011
Worked on architectural design and the rendering of images. This experience taught me about the representation of architecture for design competitions and publications. My stay has given me a firm grasp of Cinema 4D and Photoshop. I was able to leverage my language skills by being the liaison during a collaboration with Francois Leclercq Architectes in Paris.
Participated in an international design competition for the Busan Opera House in Korea, and produced technical drawings for a small residential project in LA. VBN China, Beijing, Keen to explore architecture in Asia, I worked for VBN in Beijing and participated in an airport design competition for the Zunyi province of China. The project took first place.
July 2010
Rudabeh Pakravan Studio, San Francisco
June 2010
Participated in the design competition: “Land Art Generator Initiative� for a performative art installation in Abu Dhabi. The project required planning and research for extreme climate change. The project was published. JWT France, Paris Participated in the production of printed advertisements and assisted in meetings as a translator with UK clients while working on an Axe advertising campaign.
June-July 2006
DESIGN SKILLS
Rhino 3D, Grasshopper, Kangaroo
I have advanced knowledge in Rhino 3D and enjoy exploring the modeling capa bilities of the software. My designing process is often centered on the program due to its flexibility and parametric abilities. Grasshopper allows me to bring greater integrity to my projects.
Cinema 4D
I have a strong grasp of this software; and used it for its quick modeling and rendering capabilities while working at Labtop I use the program to add details to increase the realism of my digital projects.
AutoCAD, Revit
I am greatly skilled in Auto Cad. I used it extensively for technical drawings at USC and during my work experience with Aaron Neubert Architects. I am also experienced in Revit and I used it to complete a pre fabricated housing project.
Adobe Creative Suite
I have gained proficiency in both Photoshop and Illustrator from my studio and professional experiences. While at Labtop this software was the base of my editing work.
-
LEADERSHIP AND ACTIVITIES
Rank of Company Sergeant Major in the Combined Cadet Forces. Duke of Edinburgh Gold Award: Hiking and long distance running. Asian Architecture and Urbanism Study abroad. USC Trojan Rugby Football Club. Cross Country running: Qualified for the South West England Regional competition.
REFERENCES
Andrew Liang, Principal at Studio 0.10, aliang@studio010.com, lianga@usc.edu Aaron Neubert. Principal at ANX, 323.953.4700, aneubert@a-n-x.com Christopher Warren, Principal at Warren Office for Design and Research, clwarren@usc.edu
Keelung Harbor Ser
rvice Competition
Labtop
ANX Busan Opera House Compet
Translated into a series of landscapes that foreground the public’s experience of the water, literal and phenomenal in accommodate activities such as shopping, recreation, arts programming, beach access, leisure, dining, and various m these terrains and their integral relationship to the architecture of the site, serves to reference the adjacent mountain reclaimed nature of the constructed island, reinforce the free and open access to the coastal edge and extend the inh arts complexes towards full time use. In addition, the surrogate terrain serves as a future buffer to potential storm sur the sea and the opera complex. In response to the acoustical, technical, programmatic, visual and spatial dichotomies existing between the Opera Th Multi-Purpose Theater, the complex divides these unique performance vessels into two independent “gems” embedd complex. The dislocation of these two volumes – while supporting their specific requirements – results in a spatially d Opera House’s lobby, ticketing, gift shop, restaurant, bars, and cafe. In addition to containing these public functions, t to the various landscapes – near and far – that encircle the building. The confluence of the multitude of visitors to the landscapes results in an animated and socially diverse experience. Project Team: Aaron Neubert (Principal), David Chong, Jeremy Limsenben, Victor Otter, Nico Valencia, Jordan LaRue, S Publications: To Enjoy To Listen, Ifengspace Shanghai, 2013
tition
nfrastructural bands are deployed to maritime functions. The creation of nous geography, acknowledge the herent diurnal nature of performing rges mediating the space between
heater and the more experimental ded within the stratum of the opera dynamic territory containing the this space serves as the direct link e opera house and the adjacent
Sowjanya Chintalapati
VBN CHINA-ZUNYI AIRP
VBN China Date: Summer 2010 Location: Zunyi Province, China
PORT
This project is a proposal for a 9000 m2 airport design for the Zunyi province in china. The Zuni Province holds importance to China because this is where Mao Zedong was elected to become leader of the communist party. As a result, Red Army culture became a driving point in this project. The Airport was to serve as an Icon to a new city and would also be used by many government officials as all new officers visit Zun Yi for its historic relevance to the Red Army. We picked the military crossing of the chi river as our concept. There was a maneuver used by Mao to escape from enemy troops when the Red army found themsleves outnumbered. The Red Army crossed the Chi river four times over the period of four months (fig 1). The Airport was to become an icon of the achieve ments performed by the Red Army within the Zun Yi Province. It is a historic event the local people and Chinese government hold dear to.
DEVELOPMENT OF CEILING
DEVELOPMENT OF GROUND PLAIN
Entrance and check in
Arrival and pick up
SOLAR VEIL Living in the Middle East often involves negotiating the space between your body and the sun. Or between your body and the eye of a neighbor. The veil is a way for you to protect yourself from both of these gazes - a personal sanctuary in the form of a tent or a body covering. The veil itself is functional, but the space it creates within itself becomes infinitely valuable because it is covered.
VRA841
N/NE
01 wind direction
02 inital gridding of veil to determin scale of cooling zones with
ne hin
03 rotation of grid to match wind conditions
_Borrowed Space
04 grid scaled to determine wind catcher size
05 access points
07 slits designed for maximal wind intake
Solar Veil capitalizes on the availability of a vast swath of land while consecrating it through the idea of the veil. By demarcating that which we consider sacred, whether it is land or body, we claim a responsibility for its cultivation and protection. Veils, curtains, and tents are also temporary; there is an acknowledgement of borrowed space, a desire to leave what we are covering unaltered underneath. Our proposal covers the site at Airport Road with a porous drape of 300,000 solar units that together have a nameplate capacity of over 16MW of energy. At nearly 175,000 square feet, scale of its context and its needs. It becomes a destination in its own right, becoming part of the history of record-breaking infrastructural endeavors in the region while reflecting the vastness of the landscape.
+35c drape with wind catchers - individual units shown in system diagram
+22c
steel tube framing lattice
steel column framing and wind cooling shafts
ground surface with vegetation and cooling tunnels shown