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.

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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