Your SlideShare is downloading. ×
design portfolio
Upcoming SlideShare
Loading in...5
×

Thanks for flagging this SlideShare!

Oops! An error has occurred.

×

Introducing the official SlideShare app

Stunning, full-screen experience for iPhone and Android

Text the download link to your phone

Standard text messaging rates apply

design portfolio

2,008
views

Published on

collection of design work from my undergraduate and graduate education in art and architecture.

collection of design work from my undergraduate and graduate education in art and architecture.


0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total Views
2,008
On Slideshare
0
From Embeds
0
Number of Embeds
0
Actions
Shares
0
Downloads
80
Comments
0
Likes
0
Embeds 0
No embeds

Report content
Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
No notes for slide

Transcript

  • 1. PORT anne carlton van huisen 303.551.2048 FOLIO annecarlton annecarltonvh@gmail.com www.annecarltondesign.com vanhuisen
  • 2. anne carlton van huisen portfolio 3502 monroe st. denver, co 80205 303.551.2048 annecarltonvh@gmail.com www.annecarltondesign.com
  • 3. PHILO there is much i am still learning about SOPHY what it means to make architecture. annecarlton vanhuisen here’s what i do know: architecture is not about product, it is about process. it is not about materials, theory or construction, but rather people, relationships and experiences. architecture cannot begin to solve the world’s problems, but it can be a tool to better the world for people and for the planet. i seek to do this in my design.
  • 4. 1 5 VANCOUVER MARITIME MUSEUM GREENSBURG KANSAS GREEN HOME Comprehensive Studio Studio Four Summer 2009 Spring 2009 Anne Van Huisen and Britta Moline-Ayars Anne Van Huisen, Abby Filanowski, Eric Doner Instructor: Matt Shea and Mike Nulty Instructors: Rick Sommerfeld and Rob Pyatt 2 6 MODERN JAPANESE TEA HOUSE ART WORK Studio Two Undergraduate Spring 2008 2002-2006 Anne Van Huisen Anne Van Huisen Instructor: Amir Alrubaiy Calvin College Fine Arts 3 7 RiNo MULTIFAMILY RESIDENCES TBD Studio Three Fall 2008 Anne Van Huisen Instructors: Louis Bieker and Eric Anderson 4 8 GreenMOD CLASSROOM TBD Architecture for Humanity Competition Spring 2009 Anne Van Huisen, Kirsten Coe and Rachel Brown School Participants: Brighton High School
  • 5. project.1 light defines circulation For Comprehensive Studio, my partner and I explored ideas for a Maritime Museum located in Vancouver, British Columbia. Our primary challenge came from the dichotomy between the size of the ship and the small scale of the required museum. We addressed this problem by driving the museum underground. While initially this sounded like a feat in engineering, we discovered that many shipping dry docks are subterranean. The industrial nature of the area lead to a scaled down version of the ship and museum to meet the 40’ height restriction. Burying the building also aided in the experience of the space. Through the exploration of the museum, the visitor 1 learns about the shipping industry that once dominated the Vancouver area. The building then is not an iconographic VANCOUVER MARITIME MUSEUM object in the landscape, rather an exploration of the maritime Comprehensive Studio culture that helped define that landscape. Summer 2009 Britta Moline Ayars and Anne Van Huisen + Traditional Dry Dock Ship Vertical C Instructor: Matt Shea Restoration Ship Resto 140’ tall Zephyr Ship 40’ tall museum 1’= 1/4” scale slice model Restoration building height restriction 24”x 24”x 84”
  • 6. + Traditional Dry Dock Ship Vertical Circulation into Restoration Ship Restoration Area project.1 140’ tall Zephyr Ship 40’ tall museum Restoration building height restriction Utilizing the same structural system for dry docks, we sunk the ship to the desired depth and used the space between the retaining walls and vertical circulation to house the museum program. + right: project morphology Traditional Dry Dock Ship Vertical Circulation into Controlled Restoration Museum Program below: museum program occupying dry dock walls. Restoration Ship Restoration Area Environment 140’ tall Zephyr Ship 40’ tall museum Restoration building height restriction Zephyr llery Ship Ga Model Admissions Admissions op Coat Check Coat Check ne Sh Machi Information Information llery n Ga Resto ratio Parking Lot Entry Visitors Services Museum Shop Visitors Services Cafe Entry Boating Dock Trash Collection Conference Room Mechanicals Staff lounge Storage Offices Restoration Gallery Admin Staff Area Restoration Staff Area Maritime Gallery Controlled Restoration Education Museum Program Environment Auditorium Model Ship Gallery Captain’s Gallery Zephyr Gallery Cafe Cafe Offices Zephyr Ga Offices Loading Dock llery Zephyr Ga llery Machine Shop Storage Museum Shop Museum Shop Changing Area With Lockers programatic circulation model photographs of diagram interior ramps 1/8” scale model
  • 7. Post Tentioned Concrete Slab Floors Post Tentioned Concrete Slab Floors cofferdams SECTION 3 SECTION 4 project.1 bridge cantilever structure Dry Dock | Retaining Wall Dry Dock | Retaining Wall LAND ENTRY implemented for ramps. hold down piles OPEN TO BELOW THRESHOLD GALLERY LAND PLAZA pinned support=more deflection cantilever support=less deflection LOADING DOCK SECTION 1 SECTION 2 DELI/FOOD PREPARATION wall sections and detailing all drawings WATER OPEN TO PLAZA BELOW CAFE produced in Revit, AutoCAD and Adobe Illustrator level 1 plan CAFE LEVEL: 1 20’ below grade 20’ below grade LEVEL +1 40 FEET ABOVE GRADE light was employed as the primary experiential device to direct circulation. The ship occupies the center atrium, while ramps bridge the void. Much like a LEVEL 0 SITE GRADE diver exploring a ship wreck, museum visitors can occupy the area THRESHOLD GALLERY [1] through and around the ship as they LEVEL 1 20 FEET BELOW GRADE move down into the depth of the CONFERENCE ROOM [2] museum. LEVEL 2 40 FEET BELOW GRADE As the visitors cross the void of the ship, CAPTAIN’S GALLERY [3] LEVEL 3 the light changes from ambient to more 60 FEET BELOW GRADE directed exhibit lighting. RESTORATION GALLERY [3.5] LEVEL 3.5 74 FEET BELOW GRADE LEVEL 4 80 FEET BELOW GRADE WALL SECTION The supplemental exhibits occupy the SCALE: 3/4”=1.0’ caverns in the walls beside the ship’s LEVEL 5 100 FEET BELOW GRADE mass; each ramp brings the visitor from the supplemental galleries back into the light of the ship’s atrium. BUILDING WALL SECTION SCALE: 1/4”=1.0’ interior rendering of ramps produced in Revit WALL SECTION SCALE: 3/4”=1.0’
  • 8. west-looking south-looking east-looking north-looking project.1 longitudinal section transverse section longitudinal section transverse section WATER LAND ENTRY PLAZA LAND CAFE WATER PLAZA ENTRY ENTRY THRESHOLD GALLERY ENTRY W.C. W.C. LEVEL 1 W.C. W.C. W.C. LEVEL 1 CAPTAIN’S GALLERY 1 MODEL SHIP MODEL SHIP GALLERY GALLERY OBSERVATION DECK W.C. W.C. LEVEL 1.5 W.C. CAPTAIN’S GALLERY 1 CONFERENCE ROOM OBSERVATION DECK OFFICES OFFICES LEVEL 2 W.C. W.C. LEVEL 2 . AUDITORIUM EDUCATION EDUCATION EDUCATION AUDITORIUM LEVEL 3 CAPTAIN’S CAPTAIN’S GALLERY 2 MARITIME GALLERY TO MARITIME GALLERY 2 GALLERY W.C. W.C. LEVEL 3 MAST GALLERY MAST GALLERY LEVEL 3.5 ZEPHYR GALLERY RESTORATION RESTORATION GALLERY GALLERY ZEPHYR GALLERY GHOST HALL MACHINE SHOP LEVEL 3.5 TO MACHINE SHOP GHOST HALL LEVEL 4 W.C. W.C. LEVEL 4 LEVEL 5 LEVEL 5 LAND ENTRY PLAZA LAND THRESHOLD GALLERY ENTRY W.C. W.C. LEVEL 1 OBSERVATION DECK CAPTAIN’S GALLERY 1 CONFERENCE ROOM OFFICES OFFICES W.C. W.C. LEVEL 2 . AUDITORIUM CAPTAIN’S GALLERY 2 MARITIME GALLERY TO MARITIME GALLERY W.C. W.C. LEVEL 3 MAST GALLERY RESTORATION GALLERY MACHINE SHOP LEVEL 3.5 TO MACHINE SHOP GHOST HALL W.C. W.C. LEVEL 4 LEVEL 5 exterior rendering of entry slice model interior photographs produced in Revit
  • 9. project.2 experience the void Formal program of a traditional Japanese tea house on a site in Denver. extensive site analysis, diagramming and the study of Le Corbusier’s Five Points of Architecture. three primary design drivers: 1.)light Conditions—Hill acts as a natural measure for the way the light moves over it. 2.)human activity of the site—how the hill itself is a separate condition from flat areas. 3.)use of the hill as a model for public/private—procession up the hill as the experience of a space. 2 MODERN JAPANESE TEA HOUSE Studio Two Spring 2008 Anne Van Huisen Instructor: Amir Alrubaiy shown right: site diagrams
  • 10. project.2 left and top: study models and site diagrams inspire form above: midterm basswood site model hand-drawn elevations 1’=1/4” scale
  • 11. project.2 This project blurs the line between what At the end of the inner garden, visitors is built and what is natural; the roof wait for the host of the tea ceremony to garden is simply an extension of the hill. guide them. At this point they cross the cut in the hill, transitioning between the As people ascend the hill the grade activities of the park and those of the alters how they occupy the space. As tea ceremony. one circulates up to the roof garden, they are directed by levels of enclosure The experience of this threshold creates and light until they arrive at the top, a moment of awareness of one’s where the ouside world is revealed. surroundings and the passing of time. The visitor experiences the light filtering in through the cut in the earth from above, the connection of being inside the earth and entering the burrow of the tea house, and the views that are created one towards the city skyline and the other through the hill to the sky. hand-drawn schematic site plan and sections final basswood slice model showing connections and porosity
  • 12. project.3 suburban/ urban This studio project was about redefining the design of multi-family housing. Typically urban housing functions to house yuppies and empty-nesters. This project sought to define dense housing options for families within the changing RiNo neighborhood in Denver. Formally, the design of the building utilized a “bridge” to fuse urban culture foreign to families and the suburban culture founded by families. 3 This was mimicked by two buildings separated by the public plaza and the RiNo MULTIFAMILY RESIDENCES private cul-de-sac, then unified by a Studio Three screen system that defined the space Fall 2008 between the buildings. Anne Van Huisen Instructors: Louis Bieker and Eric Anderson schematic site plan showing street car linkage and lightrail station
  • 13. project.3 concept development cul-de-sac/ plaza project goals: repurposing the cul-de-sac why do families like the suburbs? integrate the street and light rail station: resurface the street to tie into plaza, create pedestrian corridor, slow traffic, energize community manipulate site grading to create transitions and reinforce public vs. private space. slice model: built scale 1’= 1/16” hand-drawn concept rendering with screen proposal
  • 14. project.4 shelve our desire to build a kick-ass box; let the student’s voices be heard and dictate our design. [com]promise 4 greenMOD CLASSROOM Architecture for Humanity Competition Spring 2009 Anne Van Huisen, Kirsten Coe and Rachel Brown School Participants: Brighton High School classroom prototype rendering displaying components used
  • 15. project.4 1 dialogue.design could impact the future of education. Our committment wasato let the student’s ideas drive our competition entry. to determine how Through our partnership with Brighton High School, we engaged in dialogue with the students, teachers and administration [com]promise = authenticity In giving the student’s a voice, we needed to ensure they were able to communicate in ways that honored their varied learning styles. Design can be complicated and intimidating. Through our process, we sought to break down the ideal classroom design into a series of assignments and in-class activities each designed to enhance the student’s conviction and their ability to communicate their ideas. This design entry is NOT a collaboration between us and a group of sophomore high school students at Brighton High School. Our [com]promise required that we shelve our desire to build a quixotic, kick-ass box, driven by our own please refer to attached supplemental materials for more information about our curriculum. assumptions, in favor of designing something that was solely driven by the input we received from the highly dedicated group of students with whom we worked. Our proposal is a direct translation of their ideas, observations and analysis of their learning environment and how they envision the future of education. mise. 2 research. What did the students tell us? survey results da “I like abstract and colorful places they are fun environment to work in.” “I sit in front because I can hear the teacher.” “Nice chairs, dim lights, good desks, enough room, there wasn’t a front or a back” “Distraction, when its cold, no one can work like that.” “More collegiate type room” When we relinquished the idea of collaborating with the students, forfeiting our own agenda, we found ourselves in the roles of facilitator and messenger of the students’ design ideas. They became the designers and we became their the draftsman. Certainly, there was coaching throughout the research and design process, but we primarily assisted them in ard distilling their ideas and determining their architectural application. Very few generative suggestions from us were needed at all. gn. From the project’s inception, this group of students was extremely intuitive, analytical, and comfortable with concepts of sustainability. Over the course of eleven weeks they completed assignments and research that fused their assignments: “what is sustainibility” presentation/discussion Surveys--administered by AVID students perceptive understandings with concepts specific to architecture and design. Though the assignments provided the “Add color, open windows, “we need a classroom “A class of 15-20 students, “I want a classroom that “A lot of hands-on learning, Journaling--“what spaces do they love and why.” Internet reseraching--cradle to cradle, green technologies/buzz words, architects students with a certain skill set, something even more remarkable happened: their investigations cultivated self-confidence and spurred new trust in themselves. We immediately saw a “pride of ownership” in their work, and an or turn on air conditioner.” that doesn’t smell like group work time, open feels more like a coffee shop” also respective teachers: Collage/Diaramas--graphically what do they look for in a classroom freshman’s feet” space, individual time with they seem excited to see Take-home floor plan assignment the teacher.” their students.” Charrette #1: classroom diagrams/floor plan/ideas about classroom envelope Charrette #2: refine ideas/drawings/ model building authentic interest in their classmate’s ideas. This salient, but less forecasted outcome was quickly written into our final design agenda: each participant’s voice must be visible in the design. own: optional shade e covers the ramp and om porch. 3 analysis. Of the problems proposed by students, what are the architectural solutions? The students were not always lofty inventors; in fact, they were quite practical. Simple observations such as ability to see comfy: color: We are creating a program, not an object in the landscape. the board, that a classroom shouldn’t smell like feet, and comfortable temperature, were as important as high-tech translucent rain screen exterior of classroom, ts SIP interior components integrate flexible integrate colored omes in a variety of able materials, including seating as an alternatives panels into space Architects cannot begin to solve all the problems in education. to desks We cannot control the lack of needed funding for education, nor the Smart Boards and “comfy” chairs. Since the word ‘comfy’ was mentioned in almost every survey, we asked the students ated aluminum and ated recycled plastic. sound: temperature: muffle sound with clerestory windows utilize passive heating acoustical panels tired overworked teachers or inadequate parental involvement. what that meant to them. Most said the chairs and desks were uncomfortable, but others dug deeper: they wanted ate the interior of and cooling/solar By shelving our notions of design in favor of letting the assroom from the north uth side. The rainscreen orientation outdoors: s the light from the south. operable windows more space: bring outside in students voices be heard, we are giving the student’s control more efficiently/well to design a space that promoted an atmosphere similar to a coffee house, an environment where conversation and trombe wall component thern facade provides passive g during the winter. organized space visibility: over their environment. no front or back debate were encouraged and where a basic level of respect existed for all students. Throughout their research they windows: of classroom : ramp and stair onent attach on site onceal chassis. control glare and provide technology: They are the next teachers, administrators and parents. They define the future of education. discovered that they were evaluating not just where they learned, but how they learned. natural daylighting integrate technology discussion: affordably create dedicated respect: collaboration space offering control of environment This project gave the students an open platform from which to comment and critically engage their environment and 4 outcome. Kit be Parts. to build the ideal classroom for each school. of offer design solutions. We heard and advanced the students’ ideas, encouraged them to dream big and found that Each component can combined their analysis was a strong critique of their learning environment and the future of education. The final step for us in 32 components are needed to create one modular classroom 24’x40’ transported in two pieces. fulfilling our [com]promise was to ensure that the students’ ideas were legible in our entry. Therefore, we developed a AFH Competition Board modular system that combined each student’s “fingerprint” or “dream” into a component. The modular design allows dante: angelo: george: each of the students’ design ideas to be represented as an option in the SIP’s panel design, while the overall program gabe: ronnie: folding collaborative intergrated smart board sink component desk and storage tackable accoustical table and storage component 4’x 8’ panel component component honored their desire for flexible and performative classroom space. The students were the component 4’x 8’ panel addresses need for 4’x 8’ panel 4’x 8’ panel 4’x 8’ panel addresses need for science sink or addresses need for addresses the need addresses need for technology and handwashing station flexible work space for color and flexible and collaboritive group work spaces interactive learning accoustical control inspiration and they left us feeling... inspired. gen: beth: christian: jazmin: austin: thermally broken aluminum window with bookshelf and storage component LED wall component 4’x 8’ panel storage bench component greenhouse and slow foods component AFH competition text venting component 4’x 8’ panel addresses need for 4’x 8’ panel 4’x 8’ panel 4’x 8’ panel addresses need for technology/lighting addresses need for addresses need addresses need for organized storage comfortable for connection to the ventilation and daylight classroom space outdoors
  • 16. project.4 architecture can only solve some of education’s problems AFH: Juror Comments “inspiring participation process: Having helped organized public charrette workshops www.openarchitecturenetwork.org in the past, I was very appreciative of the process expressed by this team. Engaging participates is no small feat, and they seemed to truly connect these students with the process. ‘Giving over’ to the student’s design desires has some challenges, but I liked the goal of allowing each student’s ‘voice’ to be distinguished. Materials are fairly standard for this proposal, but are still reasonable sustainable approaches (SIPS, rainscreen, trombe walls).” students generative process: “amazing process: The process of development for this entry was absolutely wonderful! rather than design a structure we They did an amazing job of educating, coaching, and empowering the students; and designed the curriculum that could reaped some great ideas as a result. It was really invigorating to review this one. The contribute to the design of the structure. architectural solution is still in the early conceptual phase, and would require considerable development to be realized. The idea of a kit-of-parts from which schools curriculum included: could pick and choose to compile a custom classroom is compelling. But this project is research/precedent study not about the final product, it’s all about the process - which was done very, very well.” e2 video series on druk white school plan drawing collage/diarama making model building group presentation of their work
  • 17. It is said that out of crisis project.5 opportunity emerges. On May 4th 2007, the citizens of Greensburg, Kansas experienced the destruction of their community from an EF-5 tornado. Rather than let tragedy break their town, they came together to re-build a stronger, healthier, “greener” town. University of Colorado was invited by Greensburg Greentown to design and build green housing for the town of Greensburg. Our challenge was to create flexibility meets sustainable living at an affordability affordable price. 14 11 4 2 8 3 12 13 9 10 1 5 7 6 street house alley house 5 1.entry 9. interstitial garden GREENSBURG KANSAS GREEN HOME 2. flexible office/bedroom 10. bathroom Studio 4 3. dining area 11. kitchen Spring 2009 4. kitchen 12. flexible living area Abby Filanowski, Eric Doner, Mike Nulty and 5. living 13. bedroom/garage/work space 6. bathroom 14. alley entry Anne Van Huisen 7. master bedroom Instructor: Rick Sommerfeld and Rob Pyatt 8. outdoor living shift house floor plan: designed for Greensburg, Kansas
  • 18. project.5 inital concept study models and diagrams The Shift House merges ideas of affordability and flexibility to produce a home that changes to fit the owner’s needs. Unlike anything else in Greensburg, the Shift House bridges the gap between the nostalgia of a traditional farm house and the comfort of modern living. Green technologies are integrated into an open floor plan that allows for healthy, environmentally conscious, flexible living. The “shift” creates unique indoor/outdoor living spaces to maximize square footage and create a sense of connection with the community of Greensburg.
  • 19. project.5 This Greensburg resident needs the affordability of a starter home and the flexibility to have that home grow and evolve over time. Initially the site is home to a 500sf. alley residence that will function as the residence of the homeowner. Its open floor plan and light-filled space provide flexibility while integrating the outdoors. The building cost of this small residence is $60,000, with the large front residence being $90,000. above: elevations from full construction document set left: exterior rendering produced in Revit
  • 20. project.5 We have specified strawbale construction, allowing the home-owner the flexibility to build the main house over time. Once the resident moves into the front house, the back house serves to function as desired. It could be a workshop, an artist studio, rental unit, live/work interior renderings space or garage with little produced in Revit modification to the original design. left: Exterior rendering of interstitial courtyard between the street house and alley house. Alley house shown. Produced in Revit. above: photograph of street house patio onto interstitial courtyard. looking from Alley house. Early hand-drawn ideas for the wall section and materiality. Our intent was to contrast the heavy strawbale walls with the lightness of the roof
  • 21. PHASE 1: BACK HOUSE E2 : AFFORDABILITY LE AS E EN T PH AS UR ED AW BA ELS project.5 PH SID LL GIN TR SE AN TE RE TA BE ION NC ILL S OU IC P PLE ETE RG INS AT TIO OF INF HH TA LET E MP L BU PE ND DA RO S OL OM ING MP AS E 1 CO NS SC A FO U UN ND INI TO V C AP CO EE ND N EA DF O SC PH GR TER FO UR AN PH ND E2 LA TIMELINE D AS GIN S IN CIS CT LLE LA PH BE VE IN RU STA MO RA ST IN Phase 1 complete: back house begins to merge cistern installed for foundation for phase 2 could serve phase 2 structure and roof optional PV panels are final details completed resident moves into front house. back house serves as primary residence / greensburg into the landscape. rain collection. tied into planters. as a community meeting space or are built. This creates a installed. Small scale system with the landscape. The back house becomes workshop, eco-lodging, greensburg office or community building. gathering space for residents. neighborhood covered pavillion or covered parking. powers part of the home’s houses are tied together office, rental unit or garage. split HVAC system. FUNCTION $1500 pavers BUDGET $60K initial construction costs $3500 $12,000 $8,000 $100K phase 2 construction $3000 plants / trees $2000 misc. total: $6500 phase 1:small house phase 2:indoor/outdoor living phase 3:main house foundation phase 4:completed residence The facilitation of affordability and flexibility came with our desire to create a site that can evolve over time. The ideas of flexibility and affordability are carried out in our phased design sequence. above: phase 1, 500 sf. alley residence above: phase 2, 1000 sf. main residence left: model photographs showing interstitial courtyard and rainscreen cladding
  • 22. project.5 SHIFT SHIFT SHIFT HOUSE HOUSE Live Green. Live Affordably. HOUSE Live Fully. CORRUGATED METAL ROOF LEED The SHIFT HOUSE is designed greensburg image specifically to achieve many of the 7" SIP PANEL CONSTRUCTED points promoted by the LEED Our team created a set of WITH AGRIBOARD for Homes checklist. marketing materials for the Shift House. Samples shown right. CONCEALED LIGHTING INNOVATIVE REGIONAL DESIGN SHELF RAIN SCREEN ON CORRUGATED METAL ROOF metal roofing and cladding create a rain/wind screen. the continuous profile of the material defines the form of LEED Strawbale Construction Rain/Wind Screen Wall System The SHIFT HOUSE is designed STEEL FRAME the house. specifically to achieve many of the LOCATION and LINKAGES 7" SIP PANEL CONSTRUCTED points promoted by the LEED Close to Main Street for Homes checklist. WITH AGRIBOARD EXTERIOR 2 COAT Existing Infrastructure CONCEALED LIGHTING INNOVATIVE REGIONAL DESIGN STUCCO SYSTEM Strawbale Construction SHELF metal roofing and cladding create a rain/wind screen. SUSTAINABLE SITES Rain/Wind Screen Wall System FRENCH DRAIN IN RAIN SCREEN ON the continuous profile of the material defines the form of Basic Landscape Design STEEL FRAME Drought and LINKAGES LOCATION Resistant Plants and Grasses the house. CONCRETE BASIN Close to Main Street strawbale walls insulate while EXTERIOR 2 COAT creating a heavy contrast to Existing Infrastructure STUCCO SYSTEM the light cladding. WATER EFFICIENCY SUSTAINABLE SITES FRENCH DRAIN IN Rainwater Harvesting Basic Landscape Design CONCRETE BASIN Reduced Irrigation Demand Drought Resistant Plants and Grasses strawbale walls insulate while creating a heavy contrast to the light cladding. WATER EFFICIENCY ENERGY and ATMOSPHERE Rainwater Harvesting Enhanced Insulation Reduced Irrigation Demand Split-System HVAC Distribution ENERGY and ATMOSPHERE concrete foundation and interior Environmentally Preferred Products Enhanced Insulation floors provide seamless material transition between indoor and Split-System HVAC Distribution outdoor spaces. foundation and interior concrete Environmentally Preferred Products floors provide seamless material transition between indoor and wall section sample excerpt from full outdoor spaces. construction document set
  • 23. project.6 linear elaboration My undergraduate artwork was closely related to my desire to become an architect and my pre-architecture undergraduate experience. The paintings are linear in nature with strong ties to the idea of human evolution of order. While I studied painting formally, I also was studying architectural history, theory and how cities have evolved on a political, geographical and sociological level. I sought to create a strong contrast between the flatness of the matte background with the liner outlines 6 and the organic human form. While architecture orders human ART WORK environments, people are Undergraduate School apart from it. 2002-2006 Anne Van Huisen Calvin College Fine Arts tod shaving oil on canvas 60”x 52”
  • 24. project.6 above: german dinner Everyday experiences are captured oil and acrylic within the space we occupy. These 60”x72” spaces define the way we see and sister abigail engage life. The format of my work acrylic and graphite is very large; almost life scale. This is 36”x42” intended to provide the viewer a small look into the space of another; space across: bob and andrea cooking acrylic and oil defined by architectural fabric. 60”x52”
  • 25. thank you. thank you to my family for empowering me to think idealistically. thank you to architecture friends and colleagues for critique, dialogue and late nights of lattes and basswood. you know who you are. and the biggest thanks to rory, for working hard to put me through school and pushing me to follow my dreams. march, 2010