PORT
    anne carlton van huisen
               303.551.2048
                              FOLIO
                         ...
anne carlton van huisen
portfolio

3502 monroe st.
denver, co 80205
303.551.2048

annecarltonvh@gmail.com
www.annecarltond...
PHILO        there is much i am still learning about
SOPHY          what it means to make architecture.
annecarlton
 vanhu...
1                                                                                                     5
    VANCOUVER MARI...
project.1




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+
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Post Tentioned Concrete Slab Floors                                      Post Tentioned Concrete Slab Floors
             ...
west-looking                                                                                                              ...
project.2




                                                                        experience
                         ...
project.2




left and top: study models and site diagrams inspire form
above: midterm basswood site model                ...
project.2




This project blurs the line between what                                                     At the end of t...
project.3




                                    suburban/
                                          urban
              ...
project.3
concept development




         cul-de-sac/
               plaza
                              project goals:

...
project.4
                                                                   shelve our desire to
                        ...
project.4
                                    1 dialogue.design could impact the future of education. Our committment wasa...
project.4




architecture can
only solve some
  of education’s
       problems
            AFH: Juror Comments “inspiring...
It is said that out of crisis project.5
                                                                                  ...
project.5




                                               inital concept study models and diagrams

         The Shift ...
project.5




This Greensburg resident needs the
affordability of a starter home and the
flexibility to have that home gro...
project.5




                                                          We have specified strawbale
                      ...
design portfolio
design portfolio
design portfolio
design portfolio
design portfolio
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design portfolio

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

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design portfolio

  1. 1. PORT anne carlton van huisen 303.551.2048 FOLIO annecarlton annecarltonvh@gmail.com www.annecarltondesign.com vanhuisen
  2. 2. anne carlton van huisen portfolio 3502 monroe st. denver, co 80205 303.551.2048 annecarltonvh@gmail.com www.annecarltondesign.com
  3. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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

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