design portfolio

anne carlton van huisen303.551.2048

[email protected]

PORTFOLIOannecarltonvanhuisen

anne carlton van huisenportfolio

3502 monroe st.denver, co 80205303.551.2048

[email protected]

PHILOSOPHY

annecarltonvanhuisen

there is much i am still learning about what it means to make architecture.

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.

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VANCOUVER MARITIME MUSEUMComprehensive StudioSummer 2009Anne Van Huisen and Britta Moline-AyarsInstructor: Matt Shea

TBD

ART WORKUndergraduate

2002-2006Anne Van Huisen

Calvin College Fine Arts

TBD

GREENSBURG KANSAS GREEN HOMEStudio FourSpring 2009

Anne Van Huisen, Abby Filanowski, Eric Doner and Mike Nulty

Instructors: Rick Sommerfeld and Rob Pyatt

GreenMOD CLASSROOMArchitecture for Humanity CompetitionSpring 2009Anne Van Huisen, Kirsten Coe and Rachel BrownSchool Participants: Brighton High School

RiNo MULTIFAMILY RESIDENCESStudio ThreeFall 2008Anne Van HuisenInstructors: Louis Bieker and Eric Anderson

MODERN JAPANESE TEA HOUSEStudio TwoSpring 2008Anne Van HuisenInstructor: Amir Alrubaiy

1VANCOUVER MARITIME MUSEUMComprehensive StudioSummer 2009Britta Moline Ayars and Anne Van HuisenInstructor: Matt Shea

light defines circulation

1’= 1/4” scale slice model24”x 24”x 84”

+

140’ tall Zephyr ShipRestoration

40’ tall museum building height restriction

Traditional Dry Dock ShipRestoration

Vertical Circulation into Ship Restoration Area

Controlled Restoration Environment

Museum Program

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

learns about the shipping industry that once dominated the Vancouver area. The building then is not an iconographic

object in the landscape, rather an exploration of the maritime culture that helped define that landscape.

project.1

Zep

hyr

Changing Area With Lockers

Staff loungeConference Room

OfficesAdmin Staff Area

RestorationStaff Area

Trash CollectionMechanicals

Storage

Parking Lot

Loading DockMachine Shop

Storage

Visitors Services Museum Shop

InformationCoat Check

Admissions

Entry Entry Boating Dock

AdmissionsCoat CheckInformationVisitors ServicesCafe

Zephyr Gallery

Captain’s Gallery

Restoration Gallery

Maritime GalleryEducation

AuditoriumModel Ship Gallery

+






Museum Program

+






Museum Program

Museum Shop

Cafe

Zephyr Gallery

Offices

Museum Shop

Cafe

Zephyr Gallery

Offices

Machine Shop

Restoration Gallery

Model Ship Gallery

model photographs of interior ramps

1/8” scale model

programatic circulationdiagram

right: project morphologybelow: museum program

occupying dry dock walls.

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.

project.1

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

diver exploring a ship wreck, museum visitors can occupy the area

through and around the ship as they move down into the depth of the

museum.

As the visitors cross the void of the ship, the light changes from ambient to more

directed exhibit lighting.

The supplemental exhibits occupy the caverns in the walls beside the ship’s

mass; each ramp brings the visitor from the supplemental galleries back into the

light of the ship’s atrium.

interior rendering of rampsproduced in Revit

level 1 plan20’ below grade

bridge cantilever structure implemented for ramps. pinned support=more deflection cantilever support=less deflection

LANDENTRY

LAND PLAZA

LOADING DOCK

WATERPLAZA

CAFE

CAFE

DELI/FOODPREPARATION

SECTION 1

SECTION 2

SECTION 3 SECTION 4

LEVEL: 120’ below grade

OPEN TO BELOW

THRESHOLD GALLERY

OPEN TO BELOW

Dry Dock | Retaining Wall

Post Tentioned Concrete Slab Floors Post Tentioned Concrete Slab Floors

Dry Dock | Retaining Wall

hold down piles

cofferdams

2 Foot beams 24” on center

wall sections and detailing all drawings produced in Revit, AutoCAD and Adobe Illustrator

BUILDING WALL SECTIONSCALE: 1/4”=1.0’

THRESHOLD GALLERY [1]

CONFERENCE ROOM [2]

CAPTAIN’S GALLERY [3]

RESTORATION GALLERY [3.5]

LEVEL +140 FEET ABOVE GRADE

LEVEL 0SITE GRADE

LEVEL 120 FEET BELOW GRADE



LEVEL 3.574 FEET BELOW GRADE



WALL SECTIONSCALE: 3/4”=1.0’

WALL SECTIONSCALE: 3/4”=1.0’

project.1

EDUCATION

MODEL SHIP GALLERY

WATER PLAZA ENTRYCAFE

OBSERVATION DECK

EDUCATION

MAST GALLERY

AUDITORIUM

ZEPHYR GALLERYGHOST HALL

CAPTAIN’S GALLERY 1

CAPTAIN’SGALLERY 2

RESTORATION GALLERY

MODEL SHIPGALLERY

EDUCATION

ZEPHYR GALLERY

W.C.

W.C.

WATERENTRY

LANDENTRY

OFFICES

MAST GALLERY

GHOST HALL

OBSERVATION DECK

AUDITORIUMTO MARITIME GALLERY

TO MACHINE SHOP

LAND ENTRY PLAZATHRESHOLD GALLERY

CONFERENCE ROOM



RESTORATION GALLERY

OFFICES

MARITIME GALLERY

MACHINE SHOP

W.C.

W.C.

W.C. W.C.

W.C.

W.C.

W.C. W.C.

W.C. W.C.

W.C. W.C. LEVEL 1

LEVEL 3.5

LEVEL 5

LEVEL 4

LEVEL 3

LEVEL 1.5

LEVEL 2

LEVEL 1

LEVEL 2

LEVEL 3

LEVEL 3.5

LEVEL 4

LEVEL 5

.

EDUCATION

MODEL SHIP GALLERY

WATER PLAZA ENTRYCAFE

OBSERVATION DECK

EDUCATION

MAST GALLERY

AUDITORIUM

ZEPHYR GALLERYGHOST HALL


CAPTAIN’SGALLERY 2

RESTORATION GALLERY

MODEL SHIPGALLERY

EDUCATION

ZEPHYR GALLERY

W.C.

W.C.

WATERENTRY

LANDENTRY

OFFICES

MAST GALLERY

GHOST HALL

OBSERVATION DECK

AUDITORIUMTO MARITIME GALLERY

TO MACHINE SHOP

LAND ENTRY PLAZATHRESHOLD GALLERY

CONFERENCE ROOM



RESTORATION GALLERY

OFFICES

MARITIME GALLERY

MACHINE SHOP

W.C.

W.C.

W.C. W.C.

W.C.

W.C.

W.C. W.C.

W.C. W.C.

W.C. W.C. LEVEL 1

LEVEL 3.5

LEVEL 5

LEVEL 4

LEVEL 3

LEVEL 1.5

LEVEL 2

LEVEL 1

LEVEL 2

LEVEL 3

LEVEL 3.5

LEVEL 4

LEVEL 5

.

south-looking transverse section

west-looking longitudinal section

north-looking transverse section

east-looking longitudinal section

exterior rendering of entryproduced in Revit

slice model interior photographs

project.1

2MODERN JAPANESE TEA HOUSEStudio TwoSpring 2008Anne Van HuisenInstructor: Amir Alrubaiy

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.

experience the void

shown right: site diagrams

project.2

left and top: study models and site diagrams inspire formabove: midterm basswood site model hand-drawn elevations

1’=1/4” scale

project.2

This project blurs the line between what is built and what is natural; the roof

garden is simply an extension of the hill.

As people ascend the hill the grade alters how they occupy the space. As one circulates up to the roof garden,

they are directed by levels of enclosure and light until they arrive at the top, where the ouside world is revealed.

At the end of the inner garden, visitors wait for the host of the tea ceremony to guide them. At this point they cross the cut in the hill, transitioning between the activities of the park and those of the tea ceremony.

The experience of this threshold creates a moment of awareness of one’s 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

project.2

3RiNo MULTIFAMILY RESIDENCESStudio ThreeFall 2008Anne Van HuisenInstructors: Louis Bieker and Eric Anderson

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.

This was mimicked by two buildings separated by the public plaza and the private cul-de-sac, then unified by a screen system that defined the space between the buildings.

suburban/ urban

schematic site plan showing street car linkage and lightrail station

project.3

cul-de-sac/plaza

slice model: built scale 1’= 1/16”

project goals:

repurposing the cul-de-sacwhy 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.

concept development

hand-drawn concept rendering with screen proposal

project.3

4greenMOD CLASSROOMArchitecture for Humanity CompetitionSpring 2009Anne Van Huisen, Kirsten Coe and Rachel BrownSchool Participants: Brighton High School

[com]promise

classroom prototype rendering displaying components used

shelve our desire to build a kick-ass box; let the student’s voices be heard and dictate our design.

project.4

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dialogue. Through our partnership with Brighton High School, we engaged in a dialogue with the students, teachers and administration to determine how design could impact the future of education. Our committment was to let the student’s ideas drive our competition entry. 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.

research.

What did the students tell us?

analysis. Of the problems proposed by students, what are the architectural solutions?

outcome. Kit of Parts.Each component can be combined to build the ideal classroom for each school.32 components are needed to create one modular classroom 24’x40’ transported in two pieces.

[com]promise.shelve our desire to build a

kick ass box and let the student’s voices be heard

and dictate our design.

We are creating a program, not an object in the landscape. Architects cannot begin to solve all the problems in education. We cannot control the lack of needed funding for education, nor the tired overworked teachers or inadequate parental involvement. By shelving our notions of design in favor of letting the students voices be heard, we are giving the student’s controlover their environment.

They are the next teachers, administrators and parents. They define the future of education.

gabe:intergrated smart boardcomponent 4’x 8’ paneladdresses need for technology and interactive learning

beth:bookshelf and storage component4’x 8’ paneladdresses need for organized storage

christian:LED wall component 4’x 8’ paneladdresses need for technology/lighting

george:desk and storagecomponent4’x 8’ paneladdresses need for flexible work space

gen:thermally broken aluminum window with venting component4’x 8’ paneladdresses need for ventilation and daylight

angelo:sink component 4’x 8’ paneladdresses need for science sink or handwashing station

ronnie:tackable accoustical component4’x 8’ paneladdresses the need for color and accoustical control

austin:greenhouse and slow foods component4’x 8’ paneladdresses need for connection to the outdoors

please refer to attached supplemental materials for more information about our curriculum.

assignments:“what is sustainibility” presentation/discussion Surveys--administered by AVID studentsJournaling--“what spaces do they love and why.”Internet reseraching--cradle to cradle, green technologies/buzz words, architectsCollage/Diaramas--graphically what do they look for in a classroomTake-home floor plan assignmentCharrette #1: classroom diagrams/floor plan/ideas about classroom envelopeCharrette #2: refine ideas/drawings/ model building

“Distraction, when its cold, no one can work like that.”

“Add color, open windows, or turn on air conditioner.”

“I like abstract and colorful places they are fun environment to work in.” “More collegiate type room”

“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”

“I want a classroom that feels more like a coffee shop”

“A class of 15-20 students, group work time, open space, individual time with the teacher.”

“A lot of hands-on learning, also respective teachers: they seem excited to see their students.”

“we need a classroom that doesn’t smell like freshman’s feet”

survey results

temperature: utilize passive heating and cooling/solar orientation outdoors:

operable windowsbring outside in

visibility:no front or back

of classroom

technology:integrate technology

affordably

respect:offering control of

environment

windows: control glareand provide natural daylighting

sound:muffle sound withacoustical panels

comfy: integrate flexibleseating as an alternativesto desks

discussion: create dedicated collaboration space

color:integrate coloredpanels into space

more space:more efficiently/wellorganized space

dante:folding collaborative table and storage component4’x 8’ paneladdresses need for flexible and collaboritive group work spaces

jazmin:storage bench component4’x 8’ paneladdresses need for comfortable classroom space

shown: ramp and stair component attach on site and conceal chassis.

shown: outdoor classroom seating component attaches to conceal

chassis and provide amphitheater style seating for outdoor learning.

this classrooms includes the following components in the listed quantities:[5] Gen[2] Austin[2] Dante[2] Beth

shown: photovoltaicpanel component

with battery storageprovides electricity

to the classroom.

not shown:bathroom component

provides attached facilitieswith composting toilets,

water collectionand reclamation.

not shown: optional shade device covers the ramp and classroom porch.

shown: translucent rain screen wraps exterior of classroom, protects SIP interior components and comes in a variety of sustainable materials, including perforated aluminum and corrugated recycled plastic.

shown: clerestory windows illuminate the interior of the classroom from the north and south side. The rainscreen diffuses the light from the south.

shown: trombe wall component on southern facade provides passive heating during the winter.

sustainable finishesshown:

cork floorslow VOC finishes

fsc certified wood case goodsAgriboard SIP panels

recycled fabrics

brighton high: greenMOD classroomlocation: brighton, colorado

[1] Christian [1] Angelo[6] Gabe[1] George

[6] Ronnie[3] Jazmin*in addition ramp and stair skirtand outdoor seating skirt

AFH

Com

petit

ion

Boar

d

[com]promise = authenticity

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 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.

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 draftsman. Certainly, there was coaching throughout the research and design process, but we primarily assisted them in distilling their ideas and determining their architectural application. Very few generative suggestions from us were needed at all.

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 perceptive understandings with concepts specifi c to architecture and design. Though the assignments provided the students with a certain skill set, something even more remarkable happened: their investigations cultivated self-confi dence and spurred new trust in themselves. We immediately saw a “pride of ownership” in their work, and an authentic interest in their classmate’s ideas. This salient, but less forecasted outcome was quickly written into our fi nal design agenda: each participant’s voice must be visible in the design.

The students were not always lofty inventors; in fact, they were quite practical. Simple observations such as ability to see the board, that a classroom shouldn’t smell like feet, and comfortable temperature, were as important as high-tech Smart Boards and “comfy” chairs. Since the word ‘comfy’ was mentioned in almost every survey, we asked the students what that meant to them. Most said the chairs and desks were uncomfortable, but others dug deeper: they wanted to design a space that promoted an atmosphere similar to a coffee house, an environment where conversation and debate were encouraged and where a basic level of respect existed for all students. Throughout their research they discovered that they were evaluating not just where they learned, but how they learned.

This project gave the students an open platform from which to comment and critically engage their environment and offer design solutions. We heard and advanced the students’ ideas, encouraged them to dream big and found that their analysis was a strong critique of their learning environment and the future of education. The fi nal step for us in fulfi lling our [com]promise was to ensure that the students’ ideas were legible in our entry. Therefore, we developed a modular system that combined each student’s “fi ngerprint” or “dream” into a component. The modular design allows each of the students’ design ideas to be represented as an option in the SIP’s panel design, while the overall program honored their desire for fl exible and performative classroom space. The students were the inspiration and they left us feeling... inspired.

AFH competition text

project.4

architecture can only solve some

of education’s problems

“inspiring participation process: Having helped organized public charrette workshops 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).”

“amazing process: The process of development for this entry was absolutely wonderful! They did an amazing job of educating, coaching, and empowering the students; and reaped some great ideas as a result. It was really invigorating to review this one. The 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 could pick and choose to compile a custom classroom is compelling. But this project isnot about the final product, it’s all about the process - which was done very, very well.”

AFH: Juror Commentswww.openarchitecturenetwork.org

students generative process: rather than design a structure wedesigned the curriculum that could contribute to the design of the structure.

curriculum included: research/precedent studye2 video series on druk white schoolplan drawingcollage/diarama makingmodel buildinggroup presentation of their work

project.4

5GREENSBURG KANSAS GREEN HOMEStudio 4Spring 2009Abby Filanowski, Eric Doner, Mike Nulty and Anne Van HuisenInstructor: Rick Sommerfeld and Rob Pyatt

flexibility meets affordability

It is said that out of crisis 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 sustainable living at an affordable price.

shift house floor plan:designed for Greensburg, Kansas

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5

67

8

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14

street house

1.entry2. flexible office/bedroom

3. dining area4. kitchen

5. living6. bathroom

7. master bedroom8. outdoor living

alley house

9. interstitial garden10. bathroom11. kitchen12. flexible living area13. bedroom/garage/work space14. alley entry

project.5

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.

project.5

inital concept study models and diagrams

above: elevations from full construction document setleft: exterior rendering produced in Revit

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.

project.5

interior renderings produced in Revit

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 space or garage with little modification to the original design.

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

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.

project.5

AFFORDABILITY

TIMELINE

FUNCTION

BUDGET$100K phase 2 construction

resident moves into front house. back house becomes workshop, office, rental unit or garage.

PHASE 2 COMPLETECOMPLETE

LANDSCAPING

final details completedwith the landscape. Thehouses are tied together

$8,000

INFILL STRAWBALE

AND FINISH HOUSE

PHOTOVOLTAIC PANELS

INSTALLED

optional PV panels are installed. Small scale systempowers part of the home’s split HVAC system.

$12,000

STRUCTURE AND ROOF

phase 2 structure and roofare built. This creates aneighborhood coveredpavillion or covered parking.

LANDSCAPE INSTALL

back house begins to mergeinto the landscape.

$1500 pavers$3000 plants / trees$2000 misc.

total: $6500

GREENSBURG RESI

DENT

MOVES IN

Phase 1 complete:back house serves as primary residence / greensburgeco-lodging, greensburg office or community building.

$60K initial construction costs

COMPLETE PHASE

BEGIN PHASE 1BEGIN PHASE 2:

FOUNDATION

RAIN CISTERN

cistern installed forrain collection. tied into planters.

$3500

FOUNDATION CURED

foundation for phase 2 could serve as a community meeting space orgathering space for residents.

BACK HOUSE KITCHEN

PHASE 1: BACK HOUSE

PHASE 1: BACK HOUSE PHASE 2: FRONT HOUSE

SOUTH ELEVATION NORTH ELEVATION

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 residenceleft: model photographs showing interstitial courtyard and rainscreen cladding

above: phase 2, 1000 sf. main residence

project.5

phase 1:small house

phase 4:completed residence

phase 3:main house foundation

phase 2:indoor/outdoor living

Our team created a set of marketing materials for the Shift House.

Samples shown right.

wall section sample excerpt from full construction document set

Live Green.

SHIFT

HOUSE

greensburg image

Live Affordably.

SHIFT

HOUSE

SHIFT

HOUSE

Live Fully.

RAIN SCREEN ON STEEL FRAME

CONCEALED LIGHTING SHELF

7" SIP PANEL CONSTRUCTED WITH AGRIBOARD

EXTERIOR 2 COAT STUCCO SYSTEM

FRENCH DRAIN IN CONCRETE BASIN

CORRUGATED METAL ROOF

LEED The SHIFT HOUSE is designed specifically to achieve many of the points promoted by the LEEDfor Homes checklist.

INNOVATIVE REGIONAL DESIGNStrawbale ConstructionRain/Wind Screen Wall System

LOCATION and LINKAGESClose to Main StreetExisting Infrastructure

SUSTAINABLE SITESBasic Landscape DesignDrought Resistant Plants and Grasses

WATER EFFICIENCY Rainwater Harvesting Reduced Irrigation Demand

ENERGY and ATMOSPHERE Enhanced InsulationSplit-System HVAC DistributionEnvironmentally Preferred Products

metal roofing and claddingcreate a rain/wind screen.the continuous profile of thematerial defines the form ofthe house.

strawbale walls insulate whilecreating a heavy contrast tothe light cladding.

concrete foundation and interiorfloors provide seamless materialtransition between indoor and outdoor spaces.

RAIN SCREEN ON STEEL FRAME

CONCEALED LIGHTING SHELF

7" SIP PANEL CONSTRUCTED WITH AGRIBOARD

EXTERIOR 2 COAT STUCCO SYSTEM

FRENCH DRAIN IN CONCRETE BASIN

CORRUGATED METAL ROOF

LEED The SHIFT HOUSE is designed specifically to achieve many of the points promoted by the LEEDfor Homes checklist.

INNOVATIVE REGIONAL DESIGNStrawbale ConstructionRain/Wind Screen Wall System

LOCATION and LINKAGESClose to Main StreetExisting Infrastructure

SUSTAINABLE SITESBasic Landscape DesignDrought Resistant Plants and Grasses

WATER EFFICIENCY Rainwater Harvesting Reduced Irrigation Demand

ENERGY and ATMOSPHERE Enhanced InsulationSplit-System HVAC DistributionEnvironmentally Preferred Products

metal roofing and claddingcreate a rain/wind screen.the continuous profile of thematerial defines the form ofthe house.

strawbale walls insulate whilecreating a heavy contrast tothe light cladding.

concrete foundation and interiorfloors provide seamless materialtransition between indoor and outdoor spaces.

project.5

6ART WORKUndergraduate School2002-2006Anne Van HuisenCalvin College Fine Arts

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 and the organic human form. While architecture orders human environments, people are apart from it.

linear elaboration

tod shavingoil on canvas60”x 52”

project.6

above: german dinneroil and acrylic

60”x72”

sister abigailacrylic and graphite

36”x42”

across: bob and andrea cookingacrylic and oil

60”x52”

Everyday experiences are captured within the space we occupy. These spaces define the way we see and engage life. The format of my work is very large; almost life scale. This is intended to provide the viewer a small look into the space of another; space defined by architectural fabric.

project.6

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

thank you.

design portfolio

Documents

Transcript of design portfolio