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

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