Composite Portfolio (8 Semesters) by Lydia Juengling

LYDIA JUENGLING SELECTED WORKS

IN A NUTSHELL...

LYDIA JUENGLING COMFORTABLE Adobe Suite SketchUp Enscape Salesforce (CRM)

FAMILIAR

“Only one life, ’twill soon be past, Only what’s done for Christ will last. And when I am dying, how happy I’ll be, If the lamp of my life has been burned out for Thee.” C.T. STUDD

Ever since I can remember, I’ve loved drawing, learning, and exploring. By the time I was in seventh grade, I knew I wanted to be an architect because I was passionate about both logic and creativity. Since coming to KU to study architectue, I’ve become more dedicated to the profession as means to bring restoration to the world and to people. I aspire to be a life-long learner and advocate, rooted in my core values, so that I can best serve those around me.

EDUCATION HISTORY

University of Kansas, Lawrence, KS M.Arch, May 2023 expected Honors Program Certificate, May 2023 expected Gloabl Awareness Certificate, May 2021 Certificate in Service Learning, May 2021

Revit Lumion

Washington High School, Washington, MO Summa cum laude, May 2018

INTERESTS

Four Rivers Career, Washington, MO Certifitcate in Graphic Communications, May 2018

International culture Playing music Painting Exploring Cooking

SKILLS

Teachability Initiative Flexibility Diligence Empathy Organization Commitment

REFERENCES

Shannon Criss Professor of Architecture, University of Kansas scriss@ku.edu Eddy Tavio Adjunct Professor, University of Kansas Project Desiger, Senior Associate, Populous etavio@ku.edu

HONORS + RECOGNITIONS

Portfolio Book Award Finalist, 2021, 2022 Udall Scholarship KU Nominee, 2021 Gilman Scholar, 2020 Phi Kappa Phi Member, 2021 - present National Society of Collegtiate Scholars Member, 2019 - present School Honor Roll 2018 - 2019 2019 - 2020 2020 - 2021 Excellence in French Studies Award Fall 2018, Spring 2019 TRIO Scholar Award 2018 - 2019 2019 - 2020 2020 - 2021

INVOLVEMENT + LEADERSHIP Overseas Service Team Central Asia Team Leader, 2021

AIAS - KU Member, 2018 - present Chapter VP, 2020 - 2021 Chapter Treasurer, 2020 Class Representative, 2019 -2020 School of Architecture and Design Peer Mentor, 2020 - present Faculty Search Committee, 2020 - 2021 Student Leaders Council, 2020 - 2021 Faculty Liaison, 2020 - 2021 Dirtworks Design-build Studio Project Manager, 2020 - 2021 Freedom by Design, AIAS - KU Lawrence Community Garden maintenance volunteer, spring 2022 Lawrence Community Shelter donation sorting, fall 2020 Douglas County Senior Resource Center wayfinding design team, fall 2018 KU Christian Challenge Small Group Leader, 2019 - present Worship Team, 2018 - present Rock Hill Church Children’s Ministry, 2019 - present Worship Team, 2021 - present American Society of Professional Estimators Student Member, 2020, 2022 TRIO SES & STEM Member, 2018 - present

RECENT WORK EXPERIENCE Work Group, LLC, Lawrence, KS Business Development Intern Sept. 2021 - present

LYDIA.JUENGLING@KU.EDU ISSUU.COM/LYDIAJUENGLING 2

Kansas Athletics, Inc., Lawrence, KS Student Athlete Support Services Tutor Aug. 2019 - Dec. 2020

IN A NUTSHELL...

LYDIA JUENGLING COMFORTABLE Adobe Suite SketchUp Enscape Salesforce (CRM)

FAMILIAR

“Only one life, ’twill soon be past, Only what’s done for Christ will last. And when I am dying, how happy I’ll be, If the lamp of my life has been burned out for Thee.” C.T. STUDD

EDUCATION HISTORY

University of Kansas, Lawrence, KS M.Arch, May 2023 expected Honors Program Certificate, May 2023 expected Gloabl Awareness Certificate, May 2021 Certificate in Service Learning, May 2021

Revit Lumion

Washington High School, Washington, MO Summa cum laude, May 2018

INTERESTS

Four Rivers Career, Washington, MO Certifitcate in Graphic Communications, May 2018

International culture Playing music Painting Exploring Cooking

SKILLS

Teachability Initiative Flexibility Diligence Empathy Organization Commitment

REFERENCES

Shannon Criss Professor of Architecture, University of Kansas scriss@ku.edu Eddy Tavio Adjunct Professor, University of Kansas Project Desiger, Senior Associate, Populous etavio@ku.edu

HONORS + RECOGNITIONS

INVOLVEMENT + LEADERSHIP Overseas Service Team Central Asia Team Leader, 2021

RECENT WORK EXPERIENCE Work Group, LLC, Lawrence, KS Business Development Intern Sept. 2021 - present

LYDIA.JUENGLING@KU.EDU ISSUU.COM/LYDIAJUENGLING 2

Kansas Athletics, Inc., Lawrence, KS Student Athlete Support Services Tutor Aug. 2019 - Dec. 2020

CONTENTS 06

COMMON PLACE

The goals: design a refined but exciting pedestrian experience, increase residential density, and accommodate amenity needs for the existing and proposed communities. Common Place adds an inclusive and interactive component to the 18th Street corridor as a piece of a larger masterplan.

CROSSROADS RESTORATION CENTER

On a brownfield adjacent to the prominent Kauffman Center for the Performing Arts, Crossroads Restoration Center fulfills all the petals of the Living Building Challenge and becomes a new kind of species in an urgan habitat.

MEASURE DISTILLERY

Measure Distillery references the Jazz District a few blocks east—experientially and architecturally. For those who come to enjoy a distilled beverage or for those who work in the production facilities, Measure Distillery is functional and poetic.

ARCHITECTURE PLUS

A collection of projects that are not buildings.

PROJECT LOCATIONS IN KANSAS CITY

CONTENTS 06

COMMON PLACE

CROSSROADS RESTORATION CENTER

MEASURE DISTILLERY

ARCHITECTURE PLUS

A collection of projects that are not buildings.

PROJECT LOCATIONS IN KANSAS CITY

VIEW FROM ACROSS 18TH STREET

COMMON PLACE MIXED-USE RESIDENTIAL 153,000 GSF 1480 E. 18TH ST. KANSAS CITY, MO EDDY TAVIO | FALL 2021 SUMMARY East 18th Street on the Missouri side of Kansas City is relatively undiscovered. However, that certainly does not imply a lack of potential. As a city development exercise, the studio examined 18th Street on a masterplan scale. Then, the group established goals: design a refined but exciting pedestrian experience, increase residential density, and accommodate amenity needs for the existing and proposed communities. Within those goals, Common Place adds an inclusive and interactive component to the 18th Street corridor as a piece of a larger masterplan vision. KEY LEARNING OUTCOME It is vital to consider multiple scales of impact of a project, from the size of a closet to the economic implications on a city. This type of thinking helps ensure integrity and secure the purspose of a design.

VIEW FROM ACROSS 18TH STREET

SITE A parking lot at the east end of 18th Street is the site of Common Place. Just one block away from the start of the historic 18th & Vine Jazz District, and a few blocks from Crossroad’s Arts District, the lot is situated in a context rich with inspiration. After conducting thorough research on every building and lot along 18th Street, the studio determined which lots could serve as sites for further development. The studio developed 10 mixed-use residential projects, all accommodating different amenity needs such: gyms, markets, event venues, restaurants, bars, and workspaces. The developments added nearly 1100 dwelling units.

SITE BENEFITS • Rich history and culture • Space for future development • Existing community events SITE CHALLENGES • Disconnect between districts • Lack of green spaces • Unfriendly pedestrian conditions GUIDING QUESTIONS • What is missing? • How can a high unit count be reached without creating an impeding mass? • Who will live here?

RECOGNIZE UNIQUE IDENTITIES

Two towers represent 18th & Vine Jazz District (east) and Crossroads Arts District (west).

TWO BUT ONE As I stood on the proposed project site on an August evening, I was struck by the music coming from the Jazz District to the east and the lights of the Crossroads District in the west. The sounds and lights represented the unique identities of each of these districts. Although one of the goals of the studio’s mixed-use residential development was to unify the 18th Street, it seemed necessary to recognize the current disconnect between the corridor’s endpoints. To that end, two towers, sisters in form but different in mixed-use program, became the anchoring concept of this project.

INDEPENDENTLY JOIN IDENTITIES

Bringing the towers together fulfills the studio’s goal to create unity along 18th Street, but keeping two buildings resists the impulse to bulldoze existing conditions to serve a “greater” purpose.

CONNECT PEDESTRIANS

The gap between the towers becomes a secondary corridor to engage pedestrian activity (see exterior renderings). Program on the ground levels is accessible for all community members, regardless of age, mobility, or social status.

CONNECT RESIDENTS

A bridge between the towers creates a common place for residents with rooftop activities (see elevation).

VISUALLY CONNECT TO CITY

Centralized circulation cores are the most efficient strategy for maximizing unit counts and minimizing material used in vertical construction. This choice also provides full views around the perimenters of the towers (see plans).

RECOGNIZE UNIQUE IDENTITIES

Two towers represent 18th & Vine Jazz District (east) and Crossroads Arts District (west).

INDEPENDENTLY JOIN IDENTITIES

CONNECT PEDESTRIANS

CONNECT RESIDENTS

A bridge between the towers creates a common place for residents with rooftop activities (see elevation).

VISUALLY CONNECT TO CITY

NORTH ELEVATION

EFFICIENT + EFFECTIVE

Both towers employ efficient use of space that is grounded in the original concept of creating connectivity.

KEY SPACES 1. Sober bars 2. Outdoor seating 3. Open coworking space 4. Street car stop 5. Rooftop pool, life-size board games, fire pits, and bars 6. One-bedroom apartment 7. Two-bedroom apartment

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2 6 3 7

CUT-AWAY ISOMETRIC

EFFICIENT + EFFECTIVE

Both towers employ efficient use of space that is grounded in the original concept of creating connectivity.

KEY SPACES 1. Sober bars 2. Outdoor seating 3. Open coworking space 4. Street car stop 5. Rooftop pool, life-size board games, fire pits, and bars 6. One-bedroom apartment 7. Two-bedroom apartment

1 5

2 6 3 7

CUT-AWAY ISOMETRIC

PROGRAM

A great deal of study went into developing the program for Common Place. I began by visiting several apartment complexes in the region to observe their layouts and amenities. I also researched amenities that apartment renters expect. Aside from precedent study, the program was also derived from imagining what would be most useful to this community.

3 4

There are two mixed-use program elements that are intended to give people a common place to gather. In the east tower, two stories of sober bars offer a familyfriendly place to get a milkshake, soda, bubble tea, and the like. Many bars exist near 18th Street, but there are no spaces designed with family recreation in mind.

3 1

After grabbing a round of coffees with friends or coworkers, one could cross the outdoor seating area to the coworking space in the west tower. Inspired by the lack of togetherness in workplaces during the pandemic, anyone can come to meet with clients, virtual conference with companies, or set up brainstorming sessions. Both the mixed-use programming and the units above establish togetherness, therefore grounding the name Common Place.

FIRST FLOOR

1. Game room 2. Theater 3. Lobby 4. Management offices 5. Gym 6. Open coworking space 7. Outdoor seating 8. Sober bars

THIRD FLOOR

1. One-bedroom apartment, typical 2. Two-bedroom apartment, typical 3. Rooftop pool 4. Bar 5. Fire pits and seating 6. Life-size board games

TYPICAL RESIDENTIAL FLOOR 1. One-bedroom apartment, typical 2. Two-bedroom apartment, typical

PROGRAM

3 4

3 1

FIRST FLOOR

1. Game room 2. Theater 3. Lobby 4. Management offices 5. Gym 6. Open coworking space 7. Outdoor seating 8. Sober bars

THIRD FLOOR

1. One-bedroom apartment, typical 2. Two-bedroom apartment, typical 3. Rooftop pool 4. Bar 5. Fire pits and seating 6. Life-size board games

TYPICAL RESIDENTIAL FLOOR 1. One-bedroom apartment, typical 2. Two-bedroom apartment, typical

INCLUSIVITY The sober bars, located on the bottom two levels of the east tower, foster an inclusive environment that is sensitive to the social context of the project. There are many bars surrounding the 18th St. Corridor, but there are no family-friendly places to go for a drink. At Common Place, anyone can come grab a smoothie, buble tea, latte, milkshake, or special soda.

SOBER BARS, LOWER LEVEL

VIEW FROM 18TH STREET

BACK WHERE IT STARTED The inspiration for Common Place began standing on a parking lot, the August sun setting over an arts festival in the Crossroads District. Developing the 18th Street corridor necessitates imagining how new construction would interact with existing culture. This concluding view displays the visual and social playfulness of Common Place, inspired by the lights and music, designed for the future of the community.

VIEW FROM 18TH STREET

AERIAL VIEW TOWARD NORTHWEST

CROSSROADS RESTORATION CENTER EDUCATIONAL 42,800 GSF 1640 BALTIMORE AVE. KANSAS CITY, MO 64108 STEVE PADGET | BNIM | PARTNERS SPRING 2022 SUMMARY On a brownfield adjacent to the prominent Kauffman Center for the Performing Arts, Crossroads Restoration Center fulfills all the petals of the Living Building Challenge. It is itself a journey of restoration of past ecosystems, becoming a species of its own in its urban habitat. This project was completed in partnership with Madi Karlin. KEY LEARNING OUTCOME The Living Building Challenge is a rigorous yet necessary level of excellent performance to pursue.

AERIAL VIEW TOWARD NORTHWEST

SITE The project was slated to be built on one plot divided into two lots separated by a retaining wall that reached 20 feet at its highest. However, the western lot is owned by the Kauffman and was to remain undeveloped. Therefore, the eastern half of the block, which was also the lower elevation, became the footprint project boundary. SITE BENEFITS • Several inherent points for Living Building Challenge, especially under the Site petal SITE CHALLENGES • Steep elevation change • Relatively extreme climate • North-south orientation (east-west more ideal)

GUIDING QUESTIONS • How does this impact our design goals? • How does this dictate what can / cannot be included? • How will this site be used in the “off-season”? • How can we remain loyal to the naturally occurring ecology of the site? • How can we work with natural conditions to optimize and maintain occupant comfort? • • How does this provide learning opportunities • and / or challenges on the site?

KA UF FM AN

CE NT ER

LTIM

KA UF FM AN

CE NT ER

LTIM

FROM SOMETHING TO NOTHING TO SOMETHING Many years ago, this site would have been tallgrass prairie. “Amber waves of grain” would have rustled in the Kansas wind, rolling out into the vast unknown. Today, it’s an urban brownfield. With both the ecological history of the site and the programmatic vision of a nature center, the idea came to design an organism rising up to realize its potential. It will take care and patience, but eventually a new ecosystem can be sustained--even in a city.

LAYERS OF ACCESSIBILITY From a circulation lens, the main vine and the off-shooting branches are accessible for anyone with mobility challenges. This also means that nature itself is extremely accessible from anywhere on the project. KEY SPACES 1. Lobby 2. Auditorium 3. Offices 4. Meeting rooms 5. Workshops 6. Outdoor learning tiers 7. Greenhouse 8. Cafe 9. Prairie restoration 10. Urban forest 11. Amphitheater 12. Constructed wetland

4 1

12 2

4 1

12 2

EAST FACADE 30

LONG SECTION PERSPECTIVE 32

SOUTH FACADE 34

-2’ - 6”

-7’- 1”

7 3 12’- 1”

7 1

6 6

9’- 7”

5 up up

7’- 1”

4’- 7”

-6’- 0”

0’- 0”

UPPER LEVEL

1. Lobby 2. Amphitheater 3. Workshop 4. Outdoor learning tier 5. Porch 6. Greenhouse 7. Cafe

LOWER LEVEL

1. Auditorium 2. Bike lockers 3. Meeting rooms 4. Offices 5. Open work station 6. Surplus water storage 7. Battery storage

-2’ - 6”

-7’- 1”

7 3 12’- 1”

7 1

6 6

9’- 7”

5 up up

7’- 1”

4’- 7”

-6’- 0”

0’- 0”

UPPER LEVEL

1. Lobby 2. Amphitheater 3. Workshop 4. Outdoor learning tier 5. Porch 6. Greenhouse 7. Cafe

LOWER LEVEL

1. Auditorium 2. Bike lockers 3. Meeting rooms 4. Offices 5. Open work station 6. Surplus water storage 7. Battery storage

MATERIALS In order to be both efficient and loyal to the Materials petal of the Living Building Challenge, a variety of materials were chosen for the macro-scale structure. All of these choices are Red List friendly. The S.I.R.E. walls, which act as bearing walls, give the illustion of the earth fracturing.

LOBBY ON A WEEKDAY

FLEXIBILITY The lobby is the hub of Crossroads Restoration Center. Here, schoolchildren can gather while waiting for their first workshop. On the weekends, a farmers’ market can pop up to display the food grown on-site. This programmatic flexibility allows the Center to serve its community every day of the week.

LOBBY ON A SATURDAY

LOBBY ON A WEEKDAY

LOBBY ON A SATURDAY

SOUTHEAST ACROSS PRAIRIE RESTORATION

SOUTHWEST ACROSS OUTDOOR LEARNING TIERS

MEASURE DISTILLERY DISTILLERY 60,000 GSF 1800 OAK ST. KANSAS CITY, MO TODD ACHELPOHL | SPRING 2020 SUMMARY On a hot-spot corner of 18th Street in Kansas City, MO, Measure Distillery references the Jazz District a few blocks east —experientially and architecturally. For those who come to enjoy a distilled beverage or for those who work in the production facilities, Measure Distillery is functional and poetic. LEARNING OUTCOME The narrative of a project must be the anchor for every decision. It is critical to remain focused on the intent of the concept.

SITE SITE BENEFITS • On a prominent corner • In established district • Near KC Street Car stops • Along popular pedestrian street • Within walking distance of 18th & Vine Jazz District

SITE CHALLENGES • No clear connection to Jazz District • Experientially isolated from Crossroads District • Insignificant existing corner • Little outdoor seating / dining available

OAK ST.

On the initial site visit, I drove right past the lot without realizing it. That reiterated the challenge from my professor to make this corner a significant place along the 18th Street experience. Although the building program would have to be oriented along the north-south axis, it was still important to find ways to increase solar access. Key views to the south were asking to be features of the event space of the distillery’s program. A lack of any plantings made the site feel cold and sad, so brining life back to the street was also an important goal for the distillery.

18TH ST.

GUIDING QUESTIONS • How can a distillery link districts? • To what degree should the envelope adopt characteristics of surrounding buildings? • How can solar access be maximized? • How can the street corner experience be impactful at a pedestrian scale?

SITE SITE BENEFITS • On a prominent corner • In established district • Near KC Street Car stops • Along popular pedestrian street • Within walking distance of 18th & Vine Jazz District

SITE CHALLENGES • No clear connection to Jazz District • Experientially isolated from Crossroads District • Insignificant existing corner • Little outdoor seating / dining available

OAK ST.

18TH ST.

ONE O’CLOCK JUMP

How can a distillery on the to-bedeveloped 18th Street Corridor make a connection to the isolated Jazz District? The answer to this question was directly inspired by the song “One O’Clock Jump” by Count Basie, an influential jazz artist in Kansas City. In listening to this song, the I began to see the notes in my mind as leaping vectors atop steady geometry. The form developed from there as an expressive treble clef in partnership with a lower, heavier bass clef. The building envelope system became the articulation of this expression. The melody of “One O’Clock Jump” is mapped out on the upper story, which represents the treble clef. Each mesh panel is a note’s tone and duration. The bass clef, then, is expressed as a high performance glazing unitized curtain wall system.

CONNECT RESIDENTS

A bridge between the towers creates a common place for residents with rooftop activities (see elevation).

CONNECT RESIDENTS

A bridge between the towers creates a common place for residents with rooftop activities (see elevation).

CONNECT RESIDENTS

A bridge between the towers creates a common place for residents with rooftop activities (see elevation).

CONNECT RESIDENTS

A bridge between the towers creates a common place for residents with rooftop activities (see elevation).

ONE O’CLOCK JUMP

CONNECT RESIDENTS

A bridge between the towers creates a common place for residents with rooftop activities (see elevation).

CONNECT RESIDENTS

A bridge between the towers creates a common place for residents with rooftop activities (see elevation).

CONNECT RESIDENTS

A bridge between the towers creates a common place for residents with rooftop activities (see elevation).

CONNECT RESIDENTS

A bridge between the towers creates a common place for residents with rooftop activities (see elevation).

BASS VS. TREBLE The stills are the feature of Measure, visible from both Oak Street and 18th Street. The ground level spaces have more mellow, repetitive functions—just like a bassline in jazz music. The upper story, however, houses the event spaces, which connotate excitement like the trebel clef. 52

KEY SPACES 1. Stills 2. Viewing bar 3. Lobby 4. Retail bar 5. Event bar 6. Event room 7. Testing lab 8. Barrel storage 9. Outdoor seating NORTH-SOUTH SECTION, LOOKING EAST

PRIVATE VS. PUBLIC

EAST-WEST SECTION, LOOKING NORTH 54

Production spaces, accessible only to employees, are on Measure’s west half. Private offices upstairs have views into the still rooms, which are also visible from the street and the main lobby. The east half is designated for public use and public viewing into the distilling production.

KEY SPACES 1. Open offices 2. Private office 3. Employee locker room 4. Employee lobby from 18th 5. Stills

PRIVATE VS. PUBLIC

EAST-WEST SECTION, LOOKING NORTH 54

KEY SPACES 1. Open offices 2. Private office 3. Employee locker room 4. Employee lobby from 18th 5. Stills

PROGRAM Solorepercia que non conecture volorum aceaquamenis sunt volum recullitas il idigendus, nonse modi doluptatis et lautem est aperspic tenimpe ruptae doles dunt porrum quos aperum ipsunto eum que est ipidebis dolecatem dolor aut veligeniamus si num enimolupta nonsenist, quibusam core la dolo et, cum, abor rentinctur? Edi omnihictem sum et et lat officimagnis excerrum quia que commoloris am volorere incitatiat est verum volupta tionem re laccate cor as abo. Et reptatur aut am, quostion cullias et, cuscia ius initae por apid minis aut apisimp oresedit molupiet porunt prepelenet officitium

7 7

1 2 8

GROUND FLOOR 1. Stills 2. Bar 3. Staging 4. Bottling 5. Outdoor bar 6. Employee support 7. Production

SECOND FLOOR 1. Event bar 2. Event space 3. Private offices 4. Open offices 5. Board room 6. Kitchen support 7. Catering 8. Event space storage

BASEMENT FLOOR 1. Barrel storage 2. Testing / labs

7 7

1 2 8

GROUND FLOOR 1. Stills 2. Bar 3. Staging 4. Bottling 5. Outdoor bar 6. Employee support 7. Production

SECOND FLOOR 1. Event bar 2. Event space 3. Private offices 4. Open offices 5. Board room 6. Kitchen support 7. Catering 8. Event space storage

BASEMENT FLOOR 1. Barrel storage 2. Testing / labs

VISIBLE MELODY In developing the design from concept to proposal, much attention was given to IBC requirements as well as how Measure Distillery would actually function. This project was my first experience using the IBC and drawing a wall section. Both the 3D and 2D wall sections show a unitized curtain wall system hung from a steel frame. Each mesh panel along the second story skin represents one note from Count Basie’s “One O’Clock Jump.” A panel’s length and width were determined by the tone and duration of its corresponding note. Measure’s “treble” envelope is a visual melody.

ARCHITECTURE PLUS:

“MOVEMENT” | 2019 PAPIER-MÂCHÉ + BASSWOOD

This model was completed as part of a project during first year studio. It is an abstraction of motion through time. The moving subject stood on one side of a handrail, ducked underneath, and stood again on the other side. Basswood frames represent each frame of motion. The papier-mâché shell represents the continuity of the movement.

ARCHITECTURE PLUS:

“MOVEMENT” | 2019 PAPIER-MÂCHÉ + BASSWOOD

“MATTY” | 2015 GRAPHITE

This was completed in high school for a hyperrealistic drawing assignment. I chose to draw Matty Healy, lead singer of The 1975. I learned a lot about the effectiveness of contrast, light, shadow, and textures.

“CAP FED” | 2018 WHITE PENCIL

An assignment in my first studio, this drawing was an exercise in seeing and in the impact of light.

“MATTY” | 2015 GRAPHITE

“CAP FED” | 2018 WHITE PENCIL

An assignment in my first studio, this drawing was an exercise in seeing and in the impact of light.

“EVEN HERE” | 2021 ACRYLIC

The fall of 2021 was one of the darkest times of my life. This painting expresses the oppressive, heavy clouds I felt trapped in for months. It also shows two figures, nearly enveloped but still there, walking together. One is me, and the other is Jesus, without whom I would not have been delivered from the darkness, and who walks with me through it all.

“HOW LONG?” | 2020 GRAPHITE + WATERCOLOR

During the heightened racial tensions of the summer of 2020, my close friend Cason led a march in our hometown. This painting imagines the suffering of millions throughout hundreds of years, leading up to the present. Will the line of those walking in sorrow continue to grow?

“EVEN HERE” | 2021 ACRYLIC

“HOW LONG?” | 2020 GRAPHITE + WATERCOLOR

LYDIA.JUENGLING@KU.EDU 636 . 432 . 4320 ISSUU.COM/LYDIAJUENGLING 66