Megan Strayer Architectural Portfolio | 2021 by Meg Strayer

M E G A N STRAYER ACADEMIC PORTFOLIO

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COPENHAGEN CULTURAL HERITAGE CENTER CIVIC CENTER Copenhagen, Denmark

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RETHINKING THE SUBWAY STUDY OF PANDEMIC PROXEMICS Chicago, Illinois

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TETRIS HOUSE RESIDENTIAL FLATS Leith, Edinburgh, Scotland

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NUNEMAKER CENTER RENOVATION DESIGN-BUILD | DIRT WORKS STUDIO Lawrence, Kansas

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GRAPHIC DESIGN WORKS VARIOUS PROJECTS Freelance

MEGAN STRAYER

meg.strayer@gmail.com c: 417-365-0492 linkedin.com/in/megstrayer issuu.com/megstrayer

EDUCATION:

Reeds Spring High School | 2012-2016 University of Kansas | 2016-2021 5-Year Master of Architecture Program Business Minor Newcastle University | Fall 2018 Newcastle Upon Tyne, England, Student Initiated Program

ACADEMIC ACHIEVEMENTS/ AWARDS:

Community Foundation of the Ozarks - Dake Wells Architecture Scholarship recipient | Spring 2016 University Honor Roll Fall 2016, Spring 2017, Spring 2018, Fall 2019 University Honors Program Honors Opportunity Award Recipient | Fall 2018 Architecture Masterprize: Nunemaker Renovation Honorable Mention, Educational Buildings | Fall 2019

EMPLOYMENT:

EXPERIENCE:

The Jayhawk Club | May 2019 - Present Bartender, Manager | Customer Service Interpersonal communication, organization, teamwork, multitasking University of Kansas | August 2017 - May 2018, August 2019 - May 2021 Paper Grader Critical thinking, analyzing data Paris Internship Program | Spring 2021 (Canceled due to COVID-19) Selected to participate in KU’s four-month work program in Paris, France Gensler Co-Op Detroit | Fall 2020 (Canceled due to COVID-19)

Only student selected for the Detroit Gensler office to participate in a highly competitive urban research studio experience

Dirt Works Studio | Spring 2019

Design-build studio in which two classrooms in Nunemaker Center on KU campus were renovated. Served on the Communications Team, and reached out to local newspaper companies like University Daily Kansan, Kansas City Star, and Lawrence Journal World.

INVOLVEMENT:

ACTIVITIES:

AIAS FORUM | 2017, 2018, 2019 Conference Attendee Creator’s Ball Committee | Volunteer 2018 & 2019, 2021; Chair 2020 Served on, and led a committee which planned and executed an end-ofyear networking event for architecture and design students at KU. Assisted in the marketing and identity phase as well as helped organize vendors.

SKILLS:

Rhinoceros

Graphic Design

Adobe Illustrator

Event Planning

Adobe Photoshop

Communications

Adobe InDesign

Leadership

Revit

Marketing

Lumion

Customer Service

AutoCAD SketchUp Bluebeam

CULTURAL HERITAGE CENTER Site: Copenhagen, Denmark Fourth Year of Study | Spring 2020 | Project with Annie Ringhofer Revit, Adobe Illustrator, Adobe Photoshop, Lumion

Copenhagen is the capital of Denmark, but also the most populous city in the country. Starting as a Viking fishing village in the 10th century, Copenhagen flourished as the cultural and economic center of Scandinavia. Boasting architectural landmarks, many museums, promenades, waterfronts, Copenhagen remains the cultural, economic, and civic center of Denmark. The skyline of Copenhagen is mostly horizontal, broken only by the spires and towers of civic and religious buildings. Heritage centers combine functions of both tourist information centers, museums, and administrative offices for preservation of historic cities. In such buildings the story of the city’s history is displayed with exhibits and displays. In the Copenhagen Cultural Heritage Center, we wanted to create a building that would enhance the unique architectural typology that Denmark takes such pride in. With projecting staircases framing breathtaking views, our intent was to design a space in which people can reflect on the city itself. The building was intended to reflect the existing urban fabric of the city and to give tourists and locals alike an opportunity to view some of Copenhagen’s most famous landmarks, all from one place.

MEGAN STRAYER

FORM EVOLUTION VIEWS FROM SITE Due to the site’s immediate context, views are limited to the left and right. By assessing the site’s relation to local landmarks, we can identify which views are visible from the site and at what elevation they become visible.

EXTRUDE Extruding the basic form of the building, done so by inverting the common “courtyard” typology. This serves to allow any open green space to be entirely public and accessible by all.

CURVE VIEWS AROUND CORNERS To maximize viewpoints and eliminate possible sight-line hindrances, we concentrate the views to the corners of the building. This minimizes the obstructions caused by the buildings adjacent to the site.

ENCAPSULATE To emphasize the external views, we encapsulate these views outside of the main form. These projections extend out from each corner, creating a unique and dynamic form.

FUNNEL TRAFFIC The shape of our site creates a natural funneling shape toward the heart of the city and toward Christansborg Palace. The landscaping is used to emphasize this relationship and to encourage people interact with the site.

COPENHAGEN CULTURAL CENTER

Café

Galleries

Conference Room

Lobby

The façade louver system is centered on engineering experience and views, as well as filtering sun and mitigating solar heat gain. The façade is more porous when the programming is more interior-focused, such as gallery spaces. The louvers are sparser when the programming is more exterior-focused, such as the café, and where natural lighting is beneficial, such as the lobby and the workspaces. The transitions between dense to sparse flows in the direction of travel around the perimeter of the building.

MEGAN STRAYER

Section AA

Site Section 12

COPENHAGEN CULTURAL CENTER

Section BB

MEGAN STRAYER

Level 1

Level 2

COPENHAGEN CULTURAL CENTER

MEGAN STRAYER

Level 3

Level 5

COPENHAGEN CULTURAL CENTER

MEGAN STRAYER

RETHINKING THE SUBWAY Site: Chicago, Illinois Fifth Year of Study | Fall 2020 | Impact Collaborative (KU) Rhino, Adobe Illustrator, Adobe Photoshop

Public transportation is an important aspect of urban life. Often major cities are defined by the speed and efficiency of their transportation systems, as it represents public accessibility. In cities with grid-locked traffic, public transportation systems like metros or subways provide a reliable and timely alternative. The COVID-19 Pandemic has exacerbated concerns regarding public transportation, that were often overlooked during normal everyday life. Poorly functioning HVAC systems, closed-in spaces, and close proximity to others raises concerns with transmission of COVID-19. This project takes a critical look at some of these “pinch-points” and proposes solutions as to how to navigate the “new normal.” According to a study conducted for this project, before the pandemic 81% of people did not consider crowding of public transportation an issue, but 70% say that from now on they will. Providing a safer, more effective subway car will be critical to the future of public transportation in a post COVID-19 world.

MEGAN STRAYER

STUDYING PROXEMICS

Proxemics is the study of human use of space, as well as the effects that population density has on behavior, communication, and social interaction.1 It is widely accepted that there are four basic “zones” of personal space. These are: intimate space (0-2 feet), personal space (2-4 feet), social space (4-12 feet), and public space (12+ feet). Intimate space is often breached for embracing, touching, or whispering. Personal space breaching is reserved for interactions involving close friends or family. Social space is for interactions with acquaintances and strangers. Public space is used to measure distances used for public speaking. In the attempt to slow the spread of COVID-19, the CDC release guidelines to limit close contact between individuals in public spaces. This included encouraging people to remain 6 feet apart. Therefore, we introduce another “zone” of personal space: CDC space. The CDC deemed this zone “social distancing,” which sounds similar to social space. For the purposes of this study we will refer to the social/personal zone of space of 4 feet as “personal space”, and the CDC zone of space of 6 feet “pandemic space.” These unspoken rules of human use of space influences everything from deciding where to sit in a busy cafe, which seat in a conference to occupy, to whether or not to board public transportation. According to polling data conducted for this experiment, prior to the COVID-19 pandemic, crowding was not much of a factor in determining things like use of public transportation. However, the current pandemic has altered the way society operates, and many people will be cautious of crowds indefinitely. yes

Was crowding a factor in decision-making for you before COVID-19?

Will crowding be a factor in decision-making in the future?

“Personal Space – Proxemics.” The Economic Times, 2007, https://economictimes.indiatimes.com/personal-space-proxemics/articleshow/2252840.cms

RETHINKING THE SUBWAY

yes

It is widely accepted that there are four basic “zones” of personal space. These are: intimate space (0-2 feet), personal space (2-4 feet), social space (4-12 feet), and public space (12+ feet). Intimate space is often breached for embracing, touching, or whispering. For the purposes of this study we will refer to the social/personal zone of space of 4 feet as “personal space”, and the CDC zone of space of 6 feet “pandemic space.”

Before the COVID-19 Pandemic, many people operated at a “personal distance” of four feet. This includes interactions with acquaintances and strangers in settings such as public transit

During the COVID-19 Pandemic, people now are encouraged to operate at a “pandemic distance” of six feet. This is to provide more space for viral particles to disperse when exhaled and reduce the transmission of the COVID-19 virus

MEGAN STRAYER

EXISTING CTA “L” TRAIN CAR

A-

Doors on vertical axes create points of congestion as patrons who are riding for short amounts of time will crowd the middle section between the two doors

B-

Poles stemming from the middle of rows encourages standing room that violates personal space (as defined before)

C-

Most patrons avoid sitting close to strangers and avoid middle seats, rendering row seating ineffective.

Existing CTA “L” Car Stats: Total SF: 371 Seats: 38 Standing SF: 180 Standing passengers: 33 (5.4 sf/p standing load2)

Total passengers per car: 71 “System-Wide Rail Capacity Study.” Chicago Transit Authority, 2019, https://www.transitchicago.com/assets/1/6/RP_CDMSMITH_RCM_Task2AExecutiveSummary_20170628_FINAL.pdf

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Photo of empty CTA car shows combination row seating and paired seating

Photo shows that during peak times, standing riders and seated riders tend to share the same air space.

Zolkiewicz, Kevin. “3200-series Longitudinal Test Seating Car Gallery.” Chicago-L.org, 2004, https://www.chicago-l.org/trains/gallery/3200s_LongSeatCar.html#photos.

MEGAN STRAYER

PROPOSED CTA “L” TRAIN CAR The new floor plan focuses on grouping passengers based on transit length and flexibility during peak and offpeak times. This flexibility also allows for proper distancing during the COVID-19 pandemic.

Short-Term Riders

Proposed CTA “L” Car Stats: Total SF: 371 Seats: 26 Standing SF: 203 Standing passengers: 37 (5.4 sf/p standing load2)

Total passengers per car: 63 Difference of -8 per car

“System-Wide Rail Capacity Study.” Chicago Transit Authority, 2019, https://www.transitchicago.com/assets/1/6/RP_CDMSMITH_RCM_Task2AExecutiveSummary_20170628_FINAL.pdf

RETHINKING THE SUBWAY

Long-Ter

rm Riders

Short-Term Riders

A-

Doors offset from vertical axis allow for movement and discourage people from crowding doors and creating congestion.

B-

Poles stem from the end of the seats rather than the middle, keeping standing traffic from intruding on the seated patron’s personal space.

C-

Seats are broken into pairs to avoid unused middle seats, as most subway patrons travel alone or in pairs.

D-

Branched stanchions allow multiple people to hold at once without having to share individual grips.

E-

Use of fold-up seats near doors and in “standing zones” allow for more standing room during peak times and seating room during off-peak times.

MEGAN STRAYER

“PERSONAL” DISTANCE

board

4’-0”

Given it wouldn’t make you late to your destination, would you board this train or wait for the next one?

wait

“PANDEMIC” DISTANCE

wait

6’-0”

Given it wouldn’t make you late to your destination, would you board this train or wait for the next one?

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board

MEGAN STRAYER

EXISTING HVAC SYSTEM Return Supply

Typical HVAC systems feature two units on either end of the car. This causes air from the center of the air to mix with air from the ends of the car. In existing metro cars have supply and return vents on the ceiling of the car. This forces air to circulate twice through the inhabited zone of the car.

PROPOSED HVAC SYSTEM Return Supply

A Tripartite HVAC system will divide the car into three zones consistent with seating layouts, keep contaminated air “contained” in one zone rather than circulating through the whole car. This system places supply vents on the ground and return vents on the ceiling, allowing air to only circulate once through the inhabited zone.

30 RETHINKING THE SUBWAY

exposed individuals infected person

zone 1

zone 2

In the existing HVAC system, both supply and return vents are located on the ceiling of the car. A typical metro HVAC system consists of two large units on each end of the car, creating two “occupied zones” of cycled air. The air cycles through occupied zones twice, once on the fall, and once on the way back up. Effectively, if one person in the car exhales viral particles, people have a 50% chance of sharing air with the infected person, as the air must fall before it can rise to the return vents.

exposed individuals infected person

zone 1

zone 2

zone 3

In the new HVAC system, air is vented to the floor of the car, and then cycles through the car in a more natural way. Supply vents are located directly above the floor, and return vents are on the ceiling of the car. The fresh air starts at the bottom of the car and passes through the occupied zone only once, and any viral particles picked up on the rise are carried out of the car and filtered through the return vents. Offsetting the large units from the ends of the cars and adding more return vents to each unit creates three occupied zones instead of two, and reduces the chance of sharing air with an infected person from 50% to 33.3%. These zones correspond with the short-term rider and long-term rider zones. MEGAN STRAYER

TETRIS HOUSE Site: Leith, Scotland Third Year of Study | Fall 2018 | Newcastle University Rhino, Adobe Illustrator, Adobe Photoshop, Lumion

Leith is a small neighborhood on the coast of Edinburgh in Scotland. Once a bustling maritime hub, the town is now experiencing a residential and commercial revival. The neighborhood is primarily residential and includes the listed “Banana Flats” (Cables Wynd House) building—a 1960’s brutalist structure now used as social housing. Part of the revival within Leith is to create new housing schemes along with introducing new social and community spaces to bring a new sense of unity to the run-down neighborhood. The new residential flat building houses 5 individual flat units, ranging from studio to two bedroom. Taking modular inspiration from Moshe Safdie’s Habitat 67, the Tetris House uses prefabricated units tailored to the residents’ lifestyles, needs, and wants, and stacks them in a fashion similar to that of the video game, Tetris. The studio and makerspace on the bottom floor is intended to be used by both the residents and neighbors as an outlet for the large creative sector that exists in Leith. The building’s main façade opens up to a large green space, in which an exhibition taking place in the studio can “spill” out onto the lawn on a nice day. The building also serves to shed light on a developed park directly adjacent to the site. The park is situated between two tall buildings, therefore limiting the amount of light provided by street lamps after sundown. The building’s glass circulation column provides an additional source of light to increase visibility, especially at night.

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FORM EVOLUTION

EXTRUDE The site is offset from the street, and extruded to a height to mitigate elevation extremes of surrounding buildings.

STEP BACK To preserve privacy, the building steps back from the front and orients the building to the street, rather than toward Cables Wynd.

MAXIMIZE NATURAL LIGHT With the best natural light coming from the east/ southeast, the building continues to step back to maximize sunlight to each apartment.

TETRIS BLOCKS The stepping-back effect creates a modular structural grid that allows for easy assembly and repetitive design principles within the apartments.

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SITE ANALYSIS 1

2 3

1 2 3 4

Optimal micro-climate, due to wind being blocked by Cables Wynd Close to proposed art gallery for makerspace products Location optimal for use of new green area Site is near new bus route

MEGAN STRAYER

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40 TETRIS HOUSE

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NUNEMAKER CENTER RENOVATION Site: Daisy Hill, Lawrence, Kansas Third Year of Study | Spring 2019 | Dirt Works Studio Design-Build Studio Experience, Adobe InDesign, Adobe Illustrator

Nunemaker Center sits atop the famous Daisy Hill on the University of Kansas Lawrence campus. This building was built in the 1970’s and features the use of exposed concrete elements within a rigid square grid system, broken by a prominent diagonal in the middle of the building. It is situated in the side of the hill, so its outward appearance is very deceiving. Inside there is a large atrium which opens up the space nicely. The building has not been renovated since it was constructed, and some of the classrooms were underutilized. Dirt Works Studio proposed a plan to revitalize the classrooms on the lower floor of Nunemaker Center. Along with the exposure of raw elements (like the concrete in the original design) the exposure of natural elements became a theme: ripping up of carpet to expose nice concrete floors, a wooden “wrapper” to encase the classrooms, and glass walls to bring the spaces together. While not directly involved in the design process, I was involved in the build process. This project is close to me in that Nunemaker Center serves as the home for the University Honor’s Program, which I am a part of. The diagrams and presentations of the classroom renovations were created by the communications team prior to the build phase.

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Demo Day

Cove Assembly

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Ceiling Assembly

Back-Painted Glass Installation

MEGAN STRAYER

Large Classroom Pre-Renovation

Large Classroom Post-Renovation

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Small Classroom Pre-Renovation

Small Classroom Post-Renovation

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TOPOGRAPHIC LECTERN At the conclusion of the Nunemaker Center Renovation, it was observed that there were no new furniture pieces to compliment the space. One of the design principles for the classrooms was a sense of flexibility and engaged learning. In order to facilitate this principle, it was decided that the classrooms needed a movable lectern. While building off the materials used in the classrooms, metal and wood, we wanted the lectern to feel as if it belonged to the space-that it simple couldn’t belong anywhere else. The form of the lectern was inspired by the Aqua Tower in Chicago, but used the topography that so many Jayhawks are familiar with: Mt. Oread. Extracting and dramatizing the topography, we were able to create an interesting take on a traditional classroom must-have.

50 NUNEMAKER CENTER RENOVATION

MEGAN STRAYER

SOCIAL MEDIA / GRAPHICS As part of the Communications Team, it was my job to oversee social media and digital communications. I maintained contact with the University of Kansas’s Office of Marketing Communications, and to keep them updated with our progress on the classrooms. I was also charged with scheduling photo and video sessions with the MarComm team for them to share on KU social media platforms. In addition, I manned the Dirt Works Studio instagram and facebook page, making sure to keep the public and those invested in our project up to date on our progress. I was also in charge of planning and advertising our open house at the end of the academic year. This event was attended by KU Honors Programs students and staff, architecture students and staff, as well as project donors and investors.

NUNEMAKER CENTER RENOVATION

Dirt Works Studio and The University Honors Program invite you to a

RIBBON CUTTING AND OPEN HOUSE NUNEMAKER CENTER RENOVATION M ay 1 5 t h 12:30 pm at n u n e m a k e r c e n t e r Refreshments and Hors D’OEUVRES provided

AIAS MIDWEST QUAD CONFERENCE Event Branding, Graphic Design, and Promotion KU AIAS | 2019-2020 Adobe InDesign, Adobe Illustrator, Adobe Photoshop

The AIAS is divided into quadrants: northeast, midwest, south, and west quads. As a member of the University of Kansas AIAS chapter, we are part of the midwest quadrant. Each year, a school from each quadrant hosts a regional conference which presents learning, networking, and professional development opportunities for student leaders. In 2019, the KU chapter presented a bid to host the quad conference in Kansas City, Missouri, which was last hosted by the KU chapter in 2012. Serving as co-chair and marketing/branding director, I was tasked with illustrating our theme through the use of graphics, social media, and website design. Our theme, ARCH+, supplements traditional education by exploring the different realms that architecture both affects and is affected by: Industry, Community, Technology, and Culture.

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MEGAN STRAYER

CREATORS’ BALL 2020 Event Branding and Promotion KU School of Architecture & Design | 2019-2020 Adobe Illustrator, Adobe Photoshop

Each year, the KU Chapter of AIAS holds the biggest architecture and design student + staff/faculty networking and social event. At the close of each year, to celebrate hard work and creativity, architecture and design students come together to show off their projects and cheers to another year well-spent. In the 2019-2020 school year, serving as the chapter Vice President, I headed the planning of the annual Creator’s Ball. For the year’s theme, we were inspired by “Alice in Wonderland’s” madness and chaos. To take a look into a designer’s brain would definitely leave one saying “we’re all mad here!” Take a look into the crazy tospy-turvy world of designers, where everything makes us “curiouser and curiouser.”

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MEGAN STRAYER

ELYSIAN SHORES REBRAND Small Business Freelance | Spring 2021 Adobe Illustrator, Adobe Photoshop

Elysian Shores Design is a small business that serves as a platform for personal creative endeavors ranging from art, graphic design, photography, to jewelry. This rebrand seeks to play into the calming essence of the ocean. Muted colors and decorative text gives adds nautical character to the brand that feeds on the inspiring nature of the ocean. Playing on the symbolism of sailboats with adventure, the Elyisan Shores brand allows me to explore different creative endeavors under the umbrella of one parent company.

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THANK

Y O U