MEGAN KORTENHOF ARCHITECTURE 2018 - 2023
0.1 COMMON GROUND
PROFESSOR: DAVID NEWTON
SEMESTER: SPRING 2022
PROJECT TEAM: MEGAN KORTENHOF + TYMAREE KRUSEMARK
2 A-20 4
A- 1 20 3
2
A-201
-2.5’
0’
1
A-200
left: view of the proposal's entrance produced by Megan Kortenhof and Tymaree Krusemark right: site and floor plan produced by Megan Kortenhof
Common Ground re-thinks the 21st century library. The design builds on the central role traditional libraries play in their communities by providing spaces for community members to exercise democratic processes without hidden regulations, a consumer agenda, or a destructive culture. This proposal creates a central community hub in South Lincoln, NE, that reunites an individualistic community through the architectural experience of the building in its exhibition of diverse activities and space for encounters between the users. The design capitalizes on the concept of a social condenser; here we find it extremely important to reignite its political roots in a nonpartisan and productive way. This process functions best in an environment that strikes the appropriate balance between energetic and grounded, leading us to the push and pull, one-story circular form. The circular design effectively emphasizes the intersections of public space through a central ring that bleeds into the various program areas. Users will be drawn together in the intersection of a multitude of programs with an intentional lack of visual seclusion.
4 | COMMON GROUND
-2.5’
0’
-2.5’
0’
-2.5’
0’
-2.5’
0’
-2.5’
0’
-2.5’
0’
COMMUNITY FORUM
VOTER EDUCATION AND REGISTRATION
GUEST LECTURE
COMMUNITY FORUM
VOTER EDUCATION AND REGISTRATION
GUEST LECTURE
-2.5’
0’
-2.5’
0’
-2.5’
0’
-2.5’
0’
-2.5’
0’
-2.5’
0’
LITERATURE HIGHLIGHT
STUDENT SHOWCASE
VOLUNTEER RECRUITMENT
LITERATURE HIGHLIGHT
STUDENT SHOWCASE
VOLUNTEER RECRUITMENT
left: imagined event configurations produced by Megan Kortenhof right: view of the proposal's center produced by Megan Kortenhof and Tymaree Krusemark
This wide, central intersection allows for various configurations hosting conversation and debate unseen in previous condensers, specifically promoting democratic processes. Within the intersection, a central depression in the floor functions as a versatile seating and gathering space. Reconfigurable dividers provide surfaces to project media upon and create new divisions of space to aid in these processes. The building's asymmetrical circular form lends itself to non-hierarchical organizations and created sectors that attend to environmental and view framing concerns. This organizational strategy is continued into the landscape, extending main formal lines to create gathering spaces varying in size and program.
5 | COMMON GROUND
6 | COMMON GROUND
7 | COMMON GROUND
left: floor-to-wall and wall-to-ceiling details produced by Megan Kortenhof right: working sketch of floor-to-wall visual seperation detail created by supply ducts produced by Megan Kortenhof
Materials for this proposal curate feelings of innateness, and civil importance. A monotone palette of taupe concrete finishes works to provoke these feelings within the community. The color serves as a unifier here between large contrasts such as an oversized, jagged sand cast finish on the exterior and a smooth, velvety finish on several interior surfaces. The rest of the envelope consists of glass, joined in a rather seamless manner to give the appearance of voids among the heavy concrete masses. Moments of significant expression lie in the exterior columns and both floor-to-wall and wall-to-ceiling connections. This detail serves one of the proposal's main goals, specifically to expose the structure and celebrate the solid qualities of civic architecture. The columns are entirely cast-in-place concrete and give the appearance of a structural mullion when interfaced with the curtain walls. Vertical divots where the walls meet the floors and ceilings suggest separate parts. This furthers our goals of creating a commons and utilizing this space as a civic agent in that the floor appears as a durable platform for the community.
0.2 FRAME ON 14TH
PROFESSOR: SARAH DEYONG
SEMESTER: FALL 2020
left: view of studio space produced by Ethan Boerner right: Context plan highlighting the proposal's siting on 14th street produced by Megan Kortenhof
PROJECT TEAM: MEGAN KORTENHOF + ETHAN BOERNER
This proposal for a Student Learning Commons offers a new home for thinkers, creators and activists at the University of Nebraska-Lincoln. The design is both literally and metaphorically a flexible framework, constructed mainly out of wood, to house the ever-changing needs of the community. The design advances UNL's mission on diversity and anti-racism, proactively integrating anti-ableist spatial strategies, and other inclusive narratives. The proposed building bisects the existing, large and underutilized quad site into two smaller quads while strengthening the connection to 14th street and the city beyond. The west block of campus is dedicated to educational activities, and the east block to resources, recreation and mixed-use spaces. Each side of the building corresponds to the program of the quads they face. Through the use of dark, natural wood for the structure, floors and ceilings spatially foregrounds framed views of trees on the quad, bringing natural daylight and exterior views into the interior.
10 | FRAME ON 14TH
below: west-facing section perspective produced by Megan Kortenhof
11 | FRAME ON 14TH
12 | FRAME ON 14TH
above: floor plans produced by Megan Kortenhof
13 | FRAME ON 14TH
The proposal draws on the research presented in Ellen Lupton and Andrea Lipps, The Senses: Design Beyond Vision, to incorporate several anti-ableist spatial strategies. This begins with the organization. Four lobbies/vertical cores give equal access to upper stories to people in wheelchairs; the ground floor is on grade with the exterior, removing the need for ramps and stairs; the horizontal circulation is marked with bays at 10 ft intervals, facilitating wayfinding for the blind; and visual relations between circulation and programmed areas, both horizontally and diagonally across floor levels, support wayfinding for the hearing impaired. Similarly, furniture layouts address a variety of study habits inclusive of people with different mental (e.g. ADHD) and physical abilities.
14 | FRAME ON 14TH
left: view of streetscape produced by Ethan Boerner right: north-facing section illustrating various user groups and structure produced by Megan Kortenhof
The program for the new Learning Commons leverages existing programs such as the food pantry, town and gown events, and community outreach. The existing food pantry is reimagined by discreetly immersing it into a larger store – destigmatizing the need for assistance. Furthermore, UNL considers all outdoor space on campus public, a sentiment this project strives to capitalize on by activating a streetscape with large sliding door entrances along both sides of the structures, allowing the program to spill out onto both the street and the adjacent quads. This not only utilizes the benefits of integrating nature and education but presents opportunities to bring community events onto campus. Food trucks, pop-up vendors, and organized protests then flourish in a well-trafficked area of campus, increasing the students’ interactions with these activities. This proposal integrates spatial strategies and a novel program so that the new building can be a place for groups and individuals who strive for a more just future. In coming years, community-oriented, multi-use spaces and workspaces resembling studios or workshops will likely be prioritized over lecture halls and study rooms. The framelike nature of the structure means spaces can be rearranged to adapt to new functions and visions. But most important, is the belief that designing for systematically disadvantaged or discriminated individuals benefits all users of the UNL community.
15 | FRAME ON 14TH
0.3 IN TRANSITION
PROFESSOR: HILLARY WIESE
SEMESTER: SPRING 2020
left: manifesto of interaction collective research formatted into a box right: individual drawings of playground elements
PROJECT TEAM: MEGAN KORTENHOF
A material's ability to reflect the forces of nature and of human interaction is powerful and has a great capacity to influence those who encounter it. No material portrays a sharper reflection than concrete. From studying the works of designers such as Bas Princen, Andreas Angelidakis and Andrei Tarkovsky, we see the reoccurring themes of the impact of time and the fragility on a seemingly strong material. Questions of how to approach our level of interaction with this material inevitably arise. In response, I have come to assemble a manifesto of interaction: why temporality is concrete's wheelhouse, and that perfect preservation abrades its power. Ruins resulting from times of war, for example, force us to confront the results of our actions, instead of (intentionally or not) promoting ignorance. Here we see it is often the memories we long to forget that are the most important to preserve. Therefore, a material holds more value not in a pristine condition but as a translator of a memory. Experiencing the memory is the best way to hear its message. Therefore, rather than attempting to achieve perfect preservation of a material, we should embrace the wear and tear of interaction and the resulting scares that jog our collective memories. Being confronted with a memory can lead us to the realization that we have some control, and that all the guidance we need is right in front of us. This is, above all, a material's most important quality.
18 | IN TRANSITION
above: playground model
19 | IN TRANSITION
The exploration of the temporality of concrete became a rich background for a children's playground. Diverting from the stereotypical playground and veering towards an outdoor educational area gave rise to a focus of auto destructive zones. Auto destructive zones are an underutilized way to let children blow off steam and navigate their interactions with not only the material but with other children, pushing back against the ever increasing trend of helicopter parenting. Allowing children to create and play in areas where danger might seem too pressing to adults is more times than not a space they can handle on their own. The auto destruction playground's three areas, developed from extensive reference exploration and over-scaling simple shapes, allow children to build important character skills such as decision making and confidence.
0.4 EAST WARREN AVE
PROFESSOR: ELLEN DONNELLY
SEMESTER: SPRING 2021
left: exploded axonometric highlighting the envelope structure produced by Megan Kortenhof right: community priorities sketch produced by Lizzy Kramer
PROJECT TEAM: MEGAN KORTENHOF + LIZZY KRAMER
This proposal for a community center in Detroit, MI, presents the opportunity to tackle a diverse range of issues. The architecture strives to find a balance between celebrating the area's history and uplifting the community by offering new habitats and nourishing ideas. A further priority is creating a space that not only welcomes its visitors, but embraces them in the face of stigmatization. The surrounding community/user group is largely stricken by poverty and deserves a proposal that fights their fight in a grassroots format by giving them the authority over how the space is used. It is important to acknowledge within projects of this nature that the user knows their needs best. Therefore, the program was based heavily on a needs assessment given out to the community and feedback gathered from sitting in on community meetings. This project utilizes a palette approach to develop a range of uses, manifesting in a ‘landscape of spaces’, so to speak. Varying the size and access points of the spaces promotes uses such as community gatherings, pop-ups, exhibitions, and classes to take place. This programing allows the proposal to spill beyond its physical boundaries and promotes further outreach in the community by giving groups a 'home base' to form in.
22 | EAST WARREN AVE
23 | EAST WARREN AVE
top left: ground floor plan produced by Megan Kortenhof bottom left: first floor plan produced by Megan Kortenhof right: view of maker space opening up to the adjacent alley produced by Megan Kortenhof
The site's TMSO community restrictions dictated the form and envelope. Restrictions such as the opacity allowance within the building facade were utilized in a way that makes the community center a point of interest to passer-byers. Pop up venues open up directly to East Warren Ave, drawing pedestrians in through more than just the main entrance. The pocket park also works to do this by breaking up the dense street facade with greenery and blending into the circulation of the building. The layout of the prescribed programs strives to keep the diverse users' intrigue once inside. Dynamic adjacencies, physically and visually, were created between the local business pop-up spaces, bakery and coffee shop, local restaurant, and maker's space. Furthermore, the residential portions on the first and second floors are dedicated to one and two bedroom apartments presently lacking in the area.
24 | EAST WARREN AVE
below: south-facing section produced by Megan Kortenhof right: view of courtyard produced by Megan Kortenhof
25 | EAST WARREN AVE
