My design philosophy is rooted in the belief that architecture is a tool for equity, advocacy, and collective empowerment. I focus on community-based projects that help prioritize collaboration, accessibility, and the lived experiences of those often overlooked in the design process. Through thoughtful engagement and responsive design, I aim to challenge systemic injustices and create spaces that foster dignity, belonging, and resilience. My work uplifts marginalized voices, seeking to transform the built environment into a platform for social justice and lasting impact.
ABOUT ME
KATE BRASHEAR
HONORS
- Faculty Achievement Award
- Tau Sigma Delta Treasurer
- UNL Regents Scholar
- UNL Architecture Dean’s List
- UCARE Dual Grant Recipient
- O. & G. Kammerer Scholarship
- Norman Ochsner Scholarship
EDUCATION
UNIVERSITY OF NEBRASKA
- Master of Architecture
- Graduation | May 2025
- Cumulative GPA | 3.96 / 4.0
UNIVERSITY OF NEBRASKA
- Bachelor of Science in Design
- Graduation | May 2023
- Cumulative GPA | 3.94 / 4.0
- High Distinction
- Major | Architecture
- Minor | Environmental Studies
MARIAN HIGH SCHOOL
- Graduation | May 2019
- Cumulative GPA | 4.25 / 4.0
SKILLS
- Rhino 8
- Revit
- SketchUp
- V-Ray
- Enscape - Lumion - Bluebeam
- Adobe Suite
- Microsoft Office
- Climate Studio
REFERENCES
ZAC PORTER
- UNL, Associate Professor
- zporter2@unl.edu
DAVID BURTON
- APMA, Partner
- dburton@alleypoyner.com
EXPERIENCE
GRADUATE TEACHING ASSISTANT
402.609.8513
brashearkate@gmail.com
Lincoln, Nebraska
UNIVERSITY OF NEBRASKA - LINCOLN AUG. 2023 - PRESENT
- Work as a primary instructor for DSGN 123 - Computer Applications in Design.
- Direct class work, lead critiques, develop class presentations, provide design feedback, and grade assignments.
ARCHITECTURAL INTERN
ALLEY POYNER MACCHIETTO ARCHITECTURE MAY 2024 - JAN. 2025
- Created and developed digital models, presentation drawings, graphic signage, site assessments, and code reviews.
- Engaged in consultant coordination and client meetings with other design and engineering professionals.
CONTRIBUTING EDITOR
UNICAMERAL DESIGN MAGAZINE
AUG. 2023 - MAY 2024
- Interviewed design professionals and oversaw documentation sourcing.
- Wrote and developed feature articles, design essays, and editorial layouts regarding the state of design in Nebraska.
ARCHITECTURAL INTERN
SINCLAIR HILLE ARCHITECTS
SUMMER 2023
- Developed built and unbuilt projects alongside design professionals.
- Created digital models, drawings, diagrams, graphics, and presentations for clients and in-office design professionals.
UNDERGRADUATE TEACHING ASSISTANT
UNIVERSITY OF NEBRASKA - LINCOLN
AUG. 2022 - MAY 2023
- Worked as an undergraduate teaching assistant for DSGN 110 - Design Thinking and ARCH 232 - Materials and Assemblies.
- Graded assignments, proctored exams, provided design feedback, and assisted students in and outside of class.
UNDERGRADUATE RESEARCH ASSISTANT
UNIVERSITY OF NEBRASKA - LINCOLN
AUG. 2021 - MAY 2023
- Created digital graphics and design modeling for Actual Architecture Company.
- Conducted research, digital modeling, and 3D printing with faculty in an effort to study figure-ground precedents.
ARCHITECTURAL INTERN
HOLLAND BASHAM ARCHITECTS
SUMMER 2021 & 2022
- Completed digital models, construction documents, and client presentations in collaboration with architects and interior designers.
- Conducted market research, precedent analysis, and digital diagramming.
PROJECT ORDER
ABOUT THE ICONS
The project icons you will see throughout this portfolio, specifically in the table of contents and at the start of each section, are abstract visual cues. They are not literal diagrams or floor plans, but distilled representations of each project’s core concepts. Think of them as design stories told in shape and line, snapshots of the bigger ideas behind the work.
08 CHOCOLATE FACTORY
16 COMMUNITY CENTER
24 WOMEN’S SHELTER
32 AFFORDABLE HOUSING
40 CHILDREN’S THEATER
PROJECT ONE
CHOCOLATE FACTORY
This adaptive reuse project displays the ability to combine creativity and technical skills through the creation of highly detailed, precise drawings and physical models. The proposal reimagines a historic Swiss chocolate factory as a new Toblerone Campus, a tourist destination that celebrates the brand’s legacy through immersive experiences, retail, and educational spaces. Inspired by an artist sketch on a postcard, the factory serves as a starting point for an exploration of blending the structure’s original character with new interventions.
ARCH 610 | FALL 2024 PROFESSOR
NICOLE MCINTOSH
The development of extremely detailed and stylized drawings played a crucial role in conveying the proposal’s core ideas. These densely populated graphic floor plans, elevations, and sections not only highlighted spatial relationships but also communicated how the space would be occupied and used in real life. By visually depicting the programmatic flow of the space, the drawings helped to clarify how the immersive experiences and retail areas would interact within the structure, ensuring that the design responded to both the building’s historic fabric and contemporary needs.
Additionally, the development of a large-scale physical model focused on examining the building’s facade, offering a tangible means to explore materiality, scale, and architectural expression. This modeling deepened the understanding of how the facade could reflect Swiss cultural heritage while addressing functional needs. Through this hands-on exploration, insights were gained that informed later design decisions, including the choice to showcase traditional Swiss facade materials like stone, brick, and wooden window and door framing.
“PRESERVATION ENGAGES THE PAST IN A CONVERSATION WITH THE PRESENT OVER A MUTUAL CONCERN FOR THE FUTURE.”
WILLIAM MURTAGH PRESERVATION HISTORIAN
The design preserved the existing buildings in their entirety, while introducing oversized, occupiable chimneys in the central courtyard; drawing inspiration from the factory’s historic industrial elements and reimagining them as unique, interactive spaces that blend heritage with contemporary function.
EXISTING ELEVATION
PROPOSED ELEVATION
“Stairs are seamlessly built into the thickened walls of the occupiable chimneys, allowing visitors to move through the ground plane, pause at framed views of the campus from elevated landings, and engage with suspended art installations along the way.”
“ARCHITECTURE IS EXPOSED TO LIFE.
IF IT’S SENSITIVE ENOUGH, IT CAN ASSUME A QUALITY THAT BEARS WITNESS TO PAST LIFE.”
PETER ZUMTHOR SWISS ARCHITECT
PROJECT TWO
LINCOLN INDIAN CENTER
ARCH 511 | SPRING 2024 PROFESSOR MONIQUE BASSEY
This project focuses on the creation of an indigenous community center through community engagement, site integration, and culturally-centered programs. The design process was driven by the need to create a space that reflects the needs and values of the Native community in Lincoln, Nebraska. Community engagement was a key component of this studio, allowing us to receive critical input and feedback from members of the Lincoln Indian Center. This ensured the design was shaped by those who would use and benefit from it most.
Based on this input, the design prioritized minimizing land disruption, staying within the existing footprint when possible. This approach ensured that the project honored the site’s historical and spiritual significance while developing a deeper connection between the built and natural environment. The event hall took on the form of a traditional earth lodge, drawing from Native practices of the Midwest to create a gathering space that embodies heritage and resilience. Working directly with landscape students, the design reimagined the entire site, prioritizing direct indoor and outdoor connections.
The design sought to incorporate a range of cultural programs requested by community members, including a funeral space, a medicinal room, a seed propagation room, and cultural classrooms. All programs will serve as vital spaces to support community traditions, healing practices, and the preservation of Indigenous history. As a whole, this project reflects my deep commitment to designing spaces that respect and amplify cultural identity while simultaneously fostering a sense of individual belonging, community, and emotional healing.
“THINGS WHICH DO NOT GROW AND CHANGE ARE DEAD THINGS.”
LOUISE ERDRICH
NATIVE AMERICAN AUTHOR
The interior programming seamlessly connects to the exterior through large openings, outdoor gathering spaces, and integrated landscapes, allowing key functions to extend into nature and fostering a fluid relationship between built and natural environments.
DAYCARE
ADMIN OFFICE
ADMIN OFFICE
ADMIN OFFICE
MEDICINE ROOM
SEED ROOM
FITNESS ROOM
MECHANICAL
FLEX CLASSROOM
ART GALLERY
Active community engagement played a key role in shaping the Native art gallery, as conversations with community members highlighted the need for a dedicated space to celebrate Indigenous creativity and storytelling. As a response, the design incorporated a gallery showcasing artifacts alongside contemporary works by local Indigenous artists, developing a dialogue between past and present. In doing this, the space not only honors cultural heritage but also provides a platform for Native artists to share their voices and strengthen community identity.
EVENT HALL
Through community input, it became clear that a larger, more versatile event space was needed to support cultural gatherings, ceremonies, and social events. In response, the design reimagined the event hall as a modern interpretation of the historic Indigenous earth lodge, incorporating a rounded form with radial beams as a means of reflecting traditional construction methods. This design choice not only honors ancestral building practices but also creates an inviting, communal atmosphere that strengthens cultural identity and community connection.
SEED ROOM
Community outreach revealed a strong desire to support Indigenous agricultural and medicinal practices, leading to the inclusion of a dedicated seed room. This space was designed for seed propagation, winter growing, and long-term seed storage, ensuring the preservation and continuation of traditional environmental knowledge. By providing a controlled space for cultivating culturally significant plants, the seed room reinforces Native ideas surrounding food sovereignty, healing practices, and the intergenerational sharing of Indigenous ecological wisdom.
The use of natural facade materials reflects the Native connection to the land, grounding the design in a deep respect for nature, while a mural by a local Indigenous artist celebrates both contemporary creativity and the storied history of the center as a vital community gathering place.
“WE WILL BE KNOWN FOREVER
PROJECT THREE
WOMEN’S SHELTER
This proposal features the creation of post-women’s shelter residences that allow for privacy and individual ownership that maintains community amenities and an inherently secure site design. The proposed concept centers around providing a safe and supportive environment for women and their children transitioning out of shelters, with a thoughtful approach to integrating personal space and communal support. A site featuring housing and vegetation along the perimeter allows for protection and privacy within the central outdoor
ARCH 510 | FALL 2024
PROFESSOR EMILY ANDERSEN
community spaces, without the need for walls or fencing. The project also prioritizes the inclusion of community spaces that benefit the overall wellbeing and recovery of all residents, including a meditation garden, child’s playground, community garden, food pantry, and onsite counseling. Each of these programs contribute to developing a feeling of healing and connection. The design also considers trauma-informed strategies by incorporating natural light, clear sightlines, and calming materials that support mental and emotional wellness. Accessibility is a key component as well,
ensuring that both private and shared spaces are welcoming and usable for people of all ages and abilities. Unlike typical shelters, privacy and individual ownership is maintained through the creation of townhomestyle residences arranged around a central courtyard. This arrangement promotes both independence and a supportive community environment. The project embodies an approach to creating compassionate, secure, and empowering spaces for vulnerable populations, where the design fosters autonomy while enhancing support.
Dense vegetation and strategically placed residences along the site’s perimeter create a natural barrier that enhances the security and privacy of the central outdoor amenity spaces, eliminating the need for gates or fences.
Open sightlines from the residences to the central courtyard enhance security by allowing for continuous, passive supervision, particularly of children, while eliminating closed, secluded spaces that could compromise safety.
PRIVATE PUBLIC
“OFTEN IT ISN’T THE INITIATING TRAUMA THAT CREATES INSURMOUNTABLE PAIN, BUT THE LACK OF SUPPORT AFTER.”
S. KELLEY HARRELL AUTHOR & SPIRITUALIST
PRIVATE PUBLIC
PLAYGROUND
The playground in the central courtyard serves as a vital space for children to play, socialize, and heal through movement and interaction. Its central location fosters a sense of community while allowing caregivers to easily supervise from surrounding residences and shared spaces. As part of a trauma-informed design strategy, the playground supports emotional wellbeing and restores a new feeling of normalcy for families transitioning out of shelter environments.
TOWNHOME
Incorporating a rent-to-own townhome model alongside other co-living units provides residents with a clear path toward long-term housing stability and personal investment. This assortment of housing options accommodates varying levels of independence and readiness, empowering residents to transition at their own pace. Combined with shared community amenities, the model fosters both individual growth and collective support, creating a resilient and inclusive living environment.
COMMUNITY GARDEN
The central community garden offers a therapeutic space where residents can engage in nurturing routines that allow for emotional recovery and personal empowerment. As a key element of trauma-informed design, this encourages a connection to nature, mindfulness, and a sense of purpose through hands-on activity. By fostering engaging social interaction and self-sufficiency, the garden helps to rebuild trust, community ties, and a sense of stability for individuals healing from past trauma.
PROJECT FOUR
AFFORDABLE HOUSING
This residential project promotes affordability, mental wellness, and sustainability through the integration of micro-units and applied passive design strategies. The core design elements include the use of natural light filtration to minimize energy consumption and improve occupant health, natural ventilation to enhance indoor air quality, and rain collection systems to support site sustainability and reduce water usage. Increased façade R-values help further improve energy efficiency, working to maintain comfortable interior temperatures
ARCH 511 | SPRING 2024 PROFESSOR
MICHAEL HARPSTER
year-round while lowering utility costs. The proposal also emphasizes userbased amenities, unit efficiency, and access to outdoor spaces, creating a living environment that is both compact and high-performing. Micro-units are strategically designed to reduce square footage per unit without the sacrifice of functionality, thereby lowering rent and increasing access to quality housing. The use of various natural materials, such as exposed cross-laminated timber (CLT), contributes to a calming interior environment, supporting mental health through key biophilic design principles.
Shared amenities and thoughtfully designed outdoor spaces work to further encourage social connection and community resilience. Collectively, these strategies establish a replicable design model for future developments seeking to create housing affordability through quality, sustainable, humancentered residential design. Overall, the project embodies a commitment to affordable, sustainable housing that enhances health, comfort, and long-term resilience for residents and the community, working to create social change at a higher level.
“HOUSING IS ONE OF OUR MOST BASIC HUMAN NEEDS AND PERHAPS
LARGE-SCALE
GABLED
SHADING
INTEGRATED
A CLT interior finish promotes sustainability through the use of renewable, low-carbon materials, while also supporting wellness by creating warm, calming environments that reduce stress and enhance occupant comfort.
1/2” ZINC CLADDING
1/2” AIR GAP
3/4” X 1 1/2” WOOD FURRING STRIPS
1/2” ZINC CLADDING
1/2” AIR GAP
3/4” X 1 1/2” WOOD FURRING STRIPS
Increasing the R-value of the exterior walls enhances insulation performance, reducing energy consumption for heating and cooling, which promotes long-term sustainability and lowers utility costs for residents, thereby supporting overall affordability.
3/4” X 1 1/2” WOOD FURRING STRIPS 1/2” AIR GAP 1/2” ZINC CLADDING
PROJECT FIVE
CHILDREN’S THEATER
The design for the Lincoln Children’s Theater is shaped by a contextually based building form and a central glass canyon housing the theater’s public circulation. This new schematic proposal is presented in an abstract, diagrammatic, and graphic style that emphasizes conceptual intent and spatial relationships over materiality or finish. The inclusion of education spaces, collaborative workshops, and behind-the-scenes tours supports creative engagement and learning opportunities for young audiences, reinforcing the theater’s function
ARCH 310 | FALL 2021
PROFESSOR
CRAIG BABE
as a cultural and educational hub. A site-specific massing strategy ensures proper alignment with nearby buildings and enhances integration within the surrounding urban context. The central glass canyon divides the building into two volumes, offering clear sightlines from corner to corner and encouraging nearby pedestrians to visually engage with the interior activity. This transparent circulation zone promotes openness, accessibility, and a dynamic connection between interior and exterior spaces. By providing both free and low-cost programs, the proposed theater creates
new opportunities for underserved children to engage with the arts in meaningful and empowering ways. The inclusion of flexible, multipurpose spaces further supports community access, allowing the building to host a range of events that respond to Lincoln’s needs. The abstract visual language used throughout the new proposal highlights the volumetric experience and intended atmosphere of the theater without relying solely on representational detail. Together, these strategies prioritize clarity in creating a vibrant public space.
1ST FLOOR ALIGNMENTS
The exterior walls of the first floor are in alignment with the nearby Creamery building, Olsson office, and the historic canopy. The existing setbacks creating by the surrounding buildings work to form the angles that define the overall building massing.
2ND FLOOR ALIGNMENTS
The exterior walls of the second floor are in alignment with the surrounding Creamery building, the Olsson building, and the historic canopy. These guides enable the second floor massing to be contextually sensitive while informing angled variation that differentiates the top floor from the bottom.
ROOF ALIGNMENTS
The roof edges of the building massing are aligned with the adjacent Creamery building, Olsson office, and the historic canopy exterior walls. The angle of the roof was formed by matching the right corner to the height of the Creamery building and the opposite left corner to the height of the Olsson office.
OVERALL MASSING
The contextual massing for the theater combines the alignments used on the first floor, second floor, and roof. By accommodating each of these factors, the final form is thoughtfully integrated within the site and the Haymarket.
The glass canyon reveals bridged circulation paths from the street, creating a layered visual experience that is intentionally ambiguous, sparking curiosity and inviting visitors to explore the space further.
ANGLED CIRCULATION
The building’s angled circulation paths mirror the geometry of the angled façade, reinforcing the proposed architectural language and creating a sense of cohesion between interior and exterior. The various shifting pathways intersect and overlap in unexpected ways, producing intricate, complex spatial relationships reminiscent of Piranesi’s imaginary architectural designs. The result is a modern, dynamic, multiperspective environment that encourages exploration and blurs the boundaries between structure, movement, and spectacle.
LOBBY & CAFE
The open lobby and café on the first level provide unobstructed views upward through the glass circulation canyon, allowing visitors to view movement across multiple levels simultaneously. This vertical transparency creates a sense of connection between levels, activating the space with constant visual interest. The layered circulation becomes a dynamic backdrop, immersing guests in the rhythm of the building and reinforcing the theater’s role as a place of continuous activity and exchange.
BRIDGED WALKWAYS
The bridged walkways on the building’s top level create elevated, private circulation routes for performers, allowing them to move between spaces without crossing any public areas. These walkways are visible from the central glass canyon, turning everyday backstage movement into a subtle performance in itself. By extending the spectacle beyond the theater walls, the design blurs the line between performance and architecture, engaging visitors in unexpected and dynamic ways.
THANK YOU
Thank you for taking the time to explore this portfolio. Through these projects, I’ve come to understand that meaningful design doesn’t start with a blank page; it starts with people, their stories, and their lived experiences.
