PORTFOLIO
2ND YEAR INTERIOR ARCHITECTURE & DESIGN
ABBY NAUGLE
Hello.
MANIFESTO
Interior design, to me, is not just about aesthetics; it is a powerful tool for shaping how people feel, connect, and belong. As a creative and detail-oriented interior designer of color, I approach each project with a deep commitment to inclusivity, access, and human-centered thinking. believe that every space should be welcoming, accessible, and inclusive, reflecting the diverse lives that move through it.
My design philosophy is rooted in empathy, equity, and innovation. start by listening to truly understand the human needs in a space, ensuring everyone feels seen and supported, and creating bold, sustainable, thoughtful solutions. then translate those insights into intentional, sustainable, and impactful design choices that serve both function and feeling.
Driven by purpose and passion, embrace design as a collaborative process. pay attention to the details others might overlook, because I know that small decisions shape big experiences. Above all, aspire to create spaces that don’t just look right, but feel right. Spaces that welcome, empower, and help people feel at home.
PORTFOLIO ESSAYS
What inspired you to pursue interior design and how has that inspiration evolved over time?
From a young age, I loved immersing myself in creative projects like sewing, crocheting, painting, jewelry-making, and cake decorating. Still, I hesitated to call myself an artist, believing artistic ability was something you had to be born with. Over time, I realized that dedication, passion, and practice are just as important as raw talent. This realization sparked my interest in pursuing design. The summer after my freshman year of high school, I took two online interior design courses through the Fashion Institute of Technology. They showed me how creativity, planning, and problem-solving come together in designing spaces, and I knew I had found a path that matched my strengths and passions. Throughout high school, I pushed myself to grow as an artist. I took my first formal art classes, including a virtual ceramics and sculpture course during the pandemic, and later enrolled in a county-wide art and design program and a dual-enrollment drawing class at Kendall College of Art and Design. Though many classmates had more experience, I used the challenge to strengthen my technical skills, deepen my understanding of composition, and confirm my passion for designing spaces. Now, after two years at Western Michigan University, my inspiration has evolved. Interior architecture isn’t just about creating beautiful spaces, it’s about designing environments that make people feel comfortable, connected, and supported. My early love for rearranging furniture has grown into a deeper commitment to creating accessible, sustainable, and intentional spaces. With creativity, planning, and problem-solving at the core of my work, I am excited to keep learning and to build a career that makes a lasting impact through design.
What opportunities and experiences are you hoping to have as an IAD major in the upper-level curriculum? What do you specifically want to learn more about?
As I move into the upper-level curriculum of the Interior Architecture and Design program, I am excited to dive deeper into real-world applications. I hope to gain more hands-on experience working with clients, learning how to translate a client's needs, vision, and identity into tangible, functional spaces. I look forward to strengthening my understanding of frameworks like WELL certification, universal design principles, and evidence-based design. I also want to grow my technical abilities, especially when it comes to software like Revit, AutoCAD, and rendering programs. Finally, I am hoping to take part in collaborative, interdisciplinary projects where I can work alongside other students in the IAD program. I believe that the best design solutions come from understanding different perspectives, and I want to be challenged to think outside my comfort zone and approach problems collaboratively. I am ready to take full advantage of the opportunities in the upper-level IAD curriculum to prepare myself for a career where I can make a real and lasting impact through design.
How do you incorporate feedback into your design process? Provide an example.
I view feedback as an essential part of the design process. Feedback is not just something to respond to, but something that actively strengthens my work. I listen carefully, ask clarifying questions, and use feedback to refine my ideas so they better meet the needs of the people I’m designing for. During the Can-Do Kalamazoo project, a community-driven renovation project supporting local entrepreneurs, I developed design concepts, space plans, and material palettes. It was my first experience working through multiple rounds of client feedback in a professional setting. After reviewing my initial design package, the client provided thoughtful feedback, including requests to adjust the deliverable to better meet their needs. In response, I adapted the design by reworking layouts, updating color palettes, and clarifying descriptions to reflect a more flexible, cohesive vision for the space. Through this experience, I learned how important it is to carefully review client feedback design and to incorporate it no t only for aesthetic impact but also for functionality and brand alignment. Experiences like this have taught me that embracing feedback leads to stronger, more thoughtful, and more human-centered designs and that feedback is not the end of an idea, but an opportunity to make it better.
Describe how you seek out opportunities to enhance your design education and knowledge outside of school.
I always look for ways to expand my design education outside of the classroom by actively seeking real-world experiences, professional exposure, and community involvement. I participated in Project Pipeline, a program that uses hands-on projects to introduce students to design thinking, community engagement, and social responsibility. I’ve also attended reviews of more senior Interior Architecture and Design students at WMU, where observing project critiques provides valuable insight into expectations at the upper level and how design ideas are communicated professionally. In addition, I have participated in speed interviewing events to practice presenting myself and my work to industry professionals, and I attend guest lectures and talks to stay current with trends, technologies, and evolving practices in the field. By seeking out these kinds of experiences, I am constantly building my skills, broadening my understanding of the profession, and preparing myself to grow into a strong, thoughtful designer.
ABBY NAUGLE
Creative and detail-oriented Interior Architecture and Design student with a solid foundation in spatial planning, design principles, and a passion for innovative, sustainable, and human-centered design. Seeking an internship to apply design expertise in crafting functional, aesthetically pleasing spaces that elevate the human experience while gaining hands-on industry experience. As an interior designer of color, I strive to create spaces that are welcoming, accessible, and inclusive for all.
CONTACT
abigail.e.naugle@wmich.edu
abbynaugle@gmail.com
269-823-3392
SKILLS
Microsoft Office Suite
Adobe Creative Suite
Rhino
AutoCAD
Sketchup
Enscape
Hand Sketching
Space Planning
Interpersonal Skills
Detail-oriented
Time management
Customer service
LinkedIn: www.linkedin.com/in/abigailnaugle-5460ba32
EDUCATION
Western Michigan University Kalamazoo, MI
Major: Interior Architecture and Design Minor: General Business GPA: 3.98
WORK EXPERIENCE
WMU Interior Architecture and Design // Program Assistant October 2023-Present // Kalamazoo, MI
Assist with planning program events; Establish and maintain materials library; Oversee studios; Assist with accreditation activities Assist with recruitment and program tours liaison with vendors; lead charettes for high school students
Diekema-Hamann Architecture and Engineering // Interior Design Intern May 2025-Present // Kalamazoo, MI
Can-Do Kalamazoo // Community Design Studio Project Lead Design December 2024-January 2025
Designed initial design concepts, space planning, color scheme, and material palettes. Deliverables included concept drawings, mood boards, floor plans/renderings.
Western Michigan University IAD Blog Developer/Writer//WMU IAD Blog January 2024-present//Kalamazoo, MI
ACADEMIC AND DESIGN ACTIVITIES
WMU Study Broad Business Core Courses//Lisbon, Portugal Summer 2024
WMU Interior Design Student Organization Board Member//Internal Communications Representative October 2023-present
NOMA Project Pipeline Volunteer //Kalamazoo, MI July 2024
WMU NOMA Student Organization Co-Founder//Kalamazoo, MI Fall 2024-present
HONORS
& AWARDS
WMU Dean’s List//Fall 2023, 2024; Spring 2024, 2025; Summer 2024
WMU Physics Course Award//Spring 2024
WMU IAD Experiential Learning Scholarship ($500)//Summer 2024
WMU IAD Portfolio Excellence Distinction Scholarship ($1750)//2024-25
WMU Bronco Merit Award ($16,000)//Fall 2023-2027
01 02 03 04 05 06 07 08
PROJECTS
01 THREADED TO FIT
LIVSRUM CANCER COUNSELING CENTER PRECEDENT STUDY
This project centers on creating an accessible, thoughtful environment through extensive pre-design research, including site context, solar path, and passive design strategies. Meeting the client’s needs for ADA compliance was essential, alongside integrating personal interests such as sports, gaming, and motivational themes, subtly introduced through layout, color, and material choices. Rooted in the idea that spaces should be woven to fit the people they serve, the design reflects themes of resilience, interconnection, and strength.
Insights from the Livsrum Cancer Counseling Center precedent study informed the approach to privacy, flexibility, and holistic well being, reinforcing the emphasis on comfort, adaptability, and dignity. Early parti diagrams explored interconnected flow, dynamic angles, and central focus, shaping the building massing and room organization with a clear spatial logic.
02 ARCHITECTURAL DRAWING SET
This drawing set supports “Threaded to Fit” by showing how custom millwork accommodates wheelchair users, including extended toe kicks, push-to-open cabinets, and pull-down shelving. The shower seat integrates lighting for safety and accessibility. The Reflected Ceiling Plan includes dimmable, adjustable lighting and acoustic treatments, while wall sections show a hempcrete exterior for thermal performance and a standard interior gypsum wall assembly.
SECTION CUT OF BUILT-IN
03 CONTEMPORARY MUSEUM
This large-scale museum project was anchored by a monumental central stair that connects all three levels and guides circulation. Early stacking and bubble diagrams were used to define programmatic adjacencies and visitor flow, emphasizing spatial clarity and accessibility. Key program areas include a café, ticketing zone, admin workspace, and gallery rooms, all designed to support flexibility and engagement. A standout element is the art workshop, which fosters community participation by integrating hands-on learning into the exhibition environment. The floor plans reflect clear organizational logic, balancing public interaction with operational efficiency. Sections highlight vertical connections and natural lighting strategies, while perspectives communicate the user experience within each zone. This project emphasizes not only spatial design, but also the integration of social, educational, and environmental values throughout.
STACKING DIAGRAM BUBBLE DIAGRAM
04 GARCIA LIVE IN PLACE BATHROOM
This bathroom redesign focused on aging in place for an elderly couple. The space features a zero step roll in shower, a strategically placed built-in bench with jets, and passive cooling strategies such as operable windows. The design promotes long-term comfort, accessibility, and independence. Universal design principles and human centered strategies guided key spatial and product decisions, ensuring safety without sacrificing aesthetic quality. Integrated lighting, material choices, and fixture placement were carefully selected to support visibility, ease of use, and overall well being. The layout prioritizes intuitive circulation and dignity, allowing for independence with minimal assistance.
Clerestory Windows Personal Grooming Mirror
Spacious Linen Cabinet Recessed Wall Shelving
05 THE SOCIAL PAVILION
The Social Pavilion was an early design project from the Introduction to Interior Design course that explored how built environments can foster social connection. The goal was to create an inviting public space that encourages community gathering, joy, and spontaneous interaction. The final result was a vibrant, multi-use outdoor pavilion supporting gathering, play, and performance. The design process began with abstract form studies exploring line, rhythm, and volume to understand how space shapes experience. These studies informed the final pavilion: a lively outdoor space featuring a rock climbing wall, tiered picnic and stage seating, and public restrooms. Each element was thoughtfully arranged to support performances, casual gatherings, and recreation.
06 ICONIC HOUSE PERSPECTIVE SKETCHES
This project is a series of hand-drawn sketches of Frank Lloyd Wright’s Fallingwater, exploring one-point, two-point, and three-point perspectives, along with interior views. It reflects a strong interest in traditional drawing methods and spatial exploration, while also demonstrating technical skill in perspective and proportion. The work highlights personal engagement with architectural precedent and growth in visual communication through manual representation.
07 NEXT OFFICES
This office redesign was shaped by a realistic client brief requiring the integration of diverse workspace types. The design balances functionality, collaboration, and privacy, creating a flexible environment that supports both individual focus and team-based work. Key components include dedicated offices, open workstations, meeting rooms, and wellness spaces. The floor plan prioritizes circulation, natural light, and user comfort, providing a thoughtful, responsive spatial layout.
FINISHED FLOOR PLAN
REFLECTED CEILING PLAN
BLOCK PLANS
This office design focused on creating a productive and balanced workspace, guided by a detailed client brief. Early iterations explored block planning to organize public, semi-private, and private zones. The final design separates the two main workspaces to promote a smooth flow while balancing function and flexibility. The layout demonstrates an understanding of dimensional space planning and circulation. Program relationships were strategically arranged to enhance wayfinding, collaboration, and user comfort.
WORK CAFE
The café was designed as a flexible gathering space that supports both social interaction and individual use. It includes a communal kitchenette, booth seating with operable privacy screens, island seating, and high-top counters that allow people to choose how engaged they want to be. The island seating is customizable, supporting different group sizes or solo use. Natural light keeps the space bright and uplifting, promoting both productivity and community. The layout prioritizes circulation and visibility to ensure accessibility and ease of movement across the space. Acoustic and material choices were selected for comfort, durability, and ease of maintenance in a high-use environment. Design drawing standards were applied throughout the process to communicate key ideas and scale clearly. The café’s inviting atmosphere and adaptable design respond to the broader needs of a dynamic workplace culture.
08 MODEL MAKING
This collection includes a physical structural model, a section cut, floor plate diagrams, and a building mass/site plan from previous projects. Together, they illustrate spatial strategy, load bearing logic, and structural clarity across different scales. Each model communicates a different layer of design thinking from early massing and circulation to detailed vertical sectioning and assembly strategies. The section cut and floor plate models help articulate relationships between spaces, circulation paths, and core building systems. Materials were selected to represent structural elements clearly, and careful craft was applied to maintain precision at various scales. These models supported studio critiques and were instrumental in translating conceptual ideas into buildable architectural frameworks.
Structural Model Threaded To Fit
Section Cut Contemporary Museum
Building Mass & Site plan Contemporary Museum
Floor Plate Contemporary Museum