I recently graduated from the University of Tennessee in May 2025 with a Bachelor of Science in Interior Architecture.
From a young age, I have had a deep passion for artistic and creative pursuits. Whether sketching new ideas, taking advanced art classes, or designing homes in digital platforms, I have always been drawn to storytelling through space and detail. During my early years in architecture school, I struggled to define the “why” behind my passion. That clarity came during a 2023 fall studio project, when I presented my design to real clients and witnessed their emotional response. In that moment, I realized that I design not just for aesthetics, but to positively impact people’s lives through immersive, meaningful environments.
I would describe myself as organized, intentional, and intuitive in my design approach. My technical experience includes Rhino, Revit, V-Ray, Enscape, Illustrator, Photoshop, and InDesign. I also gained hands-on design experience in IARC 480 with Professor Dean, where I learned woodworking skills and built a custom stool from scratch, which was an experience that deepened my appreciation for craft and materiality. Summer internships and job shadowing further strengthened my skills in material selection and verbal presentation.
I am open to residential design practices, but I am most passionate about exploring a wide range of commercial design types, especially those that focus on storytelling, emotion, and user experience.
Recently, I was offered a position with the Disney College Program, a lifelong dream come true. With a strong interest in the Disney company’s renowned design practices and creative teams, I chose to take this opportunity as a unique way to immerse myself in the guest experience side of design and gain insight into how immersive environments come to life.
I am always open to conversations, collaborations, and future opportunities in the design field. Please feel free to reach out!
Thank you for taking the time to explore my portfolio. I hope to connect with you soon!
CONTACT
PORTFOLIO
TECHNICAL SKILLS
WORK EXPERIENCE
EDUCATION
ORGANIZATIONS
VOLUNTEER EXPERIENCE
HONORS
TABLE OF CONTENTS
[01] RENEWED HOPE 3rd year | 6-17
[06] [07]
SIP & SPIN 3rd year | 18-29
THREADED TRADITIONS 4th year | 30-43
MANIC FUSION 4th year | 44-53
PROJECTS 54-57
HAND DRAWINGS 58
PHOTOGRAPHY 59
01 RENEWED HOPE
Pilot Nashville Studio: IARC 375 | 3rd year
Instructor: Tim Lucas
Date: Fall 2023
Honors:
• IIDA TN Student Design of the Year Award | 2024
• Donghia Scholarship Nominee | 2024
The goal of this project was to create a safe and welcoming social space for individuals dealing with alcoholism and addiction. It was developed in collaboration with the Alano Club of Knoxville, a non-profit organization serving the Knoxville community. The project centered on redesigning their existing recovery space at 710 Maryville Pike, located in the historic Flat Iron Building. The process began with an indepth study of the causes and effects of addiction and how design elements can support recovery. Parti diagram studies were then conducted to explore how these design principles could be applied to create impactful spaces. To gain deeper insights, the project allowed two meetings with Alano Club volunteers to learn from their recovery experiences and gather input on the programs they envisioned for the space. Their programmatic needs included a café, kitchenette, storage room, multipurpose spaces, an entertainment area, and childcare facilities. A key focus was placed on the outdoor courtyard, which the volunteers described as the heart of their community gatherings. They requested the addition of a stage and fireplace to enhance this space.
The initial step involved site analysis. The site was physically visited, and photos were taken of key spaces to be incorporated into the new design. Nearby buildings, public transit, park access, and noise disturbances were also examined. The site is situated in a general commercial zone surrounded primarily by residential areas. Most visitors are expected to arrive from nearby bus stops or park at local churches that collaborate with the Alano Club. The existing on-site parking is very limited, with approximately six spaces primarily used by volunteers.
Research Addiction
Addiction
The next step involved researching the causes and effects of addiction, as well as exploring how design can influence recovery. An infographic was created to reflect these findings and incorporated specific colors known to aid in the recovery process. The research examined design elements such as lighting, air quality, color and mood, accessibility, biophilia, spatial layout, acoustics, and ergonomics. The design particularly emphasizes biophilia, spatial layout, and lighting.
Research Application
Parti Diagrams and Process
The research was used to develop parti diagrams that focused on design solutions for addiction, incorporating elements of lighting, biophilia, and spatial layout. Opportunities in design were explored in specific areas such as the lobby, café, and multipurpose meeting rooms. Emphasis was placed on blending the line between interior and exterior spaces, leading to an exploration of transitional elements such as garage doors and Nana walls.
Floor 1: Floor 1 features a lobby with extra room for the “meetings outside of meetings”. It also features a kitchenette that doubles as the store and coffee shop. There is a storage room connected to the kitchenette for food or audio supplies. On the left, there are two multi-purpose meeting spaces. These spaces can be used for events or Alano Club meetings. Continuing, there is a children’s room that includes a small nursing room. Next is the elevator and then the restrooms, which have easy access to the courtyard. There is also a biophilic room that can be used for more intimate meetings or when the courtyard is not accessible due to the weather. The courtyard features a stage and an abstract fire pit (see renders). There is also a water fountain, because the sound of water is found to aid in recovery.
Floor 2: Floor 2 features an entertainment space with a TV, pool table, and foosball. Next, there are the same two multi-purpose meeting spaces that are on the first floor. Continuing, is the relaxation pods. These pods are for people who may be new and overstimulated to this new environment. They can use these pods for privacy or even light therapy to help with addiction recovery. There is an elevator and then restrooms down the hall. On the right, there is a balcony that can be used as the designated smoking area. There are also a few rooftop gardens on the second floor to blur the lines of interior and exterior.
OgleAve
Throughout the design, natural materials and calming colors, such as greens and blues, were used to reduce anxiety and depression during recovery. Wayfinding elements were incorporated into the floor design to minimize stress while navigating the space. Biophilic touches, like water fountains with the soothing sound of trickling water, were also included to promote relaxation and healing.
Floor 1
Floor 2
Roof / Overhang
Painted Concrete Concrete Maple Wood Maple Wood Beams Iron Grey Brick Stone Marble
Exploded Axon
Longitudinal Section A
Longitudinal Section B
Cafe & Kitchenette 3
Courtyard
02 SIP & SPIN
Studio: IARC 376 - Construction Documents | 3rd year
Instructor: Pruett Smith
Date: Spring 2024
This studio project was a collaborative effort focused on designing programs that promote wellness while exploring the concept of a palimpsest. The theme of a palimpsest was chosen to highlight the building’s layered history and the idea of retelling and continuing its story. Each team member developed an individual tenant space that reflected wellness, including a library, clothing store, café, salon, restaurant, green room, and speakeasy. This project focuses on Sip & Spin – Coffee & Tea, located at 625 North Broadway. The semester began by examining the question, “How are film and design connected?” This theme guided the development of the shared space’s program and experience, represented through the creation of a script and a relic. Once the connections between the tenant spaces were established, attention shifted to developing the individual designs. The café design emphasizes the retelling of history, adaptive reuse, and fostering community. The project focuses on three key aspects: integrating historical elements, engaging the local community, and repurposing utilitarian objects to bring renewed life and meaning to the space.
Group: Kate Bishop, Abbie Coleman, Acacia Uechi, Annika Layman, Kat Dupree, Cameron Dodzik
This building served as the Sanitary Laundry & Dry Cleaning Co. from 1926 to 1993 and consisted of approximately 30,000 square feet. During the site visit, remnants of a clothing line track were discovered. This element was re-envisioned and incorporated into the design of the project as well as a neighboring tenant’s space.
“At one time, it employed around 200 employees, and they did everything from dry cleaning to servicing laundries and towels and sheets and other things”
-Anne Wallace (deputy director for the office of redevelopment at the City of Knoxville)
Group Process Work
Individual Process Work
The group process work began with a theme of thrift, fashion, and eclecticism. To represent this concept, each member created a doll embodying their respective spaces, resulting in a collective flip book. This flip book allows for mix-and-match outfits, reinforcing the ideas of eclecticism and connection between the tenants. The QR code provides access to the animation, and table runners were created to serve as a group mood board.
The individual process began with the creation of a visual mood board featuring themes, colors, and signage inspired by the project. Historical aspects of the building were also incorporated by diagramming historic photos and highlighting key elements for integration into the space. These elements included connections to the clothing store, layering of materiality, storage, utilitarian objects, exposed conduit, fusion and washing, and industrial materiality.
Flip Book Animation
The space functions as a hybrid between a laundromat and a café. Entry points include the library (Soundscapes), the clothing store (Patched), and the central fountain room shared by all tenants. Room 193 features an ordering counter and self-service fusion machines, along with hard seating at custom tables and soft seating near the restrooms. Barstool seating is available at the counter.
Room 190 serves as a secret speakeasy, with a door disguised as dual-swinging washing machines. This room includes both soft and hard seating options, ironing board tables on the right wall that can be adjusted, and additional bar seating featuring adaptive reuse of washing machines as footrests. A stagnant clothing line track runs along the ceiling, connecting the café and clothing store. In the café, the track is used to hang clothes and lighting, referencing the historical use of the clothing track in the Sanitary Laundry & Dry Cleaning Co.
The design challenge involved creating a plan incorporating layered elements from a CD set. This plan combines a general layout with an RCP and includes typical CD set elements such as dimensions and tags. The QR code provides access to the full CD set.
Patched Scope
SD Phase Restrooms
Key Track
Ironing Board Tables
Room Tags
Elevation Tags
Door Tags
Patched
Soundscapes
CD Set
Utilitarian Wall Elevation
Name:Gail
Nickname: Gossiping Gail
Order:Self Service Tea (Fusion Machine)
Occupation:Gossiper
Name: Wendy
Nickname: Watching Wendy
Order:Classic Espresso (Counter)
Occupation:People Watching
To continue the story of the laundromat within the project, the space features a wall created through the adaptive reuse of laundry machines. A key focus of the project was fostering a sense of community. This is achieved by offering both a traditional ordering counter and a self-service fusion machine, which allows users to create customized tea or coffee blends. Providing these two options promotes inclusive behavior and attracts diverse members of the community. Functional aspects of the design can be explored by scanning the QR code to view the animation.
Name:Cathy
Nickname: Chatty Cathy
Order:Self Service Coffee (Fusion Machine)
Occupation:Socializing
Fusion Machine
Exposed Conduit Wall Elevation
This project also shows a strong theme of utilizing utilitarian objects and exposed conduit. These objects include the laundry machines, ironing boards, and piping.
The axons above show the function of the fusion machine as well as the secret door.
Fusion Machine Axon
Secret Door Axon
Sip & Spin Animation
The materiality for this project was inspired by 50s outfits and patterning. An earlier concept was to embrace a sense of imperfection with thrifted glasses that were not in a set. These glasses ended up making the color palette of the space. Elements such as signage and murals were also used to reinforce the history of the building within the space.
03 THREADED TRADITIONS
Studio: IARC 476 | 4th year
Instructor: Felicia Dean
Date: Spring 2025
This course explored the cultural identity of textile weavings for interiors through a collaborative, hands-on design-build project. Throughout the semester, students engaged with theories of design, textile history, craft, and emerging fabrication technologies. The studio focused on the spatial integration and materiality of large-scale abstracted woven forms, particularly within public and interior environments. Students were divided into three specialized groups, the Digital Drawing Group, the Production Group, and the 3D Print Group. Each contributed distinct skills to the overall project while also helping in other areas when needed. Together, the groups researched, designed, developed, and constructed a woven system that emphasized spatial identity, human-scale interaction, and a blend of hand and digital fabrication techniques. The course also prioritized the development of strong design communication methods and collaborative teamwork.
The studio began with precedent research and studies of traditional weaving techniques from countries such as Peru, Guatemala, Norway, and Turkey, with a special focus on inkle loom weaving. Through this exploration, we gained a deeper understanding of the craftsmanship and dedication these cultures have in preserving their heritage. Each student received a starter kit for belt loom weaving and was tasked with developing digital patterns to practice the technique. Engaging in weaving allowed us not only to connect with cultural traditions but also to develop skills in time management and dedication to craft.
Embroidery Thread
Shuttle Beater
Twine
Belt Loom
Card or Tablet
Traditional Inkle Loom
A
A
The goal of the studio was to create elements of community, cultural studies, with individual sketches, AI explorations, structural integrity and joint location. on twine placement and audience The final stage centered on designing support but also enhanced the overall
Group Models and Joint Studies
Group Members: Kate Bishop and Abbie Coleman
create a large-scale installation that incorporated studies, play, texture, and color. The process began explorations, and model studies, with an emphasis on location. The next phase involved group work focused audience interaction in relation to the structural elements. designing joints that not only provided strong structural overall aesthetic quality of the installation.
After the precedent studies, the studio collaborated with Professor Dean to develop a final iteration of the planned installation in Rhino, incorporating the chosen joint system and intended materials. The class then built a mock installation using PVC pipe and twine left over from the weaving studies. This process made it possible to troubleshoot structural issues and evaluate aesthetic considerations. From there, development moved into a final iteration, with materials selected for both cost-effectiveness and their ability to provide structural integrity as well as aesthetic value.
After the mock installation, the class was divided into three groups. Group 1, consisting of myself, Kate Bishop, and Jaedyn Florence, was responsible for the digital components, including construction drawings, final presentations, and banner designs for the installation. Group 2 focused on 3D printing, producing all joints and troubleshooting within Rhino. Group 3 managed fabrication tasks such as cutting the piping, casting the concrete weights, and preparing the twine for installation. Although each group had defined responsibilities, participation often overlapped, resulting in a true collaborative effort.
Side 1
The digital team, consisting of Kate Bishop, Jaedyn Florence, and myself, divided responsibilities for producing construction documents, drawings, and graphics for the final installation banners, as well as presentation slides. My primary focus was designing the layout of the take-home pamphlet for the audience. I also contributed to the construction documents, specifically detailing how the joints were assembled. Additional responsibilities included coordinating with the printing business and sourcing effective materials for the installation banners.
Professor:
Felicia Francine Dean
Students:
Eliza Berrong
Kate Bishop
Abbie Coleman
Jaedyn Florence
Olivia Hicks
Katie Olinger
Jaelynn Roark
Sarah Scardina
Kayla Tansil
Leilani Tucker-Burgos
Spatial Strands
The Spatial Strands studio studies the cultural identity of textile weavings for interiors. The students’ investigation exposes them to theories of design, textile histories, craft, and technology. The course explores the spatial integration and materiality of largescale abstracted woven forms within the realm of public space and interiority. Collectively, students research, design, develop, and build a woven system, which focuses on spatial identity, the design process and construction for installations, teamwork / building, human-scale object interaction, skillfully crafted hand and digital fabrication, and the development of professional design communication methods.The studios’collaborative design of the woven installation culminates into a fully realized public work for community engagement.
Pamphlet Side 2
Pamphlet
Threaded Traditions
Installation Render by Kate Bishop
Installation Time-lapse
(Originally Six Hours)
The final design build included an interactive presentation with an audience, allowing them to immerse themselves in the rich culture and heritage of weaving. The opportunity was given to teach participants how to tablet weave using an abstracted inkle loom. This experience brought on a new understanding of collaborative teaching and fostered a shared sense of learning and connection among the audience.
Shipping Crates
The final individual task assigned was to curate detailed installation would be packed and shipped in a self-made weight of objects, appropriate packing materials, and shipping project is for the installation to be presented in other locations create a safe and efficient relocation plan
detailed plans and sections illustrating how each piece of the self-made container. Important considerations included the shipping length restrictions. Since the intention of this locations in the future, this exercise served as a way to
04 MANIC FUSION
Furniture Design IARC 480 | 4th year
Instructor: Felicia Dean
Date: Fall 2024
This furniture class project tasked groups of three with designing a stool system that reinterpreted a historical leg style and envisioned its evolution over the next 40 years. The design required a conceptual or physical connection among the three stools. The process began with precedent studies on ergonomics and furniture history, supplemented by the use of AI tools to inspire form and finishes. The project, Manic Fusion, reimagines the Cartoon Leg by emphasizing material and geometry over surface treatments. Anticipating future minimalism, the design highlights the natural qualities of materials through seamless integration of shapes, colors, and wood species, creating dynamic yet cohesive forms. Using boolean operations, Manic Fusion merges interlocking geometries into unified, multifaceted designs. Consistent wood species with varied finishes enhance the interplay of uniformity and diversity, while the absence of dominant colors draws attention to subtle variations and intricate patterns. The result is a forwardthinking approach to furniture design that challenges traditional conventions and celebrates materiality and craftsmanship.
Software Used: Rhino, Illustrator, Photoshop
Machinery Used: Chop Saw, Table Saw, Band Saw, Router, Lathe, Jointer, Planer, Domino Joiner, CNC, Sanders, Laser Cutter
Fabrication Process
Our class visited Jeffries Wood Works to explore wood species and assess their availability for our project. Initially, we decided to use only rainbow poplar, as we wanted a vibrant wood species to complement the Memphis design style. However, as the project progressed, dimensional and financial constraints led us to introduce a second wood species: thermally modified curly wormy maple. This combination not only provided a striking contrast but also reduced material waste and minimized the need for excessive stacking to achieve the desired width.
At the start of the semester, we focused on demonstrations and small tasks to familiarize ourselves with each machine in the UTK Fabrication Lab. The machinery we worked with included the chop saw, band saw, table saw, jointer, planer, router, CNC, lathe, sanders, laser cutter, and domino joiner. Once we developed a level of comfort and proficiency, we began working on our stool projects. The process began with rough cuts using the chop saw to size the boards into manageable dimensions. Boards wider than 11 ½ inches were ripped before undergoing jointing and planing.
Using clamps and wood glue, we carefully aligned long grain with long grain and ensured that the “smiles” and “frowns” on the ends of the boards were properly matched. This process allowed us to glue the pieces together for the seat, achieving the desired width of each piece while ensuring structural integrity.
For all three seat tops, we opted for a radial grain pattern that converged at the center, creating a more intentional and visually appealing design. This choice required greater attention to wood placement and utilization. After gluing the pieces to achieve the desired thickness for the seat, we used laser-cut templates to map out each piece before assembling them into a roughly dimensioned configuration. The assembled piece was then taken to the CNC machine, where it was cut into a circular shape and contoured for ergonomic comfort.
For the apron and stretcher pieces, we followed a similar process of gluing up and using the CNC. We began by creating a template to laser-cut the shapes onto pre-cut wood blocks, carefully considering the direction of the wood grain. The larger apron and stretcher pieces were precisely cut using the CNC, while smaller connection blocks were shaped with a bandsaw and sanded smooth for a refined finish. We also had to fabricate our own buttons and drill holes into the aprons to ensure that the seat tops would be structurally secured to the stools.
When we began working on the legs, we introduced the second wood species. Each leg consisted of two pieces of thermally modified curly wormy maple and one piece of rainbow poplar, with the rainbow poplar positioned at the center. This contrast added moments of surprise and intricate detail to our stool design, revealing layered patterns as the wood was cut. In total, we created nine legs across all three stools. Five of these were duplicate legs crafted on the CNC, while the remaining four were handmade and uniquely tailored to each stool. The three central legs in our stool system were designed to serve as the connection points, unifying the overall structure.
Assembly
We used a combination of domino joinery and mortise joints to assemble the pieces. After carefully matching the wood grain and precisely fitting each component, we sanded the edges for a flush fit and refined the middle void using a spindle sander to achieve a seamless finish. Assembly began by gluing the legs to the apron and stretcher, followed by attaching the seat using the fabricated buttons and three screws for added stability.
Once the glue had set, we sanded the stool using progressively finer grits of sandpaper, starting with 80 grit and finishing with 220 grit to achieve a smooth and polished surface. To enhance the design, we applied two types of polyurethane finishes: a dead flat finish and a glossy finish, creating subtle dimensional contrasts. The glossy finish was carefully applied to the geometric elements on the legs and the voided lip of the seat top. Each coat was applied meticulously, with a two-hour drying period between layers to ensure a durable and high-quality finish.
Exploded
Axon (NTS)
Stool System
Individual
Bottom View
Top View
Our group decided to share the responsibility of building each stool, rather than having each member construct a separate stool individually. This collaborative approach helped us stay organized and improve our time management skills throughout the project. Once the stools were assembled, we each selected the one we felt most connected to and focused our attention on it for the sanding and finishing stages. I chose the following stool because it features the leg that I hand lathed and curated.
First Iteration Render
05 PROJECTS
Genetic Mashup | Fall 2022
Modular Manipulator | Spring 2022
Group Members: Kate Bishop & Sofie
Janssen
Our team was tasked to create a human scale model that explores multiple materials as well as a unique joinery system. We developed this shelving system that can be arranged in several configurations depending on the use. Materials used include chipboard, 3D printing, and acrylic sheets.
Plaster Wall Study | Spring 2023
Group Members: Abbie Coleman & Kate Bishop
This project explores the composition of plaster. The to design an interlocking assembled, would fit within 4’x2’x3’. The final design consists blocks, each carefully crafted structural integrity and aesthetic feature of the project was openings in the wall to create effects, enhancing the interplay shadow. Additionally, the was strategically altered a subtle curved effect, with from three inches to as thin
properties and The objective was shape that, when within the constraints of consists of 57 interlocking crafted to achieve both aesthetic appeal. One key was the incorporation of create dynamic lighting interplay between light and thickness of the blocks across levels to create with thicknesses ranging thin as half an inch.
