When I was young, I spent my pocket money on shag pile rugs and hot pink lampshades, while my friends were spending theirs on Furbies and Polly Pockets. Thankfully, my style has evolved since the 90’s, but my attraction to interior spaces has remained. Now, as a graduate interior designer, I am passionate about creating spaces that resonate with people on a human level. I am particularly excited by projects that emphasise inclusivity and community-focused initiatives and believe in designs that bring joy and foster a sense of belonging. This interest led me towards my Capstone project which explored how the built environment can strengthen social connections and reduce loneliness in a community setting. My two years of experience as a student interior designer at Carr as well as eight years of experience in the textiles industry has allowed me to hone my design skills and my ability to collaborate within a team. My approach to design is playful yet practical, and I thrive in a studio environment where collaboration and independent work go hand in hand.
RESUME
EDUCATION
BACHELOR OF DESIGN
Interior Architecture
Swinburne University
2021 – 2024
DIPLOMA
Interior Design and Decoration
RMIT University
2013 – 2014
PROFESSIONAL SKILLS
• Critical Thinking
• Attention to Detail
• Time Management
• Accountability
• Excellent Communication
• Problem Solving
• Teamwork
• Adaptability
• Flexibility
I AM ALSO A:
• Traveller
• Sewer
• Crafter
• Watercolour enthusiast
• Reader of books
• Cat lover
WORK EXPERIENCE
UNDERGRADUATE INTERIOR DESIGNER (RESIDENTIAL)
Carr | Melbourne | 2023- Current
• Conceptual design and planning of projects
• Using Revit to model design elements and document interiors
• Space planning and schematic design
• Preparing finishes boards
• Preparation of design development presentations
• Preparing tender and construction documentation packages
• Communicating with suppliers and consultants
SHOWROOM CONSULTANT
Mokum Textiles | Melbourne | 2015- 2022
• Assisting clients in designing interior schemes
• Working with clients to achieve design goals
• Growing strong client relationships
• Consistently meeting sales targets
• Supporting the greater team
• Maintaining showroom displays
• Working in a fast-paced, high-pressure environment
• Administrative tasks
SALES REPRESENTATIVE
Mokum Textiles | Melbourne | 2019-2021
• Meeting clients’ needs
• Presenting new collections
• Maintaining clients’ current libraries and showroom displays
• Meeting sales targets
PRINT AND COPY
Officeworks | Melbourne | 2013-2014
Through this role, I gained experience in printing, formatting, and document finishing.
I was also exposed to a fast-paced environment and learnt how to think on my toes.
MENTEE
Wortley Group | Melbourne | 2014
MENTEE
Castlemaine Art Gallery | Castlemaine | 2013
TECHNICAL SKILLS
03 PERFORMANCE CENTRE
How can we create a building that connects with the surrounding landscape?
A large-scale community centre for the performing arts which uses form to connect with the surrounding landscape. Spanning both sides of the river, this building appears to emerge from the hillside before diving below and rising on the other side in reflection. On the ground level is a lobby and seating area on one side, and the library on the other. Below ground are two performing arts theatres and an underpass. The top levels house classrooms, office spaces and balconies.
The process for this project involved designing a community centre by taking an unconventional shape and integrating it into the landscape. The Southern end of the site included a bend of the Yarra River and so the design process was focused on how the building could connect with the water. A final design was decided on which spanned both sides of the river.
The landscape is built up on one side of the river bed to allow users to climb to the upper roof. This gives the building a feeling of being part of the landscape, as if it emerges from the hillside.
04 EDEN COMMUNITY CENTRE
How can we improve social connections in women to decrease loneliness?
Eden is a women’s community centre that aims to reduce loneliness by creating a welcoming space that fosters a sense of belonging. Housed in a former church, the design strikes a balance between creating a homely and comfortable environment and preserving the integrity of the original building.
My research on loneliness guided me to include two main objectives for my design. Firstly, to create a welcoming and homely environment that encourages women to return and stay longer. This was achieved through comfortable residential-scale interiors, an uplifting colour palette and quiet moments for women to take a break from social spaces. I also wanted to create a space that fosters intergenerational connections. Studies show that this can have many benefits including improved mental and physical health and an improved sense of purpose. The design includes an accessible building with a wide range of activities and provides spaces that encourage purposeful as well as incidental interactions.
To strike a balance between a homely, comfortable environment and highlighting the original church, the building is split in two. The front half is open and public, with views to the ceiling from the ground floor. A bright colour palette and natural light from the skylight and original windows create a light and bright space. Towards the back of the building, spaces feel more private, with levels and a moody colour palette helping to create a more intimate feel.
The mesh frame of the café demarcates the space while letting through light and maintaining an open feeling. Moments for sitting encourage incidental social connections while orb lighting gives an almost ethereal feel, to pay homage to the church while creating warmth. A bright and colourful palette is used throughout the public spaces to create an uplifting and positive feel. This is paired with a light timber, which references the original used in the church interior.
Social Connection.
Upskilling is important in empowering women and the centre provides many opportunities for them to do so. Spaces like the classroom and workshop can facilitate this, but women can also volunteer in the café or childcare centre to learn new workplace skills and help to create a feeling of value and belonging in the community. Research shows that knowledge sharing is also a great way to get older people involved and help them to feel a part of the community by passing on their knowledge. to younger generations.
The centre also provides support for women and addresses some of the intersectional issues that they face. Casual childcare provides support for mothers. The workspace supports working women and emergency accommodation provides a safe space for women and their children when they really need it.
In the workspace, the draped fabric and pendant lighting create human scale without blocking the original front windows. Large tables allow for group work while quiet booths on either side provide the opportunity for focus time.
05 MUSEUM OF THE HANDMADE
How can we design a building that works with the environment?
The Museum of the Handmade sits within the Heide Sculpture Park, where its minimalist design and clean white exterior stand in striking contrast to the surrounding natural landscape. The main focus of this project was to create a passively designed building that could both block and harness energy from the sun. The use of clay was explored for the main façade material with tiles being used to create various shading systems which could be adjusted as the seasons changed to create an energyefficient building and a comfortable interior for visitors.
LEGEND
HOT AIR RISES IN THERMAL VOID STAIRWELL AND EXITS THROUGH CLERESTORY WINDOWS ON ROOF
NORTH OVERHANG BLOCKS 62 DEG
SUMMER SUN WHILE ALLOWING 32 DEG
WINTER SUN INTO THE BUILDING
C. A.
STORAGE GALLERY
B. D.
THERMAL VOID
GALLERY
SUN ANGLE AT 62 DEGREES ON 26TH OF FEBRUARY,12PM
SUN ANGLE AT 32 DEGREES ON 19TH JULY,12PM
COOL AIR ENTERING THE BUILDING
RECEPTION TEA ROOMS
HOT AIR LEAVING THE BUILDING
WINTER NIGHT: HEAT
RADIATING FROM THERMAL MASS WARMED BY WINTER SUN
A. SOLAR HOT WATER PANELS FOR HYDRONIC HEATING
B. SOLAR HOT WATER PANELS FOR HOT WATER
C. 5000KW PHOTOVOLTAIC PANELS
D. OPERABALE CLERESTORY WINDOWS ABOVE STAIRWELL
E. NORTH FACADE - HORIZONTAL LOURVES
F. SOUTH FACADE - BRICK WALL
The design carefully considers the building’s orientation, sun paths, and window placement to maximize energy efficiency year-round. Roof overhangs are positioned to allow low winter sunlight to naturally heat the interior, while blocking higher summer sun to prevent overheating. Strategically located windows and doors promote cross-ventilation and enable night purging, ensuring the building stays cool during warmer months without relying on artificial cooling. Solar panels and a rainwater collection system further reduce the need for external utilities, making the building more selfsufficient and environmentally sustainable.
06
STUDENT VILLAGE
How do we strike a balance between private and public in a post-COVID world?
The Swinburne Student Village provides comfortable short-term housing for local and visiting students. The exterior blends with its surrounds by taking inspiration from the Swinburne Fire Station as well as the federation style of the surrounding Hawthorn architecture. Bright, playful interiors aim to connect with students and create an uplifting and comfortable space to live and study. The village welcomes everyone by providing accessible facilities as well as a balance between private and communal spaces.
Each apartment features large, accessible bedrooms, a bathroom, living space, and kitchenette. Soft textiles and warm colours create a sense of safety and comfort. Keeping in mind the varying needs for privacy in a post Covid world, all necessary facilities have been included. The spacious bedrooms provide a space for studying and relaxing so students can choose their own level of privacy. The communal spaces are designed to be used by choice rather than necessity but encourage students to socialise, cook and study with others in a comfortable, open environment.
