Audrey Ng Portfolio

Audrey Ng

Interior Design Portfolio

2022

Contents

Professional Summary

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La Garroxta House Warehouse for Wagashi Pink Saxon St Demolition Swale Water Harvest Lighting Sculptures

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Professional Summary

Hello, my name is Audrey and I’m a soon-to-be Interior Design Graduate from RMIT University, Melbourne.

Happiest when listening and giving back to others, I am passionate about how design practices can sustainably nourish individuals and communities with care and clarity.

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Education 2017 – 2022

Bachelor of Interior Design (Honours) RMIT University, Melbourne

Sep – Dec 2019

Bachelor of Interior Design (Exchange Semester) Toronto Metropolitan University, Toronto ON, Canada

Internships Feb 2022 – Present Feb – Jul 2020 Dec 2019 – Jan 2020

HASSELL Student of Interior Design, Melbourne, VIC WOWOWA Architecture & Interiors Interior Design Intern, Collingwood, VIC Wild Theory Floral & Event Design Set Designer, Toronto ON, Canada

Experience Nov 2021 – Mar 2022 Jul 2021 – Feb 2022 Sep 2016 – Feb 2022 Feb – Jul 2019 Jul – Oct 2018

Skills

The Kitchen Collective Showroom Consultant, Mentone, VIC Sinister Creative Freelance Set Designer, Melbourne, VIC Sushi Sushi Senior Sushi Artisan, Melbourne, VIC RMIT University Technologies Student Tutor, Melbourne, VIC RMIT Design Hub Program Assistant, Carlton, VIC

Physical Drafting, model making, laser cutting, woodworking, illustration, photography Software Rhino, Revit, AutoCAD, V-Ray, Photoshop, Illustrator, InDesign, HTML & CSS

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Sectional Illustration. Rhino, Photoshop.

La Garroxta House —

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Year

‘Rural House’, by RCR Architects, is a family home built into a meadow

2019 (Toronto)

in La Garroxta, Spain. The case study focuses on revealing the home’s delicate architectural features, as well as a sense of togetherness

Project

and sweetness in its narrative. A combination of analogue and digital

Residential Visualisation

fabrication techniques were explored to create a range of physical

La Garroxta, Spain

outcomes, consisting of diagrams, illustrations, and models.

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Study model series. 3D-Printing, Laser cutting, wood working, resin casting.

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Massing & sightline studies

Bedroom perspective. Rhino and V-Ray.

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1:50 model, steel frame materiality and joinery

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Open Kitchen space with indoor greenhouse for adzuki. Rhino & V-Ray.

Warehouse for Wagashi —

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Year

A 16 x 7 metre warehouse is converted into a living and working

2018

space for a wagashi artisan. A priority of the project was using layout, light, and material to establish varying levels of privacy between the

Project

artisan’s living space and open workshop space. A continuous semi-

Mixed-Use,

translucent polycarbonate screen winds across the entire structure,

Residential Design

providing a membrane between open and private spaces.

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Building documentation, West & South facing Sections

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Materiality object 1, handmade clay vessel

Materiality object 2, seaweed inari

The design materiality was informed by engaging

Through translucent surfaces, the warehouse is

with handcrafting processes, which developed an

designed to filter natural light at varying levels

appreciation towards all material experiences involved

to establish multiple layers of privacy. This can

with making and consuming. Raw and authentic

be controlled through closing and opening

surfaces of timber and stone were combined with

polycarbonate partitions.

light translucent surfaces, creating a pure backdrop that plays the role of faciliator, curator, and storyteller

Sections that aren’t needed during the day, such

towards the act of making and eating.

as the eating area or wardrobes, can be stowed away and reconfigured to the resident’s needs.

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Dining space perspective, with pop-up table and translucent partition.

Mixed-use dynamics diagram

Bathroom perspective

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LASER CUT POLYPROPYLENE 1MM

32 x 32MM ALUMINIUM RIVET FASTENED THROUGH HOLE

64 X 42 X 19MM TIMBER PIECE SECURED USING WOOD GLUE

21MM DRILL PRESSED DOWEL SLOT

LASER CUT 3MM ACRYLIC WASHERS

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Assembly details: timber joinery and laser-cut polypropylene.

12 64 X 160 X 19MM DRESSED PINE

19MM TASMANIAN OAK DOWEL

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TIMBER COLUMN ASSEMBLY NOT TO SCALE

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Laser-etched plaque. Photo by Chris Tomoya.

Pink installed on-site. Phot

Pink —

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Year

Team

PINK was a kinetic, interactive installation made of 60 pink

2019

Alyssa Trentin

polypropylene vanes that sway in the wind. Its movement seeks to

Audrey Ng

link the building’s facade to its surrounding conditions, by bringing

Project

Jessica Said

out the invisible air currents exchanged between the two. The

Installation, Arts

Ruby Owino

installation was designed and constructed as a team of five, and

Digital Fabrication

Michelle Chua

was on display for two weeks at Building 100 Victoria St, Carlton.

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to by Chris Tomoya.

Pre-build visualisation, V-Ray.

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Demolition timeline diagram. Rhino and Photoshop.

Saxon St Demoliton —

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Year

By 2025, the red brick school building at 33 Saxon Street will be demolished as

2018

part of a site redevelopment by Moreland City Council. With this demolition, there will be an abundance of accumulated waste. This project introduces a community

Project

space built from these residual ruins. Through examining the material properties

Material Design,

of these ruins, the project seeks ways in which different material applications can

Brunswick

reiterate the space for different types of programs, occupation and use.

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Initial sketches

Mixed-use interior perspective. Rhino and Photoshop.

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Material collection and casting tests. Photo by Millie Cattlin.

A key fascination with the project was exploring

Collected aggregates were separated

the site’s materiality in relation to its socio

and categorized based on their geologic

economic background. This lead to a rigorous

compositions, before being crushed and

testing of geologic matter and residual wastes

re-cast into a series of material samples.

collected on-site, and from local dump sites in

Each cast experimented with a different

Brunswick.

combination of aggregates, with each having its own unique pattern.

The resulting objects demonstrated a range of possible compositions that could be used as renewed building material.

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Dump Site photo, Brunswick.

Clay offcuts recycling sequence

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Propagation Bay concept visualisation. Rhino and Photoshop.

Swale Water Harvest —

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Year

By 2030, one in 25 Australian properties will be effectively uninsurable due to climate change,

2021

of which flooding is the most common risk. The project involves a temporary structure that facilitates the eventual growth of a permaculture swale in the Riparian Floodplain site at 7

Project

Templestwowe Rd, Bulleen. Over the course of 10 years the structure acts as a social space

Social Design,

for landscape and garden enthusiasts to gather, dig, and maintain swales together. The

Landscape &

project utilizes the site’s stormwater patterns and considers its potentials as a sustainable

Urbanism

agent that marries Melbourne’s social landscape with its environmental systems.

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Base framework axonometric

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sun oon aft ern

6.30

18:00

Afternoon sun path, diagram

Site observations were combined with knowledge of environmentally sensitive building materials to make informed decisions in the design form and structure of the intervention. Fabric has 10-year timeline, aerial view

been layered strategically to protect the swale’s stormwater from being exposed to afternoon sun from the west. This allows stormwater to evaporate at a slower pace, allowing nutrients to accumulate into natural fertilizer. Over time, as trees grown as part of the program have matured and are able to provide shade, the shading features of the fabric become redundant, and parts of the pavilion will be slowly removed over time.

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e

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squish

squish

Initial concept for a ‘bottomless’ pavilion. Field Recording and video still.

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Finished concept perspective

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Mapping 1. Soil, moisture, elevation

Mapping 2. Duck sightings & plant densities

The project was developed through a series of mappings, using spatial data collected from government databases combined with on-site sensorial observations.

The fieldwork established the site’s hydrological, agricultural, and social systems, which formed the key intentions of the swale water pavilion. Using the notion of the land as a sponge, the moisture content of different spots across different elevations were recorded. Along with observing stormwater flow patterns, these investigations were used to determine the most appropriate areas for swale water harvesting.

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0 6.3 n su n oo rn te

18:00

af

Initial concept model, layered and responsive pavilion

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Rainwater harvest

Sapling Bay Tool Shed Native Aquatic Species

Dug Swale

North-West Sectional Illustration. Rhino and Photoshop.

Fabric overlay diagram

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Mature Fruit Tree ~10 yrs

Berm

e

Australian Wood Duck

Redwood assembly system

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WALL-MOUNTED MIRROR

CAMERA

CAMERA

Physical experiments & documentation

Lighting Sculptures —

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Year

Lighting sculptures is an image-making project driven by a fascination of light as

2021-22

a physically transcedent phenomena. Physical materials are used to distort and manipulate light across various surfaces, in a manner that is similar to sculpting.

Project

These experiments are rigorously tested until it is developed into a refined and

Lighting Design

pragmatic technique, before being photographed into a series of prints.

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Photographic Print. Foam, polycarbonate, LED.

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Thank you!

+61 413 658 245

audrey.ng@hotmail.com