Nya is a Thailand-born American raised in China, the United States, and Thailand. She currently studies at Texas Tech University and will graduate in May of 2027 with a Bachelor Degree of Interior Design. Nya is eager to put her studies into practice through internships and other career opportunities. She is especially interested in commercial, furniture, and window display design, as she desires to be hands-on and active in her work. Looking forward to her contribution in the world of design, Nya seeks to create lasting works that are sustainable, functional, and transcendent of culture and time.
EDUCATION TEXAS TECH UNIVERSITY Bachelor of Interior Design CIDA accredited program May 2027 graduation UNIVERSITY OF THE ARTS LONDON Foundation Diploma in 3D Spatial Design May 2022 graduation WORK EXPERIENCE BRULEE BAKERY Baker - Specialized in pastries and cakes - Early morning shifts for preparation work - Managed orders and deliveries NASHWELL CAFE Head Baker, Barista - Trained and managed new staff - Created recipes and menus - Supplied all baked goods for two locations
SKILLS - Revit - AutoCAD
Lubbock, Texas, USA 2023- Present
- Adobe Photoshop - Adobe Illustrator - Adobe Fresco - Adobe InDesign - Enscape - Laser Cutting Technology - Relief Printing - Sewing - Woodworking
London, UK 2022
Lubbock, Texas, USA 2024- Present
AWARDS
UNIVERSITY OF THE ARTS LONDON Spatial Design Award London, UK | 2022 TEXAS TECH UNIVERSITY President’s List Award Lubbock, Texas, USA | 2023- 2025 TEXAS TECH UNIVERSITY Student work kept for CIDA review Lubbock, Texas, USA | 2024- 2025
Lubbock, Texas, USA 2023- 2024
Chiang Mai, Thailand 2023
ART CAMP INSTRUCTOR Self- employed - Orchestrated and taught summer art camps for children ages 5-16 - Communicated with parents - Created lesson plans, educational presentations, and activities for students
LANGUAGES - English - Mandarin Chinese
Metropolitan Mutation is a conceptual model inspired by the iconic shopping district of Regent Street in London. Constructed by wood and craft materials, the design explores the tension between urban systems and organic growth, imagining a city where biological forms begin to overtake architectural structures. A window display appears to grow, spread, and spill out of the buildings onto the street, representing a living organism or bacterial colony rapidly expanding through the metropolis. Materials such as plastic beads and laser-cut wood with perforated patterns mimic the textures of microorganisms and reptilian, alien-like skin, while dripping resin and paint imitate sap-like substances seeping from the forms. Tea leaves mixed in resin function as window glass, reinforcing the biophilic nature of the concept and hinting to the merging of natural and man-made creations. Through this model, Metropolitan Mutation questions the boundaries between the built environment and living matter, transforming a familiar urban street-scape into a vibrant, evolving ecosystem. Adobe Illustrator | LightBurn | Laser Cutting Machine | Mattoboard | Hand-Drawing | Resin Molding
MATERIAL BOARD
SITE PLAN HAND-DRAWING Hand-drawing
The planning process for this project began with site plan sketches derived from personal photos of Regent Street in London. These sketches supported the visualization of the spatial layout and informed the placement of the window display as it interacts with windows, columns, and interior rooms. The chosen section of Regent Street was intentionally selected for its distinctive architectural features and the brands that occupy the space. The biophilic, colorful, and abstract qualities of the design concept align seamlessly with the branding and aesthetic of Anthropologie, located in the very building replicated in the model.
Tulle- Placed behind MDF cut pieces
Plastic beads
Laser-cut MDF board
Resin. origami paper, and paint
Resin and tea leaves- Arranged behind window openings to mimic glass
CONCEPT HAND-DRAWING Hand-drawing
Before the piece could be constructed as a 3D model, it was first developed in Adobe Illustrator using basic lines and forms. These digital drawing outlines were then transferred to LightBurn and processed by a laser cutting machine. After being laser cut from an MDF board, the components were painted and assembled to form the final piece.
LAYER PLAN HAND-DRAWING
CONSTRUCTION PROCESS VISUAL
FINAL MODEL
“One donation, one charitable act, one person can be the catalyst necessary to make a water- like ripple of change happen around the world.” When a body of water comes into contact with an outside force, its surface reacts through the creation of outward ripples of concentric rings. Drawing inspiration from this natural phenomenon, Heifer, a global-reaching charity organization, desires to be viewed as a series of rings expanding out from a central commons that represents the “impact point” of a gift of charitable donations. The architecture firm behind the exterior of this commercial project, Polk Stanley Wilcox Architecture, desired to replicate a rippling water effect in the building’s structural exterior, keeping with Heifer’s mission and design concept. Aligning with the architectural and conceptual designs of Heifer Headquarters, the interior of the building contains intentional structural forms, finishes, patterns, furniture, and decorative elements that further the organization’s design concept of “rippling water”. Revit | Enscape | Mattoboard | Hand-Drawing
Throughout Heifer Headquarters, motifs of radial patterns, sweeping lines, and wave-like forms appear across fabrics, architectural surfaces, and structural details. These design elements symbolically express Heifer’s mission of transforming a single act of giving into a ripple of positive global impact. Upon arrival, visitors are welcomed by an entry space featuring a circular-patterned wall covering that evokes the gentle movement of water. In the bathrooms, the motif continues through porcelain tiles that reference similar colors and forms, incorporating patterns and Heifer’s signature turquoise palette to reinforce brand identity and thematic cohesion.
Birch wood
CAFETERIA HAND-DRAWING
Wall covering
Cherry Wood Acoustic Panels
Interior wall paint
Porcelain tile
Fora Form Dining Chair
Carpet tile
White concrete
MATERIAL BOARD
FURNITURE HAND-DRAWINGS
Building on the design concept of the Heifer Headquarters, the primary light fixture in the first-floor cafeteria incorporates sweeping lines that extend outward from each end, mimicking the movement of a flowing river. Included below are process sketches that illustrate the development of these lighting concepts, from early form studies to refined designs. Experimentation with curvature and bent wood led to the creation of both the light fixtures and custom furniture, as shown in the provided drawings.
LIGHT FIXTURE HAND-DRAWINGS
CAFETERIA
LIST OF SPACES A. Entry B. Waiting Area
H. Level 1 Men’s Bath I. Cubicles J. Level 2 Executive Offices K. Conference Rooms L. Level 2 Women’s Bath M. Level 2 Men’s Bath
C. Information Wall D. Reception Desk E. Cafeteria F. Level 1 Executive Offices G. Level 1 Women’s Bath
KEY
Public Transitional Employee Only Points of Entry and Exit
L.
M.
G.
H.
F.
C.
K.
I.
D.
E.
B.
LEVEL 2 BUBBLE DIAGRAM | Not to scale
LEVEL 1 BUBBLE DIAGRAM | Not to scale
A.
Spatial flow and means of egress are crucial considerations in the design of commercial interiors. Despite being divided across two floor levels, the layout of Heifer Headquarters allows for a seamless transition from the public spaces on the first floor to the office and cubicle areas on the second. The wide, T-shaped stairwell visually and physically connects the two levels, fostering unity and openness throughout the space. The cubicle office area is designed with an open floor plan, promoting collaboration and flexibility among employees. This layout not only enhances natural light and visibility but also supports a sense of community and transparency within the workplace, values that align with Heifer’s mission and organizational culture.
SECTION BOX LOCATION ON FLOOR PLAN
J.
SECTION BOX VIEW
Material selections within Heifer Headqu performance, ensuring they meet the prac establishes a clean, modern foundation for subsurface sealer was applied to provide no exposure, and chemical cleaning products. W for its sound-absorbing acoustical contro resilience under daily use. In contrast, the p water-inspired concept through its wave-l material selection.
FLOORING
White concrete
Stacy Garcia porcelain tile
LEVEL 1 RENDERED FLOOR PLAN | Not to scale
LEVEL 2 RENDERED FLOOR PLAN | Not to scale
Mohawk Group carpet tile
arters were made with a focus on functionality, long-term durability, and tical needs of a high-traffic commercial interior. The white concrete flooring the space while reflecting natural light to enhance brightness. An Ion-Bond n-slip qualities and ensure long-term durability against high foot traffic, water Within the office and cubicle areas, short tufted loop-pile carpet was selected and traction, for both walking and wheelchair movement, as well as its porcelain tile used throughout the bathrooms visually reinforces the project’s ike patterning and turquoise tones, focusing more on the design aspect of
MEANS OF EGRESS
Elevator for non- emergency exits
CONFERENCE ROOM
Stairs leading to rear parking lot
Main stairwell, leading to front entrance
STAIRWELL OVERLOOK
Hépíng is a high-rise apartment building located in the heart of New York City. It’s name, meaning “Peace” in Chinese and Japanese, written in pinyin and romanji for branding purposes, hints to the atmospheric and visual characteristics within the space. The fabrics, patterns, and colors of Hépíng draw from East Asian inspirations and biophilic elements, offering New Yorkers of East Asian heritage a place that evokes a sense of home and cultural connection. The neutral, warm tones create a peaceful and inviting atmosphere, while sleek, modern details, such as metal ornamentation and refined hardware, bring a sense of clean sophistication and luxury to the residential space. Adobe Fresco | Mattoboard | Hand-Drawing
LEVEL 1 FLOOR PLAN | Not to scale
KEY
Carpet Veneer Wood Tile
Doors (Bathrooms only) Doors
Wallpaper Wall paint
Concrete Windows
All materials and installation methods used in this space adhere to the standards established by the International Building Code (IBC), the National Fire Protection Association (NFPA), and New York City building codes. The purpose of this project was to carefully complete specifications for all materials and installation resources used in the renovation of a commercial building that functions as a residential space. LOBBY HAND-DRAWING
Rustica- Midland interior slab door Cavallini- Wissmach glass 01 florentine clear
Behr- Baja paint
Behr- Baja paint
House Hakney- Babylon wallpaper papyrus/willow Kvadrat- Aaren window treatment
House Hakney- Babylon wallpaper papyrus/willow
Doing Goods bohdi bamboo doorhandle
Kvadrat- Aaren window treatment
UPrinting- wood signage
Tarkett Commercial- full volume sand flat
Anderson- E-series French casement window
American Standard- ovalyn sink
TXI- type I white Portland cement concrete and Eagle- rustic interior/exterior concrete acid stain
Woodgrain millwork- primed finger jointed casing
BATHROOM
LOBBY MATERIAL BOARD
American Standard- Priolo Weaber- Oak Harwood Board
Weaber- oak hardwood board
Behr- Baja paint
American Standard- selectronic
Organoid- wildspitze light
Woodgrain Millwork- primed finger jointed casing The Tile Shop- Hanoi celadon ceramic subway wall tile
Artistry Flooring- winter oak
Anderson- E-series French casement window
LIBRARY MATERIAL BOARD
MATERIAL BOARD
Inspired by the ancient Silk Road and cultural exchanges of the Han Dynasty, this Hermès window display tells the story of a craft that has traveled far. The installation reimagines the journey of goods and ideas across borders, transported over land, sea, and air as represented by a horse, goldfish, and dragonfly. The horse serves as an homage to the equestrian heritage of Hermès as well as a means of delivery for parcels and gifts along routes of trade. Made from accessible and recyclable cardboard, the modest materiality of the display contrasts with the refined craftsmenship of Hermès. Through this balance, the work honors the brand’s identity while recreating luxury as something both transcontinental and accessible. Adobe Photoshop | Adobe Illustrator | LightBurn | Laser Cutting Machine | Mattoboard | Hand-Drawing | Relief Printing
CYLINDER SECTION VIEW HAND-DRAWING
CARDBOARD CIRCULAR HAND-DRAWING
CARDBOARD CYLINDER HAND-DRAWING
CARDBOARD BOX HAND-DRAWING
CARDBOARD BOX WITH WINDOW HAND-DRAWING
CARDBOARD BOX WITH CAN LIGHTS HAND-DRAWING
WINDOW DISPLAY ILLUSTR IN 3D HAND-DRAWING
At the root of this design concept lies the story of a craft or gift that has traveled far, delivered through various means of transport and packaging. This idea is expressed through both form and material. Encompassing the entire volume of the window display is a large cardboard box, constructed from individual panels that fit together to replicate the folds and structure of a square shipping box. The hand drawings above illustrate different forms for the final design, ranging from a cylinder resting on its side to an upright cube. Ultimately, the final composition adopts a square form with its opening facing outward toward the viewer, revealing recognizable folded details at the base of the box as a subtle nod to the packaging and journeying of goods around the globe.
The visual above is compose Hand-drawn in Adobe Phot
HAND-DRAWING WITH PERSIAN RUGS
RATED
ed of a laser cut MDF model, serving as a host for the “Carriers of Craft” window display. oshop, the illustration showcases the final intended design within a 3D retail space.
HAND-DRAWING WITH CHINESE “XIANGYUN” CLOUDS
Plywood and slatted wood for construction Recessed can light
Wallcovering Map of European village
Gold dragonfly sculpture
Brass trim along exterior of window case
HAND-DRAWING
RELIEF PRINT WITH INK PRINT MADE WITH BRANDING IRON
Wallcovering Sino-Russian textile
Depicted above is the creation process of developing iron-branded patterned illustrations on cardboard and wood. These materials line the perimeter of the window display, replacing conventional surfaces like sheet rock or paneling to create a unique, crafted feature. The branded design began as a pencil sketch on paper before being transferred onto a linoleum block, where it was redrawn and carefully carved using gouge tools. Once etched, the linoleum print was coated in black ink and pressed onto paper, producing a detailed relief print. This print was then photographed, digitally refined in Adobe Photoshop, and reimagined as a branded pattern applied to cardboard and wood, merging traditional printmaking with contemporary digital techniques.
Torn cardboard with corrugation exposed
MATERIAL BOARD
FINAL WORK
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