Supreeya Saenthaweesuk

Interior Architecture

Through my learning journey as an Interior Architecture Student, I think that it's beyond the idea of building walls to distinguish between indoor and outdoor areas. There is more to the two sides of the wall. And I believe that it's about the connection that people have to space and to each other that is the reason why we build. As a person who loves to walk around cities and discover their nooks and crannies, I feel that transporting through different spaces is enchanting and subconsciously influences us in all sorts of ways.

As a developing designer in this field of work, I care about crafting versatile, people-centred and adaptable spaces. Striving to design environments that are both aesthetically captivating and mood-enhancing. And by doing so, to create spaces that seamlessly transform to meet the ever-evolving needs and desires of their inhabitants. Overall I want to enhance their quality of life.

Museum of the Handmade

The external view of the building showcases the delicate ceramic facade that reflects the culture and history of the Birrarung Marr, Victoria.

Museum of the Handmade

Internal studio space is designed allow users of the museum to have a hands on experiences in arts and crafts.

Burwood Rd Office Adaptation

This project used ideologies from the WELL Standard Building guidelines to design space for users' overall well-being in an existing building.

Capstone: Building in Between

The key concept behind this render is to express the usage of vertical spaces within laneways that are often abandoned or underused. Linking the outdoor and indoor spaces to accommodate community and environmental drivers and activations.

Capstone: Building in Between

In redesigning how current unused laneways in Melbourne to show that it can be a place of interest, the design aims to combat the stigma that they are unsafe and dangerous. Especially during dark periods of the day.

Acknowledgement of Country

The School of Design and Architecture respectfully acknowledges the Wurundjeri peoples of the Kulin Nation as the Traditional Owners and knowledge-keepers of the lands, waters and sky that surround us, where we work, learn, create, communicate and make place. We recognise that sovereignty has never been ceded and this always was and will always be Wurundjeri Country. We pay our respects to Elders past, present and to all Aboriginal and Torres Strait Islander people who continue to make a better world through design.

We extend our acknowledgement to the Aboriginal and Torres Strait Islander staff, students, alumni, real-life clients, and knowledge keepers, who have contributed to our own education diversity and growth. We will continue to ensure that staff and students respectfully honour ancestral connection to Country and Place in everything that they do.

We are dedicated to the notion of design to make a better world and we acknowledge that making tools, shaping place, sharing stories, making meaning, wayfinding and collaborating have long been and continue to be both central and integral to First Peoples' cultures. We recognize that Aboriginal and Torres Strait Islander Peoples’ cultural contributions have continued relevance to design practice and commit to: reconciling ancestries of design and contemporary practice as well as pursuing culturally and professionally appropriate ways to engage with a diverse population of colleagues, industries and clients. In a time of treaty-making and voice we understand that there are overlaps between caring for Country and the sustainable production of goods, services, experiences, products and buildings.

Guided by the principles of respect, reconciliation, and reciprocity we undertake to indigenising and decolonising design practice by dismantling colonial structures and challenging biases that have marginalised Indigenous voices and design.

As students of SoDA you will be given opportunities to both engage with and educate yourself in Indigenous creative practices and cultural protocols through a lens of inclusivity, diversity, respect, mutual understanding, inter-cultural dialogue in all aspects of design practice. Indigenous people have been telling stories, making tools, and connecting to Country through visual media, placemaking and place marking for more than 60,000 years and these practices are part of an ongoing, evolving and live tradition.