Australian designer Noa Levy holds a bachelor’s degree in interior design and focuses on creating renders of spaces that resonate with fellow practitioners, clients and those with an interest in design as an art form.
Q: In Issue 118 of Aesthetica, we displayed Sidewalk and Public Pool from the Inside Out series. What was the process behind the creation of these works?
NL: I started by researching iconic furniture pieces and brainstorming spaces that would aesthetically complement these products. Using rendering programs, I experimented with various spatial compositions until I found one that enhanced the furniture and created visual interest.
A: How do you harness technology and new developments in design?
NL: As a designer, I embrace technology and stay attuned to new developments in design to enhance my creative process and deliver innovative solutions to clients. Incorporating advanced software for 3D modelling and rendering allows me to visualise designs with greater accuracy and allows for limitless creativity.
In today’s rapidly-evolving technological landscape, ongoing learning and skill advancement are essential for designers to stay relevant and adept at integrating cutting-edge solutions into their practices.
A: How does this help to express the Inside Out series?
NL: Technology and new developments in design, particularly advanced 3D modelling and rendering softwares, played a vital role in the Inside Out series. These tools allow me to create realistic and visually compelling scenes. By manipulating lighting, textures and spatial arrangements with precision, I can achieve a heightened sense of realism and simultaneous surrealism.
Technology not only enhances creativity but also has the potential to push the boundaries of traditional design, presenting viewers with fresh perspectives and original compositions.
A: What is the intention behind the naming of the series?
NL: I chose the name Inside Out because I felt it accurately encapsulates the essence of this series; indoor furniture pieces placed in outdoor settings. The name also plays on a double entendre, whilst emphasising the unexpected contrast between indoor items and their unconventional outdoor contexts, it also plays on the familiar phrase “Inside out.”
A: What made you choose to explore everyday indoor furniture pieces in an outdoor context?
NL: I’ve always been interested in visual contrasts, whether it’s experimenting with color combinations or juxtaposing scenes. I found it intriguing to apply this aesthetic approach to iconic furniture pieces, placing them in unexpected environments where you wouldn’t typically encounter them. This juxtaposition not only creates visual interest but also offers a fresh perspective for the viewer, making these well-known furniture pieces stand out in new and unexpected ways.
A: How is this related to your degree in interior design?
NL: My degree was truly multidisciplinary – blending graphic design, product design and interior architecture into a four-year programme. This unique background introduced me to various facets of design and inspired me to create a product that essentially implemented all three disciplines.
A: What significance does space play within each of the works?
NL: Space holds immense significance in each of my works. As an interior designer, I understand the profound impact of spatial design on human experience. Whether it’s entering an interior or viewing a single scene. My goal is to create spaces that draw people in, compelling them to imagine themselves there, even if it’s just a render. I strive to capture the essence of what makes a space inviting and memorable, translating that into every piece I create.
A: What about the specific use of colour in the series?
NL: I focused on using colour in the series to establish a cohesive aesthetic that unmistakably identifies it as a unified collection. I wanted to evoke a sense of nostalgia and I felt that these colours could achieve that. Additionally, the colour palette contributes to the unexpected nature of the series – much like placing indoor furniture outdoors, these colours are not typically seen in such environments, enhancing the theme of contrast to the scenes.
A: Will you continue to work on pieces for the Inside Out series?
NL: At this moment, I won’t be expanding the Inside Out series further. I find fulfilment in exploring a variety of scenes and challenges within my work. However, the theme of contrast is likely to remain a recurring element in my future projects.
A: At first glance, the Living Spaces series seems different from the Inside Out series, however the use of space is interesting – tell me more about this.
NL: The Living Spaces series marks my initial foray into render work as a form of art, blending my dual passions. I was intrigued by the idea of how a large render of a space would feel within an existing environment – what impact it would have and how people would react to it. Unlike the Inside Out series, which focused on cohesive themes, the Living Spaces series was intentionally diverse.
I aimed to experiment with varying colours and spatial compositions to gauge viewer preferences. Interestingly, each person gravitated towards different prints, revealing the subjective nature of artistic interpretation and personal taste.
A: How is context important in the Living Spaces series?
NL: Context plays a pivotal role in the series. Each piece in the series is designed to evoke a specific atmosphere and emotional response, much like designing a physical space for clients. I aim to create visuals that resonate with viewers, inviting them to envision themselves within these imagined environments. This contextual approach allows me to explore diverse themes, colours and spatial compositions, ensuring each artwork is both visually compelling and engaging.
A: How do you balance your work as an interior designer with your work as an artist?
NL: Balancing my work as an interior designer with my role as an artist involves integrating practical design considerations with artistic exploration. In interior design, I focus on meeting client needs and functional requirements, while as an artist, I have the freedom to experiment with creative concepts and aesthetics.
This dual perspective allows me to bring innovative ideas from my artistic work into my interior design projects and commercial renderings; creating spaces that are infused with creativity and personal expression.
A: How do you address the challenges with clients that being an interior designer can sometimes bring forth?
NL: In the design field, working with clients often presents challenges that require careful navigation. It’s crucial to maintain patience, employ creative problem-solving strategies, and never take things personally. Art and design are highly subjective, so understanding and respecting diverse perspectives is key to achieving successful outcomes and maintaining productive client relationships.
A: Do you see each role as separate, or do you see everything as one role – that of an artist?
NL: To me, balancing my work as an interior designer with my role as an artist is a seamless integration. Often, as I immerse myself in a design project, it sparks ideas and inspiration for my renderings and vice versa. The creative process flows naturally between these two disciplines, each informing and enriching the other. This interconnected approach allows me to explore ideas from different angles, ensuring that both my design projects and artistic endeavors benefit from a shared pool of creativity and innovation.
A: What additional art projects and exhibitions do you have coming up throughout 2024?
NL: 2024 promises to be an exciting year with a lineup of captivating render projects. Stay tuned for updates!
All images courtesy of Noa Levy.
www.noalevydesign.com I Instagram: @_noalvy
The work of Noa Levy appears in Issue 118 of Aesthetica. Click here to visit our shop.
