Portland Product Design Students Intern with Anthropologie

My internship at Anthropologie relates to product design in a different way than what I have been taught in class. By experimenting with everyday materials, I’ve gotten to learn techniques for making things in a more craft-based way.  Creating these displays has also helped me visualize how product can be displayed in an artistic way and learn about an aesthetic that has already been branded as the Anthropologie lifestyle.  I feel like learning the final phase before it goes to the consumer has been very beneficial in my way of thinking about design related to the retail world. –Tori Russo, BFA from the Product Design Program in Portland, Spring ‘12

 

Tori Russo and Liesel Sylwester at Anthropologie in the Pearl District, Portland, site of their 2011-2012 internship.

Internships at the University of Oregon in Portland School of Architecture and Allied Arts are coordinated by Sara Huston, instructor for the Product Design program in Portland.  Students find their own internship position and work on negotiating the terms before bringing their application to Huston for review, refinement and approval.   In Portland, there is great potential for internship opportunities related to the fields of architecture, art, and product design.   The collaboration between students and prospective employers is viewed as an experience that can lay the foundations for successful careers and can give Portland’s creative businesses access to the University of Oregon’s  student population.

In her quote beginning this article, Product Design program BFA student Tori Russo alludes to internships bringing life experience, creative hands-on exposure, and knowledge to students.  The University recognizes that internship placements are powerful ways for a student to begin to select a career path, to gain valuable credentials, to work in a specific field alongside experts, and to develop individual capability within an environment of cooperation. It is another step in assisting our students forward on a path to “make good” within the very community in which they live and study.  The internship experience also forges connections and networks for the student that can benefit them long after they receive their degree.

This last academic year, 2011-2012, Tori Russo and Liesel Sylwester, both in the Product Design Program (Portland) joined forces and approached retail store, Anthropologie for an internship. The store is part of a chain of retail ventures owned by parent company, Urban Outfitters.  Anthropologie specializes in women’s apparel and accessories, home furnishings, replicated found objects, and gift and decorative items.  Geared to appeal to the sophisticated 30-40 year-old woman, Anthropologie offers unique, one-of-a-kind pieces and markets its wares to appeal to a lifestyle rather than simply product.  Russo and Sylwester applied to work at the Pearl District-based store (a short walk from the UO at the White Stag where both students are in their final year towards a BFA from the Product Design program).

Russo and Sylwester work on a housewares display.

Russo and Sylwester already loved the store and were intrigued by the Anthropologie aesthetic.  They went straight to the store’s Visual Display Coordinator, Nicole Faivre, with their internship proposal. Faivre who enthusiastically lauds the internship program comments, “From the interns joining us, Anthropologie gains additional sets of skilled hands to prep and install the displays within our store.  The interns also strengthen
our creative energy within the store, which allows us to provide the customer with a complete sensory experience, right down to the details.”

The day I visited the Anthropologie to talk with Russo and Sylwester they were working on a project to create (by hand) canvas cacti.  Fabricated from bright green fabric stuffed with poly-fill, the faux-desert flora was propped up next to vignettes of hanging pants, shirts and accessories.  The entire store swirled in a painted-desert-like landscape. Even housewares were displayed in this created rugged scene.  On a table topped with gravel (complete with lit candles), colorful place settings popped within the vibrancy of light-saturated greens, oranges, and reds, textures and smells enveloping the shopper.  The interns mostly work in a small production line creating all the pieces for each installation, or display, and then assist with the installation when the display concept is completed.  From this internship, Russo and Sylwester have worked with a variety of materials including rope, fabrics, masking tape, wood, wire, and even coffee stirrers to create unique displays.  Faivre told me that “Tori and Liesel have had their hands in a wide variety of displays, using many different materials and processes.  They have worked on projects that involve painting, dying, sewing, drilling, hot gluing, taping, assembling, deassembling, and much more.  They also assist in the day-to-day store upkeep.”

Russo comments that the hands-on experience, such as crafting the cacti, “gave [her] real-world experience in creating things using materials [she] wouldn’t necessarily use to create something.  It allowed us to see the end of the production line and learn about the strategies of product placement and how to make product look better in a surrounding.”

Russo also says the intern experience at Anthropologie has “helped [her] to think about how a product would live in someone’s home environment” and brings an understanding about how “the merchandising is so important and goes hand-in-hand with experiencing installation.”  She notes that she is “able to relate that to the presentation of [her] own projects” in the Product Design program.

Anthropologie merchandises its wares with a kind of all-embracing vitality one might wish one’s own life could imitate.  Anthropologie illustrates their stores as having “beautiful, ever-changing vignettes and surprises hiding in every corner….spoons and skirts and sofas…..award-winning window and product displays….passionate and devoted customers…. plants, parties and personal shoppers.”  The store attributes their success and visual presentation to their “people.” People who they portray as “the most creative, inspiring, dedicated people you’ll ever meet.”  The UO interns are no exception to this and have benefitted Anthropologie by, as Faivre says, “utilizing their hands-on crafting skills though assisting in the preparation and assembling of materials used in store displays” and helping to create the invigorating inspired experience that has come to define Anthropologie.  The creative vision of Anthropologie, suggested by the home office but interpreted by each store’s own unique adaptation of that vision, gives shoppers an experience of submersion into a world where you feel connected to the creativity, the environment, the uniqueness, even if you only buy a coffee mug.  As Russo explains the process flow, “the interns get direction from the Visual Display Coordinator who works directly with the Visual Merchandiser in order to come up with the designs.”  She continues, “The VDC and the VM work together to make sketches and come up with a plan of execution and it is this plan that the interns ultimately work with to create.”  Russo describes the process as being “just like [she does] in studio—they have a bunch of images that they use as inspiration.”   Complimenting the work of the interns, Faivre asserted that Anthropologie is always seeking qualified individuals who can bring hands-on crafting and creative skills and a strong sense of design principles to the Anthropologie creative aesthetic.

In addition to the hands-on experience these students describe receiving from internships, there is an added component: the chance to do something of real interest and to connect to a creative outlet that delivers to a student a sense of personal satisfaction. UO AAA students as interns are given opportunity to interact with professional networks they truly value.  And, that is where the pure enjoyment of having the freedom to pick one’s own internship opportunity arises.

Preparing materials for display, Russo and Sylwester in Anthropologie's back room of supplies, tools, and creative working.

Liesel Sylwester might have said it best when she commented,

“I love making beautiful things.  Interning at Anthropologie is just play for me.  It is so rewarding to create something improbable and fantastic out of the most basic materials and to see it all put together at the end.  It reminds me of when I was little and made crazy stuff out of whatever was around.  It helps me unwind during a busy week.  Anthropologie is one of the few things I will gladly get up at 5am for.”

Adaptive Products, Adaptive Athletes : Enabling Athletes with Disabilities (PD 486) at the University of Oregon Product Design Program in Portland, Oregon, Winter 2012 Collaborates with Nike, Inc.

With this Body, I Can Move:  Innovating for Every Body

Athlete Will Groulx with Ryan Fiorentino's CONCORD | Image courtesy of Ryan Fiorentino

By Sabina Samiee, UO AAA in Portland

“Clearly it is a lack of relevant tools and gear available to [these athletes] rather than [their] attitudes that is holding [them] back….And that’s where we as design students come in with this project.” –Product Design student Jeff Heil commenting on Adaptive Products studio

In an unprecedented studio course and collaboration between University of Oregon adjunct Product Design program instructors, Wilson Smith (‘80 BArch and current Nike, Inc. Design Director), Bob Lucas (former Nike, Inc. innovation designer and current UO adjunct professor in Product Design),  UO School of Architecture and Allied Arts Dean Frances Bronet, and Product Design program director, Kiersten Muenchinger, students in Portland’s Product Design program were given the opportunity to work with nationally recognized adaptive sports athletes to innovate functional products specific to physical challenges.  The studio, offered winter term 2012, launched the Adaptive Products:  Enabling Athletes with Disabilities course and strengthened the cooperative efforts between Nike and the UO Product Design program to develop athletic gear helpful to competitive adaptive athletes who use prosthetic devices and wheelchairs. [See images from the studio and the final review on the UO AAA Facebook page.]

 

Athlete Will Groulx examines the bike seat designed for him by student Ariana Budner. Image courtesy Ariana Budner.

Inspired by the legendary UO track coach and co-founder of Nike, Inc., Bill Bowerman’s quote “If you have a body, you are an athlete,” instructor Wilson Smith recalls beginning the class with that spirit.  “We approached the Adaptive Design, Enabling Athletes with Disabilities studio to improve the athlete’s performance in sport,” he commented.  Smith continued, “At Nike, we are always seeking to improve sports performance through our product innovations.  The students worked directly with highly competitive athletes and approached the design challenge with empathy and passion, producing inspired and compelling adaptive products.”

The 16 students who worked with the guidance of co-instructors, Smith and Lucas, instructor assistant Bryan Myss, and four United States-based adaptive athletes consistently remarked on the collaborative blend of the course as weaving both ethics and ingenuity.  The students functioned in teams of four, each student devoting their design innovation to the specific request and physical needs of one of the following athletes:  Will Groulx (recently signed to NIKE ), Paralympics Wheelchair Rugby Champion; Gabriella Rosales, UltraMarathon runner; Joel Rosinbum, ParaTriathlete;  and Brandon Robins, Elite Adaptive Action Sports Athlete.

University of Oregon students who participated in the studio are: Zoe Blatter, Ariana Budner, Ryan Florentino, Jake Fromer, Charles Hartzell, Jeff Heil, Matt Kennedy, Ian Kenny, Aleksander Magi, Damien Menard-Oxman, Tara Nielsen, Tori Russo,  Liesel Sylwester, Greyson Walker, Alyssa Wasson, and Stewart Worthington.

The Adaptive Athlete studio course began with the premise that enabling every body to perform at the greatest potential possible–while comfortable, safe, secure, and with efficiency– is the ultimate goal.  The intention to create, via trial-and-error, user-based products that promote ability, and ability without pain, and with plenty of speed delivered as part-and parcel of the entire concept stood squarely in front of the students enrolled in Adaptive Athletes.   This would be a design adventure to co-innovate with direct input from the users themselves.  As instructors, Smith and Lucas were fascinated by the countless figurations the human body can, and does, take:  the idea of making physical pursuits, whether for fun or competition, accessible to all body types and to design equipment that would enable bodies of any description to move and be active served as the focal point of the course.  In a very proactive approach, Smith and Lucas advocated for every body being able to move and be as athletic as the individual desires.  Considered a fundamental right of the person, Lucas and Smith adopted the attitude that if you wish to activate your body, physical limitations might pose a challenge, but that very challenge needs to be embraced.  Both the instructors are quick to note that as human beings, we all function at different levels of athletic prowess, whether we use a wheelchair, a prosthetic leg , are born without a limb, or even with no loss of extremities, we should work with and use that which we have to the best manner possible. Bringing to the athletes access to innovative designs that enable and enhance life experiences and make success more feasible, was a tantamount concept for the studio.

 

Student Tori Russo and athlete Brandon Robins discuss designs at the final review.

To achieve this gracefully blended partnership of user and designer, Smith and Lucas crafted the course experience to integrate close collaboration between the athletes and the students.  Athletes visited the studio, working in cooperation with the students to create ideas, and provide feedback and concepts.  The students quickly learned what was important to the athletes and also came to learn what motivate is a desire to excel no matter what the physical situation.  With careers deeply entrenched in design and innovation for athletics, Smith and Lucas both urged the students to rely heavily on the input of the end user, providing ample opportunities for items to be tried on, tested, and used in real-life situations.

 

Work sessions to discuss and revise designs with instructor Bob Lucas.

Human beings tend to be captivated by movement, the option to have the power to move ourselves, to control our bodies and to have a sense of communicating accomplishments.  How we achieve those ends and having the choice to do so greatly effects our perceived quality of life, our self-confidence, our self-assurance—the omnipotent capability to go from doing nothing at all (for example, sitting quietly without movement in a wheelchair) to springing into action with any kind of movement we desire (landing a huge arial jump on a wakeboard).  The availability  and access to have the equipment, materials, or prosthetics to push one’s limits and challenge the opportunities one has, completes an individual’s combined sense of both embracing the difficult and savoring the victory.  The students were infused with a strong sense of enthusiasm to make these kinds of victories possible for the athletes they were working with.

From the onset of the winter term, the 16 Product Design students took their ideas to the athletes and spent hours determining what would be key areas of improvement to equipment, functional products and the existing devices these individuals already use in the everyday and fast-paced world of action sports.  Student Jeff Heil comments, “We [had] an opportunity to get the ball rolling with what we came up with and inspire an effort to influence a lot of people’s lives in a really positive way.  Enabling adaptive athletes to play their sports is such a unique and deeply interesting topic for design…..I believe design should move us forward.”

And,  move forward was what they did.  Students together with two of the athletes, Will Groulx and Brandon Robbins unveiled their designs March 14, 2012 during a review session at the University of Oregon | White Stag Block in Portland.  Reviewers from Ziba, Nike, Inc., PENSOLE Shoe Design Academy, and others were on hand to critique the designs and help the students move forward in the continued development of their concepts.  Crucial input came from the voices of both Will Groulx and Brandon Robbins who took the opportunity to actively engage with the students and let them know how the designs would fit into their lifestyles and athletic goals.  It was evident that the lives of these athletes are not determined by what happened to them, or how they were born, but by the path they chose to take, a path perhaps less travelled but forged and fueled by a determination to surpass and accomplish.

From Ariana Budner’s design of the “ALBATROSS” bicycle “Smart Seat” (for Will Groulx) that channels ventilation, cooling, and comfort into the athlete’s ride (Budner cites it as “the handcycle seat that cools the competitive athlete, freeing [him] to focus on the competition at hand”) to  Ryan Fiorentino’s “CONCORD” upperbody support system (also for Groulx) that braces Groulx for long-duration wheelchair movement and exhaustive rugby athletic competitions, the student designs epitomized thoughtful design adopting challenge.

Ian Kenny’s “MOMENT Arm” sought to provide athlete Gabriella Rosales with armwear that could “restore, enable, and improve” athletic potential.  Kenny’s design concentrated on athletes needing devices to assist athletic performance for below the elbow amputee or missing limbs from birth.  Guided by Smith and Lucas, the buzz words around the studio consistently remained “Mobilize Accommodate Empower,” a message that resonated the entire term.

Not only focusing on physical and tangible user-based devices, Tara Nielsen turned to the idea of proactive healthcare.  Introducing accessible heat and massage therapy tools for amputees thereby bringing physical therapy and wellness needs into the power and control of the individual.

Zoe Blatter’s “XDRIVE” gave his athlete, Brandon Robins, a tidy and compact package with towel storage, alcohol spray, lubricating ointment, and a screwdriver—all essential tools for an athlete with a prosthetic lower leg to keep himself comfortable on a day spent on the mountain snowboarding.

Student Jeff Heil addressed the importance of athletic training:  his “AIRBound” dynamic board sports training system “is an aid to athletes in their transition from injury to competitive performance.”  Heil’s ingenious design looks a little like a thick rubber air-inflated snowboard complete with bindings:  he used air filled bladders to enable balance, jumping with and bounding off so the user could test and redefine physical limits without the fear of further injury.

As instructor Wilson Smith enthusiastically beams, this is an all things bright and beautiful approach to design: anything is possible, and once you know your limits, you can potentially soar way beyond them…. with the right equipment, but more importantly, with the right attitude.  As stylishly tattooed, baseball cap-wearing Brandon Robbins, (a former professional wakeboarder who lost a leg in a motorcycle accident and now is a competitive adaptive snowboarder) proclaims,  with a gregarious cheeky grin and while hungrily gazing at his student teams’ designs, “It’s all so great, so great…I just want to try it all!”

Watch UO School of Journalism student and UO News reporter, Dustin Turner’s report on Adaptive Products | Adaptive Athletes.]

[The Adaptive Athlete studio student work is on exhibit in the Jacqua Center,  on the University of Oregon campus in Eugene.]

Special thank you to co-instructors, Wilson Smith of Nike, Inc. and Bob Lucas, as well as the students and athletes Brandon Robins and Will Groulx for their enthusiastic participation and willingness to discuss this studio and the projects.  Thanks also to Portland Store Fixtures for their generous lending of the forms to display student work on final review day.


Visiting professor gives students the challenge of designing a chair

The task sounds simple: design and build a chair. We sit in chairs all the time—how hard could it be? The reality, as 15 interior architecture students discovered, is far more complex. These students are in visiting professor Nils Ole Zib’s furniture design studio, where, according to Zib, “It’s probably the most difficult furniture to make.” Zib is the 2012 Margo Grant Walsh Professor in Interior Architecture.

Nils-Ole Zib teaches his studio in the wood shop
Nils-Ole Zib teaches his studio in the wood shop

Each student ended the term with a built prototype of a chair, but began the term studying and measuring existing chairs. They found that some famous chairs are uncomfortable, while other unassuming ones are excellent to sit in. Students then had to decide what type of chair they would design, and whom it was designed for. They couldn’t get too specific, as “you don’t have your name written on it, so it has to take some variability in size,” says Zib.

Zib required students to use wood to construct their chair, which dictated some of the forms and construction assemblies they could use. “The material allows you to do some things and restricts you from doing other things,” says Zib. Students were forced to ask, “What is wood able to do?” Students explored all types of wood, including standard pieces of wood, plywood, and press-formed veneer.

“There are limitations to wood and certain characteristics you have to design with and can’t avoid,” says Ellie Nonemacher, a graduate student in interior architecture. “Understanding wood down to its smallest element is key to a sound, structural chair.”

Zib, an independent furniture designer, product development consultant, and educator based in Denmark and Sweden, brought his own perspective on furniture to the studio. Zib sums up his philosophy as: “Get rid of all the extra stuff and scrape it down to the essential chair that you can actually sit in.” He asks students to justify their design decisions and always asks them ‘why’ to ensure they’re not adding something without good reason. Then at the end of the design process, students will add their own artistic touch and interpretation. “That makes a chair interesting.”

Now at the end of the studio, the class has an appreciation for the design of something as simple as a chair. “A chair can be one of the simplest forms of furniture, but it’s difficult to design,” says Nonemacher. “You also have to be willing to evolve with your chair and the material you have chosen.”

A student constructs a prototype of her chair
A student constructs a prototype of her chair
Finished chairs await critique at the final review
Finished chairs await critique at the final review
Students presented their finished chair designs one-by-one to a panel of reviewers and fellow students.
Students presented their finished chair designs one-by-one to a panel of reviewers and fellow students.