Nursery Works' Senior Designer on the Making of Its $7,500 Gradient Crib

I don’t know about you, but when my opportunity comes to bring a smaller version of myself into this world, you best believe that his or her tiny infant body will only sleep in the most luxurious baby crib money can buy. That’s where Nursery Works comes in. The high-end children’s-furniture retailer caters to a niche market. Its most expensive product, the Gradient Crib, retails for $7,500 (add $249 if you choose to include white-glove delivery). But what goes into that price tag? A lot, it turns out.

“It’s easy to get things to look nice,” says Matthew Grayson, a senior designer at Nursery Works. “But getting something that looks nice to also be something you can produce reliably and meet safety standards and to be able to make dozens of them—or hundreds of them—is a lot harder than just making just one nice-looking thing. You have to worry about packaging, fitting it through a doorway, getting it on a truck, not to mention having someone assemble it.” Those are welcome challenges for the designer, who has a background in computer science and fine arts as well as an MFA in Product Design from the Art Center College of Design, credentials that have allowed him to employ a range of methodologies and techniques to create some of Nursery Works’ most extravagant and complex cribs for over three years now—ranging from a model that can convert into an adult-sized desk to one supported by a 24-karat gold base.

What, you want to put an Ikea crib in a house like this?

With the Gradient Crib, Grayson and his colleague Eric Lin began working on the idea in the summer of 2013 as part of a new line for the company. “We were discontinuing a lot of the existing products and moving them to be more high-end,” Grayson says. “We were bringing most of the production to the U.S. and came up with a number of early concepts.” Narrowing those down to around four concepts, the Gradient Crib in its initial ideation existed as a rectangular crib with a three-dimensional surface on the front.

Grayson and Lin passed designs back and forth for a few months before retiring the idea for a while. “Which is pretty typical for us,” Grayson says. “We’ll do a first round of design and then put it on the wall and then see how we feel after a couple of months. You let your subconscious work on something and, over that time, we realized that what we had designed was really just a flat, boxy crib with a really intricate front panel.”

The designers agreed that to introduce it as a Nursery Works product, they would need to find a way to elevate the design to really take it to the next level. To do that, they needed to make the Gradient Crib more elaborate and compelling. “What we realized was that for that surface to work it really needed to be on a rounder crib, something that didn’t have a clear beginning and an end,” Grayson says. “So, that’s how we arrived at the oval-formed crib.”

The Gradient Crib is made in Los Angeles, using only solid maple hardwood.

Grayson began with a wine-glass-shaped crib modeled in SolidWorks, where every slat was the same shape, widening at the base. Using Rhino, multiple surfaces were generated and, one by one, laid across the slats. Those surfaces were then cut away from the slats in a process to see what pattern could still be conveyed at that resolution. With each slab roughly three-fourths of an inch thick, and with around two inches of space between slats, only designs of a particular level of detail could be seen across the crib’s exterior. “If you do anything too intricate, it’s just not going to pick up the subtle changes and if you do anything too broad then it’s not going to look like anything,” Grayson says. Moving between SolidWorks and Rhino, Grayson would apply various surfaces to the slabbed model, making adjustments and iterating upon their design over the course of several weeks.

Modeling the gradient

The project picked up again in the fall of 2013 when Grayson and Lin settled on a design they were satisfied with. Imagined in maple hardwood, the final design featured an undulating surface that wrapped around roughly 50 slats to create the exterior of the crib. Nursery Works focuses on small-scale production runs, cutting out many of the problems that typically arise when looking to scale a piece of furniture to mass production. No expense is spared when choosing manufacturing techniques, leading to decisions to employ laser cutting, gold plating and CNC milling in many of its designs. CNC milling was the production method of choice for the Gradient Crib, as the designers worked with a local fabricator in Los Angeles to realize their designs for a full-scale prototype in MDF.

The full-scale prototype gave the designers a sense of what the object would feel like in a home, but little experience of its functionality, so they quickly moved to birch plywood prototypes as they tested construction and assembly. The ability for the crib to convert to a bassinet was an important feature to the designers, as many customers who invest in these pieces look to extend their lifespan. The exterior surface added a layer of complexity to this, and Grayson and Lin had to design the pattern to be continuous, even when panels were removed to complete the transformation. “We didn’t want the shape to be lost when you convert to a bassinet,” Grayson says. “When you remove that flat panel from the front, you’ve now taken out a big chunk of that flowing surface. You still want it to be seamless, so you still need it to line up when it’s in bassinet form.” Grayson and Lin also wanted to avoid any obvious joints where the pieces were coming together, opting instead for invisibly mounted hardware and mattress supports.

Assembling the full-scale plywood prototype
Detail of the slat-on-slat joints
Detail of the screwed and plugged joints

Grayson and Lin tested a variety of ways to connect the hardware and supports, as well, careful to conceal all hardware. Aluminum fasteners were attached into a small pocket underneath the top and bottom rail of the crib, giving a solid anchoring point for assembly while simultaneously hiding all screws from sight. “It’s really the most precise way that we could bring it together and allow the crib to remain really sturdy when we’re shipping it, or when you’re taking it apart into different pieces,” Grayson says. Another detail, a separate piece of asymmetrical wood, is popped in during assembly to cover the hardware supporting the mattress, sitting flush to the rest of the crib and keeping the mattress securely in place.

It’s that attention to detail—and disregard of typical cost-cutting manufacturing measures—that results in a $7,500 crib. At the end of the day, you can rest easy knowing that your baby is surrounded by some pretty meticulously realized furniture. Maybe it will even subconsciously make your kid love design. A small price to pay, right?

A Fictional Lampoon of American Auto Design Becomes a Reality

There are plenty of iconic film cars, from the Back to the Future Delorean to Christine’s ’58 Fury to James Bond’s ever-evolving collection of Aston-Martins. But the only one that made an active commentary on the (then-dismal) state of automotive design was the Wagon Queen Family Truckster from National Lampoon’s 1983 Vacation.

The car was written into the script as a simple gag: Family patriarch Clark Griswold is bait-and-switched by an unscrupulous car salesman, shafted out of getting the “Antarctic Blue Super Sports Wagon with the Rally Fun Pack” he’d wanted. The alternative had to look unappealing, and the Warner Brothers prop department responsible for creating the car didn’t have to stretch their imaginations to summon up the very worst American automotive styling available in the late ’70s and early ’80s.

Thus the color of the Wagon Queen Family Truckster was “Metallic Pea.” The fake wood paneling extended to the hood. It had eight headlights, each side ringed by an obnoxious eight turn signals. In a nod to poor ergonomics, the fuel inlet was located in the hood—on the passenger side. There were faux intake vents located above the rear wheel wells, as if it were a Countach, and a gaudy metallic logo on the cartoonishly-large C-pillar. The beltline ends abruptly at said C-pillar and with a second, higher beltline materializing to connect to the D-pillar. You might not have thought it was possible to make a 1979 Ford LTD Country Squire station wagon more ugly than it already was, but Warner Brothers pulled it off.

What’s strange is that the fictional Wagon Queen Family Truckster spawned a cult following. It’s got its own Facebook page, there are artist-created die-cast models and Lego versions of it. But even stranger is that a real-life Griswold family—Steve & Lisa Griswold of Georgia and their brood—decided to build a driveable replica to use for real-life family vacations.

“We are the Griswolds, and, yes, we are heading on vacation,” writes Steve. “I have been hearing jokes all my life but love the National Lampoon Vacation movies. So we decided to create our own Griswold Truckster so we can take the kids on some awesome road trips.” The Griswolds started with an only slightly-more-modern LTD Country Squire—this one an ’84—and turned it into this beast:

These real-life Griswolds have documented the intensive process of transforming the car here.

Shuffling cards: a mindless activity to enhance creativity

Many people have mindless activities they engage in when they need to think. Some shoot hoops, others go for a walk, and I shuffle cards. I keep five decks of cards at my desk for the sole purpose of giving me something mindless to do when I need to formulate a post idea, work through a problem, or figure out whatever it is that has me stuck with my writing. I know I’m not alone in my shuffling (or walking or hoops playing) or really wasting time, because scientists have found that a little mindless activity actually enhances creative work.

However, visual clutter distracts me from my work, and can even get me feeling uneasy. As a result, I must have a tidy work area, free of extraneous stuff. Therefore, I have to keep the cards stored nicely in their packs and in a contained area so they don’t interfere when I need to stay focused on my mindful work. (There are organizers that hold as few as two decks to thousands of cards.)

We’ve talked in the past about filing being a good mindless activity to let you accomplish a to-do item on your work list, while not focusing on mindful work. Scanning, sorting, and shredding are other mindless, yet productive tasks. Shuffling cards doesn’t help me get anything else off my to-do list, but it certainly helps me think and solve my work problems, so I’m not about to give it up. What mindless activities do you do to help you think and enhance your creativity and overall productivity at work? Also, how do you organize any stuff related to your mindless activity? Alternating between mindless and mindful activities is great, so if you don’t do something right now, check out comments from our readers to see if there might be a mindless activity that is perfect for you.

Post written by David Caolo

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