When artist Melanie Stevens approached the team at Figure Plant with her concept for the Black Cultural Center at the North Portland Library, she brought with her a vibrant, layered piece of Afrofuturist storytelling—three distinct panels filled with intricate linework, symbolism, and historical references. For the team tasked with bringing her vision to life physically, it was immediately clear: this wasn’t going to be a simple cut-and-assemble.
Instead, what unfolded was a process that blended advanced fabrication techniques with artistic reverence, technical rigor, and an unusual amount of care. In this post, we step behind the scenes with Project Manager Susan Cook, Lead Fabricator Deven Shollenberger, and CNC Operator Ryan Ramage to learn what it takes to turn an idea into an object—and make it last.
“When we first looked at Melanie’s artwork, we had a rough idea of how to approach it,” said Ryan Ramage, CNC Operator at Figure Plant. “We thought maybe it was a simple stack of three layers—almost like marquetry. But as soon as we opened the Illustrator files and started measuring the linework, we realized: this is way more complex.”
The intricate details, tiny line weights, and sharp points demanded a total rethinking of the production approach. “It was a ‘throw everything out the window’ moment,” Ryan added. “We had to change our tools, our cutters, our strategy—everything.”
Deven Schollenberger, Lead Fabricator at Figure Plant described how Melanie’s two-dimensional files drove the path forward: “There weren’t really a lot of options if we wanted to do the piece justice. It had to be CNC, it had to be deeply detailed, and it had to be dimensionally layered in a new way.”
The team ultimately chose solid wood—an unusual move for a project this intricate, but a necessary one. “We were worried about movement and thermal transfer from the nearby window,” Susan Cook, Project Manager at Firgure Plant explained. “Deven and I talked early on about how wood behaves, and how we’d have to cut into it with care.”
The result? A surface that not only held the intricate cuts but brought Melanie’s artwork alive with warmth and depth. “She really loved the richness of the wood tone,” said Ryan. “And when we applied the Osmo finish, it was like it all turned to gemstone. That moment felt like magic.”
Throughout the project, maintaining open communication with Melanie—and her collaborator Amber Marsh—was key. “We invited her into the shop as often as we could,” Susan said. “She’d review samples, see the progress, and we’d talk through the challenges together.”
Ryan noted the importance of being proactive with quality. “I’d spot things I wouldn’t be happy with in my own work—tiny bits of geometry that didn’t sit right—and we’d fix them before she even saw it. I think that kind of care helped build trust.”
Amber, meanwhile, acted as a crucial digital translator, adjusting files and preparing them in ways that worked with Figure Plant’s tool paths. “She got us 80–90% of the way there,” said Ryan. “That’s rare.”
From the start, the team knew this installation had to last. That meant designing it for durability and serviceability—without compromising the visual impact.
“Instead of three giant panels, we broke the artwork into smaller sections,” said Ryan. “That way, if one ever needs to be replaced, we can do it. But that added complexity—every seam had to disappear.”
The mounting system itself was custom, using a Unistrut backing to allow airflow and brace against potential cupping. “It let the wood breathe, and helped keep the piece stable over time,” Susan added.
This project wasn’t just technically ambitious—it was emotionally resonant, too.
“For me, this was my local library when I first moved to Portland,” Deven shared. “I used the computer lab there. My bike was stolen out front. So being able to contribute to that space felt full-circle.”
It also felt different from commercial work. “A lot of what we build is temporary,” Ryan said. “It’s for a trade show or an event. This is permanent. Public. It means something.”
That sense of meaning brought a different energy to the shop floor. “The artwork itself demanded care,” Deven added. “You could feel it. You wanted to do it justice.”
In the end, the team points to the process itself as the reason the project was successful: tight collaboration, constant feedback, and a shared understanding that they were making something bigger than themselves.
“Melanie brought the vision,” said David Fredrickson in admiration of the project, “and our team brought it into the world. Every time I hear her talk about it, it fills me up.”
The final piece now sits in the library’s Black Cultural Center, glowing with color, dimension, and history. It’s a story told in layers—and one built with precision, purpose, and pride.
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