Courtesy of Gensler
This as-told-to essay is based on a conversation with Ann Morrow Johnson, the design director and global entertainment leader for Gensler's Entertainment and Experience Design Practice. Johnson, 37, previously worked in several roles with Disney, including as an Imagineer. Imagineers research and development attractions for Disney.
Robert A.M. Stern Architects was my first full-time job, but I have to credit my little sister, Alice, who pointed out that being a Disney Imagineer might be really fun.
I had always been interested in buildings and architecture, but I also was a bit of a theater kid. I was in plays and a couple of improv companies, so I'm interested in the intersection of arts.
As much as I had an interest in theater and design, combining those two things was something that I had not considered, but it seemed exciting as soon as my sister brought it up.
Ann Morrow Johnson
The ability to combine those things into world-building and narrative-based design — which are terms I never heard of before I got to Disney — was amazing because it felt like such an incredible convergence of worlds that had previously felt disparate.
I first applied for an internship in 2013 while pursuing my MBA and got an Imagineering role. Then, I went back full time after I completed my degree.
I worked with Walt Disney Imagineering for 10 years.
My first piece of advice — and the one I feel the most passionately about — is that you've got to take your shot. I've talked to people who will say, "Oh, I've been thinking about getting into a creative space," or, "Oh, I wish that I had." It's competitive but worth it.
The next step is to find out how to be useful, whether that's being really fast, having an excellent portfolio, or solving problems.
When I came to Disney, I was on the project management end, where I could speak about design, finance, and strategy. Being able to translate between those worlds helped me move into the creative space.
Also, find a loose connection or someone that you know. When I originally submitted my Disney application, I also submitted my résumé to the brother of a roommate who knew a guy I went to business school with. We had never met.
Finding an entry point instead of a cold call — even if you've never met that person — is valuable.
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I started at Disney Springs at Walt Disney World, then transitioned to the project manager on the initial "Star Wars" offerings at Disneyland before becoming the global producer for all shorter-term "Star Wars" projects worldwide.
I later became the executive creative director and executive producer for Star Wars: Galactic Starcruiser. I also worked as vice president of creative development at Blue Sky, and as a vice president and portfolio creative producer at Disneyland.
I left Disney in May to work as the design director and global entertainment leader at Gensler, an architecture and design firm.
It's early days, but I have already been pleasantly delighted by the breadth of opportunities. Gensler is great because it has so many offices that touch on different styles of architecture, strategy, and branding.
It's unbelievable because at Gensler, instead of working within a specific set of stories, we get the opportunity to build stories in the real world with any number of applications. There are hotels, there is retail, and so many different aspects.
It's such a fascinating moment in experiential design.
