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Get Ideas for a Model-of-Perfection Artist's Studio
From covetable northern light to ample supply storage, an architect considers what makes an artist's studio idyllic
Houzz Contributor. I am an architect and writer living in New York City. I have Bachelor of Architecture and Master in Urban Planning degrees, and over ten years experience in architectural practice, split between Chicago and NYC. Currently I'm focused on writing and online pursuits. My daily blog can be found at http://archidose.blogspot.com
Houzz Contributor. I am an architect and writer living in New York City.... More »
Every now and then my wife and I talk about what we'd do if we had the money to build our dream house. What things would we include beyond the normal spaces for eating, sleeping and such? I'm always partial to a library, but my wife would love a pottery studio. Well, a library is relatively easy — lots of wall space and very little natural light — but an artist's studio is a bit trickier, bringing in considerations of surface and light but also ventilation, exterior access and so forth. This ideabook looks at some artist's studios to see what should be thought of when building one into your house, be it for pottery, painting or some other medium.
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| Let's say the artist is a painter. Ideally a painter's studio would be removed from the rest of a house, so that paint does not get on couches, and brushes aren't washed in the same sink where people cook or brush their teeth. This studio takes that to the extreme by being a 500-square-foot structure separate from the original Victorian house. The way the studio opens to the yard is a great feature we'll discuss more later. |
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| Traditionally, northern light (in the Northern Hemisphere) was desirable for artist's studios, because the light would be diffuse rather than direct. In a sense, this mimics the conditions in galleries and museums, where some indirect natural light may enter the space, accompanied by some artificial lighting. Site constraints mean that studios can't always take full advantage of north light, so maximizing any available light is ideal, such as in the case of this studio with windows and skylights. |
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When the location of openings is varied to maximize the daylighting, shades can be used to block direct light when it is not desired. Such is the case with this attic studio.
| A fairly common way of creating an artist's studio is converting a garage. Here, the existing garage door opening allows easy access to the outside. Other adjustments may include adding skylights (I like the way they exposed the beams here), HVAC and drywall on the inside. This studio makes it clear that storage is an important concern. |
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| Depending on the art one creates, the height of the space is important. Note in this case how the wall on the left is higher than the exterior wall on the right, owing to it being closer to the peak of the roof. This means that some fairly tall canvases can be set up to take advantage of the extra room. Note also the skylights, the track lighting and the terrace access. |
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| Similar to the previous example, but a little bit more intimate, is this studio with skylights, track lighting and sliding-door access to outside. |
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| I'd wager that this generously sized studio faces north. Not only does this glass wall bring in plenty of light, but it frames a dramatic view. I know what I'd paint! |
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| I'd also wager that these windows bring in some north light, though a bit western facing, given the sunset making its way in. This small studio also includes some pendant lights and a ceiling fan. |
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| From the outside, we can see the artist's studio's wing on the right. A small chimney exhaust is visible on the exterior wall, maybe for a kiln or another heating supply. If the former, it points to an important consideration for a pottery studio: how to install a kiln. Given the type of fuel and the temperatures it takes to fire ceramics to rock-hard durability, an artist may have some issues installing a kiln at home, depending on the local jurisdiction. My wife trekked to the suburbs to use a raku kiln because it was close to impossible to have one in the city. |
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| On the other side of the same studio is an outdoor area with some covered material storage — in particular, long planks of wood. If you're serious about an artist's studio, it's good to think outside the box, if you will, and consider adjacent spaces as well. |
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To me, the ideal artist's studio has direct access to an outdoor space that would also be used for making art. In good weather, this outdoor area could serve as a place to paint, throw pottery, what have you; a connection to nature and the elements is important in making art. The retractable doors of this garage/shed make this building perfect for working indoors and out.
| This last example shows that an outdoor space can also be designed into a house for use even in inclement weather. This studio can be extended to the covered space next to it just by opening the garage door, which also has glass for natural light. |
| The view from the outdoor space then becomes like a picture frame, giving the artist plenty of inspiration. More backyard escapes |
Ideabook published on Aug. 15, 2012.
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I guess what I'm really after is to see what people have had luck with in regards to lighting. What full spectrum lights have worked best for them. Do people have better luck with halogen or fluorescent cans and what light spacing worked for their square footage. So many lights claim to be full spectrum but are they really? Also, I hadn't thought of venting prior to this article. It's not so bad now but when I close off my space with walls it will be, just another thing to look at. Seeing ideabooks really help plan things out better. I'm just always looking at options before I start construction. I hope to get lighting up before the end of September. If anyone has constructed a studio with only artificial light, I would love to see/hear suggestions. It's so frustrating to see your work one way downstairs and a completely different piece upstairs in natural light. Ugh
But why is there an apostrophe in the title?
Wait, by "curved section," are you referring to the second photo? If so, more can be found here:
1 - If space above allows it, look into solar tubes. My parents installed one to bring light to the center or their house, and the first time I saw it I was surprised at how well it worked and how good the quality of light was.
2 - Look at precedents in other types, not just art studios. Here is one example, a modular classroom designed for situations that may not have windows (like art studios, classrooms want natural light, but when it's not an option it should be done well): http://www.lesliegill.com/edison.swf Unfortunately I don't have technical specs on the Ed-Labs, but I recall it getting a fair amount of exposure in trade mags when the design came out in 2002; look in the Avery Index at your library, if possible. The design is nice, because the lighting changes throughout the day, so students are in tune with the circadian cycle. Regardless of this consideration, having flexible lighting would definitely be a good idea for you, so you're basement environment is not fixed.
3 - Try to replicate gallery lighting. If there is a gallery or museum that has lighting you like, or if there is an artificially lit room where you'd love to have your work shown, see how they light it and then try to replicate it. Inquire with the curators/staff and/or see if the designer has specs on the space. Be sure to find ones that don't have skylights or other natural light; there must be plenty.
Good luck!
In considerations to lighting and how it can bounce around, would you suggest painting the walls in a white and using white tile on the floor or would you do the floors dark so the light doesn't bounce up? I haven't dove into research yet but your article has got me thinking about the entire space now. I have been anxious for a workable space for over a year now, it's definitely time to get busy.
Light: northern light is still the best, because it changes the least throughout the day and you don't have to block the direct sunlight. Skylights are theoretically nice, but not really, you always have to cover them when you're painting. You can't have sunlight hitting finished work you're storing.
Storage: Drawers for materials, racks to stack paintings, huge drawers if you work on paper.
Space: you must be able to stand back at least ten feet from the work. Because you should be moving back to see the work often, drop cloths are dangerous.
Ventilation: cross ventilation is desirable, but not always possible. Screened windows (bees can be attracted to certain oils) and a fan are a must.
Other comforts: sink, bathroom, music.
Wish there were more posts from artists to talk about what works and what doesn't. I'm an amateur but painting is very relaxing for me so I plan on continuing with it. I may never get rich off my art but I'm sure my mind will be thankful :)