At once futuristic and traditional, this miniature escape by Studio Weave makes a bold mark using just zinc and plywood. Light is controlled in the studio to facilitate the artist’s work. Half of the studio is flooded with northern light for traditional art forms such as sculpture and drawing, while the other half minimizes light to avoid screen glare for digital work.
Built in 1875, the house had the typical compartmentalized layout favored at the time—large, formal reception rooms to the front and subsidiary rooms to the rear, including a small, dark kitchen. It may have had curb appeal, but inside it was gloomy, rundown, and in desperate need of attention. Architect Gregory Phillips, a family friend, was retained by the Brenners to make their 19th-century house work with their 21st-century lifestyle. His clients’ program was simple: “I only asked for a place to escape from the kids!” claims Judith.
The stark white, glass-fronted art studio was conceived as a blank canvas so that the decidedly nontraditional English garden—a large lawn bordered by exotic palms, bamboos, ferns, and other flamboyant foliage inspired by a recent holiday to Australia—could be the focal point. The minimalist dining table, benches, and stools are by e15.
Peterson Rich Office designed a modern studio for artist Tula Telfair in Lyme, Connecticut. The space is designed to complement the picturesque setting, while not letting it take the artist away from her work. A glass door on the north side sits opposite a glass window on the south wall that overlooks a birch tree forest. Skylights pull light into the interior. "Even though the artist paints landscapes, she didn't want to be distracted by the beauty of her surroundings while in the studio, which led to the limited apertures," Peterson says.
This pair of mobile studios in the U.K. connect artists, audience, and landscape. "We wanted them to be silhouettes that just exist on the landscape," says Feilden Clegg Bradley and architect Charlotte Knight, who helped design The Study and The Workshop, a pair of mobile artist's studios currently located in South Downs, two hours drive south of London. "They’re black and foreboding. In the distance, it’s quite striking."
Just as water and oil don’t mix, neither do the crafts of collage and ceramics. Nevertheless, a combination of the two was precisely what one creative couple living on Long Island requested when they contacted tbd design studio in the late 2000s. “Collage is all paper and glue, and pottery is all dust and moisture; those are terrible things together,” says designer Joshua Weiselberg, who went on to accept the project with his design partner Selin Semaan. On a site with just 700-square-feet of buildable space, the designers intersected two rectangular boxes to bring the artists—but not their materials—together.
Inside the collage studio, light floods in from outside. “He didn’t want to be able to necessarily see the outside but he wanted it to be very bright,” Semaan says. “From the inside, you can’t make out exactly what’s out there but you can see some of the colors of the exterior through the polycarbonate.”
Amidst the pedestrian-friendly maze of leafy streets in New York City’s West Village, LOT-EK, a firm whose designs focus on the creative reuse of industrial materials, inserted a gut-renovated and intensely colorful new home—getting a facade embedded with truck beds past the heritage commission along the way.
Lawrence Weiner, one of the godfathers of 20th-century conceptual art and widely known for his minimalist experiments with language, sits at his daylit desk. The bare walls are perfect for tacking up new projects, and the steel ductwork gives the space an industrious feel.