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space for 1 to 100 and 20 studios  

space for 1 to 100 and 20 studios

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Other Projects by archSchweitzer

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RWU School of Education

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The Arsenal Main

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IMPORTED

space for 1 to 100 and 20 studios

STATUS
Concept
Space for 1 to 100 and 20 Artist Studios

“So what moved me? Everything. The things themselves, the people, the air, noises, sound, colors, material presences, textures, forms too – forms I can appreciate, Forms I can decipher. Forms I find beautiful.” – Peter Zumthor Atmospheres p.17
“The room closed down on me, I expected the presence of the Creator, I saw my gray painted walls and ceiling, they contained my room, they contained me” – Allen Ginsberg, Transcription of Organ Music

For an artist studio and communal space (for 1 to 100) one could argue that walls should be blank, that the artist should be in a pure space, open, simple, and white not enforcing any emotional context to the individual. That’s simply absurd.
The site alone demands a response and what better way to respond than formally. Through architectural form, the program as a collective can be orchestrated through planes, vertical and horizontal lines that frame the site. The approach blocks most what is behind the form except for the few slivers that frame circulation and the landscape. Moving down into the contemplative garden allows through movement new perspectives on the horizon. The calm material heavy garden sets up a contextual transitional approach for the large space that only frames the sky and allows the program to act alone and unobstructed.
As the for artists, they are separated vertically and outward facing orientations that face and frame the landscape of the trees, the branches, the water, the horizon line, each artist studio framing various elements but all connected in a row so that if standing at certain locations one could visually and physically penetrate through the studios creating a interwoven individual community of studios.
The tall vertical planes frame circulation and the landscape on every scale. From the vertical circulation of the studios sliding past large planes that allow new perspectives of the landscape that are blocked from the approach. Then in the artist studios, the transformation of interior walls obstruct or increase both visual and circulatory travel through individual studios.

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