The painting studio is tucked away in the garden of a 1920’s weatherboard home and was designed for the creation and display of artwork. The Studio is clad in Western Red Cedar, a timber that has been long admired by the client. Straight lines of the horizontal cladding juxtapose the knobbly vegetation of the existing apple trees, and the patination of the shiplap boards break the tension between the new building and the existing structures.
A plinth runs the length of the south façade, grounding the building and detailing the junction between the external wall and the sloping ground plane. The Western Red Cedar boards appear to wrap over the plinth, providing continuity to the façade. These boards are dressed on four sides and spaced allowing for drainage and necessary sub-floor ventilation. The new studio and the existing printmaking workshop are connected internally. The connection between the old the new is highlighted by the straight lines of the new Studio morphing into a three dimensional projection. Internally, the projection houses bookshelves and is designed to hover above a glass display cube. Constructing the projection with a cantilevered timber web frame system allowed the glass cube to be free of structure, increasing display space.
The glass cube allows sculptural objects to be displayed and viewed from the garden, bringing the gallery into the landscape. Internally the cube provides a glimpse of green amid the white interior. Exposed trusses are painted white to maximise the effectiveness of the skylights in the painting Studio and create an increased sense if volume. Each prefabricated, Tasmanian Oak truss was individually engineered to calculate the changing roof pitch due to the angled floor plan. To provide a warm contrast to the white interior the floor is clear finished Tasmanian Oak and all shelving, architraves and skirtings are clear finished Tasmanian Hardwood.