Kathryn Whipple on tue 11 jun 96
The foundation to my 20X20 studio is done, the floors are next, and then,
the walls!!! So it's time for me to decide how the walls are going to be
arranged--windows, doors, etc. Why yes, we are leaving all this to the last
minute :}! most of the framing will be done with used lumber so it's just
going to happen as it happens. The placement of the doors and windows will
depend both on the available materials and on the internal plans for the
space.
My question for the group is, how have others designed their work spaces?
So far, all i'm sure of is that i want my wheel to be in the northwest
corner overlooking the fabulous pasture i have bragged about before.
(the one with the blackberries and huge oaks and maples and wild roses).
I feel like i'm facing a brilliantly clean white sheet of 20x20 paper,
reluctant to lay down the first pencil mark...
How much shelving? how much table space? floor space? what about the work
flow? Space for eating or hanging out or napping during all night firings?
Looking forward to nosing around your studios...
Kathy
Brooker, Fl
Tom Gray on wed 12 jun 96
------ =_NextPart_000_01BB57DE.1EAF9400
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: 8BIT
Kathryn-
We built a new studio last year & faced the same dilemma. As many times as you
find yourself sitting in a chair in the middle of all that empty space- is the
number of permutations you'll come up with. Except for windows & doors- anything
you do can be moved & removed. If you sit in that chair in the middle of the
floor often & long enough- a logical order will come to mind. Good luck!
Tom Gray
Seagrove,NC
www.atomic.net/~tgraypots
----------
From: Kathryn Whipple[SMTP:afn35642@afn.org]
Sent: Tuesday, June 11, 1996 7:09 PM
To: Multiple recipients of list CLAYART
Subject: studio design
----------------------------Original message----------------------------
The foundation to my 20X20 studio is done, the floors are next, and then,
the walls!!! So it's time for me to decide how the walls are going to be
arranged--windows, doors, etc. Why yes, we are leaving all this to the last
minute :}! most of the framing will be done with used lumber so it's just
going to happen as it happens. The placement of the doors and windows will
depend both on the available materials and on the internal plans for the
space.
My question for the group is, how have others designed their work spaces?
So far, all i'm sure of is that i want my wheel to be in the northwest
corner overlooking the fabulous pasture i have bragged about before.
(the one with the blackberries and huge oaks and maples and wild roses).
I feel like i'm facing a brilliantly clean white sheet of 20x20 paper,
reluctant to lay down the first pencil mark...
How much shelving? how much table space? floor space? what about the work
flow? Space for eating or hanging out or napping during all night firings?
Looking forward to nosing around your studios...
Kathy
Brooker, Fl
------ =_NextPart_000_01BB57DE.1EAF9400
Content-Type: application/ms-tnef
Content-Transfer-Encoding: base64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=
------ =_NextPart_000_01BB57DE.1EAF9400--
CaroleER@aol.com on wed 12 jun 96
In a message dated 96-06-11 19:12:12 EDT, you write:
>How much shelving? how much table space? floor space? what about the work
>flow? Space for eating or hanging out or napping during all night firings?
>Looking forward to nosing around your studios...
>Kathy
>Brooker, Fl
>
>
I was in a studio down near San Antonio for a workshop. This potter had
holes drilled into the wall studs. The holes were about 6"apart all the way
down the stud and were drilled at a slight angle. Pegs (probably about 8-10"
long) were placed into the holes so that shelves could rest on them. the
shelves were taken to the wheel while throwing and when full, the whole shelf
is taken to the wall. It was kinda cool! Tables and wheels were In the
middle of the room. It seemed to work out rather nicely.
Carole Rishel
Bastrop, TX - where I now have ***air conditioning*** in my studio!!! Yea!!!
CaroleER@aol.com
Dan Taylor on wed 12 jun 96
June 11, Kathryn Whipple wrote...(clip)spaces?>
I found a good method is to cut to scale, a piece of cardboard to represent
your floor area. Then cut pieces, again to scale, to represent the space
needed for items in the studio, ie: wheel space, kiln, tables, storage,
shelving, etc. Remember to allow space around for movement. Then move them
around on the scaled floor space and mentally live in the studio, imagining
the manner in which you work, compare to the space you are in now and it's
short-comings, etc. Imagine the work flow. It's perhaps too late to suggest
that you live with this concept for awhile before driving nails (you may
live with your design, and you mistakes, for a long time) but it is a good
idea to get it as right as possible while it's still easy to make changes. FWIW
----------------------------------------------------------------------------
-----
Dan Taylor dataylor@mlc.awinc.com
Taylor Clayworks Ph: (403)527-1002
1340 - 10th Ave. NE Fax: (403)527-1032
Medicine Hat, AB T1A 6G3 "Live your dreams"
----------------------------------------------------------------------------
-----
Mary Woodbridge Lusk on wed 12 jun 96
Kathryn,
If you have access to Ceramics Monthly from about 3 years ago, there's an
article by Royce Yoder, a potter in Pennsylvania, on the construction
and design of his studio. The blueprints and details down to how he
designed his packaging peanut dispenser are all included. I hope you can
find it because he built a beautiful space--not an inch wasted.
Good luck!
Mary Lusk
Bloomington, Indiana
On Tue, 11 Jun 1996, Kathryn Whipple wrote:
> ----------------------------Original message----------------------------
> The foundation to my 20X20 studio is done, the floors are next, and then,
> the walls!!! So it's time for me to decide how the walls are going to be
> arranged--windows, doors, etc. Why yes, we are leaving all this to the last
> minute :}! most of the framing will be done with used lumber so it's just
> going to happen as it happens. The placement of the doors and windows will
> depend both on the available materials and on the internal plans for the
> space.
> My question for the group is, how have others designed their work spaces?
> So far, all i'm sure of is that i want my wheel to be in the northwest
> corner overlooking the fabulous pasture i have bragged about before.
> (the one with the blackberries and huge oaks and maples and wild roses).
> I feel like i'm facing a brilliantly clean white sheet of 20x20 paper,
> reluctant to lay down the first pencil mark...
> How much shelving? how much table space? floor space? what about the work
> flow? Space for eating or hanging out or napping during all night firings?
> Looking forward to nosing around your studios...
> Kathy
> Brooker, Fl
>
Dave Eitel on thu 13 jun 96
>My question for the group is, how have others designed their work spaces?
Kathy--
When we built our studio we had a former 2 1/2 car garage with an addition
to it approximately the same size. We left it basically as two empty rooms
so we could put shelves and equipment anywhere and move it as our wants,
needs or impulses dictated.
Later...Dave
Dave Eitel
Cedar Creek Pottery
Cedarburg, WI
daveitel@execpc.com
http://www.digivis.com/CedarCreek/home.html
Levine Meg Jessica on thu 13 jun 96
Kathryn - When designing the windows in your studio, I would take into
account where the sun will be and how hot it will be during the day.For
example, where I am in Boulder, Colorado there is a tremendous difference
in temperature and comfort in the spaces (in the complex where I work,)
which have westward facing
windows and those that face north. The north facing studios are pleasant
in temperature all day where the westward ones are really hot after 1PM as
they get the afternoon sun. Yes, the view toward the west is great
(mountains.....) but the studios which face north and east are much easier
to work in...
If I were designing a studio I would put windows on a few walls as then
there would be cross- ventilation when needed. I would definitely put my
kiln in a seperate space which could be vented or had adequate fresh air
coming in and going out.....
Good luck, Meg Levine
PS- The local university here has a great sale of their surplus furniture
every few months. I got some great, sturdy work tables for my space there
for a great price (much less than the materials would have cost to build
them.) Perhaps you could check out the schools near you
to see if they have similar auctions. The old kilns from the ceramics
department were even auctioned there a couple of months ago...
Vince Pitelka on thu 13 jun 96
Kathy -
There have been some very good suggestions concerning studio design. If the
foundation slab is done then you have already made some critical decisions. I
prefer to have separate rooms for forming, drying/finishing/glazing, and
firing. For my own one-person studio in California during the 70s and early
80s, I used a 10x14 building on our property as the beginning. I dragged it
onto a slab which we had designed to accommodate this structure at one end, and
then we built on a 16x30 section with two 16' rooms, one for drying, finishing,
and glazing, and the other for firing and packing/shipping. I think this
arrangement worked out very well, but perhaps this is all moot, since you
already have your slab in place. The primary advantage to having the forming
room separate from the drying/finishing/glazing room is that you can control
the drying in a large space without affecting the heat/humidity of your work
area while you are throwing or handbuilding. John Jacobs comment about
portability of fixtures was right on. As much as possible, use ware carts
rather than stationary shelves. I did both, using supermarket shelving systems
which I purchased for cheap from a local store equipment salvage place. I
built a number of large ware carts, which could be rolled into the forming
room. When full, they were moved into the drying room, where I had both a
cold-mist humidifier and a dehumidifier. I would simply use whichever was
appropriate, considering temperature and humidity and type of wares.
In terms of critical design decisions, I suggest you follow the recommendations
of both Tom Gray (sit in the middle and study the space), and Dan Taylor - make
cardboard cutouts of all furniture and equipment and move them around on a
scale floor plan to find the best allocation of space. I have a good friend
who would always pick the moment when all Hell was coming down on him - orders
waiting, shows coming up, bill-colectors at the door, etc., and then he would
make a new floor plan and a set of cutouts, and completely reorganize the
studio. I never saw much improvement. The secret is in getting it right the
first time.
One more point - and I think someone already mentioned this. The recent
discussion about "Potter's Views" should definitely be taken to heart here. I
am sure you are considering this carefully. If you are a thrower, you will
spend the greatest amount of concentrated energy at the wheel, and looking up
at a pleasant and inspiring view is of immeasurable value. I did not write of
my view in California, because it did not compare with so many which were so
beautifully described recently. In that original structure on our property,
which was the beginning of my studio, there were two enormous small-pane
windows in one corner, and that's where my wheel went, facing directly into the
corner, with big shelves around it and two swing-arm lights over it, but with
nothing obstructing the view. I looked out over our yard and vegetable garden,
and beyond it several neighbor's vegetable gardens and yards. I never tired of
that view, and often thought of how much harder my work would have been without
it.
- Vince
Vince Pitelka - wkp0067@tntech.edu
Appalachian Center for Crafts, Smithville, TN
LINHARES on thu 13 jun 96
Hi Kathy,
When laying out my studio I decided to have one size shelf (3'X11") that
could hold an amount of ware I could carry. All of my carts, drying
racks, and kiln loading area are set up for the same size shelves. At
the time it didn't seem like such a big deal but it really helps the
flow. One more thing, the more things that roll the better.
>From Paul in Ohio where it's time to go make the pots ;-)
ROBERT POGSON on fri 14 jun 96
afn35642@afn.org wrote:
KW> My question for the group is, how have others designed their work spaces?
KW> So far, all i'm sure of is that i want my wheel to be in the northwest
KW> corner overlooking the fabulous pasture i have bragged about before.
KW> (the one with the blackberries and huge oaks and maples and wild roses).
KW> I feel like i'm facing a brilliantly clean white sheet of 20x20 paper,
KW> reluctant to lay down the first pencil mark...
Shucks, a potter, of all people, building a workspace that's square!
I think the correct space for a workshop is round. Put it on a circular
track so it can rotate and track the sun giving better illumination.
Connecting wiring and water lines is tricky but you could cheat and have
a stationary island in the middle for some of that, or use a motor-generator
and rotating seals on concentric water lines. Too bad I hadn't thought of
these things before I built my square. Wisdom comes too late to be of benefit
so one has to share it.
.... nfx v2.8 [C0000] !noitacidem deen uoy ,egassem siht daer nac uoy fI
Jonathan Kaplan on fri 14 jun 96
Some thoughts on studio design:
1. Ventillation: moving air is a very good solution for keeping your
studio cool. Now before everyone jumps on my case and accuses me of
increasing airborn dusts, remember, that if we keep our studios clean,
sweep the floor, damp mop, this is rarely ever a problem. Especially
because we're not moving hurricane force volumes of air. My air intake is
at one end of the studio, and the wall mounted exhaust fans are at the
opposite wall. Fans are louvered. Check out the Granigers catalog for air
moving specs and fan size selection. Our 5 electric kilns and new gas car
kiln share our casting area. Once the ventillation fans kick on, the moving
air is enough to cool that 1000 swquare foot space. Put the fans on timers.
2. Everything that can be put on wheels, put it on wheels. Not only ware
carts, but your wet clay storage, your slop and slake buckets, glaze
buckets, my list is endless. Our casting pour back is all on wheels. Slide
these bad boys right up to the tanks, insert the pump hose, suck it right
back into the tanks via the Sweco.
3. Floor drains. If you are fortunate to build a studio from the ground up,
a floor drain with an integral trap is a necessity. Hose it down once a
week, clean the trap every month or so, you'll be a happy camper. When I
taught at Millersville University many years ago, the walls were tiled up
to about 3 feet or so and integral cove tiles were set right into the
cement floor/wall junction. The janitors even hosed the walls down.
Hope this helps.
Jonathan
"No Matter Where You Go, There you are"
Jonathan Kaplan
Ceramic Design GroupLtd./Production Services
PO Box 775112
Steamboat Springs CO 80477
(970) 879-9139 voice and fax
call before faxing
Katy Sheridan on fri 14 jun 96
>When we built our studio we had a former 2 1/2 car garage with an addition
>to it approximately the same size.
>Later...Dave Eitel
Cedar Creek Pottery
Dave,
My question!!! Do you have any pictures of that 1/2 of a car? Which half?
Katy
Where the weather is ......well.....just the weather!
Kathryn Whipple on fri 14 jun 96
Thanks everyone for your posts. I knew i could count on you guys for
well-rounded advice! I especially liked John Jacobs' approach--the view, the
lighting, and the feng shui are almost all we have a clear idea about. My
favorite suggestion so far is to use all the same size ware boards whenever
possible, with pegs, brackets, or rolling carts to hold them (there seems to
be widespread agreememt that things with wheels are the way to go).
Vince suggests this division of workspaces: throwing, finishing (drying and
glazing), and firing/packing. (Vince, is your studio as organized as your
thinking? ;}), which makes a great deal of sense. it has been long enough
since i worked that I have saved up a nearly unmanageable amount of ideas
and ambitions....and i have never had the luxury of designing the space form
scratch, so this is an interesting aspect of design for me. Is there anyone
out there who works both throwing and sculpture who could advise on how that
fits into the spce and flow?
Thanks! this is so much fun...tonight i'll start the drawings and
imaginings..
Kathy
Brooker, FL
My neighbors are bringing in an even bigger doublewide and they'd better not
run over my zucchinis....
Scott Finney on fri 14 jun 96
Kathryn:
Old yet interesting studio designs can be found in a book by Bernard
Leach, "A Potters Book." If you can find a copy of this ancient
publication it may be of some value to you. For some of use this was
the potters bible. Just a touch of perspective.
Scott Finney
Clay Expressions
finney@linex.com
Ama-terasu Artworks on wed 23 jun 99
I am looking for advice, books, etc. on how to layout an efficent pottery
studio. Suggestions?
John Baymore on sun 27 jun 99
------------------
(snip)
----------------------------Original message----------------------------
I am looking for advice, books, etc. on how to layout an efficent pottery
studio. Suggestions?
(clip)
For one source, try =22The Potter's Professional Handbook=22
by Steve Branfman
Krause Publications
You can even buy it from Steve's bookstore, The Potter's Shop=22, in
Needham, MA =3Cg=3E. He's at SBranfpots=40aol.com (for those getting =
garbage
characters that is the standeard AT sign in the middle of the address just
given).
BEst,
....................john
John Baymore
River Bend Pottery
22 Riverbend Way
Wilton, NH 03086 USA
603-654-2752
JBaymore=40compuserve.com
John.Baymore=40GSD-CO.COM
=22Earth, Water, and Fire climbing kiln firing workshop Aug. 20-29,1999=22
John Baymore on sun 27 jun 99
------------------
(snip)
----------------------------Original message----------------------------
I am looking for advice, books, etc. on how to layout an efficent pottery
studio. Suggestions?
(clip)
For one source, try =22The Potter's Professional Handbook=22
by Steve Branfman
Krause Publications
You can even buy it from Steve's bookstore, The Potter's Shop=22, in
Needham, MA =3Cg=3E. He's at SBranfpots=40aol.com (for those getting =
garbage
characters that is the standeard AT sign in the middle of the address just
given).
BEst,
....................john
John Baymore
River Bend Pottery
22 Riverbend Way
Wilton, NH 03086 USA
603-654-2752
JBaymore=40compuserve.com
John.Baymore=40GSD-CO.COM
=22Earth, Water, and Fire climbing kiln firing workshop Aug. 20-29,1999=22
Stuart Altmann on sun 8 aug 99
------------------
Susan Fox wrote: =22I have the chance to build a new studio. Naturally, I
want it to be efficient, state-of-the-art, and as inexpensive as =
possible=21=22
Susan, my new studio is virtually finished. (Painter put the last coat on
the window sills just this morning, door thresholds are on order=85but I=92m
moving in, finally=21=21) If you would like to visit the studio, in =
Princeton
NJ, contact me. Here are some suggestions, from my experience with this
studio, that may help you plan yours.
1. Draw a detailed floor plan of your studio layout. Start with items
that are fixed beyond your control. My electric kiln must be installed
within 20 feet of its circuit breaker, and so the location of the existing
master breaker box fixed the area that the kiln would be in. Similarly,
your piping may determine where the sink goes. These fixed sites will
affect the rest of your design. (If necessary, a subsidiary breaker box
can be added elsewhere, and pipes run to where you need them=97but at a =
cost.)
2. My studio design was based primarily on two principles: through-put
layout and point-of-use storage. Through-put layout means that adjacent
stages that your clay goes through as you make pots are placed adjacent to
each other in the studio, or at least close. So, when my clay is
delivered, it will be placed in a storage area at one end of the studio,
accessible to a UPS hand truck. Adjacent to that is my wedging table.
Next to the wedging table is my wheel. Across the aisle from the wheel is
the drying rack, from which the pot next goes to my kick wheel for
trimming, then back to the drying rack. From there, when dry, it goes into
the nearby kiln for bisque firing, then across the aisle to the glaze area.
The glaze area adjoins the shelves where the glaze chemicals are stored.
Got the idea?
You can refine this layout by thinking of the motions that you and your
materials go through as you work. Can you reduce the distance that you
have to carry heavy boxes of clay? When you have filled up a wareboard
next to your wheel and pick up the board, with its heavy wet pots, to move
it to the drying rack, will you need to pivot 180 degrees to slide it onto
the rack? Would a different layout obviate this turning? Such time-motion
analysis is now routinely used in industry to enable workers to do their
jobs with greater efficiency and less risk of injury.
3. Point-of-use storage means what it implies: store things close to
where they will be used. Just as a well-designed kitchen has a place near
the stove for spatulas and stirring spoons, so a well-designed studio has
storage places for various tools near where they are used, not in some
general storage area.
4. Some time ago, I posted on Clayart a design for a drying rack, one
that is inexpensive and easy to build from nothing but standard 2 X 4
boards, plus nuts, bolts, washers, and screws, and requires only a drill
and bits, and a couple of crescent wrenches. With simple modifications,
the design could also be used to build storage shelves. If the design is
no longer in the Clayart archives, contact me. I can also provide you with
easy-to-build workbench plans, again, from common lumber and using simple
tools.
5. Your electric kiln should be hard-wired into the breaker box, not
plugged in. Between the box and the kiln, install a switch of appropriate
capacity. Get a professional electrician to do this, unless you know as
much as they do.
6. Fluorescent lamps are much improved. They cost more initially but pay
for themselves in a few years because of their considerably lower operating
costs and greater longevity. Be sure to get electronic ballasts=3B they
eliminate that annoying 60-cycle flicker. Instant-start tubes are now
available. Consider fixtures with 'parabolic' light diffusers. Fluorescent
tubes are no longer just =22cool white=22 or =22warm white.=22 They come =
rated in
degrees Kelvin, like photographic film. For better color discrimination,
closer to natural daylight, use tubes with fairly high Kelvin numbers. Much
better than the yellow-heavy light of incandescent bulbs. Halide lamps,
spot or flood, are good for local high-light areas, e.g. over your wheel or
work bench.
7. Plan on a place for =22paper work,=22 such as supply catalogues, =
invoices,
receipts, tax stuff, design sketches, glaze recipes, computer, cermic
magazines, books, etc.
8. If your studio will be in a new construction, think in terms of optimal
not maximal space. If your floor will be cement, think about drainage.
Think about painting it with epoxy paint: far superior to other floor
paints. Think about aisle width. Think about electric outlets, lots of
them, strategically placed.. Think about how to make your studio warm in
winter, cool in summer. Think about the view from your wheel. Think
about music, if you like that while you work. Think about how to avoid
tracking clay dust into the house. Think about how much storage space
you=92ll need, then add at least 50=25.
Stuart Altmann
email: salt=40princeton.edu office 'phone: 609/258-4520
Anji Henderson on mon 9 aug 99
In a message dated 8/8/99 6:45:41 PM Eastern Daylight Time,
salt@Princeton.EDU writes:
<< My electric kiln must be installed within 20 feet of its circuit breaker,
>>
I have seen and heard this many times.. Why?? Is it because the energy
decreases the further it travels?? Or, so you can change the fuse real quick,
or so you can shut it off in a hurry, Why??
Paul \"Standing Bear\" on wed 11 aug 99
It is due to the resistance through the wiring. If the recommended lineal
footage is exceeded, it is recommended to go to the next size larger in wire.
Your kiln company recommendations exceed the code. See N.E.C. section 6,
special provisions. If you have to keep changing fuses, your kiln is not
wired properly or your electrical service panel is to small or overloaded.
Hope this helps.
Paul Bradford (Cress Kiln Rep.)
Inner Vision Earth Art
innervisionearthart.com
D. McDysan on wed 14 feb 01
Clayarters,
We're building a studio (with house attached) and I would like input from
the list as to design and construction while we are still in the planning
stages. So far, it's a 20 x 22 ft. two story room with a small loft (that
can be expanded within the space later if needed). It has northern and
western exposure with a little southern exposure where the loading doors are
located. There is a kiln room in one corner and we will hardwire into the
wall. A corner will have a desk and display area near an outside door and
another corner will have my wheel looking out to the neighbors barn and two
horses (heaven!). The outside doors will lead to a patio for raku and
outdoor work in good weather.
I have checked with the archives and gathered great ideas but I want to make
sure our intentions are correct. We plan on putting a drain in the cement
slab floor (stained and sealed). Should there be one in the center or two in
opposite ends in a room that size? I want to put a clay trap in the drain
we'll have a septic field) and make sure most clay particles don't get into
the pipes. I understand Olsen Industries makes traps for such purposes or do
they just make traps for sinks? Any other suggestions on traps? Local
building code requires the floor to have cove tiles around the edge to
contain water so it doesn't compromise the wallboard. Will the slope of the
floor to the drain have any effect on my equipment? (Wheel, kiln, slab
roller, etc.) I have some rolling carts and plan to build a large work table
on wheels.
There will be a lot of windows as I want a light filled work space and I'll
have a corner for painting (northern light). The hvac system should take
care of the air and I'm hoping cross ventilation from open windows will keep
it pleasant without running fans all the time. Do I need any particular
filters on the system to handle clay dust?
What type of lighting is optimal? I like to work at night but I don't want
to light up the volume ceiling and have shadows in the task areas.
Any comments or suggestions are welcome... as I'm sure the collective wisdom
herein is forthcoming.
Thanks,
Deborah McDysan
Herndon, VA
michael wendt on thu 15 feb 01
Ha Ha,
I wrote:
My first studio was 24' X 30" and quickly became too small.
Regards,
Michael Wendt wendtpot@lewiston.com
I meant 24' X 30 ' , 30 " is small, even for me... ;-)
michael wendt on thu 15 feb 01
Deborah,
1. Unless the building code in your area requires a floor drain, I wouldn't
put any in. Instead, specify a smooth trowel surface, as flat as possible
and ask for Webseal 100 to be applied immediately after troweling. Wet
vacuuming works just as well as a floor drain, but all your equipment will
be movable for easy cleaning and won't roll down hill. Proper floor drains
require a fair amount of slope.
If you use Webseal 100, the result is a smooth, easy to clean floor that
gives off no dust of its own. Also, you don't paint it.
2. Build the studio as large as you can afford. Better to double all the
floorspace at one level. I have an upstairs here and it is a waste of money
as far as I am concerned.
3. You can add a filter system on the furnace air intake. I use Grainger 24"
X 24" X 4" model 2W239-A prefilters and 24" X 24" X 29" 5W427 high
efficiency filters in the second stage. Finally, there is a Honeywell
electrostatic air cleaner in the furnace that we clean regularly.This
combination of filters not only clean the air, they also prolong furnace
life by keeping the motor and heat exchanger clean.
4. I like to use swing arm lamps like they use on desks. I find the lamps
can be positioned in such a way that they give me a shadow break line along
the side of the pot where I am working and I can see every wobble and defect
( not that I have ever actually made a mistake ;-)
Congrats on the new studio. I cannot stress enough... make it as large as
you can afford as adding space later costs a lot more than planning it in
now. My first studio was 24' X 30" and quickly became too small.
Regards,
Michael Wendt wendtpot@lewiston.com
Deborah wrote:
Any comments or suggestions are welcome... as I'm sure the collective wisdom
herein is forthcoming.
Thanks,
Deborah McDysan
Herndon, VA
Sheron Roberts on fri 16 feb 01
Deborah,
I suggest that if your floor has any degree of slope you buy or build =
tables with locking wheels. My floor is sloped and all my carts have =
locking wheels. I can move them around and then lock the wheels in =
place so they don't go exploring by themselves. :)
My studio is 20 feet wide by 25 feet long. The building is actually 40 =
by 20, but my husband claimed the back 15 feet (which is walled off from =
my side) for his blacksmithing/woodworking/Harley garage/the list could =
go on, shop. The area above this 15 feet is floored, resulting in a =
loft overhead. My side is open to the rafters, about 31 feet from the =
floor. The studio faces the west, and has two 63 inch x 30 inch windows =
on the bottom and a very large clover leaf window in the top beginning =
just under the eave. The front door is made up of two large, hand =
crafted, half arches that when closed form one big arched door. Some =
what like a castle, maybe. The wood was salvaged from a thirty year old =
building that was being demolished. Much of the woodwork and most of =
the furniture (tables, etc.) are salvaged items. The staircase is built =
from white pine planks, taken from tables that I purchased when a =
restaurant in Myrtle Beach was remodeling and no longer wanted to use =
pine trestle tables. I found out about it and bought 30 tables for 5.00 =
a piece. We have used all the wood in one way or another.
When I throw, I open those doors for a view of the garden area in front =
of the studio. I can open the windows and hear the fountain in the koi =
pond. It is heaven for me. I especially like the nuthatches that run =
upside down along the trunk of the sycamore tree in front of the studio =
and the noise they make.=20
As for lighting, we have two fluorescent light fixtures, with 2 light =
tubes per each fixture, each 6 feet long, on each side of the room, =
positioned about 15 feet above the floor, not in the top of the =
building. They are angled to shed light most efficiently for the space =
involved. This is something my husband spent a lot of time and thought =
with.
=20
I am not saying this is the best lighting, but when all the lights are =
on, I have no problems with shadows. For extremely close up work like =
carving, I do have a lamp that clamps to the table. I believe it is =
called a tensor or tension lamp, can't remember.
The roof is a modified Dutch barn design. Ceiling fans hang on long =
downrods from the center beam of the ceiling.
Good luck on your new studio,
Sheron in NC (still looking for the lost spell checker and nervously =
anticipating NCECA)
SterlingDesign@AOL.COM on mon 19 feb 01
Deborah,
First thing, what type of HVAC system are you planning to install? If it is
forced hot air you may want to rethink this. A forced hot air system requires
supply & return air ducts, if you are planning on a single system this can
cross contaminate the air & ducts through out the entire house.
As to the floor pitch a 1/8" per foot is pretty standard for concrete floors,
I do not think you will notice any perceivable change in floor slope
depending on how good your contractor is.
As for lighting what type of light do you prefer? You can get fairly good
lighting and color rendition with some of the new fluorescent lamps and you
will want energy efficient t-8's. If you are not sure if you prefer true
color spectrum lamps, warm or cool lamps visit a lighting showroom or find
out if your contractor can let you test the different types of bulbs in
different areas to see which light you prefer.
Best of luck!
Karen Deasy, RA
Sterling Design
Cabot, Vermont
Carol Sandberg on mon 19 feb 01
On Wednesday, February 14, 2001 11:58 PM, Deborah McDyson
dmcdysan@COX.RR.COM wrote:
>We're building a studio (with house attached) and I would like input from
the list as to design and construction while we >are still in the planning
stages.
Deborah,
My recommendation is that you not cut any corners with respect to natural
daylight. When I remodeled my already existing studio by adding on a room
24x32, in the design I allowed for six functional windows, and five glass
block
ones.
In the ceiling there are four skylights. It is wonderful to have enough
light that I don't
have to turn on lights until the sun goes down.
Instead of using a standard sink, or utility sink, I purchased a smaller
size bathtub and installed it at a height which would allow me not to have
to bend over when getting water or washing out buckets. I use a flexible
shower spray hose instead of a standard faucet and it is very handy. The tub
is built into a corner on the other side of the bathroom, which has a
shower, stool and sink. The tub is in a good location, readily accessible
for many tasks. (I also have two large dogs, and it doubles as their
bathing station.) Because of the length, I have freedom to move when
cleaning buckets, splashpans, and items which would not fit into a sink.
If I ever relocate, I will repeat this feature, for sure!
Before beginning my remodel, I spent many hours canvassing auctions, sales
and newspaper ads for usable stuff. I found rolling bakers racks, metal
school lockers, cabinets and shelving units at a fraction of what I would
have had to pay for them new, or even for the materials to build them. So
take advantage of the time you have before you begin, by looking around and
reading your local trade papers.
Much of my studio is modular, on wheels. When I need to, I just rearrange
or roll something out of the way.
My remodel was a big project, but I've not regretted any of my decisions.
If I can be of any further assistance, feel free to contact me.
Good Luck,
Carol, in Indiana
D. McDysan on wed 28 feb 01
Many thanks to everyone who responded to my studio design questions.
At this point we're sticking to the 22x20 sq. ft. space. I'm not a
production potter and I think that will give me plenty of room to work.
Since the ceiling is high I'm looking into halogen lamps on a cable strung
across the room perhaps at 9 or 10 feet high to illuminate the room and
large table on wheels that is going in the center. Task lighting on tables,
sink and other areas should take care of it.
We've decided to put in floor drains because it makes sense for easy clean
up and if there's a problem the architect says we can cover them up later,
but if the slab goes in without them there's no going back.
I'll check with the contractor about skylights as I recall that it's better
to put them in with the roof rather than cutting them in later. I'd rather
not turn on any lights during the day if possible.
I'm sure I'll have more questions as we get further into the project and I'm
grateful for clayart's invaluable wisdom.
Deborah McDysan
Tom Wirt/Betsy Price on wed 28 mar 01
Hi Jennifer...
You're one the right track just by the questions you're asking. I'd
strongly advise getting ahold of Steve Branfman's book "The Potter's
Professional Handbook". He covers it all....not the specific "buy
this/buy that" but the questions to ask and the things to be
considered in finding the answer....and not just for setting up the
studio (including the construction you may need to do)...but how to
find a studio if you have to go out of home, to equipment, to
finances, to setting up your business (if you're so inclined). You
name it, Steve's got it in there. Try Axner's or The Potters Shop
(Steve's Book Store) or your local supplier.
I don't have a stake in this....just recommending an excellent book
for the person finding their way....(aren't we all????
Tom Wirt
Clay Coyote Pottery
Hutchinson MN
claypot@hutchtel.net
www.claycoyote.com
Subject: studio design
> This is my first post to this group. I am a complete newcomer to
the
> art/craft/skill of pottery, having just finished an 8 week course
Jennifer Buckner on wed 28 mar 01
This is my first post to this group. I am a complete newcomer to the
art/craft/skill of pottery, having just finished an 8 week course at a
local craft school. I find I love working with clay and would like to set
up my own studio at home. We don't have a basement in our house, and we
don't have any space in the house that can be turned into a
studio. So........I'm going to have to build a new addition onto my
husband's 2 room workshop (a free-standing building). I'm still so new to
this discipline that I don't know what the essentials are in terms of
structure and design for a potter's studio. I realize that a washable
floor with drainage, good natural lighting, electrical outlets, including
220 for a kiln, and possibly a gas connection for a later addition of a gas
kiln are important, but can one or any of you make other suggestions? My
husband's shop (hobby woodworking) already has plumbing and heating so that
will simply be extended into my section. What kind of ventilation should I
expect to have to install? Must the kiln be in a separate, closed-off area
if I plan to work in the studio while it's running? Are there any books
on this particular subject? We've checked out the stores for how-to books
on small buildings, but of course nothing refers specifically to pottery
studios. This studio will very likely never be a commercial operation, and
I anticipate that I will, more often than not, be the only one who works in it.
I'd appreciate any advice you could give.
Jennifer
Jennifer G. Buckner jbuckner@together.net
Jim and Marge Wade on wed 28 mar 01
Jennifer,
Check out the archives or the Clayart subject page under "Studio"
(www.creative-ind.com) if you haven't already. You should be able to find
some information there. I built mine 22 x 24 and it's working well for me. I
have my electric kiln in it (vented) but still don't work in there when it's
firing. If I really want to do some work I figure I can pinch a few pots or
handbuild something in the house. The only running water I have is the kind
I have to run for, so having plumbing will be great. Just remember lots and
lots of shelves. Have fun!
Marge
> From: Jennifer Buckner
> Reply-To: Ceramic Arts Discussion List
> Date: Wed, 28 Mar 2001 13:08:43 -0500
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: studio design
>
> This is my first post to this group. I am a complete newcomer to the
> art/craft/skill of pottery, having just finished an 8 week course at a
> local craft school. I find I love working with clay and would like to set
> up my own studio at home. We don't have a basement in our house, and we
> don't have any space in the house that can be turned into a
> studio. So........I'm going to have to build a new addition onto my
> husband's 2 room workshop (a free-standing building). I'm still so new to
> this discipline that I don't know what the essentials are in terms of
> structure and design for a potter's studio. I realize that a washable
> floor with drainage, good natural lighting, electrical outlets, including
> 220 for a kiln, and possibly a gas connection for a later addition of a gas
> kiln are important, but can one or any of you make other suggestions? My
> husband's shop (hobby woodworking) already has plumbing and heating so that
> will simply be extended into my section. What kind of ventilation should I
> expect to have to install? Must the kiln be in a separate, closed-off area
> if I plan to work in the studio while it's running? Are there any books
> on this particular subject? We've checked out the stores for how-to books
> on small buildings, but of course nothing refers specifically to pottery
> studios. This studio will very likely never be a commercial operation, and
> I anticipate that I will, more often than not, be the only one who works in
> it.
>
> I'd appreciate any advice you could give.
>
> Jennifer
> Jennifer G. Buckner jbuckner@together.net
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
Jennifer Buckner on thu 29 mar 01
After posting my question about studio design to this group yesterday I
checked the Clayart archives. I found a reference to a 1981 Ceramics
Monthly article on studio design by Ric Swenson. I e-mailed him at the
address given (Bennington Univ, Vt) but the message was returned as
undeliverable. Does anyone know his current address?
Jennifer
Jennifer G. Buckner jbuckner@together.net
Jennifer Buckner on tue 3 apr 01
I recently searched through the Clayart archives for information on studio
design. I found several mentions of a January 1981 Ceramics Monthly
article on the subject written by Ric Swenson who taught in Bennington,
Vt. After an unsuccessful search for the author in Bennington I heard he
had moved to Hanover, NH. Same story there - I can't find him. I've also
checked the Ceramics Monthly web site, only to find that they don't have
any January 1981 back issues.
Does anyone have this article? Would you be willing to send me a
copy? I'd be happy to send an SASE and cover all the costs.
I've purchased a copy of "The Professional Potter's Handbook" but would
like to see what R. Swenson says too.
Jennifer
Jennifer G. Buckner jbuckner@together.net
Robert Santerre on wed 4 apr 01
Jennifer, check out ACer's web site, http://www.ceramics.org. You can search
their archives for the article and order a copy - or call them and do the same.
/////////////////////////////////////////////////////////////////////////////////////////////////////////
Jennifer Buckner wrote:
> I recently searched through the Clayart archives for information on studio
> design. I found several mentions of a January 1981 Ceramics Monthly
> article on the subject written by Ric Swenson who taught in Bennington,
> Vt. After an unsuccessful search for the author in Bennington I heard he
> had moved to Hanover, NH. Same story there - I can't find him. I've also
> checked the Ceramics Monthly web site, only to find that they don't have
> any January 1981 back issues.
> Does anyone have this article? Would you be willing to send me a
> copy? I'd be happy to send an SASE and cover all the costs.
> I've purchased a copy of "The Professional Potter's Handbook" but would
> like to see what R. Swenson says too.
>
> Jennifer
> Jennifer G. Buckner jbuckner@together.net
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
Dick & Mary Walker on wed 29 mar 06
Just a quick thought. I have outlets in the ceiling for my wheels, and for my Dremel. No cords to walk over or step on. Also put in bench/table high outlets for other tools. No bending over and/or reaching under to plug in or unplug. Really helps. Placed a sink with clay trap in a location close to my extruder and wheels and the kiln as far away from the work area as possible. The repeat suggestion of wheels on as much as possible works wonders.
Good luck and happy planning!
Dick Walker
Muddy Duck Pottery
Hank Murrow on fri 31 mar 06
On Mar 31, 2006, at 6:16 PM, Susan Fox Hirschmann wrote:
>
> Also, be sure that your heating vents are not placed over areas where
> you will be drying pots.
I would add that Infra-red heating accomplishes both even drying of
pots AND no air blowing dust around, as it is passive heat. John Glick
turned me on to this form of heating, and it has served me very well.
Cheers, Hank
>
www.murrow.biz/hank
LindaC on fri 31 mar 06
Have been listing the handy suggestions for studio design
Seems like mobility of materials and easy to clean up are
conveniences contributing to creativity
I'd still like a view like the guy out west had after he
put window panels on his garage door.(Was that Lowes?)
Haven't gotten any posts yet today.?. Are all 2000+ of you
doing yardwork on this beautiful day? Have a good one linda/Oh
Susan Fox Hirschmann on fri 31 mar 06
In a message dated 3/31/2006 2:30:19 PM Eastern Standard Time,
lindac@OHNO.ORG writes:
Have been listing the handy suggestions for studio design
Seems like mobility of materials and easy to clean up are
conveniences contributing to creativity
Missed most of this thread but would like to add:
LIGHT, LIGHT, LIGHT....natural, if possible, with windows that will open for
cross ventilation.Windows, skylights, whatever you can afford. Do not skimp
on adequate lighting.
Also, be sure that your heating vents are not placed over areas where you
will be drying pots.
FLOW is important here as well....work flow I mean and lots and lots of
shelving.
Also when I built my current studio, tho my back yard was a difference of 3
feet in elevation from left to right, I had the architect design it so that the
floor was even so there would not be any steps. After working in the
basement for 24 years, one of my great priorities was NO steps, not even one or two.
Consequently, he designed a ramp from the outside into the studio for easy of
carting clay in and finished pots out. An added bonus is that is it is
handicapped excessible, which came in real handy when I broke a leg a year and 1/2
ago and found it easier to navigate from the house to the studio with crutches
without steps.
Also makes it easy for people in wheel chairs to come visit me.
I designed a big closet with narrow shelving with heavy braces to hold
chemicals....so that I can keep them away from the studio, but handy enough when it
is time to make glazes.
I was off clayart for a bit during my trip,. so sorry if I have repeated
anything someone else has mentioned?
Susan
Annandale, VA
| |
|
