Stephani Stephenson on tue 26 jan 10
The skies are dark and the rain is pouring down here on the left coast. =
=3D
I am holed up i=3D20
the studio, parked near my Mr. Heater (Mr. Heater, where have you been al=
=3D
l my life?)
pounding the keyboards toward CLAYART, in time to the sound of the tor=
=3D
rent on the=3D20
greenhouse roof..
Background: Every studio I have ever worked in was rented, except for sch=
=3D
ool studios=3D20
which were of course , just occupied for awhile. As a renter I tended to=
=3D
make do with=3D20
what was there. I would pay an electrician to make the the existing swit=
=3D
ch box and=3D20
wiring OK for an electric kiln , and I would adapt to whatever water in =
=3D
/waste out system=3D20
I was presented with. But placement of equipment was dictated by the ex=
=3D
isting location=3D20
of outlets, etc. etc. i have been one of those adaptable birds who finds=
=3D
vacated nests and=3D20
makes them my own, without changing the nest a whole lot.
So now, after all these years i can design my own studio. After some yea=
=3D
rs in this=3D20=3D20
unbelievably immense studio, one which I filled with abandon, and one whi=
=3D
ch I did=3D20
waltzing with pallet jacks, I am downsizing : so efficient layout and de=
=3D
sign are once=3D20
again... a factor.
. As I start to sketch layout , I realize I have never ever done this =
=3D
before.=3D20
So I throw myself upon the altar of CLAYART, a guinea pig , baring my=
=3D
inexperience as=3D20
well as my hopes and ideas. Casting my net for any tips or resources!
I am starting with a 20 X 30 ,pitched roof shop. It has served as a weld=
=3D
ing shop , a=3D20
carpentry shop and any number of other things in years gone by.
It has several generations of wiring hanging about in varying degrees =
=3D
of condition. All=3D20
that is coming out. It is all open wiring, better to just remove and st=
=3D
art from scratch .
the good news is there is brand new dedicated 200 amp service at the sho=
=3D
p. the pole is=3D20
just outside , the box is good and the service to the inside is good. S=
=3D
o, I can actually=3D20
map out how I want it wired.
It seems that the first thing I need to plot is the electric kiln, wirin=
=3D
g it as close to the=3D20
source as possible . I also have a soldner mixer which needs 220 , and w=
=3D
ill eventually go=3D20
with some sort of welding setup.. my primary 110 tools are an air compres=
=3D
sor, a pugmill,=3D20
a tile saw and of course various hand tools, fans, and lights.
Since I will be in part of the country that is hot more than it is cold..=
=3D
i figure I will add a=3D20
small kiln shed at the west end of the shop where the box is, maybe an 8=
=3D
X 8 space, level=3D20
with the inside slab , so I can navigate the rolling racks in and out. a=
=3D
lso separate to keep=3D20
the kiln heat out of the main work space. I have good rolling racks and =
=3D
the shop has a=3D20
nice slab floor. I'll probably put on one of those passive turbine fans o=
=3D
n the roof=3D20
too...After season 1 , I will better understand temperature ,er, manageme=
=3D
nt in the shop.
I also plan to enlarge workspace with shaded outdoor seasonal work area=
=3D
s surrounding=3D20
the shop
there is a large set of double barn doors at the NE end of the shop, a go=
=3D
od loading area.=3D20
the main question i am mulling as i try to envision the workflow, has to =
=3D
do with how=3D20
water and clay will move through the shop. this question really leads me =
=3D
to consider all=3D20
kinds of ergonomic and workflow issues ,as well as the issues of how the=
=3D
utilities and=3D20
materials cycle through. (water, electricity, wet clay , scrap clay, glaz=
=3D
e mixing, glaze=3D20
waste, cleanup, etc.
I will have to plumb in water. I should mention that the property is rura=
=3D
l and there is=3D20
ample space and level ground around the shop. there are a number of outly=
=3D
ing garden=3D20
water outlets on the property and shouldn't be too difficult to extend on=
=3D
e enough to the=3D20
shop. Excellent water pressure. Being in a dry area , I would like recyc=
=3D
le or drain non=3D20
toxic water waste to plants or to a simple collection/settling /drainage=
=3D
system. I am=3D20
wondering what some of you have done. I am use to separating out my glaz=
=3D
e waste and=3D20
drying it.. but again, would like to hear how others have addressed this =
=3D
in . There are no=3D20
floor or other drains in place.
I have never had a place that had a decent water in /waste out system. I =
=3D
have been=3D20
working with a laundry sink with a couple of collection/settling tubs un=
=3D
derneath, which=3D20
either pass clear water to a floor gutter (current situation) or which I =
=3D
empty by hand or=3D20
rotate over time, allowing one to dry out while I fill the other one. I a=
=3D
m hoping to find a=3D20
more 'elegant' or at least efficient way of doing this. Right now I do ev=
=3D
erything from one=3D20
sink. Am thinking maybe I need to keep the glaze mixing water and waste s=
=3D
eparate. In=3D20
fact need to think through where and how to store bulk materials.
I will also be making and recycling clay so am sketching ideas on how I m=
=3D
ight do that .=3D20
I use the Soldner primarily as a slurry mixer (it is a very old one) fo=
=3D
r making new clay=3D20
as well as recycling old clay .I remember seeing the evaporative cement =
=3D
clay settling=3D20
tanks used by potters in Spain, where slip would collect in one then drai=
=3D
n into another..=3D20
the slip would of course reduce to clay, the clay would be scooped and ru=
=3D
n through a pug=3D20
mill. some of that system can also be alongside the shop rather than insi=
=3D
de, but I need to=3D20
think through it accessibility, since I don't want to be hauling scraps a=
=3D
nd slop any farther=3D20
than i have to. also want the end of the recycling, the workable clay, t=
=3D
o be at a place=3D20
where it can be easily stored or used...
Eventually I would like to put in an outdoor gas kiln as well, but, firs=
=3D
t need to get the=3D20
basic studio rolling.=3D20
I plan on having some education workshops too, but this will be a worki=
=3D
ng studio.
For those of you who have started from scratch, or from a shell and slab =
=3D
anyway..i would=3D20
love to hear what worked for you. Am I approaching this bass ackward?
what was the coolest thing you did that made your life easier and your st=
=3D
udio
sublime?
Also I am looking for any reference material on the matter as well as a=
=3D
necdotes,=3D20
feedback and of course the usual posturing and pontificating. OK, kiddin=
=3D
g. No, no I am=3D20
serious . I want it all!
I still have a couple of months here, finishing tile projects as fast as=
=3D
I can. It has been a=3D20
good thing, as I am selling down my stock and fast working my way throug=
=3D
h the last few=3D20
tons of clay ...though I mutter to myself quite often..'potters (tilemak=
=3D
ers, sculptors too)=3D20
should NEVER , EVER move..... talk about earthbound!
Well I have managed to ramble all over the place here, looking forward to=
=3D
hearing from=3D20
you
Also looking forward to hearing from other Arizona and Southwest potters=
=3D
.
Stephani Stephenson
http://www.revivaltileworks.com
Dale Neese on wed 27 jan 10
I didn't see an air filtration device for your studio. Save your lungs. I a=
m
finally getting one to hang from the ceiling. I figure I should now do
something about all the dust that I see on things especially right after
I've cleaned them.
Dale Tex
"across the alley from the Alamo"
Helotes, Texas USA
www.daleneese.com
__________ Information from ESET NOD32 Antivirus, version of virus signatur=
e database 4810 (20100127) __________
The message was checked by ESET NOD32 Antivirus.
http://www.eset.com
James Freeman on wed 27 jan 10
On Tue, Jan 26, 2010 at 11:55 PM, Stephani Stephenson <
revivalsteph@yahoo.com> wrote:
>
>
> So now, after all these years i can design my own studio.
>
> For those of you who have started from scratch, or from a shell and slab
> anyway..i would
> love to hear what worked for you. Am I approaching this bass ackward?
> what was the coolest thing you did that made your life easier and your
> studio
> sublime?
>
>
Stephani...
I posted the following in response to a similar question about six months
ago. Perhaps you will find something useful in it. While I stated that my
kiln room was properly sized, I would now amend that statement. As I would
now like to add a small test kiln, I find that my kiln room is about 3 feet
too short.
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
I have posted some pictures of my home studio to my flickr page
(http://www.flickr.com/photos/jamesfreemanstudio) in case you want to
see them. Please excuse the mess. I am in the middle of some big
projects, so there is clutter everywhere.
My studio is in a free standing building, and is approximately 700 square
feet, with ten foot ceilings. This will sound strange, but it is a
bit too small. My main room is approximately 20 by 24 feet, and I
find this sufficient for a one-person shop. This room contains my
wheels, slab roller, extruders, spray booth, sink, work table, wedging
table, glaze storage shelves, and two rolling ware shelves. The
tables and slab roller are on wheels. There is still enough room for
a future pug mill. A bit more room for additional ware shelves would
be helpful for busy times such as now (getting ready for two
exhibitions plus a wood firing), but during normal times the workroom
is fine. The room is heated by a small forced air gas furnace. I
keep it set at 66 degrees F in the winter, letting it drop back to 50
when the studio is unoccupied. During the worst winter months (frigid
Michigan weather) my gas bill for heat is only $30. I do not have air
conditioning. I have two large sheltered windows that I leave open at
night to cool the place down, and the highest I have ever seen the
temperature climb is 78, even when it reaches into the 90s outside.
Cross ventilation is key.
I did not have a sink in the studio until last summer, getting by with
the oft mentioned three buckets; disgusting, sort of clean, and clean.
The sink makes life an absolute joy, and I would never again want to
be without it. I ran the cold water in from a hydrant in the nearby
pasture that I had installed when I owned animals (or rather when they
owned me). I installed a tiny Bosch electric tankless water heater
which works well enough, and which didn't increase my electric bill by
any noticeable sum. I installed a large dental plaster trap under the
sink to catch most of the yuckus. It was very inexpensive, and holds
far more than do the little Gleco traps. It has been in heavy use for
a year and is still only half full. I do keep a five gallon bucket
next to the sink for prewashing when my hands or tools are
particularly soiled. The sink drain runs to daylight. I had planned
to install a large french drain, but with my sandy soil it proved
unnecessary.
I have two back rooms, each approximately 8 by 11 feet. One functions
as a storage/glaze compounding room, and the other is my kiln room.
Both rooms are unheated, except for whatever warmth drifts in from the
main room through the open doors.
The kiln room is of ample size for my two electric kilns and their
concomitant shelves, furniture, and sundries. Both kilns have
downdraft vents which run to aluminum dryer vents mounted through the
wall near the floor. These vents clear most of the nasty fumes,
though I still try to avoid working in the studio during the middle
portion of bisque firings. The room also has a window and a
through-the-wall bath fan to vent excess heat. The bath fan has
proved to be insufficient, though better than nothing. It was the
largest standard unit that Lowes carried. A bigger commercial-type
unit would be a better choice. In the winter I run only the downdraft
vent, and the radiant waste heat from the large kiln heats the entire
studio and keeps it warm throughout the next day. The small kiln does
not appreciably contribute to studio heat.
The storage/glaze compounding room is much, much too small. It holds
working quantities of my raw materials, but I have to store the
surplus bagged materials upstairs in the loft, which is less than
ideal. There is also not enough room for all of the "stuff" that
seems to accumulate; jigs, foam pads, extra buckets, and all of the
god-knows-what that one can't seem to do without. If I were to do
this again, I would add a third room of similar size to function
strictly as storage space, leaving this room sufficient for glaze
compounding. In the winter, when the main room is heated to 66
degrees, this unheated room hovers just above 50. While Mel the
Esquimaux would probably find this balmy, it is just too cold for me,
so if I will be working in there for any appreciable length of time I
run a small electric space heater.
Here are what I feel were the smartest things I did when designing the
studio:
Switched outlet for the spray booth.
Dedicated 20 amp outlet near the spray booth for the compressor.
Double french doors. Beside letting in plenty of light, I can open up
both doors if need be to create a 6 foot opening for moving equipment
in and out. This was a necessity for the big Laguna spray booth,
which requires an opening of at least 4 feet.
High ceilings.
Doubled up wall studs where I intended to mount my extruders. Running
sufficiently large lag bolts into a single unexposed stud is just too
iffy. The double stud gives you a bigger target.
TONS of light. In the main room I installed eight four foot, four
tube fluorescent fixtures, splitting every other one amongst two
circuits controlled by separate switches. This lets me control how
much light I add, though I must say that at most all times I end up
with all of them lit. You can never have too much light.
Concrete floors with two part epoxy paint. They are easy to clean,
and unlike raw concrete they do not trap dust.
Lots of windows. Can't have too many, IMHO.
Things I wish I had done differently, and plan to remedy:
The little compressor under my spray booth is NOISY!!! I actually
wear hearing protection while glazing. I will be installing my large
compressor outside of the studio (in the metals side of the shop) on a
circuit which is switched inside the studio, and will run an iron pipe
from the compressor through the wall to the spray booth. This will
keep all of the noise outside.
Closed storage in the main room. All of my often used small "stuff"
like ware boards, slip buckets, brushes, tools, and what not sits on a
shelf under my work table. I can't stand looking at this junk. I
plan to close in the base of this table with cubbies, drawers, and
cupboard doors to neatly contain the "stuff".
Internet access. I cannot tell you the number of times I had to run
all the way back to the house to look something up. Unfortunately the
studio is too far from the house for a wireless connection, and I'm
just not ready to dig a trench to run a Cat 5 cable. A luxury to be
sure, but it would make life much easier.
That's all I can think of at the moment. I hope some of this, and the
pictures, prove helpful. Good luck with your new home.
...James
James Freeman
"All I say is by way of discourse, and nothing by way of advice. I should
not speak so boldly if it were my due to be believed."
-Michel de Montaigne
http://www.jamesfreemanstudio.com
http://www.flickr.com/photos/jamesfreemanstudio/
http://www.jamesfreemanstudio.com/clayart/
>
Kate McCoy on wed 27 jan 10
Stephani Stephenson wrote:
<<...As I start to sketch layout , I realize I have never ever done this
before.
So I throw myself upon the altar of CLAYART, a guinea pig , baring my i=
nexperience as
well as my hopes and ideas. Casting my net for any tips or resources!
For those of you who have started from scratch, or from a shell and slab an=
yway..i would
love to hear what worked for you. Am I approaching this bass ackward?
what was the coolest thing you did that made your life easier and your stud=
io
sublime?...>>
Stephanie,
we built one 3 1/2 years ago, ground up. It was well designed (by
hubby) but the very best feature is the large garage door that rolls up
in the summer on the end wall, so I feel like I'm in the middle of the
forest! I can roll stuff outside, spray etc. outside Oh, that wasn't
the reason we did it, our builder told us that if we were to sell, it would
add value as perhaps an extra garage or boat storage. Oh, and a "flash"
water heater on the wall, not much footprint and instant hot water in
winter (Northwest - it's cold)
Best of luck
--
Kathy McCoy
kate@idk-inc.com
360-867-1132
Snail Scott on wed 27 jan 10
On Jan 26, 2010, at 10:55 PM, Stephani Stephenson wrote:
> ...what was the coolest thing you did that made your life easier and
> your studio
> sublime?
What's best about my studio?
Putting lotsa stuff on wheels. Also, using doors
across sawhorses as work tables, so they can
be set up or taken down as needed. And putting
the sound system's remote in a ziploc bag.
What's worst? Not enough insulation; no toilet.
-Snail
David Beumee on wed 27 jan 10
I had a chance to see Francis Senska's studio in 1978, and I used her basic
layout idea when I had the opportunity to design my own studio from scratch
in 1996. The whole studio revolves around the wheels and standing damp box,
which are in the middle of the room. Work tables, wedge table, display and
sales table, sink, bathroom, bisque kilns, all revolve around the wheels an=
d
damp box. Glaze buckets fit under the work tables, stacked two high, and ar=
e
on roller bats. Reduction kiln is outside, immediately to the east of the
studio, protected from the prevailing winds, accessed through a large
sliding glass door. There's a metal cabinet on the kiln slab to hold shelve=
s
and stilts. The floor area is approximately 25 x 35, with a second floor fo=
r
gallery, storage areas, and office.
David Beumee
Porcelain by David Beumee
Lafayette, CO
www.davidbeumee.com
On Tue, Jan 26, 2010 at 9:55 PM, Stephani Stephenson m
> wrote:
> The skies are dark and the rain is pouring down here on the left coast. =
I
> am holed up i
> the studio, parked near my Mr. Heater (Mr. Heater, where have you been al=
l
> my life?)
> pounding the keyboards toward CLAYART, in time to the sound of the
> torrent on the
> greenhouse roof..
>
> Background: Every studio I have ever worked in was rented, except for
> school studios
> which were of course , just occupied for awhile. As a renter I tended to
> make do with
> what was there. I would pay an electrician to make the the existing swit=
ch
> box and
> wiring OK for an electric kiln , and I would adapt to whatever water in
> /waste out system
> I was presented with. But placement of equipment was dictated by the
> existing location
> of outlets, etc. etc. i have been one of those adaptable birds who finds
> vacated nests and
> makes them my own, without changing the nest a whole lot.
>
> So now, after all these years i can design my own studio. After some yea=
rs
> in this
> unbelievably immense studio, one which I filled with abandon, and one whi=
ch
> I did
> waltzing with pallet jacks, I am downsizing : so efficient layout and
> design are once
> again... a factor.
> . As I start to sketch layout , I realize I have never ever done this
> before.
> So I throw myself upon the altar of CLAYART, a guinea pig , baring my
> inexperience as
> well as my hopes and ideas. Casting my net for any tips or resources!
>
> I am starting with a 20 X 30 ,pitched roof shop. It has served as a
> welding shop , a
> carpentry shop and any number of other things in years gone by.
> It has several generations of wiring hanging about in varying degrees =
of
> condition. All
> that is coming out. It is all open wiring, better to just remove and
> start from scratch .
> the good news is there is brand new dedicated 200 amp service at the sho=
p.
> the pole is
> just outside , the box is good and the service to the inside is good. S=
o,
> I can actually
> map out how I want it wired.
> It seems that the first thing I need to plot is the electric kiln, wirin=
g
> it as close to the
> source as possible . I also have a soldner mixer which needs 220 , and
> will eventually go
> with some sort of welding setup.. my primary 110 tools are an air
> compressor, a pugmill,
> a tile saw and of course various hand tools, fans, and lights.
>
> Since I will be in part of the country that is hot more than it is cold..=
i
> figure I will add a
> small kiln shed at the west end of the shop where the box is, maybe an 8=
X
> 8 space, level
> with the inside slab , so I can navigate the rolling racks in and out.
> also separate to keep
> the kiln heat out of the main work space. I have good rolling racks and
> the shop has a
> nice slab floor. I'll probably put on one of those passive turbine fans o=
n
> the roof
> too...After season 1 , I will better understand temperature ,er, manageme=
nt
> in the shop.
>
> I also plan to enlarge workspace with shaded outdoor seasonal work area=
s
> surrounding
> the shop
> there is a large set of double barn doors at the NE end of the shop, a go=
od
> loading area.
> the main question i am mulling as i try to envision the workflow, has to =
do
> with how
> water and clay will move through the shop. this question really leads me =
to
> consider all
> kinds of ergonomic and workflow issues ,as well as the issues of how the
> utilities and
> materials cycle through. (water, electricity, wet clay , scrap clay, glaz=
e
> mixing, glaze
> waste, cleanup, etc.
>
> I will have to plumb in water. I should mention that the property is rura=
l
> and there is
> ample space and level ground around the shop. there are a number of
> outlying garden
> water outlets on the property and shouldn't be too difficult to extend on=
e
> enough to the
> shop. Excellent water pressure. Being in a dry area , I would like recyc=
le
> or drain non
> toxic water waste to plants or to a simple collection/settling /drainage
> system. I am
> wondering what some of you have done. I am use to separating out my glaz=
e
> waste and
> drying it.. but again, would like to hear how others have addressed this =
in
> . There are no
> floor or other drains in place.
>
> I have never had a place that had a decent water in /waste out system. I
> have been
> working with a laundry sink with a couple of collection/settling tubs
> underneath, which
> either pass clear water to a floor gutter (current situation) or which I
> empty by hand or
> rotate over time, allowing one to dry out while I fill the other one. I a=
m
> hoping to find a
> more 'elegant' or at least efficient way of doing this. Right now I do
> everything from one
> sink. Am thinking maybe I need to keep the glaze mixing water and waste
> separate. In
> fact need to think through where and how to store bulk materials.
> I will also be making and recycling clay so am sketching ideas on how I
> might do that .
> I use the Soldner primarily as a slurry mixer (it is a very old one) fo=
r
> making new clay
> as well as recycling old clay .I remember seeing the evaporative cement
> clay settling
> tanks used by potters in Spain, where slip would collect in one then drai=
n
> into another..
> the slip would of course reduce to clay, the clay would be scooped and ru=
n
> through a pug
> mill. some of that system can also be alongside the shop rather than
> inside, but I need to
> think through it accessibility, since I don't want to be hauling scraps a=
nd
> slop any farther
> than i have to. also want the end of the recycling, the workable clay, t=
o
> be at a place
> where it can be easily stored or used...
> Eventually I would like to put in an outdoor gas kiln as well, but, firs=
t
> need to get the
> basic studio rolling.
> I plan on having some education workshops too, but this will be a worki=
ng
> studio.
>
> For those of you who have started from scratch, or from a shell and slab
> anyway..i would
> love to hear what worked for you. Am I approaching this bass ackward?
> what was the coolest thing you did that made your life easier and your
> studio
> sublime?
> Also I am looking for any reference material on the matter as well as
> anecdotes,
> feedback and of course the usual posturing and pontificating. OK, kiddin=
g.
> No, no I am
> serious . I want it all!
>
> I still have a couple of months here, finishing tile projects as fast as=
I
> can. It has been a
> good thing, as I am selling down my stock and fast working my way throug=
h
> the last few
> tons of clay ...though I mutter to myself quite often..'potters
> (tilemakers, sculptors too)
> should NEVER , EVER move..... talk about earthbound!
>
> Well I have managed to ramble all over the place here, looking forward to
> hearing from
> you
> Also looking forward to hearing from other Arizona and Southwest potters=
.
>
> Stephani Stephenson
> http://www.revivaltileworks.com
>
Gay Judson on wed 27 jan 10
I think one of the best features in my (garage) studio is my glaze
"room". There was a small closet at the back of the garage--I think
it measures 7X7. It is my glaze room--which I can close off from the
rest of the studio and in which I have installed a vent. In that
space I store all my glaze materials, have a small (hobby) spray
booth, and a small work table where I can mix glazes. The matching
closet--across the rest of the back of the garage came with washer and
dryer connections--and enough extra room for my electric kiln--and it
has a window which is great when firing. Because of the washer/dryer
connections we could also put in a sink with a drain. Lucky girl, me!
Gay Judson in San Antonio
On Jan 27, 2010, at 9:02 AM, Dale Neese wrote:
> I didn't see an air filtration device for your studio. Save your
> lungs. I am
> finally getting one to hang from the ceiling. I figure I should now do
> something about all the dust that I see on things especially right
> after
> I've cleaned them.
>
> Dale Tex
> "across the alley from the Alamo"
> Helotes, Texas USA
> www.daleneese.com
>
>
> __________ Information from ESET NOD32 Antivirus, version of virus
> signature database 4810 (20100127) __________
>
> The message was checked by ESET NOD32 Antivirus.
>
> http://www.eset.com
Marcia Selsor on wed 27 jan 10
I have everything on wheels including clay and glaze buckets, work =3D
tables, soldner mixer and Bailey pugmill.
Also a big work bench with shelves and 2 bakery racks.
I have my kiln shed detached from my house and studio. Vents kick on at =3D
110 degrees. SOmetimes they go on when I am not firing.
I think you should think about your method of working and your =3D
production. Have it flow through the building towards the kilns.
Mixing clay at the beginning..
Mold making separate altogether. Where you are you may want to isolate =3D
areas that you could air conditioner. As a northerner..I am fine down =3D
here with no heat. BUT the hot summers take it out of me. I need that =3D
air conditioner. DOn't know about you, since you grew up in NM.
Just design the facility to make your production flow through it.
Marcia Selsor
http://www.marciaselsor.com
Patty on thu 28 jan 10
Re: cooling
Costco is selling a solar attic fan for under $300. We put two on the
house, two in the woodworking shop and one in the pottery studio (300 sq
ft). All structures without ceilings, (open beams or rafters). They reall=
y
suck the heat out when the sun shines.
Patty Kaliher
David Woof on thu 28 jan 10
Hi Stephani=3D2C
=3D20
I didn't see you mention cooling of your studio. Evaporative cooling is m=
=3D
uch more effective than air conditioning in that it adds welcome humidity t=
=3D
o the air and costs less for the system as well as using far less in energy=
=3D
costs. Except for a few rare days when we get the "Monsoon season" humidi=
=3D
ty just before a rain you will be well pleased. Even then it is just a bit =
=3D
less cool and somewhat damper for that short time.
=3D20
For installation plan: Many advise putting the unit on the roof=3D2C thi=
nk=3D
ing that since cooler air settles downward.... While true re colder air s=
=3D
ettling=3D2C it is entirely ignorant to attempt to push all that nice cool =
ai=3D
r downward thru the layer of hot air that has risen and accumulated at ceil=
=3D
ing level.
=3D20
Better to wall mount the unit where the direct blow won't make you uncomfor=
=3D
tably cool and let it stir and mix the air at the level you are working at.=
=3D
Then since it is pushing air into the building=3D2C increasing the interi=
or=3D
air pressure=3D2C you can have an adjustable vent behind where you do most=
o=3D
f your work and also one in the highest part if the ceiling as a roof vent.
=3D20
Adjusting these two vents for balance allows cool air to move around and pa=
=3D
st you on its way out of the building=3D2C and the hotter air to escape upw=
ar=3D
d thru the roof vent you mentioned.
=3D20
We are something like 3-4 scenic hrs apart=3D2C when you get settled in you=
r =3D
new Arizona digs=3D2C come up and visit or vs/vs.
=3D20
David Woof=3D2C Clarkdale=3D2C AZ
=3D20
=3D20
=3D20
_________________________________________________________________
Hotmail: Free=3D2C trusted and rich email service.
http://clk.atdmt.com/GBL/go/196390708/direct/01/=3D
douglas fur on fri 29 jan 10
Stephani Stephenson - Just a couple of ideas on designing
- Think in terms of function. Instead of using a name like "kitchen"
which limits you start from a process like "cooking food" . From which y=
=3D
ou
get to kitchen but also "I like to Bar-B-Que outside and gee I'd really =
=3D
like
to have a 'fridge and microwave by my bed so I can lie in and eat pizza =
=3D
or
ice cream". The name tends to get you to cultural expectations whereas t=
=3D
he
process makes you think about how you really do things.
- Look at bubbles (
http://images.google.com/imgres?imgurl=3D3Dhttp://www.eikongraphia.com/w=
or=3D
dpress/wp-content/Firstrung.jpg&imgrefurl=3D3Dhttp://www.eikongraphia.com/%=
3F=3D
p%3D63&usg=3D3D__z4wLXtlt1MjzbDEOQiDRsXoRkdA=3D3D&h=3D3D768&w=3D3D1024&sz=
=3D3D351&hl=3D
=3D3Den&start=3D3D25&sig2=3D3DDXzD5-lXlRU2fxr_jPs18Q&tbnid=3D3DDOcpVNScAizy=
AM:&tbnh=3D
=3D3D113&tbnw=3D3D150&prev=3D3D/images%3Fq%3Dbubbles%26gbv%3D2%26ndsp%3D20%=
26hl%3=3D
Den%26rls%3Dgm%26sa%3DN%26start%3D20&ei=3D3DWEljS_OiN5uOtgOGzqSdAw)
[Sort of like that crank line from T*he Graduate* "I have one thing to
say to you- 'bubbles'";-)} Bubbles fit together in a resolution of force=
=3D
s.
If you can put together your functions by natural relationship- bats nex=
=3D
t to
wheel, glaze near kiln with personal measurements(as far as I can reach,=
=3D
at
navel level), bubbles can show you how those pieces can fit together wit=
=3D
hout
the constraints of 2x4 or cement block et al.
DRB
Seattle
KATHI LESUEUR on fri 29 jan 10
I would consider a ceiling fan in the studio a health hazard. It
would keep the clay dust in constant motion making you breath it all
the time you are in the studio. Not a good solution.
KATHI LESUEUR
http://www.lesueurclaywork.com
On Jan 28, 2010, at 8:30 PM, Patty wrote:
> Re: cooling
> Costco is selling a solar attic fan for under $300. We put two on the
> house, two in the woodworking shop and one in the pottery studio
> (300 sq
> ft). All structures without ceilings, (open beams or rafters).
> They really
> suck the heat out when the sun shines.
>
> Patty Kaliher
>
Snail Scott on fri 29 jan 10
On Jan 29, 2010, at 12:30 AM, David Woof wrote:
> ... Evaporative cooling is much more effective than air conditioning
> in that it adds welcome humidity to the air and costs less for the
> system as well as using far less in energy costs...
I will second this! Purchasing and operating
a swamp cooler is much cheaper than air
conditioning, and if your climate is dry it works
better, too. It will also allow you to better control
the moisture levels in your large projects.
For a while in my first (rented shed) studio, I
got one of those mist systems that you hook up
to a garden hose and mounted it above the door.
A box fan in the opposite window (aimed outward)
made a lovely fresh-air cooling system for
cheapskates!
-Snail
Earl Krueger on sat 30 jan 10
Stephanie,
Keep it flexible. No matter how much I think about
something ahead of time I always miss something
and wish it were different.
Example: Don't route your electrical wiring in the
walls behind drywall, use conduit instead. Not as
pretty but a lot easier to access and change when
you discover you need an outlet or light somewhere.
Earl
Oregon, USA
Stephani Stephenson on wed 3 feb 10
Thanks Earl...
good point. looking at conduit never bothered this girl!
i'm already thinking where to put the outlet for kiln, inside shop, but a=
=3D
t a location where i=3D20
can just flip it when i build the elec. kiln shed...so the kiln is on th=
=3D
e other side of the same=3D20=3D20
section of wall...
right now, it is an open floor plan metal shop, so no problem with exist=
=3D
ing drywall, though=3D20
of course ,i could find reasons to regret that....:)
Steph
Earl wrote
Keep it flexible.=3D20
......
Example: Don't route your electrical wiring in the
walls behind drywall, use conduit instead. Not as
pretty but a lot easier to access and change when
you discover you need an outlet or light somewhere.
| |
|
