Title

The transformable art studio

A leap into the future
Introduction
The transformable art studio is a design product of the endeavor: Human emotions and human thought
process (in this specific study artists) can actively stimulate, control and enhance the physical
characteristics of space (in this case studio and live-in space). This study aims to yield qualitative and
quantitative results to produce a design prototype for the users i.e. artists. The model is aimed to be highly
user friendly and cost effective artists and paves way for further research in smart space planning for artist
studio. This study will be beneficial for the culturally diverse and rich New Zealand art world since, “New
Zealand’s art scene has been constantly adapting and changing, from the start of the 20th century’s
figurative styles to more abstract forms in later years. Artists at the forefront of visual expression have
strived to set new artistic trends and today’s contemporary style is a result of both national and
international influences.” (The cultural trip, 2017). Not only is this prototype of transformable studio
house and nourish the creative process of the artist but also play a vital role in entrepreneur their skills
and provide a platform for further research in creative spaces.

Background
As designers we go through a lot of personal growth during our years of study and work. But some
experiences are so strong that they affect our thought process such a way that they shape us and make
us aware of our very own personal design identity. During our second year of Bachelors of architecture,
the semester final exam was a study of sensory experience in context to a specific space. The whole class
was designated into groups of three or four students and each group was assigned an emotion. Our job
was to create a temporary space keeping in mind the designated emotion. So the user will experience this
emotion (whichever) as they are inside that space. I and my colleagues had been assigned ‘sorrow’. It was
a challenging exercise enabled us to design a space that could inflicted sorrow on the user.
Description of instillation- Frozen in
time
This exercise yielded many outcomes; most
importantly we found out how perception
of space is unique for person to person. Not
every user could feel sorrow but there
were a range of emotions that were
recorded in writing as groups or individuals
experienced that space. Titled “Frozen in
time” 10x12 feet space was surrounded by
life sized canvases of bare and lifeless
landscape, spotlights were concealed at
feet level so to accentuate the bareness
and barren trees made in swift strokes of
charcoal and oils. The color pallet was
shades of brown, shades of greys, white
and black. And in contrast pale yellow
spotlight passed through those murals
making shadows on the floor covered with
dried leaves. The center point was a
sculpture of a tree with no leaves, covered
with plaster of Paris and shades of brown
and red acrylic paint. Hanging by thread
from the branches were dried leaves to
give an illusion of leaves falling from the
branches in static motion as if a moment is
saved in one click of a memory; it
symbolized the process of clinging to a loss and deprivation and this is what sorrow does to us. A person
going through loss doesn’t want to let go of the pain even if it hurts we want to dwell in it. Digital image
of leaves falling while the wind blows falls against one of the four wall space (as other three are covered
with life-sized canvas paintings. An instrumental is played to further heighten the experience.

Design outcome
The exercise proved to be very fruitful for second year architecture students and enabled us to thin out
of the box. It taught us that design is not literal representation of a building type but more than that, it is
a metaphorical representation of an idea. Therefore it can be concluded that space has such a strong
effect on the person who experiences it, regardless of the diversity of experience; but is it possible that a
person can have a similar effect on the surrounding space? Can we project our thoughts on the physicality
of space hence changing its physical attributes consciously?

Objectives
The figurative expression of statement concluded can be summed up as:
 THE CREATIVE PHYSICAL
THOUGHT DYNAMICS OF
PROCESS SPACE

Research Methodology
With the invention of virtual space, designers are translating their ideas into a conceptual utopia. This is
an actual translation of the given hypothesis. Physical space can also be designed with an emotional
translated into literal meaning. Research shows how the virtual reality has partake in the evolution of art,
design and architecture; “The virtual reality conjured out of the thinking of the Enlightenment of the
eighteenth century, presented a world of certainty and determinacy in which subject and object, mind
and matter, art and science were all quite clearly defined, separated out and neatly categorized. That
world is in many ways crumbling; we see now that it was not the world after all. It was a virtual world-
necessary to combat superstition, sufficient in its mechanistic determinism to feed the dream of reason-
but virtual nonetheless. This certainty and solidity seemed at the time to be the real thing. For centuries
artists seemed to think so too. But "all that is solid melts into air" Marshall Berman, 1982. So why not
space as well? Spaces can be design to be altered consciously accordingly (taking cues from the liquid
nature of virtual space) with the need of the user.

If we narrow the user down to fine artists; starting from basic needs such as air and light can be enhanced
and controlled, foldable space saving digitally controlled furniture can be replaced as the need of the user
changes. The design product at the end can be a digitally controlled capsule which function as office space
and resident for the user.

In search for smart transformable spaces for artists we are looking into but not restricted to the following
studies:

1. Transformable studio
2. Exhibition space for contemporary art
3. Multifunctional space
4. Art incubators
5. Digitally designed spaces

Here we assess the physical aspects of spaces that have been used over the past decades with the
changing trends in contemporary art. There are many shining examples for multifunctional multifaceted
facilities transformed into spaces that serve as exhibit and studio space in function. One such example is
a renovated former slaughterhouse and marketplace into a thriving creative space on a budget?
Architecture firm Office for Strategic Spaces (OSS) shows how affordable and eco-friendly adaptive reuse
is possible with the Factoría Cultural Matadero Madrid, a 399-square-meter warehouse in Madrid
transformed into an incubator for creative industries. Completed on a relatively tight budget and timeline,
the renovation primarily used sustainably sourced wood and polycarbonate for fast and reversible
construction.
The research process will consist of the following steps:

1. Phase One will assess one or more case studies of studio spaces in New Zealand. Assessments will
be done measuring: Quality of space, art activities associated, experiences both positive and
negative, its location, frequency of use, accessibility. A broad spectrum questionnaire of perceived
“ideal” space will be circulated among a diverse nature of artists to find out about their ideal
workspace and live-in space?
a. Collection data from studios site such as effective use of light, air, space, colors etc.
b. Interviews to be conducted from the artists and other relevant people.
c. International case studies that might fit in the criterion of transformable art spaces. The
pros and cons in their designs.

2. Phase two will consist of following steps:

a. From above data we will establish a baseline for physical traits of transformable studio
space with special context to New Zealand art scene by assessing and finding out the
lessons learned.
b. In the next phase we shall start research process involving tools and techniques directed
by the supervisor.

3. Phase Three will be devoted to writing articles on this subject and completing the research and
thesis.

Conclusion
Possible research outcome is to produce a unit or prototype artist studio which changes on the will of the
user. Physical characteristics such as entry and exit of light, air, temperature control can be done by the
user. White space can be increased or decreased in magnitude of need be. The Capsule is mobile so it can
be carried anywhere. Room layout can be changed from live-in residence to studio space, maximizing
transformable design.
References
1. Ascott, Roy. “Editorial: Connectivity: Art and Interactive Telecommunications.” Leonardo, vol.
24, no. 2, 1991, pp. 115–117. JSTOR, JSTOR, www.jstor.org/stable/1575277.

2. Linda Essig. (2015) Means and Ends: A Theory Framework for Understanding Entrepreneurship in
the US Arts and Culture Sector. The Journal of Arts Management, Law, and Society 45:4, pages
227-246.

3. https://inhabitat.com/old-slaughterhouse-in-madrid-is-turned-into-an-incubator-for-creative-
startups/ (Last visited: 11/26/17)

4. https://theculturetrip.com/pacific/new-zealand/articles/mapping-artistic-progression-top-ten-
new-zealand-artists/ (Last visited: 12/2/17)