Module 3 of our Visual Language paper provides a range of options that allows us to investigate an area of interest in this complex world of ceramic arts that we have found ourselves drawn to. From the options, I have decided to share my studio construction project, from initial concept drawings to what is now a mostly functioning space. This project began in September 2018, having enrolled to begin the Ceramics diploma at the start of 2019, and continues with electrical and landscaping still to be completed. The brief? Draw up plan drawings as well as a written project plan, for your ideal but realistic personal ceramic studio. Is this studio going to be at home or elsewhere? If building a shed especially for the studio, include research into getting a building consent, costs, etc. If in existing building does it need consent? Do you need professional help to make changes to an existing building, such as from a plumber? Include all costs of your project, though these can be estimations. Can you find other artists’ studios to visit, to help with conceiving your studio, if so talk to the artist about their studio and take photos of their studio.
The first consideration for me was WHERE to locate a studio, as I decided that I would prefer an on-site studio, but do live on the ridge of a hill, allowing little in the way of a level site. Although building on a slope is possible, this comes with additional complications with regard to foundations and retaining etc. Fortunately, there is a level concrete area at the top of the driveway which provided a potential solution. Images below show preparation of the site.
Site view from driveway 
Clearing site 
Old retaining wall
First job to dismantle and relocate small garden shed to allow new studio to take its place. Easier said than done, as this first step required preparation on its new site, which involved excavation and retaining.
Artist’s (me) impression 
Calculations 
New shed location 
Retaining and foundations 
Access 
Job done
With this step taken, next was another time consuming job that involved removing and re-establishing the existing retaining wall which was starting to fail as the original size of the timber used has proven insufficient for a wall of this size. Break out the 200mm round H4 retaining poles. Not wanting to spend much of my as yet unknown budget on site works, I decided to dig each hole by hand. This did prove to be more of a challenge due to the hardness of the ground. Like busting concrete, and with each hole a minimum of 1m depth, I only managed one hole per day (weather permitting). 13 poles took a month to complete, and involved a small land slip on the day the final hole was poured, due to very heavy rain overnight. Stressful, but problem solving is just part of the journey. Deep breaths.
With the site preparation completed, the studio itself, including design, size and council consents were next on the list. Points to consider at this stage were to try and avoid the need for a building consent, ensure the studio did not exceed the 2.4m x 7.0m site boundaries, and that the height did not exceed the height to boundary council regulations. After spending some time surfing the net for examples of sheds, studios etc, I found an Auckland company who supplied studio kit sets or if preferred, could come and build a small studio, including on Waiheke Island were I live. Cabins and Beaches NZ Ltd http://www.cabinsandbaches.co.nz offered a range of designs, and after some discussion, would also consider combining elements of a couple of their designs to achieve the studio I had conjured up in my mind. What I was hoping to do was to find a design that would fit in with the character of the house. My initial sketch and proposed design are below.
First tentative sketch 
Getting down to detail with a ruler
After a bit of backwards and forwardsing, the following design and dimensions were agreed to. At this stage, although I do enjoy my DIY, I thought perhaps it best to pay to have the studio built to lock-up stage by more experienced others. I could save a little money by taking on the plastering, painting and eventual landscaping myself. The final design specs and costing was agreed to and signed off. An important note if you are considering employing a company to build a studio for you, is to check, check and check again, every part of the design, including materials list. Walk yourself virtually through the space if you can to ensure you have given it as much thought as possible. Once you sign, it can be complicated to make changes. I did in fact ask for a change to the loft flooring dimensions (reducing them in size) after the external structure had been completed, as I was worried that the original larger floor plan may indeed reduce the light to the main floor studio space. Luckily, this was not a problem. Unfortunately, you don’t know what you don’t know, so knowing what questions to ask, can also introduce an element of unanticipated surprise to the project (not all surprises are enjoyable).
Budget considerations again found me contemplating doing the electrical work that I was legally able to do myself. You can instal your own cables and fittings, but you must not connect anything to the mains supply. This must be completed by a registered electrician, who will provide a certificate of compliance once this is done. I had to have a carefully worked out plan in place, as I would need to install the power and lighting wiring within the studio framing after this was constructed, and prior to the fixing of the internal insulation and gib lining. Number of power points, lights etc? Entry point to studio?
Electrical from house to studio 
Studio wiring/fittings plan
From plans to reality.
With studio shell on-site, I was now confronted with the reality of all of the interior work that I was so happy to take on at the start of the project. I was already knee deep in clay, having started the diploma, so it did take some time before I could get on to this.Having understood the need to wet wash studio surfaces and seeing the types of floor surfacing in other studio spaces, I decided to install a cement board floor lining over the plywood (I opted for plywood, rather than particle board during the design stage due to the potential problems water presents to particle board). This would then be painted with a water-based epoxy resin, providing me with a long life, hard-wearing surface. The Hardiflex cement board offcuts have provided us all with a great surface for wedging and faster drying of clay slabs.
Establishing what needed doing, and in what order, pushed me back towards the pencil and paper. With the ceiling and walls plastered and painted, and the floor completed, the next consideration was to do away with the very steep loft ladder and to add the always much needed shelving space. To achieve this, my plan was to replace the ladder with a wide staircase that could double as shelving space (I have always liked this design concept). I settled for a width of 600mm to allow me to feel safe and comfortable when climbing this (especially as I get older) when I may have both hands full. I had thought that the loft would be a great place for drying work.
Staircase/shelving
With my staircase/shelving unit constructed and installed, time to add benches. I again opted for plywood due to its ability to cope with the drips and spills of a ceramic studio. Fairly easy to wipe down with a damp cloth also. Repurposing a shelving unit I had made for my son at one time (no longer needed of course) provided another set of wall-mounted shelves for the ever growing array of materials that are found in ceramic studios everywhere. The inside of my studio as it currently stands below.
Just when I thought the journey was over, along came the issue of kiln and water location. Fortunately when initially considering the site for the studio, I had allowed space for the car to park at the top of the driveway beside the new studio. This space has now become the possible site for a small shed in which to house my electric kiln and perhaps another set of shelves, and maybe even a sink? Back to the drawing board.
Determined to re-assert my DIY credentials, I decided that this was a job I was happy to tackle myself, so hooked up the trailer and headed to our local Placemakers store, lengthy shopping list in hand (so much for the constraints of an ever expanding budget – will just have to make more pots to sell). A solid weeks work and the kiln shed was born.
Kiln waiting patiently 
Flooring structure 
Walls up 
Almost finished 
Happy kiln 
Tight squeeze between studio and shed 
Kiln shed
As we are on tank supply on Waiheke Island (and having just been through a summer when it did not rain for 4 months), thought it best if I could collect the water from both studio and shed roofs. This did prove complex due to the only possible site for a small 2000 ltr holding tank that I found on TradeMe. Final solution was to collect studio as a main water supply, and a small barrel for the shed runoff. Plan and eventual installation below. An old laundry style sink will be set up just outside the kiln shed. I am in the process of digging a drainage channel to the road, and will include a filtering collection mechanism (under research) below the sink, to catch as much of the clay/glaze materials as I can, to avoid them entering the water table or from reaching the sea.
As I have now been using the studio since the beginning of March this year, I am already discovering what does and what does not work well. A couple of the issues I have, due to the small footprint of the studio, is that firstly my wheel always seems to be in the way, and provides a lovely trip hazard when I am moving work from one bench to the other. The second issue is that I have set my benches all at standing height, and sometimes I want to sit down when I work. I have been reading The Potter’s Studio, Clay and Glaze Handbook, by Jeff Zamek. One of his first chapters, talks about ‘following the clay’ when designing a studio space. I am happy to report that apart from my wheel, this is mostly the case. My solution? Remove a wheel sized section of bench (that essentially is the starting point for my clay) to provide a dedicated space for the wheel. My only concern with this is that I am going to loose this amount of bench in what is already a very compact arrangement. To solve this and my bench height dilemma, I am planning to construct a removable bench top that will sit just above the wheel when not in use, providing the same amount of bench top, with two different height options. Images to follow.
Baber Ceramics 