Studio No. 3 first appears as a roof floating in the landscape with square openings cut throughout, framing specific views of the surrounding forest. One of America’s most critically acclaimed artists, whose work engages photography and model production, required a series of spaces with varying degrees of openness and light control. The overall building form, with its oversized pitch roof that extends past the building envelope to form a covered outdoor space, emphasizes the connection to its surrounding wooded landscape while reducing direct sunlight to the interior. Using materials like corrugated metal, select wood, square glass windows, and rough unfinished concrete flooring, its design is stripped down. The interior is not precious and easy to maintain. The exterior is durable and confident. Resembling many of the surrounding agricultural farm buildings, the roof’s construction is exposed: its eaves overhang, and its rafters and beams are exposed. The studio is used around the clock for making and for photography. By day work is performed without using lights, and exhibition of others' work fills the spaces; while at night the studio lights up in a soft glow.


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