Designing the Space You Need

• INTRODUCTION AND OVERVIEW
• GET TO WORK
• FORMING A TEAM
• ON LOCATION
• • Preparing for the Site Search
  • Renovation vs. New Construction
  • Where to Look for Leads on Spaces
  • Before You Sign on the Dotted Line
  • Designing the Space You Need
• FINANCE

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Photo courtesy of Western Avenue Studios/BPV Lowell, LLC.

DIY vs. Enlisting Help

Although hiring an architect may seem like a luxury within a tight budget, architects can actually save you money by optimizing the space design and helping you to avoid costly mistakes. Architects have been cited as intergral team members throughout this Guidebook (see, for example, Section 3.4 Enlisting the Help of Professionals). It certainly makes sense that in an area of real estate development with so many unique design needs, Artist Space Development would require specialized expertise to guide its uncommon set of considerations, for example:

• Window and light direction
• Waste management and disposal
• Ventilation
• Soundproofing
• Use of toxic materials; disposal and storage
• Adequate flooring (for dance; for heavy equipment needing reinforcement)
• Width of doorways and hallways
• Freight elevators
• Storage
• Electrical considerations

To better understand why architects are essential partners in ASD, this section provides a brief overview of the role's value and how your project team might engage an architect in your process.

When to Work with An Architect 

An architect is necessary when the project involves:

• New construction
• Structural changes in rehabilitation projects
• Required architectural or construction drawing for building permits

The additional benefit of hiring an architect includes:

• Helping you clarify your space needs and help you program your project.
• A capacity to find the balance between design, function, and budget. (eg. for example, should your space design seek to accomodate an artist's preference for large, open spaces an architect may remind you of the relationship between the amount of flow space and the heating bill)
• Bringing unexpected design alternatives that make a difference
• Serving as a hub to locate and communicate with other professionals such as structural engineers, general contractors, interior designers, landscape designers, etc.
• Obtaining necessary permits

How to Work with An Architect 

Clarify your space needs

• What space do you need for art production? Are their ceiling height requirements? Lighting? How large must the unit spaces be? Will there be specialized flooring for dance? A freight elevator and large storage spaces? Having artists on the core project team ensures that these questions can be guided by real world needs.
• What kind of spaces are needed to build community within the space? How will tenants interact with each other? Will there be common space(s) separate from each unit or integrated together?
• How will the facility invite broader use from the community at large? What kind of activities will allow artist tenants to interact with their neighbors and what are any space needs attendant to these activities? Which part of the project is open to the public? Are there spaces specifically set aside for community use, or to be shared between artists and the surrounding neighborhood?
• Will there be any other uses for the facility? Will there be commercial space(s), residences for non-artists, and/or room for educational activities?

Clarify your budget

• Be upfront about your budget so that your architect can design accordingly and avoid redundant work

Clarify your space preference

• Some artists may prefer to expand their unit space themselves for lower costs and more flexibility; while other projects may want fully furnished space for artists’ immediate use. The “mood” of the space also differs according to design. Do some research (visit existing artist spaces, browse magazines, etc.) to get a general idea of what your facility needs to achieve

Build consensus within your project group before talking to an architect

• Although the architect can help coordinate between multiple design goals, conflict within the group adds to the workload of the architect and can delay the project

Be open to suggestions

Further Reading

Kartes, Cheryl.  Creating Space: A Guide to Real Estate Development for Artists: Chapters 4 and 9.  New York: American Council for the Arts, 1993. 

Renner, Chuck.  “Square Feet Chicago-Rehabbing Your Space.” Chicago Artists Resource.  Chicago Department of Cultural Affairs.  Date of Access:  Dec 14, 2009.  http://www.chicagoartistsresource.org/node/8679

Lemaire, Gerard-Georges Lemaire.  Artists' Houses.  New York: The Vendome Press, 2005.

Riquelme, Kathleen.  The Studio Book. New York:  Universe, 2004.

Rudd, Eric.  The Art Studio/Loft Manual: For Ambitious Artists and Creators.  North Adams: Cire Corporation, 2001.

Walker, Chris.  Artist Space Development: Financing.  Washington D.C.: Urban Institute, 2007.

“Soundproofing Techniques.”  ArtistLink.  Date of Access:  Dec 14, 2009.  http://www.artistlink.org/?q=spacetoolbox/fordevelopers/designconstruction/soundproofing

“Square Feet Chicago-Art Space Issues.” Chicago Artists Resource.  Chicago Department of Cultural Affairs.  Date of Access:  Dec 14, 2009.  www.chicagoartistsresource.org/node/8820

Sources

ArtistLink. Date of Access: Oct 30, 2009.  http://www.artistlink.org

Jackson, Maria Rosario, and Florence Kabwasa-Green.  Artist Space Development: Making the Case.  Washington D.C.: Urban Institute, 2007.

Kartes, Cheryl.  Creating Space: A Guide to Real Estate Development for Artists.  New York: American Council for the Arts, 1993. 

Walker, Chris.  Artist Space Development: Financing.  Washington D.C.: Urban Institute, 2007.

“Square Feet Chicago.” Chicago Artists Resource.  Chicago Department of Cultural Affairs.  Date of Access: Oct 30, 2009 http://www.chicagoartistsresource.org/node/8689