Squish Studio by
Saunders Architecture

| 4 comments
 

Slideshow: here's another of the six artists' studios that Norwegian firm Saunders Architecture designed for an island off the coast of Canada, this time a white angular cabin (photographs by Bent René Synnevåg).

Squish Studio by Saunders Architecture

Located on the eastern coast of Fogo Island, Squish Studio has painted wooden walls that extend beyond the limits of the interior to create sheltered triangular terraces at both ends.

Squish Studio by Saunders Architecture

These provide both a south-facing entrance foyer and a north-facing deck with a view out across the ocean.

Squish Studio by Saunders Architecture

The ground beneath the studio is so rocky and uneven that the southern end of the building is raised up by just over six metres to maintain a level floor surface inside.

Squish Studio by Saunders Architecture

Like the other completed studios, Squish Studio provides all its own heating and power, plus facilities to treat its own waste.

Squish Studio by Saunders Architecture

This is the third of the studios that we've featured on Dezeen. See the first two here.

Squish Studio by Saunders Architecture

Here's some more details about the project:


Squish Studio

Tilting, Fogo Island, Newfoundland

The Squish Studio is located just outside the small town of Tilting on the eastern end of Fogo Island. First settled in the mid-18th century, Tilting is known for its strong Irish culture and its recent designation by Parks Canada as a National Cultural Landscape District of Canada.

Squish Studio by Saunders Architecture

The Squish Studio’s white angular form, sited on a rocky strip of coastline, that could rival Italy’s western coast, offers sharp contrast to the traditional vernacular architecture of the nearby picturesque community of Tilting. As its architect, Todd Saunders, has commented on the studio’s siting, “...it is out of sight, but close.”

Squish Studio by Saunders Architecture

The approach to the front entry of the studio is dramatic, as the most southern end of the studio rises twenty feet above the ground, in sharp contrast to its most northern tip that measures only half that dimension. The compact, trapezium-shaped plan of the studio is augmented by the extension of the east and west exterior walls to create a sheltered, triangulated south entry deck and a north terrace that overlooks the ocean. From a distant view, the streamlined form of the Squish Studio becomes apparent with its high back and low (squished) front designed, in part, to deflect the winds from the stormy North Atlantic.

Squish Studio by Saunders Architecture

As we approach the entry of the studio we are greeted by Silke Otto-Knapp, a London-based artist and the first occupant of the Squish Studio. As Silke brings us through the studio, the spatial compression of the tall and narrow entry area gives way to the horizontal expanse of the main room. The downward angled roof leads the eye to the full height oblong glass window focused on a splendid view of Round Head.

Squish Studio by Saunders Architecture

The vertical white planks that line the interior walls are interrupted by a playful series of narrow windows integrated with an expanse of built-in cabinetry. Silke’s quick figurative studies on paper are posted on the walls, as well as, several large scale canvasses. She is delighted to work in such an architecturally inspired space, especially when it is stormy and she can experience the immediacy of the sea and, on some days, observe the dramatic shift of the island’s weather.

Squish Studio by Saunders Architecture

The Squish Studio, like most of its other counterparts, is equipped with a compost toilet, a small kitchenette and wood-burning stove. Power is supplied by stand-alone solar panels, mounted on an adjacent hilltop. Both the interior and exterior of the studio, including the roof, is clad with spruce planks that are painted white.

Squish Studio by Saunders Architecture

At night, the studio, illuminated by the soft glow of its solar-powered lighting, appears as a lantern or a lighthouse placed strategically on a rocky cliff to over- look the North Atlantic. In its isolation, one can also imagine a sole occupant, vulnerable but protected from the elements – inspired to work late into the night, occasionally distracted by the crash of the waves, or perhaps, fully immersed in the work at hand, the first glimpse of the sunrise through the Squish Studio’s slot windows that face the north-eastern horizon.

Squish Studio by Saunders Architecture

Client: Shorefast Foundation and the Fogo Island Arts Corporation
Architect: Saunders Architecture - Bergen, Norway
Team architects: Attila Béres, Ryan Jørgensen, Ken Beheim-Schwarzbach, Nick Herder, Rubén Sáez López, Soizic Bernard, Colin Hertberger, Christina Mayer, Olivier Bourgeois, Pål Storsveen, Zdenek Dohnalek
Associate Architect: Sheppard Case Architects Inc. (Long Studio)
Structural Engineer: DBA Associates (Long Studio)
Services Engineer: Core Engineering (Long Studio)

Squish Studio by Saunders Architecture

Builder: Shorefast Foundation
Construction Supervisor: Dave Torraville
Builders: Arthur Payne, Rodney Osmond, Edward Waterman, Germain Adams, John Penton, Jack Lynch, Roy Jacobs, Clarke Reddick
Construction photos: Nick Herder
Text: Michael Carroll

Squish Studio by Saunders Architecture

Size: 130 m2
Location: Fogo Island, Newfoundland, Canada
Status: Finished 2011

Squish Studio by Saunders Architecture

Photography: Bent René Synnevåg


Here are the other two Fogo Island studios we've featured:

Tower Studio by Saunders Architecture

Tower Studio by Saunders Architecture

Long Studio by Saunders Architecture

Long Studio by Saunders Architecture

  • toomuchcoffeeman

    The inside looks more like a gallery space than an actual studio for working in. I Really like the building itself (and the surroundings ofcourse) but is seems totally impractical for the intended use.

  • http://www.contemposofa.com Contempo Sofa

    very stark interior

  • http://dailygrail.com/ Red Pill Junkie

    Nice geometry, although I'd probably would have chosen a more natural color for the exterior so it could blend better with its surroundings. Or maybe the white will become grayer and aged as years pass by :)

    • Sam

      You’ve never been to Canada during the wintertime have you :)? White will blend just fine for 10 months out of the year.