01. The Barns

02. The Floating Barn

A Box With A Hat

We imagined the studio as a simple rectilinear volume on piers topped by a long, curved light monitor. When viewed from its eastern or western orientations, the roof’s form recalls the pointed arch commonly seen in many local agricultural structures. In our early design sessions, we often described the studio as “a box with a hat.”

A ramped bridge lightly touches down on either side of the creek bed and leads to a covered entry porch for the studio. The interior plan is a rational space with a variety of openings allowing light, air, and circulation. 

The roof structure is gently pitched to shed water and snow. A truss-like member sits atop the ridge beam, creating an armature for a light monitor with a curved back. Above the studio space, the monitor is oriented to admit diffuse northern light suitable for working on visual art. At the bridge, it is oriented south to create a bright, inviting entry.

Salvage And Reuse

Over the program’s 30-year history, founder Ed Dadey has amassed an impressive collection of salvaged building materials from across central Nebraska. Wherever possible, we attempted to make use of these materials, which are abundantly available but often require significant refinement.

The studio’s footings comprise four reclaimed oil barrels filled with crushed concrete rubble from a demolished floor slab and a poured cement slurry. The rebar cages encased in the footings and custom post bases are also assembled from salvaged steel.

The studio’s foundation and piers are composed of reclaimed railroad trestle beams to provide an elevated platform above the seasonal flood plain. Each knife plate post base keys into a chainsawed notch at the base of a pier and is bolted through for a stiff connection. The four perimeter beams are chainsawed to lap at the corners, and a 1” steel pipe is driven through the top of the joint to prevent lateral movement.

We constructed the floor and roof structures entirely from reclaimed barn lumber, and the exterior siding is composed of lath from a 100-year-old house demolished in nearby Grand Island. The floorboards were also salvaged from the same demolition.

We torched all reclaimed wood with a flamethrower to eliminate any possible parasites. We then wire brushed and planed all boards to be used on the interior. Exterior siding — from which the studio’s name is taken — is left charred for protection from moisture and insects.

We designed the façade as a rain screen with gaps held off of the sheathing and waterproofing by vertical battens. Creating an air cavity between the cladding and actual enclosure ensures that no moisture can become trapped behind the siding.

We discovered a cutting technique that would allow us to unroll the myriad used tractor tire inner tubes on the property as flat sheets. We used these synthetic rubber sheets as gasketing between materials, roof flashing, and thresholds for openings.

The roof surface is assembled from six grain bin sidewall panels oriented vertically. The truss-like armature supporting these panels is assembled from four pallet rack frames stiffened with steel hollow structural sections, then bolted and welded together.

The side panels enclosing the east and west faces of the light monitor are framed with a curved, laminated beam shaped from reclaimed pallet wood.

Doors And Windows

We recruited fellow resident Mike McCrohn to design a custom picture window to greet visitors on entering and provide a desk-height view of a nearby Cottonwood. Mike’s design — an asymmetrically chamfered cylinder coopered from reclaimed Douglas Fir — suggests portholes or a nautical aesthetic alluding to the creek bed.

The door is clad in the same wood siding as the façade to reinforce the reading of the studio as an abstracted rectilinear volume, while a gap in the siding reveals a reclaimed bronze door handle. A custom pivot hinge machined by Grace Wong allows it to swing freely without the siding impeding its travel.

Catching The Breeze

A strong southerly breeze from the neighboring field suggested a large south-facing opening to passively cool the space during the hot summer months when the studio would be most used. To capture prevailing winds while negating solar gain, we designed the south façade as a solid wall with a pair of operable panels backed by sun-shading louvers.

The light monitor window is made from greenhouse polycarbonate panels held by at their top and bottom edges by aluminum channels ripped from a discarded storefront window frame. When not open, the window is held in place by steel clips.

To create a thermal chimney effect and vent hot air from the space, we designed the monitor as an operable awning window.

Two hood struts removed from abandoned automobiles on the property act as hold-opens for the window.

To access the monitor, visitors can climb a custom ladder designed to fit between the rafters and hook onto the bottom chord of the monitor armature.

Second Act

We hear there have been a lot of campfires in the front yard, and fellow resident Jesse Gengenbach painted a few beautiful, large canvases inside. There’s been some minor damage to the polycarbonate monitor from powerful winds, which its caretakers are working to resolve.

We like to think the project belongs to everyone who enjoys it, and we’re looking forward to seeing what its second act looks like as future residents modify the studio to suit their needs.

Acknowledgements

This project would not have been possible without the generosity and support of Art Farm Nebraska.

Ed Dadey was an unparalleled mentor, while Grace Wong was our unflappable cheerleader and advocate.

Additional materials and fabrication services were provided by T.O. Haas Tire & Auto, and Tim O’Neill of Island Supply Co. Welding. 

Thank you to Sam Fisch, Mike McCrohn, Mario Alvarado, for construction assistance, Katie Rowe for our mission patches, Laura Rubeck for her inspiration, and all 2020 Art Farm Residents for their friendship and encouragement.