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The second part of the project became easier for the Hariri sisters, as they now had clients to set the program and direct the design. "The studio works quite differently," says Gisue. "The main facade can be read as a three-dimensional painting that reuses materials from the main house and introduces new ones that are particular to the studio." On the exterior, each side of the studio fulfills a specific demand.

The main facade is double layered and the partition creates a semi-enclosed outdoor shower. On the tennis court side there is a bench built into the wall for watching a match. The rear wall is essentially a private loggia used by Lazar when he needs a break from painting but wants to stay away from the fray. The remaining side facing the woods is designed for storage.

For Lazar, the space is there simply to paint in solitude as he prepares for his first exhibition this fall at the Walk Tall Gallery in East Hampton, September 4-18. Lazar, who turned to painting after a 30-year career in real estate development and construction, delves deep within himself to express parts of his own buried psyche and general human behavior. In this solitary environment, Lazar paints his figurative works—some more recognizable than others—but all deeply emotional. The studio succeeds admirably with its large plate glass windows and industrial sawtooth skylights that flood the space with an even glow. In the evening carefully designed lighting allows Lazar to continue painting. "Although the studio actually addresses several of our needs," comments Banks, "The overriding concern was honoring the concept of the artist and protecting his working environment."