Room for the next act

A life made of creativity

Cathi Ogden has made her living from creativity for as long as she can remember.

She’s a jazz singer with three albums to her name, a songwriter behind two UK Top 10 hits, and a voice artist whose work includes countless documentaries, audiobooks, and national advertising campaigns. She spent almost 20 years in London, 14 years of which saw her as the lead Sheila in the iconic Sheilas’ Wheels commercials, before eventually returning home to Sydney.

Creativity has never been confined to one medium.

Alongside her performance work, painting has long sat quietly in the background. Inspired by a love of nature and wildlife, she had spent years developing her artistic practice through commissions, exhibitions and personal projects.

Now, with a Bachelor of Fine Arts underway, Cathi is committing more seriously than ever to this next creative chapter.

And with visual art stepping into the spotlight, it needed its own space to truly shine.

Painting becomes priority

Until now, Cathi had worked on her art wherever there was room. A spare corner. A dining table. Anywhere she could spread out her materials for a few hours before packing everything away again.

But embarking on this degree changed the equation.

Painting was no longer squeezed between other commitments.

It was the commitment.

And with larger works, new techniques, and multiple projects all requiring extra room to spread out, a dedicated art studio space had become a necessity.

Fortunately, Cathi’s partner, Michael, knew where to start. A former builder himself, Michael had long had Greenspan on his radar.

“I was aware of Greenspan a long time ago and was always curious as to how they worked,” he tells us.

The couple made the trip from the Central Coast to Sydney to visit a Display Centre and meet with one of Greenspan’s Design Solutioneers to find out more.

“He was a really good consultant and sat down with us and sort of really nutted down exactly what would work for us,” Michael recalls. “He was very clear on the costs and everything.”

Cathi agrees.

“He was super helpful and took us through all the options of what we could do. It was a really, really amazing process. It was actually really simple.”

Seen through a builder’s eyes

Having worked in the construction industry, Michael knew exactly what to look for. And seeing the buildings at the Display Centre was the chance to examine the materials and construction – something that gave him and Cathi immediate confidence.

“It was the quality of it,” he explains. “You can tell a lot of the timbers were good size and obviously higher quality. The windows are good quality stuff. And the doors – these are expensive doors.”

This was what set Greenspan apart from the other suppliers the couple had been exploring.

“I also looked pretty carefully at the other ones, and you can see who has quality,” Michael states. “This is definitely best.”

The engineered designs, the materials used, the craftsmanship behind the construction, the attention to detail. It all confirmed what both already suspected.

“We’d found the right product,” Michael says. “We knew it was right. It was sort of an instinct thing.”

A process built on certainty

Quality was important, but so was transparency and certainty. Michael knew better than most how unpredictable construction projects can become. Delays, unclear costs, communication breakdowns and unexpected variations are often accepted as part of the process.

What impressed him about Greenspan was how different the experience felt.

With both a PreCrafted building system and a customer journey refined over five decades, every stage of the Greenspan Way follows a clearly defined process. From design and pricing through to manufacturing and installation, customers know what to expect, when it will happen, and who they can turn to for support.

“Greenspan, they’ve got so much experience, and they’re so good at it that you can trust them,” Michael says.

The couple felt that confidence throughout the project.

“We were so impressed with every step of the way,” Michael recalls. “They sort of took us on the journey with them and consulted us through all the process. It was all very well set out.”

Just as importantly, the costs were clear from the outset.

“Having a really, really concrete idea of what it’s going to cost up front is invaluable,” says Cathi.

For Michael, that transparency stood in stark contrast to many traditional building experiences.

“That’s what I’ve noticed often with building – everything blows out in costs, and this one didn’t,” he says. “You know exactly what you’re going to pay for, really.”

Knowing the budget, understanding the process, and having confidence in the outcome allowed the couple to focus on the enjoyable part: creating a studio that would support Cathi’s next creative chapter.

Right for the site

The couple had already spent plenty of time exploring Greenspan art studios online. They had initially been drawn to the Melwood Mod design with the highlight windows that bring in so much of the natural light that artists need.

But on visiting the Display Centre, the couple changed their mind.

“Having the different styles on site that we could have a look at, we decided on the pitched roof… And I’m really glad,” Cathi says. “I like the height of the ceiling… it works really well.”

The couple decided on a Melwood Workshed 3254, measuring 3.2m x 5.4m. At around 17m² it was ideal for the very specific site the couple had earmarked for the building.

“It was actually exactly perfect,” Cathi confirms.

Positioned at the bottom of the long garden under the canopy of established, leafy trees, the Workshed not only created the studio Cathi needed for the next stage of her creative journey, but it also made use of an otherwise dead space.

“This was just a swamp down here basically,” she explains.

The site itself helped shape the final design. The elevated pier floor system lifts the studio clear of a spot prone to bogginess. And because the studio faces south to prioritise natural light, Michael and Cathi opted for a set of double doors to the front, with full-height double-hung windows on each side. A panoramic window to the side fills the space with even more light, while framing one of Cathi’s favourite features in the garden.

“Out this way we’ve got a gorgeous pond,” she shows us. “So, it’s really lovely to have a window that opens out and I can look out there on the goldfish.”

Up in days, not weeks

Until now, Cathi and Michael had found the entire process surprisingly seamless.

That didn’t change once the building was delivered.

Access to the site was far from ideal. The studio was destined for a secluded corner at the bottom of the garden, with only a narrow side access running alongside the house and a winding path leading to its final position. Yet the installation team made it look easy.

“They were brilliant,” Michael says.

Panel by panel, the building was carried into position before being assembled on site. For Michael, who had spent years in the building industry, it was fascinating to watch.

“The actual speed using panels that are pre-made and the skill of the installers, it’s just so much quicker than building each single thing onsite and making all the framework,” he explains.

What would traditionally involve weeks of framing, measuring and construction work seemed to happen almost before their eyes.

“It was incredibly quick,” Michael says. “It was a very efficient process.”

Within hours, the shape of the studio was clearly visible. Just two days later, the building had reached lock-up stage.

“It was crazy,” Cathi laughs.

From his previous experience, Michael estimates a traditionally constructed building of the same size could easily have taken six weeks or more to reach the same point.

“This was so much easier and quicker than doing it any other way,” he confirms.

And with the start of Cathi’s studies looming fast, the speed of the installation meant they could move almost immediately from planning and anticipation to the enjoyable part – transforming the space into her creative studio retreat.

Personal space

Michael and Cathi were eager to put their own stamp on the project and become part of this next stage of the journey. After all, this wasn’t just a garden room. It was the space that would support Cathi’s next creative chapter.

Michael took on the majority of the finishing work himself, painting, landscaping and completing much of the internal fit-out.

With so many options to choose from, one of the hardest decisions was how to line the walls of the new studio.

“We looked at all the different types,” Michael recalls. “We were going to put shiplap on the walls, but then I thought it’d be just too much and we needed something plain.”

The couple eventually decided upon gyprock, creating a clean, gallery-like backdrop that allows Cathi’s artwork to take centre stage.

Painted in Dulux Silver Tea Set, a soft light silver grey, the interior is clean and bright while delivering a warm atmosphere. A rug in a similar colour softens the space further, covering the ply floor that has been sanded back and protected with a waterproof sealant – a process that has brought out the beauty of the grain.

Outside, the board and batten cladding has been painted Monument to match the Colorbond® roofing, with a lighter grey applied to the front gable providing decorative interest. A clever wash station on the deck keeps messy clean-up tasks outdoors.

What had once been an underutilised and often boggy corner of the garden gradually became one of the property’s most attractive spaces. The studio settles naturally beneath the established trees connected to its surroundings by the Merbau decking and thoughtful landscaping.

“It fits in really well in the backyard,” says Cathi.

“It looks like it’s always been there,” Michael agrees.

Room for two

With two workstations, the obligatory painter’s easel, and plenty of room to spread out, the studio has transformed the way Cathi works and what feels possible.

“I have a suspicion I will end up doing very different stuff,” she tells us. “Now I have space, I don’t need to work so small.”

For an artist returning to study and exploring new techniques, that freedom is invaluable. Larger canvases, more ambitious projects, and the opportunity to experiment all become possible when space is no longer a limitation.

“It’s just amazing,” Cathi says. “I just get to have so much fun. I’m very lucky.”

The studio’s connection to the surrounding garden only adds to the experience. Nestled beneath the trees, it remains naturally shaded through summer, while carefully positioned windows frame views of the pond and wildlife that so often inspire Cathi’s work.

“Where we’ve got it is sort of under trees in summer, so we get a lot of shade,” she says. “It’s nice and cool.”

In winter, the design works just as effectively.

“It’s such a warm place in winter because those little windows up there face north and the sun comes in in the morning,” Michael explains. “You get a little warming glow and the whole building’s insulated. It’s extremely comfortable.”

And while the studio was created for Cathi’s art, she’s not the only one who enjoys spending time there.

“It’s a great place to come and just relax, even for me, even though I’m not an artist,” Michael laughs. “It’s sort of easy to sit on the couch and have a little bit of a nap every now and then.”

On to the next act

Part art studio, part retreat, and part sanctuary, the building has become much more than a place to paint. It’s a space that supports creativity, provides a quiet escape, and gives both Cathi and Michael room to enjoy the next chapter of life at their own pace.

For Cathi, it has delivered exactly what she was hoping for.

“It’s just a beautiful space, and it’s exactly the right size for what I do,” she says.

For Michael, the end result reinforced the confidence he felt from the very beginning.

“We certainly didn’t regret it,” he says.

He understands why some people can be hesitant about alternative building methods.

“A lot of people are very curious about this style of building, but they’re also a bit scared of it too,” he explains.

Yet having experienced it firsthand, he sees the flexibility of prefab as one of its greatest strengths.

“They’re very versatile,” he tells us, “You can sort of alter it to whatever you want.”

This flexibility extends to the budget too, with the freedom to control the final cost through the choice of customisations and fitout.

“Finishes can make a difference… you can control that.” Michael acknowledges.

Most importantly, the reality matched the promise.

“It’s been a really great experience. Greenspan delivered exactly what they said they would deliver,” Michael says. “So, thanks very much.”

Today, the studio sits tucked beneath the trees at the bottom of the garden, looking as though it has always belonged there. Inside, Cathi is exploring larger works, new ideas, and embracing the next act of her creative journey.

And occasionally, Michael is napping, dog Nessie at his feet.

Design	Melwood Workshed 3254
Size	3.2m x 5.4m
Add-ons	1.3m x 5.4m Merbau deck
Cladding	Board and batten
Doors	Double timber full glass doors
Windows	White aluminium
Roofing	Monument Colorbond®

All measurements are approximate.

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