OUR PHILOSOPHY

In the development of studio spaceswe approach design in a holistic manner.All aspects of the finished product areexamined to arrive at design choices, thatwhen brought together, yield the mosteffective balance.

OUR PHILOSOPHY

In the development of studio spaces we approach design in a holistic manner.  All aspects of the finished product are examined to arrive at design choices, that when brought together, yield the most effective balance.

IDEAS MATTER

As no space is ideal in every aspect, we endeavor to distill the spectrum of project issues into quantifiable terms, and then make rational decisions regarding the best overall approach to take.  Any good design can withstand objective criticism, as nothing is derived in an arbitrary manner.  We enjoy and promote client collaboration, and feel the best results come from a team effort where "Ideas Matter".  Whereas ego is an important personal trait in design confidence and arriving at bold solutions, there is no room for arrogance. Success for us is in achieving the highest level of performance when gauged both technically and creatively.

ACOUSTIC IMPACT

From a technical perspective we have developed a tried and proven approach we term "controlled reflection geometry".  It is a control room design morphology that embraces all the virtues of LEDE and RFZ approaches but builds upon them to create balanced and uniform multi-channel reproduction environments.  Part of this approach is the particular way in which monitoring systems are integrated into the low frequency boundary of the room to yield a tight and well defined system response and pin-point imaging.  Imperative is our innovative use of materials and finishes to mediate the specular and resonant responses for the room with the requisite balance of absorption, reflection, and diffusion. Fundamentally we hold the belief that all elements of the construction are in essence "acoustic treatment" and as such impart sound qualities to the finished space.  Wall assemblies, ceiling assemblies, and floor systems are not inert, but rather demonstrate resonant effects which must be considered.  Mechanical systems are also effectively tuned chambers attached to the given space.  Framing systems and construction types are chosen not only for the sound isolation performance, but also for their resonant contribution to the room response.

ACOUSTIC IMPACT

From a technical perspective we have developed a tried and proven approach we term "controlled reflection geometry".  It is a control room design morphology that embraces all the virtues of LEDE and RFZ approaches but builds upon them to create balanced and uniform multi-channel reproduction environments.  Part of this approach is the particular way in which monitoring systems are integrated into the low frequency boundary of the room to yield a tight and well defined system response and pin-point imaging.  Imperative is our innovative use of materials and finishes to mediate the specular and resonant responses for the room with the requisite balance of absorption, reflection, and diffusion. Fundamentally we hold the belief that all elements of the construction are in essence "acoustic treatment" and as such impart sound qualities to the finished space.  Wall assemblies, ceiling assemblies, and floor systems are not inert, but rather demonstrate resonant effects which must be considered.  Mechanical systems are also effectively tuned chambers attached to the given space.  Framing systems and construction types are chosen not only for the sound isolation performance, but also for their resonant contribution to the room response.

MATERIALS SPEAK

We hold that the studio proper is not subservient to the control room but rather is an opportunity to develop a spatial character that inspires the creative spirit offering the right feel and aural options.  It should be a space that encourages experimentation and rewards it with compelling results. Thought is put into each architectural element to serve more than one purpose.  Using mechanical bulkheads as absorbers, exploiting structure elements for their acoustic properties, windows to redirect reflected energy, are a few examples.  In so doing the space takes on added qualities and more meaningful rationalism which supersedes a mere fashionable approach.  We let the function serve the aesthetic and ensure the aesthetic serves a function. We endeavor to let "Materials Speak" and in so are chosen for both their visual and auditory appeal.  We reject fake materials and contrived assemblies; things pretending to be something they are not. We focus rather on real materials and originality, celebrating their use with meaningful composition, juxtaposition and connection.

PHENOMENON

The underlying fundamental aspect of design, quite often misunderstood, is the importance of the look and feel of the space.  We refer to this as the phenomenology.  This continues to be strengthened and validated by ongoing research in the field of multi-modal perception.  What you see effects what you hear.  All of our senses play a part in psychoacoustic processing of sound.  This is an area in the evolution of our practice that has been of keen interest. What feeling does the space impart to its occupants?  How does that feeling add or take away from its successful use.  Materials, composition of elements, volume, tactile properties, lighting, air-quality, all contribute to our perception of the space.  How we define and capture this spirit in a readable built form is where the design departs from the mere practical.  It is the property that makes people feel comfortable and creative within a space.  In this sense we strongly believe that solving the practical and technical issues is only the beginning of a good design.

PHENOMENON

The underlying fundamental aspect of design, quite often misunderstood, is the importance of the look and feel of the space.  We refer to this as the phenomenology.  This continues to be strengthened and validated by ongoing research in the field of multi-modal perception.  What you see effects what you hear.  All of our senses play a part in psychoacoustic processing of sound.  This is an area in the evolution of our practice that has been of keen interest. What feeling does the space impart to its occupants?  How does that feeling add or take away from its successful use.  Materials, composition of elements, volume, tactile properties, lighting, air-quality, all contribute to our perception of the space.  How we define and capture this spirit in a readable built form is where the design departs from the mere practical.  It is the property that makes people feel comfortable and creative within a space.  In this sense we strongly believe that solving the practical and technical issues is only the beginning of a good design.