New Design Event Comes to Edinburgh

New Product Launch- Design Pops Up @ Dovecot Studios Edinburgh

 

Can a large open space feel welcoming and warm? (here's the proof)

Acoustic Design for Interiors exhibition, Friends of Wilson Architectural Acoustic Panels 2014

The Lighthouse, Scotland's Centre for Architecture and Design, is an acoustically challenging space with a large, open atrium scaling 4 floors.

Creating a welcoming space with visual impact and good acoustics in such a large open area is a difficult design challenge.

I knew it could be done, so I took on the challenge:

• To create an impact with a feature wall scaling two floors.

• To install perfectly flush panels on an curved, uneven wall.

• And to avoid compromising the combination of contemporary and 19th century architecture that makes the Lighthouse so special.

This is how we transformed the Lighthouse with the Tessellate panels :

The natural material of Tessellate brings a tactile feel to a large space

Peter Wilkie, a scientist at the Royal Botanical Gardens in Edinburgh, said he was drawn to stand closer to the panels, as it ‘felt good, softer’ than the grey concrete wall.

The Tessellate panels at the Lighthouse created an enjoyable space within a space, giving visual focus to an otherwise disparate area.

The panels also dampen sound to create a warmer environment, as recently proven by the acoustic testing laboratory at Salford University.

This video explains how sound works and why our panels reduce noise :

Measurement of Tessellate panels in a reverberation chamber

The Lighthouse was a challenging project.

But often challenges force us to be creative with surprising results.

What design challenge have you had that brought interesting results?

Get in touch- it would be good to hear from you!

Best wishes,

Lynne

tel : +44 (0)141 334 2859

With thanks to all our 'Friends of Wilson' exhibition supporters :

New Product Showcase and Video Works for Clerkenwell Design Week!

Acoustic Design for Interiors at the Lighthouse- exhibition set up and preview

These images show some of the enjoyable hard work that went into the installation of our exhibition. I would like to gratefully thank the staff at the Lighthouse exhibitions for their fantastic support, our sponsors, and all Friends and visitors who helped make the exhibition a great success.

Exhibition layout Dwg.

In the beginning - unpacking the four large boxes containing total 108 singular Tessellate plywood and foam panels.

 

We tested the panels a few weeks beforehand to ensure a smooth installation with no surprises on the uneven back panels and curved wall.  I worked with exhibitions assistant Ben who did a fantastic job installing the whole exhibition.

Split battens for hanging- 2 x per panel running the whole length of the wall.

First 2 rows up - and the simple hanging system makes it quick and easy.

Applying the laser cut card panel cut outs to the top levels- it was high and the scissor lift was a wee bit wobbly! You can just see the plan layout for the panels to the left.

Up and down in the scissor lift.

View from floor above looking down on graphics being installed.

Last of the wall graphics being applied and getting the projection correctly positioned.

Only 3 hours to go till opening. Ben drilling the stand for the projector but we're almost there.

6pm Thursday 21st February 2104 and all ready!

Smiling but also concentrated faces and hand gestures at the preview show people were engaged and delighted by the feature wall and video works. Thanks to everyone for coming along!

Me with Allan Madden, Head of Exhibitions at the Lighthouse.

Tessellate is trending

I-On is Scotland's largest lifestyle magazine and this month their LOOK BOOK 2014 design section looks at the recent trend for all things Tessellate, featuring naturally, our Tessellate acoustic wall panel system!

www.apartmenttherapy.com/trends

Announcing a new exhibition: Tessellate Wall Panel and Acoustic Design for Interiors

Sensing Spaces exhibition, Royal Academy, London 7 February 2014

When was the last time you stood inside a building and felt a sense of awe?

Overwhelmed by the design, scale and atmosphere of the place?

Exceptional buildings create a sense of drama that transcends their practical function, and has a powerful effect on our emotions.

I felt this during the Xmas eve carol service in Edinburgh Cathedral. Although I’m not religious, the beautiful architecture and endless reverberations of the choir’s voices created a sound of ethereal beauty and a genuinely moving experience.  

We often don’t remember the details of how a place looked or sounded, but we remember how it made us feel.

At their best, buildings allow us a sense of perspective, and a way to reflect and identify with something bigger than ourselves, whether spiritual or physical.

But who wants to deal with this kind of high drama on a day to day basis, in the ‘normal’ places of offices, home and restaurants where we spend most of our time?

The acoustics of the interiors in which we work, rest and play need to be appropriate to the practical function of the space.

During a conference call at work, you’re not seeking a sublime moment, just to be heard and understood. Excessive reverberation or noise wears on our nerves and makes it more difficult to relax, be heard or be productive.

If the sound and function of a space don’t match, it creates tension.

Or it just feels wrong.

Recently, I had dinner in a local restaurant housed in a converted church. It looked atmospheric and welcoming. We sat cocooned within its gold walls, surrounded by hand painted murals, soft lighting, candles and warm, solid wood furniture.  But with virtually no fabrics, curtains, rugs or absorbent panels, the overall feeling was hollow.

The building’s original architectural acoustics didn’t work for its new function as a restaurant.

But the unique look and style of a space doesn't have to be compromised to achieve the right acoustics.

A sensitivity to materials and using them wherever possible to absorb sound, is key to achieving the right reverberation time in a space.

The ideal reverberation time - the time that sound takes to disappear when it hits a surface and bounces back - depends on the function of a space:

For a living room it’s 0.4 seconds

For an opera house it’s 1.2 seconds

And for St. Pauls Cathedral it’s 9.2 seconds

A rich palette of materials and surfaces on furniture and fittings helps you create a more welcoming feel in, for instance, a hotel reception. Consider adding a large rug in waiting areas or use upholstered rather than seating with hard surfaces. Or use curtains rather than blinds to soften the acoustics.

Combining good looks with acoustics is what we specialise in at Friends of Wilson. Later this month we’ll be showcasing our approach with an exciting exhibition at The Lighthouse, Scotland's Centre for Design and Architecture.

Designed by Charles Rennie Mackintosh and once housing the Glasgow Herald newspaper, the Lighthouse’s main artery is a contemporary multi-leveled atrium defined by huge concrete slab-type walls contrasted with glacier-like balustrades. The light and shadow, and therefore the mood of the interior, are unpredictable, determined by the brooding, fast-changing Glasgow skies.

Deep within the ravine-like atrium space and scaling two floors, will be a six and a half metre high installation of our modular panel, Tessellate.

Bold and dramatic as The Lighthouse, the panels compromise none of the aesthetics of the space but absorb sound reflections from the surrounding hard materials to create a warmer, more welcoming area within the large open space.

New video footage created in partnership with Salford University acoustic testing laboratories will be projected, highlighting the benefits of acoustic design and how it can help create welcoming, well functioning spaces.

Are you in Glasgow between 28 February and 6 April? Come to experience this unique exhibition – we’d love to see you and hear what you think!

Do you find some interiors alienating?

How to create surroundings people feel connected to Have you noticed how many people are tapping away on their laptops in cafés - engrossed in what they are doing, seemingly oblivious to their surroundings? Why is it that even though we may have comfortable and quiet areas in our homes to work in, many of us prefer to surround ourselves with the hubbub of a coffee bar? It can’t just be the good coffee and cakes, can it? Even if we’re not communicating with people, feeling a connection to them and our surroundings is important for our sense of well being. A cafe or bar’s low-key buzz gives a background to our thoughts. We can relax and concentrate without feeling isolated. Architecture critic Ian Nairn described the pubs he frequented as “places to shake off loneliness without being in anyone’s company. “ I recently had an unsettling reminder of this vital relationship with our surroundings when I stepped into an anechoic chamber at Salford University acoustic testing laboratories. The chamber’s 360-degree foam walls, floor and ceiling take away all sound giving an immediate feeling of isolation. This feeling is so disorientating and claustrophobic it instictively gave rise to a sense of panic. Imagine floating in space, with no perspective or ability to gauge your physical surroundings. That’s what it was like. All I could hear was a slight high-pitched buzz. When I asked the acoustician whether he could hear it too, he pointed out that this was the sound of my own insides. I experienced The Sound of Silence and it was not pleasant! When you’re designing commercial or residential interiors, you’re looking for the right amount of sound – not too much and not too little. Sound works in a similar way to water. You don’t want to have your morning shower poured over you in one go from a big bucket, do you? The distribution of water into myriad droplets makes it a pleasant experience. To make your interiors as stimulating and enjoyable as a rain shower, you need to scatter sound and reflect it back in smaller “droplets”. This reduces the negative impact of too much sound, without taking away the ambiance. A combination of sound absorption and diffusion creates balanced acoustics that helps us feel grounded amongst the people and things that surround us. This keeps the hum and buzz of a place and makes us feel connected, not isolated from our surroundings. What different approaches do you use to reduce noise in your interior projects? Let me know- I'd love to hear from you. I’ll be in touch again soon with more thoughts and ideas on acoustic design. Mm, now time for another coffee and maybe a piece of that cake…!

How to avoid the ‘fight or flight’ response to your interiors

Have you noticed how much noisier life gets in the summer?

On hot sunny days and balmy nights we open the windows and bring both the cool breeze and outside noise into our homes and workplaces.

If you live in the city like me, then sirens, sounds of neighbours’ barbeques, music and passing conversations all become part of your daily soundscape.

Also for me, it’s meant 4am wake up calls by squawking seagulls!

But why are we disturbed by certain sounds, even natural ones, like seagulls?

If we understand the fundamental reasons for our reactions to noise, can it help us design spaces that are more comfortable to be in?

You may think that we get used to certain noises over time - and so are no longer troubled by them.

But studies show that this isn’t the case. As Dylan Jones, Professor of Phycology at Cardiff University, explained on Radio 4’s recent programme The Search for the Perfect Office

Our Neanderthal past is expressing itself in our modern spaces:

Our sensory system is highly tuned. We respond to unwanted sound as a threat, activating our fight or flight response and putting us on high alert.

This reaction is so hard-wired that it doesn't diminish over time.
A creaking floorboard in the night is likely to freak you out every time you hear it.

In a similar way, if an interior has a problem with unwanted sound at the outset, it’s not going to get better or go away.

But why is sound so often overlooked in the design of interiors?

As designers, we’re taught to focus on the visual aspects of a design. Beyond practicalities, how an interior scheme looks is key. 

But what about how a place feels? 

The ‘invisible’ benefits of good acoustics such as atmosphere and ambiance may be harder to quantify, but can be crucial to the success of a space.

We all know the effect sounds can have on us.

Within hearing the first three seconds of Gary Numan’s track, Cars I’m catapulted right back to 1982 and the school disco.

Emotional responses to sound are often far stronger and more immediate than those associated with visual stimuli.

Which songs make you instantly feel happy or sad? And which sudden noises give you a fright? In our house, every time the dog barks at the postman, I jump.

Design is about people. Responding to our practical and emotional needs means creating harmonious spaces that are in tune, not conflict, with our most natural selves – whether it’s a buzzy restaurant, formal boardroom, or stimulating work environment.

Have you dealt with issues with acoustics in your projects in ways that have, or haven’t worked?

Let me know - it would be great to hear from you!