When it comes to architecture, is AV no longer an afterthought? Reece Webb discovers how the worlds of AV and architecture intertwine.
The AV integrator has, for many years, found themselves being brought in “too little, too late”. As other contractors finish up their work, the experience of coming on site ready to install AV equipment only to find walls and surfaces installed where the cabling needs to be is all too common.
For many integrators, the most difficult challenge on a project came not from issues related to the hardware or codecs that they are providing but navigating cabling on a project after other contractors have completed their work, often requiring creative workarounds or a difficult conversation with other contractors or the client.
While this may be a situation that is painfully familiar to some readers, has there been a shift towards a more AV centric design and build focus?
Steve Hudson, COO, Project Audio Visual, says: “It used to be an absolute nightmare. We used to turn up and there was no place for ceiling speakers to go, no place for microphones, everything was thought about afterwards. We’ve noticed, especially in the past three years there has been a big change.
“People understand that rooms need to built for the technology. They are taking into consideration lighting, acoustics, design, to bring the AV in. We have seen a real, positive move with that. We are working on a project right now where the room has been designed around the meeting space and the technology. We have been working closely with the architect, and it’s been an eye-opener. This change has been massive in the corporate space, and most clients in that space understand that if they want a 600mm x 600mm microphone in their space, they can’t put fancy lighting running down the middle of the room.”
Sergio Molho, founding partner, WSDG, concurs: “We share the same pain. Fifty percent of our clients are architects, engineers or developers, and in our education process for the client, we try to explain that [getting us involved] earlier means less pain, a better program, better technology, and that they’ll definitely save money. There is a trend that technology and acoustics need to work together with the architectural design. This ‘triangle’ needs to be linked and integrated, and there is a new trend in understanding the benefit and beauty of having these aspects working together from the beginning. This is obvious when you’re doing a theatre or a broadcast studio, but less obvious when you’re doing a corporate or a hospitality project, but nevertheless, there is a lot of merit in having integrators and consultants on board as early as possible to create the objective parametrs of acoustic and technology performance for the project.”
The drivers of this change can be interpreted to be multifaceted, be it because of better education of the client, or as a result of a changing architectural marketplace where this integration is becoming key for successful architects.
Leroy Seket, head of European operations, Project Audio Visual, explains: “The architects have competitors that have AV on board themselves, so the architects that don’t have that are losing jobs, because other companies have factored in AV already. Some architects say that they don’t have knowledge in house, but they want to have a partner that does it for them and takes it out of their hands. We slide in with them to provide that full service.”
Cohesive visions
WSDG implemented its own approach to architectural and AV cohesion, spearheaded by WSDG’s Silvia Molho. Known as the technical interior design (TID) concept, Molho led the way with this innovative methodology which focuses on fusing aesthetic design with technical AV and lighting considerations to improve immersion, integration, and overall ambience in a space.
Silvia Molho, partner and art director, WSDG, says: “If we look at the trends in architectural designs such as marble floor and glass, it is the perfect storm as you have reflective surfaces in a space where you want to have acoustic quality and quietness. Often, architects don’t want to see any AV products, wiring, or acoustic treatment. Users want everything to be integrated, coordinated, and invisible. In the past 10-20 years, we have developed the tools to create that magic. People are getting used to slick, seamless designs and the wireless integration of everything we have.”
“Large corporate companies with big budgets are building workplace resorts” says Tom Riby, global business development manager, K-array, “it’s got to be a place that has open communication with everyone, and integrators and architects have been focused primarily on what the aesthetics look like rather than the sound. From an acoustic point of view, it makes a huge difference. We’ve been looking at sound as an important factor as people often complain about noise pollution in open office spaces. Nobody wants to answer their phone at their desk.
“When we built Rail, our integrated audio and lighting product, we found that the audio is the last thing that people think of. The difference you get when you have a space that is well treated and has been thought of acoustically from the beginning of the design is massive. The final clients are looking for integrated technologies, so if you look at infrastructure from the top now, it’s all open for lighting and audio companies to work closer together. They are now coming together, and that is why integrators are doing both as they can fulfil what the final client is asking for.”
Building better
Of all the AV technologies that are impacting architectural design, LED is often seen as the ‘poster child’ of architectural AV. From building exteriors to lobby spaces and arenas, many architects now see AV as not just a tool to enhance the space, but to define it.
Ryan Austin Smith, director of regional growth and strategic client management for Europe, LED Studio, explains: “I’m seeing more collaboration with artists and architects. We’re seeing more of a trend where manufacturers are engaging more, and it’s the finishing touches that make the difference, it’s all about the wow factor. If you go to a stadium or an arena, those spaces integrate technology to create experiences and generate revenue for 10-15 years onwards, and as important as all the other moving parts of an installation are, they are sometimes lost [in the noise]. It’s the screen that people take pictures of, and that’s the part that architects are really paying attention to. It can be a project with hundreds of millions of Euros spend, but it’s those finishing touches that make it amazing.
“There are factors that you have to take into account such as lighting and location. You need to be working very closely with the construction side to make sure that key factors are considered, as you do not want to increase costings if they are not planned. We have seen that in the past where conversations have not happened and reworks have to be done, but those conversations are happening early now: putting heat conductors in the right places, dealing with power and data at the right time instead of it being an afterthought. The integration of those key elements are important to avoid panic stations at the end. We know that this is the piece that people are going to remember, and we have moved past just putting company logo on a sign and backlighting it, it’s not powerful enough anymore and we can do much more such as transparent LED, ultra-fine pixel pitch screens, we can push the boundaries of creativity to create something really unique.”
Building hand in hand
What does the future hold for AV’s role in architectural design? As architects and integrators work closer to deliver fully integrated spaces, how can both sides of the divide support each other to deliver better results for the end client?
“I think we’re going to see deeper immersive experiences,” says Austin Smith. “Where LED’s improved, I’m seeing more conversations where rooms are completely enclosed in LED, with an all-encompassing experience. We’re having those conversations on a more regular basis, especially in corporate. People are understanding how the technology has evolved and become more useful, and are creating more focal points centred around LED technology where you can be creative. Be it curvable, flexible, or more creative LED shapes, architects are gaining the ability to be more creative [with technology] in their designs without being stuck in the regime of a flat screen in a wall.”
For Silvia Molho, continued communication is key to ensure that the technological constraints of today and the technological opportunities of tomorrow are considered in future projects, not just for AV integrators but also for architects who may need to consider futureproofing their designs: “We as designers are trying to find solutions to have a better life.
“If we start a project today, because of permits and the construction process, this is something that will finally open in 2027 or 2028. We don’t just have to bring the best solution for today’s needs, we also need to think about the future and where everything is going. We are sure today that the cost per square feet of each LED panel will go down, and that the largest flat panel display available at the time is 110-in, it will be 120-in in the future, we don’t need to be too smart to anticipate that. We need to give that information to the architect, because the backbone that nobody sees will also be impacted by futureproofed solutions.”
Riby believes that greater education from AV professionals holds the key to not only greater results from final installations but also holds the potential to change the way that architects think about sound in their creations: “Audio is still an underrated art form that can elevate an experience. There is not much audio education among architects, who are primarily looking at the aesthetics. Architects and MEPs are not fully educated on the audio world, and I think that integrators need to understand they need to be educating their clients. It’s never going to be a walk in the park, and it’s up to us to change how audio is perceived. I don’t think that architects are going to go out and change what they know about audio, it has to come from manufacturers and integrators.”
“Contractors have changed, too,” says Hudson. “We are now brought in at the beginning to have conversations with the contractors about cable routes, power, network etc. as well as discussion with the architects. Ultimately, design and technology need to fit hand in hand, one cannot be there without the other. If an architect has a great design, and we have technology that is essential, we need to collaborate with the architect to make it work. There needs to be more of that moving forward.”