Acoustics in commercial spaces with Remy
1/ How do you balance noise control with material durability in high-traffic, high-energy environments?
I believe the question refers to sound insulation between spaces. For example, in our performance area, we used a concrete box system for the warehouse. While concrete isn’t very sustainable, the system is made of panels that can be removed and reused.
What I forgot to mention is that the auditorium actually has a wooden structure. Behind the sound-absorbing panels, there's a hidden CLT box. It’s a shame it’s not visible, as it’s a great sustainable feature.
As for the ceiling pulp, I believe it’s newly produced, not from waste—likely because reused pulp is harder to colour consistently. However, the sound-absorbing blocks behind the fabric panels are made of recycled paper, which is great. The fabric itself is even more interesting—it’s made from reused military uniforms, which are easy to repurpose because they’re standardised in colour and material.
2/ Regarding the Milk Factory: isolation boxes were used to reduce noise during work. Where do you stand on open-plan (landscape) offices?
Open-plan offices are acoustically challenging—you want good communication, but background noise can be very disruptive. In the Milk Factory, isolation boxes were used to create zones within the space, offering both openness and acoustic shielding. This zoning approach helps manage sound levels effectively. That said, it's a relatively high-end environment, and such solutions may not always be feasible elsewhere.
3/ We often think of building materials as either sound absorbers or isolators. Could a fully organic material like sand serve this purpose?
The key challenge is combining sound absorption and sound insulation in a single material—something that's typically difficult. Sound-absorbing materials are usually porous, allowing sound to pass through, which makes them poor insulators. Insulating materials, on the other hand, block sound but don’t absorb it well.
Sand, due to its fine grain structure, might seem porous, but its acoustic properties depend on how it’s used. Loose sand’s sound absorption hasn’t been widely studied, at least not by me. To use it structurally—like in walls—you’d either need to bind it into panels or fill cavities with it, which is actually a very old technique.
4/ Can you share innovative strategies for managing sound in atrium-style spaces where traditional acoustic treatments might not be feasible?
First, it’s important to define what’s “traditional.” In large spaces like atriums, some level of sound absorption is usually necessary—you can’t entirely avoid it. However, context matters.
If the atrium is mainly a circulation space with only a few people passing through or talking, a reverberant environment may not be an issue. Problems typically arise when the space hosts large groups, like a restaurant with 300 people. In that case, reverberation becomes disruptive.
So, one strategy is to match acoustic treatment to the space’s function. Instead of trying to fully dampen sound, consider allowing some natural reverberation in low-occupancy areas, while using targeted interventions—like localised absorptive panels, hanging elements, or even integrated furniture solutions—only where necessary. Flexibility and function-driven design can be more innovative than applying standard treatments everywhere.
Acoustics in hospitality spaces with Daniel
1/ What are the key differences between acoustic solutions for high-end luxury hotels and more budget hospitality spaces?
The core acoustic needs are quite similar—we all seek comfort and quiet. The real difference lies in budget. Lower-end spaces often use cheaper, harder materials and skip flooring solutions, which can actually create more acoustic problems. Luxury hotels usually have more resources to invest in layered solutions, but with smart design, we can also offer budget-friendly acoustic fixes for more modest spaces.
2/ What are some emerging trends in acoustical design that will shape the future of hospitality venues?
We’re seeing a shift toward softer, more natural aesthetics—pastel tones and organic materials are becoming more popular. In acoustics, baffles are gaining ground, especially in restaurants, where they allow architects to get creative while subtly improving sound quality. There’s also a growing interest in sustainable materials like cotton linters and mycelium for acoustic panels. These innovations have great potential, but fire safety remains crucial in hospitality—so ensuring compliance with regulations is key.
3/ What can you tell us about the durability and maintenance of your acoustic solutions?
Our acoustic products are made from recycled PET bottles and have an extremely long lifespan. They’re very low-maintenance—light-coloured panels may show some dust or stains over time, especially near air conditioning filters, but a quick vacuum every few months usually does the trick. Even tough stains like coffee or red wine can be removed with hydrogen peroxide—just apply, let it sit for 24 hours, and it disappears.
4/ What advice would you give to hospitality designers looking to enhance both sound comfort and visual appeal in their projects?
Start thinking about acoustics from the very beginning of the design process—and make sure to include it in the budget early on. It’s not something to add last-minute. We're here to support designers with tailored advice, whether the budget is big or small. For example, we offer different thicknesses—12 mm vs. 24 mm—with varying performance and price points. But remember: acoustics are like roof insulation—you can’t do it halfway. Partial solutions often lead to disappointing results. Just like flooring, it needs to cover the whole space to really work.
Acoustics in office spaces with Kyriakos
1/ What are some emerging trends in office acoustics that architects and designers should be aware of?
That’s an interesting question. I think we are at a point where technology will blend with the traditional materials like flooring, carpets or plasterboard, and that immersive soundscaping will enhance our office environments. So we will have zones for happiness, zones for productivity, or choose individual sounds to create and induce different work modes. Thus, besides having a very well-designed space from an architectural point of view, technology will play a crucial role in enhancing acoustic design.
2/ What are some common mistakes companies make when trying to improve acoustics?
That’s a really good question, and it can involve a whole host of solutions. We have seen carpets incorporated into walls, because the contractor thought that putting a carpet between two layers of plasterboard would enhance the partition. We have seen resilient layers to reduce footfall noise built into walls as well, for no reason at all. The list goes on and on – it’s impressive how badly materials can be used, but that’s not the point. The point is that if we bring in an acoustic consultant from the outset, none of these mistakes will happen – and of course the budget required to rectify those mistakes will not be needed at all.
3/ Do you use AI in your work if you are designing for offices? If so, how do you use it?
AI has started with a bang, and it is a big bang of course. But we see it more as a functional and operational accelerator, not as a replacement. Yes, it can accelerate data analysis, for example, or the acoustic modelling of spaces. It can help with the auralization of spaces: auralization means creating a software model to listen to a space. That is something we do, listening to a space before it’s even built. However, I don’t think AI will be able to replace an acoustic consultant’s experience. I doubt it will be a magic black box that the architects can feed the drawings into so that it spits out recommendations: do this, do that to minimise flanking sound. In practice, that’s very difficult. AI is already an accelerator, and it will become even better at that, but only up to a certain level. Some human intervention will always be needed.
