We see it as our textiles being used as a tool in the creation of the interior – that sound is a part of the idea, rather than a problem that needs to be solved.
Designing sounds
A clear idea of the environment we want to create
What shapes a sound environment, and what is the significance of the visual elements? To get a design perspective on this question, we had a conversation with the design department at Svensson.
We do not see the sound environment as something separate, but as part of an entirety. You do not enter a sound environment, you enter a room. So, ask yourself the questions, what is the purpose of the room, who is the space intended for, and what are the requirements for the sound environment?
To create a good atmosphere in the room with a focus on a good sound environment, we would like the interior to be a mix of heavier but also transparent qualities. Heavier qualities are often preferred when it comes to dampening sounds that are perceived as disturbing for the room's users. But with a mix of heavier and more transparent textiles, the interior contributes to feeling more open, airy, and providing a good overview of the ongoing activities in the space.
In addition to Hanging fabrics, the furniture in the room obviously plays an important role. There are endless possibilities with Upholstery fabrics to create an interior that greatly impacts the room's sound environment. With both hanging and upholstered forms, an inviting interior is shaped where people feel comfortable.
Zones with purposes
Crowded or airy, small or large? We believe the key is to focus on the existing need or the need you wish to create. Ask yourself the question, what do we want this area to provide for the users? Once the need is defined, move forward by viewing it as zones rather than fixed rooms.
In a school environment, it can be useful to map out the building's different zones, such as quiet zones, social zones, and active zones. Here, the sound environment naturally plays an important role. Textile can advantageously be used as a visual tool to signal the type of zone it is, where the textile's transparency, structure, and colour are important choices to create an intuitive interior.
Zone division for the school environment is just one example, and it is equally relevant for office environments. Especially after the pandemic, when many have become accustomed to working from home, it is important to create attractive offices where people feel good. Where employees feel that the room, area, or zone adds something. A pleasant place for reflection, a peaceful place for concentration, or a creative place to meet and socialise.
A science in itself
When it comes to the development process of sound-rated textiles, the design team talks about the challenges involved.
To achieve a good sound rating, the curtain needs to have a relatively high weight. Therefore, it is important that the construction, and the materials in both warp and weft are balanced, otherwise, both grip and drape risk becoming too stiff. Therefore, we work a lot with grip and drape, meaning how the fabric feels tactually and how it falls when you hang it up.
So how can one find other ways to achieve this? How can weaving techniques and materials be used to reach the right absorption level for the curtain?
A great deal of knowledge is required to develop a sound-rated curtain. If the construction is too dense, the sound will bounce off the surface.
There must be enough friction so that the sound waves fade away, but the aesthetics, quality, and experience generated by the textile must not be compromised.
A tool for working with different senses
For us, the development and creation of sound textiles is about meeting a need and thereby adding something extra. Or enabling the visual environment where the architect wishes to work with sound in a specific way.
We see it as our textiles can be used as a tool in creating interiors where sound is part of the idea, rather than a problem that needs to be worked around.
We keep coming back to the idea of the space you want to create. It's about trying to understand the needs, what the rooms are there for, and defining a clear idea with the spaces. What should the room contribute to? How can the design help? And how can you work with different senses to take that idea all the way?
Designing sounds
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Classification
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