Our musician-client asked us to design a space to not only function as a recording studio but also as a comfortable and inspiring room in which to play, think and write. In order to achieve this, our approach was guided more by the space of a lounge or living room rather than recording studio.

Essential to our work was to find ways to minimise the presence of the more practical elements typical of recording studios – from the clutter of equipment to acoustic foam panels and perforated boards.

The sitar is held by balancing the instrument on the left foot and right knee. As it is played on the floor or low-wide chair, the flooring was an essential surface not only visually but also physically, from close up touching, sitting, sliding. Our response was to select some characterful, reclaimed teak school desktops. Perhaps similar to Japanese tatami mats, we liked the idea of sitting on something other than floorboards. For this we chose large rectangular pieces of wood – each of which once had a life with a child sitting before it as a desk.

In order to conceal the necessary acoustic layers, we designed a randomised geometric pattern to provide character and visual delight while fulfilling the technical requirements to mitigate noise and reverberation. Each panel is different from each other. Beneath is a beautiful silk fabric especially commissioned by our client.

On each side of an acoustically insulated picture window is a cabinet for the storage and display of sitars. The cabinet has doors made of teak and a copper screen to ensure an acoustic and visual transparency. Additional (hidden) storage was provided to put away microphones, amplifiers, cables, mixers. Finally, a series of framed acoustic panels - necessary for the room’s acoustic performance - are covered in silk and framed as artwork.