06/09/2026
I was entrusted to oversee this project from its early design stage through to completion—a journey that took several months and involved far more than simply installing a hi-fi or home cinema system.
From the beginning, I noticed that some aspects of the interior design drawings would not work as intended once they were translated into the actual space. One of the first details I highlighted was the centre section of the flat ceiling. It needed to be wider so that the downlights positioned along the sides could project vertically onto the front flanking speakers. It may sound like a small detail, but lighting, architecture and AV should complement one another. When they are properly coordinated, the equipment becomes part of the design rather than something added to the room afterwards.
During the structural forming stage, I noticed another issue: the two sloping sections of the ceiling were not symmetrical.
At that stage, it would have been easy to say, “This is not my scope.” But I knew that if we allowed it to continue, the problem would eventually surface during the cladding stage. By then, it would affect the ID, the main contractor, the carpenter and, ultimately, the alignment of my acoustic panels.
Rather than creating unnecessary tension on site, I spoke privately with the main contractor, explained the consequences and convinced him that it would be better to rectify the structure while we still could. The structure was eventually redone.
Once the structure was completed, the carpenter installed the timber planks and supporting beams in preparation for our acoustic panels. I personally climbed the scaffold to check the dimensions and alignment before my team proceeded.
That inspection revealed another problem.
Two of the supporting beams were slightly out of alignment. It did not look serious to the eye, but based on my measurements, it would eventually create approximately a 7 mm gap once our finished panels were installed.
I checked it twice.
Before I point a finger at another trade, I always make sure my own measurements and facts are correct. Once I was certain, I raised the issue through the proper channel—from the ID to the carpenter.
Initially, nobody really wanted to rectify it because the deviation was considered acceptable from a general carpentry perspective. But for precision acoustic panels, “acceptable” at one stage can become very visible at the finishing stage.
Instead of turning it into a confrontation, I quietly brought it to the attention of the owner’s wife. The carpenter was a long-time craftsman who had worked with her for many years, so I understood that relationships and mutual respect mattered. There was no reason to create a big hoo-ha or put anyone in an embarrassing position.
After that gentle escalation, I approached the carpenter directly.
I explained what I was trying to achieve, why those few millimetres mattered to the final result, and how correcting it now would protect everyone’s work later.
It worked.
More importantly, something positive came out of the situation. It created an interesting bond between us. As the project progressed, both the main contractor and carpenter became increasingly willing to communicate and respond whenever we discovered another issue on site.
That is something I have learnt after many years of doing projects: you can insist on precision without disrespecting another person’s workmanship.
People respond differently when they realise you are not trying to prove that they are wrong. You are trying to make sure that, collectively, everyone’s work turns out right.
The same attention went into something seemingly as simple as choosing the acoustic fabric.
I suggested using fabrics with a subtle difference in tone rather than making every surface identical. The owner picked up on the idea and went with it.
During the day, the differences remain understated. But when the strip lighting comes on, the character of the living room changes. The lighter tones give the architecture more dimension and freshness, while the darker fabric helps control reflected light around the viewing area.
That becomes particularly important when the room changes from a living space into a cinema.
A beautiful room can be brightly illuminated when entertaining, yet when it is time for a movie or serious music listening, the environment should become calmer. Reducing unnecessary visual stimulation allows your attention to settle naturally onto the screen, the music and the experience.
That is the part of AV design that specifications alone cannot explain.
A great entertainment room isn’t created simply by putting an expensive projector, speakers, amplifiers and acoustic panels into a beautiful space. The architecture, lighting, acoustics, equipment, carpentry, materials and installation tolerances all have to work together.
And somebody has to watch over those details from beginning to end.
So if you think my job is selling hi-fi equipment, installing speakers and setting up home cinemas, you are probably only 30% correct.
The other 70% is understanding design intent, anticipating problems before they become expensive mistakes, coordinating different trades, protecting relationships on site, checking details that others may consider insignificant, and making hundreds of small decisions that ultimately determine whether a room simply looks good—or feels completely right.
I don’t just put an AV system into a room. I help make sure the room itself is worthy of the system.
