Home Theater Reborn, Pt. 3
In my previous column, I described how I discovered that the key to creating home theater designs that can be readily reproduced is to minimize the impact of the actual space—in other words, the room—on the design. This new approach, which is a radical departure from how I create my custom designs, allowed me to devise a system where wall panels wrapped in acoustical fabric and placed front of the room’s actual walls become a backdrop for artwork that hangs on them.
Treating the designs as akin to art displayed in a museum allowed me to focus not on how to fit a design into a room but on what the design elements should be, irrespective of any room. This freed me of the limitations of the actual space and allowed
me to focus instead on the thing that has the biggest impact on any room—the design elements. The design impact of a living room, for instance, isn’t primarily determined by the size of the space but by the choices of furniture, carpet, fixtures, and so on, and how they are placed within the room.
With this problem solved, I then decided, “I don’t want these designs to represent my aesthetic.” Now that I had devised a different approach to design, what if I invited others to create the actual designs, encouraging them to add new ingredients while staying within the confines of the new approach? By freeing these others of the burden of having to worry about the unique physical constraints of individual spaces, I could recruit collaborators so that home theater design would no longer be the solitary pursuit of just me and my imagination.
The decision to free home theaters from the restrictions of the room by devising a backdrop for a variety of designs was the first step. The second step was to devise those backdrops in such a way that they could not only serve as a blank canvas for design ideas but also address the other elements in a home theater that are usually dealt with separately, such as speakers and acoustics.
So we engineered the panels in such a way that they could not only incorporate and support various design elements but could also conceal the acoustic treatments and
the speakers. Once I felt confident our concept for the panels could address all of these practical needs, I then approached various artists to create the room designs.
I originally said to myself, “Let me give a designer an empty room, and they can do what they want with it.” But the initial results were not what I expected. Designers are not trained to design with the technology needs in mind, so sometimes their design approach can have an impact on a home theater’s performance. So, by making the wall panels my responsibility, I relieved the designers of having to deal with an element that could limit their creativity. In other words, this approach allowed them to focus on having fun with creating their designs, which made the spaces fun for the clients.
Once I became a more active collaborator in the process, we were able to create some truly original works. We have since commissioned designs by well-known artists, including the sculptor Antonia Papatzanaki, architect Dimitris Theodorou, and photographer Marina Vernicos.
Each artist was able to use my backdrop as an opportunity to create artwork that reflects their individual aesthetic sensibilities. Having created the parameters within which someone’s design could be deployed on the wall panels, my primary responsibility was to ensure that the artwork wouldn’t in any way impede the room’s performance.
In my next column, I will discuss the extensive and innovative engineering that went into creating the amazingly flexible and adaptable wall panels.
Theo Kalomirakis is widely considered the father of home theater, with scores of luxury theater
designs to his credit. He is also an avid movie fan, with a collection of over 15,000 discs. Theo
is the Executive Director of Rayva.