Building envelope: Windows

Windows are one of the most important parts of the building envelope. Despite the effectiveness of modern artificial lighting, a room that has no windows feels dead and uncomfortable. Windows bring a room to life by bringing in natural light and connecting people to the world outside.

Natural Light

When available, natural light beats artificial light. It is generally brighter. Even on a cloudy day, outside will be brighter than your average living room. Natural light is dynamic — it changes throughout the day and throughout the year. This gives life to a ream that static artificial lighting cannot.

Our home has a great amount of natural light. With no artificial illumination, the light is better — brighter and more even — than in our temporary living space.

Wings of Light (107):

• Problem: Modern buildings are often shaped with no concern for natural light — they depend almost entirely on artificial light. But buildings which displace natural light as the major source of illumination are not fit places to spend the day.
• Therefore: Arrange each building so that it breaks down into wings which correspond, approximately, to the most important natural social groups within the building. Make each wing long and as narrow as you can — never more than 25 feet wide.
• Our house is not long and narrow — in fact, its main body is a square. Each side of the square is 32' long. Thus, we are violating the letter of the law. But how do we rank against the spirit?
  
  The reason for the 25' width restriction is that in an average room, significant amounts of light only penetrate about 12' from the window. A 25' wing with windows on both sides will just barely get enough light.
  
  Fortunately, our home uses several techniques to allow above average light penetration. Our ceiling is 10' high, and the main windows in the living room go all the way to the ceiling. Walls are mostly white. These factors together allow more light to go in further and reflect effectively. As the picture below shows, this results in a living space that can be illuminated primarily by natural light.

Natural light on the main floor

Indoor sunlight (128):

• Problem: If the right rooms are facing south, a house is bright and sunny and cheerful; if the wrong rooms are facing south, the house is dark and gloomy.
• Therefore: Place the most important rooms along the south edge of the building, and spread the building out along the east-west axis. Fine tune the arrangement so that the proper rooms are exposed to the south-east and the south-west sun. For example: give the common area a full southern exposure, bedrooms south-east, porch south-west. For most climates, this means the shape of the building is elongated east-west.
• In our home: We have a great southern exposure. We took advantage of this by making sure the southern wall of our main floor has a lot of windows. Because we have an open floor plan, we are able to get large amounts of natural light even with a fairly square building layout. The picture above looks from our living room toward the kitchen. The window nearest the back corner of the kitchen is about 27' feet away, but it is still well illuminated — and we haven't even taken the protective films off of the windows yet.

Light on two sides of every room (159):

• Problem: When people have a choice, people will always gravitate to those rooms which have light on two sides, and leave the rooms which are lit only from one side unused and empty.
• Therefore: Locate each room so that it has outdoor space outside it on at least two sides, and then place windows in these outdoor walls so that natural light falls into every room from more than one direction.
• In our home: Having windows on multiple sides evens out the light. If light only comes from one window, there will be a high contrast between the window and its surroundings. Most of our primary rooms have windows on two sides. (See the floor plans below.)
  
  However, since our home doesn't have crinkly edges (they are not energy, material, or labor efficient), we could not achieve this everywhere. For the most part, the impact of this was minimized by putting rooms that aren't as important in the non-corner positions. Where non-utility rooms have ended up with windows on one side, we are able to mitigate issues by using glass doors to help borrow light from other rooms.

Light on two sides of the living room

Upstairs windows.
Yellow arrows highlight windows.

Main floor windows.Yellow arrows highlight windows.

Views

The primary views from our home are to the west. In the background, we have a view of the Cascade mountains sitting above a view of the not-so-lovely Factoria mall. In the mid-ground, we see a lot of trees with some limited views of our neighbors to the sides. Overall, it's a pretty good view, and something to take advantage of.

Looking west from the living room deck

Panorama looking west from the living room deck

Panorama looking west from the master bedroom

Zen view (134):

• Problem: The archetypal zen view occurs in a famous Japanese house, which gives this pattern its name. [A Buddhist monk has a beautiful view, but it is only seen in passing as you enter the home.]
• Therefore: If there is a beautiful view, don't spoil it by building huge windows that gape incessantly at it. Instead, put the windows which look onto the view at places of transition — along paths, in hallways, in entry ways, on stairs, between rooms. If the view window is correctly placed, people will see a glimpse of a distant view as they come up to the window or pass it: but the view is never visible from places where people stay.
• In our home: We mostly failed to achieve any Zen views. Our windows, especially in the living room and bedrooms are large to let in the light, but they make for gaping views. To some degree, this was unavoidable — the views and the light were coming from the same direction.
  
  However, we did manage to apply a little of this philosophy in our stairway. We intentionally placed our stairway to the west. This cuts off some of the western view from the main living spaces. Instead of having big gaping windows in the stair tower, we choose to use multiple smaller windows. These break up the view, and because they are smaller the view shifts as you use the stairs. This gives the view a bit of mystery and dynamism that it would have lacked if we'd made the more predictable decision of having the west wall given over to view with the stairs pushed to an interior wall where they wouldn't effect the view.

Breaking up the view with smaller windows

Windows overlooking life (192):

• Problem: Rooms without a view are prisons for the people who have to stay in them.
• Therefore: In each room, place the windows in such a way that their total area conforms roughly to the appropriate figures for your region..., and place them in positions which give the best possible views out over life: activities in streets, quiet gardens, anything different from the indoor scene.
• In our home: A challenge of our site is that it is fairly heavily slopped. The second picture below is taken from our main floor — ground level on the entry side but, as the picture shows, rather high by the time you get to the other end of the building. Thus, all the life we look out on is rather distant.
  
  But almost every window, expect those on the north facing the neighboring house, are fortunate enough to have a view of the nearby trees and, eventually, our gardens.

The main floor is rather far above the ground

Choosing a color palette

We're still a bit away from done with the house — about a month further away than we thought (more on that later). However, we're close enough to done that it's time to start thinking about a color palette.

Based on our preferences and some art we own, our color designer chose some candidate colors for us. Now we need to narrow it down to three or four colors to use for our palette. We have some ideas, but it seemed fun to gather some other opinions. Here are the colors. Let us know in the comments what combinations of three or four colors are your favorites.

Details: the walls are going to mostly be white. The color palette will be used for a few accent walls and for accents in furnishings and accessories.

slate teal

azores

marble canyon

saratoga springs

bordeaux

dreamy

Building Envelope: Ceilings and Roofs

In this post, we'll explore how patterns influenced our building envelope, focusing primarily on ceilings and the roof. (As before, problem descriptions and solutions — the first two bullet points of each section — are from A Pattern Language.)

Sheltering roof (117):

• Problem: The roof plays a primal role in our lives. The most primitive buildings are nothing but a roof. If the roof is hidden, if its presence cannot be felt around the building or if it cannot be used, then people will lack a fundamental sense of shelter.
• Therefore: Slope the roof or make a vault of it, make its entire surface visible, and bring the eaves of the roof down low, as low as 6'0" or 6'6" at places like the entrance, where people pause. Build the top story of each wing right into the roof, so that the roof does not only cover it, but actually surrounds it.
• In our home: It would be an understatement to say that modern-styling does not lend themselves to this pattern. So we asked ourselves, "What is the essence of this pattern?"
  
  Patterns of Home, a modernized look at some of the home oriented patterns in A Pattern Language, gives a clue. The roof should, above all, provide a sense of shelter. It should provide a sense of connection between the inside and the outside. A Pattern Language focuses on achieving this via living space within the roof, but another way to achieve this is to have the same roof surface expressed inside and out.
  
  Our home has two roof lines — the top and a midline. Both are true roof surfaces in that they cover interior space that is not covered by the other. Both roof lines are expressed inside and outside the house. The lower roof line defines both an exterior midline and the maximum ceiling height on the main floor. The butterfly shape of the upper roof is also expressed inside; most of the rooms upstairs have a slanted roof that continues the external expression of the butterfly roof.
  
  Equally important is the sense of indoor/outdoor transition that our roof gives at two key locations, both shown below. The picture on the lower left shows how the roof itself provides protection over our upstairs deck. The picture on the lower right shows the same sense of protection over the main entry (and as the top picture shows, the sense of that protection being part of the roof is even greater now that the roof trim has been installed).
  
  In retrospect, I would have tweaked the roof design a bit to give it a greater sense of shelter, even within the confines of a butterfly roof. The mid-line roof does not shelter the main floor deck as effectively as it does the entry, and it does not continue on the north side or fully around the west side. Not continuing the middle roof line all the way around weakened the sense of the roof really being part of the home. However, from the east and south sides, we did pretty well considering the inherent limitations of the style we had settled on.

Ceiling height variety (190):

• Problem: A building in which the ceiling heights are all the same is virtually incapable of making people feel comfortable.
• Therefore: Vary the ceiling heights continuously throughout the building, especially between rooms which open into each other, so that the relative intimacy of different spaces can be felt. In particular, make ceilings high in rooms which are public or meant for large gatherings (10 to 12 feet), lower in rooms for smaller gatherings (7 to 9 feet), and very low in rooms or alcoves for one or two people (6 to 7 feet).
• In our home: I would say that we achieved the minimum viable amount of ceiling height variety needed to say that we have variety. Much to my sadness, we don't have any nooks or alcoves which take advantage of a lowered ceiling to make them feel cozier. However, we do do use ceiling height to provide social cues and, on occasion, to give a sense of grandeur.
  
  The main floor has 10' ceilings. This is high, but anything lower would feel low in this broad, open space. To keep this area from feeling cavernous and undifferentiated, we vary the ceiling height. The entry is raised above the main floor. This gives a sense of compression and expansion that emphasizes the height of the main living area. The area over the kitchen is soffited down to differentiate that space from the dining area adjacent to it (the diagram below shows the kitchen soffit, but that only goes part way across the ceiling). The living room has a support beam which provides a natural gateway separating that space.
  
  
  
  The bedrooms have a lower 8' ceiling height to match their more intimate scale. To give a sense of the roof from the inside, all of the bedrooms have a ceiling line which follows the butterfly roof. This, along with window placement, gives a feeling of opening the rooms to the view outside.
  
  
  
  The most dramatic use of ceiling height variety is in our stair tower. The stair tower stretches the whole height of the building, and the open tread stairs really allow you to get a sense of the height of the structure. The picture below, which shows the upper 1.5 stories of the stair tower, gives a feel for the sense of height it brings to our home.

The next post will cover openings in the building envelope for windows and doors.

Insulation and Drywall

Insulation

Insulation completes the rough-in stage of the house. It and drywall mark the transition between focusing on the structure of the home to focusing on the details.

Spray foam in the ceiling

To ensure a tightly sealed home, we had foam sprayed into the places where ceiling joists could expose a gap to the exterior, e.g., the ends of ceiling joists that extrude outside and the center beam of the roof. Foam was also sprayed onto some of the foundation walls that protrude into the interior.

Insulation batts

Next the insulation batts went in. All of the batts are formaldehyde-free fiberglass. We insulated all of the interior walls with R-11 and R-13 for sound deadening (more on our soundproofing). This is enough insulation to stop some sound, but not enough for heat insulation. The external walls use R-21 insulation for better thermal control. Insulation was installed throughout the house, including under the floor in the crawlspace and the garage.

Drywall

Drywall starts the interior finishing stage. It covers up the bones of the house, and provides a blank canvas for the interior.

The drywall process is complex. The goal is to achieve flat, seamless surfaces for the walls and ceiling. The quality level of the drywall, from 0-5, specifies how flat and level it is. Level 3 is about the minimum you'd want inside a house, and level 4 is probably more normal for quality construction. Our house is getting level 5 drywall throughout, which allows us to avoid any texture on the wall. Instead, we have a smooth surface that will just be covered with paint. This increases light reflection, especially in windows up against the ceiling where the light may be coming in nearly parallel to the drywall surface. Wikipedia has more details about all the levels.

Getting this level of smoothness takes many steps:

1. 

   Floor markings indicating what's in the walls and ceilings

   Level the studs: The studs need to be level enough to avoid creating bows or bends in the drywall. In our case, at least one stud had to be removed and replaced because it was warped.

2. 

   Drywall, just hung.
   Notice the roughness of the corners and seams.

   Hang the sheetrock: Boards are cut and screwed in to the studs such that all of the walls and ceilings are covered by the sheetrock. Holes for lights, outlets, vents, and any other openings in the wall are cut at this stage. Since it is easy to lose items behind drywall, the installers marked everything out on the floor before any sheetrock went up.
   The sheetrock at this stage is pretty rough. Edges, especially corners, can be uneven. Screws are sunk a bit into the drywall, making small depressions. There are gaps between sheets and around cut-outs. It looks like a bunch of panels stuck on the walls. This makes the rooms feel a lot smaller than before.

3. 

   Tape and mud

   Seal the gaps: The next step is to seal up all the gaps and start evening the surface. This is done using mud, tape, and corner strips. Mud is put in-between the gaps in the sheetrock, and tape is embedded to provide some structural support. Particularly for inset corners, the tape helps to make a sharp right-angle. Mud is spread lightly over the screw holes to bring them up to level with the sheetrock. Corner strips are used for outset corners. These are a thin piece of metal at a right angle, with some tape over that. Putting these over outset corners and applying mud covers up the rough edges of the drywall, and provides a sharp, clean corner. At this point, the walls start to look more coherent, and the space opens up a bit.

4. 

   Corners and more mud

   More mud: Two more layers of mud are applied as-needed to level everything out, especially the corner strips and tape, which may have slight raised edges otherwise. The edges of openings, such as can lights, are covered and leveled with mud. Each layer of mud needs to dry, so the house is warmed up and let sit for a day or two.

5. 

   The smoothing layers

   Smoothing coats: The final step is to add two full coats of material to smooth and level the dry wall. This was done using Smooth-Wall, a spray-on self-leveling coating that brings the drywall up to level 5. It serves as a polyvinyl acetate (PVA), which provides a basic primer coat, and makes everything a uniform material. These coats are just a primer and leveler, so the walls aren't meant to look perfect. There is a slight variation in color due to the drywall, and a slight texture on the walls. Both of these will be cleaned up with a couple layers of paint.

At this point, the walls and ceilings become a single smooth, level piece. The rooms are well-defined, and the surface looks very close to its final state. The perspective of the rooms change a bit; the ceiling height on the main level is more apparent, as is the shape of the soffits, columns, and doorways. The walls are now ready for paint.

Site Layout

Patterns made relatively few contributions to our general site layout. The shape of our lot, its relation to the street and utilities, and the setbacks and easements imposed by the city combined to make the placing of our house fairly obvious: our house would be at the east end of a long east/west oriented lot. Fortunately, these constraints ended up being fairly consistent with what we wanted out of the site layout patterns. (As before, problem descriptions and solutions -- the first two bullet points of each section -- are from A Pattern Language.)

Site repair (104):

• Problem: Buildings must always be built on those parts of the land which are in the worst condition, not the best.
• Therefore: On no account place the buildings in the places which are most beautiful. If fact, do the opposite. Consider the site and its buildings as a single living eco-system. Leave those areas that are the most precious, beautiful, comfortable, and healthy as they are, and build new structures in those parts of the site which are least pleasant now.
• For our home: The site naturally lent itself to fulfilling this pattern. Our lot is one portion of what was once a larger lot. The east side of our property had been disturbed by the construction of two new homes to the north. The west side is mostly wooded and partially a buffer zone for a nearby critical slope. Based on these constraints, it was natural to leave the wooded area intact and build on the disturbed land.

South facing outdoors (105):

• Problem: People use open space if it is sunny, and do not use it if it isn't, in all but desert climates.
• Therefore: Always place buildings to the north of the outdoor spaces that go with them, and keep the outdoor spaces to the south. Never leave a deep band of shade between the building and the sunny part of the outdoors.
• In our home: Our site is long east-west and short north-south, so we do not have a lot of flexibility for north/south siting. Part of the southern side of the property is taken by easements for a pedestrian path and for utilities. We have trees along the south western edge of our property, which decreases the amount of sunlight available. Despite the difficulties, we still have a sunny front yard in the east and a backyard in the west filled with tree-filtered sunlight. Neither requires going through deeply shaded areas for access. The shaded north side will be a terraced path down to the back yard.

Main entrance (110):

• Problem: Placing the main entrance (or main entrances) is perhaps the single most important step you take during the evolution of a building plan.
• Therefore: Place the main entrance of the building at a point where it can be seen immediately from the main avenues of approach and give it a bold, visible shape which stands out in front of the building.
• In our home: The location of the main entry was constrained by where we could put the garage (only on the north side). The garage also causes the entry to be nestled in instead of standing out in front of the building. We adapted to this difficulty and the site's natural elevation change by adding a large, bold stairway down to the front door. This extends the entry out so that it can be seen from all three approaches (driveway, sidewalk, and pedestrian path).

Entrance transition (112):

• Problem: Buildings, and especially houses, with a graceful transition between the street and the inside, are more tranquil than those which open directly off the street.
• Therefore: Make a transition space between the street and the front door. Bring the path which connects street and entrance through this transition space and mark it with a change of light, a change of sound, a change of direction, a change of surface, a change of level, perhaps by gateways which make a change of enclosure, and above all with a change of view.
• In our home: The design and placement of the entry were a good start for this pattern. The entry stairs (on the left in the image below) provide a natural change of level, material, and view. However, we need to make sure that this connects to all of the approaches. To aid in this, we are planning on adding some stairs from the sidewalk to the entry. These will provide a connection and allow us to add landscaping to further emphasize the sense of transition.

Car connection (113):

• Problem: The process of arriving in a house, and leaving it, is fundamental to our daily lives; and very often it involves a car. But the place where cars connect to houses, far from being important and beautiful, is often off to one side and neglected.
• Therefore: Place the parking place for the car and the main entrance, in such a relation to each other, that the shortest route from the parked car into the house, both to the kitchen and to the living rooms, is always through the main entrance. Make the parking place for the car into an actual room which makes a positive and graceful place where the car stands, not just a gap in the terrain.
• In our home: This pattern had a large influence on the design of our entry sequence. This pattern and past experience convinced us that we really didn't want to have multiple main entries into the home. We decided to just have one — there isn't even a door directly inside from the garage. The driveway, garage, and other approaches all funnel into the single (covered) entry. Architecturally, the car connection is not a positive place (i.e., enclosed on multiple sides). however, we are planning on using garden features to give it a feel of enclosure.

Next up in out pattern posts will be a discussion of the patterns that influenced our building envelope.

Our pattern language: Zones

Once upon a time, we spoke of how we narrowed down the 253 patterns in A Pattern Language down to the ~70 that we felt were most relevant to our home. Today we want to go into more detail about those patterns, starting with the "big moves", those patterns that underlie our sense of place.

Our home begins with

House for a small family (76):

• Problem: In a house for a small family, it is the relationship between children and adults which is most critical.
• Therefore: Give the house three distinct parts: a realm for the parents, a realm for the children, and a common area. Conceive these three realms as roughly similar in size, with the commons the largest.^[1]

This overarching pattern leads naturally to three others: Common areas at the heart, Couple's realm, and Children's realm.

Common areas at the heart (129):

• Problem: No social group — whether a family, a work group, or a school group — can survive without constant informal contact among its members.
• Therefore: Create a single common area for every social group. Locate it at the center of gravity of all the spaces the group occupies, and in such a way that the paths which go in and out of the building lie tangent to it.
• In our home: Our open great room acts as the heart of our home. It lies tangent to the main entry (on the right, below) and, less directly, to the back entry (at the bottom of the stairs to the left). We have other shared spaces, but this one is truly the heart of the home.

Common areas at the heart of our main floor

Couple's realm (136):

• Problem: The presence of children in a family often destroys the closeness and the special privacy which a man and wife need together.^[2]
• Therefore: Make a special part of the house distinct from the common areas and all the children's rooms, where the man and woman of the house can be together in private. Give this place a quick path to the children's rooms, but, at all costs, make it a distinctly separate realm.
• In our home: The couple's realm is a distinct space from the rest of the home. It's more than just a bedroom — our realm is meant to be an area where we can comfortably spend time alone together. It is directly across the hall from the children's realm, making that realm distinct but accessible.

Couple's realm and Children's realm upstairs

Children's realm (137):

• Problem: If children do not have space to release a tremendous amount of energy when they need to, they will drive themselves and everybody else in the family up the wall.
• Therefore: Start by placing the small area which will belong entirely to the children — the cluster of their beds. Place it in a separate position toward the back of the house, and in such a way that a continuous play space can made from this cluster to the street, almost like a wide swath inside the house, muddy, toys strewn along the way, touching those family rooms which children need — the bathroom and the kitchen most of all — passing the common area along one side (but leaving quiet sitting areas and the couple's realm entirely separate and inviolate), reaching out to the street, either through its own door or through the entrace room, and ending in an outdoor room, connected to the street, and sheltered, and large enough so that the children can play in it when it rains, yet still be outdoors.
• In our home: This is a detailed pattern. We took what was most important to us. The children's realm is a distinctly separate space. It does have access to the outdoors without cutting through the common space (by the stairs and back door), but, since that path uses the common stair case, the access itself is only weakly part of the children's realm.

These patterns describe the defining zones of our home. In the next post, we'll look at some structures that define the physical layout of our home.

^[1] All of the patterns in have the form: context; problem statement; discussion; conclusion; related patterns. Our pattern posts will have just the problem statement and conclusion; we refer you to the book for the rest

^[2] Yes, this book, published in 1977, is full of heteronormative assumptions. Just try to ignore them.

Soundproofing

Not every home has a media room. This room is dedicated to enjoying video games, shows, movies, and music. It can handle an intimate group — just the two of us — or a larger group — a Rock Band party. One way a media room differs from a family room with a TV is the extra effort put into isolating it from the rest of the house. As much as possible, activity in the media room shouldn't disturb the rest of the house.

Basics of Soundproofing

Let's start with a quick review of sound. Sound travels via vibrations in air and solids (and liquids, but houses generally aren't built from liquids). When a sound wave hits a wall the wall will vibrate, which will cause the air within the wall to vibrate, and transfer sound to the other side of the wall. The sound wave vibrates the studs in the wall, providing a second path to the other side. There are many ways to decrease the amount of sound transferred:

• Decoupling elements: If the drywall on the inside of the room is not directly connected to the outside of the room, then there will be no solid pathways to transfer sound.
• Absorption: Loose material in the empty spaces of the wall help absorb and deaden the sound attempting to travel through the air cavities in the wall.
• Adding mass: Heavier materials require more energy to make them vibrate. By adding mass to the walls, more of the energy from the sound will be absorbed by the walls, and less energy will be available to transfer through the wall.
• Damping: If it is more difficult for the wall to vibrate in the first place (i.e., it doesn't respond as much to the sound waves), then less sound will be transmitted.

This information was summarized from a more in-depth article from the Soundproofing Company.

The Walls

The most important element of a soundproof room is the walls. In the world of soundproofing, there are many wall options and many trade-offs. We chose a solution that is simple and cheap.

The lower part of the walls are formed by the concrete foundation; the added mass of these walls help to reduce sound transmission.

We added soundproofing insulation to the interior walls. The materials and labor for the R-13 insulation was cheap, so we insulated all the interior walls in the house. This will help absorb sound traveling through the air cavities in the walls.


We looked at several wall damping solutions for the media room. A popular solution is Green Glue, a compound put between two layers of drywall to dampen sound. The material is cheap, but it does require a second layer of drywall and extra installation time. Because is is inexpensive and not difficult to install correctly, it is popular in do-it-yourself solutions.

A second option is QuietRock. This is an all-in-one damped panel that is installed in place of drywall. Installation is exactly the same as drywall, but the material costs are more expensive.

Another option was Resilient Channels. These are attached perpendicular to the studs, and drywall is attached only to the channels. This allows the drywall to flex a bit and dampen more of the sound. It also provides decoupling from the studs. The channels are cheap, and installation is not too much more complex than just drywall. Care needs to be taken to prevent the screws connecting the drywall to the channel from touching the studs (this would prevent the flexing and decoupling of the drywall).

We chose channels because of the price and because the installer is familiar with them. Sound isolation clips can be used with some kinds of channel and provide extra isolation, but they add material and labor expenses. We decided channels should be good enough for the level of soundproofing we want. If we want something more, adding Green Glue plus a second layer of drywall is a relatively straightforward addition that we could do later. It wouldn't require removal or remounting of the existing drywall; it is simply a second layer added on top of the existing drywall and channels.

The Details

Walls are the most important part of soundproofing the room, but the details are also important. The mass of a solid core door prevents sound from easily travelling through it. A gasket around the edge of the door provides a strong seal against the frame when closed, and less sound is able to travel through the gaps around the edge of the door.

We avoided can lights because those allow sound to travel through the ceiling. Surface-mount lights allow a solid layer of insulation in the ceiling and nearly unbroken drywall on channels.

The attachment points of the projector mount and screen can negate the advantage of the channels, if screwed into the studs through the drywall. The projector mount is mounted directly to blocks in the ceiling. The drywall will be installed around the mount and a bit of sealant will provide a flexible interface between the drywall and the mount. The screen should be able to attach directly to the drywall without going through to the studs. It is heavier than the projector but spread over a larger area.

Carpet is an easy flooring choice. It provides extra soundproofing, is comfortable, and provides better acoustics. A hard floor would reflect more sound.

Sound travels well through the reflective walls of vents, but fresh air is critical in a tightly-sealed room. We are using a supply and return to the HRV system to provide fresh air into the room and evacuate the stale air. The supply will be tucked into an open portion of the closet, while the return will be in an enclosed portion of the closet. The closet should help muffle the sound that makes it to the vents. They both go to the HRV, which we assume will not transfer too much sound into the other ducts attached to it. Bends in the ducts will also help absorb sound.

Overall, not a lot of changes were needed to provide extra sound isolation in the media room; we mainly had to spend time considering details. From that, we should get a reasonable level of soundproofing without too much extra cost.