About the service
I fit suspended and slatted ceilings that end up quiet as well as straight. The first visit is a survey: I shoot the slab with a laser and write down every dip and bump across the room, because the drop of the hangers is decided by the worst point, not by the average one. At the same time we agree what has to live above the ceiling — ventilation ducts, pipework, wiring, a future curtain track — and how many centimetres of room height you are willing to give up. An honest number at that stage is cheaper than a rebuild later.
The frame does the acoustic work, not the panel. Profiles go up on vibration hangers with a rubber or spring insert, the perimeter gets a resilient tape, and the frame is kept clear of the walls so that no rigid bridge runs from the slab down to the finished surface. The void is filled with mineral wool board of the right density, laid tight and cut around every downlight can and every pipe penetration: one open corner leaks more noise than a whole square metre of panel. Then comes the visible layer — aluminium slats where a strict line is wanted, cassettes where quick access matters. In a bathroom or a kitchen I use moisture resistant panels and stainless fixings only.
Light and access are planned before the first slat is clipped in. Cable runs in flexible conduit, drivers sit where a hand can reach them, and every valve, meter or damper gets an inspection hatch finished in the ceiling colour instead of a plastic square screwed on afterwards. Where the ceiling meets a pelmet or a curtain recess, I set the level in advance so the track has its own niche rather than being fixed to a finished surface.
What is included:
— site visit, laser survey and a hanger drop calculation;
— frame on vibration hangers, decoupled around the perimeter;
— mineral board infill and neat cutting around services;
— slat or cassette panels, moisture resistant for wet rooms;
— recessed lights, conduit, inspection hatches, curtain niche;
— clearing up and a hand over with the light switched on.
The frame does the acoustic work, not the panel. Profiles go up on vibration hangers with a rubber or spring insert, the perimeter gets a resilient tape, and the frame is kept clear of the walls so that no rigid bridge runs from the slab down to the finished surface. The void is filled with mineral wool board of the right density, laid tight and cut around every downlight can and every pipe penetration: one open corner leaks more noise than a whole square metre of panel. Then comes the visible layer — aluminium slats where a strict line is wanted, cassettes where quick access matters. In a bathroom or a kitchen I use moisture resistant panels and stainless fixings only.
Light and access are planned before the first slat is clipped in. Cable runs in flexible conduit, drivers sit where a hand can reach them, and every valve, meter or damper gets an inspection hatch finished in the ceiling colour instead of a plastic square screwed on afterwards. Where the ceiling meets a pelmet or a curtain recess, I set the level in advance so the track has its own niche rather than being fixed to a finished surface.
What is included:
— site visit, laser survey and a hanger drop calculation;
— frame on vibration hangers, decoupled around the perimeter;
— mineral board infill and neat cutting around services;
— slat or cassette panels, moisture resistant for wet rooms;
— recessed lights, conduit, inspection hatches, curtain niche;
— clearing up and a hand over with the light switched on.
