Whole estate automation, galleries and cellars, cinema and security for properties measured in acres, not square feet.
Bel Air estates are small campuses: a main residence, guest houses, a pool pavilion, staff quarters, sometimes a vineyard row or a gallery wing. Technology at this scale stops being a set of gadgets and becomes infrastructure. One property can carry kilometers of low voltage cabling, dozens of lighting zones and a network that would embarrass a small office building. That is the work we do here, and it is why we document everything like an engineering project, because it is one.
The main house, the guest house and the grounds should feel like one home, not three installations. We build a single Savant or Control4 backbone with fiber between buildings, so scenes, audio, cameras and climate follow you across the property. Gate to garden, everything answers to one interface, with separate profiles for family, guests and staff.
Collections change the brief. We tune lighting temperature and intensity around art walls, automate shading to protect canvases and textiles from the afternoon sun, and integrate cellar monitoring so temperature and humidity hold steady and alert someone the moment they do not. Quiet systems, watching constantly.
Our teams arrive scheduled, badged and briefed. Recordings and access logs stay local and private. And when the work is done, the technology recedes into the architecture, which in Bel Air is exactly where it belongs.
Bel Air properties rarely stop at the main house. Behind the East Gate and the West Gate the parcels climb, and a single address can carry a guest house, a pool pavilion, staff quarters, a gym and a garage court, each of them wanting to be on the same system rather than merely near it. Along Stone Canyon and Roscomare the driveways are long, and the gate can sit hundreds of feet from the nearest equipment room, which makes the run to the entry a design decision rather than an afterthought. In Bel Air Crest and the newer hillside builds the structures step down the slope, so fiber between buildings and a properly planned equipment room do more for the finished experience than any single piece of hardware.
Scale changes the paperwork too. On a property this size we document the cabling, label every rack position and hand over drawings, because in five years somebody will need to find a cable, and the estate manager should not have to guess.
With cable wherever the ground allows, usually fiber in conduit between buildings. That single run carries network, audio, cameras and control, so the guest house behaves like a wing of the main house rather than a separate installation. Where trenching is impossible, a point to point wireless bridge does the same job.
Yes. We set colour temperature and intensity for the pieces on each wall, keep ultraviolet out of the equation, and automate shading so afternoon sun never lands on a canvas. The same logic protects textiles, timber and anything else the collection includes.
On a new build or major renovation it runs with the construction programme, typically many months from rough in to final calibration. In an occupied estate we phase the work building by building, so the household is never left without the systems it relies on.
That is the point of the design. One interface covers the main house, the guest house and the grounds, with separate profiles for family, guests and staff, and scenes that follow you from the gate to the garden.