Reading blueprints, understanding materials, and mastering structural engineering are all essential to architecture. But designing an acoustically optimal arts center requires the sensibility of an artist.
Joe Solway, the acoustic consultant on the expansion and renovation of the and a saxophonist/trumpet player, put it this way: “You have to have the creative, music side as well as the engineering and construction side, and have the two meet in the middle.”
Acoustics in a performing arts center involves three elements: room acoustics, sound isolation, and the building system.
Snøhetta, the design firm for the $123.8 million Hop project, and Arup, the design consultancy for the project, have worked to optimize all these factors, so that the Hop can realize its full programmatic vision for the building. This included determining the ideal volume and geometry of each space, selecting specific material finishes, and controlling sound from heating, ventilation, and plumbing.
Adaptability defines both the spaces and their acoustics. The Jack 1953 and Mac 2011 Morris Recital Hall, for instance, is designed primarily for solo and small ensemble performances but features a movable curtain system and banners that allow for tuning the room. For chamber music or choir, a more reverberant environment enhances the natural warmth of the sound, while for jazz, pop, or amplified music, the curtains and banners reduce the reverberation, creating a drier sound.
Similarly, the Daryl Roth Studio Theater was designed to accommodate a wide range of sound sources, from amplified and unamplified music to drama and speech. Like the Morris Recital hall, it features a curtain system for sound absorption and wood patterns on the walls that scatter sound and enhance speech clarity.
Hartman Rehearsal Room has also been enhanced for greater adaptability. Larger, louder ensembles now benefit from a movable curtain on the back wall, allowing for more sound absorption when needed.
The beloved Spaulding Auditorium also received an upgrade—including the new David A. Graves Stage—to improve its adaptability. Originally designed for unamplified music such as orchestral performances, Spaulding lacked adjustable acoustics for amplified concerts. A drop-down banner system on the side walls, similar to the Morris Recital Hall, reduces reverberation for amplified music and speech, improving clarity.
“Performances such as the Coast Jazz Orchestra or any band that has microphones, drum kits, or a guitar amp will sound better because the music is not bouncing around the room uncontrollably,” said Todd Campbell, the Hop senior production manager.
To accommodate multiple performances and rehearsals simultaneously, sound isolation was a key focus. The goal was to control sound while allowing just enough bleed to let visitors sense the building’s energy and feel drawn inside. A thick concrete slab between the Morris Recital Hall and the Hodgson Family Dance Studio, for instance, ensures that rehearsals or performances in one space do not disturb the other. Since dancers rely on clear, precise beats, the dance studio was designed to be relatively dry, especially with amplified music. To achieve this, sound-absorbing ceiling and wall finishes were incorporated.
The recital hall’s ceiling-length glass wall, which offers stunning views of the Green and Baker-Berry Library, also posed an acoustic challenge.
“One of the studies we did was to measure the different sound levels as the buses stop, idle, and roar off,” said Solway. This data helped determine how thick the glass needed to be to prevent exterior noise from infiltrating performances.
The iconic Top of the Hop, with its big arches, glass walls, and hard floors, also underwent some adjustments to reduce noise infiltration. A key consideration here was to modernize the acoustics while preserving the character of the original Hop. Removing the central staircase eliminated a major source of noise, while sound-absorbing materials were subtly integrated into the arches without impacting the shape and feel of the space.
Closely connected to the acoustical design is the new, user-friendly audio system, which allows performances to be easily broadcast or transmitted to another space within or outside the building. “In some cases, you can grab a microphone and be able to use the room without any kind of setup or teardown,” said Campbell. “Not only will it sound better, it’ll also save time.”
As the grand opening celebration in October approaches, excitement is building among artists, faculty, and the community. Hop pianist-in-residence , who will perform in the recital hall, captures this anticipation. “I will have much more direct contact with the audience: I will be able to see them, whereas in Spaulding, they were a distant mass. What I love about performance is the communication, and here it will be palpable.”
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Editor’s Note: Todd Campbell after this article was first published by the Hopkins Center.
