1, 1985, the respective resident companies battled for performance space. But after a study, it was determined that wouldn’t meet the needs of all partners.”įrom the Ordway’s opening on Jan. We initially began the music theater that was already part of the music center.
“In this case, we met all four of the Arts Partners: the Saint Paul Chamber Orchestra (SPCO), the Schubert Club, the Minnesota Opera, and the Ordway Center itself.
“We start every project with a very intensive set of discussions,” Scarbrough says. His initial challenge at the Ordway was working with not one, but four resident companies that call the Ordway Center home.Įngineers’ Tools Analysis Tools System Analyzer TRACE 700 Chiller Plant Analyzer Trane Acoustics Program Design Tools HVAC Design Tools TRACE 700 Load Design VariTrane Duct Designer Trane Engineering Toolbox Trane Pipe Designer TRACE 700 Load Express Selection Tools CAD Templates BIM – Revit TOPSS Equipment Selection Other Tools Calculators & Charts Pre-Packaged Solutions Software Support. Most recently, Scarbrough, in conjunction with HGA Architects, designed the acoustics for the Concert Hall at the Ordway Center for the Performing Arts in Saint Paul, Minnesota. Paul Scarbrough, a principal with Norwalk, Connecticut’s Akustiks, has been serving the music as an acoustical designer for more than 30 years. Such fantastical concert halls as Casa da Música in Portugal and Auditorio de Tenerife in Spain seem to have appeared from a dream, but their designs serve the music even more than the imagination.
New technologies have revolutionized every aspect of design culture, from architecture and mechanical engineering to the relatively new field of acoustic engineering and design. Although some older halls were revered for their sound, more were “knocked down because they had bad acoustics,” according to world-renowned acoustician Yasuhisa Toyota. Prior to the invention of modern software, concert-hall design was about theories and cardboard models, about estimating and trial and error.
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