Firm Overview

With a portfolio of acclaimed projects ranging from a 365-seat drama theatre for a Philadelphia Theatre, to a 9,000 seat multipurpose auditorium in Guadalajara, Mexico, Akustiks has helped fulfill the visions of a diverse group of clients throughout North and South America. The professional staff brings decades of knowledge delivered with sensitivity, clarity, and candor. The entire Akustiks team, both in North and South America, is committed to excellence and total team involvement in every project. The firm’s focus is to create performance spaces that are wonderfully tuned instruments for listening to orchestral, operatic, and theatrical performances that dazzle and delight audiences.

Our ultimate goal as acousticians is to cut through the mystery, but preserve the magic.


  • Marcus Garvey Park Amphitheater: AIA New York State Award of Merit (2013)
  • Cleveland Institute of Music – Mixon Hall: Cleveland Engineering Society’s “Award for Excellence” (2008)
  • Gartner Auditorium Renovation, Cleveland Museum of Art: Building Design + Construction, 27th Annual Reconstruction Awards, Silver Award
  • Schermerhorn Symphony Hall – Nashville, Tennessee: Schermerhorn Symphony Center was recognized as one of 25 North and South American finalists in the Urban Land Institute’s (ULI) Awards for Excellence (2009). After the opening of the Schermerhorn Symphony Hall in 2006, The Nashville Symphony recorded a classical album in the room that received the following Grammy Awards: Music Director Giancarlo Guerrero and the orchestra won in the category of Best Orchestral Performance, while composer Michael Daugherty won in the category of Best Classical Contemporary Composition for his piece Deus ex Machina. In addition, the recording’s engineers, Mark Donahue, John Hill and Dirk Sobotka, earned an award in the category of Best Engineered Album, Classical (in a tie with the engineers of Quincy Porter’s Complete Viola Works). The orchestra won in the categories of Best Classical Album and Best Orchestral Performance, while Tower won in the category of Best Classical Contemporary Composition for her work Made in America.
  • Boston Opera House: “Award in Excellence in Historic Resources” from The American Institute of Architects, the Washington Chapter (2004)
  • Plaza Theatre: National Trust for Historic Preservation Honor Award (2009); Preservation Texas Preservation Honor Award – Historic Restoration Award (2010)
  • Aycock Auditorium: AIA North Carolina Tower Award (2010); American Association of School Administrators/American Institute of Architects/Council of Educational Facility Planners International (2009 Citation); Best Cultural Project, Southeast Construction (2008); Excellence in Construction Merit Award, ABC Carolinas (2008)
  • Eastman Theatre: Design Award, American Institute of Architects (2010 Citation); Design of Excellence Award, AIA Rochester (2006); Renovation Honorable Mention Eastman Theatre Stagehouse Improvements.
  • SUNY Fredonia: International Interior Design Association’s 32nd annual interior design competition winner.
  • National Museum of the Marine Corps – Quantico, Virginia: Outstanding Achievement, Museum – Thea Award Winner (2009)
  • National Museum of the United Infantry – Columbus, Georgia: Outstanding Achievement, Museum – Thea Award Winner (2011)
  • Nokia Theatre (now Best Buy Theater) – New York, New York: Best New Major Concert Venue – Pollstar (2005)
  • Auditorio Telmex: International Theater of the Year, Fourth place – Pollstar Concert Industry Awards (2008)
  • Centro De Las Artes De San Luis Potosí: Best Architectural and Urban Conservation Project – Instituto Nacional de Antropología e Historia (2009)
  • Teatro Mayor: Excellency Award, First Prize – Colombia Cemex Award (2011); Excellency Award, Finalist – México Cemex Award (2011)
  • MSU Riley Center: Excellence in Construction Awards
 – Society of College and University Planners; MHT Heritage Award
 – Mississippi Heritage Trust; National Trust for Historic Preservation Award – American Institute of Architects


DiMenna Center – New York, New York

Mary Flagler Cary Hall singularly adds to the brightly warm [recording] ambiance.”

Audiophile Audition, reviewing Joyce Yang’s piano album Collage, recorded at The DiMenna Center for Classical Music

Eastman Theatre – Rochester, New York

It’s a transformation! If you can imagine singing in a closet full of clothes and then singing in the Sistine Chapel in Rome…that’s the difference!”

Christopher Seaman, Former Music Director, Rochester Philharmonic

Garde Arts Center, New London, CT

…the orchestra and the theater both sounded transformed; the sound quality was the main topic of conversation.[Akustiks’] new shell…gave the orchestra a luster, balance, and bloom that was startling to regular concertgoers. The bass strings gained weight, the winds and violins a burnished luster…”

Milton Moore, critic, The Day, 2001 (New London, CT)

Mixon Hall, Cleveland Institute of Music – Cleveland, Ohio

A resplendent marriage of sight and sonics…the hall possesses qualities found in only the best facilities: warmth, clarity and resonance…Sound envelops the ears as if you’re planted in the middle of the performance.”

Donald Rosenberg, Cleveland Plain-Dealer

Schermerhorn Symphony Center – Nashville, TN

…a hall where every sound is not only heard but felt… an acoustic gem and one of the most successful auditoriums built in a century.”

Michael Linton, The Wall Street Journal, September 12, 2006

State Theater – New Brunswick, NJ

We have weeks that include ballet, rock ‘n roll, opera and everything in between.We now have a system that is capable of being used for any kind of show and that sounds great doing it.”

Tom Painter, State Theater, New Brunswick

Teatro del Bicentenario (León, GTO)

We can play piano… finally! The best acoustics in Mexico!”

Maestro Enrique Bátiz (after conducting at the opening of Teatro del Bicentenario)

Peristyle Theatre Orchestra Shell Addition, Toledo, Ohio

It seemed last night as if a new era had dawned for the Toledo Symphony. The orchestra has never sounded better. Suspended above the stage were newly installed rectangular sound reflectors. Their effect on last night’s overall tone quality was wonderfully positive. Gone was the uneven projection and often tinny timbre. Last night the sound was firm, yet warm; rich, et sufficiently transparent. Individual voices could easily be distinguished within the wind and brass sections. Strings soared. As an added visual bonus, the reflectors, and the golden ambiance they lend to the stage lighting, are attractive as well.”

Steven Cornelius, Music Critic, The Blade, 2002, (Toledo, OH)

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