How Acoustic Design Is Evolving for the Modern Workplace

As hybrid workplaces reshape how we use modern interior spaces, the conversation around glass has shifted from purely visual to experiential. How do we create environments that deliver both the openness and the acoustic comfort we need in today’s modern workplaces? 

This question brought together architects, acoustic specialists, and manufacturers at a recent panel hosted by METROPOLIS in partnership with MetroWall. The event, held at MetroWall’s New York showroom, tackled a challenge that has long vexed the design community and revealed new opportunities: reconciling the aesthetic appeal of glass with the high acoustic requirements of contemporary work.  

Nuances of New Work Models in Office Spaces

Designers at the table shared that the shift toward open office layouts—combined with the rise of remote and hybrid work models—has introduced significant acoustic challenges. Employees face increased noise levels, reduced speech privacy, and difficulties maintaining concentration. The discussion emphasized that adaptability will play a major role as people evolve and change the way they use spaces.  

The Tiff between Lab Results and Real Spaces

While metrics like Sound Transmission Class (STC) ratings and Noise Reduction Coefficient (NRC) remain valuable specification tools, they don’t tell the whole story. STC measures how well a barrier blocks sound in controlled lab conditions, while NRC gauges a material’s ability to absorb sound within a room. But as one panelist observed, real spaces introduce variables that testing chambers don’t: flanking paths, adjacent systems, installation inconsistencies.  

“There’s a difference between how products are tested and how they perform,” a speaker noted. There is a need for more holistic, context-specific approaches to evaluating and designing for acoustics. 

Need for Acoustic Experts at Early Stages of Design

“Projects don’t start with acoustics in mind,” another panelist said, “but they should.” Acoustic consultants are too often brought in after major design decisions have already been made—when the layout is locked, adjacencies are set, and budgets are tight. The roundtable advocated for a different approach: integrating acoustic thinking early in programming and schematic design. 

Early collaboration allows teams to balance spatial layouts, material selections, and mechanical systems together, rather than treating sound as an afterthought. It also opens the door to more creative problem-solving, where acoustic performance becomes a driver of design rather than a constraint. 

The roundtable made clear that acoustics are no longer a back-of-the-spec conversation. They’re central to how spaces function and how people feel within them. “Acoustics is a design solution. It’s a suite of many touchpoints,”  a designer shared.  Sound is a design material—one as important as light, form, or texture—and should be considerd accordingly. 

Special thanks to all the incredible leaders who made this discussion possible—your insights and expertise continue to inspire meaningful progress across our industry:

Brad Sherburne, CetraRuddy; Chris Kaiser, AECOM; Clayton Whitman, Arcadis; Daniel Choi, International WELL Building Institute; Dr. Christine Bruckner, M Moser Associates; Ellen Fisher, New York School of Interior Design; Elizabeth Von Lehe, CannonDesign; Hannah Straus, HDR; John Storyk, WSDG; Katia Lucy, HLW BEYOND; Kimteri Kim, Intertek; Ricardo Nabholz, TPG Architecture; Ryan Remington, M Moser Associates; and Scott Rubin, Cerami. 

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