SMSQ Architects became involved in the mid-1980s, when discussion began on how to bring worshipers closer to the altar, move the choir and organ to the main level and address the chapel's acoustical problems. At the time, the solution would have involved creating two-sided transepts by knocking out part of the side walls. Given the expense of that solution, nothing was done initially.

In the 1990s, the college looked at these issues again, this time with the help of Sasaki Associates of Massachusetts, who were working on Buntrock Commons, and acoustics consultant Robert Mahoney, who proposed a reconfiguration of the inside of the chapel that included reshaping the ceiling and side walls. A few years ago, we at SMSQ Architects were asked to come up with a design based on this acoustical approach.

The design now reflects the importance of music and singing in the chapel. It is designed for the projection of sound from a full orchestra with choir from the platform area at the front of the chapel. This concept continues to bring the liturgical setting out into the room, which increases the intimacy and sense of community during worship. The chapel is a "place of assembly" for many purposes.

A lot of work went into preserving the chapel's assets and then building upon that. A big challenge was integrating the technological and aesthetic features we needed to make the redesign work visually. One of the major concerns was making certain the beauty of the stained glass windows was not only preserved, but accentuated. We framed the windows and darkened the walls, so now the glass tells its stories more powerfully. We also used materials, such as wood flooring and a color scheme to warm up the space and make it friendlier. In doing this, everything — the lighting fixtures, the flooring, the organ itself — was considered in making the space a unified whole.

Probably the biggest change is that a place for the organ and a choir has been brought into the chancel. It's important for these two elements to be together, particularly in a college such as St. Olaf, with its strong tradition of music and faith. And the college was wise enough to recognize this. The credit has to go to St. Olaf's Boe Chapel oversight committee — which included co-conveners Assistant Vice President for Facilities Pete Sandberg, and the Elliot and Klara Stockdal Johnson Professor of Organ Music John Ferguson, along with Associate Dean of the Fine Arts Charles Forsberg, organist and Artist in Residence Catherine Rodland '87, College Pastor Bruce Benson and Vice President, Dean of Enrollment Michael Kyle '85 and Nancy Partin, secretary to college pastor — for their leadership and insight with these important changes.

For acoustical purposes, the room has been narrowed and high side wall colonnades have been added on each side. In addition to improving the sound quality, these side walls also hide a lot of the mechanical equipment and wiring that the room requires. The wide side aisles against the windows have been added so that seating is now more centered, and the altar table and pulpit are closer to the congregation. This, along with better lighting, improves sight lines and visibility. The wide side aisles promote fellowship in the absence of a large gathering space or narthex.

The color scheme. The idea was to provide a vertical awareness through color. There's a spiritual aspect in this. The windows point upward. Using an earthy red for the floor tiles and an energetic millennium blue color for the ceiling we suggest an "earth to sky" effect, which gives height and drama to the room. The surrounding walls have been painted a two-tone neutral color to surround and emphasize the people and the action within the room, by minimizing attention to the wall surfaces. There's less decoration and more "envelope for action."

I came to St. Olaf specifically because of the campus architect and architecture. As an art major I also took many courses in a variety of departments, which a good architect needs to do. I was greatly influenced by Edward Sovik '39, FAIA (Fellow of the American Institute of Architects), and I still consider him to be my mentor. Many of the ideas applied in the renewed Boe Chapel had been advocated by Ed throughout his architectural career.

This type of renewal has been done in pseudo-Gothic cathedrals around the world since the 1960s. SMSQ has nearly 60 years of experience doing this type of project. The renovation project of Boe Chapel is a tried and true solution for the chapel.

The chapel is at the center of a college of the church. This renewal brings new life to the chapel at the core of campus. The renovation was needed not only to address the poor acoustics and blandness of the old space, but to support the intimacy of worship within it by bringing worshippers closer to the sacraments and increasing their sense of participation. The exciting result of this is a new life and energy that's brought to the chapel's role on campus.