by Elena Nonino

1. Dallas, Texas
Architect: I.M. Pei
Acoustician: Russell Johnson
Structural Engineers: Leslie E. Robertson Associates
Elena Nonino
Morton H. Meyerson
Symphony Center

2. cULTURAL iNFLUENCE
• Built in 1989, planned since 1982.
• Home for the Dallas Symphony Orchestra and Chorus.
• Located in the new Dallas Arts District, with the masterwork
of Renzo Piano, Norman Foster and Rem Koolhaas.
• Keystones in a citizen-backed “cultural revolution” that has
been taking place in Dallas since the mid-1970s.
• Modern cultural icon: need to establish Dallas as an inter-
national cultural center while revitalizing the city.
• Two primary components: an inward-looking music cham-
ber and an outward-looking lobby.
• On an annual basis there are over 325 concert hall events,
20-30 banquets, 200 photo and film shoots, and over 800
hours of rehearsal and recording activity.

3. Donors
• It was 40% publicly funded and 60% privately funded.
• H. Ross Perot was the largest private donor and gave $10
million to build the center.
• His stipulation was that it be named after his good friend
Morton H. Meyerson, that was already involved in the
project.
• Wendy Reves was another donor and gave $2 million.
• to build the Wendy and Emery Reves’ Arch of Peace , to
reprint Emery’s book and also for the musical composition
and recording of Anatomy of Peace in Reves’s memory
played by the Dallas Symphony Orchestra (1991).

4. Design
• Formalism, which is itself defined by clashing grids that
seem to defy logic, but resolve themselves.
• The glazed lenses bathe the lobby spaces in light, making
the arrival a performance itself.
• Pei was unwilling to impose modern styles of architecture
on the interior.
• Combination of overlapping geometric forms: rectangle set
at an angle within a square and is enveloped by segments
of circles. (Rectangle: the symphony hall. Circle: lobby,
garden court restaurant and sculpture garden. Square:
parking garage.)
• Pei - I felt the need to be free,” he said. “Therefore, to wrap
another form around the “shoebox”, I started to use curvi-
linear forms.... It does have some spatial excitement in that
space for that reason.

5. Elevations
North Elevation East Elevation
South Elevation West Elevation

6. lobby
• The lobby is in contrast to the necessarily hermetic
performance hall.
• The lobby is laid out on three levels.
• On the ground level there is the real lobby space, very open
and full of light.
• The lower floor is a functional, subdued space to connect
to the parking garage.
• The upper balcony gives a great view of “The Dallas
Panels” by Ellsworth Kelly.
• With its restaurant, outdoor garden and sculpture court the
lobby provides an inviting place for the public to congre-
gate when performances are not in progress.
FLORA STREET
PEARLSTREET
MUNGER AVENUE
CRO
RA
SIDEWALK
CURB LINE
BUILDING & PROPERTY LINE
PERCUSSION
HARM UP ROOM
RAMP DM TO FLORA ST. GARAGE
TO LOWER LOBBY DROP OFF
PLANTER
PROPERTY LINE
GARAGE
EXHAUST
PLANTER
ORCHESTRA
PERSONAL
MANAGER
ARTIST CONDUCTOR
CONCERT
MASTER
MUSIC
DIRECTOR
MUSIC LIBRARY
GREEN ROOM
RESTAURANT
GARDEN
FOUNTAIN
BUILDING&PROPERTYLINE
AIRSUPPLYGRILLE
SIDEWALK
CURBLINE
ENTRANCE LOBBY
VESTIBULE
MAIN LOBBY
PROPERTY LINE
EXTEND OF HALL CONSTRUCTION BELOW
PROPERTYLINE
2nd ISOLATION JOINT
AT STRUCTURAL SLAB
HALLCONST.GARAGECONST.
HALLCONST.GARAGECONST.
LOBBY
PERFORMANCE PLATFORM
PERFORMANCE PLATFORM
SUPPORT PLATFORM
LOBBY
T.C
E.C.
UP DN
WOMEN
MEN
DUCT
J.C.
CHORU
S
AS
SEM
BLY
DN
DN
DN
UP
UP
E.C.
GS 7
DN
MEN
WOMEN
PE
1
GS 5
DN
GS 2
OPEN TO
RE
STA
URA
NT BELOW
CHORU
S
AS
SEM
BLY
WOMEN
MEN
E.C.
DN
UP
DN
UP
GS 8DN
MEN
WOMEN
GS 6
PE
2
DN
OPEN TO
GRO
UND FLOOR BELOW
INNER
LO
BBY
UP
UP
PS
#1
PS
#2
J.C.
DUCT
UP
RA
MP
DN
RA
ILING
LIGHT FIXTURE
MATC
HLINE A217
A216
OPEN TO BELOW
LOBBY
RAILING
PRIVATE
DRESSING #1
PRIVATE
DRESSING #2
PRIVATE
DRESSING #3
MEN'S LOCKER RM WOMEN'S LOCKER RM
CORRIDOR
MEN'S LOCKER RM
WOMEN'S LOCKER RM
WOMEN
OPEN
GLASS
EAST WING
A202
CANOPY
PS#3
PE3
DUCT
SE1
ROOF DRAIN TYP
H.P. EL 478'-5 1/2"2" ISOLATION JOIN
H.P. EL 478'-5 1/2"
L.P. EL 478'-3"
LIMESTONE COPING EL 479'-0"
NOTE: H.P. % L.P. ELEVATIONS
ARE TO TOP OF CONCRETE
SLABS.
SKYLIGHT SEE
DETAIL 3 ON
DWG. A-428
SKYLIGHT SEE
DETAIL 3 ON
DWG. A-428
H.P. EL 478'-5 1/2"
GRILLE
A584
CANOPY
OPEN
GLASS
OPEN TO
MAIN LOBBY BELOW
D-8
A-384

8. lobby
• The lobby has a huge size, but it appears small from the
outside.
• Grand Staircase is the focal point throughout the lobby
area.
• It becomes a social field for the surrounding business com-
munity to also enjoy the buildings on the same site.
• The floors are highly polished Italian Travertine Tile. The
white bannisters atop the limestone are white marble.

9. eugene mcdermott concert hall
• It is considered a European “shoebox” style music
chamber with modern features, designed to establish inti-
macy between performer and audience.
Maybe it has a reverse fan shape?
• Intended to achieve acoustics performance compara-
ble to that of the Vienna Musikverein and the Amsterdam
Concertgebouw.
• It has 2062 seats.
• Volume 844,000 CF
• Concert Hall Area 260,000 SF
• Height 86 ft
• Length 101 ft
• Width 84 ft
•
• Volume per person 409.3 CF

10. • The orchestra terrace is an elevated floor that wraps around
the orchestra seating.
• The hall is arranged on three balcony levels on three sides
of the auditorium.
• There are 39 antechambers to provide sound locks at all
entrances to the concert hall, including backstage.
• Stage height 42 in
• Orchestra Stage 2,691 SF
• Chorus Stage 527 SF
Seating and stage
Loge and Choral TerraceOrchestra TerraceOrchestra Dress Circle Grand Tier
BOX V
BOX U
BOX T
BOX S
BOX R
BOX Q
BOX P
BOX O
BOX N
BOX M
BOX L
BOX K
BOX J
BOX H
BOX G
BOX F
BOX E
BOX D
BOX C
BOX B
BOX A
SECTION B
SECTION C SECTION A
AISLE 5
AISLE 6AISLE 8
AISLE 7
EAST WEST
STAGE
THE MORTON H. MEYERSON SYMPHONY CENTER
LOGE AND CHORAL TERRACE SEATING
A
B
C
D
A
B
C
D
A B C
D
ABC
D
10
9
8
7
6
5
4
3
1
2
14
13
12
11
10
9
8
7
5
6
4
3
2
1
14
13
12
11
10
9
8
7
5
6
4
3
2
1
11
10
9
8
7
5
6
4
3
2
1
1 2 3 4 5 6 7 8 109
1 2 3 4 5 6 7 8 109 11 12 13
1 2 3 4 5 6 7 8 109 11 12 13 14
1 2 3 4 5 6
15 16 17 18 19 20 21 22 2423
16 17 18 19 20 21 22 23 2524 26 27 28
15 16 17 18 19 20 21 22 2423 25 26 27 28 29
7 8 109 11 12 13 14 15 16 17 18 19 20 21 22 23
1
2
3
4
5
6
7
8
10
9
1
2
3
4
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7
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1
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1
2
3
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65
21
8765
4321
8765
4321
87
43
65
21
8765
4321
87
43
1
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1
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1
8
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3
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2
1
56
12
78
34
56
12
78
34
56
12
78
34
56
12
78
34
56
12
78
34
CLASSICAL LOGE AND CHORAL TERRACE SEATING
4
STAGE
EAST WEST
AISLE 4
AISLE 3 AISLE 2
AISLE 1
SECTION ASECTION E
SECTION F
DC
B
A
C
B
A
C
B
A
D
C
B
A
C
B
A
C
B
A
THE MORTON H. MEYERSON SYMPHONY CENTER
ORCHESTRA TERRACE SEATING
282930
31
32
33
272625242322212019181716151413121110987654321
272625242322212019181716151413121110987654321
282930
31
32
33
282930
31
32
33
27
2625242322212019181716151413121110987654321
23
22
21
20
19
18
17 16 15 14 13 12 11 10 9 8 7 6
5
4
3
2
1
22
21
20
19
18 17 16 15 14 13 12 11 10 9 8 7
6
5
4
3
2
1
23
22
21
20
19 18 17 16 15 14 13 12 11 10 9 8 7
6
5
4
3
2
1
12 11 10 9 8 7 6 5 4 3 2
1
33
32
31
302928272625242322212019181716151413121110987654321
33
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31
302928
33
32
31
302928
272625242322212019181716151413121110987654321
27
26
25242322212019181716151413121110987654321
LOGE (LIMI TED AVAILABILITY )
PRI CE LEVEL A
PRI CE LEVEL B
PRI CE LEVEL C
PRI CE LEVEL D
PRI CE LEVEL E
CLASSICAL ORCHESTRA TERRACE SEATING
AISLE 12
AISLE 14
AISLE 15
AISLE 10
AISLE 9
BOX R
BOX S
BOX T
BOX U
BOX V
BOX E
BOX D
BOX C
BOX B
BOX A
SECTION F
AISLE 11
A
B
C
D
E
55
54
53
52
51
50
49
48
4
7
46
45
44
43
42
41
40
39
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36
35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19
18
17
16
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11
10
9
8
7
6
5
4
3
2
1
52
51
50
49
48
47
46
45
44
43
42
41
40
39
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35
34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18
17
16
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10
9
8
7
6
5
4
3
2
1
47
46
45
44
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40
39
38
37
36
35
34
33
32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15
14
13
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10
9
8
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6
5
4
3
2
1
46
45
44
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35
34
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32
31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
41
40
39
38
37
36
35
34
33
32
31
30
29
28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12
11
10
9
8
7
6
5
4
3
2
1
1212341212
1
2
343344
122134213421342
1
34
STAGE
EAST WEST
A
B
C
D
E
THE MORTON H. MEYERSON SYMPHONY CENTER
DRESS CIRCLE SEATING
LOGE (LIMI TED AVAILABILITY )
PRI CE LEVEL A
PRI CE LEVEL B
PRI CE LEVEL C
PRI CE LEVEL D
PRI CE LEVEL E
CLASSICAL DRESS C IRCLE , DRESS C IRCLE B OX AND DRESS C IRCLE L OFT SEATING
5
55
54
53
52
51
50
49
48
47
46
45
44
43
42
41
40
39
38
37
36
35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19
18
17
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
52
51
50
49
48
47
46
45
44
43
42
41
40
39
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36
35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17
16
15
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10
9
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6
5
4
3
2
1
47
46
45
44
43
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36
35
34
33
32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16
15
14
13
12
11
10
9
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6
5
4
3
2
1
4
6
45
44
43
42
41
40
39
38
37
36
35
34
33
32
31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
41
40
39
38
37
36
35
34
33
32
31
30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13
12
11
10
9
8
7
6
5
4
3
2
1
44
43
42
41
40
39
38
37
36
35
34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11
10
9
8
7
6
5
4
3
2
1
43
42
41
40
39
38
37
36
35 34
33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12
11
10
9
8
7
6
5
4
3
2
1
36
35
34
33
32
31
30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10
9
8
7
6
5
4
3
2
1
37
36
35
34
33
32
31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10
9
8
7
6
5
4
3
2
1
43214321432143214321
43214321432143214321
AISLE 18
AISLE 19 AISLE 16
BOX R
BOX S
BOX T
BOX U
BOX V
BOX E
BOX D
BOX C
BOX B
BOX A
SECTION F
AISLE 17
J
H
G
F
E
D
C
B
A
STAGE
EAST
THE MORTON H. MEYERSON SYMPHONY CENTER
GRAND TIER SEATINGCLASSICAL GRAN D TIER SEATING
6
WEST
THE MORTON H. MEYERSON SYMPHONY CENTER
ORCHESTRA SEATING
AISLE 3 AISLE 2
4 3 2 1
2 1
56
4 3 2 1
7
56
4 3 2 1
8 7
56
4 3 2 18 7
56
4 3 2 18 7
56
4 3 2 1
7
56
4 3 2 1
8 7
56
4 3
2 18 7
56
4 3 2 18 7
56
4 3 2 18 7
56
4 3 2 18 7
56
4 3 2 18 7
56
4 3 2 18 7
56
4 3 2 18 7
56
4 3 2 18 7
56
4 3 2 1
8
7
5
6
4
3
2
1
8
7
5
6
4
3
2
1
8
7
5
6
4
3
2
1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
14 13 12 11 10 9 8 7 56 4 3 2 1
1 2 3 4
1 2
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7
1 2 3 4 5 6 7
1 2 3 4 5 6 7 8
2 3 4 5 6 7 8
1 2 3 4 5 6 7 81
1 2
3 4
5
6
7 8
1 2
3 4
5
6
7 8
1 2
3 4
5
6
7 8
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
1 2 3 4 5 6
8
7
5
6
4
3
2
1
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
SECTION D SECTION B
SECTION C
STAGE
X
W
V
U
T
S
R
Q
P
O
N
M
L
K
J
H
G
F
E
D
C
B
A
DD
CC
BB
AA
X
W
V
U
T
S
R
Q
P
O
N
M
L
K
J
H
G
F
E
D
C
B
A
DD
CC
BB
AA
MI TED AVAILABILITY )
EL A
EL B
EL C
EL D
EL E
CLASSICAL ORCHESTRA SEATING

12. organ
• It is a 4,535 pipe C.B. Fisk Opus 100 organ, known as the
Lay Family Concert Organ.
• The full length of the front pipes is visible from the audience.
• The conductor cues from a small closed-circuit TV embed-
ded into the organ.
• Immediately below the organ is a unique feature to most
concert halls, the “choral terrace.”

13. MAterials
• Makore African cherry-wood and Mohair wood: resemble
the acoustic signature of a human being when the chair is
empty. Therefore, the sound should remain relatively the
same.
• Russel was against Pei’s choice of carpet as flooring be-
cause a hard surface is required in order to have a have
truly rich, remarkable sound. So the the main area is tiled
in Terrazzo.
• Ceiling (5.5 in): concrete with plaster skim coat.
• Overstage Canopy (6 in):laminated wood (4,000 SF), height
36-50 ft central canopy has 0.06 in layer of felt to suppress
acoustic glare.
• Walls (10.5 in): thin wood veneer 0.5 in particle board
bonded by adhesive and plaster to 10 in masonry.
• Balcony Fronts(2 in): plaster .
• Curtains: one set of single-layer thin fabric and one set of
multi-layer tightly woven heavy velour.
• Floor: terrazzo or painted concrete, no carpet.
• Stage Floor (0.5in): tongue-and-groove wood on wood
boards on joists floor beneath cellos and double basses
has 2 in wood over 3 ft airspace.
• Stage Walls (2 in): 14 ft wood doors that open to exposed
12 ft deep airspace behind instruments.
• Seating: molded plywood back and unperforated plywood
bottom. Upholstered back seat and seat with porous fabric
over polyvinyl foam cushion. Wood armrest.

14. Revereration
Occupied (RT) 2.9s
Unoccupied upholster Seats (EDT) 1.9s
To control reverberation:
• Reverberation chamber: 300,000 cubic foot, U-shaped
space, which surrounds the upper perimeter concert hall.
It is lined with 72 hinged, 4-inch-thick concrete acoustical
doors that can be adjusted to tailor the reverberation de-
cay. If they wish to increase the volume and effect of a pro-
gram, then doors are closed, increasing the reverberation
and echo effects. If more doors are opened, the sound is
further muted.
• Acoustical curtains: system of 62 motor operated, multi-lay-
ered sound absorbing cloth curtains to cover most of the
wall surfaces of the audience and choral seating areas.
They are used to diminish sound vibrations dependent
upon use of the hall.

15. canopy
• Suspended above the stage.
• Raised, lowered, or tilted to reflect the sound throughout
the audience chamber.
• The canopy units are 5 inches thick and constructed of lam-
inated wood securely bonded together and attached to a
steel frame.
• Main canopy: weighs 42 tons and tilts up to 7 degrees, with
a high trim of 74 feet and a low trim of 35 feet.
• Side canopies: weigh 15 tons each and move together in
tandem, with a high trim of 76 feet and a low trim of 37 feet.
• Rear canopy: weighs 12 tons and has a high trim of 73 feet
and a low trim height of 37 feet.
• Result: the initial time delay gap is 21 msec

16. quotes
“The acoustics of this hall are comparable to the great concert
halls of Europe, and of the world. The concert hall itself be-
comes an instrument of the orchestra, and we adjust to it and
fine tune our music-making to the hall week after week.”
Dallas Symphony Orchestra Music Director, Jaap van Zweden
“The Meyerson washes you in sound. I still marvel at the son-
ic sumptuousness, the way the sound can be felt moving in
space. Release one of those big chords in a Bruckner sym-
phony and it disappears into the ceiling with a breathtaking ‘tail’
of reverberation. The effect still sends chills down my back.”
Dallas Morning News Classical Music Critic Scott Cantrell

17. acoustical features summary
• Materials: mohair and makore African cherry-wood to re-
semble the acoustic signature of a human being.
• Reverberation Chamber: to tailor the reverberation decay.
• Acoustical Curtains: to diminish sound vibrations depen-
dent upon use of the hall.
• Canopy system: to reflect the sound throughout the audi-
ence chamber.
• Antechambers: to provide sound locks at all entrances to
the concert hall.
The M. Meyerson Symphony Center is worldwide known not
only for its particular shape, that is the result of a combination
of overlapping geometric forms, but also for the acoustical
design of its symphony hall, that combines the best charac-
teristics of a traditional hall with more modern features. What
makes the Eugene McDermott Concert Hall one of the top
ranked symphony halls are the use of a reverberation chamber
and of a system of acoustical curtains to manage the sound
reverberation, combined with a canopy system that reflects
the sound throughout the audience chamber. These features
enhance the sound of certain compositions and add a musi-
cal dimension to all musical pieces obtaining an effect never
heard in any other hall in this country.

18. Web Sources
• https://d15gc4eof6ew0j.cloudfront.net/res/seat%20maps/meyerson1516seatingchart(1).pdf
• http://www.thedallasartsdistrict.org/district/art-in-architecture/architecture
• http://idreamofarchitecture.blogspot.com/2009/07/photos-meyerson-symphony-center-part-13.html
• https://en.wikipedia.org/wiki/Morton_H._Meyerson_Symphony_Center
• http://www.dallasculture.org/meyersonSymphonyCenter/aboutBuilding.asp
• http://www.pcf-p.com/a/p/8103/s.html
• http://www.dallasculture.org/meyersonSymphonyCenter/aboutConcertHall.asp
• http://www.dallasculture.org/meyersonSymphonyCenter/aboutConcertHall.asp
• http://www.dallasnews.com/entertainment/headlines/20140906-meyerson-at-25-cutting-edge-in-1989-is-dallas-premier-concert-hall-
still-in-the-forefront.ece
Bibliography
• Beranek, Leo. How They Sound Concert and Opera Halls. Woodbury (NY): Acoustical Society of America, 1996
Sources