morton myerson symphony center by i. m. pei
TRANSCRIPT
Dallas, Texas
Architect: I.M. PeiAcoustician: Russell JohnsonStructural Engineers: Leslie E. Robertson Associates
Elena Nonino
Morton H. MeyersonSymphony Center
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.
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).
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.
Elevations
North Elevation East Elevation
South Elevation West Elevation
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
PEAR
L STR
EET
MUNGER AVENUE
CRO
CKE
TT S
TREE
T
RAM
P D
M T
O L
OAD
ING
DO
CK
TO 2
ND
GARAG
E LE
VEL
SIDEWALK
CURB LINE
BUILDING & PROPERTY LINE
PERCUSSIONHARM UP ROOM
RAMP DM TO FLORA ST. GARAGE
TO LOWER LOBBY DROP OFFPLANTER
PROPERTY LINE
GARAGEEXHAUST
PLANTER
ORCHESTRAPERSONALMANAGER
ARTIST CONDUCTORCONCERTMASTER
MUSICDIRECTOR
MUSIC LIBRARY GREEN ROOM
RESTAURANTGARDEN
FOUNTAIN
BUIL
DIN
G &
PRO
PERT
Y LI
NE
AIR
SUPP
LY G
RILL
E
SID
EWAL
K
CURB
LIN
E
ENTRANCE LOBBY
VESTIBULE
MAIN LOBBY
PROPERTY LINE
EXTEND OF HALL CONSTRUCTION BELOW
PRO
PERTY
LIN
E
2nd ISOLATION JOINTAT STRUCTURAL SLAB
HALL
CO
NST.
GARAG
E C
ONST.
HALL
CO
NST.
GARAG
E C
ONST.
LOBBY
PERFORMANCE PLATFORM
PERFORMANCE PLATFORM
SUPPORT PLATFORM
LOBBY
T.C
E.C.
UP DN
WOMEN
MEN
DUCTJ.C
.
CHORUS
ASSEMBLY
DN
DN
DN
UP
UPE.C
.
GS 7
DN
MEN
WOMEN
PE 1
GS 5
DN
GS 2
OPEN TO
RESTAURANT BELO
W
CHORUS
ASSEMBLY
WOMEN
MEN
E.C.
DN UP
DNUP
GS 8DN
MEN
WOMENGS 6
PE 2
DN
OPEN TO
GROUND FLOOR BELO
W
INNER LOBBY
UP
UP
PS#1
PS#2
J.C.
DUCT
UPRAMP
DN
RAILING
LIGHT F
IXTURE
MATCHLINE A217A216
OPEN TO BELOW
LOBBY
RAILING
PRIVATEDRESSING #1
PRIVATEDRESSING #2
PRIVATEDRESSING #3
MEN'S LOCKER RM WOMEN'S LOCKER RM
CORRIDOR
MEN'S LOCKER RMWOMEN'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. ELEVATIONSARE TO TOP OF CONCRETESLABS.
SKYLIGHT SEEDETAIL 3 ONDWG. A-428
SKYLIGHT SEEDETAIL 3 ONDWG. A-428
H.P. EL 478'-5 1/2"GRILLE
A584
CANOPY
OPENGLASS
OPEN TOMAIN LOBBY BELOW
D-8A-384
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.
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
• 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 NBOX M
BOX LBOX 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 CENTERLOGE AND CHORAL TERRACE SEATING
A
B
CD
A
B
CD
A B C
D
ABC
D
109
87
65
43
12
1413
1211
109
87
56
43
21
1413
1211
109
87
56
43
21
1110
98
75
64
32
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
12
34
56
78
109
12
34
57
68
910
11
12
34
56
78
109
1112
1314
12
34
56
78
109
1112
1314
65
21
87
65
43
21
87
65
43
21
87
43
65
21
87
65
43
21
87
43
12
34
56
78
12
34
56
78
12
34
56
78
12
3 45
6
78
12
43
13
45
12
43
43
21
87
65
87
65
43
21
87
65
43
21
874
3
652
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 1SECTION ASECTION E
SECTION F
DC
BA
C
B
A
C
B
A
DC
BA
C
BA
CB
A
THE MORTON H. MEYERSON SYMPHONY CENTERORCHESTRA TERRACE SEATING
28
29
30
31
32
33
2726
2524
2322
2120
1918
1716
1514
1312
1110
98
76
54
32
1
2726
2524
2322
2120
1918
1716
1514
1312
1110
98
76
54
32
1
28
29
30
31
32
33
28
29
30
31
32
33
2726
2524
2322
2120
1918
1716
1514
1312
1110
98
76
54
32
1
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
30 29
28 27
2625
2423
2221
2019
1817
1615
1413
1211
109
8
76
54
32
1
33
32 31
30 29
28
33
32 31
30 29
28
2726
2524
2322
2120
1918
1716
1514
1312
1110
9
8
76
54
32
1
2726
2524
2322
2120
1918
1716
1514
1312
1110
9
8
76
54
32
1
LOGE ( LIMI TED AVAIL ABILITY )
PRI CE LEVEL A
PRI CE LEVEL B
PRI CE LEVEL C
PRI CE LEVEL D
PRI CE LEVEL E
CLASSICAL ORCHESTRA TERRACE SEATING
3
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 4
5 44 4
3 42 4
1 40 3
9 38 3
7 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 4
8 4
7 46 4
5 44 4
3 42 4
1 40 3
9 38 3
7 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
47 46
45 4
4 43 4
2 41
40 39 3
8 37 3
6 35 3
4 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
46 45
44 43 4
2 41 4
0 39 3
8 37 3
6 35 3
4 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 3
7 36 3
5 34 33 3
2 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
12
12
34
12
12
12
34
33
44
12
21
34
21
34
21
34
21
34
STAGE
EAST WEST
A
B
C
D
E
THE MORTON H. MEYERSON SYMPHONY CENTERDRESS CIRCLE SEATING
LOGE ( LIMI TED AVAIL ABILITY )
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 4
3 42 4
1 40 3
9 38 3
7 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
4
7 46 4
5 44 4
3 42 4
1 40 3
9 38 3
7 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
47 46
45 4
4 43 4
2 41
40 39 3
8 37 3
6 35 3
4 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
46 45
44 43 4
2 41 4
0 39 3
8 37 3
6 35 3
4 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 3
7 36 3
5 34 33 3
2 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 3
8 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 3
9 38 3
7 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 3
4 33 3
2 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 3
5 34 33 3
2 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
21
43
21
43
21
43
21
43
21
43
21
43
21
43
21
43
21
43
21
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
EASTWEST
THE MORTON H. MEYERSON SYMPHONY CENTERGRAND TIER SEATINGCLASSICAL GRAN D TIER SEATING
6
EAST WEST
THE MORTON H. MEYERSON SYMPHONY CENTERORCHESTRA SEATING
AISLE 3 AISLE 2
4 3 2 1
2 1
564 3 2 1
756
4 3 2 1
8 756
4 3 2 18 756
4 3 2 18 756
4 3 2 17
564 3 2 1
8 756
4 3 2 18 756
4 3 2 18 756
4 3 2 18 756
4 3 2 18 756
4 3 2 18 756
4 3 2 18 756
4 3 2 18 756
4 3 2 18 756
4 3 2 1
8 75
64
32 1
8 75
64
32 1
8 75
64
32 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 75
64
32 1
1 23 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
LOGE ( LIMI TED AVAIL ABILITY )
PRI CE LEVEL A
PRI CE LEVEL B
PRI CE LEVEL C
PRI CE LEVEL D
PRI CE LEVEL E
CLASSICAL ORCHESTRA SEATING
2
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.”
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.
RevererationOccupied (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.
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
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
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.
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