The exterior of the large pavilion and lobby is circular and constructed of glass and metal supports to contrast with the solid geometric lines of the actual hall. Architect I. M. Pei, and structural engineer Leslie E. Robertson Associates has described the structure of the hall's interior as "very conservative". "It is conservative for reasons I no longer accept," he said in 2000. "I feel that the hall doesn't fully represent what I would have liked to do. It was my first one." Because the music performed in the hall was likely to be from the eighteenth and nineteenth centuries, Pei was unwilling to impose modern styles of architecture on the interior. The trustees and acoustic team had decided on the shoebox style before Pei was hired, and he sought to sculpt the exteriors with more innovative designs. "I felt the need to be free," he said. "Therefore, to wrap another form around the shoebox, I started to use curvilinear forms.... It does have some spatial excitement in that space for that reason."
Organ
The Meyerson Symphony Center also is home to the 4,535 pipe C.B. Fisk Opus 100 organ, known as the Lay Family Concert Organ. Although it had been Charles Fisk's dream to build a monumental concert organ, and despite years of planning and design, he never lived to see it built, dying in 1983. The resulting instrument, built in 1991 and nearly unanimously hailed as a musical triumph, whilst it built on some of his ideas, was quite different from his original designs. The première performance was given in September 1992 by organists Michael Murray and David Higgs.
Acoustics
The Eugene McDermottConcert Hall was designed by Artec Consultants. Artec’s Nicholas Edwards built upon ideas of Russell Johnson, the firm’s founder, combining them with his own research and those of the German group in Göttingen. Systematically working through each area of the hall on each level, he generated sketches that indicated the best placement for walls in order to optimize the all-important lateral reflections. As his ideas crystallized, he began calling the evolving room shape the ‘reverse fan.’ This was the eventual shape of both the Dallas concert hall and its younger sibling, Symphony Hall in Birmingham, England. Both these halls have strong ‘shoebox’ shaping, with the ‘reverse fan’ at the back of the room. 74 thick concrete chamber doors around the top of the hall weighing 2.5 tons each can be opened and closed to increase or reduce reverberance, 56 acoustical curtains help diminish sound vibrations and a system of canopies weighing more than 42 tons is suspended above the stage and can be raised, lowered, or tilted to reflect the sound throughout the audience chamber. The shoebox design was intended to achieve acoustical performance comparable to that of the Vienna Musikverein and the Amsterdam Concertgebouw. Russell Johnson, who died in August 2007, requested in his will that he be buried in the Meyerson, but logistical complications prevented the request from being granted.
