The Bowl officially opened on July 11, 1922 on the site of a natural amphitheater formerly known as the Daisy Dell.
At first, the Bowl was very close to its natural state, with only makeshift wooden benches for the audience, and eventually a simple awning over the stage. In 1926, a group known as the Allied Architects was contracted to regrade the Bowl, providing permanent seating and a shell. These improvements did provide increased capacity (the all-time record for attendance was set in 1936, when 26,410 people crowded into the Bowl to hear opera singer Lily Pons), but were otherwise disappointing, as the regrading noticeably degraded the natural acoustics, and the original shell was deemed acoustically unsatisfactory (as well as visually unfashionable, with its murals of sailing ships).
For the 1927 season, Lloyd Wright built a pyramidal shell, with a vaguely Southwestern look, out of left-over lumber from a production of Robin Hood. This was generally regarded as the best shell the Bowl ever had from an acoustic standpoint; unfortunately, its appearance was deemed too avant-garde, and it was demolished at the end of the season. It did, however, get Wright a second chance, this time with the stipulation that the shell was to have an arch shape.
For the 1928 season, Wright built a fiberglass shell in the shape of concentric 120-degree arches, with movable panels inside that could be used to tune the acoustics. It was designed to be easily dismantled and stored between concert seasons; apparently for political reasons this was not done, and it did not survive the winter.
For the 1929 season, the Allied Architects built the shell that stood until 2003, using a transite skin over a metal frame. Its acoustics, though not nearly as good as those of the Lloyd Wright shells,
were deemed satisfactory at first, and its clean lines and white, almost-semicircular arches were copied for music shells elsewhere. As the acoustics deteriorated, various measures were used to mitigate the problems, starting with an inner shell made from large cardboard tubes (of the sort used as forms for round concrete pillars) in the 1970s, which were replaced by the early 1980s with the large fiberglass spheres (designed by Frank Gehry) that remained until 2003. These dampened out the unfavorable acoustics, but required massive use of electronic amplification to reach the full audience, particularly since the background noise level had risen sharply since the 1920s. The appearance underwent other, purely visual, changes as well, including the addition of a broad outer arch (forming a proscenium) where it had once had only a narrow rim and the reflecting pool in front of the stage that lasted from 1953 till 1972. Sculptor George Stanley designed the Muse Fountain. He had previously done The Oscar statuette.
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