Keilholz (who consulted on the acoustics of the entire building as well). After its renovation, Tully Hall's lobby doubled in size from , with a patron's salon added on the mezzanine level. A public café named at65 is visible in the lobby along Broadway, backed by blood-red walls of tongue-and-groove muirapiranga wood, which now wrap the new performance hall (renamed the Starr Theater). The lobby's floors are made of Portuguese ataija azul limestone. The east and south elevations are sheathed with a mullionless one-way-cable wall system, allowing for maximum transparency. Narrow passageways lead to the side entrances of the concert hall. The passageway walls are lined with dark gray felt and the floors are covered with gray industrial carpeting. Elisabeth Diller calls this the “sensory deprivation space”, as it is meant to heighten the drama of coming into the auditorium. The theater's new skin consists almost entirely of translucent eco-friendly resin and African moabi wood panels that were developed with 3form (and are between 1 and 1.5 inches thick). The panels form gill-like acoustic baffles along the side walls or become pivoting pyramid shapes that bounce sound. Sections of the balcony and side walls give emit a soft pinkish light as LEDs hidden behind them glow through the opaque moabi veneer. Aesthetics, acoustics, and lighting were all incorporated into these panels to remove visual clutter and create a more inviting space. The stage can now be configured in three different ways, as the front rows are capable of sliding down and underneath it. Renovation As part of the Lincoln Center Redevelopment Project, the Juilliard School needed another of space and wanted Alice Tully Hall's interiors and public spaces to be more welcoming. The expansion by Diller Scofidio + Renfro and FXFOWLE extended the travertine cladding of the original building along the West 65th Street facade, and also created an adapted extension of the Brutalist geometries on the upper stories. The fourth-story row of recesses housing windows is extended, but with the glass displaced and extending beyond the recesses, differentiating the extension from the original building and subtly beginning to break the original Brutalist box. The Juilliard extension cantilevers over a sunken public plaza and a new 38-foot-6-inch-high glazed lobby. The underside of the extension tilts up at a 16-degree angle. A dance studio punches through the curtain wall, overlooking Broadway. The transparency of the entry makes it feel like an