the placement of main performance spaces on either side of a central vertical circulation core. At a cost of nearly $30 million in 1969, the building contained: 10 floors (4 above ground, 4 below), 3 Juilliard theaters, the public Alice Tully Hall, 15 large dance, opera, and drama studios, 3 organ studios, 84 practice rooms, 27 classrooms and ensemble studios, 30 private instruction studios, numerous orchestra and choral rehearsal rooms, scenery and costume studios and workshops, a library, lounge, snack bar, and administration offices. The theaters and working floors are tied together by a West 65th Street vestibule-lobby that rises several stories, allowing one to orient oneself upon entering the building. The arrangement and packing of a campus’ worth of spaces into a single building greatly impressed architectural critics, but was not as well received by the students of Juilliard, who were confused by the building's circulation. The Juilliard building, set on a regular structural grid, was designed in steel and concrete with a travertine veneer (for which the material was donated by the Italian government). However, the public entrance to Alice Tully Hall under the second-story terrace and exterior staircase was difficult to find. The removal of the West 65th Street footbridge, in 2006, unveiled this entrance, but it did not attain full prominence until the renovation and expansion of Tully Hall and Juilliard. Interior Most of the building's interior was extremely simple, with walls often left as bare concrete aggregate with wall-to-wall carpeting on the floors in several areas. The theaters, on the other hand, were far more finely detailed. Tully Hall was (in accordance with the desires of Alice Tully herself) designed with wood batten with dampening behind, and lavender carpet “casting 1930s-ish mauve lights in the foyer.” Though the theater's lobby was large, it was depressed several feet below grade. The theater was designed mainly for recitals and chamber music performances, but because the first three rows of seats could be replaced by an expanded stage, it could also accommodate small orchestras. Tully Hall is located within of the subway tunnel under Broadway, and this required the insertion of a one-inch-thick, cork-lined asbestos pad between the theater's foundation and bedrock, as well as the isolation of the theater's walls from structural columns. Tully Hall's acoustics were praised as being among the best of any performance hall in Lincoln Center, thanks to the work of acoustician Heinrich