The paved and planted Plaza unites and links all the facilities visually, while the Glass Hall and its bridge links to the Auditoria, organise the main pedestrian movement within the complex.
Above at 3rd floor level are the main Auditoria support spaces and dressing rooms.
Level 4 contains the major stage platform areas to Halls A and C, the Rehearsal Room and further dressing rooms and other back-up spaces, the VIP and Green Room and the first tiered levels of the two principal Auditoria.
The Reception Hall mediates between these two huge auditoria and two floors above, on level 7, is topped by Hall B, a flexible cubic subdivisible volume.
Here, the wavy roof was originally adopted to cover the tall fly-towers and lower auditoria within an integrative form, in much the same way, in Hertzberger's analogy; as a car bonnet covers the engine with an identifiable form.
This expresses the presence of the foyer on the outside, while the stairs that reach up from the foyer across the front and back of the building grasp the auditoria in a graphically tentacular embrace.
The auditoria, which are structurally separate so that even sounds of 100dB are not transmitted between them, are walled in in-situ concrete and roofed in precast double T-beams.
Outside, the auditoria are rendered white, and fly-towers and the space above them and the auditoria are clad in ribbed metal siding in grey and dark brown respectively.
The key to the project was Piano's decision to dissect and reinterpret the original programme, which called for a single building housing three auditoria.
Sandwiched between the auditoria, the fragments of the Roman villa can be surveyed from the concourse through a large vitrine.
Here, each of the three auditoria responds to a precise musical configuration.