On the hilltop - panoramic view of the Getty Center in Los Angeles, California

Architectural Review, The, Feb, 1998

The magnificent site, with views to the snow-capped San Gabriel mountains and out into the Pacific panorama which are sensational, the quality of the buildings - their variable geometry and material presence, the promise of the collections within, the climate and the almost monastic sense of elevated peace, combine into a truly phenomenal achievement. Richard Meier's powers in the making of urban space are confirmed in this masterly site plan.

The heart of the museum

From the datum of the main staircase head, one is then confronted with the super-transparency of the white entrance rotunda and the vistas through its huge opening glass walls into the greatest place in the complex - the museum courtyard (p42). At least 390ft in length, and interspersed with events such as bandstand, fountains and trees, this magnificent urban-room is open to the sky, with its long vista southwards to the city and Pacific, and westwards out under the colonnaded loggia of the skewed cubistic form of the special exhibits gallery to Catalina Island and the void cylinder of the Research Institute. The museum cafe terrace enjoys spectacular vistas below.

The rotunda itself, always flooded with changing arrays of light (p43), is flanked by cloakrooms and a bookstore and opposite, two beautifully crafted, maple-panelled orientation theatres.

Two principal routes to the museum galleries then emerge. One is to step out into the court and go to the first cluster of galleries (north pavilion) from its related entrance and thereafter to rotate through the 30 x 30ft rooms of the nine-bay, atrium-centred square, with variants, interlinked at court level. This route extends around the court and culminates in the western pavilion with the decorative arts. This route also contains sculpture, illuminated manuscripts and photography.

The gallery typology fits into a 30 x 30 x 30ft cubic matrix and offers a range of volumes from square to rectangular 1 1/2 or 2 bay units with optional sectional profiles and skylights which, on the first floor, give delicately controlled natural daylight.

The alternative route (to the upper galleries) emerges by going up the grand travertine and steel staircase in the rotunda and then proceeding by a series of vestibules, verandas and loggias, with resting places, through the paintings collection. This route is broken by an extensive roof terrace, with planting and shade pergolas at the southern corner, where it is possible to serve refreshments or give a party. Yet again, from this elevated, privileged retreat the vistas are even more sublime, in every direction.

A web of incidents

Any sense of museum-fatigue is virtually eliminated by the thoughtful incidence of gallery seating, resting spaces, atria, break-out roof terraces and astonishing vistas.

The upper level route is broken at the southern pavilion where one descends to the courtyard, experiences the circular fountain and then ascends again, by staircase or lift, to the museum exhibition pavilion for special exhibits and loans. In turn these are linked by an external gallery - a breezeway - a favourite Meier device that occurs over and over again from the early Saltzman House, through the Weishaupt Forum (AR March 1994) to culminate in the Getty.