The organisation - organizations forming the project program of the Getty Center in Los Angeles, CA

Architectural Review, The, Feb, 1998 by Ivor Richards

The design and finish of the museum galleries surrounding the courtyard has been the subject of much debate and exhaustive research. Ultimately, Meier has deferred to the wishes of museum director, John Walsh, and many of the spaces have been fitted out by Thierry Despont, in particular the decorative arts galleries, which include whole room installations - notably a garden-room by Ledoux - an axial mirrored interior, a Neo-Classical panelled room in cool grey and gold.

Many of the galleries, especially for paintings, are finished with colour-painted or fabric walls all related to the hang. These again reflect curatorial policy. However, and particularly in the atrium spaces transitional white volumes with top-light, frequently incorporating travertine staircases - the spirit of Meier's seminal Atlanta High Museum re-emerges. Equally in a few galleries, for instance those for sculpture in the north and west pavilions, Meier's original finishes have prevailed. These include Barco-travertine flooring, upstand edges and architrave reveals, a tobacco-walnut colour stone, with a honed finish. This is coupled with elegant, traditional self-coloured grey stucco.

Equally, in all other galleries (except special exhibits and decorative arts) Meier's details and principles have endured. The double-height cross-section and coneshaped lining, generally white, delivers even natural light. Known as 'The Dulwich', the gallery typology has developed the simple principles of John Soane. The most widely used finishes and details are light American oak floors, upstand edges and architrave linings. Picture-rail and louvered skirting act as linear air handlers. The rail supplies and skirting extracts yielding a constant environment to the wall surfaces.

The naturally illuminated art and the quality of experience of the museum pavilions, and their scale, interspersed with spaces of relief, provide an experience that must rank as one of the finest in the world of major art galleries.

Research Institute

The Research Institute (pp38-40), approached at museum plaza level, is, without doubt, the most serene and unified architecture and idea of the whole Getty Center ensemble. After many initial studies, it was decided the brief itself was flawed and did not yield the true expression of the programme. Meier's determination to pinpoint exactly the right solution for Kurt Forster (director at design stage), was eventually resolved in the circular form. The courtyarded form is cut open - a great wedge is voided - signalling rotation and openness. This project is aptly summarized as 'a path through the collections'.

Essentially a great combination of offices, study areas, library and special collections, for visiting scholars and resident staff, the Research Institute is centered on a spiralling glass ramp, which surrounds the central court. A massive beige-panelled structure, with a white centre, standing on a great archival stone plinth, which houses support facilities and some 26 miles of bookshelves in open and closed stacks, the building is pure Meier and Palladino (a principal in charge). It is clear that the union between client, programme and architect is complete, resolved and deeply fulfilled. The building has an atmosphere of deep joy, in its creation and existence. It is a superb place to study, work and relax.