The Getty: A Masterpiece of Humanist & Classical Design
Introduction
Located in Brentwood, California, and towering above Los Angeles, the Getty Center stands as a marvel of contemporary architecture. The Getty Center is named after its founder and original benefactor, the oil baron J. Paul Getty (1896-1976). Getty’s “motives of philanthropy combined with a desire for immortality and social respectability” set forth the motion that yielded this cultural acropolis (Brawne 4).
The Getty Trust, a non-profit organization Paul Getty had established before his passing, commissioned the construction of the Getty Center. The purpose was to create a “unique museological, cultural, and educational facility” (Meier 26) that established a “gated community for art, closely guarded, albeit open to all” (Ouroussoff).
The Getty Architect
From a selection committee that included thirty-three renowned architects, the task of tackling the colossal undertaking was assigned to modernist architect Richard Meier. In Getty’s design, Meier wished to encapsulate his contemporary vision of “space, form, and light, as well as geometric clarity” (Frampton and Rykwert 397).
However, for the Getty, Meier tailored his signature modernist approach: “striking a [perfect] balance between humanist, classical organization and organic forms” (Brawne 1). The Getty’s design celebrates many of the architectural elements of the classical past (stone, philosophy, humanism, natural light…etc.), updated and bathed in contemporary vision.
Richard Meier
Richard Meier was born in 1934 in Newark, New Jersey, into a liberal Jewish family. He attended Cornell University, where he received his architectural training. Upon his graduation in 1957, he traveled extensively throughout European cities in Italy, Greece, and France. During this period, he “discover[ed] not only the ancient world but also Renaissance and Baroque architecture as well as classical monuments” (Meier 7).
Returning to New York City in 1963, Meier launched his architectural firm designing public and private housing. These modest beginnings eventually evolved, yielding notable and award-winning architectural works throughout Europe and the US. The list “include[s] the High Museum of Arts in Atlanta, the Canal + Television headquarters in Paris, and the acclaimed Museum of Contemporary Art in Barcelona” (Meier 205).
Most of Meier’s significant architecture, leading up to the Getty project, was in accordance with his “modernist style of pure geometric line, of whiteness, and open spaces flooded with light” (Meier 205).
Meier “first received a letter of inquiry about designing the [Getty]…in October 1983” (Brawne 7). On October 12th, 1984, at his 50th Birthday celebration, he was asked by Bill N. Lacy, the head architectural advisor of Getty’s selection committee, to submit a final written account of the “overall approach” to Getty’s design (Meier 35).
The report’s primary purpose was for Meier to ease the concerns harbored by the Getty committee regarding his modernist approach to architecture. Meier reassured the committee that his signature modernist influence on the Getty’s design would be toned down to project the desired classical image. On October 26th, 1984, the final go-ahead was given to Meier, which set forth the long and complicated process of building the Getty.
Getty Center Construction
The entire phase of the Getty Center, from planning, design, and development, lasted 14 years. The project also exceeded the initial cost estimate of 300 million dollars by an additional billion. The Getty Center undertaking was continuously plagued by lawsuits, zoning, and building regulations – all of which required design changes, thus halting construction.
In 1985, Meier and the Getty building committee set out on a European-American tour to “analyze how various museums, libraries, and cultural centers had responded to the kind of problems [they] were confronting” (Meier 51). On December 16th, 1997, the doors of the Getty were finally opened to the public, marking the completion of one of the enormous architectural complexes designed and constructed using private funds.
The Getty Design
In designing the Getty, Meier desired to capture the “American attitude of openness, warmth, and flexibility” in addition to incorporating the “European-derived ideal of permanence, specificity, and history” (Meier 37). The Complex of the Getty, occupying 110 acres of a hilltop 896 feet above sea level, is reminiscent of the classical Greek acropolises.
The Getty’s “alternately fluid and massive forms –and the materials ….used to express these forms” is a direct reference to Greek temples like the Parthenon, which “strike a balance between classical human concerns and the more immediate natural substance of the rugged setting (Frampton and Rykwert 362).
Meier’s passion for natural light, open spaces, and the sense of creativity offered by Los Angeles prompted him to design the Getty to capture the city’s natural and cultural beauty by framing it through its architecture.
Indeed, the panoramic view from the Getty (like the Greek acropolises) provides a canvas that would be hard to find in any museum. “Just as one can appreciate the layout of Rome from its elevated landmarks, so does the hilltop site of the Getty Center offer the best place to see and understand Los Angeles”(Williams 33).
Belvedere Architecture
In architectural terms, the Getty is referred to as a Belvedere. Belvedere’s an architectural feature of a building, designed and situated to look upon a pleasing scene due to its “astonishing view and the lines of the land that determine so much” of the Getty design (Brawne 4). The Getty complex is “comprise[d] [of] the J Paul Getty museum, five separate arts and humanities institutions, and landscaped gardens and terraces,” positioned along two natural (earthquake) ridges (Brawne 1). The two ridgelines meet at the rotunda at a 22.5-degree y-shaped angle.
Technologically, much had changed from the days of the Greek acropolises, when a visitor was expected to walk the long processional ascent to the top. At The Getty Center, a ¾ mile-long tramway leads the visitors to the apex as the Getty unveils in all its majesty. The Getty’s image of solidity and humanist composition presents an “Aristotelian structure” rising from the hill (Frampton and Rykwert 362). Like the Propylaia of the Greek acropolis, the museum entrance hall opens to a courtyard. There, “six buildings [are] set around a large central plaza bespeak[ing] Meier’s sleek signature modernism” (Fox).
The Getty complex is “undeniably the latest manifestation of a long architectural tradition [having] its roots in the Graeco-Roman world” (Brawne 35). The classical dimension of Meier’s contemporary concepts is accomplished through his references ranging from “the Romans to Hadrian’s Villa, to Caprarola-for their sequences of space…[that convey a] … thick-walled presence …[and a] sense of order” (Frampton and Rykwert 362). For those familiar with the Roman Villa of Emperor Hadrian, there does not seem to be any analogy in design between the Villa and The Getty Center.
Arguably, there is little to “no resemblance in the architecture, but again it’s in the formal concepts-here of asymmetry and surprise and of the long walls that extend into the landscape relating built form to nature” (Williams 33). In the Getty Center, much like Hadrian’s Villa, the walls are “diagonal or orthogonal in the plan, and then there are curvilinear forms within” (Lacy).
The curvilinear forms that “echo [the] contours on the site” also mirror the curvature of the coastline (Brawne 15). Due to imposed height restrictions on the Getty buildings (60 feet above the grid), the structures extend underground into interconnected subterranean service tunnels not accessible to the public. Although indirectly, this too is a reference to Hadrian’s villa; the service personnel resided in underground quarters, invisible to the emperor’s guests and visitors.
The surrounding landscape and the aquatic elements (fountains and pools) found within the Getty also make the complex “akin to Hadrian’s villa where the vegetation, water, and buildings were closely enmeshed” (Brawne 15).
The Getty Center Landscape
The landscaping of the Getty is a work of art in itself, just as fascinating and enchanting as the topography and the architecture. Characterized by” the shifting axis, the geometric ordering of trees… [and] controlled use of scarce water”, the landscape is evocative of the “villa gardens of the Italian renaissance” (Brawne 35).
To invoke Meier’s desired serenity, the Getty complex is surrounded by greenery. Eight thousand trees were planted in and around the Getty Center in addition to the elaborate gardens and vegetation. Meier’s compulsion with his signature grid pattern (30×30) also prompted him to undertake the landscaping design.
The greenery (green- trees, vegetation …) encompassing the Getty is omitted from within the complex. The trees present within the Getty have the appearance of being frozen in time in their autumn transformation. The trees are planted all in a line, at 15 feet intervals, and are pruned in the shape of a square, implying a humanistic touch. All the trees were planted full-sized, and the vegetation was placed in pots to control their growth.
A helipad tower located on the north end of the complex also serves the purpose of a modern-day cistern. Like cisterns found in Roman cities like Constantinople, the cistern has a capacity of thousands of gallons of water used for land irrigation and firefighting purposes.
The Getty Material Design
The Getty’s conventional structure is composed of its reinforced steel skeleton sitting on a concrete base. The “limited palette of materials” favored by Meier consisted “primarily of color-coated metal panels, stucco, and glass,” to which stone was added for its classical image (Brawne 30). Meier stated that “the materials used should affirm th[e] image of the solidity of permanent presence in the landscape” (Meier 37).
To control the massive weight of the structures, the white panels and the sheets of stone are attached to the steel structures with metal clips with hollow spacing in between. The use of the color-coated panels and the color white, in particular, was controlled and limited to minimize the reflection of sunlight on the residential neighborhoods.
Two additional concepts that played heavily into Getty’s design were the “private” and “public” aspects rooted in a classical past. The public components- the visitor buildings, museum galleries, and pavilions are arranged along the urban grid (east) facing the city and are distinguished by the white canopies at their entrances.
It has been suggested that the East and North buildings on the urban grid display “characteristics of Europe’s 1920s Bauhaus movement, as well as twentieth-century Los Angeles buildings by Richard Neutra, Frank Lloyd Wright, and Rudolph Schindler” (Malloy). The private components- the Institute of Arts and Humanities are located west of the complex and are distinguished by their circular shape.
“The building’s curvature expresses the center’s essential introspective and analytical nature” and is the only building closed to the public (Frampton and Rykwert 356). Arguably “Meier’s greatest success comes in providing in-between spaces that allow the eye to wander while still pulling the visitor along in an artistic reverie” (Ouroussoff).
Humanist Design Pattern
In Getty architecture, Meier extensively expresses his deep commitment “to human scale in design and the creation of an appropriate relationship between works of art and the environment in which they are viewed” (Brawne 9). One of the most influential design concepts of the Getty is the classical element of humanism that is dominant in classical temples.
The 30×30-inch grid pattern is used for the Getty’s entire composition without deviation. Without exception, every aspect of the Getty’s design consists of the 30×30 grip pattern, whether as a multiple or a fraction of a 30. In Western culture, the 30×30-inch scale is symbolic of the human form; man is the measure, and this dimension is considered the ideal human space.
This proportion has been used extensively throughout history in art and architecture and is a common feature in Meier’s design concepts. The entire facades of the structures, including the glass elements, are broken into this human dimension to avoid overwhelming and intimidating visitors. The journey through the Getty’s “intoxicating dance of square shapes and curves” is accented by “the sudden appearance of abstract spaces amid apparent order” (Bradley).
The result is the fulfillment of a neo-classical idea “based on a philosophy which integrates aesthetics, context, and function into a contemporary vision of architecture that is spirited-in all senses of the word-human” (Brawne 8).
The desired vision of the Getty Trust for this cultural Mecca was not only to house history but to contain its own. Thus, there was a limit to modern building materials favored by Meier, who was forced to substitute them with classical stone. In addition to the fact that stone is “associated with public architecture, “stone also “expresses qualities the Getty Center celebrates: permanence, solidity, simplicity, warmth, and craftsmanship” (The Getty Center).
As a tribute to Getty’s classical collection roots, Travertine was selected as the stone of choice after extensive consideration. The honey-colored limestone (Travertine), referred to as “Getty-white,” closely resembles the rocky mountain formations of southern California and reflects the warmth and history desired by the Getty Trust. The historical significance of Travertine is undeniable, having contributed significantly to classical Roman architecture (Williams 35).
This form of limestone is found in an ancient lake bed quarry in Bagni di Tivoli, Italy; the same source that supplied the stone for architectural icons like the Roman Coliseum and Saint Peter’s Basilica, in addition to contemporary buildings such as the Lincoln Medical Center.
To enhance the historical value of the Getty’s structures, the stones were cut “using a guillotine to produce a unique finish” that exposed the fossilized remains of leaves, small animals, and branches. Ultimately, Travertine became the signature stone of the Getty – 16 000 tons of Travertine was quarried and transported from Italy to Los Angeles in six years.
Use Of Natural Light
Much like the Parthenon, the “light and [the] sun are the center factors from which the [Getty’s] architecture evolves” (Brawne 25). Using natural light as an architectural element has survived the test of time, successfully integrating it into a contemporary vision. Although (natural light) is a dominant feature in classical architecture, unlike today, it was utilized more out of necessity than desire.
Nevertheless, contemporary architects like Meier are adamant that “light is the best and most versatile building material” (Browne 9). The extensive glass usage for the Getty’s façade is a testament to Meier’s conviction. The structure’s interiors and the major sections of the museum galleries are all illuminated by natural light. The glorious California sun provides warmth and enhances the museum experience by delivering the perfect light viewing conditions for admiring the works of art.
Due to the dangers posed by sunlight to aging art works, computer-controlled louvers (invisible to the eye) embedded inside the glass regulate the natural light exposure to sensitive material. Furthermore, the “facades” of the Getty Center “integrate exterior sunscreens, which make it possible to control the level of sunlight without closing the exterior shades” (Williams 39). In addition to endowing sunlight, the glass provides a lightweight image of the Getty, which is always a desired illusion for structures on hilltops.
Conclusion
Throughout human history, “there is no culture that has not placed its best buildings high, that has not directed its ambitions to the sky” (Williams 19). Just as the Athenians erected the Parthenon to display their power and prosperity, so stands the Getty Center dominating and monopolizing the art world.
The Getty Center architecture captures the classic-contemporary amalgam that Meier envisioned. Quite simply, the Getty Center expresses “an essential and classical drive – the drive to find enlightenment in the highest achievements of humankind” (Frampton and Rykwert 362).
References
Bradley, Jeff. Going to the Getty Will L.A. Truly Savor the Center. Denver Post, 04 Jan. 1998. Web. 3 Dec. 2011.
Brawne, Michael. The Getty Center – Richard Meier and Partners. London: Phaidon Presse Ltd, 1998. Print.
Fox, Catherine. The Getty Center – $1 billion complex opens this week in Los Angeles, but Herculean effort somehow lacks Olympian grandeur. Architecture Review –The Atlanta Journal, 14 Dec. 1997. Web. 3 Dec. 2011.
Frampton, Kenneth and Joseph Rykwert. Richard Meier Architect. New York: Rizzoli, 1991. Print.
Lacy, Shomari. Getty Museum. University of Kansas School of Architecture and Urban Design, 1 Apr. 2005. Web. 5 Dec 2011.
Malloy, Betsy. Getty Museum. About.com California Travel, 1 Dec. 2000. Web. 5 Dec. 2011.
Meier, Richard. Building the Getty. New York: Alfred A. Knopf, 1997.
Ouroussoff, Nicolai. Realizing a Utopian Goal in Center That Doesn’t Cohere. Los Angeles Times, 1 Dec. 1997. Web. 4 Dec. 2011.
“The Getty Center- Architecture.” The Getty: Things to Do and See. 2011. Web. 3 Dec. 2011.
Williams, Harold Marvin. Making architecture: the Getty Center. Los Angeles: Getty Publications, 1997.