I visited The Broad in Los Angeles last year. Living next door to the world famous Walt Disney Concert Hall by the starchitect Frank Gehry, The Broad manages to hold its own despite its famous neighbor. (all images clicked by self)
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The entrance to the place is rather dark, gloomy, and almost claustrophobic. The ceiling height is also relatively low, which is unusual for museums.
But the minute we take the escalator to the next floor, the entire scene and mood changes. There is light, and the room becomes airy and light.
The space then truly enlarges, giving space for its showstoppers, the balloon sculptures from Koonz.
Trying to analyze why I felt amazing in that space, I feel that the roof structure had a lot to do with it. The conventional white/sterile space, used as a backdrop so the exhibits could shine, would have been very different if not for the patterned roof. The signature tessellations follow the patron as they make their way through the museum, and this binds the building into one.
A similar concept of using white to highlight the artworks is used in the Getty Center, also in Los Angeles. While The Broad seeks the spotlight and stands out in its surroundings, the more somber Getty Center blends into its context.
The response to context in the Getty Center, a trademark of architect Richard Meier, is a visual treat. The use of local materials, the perfect light tones to complement sunny California, and a stunning landscape to match the imposing structures, all make it design marvel.
The Getty Center has a good play of volumes, making the entire space interesting.
