Largest Model Furniture Clearing House – House Clearing and Blessings – Getty Museum Garden
Largest Model Furniture Clearing House
- clearing house
- a central collection place where banks exchange checks or drafts; participants maintain an account against which credits or debits are posted
- A clearing house is a financial institution that provides clearing and settlement services for financial and commodities derivatives and securities transactions.
- Clearing House is an obscure working group in the European Union established after the September 11, 2001 attacks. It is comprised of national security services under the Common Foreign and Security Policy who meet regularly in Brussels on counter-terrorism matters.
- A central point where clearing banks exchange checks etc and settle accounts
- plan or create according to a model or models
- a hypothetical description of a complex entity or process; "the computer program was based on a model of the circulatory and respiratory systems"
- a type of product; "his car was an old model"
- a person who poses for a photographer or painter or sculptor; "the president didn't have time to be a model so the artist worked from photos"
The Getty Center, in Brentwood, Los Angeles, California, is a campus for cultural institutions founded by oilman J. Paul Getty. The $1.3 billion Center, which opened on December 16, 1997, is also well known for its architecture, gardens, and views (overlooking Los Angeles). The Center sits atop a hill, which is connected to a visitor’s parking garage at the bottom of the hill by a three-car, cable-pulled tram. The Center draws 1.3 million visitors annually.
It is one of two locations of the J. Paul Getty Museum. This branch of the museum specializes in "pre-20th-century European paintings, drawings, illuminated manuscripts, sculpture, and decorative arts; and 19th- and 20th-century American and European photographs". Among the works on display is the painting Irises by Vincent van Gogh. Besides the Museum, the Center’s buildings house the Getty Research Institute (GRI), the Getty Conservation Institute, the Getty Foundation, and the administrative offices of the J. Paul Getty Trust, which owns and operates the Center. The Center also has outdoor sculptures displayed on terrances and in gardens. The Center was designed by architect Richard Meier and includes a central garden designed by artist Robert Irwin. GRI’s separate building contains a research library with over 900,000 volumes and two million photographs of art and architecture. The Center’s design included special provisions to address concerns regarding earthquakes and fires.
1 Location and history
3 Arrival court and central rotunda
5 Central Garden
6 Getty Research Institute (GRI)
7 Other offices
8 Preparation for natural disasters
9 Panoramic view looking south
11 Further reading
12 External links
Location and history
USGS satellite image of the Getty Center. The circular building to the left is the Getty Research Institute. The two buildings at the top are the Getty Trust administrative offices and the rest is the Museum.
Originally, the Getty Museum started in J. Paul Getty’s house located in Pacific Palisades, Los Angeles, California in 1954. He expanded the house with a museum wing. In the 1970’s, Getty built a replica of an Italian villa on his home’s property to better house his collection, which opened in 1974. After Getty’s death in 1976, the entire property was turned over to the Getty Trust for museum purposes. However, the collection outgrew the site, which has since been renamed the Getty Villa, and management sought a location more accessible to Los Angeles. The purchase of the land upon which the Center is located — a campus of 24 acres (9.7 ha) on a 110-acre (45 ha) site in the Santa Monica Mountains above Interstate 405, surrounded by 600 acres (240 ha) kept in a natural state — was announced in 1983. The top of the hill is 900 feet (270 m) above I-405, high enough that on a clear day it is possible to see not only the Los Angeles skyline but also the San Bernardino Mountains to the east as well as the Pacific Ocean to the west.
In 1984, Richard Meier was chosen to be the architect of the Center. After an extensive conditional-use permit process, construction by the Hathaway Dinwiddie Construction Company  began in August 1989. The construction was significantly delayed, with the planned completion date moved from 1988 to 1995 (as of 1990). By 1995, however, the campus was described as only "more than halfway complete".
The Center finally opened to the public on December 16, 1997. Although the total project cost was estimated to be $350 million as of 1990, it was later estimated to be $1.3 billion. After the Center opened, the villa closed for extensive renovations, and reopened on on January 28, 2006, to focus on the arts and cultures of ancient Greece, Rome, and Etruria. Currently, the museum displays collections at both the Getty Center and the Getty Villa in Pacific Palisades.
In 2005, after a series of articles in the Los Angeles Times about the spending practices of the Getty Trust and its then president Dr. Barry Munitz, the California Attorney General conducted an investigation of the Getty Trust and found that no laws had been broken. The Trust agreed to appoint an outside monitor to review future expenditures. The Getty Trust experienced financial difficulties in 2008 and 2009 and cut 205 out of 1,487 budgeted staff positions to reduce expenses. Although the Getty Trust endowment reached $6.4 billion in 2007, it dropped to $4.5 billion in 2009.
Cactus Garden perched on the south of the Getty Center, with West Los Angeles in the background
Meier has exploited the two naturally occurring ridges (which diverge at a 22.5 degree angle) by overlaying two grids along these axes. These grids serve to define the space of the campus while dividing the import of the buildings on it. Along one axis lie the gallerie
The Seagram Building, erected in 1956-58, is the only building in New York City designed by architectural master Ludwig Mies van der Rohe. Carefully related to the tranquil granite and marble plaza on its Park Avenue site, the elegant curtain wall of bronze and tinted glass enfolds the first fully modular modern office tower. Constructed at a time when Park Avenue was changing from an exclusive residential thoroughfare to a prestigious business address, the Seagram Building embodies the quest of a successful corporation to establish further its public image through architectural patronage.
The president of Joseph E. Seagram & Sons, Samuel Bronfman, with the aid of his daughter Phyllis Lambert, carefully selected Mies, assisted by Philip Johnson, to design an office building later regarded by many, including Mies himself,- as his crowning work and the apotheosis of International Style towers.
The innovative, modular design of the building was a feat furthered by a coalition of talented consultants, a successful collaboration rarely realized in twentieth-century architecture, and by pioneering efforts of research and fabrication. The juxtaposition of the structural members, articulated by extruded bronze, with the transparent glass surfaces of the elegant curtain wall creates the balance between solid and void which typifies International Style design.
Still virtually intact due to the foresighted maintenance plan of the Seagram Company, the building and plaza have inspired the work of many subsequent designers, affected New York’s zoning regulations and real estate tax assessment, and provided a favorable environment for work and repose.
History of the Site
The history of Fourth (now Park) Avenue begins with the advent of the railroads. In 1834 the New York and Harlem Railroad first carried passengers along grade-level tracks down the center of Fourth Avenue from 42nd to 96th streets. By 1848 the New Haven Railroad entered Manhattan along Fourth Avenue. As railroad traffic increased, the avenue was widened to permit additional tracks, and the city mandated depressed tracks to minimize problems of noise, smoke, and the danger of fire and injury.
By the 1880s, Fourth Avenue officially became known as Park Avenue and was lined with one-and two-story commercial buildings and carriage houses serving the brownstone residences on nearby side streets; the trains ran in an open cut below grade to the Grand Central Depot. The east side of Park Avenue between East 52nd and 53rd streets contained the finishing manufactory of the renowned Steinway & Sons piano company; erected in the 1860s, it was a large brick building of five stories.
The remainder of the site which would eventually be occupied by the Seagram Building was divided up into brick-faced tenements on East 53rd Street and brick- and brownstone-fronted rowhouses on East 52nd Street.
In conjunction with the reconstruction of Grand Central Terminal (1903-13) and the electrification of the railroad (1903-07), Park Avenue was rebuilt solidly with a planted mall and the open wells were covered over. The avenue gradually became a thoroughfare lined with large apartment houses for the wealthy. One of these, the Montana Apartments, an eight-story neo-Romanesque building designed by Rouse & Golds tone and faced in brick and stone, was begun in 1919, replacing the Steinway piano factory.
The 1916 zoning resolution designated the portion of Park Avenue north of East 50th Street as residential, but by 1929 major property owners on the avenue, which was overtaking Fifth Avenue as the city’s most prestigious address, succeeded in having the area between East 50th and 59th streets rezoned to permit commercial use.
Not until the building boom that followed World War II did these efforts come to fruition with the completion in 1947 of the Universal Pictures Building at 445 Park Avenue, designed by Kahn & Jacobs. The transformation of Park Avenue into a commercial avenue was assured by the rash of new office buildings in the 1950s: Lever House (1950-52, a designated New York City landmark); Olin Building, 460 Park Avenue (1954) ; Colgate-Palmolive Building, 300 Park Avenue (1954); 425 Park Avenue Building (Kahn & Jacobs, 1956); and the Seagram Building.
Samuel Bronfman and Joseph E. Seagram & Sons
Beginning his business career in the hotel industry in Winnipeg, Samuel Bronfman (1891-1971) later operated a mail order liquor company throughout Canada, eventually founding the Distillers Company, Ltd.
In 1928 this company bought out its major competitor, Joseph E. Seagram & Sons and incorporated the name. With the repeal of Prohibition in 1933, Bronfman began planning an impressive Manhattan headquarters for his Seagram group, not to be realized until the 1950s. At the time of his death, Bronfman had amassed at least $400,000,000 and his company was the