Japanese Pavilion

Overview

Nestled within the sprawling Los Angeles County Museum of Art (LACMA), the Pavilion for Japanese Art offers a uniquely serene and contemplative space dedicated to the rich artistic heritage of Japan. Often simply referred to as the 'Japanese Pavilion', this distinctive architectural marvel houses a vast collection spanning from ancient times, around 3000 BC, through to the 20th century. Designed by the visionary architect Bruce Goff and completed posthumously by his associate Bart Prince, the pavilion itself is a work of art, opening its doors to the public in 1988. Its unconventional design and thoughtful integration of natural light create an unparalleled environment for appreciating Japanese art, making it a beloved, albeit sometimes overlooked, gem in Los Angeles.

The 32,100-square-foot structure is a three-level building composed of two wings, offering exhibition galleries, a study area, a library, offices, and storage facilities. The pavilion stands as a quiet counterpoint to the broader LACMA campus, an intended 'house of tranquility' amidst the urban bustle of Los Angeles. It showcases masterpieces ranging from archaeological artifacts and ancient sculptures to delicate screens, scrolls, and intricate netsuke, providing a comprehensive journey through Japanese artistic expression.

History & Cultural Background

The genesis of the Pavilion for Japanese Art is deeply intertwined with the passion of collector Joe D. Price. Price and his wife, Etsuko Yoshimochi, were instrumental in its creation, bequeathing over 300 Japanese scroll and screen paintings from their renowned Shin'enkan Collection to LACMA in 1983. Beyond this generous donation of art, Price also contributed $5 million in seed money towards the construction of a dedicated building to house this exceptional collection. The museum committed to maintaining and exhibiting the collection, raising additional funds to bring the vision to life.

Bruce Goff, an idiosyncratic visionary influenced by Frank Lloyd Wright, was chosen as the architect. Goff's designs were often considered radical and unconventional, and the Japanese Pavilion would be his last major public building project. Sadly, Goff passed away in 1982 before the building's completion, and his former associate, Bart Prince, undertook the crucial task of translating Goff's imaginative plans into working drawings and overseeing the construction. The total construction cost for the pavilion amounted to $13 million. Its survival within LACMA's extensive redevelopment plans, notably under the Pritzker Prize-winning architect Peter Zumthor, speaks volumes about its recognized architectural significance and enduring value.

What Makes It Special

The Pavilion for Japanese Art is truly exceptional due to its pioneering architectural approach to art display. Goff's design intentionally departs from conventional museum layouts, favoring organic forms over rigid right angles. The exterior, with its convex triangular walls and tusk-like beams, has inspired varied comparisons, from warrior helmets and dinosaurs to Shinto temples and even structures from Disney's Tomorrowland. This unique aesthetic is carried through to the interior, where sweeping ramps wind through the different levels, creating a sense of climbing through a garden.

Perhaps the most revolutionary aspect is the use of Kalwall, a translucent fiberglass material, for its exterior walls. This material mimics the subtle diffusion of light found in traditional Japanese shoji screens, allowing natural sunlight to permeate the exhibition spaces. This natural illumination is not merely aesthetic; it is crucial for viewing Japanese art, particularly screens and scrolls adorned with gold leaf. The changing natural light reveals dimensional levels and intricate details that often remain hidden under artificial lighting, approximating the original viewing conditions for these historical works.

Stories, Fun Facts & Local Details

The journey of the Japanese Pavilion from concept to reality was not without its challenges. Initially, Bruce Goff had envisioned a gallery for Joe Price's collection at Price's Oklahoma estate, and later, it was considered as a wing for the Metropolitan Museum of Art in New York, before finding its permanent home at LACMA. The construction at the LACMA site presented unique difficulties, including the absence of bedrock, the necessity to vent methane gas from the adjacent La Brea Tar Pits, and adherence to stringent Californian seismic codes. Even the discovery of prehistoric fossils underneath the foundation caused delays.

The building's curvilinear forms, resembling lotus or ginkgo leaves from above, further connect it to nature and Japanese aesthetics. The interior features six massive columns, hidden within the walls, which support the roof. This structural choice is a subtle nod to traditional Japanese architecture, where exterior walls are often non-load bearing. The Raymond and Frances Bushell Netsuke Gallery, located on the plaza level, showcases an impressive collection of 827 miniature sculptures. These tiny, exquisitely carved objects, used to fasten carrying boxes to kimonos, offer visitors a 360-degree viewing experience, highlighting the intricate artistry of this unique Japanese craft.

Visitor Perspective

Visiting the Pavilion for Japanese Art offers a distinct experience compared to other museum wings. The building's design encourages a slow, contemplative pace. The spiraling ramp invites visitors to ascend gently, allowing glimpses of art from various perspectives, above and below, much like wandering through a traditional Japanese garden. The soft, natural light, which shifts with the time of day and weather, creates an ever-changing ambiance, ensuring that each visit can offer a slightly different visual encounter with the artworks.

The east wing, specifically designed for screens and scrolls, presents these works in tokonoma-like settings, echoing the traditional viewing alcoves found in Japanese homes. This thoughtful presentation allows for an intimate engagement with the art, honoring its original context. While the broader LACMA campus undergoes significant transformation with new structures, the Pavilion for Japanese Art has been deliberately preserved, underscoring its status as a cherished and vital component of Los Angeles' cultural landscape. It remains a quiet refuge, a place where the timeless beauty and profound cultural narratives of Japan can be experienced in a truly immersive way.