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The middle zone between the central box of the auditorium and the spreading curves of the exterior walls holds many opportunities to nestle smaller spaces. The interior BP Hall (preconcert foyer) and the exterior W.M. Keck Foundation Children's Amphitheater are two inviting examples of such molded spaces. Both are swelling extensions of circulation paths, carved out of recesses in the walls, with comfortable yet reverential proportions.

The BP Hall mimics the finishes of the main auditorium but elegantly substitutes acoustical wood panels for the Douglas fir. Undulating walls reach up to the roof, drawing light from one of the building's four large skylights. Here is one of the few places where one can simultaneously experience the warmth of the interior paneling, the strength of the steel structure, and the California sunlight. This area, for preconcert gatherings and small performances, is one of the most intriguing of the project.

Open daily to the public, the entry lobby and adjacent restaurant, cafe, and gift shop — the latter three interiors designed by local architect Hagy Belzberg of Belzberg Architects — greet the city by spilling out onto Grand Avenue through a large expanse of transparent doors and windows.

Numerous video screens and an overhead sound system connect the open lobby with the orchestra during both performances and rehearsals. Acting as the conduit between the city and the symphony, the entry lobby bustles with energy day and night.

Many of the other lobbies and passages in the middle zone, however, simply feel like odd-angled leftover spaces hiding potential sectional wonders. The lack of clear organization may be egalitarian, but the control of chaos slips a bit here.

The exterior in-betweens, on the other hand, are extraordinary. The public garden wraps around the western and southern sides of the site, providing panoramic views of the city while maintaining a sense of enclosure.

The site is filled with a variety of trees, shrubs, and perennials — all selected to ensure that something will be in bloom year-round. Meanwhile, the curved exterior corridors circumscribing the building create unique spatial experiences reminiscent of Richard Serra sculptures.

Reverberations

Handprints of curious visitors are already beginning to mute the shine of the steel, the orchestra has begun to adjust to the vivacious auditorium, and press attention is waning. But the question remains: is it worth it?

As architecture, the stainless steel exterior forms a stunning organic sculpture set on a deftly planned base of public spaces. As a concert hall, the rich wood interior allows musicians and listeners to dwell inside an instrument of exquisite craftsmanship. As a civic symbol, its very existence is a testament to the commitment of local planners and developers.

Even if the neighborhood never meets the city's utopian expectations, and despite the smattering of awkward spaces and outrageous floral fabrics, the answer remains a resounding yes. To dwell on those secondary issues would be to miss a more important sensory adventure.

Leigh Christy is a designer with John Friedman Alice Kimm Architects in Los Angeles.

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The Walt Disney Concert Hall by Frank Gehry shines in the Los Angeles skyline. Photo: Federico Zignani A sculptural rose in the garden of the Disney Concert Hall. Photo: Tim Street-Porter Conceptual sketch of the Disney Concert Hall. Image: Gehry Partners Pipe organ in the Disney Concert Hall. Photo: Federico Zignani Terrace west seating section. Photo: David C. Miller BP Hall (preconcert foyer). Photo: Tom Bonner Skylights in the lobby. Photo: Federico Zignani Concert hall seats upholstered with fabric designed by Frank Gehry in honor of Lillian Disney's love for all things floral. Photo: BMotion   Click on thumbnail images to view full-size pictures.