The Getty Villa and Getty Center in Los Angeles may share the same name, but the approach to each site is vastly different.

Oversized polygonal cobblestones patterned after those paving ancient Roman roads line the Getty Villa's driveway. As my family and I wend our way upward, the hustle and bustle of the Pacific Coast Highway is left far behind, though glinting waves can still be seen in the distance. As stately trees filter out the Southern California sunshine, tranquility prevails.

Ahead of us lies the ornate Getty Villa, inspired by the actual Villa dei Papiri in ancient Herculaneum. It makes us wonder if we are still in posh Pacific Palisades, or have been transported back to first-century Rome.

Modernity, however, is present from the moment we set foot on the grounds of the Getty Center.

The tram station at the parking lot is flanked by the Fran and Ray Stark Sculpture Garden of 20th century, primarily abstract art. The unmanned tram whisks guests past bird's-eye views of the widespread metropolis Angelenos call home.

At the top of the hill, the Center's contemporary white buildings, designed by architect Richard Meier over a period of 13 years, juxtapose glass, curves, and grid-like squares with dramatic effect. The Center definitely shouts L.A. in the 21st century.

Despite their differences, the Villa and Center are both the legacy of oil magnate J. Paul Getty. The original museum debuted in 1954 on the current Villa site, showcasing predominantly classical art. In 1968, the actual Villa was built, and began accepting visitors in 1974. After closing in 1997 for renovations, it reopened in 2006. Meantime, the Getty Center was launched at its new Los Angeles site in 1997. Over the past decade, the latter has received an astounding 13.7 million visitors. The reasons why are legion.

WHAT BOTH LOCATIONS HAVE IN COMMON ARE A VAST TROVE OF SUPERB ART

THE GETTY VILLA

The TimeScape Room is a good place to start for visitors who would like a visual encapsulation of classical Mediterranean art styles (or for those who, like me, need a refresher in ancient history). We learn that the Villa's collection focuses on ancient Greek, Roman and Etruscan art. The lesser-known Etruscans once lived in what is now central Italy and were highly influenced by Greek society. For background on the building itself, "The Making of the Getty Villa" is a 12-minute film shown at 15-minute intervals in the Center Theater.

More personalized overviews can be had with the popular tours led by informed and enthusiastic docents. We opt for the Orientation and Architecture and Gardens tours, both 40 minutes long. Entertaining facts are revealed, such as what the ancient Greeks used for toilet paper (sea sponges), or if Greeks would choose to sculpt a body based on reality or illusion (they opted for the latter).

Wandering through the Villa, it is hard to decide which is more compelling, the setting or the 1,200 works on display. Entering the airy atrium feels like stepping into a royal Italian palace, complete with embellished Corinthian columns, gushing fountains and arched doorways. In every direction, artistic touches surround us, as in the fresco ceilings or detailed marble flooring.

The gardens each have their own character. The Herb Garden contains plants once used for medicine or cooking exotic dishes such as flamingo tongue or roasted peacock (which, by the way, are not part of the Villa Cafe's menu).

The highlight of the secluded East Garden is a multihued fountain, its intricate mosaics and overall design modeled after a water fixture in Pompeii's House of the Large Fountain. The Outer Peristyle has a reflecting pool flanked by trellises and quiescent walking paths. By limiting the number of visitors each day, the Villa's administration is able to maintain a roomy feel. People from all stages of life can be seen strolling here, among them amorous couples, mothers with infants and retirees.

The galleries primarily house thematically organized vessels and sculptures, though coins, jewelry, gems and glasswork are included in the collection. Numerous exhibits highlight various mythological heroes, deities and creatures (an entire room is dedicated to griffins).

A section devoted to ancient athletics reveals tidbits such as how the Olympic contestants used to compete naked. History is relived through stories of the Trojan War. Other rooms are dedicated to men, women, children and even animals in antiquity.

The Villa also supports performing arts. Roman plays, Greek drama and diverse concerts are featured during the summer in the classical-style outdoor theater. The main Museum Store and the new garden-focused Explore Store meet retail therapy needs. Up at the Cafe, Mediterranean-style dishes are generously portioned. While consuming decent lasagna and a Greek chicken sandwich, my family basks in the panoramic al fresco setting.

Children enjoy the Family Forum room, where they can act out Greek dramas or touch replicas of ancient vessels to their hearts' content. The complimentary Art Detective Cards are a definite must, inspiring youngsters (and the young at heart) to locate works of art and determine why a certain statue is discolored or what is about to pinch Herakles' (Hercules') foot in a particular painting.

In fact, the Getty Villa brings out the child in each of us; with curiosity piqued, we make discoveries about the fascinating genre of classical Mediterranean art.

THE GETTY CENTER

Art at the Getty Center is meant to be experienced holistically, not merely gazed at from behind velvet ropes. Listening to medieval chants while viewing illuminated choir books, sketching from original art, and becoming part of the futuristic Central Garden by ascending its zigzagging ramps all lend themselves to interactive encounters.

The first "gallery" we encounter is the Fran and Ray Stark Sculpture Garden adjacent to the tram boarding area. Another collection of related works is found on the eponymous Sculpture Terrace. Scattered throughout the grounds are close to 30 imposing 20th-century masterpieces. Recognizable by the signature styles of their artists are Joan Miro's abstract Figure, Rene Magritte's surreal Delusions of Grandeur, Alberto Giacometti's elongated Standing Woman I, and Alexander Calder's brightly-painted Spiny Top, Curly Bottom. Hard to miss is Martin Puryear's commissioned That Profile, which towers over disembarking visitors as it frames both the Center and the surrounding area.

Architect Richard Meier's strategic use of glass makes the curvaceous Entrance Hall feel spacious despite the large number of visitors. Unlike the Villa, whose works are primarily contained in one building, the Center feels almost overwhelming at first with its five multilevel pavilions, research institute, extensive gardens and other assorted buildings. Thankfully the information booth is chock-full of helpful literature, including a What to See brochure for visitors whose time is restricted, or award-winning Art Detective Cards to keep the little ones amused.

For more in-depth exploration, tours, gallery talks, lectures and conferences are available ranging from The Art of the Armorer in 16th-Century Europe to Côte à Côte: Art and Jazz in France and California. Courses and demonstrations include the Color Theory Workshop and Miniature Painting.

As at the Villa, performances, film and video showings round out the experience (after all, the Center is less than 10 miles from Hollywood).

The galleries cover five main types of art. On the upper floors, an extensive collection of paintings illuminated by adjustable skylights are divided into three time periods: before 1600, 1600-1800, and after 1800. Titian's "Venus and Adonis," Rembrandt's "Daniel and Cyrus before the Idol Bel," and van Gogh's "Irises" are among the masterpieces.

The decorative arts are displayed in context, with entire rooms, from the wallpaper to the lighting, reflecting appropriate period furnishings. Intriguing objects include the elaborate trefoil Basin with Deucalion and Pyrrha, perhaps used for pre-meal hand washing, or the hot air balloon-shaped chandelier that was designed to allow goldfish to swim in it (sorry, live fish are not part of the current display).

Drawings and sculpture from a range of time periods can be found throughout the pavilions. As onlookers observe, would-be artists draw from original works of art in the East Pavilion's Sketching Gallery. Eager tykes participate alongside serious-minded adults; all are free to post their final results. Close by is the Family Forum, where children can create a tube sculpture, hunt for art in the walls or simply rest in a royal 18th-century style bed.

Several special exhibitions on photography are on display, including Edward Weston's prints and Luc Delahaye's depictions of recent world events. The Research Institute houses Evidence of Movement, a look at how performing arts have been captured via traditional media.

One of the most popular exhibits is Nicole Cohen's "Please Be Seated." I find out why upon entering the exhibit space. Six chairs, replicas of actual 18th-century chairs that can be found throughout the Center, have been placed in front of overhanging video monitors. The docent encourages me to sit down. Instantly I am part of the art; the screen depicts me perched in the chair, but the background has changed to the chair's original setting, Versailles. The exhibit brings into question the differences between reality, fantasy, and the ever-widening virtual world.

Besides sitting in Cohen's chairs, visitors can take a break by scoping out the main store or the specialty shops, catching a bite to eat in either the restaurant or one of the two cafes, picnicking on the lawn, or browsing the material in the Reading Room.

No visit to the Center would be complete without viewing the tightly-knit Cactus Garden on the South Promontory, reflective of the area's desert climate, or ambling through the striking Central Garden on the way back to the tram. Designed by Robert Irwin, the latter includes a maze of 400 azaleas set in a circular pool, and a stream whose sound changes due to careful placement of rotund boulders. A mix of nature and the manmade, the commissioned area's trees, rocks, and flowing water offset the steel bridges and concrete ramps which lead to the Center's exit. Thanks to the outdoor sculptures and the modernism-influenced garden, we continue to interact with art up until the very end of our stay, and even take a slice of this home in our minds as we reminisce about our Getty experiences.