EDITORIAL : THE GRAND GETTY; NEW MUSEUM ON A HILL ELEVATING L.A.'S IMAGE.

WHEN the $1 billion J. Paul Getty Center opens its doors to the public Dec. 16, it will instantly become the greatest cultural facility in Los Angeles.

In a city that virtually invented hype and grandiose openings, that may sound like an extravagant claim.

But the Getty Center Trust truly has done something great.

The magnificent ensemble of buildings that house the multimillion-dollar collections and educational facility put Los Angeles on the global map of art culture. Angelenos can feel proud they now have a cultural institution on par with New York's Metropolitan Museum of Art, the Louvre in Paris and the Prado in Madrid.

We applaud Getty Center architect Richard Meier, museum director John Walsh and President and CEO Harold M. Williams for giving us all a reason to look up in awe at this landmark.

Perched on a hill in the Santa Monicas with an expansive view from the ocean to downtown, it is the only public building in Los Angeles that ties the city together both visually and physically, a staggering achievement by itself.

After 13 years of struggle, compromise, planning and construction, the only real question that remains is whether the Getty will mean art for the masses or the elite?

That is a topic that has dogged Getty officials since they decided to expand the museum. At one time, museum officials were being urged to buy and renovate the Ambassador Hotel, making it easier for more people near downtown and South Central Los Angeles to enjoy the Getty.

The Getty instead opted for land in Brentwood near the gated gentry.

That fact alone does not make the Getty elitist and out of bounds for ordinary residents. The Getty is committed to public service, and will serve as an invaluable resource in art education and appreciation for students throughout the metropolitan area.

As the only art institution in the country funded entirely with private money and no government sponsorship, it also has no money worries thanks to the vast wealth of the Getty Foundation. That not only means the Getty has acquired a formidable collection quickly, it also allows the museum to continue offering free admission.

The only charge at the new facility will be a $5 parking fee.

More troublesome is having to call in advance for parking reservations, which doesn't allow visitors to pull off the 405 Freeway on a whim.

For now, that's a minor annoyance that's easily endured. The Getty can be as accessible as people choose to make it.

And that should be as often as possible. With an impressive collection housed in a splendid facility, the Getty is certain to become synonomous with the city.

We concur with Robert Erberu, chairman of the board of the Getty Trust, that the Getty is destined to be ``an icon of Los Angeles.''