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	Yoshio Taniguchi - Wikipedia, the free encyclopedia
		Yoshio Taniguchi (谷口吉生, Taniguchi Yoshio; born 1937) is a Japanese architect best known for his redesign of the Museum of Modern Art in New York which was reopened in November 20, 2004.
		Taniguchi is the son of architect Yoshirō Taniguchi (1904-1979).
		Taniguchi is best known for designing a number of Japanese museums, including the Nagano Prefectural Museum, the Marugame Genichiro-Inokuma Museum of Contemporary Art, the Toyota Municipal Museum of Art, and the Gallery of the Horyuji Treasures at the Tokyo National Museum.
	en.wikipedia.org /wiki/Yoshio_Taniguchi (249 words)

	The Architecture of Yoshio Taniguchi
		As Taniguchi himself acknowledges in the above-quoted passage, the use of centrifugal and centripetal qualities, separately or in tandem, is basic to the spatial dynamic of practically all his works, and the figures they give rise to form the framework of his architecture.
		Taniguchi is one of the first architects of the postwar generation to receive his architectural education outside Japan.
		Taniguchi, on the other hand, chooses what the wall ought to be like from the given conditions of the context.
	partners.nytimes.com /books/first/t/taniguchi-architecture.html (5674 words)

	MoMA \| Building Project \| Finalists \| Taniguchi
		Taniguchi's proposal concentrates the larger volumes of space devoted to the galleries in the western portion of the site, while the spaces devoted to education and research are located in the eastern portion.
		Taniguchi's proposal identifies The Abby Aldrich Rockefeller Sculpture Garden as the principal exterior element that can and should be revitalized through redesign and reuse.
		Taniguchi's proposal includes an in-depth study of his ideas for the galleries that, significantly, reverses the current chronological flow of the Museum Collection galleries.
	www.moma.org /expansion/finalists/yoshio_taniguchi.html (473 words)

	TQ architecture and design (Site not responding. Last check: 2007-10-14)
		Taniguchi was virtually unknown outside Japan at that time and his ideas for MOMA were considered quiet, as much of his work perhaps is, and uninteresting, which it certainly is not.
		Taniguchi's ability to express a building's relationship to its environment informs many of his buildings, as can be seen in the other museums introduced in the second room of the exhibition.
		Taniguchi echoes the aerodynamic curves of the Shinkansen train in the fluid arc of the museum's facade of glass and porcelain tiles.
	club.nokia.co.jp /tokyoq/weekly_updates/arch/arch.html (1093 words)

	New York MOMA finds new expression in enlightened renovation
		Taniguchi's first commission outside Japan, the MOMA project called for a comprehensive redesign of the "Kremlin of late modernism," as Robert Hughes calls it, the repository and showcase for the nearest thing to a definitive collection of 20th century art.
		Taniguchi had to work, mostly from abroad, with armies of construction managers and contractors, and consult continually with a phalanx of departmental curators, as well as the museum's director and board.
		Taniguchi oversaw renovation of many of the existing galleries and the outfitting of new ones, making it difficult to tell which is which.
	www.sfgate.com /cgi-bin/article.cgi?file=/chronicle/archive/2004/11/19/DDG659TA8O1.DTL&type=printable (1535 words)

	MOMA New York Reopens (Site not responding. Last check: 2007-10-14)
		The Japanese architect, Yoshio Taniguchi's $425 million reconstruction of New York's Museum of Modern Art, comprises the largest museum opening of the 21st century and encompasses 630,000 square feet on six floors.
		Taniguchi has previously designed a number of museums, including the Gallery of Horyuji Treasures at the Tokyo National Museum, the Toyota Municipal Museum of Art, The Marugame Genichiro Inokuma Museum of Contemporary Art and a small museum in honour of the artist Kaii Higashiyama.
		Taniguchi's basic idea was to place the contemporary at the core, thus reinforcing the MOMA narrative itself.
	www.studio-international.co.uk /capsules/moma_30_11_04.htm (346 words)

	Bookshop
		I remained mystified by this ritual, until Taniguchi explained that he was selecting ‘the correct shade of grey’ for the grout.
		Taniguchi is one of the few architectural giants practising today for whom design is far more than the pouring out of an elusive ‘talent’ but a discipline.
		Up till now Taniguchi has resisted publication of his work, perhaps because the power of his exquisitely executed details and the serenity of his spaces can easily be lost on the printed page and can only truly be felt on a journey through his supremely crafted buildings.
	www.arplus.com /book/reviews/yoshio.htm (431 words)

	TIME Asia Print Page: Radical Restraint -- November 29, 2004 / Vol. 164, No. 22 (Site not responding. Last check: 2007-10-14)
		Taniguchi's reticence is not a pose, but a reflection of an old-fashioned conviction that his work should speak for itself.
		Taniguchi then crafted a proposal that offered both an expansion and a continuation of the museum's identity: the fundamentally conservative worldwide arbiter of serious, modern fine arts.
		Instead, Taniguchi created an elegant, understated jewel box of a structure true to one of the guiding principles of his career: as a place for people and art to interact, the museum building should all but disappear.
	www.time.com /time/asia/magazine/printout/0,13675,501041129-785412,00.html (1280 words)

	The New York Times > Arts > Art & Design > At Modern, Architect Is Content (Mostly)
		Taniguchi stopped and ran his fingers over a seam in one of the metal panels that separate one room from the next, mourning the undisturbed surface he said he would have preferred there.
		Taniguchi's projects in Japan, which include museums, libraries and schools, are deceptively simple in their vocabulary: there is not a Bilbao or a Getty among them.
		Taniguchi said he deliberately took a light touch because a museum should not upstage what is in it.
	www.nytimes.com /2004/11/16/arts/design/16tani.html?ex=1258347600&en=495e020e86197f15&ei=5088&partner=rssnyt (721 words)

	departures.com \| The Talented Mr. Taniguchi (Site not responding. Last check: 2007-10-14)
		Yoshio Taniguchi, whose spare, light-filled spaces have made him one of Japan's most celebrated architects, is finally coming to America.
		At the time, Taniguchi was not part of the globetrotting set of celebrity architects who redefine skylines around the world; indeed he had never even built outside his native Japan.
		I first met Taniguchi in the lobby of the Hotel Okura in Tokyo, which was designed in the early sixties by his father, Yoshiro, who was also an architect.
	www.departures.com /ad/ad_0704_taniguchi.html (2055 words)

	Alibris: Taniguchi
		A heartwarming tale of teen romance, Miss Taniguchi's intricate art and true-to-life storytelling pull the reader into the story of Mako, a young freshman, as she is torn between her feelings for her first love, Yo, and newly arrived badboy, Ryu.
		by Yoshio, Taniguchi, and Taniguchi, Yoshio, and Riley, Terence
		In this ethereal collection of poetry Harumi Taniguchi has captured a delicacy of languages which mirrors the timeless yet ever-changing scenery of Nature's bounty.But these pieces reach deeper to underlying darker themes of war and the incomprehensibility of man's enduring thirst for violence in the face of such wondrous beauty.
	www.alibris.com /search/books/author/Taniguchi (1160 words)

	The Architect's Newspaper - www.archpaper.com (Site not responding. Last check: 2007-10-14)
		When Yoshio Taniguchi won the commission to expand and renovate the Museum of Modern Art, he had every intention of moving his operation from Tokyo to New York for the duration of the project.
		At one point, Taniguchi considered metal panels, but this raised the problem of a pattern across its surface that would be distracting as a backdrop for freestanding or hanging art.
		Taniguchi wanted to refine the standard reveal by slicing the edge at 45 degrees, creating a sharp point.
	www.archpaper.com /feature_articles/found_in_translation.html (1614 words)

	The New Yorker: The Critics: The Sky Line (Site not responding. Last check: 2007-10-14)
		That doesn’t explain why Taniguchi’s new Modern is as good as it is. Taniguchi clearly understood a paradox that underscores this project—that his success at keeping the museum the same would come, in part, from his ability to recognize how much had to change.
		Taniguchi even sliced away a bit of his building in the southeast corner of the garden, where it might have blocked a portion of St. Thomas Church, which adjoins the museum to the east.
		Taniguchi’s façade of absolute fl granite, aluminum panels, and white and gray glass is elegantly restrained.
	newyorker.com /critics/skyline?041115crsk_skyline (1840 words)

	JPMorgan Chase: Proud sponsor of the reopening of the Museum of Modern Art
		Yoshio Taniguchi created a uniquely elegant design that extends and enhances the presentation of the museum's dynamic and evolving collection of modern and contemporary art.
		Over the past 20 years, acclaimed architect Yoshio Taniguchi has designed a wide range of structures in Japan, including art museums, libraries, gymnasia, schools, a hotel, an aquarium, and a tea house and garden.
		Taniguchi came to international attention when he won an invited competition to design the expansion of The Museum of Modern Art, which was both his first competition and first international commission.
	www.jpmorganchase.com /cm/cs?pagename=Chase/Href&urlname=jpmc/community/grants/art/moma (1020 words)

	http://www.thecityreview.com/moma.html (Site not responding. Last check: 2007-10-14)
		Taniguchi was one of three architects invited to participate in a design competition out of ten that had been invited to submit mission statements.
		Taniguchi graced the cover of The New York Times Sunday Magazine April 12, 1998 with a long article on his selection by Suzannah Lessard, an author of a book on Stanford White.
		Taniguchi's design has a sleekness that is not inappropriate for MOMA, but it is a disappointing choice especially in a post-Frank Gehry/Bilbao Guggenheim Museum world.
	www.thecityreview.com /moma.html (5100 words)

	Street Cred - Another way of looking at the new MoMA. By Witold Rybczynski
		The challenge to the architect in designing the exterior is to overcome this impediment, which is particularly difficult when the facade is inches away from pedestrians on the sidewalk.
		Taniguchi's solution is to treat the exterior with various types of glass: transparent, fritted, or translucent.
		The blank walls of the new addition are clad in fl modular panels of what I think is granite, but which might just as well be kryptonite for all the character it displays.
	www.slate.com /id/2115870 (525 words)

	Red Hot MoMA - Newsweek Entertainment - MSNBC.com
		Taniguchi, 67, is silver-haired and tall (too tall to buy Japanese menswear) and, like his serene modernist buildings, has an air of elegance and calm.
		When Taniguchi was chosen to design the new, vastly expanded Museum of Modern Art seven years ago, a lot of people in the art world scratched their heads.
		Taniguchi likes to say his goal is to make the architecture "disappear." And while we don't believe him literally—his ego is fiercely invested in his design principles and his impeccable details—his understated approach at MoMA is to subtly and meticulously create experiences of shifting spaces, light and views as you move through the museum.
	www.msnbc.msn.com /id/6160129/site/newsweek (1370 words)

	Wired New York Forum - MoMA's Expansion
		This project is Taniguchi's first in the U.S. He has done a number of museums in Japan, including the Nagano Prefectural Museum (1990), the Marugame Genichiro-Inokuma Museum (1988-81), the Toyota Municipal Museum of Art (1991-95) and the Gallery of the Horyuji Treasures now under construction at the Tokyo National Museum.
		Taniguchi's reductive aesthetic is that every turn in the building is marked by a change in materials, so that it looks not like a solid block but a series of monochromatic planes.
		Taniguchi wanted the mullions between the panes of glass to be as slim as possible, slimmer than the usual 3 1/2 to 4 inches.
	www.wirednewyork.com /forum/printthread.php?t=3418 (12722 words)

	TIME Style & Design Spring 2005: Asia's Hot New Export -- Spring 2005 Style & Design
		The vertical tracery of its thin steel piers and the fine membrane of glass and steel that encloses the interior court are Miesian gestures carried out with a finesse that the old German himself only sometimes achieved.
		But like the Harvard-educated Taniguchi, he was schooled in the U.S. and draws his architectural language from all over.
		Taniguchi's and Ando's absorb it and then settle it into the compelling order of their ideas.
	www.time.com /time/2005/style/030105/asia_s_hot_new_export_j23b.html (964 words)

	Art/Museums: The Museum of Modern Art in New York Reopens November 20, 2004 (Site not responding. Last check: 2007-10-14)
		Taniguchi's main achievements, and they are not insubstantial, is to tie a new "block-through" lobby both to the museum's famous garden and to a new multi-story atrium on the second floor, and to frame the east and west ends of the garden with very impressive indented porticos with large glass walls.
		Taniguchi has also employed a lot of light-green-tinted slate flooring inside the renovated structures especially near the garden and one might have preferred a darker gray or fl slate.
		While the emphasis is properly on the art, Taniguchi has created an impressive interior centered around the through-block lobby that is open to the second-floor atrium and the multi-story glass portico at the west end of the garden that faces a similar handsome portico at the east end.
	www.thecityreview.com /numoma.html (2278 words)

	Bloomberg.com: Bloomberg Columnists
		Taniguchi had built relatively few buildings: mostly small museums in far-flung Japanese locations that memorialize single artists.
		Taniguchi carved a tall public passage through the building with high glass walls so that people could view the trash- handling experience as if they were in a museum.
		Taniguchi causes a gradual unfolding of experiences, so that there is always an element of surprise.
	quote.bloomberg.com /apps/news?pid=10000039&cid=russell&sid=aWs9SalV5pKA (919 words)

	Monumental MoMA (Site not responding. Last check: 2007-10-14)
		Yoshio Taniguchi's expansion of New York City's Museum of Modern Art reinterprets its implicit character at enlarged scale.
		They're now gone, along with their glazed cage, and Taniguchi's new escalators are discreetly screened off from major public interiors.
		What Taniguchi has done is to reinterpret the rectangular volumes of the existing museum essentially as a series of planes—some joined at corners, others not—the gaps filled with glazing of impeccably minimal detail.
	www.architecturemag.com /architecture/reports_analysis/design_display.jsp?vnu_content_id=1000825004 (1052 words)

	Architecture That Blends In And Stands Out (washingtonpost.com)
		Movement through these sociable, affecting spaces is the key to appreciating Yoshio Taniguchi's artful architecture, which is so elegantly matter-of-fact when seen from the outside.
		Taniguchi, 67, was the eldest among the 10 architects invited seven years ago to compete for the complex, prestigious MoMA commission.
		Taniguchi's aesthetic of pure abstraction, developed from the same roots that fed Philip Goodwin and Edward Durrell Stone when they designed the original building on West 53rd Street in the late 1930s, fits the MoMA mission.
	www.washingtonpost.com /wp-dyn/articles/A64059-2004Nov19.html (465 words)

	Asia Society Texas: Asia House announces architect Yoshio Taniguchi to design new Asia House building in Houston's ...
		Taniguchi, best known in the United States as the architect for the expansion of the Museum of Modern Art in New York, has long been recognized in Asia as one of the preeminent architects working today.
		Taniguchi's buildings seamlessly blend the essence of modern Asian design with a perfect grasp of the tradition of modern architecture in America,” said Edward R. Allen III, Chairman of the Asia House Board of Directors.
		Taniguchi received a Bachelor of Mechanical Engineering from Keio University, Tokyo in 1960 and a Master of Architecture from the Graduate School of Design, Harvard University in 1964.
	www.asiasociety.org /pressroom/tx_rel-asia_house.html (1413 words)

	CIRCA Art Magazine - Winter 2004 - Worth Waiting For? (Site not responding. Last check: 2007-10-14)
		By opting for the understated Modernism of Japanese architect Yoshio Taniguchi's proposal, it seemed as if MoMA was defining itself in opposition to the Guggenheim, as if the fireworks of the Guggenheim's building and PR programme gave MoMA two choices: compete or leave the field.
		Meanwhile, Taniguchi says that his goal is to make architecture that "disappears." It may or may not disappear, but it definitely comes at a price.
		What Taniguchi and MoMA have understood is that much contemporary art is based on a tension between artist and institution, and this is a building that reflects the institutional structure and power of MoMA.
	www.recirca.com /backissues/c110/p34_35.shtml (908 words)

	CNN.com - Commentary: Inside MoMA, art within art - Nov 23, 2004
		Taniguchi needs only a few steps to get you from his building's core of festival-space grandeur into the softer, gentler presence of the collection's creations.
		And as you change venues, floor to floor, switching media and emphasis, he refreshes you with a few minutes "outside" among your colleagues in the wide-open range overlooking the atrium, before you duck into the next level's rooms and their quiet.
		Taniguchi is doing just what each artist represented at MoMA has done, in one way or another: He is setting up tensions and resolving them, or not, from space to space and material to material.
	www.cnn.com /2004/TRAVEL/11/23/inside.moma (1089 words)

	[No title] (Site not responding. Last check: 2007-10-14)
		Japanese architect Yoshio Taniguchi came to international acclaim in 1997 when he won both his first invited competition and his first international commission for the expansion of The Museum of Modern Art; his first building outside of Japan.
		In his native country he has distinguished himself as a rare talent of sublimely beautiful architectural spaces, ideal for the display of works of art.
		This exhibition presents nine of Taniguchi's museum designs central to understanding his approach to architecture.
	www.arcspace.com /exhibitions/yoshio_9museums/yoshio_9museums.html (181 words)

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