Taniguchi, Yoshio

▪ 1999

      In late 1997 the Museum of Modern Art (MOMA) in New York City selected the design of Japanese architect Yoshio Taniguchi for the museum's planned expansion. Taniguchi, the least known of the 10 architects whose designs were considered by MOMA officials, proposed a dramatic reconfiguration of one of the world's most important cultural institutions. His plans called for doubling the museum's exhibition space, adding large skylights to galleries, moving the main entrance, and creating an extensive research and education complex. Announcing the museum's selection, MOMA Chairman Ronald S. Lauder praised Taniguchi's "exceptional creative vision" and his sensitivity to the museum's complex needs. A model of the winning design was included in an exhibition at the museum in March-April 1998.

      Taniguchi, who was born on Oct. 17, 1937, in Tokyo, was the son of Yoshiro Taniguchi, a noted figure in the modern architectural movement in Japan. He earned a B.A. (1960) in mechanical engineering from Keio University, Tokyo, and an M.A. (1964) in architecture from Harvard University's Graduate School of Design. Taniguchi did design work for the Kenzo Tange Studio (1964-72) and taught architecture at the University of Cape Town, S.Af., and at the University of California, Los Angeles, before cofounding an architectural firm in Tokyo in 1975.

      Heeding his father's advice to handle each of his assignments with care and not to take on too many projects at one time, Taniguchi built up a successful practice, specializing in museums and other public buildings. He won numerous awards, including the 1987 Japan Academy of Art Prize for the Ken Domon Museum of Photography, Sakata City, and the 1990 Mainichi Art Award for the Tokyo Sea Life Park, a popular aquarium. In 1995 he designed the Toyota Municipal Museum of Art, Toyota City, and in 1998 construction began on his Gallery of Horyuji Treasures at the Tokyo National Museum.

      Because of his belief that architecture should be an outgrowth of dialogue between architect and client, Taniguchi had never entered a competition before submitting his proposal to MOMA, and he was somewhat surprised to succeed over his more famous competitors. His deceptively simple design to maximize space and light and his refined, delicate sense of beauty had greatly impressed the selection committee, however. Although the commission—Taniguchi's first outside Japan—thrust him suddenly into the international spotlight, he seemed eager for the challenge. He elaborated on his goal to transform MOMA into "a bold new museum," one very much in harmony with midtown Manhattan and better equipped than the old structure to facilitate visitors. Construction on the project was expected to begin in 2000 or 2001.

TEIJI SHIMIZU

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