The Museum of Modern Art is now in the midst of the largest building project in its history. Designed by Yoshio Taniguchi, the new Museum will reopen in midtown Manhattan in winter 2004-05 to coincide with its 75th anniversary. The 630,000-square-foot Museum will be nearly twice the size of the former facility, offering dramatically expanded and redesigned spaces for exhibitions, public programming, educational outreach, and scholarly research. But The Museum of Modern Art is not Taniguchi's first museum, though it is his first museum in the United States. The architect has been designing museums in his native Japan since 1978. In celebration of the opening of the new MoMA building, the Museum is publishing this book about Taniguchi's museums--nine in all. They include the Tokyo National Museum, Marugami Museum of Contemporary Art, Nagano Art Museum, Ken Domon Museum of Photography, and Shiseido Art Museum. For the Higashiyama Kaii Gallery in Nagano, Taniguchi situated a display space for the works of painter Kaii Higashiyama next to a reflecting pool and garden. In the Toyota Municipal Museum of Art, built on the old castle site of Komoro City, Taniguchi expressed the history and distinct nature of the place by affording views to both the new city and the historic area. Finally, the Marugame Genichiro-Inokuma Museum of Contemporary Art, situated across from the city's railway station, was designed to include a plaza that connects the museum with the station. Taniguchi: Nine Museums will discuss the plans of each of these museums with an emphasis on The Museum of Modern Art's new building.
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7 of 9 people found the following review helpful:
5.0 out of 5 stars
Art in water garden.,
By Joong Won Lee "Joongwon" (Cambridge, MA United States) - See all my reviews
This review is from: Yoshio Taniguchi: Nine Museums (Hardcover)
If one is trying to understand contemporary Japanese architectural trends,
or the heavy theoretical background of Taniguchi's architecture, then this might not be the best book. Yet, if one is seeking an architectural book that speaks of architecture as a spatial art and a coercive modulator with water garden, then here is a book that provides great pleasure. This book communicates more with drawings and supplementary images than words. When I first saw this book at the bookstore, I was a bit hesitant to buy it. The price and the text in the book simply did not match. Expository writing for each project is extremely short. Yet they are condensed enough to deliver quintessential themes of the project. The common denominator, besides being museums, which binds the projects, is water body (garden). His museums have one leg in the water and the other leg on the earth. His water bodies (typically, artificial) have different faces; sometimes, static, promoting Ryoanji-like meditation; othertimes, dynamic, promoting Katsura-like shakkei (editing middle ground to borrow background landscape). His museums weave in and out of the water to illuminate and intensify the experience. The strokes of water garden in his museums, without doubt, will wet the dry museum fatigue. In addition, because Taniguchi reveals sometimes part and sometimes all of a water body, his spaces breathe. One criticism I have is that the fourth project, Marugame Genichiro-Inokuma Museum of Contemporary Art, somehow does not belong with other projects. It's a fine piece of building, but unlike other museums, it's very self-contained. The other eight museums actively engage with the exterior water body. Only the fourth museum defeats the purpose of inter-penetration of Taniguchi's architecture; that is, inter-penetration of Japanese garden and modernist's space.
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