Watch Yoshio Taniguchi explaining the architectural design of the Museum of Modern Art
Watch Yoshio Taniguchi explaining the architectural design of the Museum of Modern Art
Architect Yoshio Taniguchi discussing his design of New York City's Museum of Modern Art, from the documentary Yoshio Taniguchi: The New Museum of Modern Art (2008).
Checkerboard Film Foundation (A Britannica Publishing Partner)
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Checkerboard Film Foundation (A Britannica Publishing Partner)Architect Yoshio Taniguchi discussing his design of New York City's Museum of Modern Art, from the documentary Yoshio Taniguchi: The New Museum of Modern Art (2008).
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Great Museums Television (A Britannica Publishing Partner)Experiencing art of past millennia in the Metropolitan Museum of Art, New York City; from the documentary A World of Art: The Metropolitan Museum of Art.
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Great Museums Television (A Britannica Publishing Partner)A discussion concerning Abby Aldrich Rockefeller and the creation of MoMA, from the documentary In Our Time: The Museum of Modern Art.
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Written and photographed by Victoria S. Lautman; Produced and edited by Matthew Cunningham (A Britannica Publishing Partner)Stepwells are spectacular subterranean edifices “like skyscrapers sunk into the earth,” explains Victoria Lautman in the video Subterranean Ghosts: India's Disappearing Stepwells (2013), produced and edited by Matthew Cunningham.
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© Chicago Architecture Foundation (A Britannica Publishing Partner)Learn about the Chicago fire of 1871 and the rebuilding of the city, including construction of the Rookery building (1886), designed by Daniel H. Burnham and John Wellborn Root.
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Great Museums Television (A Britannica Publishing Partner)Architect Renzo Piano discussing his design for the High Museum of Art in Atlanta, Georgia, from the documentary Riches, Rivals, and Radicals: 100 Years of Museums in America.
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Encyclopædia Britannica, Inc.An overview of Renaissance architecture.
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Great Museums Television (A Britannica Publishing Partner)An overview of the Museum of Modern Art in New York City, from the documentary In Our Time: The Museum of Modern Art.
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Contunico © ZDF Studios GmbH, MainzA discussion of homes built in waterways of the Netherlands.
Transcript
[Music]
YOSHIO TANIGUCHI: When I designed this museum, I understand MoMA has two important missions. One is to show great works of art through the gallery. The other one was to educate general public through vast [unintelligible] information. So I try to emphasize this two important missions. In order to do that, I located one side the gallery, the other side education wing, facing each other so you can see each other.
GLENN LOWRY: The education and research center is about 90,000 square feet, and it includes offices and classrooms for our education department, some exhibition space so that we can put works of art on view for the public who will be looking at the building from the gallery complex to the west. It includes the library and archives. It includes a film theater, and it includes offices for the film department, the media department, the architecture and design department, and the painting and sculpture department. So it's really a—a kind of nexus of research activity and public spaces for education.
I think, actually, that with the opening of the education and research building, the project is complete. And what is really apparent to all of us is what a brilliant solution Yoshio developed for us—that, in effect, by converting the garden into the center of this complex and creating these axial views back and forth across a garden, Yoshio has linked the people who visit the museum with the people who work in the museum. The merging of these different buildings—the unifying of them, the new architecture with the old—has been nothing short of miraculous. The result, I think, is literally a new museum of modern art but one that's built firmly on the foundations of its history.
YOSHIO TANIGUCHI: He's just perfectly interpret my architecture, so I don't have much to say.
GLENN LOWRY: I'm a good student of his.
[Laughter/music]
YOSHIO TANIGUCHI: When I designed this museum, I understand MoMA has two important missions. One is to show great works of art through the gallery. The other one was to educate general public through vast [unintelligible] information. So I try to emphasize this two important missions. In order to do that, I located one side the gallery, the other side education wing, facing each other so you can see each other.
GLENN LOWRY: The education and research center is about 90,000 square feet, and it includes offices and classrooms for our education department, some exhibition space so that we can put works of art on view for the public who will be looking at the building from the gallery complex to the west. It includes the library and archives. It includes a film theater, and it includes offices for the film department, the media department, the architecture and design department, and the painting and sculpture department. So it's really a—a kind of nexus of research activity and public spaces for education.
I think, actually, that with the opening of the education and research building, the project is complete. And what is really apparent to all of us is what a brilliant solution Yoshio developed for us—that, in effect, by converting the garden into the center of this complex and creating these axial views back and forth across a garden, Yoshio has linked the people who visit the museum with the people who work in the museum. The merging of these different buildings—the unifying of them, the new architecture with the old—has been nothing short of miraculous. The result, I think, is literally a new museum of modern art but one that's built firmly on the foundations of its history.
YOSHIO TANIGUCHI: He's just perfectly interpret my architecture, so I don't have much to say.
GLENN LOWRY: I'm a good student of his.
[Laughter/music]