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In 1997, the Museum Of Modern Art (MOMA) in New York City announced that Yoshio Taniguchi had won a 10-entrant competition against world-famous architects like Bernard Tschumi and Rem Koolhaas to design the museum's $425 million overhaul. Around the world, art lovers and architecture mavens alike responded...

Author: /time Magazine | Title: Radical Restraint | 11/22/2004 | See Source »

But shed no tears for Taniguchi the Obscure. He prefers anonymity. Indeed, he kicked off a recent interview with TIME in his almost monastically spare office in central Tokyo by confessing half-nervously, half-wearily: "I've been avoiding this type of thing as much as possible." Still, MOMA reopened...

Author: /time Magazine | Title: Radical Restraint | 11/22/2004 | See Source »

Taniguchi's reticence is not a pose, but a reflection of an old-fashioned conviction that his work should speak for itself. "I don't like the thought that some people might know me but not what I design," he says. "I choose to express myself through my architecture." His...

Author: /time Magazine | Title: Radical Restraint | 11/22/2004 | See Source »

Once he'd committed, Taniguchi spent a year studying MOMA?its history, how it had selected architects in the past, anything that could provide an insight into the museum's inner character. "Like a medical doctor, I need to know the nature of an institution so I can make a...

Author: /time Magazine | Title: Radical Restraint | 11/22/2004 | See Source »

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. "Architecture is essentially a container for people and what's inside," says Taniguchi...

Author: /time Magazine | Title: Radical Restraint | 11/22/2004 | See Source »

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