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YOSHIO TANIGUCHI, MUSEUM OF MODERN ART, NEW YORK 2003 (ph 2010-2016)
MEZZANINE
THROUGH HALL
INTERNAL BRIDGES
MEZZANINE TO MARION ATRIUM
MARIRON ATRIUM
BRIDGETHROUGH MARRION ATRIUM
MARRIUM ATRIUM BRIDGE
BETWEEN FLOOR AND WINDOW
GAP BETWEEN WALL AND GLAZED WALL
GOUND FLOOR PLAN
GARDEN SOUTH PORTICUS
GARDEN WEST SIDE
GARDEN EAST FRONT
CORNER 54 TH
53TH STREET BOOK STORE
53TH STREET
HALL TO GARDEN
MAIN STAIR TO MEZZANINE FIRST FIGHT (ARTHUR YOUNG, BELL-47D1 HELICOPTER, 1945)
ESCALETORS
""Al piano terra, lo street museum diviene the dual street museum tra la 53th e la 54th, quasi una avenue interna "passante" , sia pure di sezione ridotta, di libera circolazione come una strada urbana dove si affacciano locali per il teatro e per il cinema, oltre ai desk di informazione e biglietteria"" N. Ventura, 2022
"four guiding or, indeed, foundational principles: continuity, intimacy, privacy, and this notion of seamless whole.(…)

Continuity influence the notion of narrativity and involves the way in which art is shown;

intimacy is always culturally mediated;

privacy involved the relationship of the viewer to the work of arts;

the notion of seamless whole, which is giving way to complexity (and then, ndr) to globalization and virtualization."
M. Taylor,1998
"The Museum recognize it cannot expand by simple enlarging the model that has guided it during past decades. It is too complex an institution, and the history of modern art is now too long and too varied to be told within the intimate, domestic-scale galleries and buildings that currently characterize the Museum. This does not means abandoning the sense of intimate that makes the Museum such an enjoyable place to visit; but it does mean realizing that intimacy is both a function scale and perception, and that in future we will have to rely on the clarity and intelligence of the architecture to provide a variety of spaces, which is and of themselves retain a feeling of intimacy, even if the whole is no longer of modest scale". G.D. Lowry, 1998
RICHARD SERRA, “SCULPTURE FORTY YEARS”, 2006
FLOOR PLAN
A. BARR JR: “MEMORIAL EXHIBITIONS, THE COLLECTION OF THE LATE MISS P.BLISS” HECKSCHER BUILDING, 1930
A. BARR JR: “ART IN OUR TIME TENTH ANNIVERSARY EXHIBITION” P.GOODWIN, E.STONE, MOMA BUILDING, 1939
Y.TANIGUCHI, NEW YORK: “GALLERY TYPE 1”
Y.TANIGUCHI, NEW YORK: “GALLERY TYPE 2”
Y.TANIGUCHI, NEW YORK: “C. MARRON ATRIUM”
PICASSO WALL DISPLAY
“PICASSO WALL”
“PICASSO CORNER”
YOSHIO TANIGUCHI, THE A.A. ROCKFELLER SCUPLTURE GARDEN, NEW YORK 2003 (ph 2010-2016)
"Our garden has grown and shark and changed, but has been a focal point of definition for the museum." G. D. Lowry, 1998
""Qui allo Sculture Garden, quando i tempi si dilatano, i frequentatori amano sentirsi abitanti. Di un angolo di cittŕ. O forse dove la cittŕ si incontra e incontra l'arte per riconoscersi. Scrive Saramago: "se non esci da te stesso, non puoi sapere chi sei". La scommessa del MoMA č che l'isola sconosciuta forse non sarŕ nelle carte geografiche, ma č qui in cittŕ. Magari con simpatia verso gli altri visitatori, magari con simpatia verso gli stessi artisti ritratti dalle loro opere"." N. Ventura, 2022
“GIACOMETTI PIEDESTAL” (ALBERTO GIACOMETTI, LE CHIEN, 1951, BRONZE 46 X 98 X 15)
CORNER
“MONDRIAN CORNER”
“BRANCUSI PIEDESTAL”
“POP GALLERY”
Y. TANIGUCHI, NEW YORK: “SHOWCASES”
“CUBISM WALL”
“SUPREMATIST WALL” 2013
“SUPREMATIST WALL DISPLAY” 2014
“SUPREMATIST WALL” 2014
Y. TANIGUCHI, NEW YORK: “54TH STREET”
GROUND FLOOR PAN
Y. TANIGUCHI, NEW YORK: “FIRST FIGHT” (ARTHUR YOUNG, BELL-47D1 HELICOPTER, 1945)
Y. TANIGUCHI, NEW YORK: “ FROM 54TH  TO 53TH STREET”
Y.TANIGUCHI, NEW YORK: “HALL TO THE GARDEN” (AUGUSTE RODIN, MONUMENT POUR BALZAC, 1898, BRONZE 269X122,5X10
Y. TANIGUCHI, NEW YORK: “53TH STREET”
J. MCANDREW, A. BARR JR: “SCULPTURE GARDEN”, 1939
Y. TANIGUCHI, NEW YORK: “POOL GARDEN”
Y. TANIGUCHI, NEW YORK: “BACK SIDE”
Y.  TANIGUCHI, NEW YORK: “EAST CORNER”
Y. TANIGUCHI, NEW YORK: “POOL BRIDGE”
P. JHONSON, “TEN AUTOMOBILES”,1953
RICHARD SERRA: “SCULPTURE FORTY YEARS”, 2006
Y. TANIGUCHI, NEW YORK: “SQUARE FOREGROUND” (ALBERTO GIACOMETTI, GRANDE FEMME DEBOUT II, 1959, BRONZE 277 x 31,00 x 58,7)
Y. TANIGUCHI, NEW YORK: “POOL AND TREES” (PABLO PICASSO, SHE-GOAT, 1950, BRONZE, 117.7 x 143.1 x 71.4)
“MAN IN UNIFORM AND FIGURES” (KATHARINA FRITSCH. FIGURENGRUPPE 2011 BRONZE, COPPER, AND STAINLESS STEEL, LACQUERED)
“POOL AND E. KELLY” (ELLSWORTH KELLY GREEN BLUE 1968, PAINTED ALUMINIUM)
“WATER JETS AND R. SERRA” (RICHARD SERRA, BERLIN BLOCK FOR CHARLIE CHAPLIN, 1972, COR-TEN STEEL 200x200x200)
“BLACK GLASS FOREGOUND” (CLAES OLDEBURG, GEOMETRIC MOUSE-SCALE A, 1975 PAINTED STEEL AND ALUMINIUM, 396,6x381x452,8)
“WHITE GLASS FOREGOUND” (HENRY MOORE, FAMILY GROUP, 1949 (BRONZE 1,50 x 1,18 x76)
“MAN AND OBELISK” (BARNETT NEWMAN, BROKEN OBELISK, 1963, COR TEN STEEL, 749.9 x 318.8 x 318.8)