The architect, Yoshio Taniguchi, of the new addition to the Museum of Modern Art in New York said to the trustees at the beginning, “Raise a lot of money for me, I’ll give you good architecture. Raise even more money, I’ll make the architecture disappear.”
John Updike adds,
And disappear, in a way, it has. The customary sensations that buildings give us—of secure enclosure, of masses of matter firmly supported—are diluted by a black gap, a mere quarter inch wide, that runs along the bottom and top of every interior wall, and even at the base of weight-bearing pillars, so that everything, subtly, floats. The gaps are useful for heat and air-conditioning, too, but their aesthetic accomplishment is to dematerialize the walls; the visitor moves through spaces demarcated as if by Japanese paper screens.