Terence Riley, who as an architectural curator and museum director was instrumental in bringing to fruition two of the most vital will work of 21st-century museum architecture, died on Monday at his household in Miami. He was 66.
His family members explained the dying was sudden, brought about by an fundamental coronary heart ailment.
As the chief curator of architecture and design and style at the Museum of Modern-day Art, Mr. Riley helped choose and information the Tokyo-primarily based architect Yoshio Taniguchi in the museum’s $858 million enlargement, which was finished in 2004.
Later on, as director of the Pérez Artwork Museum Miami, he worked with the Swiss architecture company Herzog & de Meuron to generate a new home for the museum that has been acclaimed for its layout and integration into its surroundings. Alongside with his museum responsibilities, Mr. Riley preserved an architectural exercise, launched in 1984, with John Keenen.
“He generally amazed me with his wicked perception of humor and his fierce intelligence,” Glenn D. Lowry, MoMA’s director, reported in an job interview. “He appeared to try to remember aspects about each individual architect he ever talked to.”
In his 15 yrs at MoMA, Mr. Riley curated shows on Frank Lloyd Wright and Mies van der Rohe that lose new light-weight on those people quintessential modern-day architects. He engaged up to date themes in the exhibitions “The Un-Non-public House” (1999), “Light Construction” (1995) and “Tall Buildings” (2004), bringing interest to architects like Kazuo Sejima, Toyo Ito and Jeanne Gang, who were being not still properly acknowledged.
As MoMA proceeded with its substantial enlargement in the early 2000s, Mr. Riley asked 10 global architects of commonly varying fame and sensibility to put together sketchbook patterns, which he then exhibited at the museum. The invitees incorporated Mr. Taniguchi, an architect very little acknowledged outside his native Japan. Mr. Riley urged the museum to settle for his structure, which reorganized the challenging tangle of additions to the museum household, originally developed in 1939, into a coherent whole.
Mr. Riley’s part in the project, Mr. Lowry explained, “was to speak with the curators about their concepts and locate the ideal language for Yoshio to have an understanding of what they intended.”
With overlapping slabs of silvery aluminum, black granite and glass, the new MoMA opened in 2004, introducing 252,000 sq. toes for a full of 630,000, all wrapped close to a soaring atrium. The taller and far more generously proportioned galleries permitted a refreshingly different mounting of art, far more visual breathing area for every piece, and extra room for the ever-increasing crowds of site visitors.
Nicolai Ouroussoff, examining the creating in The New York Occasions, termed it “one of the most exquisite will work of architecture to rise in this city in at minimum a generation” and “a in close proximity to-perfect instance of how architecture can be forceful without the need of competing with the artwork it enfolds.”
Terence Riley was born on Nov. 6, 1954, in Elgin, Ill., to Philip and Mary Jo (Lundberg) Riley. His mother was a homemaker his father ran a printing organization. Terence gained a bachelor of architecture degree from the College of Notre Dame and a master’s diploma in architecture and urban preparing from Columbia University.
He is survived by two brothers, Dennis and Brian.
Mr. Riley’s curatorial perform started when he was selected to run the Arthur Ross Gallery at Columbia, an exhibition space devoted to architecture. His operate there drew the interest of Philip Johnson, who experienced launched the Museum of Modern-day Art’s architecture office. Mr. Riley was brought into the division and became the main curator for architecture and layout in 1991.
Later on in his tenure he aided get started the MoMA/P.S. 1 Younger Architects Plan, which showcased early-career architects. Specified little grants, the selected architects established immersive environments in the courtyard of the P.S. 1 Contemporary Artwork Middle in Extensive Island Town, Queens. The publicity, and the MoMA imprimatur, served start influential corporations like Store Architects and WORKac.
“It was his most ground breaking brainchild,” said Barry Bergdoll, a Columbia professor in architectural background who succeeded Mr. Riley as MoMA’s main architecture curator.
Mr. Riley left MoMA in early 2006 to turn out to be director of the Miami Art Museum (subsequently renamed the Pérez Artwork Museum). He lifted its profile with a sequence of properly-acquired exhibitions and embarked on an bold plan to construct a new dwelling for the museum subsequent to Biscayne Bay. He introduced in Herzog & de Meuron to structure it.
“Jaques Herzog advised me the authentic purpose he required to do this museum was to function with Terry,” explained Mary E. Frank, who was about to turn out to be the museum’s board president at the time.
The museum wanted to augment general public cash with a lot more than $100 million in non-public presents. But fund-raising lagged behind, and the project took years. At last, with programs in place, Mr. Riley stepped down in 2009, returning to the Miami place of work he had opened for his architecture apply.
The Miami museum, at a value of $220 million, opened in 2013. Its style and design was striking for its wide concrete-beam roof overhangs latticed with wood from which lengthy tubes of plantings are suspended like light draperies. The overhangs and plantings secure glass walls and out of doors decks — beloved by the general public — from the searing sunshine.
The existing director, Franklin Sirmans, reported Mr. Riley had guided the architects in building a creating effectively suited to Miami.
“The building never imposes itself on you,” he explained. “It’s not a museum where you stand 56 inches away from a painting and just recognize. He envisioned a continuously energetic establishment, a local community heart that is related to our day-to-working day environment.”
Immediately after Mr. Riley remaining the museum, he and Mr. Keenen continued to operate on projects in Miami, together with with the developer Craig Robins, who required to channel the vitality unleashed by the Miami Artwork Basel artwork fairs. “Terry was the architect, but they have been also an alliance, scheming collectively,” stated Paola Antonelli, a senior curator at MoMA who remained close to Mr. Riley.
Via his firm, Dacra, Mr. Robins remodeled a neighborhood of nameless solution showrooms into the city’s Structure District, mixing artists with splashy designer boutiques and dining establishments. “He saw that artwork and style and design would be the new rock stars,” Mr. Keenen stated.
Keenen/Riley’s hottest project for Mr. Robins was the Museum Garage, whose facade is wrapped with exuberant decorative will work by architects curated by Mr. Riley.
“Terry loved layout, but he also loved the generally sophisticated procedure of having issues designed,” Mr. Keenen explained. “He experienced far more persistence than I at any time did, as perfectly as the intellect and men and women capabilities to see points through.”