Terence Riley, who as an architectural curator and museum director was instrumental in bringing to fruition two of an important works of Twenty first-century museum structure, died on Monday at his house in Miami. He was 66.
His household mentioned the loss of life was sudden however didn’t disclose the trigger.
Because the chief curator of structure and design on the Museum of Trendy Artwork, Mr. Riley helped choose and information the Tokyo-based architect Yoshio Taniguchi in MoMA’s $858-million enlargement, which was accomplished in 2004.
Later, as director of the Pérez Art Museum Miami, he labored with the Swiss structure agency Herzog & de Meuron to create a brand new house for the museum that has been acclaimed for its design and integration into its setting. Alongside along with his museum duties, Mr. Riley maintained an architectural follow, based in 1984, with John Keenen.
“He at all times impressed me along with his depraved humorousness and his fierce intelligence,” mentioned Glenn D. Lowry, MoMA’s director. “He appeared to recollect particulars about each architect he ever talked to.”
In his 15 years at MoMA, Mr. Riley curated exhibits on Frank Lloyd Wright and Mies van der Rohe that shed new gentle on these quintessential trendy architects. He engaged modern themes in a number of exhibitions: “The Un-Non-public Home” (1999), “Mild Development” (1995) and “Tall Buildings” (2004), bringing consideration to architects like Kazuo Sejima, Toyo Ito and Jeanne Gang, who weren’t but well-known.
As MoMA proceeded with its huge enlargement within the early 2000s, Mr. Riley requested 10 worldwide architects of extensively various fame and sensibility to arrange sketchbook designs, which he then displayed on the museum. The invitees included Mr. Taniguchi, an architect little identified outdoors his native Japan. Mr. Riley urged the museum to simply accept his design, which reorganized the daunting tangle of additives to the museum house, initially in-built 1939, right into a coherent complete.
Mr. Riley’s function within the undertaking, mentioned Mr. Lowry, “was to speak with the curators about their concepts and discover the proper language for Yoshio to know what they meant.”
With overlapping slabs of silvery aluminum, black granite and glass, the brand new MoMA opened in 2004, including 252,000 sq. ft for a complete of 630,000, all wrapped round a hovering atrium. The taller and extra generously proportioned galleries permitted a refreshingly diverse mounting of artwork, extra visible respiration room for each bit, and more room for the ever-growing crowds of holiday makers.
Nicolai Ouroussoff, reviewing the building in The New York Occasions, referred to as it “one of the vital beautiful works of structure to rise on this metropolis in no less than a technology” and “a near-perfect instance of how structure could be forceful with out competing with the artwork it enfolds.”
Terence Riley was born on Nov. 6, 1954, in Elgin, Unwell., to Philip and Mary Jo (Lundberg) Riley. His mom was a homemaker; his father ran a printing enterprise. Terence earned a bachelor of structure diploma from the College of Notre Dame and a grasp of science in structure and concrete planning from Columbia College.
He’s survived by two brothers, Dennis and Brian.
Mr. Riley’s curatorial work started when he was chosen to run the Arthur Ross Gallery at Columbia, an exhibition area dedicated to structure. His work there drew the eye of Philip Johnson, who had based the Museum of Trendy Artwork’s structure division. Mr. Riley was introduced into the division and have become the chief curator for structure and design in 1991.
Later in his tenure he helped begin the MoMA/P.S. 1 Younger Architects Program, which showcased early-career architects. Given small grants, the chosen architects created immersive environments within the courtyard of the P.S. 1 Modern Artwork Middle in Lengthy Island Metropolis, Queens. The publicity and MoMA imprimatur helped launch influential corporations like SHoP Architects and Workac.
“It was his most modern mind little one,” mentioned Barry Bergdoll, a Columbia professor in architectural historical past who succeeded Mr. Riley as chief structure curator at MoMA.
Mr. Riley left MoMA in early 2006 to develop into director of the Miami Artwork Museum (subsequently renamed the Pérez Artwork Museum). He raised its profile with a sequence of well-received exhibitions, and launched into an bold plan to construct a brand new house for the museum subsequent to Biscayne Bay. He introduced in Herzog & de Meuron to design it.
“Jaques Herzog informed me the actual cause he needed to do that museum was to work with Terry,” mentioned Mary E. Frank, who was about to develop into the museum’s board president on the time.
The museum wanted to enhance public funds with greater than $100 million in personal items, however fund-raising lagged behind, and the undertaking took years. Lastly, with plans in place, Mr. Riley stepped down in 2009, returning to the Miami workplace he had opened for his structure follow.
The Miami museum, at a price of $220 million, opened in 2013, a design hanging for its broad concrete-beam roof overhangs latticed with wooden from which lengthy tubes of plantings are suspended like mild draperies. The overhangs and plantings defend glass partitions and out of doors decks — beloved by the general public — from the searing solar.
The present director, Franklin Sirmans, mentioned Mr. Riley had guided the architects in making a constructing effectively suited to Miami.
“The constructing by no means imposes itself upon you,” he mentioned. “It’s not a museum the place you stand 56 inches away from a portray and simply recognize. He envisioned a continuously energetic establishment, a neighborhood heart that’s linked to our day-to-day environment.”
After Mr. Riley left the museum, he and Mr. Keenen continued to work on initiatives in Miami, together with with the developer Craig Robins, who needed to channel the vitality unleashed by the Miami Artwork Basel artwork gala’s. “Terry was the architect, however they had been additionally an alliance, scheming collectively,” mentioned Paola Antonelli, a senior curator at MoMA who remained near Mr. Riley.
By his firm, Dacra, Mr. Robins reworked a neighborhood of nameless product showrooms into town’s Design District, mixing artists with splashy designer boutiques and eating places. “He noticed that artwork and design could be the brand new rock stars,” Mr. Keenen mentioned.
Keenen/Riley’s newest undertaking for Mr. Robins was the Museum Garage, whose facade is wrapped with exuberant ornamental works by architects curated by Mr. Riley.
“Terry cherished design, however he additionally cherished the usually sophisticated technique of getting issues constructed,” Mr. Keenen mentioned. “He had extra persistence than I ever did, in addition to the thoughts and folks abilities to see issues via.”