For example, Michael Graves would oppose making a full wall of glass, a so-called window wall, as the facade of a building. To Michael Graves, a window wall in architecture is akin to slang in spoken language. Michael Graves would rather see the windows as distinct elements within the wall, framing the occupant's view to the outside, increasing the hierarchical differences between inside and outside, and expressing the general size of the human figure on the outside of the structure. Graves's interest in reinstating the familiar and traditional elements of architecture as distinct elements (walls, floors, ceilings, doors, windows, and columns, for example) does not imply simply returning to the past. Michael Graves is also interested in the positive lessons of the modern movement in architecture and includes both traditional and modern concepts in his palette. A sequel to Michael Graves's 1966-1981 monograph, documenting work completed since that time, is being published by Princeton Architectural Press in 1988.
A similar concern for the street occurs in Michael Graves's design of The Portland Building, a municipal office building for the City of Portland, Oregon, which won a design-build competition in 1980 and was completed in 1982. The design of the building addresses both the public nature of the program and the urban context. In order to reinforce the building's associative or figurative qualities, the facades are organized in a classical three-part division of base, middle or body, and attic or head, further enhanced by the use of color. The articulation of the various parts of the building on the facades also reflects the internal uses of the building. The Portland Building, because of critical debate in architecture and is considered one of the seminal buildings in the architectural design movement known as postmodernism. The figure of Lady Comerce from the Portland City seal, reinterpreted by Michael Graves to represent a broader cultural tradition and renamed Portlandia, was placed above the main entry to tGraves building as a new symbol of the city. Michael Graves's collaboration with the sculptor Raymond Kaskey earned them the Henry Hering Medal of the American Sculpture Society for incorporation of public sculpture in architecture.
architectural standards books
building types & styles books
drawing & modelling books
historic preservation books
interior design books
project planning & management books
study & teaching books
urban & land use planning books Other notable collaborations with artists have occurred in Michael Graves's design of Riverbend, a summer music pavilion for the Cincinnati Symphony Orchestra, where giant billboardlike statues representing musical muses, illustrated by the New York artist Edward Schmidt, line the cornice of the front facade, and in the competition entry for the Clos Pegase winery in the Napa Valley, where murals, friezes, and a statue of Pegasus were proposed by Michael Graves, again in collaboration with Edward Schmidt. In collaborating with artists, Michael Graves locates the artwork within his buildings to reinforce the reading of the architecture and uses their narrative qualities to reinforce themes related to the buildings' uses and location.
Over the past 25 years, the Michael Graves office has been involved in a number of renovations and additions. In recent examples of such work, Michael Graves incorporates the associative interests of the existing context into the character of the new composition. At Emory University in Atlanta, Michael Graves renovated a historic structure designed in 1916 by the Pittsburgh architect, Henry Hornbostel, now called Michael C. Carlos Hall, to house the Museum of Art and Archaeology as well as faculty offices and classrooms. This award-winning museum, completed in 1985, includes galleries for the University's permanent collection of archaeological artifacts and for temporary art exhibitions. Renovations of The Newark Museum, starting with a 1968 master plan and continuing to major construction being completed in 1987-1989, includes new galleries for the permanent collection, an auditorium, classrooms, a minizoo for the education Department, administrative offices, and support space for storing and curating the collections.