MICHAEL GRAVES

-k.sreeram
INTRODUCTION:
 Michael Graves: The Architect
 Michael Graves who have taken postmodernism beyond the surface application of color
and
 texture and created a new attitude toward architecture and design. He attempts to jar
 people's memory of historic architectural forms by using the form and renewing it
through a
 reinterpretation. Graves does more than simply apply historic imagery to his facades. He
 takes the decoration one step farther and turns its shape into an integral part of the design
 process.
 Philosophy
 His forms attract the architectural community with their interaction of shape, color,
 and spacial transition. The buildings are successful with the non-architectural world
 in that they are unusual and appear to be designed with the user in mind.
 The development of this theme is the key to communication and mutual
 participation , if it is clear, then all who interact with the building and its
functions
 will be aware of the symbolism. If the theme is too abstract, then people do not
 understand the purpose of the decoration, and a feeling of alienation results.
 The figure of a keystone has become a trademark image of Michael Graves' work.
Because the keystone as an architectural element has stood out as symbolically
throughout architectural history because of its prominent location marking the
entrance of a portal in a wall.
Portland Building

According to Graves, the structure is also intended to be read anthropomorphically

•According to Graves, the building facade symbolizes a large arch with garland-like ribbons
as a symbol of welcome and to herald the celebration of Portlandia, the city's Lady of
Commerce on the seal of Portland. It was a large civic structure designed for everyday
workers – a cheerful and monumental tribute to the daily functioning of city government.

•The Portlandia sculpture sits on a teal platform above the entrance to the Portland Building.
The fifteen-storey building is divided into classical tripartite sections: that of the
base, the middle or shaft, and the cornice or capital. As was typical with early skyscrapers,
the building becomes an analogy for a column.

•According to Graves, the structure is also intended to be read anthropomorphically.

•The base is also the feet, the middle section the body, though the head was lost due to a tight
budget. The 'head' of the original design included a series of temples in a roof garden setting
that would have completed the body as well as the column analogy.

•Divisions are highlighted by a dark granite substructure for the base and a light colored
facing on the 'body' section dotted with small rectangular windows. This portion of the
building is divided in the middle with a seven-storey reflective glass window with two
pilasters in front.

•The pilasters have projecting capitals, and are surmounted by a four story flat keystone.
•These classical elements were meant to be a metaphor for the function of the
building: the middle floors of governmental offices were to support two floors of
rentable commercial offices at the top of the building.
•On one side of the building is a mall and central business district of Portland, on the
opposite side is a large park. There is, however, no entrance on the park side of the building,
making it a one-way transition.

•The metaphor of the arch, keystone, and garlands received both criticism and
praise locally and nationally, from lay people and architects alike. Praised as the first
post-modem high-rise structure it was also criticized as merely fanciful wrapping of a
modernist building.

•According to the people who use the building, the public space of the lobby, despite
Graves' colorful murals which decorate the walls, is "dark, dingy , doesn't welcome
visitors and has been compared to the inside of a swimming pool.

•Graves became a prolific product designer, creating the hugely successful 9093 kettle for
design brand Alessi, which was a best-seller for 15 years and recently marked its anniversary
with a new whistle design.