Michael Graves
Michael Graves
Michael Graveswas an American architect. Identified as one of The New York Five, as well as Memphis Group, Graves was known first for his contemporary building designs and some prominent public commissions that became iconic examples of Postmodern architecture, such as the Portland Building and Denver Public Library. His recognition grew through designing domestic products sold by premium Italian housewares maker Alessi, and later low-cost new designs at stores such as Target and J. C. Penney in the United States...
NationalityAmerican
ProfessionArchitect
Date of Birth9 July 1934
CityIndianapolis, IN
CountryUnited States of America
The Alessi relationship and the Target one has broadened the role of architects in society and broadened the concept that design belongs to everyone.
I have architects write to me and ask me: How do you - and what do you do to - design the magic thing? I answer that very carefully. It's not necessarily about what you do, but the clients you do it for. You should write to Target, not me.
The dialogue of architecture has been centered too long around the idea of truth.
I don't believe in morality in architecture.
I stayed true to what I thought was good design no matter who it was for.
I once got a postcard from a French poet who wrote - "you don't know me but I'm always very grumpy when I get up in morning. But when I get up now I put the tea kettle on, and when it starts to sing it makes me smile - goddamn you!" That's what happened when we first designed it - we got a lot of mail.
Architects love to rethink a project - that's what we do. If something is successful, like a house or a kettle, in this case, it's a great compliment when someone wants another one.
In America, writers are afforded the freedom to express themselves in unlimited manners. Creative liberty is a privilege.
In designing hardware to be used every day, it was important to keep both the human aspects and the machine in mind. What looks good also often feels good
I don't care what people call me, labels have the negative value of making smaller boundaries for people.
I learned in architecture that you have to have a real plan. You have to have a client, they have to have distribution, start-up money, and have a vision of where it's going to go. All this has to be settled before you start, or else your work is just a story.
The design of the building addresses the public nature of both the urban context and the internal program. In order to reinforce the building's associative or mimetic qualities, the facades are organized in a classical three-part division of base, middle or body, and attic or head.
I've always believed that what can make a domestic setting truly home is the infusion of a cultural dimension.
In any architecture, there is an equity between the pragmatic function and the symbolic function.