MICHAEL GRAVES

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MICHAEL GRAVES
SUBMITTED BY ABHIJEET SHARMA
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INTRODUCTION

• APRIL 1934
• INDIANAPOLIS IN INDIANA, U.S.A
• AMERICAN
• RECEIVED ARCHITECTURAL
• TRAINING AT THE UNIVERSITY OF
• CINCINNATI HARVARD UNIVERSITY
• 2. WON THE ROME PRIZE IN
• 1960 STUDIED FOR 2 YEARS AT
• AMERICAN ACADEMY IN ROME.
• BEGAN HIS PRACTICE IN 1964 IN
• PRINCETON, NEW JERCY.
• FIRM- MICHAL GRAVES ASSOCIATES,
• 1964, (A 75 PERSONS FIRM)

• DATE OF BIRTH
• PLACE OF BIRTH
• NATIONALITY
• EDUCATION
• PROFESSION

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INFLUENCES

• GRAVES CONTINUES TO TURN TO ARCHITECTURE ITSELF
  FOR HIS INSPIRATION.
• HE HAS A DEEP INTEREST IN EXISTING
• ARCHITECTURE - ANCIENT, NEO- CLASSICAL,
  MODERN - DERIVES PLEASURE FROM REINTERPRETING
  ITS FORMS COMPOSITIONS.
• HE GIVES CREDENCE TO THE BASIC TENET THAT THERE
  IS NO SUCH THING AS AN ORIGINAL IDEA BUT THAT
  EVERYTHING ORIGINAL IS BASED ON THE REWORKING OF
  WHAT ALREADY EXISTS.

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ONE VERY STRONG INFLUENCE ON THE WORK OF GRAVES
IS THE INTEREST IN APPRECIATION OF THE SIMPLE
DOMESTIC RITUALS OF LIFE THAT ONE ENJOYS OR
OUGHT TO BE ABLE TO ENJOY, DESPITE THE SPEED AT
WHICH TECHNOLOGY IS RURTLING US INTO THE CYBER
SPACE.
JAPAN TRAVEL

• GRAVES HAS BEEN STEADILY DEVELOPING
• HIS PRACTICE IN JAPAN FOR THE LAST 15
• YEARS.
• HE EXPLAIN THAT JAPAN HAS BECOME A
• PLACE TO EXPERIMENT A BIT WITH
• ABSTRACTION. IN EUROPE AMERICA IM
• PROBABLY A BIT MORE CONSCIOUS OF
• HISTORIC CONTEXT. BECAUSE SO OFTEN
• THE CITIES WEVE BEEN ASKED TO DESIGN
• FOR THERE ARE COMPLETELY REBUILT.

TAJIMA OFFICE BUILDING
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• IN JAPAN GRAVES ARCHITECTURE
• WAS SEEN AS HUMANISTIC
• RATHER THAN MECHANISTIC i.e.
• IN TERMS OF MATERIALS THE
• ANTHROPOMETRIC QUALITIES OF
• THE BUILDING. HE USED MAN AS
• THE METAPHOR RATHER THAN THE
• MACHINE.

FUJIAN XINGE BANKING TOWER
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PHILOSOPHY

• GRAVES LANGUAGE OF ARCHITECTIRE OPERATES ON A
• NUMBER OF LEVELS. IT IS MEANT TO BE LEGIBLE
  A PART OF
• EVERYDAY LIFE.
• SECONDLY, CERTAINLY NO LESS
• IMPORTANT ALTHOUGH ADMITTEDLY MORE
• UNDERSTANDABLE TO THE TRAINED EYE,
• IS A PASSIONATE SOMETIMES PLAYFUL
• INTEREST IN REWORKING THE COMMONLY
• ACCEPTED LANGUAGE OF ARCHITECTURE
• INTO A UNIQUELY PERSONAL EXPRESSION
• OF WHAT IT MIGHT BECOME, WITHOUT
• LOSING ITS IDENTITY.

MOMOCHI DISTRICT APARTMENT
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• THE REWORKING OF WHAT EXISTS INTO WHAT IS
  UNKNOWN
• BUT STILL RECOGNIZABLE IS THE GOAL.
• GRAVES PRACTICE IS PRACTICE IN THE LITERAL
  SENSE OF
• THE WORD. HE IS CONSTANTLY PRACTICING THE
  RULES
• PRINCIPLES OF ARCHITECTURE.
• HE DESIRES TO CREATE A PLEASANT, COMFORTABLE
• ENVIORNMENT FOR THE PEOPLE IN HIS BUILDING.

HIS CONTINUALLY EVOLVING EXPERIMENTATION WITH
ARCHITECTURAL FORM LANGUAGE AT THE LEVEL OF
ABSTRACTION FIGURATION, SCALE COLOR, SIZE
STRUCTURAL SYSTEM IS SUCH THAT, THERE IS
EMERGANCE OF NEW IDEAS WITHOUT DENYING EXISTANCE
OF TRADITIIONS.
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ARCHITECTURAL STYLE
GRAVES HAS BEEN AN ARCHITECT WHO IS NOT SIMPLY
CONCERNED WITH FORMAL MANIPULATION OF A SELF-
REFERENTIAL LANGUAGE BUT IS EQUALLY OCCUPIED
WITH A BUILDINGS SIGNIFICANCE WITH TIME
PLACE.
HE DESIGNS BUILDING IN A NEAR- POPULIST ATTITUDE,
SO THAT NON ARCHITECTS CAN RECOGNIZE DISTINCT
ARCHITECTURAL ELEMENTS WITHIN THEIR COMPOSITIONS
RELATE THEM IN SCALE TO THEIR OWN BODIES.
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• HIS EARLY PROJECTS REVEAL DISTINCT REFERENCES TO
  THE
• ENVIORNMENT THAT THE BUILDINGS ARE A PART OF-
• A CURVE REFERRING TO THE CLOUDS ABOVE.
• A YELLOW RAIL REFERRING TO THE SUN
• A TERRACOTTA BASE SUGGESTING GROUNDING IN THE
• EARTH.
• A MURAL EXPANDING THE PERSPECTIVE OF A ROOM.

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GRAVES STYLE IN 1980

• GRAVES STRATEGY HAS BEEN TO INTERNALIZE THE
  EVENTS
• OF THE BUILDING, IDENTIFYING PARTICULAR
  COMPONENTS
• OF THE PROGRAM THAT CAN BE GIVEN FORMAL
  EMPHASIS.
• THE RESULT IS THAT THESE LARGE COMPLEXES
  BECOME CITIES
• INTO THEMSELVES, SELF CONTAINED BY SOMEWHAT
  INWARD
• LOOKING.
• 2. WHETHER THE EMPHASIS OF THE BUILDING IS
  PRIMARILY
• HORIZONTAL OR VERTICAL, A HIERARCHIAL ROUTE
  IS
• ESTABLISHED THROUGH THE REPETITIVE SPACES.
• 3. RELATIONSHIP B/W INDOORS OR OUTDOORS BY
  PUSHING THE
• WALL AS FAR OUT AS IT CAN GET TO MAKE A BAY
  WINDOW
• THAT GRABS THE LIGHT e.g. HUMANA BUILDING
• OR BY CARVING SOMETHING OUT OF THE FACE OF
  THE
• BUILDING SO PEOPLE CAN LITERALLY GO OUTSIDE,
  e.g.
• TAZIMA BUILDING.

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ARCHITECTURAL DETAILS

• 1). BUILT FORM
• INFLUENCED BY THE ROMAN STYLE,
• GRAVES TRIED TO CREATE GRAND
• INTERIOR SPACES BUT BROKEN
• DOWN TO HUMAN SCALE.

• CUBICAL FACADES TREATED IN THE CLASSICAL THREE
  PART
• DIVISION OR TRIPARTITE FORM WITH THE BASE,
  SHAFT
• CORNICE.
• IN LATER PROJECTS, THE STRICT FORM OF THE CUBE IS
  
• BROKEN.

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• 2). WINDOWS
• IT FORMS THE BASIC ELEMENT AS SURFACE TEXTURE,
  DUE
• TO THEIR PROPORTION REPETITION.

WALT DISNEY DOLPHIN HOTEL
HUMANA BUILDING
PORTLAND BUILDING
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• 3). FAÇADE
• USES COLUMN AS SURFACE TREATMENT DEFINING THE
  CORNICE OR THE HEAD OF THE BUILDING ENTRANCE.
• FACADES ARE SYMMETRICAL
• LINEARITY BROKEN BY ADDING
• VERTICAL BANDS OF COLORS
• WINDOWS.
• USES SQUARE WINDOWS BUT TRIES TO ACHIEVE THE
  PRINCIPLES OF NEOCLASSICAL STYLE.

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MAJOR WORKS
HUMANA BUILDING

• PLACE LOUISVILLE,KENTUCKY,HUMANA
• DESIGN STARTED 1982
• DESIGN COMPLETED1985
• STRUCTURE MATERIAL USED STEEL FRAME GRANITE
• NO. OF STORIES 26

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• HUMANA BUILDING IS THE HEADQUATERS WELL-KNOWN
  AMERICAN COMPANY SPECIALIZING IN HEALTH CARE.
• THE MODERN BUILDINGS SURROUNDING THE SITE ARE SET
  BACK FROM THE STREET ON PLAZAS, ERODING THE
  HISTORICAL URBAN STREET WALL PATTERN.
• IN CONTRAST, THE HUMANA BUILDING OCCUPIES ITS
  ENTIRE SITE AND RE-ESTABLISHES THE STREET EDGE AS
  AN ESSENTIAL URBAN FORM.

VIEW FROM OHIO RIVER
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• THE 525,000 SQUARE FOOT BUILDING INCLUDES TWO
  PARKING LEVELS BELOW GRADE, RETAIL SHOPS ON THE
  FIRST FLOOR, AND OFFICES AND CONFERENCE CENTER
  ABOVE.

SITE PLAN
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TWENTY-FIFTH FLOOR TERRACE

• THE BUILDINGS FORMAL ORGANISATION REFLECTS ITS
  DEVISION INTO THESE SIGNIFICANT PARTS
• THE LOWER PORTION, SIX STORIES HIGH, IS DEVOTED
  TO PUBLIC SPACE AND TO HUMANAS EXECUTIVE
  OFFICES.
• GENERAL OFFICES ARE LOCATED IN THE BODY OF THE
  BUILDING.
• THE CONFERENCE CENTER OCCUPIES THE 25TH FLOOR,
  WITH ACCESS TO A LARGE OUTDOOR PORCH OVERLOOKING
  THE CITY AND THE RIVER BEYOND .

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WALT DISNEY WORLDDOLPHIN SWAN HOTEL

• LOCATION WALT DISNEY WORLD RESORT, FLORIDA
• DESIGN STARTED 1987
• DESIGN COMPLETED 1990
• AREA 2- MILLION SQ. FEET
• STRUCTURE REINFORCED CONCRETE STEEL
  SUPERSTRUCTURE
• MATERIAL EXTERIOR INSULATION FINISH SYSTEM
  WITH PAINTED MURALS.

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• THE 1,500 ROOM WALT DISNEY WORLD RESORT DOLPHIN
  FACES ITS COMPOSITION PROJECT,THE 758-ROOM WALT
  DISNEY WORLD RESORT SWAN HOTEL, ACROSS A LARGE
  CRESCENT SHAPED ARTIFICIAL LAKE.
• BOTH HOTELS CONTAIN EXTENSIVE CONVENTION
  FACILITIES, RESTAURANTS, AND RETAIL SHOPS.

SITE PLAN
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PLAN OF DOLPHIN HOTEL
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PLAN OF SWAN HOTEL
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• THE COLORS AND DECORATION OF THE TWO HOTELS
  SUGGEST THE CHARACTER OF FLORIDA RESORTS AND
  PROVIDE A THEMATIC CONTEXT CONSISTENT WITH
  DISNEYS PROGRAM FOR ENTERTAINMENT ARCHITECTURE
• GIGANTIC STATUES OF DOLPHINS AND SWANS MARK THE
  ENDS OF THE HOTEL ROOFS, MAKING THE HOTELS
  VISIBLE AND RECOGNIZABLE FROM A GREAT DISTANCE.
• WITHIN THE BOTH HOTELS, THE LOBBIES, BALLROOMS,
  GUESTROOM CORRIDORS, RESTAURANTS, AND THE OTHER
  AREAS EXPERIENCED BY HOTEL VISITORS ARE
  EMBELLISHED BT A WIDE VARIETY OF PATTERNED
  MATERIALS AND CUSTOM-DESIGNED LIGHT FIXTURES AND
  FURNITURE,DELIGHTING THE VISITOR WITH THE
  UNEXPETED.

DOLPHIN HOTEL FACADE
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DENVER CENTRAL LIBRARY

• LOCATION DENVER, COLORADO
• DESIGN STARTED 1990
• DESIGN COMPLETED 1996
• TOTAL FLOOR AREA 133,000 SQ. FEET (RENOVATION)
  405,000 SQ. FEET (NEW CONSTRUCTION)
• STRUCTURE STRUCTURAL CONCRETE WAFFLE SLABS ON
  CONCRETE COLUMNS
• MATERIAL CAST STONE, NATURAL STONE,TIMBER
  COPPER ROOFING

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• IN1990, GRAVES WON A DESIGN COMPETITION FOR THE
  RENOVATION AND EXPANSION OF DENVERS LANDMARK
  LIBRARY BUILDING WHICH WAS DESIGNED IN 1956 BY
  THE ARCHITECT BURNHAM HOYT.
• THE LIBRARY IS SITED ON CIVIC CENTER PARK BETWEEN
  THE CITYS ART MUSEUM.
• THE EXPANSION, MUCH GREATER IN SIZE THAN THE
  ORIGINAL BUILDING, BECOMES BACKDROP TO HYOTS
  COMPOSITION AND COMPLETES THE LIBRARY BLOCK SOUTH
  TO THIRTEENTH AVENUE,

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SITE GROUND FLOOR PLAN
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• THE SCALE AND COLORATION OF THE ADDITION, AS WELL
  AS THE INDIVIDUALIZED MASSING OF ITS VARIOUS
  COMPONENTS, ALLOW THE ORIGINAL LIBRARY TO
  MAINTAIN ITS OWN IDENTITY AS ONE ELEMENT OF
  LARGER COMPOSITION.
• TWO MAJOR PUBLIC ENTRANCES ESTABLISH AN EAST-WEST
  AXIS THROUGH THE GREAT HALL, A THREE STORY PUBLIC
  ROOM OF URBAN SCALE WHICH IS THE FOCAL POINT FOR
  VISITOR ORIENTATION AND CIRCULATION.
• THE SOUTH-FACING ROTUNDA CONTAINS SPECIAL SUCH AS
  THE REFERENCE ROOM, THE PERIODICALS CENTER AND,
  ON THE TOP FLOOR, THE WESTERN HISTORY READING
  ROOM.

WEST ENTRY LOOKING TOWARDS THE GREAT HALL
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• THE LATTER ROOM, WHICH CONTAINS SPECIAL FUNCTIONS
  OF LOCAL MATERIALS, IS CENTERED ON A TIMBER
  DERRICK LIKE STRUCTURE THAT FIGURATIVELY RECALLS
  THE NATIONS WESTWARD EXPANSION.

WESTERN HISTORY READING ROOM
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