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MICHAEL GRAVES

MICHAEL GRAVES. SUBMITTED BY: ABHIJEET SHARMA. 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.

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MICHAEL GRAVES

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  1. MICHAEL GRAVES SUBMITTED BY: ABHIJEET SHARMA

  2. 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

  3. 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 IT’S 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.

  4. 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 I’M • PROBABLY A BIT MORE CONSCIOUS OF • HISTORIC CONTEXT”. BECAUSE SO OFTEN • THE CITIES WE’VE BEEN ASKED TO DESIGN • FOR THERE ARE COMPLETELY REBUILT. TAJIMA OFFICE BUILDING

  5. 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

  6. PHILOSOPHY • GRAVE’S 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 IT’S IDENTITY. MOMOCHI DISTRICT APARTMENT

  7. THE REWORKING OF WHAT EXISTS INTO WHAT IS UNKNOWN • BUT STILL RECOGNIZABLE IS THE GOAL. • GRAVE’S 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.

  8. 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 BUILDING’S 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.

  9. 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.

  10. 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.

  11. 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.

  12. 2). WINDOWS • IT FORMS THE BASIC ELEMENT AS SURFACE TEXTURE, DUE • TO THEIR PROPORTION & REPETITION. WALT DISNEY DOLPHIN HOTEL HUMANA BUILDING PORTLAND BUILDING

  13. 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.

  14. HUMANA BUILDING MAJOR WORKS PLACE : LOUISVILLE,KENTUCKY,HUMANA DESIGN STARTED :1982 DESIGN COMPLETED:1985 STRUCTURE MATERIAL USED: STEEL FRAME & GRANITE NO. OF STORIES : 26

  15. 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

  16. 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

  17. TWENTY-FIFTH FLOOR TERRACE • THE BUILDING’S FORMAL ORGANISATION REFLECTS ITS DEVISION INTO THESE SIGNIFICANT PARTS • THE LOWER PORTION, SIX STORIES HIGH, IS DEVOTED TO PUBLIC SPACE AND TO HUMANA’S 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 .

  18. 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.

  19. 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

  20. PLAN OF DOLPHIN HOTEL

  21. PLAN OF SWAN HOTEL

  22. THE COLORS AND DECORATION OF THE TWO HOTELS SUGGEST THE CHARACTER OF FLORIDA RESORTS AND PROVIDE A THEMATIC CONTEXT CONSISTENT WITH DISNEY’S 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

  23. 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

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

  25. SITE & GROUND FLOOR PLAN

  26. 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

  27. THE LATTER ROOM, WHICH CONTAINS SPECIAL FUNCTIONS OF LOCAL MATERIALS, IS CENTERED ON A TIMBER DERRICK LIKE STRUCTURE THAT FIGURATIVELY RECALLS THE NATION’S WESTWARD EXPANSION. WESTERN HISTORY READING ROOM

  28. THANK YOU

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