Michael Graves (born, Indianapolis, Indiana, U.S.—died, Princeton, New Jersey), American architect and designer, one of the principal figures in the postmodernist movement.
Graves earned a bachelor’s degree in 1958 from the College of Design at the University of Cincinnati, Ohio, and a master’s degree in architecture (1959) at Harvard University. In 1960 he was the recipient of the Rome Prize from the American Academy in Rome, where, from 1960 to 1962, he immersed himself in the study of the great ancient local edifices. His exposure to those architectural structures not only would be the impetus for his departure from Modernism but would even be evident in his later postmodern buildings. Upon returning to the United States in 1962, he accepted a teaching position at Princeton University’s School of Architecture, where he would teach for nearly four decades.
As he was a disciple of Modernism, his early architecture in the 1960s was imbued with its spirit: predominantly white geometric volumes composed with clean, sparse lines with no ornamentation. Rejection of past references—such as decoration—was a hallmark of his early style, which echoed the works of Mies van der Rohe and Le Corbusier and the Miesian motto, “Less is more.” Examples of Graves’s Modernist sensibilities are evident in the Hanselmann House (1967–71) in Fort Wayne, Indiana, and the addition to the Benacerraf House (1969) in , New Jersey.
His adherence to the principles of Modernism helped to identify him in the late 1960s as one of the New York Five, a group of influential East Coast architects who wholeheartedly embraced the Modernist movement. (The other four members were Peter Eisenman, Charles Gwathmey, John Hejduk, and Richard Meier.) However, opposition to the coldness and rigidity of that vernacular was rising. At the helm of this dissention was architect Robert Venturi, who cleverly contested the venerated words of Mies by pronouncing, “Less is a bore.”
By the late 1970s Graves also was beginning to reject the bare and unadorned Modernist idiom as too cool and abstract, and he began seeking a more-diverse repertoire of architectural forms that would be more accessible to the public. Graves’s defection from Modernism began with his design of the Plocek House (1977) in Warren, New Jersey. The structure is reminiscent of an Italian palazzo with its classical yet abstracted columns, with an exaggerated arch signifying the entrance. Its decorative references to historical forms—an anathema in Modernism—along with the use of colour and small windows (versus large expanses of glass) heralded a new countermovement in architecture—postmodernism—which Graves and others saw as an inherently more inviting and approachable architectural expression.
In the early 1980s Graves drew remarkable attention with his designs for several large public buildings, including the Portland Public Service Building (usually called the Portland Building) in Portland, Oregon (completed 1982), and the Humana Building (or Humana Tower) in Louisville, Kentucky (1985). The Portland Building was the epitome of postmodernist architecture that, with its colourful structure and facades decorated with a stylized garland, defied the austere static steel and glass box of the Modernist sensibilities. Its classical tripartite organization consisting of base (teal), middle (terra cotta), and top (blue) symbolized the cultivated land or garden, earth, and the heavens. Despite its elevated status (it was placed on the National Register for Historic Places in 2011), the building had its detractors, especially in Portland. Many called for its destruction, citing a plethora of problems—from its dark, dreary interiors due to Graves’s signature small windows to costly repairs for the innumerous water leaks in the structure.
Graves’s Humana Building in became one of his most famous designs, often cited as a textbook example of postmodern architecture. It punctures the city’s skyline with its singular triangular form at the top. The interior and exterior are encased with granite and marble of myriad colours. Rather than adopting the Modernist approach of creating a conventional box with repetitive facades, Graves designed each elevation to address the site. This attention to the building’s context created varied and memorable faces or sides. The gently curved open-air observation deck, cantilevering from the top of the structure, afforded spectators a remarkable view of the Ohio River. The Humana Building garnered the coveted American Institute of Architects’ National Honor Award in 1987.