Architectural Record 2015-04

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20 ARCHITECTURAL RECORD APRIL <strong>2015</strong> perspectivenews Otto designed the Diplomatic Club in Riyadh, Saudi Arabia, in 1980. the ‘grammar’ of structural design, unnoticed, and we architects are only now realizing that we unconsciously base our designs on his grammar.” Otto served as a professor at the University of Stuttgart from 1964 until 1991 and published numerous works on architecture and engineering. In 1964, he was named the director of the influential Institute for Lightweight Structures at the University of Stuttgart. Over the years, Otto received many accolades, including the Aga Khan Award for Architecture (1980), the Grand Prize of the German Association of Architects and Engineers (1996), and the Royal Institute of British Architects Gold Medal (2005). The Pritzker prize will be presented to a representative for Otto at an awards ceremony at the Frank Gehry–designed New World Center in Miami Beach on May 15. Otto is the award’s 40th laureate. “I will use whatever time is left to me to keep doing what I have been doing, which is to help humanity,” Otto said when he was alerted of the news earlier this year. “You have here a happy man.” ■ Remembering Michael Graves BY FRED A. BERNSTEIN speaking at a symposium in New York last November, Michael Graves described a dream in which he got to take Michelangelo through the Metropolitan Museum of Art. “We went up to the roof. There was this shiny rabbit. And Michelangelo said, ‘What’s that?’ I said, ‘That’s what our culture does today.’ He said, ‘I came back at the wrong time.’ And I woke up.” Michael Graves, who died in March at his home in Princeton, New Jersey, might have lived at the wrong time; certainly the Renaissance would have provided a more sympathetic context. Instead, Graves, who was born in Indiana, studied at Harvard during the Gropius-Sert years, when architectural history was off the table. He later spent a year in Italy as a Rome Prize–winner at the American Academy. As he put it, “I went to the school of self-taught.” During his 55-year career, he managed to design 350 buildings and thousands of products—numbers Michelangelo would envy. But that was far from his only distinction. Another is that he created a business (now called Michael Graves Architecture & Design) that has a good chance of surviving him, a rarity for architecture firms with one name on the door. In a profession sorely lacking for business acumen, Michael Graves had a lot of wisdom to impart. He was also the only living American architect to have an architecture school named for him. The Michael Graves School of Archi tecture, at New Jersey’s Kean University, will be heavy on hand-drawing; students won’t use CAD until the second year. With his name came his philosophy. Another distinction: after an infection left him paralyzed from the waist down, in 2003, Graves began designing products for the disabled, as mundane—and yet as essential—as heating pads and bathroom grab-rails. Graves’s disability didn’t drag him down; instead, it gave him purpose. Yet another: he managed to design buildings dripping with historical allusions, yet somehow he survived the downfall of Post modern- ism. Why? It may be that Graves’s buildings were so much about his personal aesthetic— like Gaudi’s and Frank Lloyd Wright’s—that they escaped categorization. But Graves was better with surfaces than spaces; he was an excellent muralist, but taking his aesthetic to three dimensions wasn’t easy. Money helped: his Municipal Building for Portland, Oregon (1982), done on a shoestring, will never be more than a billboard, while later projects, including the Resorts World Sentosa Complex in Singapore (2010), are Gesamtkunstwerks. Graves could work at any scale. Some Graves buildings look cartoonish: his Team Disney building even used the Seven Michael Graves (left), designed the scaffolding for the restoration of the Washington Monument (top) and an expansion of the Minneapolis Institute of Arts (above). Dwarfs as caryatids. But he could also be restrained, as he was with the Target Wing at the Minneapolis Institute of Arts. Like most architects, all he wanted was the chance to build. At the November symposium, he harrumphed about the popularity of Frank, Zaha, and Rem. Later, he said he had only done one building in the last year. “One building,” he said. “I’m ready for the next one.” ■ PHOTOGRAPHY: COURTESY MICHAEL GRAVES ARCHITECTURE & DESIGN (BOTTOM, 3); FREI OTTO (TOP). View additional images at architecturalrecord.com.
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Architectural Record 2015-04

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