by Ian Volner
Selected Bibliography
BY MICHAEL GRAVES
“The Amenable Shelter.” Accompanying texts for undergraduate thesis at University of Cincinnati, 1958.
“Architect’s Statement.” In Piranesi as Designer, edited by Sarah E. Lawrence, 339. New York: Assouline, 2008.
“A Case for Figurative Architecture.” In Michael Graves: Buildings and Projects 2, 1966–1981, edited by Karen Nichols, Peter Arnell, and Ted Bickford, 11–14. New York: Rizzoli, 1982.
“Foreword.” In Michael Graves: Images of a Grand Tour, edited by Brian Ambroziak, ix. New York: Princeton Architectural Press, 2005.
“A Grand Tour,” lecture.
“Has Postmodernism Reached Its Limit?” Architectural Digest 45 (April 1989): 6, 8, 10.
“Introduction.” In Le Corbusier, Selected Drawings, 8–25. London: Academy Editions, 1981.
“The Necessity for Drawing: Tangible Speculation.” Architectural Design 47 (June 1977): 384–94.
“Referential Drawings.” Journal of Architectural Education 32 (September 1978): 24–27.
“Roman Interventions.” Architectural Design 49 (1979): 3–4.
With Caroline Constant. “The Swedish Connection.” Journal of Architectural Education 29 (September 1975): 12–13.
“What Is the Status of Work on Form Today?” ANY: Architecture New York, nos. 7–8 (1994): 61.
ON MICHAEL GRAVES
“American Architecture Now: Michael Graves.” Taped interview with Barbaralee Diamonstein-Spielvogel, 1980.
Bletter, Rosemarie Haag, Alan Colquhoun, and Anthony Vidler. “About Graves.” Skyline 3 (Summer 1979): 2–3.
Buck, Alex, and Matthias Vogt. Michael Graves: Designer Monographs 3. Berlin: Ernst and Sohn, 1994.
Carl, Peter. “Peter Carl on Michael Graves.” PSOA Rumor 1, no. 2 (Spring 2010): 6, 8.
CBS Sunday Morning. “Passage: Postmodern Architect Michael Graves.” Aired March 15, 2015.
CBS Sunday Morning. “Sunday Profile: Michael Graves.” Aired April 2, 2006.
Colquhoun, Alan. “Michael Graves.” In Michael Graves: Architectural Monographs 5. New York: Rizzoli/Academy Editions, 1979.
Davies, Paul. “Reputations: Michael Graves (1934–).” Architectural Review, April 25, 2014, accessed January 10, 2017, https://www.architectural-review.com/rethink/reputations/michael-graves-1934-/8661699.article.
Deamer, Peggy. “Michael Graves: Bodybuilder?” In Thinking the Present: Recent American Architecture, edited by K. Michael Hays and Carol Burns, 6–22. New York: Princeton Architectural Press, 1990.
Eisenman, Peter. “The Graves of Modernism.” Oppositions 12 (Spring 1978): 21–27.
Filler, Martin. “Michael Graves: Before and After.” Art in America 68 (September 1980): 99–105.
Goldberger, Paul. “Architecture of a Different Color.” New York Times, October 10, 1982.
Iovine, Julie, Marisa Bartolucci, and Raul Cabra. Michael Graves: Compact Design Portfolio. New York: Chronicle Books, 2002.
Jencks, Charles. “Michael Graves (1934–2015).” Architectural Review, March 21, 2015, accessed January 10, 2017, https://www.architectural-review.com/rethink/viewpoints/michael-graves-1934-2015/8680204.article.
Jordy, William H. “Aedicular Modern: The Architecture of Michael Graves.” New Criterion 2 (October 1983): 43–50.
Patton, Phil. Michael Graves Designs: The Art of the Everyday Object. London: DK Publishing, 2004.
Scully, Vincent. “Michael Graves’s Allusive Architecture: The Problem of Mass.” In Michael Graves: Buildings and Projects, 1966–1981, edited by Karen Nichols, Peter Arnell, and Ted Bickford, 289–98. New York: Rizzoli, 1982.
ON MICHAEL GRAVES PROJECTS
Arnell, Peter, and Ted Bickford. A Tower for Louisville: The Humana Competition. New York: Rizzoli, 1982.
Brenner, Douglas. “Portland.” Architectural Record 170 (November 1982): 90–99.
Clausen, Meredith L. “Michael Graves’s Portland Building: Power, Politics, and Postmodernism.” Journal of the Society of Architectural Historians 73 (June 2014): 248–69.
Davies, Julie Hanselmann. Michael Graves: Hanselmann House, Snyderman House: Residential Masterpieces 4. Edited by Yukio Futagawa. Tokyo: ADA Edita, 2013.
Doubilet, Susan. “Conversation with Graves: The Portland Building.” Progressive Architecture 64 (February 1983): 108–15.
Forster, Kurt W., et al. “Portland.” Skyline 2 (January 1983): 16–21.
Goldberger, Paul. “An Appraisal: The Humana Building in Louisville: Compelling Work by Michael Graves.” New York Times, June 10, 1985.
———. “The Whitney Paradox—To Add Is to Subtract.” New York Times, January 8, 1989.
Hockenberry, John. “The Re-education of Michael Graves.” Metropolis, October 2006, 123–27.
Jencks, Charles. “Plocek House.” Architectural Design 5–6 (1980): 130.
Knight, Carlton. “Michael Graves Shakes Up Manhattan with His Museum Add-On.” Christian Science Monitor, November 12, 1985.
Kramer, Hilton. “The Whitney’s New Graves.” New Criterion 4 (September 1985): 1–3.
Merkel, Jayne. Michael Graves and the Riverbend Music Center. Cincinnati: Contemporary Arts Center, 1987.
Mirarchi, Chuck. “A Look Back: Walt Disney World’s Swan and Dolphin Hotels.” http://blog.wdwinfo.com/2015/05/05/a-look-back-walt-disney-worlds-swan-and-dolphin-hotels/.
Muschamp, Herbert. “A Wonder World in the Mile High City.” New York Times, May 7, 1995.
Nall, Nancy. “The Snyderman House.” http://nancynall.com/2011/08/15/the-snyderman-house/.
Powell, Kenneth. Graves Residence. New York: Phaidon, 1995.
Robinson, Gaile. “Michael Graves’ Designs Are Right on Target.” St. Louis Post-Dispatch, December 21, 2000.
Sorkin, Michael. “Save the Whitney.” Village Voice, June 25, 1985.
Stephens, Suzanne. “Living in a Work of Art.” Progressive Architecture 59 (March 1978): 80–87.
Trescott, Jacqueline. “Washington Monument to Be under Wraps.” Washington Post, October 17, 1997.
Volner, Ian. “A Much-Watched Kettle.” Disegno, no. 9 (Autumn–Winter 2015).
Vreeland, Thomas. “Citation: Michael Graves.” Progressive Architecture 51 (January 1970): 86.
Whiteson, Leon. “A New Hotel Reflects Company’s Ambitious Plan to Tap Some of the World’s Most Innovative Designers.” Los Angeles Times, January 25, 1990.
ON MODERNISM
Banham, Reyner. Theory and Design in the First Machine Age. Cambridge, MA: MIT Press, 1980.
Cohen, Jean-Louis. “The Man with a Hundred Faces.” In Le Corbusier Le Grand, edited by Tim Benton, 7–17. New York: Phaidon, 2008.
Giedion, Sigfried. Space, Time, and Architecture: The Growth of a New Tradition. Cambridge, MA: Harvard University Press, 1941.
Gropius, Walter. Scope of Total Architecture. New York: Collier, 1962.
Hitchcock, Henry-Russell, and Philip Johnson. The International Style: Architecture since 1922. New York: W. W. Norton, 1932.
Le Corbusier. Towards an Architecture. Translated by John Goodman. Los Angeles: Getty Publications, 2007.
Merkel, Jayne. In Its Place: The Architecture of Carl Strauss and Ray Roush. Cincinnati: Contemporary Arts Center, 1985.
Nelson, George. Problems of Design. New York: Whitney Library of Design, 1965.
Pevsner, Nikolaus. Pioneers of the Modern Movement. London: Faber and Faber, 1936.
Puente, Moisés, ed. Conversations with Mies van der Rohe. New York: Princeton Architectural Press, 2008.
ON CASE, THE WHITES, AND THE NEW YORK FIVE
Anderson, Stanford O. “CASE and MIT: Engagement.” In A Second Modernism: MIT, Architecture, and the “Techno-Social” Moment, edited by Arindam Dutta, 578–651. Cambridge, MA: MIT Press, 2013.
Colomina, Beatriz. “Interview with Peter Eisenman, Oppositions Editor.” In Clip, Stamp, Fold: The Radical Architecture of Little Magazines 196X–197X, edited by Beatriz Colomina and Crai
g Buckley, 261–80. New York: Actar, 2010.
Deamer, Peggy. “Structuring Surfaces: The Legacy of the Whites.” Perspecta 32 (2001): 90–99.
Five Architects. New York: Oxford University Press, 1975.
Frank, Suzanne. IAUS, the Institute for Architecture and Urban Studies: An Insider’s Memoir. Bloomington, IN: AuthorsHouse, 2011.
Gandelsonas, Mario. “On Reading Architecture: Eisenman and Graves: An Analysis.” Progressive Architecture 53 (March 1972): 68–87.
Goldberger, Paul. “Architecture’s ‘5’ Make Their Ideas Felt.” New York Times, November 26, 1973, 33, 52.
———. “Should Anyone Care about the ‘New York Five’?…or about Their Critics, the ‘Five on Five’?” Architectural Record 155 (February 1974): 113–16.
Malgrave, Harry Francis, and David J. Goodman. An Introduction to Architectural Theory: 1968 to the Present. Oxford: Wiley-Blackwell, 2011.
Tafuri, Manfredo. “L’architecture dans le boudoir: The Language of Criticism and the Criticism of Language.” Oppositions 3 (May 1974): 37–62.
———. “Five × Five = Twenty-Five.” Oppositions 5 (Summer 1976): 35–74.
Stern, Robert A. M., et al. “Five on Five.” Architectural Forum 138 (May 1973): 46–57.
“White and Gray: Eleven Modern American Architects.” Guest edited by Peter Eisenman and Robert A. M. Stern. A+U 52 (April 1975): 25–180.
ON POSTMODERNISM
Blackwood, Michael, dir. Beyond Utopia. Michael Blackwood Productions, 1984.
The Charlottesville Tapes. New York: Rizzoli, 1985.
Colquhoun, Alan. “From Bricolage to Myth, or How to Put Humpty-Dumpty Together Again.” In Architecture Theory since 1968, edited by Michael Hayes. Cambridge, MA: MIT Press, 1998.
Gotkin, Michael, and Paul Makovsky. “The Postmodern Watchlist.” Metropolis, November 2014, 74–94.
Huxtable, Ada Louise. “Inventing American Reality.” New York Review of Books, September 3, 1992, 24–29.
Jencks, Charles. “The Rise of Postmodern Architecture.” Architectural Association Quarterly 7 (October–December 1975): 3–14.
———. Free-Style Classicism. New York: Architectural Digest, 1982.
———. The Language of Postmodern Architecture. New York: Rizzoli, 1984.
Larson, Margali Sarfatti. Behind the Postmodern Façade: Architectural Change in Late Twentieth-Century America. Berkeley: University of California Press, 1993.
Martin, Reinhold. Utopia’s Ghost: Architecture and Postmodernism, Again. Minneapolis: University of Minnesota Press, 2010.
McLeod, Mary. “Architecture and Politics in the Reagan Era: From Postmodernism to Deconstructivism.” Assemblage 8 (February 1989): 22–59.
Rowe, Colin, and Fred Koetter. Collage City. Cambridge, MA: MIT Press, 1983.
Rykwert, Joseph. “Reputations: Leon Krier.” Architectural Review, June 3, 2013, https://www.architectural-review.com/rethink/reputations/leon-krier-1946-/8648311.article.
Smith, C. Ray. Supermannerism: New Attitudes in Post-Modern Architecture. New York: Dutton, 1977.
Stamp, Jimmy. “Reconsidering Postmodernism.” Journal of Architectural Education 66 (2012): 28–30.
Stern, Robert A. M. “Gray Architecture as Post-Modernism, or, Up and Down from Orthodoxy.” L’architecture d’Aujourd’hui 186 (August–September 1976): 83–98.
Venturi, Robert. Complexity and Contradiction in Architecture. New York: Museum of Modern Art, 2002.
Venturi, Robert, Denise Scott Brown, and Steven Izenour. Learning from Las Vegas. Cambridge, MA: MIT Press, 1972.
Watkin, David. Morality and Architecture Revisited. Chicago: University of Chicago Press, 2001.
Wolfe, Tom. From Bauhaus to Our House. New York: Picador, 1981.
OTHER TOPICS
Granger, Alfred Hoyt. Charles Follen McKim: A Study of His Life and Work. Boston: Houghton Mifflin, 1913.
Huxtable, Ada Louise. On Architecture: Collected Reflections on a Century of Change. New York: Walker and Company, 2008.
Latour, Bruno. We Have Never Been Modern. Translated by Catherine Porter. Cambridge, MA: Harvard University Press, 1993.
Levinson, Nancy. “Notes on Fame.” Perspecta 37 (2005): 18–23.
Livingstone, Margaret. Vision and Art: The Biology of Seeing. New York: Abrams, 2008.
Mohney, Brian G., et al. “Mental Illness in Young Adults Who Had Strabismus as Children.” Pediatrics 122, no. 5 (November 2008): 1033–38.
Ockman, Joan. “Bestride the World like a Colossus: The Architect as Tourist.” In Architourism: Authentic, Escapist, Exotic, Spectacular, edited by Joan Ockman and Solomon Frausto, 158–85. New York: Prestel, 2005.
Rowe, Colin. The Mathematics of the Ideal Villa and Other Essays. Cambridge, MA: MIT Press, 1987.
Scully, Vincent. Modern Architecture and Other Essays. Princeton, NJ: Princeton University Press, 2003.
Stern, Robert A. M., David Fishman, and Jacob Tishlove. New York 2000. New York: Monacelli, 2008.
Vitruvius. The Ten Books on Architecture. Translated by Morris Hicky Morgan. Cambridge, MA: Harvard University Press, 1914.
Notes
Initials followed by dates indicate an interview conducted by the author, in person or via telephone. Email correspondences, written notes, and taped lectures are labeled as such.
AA
Alberto Alessi
AC
Alan Chimacoff
BG
Bob Geddes
BK
Brian Klipp
CC
Caroline Constant
CJ
Charles Jencks
DAJ
David A. Jones
DBG
Dr. Barth Green
DS
Donald Strum
FL
Fran Lebowitz
GG
Gail Graves
JHD
Julie Hanselmann Davies
JM
Jayne Merkel
KF
Kenneth Frampton
KH
Kitty Hawks
KN
Karen Nichols
LK
Léon Krier
LR
Lois Rothert
MF
Martin Filler
MG
Michael Graves
MGGTL
Michael Graves Grand Tour lectures
MGMD
Michael Graves monograph documents
MM
Mary McLeod
ML
Min Lin
PC
Peter Carl
PE
Peter Eisenman
PG
Paul Goldberger
PW
Peter Waldman
RAMS
Robert A. M. Stern
RJ
Ron Johnson
RM
Richard Meier
RVV
Rob Van Varick
SH
Steven Harris
SS
Sarah Stelfox
FRONT MATTER
p. vi, top From “The Double Dream of Spring,” originally published in The Double Dream of Spring, © 1970, 1997, 2008 by John Ashbery. All rights reserved. Used by arrangement with Georges Borchardt, Inc., for the author.
vi, bottom Vitruvius, The Ten Books on Architecture, trans. Morris Hicky Morgan (Cambridge, MA: Harvard University Press, 1914), 13.
1 Le Corbusier, “Three Reminders to Architects,” L’esprit nouveau, no. 1 (October 1920): 61.
2 Bruno Latour, We Have Never Been Modern, trans. Catherine Porter (Cambridge, MA: Harvard University Press, 1993).
3 The word Postmodernism as applied to architecture has been contentious from the start. In almost every other field, literature especially, the phrase is generally taken to mean a state of accelerated modernity, following (roughly) Jean-François Lyotard’s 1979 elucidation in The Postmodern Condition: A Report on Knowledge. In the realm of design, while a recidivist anti-modernity is us
ually implied, the title has also lived a number of different lives, thanks in part to its nominal inventor, Charles Jencks, who has been known to group multiple formal trends under the label. Further confusing matters is Fredric Jameson’s well-known 1991 book Postmodernism, or The Cultural Logic of Late Capitalism, which deals at length with an entirely different set of phenomenological qualities. And, just to make things more interesting, different authors and publishers have taken to using different capitalization and hyphenation conventions at different times, including Post-modernism, Post-Modernism, postmodernism, etc. (Jencks has tried to popularize the diminutive PM. His efforts have mostly been in vain.)
For all the confusion, there remains a baseline consensus within architectural discourse as to what Postmodernism is, at least in retrospect: an architecture of historical bricolage that succeeded the midcentury International Style as the default mode of urban development in America and that reached its crescendo in the 1980s. There are plenty of holes to be punched in this received understanding as well, especially given the historicist wave that struck American architecture as early as the 1960s (evident in projects like the Italianate Lincoln Center), to say nothing of the unexpurgated traces of Karl Friedrich Schinkel in such a staunch Modernist as Mies van der Rohe. But that way madness lies.
Modernism can be recognized, in the American context, as a movement consistent in its effect, if not its origins; so can Postmodernism. Modernism is what the Postmodernist architects fled from, and Postmodernism is what architects have been fleeing from ever since. For consistency’s sake, both will be capitalized, and the latter will be written as one word.
