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mic hael graves
MICHAEL GRAVES
images of a grand tour

brian m. ambroziak
with a fore word by mic hael graves

princeton arc hitectural press, ne w york

publis hed by
princeton arc hitectural press
37 east seventh street
ne w york, ne w york 10003

for a free catalog of books, call 1.800.722.6657.

visit our web site at www.papress.c om.

©2005 princeton arc hitectural press

all right s reserved
printed and bound in c hina
08 0 7 06 05 5 4 3 2 1
first edition

no part of this book may be used or reproduced in any manner

without written permission from the publis her, except in
the c ontext of revie ws.

every reasonable attempt has been made to identify owners

of c opyright. errors or omissions will be c orrected in
subsequent editions.

editing: clare jac obson

ed. assistance: john mc gill, lauren nelson, and dorothy ball
design: sara e. stemen
credit s
All images courtesy of Michael Graves
special thanks to:
except for the following:
nettie aljian, nic ola bednarek, janet behning, megan care y,
3l: Dublin City Gallery The Hugh
penny (yuen pik) c hu, russell fernandez, jan haux, john
Lane
king, mark lamster, nancy eklund later, linda lee, katharine
4, 252, 253: Courtesy of Michael Graves
myers, jane s heinman, sc ott tennent, jennifer thompson,
& Associates
paul g. wagner, joseph weston, and deb wood of princeton
6: Städelsches Kunstinstitut, Frankfurt
arc hitectural press
am Main
—kevin c . lippert, publis her
7l: By courtesy of the Trustees of
Sir John Soane’s Museum
library of c ongress cataloging-in-publication data
7r: Bildarchiv Preussischer
ambroziak, brian m. (brian mic hael), 1970‒ Kulturbesitz /Art Resource, NY
mic hael graves : images of a grand tour ⁄ brian m. 8t: © 2004 Artist Rights Society (ARS),
ambroziak ; with a fore word by mic hael graves. New York/ADAGP, Paris / FLC
p. cm. 8b: Courtesy of the Pennsylvania
includes bibliographical references. Academy of the Fine Arts,
isbn 1-56898-529-0 (permanent paper) Philadelphia. Gift of Mrs. Louis I.
1. graves, mic hael, 1934—notebooks, sketc hbooks, etc . Kahn
2. arc hitectural drawing—united states—20th century. 10t: Photo courtesy of the Allan Stone
3. graves, mic hael, 1934 ‒travel—europe. 4. arc hitecture- Gallery, New York City
europe-pictorial works. i. graves, mic hael, 1934‒ ii. title. 248b: Daniel Aubry, NYC
na270 7.g7a88 2005 250: Stiftung Weimarer Klassik und
720 .92-d c22 Kunstsammlungen /Museen
Per il nostro insegnante,
Michael
 c ontent s

Foreword, Michael Graves ix

The Necessity for Seeing 1

plates
Rome 16

Other Italian Locales 86

Greece 164

Turkey 174

France 178

Spain 212

United Kingdom 228

The Necessity for Drawing, Michael Graves 235

Volume, Surface, and Plan 247
Biography 255

⁄ ⁄ vii
Michael Graves’s room at the American Academy in Rome, Studio no. 9
 fore word

Michael Graves

the extraordinary experience of two years at the American Academy in

Rome in the early 1960s transformed how I looked at the world around me. In that
rich and marvelous city, I came to understand architecture as a continuum from
antiquity to the present day, and thus as a language. I discovered new ways of seeing
and analyzing both architecture and landscape. I also developed an urgent need to
record what I saw and created hundreds of photographs and drawings. It has been a
great joy to work with Brian Ambroziak on his ambitious project to publish many of
them in this book, accompanied by his insightful commentary.
I have always been fascinated by drawing. In fact, it was my ability to draw that
led me to a career in architecture. Until I went to Rome, however, I had created draw-
ings only in my studio, never in the street or landscape. While there, rather than
searching for a single manner of drawing, I experimented with multiple methods that
I thought might express the architecture. I made large, elaborate sepia and black ink
washes of important baroque churches, 40 x 28 inches in size; quick notations in fine
ink or crude pencil in a hand-sized notebook; and pencil sketches on a wonderful
cream-colored clay-coated paper, with fluid lines that captured just the essence of a
profile. No matter what media I chose, my drawings were always analytical. It was
important to me to reveal some salient characteristic of the architecture, perhaps its
frontality, the layering of a spatial sequence, or simply the quality of a surface as it
catches the light. I thought that if any one of my drawings were viewed as a travel
scene, I had failed, since it would be merely picturesque.
While I was teaching and practicing architecture after my return from Rome,
drawing became fundamental to my thought process. My 1977 article, “The Neces-
sity for Drawing: Tangible Speculation,” reprinted in this volume, describes the
essential roles drawings play in creativity. When one draws, there is an intrinsic reci-
procity between mind and act. Through their mnemonic qualities, drawings fix in
our conscience what we have seen. By their fragmentary nature, they are inherently
speculative and therefore contribute to the very conception of architecture.

⁄ ⁄ ix
 acknowledgment s

i first met mic hael graves in 1996 in a design studio at Princeton University.
Like hundreds of students before me, I was captivated by Michael’s insightful use of
history and his ability to convey his mental visual library through drawing. After
graduating I continued my studies under Michael at his Princeton architectural
office. There I saw firsthand the education of the architect. I observed a designer
constantly looking through architecture, literally rubbing his hands across the pages
of texts and committing the architectural images to memory. I saw an architect work-
ing at his desk, with the sound of the Reds or the Pacers playing on the radio, draw-
ing into the late hours of the night after everyone else had left the office. And I was
around an individual who cherished his role as that of teacher and friend. It was in
this environment, one in which I desired to know even more about Michael, that I
came across this collection of drawings and photographs from his stay at the
American Academy in Rome. I will always be indebted to Michael for his support of
this project, his confidence in me, and most importantly for granting me the opportu-
nity to study these drawings and photographs that provide personal glimpses into the
mind of Michael Graves: the architect, the artist, and the teacher.
While history tends to remember the individual, it is important to understand,
especially in a field as complex and demanding as architecture, that there is a sur-
rounding cast whose talents and ideas not only complement but give new direction to
the vision of an architectural office. One such person is Karen Nichols, without
whom this book would not have been possible. Her valuable insight as well as her
passion for the firm and its vision had a constructive effect on the final product. I am
especially thankful to Patrick Burke and Gary Lapera who, as design partners,
allowed me to observe and participate daily in design decisions and take part in the
daunting task of moving from paper to building. Courtney Havran, Marek Bulaj,
Debbi Miller, and Caroline Hancock provided much appreciated help in tracking

⁄ ⁄ xi
xii ⁄ ⁄ mic hael graves

down images, articles, and permissions. As well, I appreciate the numerous other
individuals at the office with whom I worked closely.
Support from the University of Tennessee has been invaluable in realizing the
completion of this project. It has been a privilege to be surrounded by top scholars
who have been most willing to provide advice and encouragement for this project. I
owe a special thanks to the exceptional students at the university, especially those who
traveled to Rome with me this past summer, whose enthusiasm and thoughtfulness
make teaching and research a pleasure.
I would like to thank the Graham Foundation for their generous support of this
project from the beginning. As well, I am grateful to the American Academy in
Rome, who afforded me the chance to work as a Visiting Artist and see firsthand all
that life at the academy has to offer. A special thanks goes to Director Lester Little,
Assistant Director for Operations Pina Pasquantonio, and the American Academy in
Rome Librarian Christina Huemer. I appreciate the support of Princeton Archi-
tectural Press, specifically, Clare Jacobson who continues to amaze me with her
attention to detail and the care she devotes to each project.
Finally, I have to thank my wife Katherine without whom I could not have com-
pleted this project. Katherine was fortunate enough to have also studied under
Michael in school and in practice and acquired a similar reverence for him as a
teacher, an architect, and a friend. Her valuable insight, her willingness to review and
edit material, and the exhausting pace that she set through streets of Rome were
essential to defining the scope and content of this book.
Let me put it like this. In this place, whoever looks seriously about
him and has eyes to see is bound to become a stronger character:
he acquires a sense of strength hitherto unknown to him.
—johann wolfgang von goethe, from Italian Journey
Photograph of Michael Graves
drawing in the streets of Rome,
1961
 the necessity for seeing

in 1960 mic hael graves was awarded the American Academy in Rome ’s
prestigious Prix de Rome. Having just completed his graduate studies in architecture,
he embarked on a Grand Tour that led to a lifelong fascination with the landscape, the
culture, and the history of Italy. During his time in Rome, Graves participated in
daily social rituals that had been rehearsed for hundreds of years. Meals of pasta,
cheese, and Chianti around simple wooden country tables bathed in the light of
Tuscany revealed to him humanistic and domestic connections between the architec-
ture and the landscape, the sacred and the profane. He learned that certain pictur-
esque hillsides covered with umbrella pines and poplars were not natural landscapes,
but rather had been meticulously designed and cultivated by a single Italian family
over centuries. Through these examples he was exposed to ideas about architecture
that went well beyond his modernist upbringing. His drawings and photographs
from this time focus on the connection between the architecture and the land of Italy
itself—“wistful, luminous, plain, its grain and olive trees, the stones of its buildings
in prodigal light.”1 Graves learned through recording his journeys, discussing what
he saw with fellow travelers and scholars, and participating in Italian customs, how
architecture and landscape affect our perception and connection to the richness of
our surroundings, and how an architect may draw upon these lessons to develop his
or her own personal design.
The sketches and photographs of Italy that Graves produced during this two-
year period visually imprinted themselves on his mind. The impact of his experiences
is revealed throughout the extensive body of his work, a resume that encompasses
painting, graphic design, and industrial design, and an architectural portfolio that
ranges from pavilions to city plans. Graves’s drawings, paintings, and photographs
illustrate the architect’s process, the means of translating experiences into design. In
looking through this collection of impressions we see glimpses into the mind of one
of the most significant and influential architects of the twentieth century.

⁄⁄ 1
2 ⁄ ⁄ mic hael graves

*
like many arc hitect s before him, Graves traveled to Italy to further his
education. “No one who has not been here can have any conception of what an edu-
cation in Rome is,” Goethe wrote. “One is, so to speak, reborn and one ’s former
ideas seem like a child’s swaddling clothes. Here the most ordinary person becomes
somebody, for his mind is enormously enlarged even if his character remains
unchanged.”2 B. T. Leslie writes, “At a time in the 1960’s when, under the flag of
modernism, it was fashionable to reject the cultural traditions of Western Europe,
Graves came to the American Academy in Rome to study the forms and language of
architecture on the Italian peninsula.”3 His home there for two years was the
American Academy in Rome, established on the highest point in the city, in and
around the grounds of the Villa Aurelia. In the collegiate quarters of the academy,
artists and scholars come together for meals under the arcade of an open courtyard,
they work side by side in the library, and they converse during strolls through the
gardens and in the streets of the surrounding neighborhoods. During his stay Graves
was surrounded by top scholars working in archaeology, architecture, classical stud-
ies, design arts, historic preservation, art history, landscape architecture, literature,
modern Italian studies, musical composition, postclassical humanistic studies, and the
visual arts.
Graves benefited greatly from discussions with other fellows. One such person
was the artist in residence Lennart Anderson, who commented to Graves that the
large pen and ink washes he was making were not allowing him to see the building
while he drew. (The photograph that appears at the beginning of this text captures
Graves working on the cobblestone paving over one of these drawings, which meas-
ured several feet. Many of his pen and ink images were sold to fortunate passers-by to
fund Graves’s travels.)
Anderson also observed that by working on the ground, Graves was not estab-
lishing a vertical relationship to his subjects. These comments led Graves to begin
working in a smaller format and to develop a reductive technique that used line spar-
ingly in an attempt to capture the essence of what was being viewed.
Graves explored his new city and learned to understand it as a superimposi-
tion, one that layered the plan of Giambattista Nolli, the city scenes of Giuseppe
Vasi and Giovanni Battista Piranesi, and the emotional qualities of light and the
passage of time of the paintings of Jean-Baptiste-Camille Corot and of Giorgio de
 images of a grand tour ⁄ ⁄ 3

left: Jean-Baptiste-Camille Corot, Fountain of the French Academy, Rome, 1826‒27, oil
on canvas right: Michael Graves, View from the Pincio, Rome, Italy, 1962, pencil sketch

Chirico. He grew to appreciate the potential for architecture to communicate as a

result of his tours.
Graves’s nights were spent in the academy library looking through books, tak-
ing longhand notes prior to photocopiers, and planning excursions. He read through
guidebooks that described Italy’s major monuments and paged through volumes of
drawings and paintings. Through this process he observed Rome through a historic
and critical eye, to see what those before him had viewed as important. His daytime
drawings show the influence of the images he observed in books during these late
nights. Quite often, Graves positioned himself in a specific spot in order to draw or
photograph through the eyes of a previous architect or artist. This process allowed
him to compare the reality of significant sites to that of their representations. In both
observing the site and studying its image, Graves joined the effort of architects
before him to develop arguments based in history and culture. He has often com-
mented that representation is seeing something anew. Through drawings, an archi-
tect captures the essence of an artifact, seeing it as a reoccurrence or a replica of a
greater idea.
While one might look for direct connections between an architect’s drawings
and his built work, these literal one-to-one associations tend to be forced. It is more
often the case that Graves draws from a multitude of experiences and transforms and
4 ⁄ ⁄ mic hael graves

Objects from the Grand Tour,

inkwells depicting the Temple of
Vesta, displayed in Graves’s
personal library
 images of a grand tour ⁄ ⁄ 5

shapes them throughout his design process. When recalling these images, he claims
he is not “treating or employing history, but rather participating in its continuities.”4
In studying Italy’s history, culture, and architecture, Graves began to question
the unconditional nature of his modernist training. He had analyzed the work of
Mies van der Rohe as an undergraduate at the University of Cincinnati and had
become a disciple of Le Corbusier while a graduate student at Harvard. At the
American Academy, Graves began to appreciate the continuum of history and to
expand his architectural vocabulary. The drawings and photographs from this period
are not mere diaries; they are designs in that they are critical investigations, yielding a
new way of thinking about architecture. In studying these images we not only retrace
Graves’s steps but discover new things about the development of the architect’s dis-
course, a synthesis of what he saw and what architects before him had drawn.
While Graves spent the majority of his time abroad in Rome, he did take sev-
eral trips to see other parts of Italy and Europe. The pace on these trips was relaxed;
Graves would drive to a site, set up camp, photograph and draw, and then pick up
and go to the next site. Camping for twenty-five cents a night allowed him the lux-
ury of keeping his schedule flexible. Typically, he drove between twenty to one hun-
dred miles a day, with a maximum of three hundred miles. His first trip took Graves
by boat to the Greek island of Mykonos, and then to Athens, up through Bulgaria,
and to Istanbul to see the mosques and the city. From there, he traveled through
Yugoslavia, up the Adriatic Coast, and back to Italy. He saw Venice and Ravenna for
the first time on this trip and then traveled back to Rome. Other trips took him to
Spain, England, Germany, and France, where he saw most everything Le Corbusier
had built at that time.

the idea of travel as a means of enlightenment goes back as far as the

second century when Pope Gregory, upon seeing fair haired boys in the Roman mar-
ketplace, remarked, “Non Angli, sed Angeli,” and vowed to convert the English to
Christianity. In the centuries that followed countless faithful followed the Pilgrim’s
Way across the Chalk Downs to the English Channel, and traversed Merovingian,
Carolingian, Bourbon France, and the long roads of Italy until they came to Roma
Sacra.5 Centuries later, the purpose of travel abroad extended beyond spiritual
enlightenment as young gentlemen set out to enhance their formal education, to see
6 ⁄ ⁄ mic hael graves

Johann Heinrich Wilhelm Tischbein, Goethe in the Roman Campagna, 1787, oil on canvas

the art and architecture of classic lands, and to expand their understanding of foreign
etiquette, traditions, and government.
In 1670 the phrase “Grand Tour” first appeared in the preface of Richard
Lassels’s The Voyage of Italy. By the eighteenth century the Grand Tour, which often
lasted from a few months to several years, had become part of the expected education
of every European nobleman, and then every student of architecture.6 The primary
destination of this Tour was Italy, with its heritage of ancient Roman monuments and
picturesque landscapes. “The man who has not been to Italy,” wrote Samuel
Johnson, “is always conscious of an inferiority from his not having seen what is
expected a man should see.”7
The lessons of the Grand Tour were more personalized by Sir John Soane than
probably any other eighteenth-century British architect.8 In 1776 Soane was awarded
 images of a grand tour ⁄ ⁄ 7

left: Henry Parke, Sir John Soane Royal Academy Lecture Drawing, View of a Student on
a Ladder, with Rod, Measuring the Corinthian Order, Temple of Castor and Pollux (Temple
of Jupiter Stator), Rome, circa 1814‒20, pencil, pen, and watercolor right: Karl Friedrich
Schinkel, On the Top of Mount Aetna at Sunrise, 1804, Pen and ink and wash on paper

a traveling fellowship by the Royal Institute of British Architects. During his

twenty-seven month voyage through Italy, he created and compiled hundreds of
drawings and paintings that would later serve as the foundation for his Royal
Academy lectures. The collection primarily contains archaeological records and
includes measured drawings, sketches, and comparative illustrations that detail
issues of proportion and scale.9
Another important figure of the eighteenth-century Grand Tour is the
German architect Karl Friedrich Schinkel. Schinkel’s architecture responded to the
classical forms of the Mediterranean that he observed and sketched on his travels
throughout Italy. To supplement his accurate sketching, Schinkel developed a series
of historical re-creations, inventive paintings possessing a strong narrative quality.
He used the drawings and paintings from his travels to investigate the relationship
8 ⁄ ⁄ mic hael graves

Le Corbusier, Sketches of
Michelangelo’s Campidoglio,
1911, pencil sketch

Louis I. Kahn, Assisi, Italy,

1929, graphite on thin ivory
paper
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