Michael Graves (1934–2015), Vacation House, Aspen, 1978. Black ink, pencil and colour crayon on tracing paper, 280 × 355 mm.
When they were made and for a long while afterwards the drawings of
Michael Graves were influential for a generation of American, Canadian
and British architecture students who coveted their fine papers,
delicate colouring techniques and characterful hand-drawn lines in
pencil and ink. These all seemed so appropriate to the reconfigured but
very recognizable forms of post-modern architecture, which in this east
elevation drawing of a vacation house in Aspen are set in a tamed
wilderness. This is intimated by the faint outline of peaks against the
sky, the creek drawn in section with cyprus lining its banks, and the
dense green of the trees in the orchard and the shrubbery that forms
part of the architecture. Here, along with the familiar lunettes, domes
and columns it is vernacular forms, not necessarily American, that
Graves reinterprets – the entrance gates stand open in a protective wall
made of logs that embraces a gazebo in the orchard.
– Helen Thomas
Michael Graves (1934–2015), Beach House, Loveday, New Jersey, 1979. Pen, ink and gouache on white trace, 682 × 682 mm.