MICHAEL GRAVES ON DESIGN

June 2002
Designer Michael Graves Photograph: Bill Phelps		Designer Michael Graves answers your questions on design trends, his influence on modern American design, and the way Americans are impacted by the look of everyday items.

Online Special: The Stuff of Life: U.S. Design 1975-2000 How do you see the future of design, particularly in furniture? Why do you think that it has taken so long for outstanding design in function and aesthetics to reach mass markets? How does an interesting object, meant for everyday use, find its way into the mass marketplace? First, why is it that so few companies offer products that are well designed, in either form or function? Secondly, what can be done to bring more quality design work to everyday objects? Which design school did you attend? Do you continue to teach today? And, oddly, what was your first job out of school? Is there some influence the designer might have on production quality? Please describe your influence on modern American design in the area of master planning, why we need it, and what it should consist of? Browse the NewsHour's coverage of Arts and Entertainment	Arguably best-known for his product design line available at Target stores nationwide, Graves is fast becoming a household name and something of a cultural icon. An internationally known architect, Graves is often credited with transitioning American architecture from abstract modernism to post-modernism. His works include buildings, furniture, and product design and other household items. Graves became a star in the home product design world with his Alessi teakettle, created in 1985. Graves heads a 100-person firm, Michael Graves & Associates, based in Princeton, New Jersey and an office in New York City. The practice ranges from architecture to graphic design, product design, and interior design. Graves is the winner of 15 Progressive Architecture Design Awards, 10 American Institute of Architects National Honor Awards, and 58 AIA - New Jersey Awards. Michael Graves responds to your questions below.
	Babak Aryaie of Sydney, Australia asks: How do you see the future of design, particularly in furniture? Michael Graves responds: For many years, furniture was sold in a rather elite and expensive manner through architects and designers from whom one could purchase the classics of modernism and also works by more contemporary designers. However, with the passage of time, many of those classics are now available at extremely affordable prices without sacrificing quality. In other words, these objects are now available to society at large and not just to designers for resale. In addition, one can find at familiar places such as the big box stores like Target and the so-called lifestyle stores such as Pottery Barn and Renovation Hardware a wide variety of furniture that is well designed, well made and well priced. This is following the trend we've seen with other objects for the home and office where good design is considered key. Michael Bennett of Lenexa, Kansas asks: Your design work for Target is a huge leap in consumer product design for the mass market. Why do you think that it has taken so long for outstanding design in function and aesthetics to reach mass markets? Michael Graves responds: Yes, to some extent I think the American market has been slow to demand affordably priced, well-designed products. European and Asian communities have, for centuries, embraced good design as part of their cultural heritage. Americans are just now becoming aware of the role that good design plays in making the quality of one's life better. I have always wanted to marry these two ideas and bring them to the American public. Fortunately for me, Target Stores had the same vision. Buff Brown of Phoenixville, Pa. asks: I'm interested in the steps involved in getting, let's say, a set of coasters — or cutting or serving boards — that do well in limited numbers in gallery settings, out of the gallery and into a much larger arena. How does an interesting object, meant for everyday use, find its way into the mass marketplace? Michael Graves responds: It's not easy. If it were, great design at great prices would have been available long ago, well before my association with Target began. However, I suggest that you first determine who is making the best coasters, cutting boards and serving boards in the world and approach them with your designs. Manufacturers are always looking for new ideas. Protect your designs with a copyright and confidentiality agreement. Consider licensing your designs rather than selling them outright. Go to trade shows and talk to manufacturers who make similar items. You may be surprised how open they are to your ideas. Jon Dagle of Alexandria, Va. asks: Your designs are wonderful for bringing style and elegance within the reach of the "common man". I would like to ask a two part question: First, why is it that so few companies offer products that are well designed, in either form or function? Secondly, what can be done to bring more quality design work to everyday objects? Michael Graves responds: Thank you. The more the American market demands good design at affordable prices, the more it will become available. It's that simple. Stop buying poorly designed products. Make noise if something doesn't work. We've already seen a great increase in emphasis on design in this country, and quality of workmanship is something that both Target and my office agree are high priorities. Lisa K.P. of Columbus, Oh. asks: Thank you for taking time to speak with us. I was curious about your education. Which design school did you attend? Do you continue to teach today? And, oddly, what was your first job out of school? Thanks! Michael Graves responds: I did my undergraduate work in architecture at the University of Cincinnati, which was a "coop" school. That meant that I went to school for two months, then worked in an architectural office for two months throughout the six years I was there. After that, I went to Harvard for graduate school, won the Rome Prize and spent two years at the American Academy in Rome. When I returned, my first job was teaching architecture at Princeton University, where I had enough time and latitude to start my own practice. I am now the Robert Schirmer Professor of Architecture, Emeritus, since I retired from Princeton last year after 39 years! Peter von zur Muehlen of Vienna, Va. asks: Your designs are terrific and full of humor. One comment concerns quality control. Those wonderfully shaped and colorful handles on lids and utensils tend to crack early after very little and even tender use (no dishwashers, for example). Is there some influence the designer might have on production quality? Michael Graves responds: Whenever we design a product, we insist on seeing manufacturer prototypes that we review for both design conformance and quality control. If we see defects, we reject the prototypes and send them back. We don't control the manufacturing of course and unfortunately, there are some instances where manufacturing defects. However, I feel fortunate that Target is as committed to good quality as I am, so I fully expect to see the function and dependability of my products to be consistently at a high level. Keith Venter of Fremont, Ca. asks: Please describe your influence on modern American design in the area of master planning, why we need it, and what it should consist of? Michael Graves responds: Over the past nearly 40 years, I have taught architecture primarily at Princeton University. Many of our studio projects have been devoted in part to examining the larger plans within which communities and buildings exist. I have been somewhat disappointed that we have not received significant master planning commissions in our private practice until recently. We've interviewed for quite a few and recently started work on a master plan for a large portion of Rice University's campus in Houston. I regard master planning as a vital part of the overall built landscape, which could be divided into typologies of, say, (1) rural, (2) campus, and (3) city. These plans explore the reciprocal relationships among buildings and between buildings and open space, be that space landscaped or built. They establish relationships between public and private, zones for various activities and so on. A good master plan establishes a framework for good decisions now and in the future.