(NARRATOR) MAJOR FUNDING FOR "ARCHITECT MICHAEL GRAVES: A GRAND TOUR" IS PROVIDED BY THE UNIVERSITY OF NOTRE DAME SCHOOL OF ARCHITECTURE.

YOU'RE HERE FOR A REASON.

YOU HAVE A STORY TO TELL.

TELL IT.

>> CAN YOU TELL ME ABOUT THE DAY THAT YOU WERE WOUNDED?

>> JULY 23, 2003.

I WAS ASSIGNED TO THE 82ND AIRBORNE IN DOWNTOWN BAGHDAD.

WE ENCOUNTERED A WHITE JEEP CHEROKEE.

I'M IN A MILITARY FIVE-TON TRANSPORT VEHICLE.

I HAD EYE-TO-EYE CONTACT, AND IT WAS NOT A GOOD EYE-TO-EYE CONTACT.

THEY JUMPED THE MEDIAN STRIP AND HEADED IN MY DIRECTION.

WE HAD KIDS PLAYING ON THE RIGHT SIDE.

I HAD NOWHERE TO GO.

BOOM.

WE HIT HEAD ON.

>> (BAER) SERGEANT DWAYNE FROST, LIKE THOUSANDS WHO SERVED IN IRAQ AND AFGHANISTAN, WAS CHANGED FOREVER BY WAR.

HIS LEG WAS BADLY INJURED IN THAT COLLISION.

ARMY SURGEONS STRUGGLED TO SAVE IT.

>> YOU DIDN'T KNOW THEY WERE GOING TO TAKE YOUR LEG?

>> THEY HAD TO MAKE A DECISION AND UH ... >> (BAER) SERGEANT FROST SHARED HIS STORY ON A VISIT TO A PROTOTYPE FOR A NEW KIND OF MILITARY HOUSING IN FORT BELVOIR, VIRGINIA.

IT WAS DESIGNED BY ARCHITECT MICHAEL GRAVES, ESPECIALLY FOR WOUNDED WAR VETERANS.

>> WHAT KIND OF THINGS WOULD YOU WANT TO HAVE IN A HOUSE THAT WOULD MAKE IT JUST A MORE PRACTICAL, COMFORTABLE WAY OF LIVING?

>> A WALK-IN SHOWER, EVERYTHING ON THE SAME FLOOR, SO I WOULDN'T HAVE TO CLIMB UP AND DOWN THE STAIRS.

>> GOOD DESIGN FOR ME IS NOT JUST THE WAY SOMETHING LOOKS, BUT HOW IT OPERATES.

THE TWO TOGETHER - THE FUNCTIONALITY AND THE LOOKS.

>> SO, IF YOU SEE IN THIS HOUSE, THE WINDOW SILLS ARE ACTUALLY MUCH LOWER THAN YOU WOULD SEE IN A TYPICAL HOME.

HERE THEY ARE AT 18 INCHES ABOVE THE FLOOR.

>> (BAER) THE HOME'S DEVELOPER POINTED OUT FEATURES THAT MAKE LIFE EASIER FOR INJURED VETS.

AND THE ARCHITECT ADDED TOUCHES OF BEAUTY, LIKE HIS OWN ORIGINAL PAINTINGS, TO HELP MAKE THIS WHEELCHAIR ACCESSIBLE HOUSE FEEL MORE LIKE A HOME.

>> MY WIFE WOULD HAVE A BALL WITH THIS HOUSE.

SO MUCH ROOM.

AND THE SETUP, VERY BEAUTIFUL.

>> (BAER) AND HOW DOES ARCHITECT MICHAEL GRAVES KNOW WHAT A DISABLED VET NEEDS?

FROM PERSONAL EXPERIENCE.

GRAVES IS IN A WHEELCHAIR HIMSELF.

>> ARCHITECTURE IS MAKING THE THING WITH LOTS OF STORIES.

IT ISN'T JUST ABOUT LIGHT, AND IT ISN'T ABOUT JUST COLOR, TEXTURE OR WHATEVER.

IT'S WRITING A NOVEL.

>> (BAER) MICHAEL GRAVES WASN'T ALWAYS IN A WHEELCHAIR.

AND HIS CAREER SPANS DECADES.

>> HE WAS ONE OF THE BEST-KNOWN ARCHITECTURAL NAMES.

>> (BAER) HIS WORK CHANGED ARCHITECTURE, AND THE WAY PEOPLE THINK ABOUT CITIES.

>> MOST PEOPLE COULDN'T NAME YOU ONE ARCHITECT LIVING OR DEAD.

WHICH IS TOO BAD BECAUSE, AS A GROUP, THEY'RE UNUSUALLY INTERESTING.

>> MICHAEL GRAVES WAS A HUGE STAR.

>> WITHOUT QUESTION, THE NUMBER ONE ARCHITECT IN THE WORLD.

>> OH, ABSOLUTELY.

>> HE WAS TOP DOG.

>> HIS ARCHITECTURE IS VERY ATTRACTIVE TO PEOPLE.

>> HE WAS NUMERO UNO.

>> AND GRAVES HAS DESIGNED THOUSANDS OF HOUSEHOLD PRODUCTS.

>> HE DID THAT FAMOUS TEAPOT FOR ALESSI.

>> HE'S GOT AN ABSOLUTE KNACK.

>> HE ACHIEVED THIS AMAZING SUCCESS THROUGH TARGET.

>> THOSE ARE COZY OBJECTS.

THEY'RE GOING TO MAKE FOR A HAPPY KITCHEN OR A HAPPY EXPERIENCE.

>> I HAVE MICHAEL GRAVES STUDS, FOR A DRESS SHIRT FOR A DINNER JACKET.

LITTLE TINY TUSCAN TOWNS.

>> MICHAEL'S BEEN RATHER SUCCESSFUL IN APPEALING TO A BROAD RANGE OF TASTE CULTURES.

>> THIS HOUSE BELONGS TO MICHAEL GRAVES, ONE OF AMERICA'S LEADING ARCHITECTS.

>> (BAER) IT'S AN OLD WAREHOUSE IN PRINCETON, NEW JERSEY THAT GRAVES SPENT DECADES CONVERTING.

HIS LONGTIME FRIEND, THE AUTHOR FRAN LEBOWITZ, TOURED THE WAREHOUSE FOR THE BBC IN 1992.

>> THIS IS THE SECOND LEVEL OF THE ROTUNDA.

IT'S ONE OF MY FAVORITE PLACES IN HIS HOUSE.

YOU HAVE THIS WONDERFUL LIGHT, AND I UNDERSTAND THAT WHEN MICHAEL'S DOG WAS A PUPPY, HE FELL THROUGH HERE.

SO, NOT BEING A DOG LOVER, I THINK THAT WOULD BE ANOTHER REASON TO HAVE ONE OF THESE IN EVERY HOUSE.

>> (BAER) THIS FILM WAS MADE BEFORE GRAVES WAS IN A WHEELCHAIR.

THE WAREHOUSE COMBINES MODERN ARCHITECTURE WITH INSPIRATION FROM THE CLASSICAL ARCHITECTURE OF ANCIENT ROME.

>> I'VE LOVED BEING HERE AND THIS HOUSE IS, I GUESS, EVERYTHING TO ME.

IT JUST MAKES ME SMILE.

>> (BAER) JUST A FEW BLOCKS AWAY, GRAVES' FIRM IS IN A PAIR OF OLD COLONIAL HOUSES JOINED BY A COMMON ENTRANCE.

>> SO THIS IS WHERE WE COME IN?

>> THIS IS WHERE WE COME IN, FROM THE PARKING LOT.

WE LIKE IT TO BE WELCOMING.

WE HAVE A SENSE THAT OUR OFFICE IS LIKE A HOUSE.

IT HAS A DOMESTIC CHARACTER TO IT.

>> (BAER) GRAVES' ARCHITECTURAL PARTNER, KAREN NICHOLS, SHOWED ME AROUND.

>> THE TWO HOUSES WERE BUILT AT DIFFERENT TIMES.

>> YOU'VE SURROUNDED YOURSELF WITH PEOPLE WHO HAVE STAYED WITH YOU FOR THIRTY YEARS.

>> THIRTY-FIVE.

>> SO WE'RE IN A DIFFERENT HOUSE NOW?

>> WE ARE NOW IN THE 19TH CENTURY HOUSE.

AND THIS WOULD HAVE BEEN THE FRONT ENTRANCE.

ACTUALLY, WE DO USE IT AS A FRONT ENTRANCE.

WE USED THIS ROOM AS MICHAEL'S CONFERENCE ROOM, BEFORE HE BECAME PARALYZED AND MOVED TO THE OTHER BUILDING.

>> (BAER) THE OTHER BUILDING IS JUST ACROSS THE STREET.

IT'S THE HOME OF THE MICHAEL GRAVES DESIGN GROUP.

>> I'M ON THE PRODUCT SIDE OF THE STREET NOW PRODUCT DESIGN BECAUSE THEY HAVE A RAMP THAT I CAN GET INTO THE BUILDING.

>> HELLO THERE.

>> (BAER) THE YOUNG STAFF WORKS ON PRODUCT DESIGN, RANGING FROM TOASTERS TO TEA CUPS TO MEDICAL EQUIPMENT.

>> ALL RIGHT, SO WE TALKED ABOUT CAPPUCCINO CUP SET, ESPRESSO CUP SET, TEA CUP SET.

>> IT'S COLLABORATIVE.

IT BECOMES A SHARING OF THOUGHT AND CONCEPTS AND IDEAS.

>> WHAT ABOUT FRENCH PRESS?

WHO USES A FRENCH PRESS?

>> AND YOU KNOW, DOING IT FOR TWENTY-EIGHT YEARS.

I'M ALWAYS ENCHANTED IN WORKING WITH HIM.

>> SOUNDS LIKE WE NEED TO MAKE SOME COFFEE.

>> YEAH!

>> HEY, LOOK AT THAT.

[MUSIC] >> GRAVES USES A ROOM IN THE FRONT AS A PAINTING STUDIO.

>> IF YOU SEE SOME OF HIS DRAWINGS AROUND, YOU SEE HE'S A PERSON WITH A GOLDEN HAND.

HE DRAWS EXQUISITELY.

>> (BAER) GRAVES HAS BEEN PAINTING AND DRAWING SINCE HE WAS A BOY GROWING UP IN INDIANA.

BACK THEN, HE TOLD ANYONE WHO CARED TO LISTEN THAT HE WANTED TO BE AN ARTIST.

BUT HIS MOTHER WAS AFRAID HE'D STARVE, SO SHE STEERED HIM TOWARD PROFESSIONS WHERE HE MIGHT MAKE A LIVING, AND STILL DRAW.

>> AND I SAID, "WELL, WHAT WOULD THAT BE?"

AND SHE SAID, "ENGINEERING OR ARCHITECTURE," AS FAR AS SHE KNEW.

AND I SAID, "WELL, TELL ME WHAT ENGINEERS DO."

AND SHE DID, AND I SAID, "WELL, THEN, I'M GOING TO BE AN ARCHITECT."

>> MICHAEL WAS A COUNTRY BOY FROM INDIANAPOLIS, WHO WENT TO CINCINNATI, WENT TO HARVARD.

>> (BAER) IN THOSE DAYS, A HARVARD EDUCATION MEANT ALL MODERN ARCHITECTURE, ALL THE TIME.

>> YOU GRADUATED FROM HARVARD NOT KNOWING WHO PALLADIO WAS.

I MEAN, IT WAS, IT WAS TRAGIC.

>> (BAER) GRAVES KNEW THAT THE WORK OF THE 16TH CENTURY ITALIAN ARCHITECT PALLADIO AND OTHER CLASSICISTS HAD INSPIRED ARCHITECTS FOR CENTURIES.

SO HE APPLIED FOR A FELLOWSHIP TO STUDY IN ROME.

>> ROME WAS VERY IMPORTANT FOR HIM.

NO QUESTION.

>> HE SAID, BASICALLY, THAT ANY GREAT PAINTING CAN BE MOVED TO WHEREVER YOU ARE, SO THAT YOU MIGHT HAVE THE GOOD LUCK TO SEE IT.

AND ANY GREAT MUSICAL PIECE CAN BE PLAYED IN YOUR PRESENCE, WHEREVER YOU ARE.

BUT THAT ARCHITECTURE CAN'T BE MOVED, AND THAT THEREFORE, YOU HAVE TO GO TO ROME TO EXPERIENCE IT.

>> (BAER) AND EXPERIENCE IT HE DID.

HIS DRAWINGS AND PHOTOGRAPHS FROM THAT TIME OFFER A KEY TO UNDERSTANDING HIS LIFE'S WORK.

>> I THINK TO HAVE ROME AS A BASE IS SOMETHING THAT CANNOT BE OVER VALUED.

>> I DID A LOT OF DRAWINGS, OVER A THOUSAND DRAWINGS IN TWO YEARS.

>> THAT'S KIND OF LIKE A DEEP WELL.

HE KEEPS GOING BACK TO IT.

>> VERY DEEP WELL.

>> (BAER) GRAVES RETURNED TO THE U.S. AND TOOK A TEACHING JOB AT PRINCETON.

>> I HAD BEEN TO ROME, BUT IT HADN'T REALLY SUNK IN YET.

>> (BAER) HIS FIRST HOUSES AFTER RETURNING TO THE U.S.

PUT HIM SQUARELY IN THE CENTER OF A GROUP OF YOUNG CUTTING-EDGE ARCHITECTS - THE NEW YORK FIVE.

>> WELL THE NEW YORK FIVE WAS A CELEBRATED GROUP THAT WAS BARELY A GROUP.

>> WE WEREN'T A GROUP.

>> THEY WERE PARTICULARLY INTERESTED IN ABSTRACTION.

>> (BAER) THEY WERE ALSO CALLED "THE WHITES," BECAUSE THE HOUSES THEY DESIGNED WERE MOSTLY WHITE.

>> EUROPEAN MODERNISM IS ESSENTIALLY WHAT WE REPRESENTED.

>> THE WAYS IN WHICH ABSTRACT GEOMETRIC SHAPES COULD CREATE ARCHITECTURAL FORM.

>> WHITE ARCHITECTURE, PERIOD.

IN THOSE DAYS, MICHAEL WAS MORE OF A MODERNIST THAN PETER EISENMAN.

AND I CAN REMEMBER, WITH MY THEN-FIRST WIFE, WE WERE SHOPPING FOR BABY CLOTHES, IN SIXTY-SIX.

AND SHE SAID, "I CAN'T FIND "ANYTHING THAT'S ALL WHITE, "WITHOUT A TEDDY BEAR OR A BIRD "OR SOMETHING, AND MICHAEL WILL "BE REALLY UPSET IF IT'S NOT ALL WHITE."

>> YOUR WIFE SAID THAT?

>> THAT'S RIGHT.

SO MICHAEL WAS THE PUREST OF THE PURE.

HIS EARLY HOUSES ARE THE BEST MODERNIST HOUSES IN THIS COUNTRY, PAR NONE.

>> MICHAEL GRAVES WAS DOING WORK THAT WAS A KIND OF ABSTRACT MODERN COLLAGE.

>> IT WAS GEOMETRIES.

IT WAS THIS TO THAT AND THAT TO THIS.

BUT IT WASN'T ABOUT MAKING A ROOM.

WHAT IS A ROOM?

>> WE WERE IN THE EARLY SEVENTIES, A HOT CONDITION.

THE THING SHIFTED AFTER MICHAEL BROKE AWAY AND ROSE OUT OF THE ASHES OF THE FIVE, LET'S SAY, TO THE TOP OF THIS POST-MODERN MOUNTAIN.

>> (BAER) MANY CRITICS CREDIT THIS BOOK WITH THE BIRTH OF POST-MODERN ARCHITECTURE.

"COMPLEXITY AND CONTRADICTION IN ARCHITECTURE," BY ARCHITECT ROBERT VENTURI, CHALLENGED AUSTERE MODERNISM, INVITING ARCHITECTS TO FIND THE FUTURE IN THE BUILDINGS OF THE PAST.

VENTURI'S PARTNER IN HIS RADICAL SEARCH FOR A NEW ARCHITECTURE WAS HIS WIFE, THE ARCHITECT DENISE SCOTT BROWN.

>> WE WERE STAKING OUT A TERRITORY AGAINST THE MODERN MOVEMENT AS IT HAD BECOME IN THE 1950'S AND 60'S.

>> VENTURI'S BOOK WAS A HUGE EYE OPENER TO A WHOLE GENERATION.

VENTURI PLAYED A CRITICAL ROLE IN IT IN TERMS OF THE THINKING.

MICHAEL ENDED UP PLAYING A CRITICAL ROLE IN TERMS OF ACTUALLY BUILT WORK.

>> (BAER) GRAVES FIRST BREAK WITH MODERN ABSTRACTION WAS THE PLOCEK HOUSE, IN THE HILLS OF NORTHERN NEW JERSEY.

>> THE PLOCEK HOUSE WAS ONE OF THE EARLIEST, IF NOT THE EARLIEST, MOMENT IN THE NEW GRAVES - THE REBORN GRAVES.

MICHAEL FELT THAT THE PURELY ABSTRACT WORK THAT HE HAD BEEN DOING LACKED THAT ABILITY TO REACH OUT AND CONNECT.

>> THE ENTRY TO THE FAçADE WAS GOING TO BE LARGELY HONORIFIC AND, AS WE WOULD SAY, IT'S NOT ONE OF THESE THINGS WHERE YOU'RE RUNNING IN AND OUT ALL THE TIME.

I OPENED THAT UP AND SPLIT IT OPEN, IN A WAY, TO MAKE AN EMPTY KEYSTONE.

>> EXAGGERATED ALL THE THINGS THAT HE WAS AFRAID HE WAS IGNORING OR MAKING HARD TO READ BEFORE.

>> YOU KNOW IS THAT OVER THE TOP?

PROBABLY, YOU KNOW.

WOULD I DO IT THE SAME TODAY?

NO.

IT WOULD BE A LITTLE QUIETER.

A LITTLE MORE CONFIDENT.

>> (BAER) EVEN AFTER HIS BOLD MOVES WITH THE PLOCEK HOUSE, MICHAEL GRAVES WAS STILL A RESIDENTIAL ARCHITECT FEW HAD HEARD OF.

>> YOU KNOW KITCHENS BEGET KITCHENS, DRAWING BEGETS DRAWINGS, AND ARTICLES BEGET ARTICLES, BUT THEY DON'T -- BIG BUILDINGS GET YOU MORE BIG BUILDINGS, AND IT'S A CATCH 22.

SO YOU'VE GOT TO SOMEHOW HAVE THE LUCK OR THE CONNECTION OR WHATEVER IT IS THAT'S GOING TO GET YOU OVER THE HILL.

>> (BAER) GRAVES GOT A CHANCE TO DO SOMETHING BIG WITH HIS CONTROVERSIAL WIN IN A COMPETITION FOR A LARGE PUBLIC BUILDING IN THE NORTHWEST.

THIS WAS HAILED BY THE CRITICS AS THE ARRIVAL OF POST-MODERNISM, AND MICHAEL GRAVES WAS DUBBED ITS MASTER PRACTITIONER.

>>TALKING ABOUT PORTLAND, OREGON AND WHY IT IS SO IMPORTANT.

IT'S ALSO THE LARGEST COMMISSION THAT YOU HAVE EVER RECEIVED.

>> WELL I HAVE MIXED FEELINGS THE CITY COUNCIL IS RECEIVING THE DETERMINATION OF THE JURY TODAY AND DEBATING IT TODAY.

THE LOCAL ARCHITECTS, HOWEVER, IN PORTLAND, ARE... HOW SHALL I SAY?

FURIOUS.

>> CAN YOU DESCRIBE THE SCHEME AND THEIR REACTION TO IT?

>> YEAH.

>> SO, THAT PORTLAND BUILDING, REALLY SHOOK THINGS UP.

>> IT DID.

>> THIS WAS BOLD.

>> REALLY OUT THERE.

>> REALLY OUT THERE, DEFINITELY OUT THERE.

THE COLORS WERE.

THE FORMS WERE.

THE SCALE WAS.

>> IT LOOKED BIZARRE.

IT DIDN'T LOOK LIKE A REGULAR GOVERNMENT BUILDING.

IT DIDN'T LOOK LIKE A TRADITIONAL CLASSICAL BUILDING EITHER.

AND INDEED, IT'S ALSO VERY CARTOON-LIKE.

>> (BAER) CARTOON-LIKE OR NOT, THE PORTLAND BUILDING WAS NO MODERNIST SLAB ON AN EMPTY PLAZA.

IT WELCOMED PEOPLE WITH STREET LEVEL RETAIL SHOPS AND A PUBLIC ARCADE.

>> A LOT OF PEOPLE, I THINK MYSELF INCLUDED, WERE INITIALLY SO MUCH IN THE THRALL OF THE POTENTIAL OF POST-MODERNISM TO CHANGE OUR ATTITUDE TOWARDS CITIES AND BUILDINGS.

>> HOW INFLUENTIAL DO YOU THINK MICHAEL GRAVES HAS BEEN?

>> HIS OPENING THE DOOR WITH OTHERS TO POST-MODERNISM WAS A VERY BIG INFLUENCE.

BECAUSE IT SAID, YOU KNOW, YOU CAN BE MODERN, BUT YOU CAN ALSO BE COLORFUL, OR YOU CAN ALSO BE DECORATIVE, OR YOU CAN ALSO BE FUNNY.

THAT WAS A HUGE KIND OF RELEASE, AT THE TIME.

AND ARCHITECTURE HASN'T BEEN THE SAME EVER SINCE.

>> (BAER) GRAVES CAREER WAS OFF AND RUNNING.

HIS HUMANA BUILDING IN LOUISVILLE, KENTUCKY WAS ARRANGED LIKE A CLASSICAL COLUMN.

>> THE POINT OF THIS BUILDING WAS TO SHOW THE PARTS - THE BASE, THE MIDDLE, AND THE TOP.

>> LIKE EXAGGERATED TRADITIONAL FORM.

>> YES.

>> (BAER) A JUTTING OBSERVATION DECK GAVE THE PUBLIC A VIEW OF THE OHIO RIVER.

SUPPORTING TRUSSES ALLUDED TO THE RIVER'S BRIDGES.

HIS HOTELS AT WALT DISNEY WORLD, THE DOLPHIN AND THE SWAN, WERE EXUBERANTLY EXTRAVAGANT.

AND HE MADE A VIRTUE OF THE CARTOON CRITIQUE WITH HIS DESIGN FOR THE TEAM DISNEY BUILDING.

BUT HIS PLANS FOR AN ADDITION TO THE AUSTERE WHITNEY MUSEUM IN NEW YORK WERE SO SPLASHY THAT A HUGE CONTROVERSY ERUPTED.

>> GRAVES WAS VIOLENTLY DENOUNCED IN MANY CIRCLES.

I DON'T ACTUALLY RECALL WHETHER IT WAS POLITICAL OPPOSITION, ARCHITECTURAL OPPOSITION, MONEY OR A COMBINATION OF ALL OF THOSE THINGS THAT LED TO IT FADING AWAY.

BUT IT DID.

>> (BAER) BY THE LATE 1980'S, POST-MODERNISM WAS SUFFERING FROM AN IMAGE PROBLEM.

>> THE DEVELOPERS TOOK OVER POST-MODERNISM AND STARTED MAKING STRIP MALLS OUT OF IT.

AND I WOULD BE IN A CAR WITH MY FRIEND PETER EISENMAN AND HE'D LOOK AT A STRIP MALL AND SAY, "SEE WHAT YOU'VE DONE?"

>> IS THAT TRUE?

>> WELL, IF IT'S NOT TRUE, IT COULD'VE BEEN TRUE.

LET'S PUT IT THAT WAY.

>> AND HE WAS RIGHT.

>> MICHAEL WAS ONE OF THE CAUSES OF WHATEVER THOSE THINGS ARE.

>> IT WAS EASILY COPIED.

THESE COLORS, THE STUPID PEDIMENTS.

>> THOSE KEYSTONES THAT WERE GARGANTUAN.

>> ELABORATE COLUMNS.

>> WHAT MADE THEM STUPID IN THE >> WELL, I THINK IT BECOMES...

IT BECOMES A KIND OF JOKE.

>> KIND OF A CUTE TRICK THAT DIDN'T ALWAYS WORK.

>> (BAER) THE DEMISE OF POST-MODERNISM, NOTWITHSTANDING, GRAVES CONTINUED TO GET COMMISSIONS FROM ACROSS THE COUNTRY AND AROUND THE WORLD.

>> MICHAEL GRAVES HAS CREATED ART THAT SURROUNDS OUR LIVES.

>> (BAER) HE RECEIVED AMERICA'S HIGHEST HONOR FOR ARTISTS, THE NATIONAL MEDAL OF ARTS.

HIS DEVOTION TO HISTORY AND TRADITION WAS RECOGNIZED IN 2012, WITH THE DRIEHAUS PRIZE FOR CLASSICAL ARCHITECTURE.

HE ILLUSTRATED A CHILDREN'S BOOK WRITTEN BY HIS FRIEND FRAN LEBOWITZ.

AND HIS CAREER TOOK A NEW TURN, WHEN HE DESIGNED DECORATIVE SCAFFOLDING FOR THE RENOVATION OF THE WASHINGTON MONUMENT.

FUNDING CAME FROM TARGET.

THIS WAS THE BEGINNING OF A BEAUTIFUL RELATIONSHIP WITH THE BIG BOX RETAILER.

>> ORDINARY OBJECTS DON'T HAVE TO LOOK ORDINARY.

ONE OF THE SHAPES THAT WE'VE USED IS THE EGG.

IT'S EASY TO HOLD.

IT'S FUN TO HOLD.

IT'S REBIRTH.

WHICH CAME FIRST?

THE CHICKEN?

THE EGG?

OR THE SPATULA?

DESIGN DOESN'T HAVE TO BE SO SERIOUS, OR SO SERIOUSLY EXPENSIVE.

IT'S THERE FOR EVERYBODY.

>> A LOT OF ARCHITECTS WOULD CONSIDER IT BENEATH THEM TO DESIGN A FLYSWATTER OR A TOILET BRUSH.

>> IF I'VE GOT A PESKY FLY AND I WANT TO KILL IT, I THINK A FLYSWATTER IS JUST FINE.

BUT ONCE YOU SAY FLYSWATTER, THEN I WANT TO SAY, "WHAT CAN "YOU DO WITH A FLYSWATTER, THAT HASN'T ALREADY BEEN DONE?"

>> BEFORE HE IMPROVED THE FLYSWATTER FOR TARGET, HE DESIGNED THIS TEA KETTLE FOR ALESSI.

THE ORIGINAL DRAWINGS ARE STORED UNDER A COUNTER.

THE KETTLE IS NOW ON TWO MILLION STOVETOPS WORLDWIDE.

>> AND THEN THIS IS THE STUDY OF THE BIRD.

I ACTUALLY WORKED ON SCULPTING THE FINAL BIRD.

YOU KNOW, THERE WAS OTHERS WHO TRIED.

>> HE'S IN A GREAT TRADITION.

STANFORD WHITE, YOU KNOW DESIGNED FURNITURE, HE DESIGNED BOOKPLATES.

>> FRANK LLOYD WRIGHT, LE CORBUSIER, MICHELANGELO, IT DOESN'T MATTER WHO.

THEY ALL DID IT ALL.

AND MICHELANGELO WROTE POETRY TOO.

>> DESIGN IS IN HIS BONES.

>> (BAER) AND THEN THERE'S THIS PRODUCT THAT GRAVES DIDN'T DESIGN.

>> HAS ANYBODY TOLD YOU ABOUT THE PEEPS?

>> MICHAEL'S FAVORITE FOOD IS PEEPS.

>> IT IS A WELL-KNOWN FACT THAT MICHAEL HAS A GREAT PASSION FOR PEEPS.

>> NOT HIS FAVORITE CANDY.

HIS FAVORITE FOOD.

>> THOSE LITTLE MARSHMALLOW HORRORS THAT YOU FIND IN YOUR EASTER BASKET.

IF YOU'RE LUCKY.

>> HORRORS?

>> AND THEY BRANCHED OUT, BECAUSE NOW THEY HAVE SANTA CLAUSES AND ALL THESE.

>> IN REMARKABLE COLORS?

>>VIVID, I WOULD SAY, YES.

>> THEY'RE NOT EVERYBODY'S CUP OF TEA, BUT THEY'RE DEFINITELY MICHAEL'S.

>> (BAER) ON FEBRUARY 23, 2003, MICHAEL GRAVES WAS BY ALL ACCOUNTS A BUSY, SUCCESSFUL ARCHITECT AND DESIGNER.

AND HE SHOWED NO SIGNS OF SLOWING DOWN, DESPITE A NAGGING COLD HE JUST COULDN'T SHAKE.

>> NOTHING WAS HELPING.

I GOT BACK TO PRINCETON, AND I WENT TO WORK ON MONDAY MORNING, AND I DIDN'T MAKE IT THROUGH THE DAY.

THAT WAS THE FIRST TIME THAT EVER HAPPENED.

I SAID TO MY ASSISTANT, "I THINK "I'M GOING TO HAVE TO GO HOME.

"THE PAIN IN MY BACK IS SO "GREAT THAT I WANT TO GET OFF MY FEET."

AND IT GOT WORSE.

AND SO I CALLED MY NEIGHBOR AND SAID, "COULD YOU TAKE MY DOG?

"I'M GOING TO TAKE MYSELF "TO THE EMERGENCY ROOM, BECAUSE THIS ISN'T NORMAL."

>> WHERE WERE YOU WHEN YOU HEARD THAT HE HAD BEEN STRICKEN?

>> I WAS WITH HIM.

I WAS WITH HIM.

I HAD GOTTEN A CALL; I LIVE AROUND THE CORNER FROM HIM.

AND HE WAS IN TERRIBLE PAIN.

>> BY MORNING, THE PAIN HAD STOPPED AND I WAS PARALYZED.

>> THE PARALYSIS APPEARED TO BE CAUSED BY AN EXTREMELY RARE KIND OF SPINAL INFECTION.

>> DID YOU SEE HIM AT ALL DURING THIS TIME, WHEN HE WAS REALLY GOING THROUGH THE WORST PART OF IT?

>> IS HE NOT ANY LONGER GOING THROUGH THE WORST PART OF IT?

I MEAN, TO ME THIS THING DOESN'T HAVE A GOOD PART OF IT.

THE CHILDISH ASPECT OF ME IS, "IT'S NOT FAIR."

YOU KNOW, WHAT HAPPENED TO MICHAEL ISN'T FAIR.

SO I KEPT HIM SUPPLIED WITH PEEPS.

I DON'T BELIEVE THAT THAT HELPED THIS SITUATION.

I DON'T BELIEVE THAT PEEPS ARE PROBABLY THAT HELPFUL TO ANY SITUATION.

>> BUT HE STILL COULD READ, AND DRAW, AND WRITE, AND PAINT, AND DO ALL THE THINGS THAT - HE HAD A NORMAL, PROFESSIONAL LIFE.

>> I WAS IN EIGHT HOSPITALS.

>> AND THERE'S A FAMOUS STORY ABOUT WHAT YOU SAID IN THE HOSPITAL ROOM.

>> I SAID "IT'S TOO UGLY, "I CAN'T DIE HERE.

IT'S TOO UGLY TO DIE HERE."

>> I TRY TO DRESS MYSELF IN THE MORNING BEFORE THE AIDES GET INTO THE ROOM.

>> I WAS IN A REHAB FACILITY WHERE I WHEELED INTO THE BATHROOM TO SHAVE AND BRUSH MY TEETH AND COMB MY HAIR.

I HAD HAIR THEN.

AND, I LOOKED UP AND THE MIRROR WAS ABOVE MY HEAD.

>> THIS IS IN A REHAB FACILITY?

>> THIS IS IN A REHAB FACILITY.

AND I'M IN A WHEELCHAIR.

>> AND THESE ARE SUPPOSED TO BE THE BEST- THE BEST PLACES ON THE PLANET TO GET BETTER FOR HIS CONDITION, AND HE COULDN'T TURN THE WATER ON.

>> I CAN'T SHAVE BECAUSE I CAN'T REACH THE FAUCET TO GET WATER.

AND THEN I THOUGHT, "WELL, I'LL HAVE SOMEBODY "BRING MY ELECTRIC RAZOR THE NEXT DAY."

AND I LOOKED FOR THE OUTLET, AND IT WAS DOWN ON THE SILL OF THE FLOOR AND I COULDN'T; I COULDN'T REACH THAT.

I COULDN'T REACH ANY FURTHER THAN THIS.

"WHO DESIGNED THIS BUILDING?"

THEY'VE NEVER BEEN IN A WHEELCHAIR IN THEIR LIVES."

AND SO THERE'S SOMETHING DESPERATELY WRONG WITH THIS.

SO EASILY FIXED.

>> WE THOUGHT, "WHERE CAN WE START?

"WHERE CAN WE HAVE THE FIRST BIGGEST IMPRESSION?"

AND THAT WAS THE PATIENT ROOM.

>> AS A DESIGNER, AS AN ARCHITECT, AS A PATIENT, I PUT THOSE THREE THINGS TOGETHER, AND I CAN DO SOMETHING ABOUT THE ROOMS THAT I EXPERIENCED THAT ARE SO AWFUL.

>> (BAER) THIS HOSPITAL NEAR PRINCETON, NEW JERSEY WASN'T DESIGNED BY GRAVES.

BUT IN THE PATIENT ROOMS, HIS IMPACT IS EVERYWHERE.

>> OKAY, I FEEL LIKE I WANT TO TRY THIS.

>> SURE.

>> SO IF I'M A PATIENT IN THE BED.

>> WE STARTED BY TAKING A LOOK AT THE OVER-THE-BED TABLE, THE BEDSIDE STAND AND THE PATIENT ROOM CHAIR.

>> WE WOULD JUST RAISE IT UP.

>> (BAER) THE GRAVES' OVERBED TABLE IS LARGE AND EASY TO RAISE AND LOWER.

>> MICHAEL'S ALLOWED US THE ABILITY TO EXTEND THIS.

OK?

>> GRAVES' BEDSIDE TABLE HAS HANDLES, AND THEY ARE EASY TO REACH.

>> YOU CAN HAVE A SEAT.

>> OH GOOD.

OK.

IT LOOKS COMFORTABLE.

>> THEY TELL ME IT'S VERY COMFORTABLE.

>> AND THE SHAPE OF THIS CHAIR HELPS PATIENTS TO SIT DOWN AND STAND UP.

>> WHOA.

>> OKAY.

>> SO HAVE YOU MET MICHAEL GRAVES?

>> I DID MEET MICHAEL GRAVES.

I THANKED HIM, QUITE HONESTLY, FOR AFFORDING US THIS OPPORTUNITY TO THEN GIVE TO OUR PATIENTS.

>> (BAER) IN A WASHINGTON D.C.

NEIGHBORHOOD, THIS SCHOOL FOR CHILDREN WITH MULTIPLE DISABILITIES IS CUSTOM MADE FOR PEOPLE IN WHEELCHAIRS.

BUT WHEN GRAVES DESIGNED IT, THAT WASN'T HIS FIRST PRIORITY.

WHEN HE DESIGNED IT INITIALLY, HE WASN'T IN A WHEELCHAIR?

>> NO, HE WASN'T.

>> BUT YOU HAD TO RAISE HIS CONSCIOUSNESS A LITTLE BIT ABOUT DISABI >>WELL, HE KEPT SAYING TO ME, WHY SO MANY ELEVATORS?

COME ON, SO MANY ELEVATORS!

I TOLD HIM I WANTED WHIMLD HIM .

>> WHY DID YOU WANT WHIMSY?

>> BECAUSE THESE ARE CHILDREN, AND THEY ARE CHILDREN WITH DISABILITIES.

I WANTED A BUILDING THAT LOOKS LIKE WHAT WE DO.

THE WAY HE USES SHAPE.

I SAID, YOU KNOW, THINK OF CHILDREN PLAYING WITH BLOCKS.

AND THAT'S WHAT HIS WORK REMINDS ME OF.

AND I REMEMBER THE DAY HE CAME AND HE WAS IN HIS WHEELCHAIR, AND HE WAS JUST TOOLING AROUND HERE IN HIS WHEELCHAIR.

AND HIS CHAIR IS BIG.

HE COULD NAVIGATE THIS WHOLE BUILDING WITH NO PROBLEM AT ALL.

IT WAS A GREAT DAY.

THAT WAS A GREAT DAY.

>>I THINK ABOUT A BUILDING RELATIVE TO THE HUMAN BODY, AND HUMANISM.

ONCE YOU BELIEVE THAT ARCHITECTURE HAS A MESSAGE, IT'S CORNY TO SAY STORYTELLING, BUT IT DOES.

TO ME, THAT'S FASCINATING.

IT'S ALL A PART OF THIS SAME SENSE OF THE HUMANISTIC CODE.

>> WHAT DO YOU THINK MICHAEL GRAVES IS GOING TO BE MOST REMEMBERED FOR?

>> HE'S BECOME SO INTERESTED IN HEALTHCARE AND IT MAY BE IN THE END THAT THAT IS HIS GREATEST LEGACY.

>> THERE'S AN IDEA HERE OF MORE ABOUT HOLISTIC KIND OF HEALING WITH COLOR AND DESIGN.

>> IT MAKES YOU FEEL LIKE HOME.

YOU FEEL HAPPINESS.

IT'S LIKE, OKAY, THIS IS WHERE I WANT TO BE.

DON'T LET MY TOMORROW BE LIKE YESTERDAY.

>> WE'RE ALL BEGINNERS.

>>(NARRATOR) MAJOR FUNDING FOR "ARCHITECT MICHAEL GRAVES: A GRAND TOUR" IS PROVIDED BY THE UNIVERSITY OF NOTRE DAME