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Danh ngôn của Michael Graves (Sứ mệnh: 6)

I don't believe in morality in architecture.
I have no requirements for a style of architecture.
I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.
If I have a style, I am not aware of it.
In any architecture, there is an equity between the pragmatic function and the symbolic function.
In designing hardware to be used every day, it was important to keep both the human aspects and the machine in mind. What looks good also often feels good.
It was always my goal to 'up the ante' on good design, and I've devoted much of my career to this.
The dialogue of architecture has been centered too long around the idea of truth.
For my first apartment, when I was first married, I went to the lumberyard and bought stuff and made couches. My then-wife made cushions. I was really very interested in furniture. I was in school for architecture, but I had to live, and making furniture was different from designing buildings, which I couldn't do for myself.
I'm working on a school of architecture in China. It's rare that an architect gets to design a school of architecture, and here I get to do it. I'm so pleased that they asked me.
I taught at Princeton for 39 years, and the school of architecture on the campus is the worst building on the campus.
You can never draw enough or read enough - reading about architecture, in other words.
Good design to me is both appearance and functionality together. It's the experience that makes it good design.
Instead of using the machine as a metaphor for architecture, as Le Corbusier did, I use the human body. I want the public to know that it's them I'm designing for.
The oldest book I have is a treatise on architecture from the 17th century.