Michael Graves Beach House
- type of listing
- style of listing
- year built
- living area
9 bed/13.0 bath
Michael Graves was commissioned to design an estate on the crown jewel of Malibu, Carbon Beach, on appox. 151 ft of beach frontage. The home is composed of 3 pavilions & is a blend of contemporary & traditional architecture, portraying both the feeling of modernism & classicism. You enter the main house through a soaring 3 story rotunda with an elaborate detailed skylight. You are swept into the heart of the living space by the expansive ocean view. The screening pavilion is a barreled vaulted structure covered with a copper roof & copper awnings. This room serves as a family den when not being used for screenings. This building can be appreciated as a stand-alone piece of art. The third pavilion of the compound is the two story gst house. It consists of a generous LR, built in bar, lavish BD & BA, additional BD/gym & BA downstairs. Upstairs there's a bedroom suite & sunning deck. The gst house opens to a covered veranda bordering the pool flanked by a gazebo for outdoor dining.
Views, beach front, pool, screening pavilion, guest pavilion.
WHAT MAKES THIS A BUNGALUX
Iconic Malibu house designed by world-renowned architect
- • So, maybe 1992 wasn't the best year for architecture. Yes, the huge exception is if you were the guy who commissioned the phenomenal Michael Graves to design your beach house on 3/4 of an acre on Carbon.
- • Who's Michael Graves, you ask? Here's a History Lesson on one of our favorite architects:
- • Michael Graves was born in Indianapolis, Indiana in 1934. He studied at the University of Cincinnati, Ohio and at Harvard University. After working as a Fellow at the American Academy in Rome for two years, he started his own practice in Princeton, New Jersey. He became a professor at Princeton University in 1972.
- • A member of the "New York Five", Graves re-interpreted the rational style that had been introduced by Le Corbusier in the 1920s into a neoclassical style. By the mid-1970s, Graves had become less concerned with the roots of Modernism and had developed a wide-ranging eclecticism in which he abstracted historical forms and emphasized the use of color.
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