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Thirty years after it was completed, the Portland Building continues to elicit strong opinions.

The controversial structure, designed by world-renowned architect and product designer Michael Graves, has been declared both an architectural atrocity and a brilliant piece of innovation. Some people criticize its small windows and low ceilings, while others laud it as the spark that started the postmodernism architecture movement.

One thing everyone can agree on, however, is that the building has had an impact 鈥� whether positive or negative 鈥� on the city and its architectural community.

鈥淭he Portland Building did get people talking, which was useful in a city where the 1970s had brought largely corporate box architecture,鈥� said Carl Abbott, who teaches urban studies and planning at and is writing a book on the development of city planning in Portland. 鈥淔or a couple years, it put Portland on the national architecture map.鈥�

The 15-story, 362,422-square-foot building was the result of a design competition sponsored by the city in 1979. Two other architects created designs of glass and concrete, but Graves chose to use terra-cotta tile and vibrant colors inspired by architecture he had seen on a recent trip to Italy. According to Graves, city officials were confused by his approach.

鈥淭he submissions went to City Council, and the color on it was not to their liking 鈥� they were all modernists,鈥� Graves said. 鈥淲ith the rain, everything in Portland is gray. Why would I make a gray building? I did it to spice things up.鈥�

The council named Graves the winner 鈥� in part, he admits, because one of the other competitors exceeded budget restrictions.

鈥淎s the building emerged and was occupied, displaying its many deficiencies as a functional space, opinion shifted as reality set in,鈥� Abbott said. 鈥淚ronically, the attention to the building may have turned opinion leaders away from innovation. (They said,) 鈥榃e tried to be cutting edge; we didn’t like what we got, so let’s be more cautious.’ 鈥�

Despite being only three decades old, the building last year was added to the National Register of Historic Places, adding fuel to the debate. Most structures on the register are at least 50 years old, though exceptions have been made, including in Portland.

鈥淭here were a lot of discussions of whether the building was a success not only for what Graves wanted it to do, but also what it gave to the city,鈥� said Kristen Minor, who wrote the building’s 40-page nomination report. 鈥淲e noticed that people who were around the building on a daily basis had a different opinion of it than people in Washington, D.C.; Europe and around the world, who expected us to nominate it.鈥�

Minor, preservation planner with , said that although she is aware that many people still dislike the building’s interior, she believes the exterior is a significant piece of architectural history that should be recognized.

鈥淚t spawned this explosion of creative alternatives to modernism,鈥� Minor said. 鈥淧eople have a love and hate relationship with that building, and we wanted to emphasize the positive aspects of it.鈥�

Graves said he wasn’t surprised the building was listed on the national register. He pointed out that the building’s notoriously poorly lit interior was not a result of his work.

鈥淚t had such a low budget,鈥� he said. 鈥淚 was criticized for putting the windows in too small, but it got more expensive the more glass I had. I wasn’t the one who put the workers near the windows, limiting the light let in. Most people don’t realize I didn’t design the interior.鈥�

Despite proceeding to design award-winning buildings and products worldwide, Graves holds the Portland Building as one of his greatest achievements. He still enjoys talking about the sculpture that sits in front, Portlandia.

Graves wanted to incorporate Portland’s history in the building, so he designed a 34-foot replica of the woman figure in the city’s seal. Although Raymond Kaskey is credited with creating the sculpture, Graves said he drew its original design. No one had a name for the figure, so he named her after the city.

Graves also believes the building’s design is one of his most influential.

鈥淚’ve seen this building in Japan, China, Australia 鈥� it’s been copied all over the world,鈥� he said.

As for the enduring controversy, Graves doesn’t seem to mind.

鈥淎t least they’re still talking about it,鈥� he said.