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I can't just decide myself what's being built. Someone decides what they want, then I work for them.

Frank Gehry

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Frank Gehry
Age: 95
Born: 1929
Born: February 28
Architect
Designer
Furniture Designer
Sculptor
City of Toronto
Frank Owen Gehry
Frank O. Gehry
Ephraim Owen Goldberg
Frank Goldberg
Frank Owen Goldberg
Work
Decides
Decide
Built
Someone

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People are searching for something they don't have in their lives. There's an unfulfilled need.
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An architect is given a program, budget, place, and schedule. Sometimes the end product rises to art - or at least people call it that.
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As much as we pretend otherwise, we want what's comfortable, and we're afraid of the different. We're afraid of change.
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If you're serious about being an architect, you've got to learn how to take responsibility. It's not fluff. You have to do every detail on every bloody piece of the building. You have to know how the engineering works. You have to know how the fittings go together. You have to master the mechanical, electrical, acoustical - everything.
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The architect Borromini's Quattro Fontane, a little church in Rome, is one of the most beautiful rooms in history.
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If I knew where I was going, I wouldn't do it. When I can predict or plan it, I don't do it.
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I work from the inside out.
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There is a backlash against me and everyone who has done buildings that have movement and feeling.
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I don't know why people hire architects and then tell them what to do.
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I am obsessed with architecture. It is true, I am restless, trying to find myself as an architect, and how best to contribute in this world filled with contradiction, disparity, and inequality, even passion and opportunity.
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One of my greatest influences is the Italian artist Gian Lorenzo Bernini.
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Many people put a green button on their collar and feel good, just like a lot of people put an American flag on their lapels and feel patriotic. It's not enough.I'm not dismissing it.
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If the room is friendly to a relationship between lecturer and audience, you feel everything - the tension, the appreciation. I think the audience feels it too.
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It's not new that architecture can profoundly affect a place, sometimes transform it.
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Everyone has a desire, if not a need, to use their individual signatures. Whenever people meet to talk about a project, even stuffy old businessmen, they say they want to create something new.
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We don't see the banality, but we accept banality. We accept it as inevitable, and it's not.
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People say, This is the world the way it is, and don't bother me. Then when somebody does something different, real architecture, the push-back is amazing. People resist it. At first it's new and scary.
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One of my unsung heroes is Erich Mendelsohn. I met him when I was a student and he was a cranky old man and very unpleasant. But if you go to his Einstein Tower in Potsdam, Germany you see an enormous intellect at work with a language that was personal and new. It has a sense of urban design and of theater and procession I hadn't seen before.
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Your best work is your expression of yourself. Now, you may not be the greatest at it, but when you do it, you're the only expert.
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You've got to bumble forward into the unknown.
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