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I don't know how to overcome this perception that I'm extravagant.

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
Extravagant
Overcome
Overcoming
Perception

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It should begin much earlier with arts education in the American school system, which is sadly deficient.
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You have to be optimistic. I still have doubts and conflicts, but the bottom line is, I believe in the future.
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In the art world Robert Rauschenberg had been combining common materials that people thought was art and beautiful, and it was. If he could do that, I could emulate him.
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People live and work in uninspiring environments, but look inside those rooms. Look at the painted walls and the decorations. People rebel even in the most controlled office environment in which they're not allowed to do anything. You see the little bulletin board in front of a person's desk with their photos, clippings, cartoons and whatever else.
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Architecture is a small piece of this human equation, but for those of us who practice it, we believe in its potential to make a difference, to enlighten and to enrich the human experience, to penetrate the barriers of misunderstandin g and provide a beautiful context for life's drama.
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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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The fact is I'm an opportunist. I'll take materials around me, materials on my table, and work with them as I'm searching for an idea that works.
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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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We deny our nature to build and create and then wonder why there is so much alienation and dissatisfaction.
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The message I hope to have sent is just the example of being yourself. I tell this to my students: It's not about copying me or my logic systems. It's about allowing yourself to be yourself.
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Here we are surrounded by material that's being manufactured in unimaginable quantities worldwide and is used everywhere. I don't like it, no one likes it, and yet it's pervasive. We don't even see it.
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Some cultures tried to stop people from expressing themselves. In Mao's China, for example, the Communists tried to stop individual expression. For them the payoff was a society of equality. The problem of course is that it didn't work.
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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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What I have learned about museum buildings is that buildings have to have iconic presentations. The position of the art museum vis-a-vis other civic buildings needs to be hierarchal in the community. It has to be equal to the library and the courthouse.
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Your best work is your expression of yourself.
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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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I'm going to design the container and interior spaces. You bring your own stuff to it and make it your own.
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You never build the perfect building. Only Allah is perfect. Life is such. You make decisions on conclusions, then some guy invents something else and the world changes. That's comforting. There's no one way to use museums, no one way to do art. That also means there is no one way to build museums.
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My father was an urchin that lived in Hell's Kitchen. He was part of a family of nine. I mean, there were times that were better and worse, but mostly, by the time we got to L.A., they'd lost whatever they had. And it was a sad time. And both he and I became truck drivers for different companies.
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We live and work in boxes. People don't even notice that.
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