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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
Perception
Extravagant
Overcome
Overcoming

More quotes by Frank Gehry

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Chicago's one of the rare places where architecture is more visible.
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One of my greatest influences is the Italian artist Gian Lorenzo Bernini.
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There's a drive in us to express ourselves in some way or form. We pick up whatever material is available. It's primitive. Kids see sand on the beach, build something and show their parents: Look what I did, Mama. It's necessary to us.
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The present is filled with flotsam and irony and chaos and disorder in all arenas, political and sociological. I think we have to work in the present even if it's awkward, even if it's not necessarily good, even if we don't understand it ourselves. You only find out 10, maybe 20 years later what was going on.
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Artists dismiss me as an architect, so I'm not in their box, and architects dismiss me as an artist, so I'm not in their box.
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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.
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Liquid architecture. It's like jazz - you improvise, you work together, you play off each other, you make something, they make something. And I think it's a way of - for me, it's a way of trying to understand the city, and what might happen in the city.
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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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I don't micromanage the interiors. People ask me to and I say no. I don't want to control everything.
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Ninety percent of the buildings we live in and around aren't architecture. No, that's not right - 98 percent.
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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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Everything - design and technology and materials - has changed since the World Trade Center was built. A lot of it has to do with computers, which allow us to be far more efficient as well as structurally sound.
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Just because you are an architect and make decent buildings does not mean that you can suddenly become a set designer for one of the best avant-garde dancers in the world.
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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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I work from the inside out.
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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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I didn't have any interest in doing rich people's homes. I still don't.
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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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The idealism [in architecture] is in the formal arrangement, the relationship to the city, the use of materials that are available to me. That's where I say our powers are limited.
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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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