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I think my best skill as an architect is the achievement of hand-to-eye coordination. I am able to transfer a sketch into a model into the building.

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
Building
Transfers
Hand
Architect
Eye
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Best
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Coordination
Think
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Sketch

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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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Childhood play is nothing more than an expression of our individuality and preparation for human interaction. Everybody’s an artist. Unfortunately we don’t treat them as such.
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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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Chicago's one of the rare places where architecture is more visible.
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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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People are searching for something they don't have in their lives. There's an unfulfilled need.
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Computers allow architects to remain parental instead of being marginalized by the contractors and managers.
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For me, every day is a new thing. I approach each project with a new insecurity, almost like the first project I ever did. And I get the sweats. I go in and start working, I'm not sure where I'm going. If I knew where I was going I wouldn't do it.
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When people condemn me for designing iconic buildings in cities and not having an idea what a city is, they haven't done their homework. I started in urban design and city planning. It's just that when I got out of school there wasn't much of a market for that. There still isn't.
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The whole can be greater than the sum of it's parts, that we all have something to put in the pie to make it better, and that the collaborative interaction works.
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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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You can look anywhere and find inspiration.
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I'm of two minds about doing any interviews these days. It seems a lot of the world is out to play gotcha with me. I guess they always go after people these days. It's sport.
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Time is just a blur for me. I don't know what - I don't even know where I am sometimes.
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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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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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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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I work from the inside out.
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The safety requirements, which are necessary, spread everything out and push people farther and farther away from the stage and from each other.
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I don't know whose box I'm in, and I don't really care.
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