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If you know where it's going, it's not worth doing.

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
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Going

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Picasso could use everyone's paintings and transform them into his own. He was using ideas from all of his contemporaries.
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Look, architecture has a lot of places to hide behind, a lot of excuses. The client made me do this. The city made me do this. Oh, the budget. I don't believe that anymore.
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We're physiologically wired differently.
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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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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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One of my greatest influences is the Italian artist Gian Lorenzo Bernini.
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It's not new that architecture can profoundly affect a place, sometimes transform it.
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Most of what's around us is banal. We live with it. We accept it as inevitable.
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That's what you have to find in architecture. You have to find your signature. When you find it, you're the only expert on it. People can say they like it or don't like it. They can argue about it, but it's yours.
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You've got to bumble forward into the unknown.
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My father always told me that I was going to be a failure - I think he was more talking about himself, but I didn't know it at the time.
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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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I work from the inside out.
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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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There is a backlash against me and everyone who has done buildings that have movement and feeling.
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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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A well-designed home has to be very comfortable. I can't stand the aesthetes, the minimal thing. I can't live that way. My home has to be filled with stuff - mostly paintings, sculpture, my fish lamps, cardboard furniture, lots of books.
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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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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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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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