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In an ideal world, pressure should come from below and from the top.

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
Ideal
Ideals
Pressure
Come
World

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There is an order to our environment, a broader order.
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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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I don't know why people hire architects and then tell them what to do.
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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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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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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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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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I found myself starting architecture with a deep social, Jewish, liberal conscience, and the belief that architecture is for the people. It was a do-gooder base I was born and raised that way. I was for blacks, whites, Italians, Poles, whatever.
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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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It should begin much earlier with arts education in the American school system, which is sadly deficient.
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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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Man, there's another freedom out there, and it comes from somewhere else, and that somewhere else is the place I'm interested in.
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I didn't have any interest in doing rich people's homes. I still don't.
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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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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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Your work may be great and not make its way into the big picture... like Van Gogh... so who's to say what's good and bad?
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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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We live and work in boxes. People don't even notice that.
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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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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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