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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
Ideals
Pressure
Come
World
Ideal

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Your best work is your expression of yourself.
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You can't ignore history you can't escape it even if you want to. You might as well know where you come from, and you might as well know that everything has been done in some shape or form.
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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 don't know whose box I'm in, and I don't really care.
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Erich Mendelsohn's drawings are expressive and beautiful. If he'd had the computers we have now, everything I've done he would have done before me. I would have had to figure out something else.
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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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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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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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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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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 freedom, so you have to make choices - and at the point when I make a choice, the building starts to look like a Frank Gehry building. It's a signature.
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China is building cities for a 20 to 40 percent increase in population. India is quickly growing. The carbon footprints of that and other development around the world are overwhelming.
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Architecture and any art can transform a person, even save someone. It can for children - for anyone. It still does for me.
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There are people who design buildings that are not technically and financially good, and there are those who do. Two categories - simple.
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I don't know how to overcome this perception that I'm extravagant.
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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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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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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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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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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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