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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
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World
Ideal
Ideals
Pressure

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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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I don't know how to overcome this perception that I'm extravagant.
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The best advice I've received is to be yourself. The best artists do that.
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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'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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Not every person has the same kinds of talents, so you discover what yours are and work with them.
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My father probably - he had flashes of creativity - he used to do store windows for fruit stores that he worked in and stuff.
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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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Most of what's around us is banal. We live with it. We accept it as inevitable.
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I'm preprogrammed emotionally and intellectually not to go down blind alleys. I don't waste the time. I automatically edit out whatever's impractical.
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Art is about people. I think the discussion about whether architecture is art or not is lamebrain.
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I have always thought that L.A. is a motor city that developed linear downtowns.
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I don't know why people hire architects and then tell them what to do.
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You never build the perfect building. Only Allah is perfect. Life is such. You make decisions on conclusions, then some guy invents something else and the world changes. That's comforting. There's no one way to use museums, no one way to do art. That also means there is no one way to build museums.
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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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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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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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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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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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