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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
World
Ideal
Ideals
Pressure
Come

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I used to sketch - that's the way I thought out loud. Then they made a book of my sketches, and I got self-conscious, so now I don't do it much.
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Take what comes your way. Do the best with it. Be responsible as you can and something good will happen.
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Democracy is a problem and we don't want to get rid of it.
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I didn't have any interest in doing rich people's homes. I still don't.
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When you agree to collaborate, you agree to jump off a cliff holding hands with everyone, hoping the resourcefulness of each will insure that you all land on your feet.
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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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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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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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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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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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We're physiologically wired differently.
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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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The architect Borromini's Quattro Fontane, a little church in Rome, is one of the most beautiful rooms in history.
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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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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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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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I don't know why people hire architects and then tell them what to do.
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Architecture should speak of its time and place, but yearn for timelessness.
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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 love working. I don't know what the word vacation means.
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