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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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The best advice I've received is to be yourself. The best artists do that.
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In Tokyo, London or Los Angeles people go into McDonald's and the restaurants are identical and people are comfortable. It's unthreatening.
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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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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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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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One of my unsung heroes is Erich Mendelsohn. I met him when I was a student and he was a cranky old man and very unpleasant. But if you go to his Einstein Tower in Potsdam, Germany you see an enormous intellect at work with a language that was personal and new. It has a sense of urban design and of theater and procession I hadn't seen before.
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We live and work in boxes. People don't even notice that.
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I think my best skill as an architect is the achievement of hand-to-eye coordination. I am able to transfer a sketch into a model into the building.
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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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Most of what's around us is banal. We live with it. We accept it as inevitable.
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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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I can't just decide myself what's being built. Someone decides what they want, then I work for them.
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The back of Saint Peter's is one of the finest pieces of architecture I've ever seen.
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Architecture should speak of its time and place, but yearn for timelessness.
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We don't see the banality, but we accept banality. We accept it as inevitable, and it's not.
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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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It should begin much earlier with arts education in the American school system, which is sadly deficient.
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There is an order to our environment, a broader order.
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