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Ninety percent of the buildings we live in and around aren't architecture. No, that's not right - 98 percent.

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
Aren
Percent
Building
Around
Live
Right
Buildings
Ninety
Architecture

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It's not new that architecture can profoundly affect a place, sometimes transform it.
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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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I work from the inside out.
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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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I love working. I don't know what the word vacation means.
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The whole can be greater than the sum of it's parts, that we all have something to put in the pie to make it better, and that the collaborative interaction works.
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I would like to make a building as intellectually driven as it is sculptural and as positive as it would be acceptable to hope.
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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'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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Democracy is a problem and we don't want to get rid of it.
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Your best work is your expression of yourself.
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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 don't micromanage the interiors. People ask me to and I say no. I don't want to control everything.
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We live and work in boxes. People don't even notice that.
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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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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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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 don't know whose box I'm in, and I don't really care.
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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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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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