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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.

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
Otherwise
Afraid
Comfortable
Change
Different
Much
Pretend

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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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In the art world Robert Rauschenberg had been combining common materials that people thought was art and beautiful, and it was. If he could do that, I could emulate him.
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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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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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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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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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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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Your best work is your expression of yourself. Now, you may not be the greatest at it, but when you do it, you're the only expert.
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One of my greatest influences is the Italian artist Gian Lorenzo Bernini.
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I don't know how to overcome this perception that I'm extravagant.
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There are a great many things about architecture that are hidden from the untrained eye.
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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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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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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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The message I hope to have sent is just the example of being yourself. I tell this to my students: It's not about copying me or my logic systems. It's about allowing yourself to be yourself.
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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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The back of Saint Peter's is one of the finest pieces of architecture I've ever seen.
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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 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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Architecture is a small piece of this human equation, but for those of us who practice it, we believe in its potential to make a difference, to enlighten and to enrich the human experience, to penetrate the barriers of misunderstandin g and provide a beautiful context for life's drama.
Frank Gehry