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We don't see the banality, but we accept banality. We accept it as inevitable, and it's not.

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
Banality
Inevitable
Accept
Accepting

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I don't know why people hire architects and then tell them what to do.
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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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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.
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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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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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Ninety percent of the buildings we live in and around aren't architecture. No, that's not right - 98 percent.
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If you're serious about being an architect, you've got to learn how to take responsibility. It's not fluff. You have to do every detail on every bloody piece of the building. You have to know how the engineering works. You have to know how the fittings go together. You have to master the mechanical, electrical, acoustical - everything.
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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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Liquid architecture. It's like jazz - you improvise, you work together, you play off each other, you make something, they make something. And I think it's a way of - for me, it's a way of trying to understand the city, and what might happen in the city.
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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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I don't know whose box I'm in, and I don't really care.
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Just because you are an architect and make decent buildings does not mean that you can suddenly become a set designer for one of the best avant-garde dancers in the world.
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With computers we can work everything out from the beginning.
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If I knew where I was going, I wouldn't do it. When I can predict or plan it, I don't do it.
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People live and work in uninspiring environments, but look inside those rooms. Look at the painted walls and the decorations. People rebel even in the most controlled office environment in which they're not allowed to do anything. You see the little bulletin board in front of a person's desk with their photos, clippings, cartoons and whatever else.
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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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Not every person has the same kinds of talents, so you discover what yours are and work with them.
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The fact is I'm an opportunist. I'll take materials around me, materials on my table, and work with them as I'm searching for an idea that works.
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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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