Quote

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.

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
Way
Whatever
Picks
Show
Available
Mama
Shows
Material
Primitive
Kids
Materials
Sand
Form
Build
Beach
Look
Necessary
Pick
Looks
Parents
Drive
Something
Parent
Express

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My father always told me that I was going to be a failure - I think he was more talking about himself, but I didn't know it at the time.
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If you know where it's going, it's not worth doing.
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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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People are searching for something they don't have in their lives. There's an unfulfilled need.
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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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Many people put a green button on their collar and feel good, just like a lot of people put an American flag on their lapels and feel patriotic. It's not enough.
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Everything - design and technology and materials - has changed since the World Trade Center was built. A lot of it has to do with computers, which allow us to be far more efficient as well as structurally sound.
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Many people put a green button on their collar and feel good, just like a lot of people put an American flag on their lapels and feel patriotic. It's not enough.I'm not dismissing it.
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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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We don't see the banality, but we accept banality. We accept it as inevitable, and it's not.
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We live and work in boxes. People don't even notice that.
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One of my greatest influences is the Italian artist Gian Lorenzo Bernini.
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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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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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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 don't know whose box I'm in, and I don't really care.
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I have always thought that L.A. is a motor city that developed linear downtowns.
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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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People ask me if I'm an artist or an architect. But I think they're the same.
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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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