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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.

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
People
Everyone
Signatures
Desire
Businessman
Individual
Project
Use
Whenever
Need
Projects
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Meet
Even
Create
Stuffy
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Talk
Businessmen

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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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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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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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We live and work in boxes. People don't even notice that.
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I don't know why people hire architects and then tell them what to do.
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One of my greatest influences is the Italian artist Gian Lorenzo Bernini.
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It's not new that architecture can profoundly affect a place, sometimes transform it.
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I have always thought that L.A. is a motor city that developed linear downtowns.
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Some cultures tried to stop people from expressing themselves. In Mao's China, for example, the Communists tried to stop individual expression. For them the payoff was a society of equality. The problem of course is that it didn't work.
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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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Art is about people. I think the discussion about whether architecture is art or not is lamebrain.
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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 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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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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A well-designed home has to be very comfortable. I can't stand the aesthetes, the minimal thing. I can't live that way. My home has to be filled with stuff - mostly paintings, sculpture, my fish lamps, cardboard furniture, lots of books.
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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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Computers allow architects to remain parental instead of being marginalized by the contractors and managers.
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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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We live and work in boxes. People don't even notice that. Most of what's around us is banal. We live with it. We accept it as inevitable. People say, This is the world the way it is, and don't bother me.
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I am obsessed with architecture. It is true, I am restless, trying to find myself as an architect, and how best to contribute in this world filled with contradiction, disparity, and inequality, even passion and opportunity.
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