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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.

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
Everything
People
Interiors
Control
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You have to be optimistic. I still have doubts and conflicts, but the bottom line is, I believe in the future.
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With computers we can work everything out from the beginning.
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I found myself starting architecture with a deep social, Jewish, liberal conscience, and the belief that architecture is for the people. It was a do-gooder base I was born and raised that way. I was for blacks, whites, Italians, Poles, whatever.
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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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The architect Borromini's Quattro Fontane, a little church in Rome, is one of the most beautiful rooms in history.
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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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There are a great many things about architecture that are hidden from the untrained eye.
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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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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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Take what comes your way. Do the best with it. Be responsible as you can and something good will happen.
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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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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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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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You've got to bumble forward into the unknown.
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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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The culture of France is unique because it's a culture that has a high priority on the arts, more than any other place in the world in our time since Greece. So as a practicing artist, if you will, this is home ground. They love us, so music, literature, art continues to be the center.
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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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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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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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