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I don't know whose box I'm in, and I don't really care.

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
Boxes
Whose
Care
Really

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I can't just decide myself what's being built. Someone decides what they want, then I work for them.
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The present is filled with flotsam and irony and chaos and disorder in all arenas, political and sociological. I think we have to work in the present even if it's awkward, even if it's not necessarily good, even if we don't understand it ourselves. You only find out 10, maybe 20 years later what was going on.
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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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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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The architect Borromini's Quattro Fontane, a little church in Rome, is one of the most beautiful rooms in history.
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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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You can't ignore history you can't escape it even if you want to. You might as well know where you come from, and you might as well know that everything has been done in some shape or form.
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Childhood play is nothing more than an expression of our individuality and preparation for human interaction.
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Democracy is a problem and we don't want to get rid of it.
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You've got to bumble forward into the unknown.
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Artists dismiss me as an architect, so I'm not in their box, and architects dismiss me as an artist, so I'm not in their box.
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You never build the perfect building. Only Allah is perfect. Life is such. You make decisions on conclusions, then some guy invents something else and the world changes. That's comforting. There's no one way to use museums, no one way to do art. That also means there is no one way to build museums.
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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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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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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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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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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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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 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.
Frank Gehry