Quote

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.

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
Think
Appreciation
Thinking
Room
Rooms
Relationship
Audience
Everything
Lecturer
Feel
Tension
Feels
Friendly

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We live and work in boxes. People don't even notice that.
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Man, there's another freedom out there, and it comes from somewhere else, and that somewhere else is the place I'm interested in.
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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 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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The message I hope to have sent is just the example of being yourself. I tell this to my students: It's not about copying me or my logic systems. It's about allowing yourself to be yourself.
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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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One of my unsung heroes is Erich Mendelsohn. I met him when I was a student and he was a cranky old man and very unpleasant. But if you go to his Einstein Tower in Potsdam, Germany you see an enormous intellect at work with a language that was personal and new. It has a sense of urban design and of theater and procession I hadn't seen before.
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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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I work from the inside out.
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Anybody I talk to agrees that maybe 2 percent of the building environment since the war, we could call architecture.
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Architecture should speak of its time and place, but yearn for timelessness.
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For me, every day is a new thing. I approach each project with a new insecurity, almost like the first project I ever did. And I get the sweats. I go in and start working, I'm not sure where I'm going. If I knew where I was going I wouldn't do it.
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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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The safety requirements, which are necessary, spread everything out and push people farther and farther away from the stage and from each other.
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We deny our nature to build and create and then wonder why there is so much alienation and dissatisfaction.
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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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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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The back of Saint Peter's is one of the finest pieces of architecture I've ever seen.
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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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When people condemn me for designing iconic buildings in cities and not having an idea what a city is, they haven't done their homework. I started in urban design and city planning. It's just that when I got out of school there wasn't much of a market for that. There still isn't.
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