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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.
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
Requirements
Push
Safety
Spread
Necessary
Stage
Away
Everything
Farther
More quotes by Frank Gehry
You have freedom, so you have to make choices - and at the point when I make a choice, the building starts to look like a Frank Gehry building. It's a signature.
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I don't know why people hire architects and then tell them what to do.
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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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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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We should celebrate variety rather than conformity and allow people to express themselves. That we don't is more of our denial.
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Your best work is your expression of yourself. Now, you may not be the greatest at it, but when you do it, you're the only expert.
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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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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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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.
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Time is just a blur for me. I don't know what - I don't even know where I am sometimes.
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One of my greatest influences is the Italian artist Gian Lorenzo Bernini.
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Chicago's one of the rare places where architecture is more visible.
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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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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.
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An architect is given a program, budget, place, and schedule. Sometimes the end product rises to art - or at least people call it 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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I work from the inside out.
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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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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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I used to sketch - that's the way I thought out loud. Then they made a book of my sketches, and I got self-conscious, so now I don't do it much.
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