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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.

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
American
Collar
Enough
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Many
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Feels
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Patriotic
People
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Lapels

More quotes by Frank Gehry

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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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My father always told me that I was going to be a failure - I think he was more talking about himself, but I didn't know it at the time.
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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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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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Not every person has the same kinds of talents, so you discover what yours are and work with them.
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I'm of two minds about doing any interviews these days. It seems a lot of the world is out to play gotcha with me. I guess they always go after people these days. It's sport.
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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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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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The idealism [in architecture] is in the formal arrangement, the relationship to the city, the use of materials that are available to me. That's where I say our powers are limited.
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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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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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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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We don't see the banality, but we accept banality. We accept it as inevitable, and it's not.
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Your work may be great and not make its way into the big picture... like Van Gogh... so who's to say what's good and bad?
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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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Ninety percent of the buildings we live in and around aren't architecture. No, that's not right - 98 percent.
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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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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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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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The architect Borromini's Quattro Fontane, a little church in Rome, is one of the most beautiful rooms in history.
Frank Gehry