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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
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More quotes by Frank Gehry

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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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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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I would like to make a building as intellectually driven as it is sculptural and as positive as it would be acceptable to hope.
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Each project, I suffer like I'm starting over again in life. There's a lot of healthy insecurity that fuels this stuff.
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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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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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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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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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Everything - design and technology and materials - has changed since the World Trade Center was built. A lot of it has to do with computers, which allow us to be far more efficient as well as structurally sound.
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Liquid architecture. It's like jazz - you improvise, you work together, you play off each other, you make something, they make something. And I think it's a way of - for me, it's a way of trying to understand the city, and what might happen in the city.
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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 love working. I don't know what the word vacation means.
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Most of what's around us is banal. We live with it. We accept it as inevitable.
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My father probably - he had flashes of creativity - he used to do store windows for fruit stores that he worked in and stuff.
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There is a backlash against me and everyone who has done buildings that have movement and feeling.
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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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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 don't know whose box I'm in, and I don't really care.
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Picasso could use everyone's paintings and transform them into his own. He was using ideas from all of his contemporaries.
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We're physiologically wired differently.
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