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We live and work in boxes. People don't even notice that. Most of what's around us is banal. We live with it. We accept it as inevitable. People say, This is the world the way it is, and don't bother me.
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
Inevitable
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Accepting
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Banal
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Bother
World
Boxes
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Architecture should speak of its time and place, but yearn for timelessness.
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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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We live and work in boxes. People don't even notice that.
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There are people who design buildings that are not technically and financially good, and there are those who do. Two categories - simple.
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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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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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I work from the inside out.
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Your best work is your expression of yourself.
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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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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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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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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 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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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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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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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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