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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.I'm not dismissing it.

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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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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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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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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There are a great many things about architecture that are hidden from the untrained eye.
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If you're serious about being an architect, you've got to learn how to take responsibility. It's not fluff. You have to do every detail on every bloody piece of the building. You have to know how the engineering works. You have to know how the fittings go together. You have to master the mechanical, electrical, acoustical - everything.
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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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In Tokyo, London or Los Angeles people go into McDonald's and the restaurants are identical and people are comfortable. It's unthreatening.
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There is an order to our environment, a broader order.
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Art is about people. I think the discussion about whether architecture is art or not is lamebrain.
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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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I don't know how to overcome this perception that I'm extravagant.
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It should begin much earlier with arts education in the American school system, which is sadly deficient.
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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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We're physiologically wired differently.
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In an ideal world, pressure should come from below and from the top.
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I found myself starting architecture with a deep social, Jewish, liberal conscience, and the belief that architecture is for the people. It was a do-gooder base I was born and raised that way. I was for blacks, whites, Italians, Poles, whatever.
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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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The back of Saint Peter's is one of the finest pieces of architecture I've ever seen.
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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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You can look anywhere and find inspiration.
Frank Gehry