Frank Owen Gehry, CC, FAIA (/ˈɡɛəri/; born Frank Owen Goldberg; (1929 -02-28)February 28, 1929) is a Canadian-born American architect, residing in Los Angeles.
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.
You never build the perfect building. Only Allah is perfect. Life is such. You make decisions on conclusions, then some guy invents something else and the world changes. That's comforting. There's no one way to use museums, no one way to do art. That also means there is no one way to build museums.
If you're serious about being an architect, you've got to learn how to take responsibility.
The safety requirements, which are necessary, spread everything out and push people farther and farther away from the stage and from each other.
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.
Ninety percent of the buildings we live in and around aren't architecture. No, that's not right - 98 percent.
We're physiologically wired differently.
It's not new that architecture can profoundly affect a place, sometimes transform it.
There is stuff I would have liked to have done. But there are no sour grapes.
If you know where it's going, it's not worth doing.
I'm inspired by a lot of stuff. I always was interested in sculpture and painting and music and literature and all those things. There's no one thing.
In Tokyo, London or Los Angeles people go into McDonald's and the restaurants are identical and people are comfortable. It's unthreatening.
Childhood play is nothing more than an expression of our individuality and preparation for human interaction.
Ideas exist in the marketplace; they are thrown out for everyone to use.
I refuse to work unless I get paid, so I don't get a lot of work sometimes.
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.
The game is if the orchestra can hear each other, they play better. If they play better and there's a tangible feeling between the orchestra and the audience, if they feel each other, the audience responds and the orchestra feels it.
We deny our nature to build and create and then wonder why there is so much alienation and dissatisfaction.
The best advice I've received is to be yourself. The best artists do that.
I would like to make a building as intellectually driven as it is sculptural and as positive as it would be acceptable to hope.