Frank Gehry Quotes
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There are a lot of questions about whether architecture is art. The people who ask that think pretty tract houses are architecture. But that doesn't hold up.
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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.
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I think my attitudes about the past are very traditional. 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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I used to sketch - that's the way I thought out loud. Then they made a book of my sketches, and I got self-conscious, so now I don't do it much.
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A well-designed home has to be very comfortable. I can't stand the aesthetes, the minimal thing. I can't live that way. My home has to be filled with stuff - mostly paintings, sculpture, my fish lamps, cardboard furniture, lots of books.
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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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Look, architecture has a lot of places to hide behind, a lot of excuses. 'The client made me do this.' 'The city made me do this.' 'Oh, the budget.' I don't believe that anymore.
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I don't want to do architecture that's dry and dull.
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I approach each building as a sculptural object, a spatial container, a space with light and air, a response to context and appropriateness of feeling and spirit. To this container, this sculpture, the user brings his baggage, his program, and interacts with it to accommodate his needs. If he can't do that, I've failed.
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I make a model of the site. There are some obvious things: where the entrance should be, where the cars have to go in. You start to get the scale of it. You understand the client's needs, and what the client is hoping for and yearning for.
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Life is chaotic, dangerous, and surprising. Buildings should reflect that.
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Democracy, obviously, is something we don't want to give up, but it does create chaos. It means the guy next door can do what he wants, and it creates a collision of thinking. In cities, that means people build whatever they want.
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Architecture should speak of its time and place, but yearn for timelessness.
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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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I don't think all buildings have to be iconic, but the history of the world has shown us that cultures build iconic buildings for their major public buildings.
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I don't make things with my hands, although I studied woodworking and made furniture.
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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.
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Brancusi has had more influence on my work than most architects.
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You've got to bumble forward into the unknown.
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Some people may say my curved panels look like sails. Well, I am a sailor, so I guess I probably do use that metaphor in my work - though not consciously.
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And I realized, when I'd come in to the meetings with these corrugated metal and chain link stuff, and people would just look at me like I'd just landed from Mars. But I couldn't do anything else. That was my response to the people and the time.
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I can't just decide myself what's being built. Someone decides what they want, then I work for them.
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I work from the inside out.
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I get that a lot because I've hung around with a lot of artists and I'm very close to a lot of them. I'm very involved in their work; I think a lot of my ideas have grown out of it, and that there's been some give and take.