Architecture should speak of its time and place, but yearn for timelessness.— Frank Gehry
The most practical Frank Gehry quotes that will inspire your inner self
Architecture is a small piece of this human equation, but for those of us who practice it, we believe in its potential to make a difference, to enlighten and to enrich the human experience, to penetrate the barriers of misunderstandin g and provide a beautiful context for life's drama.
Time is just a blur for me. I don't know what - I don't even know where I am sometimes.
Creativity is about play and a kind of willingness to go with your intuition.
It's crucial to an artist. If you know where you are going and what you are going to do, why do it? I think I learned that from the artists, from my grandmother, from all the creative people I've spent time with over the years.
I don't know why people hire architects and then tell them what to do.
Your best work is your expression of yourself.
Take what comes your way. Do the best with it. Be responsible as you can and something good will happen.
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.
You have to be optimistic. I still have doubts and conflicts, but the bottom line is, I believe in the future.
That's what you have to find in architecture.
You have to find your signature. When you find it, you're the only expert on it. People can say they like it or don't like it. They can argue about it, but it's yours.
The best advice I've received is to be yourself. The best artists do that.
We don't see the banality, but we accept banality. We accept it as inevitable, and it's not.
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.
There is stuff I would have liked to have done. But there are no sour grapes.
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.
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.
We have always created - music, literature, art, dance.
The art around us - or lack of it - may be a measure of how we're doing as individuals and as a civilization, so maybe we should be worried.
Those who say only artists and architects can create are the ones who are elitist.
That's where you have to look for your inspiration.
Don't separate the rest of your life - who you are, what you love - from your work.
Let the experience begin!
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.
I like the idea of collaboration - it pushes you. It's a richer experience.
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.
China is building cities for a 20 to 40 percent increase in population.
India is quickly growing. The carbon footprints of that and other development around the world are overwhelming.
What I have learned about museum buildings is that buildings have to have iconic presentations. The position of the art museum vis-a-vis other civic buildings needs to be hierarchal in the community. It has to be equal to the library and the courthouse.
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.
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.
As much as we pretend otherwise, we want what's comfortable, and we're afraid of the different. We're afraid of change.
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.
The present is filled with flotsam and irony and chaos and disorder in all arenas, political and sociological. I think we have to work in the present even if it's awkward, even if it's not necessarily good, even if we don't understand it ourselves. You only find out 10, maybe 20 years later what was going on.
The rap on me on the street is the opposite - I'm impractical, I'm more expensive, it's too complicated and I run over budgets, which isn't true. None of that's true and there's plenty of documentation if anybody needs it.
Just because you are an architect and make decent buildings does not mean that you can suddenly become a set designer for one of the best avant-garde dancers in the world.
There is a backlash against me and everyone who has done buildings that have movement and feeling.
The back of Saint Peter's is one of the finest pieces of architecture I've ever seen.
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.
I hate the word starchitect. Stuff like that comes from mean-spirited, untalented journalists. It's demeaning.
I'm going to design the container and interior spaces.
You bring your own stuff to it and make it your own.
Your work may be great and not make its way into the big picture.
.. like Van Gogh... so who's to say what's good and bad?
A new idea is obsolete in seconds, right? I just said it and now it's obsolete.
I am obsessed with architecture. It is true, I am restless, trying to find myself as an architect, and how best to contribute in this world filled with contradiction, disparity, and inequality, even passion and opportunity.
I think my best skill as an architect is the achievement of hand-to-eye coordination. I am able to transfer a sketch into a model into the building.
It's a metaphor for what we're being told: "Just stay in the box, kid, don't muddy the water." Parents say it to their kids. Teachers say it. Schools do. And so people become immune to the sameness.
In the Renaissance there wasn't a distinction.
Bernini was an artist and he made architecture, and Michelangelo also did some great architecture.
If I knew where I was going, I wouldn't do it. When I can predict or plan it, I don't do it.
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.
You see a lot of so-called architecture that part of the ego trip overpowers the functionality and the budget and all that stuff.
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.
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.
I didn't have any interest in doing rich people's homes. I still don't.
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.