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.
In: The Pritzker Architecture Prize, 1989.
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.
In: Blueprint. Nr. 90-92, 1992.
Architecture should speak of its time and place, but yearn for timelessness.
In: Kim Johnson Gross, Jeff Stone, Julie V. Iovine (1993) Home. p. 43.
Life is chaotic, dangerous, and surprising. Buildings should reflect that.
In: Jason K. Miller, Susan Lauzau (2002) Frank Gehry. p. 6.
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.
In: Jeremy Gilbert-Rolfe, Frank Gehry, The City and Music (2002)
Frank Gehry in: Caroline Evensen Lazo (2005) Frank Gehry. p. 43.
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.
Helen D. Hume (2010) The Art Teacher's Book of Lists. p. 304.
I do think democracy has produced chaos, especially visual. A lot of people don't like it and yearn for nineteenth-century images, forgetting that the politics of those images were different than the democracy we love.
Barbara Isenberg (2012) Conversations with Frank Gehry. p. 268.