A Quote by Frank Gehry

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. — © Frank Gehry
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.
Take your materials from what is around you - if you see a dandelion, write about that; if it's misty, write about the mist. The materials for poetry are all about you in profusion.
We're all like little ants who scurry around with the materials that are at hand right now. Each generation finds new materials. Its just evolution, isn't it?
Biologically inspired materials could revolutionize materials science. People looking at spider silk and abalone shells are looking for new ways to make materials better, cheaper, and with less toxic byproducts.
I just think that if you use materials that have an ability to communicate directly, you open up a channel and you can work through that. So you are using the power of materials.
The chemists work with inaccurate and poor measuring services, but they employ very good materials. The physicists, on the other hand, use excellent methods and accurate instruments, but they apply these to very inferior materials. The physical chemists combine both these characteristics in that they apply imprecise methods to impure materials.
A concern that produces its own raw materials, and works them up through the various processes until it delivers the manufactured product in the domestic or foreign market, can work on a narrower margin all around, and yet do full justice to its stockholders and employees.
For me, the excitement in architecture revolves around the idea and the phenomenon of the experience of that idea. Residences offer almost immediate gratification. You can shape space, light, and materials to a degree that you sometimes can't in larger projects.
We are often told we are materialistic. It seems to me, we are not materialistic enough. We have a disrespect for materials. We use it quickly and carelessly. If were genuinely materialistic people, we would understand where materials come from and where they go to. But, at the moment, the entire global economy seems to be built on the model of digging things up from one hole in the ground on one side of the earth, transporting them around the world, using them for a few days, and sticking them in a hole in the ground on the other side of the world.
There's something about materials like copper, woods, stone, trees, shells. You walk outside and these materials are part of the world before we touched anything. There's a feeling of pleasure that many of us have in materials that have some presence before us, like clay and wood and copper.
I've made many, many, many large wigs in my career, and I've experimented with lots of materials to make them more fun and interesting and as big as possible. I like to use the lightest wig materials that I can.
Other creatures receive food simply as fodder. But we take the raw materials of the earth and work with them—touch them, manipulate them, taste them, glory in their heady smells and colors, and then, through a bit of alchemy, transform them into delicious creations.
Modern architecture does not mean the use of immature new materials; the main thing is to refine materials in a more human direction.
I feel best in soft and natural materials such as cotton and silk. I wear collections from all designers. They all have outstanding cuts and extremely pleasant materials.
My family and I would never receive royalties on the revenue that my materials brought into the church; materials that were created on our own personal time.
What we need in this country is a general improvement in eating. We have the best raw materials in the world, both quantitatively and qualitatively, but most of them are ruined in the process of preparing them for the table.
A man may as well hew marble without tools, or paint without colors or instruments, or build without materials, as perform any acceptable service without the graces of the Spirit, which are both the materials and instruments in the work.
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