A Quote by Richard Rogers

Cities are about juxtaposition. — © Richard Rogers
Cities are about juxtaposition.
Well, I know, after all, it is only juxtaposition, Juxtaposition, in short; and what is juxtaposition?
Cities are about juxtaposition. In Florence, classical buildings sit against medieval buildings. It's that contrast we like. In Bordeaux, we built law courts right next door to what is effectively a listed historic building, and that makes it exciting.
I am generally enthusiastic about cities. Here in the West there is a panic. Every time we have a debate about cities, we talk about the problems of cities.
I get the same charge from juxtaposition of colors as I do from juxtaposition of chords.
Backward cities, or younger cities, or newly forming cities in supply regions, have to develop to a great extent on one another's shoulders. This is one of the terrible things about empires.
Fifty percent of the world's population lives in cities. In a couple of decades, 70 percent of the world's population will be living in cities. Cities are where the problem is. Cities are where the solution is, where creativity exists to address the challenges and where they have most impact. This is why, in 2005, the C40 was founded, an organization of cities that address climate change. It started with 18 cities; now it's 91. Cities simply are the key to saving the planet.
Cities produce love and yet feel none. A strange thing when you think about it, but perhaps fitting. Cities need that love more than most of us care to imagine. Cities, after all, for all their massiveness, all their there-ness, are acutely vulnerable.
In trading with each other cities can't be in too different stages of development, and they can't copy one another. Backward cities, or younger cities, or newly forming cities in supply regions, have to develop to a great extent on one another's shoulders. This is one of the terrible things about empires. Empires want them only to trade with the empire, which doesn't help them at all. It's just a way of exploiting them.
I'm not really sure what the psychology is, but for me, I'm interested in it because it's such a juxtaposition to what is going on in my life with a newborn, as you can see. So because of that juxtaposition I'm really fascinated by it, but I'm equally terrified by it, and I think that diving in it makes me feel safer as a woman and a mother for some reason.
I love cities, I spend most of my life talking about cities. And the design of cities does have an effect on your life. You're lucky if you can see trees out of your window and you have a square nearby, or a bar, a cornershop, a surgery. Then you're living well.
I think a lot of what I do musically is about juxtaposition and contrast.
When I go to American cities and speak to American audiences about Karachi, I am able to draw their own wonder and consternation about the cities they live in as an entry point to this other faraway, instant city.
The opportunities of the twenty-first century make those of us who care about cities feel like kids in a candy store: How will cities survive and lead the way in the transformation required to combat global warming? Resilient Cities gives us a road map for this epic journey upon which we are embarking.
We think the juxtaposition between banjo solos and songs about the future are really funny.
The big banks advise cities about whether privatization is a wise choice. They also control the ability of states and cities to access the market for their financing needs.
Some remain great cities, but they shouldn't stand still. They should move in the direction of a knowledge-oriented society. Most cities have to do something to draw attention to themselves and make their particular assets visible on the international radar. I'm not talking about developing countries, but about the United States and Europe.
This site uses cookies to ensure you get the best experience. More info...
Got it!