A Quote by Richard Rogers

In Florence, classical buildings sit against medieval buildings. It's that contrast we like. — © Richard Rogers
In Florence, classical buildings sit against medieval buildings. It's that contrast we like.
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.
There was a time in our past when one could walk down any street and be surrounded by harmonious buildings. Such a street wasn't perfect, it wasn't necessarily even pretty, but it was alive. The old buildings smiled, while our new buildings are faceless. The old buildings sang, while the buildings of our age have no music in them.
There are hundreds of Frank Lloyd Wright buildings around the United States and in other countries, too. Wright lived into his 90s, and one of his most famous buildings, the Guggenheim Museum in New York, was completed just before his death. Wright buildings look like Wright buildings - that is their paradox.
Modern buildings of our time are so huge that one must group them. Often the space between these buildings is as important as the buildings themselves.
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.
We shouldn't just look at new buildings but at existing stock building because that's an even greater problem than the new buildings being built. The renovation of existing buildings and making them green is just as important as designing new green buildings.
Medieval and Tudor people didn't treat buildings as a semi-disposable resource like we do.
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.
Reinforced concrete buildings are by nature skeletal buildings. No noodles nor armoured turrets. A construction of girders that carry the weight, and walls that carry no weight. That is to say, buildings consisting of skin and bones.
Chinese buildings are like American buildings, with big footprints. People don't care about daylight or fresh air.
I believe very much in a dialogue between buildings - I believe it's always been there. I think buildings have different identities and live very well next to each other. We always have the shock of the new, and that's fine. The renaissance style is totally different from the medieval, and they have a dialogue across time.
I don't do casinos or prisons; I like to do projects that enhance the lives of everyday people, like campus buildings, libraries, museums and government buildings. That's why I love working in the public sector.
It is absurd and anti-life to be part of a system that compels you to listen to a stranger reading poetry when you want to learn to construct buildings, or to sit with a stranger discussing the construction of buildings when you want to read poetry.
In Paris, there has to be a presence. History becomes the most interesting when it's compared to the present. I mean there's a whole group of people that want to build new buildings that look like old buildings.
In Brazil, there is a fear and a denial of our past. Downtown Rio used to display the history of colonialism in Brazil. They had beautiful buildings and theaters, and there was a bakery that was threatened to be demolished, but people insisted against it. They laid down in front of it and said, "You're going to have to go over my body to destroy it." It frustrates me when I see people on Facebook posing in front of old buildings while on vacation, because they could've posed in front of equally beautiful buildings at home in Rio.
I wanted to be an architect. I used to draw houses and buildings and construct buildings on my own.
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