Renzo Piano quotes:

London is one of the most civilised places in the world for the procedure of making architecture and urban design.

There is something about giving everything to your profession. In Italian, an obsession is not necessarily negative. It's the art of putting all your energy into one thing; it's the art of transforming even what you eat for lunch into architecture.

A piazza is not a plaza. The plaza is the theme park of the piazza; the plaza is the commercial version. A piazza is an empty space with no function. This is what Europeans understand.

In a way I spend my entire life stealing from everything - from the past, from cities I love, from where I grew up - grabbing things, taking not only from architecture but from Italy, art, writing, poetry, music.

As an architect, you have to provide a shelter to enjoy art. And you have to love art. It's like when you make a concert hall. You must love music. This is the reason why you make the space, to enjoy music - making a space for art is the same thing.

Architects have to dream. We have to search for our Atlantises, to be explorers, adventurers, and yet to build responsibly and well.

When you design a building, you start from a general philosophy, and you come down, and you start from detail and come up. Only the theoretical architect believes that you can make the concept and then sometime, somebody will come to build it.

You have to accept as an architect to be exposed to criticism. Architecture should not rely on full harmony.

There is something about giving everything to your profession. In Italian, an obsession is not necessarily negative. Its the art of putting all your energy into one thing; its the art of transforming even what you eat for lunch into architecture.

Great American art needs the idea of uninterrupted spaces, like a loft, which itself is something very American.

One of the great beauties of architecture is that each time, it is like life starting all over again.

Knowing how to do things not just with the head, but with the hands as well: this might seem a programmatic and ideological goal. It is not. It is a way of safeguarding creative freedom.

The day I went to see my father to say I wanted to become an architect, he was a bit surprised, because for him being a builder is much more than being just an architect. He was very angry, and I never thought I could do something else.

I don't want to be romantic, but one of the most important things is to have happy buildings... it's like having a family with a lot of children.

A museum is a place where one should lose one's head.

Architects spend an entire life with this unreasonable idea that you can fight against gravity.

I think people should try to teach young children that these qualities - stubbornness and a capacity to listen - might look like they are opposites, but they are not.

Enjoying art is a personal matter. It's made up by contemplation, silence, abstraction.

Every year I spend one month just sailing, but I still work when I'm on the boat. You never separate work from leisure. A boat is like a magic world, like a little island.

In some way, people believe that if you are permeable, if you are a good listener, you don't have the quality of somebody with a firm attitude. This is what, fundamentally, I got from my mother.

Architecture is a very dangerous job. If a writer makes a bad book, eh, people don't read it. But if you make bad architecture, you impose ugliness on a place for a hundred years.

The difference between a builder and an architect is that an architect also cares about desire, about dreams.

I came to architecture from building. Because my father was a builder, everybody was - and is - a builder in my family.

I don't remember a single thing in my childhood that was not related in some way to building.

You can put down a bad book; you can avoid listening to bad music; but you cannot miss the ugly tower block opposite your house.

When I was a student in the '60s, I dreamt of making a house 7 feet by 7 feet, as a dream of freedom, of self-moderation.

A builder is like a little god - somebody who does things, doesn't just draw things.

I don't like the idea that the first preparation when you start to design your building has to put your label. I think this is not fair. It's not fair to the building or to the people, to the client, because every building tells a different story.

Architects have to dream, we have to search for our Atlantises, to be explorers, adventurers, and yet to build responsibly and well.

A builder is like a little god - somebody who does things, doesnt just draw things.

Architecture is an imposed art in some ways, imposed upon the public, so people must be sure about what you're doing. You have to be sure about what you're doing.

Architecture is art, but art vastly contaminated by many other things. Contaminated in the best sense of the word "? fed, fertilised by many things.

Architecture is art. I don't think you should say that too much, but it is art. I mean, architecture is many, many things. Architecture is science, is technology, is geography, is typography, is anthropology, is sociology, is art, is history. You know all this comes together. Architecture is a kind of bouillabaisse, an incredible bouillabaisse. And, by the way, architecture is also a very polluted art in the sense that it's polluted by life, and by the complexity of things.

As an architect you are a builder. You are of course more than a builder. You need to be a militant, you have to be a poet, you have to be a visionary, you have to be an artist. But certainly you have to be a builder. Everything starts from there.

Cities are beautiful because they are created slowly; they are made by time. A city is born from a tangle of monuments and infrastructures , culture and market, national history and everyday stories. It takes 500 years to create a city, 50 to create a neighborhood.

Every year I spend one month just sailing, but I still work when Im on the boat. You never separate work from leisure. A boat is like a magic world, like a little island.

I dont remember a single thing in my childhood that was not related in some way to building.

If you have total freedom, then you are in trouble. It's much better when you have some obligation, some discipline, some rules. When you have no rules, then you start to build your own rules.

Light has not just intensity, but also a vibration, which is capable of roughening a smooth material, of giving a three-dimensional quality to a flat surface.

My inspiration came from the land, ... and, of course, from Paul Klee . . . and the poetics of his paintings.

When a man is not satisfied with a house where he lives, he becomes an architect

When you walk 25-30 feet above ground, it is a miracle, because you are still in the city ... but you are flying above the city. You are in the middle of trees, and that is a moment of beauty.

You have to accept as an architect to be exposed to criticism. Architecture should not rely on full harmony