Sunday, May 21, 2006

Interview de Richard Rogers

Extraits d'une interview de Richard Rogers publiée le 21.05.06 dans le New-York Times.

Interview dans laquelle l'architecte britannique évoque une grande différence conceptuelle entre les architectes Européens et Américains. Différence qui se situe au niveau des considérations écologiques.
Lors de cet entretien, on évoque le fait que sa dyslexie pourrait être un des facteurs expliquant son architecture si particulière.

Le centre Pompidou à Paris qu'il conçoit en 1967 avec Renzo Piano est la représentation parfaite de son style dans lequel la plupart des réseaux techniques du bâtiment (l'eau, conduits de chauffage, escaliers, ascenseurs) sont placés à l'extérieur permettant ainsi de laisser des espaces internes non encombrés.

Socially Conscious Construction Par DEBORAH SOLOMON

You have just been chosen to design one of the office towers at the former World Trade Center site, which, curiously enough, will be rebuilt mainly by European architects. Do you see any stylistic differences between European architects and their American brethren?

R.R.: European architects tend to be more environmentally conscious. In Europe, for instance, I hardly ever use air-conditioning.

I hope you're not thinking of constructing a 60-story office tower here without air-conditioning. It would be a total dud.

R.R.: No, but Americans use gas and oil like water. One of the things you see in New York is that offices keep their lights on at night. They're proud of their building. Great. But they must find another way to be proud without draining energy.

The two of you (Richard Rogers and Renzo Piano), of course, designed the Pompidou Center in Paris, which opened in 1977, and was instantly famous for being inside out — it wears its plumbing and guts on its exterior. Textbooks describe you as the founder of the high-tech school of architecture.

R.R.: I certainly don't think of myself as high tech. Most buildings, whether they're Gothic cathedrals or Romanesque ones, were high tech for their time.

How would you describe your own style?

R.R.: My architecture tends to be legible, light and flexible. You can read it. You look at a building, and you can see how it is constructed. I put the structure outside.

Can you tell us about your childhood near Wimbledon, England, in one sentence or less?

R.R.: I had lots of trouble in school as a child, and I lost confidence. Teachers thought I was stupid. I learned to read very late, when I was 11. Dyslexia wasn't recognized then, and the assumption was you were incapable of thinking.

Dyslexia may help explain why you reverse the inside and outside of your buildings, or at least try to make them easy to "read," as you said.

R.R.: Perhaps. Another advantage of being dyslexic is that you are never tempted to look back and idealize your childhood.

[+] interview du NYT dans son intégralité

[+] Richard Rogers


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