"You know, the environment is fragmenting, and the environment is, in many places, absolutely hideous!"
About this Quote
Rogers doesn’t dress it up: “fragmenting” is the polite technical diagnosis, “absolutely hideous” is the human verdict. The line works because it collapses the usual distance between architect-speak and street-level disgust. Fragmentation is what planners call it when cities stop feeling like cities - when highways shear neighborhoods, when privatized “public” spaces turn into lobbies with security guards, when development arrives as isolated objects rather than a shared fabric. By pairing that systemic critique with an almost blunt-force aesthetic judgment, Rogers signals that ugliness isn’t just taste; it’s evidence of broken civic life.
The repetition of “the environment” matters. He’s not talking about nature in the climate sense, but the built environment: the daily stage where power, money, and policy become concrete, glass, and dead zones. “In many places” is a pointed hedge, too. It implies he’s not condemning modernity outright; he’s condemning the way modernity gets value-engineered, deregulated, and carved up into disconnected parcels.
Contextually, this sits neatly inside Rogers’s lifelong argument for cities as democratic machines. As a high-tech modernist associated with the Pompidou Centre and Lloyd’s of London, he was often stereotyped as the guy who makes bold objects. This quote pushes back: iconic buildings aren’t enough if the connective tissue - streets, housing, transit, public space - is being shredded. The real target is a culture that treats the city as a portfolio, not a commons, and then acts surprised when the result looks like it was assembled by accident.
The repetition of “the environment” matters. He’s not talking about nature in the climate sense, but the built environment: the daily stage where power, money, and policy become concrete, glass, and dead zones. “In many places” is a pointed hedge, too. It implies he’s not condemning modernity outright; he’s condemning the way modernity gets value-engineered, deregulated, and carved up into disconnected parcels.
Contextually, this sits neatly inside Rogers’s lifelong argument for cities as democratic machines. As a high-tech modernist associated with the Pompidou Centre and Lloyd’s of London, he was often stereotyped as the guy who makes bold objects. This quote pushes back: iconic buildings aren’t enough if the connective tissue - streets, housing, transit, public space - is being shredded. The real target is a culture that treats the city as a portfolio, not a commons, and then acts surprised when the result looks like it was assembled by accident.
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| Source | Help us find the source |
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