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Renzo Piano
Renzo Piano: ‘The best things in life are always a little dangerous.’ Photograph: Sebastien Bozon/AFP

What are the most important things that the Shard does for London?

Bringing attention back to Southwark. I thought this was a good idea from [former mayor] Ken Livingstone, that you balance the energy of the City by putting something strong on the south bank, in the more poor part of the city. If you are driving around, bicycling around, walking around, you have a new orientation point. I receive many messages from people about this: it is a kind of lighthouse in London. It is quite a surprising element, and providing surprise and wonder is not essential, but it is not a bad thing to do.

It will be the first publicly accessible tall building in London. You have others, but they are not as accessible as this. We have been talking about this from the beginning – making a vertical city, one that does not shut its doors in the evening, that is alive 18 hours a day.

It will change with the weather. I always thought this tower will be a sensor of the city, reflecting the mood. What the Shard does for London is a list of things. I was aware of risks with the project when I took it on, but the best things in life are always a little dangerous.

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Rowan Moore
The Guardian


‘It’s not about priapismo’ … the Shard, at 310m the EU’s tallest building. Photograph: Matt Crossick/EMPICS Entertainment

The storm clouds have been gathering over the Shard ever since it was announced, 11 years ago. Now that the building has reached its full height, it has inevitably become a lightning rod. Few structures in Britain have so dominated the skyline or the architectural debate. To its opponents, it has stabbed London in the heart: it is too tall, it destroys the scale of the city, it disrupts historic views, it is in the wrong place, it is a waste of energy – a monument to greed, money, inequality, foreign influence and broken Britain. To its supporters, however, it is a jolt of the modern – the moment London truly joined the 21st century.

Appropriately, on the day its architect Renzo Piano meets me there, the clouds have all but engulfed the building. On a clear day, apparently, you can see 60 miles from the top. This isn’t one of them. Even from the eighth floor, the riverbank opposite is a blur, obscured by fog and a cascade of rainwater running all the way down the sloping windows from the 87th floor. But Piano seems impervious to both the weather and the lightning bolts of criticism. Tall, elegant, relaxed and mellifluously spoken, the 74-year-old Italian looks every bit the internationally renowned architect. Well, almost. Beneath his raincoat, he’s wearing a T-shirt with a pink slogan. “Trust me, I’m an architect,” it says.

“There’s a moment when you need to trust,” Piano smiles, pointing at his shirt. “Because you can’t predict everything. You cannot prove mathematically that what you’re doing is going to work. But you have to be bloody sure – because if you do something like this wrong, it’s wrong for centuries.” He told the judge the same thing during the public inquiry into its planning. “And I was keeping my fingers crossed in my pocket,” he says.

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Steve Rose
Guardian

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