Alberto Grassetti
Department of Architecture, University of Bologna, Bologna, Italy
Introduction
In 2022, the Renzo Piano Foundation and the Department of Architecture at the University of Bologna funded a doctoral fellowship with a specific focus: to document and analyze Renzo Piano’s projects on Genoa’s waterfront. Under the supervision of Prof. Matteo Agnoletto (University of Bologna) and Prof. Carola Hein (TU Delft), Alberto Grassetti undertook an extensive research activity at the Renzo Piano Foundation archives, uncovering previously unpublished materials and proposals related to Genoa’s waterfront. Moreover, from September 2024 to February 2025, Grassetti was guest researcher at the Chair of History of Architecture and Urban Planning at TU Delft, gaining further insights and sharing his findings with scholars. This blog post is based on Grassetti’s PCF presentation dated February 21, 2025. It provides an overview of the key considerations underpinning his research, outlines the methodological framework, and presents the structure of his doctoral study.
The context. Genoa: water and city
To fully grasp the essence of Genoa, one only needs to visit the Spianata di Castelletto or take a walk along the historic harbor basin. In both cases it becomes immediately clear that Genoa is profoundly shaped by the close relationship between the city and its port. Each time one observes either, the two elements merge to such an extent that distinguishing between city and port, ship and building, becomes nearly impossible. As several scholars have pointed out (Grossi Bianchi & Poleggi, 1980), this interplay reflects the complexity and deep interconnection between Genoa and its maritime infrastructure.
In this regard, Renzo Piano, the renowned architect born in Genoa in 1937, consistently describes his hometown through the image of a city composed of two fundamental elements: the historic city and the water. To fully understand what Genoa represents for the architect, one can refer to his texts. According to Piano:,
"Genoa is the light, the sea. These two things together mean the port. The port is a powerful landscape, made up of vast elements, yet at the same time ephemeral, constantly changing – reflections on the water, suspended loads, cranes in motion. [Then there's] the historic center of Genoa. [...] So maternal and protective, it was the complete opposite of the port. In my imagination, just as the port is fleeting, the heart of the city is still, stable, eternal." (Piano, 1997).
Based on this lecture, Genoa is a city defined by two interconnected realities. On one side is the historic center, one of the largest medieval historic centers in Europe – a highly dense, compact, introspective, and layered urban fabric. Piano describes it as a self-adapting urban organism that has evolved over time. On the other side is the water, which, in the case of Genoa, takes the form of the Ligurian Sea and the port. This is not just any water; it is a busy, industrial space, bustling with ships, workers, and a wide range of activities. It is the water of port infrastructures, of ships arriving and departing, and of cranes lifting goods into the air.
From these two elements – the historic city and the water – Renzo Piano draws continuous inspiration for his work. Building on these initial considerations, it was clear from the very beginning that Piano's work in Genoa is deeply shaped by the relationship with both the historic city and the water. In each project he developed, this relationship manifested itself in different ways: at times as a physical connection, and at others as a more conceptual or formal reflection.
If Genoa’s historic city and water serve as Piano’s primary references, archival research reveals that it is precisely along the waterfront – the space where these two realms intersect – that he has carried out most of his architectural explorations in Genoa throughout his career. Indeed, for Piano, the city’s waterfront is both a source of inspiration and a laboratory for applying his architectural visions.
The research question: Six projects, six actions
Some scholars have examined the relationship between Piano’s architecture and water (Ciagà, 2007; Plebe, 2007; Ciccarelli, Ishida & Rossato Piano, 2015; Piccardo & Lavarello, 2022). However, no comprehensive study to date combines archival research with design analysis in this context. Moreover, most of the port-city literature focuses on the case of Genoa from planning, policy, social and historical perspectives (Marshall, 2001; Bobbio, 2005; Gastaldi & Camerin, 2020), rather than analyzing the actual design of the architectures. This highlights the need for further research that more deeply explores the relationship between Renzo Piano’s architecture and Genoa.
Based on these considerations, the doctoral research question is formulated as follows: how have the historic city and the water informed Renzo Piano’s design approach, and how has this evolved in the case study of Genoa’s waterfront?
Archival research at the Renzo Piano Foundation archives has identified various projects and proposals concerning the waterfront. Among these, six proposals have been selected, spanning the period from 1970 to 2004, with a primary focus on the city’s oldest port area, the Porto Antico. The six projects under examination are: the recovery plan for the historic center of Sestri Ponente (1970); the recovery plan for the Molo district (1981-84); the Service Hub project (1982-84); the first phase of the Porto Antico redevelopment plan (1984-1992); the second phase of the Porto Antico redevelopment plan (1992-2001); the Fresco masterplan (2004).
The critical examination of these proposals provides an in-depth analysis of a design approach informed by the two key reference points of Genoa’s historic city and its water. The on-going research activity demonstrates that from the historic city, Piano derives principles of adaptability, multifunctionality, the integration of architecture and urban space, and the significance of public space. From the water, he embraces transparency, lightness, permeability, and mutability. These qualities are analyzed within each project, offering a profound exploration of the evolution of Piano's design approach in Genoa.
According to this project-based narrative, each project will serve as a case study to explore a specific design action, which, when considered collectively, will offer insight into Renzo Piano’s design methodology. Specifically, the six proposals introduced earlier will serve as case studies to illustrate the following set of design actions: reclaiming public space; recovering the city; eroding the architecture; connecting the city and the sea; integrating technology; and envisioning the waterfront.
Conclusion
This blog post presents the ongoing doctoral research conducted by Alberto Grassetti at the Department of Architecture at the University of Bologna, the Renzo Piano Foundation archives, and the Chair of History of Architecture and Urban Planning at TU Delft. The study explores the relationship between Renzo Piano’s architectural methodology and Genoa, focusing on the interplay between the historic city and the water as primary reference points. Through a comprehensive analysis of archival materials, six key projects spanning from 1970 to 2004 are examined to illustrate how Piano’s design approach evolves from these two fundamental elements. The investigation of these proposals will offer insights into his methodology, contribute to a deeper understanding of Piano’s work, and help frame design actions for interventions in waterfront contexts.
Acknowledgments
This blog post has been written in the context of discussions in the LDE PortCityFutures research community. It reflects the evolving thoughts of the authors and expresses the discussions between researchers on the socio-economic, spatial and cultural questions surrounding port city relationships. This blog was edited by the PortCityFutures editorial team: Wenjun Feng.
References
Bobbio, R. (2005). Complessità di rapporti e iniziative di integrazione fra la città e il porto di Genova. PORTUS: the online magazine of RETE, (10), 34-41.
Ciagà, G. L. (2007). Città d’acqua. In F. Irace (ed.), Renzo Piano Building Workshop. Le città visibili (pp. 84-89), exhibition catalog. Electa.
Ciccarelli, L., Ishida, S., & Rossato Piano, E. (eds.) (2015). Renzo Piano Building Workshop. Progetti d’acqua.
Gastaldi, F., & Camerin, F. (2020). Progetti e proposte di Renzo Piano per il waterfront di Genova, 1981-2017. Territorio, (93), 147-155.
Grossi Bianchi, L., & Poleggi, E. (1980). Una città portuale del Medioevo. Genova nei secoli X-XVI. Sagep.
Marshall, R. (2001). Modern ports and historic cities: Genoa and Las Palmas de Gran Canaria. In R. Marshall (ed.), Waterfronts in Post-industrial Cities (pp. 97-116). Spon Press.
Piano, R. (1992). La mia piazza. Abitare le città. Genova 1492-1992, supplement of Abitare, (311), 18-23.
Piano, R. (1997). Giornale di bordo. Passigli Editori.
Piccardo, E., & Lavarello, A. (eds.) (2022). 1992 Piano per Genova. plug_in.
Plebe, A. (2007). Genova. Il futuro ha un cuore antico. In F. Irace (ed.), Renzo Piano Building Workshop. Le città visibili (pp. 44-51), exhibition catalog. Electa.