You don't restore 'The Last Supper' by filling in the missing bits - you preserve. You accept the material that has somehow survived.

In Britain, we've tended to replace the kind of architectural culture valued in much of Europe with an in-flight magazine lifestyle - all branding, marketing and 'accessibility', a word that usually means dumbing-down.

It used to be presumed that if you weren't at your desk working, you weren't working. But we said, why can't we make a workplace where casual meetings are as important as working at your desk? Sometimes that's where your better creative work happens.

If you look at a building by Mies van der Rohe, it might look very simple, but up close, the sheer quality of construction, materials and thought are inspirational.

I spent more than ten years working on the Neues Museum. It was a wonderful experience, an example of real collaboration between architects, conservationists, curators, client, politicians, the media, and the public. Discussions, even when difficult, were always about ideas. Ideas matter to Germans. They're a reflective people. That's attractive.

Often architects work too hard trying to make their buildings look different. It’s like we’re actors let loose on a stage, all speaking our parts at the same time in our own private languages without an audience.

You don't restore 'The Last Supper' by filling in the missing bits - you preserve. You accept the material that has somehow survived.