Most architects work in ­studios largely divorced from academia, as if ideas, criticism and ­historical ­research were irrelevant.

There is a danger when every building has to look spectacular; to look like it is changing the world. I don't care how a building looks if it means something, not to architects, but to the people who use it.

I may not be the most interesting architect, but I'm still out there and have maintained some position of integrity.

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.

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.

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.