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.

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.

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.

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

Britain gets the architecture it deserves. We don’t value architecture, we don’t take it seriously, we don’t want to pay for it and the architect isn’t trusted.

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.

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