The areas of consensus shift unbelievably fast; the bubbles of certainty are constantly exploding.

All important architecture of the last century was strongly influenced by political systems. Look at the Soviet system, with its constructivism and Stalinism, Weimer with its Modern style, Mussolini and, of course, the Nazis and Albert Speer's colossal structures. Today's architecture is subservient to the market and its terms. The market has supplanted ideology. Architecture has turned into a spectacle. It has to package itself and no longer has significance as anything but a landmark.

It was a book [George Packer written on our presence in Nigeria] that was killed by the response of other people. Which sounds quite cowardly, perhaps, but it was the first manifestation of what is currently a really big issue: how political correctness defines the limits of what you can do. In that sense, it was super-exciting and maybe the most magical project we did, but at the same time fraught with mixed feelings.

Talk about beauty and you get boring answers, but talk about ugliness and things get interesting.

Beauty isn't what I'm primarily interested in [in architecture]. I think appropriateness is more important.

That has been my entire life story. Running against the current and running with the current. Sometimes running with the current is underestimated. The acceptance of certain realities doesn’t preclude idealism. It can lead to certain breakthroughs.

Each building has to be beautiful, but cheap and fast, but it lasts forever. That is already an incredible battery of seemingly contradictory demands. So yes, I'm definitely perhaps contradictory person, but I operate in very contradictory times.