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.

A building has at least two lives - the one imagined by its maker and the life it lives afterward - and they are never the same.

The thing is that I have a really intense, almost compulsive need to record. But it doesn't end there, because what I record is somehow transformed into a creative thing. There is a continuity. Recording is the beginning of a conceptual production. I am somehow collapsing the two - recording and producing - into a single event.

Find optimism in the inevitable.

The Metropolis strives to reach a mythical point where the world is completely fabricated by man, so that it absolutely coincides with his desires.

Lagos was the ultimate dysfunctional city - but actually, in terms of all the initiatives and ingenuity, it mobilised an incredibly beautiful, almost utopian landscape of independence and agency.

But now sustainability is such a political category that it's getting more and more difficult to think about it in a serious way. Sustainability has become an ornament.