In a script, you have to link various episodes together, you have to generate suspense and you have to assemble things - through editing, for example. It's exactly the same in architecture. Architects also put together spatial episodes to make sequences.

Our office acts like a kind of educational establishment and we are very careful who we educate.

Lagos was a city that had been turned against itself. There was a bridge that became the perfect trap for crimes, which began with nails being scattered to cause flat tyres. If the driver stopped, the car would be dismantled in 20 minutes and the parts thrown overboard [to people waiting below]. The system had turned into a kind of destructive device that could be used against people. That was the narrative.

Find optimism in the inevitable.

Architecture is a rare collective profession: it's always exercised by groups. There is an essential modesty, which is a complete contradiction to the notion of a star.

When shopping was still connected to the street it was also an intensification and articulation of the street. Now it has become utterly independent - contained, controlled, surveyed.

Prada is extremely directed in terms of communicating what they like and what they don't like. That is actually extremely pleasant because it clarifies very easily what you can do and what you need to do.