As more and more architecture is finally unmasked as the mere organization of flow - shopping centers, airports - it is evident that circulation is what makes or breaks public architecture.

The beauty of my profession [architecture] lies in its randomness and surprise. And don't think I can choose my projects. I have to build what's offered to me.

The good is not a category that interests me.

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.

In the end, there will be little else for us to do but shop.

The work in S, M, L, XL was almost suicidal. It required so much effort that our office almost went bankrupt.

There are essentially two possibilities. One is to be, shall we say, an average architect and do the same thing everywhere. The other is to let yourself be inspired and even changed by the unique qualities of the place where you're building. We always try to take the second approach.