I have always worked a bit with fashion people. I worked with Issey Miyake for a while, then Dolce & Gabbana; now we're working with Valentino. It's fine. The fashion world is a fairly weird world, but there are good people in it. It's weird because their timetables are unbearable.
When the Americans are behind you, they're behind you 100%, and this gives you real confidence as an architect. They expect you to lead a building project - to make the kind of big and costly decisions that, in Britain, have been handed over to project managers and cost-cutters.
Often, architects work too hard trying to make their buildings look different. It's like we're actors let loose on a stage, all speaking our parts at the same time in our own private languages without an audience.
It's unfortunate that a certain type of stripped-down classicism became the in-house architectural language for 20th-century fascism. Can an architectural language recover from such an association? Yes, I think it can, because in the end what you're talking about is a column and beam.
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 like to be surrounded by books. My wife Evelyn has a Ph.D. in comparative literature, so we have a lot of her Spanish and German literature books which are wasted on me, plus a lot of novels and books on art and architecture shared by us both. Evelyn used to edit an art magazine called 'FMR,' so we have a common interest in design.
I do quite like Gehry's Guggenheim. But where in Bilbao it's seen as an outgrowth of years of investment in urban design and engineering, in Britain it's seen as the catalyst for urban regeneration rather than the icing on the cake.
A building is no good if someone's got to explain to you why it's good. You can't say you don't know enough about architecture - that's ridiculous. It's got to work on many levels.
Seeing architecture differently from the way you see the rest of life is a bit weird. I believe one should be consistent in all that one does, from the books you read to the way you bring up your children. Everything you do is connected.
Architecture has curled up in a ball and it's about itself. It has found itself either as a freakshow, where you're not sure if it's good or bad but at least it's interesting, or at the behest of forces of commerce.
The quality of the Neues Museum's construction is extraordinary even by German standards, and people can smell that quality. The concept would not have been so convincing without it.
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.
