Norman Foster: The examples that I’ve given are breaking down the barriers between the private world inside the building and the citizens and the city of which it’s a part. But if I go back to the very first building, it was an electronics factory conceived as a democratic pavilion. It wasn’t a management box and the workers’ shed. It wasn’t “we and they.” It wasn’t rich and poor, posh and scruffy. Everybody would use the same entrance, be under the same roof. And that was true of that small building in the London docks, which brought the dockers and the management together under one roof and generated a lifestyle. So it was about color. It was about carpet, works of art on the wall from Fred Ellison’s private collection, literally taking away the walls. And in terms of dockers, creating an incredible restaurant, ping pong, table tennis, billiards, darts. So it’s about a lifestyle.