In retrospect, what at one time appeared like a massive gulf between Prince and architecture turned out to be more of a fault line. Take Paternoster Square, for example.
The scheme that the Prince so much opposed, masterplanned by Sir Philip Dowson and Peter Foggo, in retrospect looks like a restrained Modernism with a distinctly Neo-Classical flavour.
Similarly Peter Ahrends'National Gallery design, with its drum plan, looks today like the sort of thing the Prince should have welcomed rather than reviled. On the other hand, many of the mantras about sustainability and context now preached by architects sound as though they have been lifted wholesale from the Prince's 'Ten Principles'which informed his exhibition at the V&A.