1.1. Precedents.

1.2. Deconstructivist Architecture.

1.3. A New Paradigm.

1.4. Zaha and the Game of Opposites.

1.5. Rem Koolhaas: Method and its Paradoxes.

1.6. Frank O Gehry: New Compositions.

1.7. Disjunction and Dis-location.

1.8. Between Gesture and Perception: Fuksas and Holl.

1.9. The Minimalist Approach: Herzog & Meuron.

1.10. Minimalism in England, France and Japan.

1.11. The development of High Tech.

1.12. Post-Modernism and Modernism Continued.

1.13. The Inheritance of Deconstructivism.

2. New Directions: 1993-7.

2.1. The Turning Point.

2.2. Explosive Buildings.

2.3. Los Angeles, Graz and Barcelona.

2.4. The Radicals and Coop Himmelb (L)au.

2.5. Nouvel: Beyond Transparency.

2.6. Herzog & de Meuron and the Skin of the Building.

2.7. Minimalisms.

2.8. Questions of Perception.

2.9. Koolhaas: Euralille.

2.10. The Poetics of the Electronic: Between the Blob and the Metaphor.

2.11. Eco-tech.

2.12. Renzo Piano's Soft-Tech.

2.13. PAYS-BAS_perspectives.

2.14. Pro and Versus a New Architecture.

2.15. The MoMA Extension.

2.16. The Beginnings of a New Season.

3. A Season of Masterpieces: 1998-2001.

3.1. The Guggenheim in Bilbao (Frank O Gehry)

3.2. The House in Floriac (Rem Hoolhaas)

3.3. The Jewish Museum in Berlin (Daniel Libeskind)

3.4. The KKL in Lucerne (Jean Nouvel)

3.5. The Un-Private House.

3.6. The Mobius House.

3.7. A Dutchness in the State of Architecture.

3.8. New Landscapes,New Languages.

3.9. New Landscape: the West and East Coast.

3.10. A New Avant-Garde.

3.11. Landscapes of Aesthetic Objects?

3.12. Aesthetics, Ethics and Mutations.

3.13. The Eleventh of September.
Two Thousand and One.

3.14. Starting Over.

4. Trends: 2000-7

4.1. The World Trade Center.

4.2. Clouds and Monoliths.

4.3. The Star System.

4.4. The Crisis of the Star System.

4.5. The Crisis of Architectural Criticism.

4.6. The End of the Star System?

4.7. Ten Projects.

4.8. Super-Creativity and Ultra-Minimalism.

4.9. Back to Basics.

4.10. The Next Stop.

Timeline.

Bibliography.

Index.