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List of figures | |
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Acknowledgements | |
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Introduction | |
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The globalisation of architectural practice | |
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Architectural practice and the race for new markets | |
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Working with clients | |
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The business of architecture | |
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Joint ventures and alliances | |
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The megapractice: Skidmore, Owings & Merrill | |
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Aedas: the architectural firm as global brand | |
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The rise of Foster and Partners | |
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Conclusions: the significance of the firm | |
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Designing at distance | |
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Architects and business travel | |
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The travelling sketch: Renzo Piano and Sydney's Aurora Place | |
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Client meetings and performing competitions | |
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The design studio | |
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Space-shrinking technologies | |
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Meeting the clients: property trade fairs | |
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Conclusions | |
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Architectural celebrity and the cult of the individual | |
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Daniel Libeskind as 'starchitect' | |
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The cult of the individual architect | |
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The signature architect | |
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Critical recognition | |
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Signature architects and value added | |
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Conclusions | |
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The 'Bilbao effect' | |
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Cultural imperialism? | |
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Indigenisation and 'bourgeois regionalism': the Basque state as client | |
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Mapping the 'Bilbao effect' | |
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Conclusions | |
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Rem Koolhaas and global capitalism | |
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Koolhaas and the Office for Metropolitan Architecture | |
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Content and the architect's book | |
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Rebranding architecture | |
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Architect as anthropologist | |
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Conclusions | |
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The geography of the skyscraper | |
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Relational geographies of the skyscraper | |
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The world's tallest building | |
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Dubai and global imagineering | |
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Essentialism, and the International Style | |
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Conclusions | |
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The ethics of architectural practice | |
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Going East: the geopolitics of architecture | |
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Environmental ethics | |
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The architect and the city | |
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Conclusions | |
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Conclusions | |
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Architecture as a business: the structuring role of the firm | |
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Fame and foreigners | |
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Urban form: visibility | |
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Notes | |
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References | |
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Index | |