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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 | |