In 2005, more than ever, architecture is annihilating places, banalizing them, violating them. Sometimes it replaces the landscape, creates it in its own image, which is thing but ather way of effacing it. At a time when we rush across the world faster and faster, when we listen to and watch the same global networks, share feelings about the same disasters, when we dance to the same hits, watch the same matches, when they flood us with the same films, in which the star is global, when the president of one country wants to rule the world, when we shop in cloned shopping centers, work behind the same eternal curtain wallsand when whatever good might come of this forms part of global prioritiesthe global ecomy is accentuating the effects of the dominant architecture, the type that claims Iwe don't need context.' And yet debate on this galloping frenzy does t exist: architectural criticism, invoking the limits of the discipline, is content with aesthetic and stylistic reflections devoid of any analysis of the real, and igres the crucial historical clash that--more insistently every day--sets a global architecture against an architecture of situations, generic architecture against an architecture of specificity. So says the international architecture star Jean Nouvel in his manifesto, published here in 12 languages, along with images of his recently completed Louisiana Museum of Modern Art, Denmark.