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The article discusses reports within the September 2007 issue of "Architectural Design" which examined whether elements of rationalism still exist in contemporary architectural practices in Europe.

The article focuses on the work of Haus-Rucker-Co in the 1960s and 1970s to determine how an artistic exchange between artist and architect might benefit the process of architecture. Profiles of four contemporary artists, Paul McGeiver, Lara Almarcegui, Apolonija Sustersic, and Thomas Demand are included. The author proposes that current architectural practice might learn from a creative engagement with the public to be able to question their own presumptions.

The article examines the role German architect Heinrich Klotz and the Deutsche Architekturmuseum, with a focus on the rise and fall of Postmodern architecture, played in the public promotion of architectural culture in Germany in the 1980s and 1990s. Klotz, in spite of his reputation as a left-wing academic, was made the museum's founding director by the conservative Frankfurt, Germany mayor Walter Wallman in 1979.

The article features the rocks of Schaumburg Quarry in Steinbergen in Steinbergen, Germany. According to the author, the rocks have been passed through the hands of men who broke the stone from its geological formation to use it as a building material. The rocks will be showed at EXPO 2000 in Hanover, Germany to guide the visitors along the pathway that allows the history and nature of stone.

An essay about the occurrence of the ephemeral in the work of Haus-Rucker-Co, a group of Austrian architects and artists is presented. It explores various concepts in the context of ephemeral including the literal application of ephemeral architecture and the abstract concept of the term. The author translates into English some of the key philosophical statements of the group.

The author discusses the becoming of the architectural press as a kind of authority that judges the quality of the architectural work in terms of whether it is suitable for publishing or not. He said that it offers a kind of acknowledgement for the efforts of the architect. He mentioned that architects now have become like students who look to tutors for an authoritative acknowledgement of what is good. He emphasized that there is little or no concern for the critical context of the published work, in this scenario.

The article discusses the influence of Günter Zamp Kelp on the Neanderthal Museum created and designed by Julius Krauss and Arno Brandlhuber in Düsseldorf, Germany. According to the author, the museum is a fine example of the application of Kelp's abstraction in conjunction with a metaphorical interpretation of a brief to create a unique sense of identity and place. Kelp also contributes to the biological and geometrical space of the museum.