It's not as if the building is aesthetically unpleasent or uninteresting, in fact the subtlety of the lines that define its identity can cause a positive impression effortelessly in almost anyone, and these so called (or self proclaimed) celebrity architects have proven beyond any reasonable doubt their sensibility towards beauty... enough with this superficial beddazzlement undressed of valuable input. We all know you can do it, but i'm longing for an example of starchitecture that presents some novelty, not the same old repetetition of invention or inovation. It's tiring to perceive over and over again this (almost) agonizing sense of entitlement to the notion of place, as if everything should now morph into what they concocted in their minds, stripping selfishly the site of some characteristics that might have once existed. This is not addition, only subtraction.

Just to ilustrate: not long ago in an interview for The Guardian about Hannah Pool, Zaha Hadid was asked if because of the fuss about the cost, and the recession she wished she had designed a more modest building. She answered:

"No. In these moments of recession, uplifting the spirit is even more important and we should learn from things that were done in the past that were done in a hurry."

This answer reflects plain stupidity and the typical illusion of someone who just gave up on dwelling in this world. I'm exagerating, of course, but this answer is, nonetheless just weak sauce.
"It's quite unfortunate to witness someone who started her career with one of the most challenging approaches to convention and norm, now embracing this impudent architecture of representational power. And practice it without a hint of reflection on plain economic legitimacy, not to mention morality." (quote from a barriga de um arquitecto)

Despite...

Located on the western outskirts of Shanghai, China, it's constructed of concrete, steel and glass. The new corporate headquarters of Giant Pharmaceutical Corp looks for all the world like something between a sci-fi battleship landing on a highway, and a steampunk dragon frozen in time. L.A.-based architectural firm Morphosis is focusing on the building’s sustainability as much as its aesthetics, with a green roof, generous use of skylights, and advanced insulation materials like cement-fiberboard paneling and a double-layer, fritted-glass curtain wall.

Slated for completion in 2009, the project will house executive offices in the cantelievered “head” of the structure, while the remaining elements—additional offices, a boutique hotel, exhibition hall, auditorium, library, gymnasium and swimming pool—will be contained in the “body” which arcs over a four-lane highway.
“In China, you can do things formally you just can’t do in the U.S. — aggressive, uncompromised, out-there ideas” said Morphosis principal and Pritzker Prize 2005 winner Thom Mayne, clearly implying that aesthetic and economic concerns outweigh ethical considerations. Sadly, Mayne’s is the prevailing attitude among today’s brand-name architects.