However, you long for something more in order to jolt the Polite Moderns from their perch. An impossible coalition, maybe, between the Wild Men, the Classical Revivalists, and a final category that could be termed the Maverick Tendency. The spirit of independent-minded Victorian architects such as William Lethaby or William Burges lives on in a few architects. The Odeon-obsessed Piers Gough is gratifyingly inclined to rush into glazed coloured brick when he's given his head: his public lavatory/ flower shop in west London is still a gem. Nigel Coates, professor of architecture at the Royal College of Art, likes to muck about fruitfully with the Palladian plan in his National Rock Music Centre in Sheffield - a smaller, inflatable version of which housed the Powerhouse::UK exhibition in Whitehall earlier this year. Above all, John Outram, with his hectically coloured and patterned, almost romanesque buildings, with their fat, habitable columns, offers a full-blooded alternative to the Polite Moderns. His unique style is to be found (somewhat toned down) at the Judge Institute in Cambridge, and turned up to full volume at his new Duncan Hall at Rice University, Texas. Outram is, like the very different Miralles, in the end, uncategorisable. Which, after all the pigeon-holing of a bluffer's guide, is rather refreshing . . . and bodes well for an intriguing architectural future.