Forest City Ratner has this week released the latest plans for its contentious development of the Atlantic Yards in Brooklyn, more specifically for the parcel of its 22 acres that faces the southwest, looking past the Brooklyn Bridge into Manhattan. In an architectural context that tends, over time, to drag all things down in the direction of safe and unassuming mediocrity, these plans, from the studio of Frank Gehry, have the distinction of being even bolder than the initial ones and, in some senses, a little better.

To begin with, there has been a change of names. That might not sound like much, but the decision to jettison the obnoxiously cutesy “Miss Brooklyn” in favor of the clinical and neutral “B1” for the office tower, Building One, is a step in the right direction. The two other important structures for which renderings have just been released are B2, a residential structure, and the Barclays Center, which will accommodate sports events and performances.

The most objectionable thing about the 620-foot-tall building that had been called Miss Brooklyn was its wobbly, curving clumsiness, a tectonic projection of that goofy, aw-shucks aesthetic that brought us Red Grooms’s Ruckus Rodeo a few years back. In this respect, Gehry Partners has gone a long way to remedy the problem, at least if we can judge from the newest rendering.

True to his generally Deconstructivist idiom, Mr. Gehry has conceived this 34-story, silvery building rising 511 feet as an unruly and asymmetrical mountain of rectilinear boxes. The hint of modular stability implied in those right angles quells in this observer, at least, the wobbly and objectionable anarchy that marked the previous incarnation of this project.

As for the Barclays Center, it would appear from the renderings to fall somewhere between the performance center in Chicago’s new Millennium Park and the Walt Disney Concert Hall in Los Angeles. The Brooklyn arena promises to be clad in the gleaming titanium that Mr. Gehry has so famously deployed at the Guggenheim Museum in Bilbao, Spain, among other contexts, and that he has largely forged into his own signature style. It is less striking and original in design, and therefore less satisfying, than the renderings of B1. The aesthetic of exploding chaos, which is so closely associated with Mr. Gehry’s worldview, surely has its adherents. In practice, however, it tends to fall perilously short of what it promises on paper, due largely to those gravitational demands that, in the end, make most of the hootenanny aesthetic of Deconstructivism look drearily earthbound.

Doubtless there are those people who feel, as though it were a matter of principle, that New York — no less than Chicago, Los Angeles, and a half dozen other conurbations around the world — will never have truly attained post-industrial consequence until we too can boast one of Mr. Gehry’s calamitous titanium structures. On the other hand, it would be nice to think that Mr. Gehry had the originality, and that New Yorkers had the architectural maturity, to come up with something less hackneyed at this point.

The third part of the new renderings is the plan for B2, which is to be entirely residential, and is to include — as the developers eagerly point out — more than half of its 350 units for low- and middle- income inhabitants. This section of the project includes a complex of buildings lower than B1 by about 12 stories but conceived in much the same aesthetic — one of wobbly right angles, of boxes placed irregularly one atop another. Unlike B1, this project appears to be made of brick or masonry and, in any case, instead of the flashy, silvery titanium to be used in the office towers, here we have a two-toned, or even polychrome structure.

With the release of these latest renderings, we finally have some sense of what the Atlantic Yards might actually look like completed. But a great deal could happen between now and then, and the plans could change dramatically in the next few months.