THE LEADENHALL BUILDING

THE STORY SO FAR

The ever-changing skyline of the City is a reflection of London’s success as a global commercial centre and a celebration of its creativity and imagination. Now a new addition to that skyline is emerging. Unmistakable and uncompromising, yet inextricably connected with its surroundings, The Leadenhall Building is set to play its own unique part in the evolution of the City: respecting the past, and helping to shape the future. Here’s the story so far… “ TEN YEARS AGO, NO ONE IN LONDON USED TO LOOK UP. NOW THEY DO IT ALL THE TIME; THERE’S JUST SO MUCH TO SEE. PEOPLE ARE FASCINATED BY THE LEADENHALL BUILDING, AND I AM, TOO. I LOVE THE SKILL INVOLVED, THE SHEER ENGINEERING PROWESS – AND, OF COURSE, THE HEIGHT. FROM WHERE I LIVE IN WIMBLEDON, THE SKYLINE LOOKS AMAZING. IT’S SO DYNAMIC” John Safa, IT security expert and photographer

Talk to anyone involved with The Leadenhall Building and you’ll hear the same words cropping up over and over again. Words like evolution, integrity, context and authenticity. It’s clear this is no ego-­ driven monument to ambition, parachuted onto the City skyline with scant regard for neighbouring buildings or the people working and living around it. Rather, this particular building is a deeply considered response to a unique set of challenges

Of course, it’s only to be expected that So what is it about The Leadenhall Building that The Leadenhall Building’s developers – British Land has so captured people’s imaginations? Of course, and Oxford Properties – the architects at RSH+P and there’s the extraordinary shape, which led City the construction team, led by Laing O’Rourke, should Planning Officer Peter Rees to nickname it wax lyrical about their own project. But look a ‘The Cheesegrater’. There’s the expressed steel little further – beyond those directly involved, to structure that turns every beam and bolt into a thing the wider community – and you’ll find a similarly of beauty. And there’s the distinctive bright yellow enthusiastic consensus. steelwork, so characteristic of RSH+P’s projects.

Take blogger and photographer Ben Veasey. ‘What For Paul Burgess, Head of London Leasing at fascinates me is the contrast between the glass and British Land, the key is not how well the building the visible metal skeleton,’ he says. ‘It’s the sort of stands out, but how well it fits in. ‘It’s a great futuristic industrialism that London does so well.’ Or IT piece of contextual architecture,’ he says. expert John Safa, who has chronicled developments ‘The Leadenhall Building is not some shiny on the site at The Leadenhall Building since work began international-style building that could be anywhere. more than 10 years ago, and whose photographs It looks the way it looks because of where it is. appear throughout. ‘London used to be infamous for It’s absolutely of its place.’ That place – bang its grey, monolithic buildings,’ he says. ‘Now we opposite RSH+P’s iconic Lloyd’s building – was have skyscrapers, like The Leadenhall Building, that formerly the site of another British Land holding, people can embrace with pride.’ a tower constructed in the 1960s by architects Gollins Melvin Ward and originally home to shipping company P&O. Although the building remained popular, it was clear by the early 2000s that it was nearing the end of its useful life. Moreover, says Paul Burgess, ‘it wasn’t doing justice to this prominent and important City site.’ THE PROJECT TEAM With the Corporation of London committed to The Leadenhall Building’s sloping south face slots At the bottom of the building, the absence of a core ‘For me, The Leadenhall Building is about drawing realising its vision for a cluster of new skyscrapers on neatly into the space to the left of Wren’s iconic – which in a conventional tower would create a people in,’ says Mike Rayner, Head of Development DEVELOPERS & OWNERS the eastern side of the City, the timing was right for a dome, leaning deferentially away from it to avoid large ‘footprint’, pushing any public space to the at Oxford Properties. ‘Yes, it’s impressive; yes, it’s an British Land and Oxford Properties new building that could both meet the growing encroaching on the world-famous view. very edge of the site – has again allowed the incredible feat of engineering; but it’s also commercial demand for floorspace and make a architects’ creativity to take flight. Their response is permeable and accessible in a way so many other positive contribution to an increasingly dynamic, As any developer looking to build upwards in the galleria, a covered open space soaring seven buildings in the City are not. It engages people ARCHITECT exciting skyline. ‘Building high should never be the the City soon learns, protecting the view of storeys high. From here, you can truly appreciate the – they feel it belongs to them.’ RSH+P first resort,’ says Peter Rees. ‘But if space constraints St Paul’s is paramount. But in the case of sheer scale and controlled strength – which Paul and growing demand mean you have to go vertical, The Leadenhall Building, that restriction, far from Burgess likens to the honed physique of a ballet Perhaps that explains the attraction for people like MAIN CONTRACTOR why not build something interesting? To me, the limiting the architects’ creativity, acted as the dancer – of the steel structure towering above you. Ben Veasey. ‘As a photographer I’m naturally drawn Laing O’Rourke cluster of distinctive buildings now emerging in the springboard to an ingenious solution. Unusually for to the form of the building and its sheer beauty. City is a celebration of our success.’ a tower, there is no central core. The strength of the The plan is for the galleria to house two retail units But the real fascination is the way it’s already building is all in the megaframe – the muscular, and, most importantly, create a beautifully become part of my London. Busy, dynamic, ancient, STRUCTURAL ENGINEERS For Peter Rees and his colleagues at the Guildhall, wedge-shaped framework of steel triangles that landscaped open space for occupants of modern: a mix of influences and styles that’s like Arup just as for The Leadenhall Building’s developers, houses the office floors. With light flooding in from The Leadenhall Building and other people working nowhere else.’ context is all. ‘As planners, we want to see buildings three sides, and minimal pillars, those offices will in the local area. Because the building is completely M & E CONSULTANTS that work with the place, rather than doing offer unparalleled flexibility for occupiers as well as open underneath, the space will also create new The Leadenhall Building is due to be completed Arup something to the place,’ he says. To see how well breathtaking views south, east and west over the pedestrian pathways between Leadenhall Street to in 2014. You can follow the progress of the building the building meets that criterion, just stand outside Ye City, the River Thames and beyond. the south, Undershaft to the north and on up to at www.theleadenhallbuilding.com LETTING AGENTS Olde Cheshire Cheese pub on Fleet Street and look Liverpool Street station, fast emerging as the area’s east towards St Paul’s Cathedral. main transport hub. DTZ Jones Lang LaSalle EXPRESSION OF PURPOSE At 224m of gleaming glass and muscular steel, there’s no doubt The Leadenhall Building packs a mighty visual punch. Yet its bold design is firmly rooted in functionality

Set out to create an architectural icon, and you may Take The Leadenhall Building’s defining feature: its are housed – the story is all about exuberant, playful well succeed – at least for as long as it takes for angled shape. Dictated by the need to protect the movement and colour. What Paul Burgess calls the fashion to change and the spotlight to shift to the view of St Paul’s from the west, the shape has the ‘electric mustard’ of RSH+P’s signature yellow next new sensation. A far bigger challenge is effect of creating unusually light, open and flexible steelwork sings out against the alternating blocks of creating a building with enduring appeal: one that office space. It also, in its turn, dictates how the red and blue used to zone different areas of the respects and enhances its setting, engages and building is constructed: using a gigantic steel frame building, as the high-speed glass lifts whizz up and inspires the people who see and use it every day rather than the more conventional concrete core. down to dazzling effect. and celebrates the skill and ingenuity involved in The frame meets the ground at points around the its construction. perimeter of the site, freeing up the area beneath Yet even here, amid the elements that make up this the building. This will house the galleria, described virtuoso display, there is nothing on show that is not In the right hands, of course, a building can tick all by practice partner Graham Stirk, who led the purely functional. ‘The way the building looks is a these boxes – and be dazzling to look at, too. design team, as a ‘cathedral-like public space’. celebration of the elements, the expertise and Enter RSH+P, the architectural practice chosen by ingenuity that go to make up a project like developers British Land and Oxford Properties. It’s an excellent example of just how closely The Leadenhall Building,’ says Andy Young. ‘As well as meeting all our practical and commercial architecture and structural engineering work together ‘Our goal is to express the function of things in the requirements, we wanted to create a great piece of on a project like this: something that’s embodied in most beautiful way we can. We see architecture as architecture,’ says Paul Burgess, Head of London the steel megaframe itself. Not only does the frame a form of communication. The expressed structure, Leasing at British Land. ‘Given the prominence of the give the building its structural strength, it also confers the colours and, of course, the public space are all site and its proximity to the Lloyd’s building, RSH+P its visual identity. Every joint, every nut and every prime examples of how The Leadenhall Building will was the natural choice to design the building.’ bolt of the huge construct is clearly visible behind engage with people.’ a thin skin of glazing, giving the building an honest, RSH+P is behind some of the world’s most instantly gutsy directness – what Graham Stirk describes as recognisable buildings – among them the Pompidou an ‘almost heroic clarity’. Centre in Paris, the Millennium Dome and, of course, Lloyd’s, the youngest building ever to be awarded For Andy Young, it is functionality as a form of art. Grade I listed status by English Heritage. Like its ‘This design turns the very bones of the building into stablemates, The Leadenhall Building is going to be something beautiful,’ he says. ‘The strength, the Opposite The North Core viewed from Bishopsgate hard to ignore. But as project architect Andy Young accuracy, the quality of the finishing are all there on Below The Pompidou Centre, Paris explains, it also shares another important display. There’s nowhere to hide.’ Bottom Lloyd’s of London characteristic with its predecessors. ‘We believe a building has to have integrity,’ he says. ‘There must The building’s south side is dominated by the be a reason behind every decision you make. restrained power of the megaframe, finished in The challenge for us is to ensure that while design functional grey. By contrast, over on the north side is led by functionality, it is never limited by it.’ – where, in the North Core, all the building’s services

These early sketches show how the team at RSH+P, led by Graham Stirk, developed their initial ideas for The Leadenhall Building

The distinctive tapered shape (1) offers the best balance between preserving the view of St Paul’s dome from the west, providing flexible office space and fitting the City planners’ vision for the eastern cluster. The structure occupies the entire site and provides public space at the base rather than at the top (2, 3). Services THE STEEL FRAME IS JUST are housed in the North Core (4), where blocks of primary colour transform the “ building’s essential functions into a dynamic and eye-catching display. Steel K MAGNIFICENT. I LOVE THE bracing (5) adds rigidity to the megaframe, which houses the unusually open-plan STRENGTH OF IT, AND THE office floors( 6). Every detail of the structure is clearly visible through the glazing BEAUTY – IT HARDLY NEEDS (7), combining transparency and light with immense strength. THE GLAZING PUT ON TOP. THE BRIGHT YELLOW NORTH 1 2 3 4 5 6 7 CORE LOOKS AMAZING AND BRINGS A MUCH-NEEDED BURST OF COLOUR TO THE CITY. THE LEADENHALL BUILDING IS A STUNNING ADDITION TO THE SKYLINE” Sam Rielly, who posts as ‘PowerOfLondon’ on the SkyscraperCity online forum IN NUMBERS

18 ,000 2,669,586 TONNES OF STEEL 9800 MAN HOURS have been worked on have been used in the construction – much more than , site since construction began in autumn 2011 to in a conventional skyscraper where the strength would JOBS CREATED autumn 2013 come from a concrete core rather than a steel frame or supported by The Leadenhall Building, on site in London and in businesses around the country, including Watson Steel in Bolton and Enniskillen, and Laing O’Rourke in Derbyshire

As holder of a Bronze award for Considerate 97 300 Site Management, % 10 The Leadenhall Building MILES OF CABLE % ranks among the top 10% OF CONSTRUCTION WASTE – of construction sites in the 3 approximately the same distance as London to Dublin some 3,900m – to date has been diverted UK against a wide- ranging set of criteria including safety from landfill performance, protecting the environment and minimising impact on the public

METRES PER SECOND the passenger lifts will be the fastest panoramic lifts in Europe, taking just 30 seconds to travel 8 from ground level to the 45th floor + 293 40 METERS APPRENTICES, have been installed to monitor energy use five graduates and 65 NVQ students will have worked on site by the time construction is complete, gaining invaluable experience. The Leadenhall Building is a designated 24 National Skills Academy for Construction METRES the longest single piece of steel in the megaframe is also 10 0 the longest load that can be brought into the City. Lorries are % given a police escort and must arrive between 1am and 5am 80 of the 287m3 of timber delivered to the site to date % has come from FSC-certified sustainable sources of The Leadenhall Building has been constructed off site, using Laing O’Rourke’s Design for Manufacturing and Assembly (DFMA) methodology

prefabrication means the on-site workforce can be cut 200+ to less than half the size of a 2475 40 typical skyscraper team, , % streamlining the construction DESIGNERS process and reducing the have worked on The Leadenhall Building. SQUARE METRES risk of accidents DFMA depends on meticulous design of landscaped public space will be created and millimetre-perfect fabrication so that at the base of The Leadenhall Building, the components can be slotted into place biggest open space in the immediate area easily when they arrive on site ‘Everyone wants to know about A DIFFERENT PERSPECTIVE The Leadenhall Building. I go out to universities and colleges to lecture JOHN SAFA on design, and I’m getting asked PHOTO DIARY about it all the time.’ Hacker turned IT security expert The Leadenhall Building since the project you can’t take a conventional image,’ he John Safa’s love affair with skyscrapers began. Despite his lack of formal training, says. ‘It keeps things fresh.’In the first of a began on a trip to Manhattan in 2001. his images – which he shares on Flickr series of short photo essays, John presents After he moved to London, he started and through leading online forum some of his favourite images from the taking photos of the ever-changing skyline SkyscraperCity – have been widely project’s early days. You can also see his as a way of getting to know his adopted praised and picked up by magazines photographs throughout. city and has been photographing worldwide. ‘If you don’t know the rules,

‘This was definitely one of my lucky days – I was just walking past and happened to see the first piece of yellow steel going in.’

A DAY IN THE LIFE WITH ANDY BUTLER PROJECT DIRECTOR, LAING O’ROURKE

My job is to deliver The Leadenhall eye on all of us and make sure everything’s going Building on time, to spec and to budget. to plan. We have a fantastic resource – Building Information Modelling, or BIM. It’s an incredibly Pretty simple really… detailed 3D representation of The Leadenhall Building that includes all the parameters – so for The scope of my role has changed massively over each piece of steel, say, you can see the weight the course of the project. Now we’re getting on for and the centre of gravity. We use it as a design tool, two-thirds of the way through the construction, and for briefing our specialist suppliers and for problem- it’s all about liaising with the clients and, of course, solving. If something’s not working out on site, I don’t sorting out the issues that come up on site. have to go to Leadenhall Street to resolve it. I can sit at my desk and do it virtually. In the early stages, the focus was all on design and engineering – at its peak, there were about A big part of my job is on the education side, 200 designers on the job. The construction is the running our internal executive development courses shop window. Often, people don’t realise how and working with graduates as they come in. much goes on behind the scenes. We’ve tried to get as many of our ‘Young Guns’ involved in The Leadenhall Building as we can, I spend about 20% of my time on site. The rest of because it’s such a fantastic learning experience. the time I’m talking to the developers – British Land In 35 years in the building industry, I’ve never and Oxford Properties – the teams at RSH+P and worked on something as complex and challenging Arup, and, of course, all my colleagues from as this. I love it. I still get a buzz when I come in to Laing O’Rourke who’re responsible for building work in the morning. services, the mechanical and electrical systems, the finishes and facades… the list goes on. Then there’s the compliance team, whose job is to keep an ‘I was walking past the site and saw a gap in the ‘What makes me laugh about this one is that the ‘I love this shot. That beam weighs 46 tonnes. gate. I literally just stuck my camera through and people walking past seem oblivious to the amazing It’s absolutely enormous. It can be difficult when snapped – I didn’t know what I was taking a picture structure going up right under their noses. People do you look up to appreciate just how big the structure of, but it turned out to be this shot of the foundations. look up at tall buildings, I think, but only once they is, but that car tucked behind the lorry on the left I love the sheer scale of the hole and the girders.’ get to a certain height. Of course, I knew just how really highlights the massive scale.’ big it was going to get – that’s why I wanted to document every stage.’ DECONSTRUCTING THE MEGAFRAME Design feature and feat of engineering, the megaframe is what gives The Leadenhall Building its structure, its shape and its strength. Nigel Annereau and Damian Eley of structural engineers Arup explain how it all works.

The megaframe gives The Leadenhall Building its Each of the nodes that hold the megaframe Accurate cutting is critical strength and stability together is custom-made The megaframe is being made off site by steel In most skyscrapers, the strength comes from an Typically, six megaframe beams come together at manufacturer Watson at its plant in Bolton. The more internal concrete core. Using a steel framework each joint. The forces being transferred are huge accurate the cutting, the faster each component can instead creates some major challenges for the – up to 6,000 tonnes – and the beams come in at be slotted into place when it arrives at Leadenhall design and construction teams. For example, as various angles. Because each set of connections is Street. Watson uses a remote surveying device, a bit the megaframe climbs it naturally tends to slope unique, each of the 130 nodes – weighing up to like a small-scale GPS, to tell its machines where to north. To compensate for this, we use a process 30 tonnes – has to be unique, too. We depend a cut the steel. They can cut a piece of steel 24m long called active alignment that involves shortening the lot on the skill and expertise of the welders who’re and 1m sq in thickness to within a millimetre. diagonal beams to pull the building back towards creating the components off site. That’s an amazing degree of precision. the south. Without it, the top could be as much as 160mm off vertical. Designing and building the megaframe is complex, but it’s the right solution for this site. It enables us to create the tapering shape, it makes efficient use of steel, it optimises the office space and it allows us to create the amazing public space – the galleria – underneath.

Winning the contract to provide the steel for The Leadenhall Building has provided job security for workers at Watson Steel Structures – and helped the company shift focus onto higher- value work.

In total, the contract provides 600,000 hours’ work – 300 full-time jobs for a year – for the Severfield-Rowen Group, of which Watson is part. Two-thirds of the work is being carried out at Watson’s factories in Bolton and Northallerton, including the components for the megaframe. Watson is one of a handful of companies in the UK with the capacity to handle such a huge – and high-profile – job. Nevertheless, The frame is held together by nearly Getting the megaframe components to the site is 3,000 megabolts a feat of logistics with its previous major contract – to provide steel for the Olympic Stadium The bolts are pretty substantial – anything from At up to 24m, the diagonal beams are the longest – complete, the company was facing 48mm to 76mm in diameter. Powerful jacks are single component – and the longest load that can an uncertain future. ‘Without used to stretch them before they’re put in place. It’s be transported into the City. The lorries have to have a technique that’s often used on oil rigs and bridges a police escort down the motorway and enter the The Leadenhall Building, we would to create completely rigid joints. Once in place, the City between 1am and 5am. The beams, some of have had to downsize,’ says Director stretched bolts want to ‘ping’ back to their original which weigh up to 60 tonnes, are then lifted into Peter Miller. ‘Because of the complexity length. That ‘squashes’ the metal beams very closely place pretty much straight away. That means they of the job, we’ve also converted the last together and ensures they can never move apart. don’t have to be stored, or handled more times than It’s as if the whole megaframe is a single, seamless necessary, speeding up the construction process and of our low-value bays into a high-value piece of metal. reducing risk. bay, and recruited a further 20 skilled workers. This positions us well for future high-value work.’ DIFFERENT ANGLES

TODD BUDGEN MARK FERGUSON AON AMLIN

Todd Budgen is Director UK Real of technology, there’s clearly still a Mark Ferguson is Head of Group to expand. And by associating Estate at Aon, the world’s leading desire to be close to where the action Operations at Amlin, a leading ourselves with such a high-profile provider of risk management, and is – just look at how many brokers international insurance and building, we’re raising our own profile, insurance and reinsurance have gravitated to the EC3 district in the reinsurance company. Amlin will and showing the world that we’re brokerage. Aon will occupy floors past few years. This will be our shop house its London division and confident about the future. four to 13 of The Leadenhall Building, window, housing all the parts of our corporate centre functions on making it its global HQ. business that touch clients and markets. floors 19-24 and 45 of It’s a morale boost for our people, The Leadenhall Building. too. To be able to say ‘I work in Moving our London operations We’re now working with our designers and global HQ to to come up with schemes that reflect We started looking for new The Leadenhall Building’ will be The Leadenhall Building is a the visual language of the exterior space when we realised we were great for them. It’s something to fantastic opportunity for us. There’s and have a similar wow factor. In my outgrowing our existing offices in feel proud of. And it gives us the huge excitement at Aon. It’s an personal view, it’s going to be the the St Helen’s building, right next scope and flexibility to create a opportunity for us to create a best-looking building in the City. door. For us, a key priority is proximity professional environment that to Lloyd’s. Our Amlin London team working space that reflects the reflects our position as the world’s The Leadenhall Building offers a are in and out of there all the time. needs of our business now and number one insurance broker and great working environment, too. In the London insurance market, in the future. to associate ourselves with an that face-to-face contact is still iconic building that will be The large open floor spaces absolutely essential. We couldn’t For our clients, too, walking in and recognised globally. give us enormous flexibility and really get much closer than seeing our dedicated reception desk the pure architectural quality and The Leadenhall Building. and then coming up to that amazing From an insurance point of view, the sheer complexity of the double-height space on the 45th floor the area around Leadenhall Street Amlin is an ambitious company, and will be really something. I think is the centre of the world. All the construction really make it we see this move as a statement of everyone coming into the building major players are here. Regardless something out of the ordinary. intent. The new space gives us scope will be really impressed.

MIKE MISEROTTI HERBERT WRIGHT JAMIE PARRY BEAU GEMS JOURNALIST SITE WORKER

Mike Miserotti is the owner of Beau You’ve also got the great mix Herbert Wright is a journalist galleria, open to all. A city’s buzz is Jamie Parry is a steel erector who me used to big buildings. It was pretty Gems, a family-run jewellery business of old and new. The market’s and author specialising in about people and interaction on the works for Watson. He’s been cold up here in the winter, but you do that has been based in Leadenhall urbanism, architecture and art. street – here, that comes into the working on The Leadenhall Building get a great view of the City. Of course, Market for the past 15 years. been here since the 1300s, He is contributing editor to structure itself. since construction began. we’re tethered on, but it can be a bit then you’ve got all these new Blueprint magazine. of a balancing act, especially when I’ve worked all over London, but I skyscrapers going up. Finally, it’s about drama. The drama of We’ve been working on the North it’s raining and the steel is slippery always wanted to bring my business The Leadenhall Building is a stand-out colour, movement and light in the Core, getting a couple of the big and you’re clambering around on the back to the City. I find the place We’ve been here through the boom skyscraper for a number of reasons. North Core, that civic drama at prefabricated sections of yellow steel outside trying to get access to the bit fascinating and I love the way it’s so times and the less good times, too – but First, the decision to put the service ground level, and not least the spatial in each day. Each one weighs 25, you need to reach. I’ve got friends local. You’ve got the areas devoted to it’s always dynamic, always changing. functions into a linked structure rather drama of its scale, clarity and form. 30 tonnes. A lot of the time we’re who say, ‘Not a chance, I’d never different businesses – commodities, than a central core, freeing up the working blind, using radios to guide go up there.’ It’s not for everyone. stocks and shares, insurance. You ask Visually, I think The Leadenhall Building office space at a stroke. Second, the The Leadenhall Building will, each other. The crane driver’s got the someone which pub they go to, and looks fantastic. I like the shape of it, fact that over 80% of the building has I believe, be recognised bird’s-eye view – he drops the table When I come in to work in it’ll usually be somewhere within 200 and the steelwork at the front is just been built off site, bringing dividends among the best of what future down to roughly the right place, then the morning, I walk down yards of where they work! It’s got a in cost, safety and speed. we’ll tell him if it needs to slew a bit to amazing. As someone that specialises generations may call the age from Liverpool Street. The first real community feel to it. in fine watches, I can appreciate the the left or the right. Communication is craftsmanship that’s gone into it. And Third, the way the glass gives the of ‘Big Glass’ and take its really important. This team has been thing I see when I come out of having the galleria will help all the whole building a lightness and place among the greats. working together for years – we know the station is this huge yellow businesses round here, I think. That transparency, revealing the megaframe what needs to be done. building. I look up and I think, underneath, cross-beams, joints and all open space will really help to draw ‘That’s my job. I built that.’ more people to the area. – a structure of stupefying scale. You get used to working at height. This is a building that celebrates its I’ve been doing it for 10 years now, It’s very satisfying. rational engineering. Fourth, there’s the and I worked on The Shard so that got For more information, please contact

Paul Burgess British Land [email protected] +44 (0)20 7467 2914

Dan Burn Jones Lang LaSalle [email protected] +44 (0)20 7399 5966

Alex Colvin Jones Lang LaSalle [email protected] +44 (0)20 7399 5679

James Oliver DTZ [email protected] +44 (0)20 3296 2004

Alistair Brown DTZ [email protected] +44 (0)20 3296 2007 www.theleadenhallbuilding.com

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The British Land Company PLC and its agents give notice that: these particulars are set out as a general outline only, for the guidance of intending purchasers or lessees and do not constitute, nor constitute part of, an offer or contract; all descriptions, dimensions, references to condition and necessary permission for use in occupation and other details are given without responsibility, and any intending purchasers or tenants should not rely on them as statements or representations of fact, but must satisfy themselves by inspection or otherwise as to the correctness of each of them. All floor areas and measurements are approximate. June 2013.