THELEADENHALLBUILDING

THE STORYSO FARThe 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

Of course, it’s only to be expected that The Leadenhall Building’s developers – British Land and Oxford Properties – the architects at RSH+P and the construction team, led by Laing O’Rourke, should wax lyrical about their own project. But look a little further – beyond those directly involved, to the wider community – and you’ll find a similarly enthusiastic consensus.

Take blogger and photographer Ben Veasey. ‘What fascinates me is the contrast between the glass and the visible metal skeleton,’ he says. ‘It’s the sort of futuristic industrialism that London does so well.’ Or IT expert John Safa, who has chronicled developments on the site at The Leadenhall Building since work began more than 10 years ago, and whose photographs appear throughout. ‘London used to be infamous for its grey, monolithic buildings,’ he says. ‘Now we have skyscrapers, like The Leadenhall Building, that people can embrace with pride.’

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

So what is it about The Leadenhall Building that has so captured people’s imaginations? Of course, there’s the extraordinary shape, which led City Planning Officer Peter Rees to nickname it ‘The Cheesegrater’. There’s the expressed steel structure that turns every beam and bolt into a thing of beauty. And there’s the distinctive bright yellow steelwork, so characteristic of RSH+P’s projects.

For Paul Burgess, Head of London Leasing at British Land, the key is not how well the building stands out, but how well it fits in. ‘It’s a great piece of contextual architecture,’ he says. ‘The Leadenhall Building is not some shiny international-style building that could be anywhere. It looks the way it looks because of where it is. It’s absolutely of its place.’ That place – bang opposite RSH+P’s iconic Lloyd’s building – was formerly the site of another British Land holding, 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

DEVELOPERS & OWNERSBritish Land and Oxford Properties

ARCHITECT RSH+P

MAIN CONTRACTORLaing O’Rourke

STRUCTURAL ENGINEERS Arup

M & E CONSULTANTSArup

LETTING AGENTSDTZJones Lang LaSalle

With the Corporation of London committed to realising its vision for a cluster of new skyscrapers on the eastern side of the City, the timing was right for a new building that could both meet the growing commercial demand for floorspace and make a positive contribution to an increasingly dynamic, exciting skyline. ‘Building high should never be the first resort,’ says Peter Rees. ‘But if space constraints and growing demand mean you have to go vertical, why not build something interesting? To me, the cluster of distinctive buildings now emerging in the City is a celebration of our success.’

For Peter Rees and his colleagues at the Guildhall, just as for The Leadenhall Building’s developers, context is all. ‘As planners, we want to see buildings that work with the place, rather than doing something to the place,’ he says. To see how well the building meets that criterion, just stand outside Ye Olde Cheshire Cheese pub on Fleet Street and look east towards St Paul’s Cathedral.

The Leadenhall Building’s sloping south face slots neatly into the space to the left of Wren’s iconic dome, leaning deferentially away from it to avoid encroaching on the world-famous view.

As any developer looking to build upwards in the City soon learns, protecting the view of St Paul’s is paramount. But in the case of The Leadenhall Building, that restriction, far from limiting the architects’ creativity, acted as the springboard to an ingenious solution. Unusually for a tower, there is no central core. The strength of the building is all in the megaframe – the muscular, wedge-shaped framework of steel triangles that houses the office floors. With light flooding in from three sides, and minimal pillars, those offices will offer unparalleled flexibility for occupiers as well as breathtaking views south, east and west over the City, the River Thames and beyond.

At the bottom of the building, the absence of a core – which in a conventional tower would create a large ‘footprint’, pushing any public space to the very edge of the site – has again allowed the architects’ creativity to take flight. Their response is the galleria, a covered open space soaring seven storeys high. From here, you can truly appreciate the sheer scale and controlled strength – which Paul Burgess likens to the honed physique of a ballet dancer – of the steel structure towering above you.

The plan is for the galleria to house two retail units and, most importantly, create a beautifully landscaped open space for occupants of The Leadenhall Building and other people working in the local area. Because the building is completely open underneath, the space will also create new pedestrian pathways between Leadenhall Street to the south, Undershaft to the north and on up to Liverpool Street station, fast emerging as the area’s main transport hub.

‘For me, The Leadenhall Building is about drawing people in,’ says Mike Rayner, Head of Development at Oxford Properties. ‘Yes, it’s impressive; yes, it’s an incredible feat of engineering; but it’s also permeable and accessible in a way so many other buildings in the City are not. It engages people – they feel it belongs to them.’

Perhaps that explains the attraction for people like Ben Veasey. ‘As a photographer I’m naturally drawn to the form of the building and its sheer beauty. But the real fascination is the way it’s already become part of my London. Busy, dynamic, ancient, modern: a mix of influences and styles that’s like nowhere else.’

The Leadenhall Building is due to be completed in 2014. You can follow the progress of the building at www.theleadenhallbuilding.com

THE STEEL FRAME IS JUST MAGNIFICENT. I LOVE THE STRENGTH OF IT, AND THE BEAUTY – IT HARDLY NEEDS THE GLAZING PUT ON TOP. THE BRIGHT YELLOW NORTH 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

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EXPRESSION OF PURPOSEAt 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 well succeed – at least for as long as it takes for fashion to change and the spotlight to shift to the next new sensation. A far bigger challenge is creating a building with enduring appeal: one that respects and enhances its setting, engages and inspires the people who see and use it every day and celebrates the skill and ingenuity involved in its construction.

In the right hands, of course, a building can tick all these boxes – and be dazzling to look at, too. Enter RSH+P, the architectural practice chosen by developers British Land and Oxford Properties. ‘As well as meeting all our practical and commercial requirements, we wanted to create a great piece of architecture,’ says Paul Burgess, Head of London Leasing at British Land. ‘Given the prominence of the site and its proximity to the Lloyd’s building, RSH+P was the natural choice to design the building.’

RSH+P is behind some of the world’s most instantly recognisable buildings – among them the Pompidou Centre in Paris, the Millennium Dome and, of course, Lloyd’s, the youngest building ever to be awarded Grade I listed status by English Heritage. Like its stablemates, The Leadenhall Building is going to be hard to ignore. But as project architect Andy Young explains, it also shares another important characteristic with its predecessors. ‘We believe a building has to have integrity,’ he says. ‘There must be a reason behind every decision you make. The challenge for us is to ensure that while design is led by functionality, it is never limited by it.’

Take The Leadenhall Building’s defining feature: its angled shape. Dictated by the need to protect the view of St Paul’s from the west, the shape has the effect of creating unusually light, open and flexible office space. It also, in its turn, dictates how the building is constructed: using a gigantic steel frame rather than the more conventional concrete core. The frame meets the ground at points around the perimeter of the site, freeing up the area beneath the building. This will house the galleria, described by practice partner Graham Stirk, who led the design team, as a ‘cathedral-like public space’.

It’s an excellent example of just how closely architecture and structural engineering work together on a project like this: something that’s embodied in the steel megaframe itself. Not only does the frame give the building its structural strength, it also confers its visual identity. Every joint, every nut and every bolt of the huge construct is clearly visible behind a thin skin of glazing, giving the building an honest, gutsy directness – what Graham Stirk describes as an ‘almost heroic clarity’.

For Andy Young, it is functionality as a form of art. ‘This design turns the very bones of the building into something beautiful,’ he says. ‘The strength, the accuracy, the quality of the finishing are all there on display. There’s nowhere to hide.’

The building’s south side is dominated by the restrained power of the megaframe, finished in functional grey. By contrast, over on the north side

– 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 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 bracing (5) adds rigidity to the megaframe, which houses the unusually open-plan office floors (6). Every detail of the structure is clearly visible through the glazing (7), combining transparency and light with immense strength.

Opposite The North Core viewed from Bishopsgate Below The Pompidou Centre, Paris Bottom Lloyd’s of London

4 5 6 71 2 3

are housed – the story is all about exuberant, playful movement and colour. What Paul Burgess calls the ‘electric mustard’ of RSH+P’s signature yellow steelwork sings out against the alternating blocks of red and blue used to zone different areas of the building, as the high-speed glass lifts whizz up and down to dazzling effect.

Yet even here, amid the elements that make up this virtuoso display, there is nothing on show that is not purely functional. ‘The way the building looks is a celebration of the elements, the expertise and ingenuity that go to make up a project like The Leadenhall Building,’ says Andy Young. ‘Our goal is to express the function of things in the most beautiful way we can. We see architecture as a form of communication. The expressed structure, the colours and, of course, the public space are all prime examples of how The Leadenhall Building will engage with people.’

have been worked on site since construction began in autumn 2011 to autumn 2013

As holder of a Bronze award for Considerate Site Management,

The Leadenhall Building ranks among the top 10% of construction sites in the UK against a wide- ranging set of criteria including safety performance, protecting the environment and minimising impact on the public

40%

10%

prefabrication means the on-site workforce can be cut to less than half the size of a typical skyscraper team, streamlining the construction process and reducing the risk of accidents

MILES OF CABLEapproximately the same distance as London to Dublin

2,475

2,669,586

300

8

24

293

200+DESIGNERShave worked on The Leadenhall Building. DFMA depends on meticulous design and millimetre-perfect fabrication so that components can be slotted into place easily when they arrive on site

80%

IN NUMBERS

300

8

MAN HOURS

METRES PER SECONDthe passenger lifts will be the fastest panoramic lifts in Europe, taking just 30 seconds to travel from ground level to the 45th floor

METRES

SQUARE METRESof landscaped public space will be created at the base of The Leadenhall Building, the biggest open space in the immediate area

97%OF CONSTRUCTION WASTE –

some 3,900m3 – to date has been divertedfrom landfill

the longest single piece of steel in the megaframe is also the longest load that can be brought into the City. Lorries are given a police escort and must arrive between 1am and 5am

100%of the 287m3 of timber delivered to the site to date has come from FSC-certified sustainable sources

9,800JOBS CREATEDor 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

40+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 National Skills Academy for Construction

APPRENTICES,

TONNES OF STEELhave been used in the construction – much more than in a conventional skyscraper where the strength would come from a concrete core rather than a steel frame

METERShave been installed to monitor energy use

of The Leadenhall Building has been constructed off site, using Laing O’Rourke’s Design for Manufacturing and Assembly (DFMA) methodology

18,000

My job is to deliver The Leadenhall Building on time, to spec and to budget. Pretty simple really…

The scope of my role has changed massively over the course of the project. Now we’re getting on for two-thirds of the way through the construction, and it’s all about liaising with the clients and, of course, sorting out the issues that come up on site.

In the early stages, the focus was all on design and engineering – at its peak, there were about 200 designers on the job. The construction is the shop window. Often, people don’t realise how much goes on behind the scenes.

I spend about 20% of my time on site. The rest of the time I’m talking to the developers – British Land and Oxford Properties – the teams at RSH+P and Arup, and, of course, all my colleagues from Laing O’Rourke who’re responsible for building 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

eye on all of us and make sure everything’s going to plan. We have a fantastic resource – Building Information Modelling, or BIM. It’s an incredibly detailed 3D representation of The Leadenhall Building that includes all the parameters – so for each piece of steel, say, you can see the weight and the centre of gravity. We use it as a design tool, for briefing our specialist suppliers and for problem-solving. If something’s not working out on site, I don’t have to go to Leadenhall Street to resolve it. I can sit at my desk and do it virtually.

A big part of my job is on the education side, running our internal executive development courses and working with graduates as they come in. We’ve tried to get as many of our ‘Young Guns’ involved in The Leadenhall Building as we can, because it’s such a fantastic learning experience. In 35 years in the building industry, I’ve never worked on something as complex and challenging as this. I love it. I still get a buzz when I come in to work in the morning.

‘Everyone wants to know about The Leadenhall Building. I go out to universities and colleges to lecture on design, and I’m getting asked about it all the time.’

A DAY IN THE LIFEWITH ANDY BUTLERPROJECT DIRECTOR, LAING O’ROURKE

Hacker turned IT security expert John Safa’s love affair with skyscrapers began on a trip to Manhattan in 2001. After he moved to London, he started taking photos of the ever-changing skyline as a way of getting to know his adopted city and has been photographing

The Leadenhall Building since the project began. Despite his lack of formal training, his images – which he shares on Flickr and through leading online forum SkyscraperCity – have been widely praised and picked up by magazines worldwide. ‘If you don’t know the rules,

you can’t take a conventional image,’ he says. ‘It keeps things fresh.’In the first of a series of short photo essays, John presents some of his favourite images from the project’s early days. You can also see his photographs throughout.

‘What makes me laugh about this one is that the people walking past seem oblivious to the amazing structure going up right under their noses. People do look up at tall buildings, I think, but only once they get to a certain height. Of course, I knew just how big it was going to get – that’s why I wanted to document every stage.’

‘I love this shot. That beam weighs 46 tonnes. It’s absolutely enormous. It can be difficult when you look up to appreciate just how big the structure is, but that car tucked behind the lorry on the left really highlights the massive scale.’

‘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.’

‘I was walking past the site and saw a gap in the gate. I literally just stuck my camera through and snapped – I didn’t know what I was taking a picture of, but it turned out to be this shot of the foundations. I love the sheer scale of the hole and the girders.’

A DIFFERENT PERSPECTIVEJOHN SAFA PHOTO DIARY

DECONSTRUCTING THE MEGAFRAME

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, with its previous major contract – to provide steel for the Olympic Stadium – complete, the company was facing an uncertain future. ‘Without The Leadenhall Building, we would have had to downsize,’ says Director Peter Miller. ‘Because of the complexity of the job, we’ve also converted the last of our low-value bays into a high-value bay, and recruited a further 20 skilled workers. This positions us well for future high-value work.’

The megaframe gives The Leadenhall Building its strength and stability

In most skyscrapers, the strength comes from an internal concrete core. Using a steel framework instead creates some major challenges for the design and construction teams. For example, as the megaframe climbs it naturally tends to slope north. To compensate for this, we use a process called active alignment that involves shortening the diagonal beams to pull the building back towards 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.

Getting the megaframe components to the site is a feat of logistics

At up to 24m, the diagonal beams are the longest single component – and the longest load that can be transported into the City. The lorries have to have a police escort down the motorway and enter the City between 1am and 5am. The beams, some of which weigh up to 60 tonnes, are then lifted into place pretty much straight away. That means they don’t have to be stored, or handled more times than necessary, speeding up the construction process and reducing risk.

Each of the nodes that hold the megaframe together is custom-made

Typically, six megaframe beams come together at each joint. The forces being transferred are huge – up to 6,000 tonnes – and the beams come in at various angles. Because each set of connections is unique, each of the 130 nodes – weighing up to 30 tonnes – has to be unique, too. We depend a lot on the skill and expertise of the welders who’re creating the components off site.

Accurate cutting is critical

The megaframe is being made off site by steel manufacturer Watson at its plant in Bolton. The more accurate the cutting, the faster each component can be slotted into place when it arrives at Leadenhall Street. Watson uses a remote surveying device, a bit like a small-scale GPS, to tell its machines where to cut the steel. They can cut a piece of steel 24m long and 1m sq in thickness to within a millimetre. That’s an amazing degree of precision.

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 frame is held together by nearly 3,000 megabolts

The bolts are pretty substantial – anything from 48mm to 76mm in diameter. Powerful jacks are used to stretch them before they’re put in place. It’s a technique that’s often used on oil rigs and bridges to create completely rigid joints. Once in place, the stretched bolts want to ‘ping’ back to their original length. That ‘squashes’ the metal beams very closely together and ensures they can never move apart. It’s as if the whole megaframe is a single, seamless piece of metal.

DIFFERENT ANGLES

Mike Miserotti is the owner of Beau Gems, a family-run jewellery business that has been based in Leadenhall Market for the past 15 years.

I’ve worked all over London, but I always wanted to bring my business back to the City. I find the place fascinating and I love the way it’s so local. You’ve got the areas devoted to different businesses – commodities, stocks and shares, insurance. You ask someone which pub they go to, and it’ll usually be somewhere within 200 yards of where they work! It’s got a real community feel to it.

You’ve also got the great mix of old and new. The market’s been here since the 1300s, then you’ve got all these new skyscrapers going up.

We’ve been here through the boom times and the less good times, too – but it’s always dynamic, always changing. Visually, I think The Leadenhall Building looks fantastic. I like the shape of it, and the steelwork at the front is just amazing. As someone that specialises in fine watches, I can appreciate the craftsmanship that’s gone into it. And having the galleria will help all the businesses round here, I think. That open space will really help to draw more people to the area.

MIKE MISEROTTI BEAU GEMS

Herbert Wright is a journalist and author specialising in urbanism, architecture and art. He is contributing editor to Blueprint magazine.

The Leadenhall Building is a stand-out skyscraper for a number of reasons. First, the decision to put the service functions into a linked structure rather than a central core, freeing up the office space at a stroke. Second, the fact that over 80% of the building has been built off site, bringing dividends in cost, safety and speed.

Third, the way the glass gives the whole building a lightness and transparency, revealing the megaframe underneath, cross-beams, joints and all – a structure of stupefying scale. This is a building that celebrates its rational engineering. Fourth, there’s the

galleria, open to all. A city’s buzz is about people and interaction on the street – here, that comes into the structure itself.

Finally, it’s about drama. The drama of colour, movement and light in the North Core, that civic drama at ground level, and not least the spatial drama of its scale, clarity and form.

The Leadenhall Building will, I believe, be recognised among the best of what future generations may call the age of ‘Big Glass’ and take its place among the greats.

HERBERT WRIGHT JOURNALIST

Jamie Parry is a steel erector who works for Watson. He’s been working on The Leadenhall Building since construction began.

We’ve been working on the North Core, getting a couple of the big prefabricated sections of yellow steel in each day. Each one weighs 25, 30 tonnes. A lot of the time we’re working blind, using radios to guide each other. The crane driver’s got the bird’s-eye view – he drops the table down to roughly the right place, then we’ll tell him if it needs to slew a bit to the left or the right. Communication is really important. This team has been working together for years – we know what needs to be done.

You get used to working at height. I’ve been doing it for 10 years now, and I worked on The Shard so that got

me used to big buildings. It was pretty cold up here in the winter, but you do get a great view of the City. Of course, we’re tethered on, but it can be a bit of a balancing act, especially when it’s raining and the steel is slippery and you’re clambering around on the outside trying to get access to the bit you need to reach. I’ve got friends who say, ‘Not a chance, I’d never go up there.’ It’s not for everyone.

When I come in to work in the morning, I walk down from Liverpool Street. The first thing I see when I come out of the station is this huge yellow building. I look up and I think, ‘That’s my job. I built that.’ It’s very satisfying.

JAMIE PARRY SITE WORKER

TODD BUDGEN AONTodd Budgen is Director UK Real Estate at Aon, the world’s leading provider of risk management, and insurance and reinsurance brokerage. Aon will occupy floors four to 13 of The Leadenhall Building, making it its global HQ.

Moving our London operations and global HQ to The Leadenhall Building is a fantastic opportunity for us. There’s huge excitement at Aon. It’s an opportunity for us to create a professional environment that reflects our position as the world’s number one insurance broker and to associate ourselves with an iconic building that will be recognised globally.

From an insurance point of view, the area around Leadenhall Street is the centre of the world. All the major players are here. Regardless

of technology, there’s clearly still a desire to be close to where the action is – just look at how many brokers have gravitated to the EC3 district in the past few years. This will be our shop window, housing all the parts of our business that touch clients and markets. We’re now working with our designers to come up with schemes that reflect the visual language of the exterior and have a similar wow factor. In my personal view, it’s going to be the best-looking building in the City.

The Leadenhall Building offers a great working environment, too. The large open floor spaces give us enormous flexibility and the pure architectural quality and the sheer complexity of the construction really make it something out of the ordinary.

Mark Ferguson is Head of Group Operations at Amlin, a leading international insurance and reinsurance company. Amlin will house its London division and corporate centre functions on floors 19-24 and 45 of The Leadenhall Building.

We started looking for new space when we realised we were outgrowing our existing offices in the St Helen’s building, right next door. For us, a key priority is proximity to Lloyd’s. Our Amlin London team are in and out of there all the time. In the London insurance market, that face-to-face contact is still absolutely essential. We couldn’t really get much closer than The Leadenhall Building.

Amlin is an ambitious company, and we see this move as a statement of intent. The new space gives us scope

MARK FERGUSON AMLIN

to expand. And by associating ourselves with such a high-profile building, we’re raising our own profile, and showing the world that we’re confident about the future.

For our clients, too, walking in and seeing our dedicated reception desk and then coming up to that amazing double-height space on the 45th floor will be really something. I think everyone coming into the building will be really impressed.

It’s a morale boost for our people, too. To be able to say ‘I work in The Leadenhall Building’ will be great for them. It’s something to feel proud of. And it gives us the scope and flexibility to create a working space that reflects the needs of our business now and in the future.

For more information, please contact

Paul Burgess British Land paul.burgess@britishland.com +44 (0)20 7467 2914 Dan Burn Jones Lang LaSalle dan.burn@eu.jll.com +44 (0)20 7399 5966 Alex Colvin Jones Lang LaSalle alex.colvin@eu.jll.com +44 (0)20 7399 5679 James Oliver DTZ james.oliver@dtz.com +44 (0)20 3296 2004 Alistair Brown DTZ alistair.brown@dtz.com +44 (0)20 3296 2007

www.theleadenhallbuilding.com

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The British Land Company PLC and its agents support the aims and objectives of The Code of Practice and Commercial Leases in England and Wales.

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.