1

Architectural Association School of Architecture

History and Critical Thinking MA

Architecture and its Mediations - Dr. Douglas Spencer

Molly McCormick

Diamond Rock Stars and the People Who Watch Them

The Shard as we know it now, indivisible from the Southwark

skyline is a both a sign of the times and not. The most telling

aspect of the building may not be the construction or layout but

how it simultaneously orients and divides the profession of

architecture. From conception to critique, it is both a fore-

runner of possible trends and the beginning of the end for a

particular kind of architectural persona. The building makes a

defining statement about what it means to be ‘corporate’ in a

media-savvy and somewhat tech-oppressive environment.

Indeed more than any other of Renzo Piano’s work or even

Irvine Sellar’s (the man behind Sellar Property Group)

investments, the Shard requires something more to be

successful: the Shard needs both love and envy. This neediness

is due mostly to the structure’s frankly enormous scale and its

subsequent pretentions to become a London icon. Yet to

achieve these twin goals, the building has to mean something

beyond its gargantuan size. In its raw ambition, the Shard

wants to be as photo-friendly as any other tourist spot in

London, however there are elements that are preventing the

architecture achieving this, elements that boil down to how the

Shard is viewed from within, from without and by

comparison.1

1 Images on page 1 courtesy of: Skylines: Opinions on Renzo Piano's Shard, London Architectural Review Online, July 24th,

2012, < http://www.architectural-review.com/skylines-opinions-on-renzo-pianos-shard-london/8633386.article > (March 14th, 2013), Jeff Moore Photography, © 2013 Jeff Moore Last Viewed March 14

th 2013

http://www.jeffmoorephoto.co.uk/, “The View from the Shard”, The Official Website of the View from the London Shard © 2013 The View Last Viewed March 14th, 2013 http://www.theviewfromtheshard.com/, respectively

2

View from the Top

According to Sellar, during initial discussions the

architect expressed a strong dislike for "tall buildings" 2

and sketched a few fluid strokes hinting at what was

known in 2001 as the "London Bridge Tower" 3. As Piano

dogmatically stated: “Tall buildings are often phallic

symbols, a symbol of the desire to show how powerful

you are”.4 Given the Shard as it is now, this seems like a

highly hypocritical assessment. Especially as the Shard is

over three times the height of the site's former building,

The Southwark Towers, and by 16 feet, has become the

tallest building in Western Europe.5

Though to Piano’s credit, the Southwark Towers were

indeed “Tall6”. The Towers appear to have been designed

as a monument to finance; boastful, intimidating and

nothing else. This single-mindedness ultimately limited

the Towers’ appeal. Indeed it seems that the earlier

structure’s real redeemable feature was that it held a

spectacular view from the top floors.7That view, which

the Shard now possesses8, has become its top-selling

feature.9 In advertisements, the "View from the Shard"

10

is the chance to get a glimpse at the glamorous life. As

2 Chris Bourke, Shard Developer Sellar to Seek Highest Office Rents Since 1980s, Bloomberg Press Online

http://www.bloomberg.com/apps/news?pid=newsarchive&sid=asyu2hRRumfY (January 20th, 2010) 3 Amanda Hall, City Profile: Sellar’s Towering Ambition, The Telegraph Online

http://www.telegraph.co.uk/finance/4486928/City-Profile-Sellars-towering-ambition.html (March 25th 2001) 4 Chris Bourke, Shard Developer Sellar to Seek Highest Office Rents Since 1980s, Bloomberg Press Online

http://www.bloomberg.com/apps/news?pid=newsarchive&sid=asyu2hRRumfY (January 20th, 2010) 5 The next tallest building in Western Europe is the Commerzbank Tower in Frankfurt, Germany designed by

Foster and Partners. “Commerzbank Towers”, The Official of Foster and Partners© 2013 Foster and Partners Last Viewed March 14th, 2013 <http://www.fosterandpartners.com/projects/commerzbank-headquarters/ > 6 In this case "Tall" can be overly simplified as the exact opposite of what Rem Koolhaas would refer to as

"Bigness" Koolhaas, Rem & Bruce Mau S,M,L,XL, The Monacelli Press,New York, NY 1995 7 "Change of Address" (classified advertisement by Price Waterhouse & Co.), The Times, London, England

1975-12-01, p.22 8 Images on page 2 courtesy of the R.I.B.A. Archive and the author, respectively “Southwark Towers”

Photograph. Date Unknown. London Photo Files, Royal Institute of British Architects, London UK 9 The View from the Shard”, The Official Website of the View from the London Shard © 2013 The View Last

Viewed March 14th, 2012 http://www.theviewfromtheshard.com/ 10

The View from the Shard”, The Official Website of the View from the London Shard © 2013 The View Last Viewed March 14th, 2012 http://www.theviewfromtheshard.com/

3

one commercial states “Rise Above it All”11

as Bus statements implore “Stop Staring Up,

Start Looking Down”. 12

11

The View from the Shard. "The View from the Shard." available at YouTube, uploaded by user TheViewfromtheShard. Youtube.com October 26th, 2012. Date of Access <http://www.youtube.com/watch?v=MXctjoGP58o> 12

Images on page 3 courtesy of the author

4

While this could be seen as a marketing technique to try and

get 25£ a pop (100£ if you have not reserved a ticket)13

from a

novelty-loving public, this campaign may also have the effect

presenting the Shard as a fashionable event rather than a

building: temporary and fun rather than oppressive and

permanent. As Tom Sutcliffe from the Saturday Review for

BBC Radio 4 noted, it seems similar to the Eiffel Tower when

it was completed in 1889, particularly in Guy de Maupassant’s

claims of the top being "the only place [in Paris] where I don't

have it see it.”14

Yet while the Eiffel Tower has extensive parks on all sides, the

Shard just kind of happens next to a train station. One might

argue that this has to do with the differences between the two

structures (one being an exhibition piece and the other being a

business machine), yet through this gesture the Shard becomes

both inescapable from a distance and yet inaccessible from

close range. The closer one gets the less real it becomes. So if

Maupassant’s comment is to be re-invented, it might be along

the lines of “The entrance to the Shard is the only place where I

don’t have to worry about it.” For visitors to “The View” the

entry is actually under the main lobby and, by comparison,

feels earthier, more industrial, and poorer. Comparing the two

entrances is telling of the Shard's actual intent.

The building can only really be seen from far away, perfect,

dangerous and powerful: A synthetic mountain. Its

presentation banks its charm, as so many lead guitarists and

wannabe poets have done before, on being edgy and aloof yet

just interested enough: you can look, but you can’t touch. This

notion of secluded crystal perfection would be fine, except that

the otherwise definitive statement is contradicted by two

means: firstly that the materiality and design origins attempt to

blend with the environment. Secondly that the advertising

makes definitive statement about the kind of people who can

afford it and claims that anyone can be one of them. One of the

contradictions is physical, the other is not. 15

13

“The View from the Shard”, The Official Website of the London Shard © 2013 The View Last Viewed March 14th, 2012 http://www.theviewfromtheshard.com/ 14

Sutcliffe, Tom Saturday Review: The Shard, Aired January 11th 2013 BBC Radio Four Blogs

http://www.bbc.co.uk/blogs/radio4/posts/Saturday-Review-The-Shard (March 14th 2013) 15

All Images on page 4 courtesy of the author

5

Recalculating...

According to Piano, the Shard's form was derived

from the spires of the surrounding gothic churches 16

but while the end result is questionably, the

materiality seems less so. The tinted blue, hi-tech

look can be visually tied to the Norman Foster forms

which sit at its base. Piano interprets elements of the

local environment and his doing this he is intending

to blend with its immediate surroundings, but to still

be on top. Given this desire to be both domineering

and included, the critical responses have been varied.

Charles Jenks refuted Piano's impressions of London

spires and instead calls the form a “clustered icicle”.17

Amanda Levitt labelled it as a perfect one-liner

stating: "The Shard stands like a proud grandfather

overlooking an infant St. Paul's Cathedral nesting

below."18

Owen Hatherly called it "Sleek, well-made,

and evil"19

, claiming that the tower physically

shadows the council housing below. Simon Jenkins

referred to the building as “a big single finger

gesture” 20

to the Southwark historical council.

Depending on perspective, the Shard could be seen as

a “vertical village”21

that comes from the nightmares

of 192722

-or- as a masterpiece of an architectural

darling. So which is it: all-consuming tower dedicated

to greed or focus for a fragmented city?

23

The critiques show that how one views this project

says something about how one views most corporate

endeavours. Further, that subscribing to the Shard's

potential requires a specific leap of faith: that it will

establish (or maintain, depending on your position)

16

Skylines: Opinions on Renzo Piano's Shard, London Architectural Review Online, July 24th, 2012

<http://www.architectural-review.com/skylines-opinions-on-renzo-pianos-shard-london/8633386.article>

(March 14th, 2013) 17

Ibid. 18

Ibid. 19

Ibid. 20

Ibid. 21

Ibid. 22

Metropolis. Dir. Fritz Lang Perf.Alfred Abel, Brigitte Helm, Gustav Fröhlich, Rudolf Klein-Rogge UFA (UFA FILMS) 1927. Film. 23

All images on page 5 courtesy of the author

6

London as the centre of the financial world. As Simon Allport24

has suggested, it is as if the

building is a re-envisioning of Greenwich Meantime, seeking to dominate, without apology

and without sensitivity. Sellar confirms Allport's assessment stating: “The Shard at London

Bridge Quarter will redefine London’s skyline and become a symbol for the capital,

recognisable throughout the world”.25

So the final pitch becomes "Let me rule you and I will

be yours" or as Piano more eloquently put it: “The building will be adopted because it will be

public...I think people will start to love it more and more.” 26

But if exception was the goal,

then why would have Piano designed the exterior to blend with its surroundings? If it was

indeed to make it “public”, then it is a redefinition of what “public” means; you can view it

from anywhere, but don’t breathe on the glass. Like a museum artefact marked “do not

touch.”

24

Skylines: Opinions on Renzo Piano's Shard, London Architectural Review Online, July 24th, 2012

<http://www.architectural-review.com/skylines-opinions-on-renzo-pianos-shard-london/8633386.article>

(March 14th, 2013) 25

The Shard”, The Official Website of the London Shard ©2011 Sellar Group Last Viewed March 14th, 2012

<http://the-shard.com/shard> 26

Herbert Wright, Renzo Piano Talks about the Shard Blueprint Magazine Online July 12th, 2012 http://www.blueprintmagazine.co.uk/index.php/architecture/renzo-piano-talks-about-the-shard/ (March 14th 2013)

7

While the rhetoric coming from Sellar is

common for business-magazine hype, when the

Shard opened it created a constant reminder of

its own existence beyond the usual degree:

Busses to tube stops, radio to television,

simultaneously controlling the skyline and

public27

awareness, all of this done while having

the constant hum of two distinct words:

“exclusive” and “world-class”, two words which

appear no less than 6 times on their website.

In describing the offices:

“The Shard is an inspirational workplace that

provides an exceptional working environment in

a world-class address”28

In describing the hotel:

“Shangri-La is one of the world’s most opulent

and exclusive hotel brands...With breathtaking

views, the 200 luxuriously appointed rooms will

offer guests the signature 5-star service...”29

In describing the residences:

“The Shard will have an exclusive collection of

apartments. The highest residences in the UK

with unrestricted views across the capital.”30

31

Further, the "View from the Shard" tickets

reminds the public that while the average

income may not be able to afford living or

27

Images on page 6 courtesy of the author 28

“The Shard”, The Official Website of the London Shard ©2011 Sellar Group Last Viewed March 14th, 2012

<http://the-shard.com/shard> 29

ibid. 30

ibid. 31

All Images on page 7 courtesy of the Shard official website. “The Shard”, The Official Website of the London Shard ©2011 Sellar Group Last Viewed March 14th, 2012 <http://the-shard.com/shard>

8

renting space in the Shard, it can be yours, for a limited time, and a price.32

Yet when

questioned about these notions, Piano stated:

“There is a lot of distortion, with the idea

about the building being for rich people.

There will be 5,000 people working in

the offices, and there is no reason to

think that these people will be very rich.

There will be 1,000 people per day going

to restaurants at mid-rise, and there are

200 or 300 restaurants at the same price

level in London. There will be thousands

more visiting the viewing gallery and

other parts of the building. The other idea

is that there is something wrong with the

money for the Shard coming from Qatar.

I never understood this idea, as if there is

money that smells, or money that has a

perfume. I found it a bit moralistic.”33

34

35

“£25 is too much but in this town

everything costs too much… I agree it is

too expensive… But this is the normal

price. If you go to the top of the Empire

State building you spend more than

that.” Though this is not strictly speaking

true, as the Empire State Building costs

$25 (about £16.50) to get to the 86th

floor. 36

37

32

Farah Nayer, Shard Architect Renzo Piano Says Tower Not Arrogant Bloomberg Online <http://www.bloomberg.com/news/2012-07-04/shard-architect-renzo-piano-says-tower-not-arrogant-interview.html> (July 5th, 2012) Last Viewed: March 14th, 2013 33

Rowan Moore Renzo Piano: The Shard Will be a Sensor for London The Guardian Observer Online

<http://www.guardian.co.uk/artanddesign/2013/jan/13/renzo-piano-shard-interview-observer> (January

13th, 2013) Last Viewed: March 14th, 2013 34

Editorial The Shard: View for a Few The Guardian Observer Online

<http://www.guardian.co.uk/commentisfree/2013/jan/31/the-shard-view-for-a-few> (January 13st, 2013) Last

Viewed: March 14th, 2013 35

All images on page 8 courtesy of the View from the Shard website. “The View from the Shard”, The Official Website of the London Shard © 2013 The View Last Viewed March 14th, 2012 http://www.theviewfromtheshard.com/ 36

Though it is true that to get to the 102nd floor (30 floors higher than the Shard’s observation deck) costs

$42 for an adult, which is about £25 (see next page for continued footnote)

9

While it seems odd that the architect is being held responsible for the price of admission, in

comparing the Shard to the Empire State Building, (which Piano had also done in response to

criticisms of designing so large in a time of recession)38

he is choosing a very sophisticated

defence, but maybe not a perfect one.

"Why The Whole World Will Pay to See

This...the Eighth Wonder of the World." 39

The Empire State Building did advertise its

view when it was completed in 1931 and to

this day it's extremely popular New York

destination. 40

Yet while the novelty is

similar, the two buildings are treacherously

different. Both buildings are effectively

palaces to business and both had (or will

have) the increasingly short-lived

aspiration of being the tallest buildings in

the city. Yet the notion of frontality is

unavoidable when comparing the two. The

Empire State Building’s, box-like form is

predictably similar from every angle,

while the Shard's surprisingly complex

form seems to wander around London

changing personalities with the weather,

sometimes threatening, sometimes

inspiring. Walking from the west, it

completes London’s composition, when

36

“The Empire State Building”, The Official Website of the Empire State Building © 2013 Empire State Building

Company LLC Last Viewed March 18th, 2013 <http://www.esbnyc.com/> 37

Fact Check: Renzo Piano’s Shard Doesn’t Measure Up to the Empire State Building, Gives Less Bang for Your

Buck Object Lessons: ArtInfo Online (February 13th, 2013) Last Viewed March 14th, 2013

<http://blogs.artinfo.com/objectlessons/2013/02/22/fact-check-renzo-pianos-shard-doesnt-measure-up-to-

the-empire-state-building-gives-less-bang-for-your-buck/> 38

Farah Nayer, Shard Architect Renzo Piano Says Tower Not Arrogant Bloomberg Online <http://www.bloomberg.com/news/2012-07-04/shard-architect-renzo-piano-says-tower-not-arrogant-interview.html> (July 5th, 2012) Last Viewed: March 14th, 2013 39

Images on page 9 courtesy of King Kong. Dir Merian C. Cooper, Ernest B. Schoedsack Perf. Fay Wray, Bruce Cabot and Robert Armstrong. RKO Radio Pictures (Turner Pictures, Current: Warner Brothers) 1933. Film. & The Snowman and the Snowdog Dir. Hilary Audus, Per. Animated. Channel 4 Lupus Films 2012. Film, respectively 40

THE NEW YORK TIMES, May 1, 1931 Full Page Ad, page 25. <http://learning.blogs.nytimes.com/on-this-day/May-1/> - courtesy of http://www.rarenewspapers.com/view/546987

10

viewed from the east; it serves as a great, hairy stalker reeking of body spray and corporate

aggression.

Further, the business plans don't match

up. The Shard’s presentation of witheld

exclusivity seems sophisticated, but also

cruel when compared to all the Empire

State Building tchotchkes sold in the

lobby. When the earlier structure was

completed the intent was to get the

space filled as soon as possible 41

and to

achieve this, the owners made sure that

images of the building became part of

accessible mainstream media, most

notably in King Kong (1933)42

.

Following suit, the Shard has appeared

in a few pieces of media outside of

advertising, including the 2012

animated sequel to The Snowman

(1982)43

, The Snowman and the

Snowdog (2012)44

. Though in the latter

film the Shard appears for about 5

seconds, whereas in King Kong, the

Empire State Building is the setting of

the final climax. It shocked, it awed and

it remained in the public consciousness.

Though the Shard’s media persona in

television and film is still being formed

(in an upcoming episode of Dr. Who for

example, the famous alien will ride an

anti-gravity motorcycle to the top, which one might joke is the cheapest way to get there)45

if

the current advertising trend continues, it seems that its portrayal might be a little less

“Sleepless in Seattle” and a little more “Keeping up with the Kardashians.”46

41

Wolner, Edward W. International Dictionary of Architects and Architecture, Randall J. Van Vynckt, editor. Volume 2, p963-964. 42

King Kong. Dir Merian C. Cooper, Ernest B. Schoedsack Perf. Fay Wray, Bruce Cabot and Robert Armstrong. RKO Radio Pictures (Turner Pictures, Current: Warner Brothers) 1933. Film. 43

The Snowman Dir. Dianne Jackson, Per. Animated. Channel 4 Universal Pictures 1982. Film 44

The Snowman and the Snowdog Dir. Hilary Audus, Per. Animated. Channel 4 Lupus Films 2012. Film 45

BBC “Dr. Who Returns with ‘The Bells of St. John- First Official Picture’ ”, BBC © 2013 Last Viewed March 18th, 2013 <http://www.bbc.co.uk/blogs/doctorwho/articles/Doctor-Who-to-Return-with-The-Bells-of-St-John-First-Official-Picture>, top image (page 10) courtesy of same source 46

Bottom Image (page 10) courtesy of Sleepless in Seattle. Dir. Nora Ephron, Perf.Tom Hanks, Meg Ryan. Tristar Pictures 1993

11

Finally there is the notion of precedent. In 1920s-30s New York, construction was about who

could build bigger, not necessarily better.47

Whereas in the 2000s-10s the name of the

architect almost means more than the end product. Gehry, Hadid, Koolhaas, Meier, it’s a

collector’s game. So from an attention and investment standpoint, there is no need for the

Shard to be as tall as it is. The Empire State Building needed to be tall, because that was the

whole point, and the simplicity of that goal proved to be surprisingly populist.48

Yet when the

Shard attempted something similar, it received accusations that the building devalues the city

by giving its profits to “absentee investors” rather than “most Londoners”, which has yet to

be proven.49

In comparing the Shard to the Empire State Building, Piano may have made his

case for construction and cost but he also may have also proven that vanity and happiness are

incompatible. 50

51

Starchitecture and a Visit from the Goon Squad

The Shard is controversial, not only in scale but in marketing. It is torn between being the

public art piece the architect wants and the vertical palace the developer wants. In a fiscally

conservative environment, this kind of Starchitecture (though Piano has never fit comfortably

into the term) is in a battle between visual grandeur and a more conservative kind of

practicality. When compared to its contemporaries [50] the Shard seems almost like a brand

47

Wolner, Edward W, International Dictionary of Architects and Architecture, Randall J. Van Vynckt, editor. Volume 2, p963-964. 48

ibid. 49

Editorial The Shard: View for a Few The Guardian Observer Online <http://www.guardian.co.uk/commentisfree/2013/jan/31/the-shard-view-for-a-few> (January 13st, 2013) Last Viewed: March 14th, 2013 50

Choderlos De Laclos Dangerous Liaisons (Les Liasons Dangereuses) Trans. Ernest Dowson, Olympia Press 2012. (original printing 1782) 51

Images on page 11 courtesy of Bloomberg online & the Independent online, respectively.

Farah Nayer, Shard Architect Renzo Piano Says Tower Not Arrogant Bloomberg Online

<http://www.bloomberg.com/news/2012-07-04/shard-architect-renzo-piano-says-tower-not-arrogant-

interview.html> (July 5th, 2012) Last Viewed: March 14th, 2013

Dawber, Alistair Irvine Sellar: Blue Sky Thinker The Independent Online <http://www.independent.co.uk/news/people/profiles/irvine-sellar-bluesky-thinker-7920608.html> (July 7th, 2012) Last Viewed: March 21st, 2013, respectively

12

that was bailed out and shifted towards a more upscale clientele to save the investment. But if

that was true, it would only change the intent, not the product. Shouldn't design speak for

itself? The knee-jerk answer is “yes” but in something as possibly influential as the Shard,

opinions are constructed on more than that, particularly for the general public 52

[51]. As

viewers, we consume the images, marketing and personalities of architecture long before we

may ever see the actual structure, if not intentionally, then by peripheral affiliation. The

Shard’s media thus far absolutely presents "world-class" exclusivity but Piano doesn't. In

interviews he comes off as charming but sincere, well tailored but handy, so criticizing the

Shard as a bully is much more painful because it's true. The Shard may be a premier example

of the kind of structure where the architect is not in control of how the icon appears, just how

it’s made.

53

52

Markus, Thomas A. and Deborah Cameron The World Between Spaces: Buildings and Language Routledge Publishing, London, United Kingdom 2002 53

Images on page 12 courtesy of author

13

Bibliography

Book

De Laclos, Choderlos Dangerous Liaisons (Les Liasons Dangereuses) Trans. Ernest

Dowson, Olympia Press 2012. (original printing 1782)

Koolhaas, Rem & Bruce Mau S,M,L,XL, The Monacelli Press,New York,NY 1995

Markus, Thomas A. and Deborah Cameron The World Between Spaces: Buildings

and Language Routledge Publishing, London, United Kingdom 2002

Wolner, Edward W., International Dictionary of Architects and Architecture, Randall

J. Van Vynckt, editor. Volume 2, 1993

Digital Articles/Publications

“Dr. Who Returns with ‘The Bells of St. John- First Official Picture’ ”, BBC © 2013

Last Viewed March 18th,

2013<http://www.bbc.co.uk/blogs/doctorwho/articles/Doctor-Who-to-Return-with-

The-Bells-of-St-John-First-Official-Picture>

“Fact Check: Renzo Piano’s Shard Doesn’t Measure Up to the Empire State

Building, Gives Less Bang for Your Buck” Object Lessons: ArtInfo Online (February

13th, 2013) Last Viewed March 14th, 2013

<http://blogs.artinfo.com/objectlessons/2013/02/22/fact-check-renzo-pianos-shard-

doesnt-measure-up-to-the-empire-state-building-gives-less-bang-for-your-buck/>

“Skylines: Opinions on Renzo Piano's Shard, London” Architectural Review Online,

July 24th, 2012, July 24th, 2012 <http://www.architectural-review.com/skylines-

opinions-on-renzo-pianos-shard-london/8633386.article> (March 14th, 2013)

Alistair Dawber Irvine Sellar: Blue Sky Thinker The Independent Online

<http://www.independent.co.uk/news/people/profiles/irvine-sellar-bluesky-thinker-

7920608.html> (July 7th, 2012) Last Viewed: March 21st, 2013

Amanda Hall, City Profile: Sellar’s Towering Ambition, The Telegraph Online

http://www.telegraph.co.uk/finance/4486928/City-Profile-Sellars-towering-

ambition.html (March 25th 2001)

Anonymous Editorial “The Shard: View for a Few” The Guardian Observer Online

<http://www.guardian.co.uk/commentisfree/2013/jan/31/the-shard-view-for-a-few>

(January 13st, 2013) Last Viewed: March 14th, 2013

Chris Bourke, Shard Developer Sellar to Seek Highest Office Rents Since 1980s,

Bloomberg Press Online

http://www.bloomberg.com/apps/news?pid=newsarchive&sid=asyu2hRRumfY

(January 20th, 2010)

Farah Nayer, Shard Architect Renzo Piano Says Tower Not Arrogant Bloomberg

Online <http://www.bloomberg.com/news/2012-07-04/shard-architect-renzo-piano-

14

says-tower-not-arrogant-interview.html> (July 5th, 2012) Last Viewed: March 14th,

2013

Herbert Wright, Renzo Piano Talks about the Shard Blueprint Magazine Online July

12th, 2012 http://www.blueprintmagazine.co.uk/index.php/architecture/renzo-piano-

talks-about-the-shard/ (March 14th 2013)

Rowan Moore Renzo Piano: The Shard Will be a Sensor for London The Guardian

Observer Online <http://www.guardian.co.uk/artanddesign/2013/jan/13/renzo-piano-

shard-interview-observer> (January 13th, 2013) Last Viewed: March 14th, 2013

Film & Media

“Commerzbank Towers”, The Official of Foster and Partners© 2013 Foster and

Partners Last Viewed March 14th, 2013

http://www.fosterandpartners.com/projects/commerzbank-headquarters/

“Southwark Towers” Photograph. Date Unknown. London Photo Files, Royal

Institute of British Architects, London UK

“The Empire State Building”, The Official Website of the Empire State Building ©

2013 Empire State Building Company LLC Last Viewed March 18th, 2013

http://www.esbnyc.com/

“The Shard”, The Official Website of the London Shard ©2011 Sellar Group Last

Viewed March 14th, 2012 http://the-shard.com/shard

“The View from the Shard”, The Official Website of the View from the London

Shard © 2013 The View Last Viewed March 14th, 2013

http://www.theviewfromtheshard.com/, respectively

King Kong. Dir Merian C. Cooper, Ernest B. Schoedsack Perf. Fay Wray, Bruce

Cabot and Robert Armstrong. RKO Radio Pictures (Turner Pictures, Current: Warner

Brothers) 1933. Film.

Metropolis. Dir. Fritz Lang Perf. Alfred Abel, Brigitte Helm, Gustav Fröhlich, Rudolf

Klein-Rogge UFA (UFA FILMS) 1927. Film.

Sleepless in Seattle. Dir. Nora Ephron, Perf. Tom Hanks, Meg Ryan. Tri-Star Pictures

1993

Sutcliffe, Tom Saturday Review: The Shard, Aired January 11th 2013 BBC Radio

Four Blogs http://www.bbc.co.uk/blogs/radio4/posts/Saturday-Review-The-Shard

(March 14th 2013)

The Snowman and the Snowdog Dir. Hilary Audus, Per. Animated. Channel 4 Lupus

Films 2012. Film.

The Snowman Dir. Dianne Jackson, Per. Animated. Channel 4 Universal Pictures

1982. Film

The View from the Shard. "The View from the Shard." available at YouTube,

uploaded by user TheViewfromtheShard. Youtube.com October 26th, 2012. Date of

Access http://www.youtube.com/watch?v=MXctjoGP58o

15

Print

“Change of Address" (classified advertisement by Price Waterhouse & Co.), The

Times, London, England 1975-12-01, p.22

THE NEW YORK TIMES, May 1, 1931 Full Page Ad, page 25.

<http://learning.blogs.nytimes.com/on-this-day/May-1/> - courtesy of

http://www.rarenewspapers.com/view/546987