Izquierda superior / Upper left: El edificio se construye en torno al vacío que surcan un sistema de rampas que permite ver pasear, subir y bajara a sus extraños moradores o visitantes / It is a building enclosing an empty space criss-crossed by a system of ramps which allow you to watch the to-ings and fro-ings of its strange denizens and visitors. Izquierda centro / Center left: Detalle de las escaleras centrales del edificio / Detail of the central stairs of the building. Izquierda inferior / Lower left: El edificio se remata con un mirador que permite ver enfrente el nuevo edificio de la Swiss re / The building is topped off with a lookout point which allows you to appreciate the new Swiss Re building opposite. Derecha superior / Upper right: Interior del ayuntamiento / Town Hall inside. Derecha inferior / Lower right: Otra vista de la rampa central que recorre el edificio de arriba a abajo / Another view of the central ramp that runs along the building from top to bottom
As symbols, respectively, of the capitalism of private initiative and the public power of an institution that disappeared when dissolved in the rampant neo-liberalism of the eighties, Norman Foster has succeeded in dotting visually interconnected buildings around London, in the same way as Gaudí did in Barcelona and Brunelleschi in Florence. The new City Hall, the Millennium Bridge that links the Tate to Christopher Wren’s St. Paul’s Cathedral (a bridge which had to be closed shortly after its official opening due to its ‘wobble’ but then reopened), the Swiss re skyscraper or the various tube stations along the Jubilee Line demonstrate that the new technologies have won the battle against Prince Charles.