 Now, as some may remember, version one, roughly the first ten years of the British Library concept, had the assumption it was going to be built in Bloomsbury, due south of the British Museum, right the way through the 60s and early 70s, and it probably would have been a wonderful design, were there not little bits of heritage Bloomsbury in the way, and eventually that idea was paused. And the replacement site in the railway lands, north of the Euston Road, and to be precise, the railway yards adjacent to St Pancras, I think it's fair to say the virtues of this site were not universally understood in the 1970s. And impressively and wonderfully, no one involved in the project seems to have been phased by that. Sandy and his team set about this unpromising location with creativity, thoughtfulness, a sense of history, a history of the site, a history of the idea of the library, of what a national library can mean and be, scholarly and archival influences all around us feeding in, drawing on the energy and eclecticism and indeed the red brick of our extraordinary Victorian neighbour, but also drawing on international influences quite appropriately. People who come here from overseas see all kind of references in the building that Sandy and team delivered, but of course the Finnish architect Alvar Alto was preeminent amongst them and you can see his spirit fusing with a kind of eclectic Englishness all around us. And there it was, a vision subtly and carefully delineated, but once again not always understood and appreciated. There appeared to have been one or two commentators in high positions of influence for whom a building site, and it was a very, very long period, this has to be accepted, could not reveal its natural form. And we work, this is not the night to rehearse things that were said then, but nonetheless for a long period for many Londoners of course, this must have been a slightly bewildering site, this huge engineering project in a building form that was unfamiliar, defiantly unfashionable. This building was neither a classic modernist building nor a typical classical building, it was and is wonderfully its own thing, and sometimes going your own way is hard in any culture.