skyline and monuments: "This tower is anarchy. It conforms to no planning policy. It marks no architectural focus or rond-point. It offers no civic forum or function, just luxury flats and hotels. It stands apart from the City cluster and pays no heed to its surrounding context in scale, materials or ground presence. It seems to have lost its way from Dubai to Canary Wharf... The Shard has slashed the face of London for ever." However, Jonathan Glancy in the London Telegraph defended Piano's building: "The criticism – hurled against Piano like the spears of Ancient Britons fighting the civilised Romans – is, I think, a bottled up attack on our low standards of design and the beetle-browed politics that have allowed so many poor tall buildings to have been rushed up around St Paul's. The Shard, whatever its flaws – and all its many floors – is a much better building than most of the flakes below it." Central Saint Giles, London (2002–2010) The Central Saint Giles between St Giles High Street and New Oxford Street in London (2002–2010) is a complex composed of 56 luxury apartments, 53 social rented apartments, and of office around a public square with retail and food outlets, covering . The site was previously occupied by a Ministry of Defence building and is partially on the site of a medieval leper colony, St Giles Hospital. A block 109 flats rises 11 floors and is set alongside offices rising to 11 floors to the east. A distinctive element is strident solid color which is designed not to mellow with time; the buildings are covered with large kiln-fired ceramic panels glazed leaf green, orange, lime green, pale grey and yellow. "Cities should not be dull and repetitive", Piano declared. "One of the reason we find them so beautiful and interesting is that they are full of surprises; even the idea of color represents a joyful surprise." Los Angeles County Museum of Art (BCAM and Resnick Pavilion), Los Angeles (2003–2010) Commissioned to design a "transformation" of the Los Angeles County Museum of Art, Piano designed a new building, the Broad Contemporary Art Museum at LACMA (BCAM) (2008), with of space, as well as the BP Grand Entrance, an entrance pavilion with of space, and the Lynda and Stewart Resnick Exhibition Pavilion (2010). The BCAM facade is concrete covered with plaques of cream-colored Italian travertine, harmonizing with the