There are other things to commend, such as its low-energy credentials, its rejection of car parking (why bother, with so many tube stations nearby?), its tremendous 360 degree view from what will unfortunately be a private restaurant on top and - very unlike both Seifert and Foster, this - its jazz-age exterior. This is unexpected, and was probably unintended. It was not apparent in the early design images and models. But as built, there is more than a touch of Deco about the Gherkin. Something about the way the snaking stripes of the external lightwells are expressed in darker tinted glass on the outside, combined with the geometrical virtuosity of the structure towards the top. In the time-honoured high-tech way, structure is used as ornament. The Deco thing is a coincidence, but a happy one.