The Kiosk fulfills two different needs. On the one hand it is a structure for the commercial sale of tourist souvenirs and related items. On the other hand it is a viewing area for the contemplation of the Thames. It is designed to combine commerce and contemplation.

The proposed kiosk is linear, being organized in a North-South direction. It is two stories high and forms a double-square wall 17.5 feet high by 35 feet long. The long East side faces the approach from the Embankment Pier. This maximizes the visibility of the Kiosk from the street and river. At the lower level of this façade, directly facing the steps to the river, is the main serving counter of the Kiosk with its various vending machines. To the left is the entrance to the river viewing area. At the upper level is a large band of signage. Horizontally projecting flat roofs at the top of the structure and above the sales counters articulate the linearity of the composition and provide protection.

Two thirds of the building nearest the street is devoted to the program area of the commercial activity. The rest, at the river end, is occupied by the viewing space. The lower level of the commercial area contains all program elements other than storage, organized in a simple galley arrangement. The upper area is entirely devoted to storage and is accessed by a pneumatic hoist. This approach yields a total of 12.16 square meters of storage, while preserving as much open space on the site as possible. The remaining one third of the building is a double height glazed-in viewing area, accessible from either side of the kiosk to provide circulation around the building.

The main counter would be 3.2 meters long. It is located so as to provide the staff with maximum ease of access to all required machines and sales items. A solid roll-down gate would close off the entire sales area at night. In addition, there would be a second counter the width of the galley facing the street. This sales opening would be covered when the Kiosk is closed down by two full height hinged shelving units. During hours of operation, the unfolded shelving units would be extended parallel with the street. A fold-down counter and hinged front would create the sales area. Folding these items away allows maximum ease of access to the kiosk for deliveries. The two counters form an L-shaped area of maximum sales area facing the majority of potential customers.

The structure would be made of steel studs. The upper level would be clad in natural finish aluminum mullions and glass. The glass would be a combination of insulated clear glass facing the river and translucent back-lit glass with integral signage elsewhere. The lower level and the West side facing the Middlesex Pier would be clad in natural finish aluminum panels. Roofs would be made of light weight steel trusses with membrane roofing on pre-cast concrete panels. Soffits would be made of white aluminum panels. A Union Jack would be incorporated into the mullion system of the North end facing the street. Lighting would be incorporated into the overhanging roofs.

Cleopatra's Kiosk sits between the red brick Middlesex Pier of 1845 which forms the base of the North tower of Isambard Kingdom Brunel’s original footbridge, the limestone walls of the Victoria Embankment of 1864-70 and the structural expressionism of Lifshutz Davidson’s Golden Jubilee Bridge of 2002. A few minutes walk to the South is Cleopatra’s Needle, constructed by Thotmes III in c.1500 BC and erected in 1878 after being given to the British people to commemorate Nelson’s great victory at the Battle of the Nile in 1798. At the river end, Cleopatra’s Kiosk is designed to relate primarily to the Embankment walls, evoking their strong massing and lines of division; the overall linearity of the building relates to the bridge, and the use of iconography is a horizontal reference to the hieroglyphics of the Needle, relating to the inherent irony of the name "Cleopatra’s Kiosk".

The overall form of the building is ship-like. The long thin form is designed to evoke the memory of Commander Coakley’s little ships which did their bit to evacuate over 300,000 allied soldiers from certain death by the Nazis on the beaches of Dunkirk in 1940. The festive air of the kiosk with its patriotic paraphernalia is tempered and given a depth of meaning by the viewing area with its wheel-house location immediately above the waters. The overall style of the building refers to the modernist architecture of that period, but is tempered by a critique of its excessive Rationalism.

We propose that the back wall of the viewing area be dedicated to the memory of Commander Coakley. It could describe the evacuation story, contain images of the "little ships", and perhaps list the names of the rescued soldiers who might have perished if not for his bravery and sacrifice.