“For me, food is tradition, community, family – something that brings people together,” said Adam Abadi, operations manager at Harvest London.
“It can be something that’s lost nowadays where everyone’s at desks on their phones or screens, not looking at or engaging with others.
“We can lose that connection with our food and each other.
“What we’re doing here in Canada Water is an opportunity to change that.”
Stood in the company’s facility at Corner Corner at Surrey Quays Shopping Centre, the very placement of the farm is part of that mission.
The south-east London venue recently celebrated its first birthday and every single visitor to the venue over the past 12 months will have seen its plants basking under their LEDs through the facility’s glass walls.
But the tightly sealed space is much more than a brightly-lit backdrop to Kerb’s street food, drinks at the bar, beats from the DJ booth and free live music from the stage.
Broadwick’s emerald green refurb of a retail space that once housed The Range includes this fully functional agricultural operation where a staff of five tend to a wide variety of crops.
Better still, the produce can be sampled on-site via cocktails and dishes on sale from Corner Corner’s vendors – food metres rather than food miles.
“I’ve been working in vertical farming for the past six years across London, having got into agriculture in Australia where I was looking at how plants actually grow and the different ways of doing that closer to the consumer,” said Adam.
“I was born and raised in London and the way we use water, pesticides, herbicides, shoot animals and erect fences on farms was a bit of a shock to me.
“We’re so used to going down to Tesco or the local corner shop and buying sandwiches wrapped in plastic, we don’t tend to think about how those ingredients are grown or where they come from.
“We don’t consider the processes, people, businesses and logistics involved in growing them and getting them to our plates.
“As an urban farmer, that’s why I want to engage with people to help them understand why we do what we do and what it means for urban populations.”
The vertical farm is located at the heart of the venue behind glass walls – image by Jon Massey / Wharf Life
expanding Harvest London
Harvest London was founded by Chris Davies and Matt Chlebek in 2017 and launched its Corner Corner facility in 2025.
But what does it actually produce?
“The farm operates all year round, 24-hours a day,” said Adam.
“We’re about 190sq m of space and within that we’re able to make use of about 400sq m of growing space because of our vertical design.
“One of the key questions is how much you can grow in the smallest space possible. One name for what we’re doing is ‘environment controlled agriculture’.
“It means we work with technology to grow our crops.
“The plants need a perfect environment to grow efficiently and effectively.
“There’s a lot of precision involved, a lot of accuracy.
“The farm is around 22ºC and about 60% humidity – it’s like a really perfect day in Tuscany.
“With traditional farming, a lot of the time you’re guessing – pouring water and fertiliser here or there.
“With the kind of vertical farming we’re doing, you can see the exact amount of water we need to use.
“As a result we can use fewer resources – typically about 90% less water and 75% less fertiliser as well as considerably less land.
“Our irrigation system sends water full of nutrients right to the plants’ roots and then it comes back into the tanks so it can be re-dosed and recirculated.
“We save as much as possible.”
Controlled environment agriculture can be used to grow a wide variety of produce – image by Jon Massey / Wharf Life
growing food for the capital
Harvest London is also able to grow its plants without pesticides or herbicides.
Ahead of our tour, we don hair nets and shoe coverings before entering the space.
Tightly controlling the farm helps protect the plants from unwanted contaminants and pests, meaning chemical intervention isn’t needed.
The business has grown more than 100 species of plants in its facilities since launch with popular products including basil, mustard greens, kale, parsley, coriander and Peruvian black mint.
Its clients include the likes of Pizza Pilgrims and Ole And Steen as well as local businesses such as The Pear Tree and Pizza 1889, also based at Surrey Quays Shopping Centre.
“The process differs slightly depending on what we’re growing,” said Hari Sasidharan, farm manager at the Canada Water facility.
“We plant our seeds on jute – there’s no soil used at any point during the process. Sometimes we use a machine to help distribute them.
“Then we wrap the trays and keep them in darkness until they have germinated.
“Then we place them under the lights. Sometimes we manually re-plant the seedlings.
“Some plants need more space to grow – we leave gaps in the trays of basil, for example, so they have plenty of room.
“Usually the plants develop more or less at the same speed as they all get the same treatment.”
At every level, the farm is verdant with life, making it simple to see why chefs and brands view the produce as an attractive option.
We taste a few leaves and are rewarded with the rich pungency of basil, the spice of its Thai cousin, the zing of mustard and the unexpected delicacy of baby kale.
Plants can be grown two or three times faster using Harvest London’s approach – image by Jon Massey / Wharf Life
rapid quality
“All the plants we grow are premium quality,” said Adam.
“Generally we’re able to produce them two or three times faster than traditional outdoor environments.
“The lighting they are under is a combination of daylight and red light to encourage growth – each species has its own recipe.
“The fact we can turn them over more quickly means they spend less time in our system and so we use less power and fewer resources to nurture them.
“It’s very exciting to be part of the vertical farming industry, especially over the last five to 10 years.
“A lot of investment is going into the sector and it’s entering its next phase.
“Everyone is coming into it with really good intentions – growing crops closer to consumers.
“Companies like ourselves, having been in business for nearly a decade are still going and we’re still expanding.
“We’re seeing more farms pop up.
“It’s not a silver bullet for every problem in the food industry, but my opinion is having more farms like this, bringing people back to more sustainable food and showing them where those ingredients come from is an important thing.
“A lot of the time agriculture is hidden out of sight, which is a shame.
“I think that having this kind of farming into public spaces is special, especially in urban environments like Corner Corner.”
Basil at Harvest London destined for Pizza Pilgrims – image by Jon Massey / Wharf Life
key details: Harvest London
Harvest London is located at Corner Corner in Canada Water in Surrey Quays Shopping Centre.
The Canada Water venue, a short walk over Asif Khan’s sweeping red bridge from the station, boasts deep green walls and a chunky event space, formerly home to the underwhelming “immersive” take on Minecraft.
In addition to Harvest London, it’s also a live music venue, home to a regular series of DJ performances and a drinking spot with food from two vendors operated in partnership with Kerb.
There are comfy sofas, creamy plywood and plenty of chairs and tables.
The vibe is of a market hall, even if there are only a duo of traders on offer.
That’s not to say, of course, that the food’s not worth a visit.
Its Thai Chicken Salad with herbs, I believe, from the vertical farm, is a steal for £10. Generous, juicy tenders sit atop a crunchy bowl of shredded carrot, mooli, beansprouts and spring onion.
While initially it looks a little stingy in size, the sheer density of this nutrient-rich offering turns out to be the ideal portion, generously doused in Nahm Jim Dressing, Sriracha Sour Cream and crispy shallots.
On our visit, the events space was hosting a market by Playing Outside, a welcome, vibrant collection of makers and traders selling art, clothing, scents and jewellery. Alongside the free live music, this is a place worth visiting.
Storehouse, located at Here East, has been a resounding success, welcoming 600,000 visitors through its doors since it opened last year, despite being somewhat tucked away amid the fabulous sprawl of the Queen Elizabeth Olympic Park.
The new museum sits on one end of East Bank beside the London College Of Fashion, the new BBC Music Studios and Sadler’s Wells East.
Its opening is a key part of the 2012 Games’ cultural legacy.
Just like the South Bank, these buildings are statements of intent, powerhouses for the arts rising proudly above Waterworks River with the V&A’s golden geometric concrete arguably the most visually striking.
But for Gus, it’s the flow of young minds in and out of its doors that he and the team care most about, the museum’s connection to the community.
Gus Casely-Hayford, director of V&A East – image by Jon Massey / Wharf Life
becoming the ladder
“East London is the place that gives us Alexander McQueen, David Bailey and so many other creators who had to struggle and fight in their fledgling careers to get their feet on the first rung of the ladder,” he said.
“For all those future makers and artists, we want to be there as that ladder.
“It shouldn’t just be middle class kids who have an uncle who works in film or an aunt who runs a gallery that succeed.
“It’s wonderful they have those opportunities, of course, but how do we ensure that those without those advantages in east London can get purchase on careers in the creative industries?
“I’m proud of the sense of possibility we’ve created here.”
Over simplifying, if Storehouse is a place to hold, look after and offer access to the 280,000 objects in the V&A family, chronicling some 5,000 years of human creativity, V&A East Museum is a place to show them off in tightly curated, thought-provoking ways.
To that end, it features two permanent Why We Make galleries, packed with treasures that are free to view.
There’s also an exhibition space, currently occupied by The Music Is Black: A British Story, which aims to illuminate 125 years of black British music via exhibits, stories and sound.
On its fifth floor there’s a terrace and another free exhibition, Dispersal, which captures the businesses that called this part of London home before the Olympics.
Then, on its lowest level, there’s Café Jikoni, a partnership with a restaurant group known for “cooking across borders”.
Even on press day it’s easy to see how these spaces will quickly fill with visitors, thanks in part to a programme of free live events, including a takeover by DJ Nia Archives, workshops and talks.
Molly Goddard’s Daria dress, once worn by Beyoncé, features 61 metres of tulle and takes pride of place in the Why We Make galleries – image by V&A East Museum
V&A East Museum – built for the community
“When I came into my role, it was at the time of the pandemic and we built a team and an idea through remote working,” said Gus.
“Part of that was informed by that period, but we wanted to create connectivity – an institution able to connect with the community.
“As soon as we were able, we got out there to see those communities, to talk to them and ask them what they wanted at the V&A East museum.
“They were really keen to tell us.
“I loved it because I got to visit more than 100 schools within a bus ride, speaking in assemblies and asking them what we should offer.
“Listening to them, many of those young people were frustrated.
“They aspired to work in the creative industries but had little or no understanding of how they might do it.
“We saw that there was a desperate need for institutions like V&A East and for young people to get engaged with them.
“So we worked with them – more than 30,000 people consulted on every area of operational and curatorial delivery.
“I hope this is an institution that reflects their aspirations, hopes and dreams and that visitors will see that as they walk through these spaces.
“Our permanent galleries are called Why We Make because we thought making was a theme that would really speak to young people.”
Robes worn by a Daoist priest – image by V&A East Museum
respecting the residents
“Everything here has been part of us demonstrating our respect for this place and its populations,” added Gus.
“I can’t wait to see people come streaming through these doors and absolutely fall in love with this space.
“It’s a different kind of museum, which I hope will appeal to a different kind of audience.
“The building is extraordinary. Architects O’Donnell + Tuomey have created a kind of multi-faceted jewel with gold-faced concrete and it’s absolutely exquisite.
“Inside, it has these astonishing geometric windows, which mean that almost anywhere you are, you can see out across the Olympic Park that surrounds us.
“You get a real sense of where you are when you’re inside.
“They also created circulation spaces where you can come in the entrance on the lower ground floor and walk all the way up the five floors above without encountering a door.
“We are living in societies which can feel very fractured.
“We’re located next to one of the biggest shopping centres in Europe and I hope we’ll become a place of gathering.
“Shops are wonderful, but they aren’t places of civic convening.
“We want this to be a place where particularly young people can come, hang out, learn things, but they can also be inspired.
“It’s a wonderful privilege to be the inaugural director of V&A East – it’s probably the best job in the cultural sector.
“My hope is that, as time goes on, it will also be a place where they don’t just find opportunities to remake themselves, but also to remake V&A East.”
This Paimio armchair by Alvar Aalto was designed for a tuberculosis sanatorium in Finland – image by V&A East Museum
key details: V&A East Museum
V&A East Museum is located at East Bank on the edge of the Queen Elizabeth Olympic Park.
Concessions for students and those under 26 are available.
Skin of Skunk Anansie performs at Glastonbury. Her Clit Rock suit can be seen at V&A East Museum – image by Daniel Newman
tried + tested: V&A East Museum
Any way you cut the complex geometry of V&A East Museum, it’s a fantastic addition both to the Stratford skyline and Newham’s cultural heft.
What Gus says about the relentless focus on connecting its spaces to the local community finds its proof in the new institution’s galleries.
The Why We Make spaces are refreshing. Superficially incongruous treasures – everything from glacial stupas to healing chairs and Daoist robes – are sewn together with a golden thread of locality.
Walk into the lower of the two galleries and you’ll immediately be confronted by Molly Goddard’s hot fuscia Daria dress, an east London creation that features 61 metres of tulle and was once worn by Beyoncé.
I’m left with no choice but to knock off a star because (teething troubles) my radar-linked Sennheiser headphones provided for a stroll round The Music Is Black: A British Story, failed to function properly.
This left me with a loop of the intro melody, rather than the 120 tracks promised.
My guess is that given this exhibition is about music, it’s probably better when you get to hear it.
However, even without the gospel, soul, rap, r’n’b, blues, rock, folk and grime, it’s a collection worth viewing thanks to the variety and vibrancy of the exhibits.
Here too, thanks to kids from the Lansbury Estate, Dizzee Rascal, Billy Ocean and countless performers still gigging at the likes of Boisdale Of Canary Wharf, the east is ever present.
The glorious, crumbling walls of Wilton’s Music Hall are set to reverberate with the buzz and verve of Rendez-Vous Dance’s latest show.
The Monocle is a cabaret, dance homage to nightclub Le Monocle, a sanctuary for the lesbian community in Paris opened in the 1920s by Lulu De Montparnasse on the Boulevard Edgar-Quinet.
Billed as a “sizzling dance and music production”, the show has been created by the Rendez-Vous founder and artistic director, choreographer Mathieu Geffré.
Celebrating the history of the club – named for the optical affectations some lesbians used as a symbol of recognition in their community – The Monocle aims to transport audiences to an era of glamour, jazz, dressing up, dressing down, secret passions, sex and cocktails.
The company’s seven-strong cast tell stories of the venue’s clientele and their time spent in a place where they could dine, dance, sing and socialise without fear of persecution.
Rendez-Vous Dance founder and artistic director, Mathieu Geffré – image supplied by Rendez-Vous Dance
relevant and meaningful
“Over the years, Wilton’s Music Hall has built a reputation for celebrating diverse, boundary-pushing, excellent art,” said Mathieu.
“Bringing the final performances of The Monocle to Wilton’s Music Hall after a successful night at the same venue in 2024, feels deeply relevant and meaningful.
“There’s something about the venue’s layered, rich and slightly subversive history that resonates with the queerness of our production.
“After three tours and such a generous response from audiences across the country, it feels like the right place to bring this journey to a close – intimate, relevant, charged and full of memory.”
Lasting 90 minutes, including an interval, the show features a mix of sensual choreography, passionate drama and live song from early-jazz performer, Imogen Banks.
“The beauty of The Monocle is how effortlessly it has welcomed a broad and diverse audience,” said Mathieu, who graduated from the Paris Conservatoire in 2006 before embarking on a career as a dancer across Europe.
He founded Rendez-Vous in 2021 with the aim of engaging with LGBTQIA+ themes.
He said: “While the show offers a strong sense of entertainment, it also carries an educational and quietly political weight, particularly in drawing attention to the disappearance of safe spaces within our community.
“One of the most moving parts of the tour has been meeting members of the lesbian community who shared how deeply the work resonated with them.
“Ultimately, this is a show for everyone. It’s entertaining, informative, political and a joyful celebration of identity.”
For Mathieu, it’s also a work that resonates with his interest in LGBTQIA+ history, especially in France.
The show is an homage to lesbian nightclub Le Monocle in Paris – image by Cave And Sky
the roots of The Monocle
“One of my ongoing curiosities in life is understanding my roots as a member of the queer community,” he said.
“In 2021, while reading A History of Homosexuality by Florence Tamagne, I first discovered Le Monocle.
“I wanted to challenge the conventional perceptions of contemporary dance and explore the intersection of cabaret and movement as a way to reach new audiences.
“The Brassaï photographs of Le Monocle became a way in for me, showing that a man could indeed capture the essence of this extraordinary space for the lesbian community in Paris.
“When developing a work, I also consider its universal and contemporary resonance and, in this case, it felt essential to acknowledge the disappearance of lesbian safe spaces in public life.
“As a gay boy growing up in the French countryside, coming of age was a vulnerable path.
“But that began to shift when I started my dance studies at the Conservatoire National Supérieur De Musique Et De Danse De Paris in 2001.
“The capital was a territory of fear, extravagance, and adventures.
“I emancipated myself in Le Marais, where I witnessed love lived unapologetically, drag artists fabulously striding through the streets and communities welcoming me into a freedom I hadn’t thought possible.
“I’m passionate about LGBTQIA+ history and my French heritage.
“When I learned about Le Monocle, a lesbian bar that mysteriously closed in June 1941 during the Nazi occupation, I couldn’t separate it from more recent tragedies.
“The story felt urgent, a necessary testimony about safe spaces and the risks we still face.
“I’ve never cared so deeply about getting something right. The Monocle was a unique opportunity to foster an environment where love transcends differences, creating a space where everyone feels seen, valued and embraced.
“When it was open, Le Monocle celebrated refinement, taste, and understated glamour.
“The costumes and set together capture that spirit, while subtle, playful details, like the iconic monocle itself, anchor the work in its historical and cultural context.
“The overall effect is immersive – audiences step into a space where elegance, celebration and queer history coexist, fully alive for the contemporary moment.”
The Monocle promises plenty of sizzle and thrill – image by Rhiannon Banks
key details: The Monocle
The Monocle is set to be performed at Wilton’s Music Hall in Wapping on May 15 at 7.30pm and on May 16 at 2.30pm and 7.30pm.
ECF – a partnership between Homes England, Legal And General and Muse – is set to host a community event to showcase its Cerulean Quarter development alongside the work of local businesses and creatives.
The event will feature food and refreshments from Zzetta Soul Fired Pizza and Yapix Coffee And Wine House – the development’s Canning Town neighbours – and entertainment will be provided by a local DJ.
There will also be an art station for youngsters to get involved with. The event is free to attend.
Tours of the development’s show homes, so visitors can find out more about the apartments, will also be on offer at noon, 2pm and 4pm.
Apartments in the first phase are now complete and ready to move into – image supplied by ECF
welcoming the community to Cerulean Quarter
Stephanie Smith, head of residential at Muse, said: “We are really looking forward to welcoming the community to our Art In The Park event at Cerulean Quarter.
“It’s a chance to come together and celebrate all the things that make Canning Town such a special place to live.
“At Cerulean Quarter, and across all our projects, we strive to create homes and shared spaces that feel welcoming and genuinely support the local community.
“This event is a lovely opportunity to bring neighbours together, and we hope to see many local residents there, along with anyone who would like to experience the sense of community and everyday life at Cerulean Quarter.”
The homes in the 32-storey tower feature views of the surrounding area – image supplied by ECF
available to move into now
The development’s first phase, the 178-home Dockmaster House, has been completed with its properties ready to move into.
Prices start at £379,000 and one, two and three-bedroom apartments are available as well as four penthouses at the top of the 32-storey building.
Homes feature open-plan design, kitchens with integrated appliances and floor-to-ceiling windows.
The development is located close to Canning Town station offering rapid connections to Canary Wharf and Stratford via the Jubilee line and the DLR.
Cerulean Quarter has been designed as an 804-home neighbourhood delivered across three phases, the latter two of which are subject to commercial viability.
Phase 2 has planning permission for 290 homes and Phase 3 has outline consent for 159 homes.
The final phase is currently going though the planning process.
The project is being delivered by ECF, which brings together Homes England, the Government’s national housing agency, investment manager Legal And General and regeneration specialist Muse.
The group aims to work in long-term partnership with local authorities to “unlock and sustain regeneration, enabling delivery at pace while creating places that continue to grow, evolve and deliver lasting value over time”.
Show apartments are available to view now – image supplied by ECF
key details: Cerulean Quarter
Art In The Park is set to take place on April 25 from noon-5pm at Linear Park next to Cerulean Quarter.
To confirm attendance or book a tour of the show homes, email sales@cerulean-quarter.com or call 020 3929 0303.
If you can’t make it on the day, tours of the show apartments are available by arrangement with prices starting at £379,000.
Kayla Dimmick has officially taken the tiller in the kitchen as Barge East’s newly appointed executive chef, setting the course of all food on board and by the towpath.
Originally from California, she trained at Le Cordon Bleu and cut her teeth at the Water Grill in Los Angeles before embarking on a career in high-end catering, cooking for the likes of Jennifer Lopez, Pharrell, Maroon Five and Reese Witherspoon.
She said: “I think my grandma has a huge impact on me because we were always in the kitchen.
“I’m half Japanese and she taught me how to bake dishes from Japan. The other influence was watching the food networks.
“Going to do my diploma at 19 was great because it gave me a really good grounding in the science of cooking.
“When you’re baking, for example, you need that knowledge, because everything has to be so precise and there are so many variables.
“It’s not just following the recipes, it’s about knowing how to adjust them to the humidity of the kitchen, for example.
“I really wanted to work in London – a move to a different country was getting me out of my comfort zone – and I was sponsored to do that by Barge East’s former executive chef, Stefano Camplone.
“I started off as sous-chef three years ago and I really liked the ethos of the restaurant – the food has always been very seasonal and sustainable.”
Stracciatella (the creamy bit in a burrata) served with a lush garnish of peas, broad beans, cucumber, thai basil and broccoli flowers (£11.50) – image by Jon Massey / Wharf Life
a taste of spring
Promoted to head chef and now executive chef, Kayla recently unveiled her first menu in her new role, ably assisted by fellow cook Solomon Aveyard.
“Our dishes always start with the ingredients – that’s where the inspiration comes from,” said Kayla.
“We bring in our suppliers, look at their sample boxes, taste them and then base our plans on what we will be growing in our waterside garden.
“It’s amazing to have that just next to the boat and it means we have fresh ingredients we can use every day.”
Kayla’s spring menu features snacks, small plates, large plates and sides as well as a choice of three desserts.
Highlights include Wildfarmed Foccacia with foraged wild garlic butter that boasts a substantial, meaty texture (£2.50), Lamb Belly Skewers with gooseberries from the garden (£9.90) and Stracciatella (the creamy bit in a burrata) served with a lush garnish of peas, broad beans, cucumber, thai basil and broccoli flowers (£11.50).
A top large plate choice is Beef Rump, rich red and juicy with a turnip cake, a chunky halved courgette and a bordelaise sauce (£32).
There’s a relentless focus on quality, spare, elegant presentation and freshness.
Kayla started at Barge East as sous chef and is now in charge of all of the venue’s food – image by Jon Massey / Wharf Life
sweet flavours at Barge East
“My favourite dish is actually one of the desserts,” said Kayla.
“When I was training, people used to call me Betty Crocker because of how well my baking turned out.
“I like measuring everything, there’s an exactness about it.
“Instead of a traditional rum baba, we’re serving a version with fermented Japanese plum wine – it’s potent, very citrussy and flavourful, which fits perfectly with forced rhubarb and a diplomat – a combination of crème anglaise and whipped cream.
“It’s rich and then you have that sharpness – it’s delicious.”
Barge East has been awarded two AA rosettes for the past three years running and will continue its fine dining offering aboard the Dutch vessel.
However, its presence on land is growing and changing.
Barge East will continue to serve up fine dining on board with an expanded canalside offering this summer – image by Jon Massey / Wharf Life
expanding Barge East outside
“Outside we have huge plans for the spring and summer,” said Kayla.
“We’ll soon be launching an area called The Terrace, which ties in with the food on the boat but in a bistro style.
“It will be outdoor table service with a Parisian vibe, serving snacks, steak frites and a plat du jour.
“Then we’ll be moving our street food offering to the garden.”
That shift comes as Barge East has added to its fleet, taking over neighbouring vessel the Milk Float, which will serve a selection of drinks as well as chilled treats from east London’s La Gelatiera.
This will also provide a base for canoe, kayak and paddleboard hire on the canal.
It’s a significant expansion for a business that started with three friends – Ryan, Blandy and Tommo – sailing Dutch Barge De Hoop over from Holland with the aim of turning it into a restaurant.
Beef Rump, rich red and juicy with a turnip cake, a chunky halved courgette and a bordelaise sauce (£32) – image by Jon Massey / Wharf Life
on the water for the summer
“We’re planning to open the Milk Float from April 30, 2026, with the aim of turning it into more of a cafe, floating bar and an events space,” said Stuart ‘Tommo’ Thomson, who also runs Skuna Boats in Canary Wharf.
“It’s going to have the best gelato I’ve ever tasted – selecting them from a choice of 60 was one of the best things I’ve done since we started the restaurant.
“We’re really excited about the summer – Hackney Wick always feels like a festival when the weather is warmer because there’s so much going on.
“We’re also looking at the mooring on the other side of us to see what we might be able to do on the water with that – we’re always looking to make things more vibrant on the water.”
In the more immediate future, Barge East also has plans in the works for a brunch offering, aimed at attracting weekend diners earlier in the day.
“I’m really excited about this,” said Kayla.
“I want to create a menu of really good brunch staples so we can add that to the offering.
“Everything is still to be confirmed, but I’d love to do a take on a salt beef bagel with hot mustard.
“Sometimes the meat can be quite dry, but I want to make one that’s really juicy on a really good quality bagel that we can source locally.”
Baba with Japanese plum wine and forced rhubarb at Barge East – image by Jon Massey / Wharf Life
key details: Barge East
Barge East is located in the Queen Elizabeth Olympic Park opposite Hackney Wick at Sweetwater Mooring.
The venue is set to be open seven days a week from April 30, 2026.
Programme manager Madhini Sivasubramanian explains why she loves sharing the knowledge and experience she’s built up over many years
The University Of Sunderland In London’s Harbour Exchange campus includes a suite of technologically advanced facilities for use by its nursing students – image by UOSiL
Madhini Sivasubramanian has spent her whole career immersed in healthcare and education.
As a young woman in India, she decided to become a nurse and worked in theatre with heart surgeons, before making the move to intensive care because “after the few hours of surgery are done, the biggest challenge is getting patients well enough to go home”.
Having moved into paediatrics and getting married, she seized on the opportunity to come to the UK and spent seven years at Great Ormond Street Hospital before going on to work for other NHS trusts in London.
But what really stands out over the course of her career is a simultaneous commitment to education – juggling nursing, study and raising a family – and balancing that with a desire to pass on her knowledge to others.
She qualified as a teacher officially in 2015, having worked as a guest lecturer and began her academic career at the University Of West London before going on to help set up the nursing department at the University Of East London between 2017 and 2020.
Today she’s a senior lecturer at the University Of Sunderland In London on the Isle Of Dogs and programme manager for its MSc Nursing Practice and MSc Public Health courses.
“I still consider myself a student – I’m still learning every single day,” said Madhini.
“I’m incredibly proud when I’m able to pass on the knowledge I have to others.
“What’s the use if only I know about something? It’s about being able to share it with the students.
“The staff we have here on our courses are absolutely top class.
“This is a beautiful set of people and the courses we offer are fantastic.
“These new facilities allow students to reach their full potential.
“I’ve always believed that a department shows the personality of the person leading it and it’s been my job to convince a board of non-clinical, non-medical, non-nursing staff to invest in these courses.
“That’s why we have the facilities that we do.”
Senior lecturer and programme manager at the University Of Sunderland In London, Madhini Sivasubramanian – image by Jon Massey / Wharf Life
courses at the University Of Sunderland In London
The university offers both undergraduate and postgraduate public health and nursing courses, the majority of the latter aimed at qualified nurses already working within the profession who want to reach the next level in their careers.
“We have this smart offering so we can film what people are doing when given a task and use the recording to debrief them on their actions and identify any learning points,” said Madhini.
“The vital thing is that we can have a conversation about something if it went wrong and the student will learn not to make the same mistake.
“These simulations are so important because they enable people to experience things with no risk to a patient.
“Our one-year MSc course is designed to prepare students who might want to go into research, teaching or leadership in the future.”
The university campus is located on the Isle Of Dogs close to Canary Wharf – image by Jon Massey / Wharf Life
a passion for her subject
While talking about her extensive career and her approach to education, Madhini fizzes with energy – an attitude that has both got her to where she is today and also infuses the courses she oversees.
“Nursing can be a job where you work very long hours for comparatively little money,” she said.
“But you don’t care because you’re so passionate.
“I remember being in the operating theatre for the first time and it was amazing.
“You’re scrubbed up and it’s very tough.
“You’re working with people’s hearts and there’s no concept of working hours. But we made history and that’s why I’m here.
“In India, through a conference I was able to mingle with some of the best heart surgeons in the world from the UK.
“I was mesmerised and that was the first time I thought that I should go out into the world.
“Fortunately, my husband is a bit mad like me and encouraged me to make the move.
“At the time I was the only Indian nurse at Great Ormond Street.
“Originally I was due to return to India but instead I stayed.
“I see it in my children – I’m very proud of both of them.
“My daughter is in general surgery and has lots of plans – she’s very much like me in this. My son is a computer scientist.
“Balancing the demands of family life and nursing can be a challenge, especially if you want to do postgraduate study as well.
“But that can also be a motivation.
“My daughter has grown up always seeing me working and studying and now she’s flying around running conferences.
“It’s so important that people are able to access opportunities.
“One of the things the university does is offer a BSc course because there is a cohort of nurses in the NHS who were recruited at a time when you didn’t need a degree.
“These are often wonderful people with so many skills but, because they don’t have that qualification, it’s preventing them from getting promotion and that’s so unfair.
“The course is designed as a year-long top-up for those who don’t have a degree and would like to move up.
“Nursing is a very demanding career and it’s important to make space for people to progress.
“One of the other groups of students we have are those from overseas.
“People often want to come to the UK to study because of the culture we have here.
“While some are coming here with the intention of working, lots are not necessarily settling here. People want to say they studied in Britain.
“They come here, gain confidence and experience London before returning home.”
key details: nursing at the University Of Sunderland In London
You can find out more about nursing and public health courses available at the University Of Sunderland In London including entry criteria via UOSiL’s website.
The Drury bag was left to infuse in an elegant glass supplied with a refined tea-timer to avoid over-brewing.
There were tongs for efficient removal and a little bowl for the spent bag, as well as a tiny glass jug of oat milk (I prefer my tea to taste faintly of porridge, what of it?).
I mention this because the level of care taken in the serving of a simple cuppa illuminates the venue’s whole approach.
At its heart, Yummzy is about three things – detail, safety and flavour.
Yummzy co-founder, Jolie Gindi – image by Jon Massey / Wharf Life
pay close attention
“So many times you read the word ‘healthy’ but the regulation around it is non-existent,” said Jolie.
While that might be of comparatively little consequence to some, for her it’s a matter of life and death.
As a Type 1 diabetic, Jolie must carefully balance what she eats.
“When we decided to start Yummzy, the idea had been brewing for quite a while,” she said.
“I was 33 before I had a proper slice of cake and didn’t feel unwell for days.
“The final straw was when a well-known brand released a sugar-free cupcake.
“I calculated the carbs, injected the right amount of insulin and then ate one.
“I was so excited, but within five minutes I could barely breathe.
“My feet felt like they were cemented to the floor. My whole body was shutting down.
“I hadn’t accounted for any sugar because the product was branded sugar-free.
“But we went back and found out they’d used coconut sugar instead of refined sugar.
“That’s like claiming organic peanuts are better for someone who has a peanut allergy.”
Thoughtful cuppa: Tea service at Yummzy – image by Jon Massey / Wharf Life
creating Yummzy
Tired of such episodes, together Jolie and Adrian decided to do something, to create a brand based on scrupulous attention to production to give those avoiding certain ingredients confidence in what they were buying.
Opened before the pandemic in Greenwich, Yummzy went online over Covid and returned to bricks and mortar in Canary Wharf in 2025.
“In the UK, I think we’re about five to 10 years behind countries like the US and Canada, where the kind of thing we’re offering is everywhere,” said Jolie, who previously ran a travel business and continues to work in consulting in the field of analytics and innovation.
“We’re an eatery – open for coffee in the morning, food throughout the day and also in the evening.
The eatery serves a wide range of sweet and savoury food, all of it gluten-free, ketogenic, vegan, sugar-free – image by Yummzy
“Our menu is totally gluten-free, ketogenic, vegan, sugar-free and is high in protein and fibre.
“Our food is gourmet – usually when people think of healthy food, they think they’re going to taste like cardboard or something.
“For us the flavour is so important – we have something for everyone with different levels of sweetness and savoury options too.
“To be honest I prefer the latter – there’s our award-winning vegan sausage roll, our focannini, a cross between foccacia and panini which come with different fillings and our burger, which has 28g of pea protein to keep you full.”
Yummzy co-founder Adrian Pascu – image by Jon Massey / Wharf Life
keeping things light
Having won much recognition for their products, there’s a playfulness about Yummzy with both Adrian and Jolie keen to keep things light.
“My favourite thing on the menu is our Not Dubai Chocolate,” said Adrian, who works both in teaching and as a photographer and videographer as well as helping to run Yummzy.
“It’s not super sweet, but it’s crunchy inside, thanks to the pistachio butter and covered in chocolate.”
Jolie added: “It’s hard for me to pick one thing, but it’s either our focannini or our avocado on toast, which we call Av A Good Day.
“But I also love our Yummzy Rocher which are made with our Yummtella spread.
“It contains chocolate and hazelnuts but is free from gluten, dairy, palm oil and added sugar.”
The couple, who first met at a tango class and live within walking distance of their eatery, hope to grow the business on a franchise model, providing products to other branches in the future.
The Canary Wharf branch is both production kitchen and hospitality venue, with appropriately health-focused alcoholic options for those keen to indulge in wines, low-carb beer or tipples such as Mayan hot chocolate with rum (laced with cinnamon and chilli).
Drinks in general are taken as seriously as the food, with Yummzy working with Drury Tea And Coffee in Woolwich as a key supplier.
The venue also sells ceremonial grade matcha and will even whip up a concoction made with baobab juice, ideal as a hangover cure.
While there’s an obvious focus on creativity and delivery, perhaps the most satisfying thing for the couple is when their business has a genuine impact on a customer.
Yummzy’s desserts often feature its award-winning Yummtella spread – image by Yummzy
the reward in Yummzy’s impact
“Our hearts melt every time someone tells us what we’re doing has changed their lives,” said Jolie.
“One day a mother hugged me and started crying.
“At first I was worried we’d done something wrong.
“But then she told me that her daughter had never been able to enjoy a hot chocolate and a cake with her friend without having to inject insulin.
“Here she was able to have a normal time with her friend and not have to worry about that.
“Being able to say to the parents of a child who’s coeliac, for example, that everything is gluten-free and then see the kids’ faces when they know they have that choice is special.
“Sometimes the parents have to say the children are only allowed to eat one thing here and the rest has to go home.
“Running a business has its hardships, but that positive impact is what keeps us going.
“Right now, we just want more locals to know about us and what we’re doing so we’d ask anyone who has tried our products to spread the word and others to come and visit us.”
Savoury options: The eatery has multiple options for those without a sweet tooth – image by Yummzy
key details: Yummzy
Yummzy is located on the southern edge of Cabot Square and is open daily.
It sells a wide range of hot drinks, sweet treats and savoury food.
Apartments in the final building at Braeburn Estates’ Southbank Place scheme have gone on sale.
Seven, designed by Stanton Williams Architects, sits overlooking Jubilee Gardens, the London Eye and the Thames at the Waterloo development.
Representing the last opportunity to buy a home at the scheme, the 13-storey block comprises 92 apartments and penthouses.
Around 30% of the former have already been sold while the four top floor properties are due to launch later this year.
Prices for the apartments at the joint venture, a partnership between Canary Wharf Group and Qatari Diar, range from £1.9million for a one-bed to £6.2million for a three-bed.
The properties feature open-plan interiors, high-end tech and dual aspect design (for the majority) as well as reflective glazing to help maintain privacy.
The building’s lobby features high ceilings – image by Braeburn Estates
responding to the civic buildings
“We conceived Seven as a block of stone, which we then carved into,” said Paul Williams, principal director of Stanton Williams Architects, which employed a similar approach for 8 Water Street and 10 Park Drive in Wood Wharf.
“Winning this commission meant a huge amount to Alan Stanton and me because, going back to the 1980s we were designing exhibitions at the Hayward Gallery.
“Our roots are very much in the buildings here.
“Seven faces west. It’s on a bend in the river and is adjacent to the beautiful limestone of the Royal Festival Hall, with Hungerford Bridge running in between.
“What we wanted to do was to draw the energy of the arts centre and that more civic side across into this composition that links through to the Shell Tower. Seven engages with both buildings, it’s really mediating between the two.
“Because it’s west-facing, it catches the sun as it moves round and animates the building throughout the day.
“The articulation of light and shade across the face of the building was something we felt would be a beautiful backdrop to Jubilee Gardens.
“The other key feature is the five metre-high lobby with glass on either side.
“The idea is the eye will be drawn through and you’ll understand your location within Southbank Place as you look through to the river.”
A show apartment at Seven – image by Braeburn Estates
facilities on a festive site
The development boasts its own Tube station entrance for nearby Waterloo and a host of hospitality brands that will be familiar to Wharfers such as Atis and Paris Baguette.
Residents get access to a 17,000sq ft private health club underneath the development with facilities including a 25m swimming pool, a gym, relaxation pods and treatment rooms.
Located on the site of the 1951 Festival Of Britain, the development is within easy walking distance of the Royal Festival Hall, the National Theatre and the Southbank Centre.
In celebration of the launch of Seven, Braeburn Estates have commissioned artist and illustrator Paul Catherall to create a pair of prints placing the new building in the context of its more famous neighbours.
Artist and illustrator Paul Catherall has created prints of Seven and its place on the South Bank – image by Braeburn Estates
cutting prints of Southbank Place
He said: “I graduated from Leicester polytechnic in 1989. At the time, the South Bank was quite a different place. It was still lovely to me but I felt it was quite desolate.
“It wasn’t the hive of activity it is now. In many ways it made me appreciate it even more and it reminded me of Coventry, which is where I was brought up.
“But it and other places like the Barbican and the old Elephant And Castle shopping centre resonated with me because they were created at a similar time to the buildings I grew up with.
“For printmaking, the buildings on the South Bank were perfect – in lino cut, you want clear shapes, light and shade. You want to be able to define the edges.
“Over the years, the area got busier. The buildings here are both loved and hated. They’ve become more appreciated.
“The main thing is that it’s now used and lively. It’s become what it should have been.
“My job is to pick out all those elements and make them shine.
“I always try and select some colours that deliver that optimistic feel. It was a challenge to create these works.
“My process mirrors the approach taken by the architects because we’re both carving away the parts we didn’t want.
“I usually look for buildings that offer an unusual silhouette.
“With Seven, you’re dealing with shapes in a block.
“But producing this work teaches you to look more closely. With this building, I observed all the shadows and shapes within that structure to get the design.
“On the landscape print, it was a case of capturing the relationship between Seven and the Royal Festival Hall.
“Halfway over the bridge, I realised its structures were dividing the shapes perfectly.”
Apartment prices at Southbank Place start at £1.9million – image by Braeburn Estates
the completion of Southbank Place
Seven features interiors by Albion Nord, with many of the apartments boasting views over the London Eye, the Houses Of Parliament and the Thames.
Miles Wood, sales director at Qatari Diar, said: “Seven is the final building to complete Southbank Place, which has been a decade long regeneration of one of London’s most exclusive riverside destinations.
“It was essential that the design and composition of the building complemented both the old and new of London’s iconic South Bank and Stanton Williams’ designs have perfectly met the brief.”
Melanie Conway, director of residential sales at CWG, added: “The completion of seven is a major moment in the story of Southbank Place, a development that has transformed and redefined this stretch of the River Thames.
“We are thrilled to welcome potential purchasers into the building and showcase the unmatched living experience available here.”
Residents get access to extensive on-site facilities at Southbank Place – image by Braeburn Estates
key details: Seven at Southbank Place
Homes at Southbank Place’s Seven building are on sale now with one, two and three-beds available. Prices starting at £1.9million.
Apartments are available through JLL and Savills.
Call 020 7001 3600 for details or to arrange a viewing.
The Brady Arts And Community Centre in Whitechapel is hosting a solo exhibition exploring the “layered identity of Canary Wharf and Docklands.
A series of works, collectively titled Memory Of A New City, by Russian-born artist Olga Regina will be on show at the east London venue until April 25.
“As a child I painted furniture and experimented with photography and, aged 10 I started to feel driven to become an artist,” said Olga, who has lived in London since 2023.
“I changed my location to Canary Wharf and, walking around, I realised there’s just something different about this area.
“The combination of the high buildings and the water is very inspiring and I also wanted to learn about the history of the area so I visited London Museum Docklands on West India Quay.”
Here First, 2026 – image by Olga Regina
reality and fantasy
Using a camera and an iPad, Olga blends reality and fantasy in an attempt to reflect the world around her – conceiving the images she wants to make before heading out onto the streets.
She said she uses her camera as a starting point before indulging in “digital intervention” to create work that sits somewhere between documentation and imagination.
She said: “Before I take a photo, I imagine what will be in it and then I completely change it.
“The images are like a canvas for me. I add my feelings.
“Some of the pieces include characters from childhood.
“I like birds a lot too – they were here before everything else was built in this place.
“For me it’s a very unusual area unlike any other.
“Here you have a combination of locals, the history and the landscapes – the water and the trees. I find a lot of inspiration in them.”
Olga said she hoped her works would give people pause in a part of London known for its hectic pace.
“I hope they notice things they don’t normally see,” she said. “We rush in the big cities, so we don’t always see the architecture or the people who live here.
“I want people to feel happiness when looking at my artworks and then to share it. I’m interested in how the city feels, not just how it looks.
“Canary Wharf is often seen as structured and controlled, but when you spend time there, you notice something softer — a human rhythm that exists alongside the financial one.”
Walk, 2026 – image by Olga Regina
key details: Olga Regina
Memory Of A New City by Olga Regina is set to be on display at the Brady Arts And Community Centre until April 25, 2026, and is available to view for free on weekdays and Saturdays.
When Cody Dock’s Heritage Pavilion opens later this year, the exhibitions it displays will be sheltered by a tangible link to the area’s past.
The structure will use the fully restored Frederick Kitchen lifeboat as its roof, protecting visitors from the elements.
One of the last boats to be built at the Thames Ironworks, just downriver from its new home, the vessel’s story includes a period of three decades where it was used to rescue imperilled mariners off the coast of Wales.
We’ll be taking a deeper dive into the boat’s history later this year when the new facility opens on the banks of the Lea.
But before the paint goes on and it’s flipped over and hoisted onto the pavilion walls, we wanted to take advantage of this point in its history to celebrate the many different skills being used to restore and preserve the vessel ahead of that next chapter and feature the craftspeople engaged in the work.
Tom Myers is overseeing the project as restoration manager and has been working on the Frederick Kitchen for two years.
“I grew up on an old Dutch barge in east London, moving between various waterways,” he said.
“When I was about eight years old, we settled in Canning Town at Cody Dock on the River Lea.
“Living on the water, I fell in love with boats.
“I got into woodworking and decided to become a carpenter when I left school – naturally I went towards working with boats and that’s what I’ve stuck with.
“Carpentry gives you a really good base for that – it helps you understand materials, how they should be engineered and used.
“I love working with timber and different kinds of wood.
“Over the past 18 months I’ve been working on the Frederick Kitchen full-time and it’s become my life – it doesn’t feel like a job, it feels like a thing I have to do.
“After I studied boat building, I had a lot of knowledge from my course, but not a lot of confidence.
“With this project, everything seemed really daunting at first, but I’ve just had to go for it and I’ve learned a lot.”
The boat will eventually be used as the roof of Cody Dock’s Heritage Pavilion – image by James Perrin
from shipwreck to a roof
Made primarily from a type of mahogany, the Frederick Kitchen was crafted at the absolute zenith of wooden boat building on the Thames and also features elm, oak and now Douglas fir in her construction.
Tom said: “This project isn’t about restoring it to put it back in the water – it was about taking a shipwreck and turning it into a viable roof for the pavilion.
“It had essentially been left to rot and was too far gone to bring back to sailing.
“You’d be better off just building a new boat.
“When we started, there were plants growing in its timbers and you could see daylight though parts of the hull.
“But this is how it can be preserved for people in the local area in a way that shows off how it was built, providing a direct link to history.
“There’s also an echo of the Vikings who once lived on this side of the Lea – they used to use their old boats as roofs for buildings.
“What we’re doing is using traditional boat building techniques to make a waterproof shell to protect the building beneath.
“When we’re finished, the boat’s exterior will look very much as it did when she was in service as a lifeboat, with red, white and blue paint and an RNLI badge.
“Inside you’ll be able to see the layers of history where we’ve revealed parts of the structure that would originally have been boxed off.
“For example, the boat has been built with two layers of planking for strength and to reduce weight, which we’ve revealed so people can see how it was put together.”
Tom decided to become a carpenter with a special interest in boats – image by James Perrin
no right angles
Originally weighing around 10 tonnes, Tom and the team have removed the boat’s cast iron keel to drop the craft’s mass to a more manageable 4.5 tonnes, replacing the metal with a wooden replica.
Tom said: “We used Douglas fir to make a piece that only weighs about 120kg.
“It was probably my favourite part of the project so far.
“We ripped the tree right down the middle with a huge band saw, seasoned the two pieces then flipped them round and glued them together for extra strength.
“We also replaced the cutwater, which is at the front of the boat and helps it glide through the water.
“Traditionally you’d look for a piece of timber that had the right curve or use steam to bend a piece.
“I decided to build a mould in the right shape and then used oak structural veneers, laminated together, to create the shape.
“It was very difficult to do, but it’s also one of the most satisfying things I’ve done.
“Finding shipwrights like Laurie and Lucian to work on the project has also been great.
“The tools might be the same or similar, but their approach to working with wood is different.
“If you’re making a cabinet as a carpenter it’s all straight lines and perfect fits.
“But the Frederick Kitchen is all curves – there are no right angles anywhere.
“You can do as much maths as you like but in the end you have to learn the art of making things fit.
“We’ve been cutting out rotten planks and replacing them with new timber, scarf-jointed to the old wood. We’ve even made our own bolts from bronze.
“The techniques used to build the Frederick Kitchen originally were pretty much as good as it got in terms of using wood to make boats.
“But nobody thought people would want to see the construction – the interior would have just been grey all over.
“Restoring it can be tough. No matter what modern equipment you have, working on an old boat is challenging.
“They weren’t built to be restored. You’re going to hurt your knees, your back.
“It’s a physical task in some quite demanding ways.
“You’re squeezing into awkward positions and then having to do precise work – finding timber that looks OK and then discovering it’s rotten under the surface and there’s a lot more to do than you thought.
“Knowing when to stop is a big part of a project like this, but the whole process has been really enjoyable and, because it’s wood, it will always need maintenance, so I have a job for life.”
Scroll down to meet some of the other people helping with the restoration.
Visitors to Cody Dock’s forthcoming Spring Forward event on April 18, 2026, will also be able to catch up on the progress of its Heritage Pavilion project.
key details: Spring Forward at Cody Dock
Cody Dock’s Spring Forward event is set to take place on April 18, 2026, from noon-6pm.
The day will feature workshops, stalls, live music, performances, exhibitions, a plant sale, free bike repair and refreshments from the new on-site cafe and bar.
Shipwright Laurie Watkins is working on the project – image by James Perrin
LAURIE WATKINS
shipwright
“I grew up in Essex on a little river with little boats,” said Laurie, who’s been helping to restore the Frederick Kitchen for a little under a year.
“Now I live in London on a barge, just upriver from Cody Dock.
“I generally work on Thames sailing barges and was refitting one in Kent prior to coming here. I didn’t always want to be a shipwright.
“My dad had a keen interest in boats through his dad and he encouraged me when I was a child.
“But, like most young people I rebelled against my parents a bit. I think I absorbed some things, though and came back to it.
“I didn’t go to college or do official training programmes, I just saw boats and would hassle the owners and builders to let me come and do mundane tasks so then they’d let me help with more interesting bits.”
Laurie’s extensive experience has seen him maintain and sail some of the Thames’ most iconic vessels including working on the Cutty Sark in Greenwich.
Craftspeople often have to squeeze themselves into tight places – image by James Perrin
“We are lucky to rebuild these boats in an age when we have a lot of mechanical advantages, such as power tools,” he said.
“They relieve a lot of the strain and stress, which can be challenging.
“When I started at Cody Dock I was mostly repairing and replacing planks on the boat.
“The majority of it is still original and we’ve tried to retain as much as possible, but if you just patch things up now, you’d have to replace it in a few years.
“Nobody wants a roof that leaks.
“Because it’s not going back in the water we’re able to restore it sympathetically in line with how it would have been on the day it was built.
“We don’t have to worry about bringing it up to the regulations you need to sail a boat.
“We’re getting to the point where there are now more bits going back into the boat than there are coming out, which is good.
“Initially the shape of it didn’t look right to me but after months of working on the project I realised that the way it had been built was really quite clever.
“The knowledge they had when they were building these boats more than 100 years ago was vast compared with what we know today.
“If you make too many changes you’ll lose the way the boat was made.
“It’s about preserving all the weird little things in the original and working out why they were done that way.
“What I really enjoy is solving those puzzles from the past.
“The amazing thing about boats is that building and maintaining them is such a vast thing – there’s woodworking, metalworking, rigging and then sailing them or operating them using motors.
“It’s been great to welcome kids of primary school age to see what we’re doing, but I wish this sector was presented to more youngsters as a career option.
“It’s perfect for certain people.”
Shipwright Lucian Hawkes now works for himself following an apprenticeship – image by James Perrin
LUCIAN HAWKES
shipwright
“I was apprenticed for four years in Maldon, Essex– the town I was brought up in – learning the rudiments of the trade in a little boatyard there,” said Lucian.
“During that time, I spent some of it with Laurie, working on the Cutty Sark.
“Then, after my apprenticeship, I started working for myself, mainly in Essex and some in Kent.
“I’m now back in London, having a fantastic time working on this heritage vessel.
“I became a shipwright because of time and place.
“I’ve always been incredibly appreciative of Maldon and its strong involvement with the craft of looking after boats.
“We have our own Thames barges there and I fell in love with the romantic idea of playing with wood all day.
“I’ve been on this project for three weeks as I was aware there was a bit of a time crunch and the work has been very varied and most enjoyable.
“I was asked to rectify the aft deck where we have to reattach the remaining deck beams – oak for the most part.
“They are half-dovetailed in and now we’re onto the planking, which is a lovely member of the mahogany family called utile.
Lucian says learning from the ways boat builders worked in the past is inspiring – image by James Perrin
“It’s quite interesting, because, due to the sweep or curve of the planks, they render straighter as you go through, so you don’t have any which are short, meaning there are no weak points.
“I like the idea of helping to repurpose something that was used 100 years ago.
“It’s like a palimpsest – you can put layer on layer over each other, whether for practical or community purposes.
“When you’re doing a project like this you try to make it look as though you were never there.
“It’s not for the faint-hearted, but the preservation of these skills and trades can only be done from person-to-person.
“You can read every book under the sun, but you’re not going to be a shipwright at the end of it.
“There’s a great deal of knowledge here – that’s why I like working with Laurie.
“He’s ever so good at what he does and he’s very involved with boats in the local area.
“That does it for me.
“I would argue that the learning starts when you’ve got your qualification.
“It’s very interesting on a project like the Frederick Kitchen to try and work out how the people who built it did what they did.
“It’s important not to leave your own stamp on things too much because they had generations of experience and a bloody good idea of what they were doing.
“You find there was always a very good reason for doing it the way they chose to.
“I’d recommend this trade to anyone looking for a fulfilling way of life.”
Ben Bradford has spent considerable time caulking the gaps between the Frederick Kitchen’s planks with rope – – image by James Perrin
BEN BRADFORD
carpenter + caulker
“I first came to Cody Dock about eight years ago,” said Ben.
“I studied architecture at Central Saint Martins, which is where I first met architect Nicolas Henniger, who’s responsible for most of the buildings here.
“We worked together for a long time doing a lot of furniture and bespoke carpentry.
“When I learnt that the boat was coming down, I asked to join the project because I love this place.
“It’s really unique – there aren’t many places in London that have a story that is not being eradicated.
“I’m an artist, but realised it’s hard to make money, so teachers gradually pushed me into design and then architecture.
“While it was funnelling me into a precise field, I knew it was also a channel that would allow me to open up again.
“Perhaps architecture makes me better at carving wood somehow and understanding three dimensional forms.
“The people at Cody Dock had seen me working on the buildings here – I’m pretty adaptable.
“I think they like that I will do almost any job including soda blasting, which is the environmentally safe way we used to strip down the boat’s timbers.
“It’s similar to sand blasting.
“It gives you great feet – my boots would fill with baking soda every day, I’d go home and it would peel off the top layer of skin and I’d have the softest soles ever.
Ben works to create a watertight seal between the timbers – image by Ben Bradford
“I’ve also done the caulking on the boat, which is a traditional form of waterproofing where you force material into the gaps between the planks and seal it with resin. It’s a lost skill.
“If water does get in then it just seals itself.
“At first I was doing half a seam a day, but worked out that you don’t need to use the hammer that much and just a twist of a chisel gets the caulk into the groove.
“Then the speed was ridiculous and the quality was close to what it would have been originally.
“In the end I was doing six full seams a day, getting into the flow.
“I learnt that if you do all the seams and then compact them, you get a much more even displacement of the wood and a better seal.
“The wood constantly moves. If you’re sitting by the boat when the sun comes up, you can hear the cracks as it changes shape as the temperature rises.
“When you’re taking the boat apart and looking at it, you can see the decisions that were made, and you naturally want to do as good a job as possible.
“You definitely feel connected to the original builders even though we’re 100 years apart.
“I’ve absolutely loved it – it’s very rare to get a job that lets your mind really contribute to the work.
“I’m weirdly attached to it. I’ve lost sleep thinking about how it will finally be craned into place. It’s scary having put in all this work.”
“I’m a coach-builder and fabricator, who initially trained as a designer in the automotive industry,” said Laurent.
“In 2013, I started my own business, having moved to the UK from France in 2007.
“We are a small team – three people – two directors (myself and my wife), and Stuart, who joined us over a year ago in the workshop.
“Metal is our medium and we use all types of material – copper, aluminium, brass.
“The biggest part of the business is working on classic vehicles.
“Tom approached us because there was some metalwork to do on the boat – quite intricate, specialised work, that not all fabricators can do.
“We’re installing copper cladding on what used to be the boat’s engine bay.
“Originally it would have protected the wood from oil spillages.
“The original parts had completely perished having corroded over the years.
“They asked us if we could do something about it, so we looked at it and thought we could produce something very close to the original design.
“It’s not too dissimilar from what we do with vintage cars, because it’s from the same era – right in the middle of the Edwardian period, the 1910s and 1920s.
“We’re using thin sheet metal to clad the timber bay, following the contours of the frame. The process is very much what a tailor or seamstress would do.
“We start with cardboard or paper templates, and then we use them to shape the metal to suit the boat structure.
“The pieces overlap and are pinned together to make everything as seamless as possible.
“Fitting it is a gamble and one of the reasons we make it in sections so it can be adapted on-site.
Laurent and Stuart install the copper on the boat – image by James Perrin
“We’re working remotely after measuring up so we only know how it will fit in reality on the day.
“Altogether we have nine pieces of metal to fit.
“Nothing on the boat is straight so we know we’ll have to adapt it to some extent.
“It’s not an exact replica of what would have been there but it’s a strong evocation of how it would have looked so people can see that.
“The fitting will be done by hand – we’ll be using hammers, mallets, caulking and chasing tools to make it fit nicely.
“Copper is very malleable, so we can work it fairly well, although it does harden over time. We’re really honoured, privileged and happy to be working on this project.
“There’s a nice energy at Cody Dock and the people are wonderful.
“It’s great to have the opportunity to meet people from other trades on a project like this.
“There are so many people out there recycling, recreating, transforming things, we need people with hand skills more than ever.”
Danny O’Sullivan has lent his contacts and expertise to the project – image by James Perrin
DANNY O’SULLIVAN
consultant + timber expert
Defining Danny’s role in the Frederick Kitchen project is tough, given the wide range of ways he’s contributed to Cody Dock over the years.
“I specialise in wood recycling in London and, before that, I was volunteer number one for the Brighton And Hove wood recycling project,” he said.
“Recycling wood is easy because it’s just there – slicing up old trees is my speciality.
“I have a special portable saw called a Wood-Mizer, which you can run a 4.5 tonne log through.
“When they’re doing the boat, if they can’t get the wood they need then I’m here to help.
“That’s my consultancy role.
“I grew up seeing my dad work wood for wheels – elm for the hub because of its stability. It’s my favourite timber, the pin-stripe of wood.
“It’s incredible when you look at it – my desk at Citywood I made from a large piece of oiled-up elm and it’s just amazing.
“It’s really strong and sturdy, which makes it great for building boats.
“In my life I’ve always wanted to help people who want to help themselves and Tom’s like that.
“Nowadays, people expect a mini-digger machine to come and dig the hole for them. In my day, you just asked for a pick and a shovel.
“When Tom asked, I told him I could get him a piece of Douglas fir long enough to make the keel of the boat.
“I’d found some for people restoring a windmill near Blackpool, so I took Tom to the same place– a sawmill in East Sussex – and asked them to treat him well.
“They showed him the tree they were going to cut it from and two weeks later it was ready. He asked me to cut it down the middle with the Wood-Mizer.”
Over the years, Danny has worked with artists, architects and builders.
He’s lived in squats, fought a campaign against the M11 and come to Cody Dock’s rescue on numerous occasions.
As a fixer he even helped out with moving the Frederick Kitchen to its current location, closer to the spot where the heritage pavilion is going to be built.
He said: “A date had been set to move the boat and a guy had said he’d bring a trailer to put it on and move it down the roadway next to the dock.
“The day before, Tom contacted me and said we couldn’t move it because the trailer wasn’t long enough.
“I told him I’d seen one down in Dartford and I managed to track it down and negotiate the hire of it.
“The tractor driver was 21 and he was so confident, really brilliant.
“I was revelling in the fact that it was these young people who had taken over and were making this happen.
“One day they were saying it couldn’t be done and the next day it was.”
