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Canary Wharf: How Fairgame is set to revolutionise competitive socialising

CEO Richard Hilton says the funfair-themed venue will feature games, street food and cocktails

Fairgame does give some cuddly bears away as prizes - image by Matt Grayson
Fairgame does give some cuddly bears away as prizes – image by Matt Grayson

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Fairgame is something fresh.

While competitive socialising has been around for a while in Canary Wharf, it’s almost as though Electric Shuffle and the brightly coloured minigolf by Craig And Karl, were gateway drugs.

This new venue, set to officially open on October 4, 2022, is a pure sugar rush of grown-up silliness.

Overseen by a cheerful, furry pink bear, who may have been to a few too many illegal raves in the 1990s, Fairgame is a vast, 20,000sq ft funfair-themed bar, playground and street-food hangout.

There are cocktails, pizza, nine games to try and Prosecco-infused candy floss.   

The venue’s owners have taken spaces once occupied by Davy’s, The Limehouse and The Merchant and knocked through to make a massive space with a terrace stretching down Fishermans Walk. 

Don’t worry too much about finding it, though. Helpfully there’s a five-metre rubber duck sat in the dock right outside.

That, in itself, is a statement both of location for the venue, but also of wider intent for Canary Wharf.

What better way to let London know the direction the estate is headed, than by pointing the way with a giant yellow duck?

Like the dock its aquatic landmark sits in, however, Fairgame is more than just the ersatz glamour of a dodgy funfair.

Behind the fun is a serious operation run by some big names and the activities are scrupulously honest.

Fairgame’s co-founders include Paul Campbell of Hill Capital Partners, who sits on the boards of Hawksmoor, The Alchemist and Blacklock, and music industry lawyer Andrew Myers.

But it’s Gymbox founder and now CEO of this new venture, Richard Hilton, who takes me on at Gopher Broke, the venue’s update of Whac-A-Mole.

Fairgame co-founder Richard Hilton aims his water gun - image by Matt Grayson
Fairgame co-founder Richard Hilton aims his water gun – image by Matt Grayson

“Fairgame is a revolution,” said the Watford-born entrepreneur.

“We want people who come here to feel elated. That goes for our staff too – it’s vital they enjoy what they’re doing to create that environment.

“When I was a little kid, I used to love going to the funfair.

“It would come round once a year and my parents would take me. The games were magical – the chance to win a prize. 

“When you transition to being a parent yourself you realise it’s really expensive and the experience is a bit grotty, but there’s still something magical about the games – you can’t help but love playing them and that’s what I want people to feel, here in Canary Wharf.”

While there’s a whiff of nostalgia about Fairgame – its tagline is that it’s the funfair “exactly like you don’t remember” – the games aren’t fixed or charged individually, they’re played purely for the pleasure of competition, although cuddly bears are given as prizes for those who do especially well.

“We’ve genuinely reinvented them,” said Richard.

“Every game has tech in it so people will be playing really slick games and competing.

“You can play in groups of two, five, 10, 15 or even 100 – which is great for a corporate day out – the number is unlimited.

“You’ll be able to see how you’ve done in individual games through our leader boards and overall, once you’ve played all nine.

“We incentivise people with the bears, but really it’s the joy of beating the people you’re with that you’re playing for.”

Players pay £13 per person, which gets then 75 minutes to tackle each of the nine games at the venue, twice.

Packages that include food and drink are also available.

There are nine games in total, which participants play twice - image by Matt Grayson
There are nine games in total, which participants play twice – image by Matt Grayson

Playing is not mandatory, however, and Wharfers are free simply to visit the venue for cocktails at the Bumper Bar or dishes from on-site vendors Burger And Beyond, Rudy’s Pizza Napoletana and Dos Mas Tacos.

Its terrace gets the sun in the evening and Fairgame plans to install covered seating and heaters for comfort.

Inside, visitors will find plenty of flashing lights, two bars, semi-private booths, a private events space, a candy floss and sweets bar and all the pun-tastic games. 

Fairgame has reimagined and re-branded a multitude of classics such as Lawn Of The Dead, inspired by crown green bowling, Pantry Pandemonium – a game where missiles are thrown to knock targets off shelves and Circus Freak, where contestants try to accurately aim a water gun to raise a clown’s head faster than their opponents.

It’s the variety that Richard thinks will be key to the venue’s success.

“I don’t have a favourite – I love them all,” he said. “That was the joy in selecting them – I chose the ones I enjoyed the most and was best at.

Final Furlong – our roller derby – is great and we also have one called Dunk The Junk, which hasn’t been made since the 1970s.

“You have to try and get as many balls as you can into these rubbish bins, but the lids keep opening and closing so you have to time it just right. I love it

“The majority come from the USA, but one – Phoney Island – our version of a duck shoot, comes from Oldham and is made by a guy who just takes joy in creating games. 

“They all test different abilities – shooting, throwing, hitting – the idea was to do something more stimulating than having a venue dedicated to one thing. 

“The reason funfair games are great is the variety, and nobody else has thought about putting them together like this in a circuit.”

Richard himself has history as an entrepreneur.

Having started out in the advertising world, he spotted Crunch while working in New York and created Gymbox in 2001 for the London market. 

Fairgame's five-metre high duck is outside the venue in the dock
Fairgame’s five-metre high duck is outside the venue in the dock

“I saw something in the States and wondered why nobody had done it in Britain,” said Richard, who sold most of his shares in 2016, while remaining a director of the company. 

“I was going to retire, but realised I was too young.

“My wife definitely wasn’t ready for me to give up work, so I began to look into something called competitive socialising.

“If I go out, I’m quite happy sitting in a pub and talking to a  friend, but the younger generation want a bit more. 

“So I had a go on one of the golf concepts but found it a bit repetitive.

“That’s where the idea for Fairgame came from.

“The reason we picked Canary Wharf for the first one is that it’s a really interesting area and now that Crossrail is here, it’s even more accessible.

“There’s the business community but with Wood Wharf and the areas around the estate, there’s a large residential population too.

“You’re getting brands like Hawksmoor and Patty&Bun that I don’t think would have opened a decade ago – it’s evolving and changing.

“I live on the other side of London and it’s not what I thought it would be. 

“That’s thanks to Canary Wharf Group – there’s a vision for the place and it’s going to get even better, especially now its five minutes from Liverpool Street and 13 from Tottenham Court Road.

“It’s an exciting journey when you think what it was like even five years ago and it’s great to be a part of it.”

Players of dunk the junk attempt to get balls into bins
Players of dunk the junk attempt to get balls into bins

Read more: How The PA Show Canary Wharf is bringing a community together

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

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Canary Wharf: How The PA Show Canary Wharf aims to bring a community together

Mash Media’s boutique event is set to be held at the East Wintergarden on Wednesday, November 2

The event will be hosted at Canary Wharf’s East Wintergarden

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“Community” is the word on the lips of Lisa Farnfield.

As Mash Media sales director, she’s responsible for organising the first PA Show Canary Wharf, which is set to take place on November 2 at the East Wintergarden in Bank Street – and she’s determined to make it a place of connection as well as business. 

Mash runs The PA Show at Excel – a nationwide gathering of those working as personal, executive and virtual assistants or office managers – which is gearing up for its 12th edition when it returns to Royal Docks in March.

Building on the success of this year’s show, the company decided to try something new in the interim.

“The PA Show Canary Wharf will be an intimate event for those working in the sector in London, that we’re holding due to popular demand,” said Lisa.

“It’s boutique – a way for people to come and meet suppliers, connect with like-minded people and learn from the great content we’ll be putting on.

“The East Wintergarden is a great venue, exactly the right size, and it has great facilities at the heart of Canary Wharf.

“There will be two theatres on the day, one focused on tech and the other on personal development.

“Speakers include Abigail Jones, an EA at Instagram, Lauren Bradley, founder and lead trainer at The Officials, Abigail Barnes founder and CEO at Success By Design Training and Sarah Howson and Marianne Whitlock – co-founders of Strategic PA Recruitment.

“It’s a chance for people to brush up on their skills and to come together – especially as being a PA, EA or VA can be an isolated position.

“The show is just in the run-up to Christmas and it will have a really special feel to it.

“We’ve got corporates and companies coming along – venues, restaurants, bars, hotels – a lovely selection of high quality businesses.

“Our focus will be the PA community and we’ll be running some great activities during the show, such as speed networking and a prize draw. 

“We’ll also be inviting everyone who attends to after-show drinks so that our visitors and exhibitors can wind down together and connect.

“That’s what people want and it’s our job as an organiser to tune into that – to make sure we have the right content and the right suppliers.

“Our experience with this new style of event will also feed into the main flagship show in March – our all-singing, all-dancing gathering of the sector nationally.”

Mash Media’s Lisa Farnfield – image by Matt Grayson

Visitors to the East Wintergarden will get access to The PA Show Passport allowing them to get stamps from exhibitors to qualify for a goody bag and entry into a prize draw. 

Prizes include a £500 gift card from passport sponsor Harrods Corporate Services and Eastbourne Tennis corporate hospitality tickets for four from Keith Prowse.

Exhibitor slots at the show have nearly sold out, with only a couple remaining.

Lisa, who used to live and work in Docklands, said: “I think that’s about location – being in Canary Wharf has drawn people’s attention.

“Live events are back and people want to go to them. It’s not just about putting on a show, it’s about putting on an experience.

“There’s so much change in this area, it’s important for people to know what’s coming up. 

“We want people to say: ‘Wow, that was a great experience’ – that’s our main aim with this more intimate show, a very select group of exhibitors and a layout that allows people to stay connected throughout the event.

“On a personal level, I’m thrilled to be back in Canary Wharf.

“There’s a real community here, not just for those who work here, but among those who live locally.

“It’s really meaningful to come back and deliver something like this here.”

Lisa said planning for this event had also informed how Mash will evolve the main PA Show when it returns to Excel from March 1-2.

“Because it takes place in spring it will have a different feel, but it will be a more intimate experience,” she said.

“We’ll be having five theatres but also more activities to attract a wider, larger audience.

“It’s about what we can do to make sure there’s a real buzz on the show floor. 

“Throughout there will be exhibitors that really pull people in and we’ll have the PA Passport and speed networking – some of the things we’ve developed for this smaller show.

“We’re always striving to ensure the layout and ingredients that go into the show are both as good as they can be so we deliver something that people want to return to again and again.”

  • PAs, EAs, VAs, office managers and those in similar roles can attend The PA Show Canary Wharf – sponsored by South Western Railway – for free.
  • Registration is essential for entry. Theatre sessions cost £42 including VAT. Visitors can get 10% off through Wharf Life with code 1009.

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

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Royal Docks: How New Scientist Live is bringing a festival of ideas to Excel

Speaker programme includes Sir Patrick Vallance, Rohin Francis, Dr Simon Clark and Gillian Forrester

New Scientist Live returns to Excel from October 7-9

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“We grandly title it: ‘The world’s greatest festival of ideas and discoveries’,” said Martin Davies.

2022 will be his first year in charge of delivering New Scientist Live, which returns to Excel in Royal Docks from October 7-9.

While our interview is conducted via a phone call, 20th century tech can do nothing to mute his obvious enthusiasm and excitement.

“When New Scientist magazine first started doing the show, I found myself being rather envious – I’d had my eye on this job for a few years, so I’m really pleased to be working here now,” he said.

His role as the title’s head of event production is a natural fit for a man who spent more than 13 years at the Royal Institution, helping to deliver its programme of lectures and events. 

“I studied natural sciences at Cambridge and ended up specialising in the history and philosophy of science,” said Martin.

“That meant I came out of university knowing a bit about lots of different things, but not really a specialist in anything, which is terrible if you want a research career.

“That wasn’t for me – I’m a real generalist – so the career I’ve had at the Royal Institution and now, here, is absolutely perfect.

“One day I’m talking to a neuroscientist and a biologist and the next to a particle physicist and a chemist.”

It’s that breadth that New Scientist Live seeks to offer visitors to the show – an exhibition and a programme of speakers that allows anyone who turns up to encounter and understand ideas and discoveries across a wide range of fields.

“Our mantra is: ‘Science is for everyone’,” said Martin.

“Our writers make the most complex subject understandable for the magazine’s readers and we want to keep that same ethos for the show.

“It’s not for professional scientists or nerds – they’re welcome, too, of course – but for everyone who is interested in the world around them and how things work.”

New Scientist head of event production Martin Davies

The event is set to run over three days – a Friday dedicated to school parties with a programme specifically aimed at younger visitors – and the Saturday and Sunday open to all-comers.

“People will arrive at Excel onto our gigantic show floor, which will be packed with stuff to do,” said Martin.

“There’s something for everyone – VR roller-coasters, virtual drones to fly, all sorts of exciting activities and the chance to get your hands on some excellent scientific products in our marketplace.

“I’m especially excited about our hospital of the future exhibit where lots of partners will be showcasing some absolutely incredible medical technology.

“There are machines for surgical training so visitors can slice someone up in a virtual environment and they’ll also be able to see robot surgeons – this is incredibly futuristic technology that will be in hospitals in the next five to 10 years. It’s real, not science fiction.

“People might also be surprised to see a lot of exhibits to do with the future of food and might wonder what science has to do with farming.

“But there’s so much technology involved and a real demand for people with STEM skills to work in farming.

“Take agriculture, for example – there will be a combine harvester there and people will be able to sit in the driving seat, but that’s the wrong way to describe it.

“It’s more like the cockpit of a fighter jet with screens and joysticks everywhere.”

Arguably the show’s greatest attraction is its extensive programme of talks, this year spread across four main stages and an interactive stage, with speakers talking on everything from stool transplants to dark matter.

Sir Partick Vallance is set to open the second day of the show with a talk entitled The Future Of UK Science And Innovation.

He remains the Government’s chief scientific adviser, having risen to public prominence thanks to his frequent press conference appearances alongside Sir Chris Whitty and a carousel of now (mostly) former cabinet ministers.

There will be plenty of activities to explore on the exhibition floor

“He’ll mostly be talking about how science is used in government and the part it played in the pandemic, so it will be really interesting to have that inside view of the conversations that were going on in 2020 and 2021 – how he argued the case for science and what lessons can be taken from that when the next crisis inevitably comes,” said Martin.

“There are so many brilliant scientists and writers but some of the people I’m really interested in seeing are the younger, up-and-coming individuals who may not be so well known.

“We’ve got Rohin Francis, for example, who’s a consultant cardiologist and he will be doing a talk called The Human Body: Design Disaster.

“We may have evolved over thousands of years, but there are things in our bodies that are not designed very well, so that should be a really funny and informative talk.

“Then there’s Dr Simon Clark who will be doing a talk called How To Become A YouTube Scientist.

“He’s a physicist with half a million subscribers on the platform and does stuff about atmospheric physics – looking at the climate. 

“But he also describes life in academia, studying and how to get through a PhD at Oxford, which is no mean feat.

“He’s a really interesting person.

“We’re always looking for good speakers and I spend a great deal of my time researching the best people to have.

“But it’s all a team effort. Our magazine journalists all spend a lot of time talking to scientists and we get some great suggestions from them.

“One example is cognitive scientist Gillian Forrester from UCL, who spends her time getting apes to solve puzzle boxes, getting young children to do the same puzzles and asking what we can learn about the ways they do it. She’s such a great speaker.”

  • Standard tickets to New Scientist Live cost £42 for adults and £17 for children when booked in advance. Family tickets (two adults and two children) cost £106 – a saving of £12. 

There are also options to live-stream talks from the event and to get access to content on catch-up.

Visitors will find plenty of stands offering interactive experiences

Read more: How Third Space helps Wharfers make the most of their time

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

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Canary Wharf: How The Pearson Room’s winter cocktails mix warmth and beauty

The Canada Square venue is offering seasonal flavours and a special offer for PAs and party planners

The Pearson Room’s Theo Damse

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Right now there are two things to tell you about The Pearson Room.

  • The first is that it’s just launched its new cocktail list for winter 2022, with the bar team working hard to come up with 14 drinks to tickle the tastebuds of thirsty Wharfers.

“I would describe it as focused on smoky, spicy and sweet flavours as those are right for this time of year,” said Theo Damse, assistant bar manager at The Pearson Room. 

“We try to make it so we have as little waste as possible behind the bar and we make use of as much of each ingredient as we can.”

That means the venue, which is located above Waitrose overlooking Canada Square, is all set for winter, with a special Christmas drink – Santa’s Little Helper – also in the pipeline for the festive season. 

General manager at The Pearson Room, Emilie Parker-Burrell said: “We like our menu to be original, creative and something you won’t find anywhere else. 

“The team have been amazing, coming up with all these drinks since we first talked about changing the menu in June.”

See below for our six picks from the new list.

  • Also on Wharfers’ radars should be the venue’s loyalty scheme, which applies to PAs, EAs and anyone working at a company who has responsibility for making corporate bookings.

“We’re calling it The Pearson Collective,” said Emilie.

“The way it works is that those on the scheme get points based on the number and size of booking that they make with us.

“Because we are owned by Third Space, those points can be used as credit at the club, Natural Fitness Food and Third Space Spa.

“You’d get one point for a booking for four people, which works out at £5.

“The Pearson Room is very flexible – it can handle small dinners right up to receptions for 350 people.

“If you booked exclusive hire of the whole venue, that would be 40 points, so £200 in credit. We want to reward those who are loyal to us – it makes sense if we give something back.”

Email events@thepearsonroom.co.uk for more information about The Pearson Collective

SIX OF THE BEST – OUR PEARSON ROOM PICKS

1. Cinema Seat – £14

Mezcal Montelobos, Cointreau, popcorn syrup, lime, pineapple juice

This punchy drink comes garnished with a few sweet kernels of popped corn and some sticky syrup to help the medicine go down

2. Fairy Belle – £12.50

Belle De Brillete, Benedictine, pistachio, pear, Prosecco

The ideal welcome drink for a festive bash, this slender, elegant flute comes with a couple of pistachio nuts and a crisp, clean flavour

3. First Frost – £11

Whitley Neill Violet Gin, violette liqueur, lavender

This pale purple drink lies as lightly on the tongue as the first whisper of ice crystals forming from the morning dew. A subtle cocktail in debt to the classic Aviation

4. Winter Drop – £14.50

Rémy Martin 1738 cinnamon, lemon, orange juice, fresh orange segments

This is a proper, grown-up drink served with slices of fun – literally three toasted orange segements dipped in sugar and cinnamon

5. Just Chill – £11

Ocho Tequila, watermelon liqueur, grenadine, watermelon syrup and chilli

This is the partygoer who makes an entrance in a stunning shade before hitting the dance floor to spice things up. Carefully balanced

6. Santa’s Little Helper – £14.50

Bruichladdich Port Charlotte, Mount Gay Rum, Cherry Heering (served hot)

Available from November, this brilliant, potent drink should be a Wharf rite of passage. Heady, smoky and warming for winter

Read more: How Third Space helps Wharfers make the most of their time

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com
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Canary Wharf: How Utilidex helps its customers manage their energy

Co-founder and director of the Level39-based company talks billing and climate change optimism

The topic of energy is ever-present in the headlines in 2022
The topic of energy is ever-present in the headlines in 2022

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The topic of energy is seldom out of the news at present.

There’s the government plan to cap household bills at an average of £2,500 through 2023 with six months of equivalent support for businesses at a cost of more than £100billion. 

Then there’s the longer term problem that, unless humanity brings down global carbon emissions by finding ways to generate the power we need in more environmentally friendly ways, then our activities on this planet will be the end of our species.

Whatever is going on in the market or with the planet, organisations’ ability to accurately know their own usage and impact is essential.

That’s where Utilidex comes in. Founded in 2012, the company is based at Level39, Canary Wharf’s tech community, spread across various floors of One Canada Square.

“We create software for businesses, the public sector and industry,” said co-founder and director Mike McCloskey.

“We do three things. Firstly, we do billing and, by default, bill validation for our customers.

“Secondly, we handle energy procurement – that means buying energy for the future for large corporates and industrials particularly.

“The reason we do that is so companies are less exposed to big changes in prices, to mitigate big shocks in the market.

“Then thirdly, from the data we receive, we create, assess and monitor the carbon footprint of an organisation based on the latest conversions.

“These actually change every year based on how much renewable energy is in the system.

“Once you have that data, which tends to be in half-hourly granularity in the UK, you can make observations – a business can monitor things like how much energy is being used when a property is vacant or a floor is empty in a building.

“You can work out things like energy intensity per square foot and then compare different buildings to see how they differ.

“That’s how you start to understand whether you’re wasting energy.

“Once you start looking at data in this highly granular form, then the observations become more interesting.

“These days, companies are devoting a bit more time to this – they are carbon aware – but even prior to that there was still a requirement for people working in facilities management to understand day-on-day, week-on-week, month-on-month, whether the organisation was making energy reductions and procuring power more effectively.

“These are the sorts of things we try to inform our customers about.

“With our software, it’s all about usability and understanding how the system works – getting as much benefit as you wish and deciding how much activity you can and want to devote to energy.

“In terms of value, we can measure the impact of projects and behavioural change – for example, swapping to LED light bulbs.

“The data can provide the justification for doing things like that.

“We also do the basic things like ensuring our customers’ bills are accurate.

Utilidex co-founder Mike McCloskey
Utilidex co-founder Mike McCloskey

“If your bill is £5million, then you’ll want to know if it’s correct or whether you’re under or over.

“It could be that a company is still being billed for a property it no longer owns, that the rates have changed or that the meter data is either not coming through or has been poorly estimated.

“There’s a lot of talk about energy suppliers over-billing, but in my experience, they’re just as likely to under-bill which is equally problematic if there’s a shock at the end of the year and it wasn’t in the budget.

“Traditionally much of this work was done manually, which was time consuming and prone to error, so we do it digitally.”

Utilidex, which has recently added water to the list of utilities its software supports, did not spring fully-formed from the minds of its founders – Mike and co-founder and CEO Richard Brys.

Instead it is a company where change and evolution have shaped its activities, growth and direction.

“When you start a business in the utility sector, especially if you’ve got some experience, you usually have a plan,” said Mike.

“But as the market evolves there has to be re-calibration and sometimes chucking everything out of the window and starting again.

“All these things happen in a dynamic fashion, but you have to adapt to those changes to stay in business. 

“We were very lucky. Our first two corporate customers – Bourne Leisure and Aviva – had massive environmental awareness in 2014 and still do today. 

“Their interest drove us into an area where we had to learn quite quickly what had to be done to support behavioural change in buildings.

“Nowadays, every organisation above a certain size in the UK has a carbon target.

“These are set at board level, so have to be adhered to, and there are lots of opportunities where our data can be used either by consultants, developers or sales providers to build a business case for a project.

“We want to build our business in the UK and grow it here – there’s a lot to do.”

One of the parts of its business  Utilidex hopes to expand is the ways it supports organisations to reduce their carbon emissions.

Mike says industrial companies will invest in making their own energy
Mike says industrial companies will invest in making their own energy

“I’m actually more optimistic now about climate change than I was eight months ago,” said Mike.

“Sadly, that’s down to the rocketing energy prices.

“They will cause a dark winter where energy conservation becomes really important for financial survival, be that for households or businesses.

“The impact of this will accelerate the process because it will force everybody’s hands and that should be a good thing for the planet.”

While Mike said there were no easy fixes for businesses facing escalating bills, he said some would be in a position to take action.

“It’s a massive problem and will need to be addressed in a variety of ways,” he said.

“One way for organisations to do that is to become both producers and consumers of energy as well as investing in batteries to help avoid peak rate tariffs.

“Where firms have the capital, now would be a really good time to invest in wind or solar – and make their own energy. That’s the way industrials will need to go.

“It’s also good because it creates additionality as well – there’s one more solar panel or wind turbine generating power that can be used or fed back into the grid.”

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

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Stratford: How Jim And Tonic plans to use Sugar House Island to make gin and rum

Takeover of The Print House at Dane’s Yard includes bar, restaurant, terrace and two distilleries

From left, Jim And Tonic COO Mark Warren, founder Jim Mark and distiller Hendré Barnard – image James Perrin

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A lot can happen in six years.

A long-time fan of gin and tonic, Jim Mark had been on a skiing holiday to Norway and experienced the drink in a new way.

He was served big glasses with quality contents (think Williams Elegant Gin and Fever Tree Tonic), topped off with a variety of garnishes.

Before long he was gently slurring the words “Jim and tonic” and a business idea and brand name were born.

“That experience got me thinking about getting these flavours to everybody and so I bought jimandtonic.com for £20 – that was the beginning,” said Jim.

“We started in 2016 with one van – Genevieve – having agreed to trade on a golf course at a corporate event. 

“It was on a whim really, an idea to try and build a company that was about bringing wonderful gin and tonics with crazy garnishes to people, which not many had seen at the time. It went down really well.”

The day was such a success, in fact, that further sporting events followed as the fledgling company built its business from a mobile base.

“Then we got into Mercato Metropolitano, at Elephant And Castle, which was our first permanent bar,” said Jim.

“That’s where our main distillery is and it really helped our business.”

Jim And Tonic garnished with cucumber and lavender

Further expansion followed, including a partnership with brewery German Kraft, which brings us to 2022.

Jim And Tonic recently took over The Print House at Sugar House Island in Stratford and is in the process of creating a blockbuster home for the brand.

In addition to an extensive outdoor terrace, indoor bar and restaurant, there will be two distilleries – one for gin and one to create rum.

There’s also an events space and plans for a botanical rooftop garden on one of the two buildings the company has taken over.

“We visited this place and fell in love with it – it feels like an open space,” said Jim.

“In terms of hospitality, I think the area is underdeveloped – there’s not much of an offering for people.

“But these are lovely buildings, right by the water – there’s the outside space and we can make this a place that’s great for all.

“We’re a distillery but we want to create great spaces – boutique shops and bars for people to come and enjoy their gin and tonics.”

Located a short walk from Pudding Mill Lane DLR station, Sugar House Island is towards the Bow end of Stratford High Street. 

Jim And Tonic’s patch sits in Dane’s Yard, right on the banks of Three Mills Wall River Weir – a stretch of water that forms a triangle with the River Lea and Pudding Mill River.

With a plethora of wooden benches to choose from, lit by white bulbs strung above them, a bar on an open-top bus and a 40m, multicoloured tower lit by some 600 LEDs, Jim And Tonic makes the area an immensely attractive proposition.

And that’s before you even get to the stuff it serves.

Bar staff sharpen up their skills – image James Perrin

“At the moment we’re producing four gins, and a couple of other products, including a Ugandan project with a water charity to fund wells in Africa,” said Jim And Tonic distiller Hendré Barnard.

“We are a sustainable urban distillery, so we try to source as many ingredients locally as possible.

“Our London dry, for example, has botanicals that can be found within the M25. We also try to work with community gardens, that supply us with ingredients we use in the gin. 

“Our Roobee pink gin uses honey from urban apiaries, literally made in the capital.

“What really sets us apart is that we’re small scale compared to other so-called craft distilleries.

“We produce very small batches but we are looking to grow our sales to both consumers and businesses.

“We’ve got big plans and that’s one of the reasons we came here – to have a brand house, so that people can experience the process, do distillery tours, tastings and allow people to get their hands dirty to a certain extent, so they can see what we do and how we do it.

“We’re also going to be making new products for this area, speaking to the community and using local ingredients.”

One of those new products will be a first for Jim And Tonic – Sugar House Rum.

“Rum’s my favourite spirit and it’s really growing as a category,” said Jim And Tonic COO Matt Warren.

“As well as the distilleries over in the Caribbean, you can see a lot of variations with spiced rums, flavoured rums, and as a result it’s becoming a more popular drink. 

The Print House features an extensive terrace area
The Print House features an extensive terrace area

“It’s great for mixing cocktails and it’s an area that really interests us because there’s a bit of a scene in the UK now.

“Here, we want to expand what we’ve done already, to bring that same vibe we’ve created at other venues to Stratford, with good quality products and music. 

“This is an area that’s developing massively, with offices moving in and a lot of residential property.

“We want to make Jim And Tonic a great place to come, have a drink and some nice food – we have a really great chef here.

“Then add to that distillery tours, gin blending classes and events so we can do private bookings.

“We’ve already had our first wedding, so that’s something we want more of – a full calendar ranging from things like Yoga and community get-togethers to networking events and Oktoberfest.”

With all that in the pipeline, and Jim’s plans to create some kind of gin-on-tap system that delivers spirits at the press of a button, this is a place to try sooner rather than later.

The Print House is also home to Jim And Tonic's bar on a bus
The Print House is also home to Jim And Tonic’s bar on a bus

Read more: How Third Space helps Wharfers make the most of their time

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

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Royal Docks: How Dido’s Bar will immerse audiences in stories at The Factory’s Unit F

Director Josephine Burton talks about the epic retelling of The Aeneid set in the Royal Docks

Dido's Bar director Josephine Burton - image Ali Wright
Dido’s Bar director Josephine Burton – image Ali Wright

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BY LAURA ENFIELD

Refugees have to leave everything they know – not just places and people, but communities, careers, sights and sounds they have found comfort in their whole lives.

They arrive in a new world and are expected to assimilate. But how do they do this when everything around them is unknown?

This is the struggle Dash Arts seeks to capture with its new production Dido’s Bar, an immersive retelling of Virgil’s epic poem The Aeneid, set in Royal Docks.

“I’m Jewish and British, English and a Londoner and have always felt I’m many things – on the edge of so much,” said director Josephine Burton.

“I’ve enjoyed being in that liminal place between different communities. It’s how I see the world, so I’m interested in seeing other people’s otherness too.”

The story of migration and love will be told through the eyes of refugees today and unfold in a real life bar built in part of a former Tate & Lyle warehouse.

Audiences will, we are told, be immersed in a strange world when they arrive, where they are unsure what motivates the people around them.

They will mingle with the cast as the story of Trojan refugee Aeneas unfolds around them.

But instead of being set in ancient Italy, the production has been transported to a jazz bar with a line-up of live musicians.

It’s set to run at The Factory from September 23 to October 15, 2022.

“The audience will walk into the venue, with a house band warming up in the corner and they’ll grab a drink from the bar,” said Josephine.

“Then the drama of this amazingly powerful love story between Aeneas and Dido and the great battle between Aeneas, the foreigner, and Turnus, the local boy, will creep up around them.”

Josephine is co-founder and artistic director of Dash Arts, which is based in Whitechapel.

For the last 15 years it has worked with 9,000 artists to create work that bridges divides across art forms, cultures, languages and communities.

“We go on a bit of a journey and spend a lot of time listening, understanding, meeting and researching artists and eventually creating work with them,” said the 45-year-old.

“It’s like opening up a Pandora’s box with this extraordinary wealth to explore, understand and then share with audiences.”

Dido’s Bar has been two years in the making and was first inspired back in 2017 when Josephine met Kurdish Iranian refugee Marouf Majidi in Finland.

“I had been on an exploration of what it means to be European which had emerged out of the Brexit referendum,” said Josephine.

“I met Marouf in Finland in 2017 on my way back to the airport over a coffee and he told me his story of traveling to Europe. 

“He fled Iran as a refugee and was relocated to Finland, where he settled and eventually studied at the Sibelius Music Academy in Helsinki, where he now teaches. 

“He’s been on an extraordinary journey from the music conservatoire in Tehran where he studied Persian classical music, to teaching Finnish folk music.

“He found it very hard at first to establish himself musically and connect with the musicians he was playing with in Finland.

“Eventually something shifted for him and he found his place, but he was no longer ‘in tune’ with musicians from central Asia.

“It was such a short meeting, but that thing he said about feeling out of tune lived with me.

“I picked up the phone three months later and said I really wanted to tell his story and wanted him to be at the heart of it.”

Marouf Majidi - image Ali Wright
Marouf Majidi – image Ali Wright

He agreed, but at first Josephine struggled to find the right way to bring his story to the stage.

“I wanted to tell Marouf’s story and find a way of understanding what it is to be European through the experiences of refugees who travel here,” she said.

“It’s perhaps the people who move here and go through such a transformation, musically and emotionally, to insert themselves and settle in a new place, that can help tell us who we are. They can be that mirror for us.

“But I didn’t want to just tell a personal story, I also didn’t want to create a super band of musicians. I wanted to do something theatrical and dramatic.”

Her lightbulb moment came when she remembered a text she had studied 20 years ago as a classics student.

“I was chatting to someone about how the Aeneid is the story of our time, of the refugee and the struggle to find a place to belong,” she said.

“Aeneas flees Troy in the war-torn East and travels across the Mediterranean to seek sanctuary and build a new home in Europe

“It’s the story of both the experience of fleeing and having to assimilate and discover that, once you’ve arrived, it’s only the beginning of the story.

“Suddenly I realised it was the perfect way to tell Marouf’s story and to understand the role of Aeneas in a contemporary setting.

“The original epic poem is pages and pages long in Latin, involves mass battles and love affairs and is very involved and beautiful.

“We’ve taken that story and mapped it on top of Marouf’s.”

She developed the idea during a series of residencies with playwright Hattie Naylor and Marouf, who has composed the music alongside Riku Kantola.

Research and development in Scotland in February 2020 was followed by a residency in Finland – a few days together as part of Royal Docks Originals – and a residency in Cornwall.

Marouf then moved to London this summer to finish developing the show.

The cast of 10 is a mix of nationalities - image Ali Wright
The cast of 10 is a mix of nationalities – image Ali Wright

“I remember the two of us bent over on the floor in Scotland in the rain with copies of the Aeneid in English, Latin and Arabic ,” said Josephine. 

“We spent hours trying to work out what the story was and finessed it to the point where we would challenge each other to tell it in less than a minute, then 30 seconds, then 10. 

“Then we did a lot of jigsawing and planning and brought in Hattie who had adapted the Aeneid for Radio 3 as a drama.

“She’d go off and write and then we’d write a song together. It really was a collaborative process.”

The result is a show where the epic warriors of the original story are now musicians trying to make it into the spotlight and the goddesses are sisters who own two bars – one on the edge of town and one in the centre.

It draws on the backgrounds of its international cast who hail from Morocco, Madagascar, Germany, Finland, and Eritrea, and uses their native languages to enrich the performance.

Josephine said: “The show now is about how to understand an old myth written 2,000 years ago that feels so resonant and timeless.”

It will be staged in Unit F of The Factory, disused sugar warehouses that have recently been transformed into a series of new venues and workspaces. 

“It could never be in a black box theatre,” said Josephine.

“I wanted the audience to feel that they were somewhere impromptu and exciting and slightly makeshift. We spent quite a lot of time trying to find a place and saw some extraordinary places across the Docks. 

“Then, last May, I visited The Factory when it was in quite an early stage of development. 

“Projekt, our partners for the show, had just got Unit F from Tate&Lyle and, when we walked in, there were pigeons in the rafters and sugar all over the floor.

“It was sticky and black underfoot and it felt very powerful as a venue – I just knew it would amazing.”

Dash Arts has built the bar from scratch and it will serve up beverages from nearby Husk Brewing using local staff.

Newham artists will take to the stage each night and the show will be complemented by a programme of gigs, talks, food events and workshops to engage the local community, which has been shaped through the area’s history of immigration and dockers.

“It’s a perfect marriage for us of place and story because the audience is really going to feel that they’re coming to somewhere incredibly exciting and diverse,” said Josephine.

“Newham is one of the most linguistically diverse boroughs in London – there are hundreds of languages spoken there – and it has always been a first port of call for people.

“So to tell this timeless epic story today in Newham’s docks is really thrilling and right.”

The project has been co-produced with the Royal Docks Team and Jospehine said they have worked hard over the last year to embed it into the community, meeting local groups and running music workshops.

“There is a real sense of culture and community building happening there and I got very excited about that,” she said. “I had this real instinct that there wasn’t anywhere else to put Dido’s Bar.

She hopes the audience will embrace the world they have created.

“I really want them to have a wonderful night and love the music because it’s extraordinary,” she said.

“I want them to feel as I felt, that this old ancient story has such resonance today, to feel moved by the protagonists and the journey they have taken. 

“I hope they feel we have done justice to some of the biggest questions of our time, about how to assimilate into our communities.”

THE FACTORY – A NEW VENUE FOR ROYAL DOCKS

Once used by Tate & Lyle for sugar production, this 5.2 acre site on Factory Road is now a series of work and event spaces run by meantime use specialist Projekt (also behind the Silver Building)

It landed the first grant from the Royal Docks Good Growth Fund for a year-long refurbishment and opened the 100,000sq ft space in June. 

Organisations that have made The Factory their home include Community Food Enterprises, Links Event Solutions and The Beams – a new venue by Broadwick Live.

Unit A is home to a cafe run by The Breadmeister, Unit D is a set of workspaces and Unit F is a refurbished warehouse that will be hired out for film and TV productions.

Projekt said the venue provides new work and event spaces that will “safeguard and grow the already burgeoning artistic and cultural community around the Royal Docks, as well as providing a significant amount of affordable workspace.”

Read more: Discover Pouya Ehsaei’s Parasang at Woolwich Works

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- Laura Enfield is a regular contributor to Wharf Life, writing about a wide range of subjects across Docklands and east London 
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Woolwich: How Pouya Ehsaei is set to bring his Parasang project to Woolwich Works

The British Iranian musician will be performing on the same bill as Addictive TV at Arsenal Of Sounds

Pouya Ehsaei, centre, is set to perform at Woolwich Works – image Monika S Jakubowska/Kings Place

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Musician, sound designer, producer, curator and promoter Pouya Ehsaei wants his audience to join him on a journey and it’s called Parasang.

Talk to him about the project and it quickly becomes apparent that the British Iranian creative is more or less constantly in a state of flux himself – sands shift, ideas evolve and develop.

Parasang is a Farsi word for an ancient unit of measurement – specifically the distance it is possible to travel from one location to another in a single day.

“If you were to go from London to Reading, for example, that would be two parasangs,” said Pouya. “If you go today, then you’d get there tomorrow night.”

Parasang isn’t, however, about traversing great distances.

“It’s a live collaboration between Pouya and a series of other musicians, fusing his electronic music with their free improvisation.

Created initially as a club night, it ran for 30 performances between 2018 and 2020.

“The idea was to invite musicians from around the world with different backgrounds who would not normally play with electronic music to join me on stage in a club so we could improvise and play together,” said Pouya.

 The project then went virtual during the pandemic and has now changed again.

“That was using streaming platforms and we were jamming online,” said Pouya. 

“There was me in my room and musicians from all over the world – from Detroit, Berlin, South Korea and Brazil – we played together remotely, which was very complicated to set up, but we managed it.

Pouya’s system allows him to jam on stage with musicians – image Monika S Jakubowska/Kings Place

“Now we changed Parasang to be a bit more like a trio or duo that plays electronic dance music mixed with world music in a concert set-up.

“I developed a hardware system so I could improvise with the musicians on stage.

“I have a modular synthesizer, a sampler, a drum machine and a few effects pedals – I signal process all of the sound from the musicians I’m working with as well.

“Everything goes through my system. I mostly make the structure with simple beats, atmospheric sounds and modular generated patterns and then the musicians will freely improvise over the top of that. 

“Each of our concerts is one of a kind – the music is made there on stage and it will never be the same again.”

Parasang is set to be one half of the double-bill event Arsenal Of Sounds, which is set to take over Woolwich Works’ Beanfeast venue at Royal Arsenal Riverside on October 7, 2022.

Also on the bill will be Addictive TV’s Orchestra Of Samples, which sees soundscapes created from a vast library of recordings from musicians all around the world.

For this iteration of Parasang, Pouya will be joined on stage by Kadialy Kouyate, a kora player and griot (storyteller and musician) from Senegal.

“Every time I’ve played with him – three times so far with Parasang – it’s magic,” said Pouya. “His sound, his voice and his kora go very well with the stuff that I do.

“I’m really looking forward to the performance at Woolwich.

“The main idea is the sense of journey in our music. We start with something very pure and we take that purity to many places and we like our audience to come with us.

“Our music is hypnotic, immersive and atmospheric.”

Addictive TV's Orchestra Of Samples is also on the bill
Addictive TV’s Orchestra Of Samples is also on the bill

Pouya has been on a journey himself, both physical and musical, to get to where he is.

“Originally I’m from Iran and I started as a musician when I was a teenager – I took flamenco guitar lessons before moving on to classical guitar,” he said.

“In my early 20s I was teaching classical guitar in a school in Iran and then I found out about the electric guitar and I got into metal, nu-metal and rock music.

“It was a big thing back then.

“This was all underground though, in people’s houses or very small venues because that kind of music was banned.

“It was very hard to have a band and to do concerts – really to keep everyone motivated – so I gravitated to electronic music because you could just do that on your own.

“I could sit in my bedroom and send it out into the world, just to have a voice. There was no need to find rehearsal space for a band. 

“It’s hard to be committed as a group if you can’t play concerts or really get any kind of feedback on what you’re doing.

“So then I stopped playing guitar and applied to study music technology at York and then I did a PhD before moving to London 10 years ago.

“I’ve been playing music here for a decade now.”

In many ways, Pouya created Parasang in an effort to recapture the feeling he’d had playing music as part of a group, rather than creating it on his own.

“When I came to the UK, I was working on electronic music and that aspect of being in a band with others was missing,” he said.

“That’s why I thought I’d get rid of the laptop and arrange my instruments so I could just play with others intuitively and do that live if I wanted.

“I really like it, the state of flow you get into – the connection I feel with the musicians is completely different than if you just play alone.

Pouya will be joined by kora player Kadialy Kouyate for Parasang in Woolwich
Pouya will be joined by kora player and singer Kadialy Kouyate for Parasang in Woolwich – image Monika S Jakubowska/Kings Place

“Especially when you’re improvising, you have to be present in the moment – all your senses are at work – and with my setup there are so many cables, knobs and buttons, they demand a state of complete focus. That’s something I really enjoy.

“When you come to a city like London it’s so vast and so big that you’re a little bit confused in the beginning. 

“Finding people you want to work with and feeling part of a community can take a long time.

“But I have that now and I really feel that this is just the beginning for me. I’m now in the process of turning Parasang into more of a band situation.

“We don’t want to be a club night any more.

“The plan is to have an album a year with, say, with two musicians I want to work with, and then to go on tour with that before changing the line-up.”

It’s also through collaboration that Pouya came to be aware of the work of Addictive TV, the group he’s now sharing a bill with for the second time.

“I have a band called Ariwo, which is me playing with three musicians from Cuba – mixing Cuban and electronic music,” said Pouya, who has performed at venues such as King’s Place, the Barbican, the Royal Albert Hall, the Southbank Centre and the Royal Academy of Arts.

“We were playing at the Womad festival and I saw Addictive TV’s Orchestra Of Samples there – I was totally blown away by what they’d done.

“They saw one of the Parasang club nights in London and we got in touch. I think it was in May that we did a similar thing to what we’re doing in Woolwich – getting together for a concert. That turned out really well – we’re a good combination.”

Arsenal Of Sounds – Orchestra Of Samples And Parasang takes place at 8pm on October 7, 2022. Standard tickets cost £10.50.

Read more: How Third Space helps Wharfers make the most of their time

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

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Canary Wharf: How Third Space can help Wharfers maximise their training days

Elite personal trainer Stephanie Whitehead talks gym workouts, top equipment and mental health

Third Space's Stephanie Whitehead
Third Space’s Stephanie Whitehead

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There’s more to going into work than toiling at a desk or moaning about your employer in the office kitchen.

It’s about coming to a different environment and being able to take advantage of facilities that simply don’t exist in the suburbs or the home counties.

Take Third Space in Canary Wharf, for example.

Set over three floors, it boasts more than 100,000sq ft of training space including a climbing wall, swimming pool, boxing ring and pretty much every piece of exercise equipment you can call to mind.

Regular readers of Wharf Life will already be familiar with the hundreds of classes it offers every week, with everything from Yoga and Pilates through to the epic Yard WOD set in its purpose-built CrossFit-style training area.

The club recently launched its autumn campaign, offering memberships with no joining fee, encouraging Wharfers to see its extensive facilities as an extra benefit to heading into work, as more and more people transition back to regular commuting.

Elite personal trainer at Third Space Canary Wharf, Stephanie Whitehead, said the benefits to exercising this way were clear.

“Training at the gym is very different from training at home,” she said.

“During lockdown, because I’m a trainer, I could be very resourceful and come up with great workouts using just one kettlebell and that would be great fun.

“But we don’t have to do that anymore. The difference here is, firstly, the environment. This isn’t working out on a mat on your kitchen floor.

“Here, you’re in amazing surroundings with people doing really cool things.  You’re somewhere else and focused – you’re ready to train.

Third Space Canary Wharf has received some recent upgrades including to its free weights area
Third Space Canary Wharf has received some recent upgrades including to its free weights area

“Secondly, it’s all the equipment. You’re not limited by what you have at home.

“If you haven’t been in a gym for a while, that can seem overwhelming – which is why having the input of a personal trainer is really important.

“Suppose, for example, you’re coming into the office a few days each week.

“We can put a programme together for you that fits that, tailored to maximise what you get out of each specific visit.

“Each trainer will have a different style and a different approach, but it’s our job to give you that clarity, structure and focus.

“It also prevents you just doing the things that you are good at, which can create imbalances in the body.

“My approach would be to work with a client on an all-round programme based on the number of days they are coming in to make sure all of their muscle groups are getting involved and we’re working on their whole body.

“For example, I’ll do strength training, but in terms of conditioning, I’ll always try to throw in bigger, full-movements like thrusters or squats.

“That way you get better results and the client gets more bang for their buck.

“I’d say a minimum of three visits a week is a good idea because that is just enough to build habit and consistency and it’s achievable.”

Stephanie says she believes in pushing herself and her clients
Stephanie says she believes in pushing herself and her clients

Stephanie has worked in the industry for more than a decade and has been a trainer at the Canary Wharf club for eight years.

She is also assistant fitness manager there, meaning she mentors new personal trainers as well as working directly with clients.

Having discovered a passion for fitness at university while studying psychology, she went on to compete in CrossFit before developing a career on the gym floor.

That broad background means she is well-placed to understand the benefits training can have on her clients’ mental health as well as their physical state.

“A lot of my clients would say they have very stressful jobs – lawyers who work really long hours, or bankers who might deal with mistakes involving millions of pounds – really high levels of pressure to deal with,” said Stephanie.

“Firstly, coming to the gym is a distraction and, secondly, it’s a complete break with everyday life.

“I always say to people that this is a place where they can leave work behind – one hour, which is just for them.

“No work, no phone if they want – just the training.

“Exercise is an outlet – a lot of my clients have a little vent at the beginning of their session and then forget the minutiae of the day.

“There’s also that feeling of achievement – getting that personal best on the 2k row or lifting heavier than ever before.

Third Space's recent upgrades include new pin-loaded weight machines
Third Space’s recent upgrades include new pin-loaded weight machines

“With consistency and discipline you will see results and that’s what’s so rewarding about it.

“It’s positive reinforcement and it’s just different from the feeling you get from, say, buying a nice pair of shoes.

“That can be great, but it wears off quite quickly, whereas the feeling you get from achieving in the gym, whether it’s building muscle or losing body fat, means you get fitter and stronger.”

Over the pandemic, many people will have naturally lost the habit of going to a gym and may be nervous about their ability to return to regular training. 

Stephanie said the best remedy was simply to start exercising, but not to worry about attaining a certain level of fitness before getting back in the gym. 

“Personal trainers are not like drill sergeants – we’re not going to go crazy at the beginning,” she said.

“Personal training is very tailored, so each individual client will have a different ability level. We’ll assess that in the beginning and we just go from there. 

“Every single person, no matter what strength or fitness level they’re at will certainly see progress by the end of a few months.

“It might be that that they’re moving better or they feel less out of breath. They might be stronger or feel better.

“But there’s definitely no minimum standard to start coming to the gym – any time is a good time to start.

“My tip would always be to increase frequency.

Stephanie says commuters can get great benefit from exercising three times a week
Stephanie says commuters can get great benefit from exercising three times a week

“If you’re going only once a week and progress seems slow, then going up to three times will be of benefit.

“It’s also important to not just do that same movements over and over. That’s where a personal trainer can really help.

“Personally, I like having a certain amount of pressure.

“That’s why I compete in CrossFit, because having that constant challenge to improve gives me a limitless reservoir of drive and motivation.

“My training philosophy has always been to push myself and, within their own limits, that’s how I work with my clients too.”

In addition to its Canary Wharf club, Third Space operates in the City and at Marylebone, Islington, Mayfair, Moorgate, Soho and Tower Bridge. 

  • Third Space is currently offering memberships to its clubs with no joining fee.
  • Other incentives include discounted personal training sessions, two complimentary guest passes to the club worth £50, a meal from Natural Fitness Food, 10% off at The Pearson Room and a 25% discount off the member’s first treatment or massage at the Third Space’s Canary Wharf Spa. 
  • Club membership at Canary Wharf costs £180 per person, per month. The cost of personal training sessions varies.

Read more: How Canary Wharf’s Junior Board is shaping the estate

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

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Isle Of Dogs: Why Craft Central’s director is reaching out to the local community

Jo McLean says she’s excited to play her part in building the makers charity back up after Covid

Jo McLean has taken over as director of Craft Central
Jo McLean has taken over as director of Craft Central

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BY LAURA ENFIELD

For the last two years it has been heads down at Craft Central to keep things ticking over.

The creative charity on the Isle of Dogs had to bring in outside funding for the first time as the effects of the pandemic took hold.

But there is a new director at the helm – Jo McLean – who is ready to build the organisation back up and is looking around her to find its future direction.

“I took the job because I was really excited by the idea of a creative hub,” said the former professional musician, who knits and silversmiths in her spare time.

“I’m very much driven by community engagement. I think artists should sit at the heart of communities and be a really great resource for them. I see the potential for that to happen at Craft Central.”

A classically trained French Horn player, Jo spent 12 years touring internationally before packing away her instrument and starting a career in arts organisations.

“My first proper job was at Cove Park, an artist residency centre in Scotland,” said the 52-year-old.

“I was in charge of a capital project bringing in more accommodation and supporting the visual arts and crafts residences. That was when I first got interested in design and craft.”

A graduate of the Royal Northern College Of Music in Manchester, Jo lived in Scotland for 25 years working for organisations such as Uz Arts and The Touring Network and overseeing the creation of her own home, which gave her a new appreciation of architecture and buildings.

“I’ve always been really interested in good design and craft,” she said.

“So that’s kind of where my path into this area has come from.

Craft Central is based at The Forge on Westferry Road
Craft Central is based at The Forge on Westferry Road

“I’ve led organisations across all genres of arts, from performance through to visual arts, theatre, literature and lots of consultancy work as well around organisational development, which is, I suppose, where my real interest lies.

“This job brings together my two passions, which is great.

“It’s been a turbulent few years and the charity wanted somebody who was going to come and build up the organisation again and I have the skills to do that.”

It was love as well as work that brought Jo to the capital as she met her husband, a Londoner, and they tied the knot a few years ago.

“We had a long-distance relationship for quite a long time and decided we needed to come together,” said Jo, who recently dusted off her French horn to play on a new album by The Bluebells’ of Young At Heart fame.

She first moved to London just before the pandemic to work for Clod Ensemble, based on Greenwich Peninsula, but returned to Scotland after a year. When she saw the role at Craft Central she knew it was her chance to move down here for good.

“I was ready for a challenge, said Jo, who now lives in north London. “I’ve done organisation internally in CEO type roles but this role was very much building based, which I’d never done.

“The pandemic has left its financial mark on the organisation. 

“It’s always been self-sustaining, but the next couple of years are slightly trickier in terms of how we make the business model work as well as it used to.

“All the parts are there, it just sort of needed an architect to put them all together and help everybody to make it work, which is what hopefully I’ll do.”

She had never set foot in the area before, but had heard of Craft Central from friends who have studios there.

Formed in 1970, the arts organisation spent 40 years in Clerkenwell, but in 2017 moved to The Forge on the Isle Of Dogs – one of the last buildings from the golden age of shipbuilding in the area. 

Located on Westferry Road, it was built in 1860 for CJ Mare And Company and constructed the keel for battleship HMS Northumberland.

It fell into decline in the 1900s, but was restored and transformed into studios and workspaces used by Craft Central, by the construction of a virtually freestanding two-storey birch plywood structure within the existing Flemish bond brick walls.

“I was blown away – it’s a stunning, incredible building,” said Jo, who is currently hunting for a facilities manager to help take care of the site.

“What I really liked about it is there’s a connection to the west coast of Scotland, which has a really rich shipbuilding heritage and I’ve been told that a lot of Scottish people moved to the Isle Of Dogs for the shipbuilding industry down there. 

“So being in that sort of very heavy industrial building feels quite comforting to me.”

The Forge's studios are home to more than 70 makers
The Forge’s studios are home to more than 70 makers

With around 77 makers based there, the studios are almost full, but Jo is concerned about the effect the cost of living crisis will have this autumn.

“Artists are going to be really hard pushed to afford the luxury of having a studio,” she said.

“I am anticipating people will have some very difficult decisions to make and I’m thinking about how we can make sure that we have a full space and keep the business model working.

“Our rent review will be due next year and I’m sure the utilities will go up. We are going to have to face some harsh realities about increases to our costs. 

“I’m going to do my very best to make sure we don’t pass those on to our studio holders, but it will largely depend on whether we can find some support to help us.”

The pandemic already saw bosses seek outside funding for the first time, from the Foyle Foundation and Garfield Western Foundation. Jo said more would be needed this year to make the figures work.

“My ambition is that in two years we won’t be relying on any sort of trust, foundation or public funding in order to operate as a centre for craft, but we would be looking for funding to run programmes with the community,” she said.

Jo is hoping to forge relationships with companies in Canary Wharf and beyond to help spread its work further into the Island.

“Craft Central isn’t just about the building – it’s going to be really important to take the brand beyond that,” she said.

“I’m trying to find as many places to connect to as I can, locally and more widely. I’ve inherited a really fantastic team and we’re looking forward to the future.

“For a while its been head-down, let’s hold this together and the team did a fantastic job of that. Going forward, it’s our ambition to be much more embedded in the community. 

“Ways we can work with residents and local groups is going to be a definite focus.”

 Jo already plans to register Craft Central as an Arts Awards venue to help broaden its work with young people.

“I think it’s really important that we engage with children,” she said. 

“Craft isn’t taught so much in schools any more and I think a part of what we can offer is a window into another world for young people.

“We want to work more with older people, because the motor skills associated with craft are a recognized benefit in ageing as well.

“There are so many benefits associated with art of any type, but particularly in craft. It connects you to yourself.”

Craft Central's makers work in a range of different areas
Craft Central’s makers work in a wide range of different areas

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- Laura Enfield is a regular contributor to Wharf Life, writing about a wide range of subjects across Docklands and east London 
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