Talk to Tony Brien about his career in photography and there’s always a sense of fun in his anecdotes.
Having begun his career as a photo journalist working on Fleet Street – covering football, rugby at Twickenham and cricket at Lords – a move to Northern Ireland during the Troubles was a stark contrast.
But even here he recalls the humour of the people of Belfast and the grand times enjoyed in nightclubs under hotels despite the violence and the regularity of being stopped on nights out by the army or paramilitary groups.
Returning to London, he set up a studio for an advertising agency before deciding a couple of years later to “take a bet on himself” and go freelance, starting his own business in a mews just off Oxford Street.
“I had a few clients who were using my services and the studio, which had a red filing cabinet and bits of cameras everywhere,” said Tony.
“Looking back, it was fantastic and it worked. I’ve never had a bad day in photography – if I have a big project, I’ll do anything to make it work.”
It was that attitude that would set him on a trajectory to capturing the images featured on these pages – recently rediscovered during a clear out after more than 30 years.
Tony worked extensively for Olympia And York, the company founded by the Reichmann brothers, which undertook the development of Canary Wharf.
In the late 1980s, he captured many images of the scheme as construction progressed, working with the company until it collapsed in 1993.
Workers await the arrival of the pyramid cap in November 1990 – image Tony Brien
“The people running the company were so generous of spirit – they really wanted it to work,” said Tony.
“I think it was Sherlock Holmes who said to Watson that you should always carry a pistol east of Aldgate and that still applied to a certain extent at the time.
“When I was commissioned, I walked all over the East End and went up various tower blocks to see whether I could get a view of the development as it was being built.
“In the end I said we needed to hire a helicopter if they wanted shots of Canary Wharf in relation to the City.
“That was £1,000 a day, which was a lot of money, but I hired a panoramic camera – the only one in the country at the time – and sat in the footwell with the doors off, headset on, which was the only way to do it at the time.
“The clients loved the shots and they were used for promotional booklets that were sent out everywhere.
“They caused quite a stir at the time because of the way they used the panoramic photography.
“Olympia And York had huge plates made up – they were really keen to take ownership of that format as their look.”
The images on these pages were not, however, taken from a helicopter. In fact they almost never happened at all.
The tip of the pyramid comes into view – image Tony Brien
“Nowadays it can be done with drones,” said Tony.
“I’d been asked to capture the topping out of the tallest building in Europe – One Canada Square – telling the story of the regeneration and rebirth of Docklands and, in turn, London itself.
“It was early November 1990 and it wasn’t a great day, it was blustery and they usually stopped lifting anything at a wind speed of 34 knots. That day it was gusting up to 50.
“The only way to get the shots was for me to be lifted up 830ft in a small metal cage on a single chain by a crane.
“Originally the cage didn’t have any walls so they built a sort of tea chest in it to stop both me and my camera equipment falling out.
“So there I was in my ski suit, all ready, and we didn’t know whether it would happen.
“But the wind slowed considerably – the guys at the top radioed to say it was OK and we ought to take a punt at it.
“So I got in, started sorting out my cameras and rose off the ground. About halfway up, the wind started gusting again but we decided to keep going and up we went.
“After my little bucket had passed the half way mark, they started lifting the cap of the pyramid for the top of the building.
“The danger, of course, was that either that structure, or my crate would swing in the wind and hit the tower.
“So there I was, at the top, swaying around and waiting for the pyramid, which had three flags – from the UK, Canada and the USA – in celebration of those backing the project.
“I was committed. I’d said I would do it and I was right there, in position.
“I could see the workers on the building waiting for the pyramid and I had every camera possible there and loaded.
Tony in his makeshift crate at 830ft – image Tony Brien
“But the trouble with the panoramic cameras is you only get four shots so you’re a bit snookered.
“There I was, sitting in my box, changing film and looking up to see where we were. Then the wind really started blowing.
“Well, you know when you’ve got the shot, and I thought I had, but I bent down to load some more film and felt the bucket drop a little.
“I dropped into the foetal position, as though that was going to do anything.
“Then everything was OK, I stood up, got one more shot and then told the workers to get me out of there.
“Going down was fine and I jumped straight in the Range Rover and drove to central London to get to the processing house.
Back in Canary Wharf: Tony at One Canada Square – image Jon Massey
“Then, when the shots were done, I rang the client and said: ‘I think I got it’. Everyone was terribly excited.
“The flags had got knotted up and for that last shot I shouted over to the workers to pull the Union Jack out – they were very accommodating.
“It was quite something to witness their bravery in those dangerous conditions as they guided the pyramid into place.
“Finding the film again was a really nice discovery.
“The people running Olympia And York were a real pleasure to deal with – it’s something I’ll never forget”
Tony continues to work as a photographer and his Canary Wharf images are currently being shown at Ad Lib Gallery in Wimbledon.
- 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
The ever increasing numbers of people strolling though Wood Wharf will likely remain mostly unaware that a revolution is taking place on the first floor of a Park Drive office block.
It’s not that Canary Wharf hasn’t welcomed creative endeavours in the past.
It hosted a TV station in the 1990s – Live TV, complete with eponymous show Canary Wharf, a sort of soap opera-meets X-Files affair with a woeful budget and acting to match.
It’s served as a backdrop to numerous films including both 28 Days Later and 28 Weeks Later as well as Welcome To The Punch with James McAvoy and Mark Strong facing off as a grizzled detective with a gammy knee and a notorious, violent criminal respectively.
Its Tube station stood in for the Death Star in Rogue One: A Star Wars Story, with Adams Plaza popping up again in TV show Andor as part of an evil Imperial base.
With the exception of the odd media company, however, what Canary Wharf has never had is a series of spaces dedicated to creative content generation.
Co-founder of The Qube Amin Hamzianpour
Enter Amin Hamzianpour – musician, music producer and former Morgan Stanley analyst, who is bringing The Qube to the estate.
In a nutshell, it offers flexible, plug-and-play studios for rehearsal and recording 24 hours a day. But it’s also much more than that and here’s how it happened.
“I have a bit of an eclectic background,” said Amin.
“I did a degree in human sciences at Oxford and then, encouraged by my parents, I went to work in investment banking at Morgan Stanley, ironically in Canary Wharf.
“I didn’t like it at all. I liked being around hard-working, ambitious, intelligent people, but the work wasn’t what I wanted to do.
“I’d always created things – I was a musician, I played, wrote songs and also made animations when I was young.
“Working in banking felt as though I wasn’t making anything, so I eventually quit to pursue a career as a songwriter.
Qube East offers fully equipped facilities including rehearsal studios
“My parents knew how hard-working I was, so they were very supportive.
“With finance, if you wait around long enough, the money gets so good that it’s difficult to leave and I could see that happening to me.
“I thought that because I was working such long hours in banking, that, if I applied that effort to music, I might get 50% less money, but I would have a much more fulfilling life.
“I was quite naive about how difficult it was to build a career in the music industry.
“I rented a basement room from a friend and tried to soundproof it, but it was a bit of a disaster.
“Still, I started making music every day, emailed every single blogger and every single label, trying to get my name out there.
“After about six months someone very well connected on the blogging scene miraculously reached out and said they really liked my stuff.
“So I met with him, made one house record, he sent it out to the blogs and we made the alias quite anonymous.
Qube East also boasts a bar area, open to non-members on Thursday, Friday and Saturday nights
“ The blogs picked it up and it exploded online, and the next thing I knew, I was getting offers from every major record label.
“It went from one day when nobody knew who I was to me having meetings with Universal, Sony, Warner, which was the dream.
“Having now had a career in music for five or six years, I now realise how ridiculously improbable that was, and it was a probably a bad thing, because at the time I thought that was just how easy it was.
“I signed to Spinnin’ Records – a Dutch label – and Polydor picked it up and put it online.
“It got something like a million plays, which at the time was quite good. So I built my career thereafter and became a house artist when electronic music was really flying.
“I released quite a few singles on different labels – Ministry Of Sound, Universal, Polydor – and while nothing was majorly successful, I was making a living.
“Then I started writing and producing for loads of different artists.”
It was at this point Amin discovered how difficult it was to find good studio space at an affordable price with the only offerings seemingly £1,000 a month contracts for a year or substandard dingy basement rooms with non-existent soundproofing.
Then he met co-founder of The Qube, Nick Sonuga, who was building studio spaces that would fill up immediately due to demand.
The studio spaces are plug and play with equipment in place ready to go
“Initially, I thought that if I did one or two studios with him, I could make a base salary and then continue making music,” said Amin.
“One of the most frustrating things about being a musician is the variability in income, which could be 300% either way, with no way of predicting it.
“That was difficult as I was starting to get older.
“So I started talking to Nick about finding solutions to these problems.
“How could we come up with a space that provides everything creative people need, that is affordable, flexible and provides a community?”
The pair came up with the blueprint for The Qube, found a warehouse in west London and put down their joint life savings as a deposit before going out to investors to raise £2million.
Launched in 2020, it houses 40 studios designed for everything from creating music to podcasts and photography.
The spaces come fully furnished with equipment with members paying between £75 and £2,000 a month for varied levels of credits that are translated into studio time.
Some studios are set up for DJs to use
“It’s open 24 hours a day and it did really well – miraculously it turned a profit within six months, which was quite staggering,” said Amin.
“I think it was a testament to how much people want this product and there’s no-one really doing this apart from us.
“While it is challenging to serve all the different markets – the podcasters, vloggers and musicians – we have a team of really experienced people from all walks of life to look after them.
“Every startup is an experiment. Everyone involved with The Qube is creative and we’re developing products that we would want to use.
“We’re trying to stay true to that. We think there’s a huge opportunity here – already if you’re a YouTuber, a podcaster or a music producer your parents will more likely be telling you to go for it than laughing at you.
“These people will need places to go and create work and wherever they want to do that there should be a Qube in their nearest city.”
On that path to global domination, Amin and Nick selected Canary Wharf as their second site due to the ease of travel in and out and the safety of its environment.
Amin said: “The obvious choice would have been Hackney or Shoreditch but we wanted to give people the best experience possible.
“What we noticed about Canary Wharf is how unbelievably well connected it is, and that makes a huge difference, because people from all over London can get here quite easily.
“We also like the fact that we’re so different to other businesses here and can be an oasis within a totally different culture.
Qube East is open 24 hours a day for content creators to come and go
“Canary Wharf Group has been unbelievable in helping us get to the point where we can offer affordable pricing and build our dream as we wanted.
“While people love our west London warehouse because it feels organic, we’ve spoken to our creators – many of whom are women – and we are aware they can feel genuinely uncomfortable accessing some spaces, especially at night.
“It’s a huge problem, but here it’s so safe.
“A lot of our members are using these facilities at night, starting at 9pm and leaving at 4am.”
It’s perhaps because community is so central to The Qube’s model that this is one of the driving factors in its decision to open in Canary Wharf.
“We are a members club and we curate every single application that comes in,” said Amin.
“At the moment we reject around 70% and we take people purely on the basis of talent – whether we think they have high potential and are creating high quality content.
“It has nothing to do with how many social media followers someone has and it is somewhat subjective – would you be happy being stuck in an airport lounge with them for an hour – but that means membership isn’t just about the value of the studios, it’s about every other person you meet and knowing that they’re going to be doing something really cool.
“We’re trying to filter out all that pretentiousness and bravado in the industry – we hate that.
“It also means our bar will be a great place to be and we’ll be opening that to non-members on Thursday, Friday and Saturday nights until 11pm, with an open deck policy on Thursdays and a resident DJ on Fridays.”
- 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
The Gun is a pub that has long been about bringing people together.
That might be the illicit meetings of Lord Horatio Nelson and Lady Emma Hamilton (whose trysts remain immortalised with their names on the toilet doors), rugby fans indulging in pints while watching the game or locals catching up around the fire or out on the terrace in the warmer months.
Recently it’s been experimenting with wine tastings – refining and ageing its formula ahead of the launch of a regular series on the last Friday of the month, set to kick off in earnest on March 31, 2023.
Having recently attended one of the warm-up events, I’m happy to confirm that The Grape Escape features no uncomfortable tunnelling beneath the Thames or Steve McQueen impressions.
Rather, it was a snug evening in the company of fellow wine enthusiasts, heated by an open fire and set to the gravelly tones of deputy manager Fabio Scarpa, whose rich drawl proved as deep and rewarding as the notes in a well-aged Cabernet Sauvignon.
We tasted seven wines, nibbled on cheese and took turns to tour the pub from top to bottom – enjoying its views, nooks and cellar to get an appreciation of the place’s history and continuing appeal.
Fabio Scarpa hosts the The Grape Escape at The Gun
Perhaps the most striking thing about the evening, however, was its role as a catalyst for interaction – bringing long standing local residents together with east London newbies, to much merriment.
Lubricated by three reds, three whites and a fizz, the atmosphere was open and welcoming as a diverse group of attendees talked about the wines, themselves and a certain amount of nonsense (me) in good cheer.
Having come through two years where talking freely to strangers was pretty much an impossibility, it was refreshing to see how easily and enjoyably the world has returned to normal.
Looking around at smiling faces, with fast friendships formed, it was also a moment to reflect that people have been enjoying such pleasant evenings at the venue since the 1700s.
With a lazy fire smouldering in the grate and the scent of wood smoke in the nostrils, perhaps some things don’t change so very much.
The final format (and price) of the forthcoming tastings is still in production but will be announced on the venue’s website and social media channels in due course.
WHARF LIFE’S PICK OF THE WINES
Meerlust Cabernet Sauvignon / Merlot, £65
Stellenbosch, South Africa
This wonderful, rich companion should be drunk in leather armchairs by an open fire in fine company.
Eins Zwei Dry (Best Buy)
Riesling, £41
Rheingau, Germany
Crisp and refreshing with a pun in the name, this was the wine of the night as well as being the most modestly priced
Bolney Estate
Bubbly Brut, £50
West Sussex, England
This fizz is a true delight on the tongue and a wonderful way to start an evening. Refreshing and approachable
- 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
Those who don’t drive to Canary Wharf are unlikely to have made it to the glamorously named Level -3 of Canada Place’s car park.
But Wharfers who have recently descended so far via the lifts to the right of Waitrose may have been surprised to find a vibrant splash of orange in the deep.
Car rental firm Sixt has joined UFO Drive in offering vehicles for hire on the estate – and it’s created a glossy, disco ball of a space, all vibrant colour and shining LEDs.
In celebration of its arrival the company offered to lend Wharf Life a car for a couple of days to demonstrate the process. So I accepted.
Stepping through the glass doors of the brand’s richly kitted out unit – complete with bright orange desks, a sliver of bustling flatscreen and smiling staff – it was easy to forget I was in a car park.
Everything inside was clean, shiny and new.
Inside Sixt’s latest opening at Canary Wharf
Due to poor organisational skills, I’d managed to turn up a month early for my booking, but the patient staff simply made a few calls and sorted things out with minimal fuss.
I’d been expecting a lucky dip economy car – a VW Polo or similar – but was also offered an upgrade to Tesla’s long range Model Y.
A chunky all-wheel drive electric, it’s capable of zipping to 60mph in less than four seconds from a standing start.
The staff took me through the rudiments of the vehicle which, after some jerky pulling away, I managed to pilot gingerly out of the car park avoiding any bumps.
My plan was simple. First, survive the journey home. Then decide on a destination out of the smoke to find some winter fresh air – nothing fancy, just a jaunt.
Both went entirely to plan. The Tesla turned out to be almost too easy to drive.
Its lack of dials was a little peculiar at first, with a large touchscreen in the centre of the car handling all necessary read-outs.
Bristling with cameras to aid manoeuvring and a curious video game-like graphic of the position of other motorists, cyclists, traffic lights and traffic cones, it was a vision of the self-drive future yet-to-come.
The Tesla Model Y on its travels
Indeed, there was a sense of the car already becoming self-aware.
I felt it intervene at least once while driving on the motorway to prevent us wandering into another lane.
No bad thing, perhaps, but the wheel moving independently was a little disconcerting.
The Tesla – firm of ride – managed the country bumps well enough and I found myself rapidly delivered to a place less than an hour from London, but also worlds away.
Run by a voluntary, charitable trust, the reserve comprised the remains of the gardens attached to the long ruined house, the family home of Edwardian horticulturist Ellen Willmott.
It was a beautiful spot in the February sunshine, liberally coated in daffodils, snowdrops and crocuses.
While not completely impossible to access via public transport, the only alternative to a car would be to catch a train to Brentwood and arrange taxis to and from its location.
The Essex Wildlife Trust proved a welcoming bunch, albeit a little over sensitive on the health and safety front.
Cheery warnings were imparted as I walked through the gate about keeping to the path lest terrible peril befall the unwary.
This proved to be very much the theme of my visit as fresh terrors were regularly depicted by scary yellow signs flagging deep and dangerous water in every pond, unstable walls and the ever-present threat of CCTV surveillance.
A view towards London from Warley Place Nature Reserve
But despite a flash of hailstones and the fearful cacophony of the warnings, I was charmed by the place.
Clearly loved by its volunteer army, who keep its ramshackle beauty in good order – enough to attract a multitude of birds and other wildlife.
It was the ideal antidote to the formality of the city, although a view of a distant Canary Wharf did pop up from one vantage point.
As for the car itself, it was more or less effortless to drive after getting used to its curious lack of forward crawl.
Unlike standard automatics the Model Y doesn’t creep forward when the brake is released but waits until its accelerator is pressed.
It also brakes when it is released, more akin to a manual petrol car and a feature that essentially lends itself to one-pedal driving.
This was my first experience of renting an electric and proved seamless enough with a full battery supplied on collection.
The only minor faff was having to ensure an 80% charge on return of the vehicle, which took about 15 minutes on one of Canary Wharf’s Level -3 Tesla Superchargers.
Then it was simple to park up, drop the key in the slot and go about my morning.
Sixt also rents petrol cars and hybrids – still its main area of business – with prices for the same length of hire starting at £32.66 per day for an entry level vehicle.
FACT FILE – TESLA MODEL Y LONG RANGE
Cost: £74.66 per day (from Sixt)
Minimum hire: 3 days (from Sixt)
Range: 331 miles
0-60mph: 3.5 seconds
Top Speed: 135mph
Equipment: 15” Touchscreen
Seating: 5 Adults
Hire from UFO Drive of a Tesla Model Y Long Range was £102 per day at the time of writing
- 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
The latest retailer to arrive in Canary Wharf is both a brand with decades of history while also shining out of its new store in Canada Place with a cool blast of chic modernity.
Even before officially opening its doors, the footwear and handbag shop’s wall-size visual display was drawing attention in the mall.
But step into the pale wood, brass and bronze interior and the atmosphere has a subtle flavour of the brand’s pedigree to it, with golden metal and minimal displays showing off the products to luxurious effect.
“We have a 140-year-old family owned business that looks to entertain its customers with a modern shopping experience and offers a wide range of products for men and women manufactured in Italy, Spain, Portugal and Northern Europe,” said Andrew Bromley, CEO of Russell & Bromley.
“We blend modern styling with longevity and quality through long-term partnerships with factories, including some that my grandfather worked with.
“I knew him well – he was around for a long time. I’ve taken over from my father, having apprenticed with him 25 years ago and he took over from his.
“My brother’s now doing what my uncle did, and he did what his uncle did.
“Originally the Russells and the Bromleys were both shoe purveying families.
“The Russells were manufacturers and the Bromleys were in sales
“George Russell got together with Julia Bromley, and George Bromley got together with Liz Russell.
“There’s a huge thread that runs through it all.
“Today my brother, my cousin and I are now all working in the business and the wider family are sill linked in too – especially with what the brand is doing and where we are going.
“For us, it’s about balancing that heritage with modernity and the passion we bring to the business.”
Family business: Russell & Bromley CEO Andrew Bromley – image Jon Massey
In 2023, Russell & Bromley is very much a forward-looking, high end retailer focused on building and continuing to develop and market products under its own brand.
Its 1,300sq ft Canary Wharf store sees the brand operating in more than 33 stores worldwide including a recent opening in Dublin.
“The Canada Place shop is a new concept, which we’ve built to further engage customers,” said Andrew.
“We’re data-led as a business so we see how customers interact with our stores and what they require. It’s the balance of online and in-store shopping.
“People like to try shoes on in person. There’s nothing like walking out of a shop with a pair you know will fit.
“Buying online works too and that’s a big part of our business – customer satisfaction is about wearing fashion that’s comfortable, modern, puts a smile on your face and gives you confidence.
“Shopping in a store is a different experience, but still incredibly relevant.
“When customers come in to see us they will find a team with great expertise, knowledge of the trends we’re offering and the outfits they can be worn with.
“We love people to feel welcome and that comes from the environment we’ve created, the skills of the team and the general ambience.
“The most exciting thing for us is to see a customer’s face when they walk out of the shop happy.
“We aim to create a family environment in our stores and in the company as a whole.
“That binds us together and adds an element of the personalities of all those involved in the journey.
The Canary Wharf store features plush upholstery and plenty of brass
“The store team in Canary Wharf will add their piece to the story while also having the knowledge passed down from the buying and marketing teams, so they know what fits with what our customers are after.”
While Andrew and the team are unquestionably focused on the business side of the brand’s operation, there’s a real sense of enjoyment at the prospect of engaging with customers on the Wharf – a place that’s long been on the firm’s radar as a possible location.
“Black is, of course, one of the main colours, but coming out of the pandemic we’re seeing people really wanting some colour,” said Andrew.
“One of the big things we look for when selecting products is that glint in the eye – shoes where the customer can have a bit of fun trying them on, then going out for dinner or heading out to meet friends.
“We have really important relationships with our manufacturers – we don’t own a factory ourselves, but work with different suppliers.
“What people see in the stores is a very carefully considered, curated edit.
“The customer is always in our minds and the data we have from them is central to the whole process. It’s about presenting people with what we feel they need.
“I could easily say that it’s the opening of the Elizabeth Line that has led us to Canary Wharf, but there’s been a constant increase in interest over a much longer time.
“We had success at Westfield White City and we always felt our brand would do well in Canary Wharf.
“It’s a huge community which has developed beyond just office spaces.
“There’s a lot of lifestyle options here, a lot of residents and a lot of hospitality businesses.
“People are living their lives in Canary Wharf in a way that perhaps they didn’t before, so we felt now was the right time.”
As for the future, the brand’s latest store is right at the forefront of its increasing integration of digtal and traditional retail.
“We’ve got a big project to enhance customer experience – joining up online and in-store to make things seamless,” said Andrew.
“It’s bringing the storytelling of what we do and why we’re doing it to both places.
“About 80% of customer journeys start online, and yet nearly 70% of our business is in-store.
“There’s always going to be a need – a lot of brands that started online are now seeking physical space. Our message is that wherever you want to buy, we’re here for you.”
THE WHARF LIFE EDIT
Six styles picked out from the brand’s current range for Wharfers to consider:
R&B says: “Cleopatra is a contemporary reimagining of our bestselling loafer.
“Crafted from smooth nappa leather in a bold pink hue and set on a lightweight contrast sole, this style has been adorned with a chunky gold three-ring chain trim, structured piping detail and a subtle plaited welt, offering chic finish to a cult classic.”
R&B says: “Bringing back the Y2K kitten heel, Slingpoint is a comfortable way to wear the heeled slingback trend.
“Crafted in Italy from metallic pink leather, this chic pump has been set on a vintage-inspired kickback flared heel wrapped in matching pink metallic leather.”
R&B says: “Add the preppy refinement of collegiate style to your outfits with Oriel.
“Crafted from butter-soft tan-brown suede to a round-toed frame that contrasted with sleek leather panels, piping and tassels, and set on comfy gum soles, they’re the perfect week to weekend shoe.”
R&B says: “Hove M is a luxurious yet laid-back lace-up derby designed to walk you through the everyday.
“Crafted from rich double-faced calf leather in a glossy brown hue, this style boasts a buttery soft, sumptuous feel from top to toe, whilst a statement square toe detail has been accentuated by enlarged piping and intricate stitchwork.
“Finished on a translucent, leisure-inspired gum sole creating a clean elevation, Hove M offers both style and durability with each step.”
- 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
“You can never run out of things to paint in London,” said Ed J Bucknall.
While he doesn’t say so explicitly during our interview, it’s clear the Wapping-based artist has a deep passion for the city around him – a deep connection to and endless fascination with the very fabric of the place.
“A lot of the inspiration for me is derived from the Thames – the changing light and the changing skyline – because London’s being constantly reconfigured,” he said.
“My works are almost snapshots to record this decade of London expanding.
“I always carry a sketchbook with me, so I’m often seen locally, sketching and drawing in pubs in winter and outdoors in summer.
“I do as much of my work as I can on location, including painting.
“I work in pen and ink, watercolour, acrylic and oils on paper, canvas and even marble.
“I’m self-taught and the nice thing is that I haven’t been moulded to a particular style or technique. I paint what I want to paint and people either like it or not.
“Over time, I’ve learnt techniques that work for me and I take inspiration from generations of amazing artists.”
Detail from Canary Wharf In Mist by Ed J Bucknall
Originally Ed trained as an architect in Leeds, before moving to London in 2011 and continuing to practise his chosen profession.
While drawing was one of the things that first attracted him to architecture, he increasingly found the digital side of his work less satisfying, which prompted a change in direction with the arrival of the pandemic.
“From an early age I’d always painted and drawn for pleasure,” he said.
“When I started as an architect, it was all rooms full of drawing boards, but with computer aided design, you hardly see anything like that now.
“I was having some success with gallery shows and selling art alongside my career as an architect and the lockdowns were the catalyst for me to move into making art full-time.
“I started selling paintings at Wapping Docklands Market at Brussels Wharf in 2021 on Saturdays and then, last year, at Canada Water Market in Deal Porter Square on Sundays.
“I was the first non-food trader at the former and that’s now brought in a lot more crafts, which have been very popular.
Detail from Great Jubilee Wharf by Ed J Bucknall
“At the same time, I exhibit full time at Skylark Galleries on the South Bank.
“Between those three, it’s been great for exposure and I’ve had a lot of success with ongoing commissions including pub signs and bespoke cards for Greene King to sell in their pubs.
“I’ve also had some of my images appear in worldwide publications.
“Art has always been my passion, but I never thought I would make ends meet as an artist.
“One of the things that has surprised and encouraged me since going full time is that it’s possible to make a living making art in London.
“Fortunately for me, my work strikes a chord with a whole range of different people – locals who have lived in the area for many years and are delighted to see an artist draw and paint what they see and experience, people moving into the area, some moving out and tourists visiting.
“I think what appeals is that my pieces are quite traditional but they are not just photos. They are my take on whatever I see inspired by a particular view or the light.”
While Ed’s work often features familiar landmarks, he’s always looking to bring a fresh perspective to the places he draws and paints.
Detail from Shadwell Basin, Wapping by Ed J Bucknall
“Low vantage points always inspire me,” he said.
“When the tide goes out and you’re down on the Thames foreshore, you see buildings and the whole of London in a different way.
“I used to kayak on the Thames, so I was privileged to see unusual views, and that’s part of my mindset. It’s escapism from the hustle and bustle of the city.
“You can be in central London, or in Wapping, just down by the water and it gives you a sense of tranquillity – although you have to be aware of the tides of course, which can also change the view as boats rise and fall.
“The sketches I do on location are much better than photographs, which can distort things – so they are my crib-sheet for working on the finished pieces in the studio.
“I find the paintings just happen – some are happy accidents and some come through skills that I’ve picked up by trial and error.
“Some of my pieces are painted on reclaimed marble, which is quite unusual.
“They look almost three dimensional and have a connection to the history of London.
“Some of the marble I use is recycled Thames ballast that would have been dumped in the river in the 18th and 19th centuries after ships had taken on cargo.
“It has natural patterning and colouration from its time in the river and that’s something I work with.”
A sketch by Ed of the interior of The Grapes pub in Limehouse
As a registered mudlark, Ed has a physical link to both the subject of his paintings and, with the marble, the medium he works with.
“I don’t dig or scrape on the foreshore, I just pick things up from the surface,” he said.
“Anything of archaeological significance is recorded and reported to the Museum Of London.
“The Thames is like a washing machine – items just get churned up and uncovered.”
Trading at the market is another point of connection, where visitors can browse his works or chat with their creator.
“It’s been a steep learning curve but one that I’ve really enjoyed,” he said. “It’s lovely to meet both fellow traders and the general public.
Detail from Ed’s painting of Canary Wharf on reclaimed marble
“I think it’s important that people have an opportunity to speak to artists and I’ve had lovely stories of young people being inspired by my work.”
As for the future, Ed intends to continue balancing the work he wants to paint with commissions from commercial clients and individuals.
Ed’s work is available to buy online with an extensive range of signed prints from £35 and greetings cards and postcards also available. Prices for the latter start at £2.
Readers can also find Ed at Wapping Docklands Market, which runs at Brussels Wharf from 10am-4pm on Saturdays and at Canada Water Market at Deal Porter Square on Sundays at the same times.
Detail from Ed’s painting of St Paul’s on reclaimed marble
- 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
“Yes, nobody has ever committed a crime after being executed. 100% success rate,” said Lee Anderson, the Tory MP for Ashfield, in response to being asked whether he would support the return of the death penalty, during an interview with The Spectator.
The former Labour politician, who was recently appointed deputy chairman of the Conservative Party, had made the comments shortly before getting the job.
His apparent stance was subsequently disowned by current prime minister Rishi Sunak and his government.
However, it’s sobering to think such ideas continue to circulate in the upper echelons of public life.
After all, it’s a little over a decade since Priti Patel, then the relatively new Conservative MP for Witham, advocated for the return of the death penalty as “a deterrent” on BBC Question Time.
At the time, she seemed bemused at the idea that innocent people might inadvertently be put to death by the state following miscarriages of justice.
She went on to hold high office, including the position of home secretary under Boris Johnson.
It’s been nearly 59 years since the last hangings in the UK took place – incidentally three years before Lee, now 56, was born – although final abolition didn’t come until 1998 when the country signed up to the 13th Protocol of the European Convention On Human Rights.
This is all very interesting, but what have the extreme views of two Conservative politicians got to do with this part of east London?
Well, perhaps Lee, Priti and anyone else with an interest in formulating a view on state sanctioned killing would do well to pop over to the Museum Of London Docklands.
Its latest major exhibition Executions is in place at the former sugar warehouses on West India Quay until April 16 and acts as an in-depth examination of some 700 years of public capital punishment in London.
Granular, macabre and fascinating, it’s a potent, sensitive and poignant exploration of the extreme things humans find excuses to do to one another in the name of justice.
Its primary focus is on the first recorded and last public executions to take place in London between 1196 and 1868.
Museum Of London curator of social and working history Beverley Cook – image Jon Massey
“We wanted to focus on where we had evidence,” said Beverley Cook, curator of social and working history at the Museum Of London.
“The first was recorded at Tyburn, which became the main site for public executions in the city until it closed in 1783 and then moved to Newgate Prison.
“The exhibition is quite traditional in that it relies very heavily on material and visual culture, which we have interpreted to tell the wider story.
“Where we don’t have objects, we’ve used some audio-visual elements to present content with a design that’s very strong and atmospheric to tackle a potentially challenging subject and deal sensitively with the difficulties of bringing that to an audience of the general public.”
Executions examines the mechanics and practicalities of the killings – what methods were used to end the lives of the condemned and where these acts took place.
Over the course of the 700 years people were hung, drawn and quartered, burnt alive, hanged and beheaded – the latter being a fate mainly for convicted members of the nobility.
Two poisoners (one a chef) were even boiled to death in separate incidents.
“In the earlier period, with governments and the monarchy being more unstable, you find more people being executed for things like treason, rioting, rebellion and of course heresy,” said Beverley.
“When you move to the 18th century, you start to see it becoming more urbanised, with more emphasis on property – governments are more stable, so you start to see more people being executed for crimes that we might be more familiar with today, such as crimes against the person or against property.
“There was this bizarre thing called the Bloody Code where every sort of offence mainly against property was added to the statute book.
Methods of public execution and a scrolling list of crimes the punishment was – image Museum Of London Docklands
“That meant that there were more than 200 crimes – many similar to one another – where people could in theory be condemned to death, as that was one of the only forms of punishment at the time.
“There are some very strange ones, such as impersonating a Greenwich Pensioner – presumably to get certain privileges – which was a capital offence. We don’t know whether anyone was actually executed for it.”
While my assumption before visiting the exhibition was that people would primarily be killed for committing serious crimes of violence, it turns out many were put to death for relatively minor offences.
Coin clipping – slicing silver off the edges of coins to be melted down and sold – one of the main forms of fraud in the Mediaeval period did, however, see offenders put to death.
“We know this was a crime that Jewish people were often executed for,” said Beverley.
“This was part of the discrimination against the Jewish community at the time, and in the exhibition we show how they were more likely to be executed for this than members of the Christian community – even though there were probably more Christians committing that crime.
“Between 1278 and 1279, 600 members of the Jewish community from across the country were sent to the Tower Of London and 279 were hanged at Tower Hill.
“That’s in contrast to 29 Christians.”
The exhibition only sets out to deal with executions carried out in public to examine their impact on Londoners’ lives.
“In the centre of the capital, you’re never more than five kilometres from a site of public execution,” said Beverley.
“Although people think of Tyburn, Newgate and maybe Smithfield, there were multiple execution sites throughout London.
“The reason for that was partly because people were often executed close to the site of their crime.
“It was seen as important to have visible justice in a local area, so people couldn’t ignore the fact that this was the punishment for a particular crime.
The former door of Newgate Prison – image Museum Of London Docklands
“For very serious or high profile crimes people were often brought to London for execution – such as William Wallace who was hung drawn and quartered at Smithfield – and over time you get the press, printers and publishers all focused on London.
“Like today, if something happened in the capital, word spread very quickly.”
A substantial chunk of the exhibition is given over to telling the stories of the condemned.
Dressed to represent a cell at Newgate Prison, where those sentenced to death at the Old Bailey would have been held ahead of their execution, it tells the stories of those pleading for mercy and final letters from the prisoners – some saying farewells and others maintaining their innocence.
“When Newgate was demolished in 1902, the museum acquired some of the relics such as the bolt from a condemned cell,” which we’re able to display,” said Beverley.
“Those convicted at the Old Bailey next door might have been held for a few days or a few months but everyone had the right to petition for mercy – not exoneration but to commute the death sentence to imprisonment.
“We have petitions on display from the national archive including one from a man named Joseph who argues he was led astray by a gang of youths who got him drunk before he stole from someone.
“His mother signed his petition with a cross because she was illiterate.
“People would try to get as many signatures as possible but Joseph didn’t have many supporters so his petition failed.
“He was described as ‘dreadfully distressed’ at the time of his execution. It’s quite shocking. He was only 18.”
The exhibition includes the door from Newgate through which prisoners passed on their final journey.
It’s a solid, iron-bound touchstone linking all who visit to those put to death.
Executions also looks at how public killings were received, publicised and attended – including a mock up of the three-cornered gallows at Tyburn.
“We have a representation of the procession from Newgate to Tyburn, which was a few miles, and the crowd would line the streets,” said Beverley.
“The prisoners were taken in carts, and in the cart was the coffin they would be put in – their arms would be pinioned so they would be allowed to pray, but that was all.
“The nooses were put around their necks while they were in the cart, the horses would be driven away and that’s how they were executed.
“There was no science behind it – there are accounts of people taking half an hour to die.
“One story we highlight is about a man called John Smith, who had the noose around his neck.
“The horse was driven away and he was reprieved suddenly, so he was cut down and revived.
“People were then asking him what he’d seen close to death, because they were very religious at that time.”
Such sudden changes to the expected outcome could be problematic as printed accounts of executions were big business and widely sold – often before the killing had actually taken place.
The exhibition includes many examples – telling the stories of crime and death in lurid detail – including one of a man who was never actually killed despite the description of his execution.
He actually wound up being transported to Australia instead – an example of fake news.
In contrast there are the forensically accurate sketches of the dead – complete with rope marks on the neck – from the Royal College Of Surgeons where bodies were often sent for dissection.
This constituted an extra punishment as it was thought the process would prevent resurrection in the afterlife.
Perhaps the most powerful part of the exhibition is a simple scrolling list of those executed – their names, the date of their death, their age and their crime.
There are 16 and 17-year-olds featured. Many were executed for crimes such as theft, burglary and fraud.
It’s impossible to do full justice to the rich and deep vein of tragic stories that Executions brings together in a single article.
While the exhibition offers no overt comment on the death penalty, it is chilling to think many of those put to death over 700 years were doubtless innocent of their often minor offences.
We must never repeat that crime
The vest is on display as part of Executions – image Museum Of London Docklands
ROYAL REMINDER– Possibly the vest of King Charles I
One of the key exhibits at Executions is a sweat-stained knitted silk vest, reportedly worn by King Charles I at his beheading.
“This would have been worn under his shirt, which would have been plain white according to illustrations of the scene,” said Beverley.
“We know it was a bitterly cold day, 30 January 1649, when he was executed in front of Banqueting House, and he did ask for a second vest, because he didn’t want the crowd to think that he was shivering from fear.
“It is an amazing story and we have done some analysis on the stains. We believe that they are bodily fluids, but we can’t prove that they have been there since 1649.
“At the time it came into the Museum Of London’s collection with this story attached, there was no reason to disbelieve the claim, although now as curators we are rather more cautious in our approach.
“What we do know is that it is correct for the period – it’s fine knitted silk, which wouldn’t have been generally worn by the public.
“It’s an amazing story and we have been doing further tests to uncover more evidence.”
King Charles I was executed for treason in front of a large crowd at the culmination of the English Civil War.
In line with custom, the identity of his executioner was never revealed to the public.
Executions runs at the Museum Of London Docklands until April 16, 2023. Standard tickets start at £12. Wharf Life readers can get 25% off adult ticket prices when visiting before April 1, 2023, by using promo code Wharf25.
Terms and conditions apply. The offer is only valid on visits on or up to March 31, 2023. Only adult tickets are covered and the discount will be applied during the checkout process. The offer applies to max four reduced tickets per customer and there is no cash or credit alternative.
- 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
East London has a bit of a problem with bridges. Crossings are proposed, ideas generated and fancy images created.
But few make it as far as actual physical existence. Notably none of the various schemes to cross the Thames east of Tower Bridge have, partly because of the scale and cost of such projects.
The latest proposal for a new crossing across West India South Dock does, however, appear to have momentum and purpose with it.
Planning permission for Knight Architects’ design for South Dock Bridge was granted in December, detailed design work is now ongoing and construction is expected to start this year.
A long time coming, the project is needed due to the creaking capacity issues of South Quay Bridge.
This swinging silver crescent moon, with its rattling aluminium planks and dramatic cable suspenders might have provided a dramatic backdrop for zombie horror 28 Days Later and spy flick The Constant Gardener, but functionally it’s always been a bit of a bodge.
Originally twice its current length its graceful S-shape was sliced in two when development narrowed the dock and it wound up sitting uncomfortably high at the point it arrives on the Wharf.
Anyone who’s braved the journey at peak times knows the little stone stairs do nothing to help the awkward flow of pedestrians on or off the estate – a rare planning error in an area that’s otherwise mostly frictionless for walkers.
The case for a new crossing is obvious. The Isle Of Dogs has an ever growing population meaning demand for routes into Canary Wharf as residents walk to access its amenities is on an ever upward trajectory.
So what of the new proposal, which will connect South Quay Plaza with Upper Bank Street?
Knight Architects design director Hector Beade-Pereda
“South Dock Bridge was an atypical brief for us because we got involved in 2019 at the second stage,” said Knight design director Hector Beade-Pereda.
“In this case, many decisions, including where to cross, had already been made and had partly gone through a consultation process.
“We built our understanding of the site on the outcome of that process and designed a different bridge in response to that.
“There are some things that are the same. Our design is also a bascule bridge with the moving portion of the bridge towards the north.
“The position across the dock is the same, but the bridge is different because the public suggested we should consider various factors and almost start from scratch in agreement with the council. That’s what we did.”
When finished, South Dock Bridge will be Knight’s second crossing over the waters of the West India Dock complex.
Canary Wharf Group hired the firm to design its Water Street road bridge, which links the older portion of the estate with Wood Wharf, just around the corner from the proposed site of the new bridge.
Knight’s Water Street Bridge
“South Dock Bridge also has a section that is a bascule bridge that can be raised,” said Hector.
“While the two won’t be seen together, they can be experienced by walkers on the same journey, so we wanted to do something similarly understated to that design.
“They both have to respond to the water and to the Canary Wharf buildings around them.
“In form, the designs are actually pretty different. Water Street is a straight line, whereas South Dock uses more organic-looking, curved shapes.
“What we wanted to do was design something that would be respectful to the dock.
“We wanted something low profile that wouldn’t compete in scale with the buildings around it or the other existing bridges over the dock.
“We have made a big effort to make it slim, slender, elegant and attractive whether it is open or closed.
“It is a two span bridge. It has a pier in the centre of the dock. Before, the plan was to have more piers, but we wanted to have the minimum number to respect the water as much as possible.”
The bridge as it will be seen from Canary Wharf
Another potent influence on the design was the heritage of the local area – reflected by the form of the bridge in two ways.
Hector said: “One of the things that came out of the original consultation was that the bridge should pay tribute to the area’s past, so we thought quite a lot about that.
“We could have designed something that was triangulated, quite industrial but that would have been impossible if we were to keep the bridge slim and slender.
“So we looked at the shapes of the cranes that were used in Docklands – many of which were curved and elegant – and took inspiration from them.
“They looked like the contemporary industrial designs we see today.
“At the Museum Of London Docklands, we also saw the curved hooks that were used by dockers to help unload cargo from ships.
“They are the most beautiful things – really, really lovely – and that is reflected in the design.
“We will also make the surface of the bridge feel like the deck of a ship using angles and steelwork to convey that.
“This is why South Dock will have a different design language to the Water Street bridge even though they both stem from some common principles.
“South Dock will be cantilevered with counterweights so, from a sustainability point of view, it will need less energy to raise it.
“The curved forms also help the bridge respond to its internal forces quite strictly and that means you can use less material to build it, meaning it weighs less and requires less force to move.
The bridge will open for tall ships
“In finding a form that harmonises those forces, we have also found a design that responds to the history of the area and the council has been a very supportive client.”
Designed to last some 120 years with proper maintenance, the new bridge will be exclusively for pedestrians – an extension of the existing pedestrian spaces at either end.
Hector, who has been designing bridges for 22 years, moving to the UK from Spain eight years ago, said: “My understanding is the focus for cycling will be on improving routes on the edges of the Island.
“The existing bridge is already thought to be the second busiest pedestrian bridge in London so this one will get a lot of use.
“The new bridge has been designed to cope with a high level of traffic and will probably be more used than some of the other bridges we have designed.
“That’s something to be really proud of.
“I have been designing bridges for more than two decades and it’s still always a very special moment when something becomes reality – when you can see the full structure at the end of several years’ work.
“In the future, I would love to design a bridge over the Thames – that would be a good one. For me, the important thing is designing bridges that are needed, that really serve a purpose.”
With east and south-east London continuing to experience population growth and regeneration, perhaps he’ll get his wish.
The bridge as it will appear from South Quay Plaza
WHAT THE COUNCIL SAYS
The London Borough Of Tower Hamlets cabinet member for regeneration, inclusive development and housebuilding Cllr Kabir Ahmed said: “We are delighted that the strategic development committee has resolved to grant planning permission for the South Dock Bridge – there is no doubt a need for this project as significant new development around the docks on the Isle Of Dogs has increased pressure on pedestrian routes and connections in the area.
“This pressure is particularly acute at South Dock, which separates the significant housing growth area from the commercial centre and transport connections at Canary Wharf.
“Along with this development, the addition of the new Elizabeth Line station will attract more pedestrians and there is also a need to improve access to South Quay DLR station.
“The existing bridge is currently approaching its capacity at peak times in terms of comfort levels.
“We know through our consultation that construction of the bridge is welcomed by residents of the Island and, of course, our residents are at the forefront of this decision.
“The bridge will help to reduce congestion on the DLR and link new development at South Quay with Canary Wharf and Wood Wharf.
“It will be designed to accommodate projected pedestrian flows well into the future.
“Further to this, the bridge will greatly improve access to public transport links, which will aid connectivity and support access to jobs, retail, and other services at Canary Wharf.
“The pedestrian aspect will promote active travel, with its associated health benefits, and encourage a shift from less active travel behaviours.
“In resolving to grant planning permission, the Strategic Development Committee noted that the new bridge was a high-quality and elegant design that is considered appropriate to its contemporary surroundings.
“I echo this sentiment and anticipate that the bridge will be a positive addition to the area and encourage continued interest and investment in the Isle Of Dogs and surrounding areas, bolstering our local economy, and creating a place that’s accommodating for residents and visitors alike.”
- 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
“New climbers are always surprised by the warmth of the climbing community – spend an evening on the mats and, if you’re ready for a chat, after an hour you’ll have made a bunch of friends,” said Sara Petersen, manger of London Climbing Centres’ (LCC) Canary Wall.
Located near Westferry DLR station under a series of railway arches, the facility offers an extensive range of bouldering walls including one outdoors.
There’s also a training room, a Yoga studio, a cafe and a gear shop on-site.
Bouldering is a sub discipline where climbers take on short, often demanding challenges using holds on walls that are less than four metres high.
Deep crash mats underneath provide safety instead of ropes and harnesses, allowing complete freedom of movement.
Fitness-wise, climbing offers a comprehensive all-body workout helping to build strength, flexibility and endurance.
Then there’s the mental challenge of working out the best ways to move to reach the top.
The complexity of the challenges, which are typically colour-coded and graded for difficulty, also has another benefit.
Bouldering can be a sociable activity
“In bouldering, climbs are trickier, both physically and mentally, to complete than in roped climbing,” said Sara.
“That’s why we call them ‘problems’. You’ll need to rest and assess each climb before tackling it, which is when conversations with those around you typically strike up.
“Usually you’ll end up working out the problem together.”
To help foster that community Canary Wall, which opened its doors in August 2020, offers a calendar packed with social climbs, induction sessions and friendly competitions.
“For work colleagues and businesses, the centre also offers social events, team building and corporate membership deals.
Sara said: “We’re always thrilled to introduce climbing to those who’ve never tried it before.
“It’s always so exciting to watch someone discover their new favourite sport during their first ever climb and know that we’ve helped grow the community just that little bit more.”
First-time climbers receive a discount card that can be used to claim 50% off a second visit and half price shoe hire, a five-entry pass for £47 including shoe hire and 10% off climbing shoes at LCC shops.
Monthly memberships cover access to all walls run by LCC with prices for off-peak deals starting at £55.
Punch card packs are also available with £240 for 20 climbs, bringing the price down to £12 per session.
Canary Wall, which is located on Trinidad Street in Poplar, is open weekdays 6am-11pm and 9am-9pm at weekends.
Canary Wall is located under a series of railway arches
- 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
Teams of three or more people from a business or organisation take part in as many classes as possible at Barry’s Canary Wharf between February 14-28, 2023.
what’s involved?
For those who don’t know, Barry’s is home to 50 or 60-minute exercise classes billed as “The Best Workout In The World”.
These take place in a crimson-lit studio called The Red Room and are based around high intensity interval training using treadmills, dumbbells and bodyweight.
what will happen?
Participants can expect to burn up to 1,000 calories per session under the guidance of instructors, who curate potent playlists of uplifting beats to spur people on.
is the Battle Of The Wharf for anyone?
First timers or Barry’s regulars are all welcome to sign up for the contest.
Teams of three or more can compete, but the bigger the team, the more chance of winning
who wins?
The team with the most classes taken wins both glory and two weeks of complimentary walk-in classes. That means the bigger your team, the more chance of winning.
are there terms and conditions?
Participants must be signed up for classes to count. All classes must be taken at Barry’s Canary Wharf in Crossrail Place, using the registered email address for the contest.
- 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
