“Here you are treated as a professional, the pay is great and you’re in a space where your skills are appreciated – it’s a good balance.
“I wrote my masters thesis on bringing young people into the construction industry and my research showed companies don’t always have people from the next generation working for them.
“If we don’t teach them now, there won’t be a workforce in the future – that’s one of the reasons the Government is making a push to recruit more teachers from the industry.”
That’s exactly the context of our conversation.
The Department For Education’s (DfE) latest figures have identified a shortfall of just over 36,000 workers needed in construction each year if the industry’s forecast growth comes to fruition.
It has pledged to train 60,000 by 2029 in a bid to help it achieve its target of building 1.5million homes by the end of the Parliament.
Analysis by the Building Cost Information Service last month found that, so far, 437,900 homes had been delivered and that the Government would fall short of its aim by more than 500,000 at the current rate of construction.
One of many issues facing the industry is that figures from May showed construction, planning and the built environment had the second highest level of vacancies for teaching positions in the further education sector.
It offers on-the-job training, full-time, part-time and flexible contracts with an emphasis on practical experience being especially sought-after and teaching and academic qualifications not necessarily a prerequisite for employment.
Mindful of the shortfall, the Government is also set to introduce a new Construction GCSE in 2029, designed to encourage more young people to pursue qualifications and careers in the sector.
Saad Farooq, subject lead and teacher at the London Design And Engineering University Technical College – image by Jon Massey / Wharf Life
a new pathway into construction
“I think this is one of the best things the Government has done,” said Saad.
“Students play games and scroll because they want to do things with their hands – they want to tinker, to build things and this provides an alternative to the screens.
“The shortage of workers in industries such as construction is concerning and providing a clear route into the sector at a younger age is a really good idea.
“There’s been a change in what employers expect when their employees come to them – they are now favouring those with skills rather than academic backgrounds.”
You don’t have to spend long at the London Design And Engineering UTC to realise it’s an institution that very much puts the teaching of those skills at the heart of what it does.
Consistently over-subscribed and having recently been judged exceptional in five of the seven categories rated by Ofsted, the college’s two buildings on the edge of Royal Albert Dock buzz with activity.
Sponsored by the University Of East London, it’s also a place deeply connected to industry – its walls are coated with corporate logos that tell of partnerships, collaborations and, crucially, routes to employment.
Its workshops, classrooms and facilities are filled with the industrial-grade kit necessary for its students to gain relevant experience as they progress through its courses starting at either 13 or 16 and studying for the likes of GCSEs, A-Levels, T-Levels and Diplomas that lead to apprenticeships or direct employment in the industry.
Saad, who grew up in Newham, was a student himself when the college welcomed its first intake in 2016, pursuing a passion for architecture in both academia and in industry before returning to teach the next generation.
The college is located at UEL’s Docklands campus in Royal Docks – image supplied by LDEUTC
returning to London Design And Engineering UTC
“Originally I wanted to go back on site after my masters,” he said.
“But I came back, did a trial and I loved it. It was brilliant seeing the students in front of me all wanting to learn my specialism.
“I get to share my love of buildings with them.
“It’s wonderful to be able to provide this support to learners and it’s something people in industry should definitely consider doing.
“The UTC is different to a traditional school, the students are very much hands-on, technical people.
“To teach young people you have to really know and love your subject and be able to communicate that.
“When you’re working in industry, you see things, touch things, smell things – it’s all about passing on those experiences and that passion to the students.
“If you can’t help them visualise it, they’re going to get bored so we need people who can do these subjects justice and also who can bring connections that can help them gain experience and opportunities.”
The college’s second block – image by Jon Massey / Wharf Life
key details: Train Others In Further Education and the UTC
You can find out more about the work of London Design And Engineering UTC and the DfE’s Train Others In Further Education campaign via these links.
When he answers the zoom call from his north London home, he’s wearing a red beret similar to those of Public Enemy’s S1W security force, known for their stern, imposing presence.
Internationally successful, his piece Enowate by Sadler’s Wells and Barbican won him an Olivier Award in 2023 for Outstanding Achievements In Dance and he’s had a storied career on stage and screen, working with the likes of Robbie Williams, Corrine Bailey-Rae and the Black Eyed Peas among many others.
In many ways, however, Tellus is something of a full circle moment for Dickson – a show that explores his origins and childhood tales, staged in the very place where his own journey into dance began.
Born in Cameroon, he learnt English at boarding school before a move to east London, aged 12.
“It was a bit different – I was standing up to ask questions, which puzzled the other students here,” said Dickson.
“But boarding school was great for me, it gave me strong resilience and taught me a lot about life and independence – how to take care of myself on my own – and I’m grateful for that.”
After football at West Ham didn’t work out, Dickson got his first job at McDonald’s before embarking on an apprenticeship to become an IT technician.
However, while out in Stratford, a chance meeting set him ultimately on a different path.
Dancer, choreographer, musician and composer, Dickson Mbi – image by Foteini Christofilopoulou
discovering dance
“In African culture, dance is not considered a viable source of income or a career to follow,” said Dickson.
“You should be a doctor or a lawyer – something with high status.
“I was 18 or 19 and I met a girl who was dressed unusually, with her hair up in a particular way.
“I asked her why and she said she was going to a dance class at Stratford Circus. She invited me to come.
“I was going because I liked her. At the class, I met a lot of people into all sorts of dance and I thought it was amazing.
“Then I had to do an improvisation, a freestyle. I’d grown up watching Michael Jackson so I though I could do something like that.
“I was just joking around, trying to impress that girl, but the teacher invited me to another class at Pineapple Studios.
“At first I said no, then I found out the girl was going to be there, so I signed up. It was a Saturday, my first time on the Central line on my own.
“I grew up in Manor Park and Forest Gate – you go to Stratford or maybe Hackney, you don’t go anywhere else.
“Being in Covent Garden was different for me.
“We went in to do the class. There were lots of routines I couldn’t pick up – I didn’t want to look stupid in front of the girl or the teacher, so I pretended I needed the toilet and left.
“But just outside there was a group of guys body popping.
“Their performance drew me in. I wanted to know how people could move their muscles like that, how they could have control of their bodies to that degree.
“I stopped thinking about the girl and started to ask them about the dance.
“They told me what it was called, how it was started in the late 1960s, early 1970s, via James Brown.
“I didn’t know this music.
“All I knew was hip-hop from the 1990s, r’n’b, nothing else. I had heard a bit of jazz and classical music, but nothing like this.
“That was my introduction to dance.”
Dickson has worked extensively with the dancers to choreograph the piece – image by RULA
steps to learning
Dickson pursued his passion in his spare time, dancing with friends around London and in Newham, entering and winning competitions.
But it was meeting Stuart Thomas during a class in Graham Technique at Danceworks that proved fateful.
“He said that I had talent, but it needed to be nurtured and that I should go to school to learn how to look after my body,” said Dickson.
“That coming twice a week to his class wasn’t going to cut it.
“I said no – I was African, I couldn’t imagine what my parents would say, but Stuart was quite cunning.
“Without my knowledge, he filled out an application for Lewisham College and he told me I should go down there to try a class that was being taught by his friend.
“He said I’d fit right in. I went and there were some people I knew but something was weird – everyone had numbers on.
“It turned out to be an audition.
“The only reason I didn’t walk out was because, having won some competitions, I’d built up some street cred and, at 22, I didn’t want the younger dancers who were there to say I’d chickened out.
“For the ballet, I just copied the girl next to me – it was the first time I’d ever had a class.
“But then I did some contemporary and jazz, which was just like street dance. It was my thing and, at the end, I was given a full-time place.”
Dickson’s latest work was inspired by his childhood and becoming a father – image by RULA
a door opens
Supported by his future wife, the dancer, Julia Chen, Dickson made the tough decision to quit his job and study. Then another moment of good fortune struck.
“I went on to study for a BA and, while I was a student, I performed an improvisation at Sadler’s Wells and the choreographer, Russell Maliphant, saw me and offered me a job,” said Dickson.
“Upon hearing who it was, the principal of the school I was at said I should take the opportunity because people trained from the age of 10 to get that chance.
“I spent eight years dancing with Russell and I really got my choreographic education from him.
“He taught me how to stand in the lights, how to use dancers in an organic way, so it doesn’t feel jarring to the body, or look weird when you see it.
“He’s worked in so many genres of dance, so I also learnt to bring those different worlds together – he’s my biggest influence in dance.”
For Tellus, Dickson is back at Sadler’s Wells – this time at its Stratford venue – to present a work that touches on his own childhood and his experience of becoming a father.
“It’s really nice to be able to show this work in east London,” he said. “Tellus means Mother Earth in Latin. In 2023 my son was one and I was putting him to bed.
“The year was very hot, with lots of forest fires happening, lots of droughts in Somalia, for example – my brain was full of all this information. I was wondering what I could do to soothe him and put him to bed.
“Then I remembered a story my parents used to tell me about the goddess of water, and that’s when the whole idea for Tellus started to come up.
“Different melodies started to come into my brain – songs I knew as a child – and I thought this was a starting point. I was thinking about how I could bring a kid up in this world right now.
“When you become a dad, you start thinking about all these crazy things – it’s not just about you any more.
“So you have all these questions about how we connect to our bigger mother, the earth.
“If Enowate was more about my own biography, my African-ness and my East End-ness, this new piece is about how I see the world, what we’re doing and how we can create space for the next generation.
“I think Tellus is one of the best things I’ve done.
“It has live music, which I’ve composed – I’ve always wanted to bring my music and dance together in exactly the way I want it.
“The melodies come from spending time with my son, but there are also elements of grief in the mix too.
“Having the opportunity to present this in Stratford is one of those emotional moments for me and I’m really proud to be doing it.
“I’m not dancing in it personally and it’s really hard to build a piece like this.
“Not everybody has my background, my training and my body. It’s a long process, it’s not been easy and there have been several iterations with different performers, but it’s been so rewarding.
“The group we have are amazing artists and they do what I need them to way better than I could have done it.
“What I hope, when people come to see it is not that they understand the work, but that they feel it.
“I want them to feel connected to the story and what I’m trying to express.
“This is my first time back in Stratford and it feels like I’m coming home and it’s great to be back.”
Tellus will be performed at Sadler’s Wells East this October – image by Luc Lodder
key details: Tellus by Dickson Mbi
Tellus by Dickson Mbi is set to run at Sadler’s Wells East in Stratford from October 21-24, 2026.
Performances will take place at 7.30pm and tickets start at £19.
East London Hawksmoor church’s Care For St Anne’s charity invites visitors to step back in time with help from Northeastern University London
Detail from the christening records at St Anne’s Limehouse showing a 17-year-old ‘black servant’ received a blessing at the church on April 19, 1734 – image supplied by Care For St Anne’s
Information, inspiration and connection is what Black Limehouse Lives promises when it opens in east London later this month.
The exhibition is set to go on display at St Anne’s Limehouse from October 17, 2026, until February 20, with visitors invited to discover the lives of black people living in the area during the 18th and early 19th centuries.
Care For St Anne’s – the charity committed to restoring the Hawksmoor-designed church and opening it up to wider community use – has teamed up with Northeastern University London in St Katharine Docks to help research and create the displays during Black History Month.
“I started volunteering at St Anne’s four years ago – I live partly in France and I’d been scaling down my work in the wine world and wanted to meet new people,” said Wink Lorch, who has led the Black Limehouse Lives project for Care For St Anne’s as co-curator.
“I’d lived in sight of the tower for 20 years, but I’m not a church-goer and the doors were always closed.
“When I had more time on my hands, I saw the charity was looking for volunteers and I thought it might be interesting.
“At first it was just keeping the doors open, but I can write and edit, which is how I was thrown into the first Limehouse Lives project in 2023 – an exhibition inspired by a talk that Queen Mary University did here based on research they’d done on people buried in the crypt at St Anne’s.
“It included some we know had links to slavery and we got London Museum Docklands to write a panel for us to help put that in context.
“I publish my own books and know about project management, so helping curate the exhibition was something I really enjoyed doing.
“I discovered the Mapping Black London project at Northeastern University on a visit to St George-In-The-East, the Hawksmoor church in Shadwell.
“I went there on an open day and Professor Olly Ayers who leads it was there with one of his post-grad students.
“I learnt about their project, which contributed to a wonderful exhibition at St George’s in April, and thought we might be able to link a revival of Limehouse Lives with similar research at St Anne’s.”
Wink Lorch, co-curator of Black Limehouse Lives – image by Jon Massey / Wharf Life
from the past to the present
Scouring baptism and burial records, Black Limehouse Lives focuses on people who lived, worked, worshipped or were laid to rest in the parish between 1730 and 1830.
Olly said: “The Mapping Black London project has been going for nearly five years – we’ve researched the presence of black people in the city before 1948, prior to Windrush.
“We’re challenging the misconception that there was no black presence in the capital before that date.
“If you map something, you put people in times and places, and this helps history to come alive and make sense.
“We have a team of PhD students who are doing research on this and the scholarly dimension goes hand-in-hand with our public work.
“We found out early that there’s an appetite for thinking seriously about London’s black history.
“We’re now in Black History Month, but there are loads of examples where this is often not about history at all but about contemporary black culture or civil rights figures in the USA such as Rosa Parks and Martin Luther King.
“We can do a bit better and think about black history in Britain.
“This will be the third exhibition we’ve done with local partners.
“The principle is that if you show people that black history is not an abstract thing but that it concerns people in your church, in your neighbourhood and you can pinpoint that on a map, then it brings it alive in a meaningful way.
“We started off looking at Ignatius Sancho, the most important black Briton of the 18th century who was a prolific letter-writer and quite famous for speaking out against slavery.
“We wanted to look at the neighbourhood he lived in – he was a Westminster figure, with a shop not 100m from Downing Street and he married an East Ender called Anne Osborne of West Indian heritage.
“That got us thinking about the rest of the city and how these black communities were forming.
“If you’ve got the time to look in all the records to find these people, you can.”
A drawing of St Anne’s Limehouse from 1780 – image supplied by Care For St Anne’s
context and connection
The exhibition seeks to place people – those who were baptised or buried by the church – in a wider context and to explore their stories.
While details of the individual lives of the people recorded in the parish records are scarce, it’s still possible to get a sense of some of the reasons they might have come to the church.
“For example, we found in the records that three people identified as black were baptised on the same day and all were adults,” said Wink.
“One was from New York, one from America and one from Bermuda.
“While we haven’t been able to find out anything about them, it’s likely they would have fought with the British in the American Revolutionary War.
“Black people who did that were promised freedom and a passage to England.
“We can also figure out how things might have been for them in London at that time.”
Professor Olly Ayers of Northeastern University London – image by Jon Massey / Wharf Life
building out the stories
Olly added: “With this kind of work, you don’t just stop when you hit a dead end.
“We’re not likely to find a black person’s diaries or personal letter collection but, if we stop there, it’s history from the perspective of the guys in the crypt.
“We know there’s a bigger black presence in London so we don’t let that stop us.
“Putting people in a geographical location is important.
“The three people who got baptised on the same day, for example, were in a port city, so they might have been fresh off a boat and new in town.
“The first thing they would have done was to get baptised – there’s a whole question about what that means, but the short version is that they did this to emphasise their free status.
“Then we can talk about other things, such as whether they stayed in the area.
“There certainly were black people who were getting homes and building lives here.
“We can also look at the criminal justice records of the Old Bailey – what’s interesting there is that, over the records of several hundred years, there’s more than 600 black people we can identify in the transcripts, including people from the Limehouse area.
“What’s interesting is that they’re not just listed as the perpetrators of crime, sometimes they’re victims and sometimes they’re witnesses.
“That gives you a social life dimension to the lives of black people in the capital.
“London society in the 18th century was very discriminatory – money, race, ethnicity, religion and rabid anti-Catholicism, which is often forgotten.
“Adult baptisms can also be seen in the context that it was a practical fact that the church was responsible for distributing relief and charity, because the state didn’t want to get involved.
“So anyone wanting to benefit had to prove their residence in that parish – it was called gaining a settlement – and being baptised was a way of doing that.”
The cover of the book containing St Anne’s christening records from 1730 onwards – image supplied by Care For St Anne’s
bringing everything together
The exhibition aims to place the lives of black Londoners in context by revealing the effects slavery, empire, migration and maritime trade.
Wink said: “Gradually the exhibition took the form of four parts – the black lives, the beginning of St Anne’s, a revival of the previous exhibition and an extension of that where we talk about burials in our crypt and churchyard, identifying more people.
“We’ve conducted this research because not everybody buried here was identifiable, so we’ve tried to do that.
“We also want to show how we did it – visiting the City Of London Archives, for example – and to show people that they can do it too and research their own ancestry.”
Olly said: “Ultimately, I want people to come away saying: ‘I didn’t know that’.
“That may prompt other things.
“From other exhibitions, we’ve had quite moving testimonies – that it’s changed someone’s understanding of history, their understanding of themselves and their place in the city.
“Ideas such as the past shaping the present can sound rather abstract.
“But this project has certainly changed me as I walk around these streets and think about what it means to be a Londoner in the present day.”
key details: Black Limehouse Lives
Black Limehouse Lives is set to open at St Anne’s Limehouse on October 17, 2026, and will be on display at the church until February 20, 2027.
Free to view, the exhibition will be open to the public on Thursday to Saturday from 10am-4pm.
“Regardless of your favourite way to train, the one thing nobody disagrees on is the importance of strength and conditioning work,” said Will Pate.
“There are just so many benefits. People want to move their bodies and feel strong.
“It’s the reason I’ll always recommend strength work whatever level you’re at and whatever your reason for training.”
There’s a real note of excitement in Will’s voice as we’re talking – a sense that his area of expertise, as Third Space’s master trainer of strength and conditioning for group exercise, is deservedly having its moment.
“There’s such demand for it,” he said. “We know what’s being used in our gyms and it’s the squat racks and cable machines.
“I think it’s because people recognise the benefits and they know it’s not about becoming a body builder.
“It’s about functionality and longevity. It’s all about the bigger picture.
“Personally, I don’t train for aesthetics, but so that my body feels good.
“As I get older, that will still be the case.
“In the past there was this idea that, particularly for women, training with weights would make you bulky.
“That’s obviously not the case and if you look at what women are searching for online, strong is now a more popular search than skinny.
“I think there’s a greater appreciation that everyone’s on their own journey and will have their own goals.
“More and more, our members are focused on how they are looking after themselves to stay strong and injury free.”
Third Space’s Canary Wharf and Wood Wharf clubs have extensive facilities for resistance training – image by Jon Massey / Wharf Life
two clubs, one membership
Third Space offers access to its Canary Wharf and Wood Wharf clubs under a single membership package, both offering an extensive array of equipment for resistance training.
Members can also take advantage of a packed timetable of classes designed to help them take their first steps into weightlifting, hone their skills or challenge themselves.
“Whatever people’s goals are, we want to give them the building blocks to achieve them,” said Will.
“For example, we now run our Lift classes on four-week cycles so that there’s progression built in for people who are going regularly.
“We’re always encouraging people to challenge themselves with the weight they are working with when it’s safe to do so.
“We also offer smaller classes such as Yard Weightlifting, which is up to 10 people.
“It’s inspired by Olympic Weightlifting to help people learn the correct techniques for the clean and jerk and the snatch.
“These classes run in six-week cycles and are in smaller groups to make sure we’re delivering the right standard of training in a completely safe way.
“These are complex movements. You’re moving from the floor to overhead in less than a second, so you have to be able to break that down, to understand the challenge that each member is facing.
“Having a small group allows you to do that.
“One of the challenges I have managing our group exercise coaches is making sure that, whatever class they’re teaching, members are getting the right advice, encouragement and correction when they need it.
“It’s our job to ensure they feel that they’re making progress.
“Whatever level someone is at, we can help move them forward.
“In the same class I might have someone who’s qualified for a weightlifting championship and someone else who has never touched a barbell before.
“We always want people to feel that they’re learning, that they can go away and practise the skills and enjoy training.
“It doesn’t matter what level you’re at, skills are always coachable.
“Members are still coming to classes for a reason and, for everyone, it’s up to us to understand what that is and help them get what they need.”
Will loads up a bar on one of the club’s squat racks – image by Jon Massey / Wharf Life
a wealth of facilities
Both Canary Wharf and Wood Wharf have extensive resistance training areas which are constantly assessed to ensure members have all the equipment they could want.
Will himself is passionate about curating classes to help members get the most out of the club whether that’s alone or in a group setting.
Football obsessed as a kid, he had an ambition to become a PE teacher before moving to London and embarking on a career in the fitness industry.
Initially working with Gymbox, he made the switch to Third Space alongside fellow master trainer Clare Walters and has spent the last eight years honing his skills.
“I did do some internships with some lively groups of kids when I was at university and decided it would be easier to teach adults,” he said.
“It was never the plan to take this path but I’m so grateful because I really love it.
“I always call our Canary Wharf club the mothership because it’s so extensive.
“If you can’t find a way to train that you enjoy here, then I don’t think it exists.
“I look after all the strength and conditioning classes in our studios and one of the other big assets we have is The Yard, which was inspired by the boom of crossfit-style training.
“In there you’re looking at weightlifting, lots of platforms followed by gymnastic work and the callisthenic crowd.
“I always say that if you’re looking to get stronger, Canary Wharf has everything you could want.
“Yard Strong is a really fun class we offer.
“Born of the popularity of strongman events, it offers people the chance to do lots of things they might not normally try.
“People find it really enjoyable, but it’s also carefully put together.
“We base it around primary lifts and supplementary lifts to ensure the training is effective.
“That’s so important because seeing the benefits and when they click for a member is just great.
“Our bodies weren’t designed to sit the way so many people do – I think more are aware of that now and we’re giving them action they can take to address it.”
Will says Third Space offers resistance training at all levels – image by Jon Massey / Wharf Life
key details: Third Space
Third Space The Wharf membership includes full access to its Wood Wharf and Canary Wharf clubs and costs £257 per month plus a £100 joining fee.
This covers full access to both sites and all classes on the timetable.
Sometimes making a house a home is about the things you choose to put into it.
Taking inspiration from the local area can be a good place to start for those just moving in or a way of updating and refreshing an interior for those who’ve lived in east London and the Docklands for a while.
The event will showcase work by more than 100 artists in a free exhibition that serves as an opportunity to discover and acquire locally made pieces.
Celebrating the breadth and depth of ELP’s output, the group’s latest show will feature print produced with techniques including woodblock, screen print, etching and relief.
“Our goal for this show is to explore how different perspectives interact within a shared space,” said ELP member and festival organiser, Inga Eičaitė.
“Every piece tells a unique story, and I encourage visitors to take their time – to start conversations and to really connect with the work.”
Detail from You Can’t Give What You Never Had by Maurice Citron – image by Maurice Citron
an exhibition and a live happening
The showcase is set to take over The Art Pavilion in Mile End Park from October 2-11, 2026.
Free to visit, the exhibition will be open daily from 11am-5pm.
The event will include Box Set, a collection of 40 limited edition prints created by ELP members.
The festival will, this year, also feature The Dreaming Of Butterflies – an evening of performances on October 8 aimed at exploring how printmaking intersects with dance and music.
The event will end with a collaborative collage led by ELP artist duo Jairo Zaldua and Nicola Jane Green.
The evening is free to attend and runs from 7pm.
The Art Pavilion is located a short walk from Mile End Tube and can be reached easily from Canary Wharf via the 277 bus.
Detail from Moonstone, Sapphire And Saffron by Lydie Gallais – image by Lydie Gallais
key details: Festival Of Print 2026
East London Printmakers’ Festival Of Print 2026 is set to take place at The Art Pavilion in Mile End Park from October 2-11, 2026.
Entry is free and the exhibition will be open from 11am-5pm daily.
This is sometimes true for businesses as much as for those who make their home afloat.
The story of the Maria Alexander Spa Boat began around three years ago.
Built and fitted-out to exacting specifications, the vessel has a treatment room for two and an open-plan spa space for up to four guests.
This features a sauna and a hot tub that manage to feel connected to the water outside, despite being in near seclusion.
While the boat has spent around two years cruising the canals of London, its offering constantly refined and its location changing, the couple behind the venture have now found their curated craft a more permanent home at Limehouse Marina.
It’s been a lengthy voyage, but there’s a sense that this is the dawn of a new chapter for the spa, which offers an experience like no other on the capital’s waterways.
The boat is a joint venture between Ingrid Eriksson and Corvin Roman.
The former has an extensive background in spas and the latter in insurance, teaming up on the foundation of their burgeoning relationship to create a floating haven of relaxation.
The facility accommodates up to four guests and offers multiple options, but the most popular package is the two-hour Private Floating Spa Treatment for two including a 30-minute massage.
The Maria Alexander Spa Boat is now moored at Limehouse Marina in east London – image by Jon Massey / Wharf Life
stepping on board
“We greet customers at the entrance to the marina, take them to the boat and then show them around the spa,” said Ingrid.
“Then they have a little foot soak, some organic herbal tea and simply relax for a while.
“When they’re ready, we show our guests through to the massage room where we deliver a half-hour masage that’s focussed on relaxation.
“Afterwards, our guests are free to use the spa facilities, take a sauna and enjoy the hot tub. They can even open the doors at the front of the boat to see out while they’re soaking.”
The purpose-built spaces are designed for privacy so guests feel as though they have the whole boat to themselves – however, Corvin, Ingrid or staff can be summoned via small brass hand bells should anything be needed.
“We created something that we thought we’d enjoy ourselves,” said Corvin, who along with his partner helps deliver treatments on the Maria Alexander Spa Boat.
“At the start, I didn’t want to get involved with a business I didn’t properly understand, so I studied massage at the City Lit.
The boat includes a treatment room for two – image by Jon Massey / Wharf Life
“Part of what we’re offering is that the vibe here is different to other spas.
“When we did our research, we couldn’t find anything else like it.
“This isn’t a space where you’ll find people who are just hired therapists.
“Ideally we always want at least one of us to be here – we want to be talking to customers but also making sure they have space to relax. It’s about looking after people.
“Visiting a spa is about slowing down – put it on the water and you have the best of both worlds.
“We might now be in a marina, but you still feel the movement of the water, you hear the rain on the roof and the calls of the birds.
“You can hear the bells of St Anne’s Limehouse, but once you’re inside you can close yourself off from the world.”
Ingrid added: “We’ve curated the whole experience.
“Spas can be quite impersonal but here we wanted to create something more romantic, a calmer offering.
“We tested it with friends and people in the industry to make sure we were getting the spa journey right and we believe we’ve now done that.”
Maria Alexander Spa Boat co-owner Ingrid Eriksson – image by Jon Massey / Wharf Life
developing the offering
Built in Liverpool and craned into the water at Watford, the Maria Alexander was fitted out in Tottenham before travelling along the canals of the capital.
The vessel’s sauna is wood-fired to a toasty 90ºC and its hot tub features powerful jets for various kinds of massage.
Guests are supplied with oatmeal-coloured robes, matching towels and small batch UK-made cleansing products.
Typical refreshments provided include tea and dried fruit, although the couple have plans to widen this offering in the future.
“We’re looking into offering afternoon teas and other catering options such as light meals, depending on the package,” said Corvin.
“We have the facilities on board to do this.
“We usually ask groups of more than two to contact us directly to discuss their requirements so we can tell them what’s possible.
Maria Alexander Spa Boat co-owner Corvin Roman – image by Jon Massey / Wharf Life
“Usually our bookings are for couples or two friends, but we do have three or four people sometimes.
“While we don’t allow children on board, we can accommodate babies by arrangement if needed.”
Ingrid added: “It’s a complete experience focussed on relaxation.
“It’s perfect for couples or friends. One of the things we wanted to make sure of was that there’s no waiting around.
“Sometimes when you visit a spa there can be a long period of time before they’re ready to offer your treatment.
“Here, because guests have the boat to themselves, we don’t have that issue.”
There’s a private wood-fired sauna on board – image by Jon Massey / Wharf Life
refinement and evolution
While the core offering remains, the couple are constantly working to refine and evolve the experience, tweaking the interior design and adding extra shine to proceedings.
Plans for the future include potentially partnering with local hotels and developing other spa boats to deliver different treatments.
Corvin said that while running a floating spa presented a range of challenges not faced by land-based businesses, it also had many advantages and it was a pleasure to offer guests something unique.
He said: “People who have been to other spas are often not sure what to expect, so it’s amazing when they tell us it’s spectacular and unlike anything they’ve tried before.”
The Maria Alexander Spa Boat features a hot tub for up to four people – image by Jon Massey / Wharf Life
tired + tested: Maria Alexander Spa Boat
It’s clear from the moment of arrival at the Maria Alexander Spa Boat that this is something different.
There are floating saunas in London, perhaps even boats offering spa treatments, but nothing as considered as this vessel’s offering.
After slipping shoes off, enjoying a quick tour of the facilities (including an incinerating toilet), we change into our swimwear, don our robes and indulge in a foot purifying foot soak with plenty of time to sip cool water and relax.
When we’re ready, we go through to the calm, relaxing treatment room where there’s just room for a massage for two.
Snuggled under towels, Corvin and Ingrid come through and deliver a slow relaxing massage which leaves a warm, lingering tingle.
The pressure is subtle rather than intense, enough to get the nerves firing without stressing the muscles too much.
Then it’s back to the spa and we’re left on our own to enjoy the offering.
After an intense burst in the sauna, with scented water to boost the humidity, it’s time for a cold shower and then a lengthy soak in the hot tub, our bodies soothed by the potent jets as we relax.
Gazing out at the other boats while gently bobbing along and then looking up to the clouds through the vessel’s skylight is a rare pleasure.
At £200 for two people, the quality and attention to detail here makes the experience a steal.
The boat has been finished to a very high standard – akin to the best spas one might find in high-end hotels.
The fact you can find such an experience on a boat in Limehouse simply adds to the charm of the offering.
Jon Massey
***** (5/5)
Guests are invited to don the robes supplied – image by Jon Massey / Wharf Life
key details: Maria Alexander Spa Boat
The Maria Alexander Spa Boat is located in Limehouse Marina, a few minutes on foot from Limehouse DLR and is within walking distance of Canary Wharf.
The spa is only open by appointment with pre-booking essential.
“Nothing can mitigate or change the catastrophic loss felt by staff at BGC Group when planes crashing into the World Trade Centre as part of the 9/11 terrorist attacks took the lives of 658 people, employees of its the parent company, Cantor Fitzgerald.
“The feeling never goes away,” said Sean Windeatt, BGC’s co-CEO.
“I was on the phone to a colleague in the towers when the planes hit – it doesn’t matter that it was 25 years ago.
“I’m always thinking about it, but ultimately those are private, inner thoughts.
“Recently, I was talking to the former president of the company, Shaun Lynn, about that time and remembering what happened.
“But we were also saying how incredibly proud we are of what’s happened since – how the company has successfully rebuilt itself and what we’re able to do for charitable causes.”
That latter achievement, especially, is extraordinary.
After ensuring colleagues affected by the attacks were supported BGC launched its annual Charity Day in 2005.
The financial services company invites charities’ celebrity patrons onto its trading floor to close deals on behalf of their organisations with all the revenue donated to good causes.
In addition to the money, the media attention generated helps raise awareness and buzz around organisations’ activities.
This year, a record-breaking $16milllion was generate in a single day, bringing the overall total to $250million since 2005.
It’s a demonstration of the impact a sustained, powerful initiative can have.
BGC Group co-CEO Sean Windeatt is calling for more firms to donate to charity – image by Jon Massey / Wharf Life
part of the company’s identity
“We still have around 50 members of staff who were at BGC 25 years ago – that means, of the 1,500 people who work in the company, 1,450 were not working on that day,” said Sean.
“However, all of them understand what we stand for, that charity is in the DNA of the business.
“With what we went through at that time, we were lucky to remain in existence.
“The people working here now know that and I’m immensely proud of how hard they work for our Charity Day to ensure we make as much money for those organisations as possible.
“It couldn’t happen without the commitment of our brokers and the generosity of our clients.”
Michael McIntyre appears on behalf of Prostate Cancer Research – image by Dave Benett/Getty Images for BGC Group
This year, BGC’s phones were staffed by the likes of Dame Helen Mirren, Tom Hardy, Hugh Grant, Leigh-Anne Pinnock of Little Mix, Michael Mcintyre, Maro Itoje, Fatboy Slim (aka Norman Cook), Sir Gareth Southgate, Youtuber KSI and many, many more.
Since 2005, over 1,000 charities have received funding through the initiative including more than 60 UK organisations that have received cash every year.
These range from large global charities to small grassroots initiatives.
However, BGC now wants other businesses to follow suit. In light of a report by the Charities Aid Foundation (CAF), which found just 27% of companies supported charities in any way and only 17% donated cash, Sean is calling on others to do more and to reap the obvious rewards.
Helen Mirren drives up prices on behalf of Denville Hall – image by Dave Benett/Getty Images for BGC Group
a call to action
“We operate in a fiercely competitive business world and I don’t think there’s any doubt that giving to charity makes us more successful,” said Sean.
“The fact we are supporting others is something that’s recognised by our clients, other businesses and our own staff.
“They know we’re about more than just making money, we’re about supporting others. They choose to work with us or work harder for us as a result and we become more successful.
“As our revenues rise, so does the amount we give to charity – it’s a virtuous circle. I was shocked by the statistic in the report.
“I understand that it’s tough for businesses, as it is for individuals, but companies that are doing well have some sort of responsibility to do some kind of charitable giving.
John Caudwell, right, completes a trade for Caudwell Youth – image by Dave Benett/Getty Images for BGC Group
“For the percentage to be less than a third really surprised me, especially at a time when the cost of living crisis is stopping households contributing and often making charities’ overheads rise.
“What we’re trying to do in the wake of our latest charity day is to raise awareness of the impact the corporate world can have by helping to fill that gap.”
This year, BGC has teamed up with philanthropist John Caudwell to call on companies to do more.
CAF’s report found that if businesses donated 1% of their pre-tax profits, charities could receive nearly £5billion in additional funding – more than three times the drop in donations last year.
John, the first British billionaire to sign the Giving Pledge, committing the majority of his personal fortune to good causes, took part in BGC’s Charity Day to help raise money for Caudwell Youth.
He said: “BGC’s Charity Day is a fantastic initiative and a powerful example of how businesses can support charities and make a lasting difference in people’s lives.
“Having founded Caudwell Youth, I have seen first hand how vital this kind of support is.
“This generous donation from BGC Charity Day will fund one-to-one mentoring for young people facing mental health challenges, leaving care, or at risk of exploitation and offending.
“Thanks to BGC’s support, Caudwell Youth can reach more young people with the consistent support and guidance they need to build a brighter future.”
Norman Cook, aka Fatboy Slim, helps raise cash for Martlets – image by Dave Benett/Getty Images for BGC Group
real things in real lives
While the glitz and glam of the event itself is important, for Sean one of the most valuable and moving sides to Charity Day is seeing the granular impact of those millions of dollars.
“The event has paid for wheelchairs, hospice care, medical research and community projects – real things in real lives,” he said.
“On the day itself we invite charities and some of the people they help to attend and it’s a moment of great pride to watch everyone pulling together, meeting and having fun – to see how much benefit is being created.
“It’s wonderful to see that energy. Then over the course of the year it doesn’t stop.
We get out of the office to meet the charities – we give staff volunteering opportunities and it’s incredible to hear what our support means to these organisations.
“We know from these experiences how regular funding and support is so important for charities – especially at the moment, so that’s exactly why we’re saying businesses should do more when they can.
“If just 50% of the companies that currently give nothing were to contribute 1% of pre-tax profits it would make such a difference.”
NASSA founder and CEO Natasha Hart – image by Matt Grayson
case study: National All Star Skills Academy (NASSA)
The National All Star Skills Academy (NASSA) is an east London charity based in Newham that uses sport as an engine to fight gang culture and knife crime, but also to act as an agent of social mobility.
Centred primarily on basketball, its Carry A Basketball Not A Blade campaign reaches thousands of school kids each year, while its training sessions and teams are vehicles to focus young minds on fitness, skill, discipline and collaborative effort.
As a grassroots charity founded by Natasha Hart in 2006, the organisation has an extensive track record of effectively addressing issues in society through rapid action with programmes that deliver results.
It’s quick to respond and maintains the feel of a close-knit family, despite helping and educating more than 100,000-plus young people.
Last year, BGC Group decided to donate $10,000 to NASSA to support its ongoing work in east London, raised during its Charity Day.
“I can’t begin to say how grateful we are to BGC for this money,” said Natasha, who remains the charity’s CEO.
“We immediately decided, having identified a need locally, to use it to support a new kind of session for NASSA.
“I’d spoken with several mothers locally and we set up regular ball skills training for young people with conditions such as autism, Down’s Syndrome or other complex needs.
“The donation covers court hire at the University Of East London, all the equipment needed and also pays for a specialist coach.
“Over eight months, we were able to run 90-minute sessions once a week for young people aged eight to 18 in response to clear demand from the local community.
“Just through word of mouth we had 25 families registered on our books.
“The young people would come down and learn skills inspired by basketball that are appropriate for their abilities – they’d be passing, shooting and dribbling.
“But they would also be plenty of free time to just have fun and run about.
“One of the things we noticed was that the coach was able to also teach them elements of discipline.
“While there was a lot of excited running around in the early sessions, that changed – you would not believe how much progress they made.
“We also used some of the money to reward that by purchasing certificates and medals for participants and you could see in their eyes what that recognition meant to them.”
In addition to allowing NASSA to train some of its own coaches in-house to help run the sessions, the initiative has also provided parents and carers with some respite.
“Caring for a child with complex needs or a specific condition can be very intense and it can be a 24-hour job,” said Natasha.
“One of the reasons for setting up these sessions was to give parents and carers a break, even if that’s just an hour where they can get a cup of tea in the UEL cafe.
“At the start we set up a WhatsApp group so we could keep in contact with all the parents easily and update them.
“The feedback we’ve had has been amazing, especially from the young people themselves who have been asking the adults to text us to make sure they’re happening.
“It’s something they really look forward to and it’s fantastic to see.”
“We officially turn 30 this September,” said Matthew Jameson, artistic director of The Space arts centre on the Isle Of Dogs.
“It’s extraordinary to be the guardian and representative of an organisation like this at a point in its life when it feels like it’s grown up.
“We can still see the vision that its founder, Robert Richardson had for this place in the 1990s – a multiform arts centre, a community centre and hub on the Isle Of Dogs for all its people regardless of religious or political persuasion.
“It was to be something to expose them to all forms of art – that’s the only instruction we’ve been given and what we try to achieve.”
While in-person tickets for Space 30: An Evening Of Celebration on Friday, September 25, 2026 rapidly sold out (thanks in no small part to the promise of patron Sir Ian Mckellen performing some Shakespeare), the event will act as both a birthday party and the start of a wider fundraising campaign.
“We’ve got a smorgasbord of acts who have all played their part in The Space’s story,” said Matthew.
“Andrew Campling, a composer, conductor and pianist who was a dear friend of our founder will be playing some of his own compositions.
“We’ll also have Kayla McQuarrie, the host of our new open mic comedy nights and Stephen Smith who has smashed the Edinburgh Fringe with his show One Man Poe and found his feet at The Space.
“Then Sir Ian will perform some Shakespeare and talk to us about the journey of turning this building from a disused church into what it is today having helped lay the ground for that project in the early 1990s.
“Depending on the levels of donations we get on the night I might be shaving my beard, my hair or even waxing my whole body.
“Then, as part of Space 30, we’ll be unveiling all sorts of ways to donate to The Space – people can sponsor seats for £200 or sign up to support a creative for £630, which allows us to bring in an artist, subsidise their practice and give them a safe place to develop and hone their craft.
“It’s a project we’re very keen to do but one we just don’t have the resources for at the moment.
“We also want to remind people that a £60 donation lets us open for an evening to host a community-minded group or organisation.
“This is the start of a new chapter in the life of The Space – we’re under new management, split jointly between myself and Sarah Read and there are exciting times ahead.
“The people we’re working with are getting excited by the multi-form vision, something that can be somewhere for everyone on the Island, that puts on fun, engaging, entertaining shows and events with pathos and meaning.
“We want to provide people with somewhere that’s affordable, that they can come and see their first show or discover new artists.”
The Space is located on Westferry Road on the Isle Of Dogs – image by Jon Massey / Wharf Life
welcoming audiences through the doors
One of the key messages The Space is keen to amplify is its accessibility. While being nestled on the Isle Of Dogs, the arts centre is less than 10 minutes’ walk from Mudchute DLR and served by multiple bus routes connecting it to Canary Wharf in 12 minutes. Walking between the estate and the venue takes less than 20 minutes.
“A lot of what we do is about getting people across the threshold,” said Matthew. “We have a beautiful building here but there’s a mystery about it – is it a church, a synagogue, a power station?
“Once people visit, it can be enough for them to fall in love with the place.
“We’d welcome even more people coming from Canary Wharf and we’re incredibly grateful to CWG for the collaborations we’ve done with them over many years.
“I’d also like to take this opportunity to thank everyone and all the organisations that have contributed to The Space and who have helped us make it the place it is today.
“If people haven’t visited for a while or have just wondered what this strange building is on Westferry Road, then I want to say that we’re here, we’re open and we have a broad programme for everyone.
“As artistic director, one of the things I’ve most enjoyed about the role has been getting out into the community and meeting people with the aim of working more closely – with Theatreship, for example.
“We always punch above our weight in terms of the performers who come here – such as our stand-up comedy nights, for example.
“This is your invitation to come into The Space, see a show and discover what it is we’re doing on the Isle Of Dogs.”
“We spend a great deal of time understanding how people actually want to live, how they work, how they rest and how they connect,” said Brian De’Ath, managing director of sales and marketing at Ballymore.
“Every decision at 25 Cuba comes from that understanding, informed by the insights we have gained from listening to our residents through internal surveys and observing how they use our neighbourhoods.
“People are doing so much more than their primary job, they are building businesses, creating content, freelancing, investing and learning.
“They are ambitious and our research shows that their homes need to keep up with them, and become a place where they can feel productive, focused and creative.
“At 25 Cuba, we are creating a space that genuinely supports the full breadth of how these people want to spend their time.”
The development includes a new public square – image supplied by Ballymore
Based on the views of 1,000 respondents aged 25-68 and conducted by More In Common, the research found 80% were engaged in entrepreneurial activity outside their main job including investing (47%), freelancing (37%), content creation (27%) and running a small business (23%).
The survey found 92% believed London rewarded ambition, while 23% were already earning £10,000 or more each year from their side hustle.
Echoing Brian’s views, the research also showed buyers were keen for their future home to play a part in that with 48% ranking a property that supported their ambitions or goals as a top-two priority and 65% of respondents using their homes for side projects on most days.
How the development’s Yoga terrace will look – image supplied by Ballymore
baking-in the facilities
“London is one of those special places where you genuinely feel like anything could be possible,” said Brian.
“We didn’t want to build somewhere that people just come home to at the end of the day.
“We wanted somewhere that actively helps people get to where they are trying to go and gives them the space, literally and figuratively, to do their best work.
“As we prepare for the opening of 25 Cuba we will also be using what we’ve learnt from our most recent research to consider the ways in which the space will be managed, from the type of events hosted to the music played, to best suit those living here.”
Scheduled for completion in 2029, the 434-apartment development offers studios, one, two and three-bedroom properties that feature open-plan design and private balconies.
Communal facilities include a 24-hour concierge service, a reception gallery, a garden bar and a fitness suite on the 32nd floor complete with weights, cardio machines, a dance studio and a Yoga terrace.
There will also be a reading room, workspaces, meeting pods, a library, meeting rooms and content creation studios for residents to use as well as a one-acre park.
More In Common’s survey found more than a third of prospective buyers were paying for access to workspaces, with even higher percentages for those running businesses and making content.
Prices at the tower range from from £395,000 to £2,750,000 – image supplied by Ballymore
an increasingly attractive Canary Wharf
The research also said respondents felt most creative in parks and outdoor spaces making the newly landscaped Cuba Street Gardens an attractive proposition on the doorstep at 25 Cuba.
Residents will, of course, also benefit from the likes of Mudchute Park And Farm and Sir John McDougall Gardens, which are also within walking distance.
The survey also found the wider Canary Wharf area had become more attractive over the last decade as a place to live with 62% saying their opinion of the neighbourhood had improved.
A little over three quarters said they would or may consider a move to E14.
Brian said: “Something has shifted in how people see Canary Wharf. Once a place where you came to work and left at the end of the day, it is now a neighbourhood where people want to live, socialise and spend their weekends.
“What has been particularly notable is the commitment from commercial companies like PwC, Visa, and JP Morgan Chase, which is certainly not something we envisaged happening when we first started planning 25 Cuba.”
Facilities include content production studios – image supplied by Ballymore
key details: 25 Cuba
Prices for private sale apartments at 25 Cuba range from £395,000 to £2,750,000.
A show apartment is available to view in the sales gallery by appointment on weekdays and Saturdays at The Cube facility in Millwall Inner Dock on the Isle Of Dogs, just off Marsh Wall.
Developer Berkeley, in partnership with Tower Hamlets Council, has unveiled its latest collection of apartments available at discounted, below market value prices.
The 17 one and two-bedroom apartments are located in Jade Wharf, part of the wider London Dock scheme in Wapping.
With prices starting at £262,000, the apartments are only being offered to first-time buyers who have lived in Tower Hamlets for at least 12 months or who work or have a job offer from a firm based in the borough.
Prospective buyers will need to move swiftly as the application and qualification process closes on September 21, 2026.
To be eligible, combined household income must be less than £90,000, with buyers allocated available properties based on their circumstances, which will be assessed by the council following an expression of interest.
Under the scheme the apartments are jointly owned with the authority, which retains an equity stake in the property although charges no rent on its holding and can be bought out.
Owners seeking to sell in the future must first market their property through the council for a period before they can offer it more widely.
Inside the apartments, buyers can expect open-plan living spaces featuring timber-effect flooring and carpeted bedrooms, all warmed by under-floor heating.
Fitted kitchens come with quartz worktops and tiled splashbacks and feature bronze, mirrored shelving as well as intergrated Bosch appliances.
Buyers can choose between cabinets sage green or soft white.
Bathrooms feature porcelain and ceramic tiles and framed bath and shower screens.
The apartments, many of which have private balconies, are expected to be finished and ready to move into from spring next year.
The scheme features a series of landscaped garden square spaces – image supplied by Berkeley
ready from sprint 2027
Managing director at Berkeley, Marcus Blake, said: “This latest collection has been created for first-time buyers looking to step onto the property ladder without compromising on quality, design or location.
“Ready to move into from spring 2027, these homes combine thoughtfully designed living spaces with premium amenities and excellent connectivity, making home ownership in central London more accessible.
“London Dock has grown into one of the capital’s most established and sought-after new neighbourhoods, with continued demand reflecting both the quality of the homes and the strength of the wider place created.
“From the outset, our ambition has been to deliver a neighbourhood that feels fully integrated into Wapping, combining retailers, welcoming public spaces and beautifully designed homes.”
London Dock itself currently houses around 2,000 people and includes 7.5 acres of landscaped open space and private gardens.
Residents get access to The Club, the scheme’s hotel-style wellness facility which comprises a gym, a squash court, a virtual golf suite, a swimming pool, a jacuzzi, sauna and steam rooms, a private screening room and a treatment room.
The discounted apartments are available to Tower Hamlets workers or residents – image supplied by Berkeley
an emerging neighbourhood
The development is also set to become home to The Mauretania Lounge, which includes relaxing areas, a co-working space, a bar and a private dining room.
Inspired by the “gilded age of travel” this facility will also feature a grand central staircase and a floor-to-ceiling aquarium.
Locally, a growing clutch of businesses offer further amenities including hospitality from Urban Baristas, Champagne Route and Motherdough.
Fitness and wellbeing spots include E1 Crossfit, Club Pilates and City Dock Pharmacy and there’s also Dogeast, an independent grooming studio for canine residents.
London Dock is located within walking distance of Tower Hill, Wapping, Aldgate East and Shadwell stations, offering access to the DLR, Tube and Overground services.
Tower Pier is also a short stroll away through St Katharine Docks, past Tower Bridge and the Tower Of London.
It offers residents the option of travelling by river bus on Uber Boat By Thames Clippers services to many locations up and down the river, including Canary Wharf.
Prices for the properties start at £262,000 – image supplied by Berkeley
key details: discount market homes at London Dock
Prices for the 17 first-time buyer apartments at London Dock’s Jade Wharf start at £262,000.
Eligibility criteria apply to all of the properties on offer.
Those seeking further information or who would like to register their interest in purchasing one of the homes should call the sales team on 020 7971 7880 email sales@londondock.co.uk or follow this link.
The application and qualification process must be completed by September 21, 2026.
