A pair of homes at the top of the UK’s tallest residential tower have gone on sale.
Located on the 74th floor of Landmark Pinnacle on the Isle Of Dogs, both expansive three-beds offer panoramic views stretching more than 40 miles in some directions.
Sharing a floor with two other penthouses which have already been sold, the apartments are currently the final opportunity for buyers to invest at this altitude in the UK.
While one of the homes at Chalegrove Properties’ scheme comes dressed by Dapa Atelier, the other is presented as a blank canvas for its future owners to furnish.
The Landmark Penthouse is the smaller of the two, extending to 2,145sq ft.
It features en suite bathrooms to all bedrooms, open-plan living areas with sliding windows that open onto west-facing views of the Thames, The Shard and the City.
Dressed and furnished to sell, it’s spaces are framed by full height glazing.
The Pinnacle Penthouse comes unfurnished but stretches to 3,122sq ft and boasts views in the same direction.
Chalegrove said both apartments’ interior architecture was “inspired by their unique sky-high setting” reflecting the flow of the Thames below.
Both come with Herringbone European oak flooring, marble-finish tiled floors, silver-grey hardwood doors and custom-designed kitchens.
The latter boast bespoke timber-effect cabinetry, Caesarstone quartz worktops and splashbacks, plus a suite of integrated Miele appliances.
Bathrooms are finished with full-height marble-effect porcelain tiling and feature Villeroy And Boch sanitaryware and Dornbracht fittings in a dark platinum finish.
The Landmark Penthouse has two bedrooms – image supplied by Chalegrove Properties
two ‘trophy assets’
Rami Atallah, director at Chalegrove, said: “After much anticipation, we are delighted to formally unveil the remaining penthouses at Landmark Pinnacle.
“These extraordinary apartments represent an incredibly rare opportunity to own a home at the very top of Britain’s residential skyline.
“They are trophy assets that embody everything Landmark Pinnacle represents – bold ambition, exceptional design and refined luxury.”
Interiors comes with opulent finishes – image supplied by Chalegrove Properties
sky high facilities
The tower features a rooftop terrace for residents on its 75th floor and a residents’ gym, a Yoga and Pilates studio, a residents’ club lounge, private bars and dining rooms, a games room and virtual golf on its 56th level.
Then, on its 27th floor, its Panoramic Sky Gardens are home to more than 3,500 plants, alongside further amenities including a 21-seat private cinema, a media room, a residents’ library and lounge, a children’s play garden and a 24-hour concierge service.
Landmark Pinnacle is located between Marsh Wall and Westferry Road and is within easy walking distance of the amenities of the Canary Wharf estate.
Local transport links include Uber Boat By Thames Clippers river bus services from Canary Wharf pier, numerous local bus routes and stations for the DLR, the Tube and the Elizabeth Line within easy walking distance.
At the time of going to press, five apartments remained in the tower with prices starting at £550,000.
Properties lower down also feature floor-to-ceiling glazing and marble feature walls.
An artist’s impression of how The Pinnacle Penthouse would look furnished – image supplied by Chalegrove Properties
key details: Landmark Pinnacle penthouses
The Landmark Penthouse is priced at £5,500,000, while The Pinnacle Penthouse is priced at £7,000,000.
The tower is located on the western edge of the Isle Of Dogs.
Interested buyers can call the sales team on 020 3905 6826 or email sales@landmarkpinnacle.com or visit the website here.
Perhaps key to the show’s success was its pacing. Contemporary dance can sometimes err on the side of self-indulgence, with routines spun out far beyond the attention of the audience.
But Dickson’s show had none of this. Not a flick of the hand was wasted as we watch a kinetic, talented cast gouge a story out of the stage.
A simple set of lights and a string curtain constrained the action to the dancers’ forms – and what a sight they were.
Tellus follows the story of a young person disconnected from Mother Earth and living in a village beset by drought.
He appeals to the goddess Mami Wata for help and is guided in the ways of worship and caring for the land.
His is a desperate, heart-rending attempt to reset a relationship and restore balance.
Throughout the dancers contort themselves as though these elemental forces are coursing through their bodies.
At one point they transform, bringing their torsos down and expressing themselves through their shoulder blades as if possessed. It’s an unsettling, but unforgettable image.
Projections, courtesy of Yeast Culture, enhance the piece without detracting from the performers and a score by Dickson himself provides the sonic foundation.
At no point, for a full hour, does the intensity drop.
While the pain and ecstasy of movement on display here is palpable, the cast deserved their multiple curtain calls simply in recognition of the extraordinary physical achievement of staying the course, never faltering as Dickson uses them to explore his Cameroonian heritage.
5/5 *****
The show’s cast deliver a masterclass in movement – image by RULA
key details: Sadler’s Wells East
While Tellus’ run at Sadler’s Wells East is now at an end, this show is emblematic of the quality the Stratford venue is now hosting.
Royal Docks Originals is set to return to east London in autumn 2027. The free cultural festival takes place in Newham every two years and is aiming to build on the foundation of its first iteration in 2025.
“It’s made over an 18-month period, with the local community coming together to create it,” said Kate Anderson, head of cultural programme and partnerships at the Royal Docks Team.
“We had our pilot in 2025 and it went really well.
“Now we’re in the process of creating our 2027 festival and it’s very exciting.”
At the heart of next year’s programme will be a central work created in partnership with the English National Ballet based at nearby London City Island.
“It will be a promenade presentation with professional dancers, big-name choreographers and 500 local people,” said Kate.
“Artistic director Jeanefer Jean-Charles will be bringing together all those people for a series of performances.
“These are likely to start at Royal Victoria Square near Excel London then come past the sights of Royal Docks before arriving right outside City Hall.
“It’s still a work in progress at the moment, so the details might change, but this will be the centrepiece of the festival.
“There will be lots of other things in the programme to look forward to – the clue is in the name ‘Royal Docks Originals’.
“It’s all about new work and the vision for this area to be London’s cultural engine – a place that generates creativity.”
Kate Anderson, head of cultural programme and partnerships at the Royal Docks Team – image by Jon Massey / Wharf Life
commissioning local creatives
The Royal Docks Team, a partnership between the London Borough Of Newham and the Greater London Authority aimed at maximising the opportunities available in the capital’s only enterprise zone, is right at the heart of fostering that future.
“We have three larger-scale commissions for artists at a key moment in their development,” she said.
“These will be our Royal Docks Originals Engineers.
“We also have a series of smaller commissions working with much larger numbers of people – locally based artists – there are about 400 here – organisations and communities.
“These will result in about 20 to 30 pieces of new work that will be presented as part of Royal Docks Originals.
“We’ll be sitting down with a panel to decide on the applications following the deadline for submission on November 23, 2026.
“One commission that will be returning from 2025 is The Docks Factor – a talent show for local people and that will take place in City Hall.
“Alongside that, there will be schools projects and a careers day for young people interested in working in culture and creativity.
“There will also be public art and partner projects, where our partners will put on events.
“Some of these may be ticketed, but everything that’s part of the festival must be at an affordable price.
“All of the work we’re commissioning will be free for visitors to the docks and local people to enjoy.
“This is a festival that is about regeneration and ensuring our communities here benefit from the process.”
The 2027 festival will feature an extensive programme of events including a talent show – image by James O’Jenkins
putting Royal Docks on the map
Kate has been working with the Royal Docks Team for six years, having previously run Bloomsbury Festival and, before that, a number of theatres.
“What we want with Royal Docks Originals is for locals to take away an absolute sense of pride and excitement in their area,” she said.
“It’s new, it’s diverse and this is something for them to relish and enjoy.
“For visitors coming from elsewhere, it’s about showcasing the Royal Docks – what it was, what it is and what our ambitions for it are for the future.
“We want the festival to help put it on the map.
“The summer we’ve just had was definitely the busiest with numerous major events.
“It’s an area that’s really coming into its own – it’s becoming more and more popular, especially for out door leisure.
“The stretches of open water are huge and there are amazing opportunities for different things to happen on them.
“That’s in addition to extensive plans for Royal Victoria Dock, which are now in the works.”
At Royal Docks Originals’ heart will be a dance performance produced in partnership with the English National Ballet – image by James O’Jenkins
reaching out to the neighbours
Hand-in-hand with the strong focus on local participation and appeal, there’s also a desire to reach out to other areas such as Greenwich Peninsula and West India Quay.
Art installation The Wake by Khaleb Brooks is set to be unveiled next year on the latter, outside London Museum Docklands, as the capital’s memorial to the victims of transatlantic slavery.
Alongside marking the installation of this important memorial and its links to Royal Docks’ own history, the festival programme will also explore developments within the area itself, as it continues to evolve.
“Newham is one of the youngest, most diverse and creative boroughs in the country, and it’s vital every local person has the opportunity to shape and enjoy the cultural life on our doorstep,” said Forhad Hussain, mayor of Newham.
“Royal Docks Originals is about creating those opportunities, bringing world-class arts and culture to Newham while investing in local people, local artists and future talent.
“This festival provides pathways into creative careers, supports community organisations, and showcases the Royal Docks as a place where culture is made.
“Through partnerships with organisations such as English National Ballet, we are putting local people at the centre of creating something ambitious, inspiring and uniquely Newham.
“As the Royal Docks continues to grow and attract investment, culture has a vital role to play in building pride, connection and opportunity.”
Creatives can apply for grants to develop work for the festival – image by Alex Abimbola
key details: Royal Docks Originals
Royal Docks Originals is set to take place in autumn next year.
Open calls and various live opportunities are available now.
The deadline to apply for grants related to many key aspects of the festival is November 23, 2026.
A shop with a difference has opened in Canary Wharf Tube Station.
On the face of it, New Working Class (NWC) is a business that sells curated and upcycled items that commuters and Londoners have lost via partnerships with TfL, The O2 and Chiltern Railways.
But it’s more than that. It’s an operation designed to give young people an opportunity to learn, to work and to belong to something – it’s also run by them, with profits reinvested so it can grow and reach more people.
The initiative is the brainchild of James Scroggs, a former marketing director at MTV and a serial entrepreneur who’s pursued ventures in technology, music and fashion.
“I wear many hats professionally and I had the idea for NWC 25 years ago,” he said.
“I was working in Camden at MTV – it was just at the birth of the social web, when uploading became the new downloading and the web became the great leveller for young people.
“They weren’t being judged by the brand of their trainers or the colour scheme they were wearing – they were using the internet as a great creative blackboard.
“At the time, I was particularly struck by the number of people knocking on my door just out of education who were feeling desperately lost.
“I tried to convince my CEO at the time that we should take over a chippy next door that was constantly changing hands and turn it into a young person’s incubator, lovingly called the House Of Opportunity.
“But, politely, he said no. I parked the idea and my career moved in two parallel directions.
“One was to get involved with and then chair suicide prevention organisation CALM – the Campaign Against Living Miserably – founded by an amazing lady called Jane Powell.
“The other was to leave MTV and get involved in entrepreneurship.
“During lockdown, I came back to the idea of young people feeling lost. I have a 21-year-old son and, while I’m not suggesting he’s lost, I feel the pain of a generation.
“I thought it would be an amazing idea to put a business on the high street that would be a safe space for young people to explore who they are at the end of their education.
“From the start we wanted it to be transparently evident that it’s run by them, doing exactly that.
“My belief was that, if I could create a business which was literally built by young people for other young people, and you could scale it, then it would inspire others.”
James Scroggs, founder of New Working Class – image by Jon Massey / Wharf Life
from a pilot to New Working Class Canary Wharf
Following a pilot program in Clapham, NWC recently opened its doors in Canary Wharf, having found space in the station through TfL property company Places For London.
“It started as an entrepreneurship programme – all we had was a board table and an empty room,” said James.
“I was the token old guy here not because I’m a teacher or a trainer, but because I have a feeling for what young people are and what their potential is.
“In the end, what we realised was that the most interesting part of the project would be to see how NWC could become an employer.
“A year on and we’ve done that. We’re a bona fide employer – we’re starting on that journey – and we’ll open the entrepreneurship programme in the New Year.
“We have nine people who have been through the programme and have stayed with the business.
“All of them are thinking of ways to generate revenue so we can afford to bring in more students in the future.
“Ultimately, we want to open multiple retail outlets across London but also to build an end-to-end operation behind the scenes to not only work with our existing suppliers but also to attract new ones.
“For example, we’d love to deal with dead stock that is costing people money.”
The shop is located in Canary Wharf’s Jubilee line station – image by Jon Massey / Wharf Life
a place where we can help ourselves
Valeriia Vozniuk, 23, is operations lead at NWC.
Forced to abandon her studies to become a vet in Ukraine by the war, she arrived in the UK aged 19, initially returning to university before leaving to embark on this opportunity.
She said: “As a young person, work experience often means low level tasks that you don’t really gain anything from, but I received the offer from NWC and thought there was no harm in trying it.
“I came to the induction and James was there, talking about his background and the learning curve he’s been on in life.
“He was being vulnerable and actually talking about his mistakes and what he’s done in business. I think something switched on in me as a result.
“It really felt like he was looking at young people not as free labour but as assets for an organisation.
“It was to help us, but also to create something where we could help ourselves, which was something new for me. That was a year ago.
“While I started as community lead, I realised I was better at operations, so that’s my role now.
“I hope people who come in to visit don’t think this is only about young people working in retail. It’s young people creating opportunities for each other.
“It’s generating revenue to support us and it’s a safe space for me to think about how I can contribute to the world.
“Here I don’t have to run, I can sit down and think.”
Upcylced items on sale at New Working Class – image by Jon Massey / Wharf Life
curated and upcylced
At present NWC sells clothes selected and sorted into different price brackets. Higher value items are displayed in the shop’s Gold section, while older pieces feature in its Vintage range.
Next door to the retail space is another unit where stock is brought in, sorted and some is chosen for upcycling with work done or details added to boost its value.
Pricing is aimed at supporting the London Living Wage paid to employees.
Having officially opened its doors, the team are now exploring how the space might be used in the coming weeks and months, having already undertaken a free umbrella giveaway to create a bit of buzz.
Ideas include hosting workshops and live music to help get more people through the door.
James said: “We are truly independent and we’re trying to do something meaningful.
“There are lots of young people who live in the Isle Of Dogs and travel through here.
“I think we have a strong constituency to tap into here.
“We are slightly hidden here, but we’ll find our audience.
“We’re also looking at taking in donations and we have a Vinted space, which is slow at the moment, but the ambition there is to build a marketplace in time.
“We may appoint someone to look after our digital footprint.”
The store features higher value and vintage clothing from TfL’s lost property office among other sources – image by Jon Massey / Wharf Life
finding self-worth
At the heart of NWC is its circular logo, symbolising learning, working and belonging.
James said: “There are still a few things I’m interested in, and it comes back to my mental health work.
“We’re told that we’re only as good as the validation given to us by others, but part of the mission of NWC is that I believe we find our self-worth ourselves and then you tell your story.
“That is then set in the context of a workplace which is judging young people as snowflakes, and now AI is coming along and taking a lot of those first rung jobs – the old model has essentially been blown up.
“The career path now is more like an hour-glass than a ladder. You have to ask the question: ‘Who is going to be running a business in 10 years’ time if we don’t give young people their self-worth.
“NWC offers people the chance to try lots of different things and the beauty of the programme is that they can also self-organise.
“Valeriia put her hand up and said she was interested in studying social media marketing, so I thought: ‘Brilliant, go away and study it a bit and then come back and run our social media’. That drive to appoint herself has come from somewhere and this is a place in which she can explore it.”
As time moves on, the business may continue to evolve with other product lines already under consideration. Following TfL’s current rules, lost property must be stored for three months, but after that, NWC is free to take it and sell it.
Valeriia said: “One of our plans is to create multiple retail outlets, not just for fashion.
“Thinking about what young people are interested in beyond clothes, that might be sports equipment, for example.
“There are so many items that get lost and TfL has some really beautiful tennis rackets.”
key details: New Working Class
New Working Class is located in Canary Wharf’s Jubilee line station to the right of the ticket barriers from the main entrance.
Theatreship has become the only venue in London to be longlisted in the Best Cinema category at the forthcoming British Independent Film Awards.
Selected alongside 14 other venues, following a contest that saw nearly 50,000 votes cast, the floating arts centre moored on the Isle Of Dogs has won recognition for its innovative approach to celebrating the moving image.
“Our audiences sit in cinema seats that have had people in them watching films for 50 years,” said Inigo Lapwood, founding director of Theatreship.
“On the boat, they’ve been doing that for three years now.
“We’re not the only arts centre on the long list and that presents an interesting idea about what cinema is becoming and what makes it special.
“For us, it’s watching movies with other people and making that an event.
vYou get to see films through others’ eyes.
vIt’s one of the reasons we have an interval at every showing, so there’s an opportunity for audience members to talk to one another.”
Natalie Hill introduces a screening at Theatreship – image by Adrian Sidor
welcoming and often free…
Theatreship’s screenings, curated by project director and head of film programming, Natalie Hill, are very much about bringing people together.
The venue offers regular free mystery shows on Wednesdays with those attending completely unaware of what they’ll be seeing until the lights dim and the projection begins.
“It’s a really powerful way of experiencing film, because people don’t have to take a financial risk and it makes it maximally accessible.
“Making it a mystery means we can screen films people might not have heard about and may not have chosen, if they had known about them.
“The way we experience media at the moment is through algorithms, which only provide viewers with more of what they like.
“At our mystery nights, we hope audiences enjoy something completely new that’s a surprise.
“It takes away choice paralysis and you get our promise that it will be something good.
“Natalie really believes in the magic of cinema and has a real skill for demystifying film.
“She introduces every film live on stage and her passion is infectious.
“I think sometimes people can feel a kind of pressure in arts spaces, like you could somehow ‘get it wrong’.
“Natalie is really good at communicating that there’s no right or wrong way to experience a film – you just need to see it.
“I think that’s part of why people keep coming back.
“We’ve screened century-old films to a packed-out cinema, none of whom had never seen a black and white film before.
“We’ve shown pieces with no spoken dialogue.
“We’ve even shown a film shot entirely from the perspective of a chicken.
“Every week, Natalie finds the things she loves about these films and shares that with the people on board, who end up loving it too.”
Visitors sit on 50-year-old cinema seats in the 100-capacity vessel – image supplied by Theatreship
more than showing films
Theatreship’s screenings in partnership with the British Film Institute and other shows hosted at the venue often feature additional performances by artists that respond to the centrepiece of the evening.
Inigo said: “Being long listed is massive for us. We’re one of the smallest venues on the list and possibly the newest.
“There’s a lot of hard work involved in carving out a space like Theatreship.
“Nat and I have volunteered full time for several years now to help make it happen.
“It’s a real labour of love, so it means so much to hear so many people have responded in kind by voting for us.
“We’re the only London cinema to have made the list.
“Compared to some of the other London cinemas that were up for the award – amazing institutions like BFI Southbank, Genesis, or the Prince Charles – we’re an absolutely tiny space.
“To know that enough people come aboard and care about what we do that we can be in the top 15 nationwide feels like a real vindication of some of the risks we’ve taken – providing half our programming completely for free, pairing films with live performances by new artists, and trusting audiences to give a chance to beautiful films they might never have seen before.
“We do it because we really believe it’s important for people to get that window into different worlds.
“Film is such a playful, imaginative medium, and this past three years it’s been such a joy to find a playful imaginative community growing around us.”
Canal And River Trust regional director for London and the South East, Ros Daniels said: “Our 2,000 mile network includes dozens of locations which have graced the silver screen.
“From James Bond to Bridget Jones, and from Paddington to Peaky Blinders, our charity’s canals, river navigations and docks have played a starring role – so it’s fitting that a cinema floating on our waterways has been recognised in this way.
“We’re delighted to hear Theatreship, the first vessel to join our Docklands Arts and Heritage Berth initiative, has been recognised in this year’s British Independent Film Awards for providing free cinema and arts events on the water to the communities of east London.”
The winner of the British Independent Film Awards Best Cinema will be announced on December 6, 2026.
The Theatreship bar offers a place to converse before, after and during intervals in screenings – image by Milo Robinson
get those diaries out…
Film events to look out for at Theatreship include the regular free screenings on Wednesdays and a new partnership with the National Theatre with productions shown live on the boat on a monthly basis for £5.
The evening will include an audience with label co-founder Dave Robinson, who also managed Jimi Hendrix and lived with Van Morrisson.
key details: Theatreship
Theatreship is moored in the Millwall Cutting on the edge of West India South Dock and is easily accessible on foot from South Quay DLR station or Canary Wharf’s various stops.
Dancing in a ceilidh, for the uninitiated, is often a frenzied battle to understand what’s going on, followed by some good-natured jigging up and down as everyone tries to get the steps at least halfway right.
In short, it can be a spectacle of well-intentioned, if jolly confusion.
That discombobulation is a little like being in the audience for Ceilidh The Musical.
Attending a performance at the fabulous Shoreditch Town Hall, we’re treated to a show that, if it were just a simple marriage of song and drama would be trying to do too much.
Topics dipped into include ageing, romance, closeted sexuality, generational inheritance and some dashes of comic relief.
Audience members are invited to dance six times during the two-hour production. Everyone else just has to watch – image by Luke Dyson
too much dancing
Most are dealt with fairly rapidly as – apparently to the surprise of much of the audience – the two hours are punctuated by six communal dances on the wide open floor in the middle of the venue, all of which the crowd are invited to participate in.
For those prancing, it’s a lot of fun, but for those watching, each session is a dead stop in the plot, creating a jerky feel to the whole affair.
Oddly there’s little mention of this on the website – at best a missed opportunity to appeal to enthusiastic dancers who would surely love an opportunity to strip the willow immersively.
Despite these limitations – and almost entirely due to the multiple talents of the actor-musicians performing the thing – Ceilidh The Musical is an experience packed with fun.
The bars are open throughout, there’s a wee dram and some haggis included.
Just go with an open heart and sink a pint.
3/5 ***
key details: Ceilidh The Musical
You’ll need to be quick if you’re going to catch this one at Shoreditch Town Hall, as Ceilidh The Musical closes in London on November 13, 2026, before going on tour.
It’s a paradox that, in an area which boasts London’s largest concentration of tall buildings, there are few places that the public can access to go aloft and enjoy the view.
Only restaurant and bar Bokan on the Isle Of Dogs offers significant altitude and its views across the London skyline to The Shard, are soon to be reduced by the rise of a residential block on its western side.
Now though, there’s a new player in town.
Alto 19 is located on the top floor of Locke London Canary Wharf, overlooking Blackwall Basin, Wood Wharf, Billingsgate and even boasting views towards One Canada Square from its wrap-around windows.
While 19 storeys isn’t especially high for the locality, the hotel’s position on the edge of the dock at some distance from any of its neighbours, means guests enjoy an almost uninterrupted panorama over much of its surroundings.
The geography also means nothing is likely to get built right next door any time soon.
The 19th floor restaurant and bar features views over the Thames and The O2 – image by Milo Hutchings
designed for fun
“This restaurant has been designed as a really fun place,” said Chris Miller, CEO of White Rabbit Projects, which works with hospitality brands such as Lina Stores and Kricket.
“Alto 19 came from a partnership we’ve had with Locke Hotels for a number of years.
“For example, a couple of years ago we opened a restaurant with them in Lisbon – Santa Joana with chef Nuno Mendes – which has been a fantastic site for us and recently hosted former US president, Barack Obama.
“Locke told us they were opening a hotel in Canary Wharf and asked whether we would be interested in creating something there.
“We asked ourselves what we could bring to Canary Wharf that would make it a destination to match the views.
“From the success of the Lisbon restaurant and other venues we’ve worked on, we thought about something focussed on Mediterranean cooking.
“There are lots of places doing this well in London, but what we’re lacking in the capital is some fun.
“The intention for Alto 19 is that it should deliver that.
“We’ve got a DJ booth in the bar area, sexy lighting and a head chef in Chris Dargavel who cooks fantastic food made from great ingredients.
“He absolutely blew us away with his ideas and his career across some of the best restaurants in London is a testament to his huge talent.”
Chris Miller, CEO of White Rabbit Projects – image by Jon Massey / Wharf Life
Mediterranean cuisine at Alto 19
Dargavel does have an impressive CV – he’s worked at the likes of Daphne’s, J Sheekey, Scott’s, Roux At Parliament Square and Le Caprice.
He’s also a man who clearly delights in his job while largely letting the dishes he cooks do the talking.
“When I first saw the vision that Chris had for the venue, I thought I had to work with these guys,” said Dargavel, who moved to London at the age of 17.
“To drag me away from Caprice Holdings after 22 years, it had to sit right with me.
“Jamie Oliver is partly responsible for my career.
“I watched his Naked Chef programme when I was 16, thought it was cool and it got me into cooking at home.
“At Alto 19, I just want to showcase Mediterranean ingredients at their best.
“There’s a Sicilian Red Prawn Risotto for two to share on the menu and, for me, it epitomises how great produce can be. It’s really fresh, light and flavoursome.
“I don’t want to mess with the ingredients too much – just well-seasoned, well-cooked and enjoyable to eat.
“Similarly, as a starter we have Prosciutto Di Parma, ham that’s aged for 24 months with Ligurian honey melon, which is the best in Italy.
“Both are fantastic products that you don’t need to mess with. You don’t need anything else to make that dish great.”
The lounge area at Alto 19 – image by Milto Hutchings
sleek design for wide appeal
With an interior by designer Holloway Li that fuses the futurism of a grand 1960s airport lounge from the jet set age with the rich red velvets of a nightclub, Alto 19 has capacity for 100 covers.
In addition to the bar and restaurant there’s a 10-person private dining room at the north-east corner, with views over Blackwall Basin and down towards Billingsgate.
But both Miller and Dargavel are clear that the venue is pitched for broad appeal.
“We wanted it to be accessible to everyone,” said Dargavel.
“When people finish work in Canary Wharf they can come here for a bowl of pasta and a drink on their way home.
“Guests don’t have to spend lots of money.”
Miller added: “It is very relaxed. Of course you can come here for a big sharing steak and we’ve got 300 wines on the list.
“You absolutely can go big and have a celebration.
“But you can also have a glass of wine and something smaller all while surrounded by the stunning views over the London skyline.
“Then, in the lounge area on selected nights we’ll have sunset sessions with DJs and we’ll have a livelier later night offering too.
“Because of its position, this is going to be the place to be on New Year’s Eve or even for fireworks night.
“But we also want this to become a regular place, especially for people working on the Wharf as well as a destination for people coming from across London for the views and the food.
“That’s why the menu has crowd-pleasers alongside special dishes that you might normally associate with dining on a beach somewhere in Italy.”
Sicilian Red Prawn Risotto for two at Alto 19 – image by Jon Massey / Wharf Life
talking on the plate
One of those showstoppers is the Branzino Baked In Salt And Rosemary, a whole sea bass cooked, flavoured with fennel, tomatoes and olive oil.
“That’s a great centrepiece for the table,” said Dargavel. “It’s a kilo of fish and we break the crust, then serve it with the dressing.
“We want dining here to be a sociable event.
“It’s all about sharing courses, getting messy and food all over the tablecloth, so people can try all the flavours.”
There are sweet treats on offer too, with Miller picking out the Chocolate Mousse and a “really boozy” Tiramisu as two of his favourites.
He said: “We’ve also done a lot with the drinks.
“The bartender we’ve brought in ran his own bar for about nine years and he’s a Willie Wonka of cocktails.
“There are loads of bizarre and interesting flavours and the amount of research he’s done into ingredients from across the Med, is phenomenal.
“We did a tasting with 10 people the other day and they split the room. Some will love them and others will find them challenging.
“But we want to be a place where people can try new things.”
Dargavel added: “The food is driven by what’s in season – simple with elevated flavours.
“I want to see a full dining room with people enjoying themselves and having a good time – you can’t put a price on that.
“I’ve got a great team behind me, so it’s go, go, go. I’m looking forward to what the future holds.”
Prosciutto Di Parma at Alto 19 – image by Jon Massey / Wharf Life
key details: Alto 19
Alto 19 is located at Locke London Canary Wharf off Cartier Circle.
The restaurant is currently open for dinner from 6pm-10pm, Tuesday to Sunday. Starters range from £11-£18 and mains from £18-£44. Pasta dishes are around £23.
In 2006, the East End Community Foundation distributed 100 care bags, filled with essential supplies to support older residents in Tower Hamlets, Newham and Hackney through its first Winter Appeal.
“There are about 20,000 older people defined as living below the poverty line in this area,” said Tracey Betts, chief executive of the EECF.
“The appeal first came about through listening to the people and organisations we work with.
“The 2,000 bags we distribute will all be going to people identified by the charities we work with, so we know they’ll be going to those in need.
“The contents of the bag alone cost about £30 and we tailor what’s inside depending on a person’s situation.
“For example, bags for residents in care homes don’t need so much food in them, but instead have things to help keep people occupied.
“They also contain essentials like blankets, hot water bottles and cupboard staples for those living independently – tea, soup, biscuits, chocolate and Christmas pudding.
“Some of the people we deliver to don’t see anyone from week to week – no family or carers. It’s also an opportunity for a conversation and perhaps a cup of tea.
“The appeal is part of the work we do to tackle pensioner poverty in east London.”
For the past 20 years, the charity has delivered care packages to elderly residents – image supplied by EECF
fighting poverty across three boroughs
Isolation, fear and, to some extent, pride, are all challenges the EECF works to overcome in its efforts to improve the lives of older people locally.
With the three boroughs it operates in suffering some of the highest levels of income deprivation for the elderly in the country, the charity also uses its appeal as a point of contact to introduce them to local services and help them claim any benefits they’re entitled to.
“Some are frightened things will be taken away from them as there are a lot of personal questions during an application,” said Tracey.
“Others don’t want to admit they need it, you have to tackle that element of pride.
“But this is money people are entitled to and, with pension credit, once you’ve been approved it’s there for life unless there’s a really major change to your circumstances.”
Tracey is appealing to businesses and individuals to support this year’s appeal and is well placed to speak on these matters.
Having grown up on the Isle Of Dogs and attended George Green’s School, she’s spent pretty much her whole career fighting poverty locally.
After working for the London Docklands Development Corporation, notably in the application of its grants programme, she became the director of the Isle Of Dogs Community Foundation in 1998, which became the EECF in 2012.
The charity distributes cash via grants from its own endowment fund and donations it receives to support local organisations.
It also advises corporations, helping them manage their own philanthropy effectively and efficiently.
Its comprehensive knowledge of the area, and the charities operating within it, means it has a granular level of expertise and a real appreciation of the size of the challenges faced by residents.
This year EECF plans to gift 2,000 bags through its Winter Appeal – image supplied by EECF
working to give people chances in life
“One of the issues we face increasingly here are the working poor – people who have two or even three jobs but are still under pressure to make ends meet,” said Tracey.
“Some are struggling to feed their children.
“We do a lot of work with schools to identify families and offer holistic packages to help address their issues.
“Right now it does seem as though times are getting tougher, but there are things we can do. Our Digital Inclusion project has been transformational.
“That’s all about getting kids connected so they have the technology and the ability to access the internet and do homework.
“But their families also use the facilities for job searches and to help with their mental health. The impact is much wider.”
Tracey is calling on businesses and organisations to work with the EECF to maximise that impact.
“Our remit is to tackle poverty,” she said. “What we say to corporates is that we know they have the money and we can help get it to the right place to make a difference.
“Companies can have as much or as little control as they like and can be fully engaged or anonymous and we’ll do all the evaluation and monitoring for grants made or projects undertaken.
“We can also match funding for certain projects.
“We’ve been doing this for 35 years – it’s not easy, but organisations can trust us to make the biggest impact possible.
“Through our Life Chances campaign we work with businesses to invest in young people in east London and to support older people too by funding charities that do good work over multiple years.
“With us working collectively in this way to sustain these organisations, they’re able to focus on the brilliant work they do.”
Those receiving gifts are identified by the charities EECF works with – image supplied by EECF
key details: East End Community Foundation’s Winter Appeal
Immerse LDN in Royal Docks is set to welcome its latest attraction.
Launching on October 24, 2026, Balloon Museum will present Euphoria – Art Is In The Air at Excel London’s waterfront entertainment venue.
The exhibition brings together large-scale inflatable installations by artists AA Murakami, Alex Schweder, Camille Walala, Cyril Lancelin, Hyperstudio, Karina Smigla-Bobinski, Martin Creed, Rub Kandy and Spy for visitors to explore.
“We live in an age in which inflatable art has become a familiar presence, at the intersection of entertainment, design, and architecture,” said Valentino Catricalà, curator of Euphoria for Balloon Museum.
“Through this exhibition, it is reinterpreted in a new light, as a form of visual art that offers a critical perspective on a society undergoing profound transformation.”
It is currently operating exhibitions in Chicago and New York with plans for two more in the pipeline as well as the London show.
Since its creation in 2021, the project has collaborated with more than 60 artists to commission and co-develop works for display.
It’s not new to London, having hosted EmotionAir at Old Bilingsgate from December 2023 to 2024.
Hyperstudio’s Invisible Ballet – image supplied by Balloon Museum
creative energy
“Bringing Euphoria to London marks a new chapter in the journey of Balloon Museum,” said Roberto Fantauzzi, CEO and Founder of Lux Entertainment.
“It is a project that reflects the evolution of our vision, creating an increasingly direct dialogue between art, space and the public.
“With its extraordinary cultural and creative energy, London is the ideal place for this next step and to offer audiences an experience that brings together international artists, different languages and new perspectives.”
The Royal Docks exhibition promises pieces that explore “air as both artistic material and language, placing participation, perception and the relationship between audience, artwork and space at its centre”.
There are several highlights to look out for including work by Camille Walala, well known for her decoration of Adams Plaza Bridge in Canary Wharf.
Another installation by Hyperstudio – image supplied by Balloon Museum
highlights to discover at the latest Balloon Museum exhibition
Martin Creed presents Work No. 3883: Half The Air In A Given Space, which fills a room with hundreds of balloons with the intention of challenging visitors’ perception of scale, movement and their surroundings.
AA Murakamai has created New Spring, intended as a dreamlike scene inspired by the fleeting pleasure of cherry blossom, while Karina Smigla-Bobinski’s Ada allows visitors to set a hellium-filled sculpture in motion to leave charcoal marks on surrounding surfaces – all inspired by Ada Lovelace.
Most prolific among the creative contributors is Hyperstudio, a multidisciplinary collective that has contributed four installations to Euphoria.
Kinetic piece 10 Agosto is inspired by Italy’s Night Of San Lorenzo, inviting visitors into a landscape of light and movement inspired by meteor showers.
Invisible Ballet transforms a swirling vortex of balloons into an unexpected dance, while HAHArena turns inflatable letters into an exploration of language and form.
The studio’s fourth piece promises an ever-changing spatial landscape.
Karina Smigla-Bobinski’s Ada – image supplied by Balloon Museum
key details: Euphoria – Art Is In The Air by Balloon Museum
Euphoria – Art Is In The Air by Ballon Museum opens at Immerse LDN on Saturday, October 24, 2026, and will be available to visit from 11am on weekdays and from 10am on Sundays.
There will be adults only sessions on Wednesdays and Fridays from 5pm and 7pm respectively.
Adult tickets start at £27.50 for adults and £21.50 for children.
Dates are currently bookable up until August 22, 2027.
In the second in our series of regular collaborations with Canary Wharf’s guitar school, KitchenJam, we take a look at the history of a track with a local link and deliver some tips on how to play it
KitchenJam founder Darryl Powis has created a video tutorial to help Wharfers get their fingers around the riff that drives Oh Well. Find it above or follow this link to get playing
To play the whole track you’ll need the chords below:
All the chords you’ll need to play Oh Well by Fleetwood Mac – image by Wharf Life
looking back on the history of the track and its link to Docklands
BY ZAINAB HASSAN
Ask most people about Fleetwood Mac, and they’ll likely think of the five-piece unit behind landmark album Rumours.
But the group began in London as something else, a blues band built around Peter Green – a guitarist BB King said gave him ‘cold sweats’.
Born Peter Allen Greenbaum in 1946, the youngest of four children in a Jewish family in Bethnal Green, Green grew up miles away from the Mississippi Delta that inspired his playing.
Green’s older brother showed him a few chords and he cut his teeth playing professionally around east London as a bassist or guitarist in various bands.
In one group, Green met a young Mick Fleetwood and the pair later worked together in the influential blues-rock band John Mayall And The Bluesbreakers, then going on to form Fleetwood Mac.
Like many young British players of his generation, he learned blues licks from Muddy Waters, BB King, Freddie King and John Lee Hooker, but he channelled that inspiration in a different way to his peers.
Green played with measured restraint and a distinct, pained vocal colour, writing songs such as Black Magic Woman, Albatross and Oh Well.
At the height of the band’s early success in 1970, he walked away, but his playing remained ingrained in the band’s DNA.
Peter Green was born in Bethnal Green – image by Nick Contador
the unsung hero
Green’s contributions to Fleetwood Mac don’t always get the same attention as the band’s later recordings, but his influence is undeniable.
Santana’s 1970 cover of Black Magic Woman, originally written by Green in 1968, became one of their biggest hits and a staple in their set list.
Green’s influence even reached The Beatles with George Harrison admitting that Sun King on Abbey Road was inspired by Fleetwood Mac’s reverb-soaked sound on Albatross.
a well of inspiration
Oh Well was a Green-penned hit and its heady blues-rock riff is one of our favourites to play at KitchenJam.
Comprising two parts it’s a mini-epic in E minor.
At just over two minutes, part one ricochets with breakneck riffs, then simmers into the melancholic E Minor and D-chord chimes that signal part two, a passage of folk and classical-inspired music in stark contrast.
Once you get the main riff under your fingers, you’ll find plenty of inspiration from Green’s fusion of American blues with east London grit to infuse into your own playing.
key details: KitchenJam
KitchenJam offers guitar lessons rooted in musical connection and community from its studios in Canary Wharf and Stratford.
