The plans include a £72million investment in the restoration of the site’s seven Grade II listed gas holders and boast extensive open space including a 4.2-acre park on the river bank.
An artist’s impression of the Bromley-By-Bow Gasworks development – image by Berkeley Group
prime brownfield: Bromley-By-Bow Gasworks
“This is one of the most challenging brownfield sites in the country and transforming it into thousands of sustainable, well-connected homes and a publicly accessible 4.2-acre river front park was always going to require a unique, collaborative solution,” said St William managing director Dean Summers.
“It is a testament to our brilliant partnerships with Historic England and the London Borough Of Newham and the invaluable input we have received from residents that we have reached this milestone and that we move one step closer to realising this site’s enormous potential.
“Private-public sector collaborations like these have never been more important as we continue to navigate challenging market conditions and work together to boost housing delivery and growth.”
The east London scheme features buildings constructed within the gas holders – image by Berkeley Group
from historic into the future
Regional director for Historic England in London and the South East, Tom Foxall, added: “These regeneration plans form Bromley-By-Bow Gasworks are an exemplar of how historic brownfield sites can be transformed into new developments that both help address the housing shortage and boost local economic growth, while embracing an area’s cherished heritage.”
The plans include 13 residential buildings, some of which will sit within the existing gas holder frames as well as 30,000sq ft of commercial space.
This latest scheme sits adjacent to Berkeley’s 22-year TwelveTrees Park development, which will deliver more than 3,800 homes on a site next to West Ham station and includes a new entrance to the transport hub.
A series of open spaces and parks will be created as part of the project – image by Berkeley Group
and beyond Bromley-By-Bow Gastworks, in Stratford and Beckton…
In addition to these schemes, St William was also granted planning permission in January for the long derelict Stratford Gasworks site.
Here the developer is set to build a 245-home development, designed in partnership with Cowen + Partners and LDA Design.
Its scheme responds to the nearby Grade II* listed Abbey Mills Pumping Station and a group of listed mid-19th century houses designed by sewer network creator Joseph Bazalgette.
St William has also submitted a planning application for Beckton Gasworks, a site close to the Thames, up the river from Royal Albert Dock.
Here the company plans to build around 2,900 new homes and more than 50,000 sq ft of commercial space on 12 hectares of land.
With permission granted for thousands of homes, buyers seeking properties on former industrial land won’t be short of choice in the coming years.
key details: Berkeley Group homes
While homes at Bromley-By-Bow Gasworks and the other industrial sites are not yet available to buy, those looking to secure a Berkeley-built property can find apartments for sale from £495,000 at TwelveTrees Park.
Maya Jaggi has spent much of her career making space for international writers in the UK.
After studying PPE at Oxford and international relations at LSE, she began her journalistic career in current affairs.
“I was in my 20s and it was a fairly academic journal, but I started a literature section,” she said. “Whenever I was doing anything about international politics, I was always thinking about where the cultural aspects were.
“They always make everything so much richer – history, memory and imagination are the building blocks of fiction – and that’s something that gets left out.”
It was a niche she explored in greater depth through her extensive work at The Guardian, reviewing novels by overseas authors and interviewing a great many for the publication.
The EBRD is owned by some 77 shareholders – namely countries spread across 5 continents as well as the EU and the European Investment Bank.
Set up in the wake of the fall of the Berlin Wall, it supports primarily private sector enterprise in democratic states, helping foster the transition to open market systems in those territories.
While initially it was set up to support eastern European countries in the wake of the Soviet Union’s collapse, its work has since broadened and spread to more than 30 nations over three continents, with €210 billion invested in more than 7,400 projects.
In 2022, it moved its headquarters to 5 Bank Street in Canary Wharf.
A shortlist of 10 books has now been unveiled ahead of the announcement of the winner in June – image by Ale Di Padova/EBRD
Now in its eighth iteration, publishers are invited to submit works of fiction that have been translated into English from countries where the institution invests.
A panel of judges then goes through these, producing a shortlist before three finalists are revealed.
The overall winning author and translator split a prize of €20,000 equally between them, while the other two finalists split awards of €4,000.
For 2025, the prizes will be awarded on June 24 at EBRD’s Canary Wharf offices.
Maya Jaggi, chair of the judges for the 2025 prize – image by Jon Massey
who decides?
The bank invites a panel of independent judges to pick both the shortlist and the finalists.
This year Maya has been joined by writer and editor Selma Dabbagh, translator and associate professor in Ukrainian and East European culture at UCL, Uilleam Blacker and writer and foreign correspondent for BBC News, Fergal Keane.
“I was invited to be a judge two years ago, so this is my third stint and, as chair, I get to suggest people to be on the panel, which has been a great pleasure,” said Maya.
“What I wanted were good readers, experienced readers and that’s what we have.
“There’s no long list and we don’t disclose how many submissions we’ve had for the prize, although they have been growing year-on-year and 2025 has been a bumper crop.
“All of the books go to each of the judges and we’ve been in contact with one another since December, discussing them.”
The EBRD Literature Prize judging panel hard at work – image by Ale Di Padova/EBRD
standing apart
“This is not a prize for literary translation, it’s a prize for the book,” said Maya.
“The author and translator are equally rewarded in recognition for their contribution to the work as published in English.
“As judges we’re looking for many things. You want to be surprised by something you haven’t read before and the wonderful thing about this prize is you find that in spades.
“During the judging, Fergal mentioned vigour, quality, originality and experimentation.
“This year there has been a lot of competition for those 10 shortlist slots.
“I’m always looking for originality and therefore how much you’ve read as a critic and a writer is relevant.
“The other thing is authorial voice – whether direct or indirect. Can you sense the presence of the author?”
a skilled rendering?
“It has to be a good book, but you’re also looking for a good translator,” said Maya.
“There’s the question of all the registers – how formal or informal the language is and how well the translators get that.
“Then there’s the whole question of slang or how dated the language is. Capturing all of that is a huge skill.
“As judges we have to consider whether a text has been flattened into uniform English. Does it capture the nuances?”
the EBRD Literature Prize, a showcase of innovation
“The nature of the prize and the countries where the Bank is investing means you find a lot of innovation,” said Maya.
“For example, where there’s a war, to capture the reality of things like bombs going off or a sense of being threatened, authors create new styles.
“In my experience, that extremis is something that comes out in new forms of writing.
“One of the books on the shortlist, My Women by Yuliia Iliukha, has been translated from the Ukranian by Hanna Leliv and it’s something the author calls flash fiction.
“It’s formal, it’s honed, but it’s, in some way, unfiltered – more raw, more emotional. It’s about anonymous women in war, and it’s very like poetry.
“Another thing that’s going on in central and eastern Europe is a reckoning with ultra-nationalism, and that’s something we noticed as a thread through some of the books.
“Celebration by Damir Karakaŝ, translated from the Croation by Ellen Elias-Bursać, is about the rise of the far right.
“It’s a subtly ironic title about the moment in 1941, when Croatia became independent for the first time in 1,000 years.
“That was the moment when, on the back of an alliance with the Nazis, it became a country – so it’s a very double-edged thing.
“There’s this thinking about history and memory.
“It’s 30 years since the end of the Yugoslav wars and the book is looking back to the Second World War, but that kind of nationalism rose again.
“It’s another very important thread.
“While judging we talked a lot about fact and fiction.
“What you get through literature rather than through news reports may be mundane human interaction but it’s just as interesting.”
looking forward
“The prize was set up to recognise the diversity of the cultures and languages in the places the bank operates,” said Maya.
“There’s still a competition for staff to review any book on the shortlist and we’ll be announcing the winner of that at the ceremony too.
“The EBRD isn’t just sponsoring this, it created it and it’s grown to be a prize in its own right.
“It’s important because you don’t want to think about people in mass metric or statistical terms.
“There’s nothing better than fiction for how people see themselves and their own realities – their problems, hopes and dreams.”
Read on for Maya’s thoughts on the shortlisted works – image by Ale Di Padova/EBRD
the shortlist
The key mission of the EBRD Literature Prize is to bring works from the countries the bank invests in to wider attention.
While the winner won’t be announced until June, we’ve reproduced the full shortlist here so Wharf Life readers can peruse those in line for the prize, get hold of books that take their fancy and make their own minds up.
As Maya says: “All of them are incredibly gripping reads.”
translated from the Czech by Alex Zucker, published by Bellevue Literary Press
>> “This looks at Kafka’s real letters to ‘F’ but through the eyes of her descendants,” said Maya.
“It’s a sceptical look at the cult of Kafka from the point of view of the family of a woman who appears in his work and it looks at how women are seen in his work.
“It moves between fact and fiction, and there’s an article that tells you what’s real and what’s not.
translated from the Croatian by Ellen Elias-Bursać, published by Selkies House Limited
>> “This is partly about masculinity through the eyes of a man who was in the far-right militia, allied with the Nazis, and then re-emerged in the 1990s” said Maya.
“I believe this writer was a fighter himself. He has taken a look at how people were persuaded by nationalism.
“It’s also a beautifully written novel about the land, about farming, about the countryside.
“It’s an expression of love of country that is not nationalistic.”
translated from the Polish by Antonia Lloyd-Jones published by Fitzcarraldo Editions
>> “This book is set in a sanatorium or health resort in Poland,” said Maya. “It’s funny and grim, like a horror story. It’s also gothic and full of misogyny.
“There’s an afterword about where these ideas came from – a who’s who of western culture.”
Olga Tokarczuk is the winner of the Nobel Prize In Literature
translated from the Romanian by Monica Cure, published by Seven Stories Press UK
>> “This is fiction based on fact too, looking at something not very well known globally or even within Romania itself,” said Maya.
“It’s about the carving up of the country from the end of the First World War and the Sovietisation, and the deportation of many people, including women and children after the Second World War to Kazakhstan on trains, with terrible gruelling journeys.
“It’s also about syncretism between Catholicism and paganism.”
Forgottenness by Tanja Maljartschuk
translated from the Ukrainian by Zenia Tompkins, published by Bullaun Press (Ireland) / Liveright (USA)
>> “Maljartschuk looks at two characters separated by 100 years– now and and a century ago in Ukraine,” said Maya.
“It’s about memory and history, and the effort to obliterate history in that country.
“She writes in Ukrainian, talks about the Soviet era, the killing of history and the ban on memory.
“It’s a wonderful reactivation of the past, which becomes an act of resistance.”
key details: the EBRD Literature Prize
The winners of the EBRD Literature Prize are set to be announced at its Canary Wharf headquarters on June 24, 2025, with authors and translators in attendance.
Members of the public will be able to register to attend the reception and ceremony closer to the time.
Adaptation for the stage sees correspondence between Gerard and Alice Fay form the basis of a new show
Rosanna Greenstreet and her husband, Matthew Fay, have worked together to adapt his grandparents’ story for the stage from their wartime letters as Dear Loll – image by Gail Fogarty
“Like a lot of people, my journey into the past is through my family,” said Matthew Fay.
“When my parents were moving house, a box emerged from the attic that my dad had kept his whole life, but never opened.
“Inside there were letters from my grandfather and my grandmother, written during the Second World War – hundreds of them.
“They pretty much wrote every day for four years.
“My dad died very soon after that, so he never read them, but I decided to keep them, without really being sure what to do with them.
“During lockdown, I started to get a bit curious about them and the story they told.”
Matthew’s grandparents were Manchester Guardian journalist Gerard Fay and his wife Alice, who he addresses as Loll – short for Lollipop.
While “Ger” was called up to fight in 1940 and spent much time in military training across the country, Loll remained at home in the north of England.
While apart, they communicated pretty much solely by letter, writing once or sometimes twice a day.
“I thought the letters were absolutely fascinating,” said Rosanna Greenstreet – a freelance journalist who has compiled Saturday Guardian’s celebrity Q&A column for more than three decades. She’s also Matthew’s wife.
“They were all jumbled up in the box, sometimes with just the day of the week written at the top.
“So I set about trying to put them in order using references to events in the war, his army stories, her domestic stories and his rise through the ranks to ultimately become a major.
“Then I digitised them.”
Alice and Gerard with their son, Stephen, Matthew’s father, during the Second World War – image courtesy Matthew Fay
“We went to see a fabulous production of Red Sky At Sunrise with Anton Lesser and Charlie Hamblett playing Laurie Lee the older and younger,” said Rosanna.
“It was a biographical work with music from an on-stage orchestra and we felt it was so moving.
“I thought we should approach the director, Judy Reaves, and do something similar based on the letters, so I wrote to her and she went for it.”
Adapted by the couple and starring Charlie Hamblett as Ger and Daisy Waterstone as Loll, the play is a tale of physical and mental survival, of the experiences of ordinary people during wartime, of the loneliness of separation.
“For the show, it was a question of finding the narrative arc,” said Rosanna.
“There’s so much of interest in the letters.
“Loll is looking after their toddler, Matthew’s father Stephen, and they then have another daughter and she moves into her own home.
“Then you have Ger’s military career, which reaches a climax when he takes part in D-Day and is wounded.
“They row in the letters too and we were very excited when we found the sex, discussion of contraception and pregnancy.”
The letters have now been ordered and digitised – image courtesy Matthew Fay
curating the letters for Dear Loll
Matthew, who works as an academic and teacher, added: “We’d actually been to see another show based on letters from the same period, but they were a lot more formal.
“These aren’t like that, they’re very modern, which I was a bit surprised at given my preconceptions about the era.
“As we have both sides of the correspondence, audiences get two very different experiences of the war and I think that’s something very special.
“The letters are a conversation so the adaptation was about sharpening and highlighting that interaction for the stage.
“One of the things the producer asked us to do was to have a section in the play where it was almost like dialogue, with much shorter extracts from the letters to give it more of a feeling of two people talking.
“The drama is inherent in what they wrote, so it was a question of shaping that and making it clear that there were tensions in the relationship because they were apart and then the joy when they were reunited.
“They were also trying to understand each other’s experiences of the war as he’s trying to learn to be a soldier and she’s learning how to survive as a parent on her own.
“Part of what the audience will experience is a fresh, perhaps myth-busting look, at what it was like to be in the army and also what it was like living in Manchester over those four years.”
Alice, or Loll, with Stephen – image courtesy Matthew Fay
a showcase of period culture
The letters contain a wealth of cultural references, which Matthew and Rosanna have both taken delight in getting their teeth into and the play will feature music from the period played by the Le Page Orchestra on violin, cello, clarinet, bass and harp.
Rosanna said: “They write about all the books they’re reading, the films, ballet and all the musical concerts.
“They’re cultured, but they’re ordinary people – not the rich writing about the war – and that’s what makes this story so unusual.
“They also both have strong social consciences and they are very aware of what’s going on, and don’t want things to go back to where they were before the war.
“For example, Loll tries to find out if she can donate blood, and she’s also very interested in the Beveridge Report, about family allowance, and she’s asking why the family allowance should be given to the husband.
“One quote from her is: ‘I hope the country can be saved from the upper classes, not for them’.
“At one point, Ger goes on a course with the Dragoon Guards and he’s very dismissive of them and all their horses.”
Matthew added: “I think it’s going to be very interesting and moving to see my family on stage.
“I didn’t know my grandparents as they died very young, within a year of each other.
“Ger was a very big character who became the London editor of the Manchester Guardian. The war was part of his rise from very humble origins.
“He had this very successful career, but his legacy is quite complicated in some ways.
“He travelled everywhere as a journalist, wrote books, but he struggled hugely with alcohol too, so there’s a real bitter-sweetness about that story.
“The trauma of the war was so widespread, people didn’t really talk about it.
“When he was in the army, he was articulate – in his prime – and it’s really nice to be able to put that story on stage.”
Ger, or Major Gerard Fay, Loll’s husband and a Manchester Guardian journalist – image courtesy Matthew Fay
key details: Dear Loll
Dear Loll is set to be performed at Wilton’s Music Hall on May 30, 2025 at 7.30pm and on the following day at 2.30pm and 7.30pm.
Tickets range from £17-£22, running time two hours.
While he might well be too modest to admit it, sitting across from Carl McCafferty, there’s little doubt he can pick a winner.
It’s fair to say the managing director of Toni&Guy’s Canary Wharf salon in Cabot Place took a risk in opening on the estate in the year 2000.
But it’s a move that has paid off, the start of a business that recently celebrated trading for a quarter of a century.
“I’m the son of a pig farmer from Northern Ireland and grew up in a small town called Enniskillen,” said Carl.
“I moved to Belfast when I was about 18, saw an advert for Toni&Guy and joined them in London in 1998. I was 19.
“The world of hairdressing really appealed to me – salons are a nice environment to be in.
“First I worked in Sloane Square and then Covent Garden.
“With the business, there are really two directions to go – you can either work to become an art director or you can have your own business and that’s what I wanted.
“At that time, Canary Wharf was set to become the new financial district, which was very attractive to me.
“I was advised to grab it as a franchise,so I did.
“As the Jubilee line extension opened, we launched in Canada Place in March 2000.
“Opening was a bit overwhelming, but the salon quickly became number one in the group.”
While the Wharf had yet to see many of the towers that dominate its skyline today appear, the area was nevertheless feeling the benefit of the new transport link’s arrival, which saw workers and organisations arrive in ever greater numbers.
“Waitrose hadn’t opened yet, the only shop at the time was Tesco – but there were 76,000 people working on the estate,” said Carl.
“It was mainly bankers and most would come in every three or four weeks for haircuts.
“The Jubilee line changed everything.
“When Waitrose did open it quickly became very popular and the whole Canary Wharf area has now become very residential with lots of apartments.
“When I first moved to London, I did east and west.
“First I lived in Leyton and then moved to Richmond before I found a flat near East India Dock in a beautiful old building.
“I’ve always preferred walking to public transport, so I wanted to be close to work.
“Now around me in that area alone there are thousands of apartments at London City Island and Goodluck Hope.
“In the salon, when we started, weekdays were key, while weekends were really dead. Now Monday to Friday is busy, but the weekends are even stronger. “
Having weathered the pandemic with solid support from the parent brand, Toni&Guy Canary Wharf set its sights on the future and has just reopened following a full refurbishment.
“It definitely feels like the start of a new chapter,” said Carl.
“Sometimes you don’t realise you needed a refit until you’ve done it.
“My first shop here was beautiful and lasted for nearly 13 years and moving to our current location in Cabot Place was a great opportunity for a new fit-out.
“Getting another new look has been a really exciting process.
“We’re the flagship of the brand, the benchmark and the design we’ve got now is going to be the blueprint for other locations.
“One brand we looked at for inspiration was Louis Vuitton – we were just blown away by their retail offering.
“The design we have is great with glass and perspex – everything in the main areas is bright and airy.
“We’ve also changed the colours for a more spacious feel.
“Before everything was white but now we have more organic tones, with browns and greys along with a change in lighting to make the main part of the salon feel brighter.
“We’ve also used low lighting, similar to a spa, to help people switch off from work along with hair therapy treatments and massages.”
Visitors to Toni&Guy today will find a welcome desk in shades of brown, with gold accents and a display of brightly lit products.
The salon floor itself features branded mirrors, columns of foliage and vibrant orchids, while the sinks for washing customers’ hair are located off to the side and come with hi-tech chairs and muted lighting.
Striking lightboxes, complete with House Of Toni&Guy branding complete the look, a reminder of the brand’s strong links to fashion and the staff’s extensive training.
“Those who want to work with us apply for an apprenticeship and we train them at the Toni&Guy Academy for two years,” said Carl.
“Then after 18 months on the floor, you get a very good job with status.
“The academy is really the pulse of the brand – where it all happens.
“Recruiting can be a challenge, we don’t take on just anyone, but this area has been good for attracting staff.
“I’m proud of the team and what we’ve achieved here.
“We’ve won more than 35 awards, which is a big thing for me because they are really competitive.
“Running a franchise has been great. Toni&Guy has always moved with the times – we’ve been the official partner of London Fashion Week for 20 years – so we have lots of fingers in pies.
“Canary Wharf is the same, it’s really continued to develop over the time I’ve been here.”
Toni&Guy in Canary Wharf is located directly under One Canada Square.
The salon is open on weekdays 8am-8pm, on Saturdays 8am-6pm and on Sundays 9am-6pm, offering a comprehensive range of cuts, colour treatments and styling for men and women.
It was as a teenager that Fleur Derbyshire-Fox first experienced the power of a big organisation reaching out.
She attended a special day at English National Ballet (ENB) for those interested in pursuing a career in dance.
“I remember my knees knocking when I went into that class,” she said.
“Then someone asked me if I’d thought about going into full-time training, which is what I then did.”
It was an experience that left her with a life-long drive to ignite similar sparks in others and something that’s central to her role as director of engagement at ENB.
The company moved out east in 2019 and, while its base at the Mulryan Centre For Dance on London City Island isn’t primarily a venue for public performance, it is the epicentre of ENB’s efforts to connect with those outside its doors.
Locally it hosts dance classes for all, companies of younger and older dancers as well as a programme for those suffering from dementia and coordinating activities across the country.
“The move to east London has been exciting and has opened up new opportunities for us,” said Fleur.
“When I took up this post in 2007, which was then called director of learning, what really attracted me was that it was about change.
“It was ENB recognising that to be a reflective organisation it needed to build on its engagement programmes.
“How would people know if they were interested in dance if they didn’t get a chance to find out? That’s been the purpose of my role.”
Dance For Parkinson’s Performance Company in action at RePlay, a recent showcase at ENB – image by ASH
an initiative in focus
Rather than try to encompass the totality of ENB’s myriad collaborations, initiatives and partnerships, we’ve decided to focus on one.
“The more you enliven the building, the more you’re engaging people. You have to bring them in, to reach out and that’s an ongoing process.”
Dance For Parkinson’s has been running through ENB since 2010.
Those living with the neurodegenerative condition, which affects sufferers’ movement leading to symptoms such as tremors, stiffness and physical slowness, are invited to participate in regular classes inspired by the company’s classical and contemporary repertoire.
“It was originally inspired by work done in the US by the Mark Morris Dance Group and began as a 12-week pilot programme, working with Professor Sara Houston of Roehampton University,” said Fleur.
“Her findings were ground-breaking and started our evidence-based approach.
“That was very important if we were going to be perceived as not being woolly.”
From there, grant funding allowed the roll out of the programme across the country via partnerships with the Royal Albert Hall in London, DanceEast in Ipswich, Liverpool Hope University in Liverpool, Oxford City Council and MuMo Creative in Oxford and the National Dance Company Wales in Cardiff.
The company celebrates after their performance – image by ASH
the benefits of Dancing For Parkinson’s
“The benefits for those with Parkinson’s are multi-faceted,” said Fleur.
“It helps with both the motor and non-motor symptoms of the disorder.
“Dance brings communities together, so it also helps with positivity and wellbeing.
“Because the classes are structured as ballet classes, all the exercises we do at the barre help with the posture, flexibility and fluidity of gait as well as giving people the tools for when their symptoms freeze movement.
“The classes have live music, which is fundamental because the musicians can respond to the participants and the exercises tap into that internal rhythm.
“The message is that you may be living with Parkinson’s, but this is a dance class where you are expressive – you’re a dancer in your own right – and you’re dancing with others, improvising as well as learning repertoire.
“All of these elements, plus the social element – the chat, the tea and, of course, the biscuits afterwards – make for a very strong community and that has given confidence to individual dancers to go on and join other groups.
“Parkinson’s is very individual in its symptoms, so it may take people quite a while to come to terms with it.
“We have chats when people are diagnosed about what happens next, what they can do, where they can go for help.
“Above all, we provide a joyous experience.
“Those coming along can expect a lot of smiling people.
“We start with a warm-up, seated, and we have our dance artists and musicians in the space.
“The movements we do are linked to the dance phrases we look at later.
“There will be lots of different rhythms, lots of different music threaded through the session.
“There’ll be a voice warm-up as well, so that the muscles in the face can be loosened up.
“It’s designed to free inhibitions.
“The artists might notice that some slower movements will be needed, and then we’ll do some different rhythm movements as well.
“Then we come to standing, and for those who need more support, there will be diversification within the class, so the movements can also be performed seated.
“We’ll do some partner work and improvisation and then we’ll start learning some material, so there’ll be a sense of achievement.
“At the end of the session there’ll be a cool-down and we’ll have a linking of hands to congratulate ourselves for the class and our artistic endeavours.
“We have such wonderful people taking part, it’s really great to bring everyone together. In some ways it’s a passion project.
“I’ve poured my heart into this, as has my team at ENB.”
Dance For Parkinson’s: a catalyst for research
However, Dance For Parkinson’s has continued to be more than a therapeutic endeavour.
ENB has been working with Professor K Ray Chaudhuri of King’s College London, a specialist in Parkinson’s Disease to better understand the effect of the classes.
“We conducted a randomised trial over three years,” said Fleur.
“We’ve had interim findings and the research is currently being peer reviewed before final publication later this year.
“But certainly the indications are that dancing in this way has benefits for all stages of Parkinson’s.
“The advice if you have the disease is to do as much exercise as you can.
“Over the years we’ve had physiotherapists come in and I’ve watched what they do.
“With that approach, someone might be given a series of exercises, but we’re replicating those movements in a joyous, artistic way.
“What we’d like to do is embed what comes out of the study into the various care pathways, so we can raise awareness with clinicians.
“Wouldn’t it be great if you could say to everybody with Parkinson’s that there’s a pathway using dance they can try for 12 weeks to see how they benefit?”
The collaboration with King’s, which culminated in a performance for friends and family, has also taken the programme in a fresh direction.
“We had people saying they wanted to do a bit more of this, so now we have a much faster-paced class,” said Fleur.
“It’s performance focused and we held our first show last year, with two more since.
“The production values are very high – they have to be at ENB. We believe that whatever we do, it needs to be on a par with what we put on the main stage.
“So we now have this other vehicle, and what’s so good about this company is they’re all advocates – they want to be seen and heard.
“I was speaking to one of our dancers recently, who said they would never have come to a dance class, let alone thought they would perform in front of 200 people, but they love it and want to continue doing more of it.
“That’s really wonderful to hear.”
key details: Dance For Parkinson’s
The next Dance For Parkinson’s sessions are set to run at English National Ballet’s Mulryan Centre For Dance on London City Island from April 23 until July 2, 2025.
Classes are on Wednesdays (excluding May 28) from 11am-1pm and cost £60 for the 10-week term.
Dance For Parkinson’s Performance Company’s summer term runs from April 26 to July 5, 2025, on Saturdays (excluding May 31) with sessions from 11am-1pm and costs £85 for 10 weeks.
But it won’t be so very long before she’s carrying passengers and cyclists from Rotherhithe to Canary Wharf and back.
When that happens, it’s not an overstatement to say London’s public transport will have entered a new era – one where vessels on the river are powered by electricity.
“She’s the first of her kind, not just for us, but in the country and, when considering the way she operates, possibly in Europe and perhaps even the world,” said Sean Collins, CEO and co-founder of Uber Boat By Thames Clippers.
“Orbit Clipper is designed as a double-ended ferry, which is nothing new – it’s a well established method for loading and unloading vehicles, passengers and cyclists.
“What’s different is that when she’s in operation, the route will feature automated docking on both sides.”
This innovation is essential.
One of the things limiting the wider adoption of electricity as a power source for boats is the battery capacity.
In order to perform effectively, Orbit needs to top up her reserves each time she reaches a pier, disengaging her engines and effectively plugging in.
When Thames Clippers’ other vessels visit a pier, the captain holds the craft steady against the currents of the river using its engines which, in combination with ropes, allow gangways to be lowered, passengers to get on and off and then a speedy departure.
Uber Boat By Thames Clippers co-founder and CEO, Sean Collins – image by Jon Massey
automated docking
“To work properly, Orbit has to be fully secured so power can be disengaged,” said Sean.
“There will be an arm that extends and pulls her into the dock, which gives the batteries some downtime and that’s what allows us to operate over a full day before she recharges fully overnight at Canary Wharf.
“While Orbit will depart and arrive from the piers automatically, a captain will be in command of the vessel as she travels across the river.
“At present we still need that although there may be a time in the future when that’s no longer the case.
“It’s a challenge because there are so many other vessels on the water and with the navigational rules we have, the ferry doesn’t have the right of way.”
The plan for Orbit is that she will cross the river every 10 minutes on weekdays and every 15 minutes at weekends.
This is similar to the service level provided on the route by the previous ferry, but the new boat offers a considerable increase in capacity.
“She caries a lot more people and there’s room for 100 bikes too, so the boarding may take slightly longer,” said Sean.
“I think the demand will be there for this route – you have to build for the future.
“Looking at the way the world has changed – the amount of food deliveries that are now being done by push bike, for example – there’s so many more opportunities around zero-emissions transport.
“We’ve reduced the gradient of the walkways down to the river and passengers will be able to access the ferry from Rotherhithe Street.”
Finishing touches: While Orbit Clipper was built on the Isle Of Wight, she’s completing her fit-out in east London – image by Jon Massey
reducing emissions on the river with Orbit Clipper
Supported by Innovate UK and built on the Isle Of Wight, Orbit is the latest project for Thames Clippers in its ongoing pursuit of environmentally friendly transport solutions.
Aiming for net-zero emissions by 2050 and a 50% reduction by 2035, the company recently launched its third hybrid boat, Mars Clipper, as part of its river bus fleet.
Currently, Orbit is finalising her fit-out at Trinity Buoy Wharf before a programme of testing between Rotherhithe and Canary Wharf can begin.
As the automated docking system is completely new, Sean and the team need this time to ensure everything is working as it should before their first zero-emissions craft welcomes members of the public.
“The ferry route was an obvious one on our network for us to look at converting to an all-electric craft,” said Sean.
“Each journey across the river is just over a minute long and electrical power works well for that sort of duration. It’s the right thing to do for the environment.
“At the moment all-electric operation would not work for our longer routes as each vessel would have to fully recharge for an hour for every loop.
“The amount of batteries we’d need to carry would also make the boat very heavy, which would have repercussions for stability and safety.
“At the moment we turn boats round in 10 or 15 minutes between loops – charging just wouldn’t work commercially.”
scope to expand
“However, I see systems like the one we’ve developed for Orbit as being of national, even global significance, as a way to cross rivers without impacting the free navigation of vessels on them,” said Sean.
“When you look at bridges that lift to allow boats under, they create significant delays for traffic and pedestrians and the boats can’t go on their way unless they’re raised.
“Tunnels are often difficult to access, especially if elevators have broken down.
“We’ve got to be thinking about getting people out of their cars and onto public transport and boats like Orbit provide a really great alternative for people who need to cross the river on foot or by bike.
“She has multiple doors at either end so people can walk their bike on, stand next to it and then push it off when they reach the other side.
“We’re aiming to launch it in the spring or summer, but the system is a completely new design, an engineering first, so it does need testing thoroughly.
“We’re really thankful to Innovate UK, Canary Wharf Group, and the Port Of London Authority as well as Tower Hamlets and Southwark Councils for supporting us to get this project underway.”
key details: Orbit Clipper
Orbit Clipper is expected to start ferrying passengers between Canary Wharf Pier and Doubletree By Hilton London Docklands Riverside in the summer.
“My grandma told me recently that she wasn’t surprised I was starting this business, because I grew up with flowers all around me,” said Julia Knyazevich.
“As a child I lived with her in a little village in the mountains in Ukraine.
“She had a big garden where she’d plant lots of different flowers and I loved it.”
A major change in Julia’s life came at the age of 16 when, speaking no English, she travelled across the sea to join her mother in the UK.
Adapting to her new environment, she studied fashion buying and worked with major brands such as Dior and Tommy Hilfiger before embarking on a career with luxury lifestyle management company Quintessentially.
Now she’s decided to transform a passion into a business.
“After the pandemic, I spent time travelling, including a long period in Thailand,” said the West India Quay resident.
“I also studied floristry. It’s a discipline that’s always developing, with new trends constantly emerging and I had the idea to start a business.
“While travelling, I’d organised a big birthday party for my husband in Italy – I was looking for a company to help with that, but I couldn’t find one so I decided to do it myself.
“I really enjoyed the process of finding all the decorations and flowers for the long tables and creating the event.
“My husband suggested I should start my own business, so I have.”
The Flower Club is set to open this spring in Canary Wharf – image by The Flower Club
Her brand is inspired not only by the flowers in her grandma’s garden, but also by one of her favourite places in London.
“I absolutely love Petersham Nurseries in Richmond,” said Julia, who moved to the Canary Wharf area in May.
“When I visit the nurseries, I never want to leave. It’s not for everyone because some people prefer classic bouquets to the more unusual arrangements and installations they create.
“For The Flower Club – a name inspired by Thai cafe The Coffee Club I used to visit while living there – my preference is to use a technique that involves positioning flowers in a bouquet to reflect the way they grow in the wild.
“The aim is to create something that looks natural rather than artificial and it’s better for the flowers because they last longer.
“When I do arrangements I like mixing flowers with fruit or vegetables. It might sound crazy to some people, but it’s something different.
“I also get a lot of inspiration from the Cotswolds. I love visiting the area every few months and looking in the flower shops.
“My aim for Canary Wharf is to bring something similar here.”
Julia has been inspired by her grandmother’s garden and the work of Petersham Nurseries – image by The Flower Club
building a dream with The Flower Club
Julia is starting small – working with one other florist and freelancers – but dreaming big.
Ultimately, her idea is to foster a community around her business by hosting workshops under the umbrella of The Flower Club.
“I know this is just opening one little shop, but I have made a business plan,” said Julia.
“I know it’s a big dream, but I’m working hard on the branding. We’re starting slowly, but I want to build that community and eventually teach other florists.
“I have an unusual style of floristry and I’d love to set up a franchise model, not just in the UK but in other countries too.
“This is something I’ve wanted to do for a long time. It’s been a journey getting to this point, but we’re almost there.
“Starting your own business lets you feel a kind of freedom compared with working for a company, but you also have to work on all aspects of the operation.
“It’s stressful because you feel like you want to control everything, but to be successful you need to do that work and be aware of every part of the business.”
One of the key drivers for The Flower Club is a mission to lessen the environmental impact of floristry.
“I try to source flowers direct from growers,” said Julia.
“There’s a wonderful farm in Surrey that I’m planning to work with this spring and summer and there’s another in Cornwall – it’s a long way, but they specialise in wild flowers, which I love.
“It’s better from a sustainability perspective to buy from UK growers because the flowers don’t travel so far and they don’t have to use chemicals to keep them fresh.
“It’s hard to say no to plastic wrapping completely, but The Flower Club is trying to minimise its use. I mainly use craft and tissue papers and biodegradeable products for my bouquets.
“For example, I use string to tie the stems together that’s made from natural materials.
“All of the bags we use in the shop will be paper too and the interior will be mostly decorated with wood and reclaimed furniture.
“It’s a small workspace, but it’s enough and it’s better to start from the ground up rather than take big risks.
“I’ve planned the layout and have made it as comfortable as possible both for workers and our customers.
“Having studied floristry, I know how to use the space professionally and it should be sufficient for our needs.
“I also want to use social media to educate people who want to know more about sourcing and also caring for flowers.
“It’s important to know how to treat the arrangements and all of my orders will have cards on how to properly care for the flowers.”
Prospective customers can find out more online – image by The Flower Club
opening The Flower Club at 8 Harbord Square
While the 8 Harbord Square shop will sell fresh cut flowers and gifts, there will be two further strands to Julia’s business that emerge when she’s up and running.
“I’ll be hosting workshops for people to participate in, especially around events in the calendar,” she said.
“That might be wreath making at Christmas, for example, or creating Easter displays.
“We’ll also have a service for events, which I have a lot of experience doing.
“Clients who want something special for their tables will be able to order flower arrangements, but also tableware and decorations.
“We will be here to explore ideas and designs to make things really special.
“There are lots of options – I’m a big fan of Murano glass, for example – and we can work in private homes, private dining rooms or in restaurants depending on a client’s needs.”
key details: The Flower Club
The Flower Club is set to open soon on the ground floor of 8 Harbord Square in Wood Wharf.
Visit the business’ website for updates or follow @theflowerclub_ldn on Insta.
As I’m sat chatting to Zeta Leung, one of the staff at recently opened Taiwanese restaurant Din Tai Fung is wrestling the venue’s cheerful dumpling-headed mascot through its doors and out onto the street in time for opening.
To be honest, I can empathise with Bao Bao, the character’s name and a tribute to the signature dish on the menu.
I’m inside the restaurant surrounded by friendly stone lions, warm bamboo and gentle lighting and I don’t want to leave either.
It’s also operating at a level beyond most chain venues.
Its first Hong Kong branch won a Michelin star in 2010 among many other awards and its food is served in the USA, Australia and across Asia including Japan, Thailand, Singapore and Indonesia.
Its story, however, began in Xinyi Road in Taipei, Taiwan.
Din Tai Fung has opened its doors at Crossrail Place – image by Rebecca Hope
decades of heritage
“The business dates all the way back to 1958,” said Zeta, marketing manager at Din Tai Fung UK.
“Mr Bing-Yi Yang originally sold cooking oil with his wife, but by the 1970s the industry had changed and they weren’t doing too well.
“They decided to innovate by opening a little dumpling shop in part of their premises, using the oil in their dishes.
“Word got out and the obsession with the dumplings they were crafting began. Din Tai Fung became famous in Taiwan and the brand expanded globally in the 1990s, first to Japan.”
Din Tai Fung’s original restaurant in Taiwan – image by Din Tai Fung Taiwan
Zeta, who grew up in Hong Kong and has spent the last five years working in the UK hospitality industry, remembers visiting the original branch in Taipei at the age of 10 and has long been a fan of its food.
“I was amazed how consistent the quality was everywhere I went,” she said.
“I’ve always loved the brand – there’s a lot of story to be told and that’s why I wanted to come and work for Din Tai Fung.
“I believe in the company and its potential to grow in the UK and Europe – it’s unique.”
Zeta Leung, marketing manager at Din Tai Fung UK – image by Jon Massey
bringing Din Tai Fung to the UK
The company opened its first restaurant in the UK in Covent Garden in 2018 before expanding to Tottenham Court Road and Selfridge’s.
“Canary Wharf was a no-brainer because we know that we’re very much loved by the Asian community and it’s very much at the heart of that,” said Zeta.
“Then you have the office workers and the people living on the estate, which is a more recent development.
“It feels like the right time to be here with people returning to the office and we thought it was the perfect opportunity to open a neighbourhood restaurant when this space became available.”
Located in the unit formerly occupied by Chai Ki, Din Tai Fung’s interior manages to blend functional minimalism with warm welcoming touches.
There’s much use of bamboo and terracotta for texture, while stone lions watch on with benevolent expressions.
There’s a small bar area next to the entrance and a private dining space on a mezzanine above alongside the main restaurant.
“So we wanted a warm vibe for the Canary Wharf location – almost as though you’re walking in to somebody’s home – so we’re using the dark oranges of the tiles and natural materials to create that,” said Zeta.
“It’s a place where people can come for a light lunch or as the light fades somewhere that feels really cosy.
“Just as we do in all our restaurants, we’ve made sure guests can see our dumplings being made before they are served, which adds some theatre to dining here.”
Chefs at Din Tai Fung, hard at work making Xiao Long Bao dumplings – image by Jon Massey
Xiao Long Bao at Din Tai Fung
Din Tai Fung is known for these Xiao Long Bao, presented at the table in the bamboo steamers they are cooked in.
“It’s a very specific type of soup dumpling,” said Zeta.
“Once you steam it, the juices from the filling are contained in the wrapper.
“To eat them properly, guests dip the dumpling in the sauce provided – soy sauce, vinegar and ginger – and place it on their spoon, poke a small hole in it to release the broth and then enjoy the whole thing in one bite.
“Sometimes it takes a few goes to get right, but that’s part of the enjoyment.”
Din Tai Fung isn’t just about dumplings, however.
The restaurant offers a wide range of dishes for diners to choose from.
“There are more than 70 different items on the menu, separated into different categories,” said Zeta.
“We also have a large selection of cool appetisers such as cucumber with chilli sauce – it’s absolutely delicious.
“Our oriental salad is amazing too, with a rainbow of colours and everything is hand-cut.
“Our food is generally quite light and refreshing on the palate, different from some other Chinese restaurants.
“As a global brand, customers expect our dishes to taste the same in every single restaurant, so we set stringent standards to maintain that.
“For example, our rice and some other ingredients are imported from Taiwan, but we also source premium produce locally.”
A wide range of dishes is on offer at the restaurant – image by Din Tai Fung UK
sweating the small stuff
“It’s about attention to detail,” said Zeta. “Our fried rice is very popular among workers for take-away, such as a pork chop on egg-fried rice, where we use premium eggs.
“It sounds like an easy dish to make, but it’s all about timing and temperature – when to add the spring onions to the oil.
“It needs to be just right to get the scent of them evenly spread through the whole dish.
“It’s the same with everything we do as a brand.
“Take our drinks, for instance. Our staff are skilled in using simple ingredients to create signature cocktails – we’ve launched Din, Tai and Fung, which are the top sellers.
“Last year we also launched our very own lager in collaboration with a local brewer.
“We had a whole team of people involved in choosing the right hops and we designed the labelling and bottling in-house – the team visited the brewery to see the whole production process.
“We try to keep things simple, but it’s also what our customers want, staying true to the brand. Then, if you want to be extravagant, we have an incredible wine list too.
“We serve our food sharing-style and we also offer tasting menus and masterclass experiences where chefs demonstrate how the food is made.”
Full details of the restaurant, menu and events can be found on the restaurant’s website or by following @din-tai-fung-uk on Instagram.
The restaurant features bamboo in its interior design – image by Rebecca Hope
key details: Din Tai Fung
Din Tai Fung’s Canary Wharf branch can be found at Crossrail Place.
The restaurant is open from noon-10.15pm on weekdays, 11am-10.15pm on Saturdays and 11am-9.15pm on Sundays.
Proposals are being worked up to redevelop 77 Marsh Wall.
Currently office block Sierra Quebec Bravo sits on the plot, occupying the corner of Millwall Cutting and West India South Dock.
It’s also home to street food market Canary Garden and provides access to arts venue Theatreship.
Areli Developments, together with architects Patel Taylor, are currently engaged in a public consultation on their ideas to demolish the existing building and replace it with a tower.
While plans are at an early stage, the mixed use scheme could include a blend of co-living space, an aparthotel and apartments for private rent as well as affordable housing.
The mix of tenures will allow residents to stay for any length of time, whether that be one night, two years or more”.
Occupation will, however, be on a rental basis with no mention of apartments for sale in what will likely be the latest tall tower to arrive on the strip of land south of Canary Wharf.
900 residential units to rent
The consortium says its vision includes providing 900 residential units, offering flexibility for those moving in and aimed at attracting a range of inhabitants.
Alongside the accommodation, it promises to provide leisure amenities, green spaces, a lounge, gyms, shops, cafes and bars.
Early sketches show three connected towers set on a communal plinth that will have spaces for “residents’, community and public use”.
Public space will be partially sheltered, allowing people to spill out of the building at street level without getting wet.
The developer says the plans will create a new waterside destination on Marsh Wall, provide jobs both during construction and in the future, deliver opportunities for a programme of activities including a market and community events and deliver new cafes and restaurants.
The scheme aims to create “a place for people at all stages in life – for families, couples or individuals”.
Many developers have turned away from building homes for sale in recent years in favour of build-to-rent.
The advantage is these projects are often easier to finance with the promise of steady returns.
However, they can also lead to more unstable communities with people having less security over whether they remain in a property long-term.
key details: 77 Marsh Wall consultation
The public consultation on 77 Marsh Wall ends on March 31, 2025.
Interested parties are invited to have their say on the proposals via an online survey.
You can also email your thoughts to 77marshwall@kandaconsulting.co.uk
April 12, 2025, is set to be a momentous day at Cody Dock.
From 1pm-7pm, the east London ecological regeneration project will host its Spring Forward event – but things are going to be a bit different this year.
While the rolling bridge will be ceremonially upended, plants will be sold, workshops hosted and performances staged, there’s a wider triumph to celebrate.
Specifically, the Cody Dock visitors’ centre will be unveiled in its finished form.
Now named The Barn, the team has been working hard to install windows, doors, walls and ceilings, as well as raising the land outside the structure, ready for the event.
For those attending, it will be the first opportunity to explore the finished space – an amenity which will serve as the focus for the site, a public lodestone for those passing through.
Cody Dock heritage programme manager Bella Quirin – image by Jon Massey
getting ready for the launch
“It’s a wonderful event, celebrating the arrival of spring and the world shaking itself back to life with a real focus on ecology,” said Bella Quirin, heritage programme manager at Cody Dock.
“Spring Forward is all about helping people to reconnect with nature after the colder weather.
“Among the highlights will be Tails Of Migration, a really interesting workshop run by our education team.
“Lots of species return to the UK from warmer habitats at this time and it’s all about showcasing those journeys and getting people to interact with them.
“The idea is that participants will also think about their own journeys and the places they have lived before, whether those are across large distances or relatively small ones.
“From that, we’ll be able to capture people’s oral histories as part of our ongoing heritage work.”
The Cody Dock scheme is complex in its scope and events such as Spring Forward offer visitors an opportunity to get to grips with some of the many projects under its umbrella.
There’s its role as a place of work and study, with artists resident in its studios and collaborations with academics to study and respond to the local area a regular feature of its operations.
Then there’s its commitment to supporting and studying local wildlife as well as stewardship of the tidal Lea.
It’s a place for innovation and experimentation as much as conservation.
Local history is another major thread running through its fabric with Spring Forward visitors able to view progress on work to restore the Frederick Kitchen, probably the last boat to be built by the Thames Ironworks at the mouth of the Lea.
This craft will eventually be used as the roof of a heritage pavilion, which will host a succession of exhibitions about the history of the local area.
Flowers bloom at Cody Dock – image by Jon Massey
connecting to history at Cody Dock
“That’s set to open next spring and it will be a fantastic space,” said Bella.
“It will have glass walls, so visitors will be instantly connected to the water, even when they’re inside.”
The April event will also include a chance to view Cabinet Of Curiosity No. 1, the first of three artist commissions exploring local history.
The work focuses on the Thames Ironworks and includes verse from William McGonagall recalling the calamitous launch of the battleship Albion that saw more than 30 people lose their lives when a stage collapsed into the water.
It’s just one of the many ways that Cody Dock is seeking to nurture connections between past and present as its regeneration of the 2.5 acre site continues.
“One of the things about Cody Dock – especially The Barn – is that we really want people to feel there’s collective ownership of our spaces as well as them being an attraction,” said Bella.
“The visitors’ centre will be such a dynamic space.
“It will work for our school visits, our ecology team if they’re hosting workshops, but also as a place for performances.
“There will be a full lighting system and we feel that there’s already a really strong vision emerging for it. It will act as a beacon for the whole project – somewhere people can come together.”
While the building itself has been used at previous events, hosting musical performances, dances and a sonic excursion along the Lea with visitors’ feet immersed in sand, the addition of sealed windows and doors will allow for greater flexibility.
There are plans for regular film screenings, with directors invited to participate in Q&A sessions, although full details have yet to be revealed.
seeking a food and drink partner
Another major change will be the completion of The Barn’s kitchen, which will provide cafe and dining facilities for the site.
Cody Dock is currently inviting applications for a partner to run this part of its operation.
The aim is to both generate income for the project and Gasworks Dock Partnership – the charity overseeing it – and to draw more visitors to the site.
GDP is hoping to attract a partner that aligns with its charitable aims, prioritising recruitment of local staff, paying the London Living Wage and using ethically sourced ingredients.
“The cafe will very much be central to our operation in many ways,” said Simon Myers, CEO of GDP.
“They will be most likely to come into contact with people passing through, so it’s really important that their aspirations and aims chime with our objectives.
“We’re about place-making and greater community cohesion so we need to be somewhere that’s really welcoming to everyone.
“We’re also an environmental organisation, so produce that’s served here needs to be sustainably sourced and, hopefully, the food and drink on offer will also reflect the diversity found in the local population.”
key details: Spring Forward at Cody Dock
Spring Forward is set to take place at Cody Dock on April 12, 2025, from 1pm-7pm. The event is free to attend, spots can be reserved digitally.
Cody Dock is easily reached on foot from Star Lane DLR station via Cody Road and South Crescent.
You can find out more about the many projects and initiatives based there online.
