East London Archives - Page 34 of 42

July 8, 2022July 8, 2022

Isle Of Dogs: How David Grindley is set to star in his own play at The Space

The Island resident and original SpaceWorks member will stage a show from July 26-31, 2022

David Grindley is set to star in David's Play at The Space — David Grindley is set to star in David’s Play at The Space – image James Perrin

Subscribe to Wharf Life’s weekly newsletter here

Adam Hemming joined The Space in 2004, subsequently stepping up to the role of artistic director a couple of years later.

Not that it’s a competition, but David Grindley has been involved with the Westferry Road venue for longer than that – about 19 years, in fact.

“I get a lot out of it,” said David, whose speech and movement is affected by cerebral palsy.

“It saved my life. When I was in a home, I was shut away a lot, but when I came here, I could do drama.”

Now the Isle Of Dogs resident has decided, as an original member of in-house company SpaceWorks, that he’s going to star in a production and that there’s really nothing Adam or anyone else can do about it – even if they wanted to. Actually, they’re complicit.

“This is the second play that we’ve done with David,” said Adam.

“The first was 2015’s The Man Who Found His Freedom, which was about a period in his life when he was in a care home and how he escaped to live a more independent life in east London. It was quite a hard-hitting drama.”

Whatever David’s Play turns out to be after the machinations of writing, rehearsal and devising, it won’t be that. Audiences are in for laughs.

“With this show we wanted to have a bit more fun,” said Adam.

“It’s a backstage comedy based on the last 10 years of David’s life – his time at The Space and the adventures he’s got up to since he’s been here.”

Adam and David discuss the production – image James Perrin

David’s disability hasn’t deterred him from consistently pursuing starring roles, something that’s key to the forthcoming show.

“The main thread of the story is that David is a part of our company SpaceWorks, where local people take part in creating theatre,” said Adam.

“At the end of each production we would talk about what we were going to do next, and David’s suggestion was always My Left Foot – I’d always shut him up.

“There are complications around staging My Left Foot, which was a book originally, then a film with Daniel Day-Lewis, but David was always suggesting it so that he could be the star of the show.

“In the end we decided that, rather than doing that production, we should create a play for David, which he could then star in, so that’s how it all began.”

David’s Play will be directed by Adam, David and deputy artistic director at The Space, Matthew Jameson, who all appear on stage as versions of themselves.

“Nothing can go wrong,” said David. “I think we’ll feel better with the first night done, but I’m sure it will be alright – I hope people like it.”

Adam added: “It’s quite a rare thing to see someone like David on stage, but we’ve laughed a lot in creating the show and doing the read-through, so we’re hopeful people will find it funny.

“David keeps telling me off because I keep trying to do serious acting.”

The Space has raised cash to help put the show on – partly through a crowdfunding campaign – with David suggesting on the accompanying video that, should sufficient money become available, it would allow him to hire a better director than Adam.

The Space is still accepting donations for the show, although it’s unclear if this could affect Adam’s position.

In some ways, the fundraising efforts feel apt, given David’s own commitment to generating money for the charity that runs the theatre.

“I’ve worked on the box office, been on various committees and done a lot of fundraising,” he said.

“I recently did my annual sponsored walk across the Isle Of Dogs, which I’ve been doing for 10 years.”

David's Play is set to play at The Space from July 26-31 — David’s Play is set to play at The Space from July 26-31 – image James Perrin

“David takes his fundraising very seriously and he’s very good at it,” said Adam.

“David has 24-hour care and this is one place where he can come without his carer and get involved in what’s going on.

“He’s seen more shows here than I have, but he’s also organised lunchtime music recitals as well as creating work like this – it’s a mutually beneficial relationship.

“David’s participation with SpaceWorks has helped to raise understanding about what someone with cerebral palsy is capable of.

“As a condition, it’s not that well-known, but he’s built up quite a good network of friends.

“He had a group of people go with him on his sponsored walk and then we had a barbecue fundraiser here before some other friends took him on to a pub quiz at The Ship – it was a pretty full-on day.

“The number of people supporting him during the day is a pretty good indication of how well-liked he is.

“One of the stories that we’ve used in David’s Play is about the year we decided to do a sponsored walk in Greenwich.

“I wasn’t with him that year and it turns out there are strict rules there about what you’re allowed to shake a bucket for.

“You have to have advance permission – it’s a bit different to the Isle Of Dogs.

“Anyway, some people asked David to stop and he didn’t take too kindly to that and in the end some mounted police became involved.

“Another story that’s featured is that there was an unfortunate incident where David fell down some stairs coming out of a pub so an ambulance had to be called and, on the way home, he asked the ambulance to stop outside The Space so he could get a drink before last orders.

“About 10 years ago David decided to stop drinking and hasn’t had a drop of wine since.”

David said: “My life has improved a lot since then. I don’t think I’d be here now if I’d carried on drinking.”

Created by David, The Space’s literary manager Mike Carter and the company, David’s Play is set to be performed at The Space from July 26-31, 2022, with shows at 7.30pm Tuesday to Saturday and 2.30pm on Sunday.

Tickets for the shows cost £15 with 20% off for bookings made by July 12 (so get in quick).

Anyone who would like to donate to support the production or The Space can find more information here.

Read Wharf Life’s e-edition here

Subscribe to Wharf Life’s weekly newsletter here

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

July 6, 2022July 6, 2022

Leamouth: How Trinity Buoy Wharf could combine a river crossing with flats

Living Bridge would join agreed Hercules plan over the Lea to connect Newham and Tower Hamlets

An artist's impression of USM's Living Bridge idea — An artist’s impression of USM’s Living Bridge idea

Subscribe to Wharf Life’s weekly newsletter here

It starts with an idea. The concept of people living on bridges isn’t new – they’ve been doing that for hundreds of years all over the world.

But Urban Space Management’s (USM) “aspirational” suggestion for a residential crossing at Trinity Buoy Wharf, spanning the mouth of the River Lea still feels a little bit visionary.

There’s something inherently attractive about inhabiting structures over water. Looking back, we have the historical romance of the Old London Bridge and the Ponte Vecchio in Florence, for example.

Flowing forward, there’s author William Gibson’s sci-fi vision of a jerry-built, self-governing shanty town clinging to the steel bones of San Francisco’s Bay Bridge.

This imaginary leap into a near future – where a ribbon of infrastructure is repurposed by a passionate, vibrant community of squatters, reacting to the pressures of insufficient housing and oppression – is a flash of what necessity and collaboration might be capable of. It’s counter-cultural, haphazard and seductive.

USM’s plan for a Living Bridge has something of both examples.

It’s a functional proposal – a connection to Royal Docks for pedestrians and cyclists that would ensure a flow of traffic through the existing site.

But it’s also the root of a future community, with around 70 properties suspended from the steel arch that would support the entire structure – brought to life in Cartwright Pickard’s illustrative designs.

Access to the river would be preserved for taller vessels with a section of the bridge able to lift to allow safe passage.

Planning permission has already been granted for one crossing in the area – Hercules Bridge over the Lea on the northern edge of Ballymore’s Goodluck Hope development.

If built, this would connect to both a footpath towards Canning Town station as well as to the Lower Lea Crossing flyover for access to Royal Docks.

USM is currently gathering feedback on a range of ideas to improve connectivity in and around Trinity Buoy Wharf, with a consultation running until July 20, 2022.

Its plans aim to help overcome barriers such as roads, rivers and railways to make journeys that are complicated now, simpler in the future.

USM founding director Eric Reynolds said: “Right from the beginning, I thought the problem for this whole bit of London was that it is disconnected from itself in every way.

“Standing on the roof of the building that’s now occupied by Faraday Prep School at Trinity Buoy Wharf in the late 1990s, it was clear we should be doing something about this.

“Our outline planning application for the site allows us to build a bridge as a continuation of Orchard Place because it always seemed to me that the Lea should have more than a road bridge over it – there should also be something for pedestrians and cyclists.

“We should be connecting people, not just for us, but also for people living north and east of here – in Canning Town for example.

“They should see the river as part of their back or front garden, not something that’s just hidden away.”

A rendering of the Living Bridge by night

The case for a second bridge becomes increasingly clear when future development is taken into account.

The Thameside West scheme is expected to deliver some 5,000 new homes just across the river as well as a new DLR station, a school and industrial and creative workspaces.

“One of the things we did achieve years ago was to persuade the DLR planners to leave a straight bit of track on that land to allow potential for that station,” said Eric.

“It didn’t make sense then, but, with thousands of homes and a new town centre coming, it does now.

“Regarding the bridge – it may be that we put homes on it, we don’t know yet. We think there are two good reasons for doing it.

Firstly it creates new land and a new opportunity for a community.

“Secondly, in doing that, it offsets the cost of the bridge – so there’s an economic and a social argument.

“The Living Bridge would also be a big signpost to the importance and value of the River Lea, which was a vital part of the transport of this area – a line of power and industry – before it silted up. It deserves that recognition.

“Imagine coming up the Thames and seeing this out-of-scale bridge, all lit up with people living inside it.

“I really think it would appeal to Londoners – every building along the river is worked so as many properties as possible have views of the water.

“Here it would be right underneath – with no risk of anyone building in front of or behind you.”

An artist’s impression of the Hercules Bridge proposal

But does an area that is already connected to Canning Town via London City Island’s bridge and, potentially the already agreed Hercules Bridge really need another crossing?

“At the moment, the existing bridge takes you to the top of London City Island but we have an awful lot of walkers, dog owners, cyclists, hikers and so on who come to Trinity Buoy Wharf and would really like not to have to go back on themselves,” said Eric.

“The Hercules Bridge gives people the chance to do something different – to walk round the edge of the Lea and follow the river north.

“What the Living Bridge would do is to make it much easier to follow the Thames along the southern edge of Royal Docks as far as Barrier Park.

“It increases the potential for pedestrians and cyclists to reach these areas.

“It’s also in some ways an attempt to re-invent a community that was here in the past.

“There was a small fishing community and a school here, which was wiped away when local authorities decided that slum clearances were the thing to do.

“There also used to be a little ferry that took people across the Lea because the Thames Ironworks and Orchard Wharf needed to get their workers to work.

“During the Crossrail Works, the foundations for that ferry were found, so this has grown partly out of what we perceive as a respect for the past and an aspiration for the future.”

At present Trinity Buoy Wharf is a dead end for walkers and cyclists

Read Wharf Life’s e-edition here

Subscribe to Wharf Life’s weekly newsletter here

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

July 6, 2022July 6, 2022

Canary Wharf: Why Genomics England is relocating to One Canada Square

Headquarters of government-owned genome sequencing business set to arrive in Canary Wharf in the autumn

Genomics England CEO Chris Wigley – image James Perrin

Subscribe to Wharf Life’s weekly newsletter here

Right, so this headline is a bit disingenuous. Genomics England doesn’t, in the course of its operations, alter anyone’s DNA.

In fact, it captures whole human genomes, sequences them and uses the data for both personal NHS diagnoses and wider research.

However, its arrival in Canary Wharf is part of a bigger picture as the estate continues to grow and diversify.

Tropes about steel towers full of bankers are outdated, lazy stereotypes that nevertheless persist.

But perception often lags reality, which in turn can lag big announcements.

Earlier this year, Canary Wharf Group unveiled a project with Kadans Science Partner to create a 750,000sq ft, 22-storey, wet lab-enabled building in the first phase of its development of the North Quay site next to West India Quay DLR.

The scheme is at the forefront of the estate’s emerging vision to bring more health and life sciences businesses and organisations to the area – creating a cluster to rival those in Oxford and Cambridge.

However, the building is not set to be delivered until 2026 – these things take time.

Much quicker in the timeline, will be the arrival of Genomics England.

Announced last month, the government-owned business is expected to take up residence on the 21st floor of One Canada Square in the autumn.

The Wharf is already home to Barts Health NHS Trust, the Medicines And Heathcare Products Regulatory Authority, Medical Defence Union, General Pharmaceutical Council, NHS Transformation Unit and NHS Digital’s London office.

The addition of Genomics England adds further weight to that group, making east London an increasingly attractive destination for those operating in the sector.

“If you look around us, we’ve got an incredibly rich health and life sciences community in Canary Wharf,” said Chris Wigley, CEO of Genomics England.

“When we were thinking about where we wanted to be, somewhere with those kinds of organisation, that vision, where we can bring people together easily was really exciting.

“It’s also very close to Whitechapel, where the Royal London Hospital is, and to many universities.

“We have all the ingredients here to do something special.

“What we saw during the pandemic was that, when our whole system pulls together, we can really lead the world in pathogen sequencing, genome sequencing and clinical trials, and we want to keep that sense of collaboration.

“Of course, very pragmatically, as a government-owned company, value for money is something we have to be pretty serious about too.”

Genomics England was originally set up to sequence 100,000 human genomes

Genomics England was originally set up by the Department Of Health And Social Care to run the 100,000 Genomes Project, following an announcement by then prime minister David Cameron at the 2012 Olympics.

“That was only about a decade after the first whole human genome had been sequenced, which took millions of dollars and thousands of scientists,” said Chris.

“You used to have to sequence DNA base pair by base pair, and there are something like 3.2trillion of them so it took a very long time.

“With the various changes that have collectively been made around next-generation sequencing, you can now do the sequencing in under an hour – although for a clinical case where we have an actual patient, we’d do that 30 times because even if the process is 99.999% accurate, when there are 3.2trillion results you need to be able to spot those errors.

“With DNA the numbers are huge, but if we do it 30 times we can be confident we’ve picked up any inconsistencies.”

Having sequenced 100,000 genomes by 2018, Genomics England is now engaged in two main areas of operation.

Chris said: “The first big thing we do is that we partner with the NHS to use whole genome sequencing to diagnose and make good decisions about patient treatment.

“This is the first health service on the planet to offer this, so that’s a genuine world first for Britain, which is great.

“Those insights are most relevant if you’ve got cancer or rare diseases, because those are things that we know are principally driven by changes in your genome.

“If you’re looking at the DNA, you can spot all of these areas where each of us is individually different from each other.

“So we’ve now got a catalogue where you can look up those changes, so we can see that if you’ve got them in your DNA, you may have a rare disease or a particular aspect of a cancer, for example, which we can then do something about.

“The second big thing is that we can anonymise all the data, put it in a separate environment and make it available to researchers from academia, from pharmaceutical companies and from biotech firms.

“It is still very sensitive data, though, so we have this model where the researcher has to come into our environment to look at it.

“We sometimes talk about being an aquarium, not a fish shop, where people can come in, study what we have, admire the fish and go away again.

“Crucially, they can’t take the fish with them – that’s how we protect the data.”

Chris says there are a number of reasons for Genomics England’s move -image James Perrin

Chris knows all about protecting data. With a background as a business analyst and diplomat, his CV includes the role of chief operating officer at tech startup Quantum Black – a machine learning and AI company.

“I often use the word career as a verb rather than a noun,” he said. “I’ve done a number of things.

“I had a small scale startup in web design mostly putting tartan on Scottish companies’ sites.

“I spent time at the BBC doing analog to digital transitions and setting up their radio player and iPlayer.

“Quantum Black was originally building applications to solve complex problems for a range of clients including in Formula 1 to help the cars win more races and then taking that approach to aerospace, offshore wind and other advanced engineering firms.

“Then we realised that the same techniques could be applied to banking or to life sciences. So we ended up with a third of our work for pharmaceutical companies, on drug discovery and clinical trials.

“It was lots of big data sets and complex models and then taking the outputs from them and explaining them in a way that humans could do something with.”

Having accepted the job at Genomics England just under three years ago, he’s now presiding over a period of growth and change.

“Throughout the pandemic we did a huge amount of research on Covid, working with the NHS, Health Education England and others, on how understanding our DNA might help us to understand Covid better,” said Chris.

“We’ve kicked off a bunch of other new programmes as well, so we’ve grown a lot in terms of numbers – we’re now about 500, and we have a space in the Sanger Centre in Hinxton – we’ve just opened another office in Leeds as well.

“We may also open a fourth location, but broadly we’re now thinking of ourselves as a national network of people across the whole of England.

“The base here in Canary Wharf will be the nerve centre.

“The way we’ve thought about the space here is less about banks of desks and terminals and more about collaborative space, community space, social space, and also library space for people coming in to do deep work.

“For a lot of our people it’s a new part of town with new things to explore.

“I think a lot of people have a vision of Canary Wharf from the early 2000s – but as we’ve brought more people over here, they can see it’s really changed.”

The move is also preparation for the increasingly central role that our understanding of DNA will play in our healthcare as time moves on.

“We’re gradually learning more and more about how our DNA affects our health,” said Chris.

“The first wave of discoveries was in the 1950s, 1960s and 1970s, – rare diseases caused by a single change in your DNA such as sickle cell anaemia, for example.

“We now understand that cancer is really a disease of the genome, where unregulated growth of DNA causes cell growth that we we call tumours. That helps us to treat it.

“Then, as new techniques have come in, like machine learning, we can start to understand more complex relationships between what’s happening in our bodies and what’s happening in our DNA.

“For example, a combination of 75 changes, when combined with external stimulus such as smoking or not smoking could explain why a certain disease occurs.

“We’re getting more and more into areas like infectious diseases and understanding how DNA, makes RNA, which makes proteins that do everything in our bodies, and how that causal chain has certain outcomes that we can understand.

“Then, hopefully, we can intervene when necessary.

“We’re just in the process of launching a programme at the moment that we’ve been working on for a number of years, where we’ll be offering to sequence the whole genome of new-born babies to look for about 250 different things.

“That’s in addition to the current heel prick test that looks for about nine. If there is something that is early onset and treatable then the NHS can immediately address that so the patient will get the best outcome.

“Of course, we think a lot about the ethics of what we do.

“Our fundamental belief is that we shouldn’t be making decisions about people’s care – the people whose data it is and whose lives it is should be doing that.

“Our job is to be completely transparent, to help people understand what we’re doing so they can make the right choices for them.”

Read Wharf Life’s e-edition here

Subscribe to Wharf Life’s weekly newsletter here

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

June 23, 2022June 23, 2022

Canary Wharf: How Festival14’s packed programme is a whole new approach

Event running July 21-24 promises more than 50 performances to help people discover the Wharf

Festival14 will run from July 21-24, 2022 across Canary Wharf

Subscribe to Wharf Life’s weekly newsletter here

Grandmaster Flash. Live, in Canada Square Park. For free.

Those words alone are testament to the fact that Festival14 is something new for Canary Wharf.

The DJ and hip hop pioneer –responsible for the first expression of scratching ever released on a record – is set to mix among the towers as the headline act on the main stage on July 21, 2022. And that’s just the first night.

Running Thursday-Sunday, Festival14 is set to fill the estate with more than 50 performances encompassing comedy, theatre, dance, family activities and, of course, music.

our MUSIC picks for FESTIVAL14
- July 21 - Grandmaster Flash
8.15pm, free, Canada Square Park
- July 22 - House Gospel Choir
8.30pm, free, Canada Square Park
- July 23 - Ronnie Scotts Jazz Orchestra
time TBC, free, Canada Square Park
- July 24 - Sona
time TBC, free, Canada Square Park

The mostly free events will run daily between noon and 10pm at a diverse selection of venues designed specifically to encourage visitors to explore Canary Wharf.

“We’d seen the success of events like our Winter Lights festival, which takes place across lots of different parts of the estate and the amazing buzz people feel when they arrive for that,” said senior arts and events manager at Canary Wharf Group, Pippa Dale.

“So we wanted to create a similar feeling for Festival14 so that it’s very obvious when people get here that there’s something really exciting and new happening.

“People in Canary Wharf are often quite set on the places they know – the places they go to lunch, for example – so we’re hoping this will help them explore and discover different areas.”

Most of the performances at Festival14 will be free

In addition to the dozens of performances and activities, there will also be a street food market every day in Montgomery Square and special offers from some bars, restaurants and cafes for the duration.

Canary Wharf Group director of arts and events Lucie Moore said: “Moving forward, we’re looking at putting on larger scale events over shorter periods of time to bring as many people as possible to the estate but also to change perceptions about the area.

“Events and cultural activities have always been really important to Canary Wharf in terms of placemaking and, since Covid, they’re something people are looking at and talking about even more.

our COMEDY picks for FESTIVAL14
- July 21 - Milton Jones, Jessica Fostekew
7.15pm, £11, Westferry Circus Roundabout
- July 22 - Reginald D Hunter, Jo Caulfield
6pm, £11, Westferry Circus Roundabout
-l July 23 - Paul Sinha, Felicity Ward
6pm, £11, Westferry Circus Roundabout
Follow this link for bookings

“These events are a real team effort and we couldn’t be able to do them without the work of so many people across Canary Wharf Group’s teams.

“The estate is now busy and buzzy and with the arrival of the Elizabeth Line, there’s the potential for even more people to visit.

“That’s an opportunity for us, in terms of events, because there are people who will come in from other areas who may not have done in the past.

“For Festival14 it will be really interesting to see what numbers we get in comparison to things like Winter Lights in past years.”

Events will take place from noon over the four days

The full programme for Festival14 – a name inspired by Canary Wharf’s postcode, E14 – is still being finalised, with all updates expected online by July.

Pippa said: “In contrast to previous years with our Tuesday night music concerts, we’ve booked some bigger acts.

“It’s a packed programme and, especially at the weekends, people will be able to listen from noon right through until 9pm or 10pm at night.

“Grandmaster Flash is our opening headliner and we think he will appeal to the audience that’s already here – a bit of nostalgia after a day in the office and a bit of a party.

our THEATRE picks for FESTIVAL14
- July 21 - 440 Theatre, Hamlet
1pm, free, Westferry Circus Roundabout
-l July 22 - The Canary Cabaret

7.30pm, free (ticketed), Crossrail Place Roof Garden
- July 23 - Mischief And Mayhem

5pm, free (ticketed), Crossrail Place Roof Garden
- July 24 - The Handlebards Romeo & Juliet
1pm, free, Westferry Circus Roundabout
Follow this link for bookings

“I’m really excited about having House Gospel Choir – they’re a group I’ve admired for a long time and we’ve been waiting for the right event to book them.

“They’re pretty local too, as is Hackney Colliery Band. We’re also really pleased to be able to host Sona on the Sunday, during her UK tour.

“The outdoor comedy at Westferry Circus also features some big names, so that’s ticketed because we have limited space and we’re expecting it to be very popular.

“We’ll be having open air theatre at that venue too with the return of The Handlebards who are fantastic and 440 Theatre who do Shakespeare plays in 40 minutes.”

The Handlebards are set to return to Westferry Circus

There will also be a series of theatre performances at Crossrail Place Roof Garden – ticketed but free due to the capacity of the venue.

“Whenever we do anything we try to include the local community and local businesses and organisations around the estate,” said Lucie.

“We’re very fortunate to work where we are but we’re aware there are areas around us that need supporting.

“The Space has been operating up in the Roof Garden for years now and they were an obvious choice for us as a partner for part of Festival14 because they know that venue, we know what they do and they’ve put together a whole programme for us there.”

A range of kids activities will take place on the Saturday and Sunday, including dance music party Big Fish Little Fish Family Rave at Westferry Circus and puppetry in the form of Bus King Theatre: Marvelo’s Circus at Montgomery Square.

“We’re really hoping, especially for families, that they will come and spend the whole day with us – do a workshop, have lunch and listen to some music,” said Lucie.

“We’ve really tried to cover a lot of areas and there will be one or two unexpected events too, such as a van that serves up takeaway poetry. We’re not finished yet.”

Here’s a little Grandmaster Flash to get you in the mood…

Read Wharf Life’s e-edition here

Subscribe to Wharf Life’s weekly newsletter here

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

June 22, 2022June 22, 2022

Hackney Wick: How Samskara at The Yard explores black masculinity

Lanre Malaolu’s work deals with the generational ties that can hold men back from emotional vulnerability

Lanre Malaolu's Samskara returns to The Yard from June 27 — Lanre Malaolu’s Samskara returns to The Yard from June 27

Subscribe to Wharf Life’s weekly newsletter here

BY LAURA ENFIELD

I’m really starting to question what toxic masculinity means?” said Lanre Malaolu.

“I think ‘masculinity’ is just ‘masculinity’ and it can’t be toxic by its nature, just like ‘femininity’ can’t be toxic.

“Saying that is putting a taint on with a very broad stroke and going deeper is what I’m really interested in.”

The Hackney resident, writer, director and choreographer, accepts men aren’t as readily available to talk about their emotions, but he wants to know why.

“What is holding them back?” he said.

“What are the chains that we feel we need to hold? It’s a two-way street. Men feel that they need to be the breadwinner, protect and be the alpha to get along.

“Why and where that has come from is what I’m interested in, rather than putting something under the broad stroke of ‘toxic masculinity’.”

His thoughts spill out in his show Samskara – an exploration of black masculinity, vulnerability, and the cycles of fatherhood.

It returns to The Yard in Hackney Wick from June 27 until July 23, 2022, following a sell-out premiere in 2021.

It is a fusion of storytelling, movement, hip-hop, dance and text performed by five actors who play four generations of black men named Silent Man, Father, Wisdom, Young Buck and Older.

Lanre wrote, directed and choreographed it and said: “I find with shows, I may think they’ve come from one idea but really it’s an amalgamation of different events, moments and emotions that I’ve experienced over and over again in my life and that I’m finally ready to talk about and channel into work.

“My father wasn’t consistently present growing up and we had a quite fractured relationship.

“So I decided to sit down and really let him know how I felt.

“My voice was raised, my emotions were high because it’s been a crazy journey I’ve gone through growing up as a young boy into a man.

“I remember him listening, taking it in and then right at the end he apologised and said: ‘All I know is how my father was with me,’ and he started to speak about his upbringing. It was the first time I saw my dad as a son.”

Lanre drew on conversations with his father when writing the piece

Lanre began thinking about the generational cycles of fatherhood and what he wanted to pass on as a son and potential father.

He also began unpacking his interactions with other black men.

“There’s been conversations I’ve had with black men about black masculinity,” he said.

“There have been moments of no conversation, of walking down the street and nodding my head with another black man, something that is not really spoken about, but is so universally understood within the black male culture.

“I started to think about what is behind that? There’s love, joy, a bit of fear and, at times, solidarity. I thought: ‘What if we explore all those things?’.

“I did a workshop in HMP Thameside prison some years ago where I was really faced with the stark truth of what it is to be vulnerable as a black man.

“The idea was to explore sensitivity and touch. Getting the men to do that in an environment that didn’t promote vulnerability in any way was a real challenge, but it also birthed moments of real honesty.”

Lanre believes there is an untapped pool of willingness to talk about emotions but men are held back.

He said: “Because of walking down the street and, at times, being seen as a threat, because of needing to be perceived as someone that is strong and has their shit together, we then put that armour up and people with armour are on battlefields and don’t talk about their emotions. So we condition ourselves not to.”

Working class Hackney in the 1990s was an environment full of men putting on a front. But Lanre found his way through.

“I wasn’t a street thug, but I knew those guys and I could have gone the other way,” he said.

“When you have low income, poverty and a government that doesn’t seem to care, then of course these things are going to happen.

“There were hard times, times of joy and you grow and learn and keep walking your way through. Faith was an important part of that.

“Not just religious, but faith that there’s always an ‘and’ never just a ‘but’. When I get pessimistic I always feel like there’s a way through.

“Hope is always there in these communities. It’s not just pain and struggle. You go into a Nigerian wedding, or a black party and the flow of joy, love and abundance is there.

“I want to make sure that I always talk about that. This show is going to have that because that’s what it means to be black and a black man. There’s so much joy.”

The show is Lanre's first work on stage with a full cast — The show is Lanre’s first work on stage with a full cast

He was “bouncing off the walls” as a kid, but found his joy through performing after his mum took him to the renowned Anna Scher Theatre school and he began booking jobs with the BBC and Channel 4.

In between classes, he and his friends would put on dance battles and Lanre co-founded company Protocol with the sole aim of performing at Breakin Convention.

They got their wish and more, when founder of the international hip-hop theatre festival Jonzi D “saw a spark” in them.

“They nurtured and cultivated it and then allowed us to kind of find our own continuous path,” said Lanre. “I wouldn’t be doing what I’m doing without that support.”

He went on to study at Drama Centre London, but left early to join the Royal Shakespeare Company and, as an actor, appeared at the Royal Court and in Channel 4’s Hollyoaks.

It was being chosen for The Old Vic 12 – a scheme to help developing artists ready to take the next step in their careers – which garnered him attention as an independent movement director and, five years ago, Protocol ended “with love” so he could focus on the opportunities coming his way.

“It turned out to be the best thing, because I needed that space to create my own strand as ‘Lanre Malaolu the artist’,” he said.

That has involved I Can’t Breathe, a response to the police killing of black man Eric Garner in 2014, Elephant In The Room in 2019, which explored mental and emotional health in black men, The Conversation, a 2019 short film on communicating racial experience to white partners, and The Circle, a 2020 documentary digging into the dynamics of brotherhood between black men.

Samskara is his first full-length show with a cast and he said it “started without me knowing”.

“I reached a point in my life where I was able to talk to my dad and then follow through with other black men in an honest way and just try and understand more,” he said.

“I didn’t interview him because I find that isn’t the best way to have valuable conversations with black men because that’s when the guards come up.

“No matter what anyone says, you will be able to get more of the truth over a meal in Nando’s when the energy is right.

“I was watching, listening, seeing and mentally noting things and writing them down.

“I would be at my barbers where I’ve gone for 15 years and had so many conversations that I’m sure, in some way, have fed into the show.

“When the Samskara started to come together, I got these sharp, bursts of images and wrote them down.

“Then I started to think specifically about generations. I knew one character was going to be really young and think he could take on the world.

“One was going to be a father, one an older man who’s been weathered down. I started writing monologues for them, workshopped it for two weeks and, from that, it continued to build.”

He grew up a 15-minute walk from The Yard and said he was proud of how it had transformed over the years.

“They’ve changed and learnt and they’re really supporting artists to do their best work by giving space, really listening and putting their money where their mouth is,” he said. “I really respect and love that about them.”

He hopes Samskara will open up conversations and allow black men in the audience to see themselves in ways they haven’t been allowed to before.

“I still have a lot of chains to break myself, but I am able to talk about my feelings and my emotions in a way that I wasn’t 10 years ago,” he said.

“Hopefully, I can say the same thing in another 10 years, because I’m a work in progress.

“Making the show has allowed me to really challenge myself whenever I have interactions with black men, because I know and understand the pain.

“I think it’s the fault of a lot of things. Eddie Marsden said something brilliant about how when young boys grow up, they think they can be superheroes.

“Some men let go of that and some take it on and that’s what feeds into this feeling that they are able to have an upper hand on the female sex. It goes back to the things we are taught. That’s what this show is really about.

“What do we learn that we don’t even realize and how do we unpack and untangle and break those chains to move on?

“How do we accept that things like vulnerability are ultimately the superhero strength for a man, a black man.”

Those aged 26 or younger can get £5 tickets on the door to all performances that are not sold out
There will be shows on July 15 and 22 for black men and ticketed banquets for the black community on July 1 and mixed audiences on July 7 to encourage conversation

Read Wharf Life’s e-edition here

Subscribe to Wharf Life’s weekly newsletter here

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

June 22, 2022June 22, 2022

Royal Docks: How Reset Connect brings people together to fight climate change

Inaugural event at Excel will see sustainability pioneers like Canary Wharf Group inspire others

Reset Connect CEO and co-founder Duncan Reid

Subscribe to Wharf Life’s weekly newsletter here

Duncan Reid has been an events man his whole career.

It started at university in the 1990s, organising parties with DJs at the students’ union.

Then there was a strategic move into the business sector, conveniently leaving Friday and Saturday nights free for attending music events rather than putting them on.

In 2010 he joined Clarion Events – one of the largest companies organising conferences, shows and exhibitions in the world – rising to become MD and executive vice president of its energy division.

“I was already managing the move away from coal, gas, oil and fossil fuel extraction – there were big things happening with carbon emissions,” he said. “Then the pandemic hit.”

With the events sector among the hardest hit, Covid meant many shows didn’t take place for two years, contractors were left without work and organising companies laid off staff.

For Duncan, it was an opportunity to take a step back and decide on a future direction.

“I started looking around for what I wanted to do,” he said. “Then I realised sustainability should be my focus and that it was important that we fast-tracked as much of this sector as possible.

“The two big challenges before the pandemic were that the pace of adoption was not fast enough and – the really big one – was that, even if a company wanted to roll out sustainability, whatever they wanted to do, there was a big funding gap.

“For example, if you were a company that made ready meals and you wanted to move to using electric vehicles with refrigeration to transport them, then that would be quite a hassle for a small business.

“Big corporates can have a sustainability strategy and can appoint someone to oversee it, but for small businesses it’s quite a challenge.

“Then if you’re a startup, it’s hard enough to get your idea off the ground let alone managing your impact on the environment at the same time.”

That led Duncan to the idea for Reset Connect – a new conference and exhibition that is set to get its first outing over two days at Excel in Royal Docks.

Taking place on June 28 and 29, 2022 – during London Climate Action Week – the event will see more than 100 exhibitors and sustainability partners showcase their services and more than 150 speakers discussing a very wide range of topics.

Canary Wharf Group – long a pioneer in environmentally friendly development and stewardship – will be represented by head of sustainability Sophie Goddard at a panel discussion, starting at 11.15pm on the event’s second day.

She, together with representatives of Sintali, Savills Investment Management, Hark Systems and Mitie, will seek to illuminate processes and technology that can be implemented now to fight climate change.

That’s just one session in a packed programme and the two-day event will also see opening keynote speeches from Doughnut Economics Action Lab co-founder Kate Raworth on the first day and World Wildlife Fund chief executive Tanya Steele on the second.

Reset Connect aims to help businesses become more sustainable

With the Elizabeth Line’s arrival shrinking the gap between Canary Wharf and Custom House (the station adjacent to the venue) to three minutes, Reset Connect is also easily accessible.

“The idea is really to pool the learnings that the corporate sector has and to share them among peers to help everyone benefit,” said Duncan.

“It’s analogous to what’s happened in finance with technology.

People would queue up in branches of banks to withdraw money and then go to another bank to pay that money into someone else’s account 15 years ago.

Now there’s an app on your phone, you’re sending money to someone else and you don’t even think about it.

“This is where we’re at with sustainability – this is where we move away from carbon quite massively.

“It’s really easy for us to keep using oil but then we certainly won’t be here in 100 years.

“So we need to try to work out how we can reduce carbon emissions on a scale similar to the fintech revolution.

“That is quite daunting, because a lot of the technology is in the early stages of development, but we need to do something major, quickly because the dial isn’t moving fast enough.”

That’s exactly the issue that Reset Connect will be addressing – how to rapidly shift away from a system that destroys the planet to one that allows humanity to go on and thrive. It’s no small ambition.

“The point of the event is to get people who are already doing things well to talk about what they do, how to speed up adoption, what funding they use and whether they borrow money or use assets to do it so others can learn,” said Duncan.

“Obviously it’s a work in progress and it’s a really complex area. One of the reasons it’s called ‘Reset’ is because part of the issue is about how you measure success.

“In the past that has always been linked to a profit measure but over the next 10 years it will increasingly become about impact. It’s about asking how we measure it, what we put our money into and what we really value.

“People are already talking about this in the corporate world, as are shareholders and the startup community.

“People also want to know how they can invest their pensions and savings in these areas.

“Some businesses may say that because they’re not listed it won’t affect them, but it will affect everyone. At some point you’ll be part of someone’s supply chain and that means you need to be thinking about it.

“Then there are the big fossil fuel companies – there are lots of pension funds invested in them so it’s really complex.

“Do you take the money out or do you find a way to work with them to be better, because the danger is that they will carry on being bad if you don’t?”

The show will take place at Excel in the Royal Docks

Duncan said there was a real appetite not only to tackle these topics, but also to do so in person with Reset Connect bringing together businesses, activists and politicians.

“I think the thing we really missed during the pandemic was people coming together, face-to-face,” he said.

“The analogy I use about events is that they are like a football match.

“You can watch it on TV but it is so much better if you go to a game with five of your mates – it’s a completely different experience. That’s why we try and make as much of our content free as possible.

“While Covid fast-tracked the adoption of video call technology, things are so much more productive when you can shake someone’s hand and see and feel the products they are selling first-hand.

“I think that, if we’re going to tackle some of the climate challenges we’ve got, then we’ll achieve more if we’re able to get round a table, meet at a stand or talk about it over a beer with someone you’ve unexpectedly met but share a common purpose with.

“A lot of it is about serendipity and also discovering the things you didn’t know, but really needed to.

“Of course you can sit at home and google ‘cities’ or ‘city infrastructure’ and that will give you a load of information, some of which may well be very interesting.

“But it won’t be the same as having Sophie Goddard from Canary Wharf Group tell you about its partnership with the Eden Project and what their vision is for that.

“You might stumble across some details on page 25 of your search – but that’s not the same as having a leading developer telling you how it builds cities for the future, what that looks like and what the partnership between business and finance needs to look like to make it happen.

“At Reset Connect, you’ll hear from experts like the Mayor Of Copenhagen, for example, telling you what that city has done to become a world leader in sustainability.

“And all of this is just one stop away from Canary Wharf on the Elizabeth Line.”

Reset Connect’s exhibition is free for visitors to attend with registration. Access to the conference is via delegate pass.

For startups, scaleups, not-for-profits, academic institutions and public sector organisations these start at £295 per person. Advance delegate passes cost £600.

Readers can get 25% off their booking at Reset Connect by using code WL25.

Duncan said in-person events were great for sharing ideas

Read Wharf Life’s e-edition here

Subscribe to Wharf Life’s weekly newsletter here

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

June 22, 2022June 24, 2022

Canning Town: How Rise Climbing is building a community at Caxton Works

The bouldering centre, gym and cafe aims to attract climbers old and new to its recently launched wall

Conor Skillbeck, left, and James Skinner of Rise Climbing – image Matt Grayson

Subscribe to Wharf Life’s weekly newsletter here

Like its walls, there are many angles to Rise Climbing, which recently opened its doors at Caxton Works in Canning Town.

It’s a temple to the pure, clear cut challenge of reaching the top of something.

But its two co-founders have ensured that it’s filled with much more than bouldering problems, brightly-coloured plastic holds, plywood and crash mats.

“One way we describe it is that we want it to feel like home, a place to relax and for people not to feel like they’re walking into someone else’s space,” said Conor Skillbeck.

“We want people to feel welcome, to drop all their stress and worries at the door whether they’re here to climb or just for a coffee.

“Most of the world isn’t like this – there aren’t many spaces where people aren’t being challenged.

“Everything tells you the world’s miserable and that you should be unhappy so we’ve created a space where people can have a bit of time off from that unhappiness.”

James tackles a problem at Rise – image Matt Grayson

The Rise project began with Conor’s friend James Skinner, who found himself working at a climbing wall after leaving his job in medical software.

“I’d been climbing since I was 12 and it was something I’d always come back to,” said James. “I ended up sticking around and after working at the wall for a few years, I wanted my own place.

“I looked at all the things I was good at and all the things I was bad at, because good partnerships are with people who complement each other, and they can recognise where their skills overlap. I wanted Conor as a partner because he’s a do-er.”

James, who’d met Conor through climbing, wrote a business plan, put a picture of his friend on it and showed it to him.

After managing to convince him it wasn’t a joke, the two began to plan in earnest, seeking premises and deciding exactly what their own wall would be like.

Conor, who’d worked as a model before embarking on a career in structural engineering, said that having recently married and, with the prospect of kids on the horizon, he felt that if he was going to do something like Rise, then the time had to be now.

After a lengthy search, they found a lofty unit in east London in an area with little climbing provision, giving them the opportunity to build both an extensive, two-level facility and a new community.

The sport is growing at a rapid rate and both James and Conor hope their wall will attract both veteran climbers living locally but, crucially, an influx of those new to the sport who just want to try it out.

To that end Rise is already starting to partner with local schools and is keen to grow its operation in that area.

“Everyone wants to get to the top of something – walking up mountains, for example,” said Conor.

“In a sense, it’s a completely pointless thing to do, because when you get to the top, you just come down to the bottom again.

“But when you walk along a street with kids, they will want to walk on the wall, just because they get to be on the top of something.”

James added: “It’s such a fundamental action. Any parent in here will tell you that their kids love climbing trees and that they can’t get them off the stairs.

“So we have such an easy sell – a climbing wall combines all of those things in a single space.

“It makes it safer to do them because of the crash mats, but it also means there are easier and harder ways to get to the top.

“People can get better at doing that and when they discover this, that’s something they really want.

“For kids especially, it’s somewhere they’re encouraged to climb higher, when they’re usually told to get down.”

Conor and James recently opened the wall in Canning Town – image Matt Grayson

It’s not just for the kids, of course. Conor said the ultimate thrill was still reaching the top hold on a bouldering problem for the first time – something touching the second-from-top could never live up to.

“We set 30 new problems every week and the sense of satisfaction when you get to the top is addictive,” he said.

“Not getting both hands on it can be a complete disappointment and frustration.

“It’s hard-wired into people and you see why they really love it. It’s also a sport people can do for many years.

“Two of the top climbers in the UK are in their 40s.

“There’s so much in terms of technique, flexibility and strength – people who are good make it easy for themselves.

“They find ways of positioning their bodies, so the hard move on a route becomes easier. It’s not just about being strong.

“I think there’s a pretty good correlation between how hard you’ve worked to finish a problem and how much satisfaction you get from reaching the top.

“Sometimes I’ve worked for six months to get to the top of one climb, and that feels way better than something you do straight away – it’s not necessarily how hard it is, it’s how much time and effort you put in.”

There’s also a shared joy among climbers in seeing others progress, develop and conquer the problems they’re tackling.

James said: “We had a guy come up to us and say that he did his first heel hook – not just using your foot to climb like a ladder or the stairs, but in an unexpected way – and he said it was really cool.

“He’d seen someone else do it and he’d asked them to explain it and then he’d had a go and said he would be able to use it on other problems.

“That was on one of our easier routes, but even with those, we want people to learn something, to progress. That feels great.”

It’s this sense of community, camaraderie and collaboration that Rise seeks to embrace and foster, with those who visit for a climb or just for a coffee.

“It’s one thing to build a place the way you want it – we did a good job,” said Conor.

“The toilets aren’t obtrusive and the changing rooms look really nice, but ultimately the space feels good when people are in it. That’s when it comes alive.”

Rise regularly changes its routes to keep things fresh – image Matt Grayson

James added: “We want it full of happy people who leave feeling happier than when they first walked in.

“The temptation when you’re designing the space is to have holds on every single surface, but we wanted Rise to have a really nice flow to it.

“There are huge mental health benefits to climbing and we wanted our wall to take on board things other walls had done really well and build on them – that it would be a real break from your screen, with challenging problems that will take your mind off everything else.”

For all these reasons, Rise is working hard to become an open space where people can meet, share a slice of Armenian cake and have a chat.

“The idea behind our front desk is that it’s like a farmhouse kitchen, that it’s a relaxed environment where there’s less obvious separation between people who work here and those who have come to use the space,” said Conor.

“We don’t want Rise to be exclusively for climbers – it’s for anyone who wants to come and sit down, for the wider community.

“We’re also running open social sessions on Wednesdays from 6.30pm and a women’s social on Thursdays.

“We’re passionate about climbing and lots of other people are too – ultimately that’s what will make it successful.”

There are myriad ways to climb at Rise, including single entry for £12 or £9.50 off peak (before 4pm on weekdays). Under 18s cost £8.50. Membership options are also available.

Rise will also be participating in the Caxton Works Open Day on July 9, running low-cost intro sessions.

Rise is spread across two levels at Caxton Works – image Matt Grayson

Read Wharf Life’s e-edition here

Subscribe to Wharf Life’s weekly newsletter here

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

June 16, 2022June 16, 2022

Royal Docks: How Little Hudson cafe at Royal Wharf was inspired by New York

Owner Nicola Micah talks banking, motherhood and serving up all sorts of dishes to east Londoners

Nicola Micah outside her cafe - Little Hudson — Nicola Micah outside her cafe – Little Hudson – image Matt Grayson

Subscribe to Wharf Life’s weekly newsletter here

BY LAURA ENFIELD

The concrete jungle is “where dreams are made of” according to Alicia Keys’ song New York.

But for Nicola Micah the Big Apple simply provided the inspiration for her Royal Docks reality.

The Londoner was living it up in Manhattan with her husband – banking by day and soaking up all the city had to offer by night

“We moved to New York in our late 20s and loved it,” she said.

“For me, the whole point of being there was to be in the centre of everything.

“But we knew we wanted to start a family and I didn’t want to do it there. We knew we wanted to move back home.”

By 2019 she was back – running fledgling café Little Hudson around the corner from Thames Barrier Park and raising her newborn son.

It was a huge transition, but one Nicola makes seem as natural as breathing.

“In New York, brunch is such a big part of the lifestyle and I’ve always loved food – working in a bank wasn’t really me,” she said.

“So I decided I was going to have a look into it and see if there were any units around.

“When I did, I quickly realised we needed to go for it because there were some available.

“I knew if we waited we might miss out or other places might move in and then there would already be competition.

“Then I got pregnant, unexpectedly, and that really pushed us to do it. I could have moved back to the UK and got a job in banking, but I wanted to do something I really loved.”

Little Hudson is located in Starboard Way, Royal Wharf – image Matt Grayson

Nicola named Little Hudson to “bring a little slice of New York to Royal Docks” and juggles running it with raising her three-year-old son Rafi.

The café, in Starboard Way, is open seven days a week until 4pm with a staff of 10 and the menu is very much inspired by the brunch scene in Manhattan while also including some English classics.

Dishes include banana and caramel pancakes (£11), a brekkie bagel (£8) with scrambled egg, cheese, chives, turkey bacon or smoked salmon, and the popular Hudson brekky plate (£12) with turkey bacon, two eggs, hash brown, Hudson beans, sautéed mushrooms and sourdough toast.

Nicola said: “When we were planning I was thinking about what kind of place people would go to regularly, not just once every two weeks.

“I wanted to choose the best thing to do in terms of being able to survive.

“Our food is the kind people want to eat every day, because it’s not really greasy. I like to keep the menu fresh and change it every few months for people who come quite regularly.”

Royal Docks is no Manhattan – the population is still small – but Nicola said that was the draw for her.

“Before we went to New York we were living in the area, so we knew it really well but there was literally nothing there,” said the 32-year-old.

“Then they started developing it and all the flats were put up and I thought it was a great opportunity to open something related to food, because there’s nothing else around there.”

Nicola's food is inspired by her life in New York — Nicola’s food is inspired by her life in New York – image Matt Grayson

She and her husband left the area to move Stateside after he landed a role with financial services company Moody’s.

Data analyst Nicola had previously worked for Santander and HSBC and then found work with Citibank.

When they decided to return, Nicola used her financial skills to create a business plan, carried out market research to build her brand and organised the lease, all from across the pond.

She said of husband Salem: “I’m pretty sure he was freaking out inside, but he was really supportive of it and he always has been.

“When we opened, he was in between two jobs, so was able to help out a bit, which was great because our son had just been born.”

Nicola launched the café in September 2019 with her six-month-old strapped to her chest.

“My son has grown up in the café,” said the Beckton resident. “When everything was being put together, we set up a play area for him in the back and, when we first opened, I had just started weaning him, so he had avocado and bits from the menu, which was fun.”

Nicola is now pregnant again but setting up the business is not an experience she is keen to repeat.

“It was probably good that I was quite naive about the café beforehand,” she said. “I can’t even imagine being able to do it now while raising two children.

“The beginning was so intense, getting everything right, getting the processes right.

“When you’re new, you really want to make sure that every customer is happy so that they come back.

“I didn’t realise how intensive it would be, but in hospitality if your main driver is to make lots of lots of money, then it’s not the best sort of industry for you.

Little Hudson serves up a range of dishes at Royal Wharf – image Matt Grayson

“Even though it’s stressful with ups and downs and a pandemic and everything, I actually genuinely do love it, especially now we’ve got a really supportive team and people who actually care about the business.

“That makes such a difference and we have a lot less stress now.”

Six months after opening, the UK went into lockdown and the café was forced to shut. It was a strange time for Nicola.

“Looking back it was actually quite nice, because I had my son so we were able to kind of spend that quality time together,” she said.

“But it was really upsetting shutting the café.

“We kept the community involved by doing supply boxes with fruit and veg, milk, eggs, flour, yeast, bread and coffee.

“We delivered them to people’s doors using a little trolley.

“No-one in our area could get anything because we only have a small Sainsbury’s, so the queue would literally wrap around the whole development.

“When we reopened, we actually had a lot of support then from people who bought from us. All those same customers came in, which was really nice.”

Nicola said lockdown also forced Little Hudson to launch on Deliveroo, which has prompted her to consider opening a dark kitchen.

“Delivery has just blown up since the pandemic, it is about 15% of the business.

“Sometimes, on weekends, we have to switch it off because it’s so busy already in the café.

“I didn’t think people would order brunch for delivery, but they do, especially at weekends.

“I’ve been thinking about doing some sort of delivery kitchen and maybe expanding other parts of the business as well to do more cakes for events and celebrations and expand the catering side.”

The café is open seven days a week until 4pm and has just launched a burger night on Fridays from 6pm-9pm. Nicola is also looking into holding live music events in the future.

So does she want to expand to another location now she is expanding her family?

“Maybe,” she said. “But I’ll wait a little bit until my next child is a bit older.”

Little Hudson’s interior – image Matt Grayson

Read Wharf Life’s e-edition here

Subscribe to Wharf Life’s weekly newsletter here

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

June 14, 2022June 22, 2022

Canary Wharf: How Cryptoslate helps readers make sense of cryptocurrency

Co-founder and CEO Nate Whitehill talks WordPress, websites, coins and Canary Wharf

Nate Whitehill is co-founder and CEO of Cryptoslate

Subscribe to Wharf Life’s weekly newsletter here

How does one become a cryptocurrency millionaire?

Since Bitcoin emerged in 2009 and investment became possible, it’s a question that’s been either idly or actively present in an increasing number of minds.

With a blizzard of coins now traded it’s a world of complexity where invention and innovation are pushing at the edge of what’s possible in terms of digital finance. Prices rise, crash and rise again.

Stablecoins lose their stability and you can be certain the next idea or gimmick is just around the corner.

For Nate Whitehill, this ever-changing story and the global thirst for information about it, has made him a millionaire in a different sense.

An entrepreneur for the last 18 years, the 38-year-old grew up just outside Seattle.

Encouraged by his grandfather and father to take business seriously, by 18 he was coding on the internet and starting ventures with his friends.

A WordPress user since 2006, by 2008 he was building blogs for corporations and discovered the joy of being able to work from anywhere remotely as well as blogging about his own endeavours.

He then went on to create Highlighter.com – a platform for students and professors to annotate individual passages of text so they could have online discussions around particular words or phrases.

“We raised about $750,000 and ran that company until 2013,” said Nate.

“By 2015 I had really discovered Bitcoin in a serious way.

“My friend in Seattle told me to download Coinbase, and the price was about $270 for a Bitcoin.

“So very early on I fell down the rabbit hole – it’s more of a black hole in the sense that people who fall into the crypto space never escape – I was on it for life.

“As I got into crypto, I started spending a tremendous amount of time on websites like Coindesk, which are like data analysis sites.

“At the time I realised I could build a version of this, combining qualitative and quantitative elements, and have everything interlinked together in WordPress.

“So I stopped the consulting I was doing at the time and started building the site – this was in 2017 and we launched in December.”

Still in Seattle at the time, Nate as co-founder and CEO of Cryptoslate rode the bull market of 2017 as prices for cryptocurrency soared and an increasing demand for information saw his site grow to about 150,000 monthly visitors.

“At this time I was also taking a really strong interest in the global implications of this technology and where previous digital innovations had happened,” said Nate.

“I could see it happening around the world, especially in places like the UK.

“So I started researching international conferences which would be interesting to attend, but then I realised there was so much happening in London and Gibraltar.

“So, in February 2018 I flew over to London and then down to Gibraltar for a fintech conference.”

With so many coins in the market, Cryptoslate aims to provide greater depth for its readers

Having presented at the conference, Nate found the international blockchain scene to his liking and decided to relocate to London, moving to Canary Wharf and creating a UK entity to work alongside Cryptoslate’s US business.

He said: “I came here on the endorsement of Level39’s startup visa to join Canary Wharf’s tech community.

“My view was that it contained the best of what was happening in London in an area that’s quite unlike the rest of the city.

“I fell in love with Canary Wharf, with London and with Level39 specifically, when I saw this vision of what life could be like and the opportunities that would present themselves here.

“Since I have been here, all my hopes and dreams have been exceeded in terms of the network of people I have met, so in hindsight, it’s been the best decision I have ever made.

“Having been here a year and a half, I remain passionate about London in general and Canary Wharf as a place to live – I plan on being here a long time.”

In that time Cryptoslate has grown to attract more than a million monthly readers, with Nate aiming to raise $4million to expand its operation.

“We think of the site as a crypto-discoverability engine – we have a combination of news, data and a directory,” said Nate.

“Each day we cover anything from 10 to 15 stories, created by a team of writers mostly in the western European region, but also around the world. We cover issues our audience finds compelling.

“A lot of the time it will be stories about all of the bad events happening, like the hacks and the scams, because we really want to paint an accurate picture of what’s happening with cryptocurrency.

“We don’t think of ourselves as trying to sell ‘hopium’ – the idea people will feed nonsense to each other with the hope of making short-term gains through investment.

“Something that makes us unique compared with other coin sites is that we combine the qualitative and the quantitative to give readers a more accurate picture.

“When you go to a Cryptoslate article about Bitcoin, for example, you’ll not only see the content of the article, you’ll also see a press chart about what Bitcoin actually is, with the opportunity to click through and learn more about it from a qualitative perspective.

“We also do that with our directory of people, products, companies, places and events.

“We also have a strict conflict-of-interest policy, so any time a writer holds an asset they are writing about, they have to check a box and there’s a disclaimer at the bottom of the article. The goal is always to be as transparent and honest as possible.

“I am not editorially involved, personally – I’m a step away – but we don’t discourage our writers from investing in crypto.

“In fact, we think that, if people are using the products, they have a better understanding of how to accurately depict them.”

Whether it's a bull or bear market, Cryptoslate is there to track it — Whether it’s a bull or bear market, Cryptoslate is there to track it

Cryptoslate is actively looking both for strategic investors and to hire writers in London as it grows. It gets about 90% of its revenue from advertising, while 10% comes from its subscription service.

Cryptoslate Edge offers greater analysis, longer stories and is designed to give global investors a better understanding of the market.

“We always try to discourage trying to tell anyone what they should buy, what is a good or bad investment decision, trying to be as objective as possible, but doing it in a more comprehensive way through CryptoSlate Edge,” said Nate.

“The idea behind cryptocurrency is to create an alternative financial system for the world, and that’s absolutely coming true.

“Increasingly the traditional financial system is figuring out ways that it can participate in the crypto economy.

“Just the other day Fidelity announced that it would be offering Bitcoin in pensions, for example.

“Increasingly the crypto industry is going to become part of our daily lives over the next decade.

“People will be using different decentralised protocols and crypto currencies without even realising.

“In the same way that someone may not understand how the internet works, but will use Facebook and Instagram, so it will be the same with crypto technologies over the next decade.

“In five years you could pay by scanning a QR code which connects to your Bitcoin wallet and that’s how you pay for something. These are just some of the things that will be huge for society.”

And Cryptoslate will be there to help its readers and subscribers navigate that future.

Read Wharf Life’s e-edition here

Subscribe to Wharf Life’s weekly newsletter here

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

June 8, 2022June 16, 2022

River Lea: How Cody Dock’s new rolling bridge unlocks the project’s potential

Hand-cranked structure designed by Thomas Randall-Page allows the dock to be reflooded

The rolling bridge will transform Cody Dock

Subscribe to Wharf Life’s weekly newsletter here

There can be few pieces of infrastructure in the world that so succinctly represent the story and future of a project in the way Cody Dock’s rolling bridge does.

Recently tested for the first time, it’s the culmination of years of work – an elegant, ground-breaking solution that’s at once simple, highly engineered and not insubstantially bonkers.

The Gasworks Dock Partnership (GDP) has, with the help of more than 11,000 volunteers, spent the last 13-and-a-half years working to clear and regenerate an unloved patch of industrial land on the River Lea – used for many years as a toxic tip.

A major milestone in that project will be the re-flooding of the dock itself.

With the junk cleared and the polluted sludge beneath painstakingly removed, the GDP always knew it needed to sort out a solution to the crude dam that currently provides a bridge over the dock entrance, but also blocks access from the tidal waters of the river.

GDP co-founder and CEO Simon Myers had duly found an off-the-shelf rising bascule bridge from Holland that would do the job – bridging the gap and opening when necessary to let ships in.

Planning permission was applied for and granted. But then something happened.

“It always starts with a conversation in a pub, doesn’t it?” said Thomas Randall-Page, designer of Cody Dock’s rolling bridge.

“Somebody told me Simon was building a new bridge, that it was a product from Holland and that it wasn’t the most interesting thing.

“I didn’t have any work at the time – I’d just quit my job to set up my own practice and I approached Simon and asked if I could counter-propose something that people would come and visit rather than just walk across.

“He said that would be fine, because they already had planning permission for the other bridge and I was doing it for free.

“Then I went off to help my friend move her canal boat and spent two weeks going through locks and looking at all this amazing Victorian infrastructure – most of it counter-balanced and low energy.

“So I started to think about an opening bridge but one that worked in a way that had never been done before.”

The rolling bridge has now been finished and awaits its official launch

The result was a model for a rolling bridge, produced in partnership with structural engineers Price & Myers.

Operated by a hand crank, the whole structure inverts on tracks, raising the footway high above any ships that want to gain access to the dock.

“In a way it’s the opposite of the bascule bridge, because that’s all hydraulic – like trying to lift something at arm’s length – so a lot of energy goes into it,” said Thomas.

“This one is a very balanced system with counterweights, so it’s going to be manual – you just turn a handle and wind it over.

“It will be quite slow, but people will be able to do it themselves and hopefully others will come to watch it open.”

While Simon and the GDP team were immediately attracted by Thomas’ proposal, they put it through a rigorous process of assessment to ensure it was something that would both work at scale and could be built within budget.

“We knew we were taking quite a big risk with something that’s untried – to our knowledge, this is the only bridge of its kind in the world,” said Simon.

“Thomas gave us what we needed to convince our board and we decided to re-apply for planning permission, although he had to wait five years for us to give him a call and say we’d found the money and were actually going to build it.

The bridge rolls on steam-bent oak, guided by metal teeth

“That was about a year ago and he engaged Price & Myers to work on it, all knowing that there was a fixed budget that we simply couldn’t go over.

“From the outset, everyone was committed – there has been blood, sweat and tears poured into it, nobody has made any money but they all wanted to make it work.

“That’s really humbling – it shows there’s a different economy at work, one where people do things because they are passionate and excited about them – when do you get the chance to roll a 12-tonne cube of steel by hand except on a project like this?

“The bridge is the most significant structure here. The dock itself is important, but it’s no good if boats can’t get in and out – it’s a statement of intent that we are bold and ambitious here.

“It’s our first really big commission, it puts a marker down and it raises our game – with 400 names of those involved in its construction engraved on it, it really is a bridge of the people.”

The structure rolls on a pair of tracks like a giant cog

Thomas added: “I started designing the bridge seven years ago, so to finally see it in place is both surreal and great – really amazing,” said Thomas.

“It’s better than I’d hoped. Cake Industries, who fabricated it, have been really helpful. There’s been so much goodwill in the whole team – a really collaborative and open process.

“Everyone felt like this was a project we really have to get right. It’s something special.”

So there you have it – a £260,000 bridge that will officially open later this year and last for the next 125.

It’s both a testament to the whole project’s collaborative nature and a gateway to a future that’s looking especially bright at present, with a the construction of a new visitors’ centre and a wash block already underway.

With repair of the dock wall progressing and pilings in place at its far end too, GDP can now plan to re-flood the dock, creating residential moorings and a dry dock facility on-site.

Cody Dock is always looking for volunteers and companies to help it achieve its aims – you can find our more here.

When fully inverted, the bridge allows taller ships underneath

Read Wharf Life’s e-edition here

Subscribe to Wharf Life’s weekly newsletter here

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