A focus on affordability is the overall philosophy driving Fairview New Homes’ approach to its latest scheme in Woolwich.
Homes at Dock28 are set to become available at the south-east London site from August 19 and the developer has brought them forward with low price points and running costs very much in mind.
Comprising 216 apartments, split into studio, one, two and three-bedroom homes, the scheme is located on the banks of the disused Broadwater canal.
This once served the industrial operations of the Royal Arsenal and meets the Thames to the north.
Sited about 16 minutes’ walk to the east of both Woolwich Elizabeth Line station and Royal Arsenal DLR and rail station, future residents will benefit from the widespread regeneration of the area as well as the multitude of improvements to the historic town centre.
Such developments mean those buying at Dock28 will be within 15 minutes of numerous pubs, bars and restaurants as well as the extensive cultural space of Woolwich Works and the many shops of the High Street.
Fairview New Homes sales manager, Sohail Saiyed, said: “When you look at this development and the way we have approached it, it’s a very affordable option.
“It’s set within a really lovely area – when you look at what’s happened here over the past few years, I think the location massively benefits from the nearby regeneration.
“What we’re offering – when you look locally at how much apartments are being marketed for – is very good value with the guide price for a studio starting at £275,000, one-beds from £297,000, two-beds from £390,000 and three-beds from £475,000.”
Homes at Dock28 will be located beside the Broadwater canal
These prices are markedly lower than those in the likes of Royal Docks or the Isle Of Dogs, with buyers able to save tens of thousands of pounds on similar sized properties.
Prospective buyers can also look forward to lower service charges, with Fairview taking a pared down approach to on-site amenities in favour of lower bills for residents.
Sohail said: “There will be a communal residents’ garden as well as a roof terrace for people to use, but Fairview’s approach is to try to make the homes we build as affordable as possible both to buy and in terms of the service charge.
“Amenities like gyms and concierge services mean higher bills, but we still put security at the heart of our designs with a two-step entry system so packages and mail can be delivered safely to the blocks.”
The apartments themselves aren’t short on features either with private balconies and patio spaces offering outdoor space.
The three-bedroom duplexes at the scheme will extend to more than 1,000sq ft of internal space too.
Fairview is currently marketing one, two and three-bedroom homes
“You have large windows throughout the apartments, a white matte finish on the walls, with premium painted doors, chrome handles and sun-bleached oak Amtico flooring in the living areas and grey carpets in the bedrooms,” said Sohail.
“In the kitchens, there are quartz, salt-and-pepper, worktops with dove grey doors to the units, fully integrated appliances including fridge-freezers, induction hobs, electric ovens, wall-mounted microwaves and free standing washer dryers in the storage cupboards.”
Some properties feature views of the Thames, while others take in the Canary Wharf skyline to the west – a reminder perhaps that the estate can be reached in less than half an hour, door-to-door thanks to the arrival of Crossrail.
The DLR offers access to Royal Docks and London City Airport, while trains offer trips to Greenwich, Deptford and London Bridge – not to mention the nearby Uber Boat By Thames Clippers river bus.
- 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
Now all of that tiresome admin is out of the way, why don’t we have Felix (see Part One) tell us what impact he hopes the show will have on those who see it?
He said: “I would like people to feel that childlike awe and wonder that you get as kid when you go and explore your grandfather’s attic.
“You’re told you’re not allowed, but you know that serious wonders lie up there and you brave it anyway.
“You’re by yourself, you open the door, it’s very dark and full of clutter. There’s something in the far corner and you venture over there.
“It’s thrilling, terrifying, exhilarating and it’s full of magic. That’s our aim.
“As adults, much of the magic has been removed from life because of our responsibilities. We’re trying to give that back to our audiences.”
Read Part Three for a bit of history and a smattering of inspiration
Punchdrunk founder and artistic director Felix Barrett
START READING HERE
>> PART ONE <<
This isn’t exactly a typical article structure.
But then its subject matter isn’t a typical show.
Since it opened in March 2022, more than 200,000 people have seen theatre company Punchdrunk’s latest offering – its first at Woolwich Works, the organisation’s permanent global home.
The Burnt City is a sprawling creation.
Masked audience members are free to explore around 100,000sq ft of warehouse space, transformed for the production into an enormous, intricately detailed set in which the show’s multitude of performers appear and disappear.
Founder and artistic director of Punchdrunk, Felix Barrett said: “The show is based on the fable of the fall of Troy and the collapse of that mythical metropolis.
“It’s a future noir sci-fi thriller, told across 120 rooms, which audience members are free to explore in their own time.
“It’s part haunted museum, part real world living movie and part adult adventure playground.”
Audience members wear masks immediately marking them out from the performers who go about their business without acknowledging the watchers.
Audiences are free to explore the show in whatever order they choose
“Most of our performers are contemporary dancers and there’s a big soundtrack, so it’s like you’re inside a movie,” said Felix.
“It’s a gestural, physical language, rather than the intellectual side of your brain having to process it, so it transcends language.
“It takes at least 200 people to run a performance.
“There’s a big cast, a big group of front-of-house stewards, the stage management team, all the backstage departments – design, costume, lighting and sound.
“It takes a village, that’s for sure, but that’s what’s necessary to create single moments for the audience members.
“Different people in the same building will have different experiences.
“I want people to treat the show like a gallery or a museum but one where everything has come alive at night.
“It can have a clear story if you follow a single character but there are myriad narratives to uncover.
“We don’t want to prescribe a certain way to do it, and there’s no right or wrong way to watch the show.
“The reason why you enter through the bar is important, because that’s your safe space, so, if it all gets too much, you can go back, have a nice drink and watch the band.”
Read Part Two to find out why booking sooner rather than later would be wise
The Burnt City features an enormous cast of contemporary dancers
>> PART THREE <<
“At The Globe theatre in Elizabethan times, if you didn’t like the show, you could throw a cabbage at the performers and leave – I thought that was empowering,” said Felix.
“I created Punchdrunk in 2000 because although I’m a theatre buff and I love it, I was a bit disillusioned with the stuff I was seeing.
“So I asked how we might give the audience control and tried to set out to create something where they were the epicentre of the work.
“Ideally I wanted to create something which could bring the hairs up on the back of the neck.
“What I’m interested in is trying to flip audience expectations and to give audiences a night out which they wouldn’t easily get elsewhere.
“I always want to break the rules of conventional theatre – to try to make sure that there are secrets to unlock.”
For Felix, that process is rooted in the bricks and mortar of the places Punchdrunk performs.
“The company’s shows have called disused warehouses, private houses, an old school and tunnels underneath Waterloo Station home.
“It has made work in locations as far flung as Shanghai and New York.
“A theatre is a blank canvas, but a building is already quite detailed, so we look at all the architectural detail and how we can harness that power, accentuate it and make it stronger for the audience,” said Felix.
“First of all I walk the building, let myself be guided by it and then chalk out the safest place and the most threatening part.
“You’re left with a beautiful, existential tour of a space, and then we start to put a story across it, with the source material.
“Then you start to dream about the environments and the worlds.
“We definitely do world building before we do narrative arc – we’re closer to a video game than a play.
“The word ‘immersive’ came from that genre of entertainment originally.”
Read Part Five for a look into the future
The Burnt City is based on the fable of the fall of Troy
>> PART FIVE <<
“We’ve been nomadic for 23 years, and although we’ve got buildings we can settle into in New York and Shanghai, we’ve never had that in London, where we’re from,” said Felix.
“To have a home base is extraordinary, so I’m excited about us starting to break new ground, asking questions about the future of the theatre – how we surprise our audience so that we can create something nobody has seen before – that’s our main objective.
“We’re going to start playing with and experimenting with new projects. In a computer game, you can often take your character and go anywhere you want in a world.
“I think the future is taking that empowerment and applying it to real live shows.
“It took us six or seven years to get into our home in Woolwich and open our first show.
“Now it’s almost hard to imagine us not being in Woolwich – we absolutely love it.
“We’re hungry to make more work. This really is a new dawn for Punchdrunk”
No. There was no Part Four
Find out more about Punchdrunk’s The Burnt City via this link
Punchdrunk’s permanent home is at Woolwich Works in Woolwich
- 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
Walk down the side of Woolwich’s Jobcentre Plus and you’ll find a recently installed mural decorating a once bare brick wall.
Ellen Strachan’s Work In Woolwich mural is one of five artworks commissioned by the council to brighten up the area and showcase its heritage.
“My piece looks at the past, present and future of work locally,” said Ellen, a former physics teacher who lives in Abbey Wood and decided to pursue art full time after the birth of her daughter three years ago.
“There are three large panels that have those themes and two others that were created based on the stories and creations of local residents who participated in workshops about that theme while I was developing the work.
“Some told me about their lives, while others created their own paper cut outs for inclusion in the piece.
“I hope my mural makes viewers think a little bit about the people around them – how we are reliant on each other and that everyone’s work helps us as a community.
“I’d like them to think a little bit about the past and all the people who have contributed to where we are now, the future and where we are going.
“It’s a time of such change, with more technology coming and jobs changing quite a lot and it was interesting to look into that.
“Environmental considerations are also very important – since we’re going to need to make a huge change in how our economy works with regard to everything from transport to heating.
“If people look at the mural, I hope they wonder why I’ve chosen the things that are featured and ask themselves what they would choose if they were creating a piece.”
Welcome To Woolwich by The Collective Makers on Powis Street
Ellen’s work in this instance comes as printed vinyl, although she usually works in lino cut or using cut-out paper collage, which was the basis for the mural before it was digitally scanned.
“I like those techniques – I’ve always used a pair of scissors,” she said.
“Both make you think about the positive and the negative – where something is either printed or it’s not.
“The artwork for this mural has been created using paper, which makes me simplify what I’m doing and create something quite bold.
“It feels really good to have the piece finally unveiled.”
The council commissioned the piece as part of its Woolwich Mural Trail – a series of works by local artists created with local residents, schools and community organisations.
It joins Welcome To Woolwich by The Collective Makers on Powis Street, Your Woolwich in Beresford Square by Paige Denham and Foxfield Primary School, Woolwich Scenes in Myrtle Alley by Marc Drostle and Area Of Prosperity in Barnards Close by Haffeera Cader Saul and Nightingale Primary School, to complete the trail.
Area Of Prosperity in Barnards Close by Haffeera Cader Saul and Nightingale Primary School
“These stunning murals tell the personal stories and aspirations of our community, bringing creativity and colour to Woolwich town centre,” said Greenwich Council cabinet member for equality, culture and communities, Cllr Adel Khaireh.
“It’s fantastic to see how proud the artists and the school pupils are of their artwork, and to see Woolwich’s rich history brought to life.
“On behalf of the council, I’d like to thank all the different artists, community groups, schools and people who got involved and shared their memories and ideas. I hope they will all be enjoyed for many years to come.”
“I actually found out about the mural trail through Made In Greenwich’s May Jane Baxter,” said Ellen.
“Working with them has been really great. Initially when I gave up teaching, I was very isolated as an artist until I went to Made In Greenwich – they’ve really made me feel like I’m part of a community.
“I started by doing surface pattern designs using lino cut prints.
“I’d take them and turn them into textile designs for products, which I’d sell through the shop.
“Then I got the chance to design the Christmas windows for Made In Greenwich, which turned out to be quite important.
Work In Woolwich by Ellen Strachan in Calderwood Street
“Greenwich Council held an open call for artists to do the Woolwich Mural Trail and so I had that as an example of working at a large scale.
“Since then, I’ve had a few more large pieces of work commissioned – I’ve just been working for the past couple of weeks on a mural in Walthamstow for Crate, which is going to open a new food hall in the central shopping centre there.
“My piece will be on the back of one of the kiosks where people enter the space and it will welcome them.
“Working with Made In Greenwich has allowed me to build up my portfolio to apply for this kind of project.
“For example, I have another temporary mural coming up in Woolwich for the Woolwich Stories Cultural Trail, which is going to be taking place in August with some art installations and performances.
“That mural, entitled Woolwich Treepreciation will be on a disused shop front and will focus on trees – it’s showing an appreciation of the street trees in the area with hand prints and thumb prints making up the leaves.
“Local people’s words about the trees will also feature – lettering being a common feature in a lot of my work.”
Woolwich Scenes in Myrtle Alley by Marc Drostle
THE COUNCIL SAYS
>> “I’m so impressed with these special artworks and how they have instantly brightened up empty spaces in the town centre,” said Cllr Aidan Smith.
“Alongside wider improvements, which will get under way this summer, they help make Woolwich a more attractive and vibrant place for residents, businesses and shoppers.
“The upcoming works will provide improved facilities for traders in Beresford Street market including fully accessible public toilets, as well as new planting, better seating, lighting and play spaces throughout Beresford Square and Powis Street.”
- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com
The Dumb Waiter + A Slight Ache, Greenwich Theatre, Until June 3, 2023
On the face of it, The Dumb Waiter is a play about a pair of hapless, ground down hitmen awaiting their next job in a dingy basement in Birmingham.
This has little to do with the subject of A Slight Ache, which follows the musings of a couple whose relationship becomes increasingly pressured by the presence of a mysterious match-seller.
But Harold Pinter’s tragi-comic short plays sit surprisingly well together on stage at Greenwich Theatre, especially when – pause for dramatic effect – presented by an overlapping cast.
Despite a cast of only three actors and a spare, minimal set, the production is a sharp, lean sliver of a thing, twisting and turning as the characters wrestle with their precarious situations.
The performances that director James Haddrell has coaxed from his cast are exactly right for the material.
Tony Mooney and Kerrie Taylor in A Slight Ache -image Danny Kaan
Jude Akuwudike, Kerrie Taylor and Tony Mooney each breathe rich, believable life into the five characters we meet across the two plays, in a way that effortlessly lets the audience focus on the ideas and topics teased and hinted at.
These are skilled professionals laying bare the strangeness of Pinter’s plots, making them whole with flesh and blood people.
A Slight Ache, has Edward (Akuwudike) and Flora (Taylor) incarcerated in the claustrophobic existence of their brittle relationship.
Much remains unsaid. Instead, the horror is all in the detail – the brutal execution of a wasp trapped in marmalade using boiling water is juxtaposed with cheerful chit chat about the various plants in the garden.
But what are we to make of the mysterious figure of a match seller just outside their tranquil oasis?
A brooding, constant presence that Edward is both terrified of and obsessed by.
Made flesh by a completely impassive Mooney, this figure is the impervious rock against which main characters pound themselves to wreckage – a study of buried truths, fantasy, repression, fear and desire – both sexual and maternal.
While all three are powerful – notably Mooney’s ability to convey a completely leaden, static presence – it’s Akuwudike who shines.
With much of the play in monologue, his depiction of Edward finds layers in a proper man confronted with the unknown – a breakdown inevitable as he wears himself down against the granite face of the totally unresponsive match seller.
Mooney, left, and Akuwudike in The Dumb Waiter – image Danny Kaan
The switch to The Dumb Waiter comes as something of a shock as Akuwudike is transformed from arch middle class essayist to a working class football fan and hitman.
Along with Ben (a much more active Mooney) the pair are found in a claustrophobic basement bedsit as they grapple with boredom and the expectation of the next job.
While Pinter’s twist is over-telegraphed, the pressure-cooker atmosphere acts as an ideal counterpoint to A Slight Ache.
Here the unknown isn’t a character, but a series of mysterious messages via envelope under the door and what appear to be kitchen orders from an unseen and possibly defunct cafe above.
More dynamic than the first play, it casts its two characters as treading a fine line between the rational and irrational as they attempt to make sense of their lives, the dreadful murders they commit and the significance of why their boss hasn’t laid on any gas to make the tea.
This play too is a tense portrait of two people struggling and, along with its companion, makes for a refreshing, thought-provoking night out at the theatre.
- 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
We wanted a name that represented bravery, humility and honesty,” said David Caetano, co-founder of Baldr CrossFit in Deptford’s Childers Street.
“It’s named after the Norse god Baldr because I lived in Norway for about four years and my mum is still there.
“Everything Baldr does is good, but he doesn’t brag about it, so it’s representative of what we’re trying to create here.”
The virtuous son of chief deities Odin and Frigg, is a firm favourite in Asgard in contrast to the deceptive Loki and bombastic Thor, often because of his calm sweetness – not perhaps the most obvious allegory for the sweat and grind of a south-east London CrossFit gym.
But Baldr’s whole reason for existence is to do things differently.
“Above all, this is an inclusive space,” said David, who founded the gym with his partner Ben Wilson, opening the doors earlier this year.
The Deptford gym has a wealth of of equipment for members to use
“People come in, see the Progress Pride Flag hanging in the window and feel comfortable. This is a place for everyone.
“I came to London from Portugal at a time where there was still stigma around being part of the LGBTQIA+ community. Here, there was anything and everything.
“I became comfortable with my sexuality about three years ago but what I’d noticed was that, when you go to gyms, there wasn’t always representation there. Some do have it and, as soon as I’d walk in, I’d feel safe.
“At Baldr, because we’re LGBTQIA+ we’re more outspoken about this and so people are happier being themselves, speaking about their partners and things like that.
“I really felt there was a need to create something within fitness to change the conversation so we’re not talking in terms of men and women, but about individuals.
“The way we do that is to get away from CrossFit’s weights for men and women and just talk about percentages when we come to the bars and levels of resistance.”
Baldr is located around 10 minutes’ walk from both Deptford and New Cross stations and offers a range of classes for up to 10 people.
Alongside its core CrossFit offering these include weightlifting, gymnastics and Capacity, a barbell-free class designed to improve an individual’s ability to recover from high intensity exercise.
Monthly memberships start at £159 for three classes a week. There are also drop-in packages starting at £20 for a single class as well as small group and one-to-one personal training.
Baldr also offers free trial sessions to new clients so they can get a feel for what the gym offers.
“CrossFit is all about functional movement,” said David.
“Every time you squat, you’re sitting on a couch. The idea is that everything you do in the gym can be transferred to the world outside.
“What we’re trying to do with our programmes is to hit those functional movements so that when you’re 80, you can get off a chair without having to roll over or needing someone to help you.
“We constantly vary the sessions across seven areas of exercise so people will never get bored. The idea is an all-round one so members can say they can lift weights, run a mile and do a certain number of pull-ups.
“We keep the group training small, so we have 10 max in a group, and this makes sure that everyone gets attention in the session, and they get a little bit of personal training in a group setting too.”
The gym is located in Deptford’s Childers Street
With Ben, who works for Deutsche Bank looking after the business side of operations, it’s an offering squarely within David’s area of expertise.
“I was always into fitness and wanted to be good at everything,” said David.
“I originally came to London to study architecture, but sitting in front of a computer all day wasn’t really what I was looking for.
“I started doing CrossFit and then decided to train as a coach – that was about seven years ago.
“After working at my first gym and helping to run it for a few years, I joined Third Space in 2019, working in Canary Wharf.
“The CrossFit gym taught me a lot about running a small fitness business, while working at Third Space enabled me to look at the bigger picture – the language we use in classes and the impact this can have on members.
“I was also able to take a lead and get involved with developing new coaches and instructors, so that experience was really key for this project.
“Ben’s background is in business, finance and accounting, so he handles that side of things whereas I’m on the product side, looking after coaching, development and what we deliver for our members.
“This is perfect because it means we don’t cross over when we’re working together.
“We live close by and were aware there was nothing like this in Deptford, so we started looking to see if there was a space up for rent.
“Then Ben put together a business plan, looking at the area and why Baldr might be needed here – asking what the brand is and what its target audience will be.”
The pair found a space vacated by a fashion manufacturer and set about kitting it out with gym hardware, gender neutral toilets and, of course, the big pride flag.
The gym has been conceived as a safe space where all are welcome
The dream for Baldr is to expand with gyms in a number of parts of London and perhaps beyond.
David said: “We would like to have several locations so that we can attract people living in different areas.
“We are aware gyms can be quite intimidating, especially for people not always comfortable with their sexuality, so we like to chat with them and point out it’s their space, their workout and that we’re here to support them.
“We want to make sure that everyone has a good experience in the community and make sure they get that one-to-one experience in a group setting.
“We are loud and proud, so if you need a space like ours, then we are here for you.”
- 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
Having dropped out of university, bored by his business course and keen to avoid getting into debt, the entrepreneur tried his hand in various sectors.
Following stints in estate agency, stockbroking and helming a failed website business, fitness beckoned.
“I fell into personal training,” he said. “I was always sporty – basketball, football and athletics at school and basketball for my county, Essex.
“But then you get into standard living, so it was nice to get back into fitness.
“What I learnt from the website business was that I wanted to gain some experience for a few years and earn my stripes before launching something.
“So I worked for Virgin Active in Moorgate, spent all my spare time studying, did my personal training qualifications in 2013 and that was it.”
From those beginnings, Matt started hosting outdoor fitness sessions in east London parks before successfully crowdfunding and opening his first physical gym in Old Street in 2016.
“I took my personal training clients, went freelance and that’s how things evolved,” he said. “Walking through those doors on opening day was beautiful, but also so stressful.
“We had plumbing problems – the changing rooms leaked into the gym floor and when we first opened I was there for several nights in a row lifting floorboards with water gushing out.
Outrivals founder Matt Lo
“I didn’t know what to do, but that’s part of the game – the unexpected stuff, the random scenarios. If you don’t want those challenges, then you shouldn’t run a business.”
With the leaks stopped, his first gym performed solidly up until the pandemic when, like many businesses, its model was upset by unprecedented circumstances.
When the Old Street gym closed permanently in 2021, buffeted by lockdowns and home working, the next chapter in Matt’s story was already unfolding.
“I first saw the space on Greenwich Peninsula about five years ago – but we couldn’t get funding for it back then,” he said.
“So I reached out to developer Knight Dragon as it was still empty and they said they were looking for an operator.
“We came in and opened in 2021 – I feel we’ve created something really solid for the community here.”
That something is Outrivals – a health and fitness space located on the Thames with its entrance facing elevated public space The Tide.
“When the agent showed me the unit in 2018 it looked really promising – especially with everything the developer was doing to create a community, building it up from scratch,” said Matt.
“I wanted to be a part of that. Outrivals has been set up as a place where people can come together to make friends and connections through fitness.
“Essentially, it’s a community-based gym.
The gym offers a range of membership options
“We offer small group classes and personal training with a team of people who are all specialised in their fields.
“It’s down to them that we have got where we are today.
“We’ve tested many different classes – sussing out exactly what people like.
“We wanted it to be a very strong facility, where people come knowing that they’re getting excellent training from very good staff, but having fun at the same time.
“We do strong-man and strong-woman classes where people lift 50k balls – stuff you wouldn’t be able to do at home on your own.
“We do an hour and a half endurance class and we have a leg-day on Monday.
“So we’ve worked on what we want to be about, but at the same time made these things fun for the people who are doing them.”
Memberships at Outrivals start at £30 per month for gym-only access – available for anyone who works, studies or lives in Greenwich.
Standard open gym memberships are £55. Small Group Training memberships start at £60 per month for four classes with eight session and unlimited options also available.
One-to-one personal training packages start at £99 per month with three hour-long sessions included.
“We also offer dedicated packages such as our 12-week strength, weight loss or post-natal programmes,” said Matt, who also runs Choy House, an Asian street food restaurant now based at Design District’s food hall Canteen, a little further south on the peninsula.
“We feel we’re on a really good journey here at this gym.
“When I first came here, there weren’t many buildings – the community was very new. Since then lots of people have moved in and lots has been built.
Outrivals overlooks The Tide park and the Thames
“To help boost that we create events, summer socials and charity challenges that help bring people together, not just in the gym but outside it as well.
“Personally, I understand the importance of fitness although I admit I’m hit and miss with how much I train.
“When I miss a session, though, I really feel it both mentally and physically, so I know what an effect it can have.
“Ultimately I’d like to grow the brand, launching in other new developments so we can widen out the community and bring even more people together – whether that’s in London, other cities or even internationally.”
Outrivals has a number of offers for those considering taking out a membership.
Prospective clients can try out the gym’s facilities for three consecutive days, including open access to training spaces and small group classes.
Members can also get up to £50 cashback for referring new clients who then take out a membership.
On the personal training front, in addition to packages for individuals, Outrivals offers sessions for couples or people who simply want to train together.
A £150 per month fee covers two sessions for two people with an Outrivals coach. Packages covering more sessions are also available.
For individuals who need more flexibility, the gym also offers blocks of personal training that can be used over a two-month period instead of the usual one-month expiry date.
- 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
A niche is what every entrepreneur needs for their business to be a success and that’s what Karyna Sukha spotted while working in the fashion industry.
Originally from Ukraine, she came to the UK to study some 13 years ago.
“I did my degree at the London College Of Communication in graphic design and illustration, but I always wanted to work in fashion,” she said.
“My parents thought I should study architecture or interior design, so graphic design was somewhere in between.
“It’s something that gives you a wide range of skills.
“After university I started working for fashion companies such as Tata Naka, House of Holland, Alexander McQueen and Tateossian.
“I was mostly doing graphic design including print, textiles, photography, editing and that journey eventually led me to become a studio production manager
“That involved a lot of work with manufacturers to develop the collections and that’s when I first thought about starting my own company.”
Fabrika is based at Design District on Greenwich Peninsula
The challenge for Karyna and the designers was the traditional approach of the makers when faced with fresh ideas.
“At that time, communication was difficult and it was causing problems with both design and manufacturing,” she said.
“So I thought it would be great to set up a company that would understand the new generation of designers.
“I was a young graphic designer at the time – I had so many friends who were finishing their degrees in fashion and needed someone they could relate to and have their designs produced by.
“I bought a machine, started making garments for them and that was the start of Fabrika.
“After about three months we got our first client – a bigger brand – and we’ve now been working together for more than six years.”
Originally operating from North London, the business – which produces garments for Richard Quinn, Phoebe English and Matty Bovan as well as smaller labels and startups – recently moved to Design District on Greenwich Peninsula.
The business has grown to a team of 13 with further expansion planned
Occupying a lofty triple height space in one of 6A Architects’ steel, glass and marble cheesegrater-like buildings, Fabrika today is a team of 13, having grown its pool of skilled machinists to meet demand.
“We specialise in working with small designers producing anything from one to 300 pieces depending on their needs,” said Karyna.
“They might come to us with a drawing or a pre-made sample and we will then help them develop the design, produce a paper pattern and then continue to make reproductions for however many items they need.
“Our current turnover per month is 600 garments and we’ve moved to Greenwich to expand – we want to push things a bit further this year.
“I’ve developed with the company – I was in my early 20s when I started and I’m 30 now.
“It’s been a long journey to get where we are now.
“The more clients we got, the more people started talking about what we were doing because of the quality we were able to achieve.
“We expanded with machinists and some freelancers working from home.
“About two years ago I employed a studio manager and that really helped because before that I was doing everything myself.
“There have been ups, downs and lots of nice times over the past few years.
“But it’s always interesting to grow and develop, to try new things and to meet new people. Every challenge is a good challenge.
“There is definitely a demand for garments made locally and sustainably.
Karyna created Vavi Studio as a creative outlet for her own fashion ideas
“We’ve always tried to build strong relationships with the clients we work with – we love when they come down to see how their garments are made.
“Moving to Design District was about growth, but also about breaking the stereotype that manufacturing takes place in large spaces with no natural light.
“Here we have a beautiful space that is comfortable for our workers.
“We are trying to be as open as possible to show that manufacturing is not something scary that happens in the background but something people can see.
With the core business on a stable footing, Karyna has turned her attention to a fresh, albeit complementary venture, in recent years.
“I got a scholarship to study for a masters degree in international fashion business at Polimoda in Florence, which led me into thinking about what other ways there might be to develop Fabrika,” she said.
“We’d got to the point where everything was working without me having to be in direct control – I didn’t have to worry 24 hours a day anymore.
“So I stepped back a bit and tried to decide what other options there might be.
“I’ve always been creative and I wanted to put a little bit of creativity back into my business.”
The result of that thought process is Vavi Studio – her own label, named for her younger sister.
It’s a creative outlet for Karyna’s own designs, which are then made to order by Fabrika in Greenwich.
“I wanted to develop clothes for the everyday, busy woman,” said Karyna.
“The collections are based on interchangeable garments, which can be mixed and matched and are appropriate both for a working environment and then going out in the evening.
“Each piece is made to order so there is no waste.
“I think sustainability is increasingly important – especially manufacturing in London where a lot of people expect this in the production of the garments they buy.
“We are making clothes locally rather than overseas, so that cuts down on transport emissions and a lot of our clients also try to source fabrics in this country.
“Many ask for the offcuts too so they can recycle them.
“Right now, the plan is to expand, to grow the team and to start working with bigger brands to bring more production back to the UK.
“It does cost more but it’s good for the environment and for people to have longer lasting garments rather than ones they just wear once or a few times and quickly wear out.
“I hope that people will be thinking about these things in a more environmentally positive way in future especially as the industry has not been so good in the past.
“A lot of people are talking about it and brands should too.
“We do our best, but a lot depends on the designers too.
“Many are now interested in using recycled materials and that’s great.
“We also recently worked with a designer who was using silk that was produced without the silkworms being harmed – normally they die in the process.
“I think there should be more educational content produced so people know how things are made to enable them to be more responsible as consumers.”
- 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
“I’ve been writing since I could first hold a pencil and dabbled in various things when I was a teenager in school,” said the artist, currently based at Art Hub Studios in Creekside, Deptford.
A career as an advertising creative and then manager of agencies saw her work first in her native Canada, then North America, Europe and India.
“I’d done what I set out to do – to work internationally in a multi-country environment and I was successful,” she said.
“I wanted to go back to my creative roots – that was 10 years ago – and so I got myself a little studio in Deptford and started to take pictures.
“I also had a lot of photographs from my travels – but I didn’t want to be a straight photographer.”
Instead, Alice taught herself to paint her photographs digitally with the aim of creating something new.
The body of work she has created is varied and extensive, with images that are colourful, monochrome, three dimensional, two dimensional, photographic and almost entirely abstract.
Red from Alice’s Love On The Rocks series
“I never change the composition of the original photograph – it is what it is, it’s like a canvas,” she said.
“When choosing the ones to paint, I have a vision in my head – sometimes I achieve that and sometimes I can’t.
“Sometimes I can do it in several different ways – it’s always possible to repaint images.
“Each time I create an image, it goes back to being a writer, because I’m telling a story. There’s no absolute point where they’re finished.
“I just have to ask whether I’m satisfied with it and whether it says what I want it to say.”
The word, perhaps, for Alice’s creativity is “instinctive”. She looks at a photograph or a collection of objects and imagines what they could become.
“I have a series called Love On The Rocks,” she said.
“I took the images in Iceland – it was cold and raining while I was taking photos and my husband said he was going for a walk.
“There was a volcanic hill behind us and I took pictures of him as he walked along the ridge. He couldn’t see it, but I could see the outline of a woman in the shape of the hill.
“For another series, I’d always wanted to do something with layered hills.
“In Portugal I got to a summit and just saw this amazing vista in front of me.
Eastern Hunt from Alice’s series The King’s Lodging
“So I started snapping away and, after I’d painted them digitally, I realised there was a romantic story in there, so I called the series The King’s Lodging.
“Each piece within it has its own title and the idea was to tell a story by displaying them together so the viewer could create the narrative in their head.”
Alice’s latest project has been to create a second digital book of her work, based on the Chinese Zodiac.
“I have a friend – John Vollmer – who is an Asian scholar,” she said.
“He sent me a picture of a snake from some archive in celebration of the year of the snake and I thought we could do a better job.
“We started collaborating for the year of the horse – I painted a photograph of the animal and he wrote the text. I wrote a story to go with it and once I’d done that I knew I wanted to do all 12 animals.
“Then John told me about five, which is an important number in Chinese philosophy. That led me to create Five: Wuxing Elements In Art And Words with a foreword by him.”
Alice’s latest digital book features 81 artworks, about 25% of which were made specifically for the project.
Rebirth from Alice’s series The King’s Lodging
“While there are no stories in the book, I have written a poem for each of the elements. I want readers to really respond to the art in Five.
“I love landscapes and seascapes and ‘seeing’ is important to me. I want people to see things in a different way – familiar, but unfamiliar.
“It’s fantastic to have people look at and talk about your work because they see things in it that you don’t.
“For example, I made a piece from a photograph of the tailpiece of a stringed instrument and people saw a boat in the final work.”
While the majority of Alice’s work is created digitally, she also creates sculptures, including recent pieces using found objects.
Nightlife In Blue
“I don’t like sitting at a computer all day long, but my paintings don’t get made if I don’t do some of that,” she said.
“I’ve always loved working with my hands and I have an idea that I will also make collages from my finished digital paintings.
“With the wall hangings, I had some different kinds of rope and just started to play.
“The fairy stones – ones you find that have natural holes – are from the Mediterranean and Ramsgate.
“I’d had them for years, having collected them, and I thought I’d do something with them that has different textures.
“I’m fascinated by texture in all my work. I try to make a big thing of that in my paintings because we live in a world that’s anything but flat.
“First, it’s about the photography. I have to go out and take the image. If I didn’t do that, you wouldn’t have the picture.
“Then the paintings sit within a range – a set of dimensions.
“That means I can achieve results that are more photographic while others are more in the middle or much more abstract.
“I often strive for the sweet spot between those two things that combines them both, but sometimes the painting won’t let me go there.
“They take varying amounts of time – it really depends on the picture and on me.
“I have a painting from India that took me 10 years because I kept going back to it.
“It wasn’t saying to me what I wanted it to say, so I put it away and would bring it out every couple of years and try again until it was finally complete.”
- 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
If you think this article is going to explain exactly what will fill the Art In Perpetuity Trust Gallery from February 16 to March 5, you’re in for a disappointment.
But sit with Space Lab co-curator and artist Nicola Rae for a chat about the exhibition and you can’t help but feel a little awed by its ambition.
These await various pieces of equipment that will focus on a series of fluid vortices, part of an investigation into gravity, water and acoustic waves.
Magnets will spin, stirring liquids in tubular glass vases, while a camera is used to capture something called schlieren distortions.
Quite how it will all come together is still a work in progress.
This is just one of seven co-creative experiments conceived for Space Lab by Nicola and co-curator Ulrike Kuchner, an artist, astrophysicist and creative producer.
“We have spent more than a year on this show,” said Nicola.
“We put in an application for grant funding to the Science And Technology Facilities Council and were amazed that we got everything we asked for.
“In a way we shouldn’t have been surprised, because Space Lab is an incredibly exciting project.
“Ulrike, as a post-doc researcher at Nottingham, has a lot of connections and she feels strongly that often collaborations are not as in-depth as they could be, focusing instead on public engagement or the dissemination of research by scientists.
“So we set off with the idea of going deeper. We also wanted the artists and scientists to have a really big space for the work they create.
“We call Space Lab an expanded field of experiments – it is the idea of going beyond limits, outside the remit of scientific experimentation.
“Everyone involved is very interested in process. I haven’t seen all the finished work yet, including my own, but we have set really ambitious targets.
“Some of it will work and some of it won’t. Some will change in curation from how it appears in the studio when it’s placed in the gallery.
“We want all those elements to be free flowing, allowing things to happen.”
While the experiments are too complex to list comprehensively here, one to watch out for is bio-designer Anshuman Gupta’s BioBorgs – biocomputers that imagine a reality where organisms can act autonomously, based on environmental threats.
These respond to the research of collaborator and exoplanetary astronomer, Amaury Triaud, into the Trappist-1 system.
Its planets are most optimal for evidence of life beyond our solar system.
“We wanted to set this ambition that the artists would contribute meaningfully to the science,” said Nicola, who has been based at APT’s studios since 1995 and has taught at the Univeristy Of The Arts London since 2006.
“My work will be a series of experiments working with liquid vortices and I’m making the scientific equipment myself.
Nicola will be creating liquid vorticies as part of her collaborative experiment
“I’ll be working with quinine and coconut oil in the water to create different densities.
“There will also be magnifying glasses and different equipment on tripods and there will probably be a performative element as well.
“At the heart of it, we’re trying to communicate a fascination with phenomena and the scientific process – something that’s so often seen in labs but less so outside them.”
Aside from the seven collaborative experiments, there’s another strand to Space Lab.
As part of the process of putting the exhibition together, the curators have been working with Tech Yard creative technologist Jazmin Morris to create a series of workshops for young people.
Titled Space Labs: Stars In Your Eyes, these have seen astrophysicists going into Lewisham schools to explore the themes of the exhibition and have a go at creating their own pieces.
“The big surprise for us was how enthusiastic the children were, particularly when talking about science questions, and there’d be a big sea of hands going up, asking really good questions,” said Nicola.
“We thought there might be a lack of interest, but not at all.
“We will be featuring some of the students’ work on screen at the exhibition and we’ll be inviting their families and friends to see that on the last weekend of the show.
“I hope anyone who comes down to see Space Lab feels really intrigued and excited.
“Astrophysics is seen as quite elitist but this is all about reaching out to people who might feel they could go into this field.
“With new telescopes generating a huge amount of data, this is really an expanding area.
“It’s not just about the children, but also changing the minds of parents.
“This is something that’s come up in research again and again – kids listen to their parents and it’s really sad that children who are good at maths are told they shouldn’t go into these areas.
“When you go into these astrophysics departments, you see how varied an environment it is – people from different countries around the world – and that’s very exciting to see.
“Although we’re artists and creative technologists, one of the lovely things that comes up in the feedback we’ve had is how many of the children participating in the workshops are now considering science as a career.”
Space Lab is set to go on show from February 16 to March 5 at APT Gallery in Creekside.
- 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
Declarations that it is “The most wonderful time of the year” are being blasted at us from all angles.
That perfectly trimmed TV turkey, the handmade centrepiece online, families decorating in matching Christmas jumpers.
Fomo is more rampant than ever, but with the shadow of Covid just over our shoulders and the cost of living crisis in our faces, do we really need to embrace it?
Phil Willmott from Rotherhithe Playhouse knows no-one wants to be Scrooge, but thinks it’s important to highlight that we don’t have to be Stacey Solomon either.
The theatre, which launched in summer 2020, is marking its second festive season with The Christmas Wife – a dark comedy offering couples the chance to pause and reflect.
Showing from December 15-30 at the theatre’s new home in The Hithe, it is an adaptation of Ibsen’s The Doll’s House, which tells the story of a wife whose perfect Christmas starts to unravel due to one bad decision.
It will be tempered against family favourite The Wizard Of Oz, also showing December 15-30, 2022, which launches a new scheme offering up to four free childrens’ tickets with a paying adult.
I sat down with Phil to find out more about the plays and the theatre’s plans for 2023.
The Christmas Wife is set to play at Rotherhithe Playhouse
why this play for Christmas?
We’re all about getting people to go to the theatre who haven’t been much.
There’s a great tradition in this country of doing theatre for families and children at Christmas and I wondered if it might be possible to present slightly intelligent plays that could be a Christmas night out for adults.
I looked for something that would be thrilling and entertaining and The Doll’s House is one everyone has heard of, but not many people have seen.
why rename it?
The original is set during Christmas and I have upped the ante slightly on the angle of providing the perfect Christmas and how the pressure makes the wife start to buckle.
Often men don’t take responsibility for the perfect Christmas, they just expect it to be there and don’t see the hard work.
I had seen The Doll’s House and liked it, but when I read it again, I realised there was so much more to it.
It’s extraordinary how this was written about a Victorian couple but we could so easily be eavesdropping on any modern house.
There are the same kind of money worries, the same stresses and strains that come about when a family is thrown together so intensely in the festive period.
what’s the aim?
It shows that the struggle to get through Christmas is a sort of universal thing. It pulls on your heartstrings and that’s nothing to be ashamed of.
Perhaps if we opened up the discussion a bit more there wouldn’t be the pressure to recreate the mystique of the perfect family Christmas with an elaborate dinner and a beautifully decorated house.
If it was more collaborative, there would be a shared responsibility for it.
what happens in the play?
The character is the perfect housewife, during the perfect Christmas. She’s got the perfect husband – he’s just been promoted – and perfect children.
They are having a party and the house looks gorgeous, but to pay for it, she gets the equivalent of a payday loan.
She didn’t quite make the payments back and due to a series of coincidences, the guy who organised the loan ends up at their house.
She becomes terrified her husband will find out and about the repercussions. Will he stand by her and be sympathetic?
We see what she decides to do and what that says about their marriage.
is that a common scenario today?
I did some research and the main reason people divorce is money.
The main time the cracks begin to show is at Christmas.
So there’s a sort of double whammy of creating this amazing time, not spending too much, but also not being a Scrooge.
is it more stressful this year?
Yes. We are in the middle of an economic downturn and there is still the pressure to create the perfect Christmas.
You’re also worried about whether you’ve had the heating on too long.
My elderly parents are certainly thinking twice about it.
The pressure has doubled down and you find yourself thinking: ‘What if it isn’t a great Christmas?‘ or ‘What’s wrong with me?
Why aren’t I happy like the rest of the world?’. In fact, the rest of the world is thinking the same.
The festive season is very strange like that. Coming in, you should be happy and making a fresh start. Also, 10 years ago who knew we all had a credit rating?
Suddenly it’s something you have to worry about. We are confined by something that’s almost entirely artificial and has been sort of forced on us.
what are you like at Christmas?
I’m a gay man in a relationship, so we don’t really have those same pressures, and we’ve often just taken ourselves off for a nice weekend or something.
But I remember seeing it in my parents when I was growing up and looking back, I see things I didn’t understand as a kid.
My grandma had quite severe, MS and my granddad was her main carer, but somehow on Christmas Day, he produced dinner for 12. That must have created a great amount of stress.
As kids we took it for granted.
what causes the stress?
Everyone wants their children to have the most magical Christmas.
Then there’s the pressure for the extended family to come together and siblings might not get on, but because its Christmas, you have to.
Very few people are motivated by just pleasing themselves at Christmas.
how has the Playhouse evolved?
After last Christmas, we took a break to think about how to do things better.
We used to set up a theatre in a different venue for each production, but decided it would be good to have a home, so people know where we are.
This is the second production in our new home at The Hithe. It’s a hub for startup businesses and we’ve got one of the biggest studios upstairs.
We wouldn’t normally be able to afford it, but I approached them and made the case – because the owners are tuned into our philosophy of lifelong learning and trying to keep theatre alive, they have let us have it for just under market rent.
Rotherhithe Playhouse’s home at The Hithe
why did you want a home?
We used to move around because, as Covid lost its grip, there were lots of institutions and buildings, which needed to show the public they had opened again – a play was a good way of getting people through the doors.
That’s become less useful now and it’s more useful for the community to know there’s a place where every school holiday, there’ll be something for kids for free.
If people choose, they can come back and see some of the greatest plays ever written with tickets you can afford.
does the future feel more secure?
I think so. We’re very reliant on people’s goodwill and it’s taken a little while to build that up. We had a good momentum but then disappeared for six months so we need to build up the audience members again.
This project is not entirely make-or-break, but if we can’t turn the corner with a production of The Wizard of Oz, then we are doing something wrong.
We’ll sit down at the end of this and look very carefully at the box office figures and hopefully, the books will tell us people are enjoying coming and we should continue.
I suspect we will carry on. There’s enough interest in the project that we can keep building it. The ultimate goal is to get everyone paid properly and make it sustainable.
is The Christmas Wife a gamble?
Yes. Will people exhausted from work want to see it? I don’t know. The other reason I decided on The Wizard of Oz is that’s such a well-known title and hopefully, the 50 seats will fill themselves.
It will be an added bonus if people come back for the drama, which will have 30 seats.
is it still a minimalist set?
Yes. I don’t want to do those great, long lumbering, stodgy productions with bits of scenery cranking about.
At its heart, this is about an audience sat around in a semicircle, with very good actors telling a story very clearly and carrying people along with it.
is it hard to find actors these days?
The arts are still decimated after Covid, so many people have left the profession because there was no work and a lot of them have stayed in permanent jobs.
There’s a shortage of actors who want to give up long-term stable employment to take a short-term contract.
We try to keep rehearsals and performances outside of office hours so it’s possible to maintain your survival job and also practice your craft.
do you still have a day job?
Yes, I’m still also a professional journalist, but this has become more my main job, although it doesn’t pay like it.
It wouldn’t operate without a high level of focus on my part.
I’d like to delegate more, but you need a certain calibre of person that you are happy to leave things to.
We are so open to anyone getting involved. Even if you don’t have any experience and would like to volunteer, we will teach you.
plans for 2023?
It is quite dependent on how people react to these plays.
The only thing I’m absolutely sure of is that every holiday and half-term I want to do a piece of kids theatre where the tickets are free for kids so that they don’t just go to the theatre a couple of times during their childhood.
I want it to be something they can do regularly so that it demystifies the process and it makes it feel natural and comfortable.
