Woolwich Archives - Page 2 of 2

December 9, 2021

Greenwich: How a bottle of Greenwich Gin contains a journey all around the world

We talk to Gonzalo Ruiz about creating a spirit with consensus inspired by the prime meridian

Greenwich Gin’s Gonzalo Ruiz – image Matt Grayson

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Greenwich Gin is a coming together in many different senses.

Its creator, Gonzalo Ruiz, first began distilling botanicals at his home at Royal Arsenal Riverside as a lockdown project.

“Since I was born I’ve always been moving around,” he said. “I’m originally from Colombia but I’ve lived in Canada, in the USA, in Switzerland, in Hong Kong, Germany and now here.

“The person that I am is a mix of all of the places where I’ve lived and, in many of them, I’ve picked up on specific flavours and cuisines. I’ve always been a gin lover, so I thought I would try to distil some of these botanicals and see what happened.

“I spent about a year and half playing with my two-litre copper still, trying dozens and dozens of ingredients. I found that while many work really well on their own, they don’t mix.

“So it’s trial and error – there’s no scientific explanation for why a combination of flavours work together. It was often a frustrating process, but eventually I narrowed it down to a selection of botanicals where I was happy with the result.”

Having come up with the recipe, Gonzalo thought the resulting spirit would contribute something different to the ever growing gin market.

So he set about scaling up production and creating a brand that would do justice to the liquid in the bottle.

“The name of the gin has a lot to do with the prime meridian, which enabled navigation around the world,” he said.

“But there’s a subtlety about Greenwich, which is often overlooked – to me it’s a really nice detail. Unlike the equator, which is the physical middle of the Earth – something nobody can dispute – the prime meridian could really be anywhere.

“So the whole world has to agree where it is. All the countries had to come together and make a decision for the greater good – to decide that time would begin in Greenwich – the place where west and east separate.

“The concept of the world coming together for something is reflected in the gin. The gold line down the middle of the bottle symbolises the prime meridian.”

Greenwich Gin is inspired by consensus – image Matt Grayson

Inspired by the spirit of consensus reached at the International Meridian Conference in 1884, Gonzalo’s recipe is all about diverse ingredients working together to achieve something greater than themselves.

“I describe the flavour as an ocean journey around the world,” he said. “There are always the marine botanicals in the background – Atlantic dulse and kombu kelp from the Celtic Sea and sea fennel from the British Isles. The first two grow in the ocean and provide that backdrop.

“There are traditional botanicals found in many gins too such as bitter orange, coriander, juniper and angelica.

“Then the world botanicals I’ve hand-picked from across the globe – some are dry, some are sweet – they help give the gin peaks of flavour as you drink it.

“As much as it is a local gin, created in Greenwich and produced in Kent, it is a global spirit that ties back to my personal story. It brings all those world flavours and cuisines together.

“I’ve sourced many of the botanicals directly from people around the world that I have a connection with.

“There’s a map on the bottle that shows where they come from. Balsam fir, for example, comes from the Canadian arboreal forest and there’s a family who actually live among the trees and ship the fir tips that they forage every spring, to us.

“There’s lime from Mexico and lulo, which is a tropical fruit from Colombia. It’s really acidic – you can’t really eat it on its own, but people use it to flavour desserts and juices and now I use it to flavour gin.

“That’s why you get a citrus flavour that’s a bit more on the tropical side.

“We also use sustainably sourced tonka beans and pink pepper from the Amazon in Brazil and sakura from Japan, which are the cherry blossoms. Their floral flavour is very subtle and brings a touch of spring into the gin.”

Greenwich Gin at Royal Arsenal Riverside – image Matt Grayson

Balancing the input of these diverse ingredients was tough enough during development and Gonzalo discovered that scaling up production threw up new challenges.

“It was almost like starting over, but more expensive because the quantities are greater,” he said. “You’d think you’d just multiply the original recipe but there are so many variables.

“I haven’t started a distillery as that’s a big investment, but I found a family business in Kent that allows me to be very hands on.

“First we scaled up to 50 litres, which was difficult and then to 200, which was slightly easier. In the end we’ve got something that’s close enough to the original and it’s in time for the Christmas season.”

That final period of development provided yet another opportunity for the theme of consensus to emerge.

“When you treat something as a business, you treat it differently – it’s no longer a hobby,” said Gonzalo. “You’re trying to balance your prices with the quality of your product.

“One of the things I struggled with when developing a recipe, was that you might create something that’s perfect for you, but it might not be what most people want.

“I had to make some compromises on that, more towards the end.

“While we were doing the final scaling, we had a lot of blind tastings with other people and I tweaked the recipe in a way that maybe I wouldn’t have if it had just been for me.

“But people found it pleasing – they enjoyed some of the botanicals we’ve included more, so we’ve brought them a little more into the foreground.

“It’s all about finding balance. If I were to describe the flavour in one word, it would be ‘fresh’. But the great thing about this gin is that the taste is not homogeneous, it’s a journey.

“You start on the citrus side and then get peaks of intriguing flavours. On the finish you get spice from the tonka beans and the pink pepper.

“Creating the branding has also been very hard – bringing together work by freelancers with my own additions to represent the spirit.”

Greenwich Gin is available online as well as at select retailers in the borough including the Old Royal Naval College and Royal Museums Greenwich.

Miniatures cost £6 while 50cl and 70cl bottles cost £32 and £39.50 respectively.

Gonzalo is also often to be found selling the spirit at weekends at Greenwich Market.

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October 27, 2021

Woolwich: How Woolwich Contemporary Print Fair continues to evolve

Lizzie Glendinning talks art, factory spaces and continuing to deliver work people can easily own

Print Fair co-founder Lizzie Glendinning

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BY LAURA ENFIELD

Shiny golden phalluses are not a conventional start to a business. But why be dull? The glimmering appendages provided the catalyst for the birth of Woolwich Contemporary Print Fair, which is set to return from November 11-18.

It brings 700 original artworks to the area featuring famous names, hot new artists and images of everything from folk tale-inspired etchings, to the naked human form and abstract pieces created using control and chance.

“We were invited to bring a cultural activity to Woolwich as a one off,” said Lizzie Glendinning who founded the Fair in 2016 with artist husband Jack Bullen.

“We installed this quite controversial Italian sculpture by Samuele Sinibaldi in the former Canon Carriage Factory.

“It got people talking as it featured golden phalluses on a tree. People either loved or hated it, but we were invited back nonetheless.”

The couple already ran Brocket Gallery together and had gained attention for their New Collector Evenings, which used original print to encourage people to talk about and buy art.

Inspired by that ethos they ran a Kickstarter fundraising campaign, contacted printmakers they admired and set-up the inaugural fair, with no budget, in two months.

“Filling a huge abandoned former factory was a huge undertaking and we thought original print would be the way because there wasn’t anyone doing that specifically with contemporary work,” said Lizzie.

“The redevelopment of the buildings was something we really wanted to mirror in the history of printmaking, the industrial nature of it and the process.

“Jack and I are big fans of the Venice Biennale. They have used fine art to regenerate old factories. We thought: ‘How come no-one has done this in London because the buildings are just incredible?’.

“One of the reasons we decided to invest in the area was because of Crossrail – my background was working in Mayfair galleries and we wanted to bring the best of that genre here.”

The Arc Of Knowledge by Samuele Sinibaldi

The fair has now usurped their gallery business and takes 12 months to plan. Lizzie will be breaking boundaries again by curating the entire event from more than 300 miles away in Northumberland.

The couple moved there just before the first lockdown and Lizzie is now pregnant with their second child so unable to make the long trip to the capital.

But in a fortuitous twist, the cancellation of last year’s event means they already have the technology in place.

“It was a last-minute decision in September 2020 to cancel,” said Lizzie. “Our whole year had gone towards building it and there were lots of people involved and some wanted us to keep going.

“But it would have completely ruined us because we went into lockdown. So we’re really lucky we decided to go online.

“We worked with a company called Kunstmatrix and were one of the first Fairs to do an interactive walk through design.

“We had a lot of other big fairs calling us to ask about it and people recognised we had done something quite unique.”

Lizzie will use the technology to curate the artworks online and then her team will install them over two days at Woolwich Works. The physical fair is returning with a flourish, taking over the newly restored former Fireworks Factory at Royal Arsenal Riverside.

“Woolwich has really evolved in the time we have been there,” said Lizzie. “We are going into our third building in six years because the other ones have all been redeveloped – this one is stunning.

“The abandoned building we were in before was very cool because it had that gritty aesthetic, but when the artworks are of such great quality, it really elevates them to be in this gorgeous building. It’s a fresh start and feels like we have stepped up to a new level.”

Detail from Love Of Seven Dolls Princess by Liorah Tchiprout

Half the fair will be booths curated by specialist galleries and the other half filled with works chosen from an international open call.

As a result, the fair represents around 350 artists directly and takes commission from their sales.

“It’s unique in terms of art fairs, which generally rent booths to galleries so they only give access to artists who are already represented,” said Lizzie.

“We had about 4,000 applications for the open call and a panel of industry experts, including Gus Casely-Hayford from V&A East and artist Andrew Martin, chose the work.

“It makes it a completely democratic process and a big surprise for us, while keeping it fresh and fair.”

All the artists who applied are eligible for a new Art In Business scheme, which offers online workshops in marketing as an independent artist, wrapping and packing work, biographies and personal statements.

The fair is also running the Young London Print Prize for the second year, bringing printmaking workshops to 1,000 children in London primary schools including Greenwich, Thamesmead and Hackney.

A panel of sixth form curators will choose a shortlist to showcase at the event, with an awards ceremony on November 11.

Detail from The Caramel Contessa by Toby Holmes

Lizzie’s own love of print started as a schoolgirl thanks to her art collector father and she wants to share that passion with everyone.

“The risk with the term ‘print’ is people think its just digital and printed off a computer,” she said.

“But there are mediums like etching or lithograph, monotype, so many different styles and textures and technical application of ink or paint. You need to see it in real life to appreciate the layers and paper. If it’s on a screen it’s flat and you don’t see the intricacies or subtleties.

“The tactile nature is something we have tried to reinforce through the mantra of the fair, which is about the evolution of technical process and pushing the boundaries and reinterpreting these traditional processes.

“A lot of people will come thinking it is like posters and then they will see artists at work and appreciate the technicalities a bit more.”

The fair is laid out with stories and themes for people to follow to help make the event more friendly and engaging.

Detail from The Spirit Of The Three-Piece Pine by Evgeniva Dudnikova

“I first did that in 2019 when I had just had a baby,” said Lizzie. “I was really into illustrative art and things that were beautiful for children because I just wanted Daphne to be surrounded by beauty.

“This year Jack has done a couple based on literature and books and fantasy. I think that’s because he reads all these books to her.

“What we don’t want is to make it too academic. We don’t want to frighten people with terminology that might be inaccessible.

“We want people to recognise a narrative running through or maybe make one up for themselves.”

Lizzie advised fledgling collectors to grab a drink, talk to the artists and pick a theme to follow rather than trying to view everything.

They are giving visitors a helping hand with an art and interiors section, a talk on women in print, curator tours, family printing workshops and artist demonstrations.

A New Collectors’ Evening on November 12 will include advice from industry leaders, a DJ set and complimentary cocktails. Online they will be using #findartthatfits so people can snap a pic of their space and receive suggestions of works that might fit into it.

There will also be edits of prints under £100, £300 and £500 and the Fair has partnered with OwnArt so buyers can pay for a print for as little as £10 a month.

“The nature of print is that you can get an original artwork at a lower price or enhance a collection by bringing in a really well known name,” said Lizzie.

“It is a less intimidating step into contemporary art and you can’t buy bad at the fair because it has all been curated or chosen by these industry experts. We really want to become the place to go for contemporary print.”

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October 14, 2021

Woolwich: Why Berkeley Homes continues to finesse Royal Arsenal Riverside scheme

Tweaks to Building 10 deliver greater access, commercial units and eight new properties to buy

Windsor Square under construction at Building 10 – image Matt Grayson

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As the team from Berkeley Homes are leading me on a tour of the Building 10 site at its Royal Arsenal Riverside development, I spot an unexpected local resident.

As the dwindling light of an autumnal Monday streams through the open roof of what will become a partially enclosed public square, it falls on the glossy, auburn coat of a fox.

He stops briefly to survey us in our hi-vis PPE, before disappearing off about his business, bushy tail bobbing behind him.

Foxes are deeply practical animals. Their intelligence and flexibility has seen them adapt with ease to increasingly built-up areas of London, becoming a common sight across the capital as they effortlessly tailor their lives and ambitions to the realities they encounter. They’re smart – and it pays off.

Berkeley is similarly adaptive and pragmatic. It has to be. Instead of simply levelling the 88-acre Woolwich site and starting again – arguably the easier option – it’s made a consistent and conscious effort to preserve and celebrate the area’s heritage.

That has meant refurbishing and reimagining existing structures and ensuring a flavour of Royal Arsenal’s sprawling operations – that at their peak saw 80,000 people employed locally in the manufacture of weapons and ammunition and supporting trades – remains.

Berkeley East Thames development director Julian Evans – image Matt Grayson

Working with older buildings, no matter how careful the preparations made, is unpredictable. Sometimes, until you get on site, the feel of the finished product is unclear.

It’s also the case that developments take a long time and, sometimes, what was originally planned no longer suits the demands and desires of the people who will ultimately use it.

A certain amount of finessing is therefore to be expected and Berkeley’s latest proposal for Building 10 continues a process of tweaks made to the original scheme, which was approved in 2017.

That included plans for 18,800sq ft of commercial space split into seven units, which was increased to 34,600sq ft over 10 units in 2019 with the addition of mezzanine floors to spaces at the western end of the site and the introduction of a fresh access route out to Major Draper Square.

The original architectural model of Building 10 – image Matt Grayson

Berkeley East Thames development director Julian Evans said: “We continually think about whether we have the right solution in terms of the buildings we are developing.

“We’ve recognised that the nature of the proposed commercial spaces underneath the new-build section of Building 10 is they are constrained by the historic arches, meaning they would be compromised to the point that, if we took them to market, they wouldn’t be attractive to potential tenants.

“The nature of retail, particularly, is about that frontage – that footfall. It’s understanding that visually, people need to be able to see that where a business is and what it does.

“So we reviewed the eastern large ground floor space and created something new – we’re proposing an atrium with four smaller commercial units that gives people a wonderful sightline through to an existing archway, which will connect out to the next phase of Royal Arsenal Riverside.

“This will create a link between the two, while also maintaining the ability to have smaller, modern but more prominent retail units that face outwards onto the street.”

An interior at the Building 10 show home – image Matt Grayson

The new proposal keeps the total number of commercial units at 10, with a slight reduction in space on the 2019 proposal. It still represents an increase of 52% on the 2017 scheme and opens up the semi-enclosed square at both ends.

“At the same time, this change means there’s an opportunity to create eight mews-style houses that we know people crave from what we’ve delivered on-site to date,” said Julian.

“Buyers want something different. The properties would be set over two levels – they have the feel of a house and they’re quirky in their nature.

“The houses at Building 10 will also be homes people can both work and live in if they need to.

“What people have loved over the years is that the historic properties we’ve created at the development don’t exist anywhere else – they’re unique to this place.

“It’s a really great proposal and, I think when we take all of the commercial units to market, it’s such an exciting space that they will be really well received.”

The change also plays into Berkeley’s strategy for fostering small business growth locally.

The developer’s head of social value Carolina Correia said: “We’ve been very lucky to have been working with a number of micro businesses in the area who have expressed an interest in being on-site.

“They recognise how interesting Royal Arsenal Riverside is as a proposition.

“We have a coffee cab that stays here from Tuesdays to Sundays. Then we have a rotation of different street foods.

“The plan is to create an arcade at Building 10, which will have some of these smaller commercial units, and it’s a great opportunity for some of these businesses to trade here. We’re also working hand in hand with Greenwich Cooperative Development Agency to provide training and mentorship so these businesses can grow to full commercial propositions.

Julian added: “This whole concept of incubating local businesses that start on a kitchen table and come to us, explain what they want to do and then get help, is what Berkeley has been doing from day one. This latest proposal is part of that.”

Building 10 comprises a new-build structure containing more than 110 apartments, alongside Windsor Square, a partially covered space that once formed part of the Carriage Works at Royal Arsenal.

The proposed eight new residential properties would range in size from one to three bedrooms and would feature double height spaces, first floor balconies, historic features, a split level layout and dual aspect living.

Prices for homes already on sale at Building 10 start at £470,000. One, two and three-bedroom properties are available.

The building is located close to Woolwich Crossrail station which will offer direct services to Canary Wharf in seven minutes when trains start running in 2022.

A show home is available to view on-site.

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