Places – Design & Living (February 2020) by Times of Malta

PLACES ISSUE 32 FEBRUARY 2020

TRANSFORMING A SACRED AUDITORIUM

TECHNOLOGY, AESTHETICS AND SOUL TAKE CENTRE STAGE

Back to basics & simplicity

THE ABC OF GOOD LIVING AT BIRGU CONCEPT STORE

ARCHITECTURE’S SOCIAL ROLE AND THE IMPORTANCE OF PUBLIC PARTICIPATION

Design & Living

The essence of ‘Made in Italy’

IN A CONTEMPORARY HOME AWAY FROM HOME

BAROQUE BUILDING BECOMES… CAPITAL’S COSMOPOLITAN YET CLASSICAL BRASSERIE & BAR

When food & art meet

IN A MELTING POT OF ALL THINGS MEDITERRANEAN

THE BLUEPRINT

PLACES

Design & Living

ISSUE 32 FEBRUARY 2020

MY DESIGN

THE PROJECT The Italian Job A true reﬂection of the owners’ taste

20 THE PROJECT At Your Service Brasserie in reborn baroque building 28 THE PROJECT A Sacred Space New scene for renovated auditorium 35 PROJECT PEOPLE A Creative Union Artist and chef’s passionate collaboration 40 LIVING DESIGN Making People’s Lives More Beautiful Why Birgu Blue was conceived HOME DÉCOR 43 DOING IT UP: DO/DON’T Find The Missing Pieces in Your Space Furniture must-haves 45 TIPS Better Light, Better Life Understanding your lighting DESTINATION, HERITAGE & ENVIRONMENT 48 CONSERVATION CORNER Perfecting Panoramas Preserving painted snapshots of urban Malta 52 ON SHOW Desires for Public Space Chalet in Action project 54 THE GREAT OUTDOORS Love Terrazzo Innovating a traditional tile 56 SPEAKING VOLUMES Architecture’s Afterlife The importance of public involvement in design ON THE COVER PHOTO: BRIAN GRECH See story on page 12

PLACES FEBRUARY 2020

PHOTO: RECOOP See story on page 48

MY DESIGN

IT HAS always been my dream to live in a cottage; since childhood, and fuelled by storybooks and fairy tales, where fluffy, magical creatures lived in tiny, cosy dwellings in the middle of the woods, I have always imagined myself in a simple ‘country house’, or even a habitat like Peter Rabbit’s, whether it was in the trunk of a tree, or however Beatrix Potter chose to depict it. Aurora’s hidden house in the forest was another bucolic address that appealed to my imagination, thatched roof, pot on the fire, wood stove burning, green grass all around… Only recently, I watched Little Women and remembered how the imagined cottage of the four March sisters had appealed to me so much as a child and still does. Director Greta Gerwig, in her painting-come-alive movie, seems to have envisaged their home the way I had and brought it all to life. While the more affluent Laurence’s neighbouring mansion could tickle my fancy too, it is more the creaking wooden floorboards, covered in worn-out carpets, the cracked wall panelling, the attic bedroom, patchwork blankets, dainty teacups and that dog-eared floral wallpaper that tick my interior design boxes. Till today, I search for holidays in the ideal and idyllic cottage; or even try to find a lonesome dwelling in the Maltese countryside, windows peering out of green foliage, with smoke billowing from the chimney and views of rolling hills. Alas, that is, of course, the stuff of storybooks. Nothing comes close

around here, and if it did, you’d be weary with worry that a looming development would come even closer… Which brings me back down to earth with a bang and reminds me of the only green pocket down the road that the village-core neighbourhood thought was sacrosanct and safe, but is destined to be translated into big money at the expense of the environment as it is sold off to developers, despite being intended for another use. And down crashes the last bastion of faith in a buffer zone between our heritage and the monster projects that continue to bulldoze in. Some cottage would I be able to get my hands on in the ever-shrinking rural areas on this island! Instead, even the ‘art deco’ house I admired on my walks to the grocer is no longer standing, despite the fact that, according to its ominous permit to be turned into yet another humungous block of non-descript flats, these would have risen from behind its fantastic façade, which would have been retained – but not spared the project from being ghastly nonetheless. Of course, even that barrier to the hideousness beyond ‘collapsed’ one fine day, with barely a whimper… And all we could do was look away, distraught that it was gone forever in a flash, but failing to question how and why it had disappeared. So, in a way it is our fault too. What are we actually doing to save what’s left? Are we just messaging our neighbours, complaining in our hidden alleyways and accepting it all as a fait accompli, partly because we’ve lost hope and partly because it’s all been normalised and partly because we may fear reprisal. So, it’s back to burying our noses in books, trawling the internet for holiday homes in the English countryside… or simply marvelling at the projects in Places: Design & Living, where creativity, quality and aesthetics

take centre stage and offer solace in a wilderness of wanton destruction. The Projects in the February issue range from ‘Made in Italy’ jobs that reflect the culture and inherent style of that country; to the revival of a sacred auditorium; and Gracy’s brasserie and bar in Valletta, designed to be a match for any eatery in the world’s most happening capital cities – and the fitting venue of choice for The Pink Ladies’ Lunch in the run-up to International Women’s Day. Take refuge in the pages within to enjoy how heritage can also be safeguarded and projected into the future; how art is preserved, forts come to life and baroque palazzos are reborn. Be inspired by creative couples, who have combined their passion for abstract art and fine food to produce unique hamper-style gifts; or how a hole-in-the-wall concept store in Birgu’s narrow streets is producing exquisite leatherware in its in-house workshop and sourcing the most exclusive items to offer an overall experience of the art of living beautiful. Meet the architects who are actually taking on the responsibility their job entails and are understanding that the public should truly be involved in the design process at all stages and participate in the creation of public spaces; that their role should be that of social negotiator, rather than economic accelerator. In the words of Dr Harriet Harriss, all the way from the School of Architecture at New York’s Pratt Institute: “What’s left of the undeveloped space isn’t necessarily a site waiting to be developed because you still have to make sure there is a balance between nature and urbanism, or even rural urbanism, to accommodate the needs of the growing population and the needs of a growing economy…” Now that’s a thought we can hold onto as the search for that fairy-tale cottage continues…

FEBRUARY 2020 PLACES

THE PROJECT

THE ITALIAN JOB 12

PLACES FEBRUARY 2020

This 621-square-metre duplex apartment at Portomaso Marina, codenamed The Italian Job, reflects the essence of ‘Made in Italy’. For Keith Pillow, founder and creative director of DAAA Haus Group, entrusted with the project, it is a timeless, elegant, contemporary home away from home; the epitome of Italian taste and a true reflection of its owners. PHOTOS: BRIAN GRECH

WHEN YOU look at a home, you can almost imagine exactly who lives in it. How influenced were you by the lifestyle and character of the owners? Every time we have a new project, we first meet the client and carry out a detailed questionnaire to compile a proper brief, to better understand their life, lifestyle, tastes; to understand their routine and the requirements for their new home. In fact, this project, codenamed The Italian Job, reflects everything that is ‘Made in Italy’. The owners of the property, being Italian and from towns neighbouring Treviso [an area synonymous with furniture production], asked us during the brief to work with certain brands as not only did they have direct contact with these, but they also reminded them of home. The end result is a timeless, elegant, contemporary home away from home.

As with the top-notch northern Italy furniture showrooms, the details make the difference, creating an overall wow factor throughout the property. In fact, from the main hallway, with its architectural, floating staircase, to the maid’s quarters, no detail was overlooked. What did you set out to create and what were the most important elements that helped to achieve your aims? This project doesn’t only reflect functionality and good design, but also the influence of the culture of its Italian inhabitants. A contemporary, high-end aesthetic prevails throughout, creating a warm, luxurious atmosphere that reflects the true character of the clients and the way they live the space. It was achieved through good planning of the space, the use of stylish Italian design brands and good lighting.

FEBRUARY 2020 PLACES

THE PROJECT

PLACES FEBRUARY 2020

You seem to have gone for a neutral palette and a uniform colour scheme throughout… Does that always work and how do you avoid monotony? This palette was chosen in accordance with the clients’ taste and preferences and their wish to create a sophisticated, timeless and elegant environment. Although this colour scheme appeals to us too, our approach/choices change from client to client, so we can work with any palette to achieve something aesthetically unique and functional. The focus remains bringing our clients’ preferences and personality to life in a functional and aesthetically rich space, irrespective of the chosen palette. As for whether a neutral scheme always works, monotony can be avoided with the use of block colours in changeable/dynamic objects such as art, rugs and accessories. What is the pièce de résistance of this space? The part that characterises it and leaves the most impact is the internal shaft/yard as soon as you enter, with hanging tree and ﬂoating, modern staircase. It is a stunning feature, central to this duplex apartment. And what gave you the biggest headache? I would say the tight deadline and clients’ need to see to all the little details. At the end, everything turned out well and it was an amazing experience working closely with them and talented artisans, with each custom-made furniture piece coming from abroad and having to ﬁt perfectly into its allocated space. So, was all the furniture custom-made, or do you prefer to pick up one-off pieces from here and there? The project was a combination of both. We have the bespoke furniture combined with ready-made pieces. We worked with some of the best Italian artisans and brands such as Casamania, Rubelli, Flos, Pedral, Varaschin and Drigani etc… etc… What materials, textures and fabrics did you go for to achieve the desired look and feel? Some of the fabrics were chosen from Rubelli, a very high-end company that offers the best quality and a variety of textiles. We used soft and neutral tones, a monotone palette, with a touch of accent colours to add character to each room with that one main shade. As for textures, we used a combination of textiles, including some traditional Italian post-modern patterns, soft linens, felts, velvets and nubuck leathers. The repetition of the same material/tones helps maintain the harmony and coherence of the space when you walk from one area to another… The ‘bar’ – subtle as it may be with the ‘block’ and stools – is quite an ‘extra’ luxury in a home. How important is it to think of and include entertainment and catering when designing a place to live in? It’s very important to include some form of an entertainment area in a home of this size. This was also part of the client brief as they love to entertain friends

FEBRUARY 2020 PLACES

THE PROJECT

PLACES FEBRUARY 2020

and relatives every week. Italians living abroad tend to miss the culture of the aperitivo here, so it is something they organise regularly at home. The area also lends itself as a comfortable, daily TV room. Was the ceiling-to-floor library inspired by the owner’s book collection, or was it a design element you absolutely wanted to incorporate? I would say a bit of both. The client had specifically pointed out that she had a huge collection of books, so we thought to place the library in the main living room area, built around an ethanol fireplace and without TV. This space was inspired by the old, great, Italian palazzos’ sala nobile or sala di conversazione. Lighting seems to play an important part, especially in the stairway area… What mood did you set out to achieve? Lighting is always very important. Apart from the decorative aspect, which is vital, the space did not have much natural light in the basement and in the middle part of the property, so well-thought-out architectural lighting was installed. An example is the artificial daylight we managed to recreate around the hanging tree installation situated in the central shaft. By combining green with natural, hidden, architectural light, we managed to mimic very well the idea of sunlight shining through a central courtyard. No corner has been overlooked, with the study being incorporated smartly under the stairs. What are the tricks to maximise the use of space, while making everything seem seamless? Design is in the details and in maximising the use of available space. In order to have a work-from-home desk, a study was incorporated under the stairs using light materials, with hidden filing storage behind the wood clad wall. Sometimes, the function is inspired by the site, and at others, even the aesthetics can lead to something functional. In this case, it just made sense to put the study under the staircase since we had already solved the problem of the dark, dingy shaft. This, in turn, enabled us to light up the dead space under the stairs, making it perfect for a passively used study area. The made-to-measure furniture and floor-to-ceiling boiserie maximise the space and make it look bigger, as do the tones and materials used and repeated in the whole property, but in different forms. What is the most luxurious item, and the simplest; and how do they sit together in harmony? This question could be answered from many different perspectives, one of which could be the detail of the partition in the library itself. If you look carefully at the library, with the huge personal collection of books sitting right next to the curated sculptural art pieces, this balance is achieved by paying attention to the colour tonality and forms of the objects chosen to adorn the shelf. The bigger shelf, with a subtle difference in the colour, also simultaneously acts as the frame for the objects.

FEBRUARY 2020 PLACES

THE PROJECT

Another detail we chose from the onset of the project, which sits perfectly in this environment, is the Casamania sideboard behind the dining table. It adds a hint of colour… but not too much. How does one strike a balance between cosiness and minimalist design – as seems to be the case in this apartment? Generally, a minimalist design is perceived as something empty. While it does suggest having less objects around, at the same time, such a space can still be cosy. If attention is given to the right textures in fabrics, colours and other materials, following the tones/palette of the space, you can create a sense of warmth in a minimalist space. Repetition and continuity also help achieve this. To give an example from this project, the separate area in an open-plan living/dining is defined by the round rug. The textures are balanced by the upholstery of the chair, the ottoman and complementary cushion on the top. While there are many textures within this small area, other materials, such as the marble of the floor lamp or the wooden floor itself, are in coherence.

The most used and ‘happy’ place? All areas are used, and all transmit a happy moment: from the spacious, super-luxury en-suite bathroom to the super-sized walk-in wardrobe; the fine and well-thought-out kitchen; and the pool area, with its amazing infinity pool over Portomaso Laguna, across the Sliema promenade, with opensea views. In fact, this apartment also has an outside space, with terrace and pool. How did you treat this unique feature? We wanted to leave the pool and the view of the sea take centre stage, so we left everything simple, using a mid-shade of decking flooring that emphasises the colour of the blue water. With so many apartments on the market, what, in a nutshell, makes this one stand out? Anyone visiting the apartment is wowed by the minute detail. It could best be described as timeless, Italian style, warm and tasteful.

IDEAS & MORE ICONIC DESKS FASHION BOUTIQUE IN THE HOME The Bellavista walk-in closet creates the atmosphere of a sophisticated and wellorganised fashion boutique in the home. Every outfit and accessory are within reach and on view, in a display made even more functional by pull-out accessories that can be tailormade to suit your every whim! A selection of walk-in wardrobes by San Giacomo is available on display exclusively at Satariano, Valley Road, B’Kara. Call on 2149 2149.

PLACES FEBRUARY 2020

Poltrona Frau presents the Trust executive office system – desks, self-supporting walls and storage units designed by Lievore, Altherr and Park for a completely new office concept. Trust is a collection that stems from in-depth research into the evolution of contemporary work. These iconic desks by Poltrona Frau are available on Display at Satariano, Valley Road, B’Kara. Call on 2149 2149.

THE PROJECT

PLACES FEBRUARY 2020

AT YOUR SERVICE

Valletta has experienced another renaissance and the proprietors of Gracy’s, located in the baroque Civil Service Sports Club, wanted to create a restaurant that would reflect and celebrate that. Samantha Rowe-Beddoe, who also doubled as its creative director and designer, says the idea was for the eatery to look and feel international; a brasserie and bar that would sit happily in London, Rome, or Paris. PHOTOS: SEAN MALLIA

FROM A bank to the ﬁrst hotel in Malta to a police station, the historical Hostel de Verdelin has housed it all… Today, the stunning palazzo, overlooking Valletta’s St George’s Square, is home to Gracy’s after the Civil Service Sports Club underwent refurbishment, opening its doors to a brasserie and bar. It’s not the ﬁrst time the Archbishop Street building was home to an eatery either… The previous restaurant at the Civil Service Sports Club was a favourite for those who work in and visit Valletta, says Samantha Rowe-Beddoe, who has taken it over with her husband Greg Nasmyth and business partner and CEO Timmy Grech, and continued to build on that name.

“In the manner of a baroque grandmaster, the building required little alteration; just a little cleaning up to restore it to its former glory,” she says, effectively playing down the stunning interior decoration transformation it has undergone. Renaming the eatery Gracy’s Brasserie and Bar was about paying homage to 1950’s Hollywood sirens and their inherent beauty and timelessness – traits of the building itself – continues Samantha, who has taken on the role of designer and creative director. “The restaurant interior nods to the classic brasserie style, but with a fresh edge, while championing the inherent beauty of this magniﬁcent baroque building.”

FEBRUARY 2020 PLACES

THE PROJECT

THE MAGNIFICENT INTERNAL HEIGHT AND MALTESE LIGHT LEND THEMSELVES TO THE DRAMATIC AND ECLECTIC MIX OF PATTERN AND COLOUR CHOSEN IN THE LINENS AND LEATHER OF THE UPHOLSTERY

PLACES FEBRUARY 2020

Valletta has experienced another renaissance and the couple wanted to create a restaurant that would reflect and celebrate that. The concept behind Gracy’s was to create an international look and feel; a bar and restaurant that would be able to sit happily in London, Rome, or Paris. Its interior design was determined by the beautiful honey colour of the palazzo’s stone walls, the hues and texture of which have been left alone to sing, says Samantha. The magnificent internal height and Maltese light lend themselves to the dramatic and eclectic mix of pattern and colour chosen in the linens and leather of the upholstery. Fabrics, wallpaper and fittings were sourced from iconic design houses from all over Europe, including Rubelli, Vaughn, Casmance, Hector Finch, Porta Romana, GP & J Baker, Pierre Frey, Julian Chichester, Andrew Martin, William Yeoward, to name but a few. Attention to detail was paramount and can be experienced in the English handmade tables, chairs and barstools, the bespoke panelling and the Italian banquettes. The waiter’s uniforms were also designed and made in Milan to the specification of the in-house style bible.

“No detail was spared to match the inherent majestic architectural interior,” Samantha stresses. And this is evident even in the open kitchen, the bathrooms and also down in the vaulted underbelly of the building. Intentionally exposed in order to provide guests with a culinary panorama and the ability to see exactly how the food is prepared and cooked in the kitchen, “it is as though the entire dining room is the chef’s table, with the sense of drama that imparts”. This meant the kitchen itself had to look “fantastic” and it was decided to use the wall of coloured, ﬁshscale tiles as a suitable backdrop to the industry within. “We chose a bold palette of Mediterranean colours, dominated by bluey-greens, which contrast brilliantly with the red of the copper heating lamps,” Samantha enthuses. From this amazing showcase, a European brasserie menu is served, with an eclectic mix of plats du jour, drawn from the UK and Italy, while doffing its hat to Maltese everyday classics. Head chef, Luke Camilleri, has created a menu that is dedicated to the seasons, from brunch and light lunches to celebration dinners and a heart-warming Sunday roast.

FEBRUARY 2020 PLACES

THE PROJECT

The maximum potential was brought out of all areas, with the underlying cellars, previously used for storage, being cleaned up and transformed into a whisky bar, with lounge seating for guests to relax and enjoy a single malt or two. And for the livelier patrons, one of the vaults, by its very nature soundproofed, was converted into a karaoke room, which is proving to be a draw for X-Factor fans! “We like to think of the Whisky Bar as a ﬂuid space that responds to our customers’ ever-changing requirements,” Samantha adds, laying emphasis on guest experience and how this can be achieved through interior design and decoration. “Every aspect of the customer’s experience has been taken into consideration in the interior design process, so even the bathrooms have been done up with an elegant and loving hand. “If you visit the Corinthia London, itself a design masterpiece, the eye for detail does not stop at the bathroom door. We wanted to replicate that meticulousness – Instagrammable spaces that make the bathroom an extension of the social experience. This is what we sought to do at Gracy’s…” Indeed, striking wallpaper, pink and gold ceramic sinks, even brushed bronze hand dryers make you want to stay just that little bit longer, and the sofa tempts anyone to sit and take a breather while they wait, or even just have a good old powder room chat. “We love that feeling that there is another story going on away from the main stage of the restaurant,” Samantha smiles. And another story continues upstairs too, where a private members club has unfolded. But that remains a secret for now…

The Hostel de Verdelin, also known as Palazzo Verdelin, or the Casa delle Colombe, is an early example of baroque architecture in Malta, dating back to the mid-17th century. Its ornate façade has significant influences from the Spanish baroque style, which is unusual in Malta, where Italian and French baroque are more common. It is said to be one of the finest in Valletta, described as being an impressive example of artistic fabric in urban Malta. The elaborate windows are the centerpiece of the façade. In the 19th-century, during the British period, closed timber balconies replaced the earlier structure that originally consisted of stone balconies. Built for the knight Jean-Jacques de Verdelin, the palace is attributed to the Italian architect Francesco Buonamici, who is sometimes credited for introducing baroque architecture in Malta.

PLACES FEBRUARY 2020

THE PROJECT

A SACRED SPACE The Sacred Auditorium in Blata l-Bajda had not been renovated for around 60 years and it felt like stepping back in timeâ&#x20AC;Ś until Atelier Maison entered the scene and embarked on the creative challenge of ensuring that the space performed from a technical point of view, while retaining a unique and strong aesthetic. Architects and partners Paula Agius-VadalĂ and Katja Cassar narrate a blow-by-blow account of the five-year project.

PHOTOS: ALEXANDRA PACE

PLACES FEBRUARY 2020

THE SACRED Auditorium in Blata l-Bajda, belonging to the MUSEUM Society, is spread over 950 square metres and has a seating capacity of around 750. Located in a very busy road, it is, however, isolated from the hustle and bustle outside. Once you enter the auditorium and close the door, you almost forget about the chaos beyond and the space really overwhelms you with a sense of calm and contemplation. It feels like you have been transported to another world. It isn’t every day that you work on a theatre-like project of the sort. So, in all honestly, when we entered the space for the first time, we looked at each other and had absolutely no idea where to start from. We were overwhelmed by several different emotions – excitement, fear, insecurity. But then, when we began to do some research and got to know more about the technical aspects of such a space, we gained confidence and combined that research with our design aesthetic to come up with the initial concept. From day one, the use and capacity of the auditorium were going to remain the same, with structural ‘improvements’ lined up. However, where the existing structure was analysed, what was meant to be an interior design project became an exercise involving some major structural interventions. The grade of the concrete that formed the balcony, for example, was extremely low. In order to correct and form the raking on the balcony, the sloped floor was going to be loaded with cast concrete steps. It was, therefore, imperative that the balcony was supported for the new imposed loads. This was done by reinforcing the slab with 17 steel beams. A similar problem unfolded when it came to the main floor of the auditorium – a suspended slab, with an entire basement level below. In order to place 9cm-thick slabs of travertine to form the raking at this level, a new concrete slab that would be strong enough to take on the new load also had to be added. Needless to say, these structural inventions caused major delays, but could not be avoided.

FEBRUARY 2020 PLACES

THE PROJECT

Although this was, indeed, a theatre-style project, for the client, the space is their home, where they meet up on a regular basis to celebrate special events and share ideas and discussions. Essentially, it is an auditorium, and yes, as such it required a lot more technical and functional attention. But it also had to be treated with the sensitivity required when addressing a home. Nevertheless, we really did try to address the technical issues at the onset to thrash out as many obstacles that might have cropped up during the course of works. With a project of this scale and type, it definitely isn’t a one-man [or woman] show. You have to work with a team of people with different technical backgrounds. Once the client confirmed the design, we began discussions with the team of engineers. Elements such as light and sound, fire and safety were all tackled and addressed. Since the proposed design was strong, we were all quite determined that it would not be compromised, so it was another creative challenge to ensure that the space performed from a technical point of view, while still retaining its unique and strong aesthetic. The engineers understood our vision and we worked hand in hand in a balancing act between the technical and the beautiful. An obvious part of the brief was that the space had to look and sound good, so inevitably, this had a huge impact on the way it was to be designed. By nature, we are a team of inquisitive architects, and we are always open to learning new things. So, at concept stage, we consulted with a sound engineer to really understand the way sound travels within a space, and the architectural design elements that can be utilised to achieve optimum sound and light performance. The client’s brief was pretty open – we were lucky that we had carte blanche when it came to the design. First of all, we had to understand what the space was used for: members of the society would meet up for events at least once a week. The next step was to respect the existing fabric of the space.

that has never been done in Malta. What was important was that it would look good and that it would perform well from a technical point of view. We were lucky we could propose anything really. But we had to be very creative because our design was up against another two proposals.

NO MATTER WHERE YOU ARE IN THE WORLD, A RELIGIOUS SPACE SHOULD MAKE YOU FEEL WELCOME AND AT HOME. IT ISN’T A SPACE YOU SHOULD WANT TO LEAVE IN A HURRY For example, behind the stage is a screen that opens on to the relic of St George Preca and this links the auditorium with the chapel behind. The interior of the chapel was designed by architect Richard England, who we admire and respect. So, it was an honour for us to work on a space just adjacent to one of his works. The auditorium had not been renovated for around 60 years – it felt like you were stepping back in time, but not in a good way. However, the client was open to transforming the space into something

PLACES FEBRUARY 2020

Being an auditorium, the audience is there to listen to whoever is speaking and performing on stage. Therefore, the design concept involved a variety of elements that would draw the audience’s attention to the stage and to the relic of St George Preca. This was done using a number of elements, including the ceiling, travertine walls and lighting. From the get-go, we knew we couldn’t have a ﬂat ceiling. Such a large space didn’t deserve such a static blank surface. So, we proposed a dramatic

wave ceiling that would hover over the entire space and be made up of multiple copper pipes. The lowest peak is suspended over the stage to draw the audience’s attention to the speaker, while a number of copper elements act as lighting or mechanical ventilation pipes. Another important feature was the travertine base that made up the lower level of the auditorium. We wanted the ﬂoor and walls at the lower level to appear as though they were carved out of travertine. The travertine walls had a pattern carved out and it appears to be denser on stage, fading out towards the back of the auditorium. Meanwhile, a number of cut-outs forming the pattern are subtle wall lights. The gap between the lower level and the ceiling could be considered a deep blue ‘void’, which acts as a backdrop and a connection between the top and the bottom of the space. Although the space is religious, we had to keep in mind that it isn’t a chapel, or a church. It had to be a functional space that has religious roots. Rather

than pinpointing a couple of elements that could perhaps label the space ‘religious’, it is more a feeling that we wanted to create – a calm and meditative atmosphere where people could congregate in both prayer and discussion. This is the second religious space we have had the opportunity to work on, and we are also finishing off a small chapel at the moment. The majority of our work is in residential projects, but we still consider religious spaces to share some similarities. They are also a sort of home away from home. No matter where you are in the world, a religious space should make you feel welcome and at home. It isn’t a space you should want to leave in a hurry. One of the biggest challenges we faced was making such a huge area feel intimate and welcoming. Such large-scale spaces can easily feel cold and empty. Since it was going to be sacred – the reason we refer to it as The Sacred Auditorium – we had to keep in mind the kind of divine atmosphere we wanted people to experience. The shape of the auditorium itself helped to achieve this feeling, however, in our design, the travertine walls at the lower end were corrected and the curvature was further accentuated, as though they are hugging the central space. The honey-coloured travertine, together with the deep sea blue walls above and reflective copper ceiling all work together to achieve this warm and welcoming feeling. The colour palette was one of the first things we decided on and we were determined to use natural materials that have tactile properties and would never date. We had to keep in mind that this space did not have a sell-by date and was not only done for the current members of the society, but also for future members. Probably the biggest job and challenge was the sourcing and installation of the ceiling – a major player in the overall design – and we could not compromise on this part of the project. Sourcing the pipes was quite an ordeal. We were getting quotes from local suppliers and it was evident that, firstly, it was going to be difficult to find someone to actually manufacture them, and secondly, once we had found someone to produce them, they were going to take up a huge chunk of the budget. We needed 3,631 copper pipes – 150 of which are suspended lights – so even €1 per piece difference was going to have a huge impact on the overall cost. Eventually, with the patience and resourcefulness of the client, we managed to find a supplier from China. They were happy to send over multiple samples of the copper pipes for us to decide on the right finish, colour and size. We ended up with an on-site room full of different copper pipe samples! Then we had to figure out how they were going to be installed. We built a 3D model of the wave ceiling, and each and every length was measured

FEBRUARY 2020 PLACES

THE PROJECT

and placed within a spreadsheet. This took a good six weeks to complete, and another six for a team of up to 10 people to install these pipes. The end result was breathtaking. Lighting deﬁnitely plays an important role in a theatre. For this reason, it was addressed at concept stage. The existing high-level windows were to be transformed into a continuous slit of light, and the random cutouts in the travertine pattern would be subtle glows. Through a lighting analysis report, we could establish if we had too much or too little light, the lighting levels and the colour rendering too. For the overall auditorium, a system was installed to be able to create different settings, depending on the use of the space. To illuminate the stage, we used two systems of lighting. There are more spotlights in the ceiling above the stage than anywhere else in the auditorium. The more technical lighting system was introduced in the form of theatre lights suspended on a truss. In this kind of project, sound is also extremely important. We had originally proposed materials off which sound would bounce and which could have ended up with a space that echoes – a no-no in a theatre. Therefore, certain design elements had to be adapted to help with the sound absorption. For example, 3,500 cut-outs forming the pattern in the 172 travertine slabs were closed with muslin, while rockwool was installed behind them. Along all the walls at balcony level, a lining of an acoustic material called Eraclit was installed. Made up of high temperature mineralised wood wool panels, it has effective acoustic properties.

PLACES FEBRUARY 2020

The auditorium was officially opened in December. Works took so long due to structural complications that couldn’t have been predicted, but were inevitable. This project deﬁnitely pushed us to our limits, but we remained determined and patient throughout. At design proposal stage, we had done a couple of very conceptual sketches of the place, which, eventually, turned into 3D visuals. If you had to look at these drawings, and compare them with what was actually realised, they are exactly the same. That is what was so amazing about this project – that the design presented on day one was carried through and became a reality almost ﬁve years later.

PROJECT PEOPLE Sam Farrugia and Annabel Zammit

A CREATIVE UNION

Artist Annabel Zammit and chef Sam Farrugia’s collaboration brings art, food and sustainability together in a celebration of all things Mediterranean. Here, Iggy Fenech sits down with the duo to find out how it all started and where it’s headed. HAVE YOU ever had a good idea staring you right in the face, but you just didn’t see it? Well, that is exactly how this story begins, with two creatives whose passions came together quite by chance even though it made perfect sense. Our two characters in this tale are Sam Farrugia [known to many by his social media name, The Maltese Cook], a chef who has spent a big

chunk of the past decade travelling around Australia and New Zealand to hone his cooking skills; and Annabel ‘Bel’ Zammit, a graphic designerturned-artist of abstract seascapes and landscapes, who’s made a name for herself through her work on canvasses and wooden trays, stools and chopping boards. Although the two had been dating for quite a while by the time

their collaboration kicked off, they had never really seen how their respective passions could be combined. Indeed, their professional relationship had never gone further than Annabel creating the branding and any other graphic-related work needed for Sam’s business. Then, one Christmas, Annabel’s grandmother asked her to decorate a tray for each of her aunts and uncles and, all of a sudden, it seemed quite obvious that they should add Sam’s homemade culinary creations to her beautifully adorned work to create a hamperstyle package.

FEBRUARY 2020 PLACES

PROJECT PEOPLE

The reaction to this light-bulb moment by Sam and Bel’s followers was instant, and within a few days they had well over 100 orders. There was one problem, though: the two creatives were self-employed and didn’t have any factory-like equipment… A bit of a headache when you consider the fact that Sam had to execute numerous recipes, as well as individually label 1,000 glass jars. And that’s not mentioning that Bel had to paint each of the chopping boards and trays that came as part of a package, a process that takes days each time. But the story has a happy ending! “We didn’t sleep much over that couple of weeks, but everything turned out fine in the end,” Bel says as she shows me photos upon photos of large quantities of the elements needed to create the hampers. “And we’re even prouder of ourselves because we didn’t cut any corners. Everything in the hampers was created from scratch, including the labels on the jars, which we designed specifically for this collaboration. The final products – for there was a range – were each created around a wooden base in the shape of a chopping board, or tray, adorned with resin paint in colours that quickly take the mind to a beautiful summer’s day by the sea: blues, whites, browns, reds and purples. Then, they were topped with delicious homemade creations, ranging from a berry and rhubarb preserve to local carob and date biscotti, through to a fig and walnut compote, and white chocolate, Baileys and coconut truffles. “From the very beginning, we were adamant that we wanted both elements in this hamper to be of the same calibre,” Sam explains. “Indeed, in the same way Bel worked on each board or tray individually, I worked on each recipe and made several changes before the final product was agreed upon. We also did a lot of research to ensure that we minimised the use of plastic.” Such was the task at hand that Bel and Sam are now only creating these orders at Christmastime, or

PLACES FEBRUARY 2020

INDEED, IN THE SAME WAY BEL WORKED ON EACH BOARD OR TRAY INDIVIDUALLY, I WORKED ON EACH RECIPE AND MADE SEVERAL CHANGES BEFORE THE FINAL PRODUCT WAS AGREED UPON. WE ALSO DID A LOT OF RESEARCH TO ENSURE THAT WE MINIMISED THE USE OF PLASTIC when ordered in bulk, but they are looking at the success of their joint endeavour as a way of promoting and supporting their individual work. Sam, for example, is currently working on a concept that he hopes will change people’s perceptions of salads: from something boring and begrudgingly eaten when one is on a diet to a delicious and luxurious [but still affordable] meal that is both satisfying and ﬁlling. “We need a change in the health sector,” Sam says. “We need to bring

creative minds together to ﬁnd a good way to give patrons proper options for salads, which, according to the market research we have conducted, does not currently exist on the islands. To do this, I am experimenting with the ﬂavours, textures and techniques I’ve learnt along the way and I hope I will be able to bring them to people soon.” Meanwhile, for Bel, this has reinforced her belief that even something as practical as a chopping board can be made beautiful enough

FEBRUARY 2020 PLACES

PROJECT PEOPLE

to become a talking point. It also allowed her to follow her dream of turning her hobby into her full-time job. It’s obviously a long way from where she originally started, which was painting a few murals for a restaurant while working as a graphic designer – and longer still from when she was studying accounts and economics at the University of Malta – but it’s a part of the journey that she is enjoying. “I always loved painting, but never thought I could do that as my job,” she says. “I stumbled upon

PLACES FEBRUARY 2020

painting when I was a graphic designer and was given a chance to paint a set of works for a restaurant. One thing led to another… All of my work is abstract now, which is my favourite style… Nevertheless, I think you can still see my background in art in them: that of painting landscapes and seascapes. Indeed, I still have to look at something before I start painting; my abstracts still have to be inspired by real scapes.” In the end, this collaboration has pushed both of these creatives to

think out of the box and to work out of their comfort zone. It has also led them to be less afraid about pursuing more adventure in their work, even if it may seem impossible at ﬁrst. Follow Sam on Facebook [FB.com/TheMalteseCook] and Bel on Instagram [@bel_artdiary].

LIVING DESIGN

MAKING PEOPLE’S LIVES MORE BEAUTIFUL

Anna Marie Galea speaks to the man behind the Birgu Blue concept, Claude Zammit Trevisan, to learn all about what he describes as “the ABC of Good Living”. FEW STREETS in Malta are more picturesque than the narrow, winding ones so characteristic of Birgu. Walking through them to get to the destination of this interview on an uncharacteristically sunny day in January, I am struck by the colours of the ﬂowers and plants outside many of the imposing houses off the main square.

PLACES FEBRUARY 2020

The hues seem to dance and jump out at me, but none are as vibrant as that of Birgu Blue, the concept store that is packing a punch on our island thanks to the philosophy behind it, which offers people far more than an exquisite shopping experience. “This space is the result of a number of years of thought and an amalgamation of many experiences,”

Ozzie Chien and Claude Zammit Trevisan

begins Claude Zammit Trevisan, the man behind the Birgu Blu concept. “I was still living in Paris when I visited Taipei for the ﬁrst time, which is where Ozzie [Chien] is from,” he says, referring to his business partner in this venture and the man who makes all the beautiful leather pieces found in the shop. “We visited Tainan in the south, and there we saw this fantastic old house, which had been dissected by motorways. An artist had seen potential in this ruined object and covered the walls in a 3D print, thus, the place was christened with a new name: the Tainan Blueprint. “I was greatly inspired by this piece and it became representative of something else for me. I had already

acquired a house in Birgu as I saw the potential in the regeneration of this gorgeous area. In the same way that Tainan was the old capital of Taiwan, Birgu was the old maritime capital of Malta. Thus, the idea of a Birgu Blueprint, later distilled to Birgu Blue, was born.” Having lived all over Europe, Claude wanted the boutique to be a culmination of both his and Ozzie’s experiences, which is why, on any given day, you can see the master artisan meticulously hammering away at intricately designed leather pieces of his own creation and Claude offering people the opportunity to sample home-made jams and chutneys. “I had spent 12 years away from Malta and I wanted to come back and

do something I was passionate about. I started to visualise everything and then things came about in a very organic way. It takes time to build things up and for ideas to mature, but it’s been a truly rewarding experience to be able to work on this.” The underlying theme to the gem that is Birgu Blue is the philosophy behind it: “We try to stick to the concept of ‘the ABC of Good Living’ and aesthetics play a big part in this. Here, nothing is left to chance. Interiors are very important to us and we believe in small, well-thought-out objects, which mesh well together. “We also love building on the pieces we already have. Where we are able to, we stock items that are unique to us.

FEBRUARY 2020 PLACES

LIVING DESIGN

Our jams and chutneys, for example, are made for us by Andrea Critien. Our tea and coffee blends are sourced directly by us and sold exclusively at our store. Our mission is to stock items that are instrumental to living well.” Addressing the question of whether or not the place was a challenge to ﬁx up to its current glory, Claude answers with his characteristic candour and attention to detail: “We may not have a lot of space, but we added little features that accentuate the wonderful place we do have. We worked on the verticality by adding high shelving. We added architectural lighting and opted for a monochrome microcement ﬂoor.

PLACES FEBRUARY 2020

DOING IT UP: DO/DON’T

“We feel it is important to work with a space, rather than against it. Ironically, but also appropriately, we took longer to find the right blue paint for the shop façade, which is custom-made for us by local artist James Vella Clark. This shade of blue has been created especially for us and, every season, one very special painting is displayed in the shop for sale, the proceeds of which will go in their entirety to the Sisters of Mother Teresa in Cospicua. This is a another way for us to give something back to the community.” Returning back to what his own definition of ‘the ABC of Good Living’ entails, Claude expands his concept: “A, B and C are the first three letters of the alphabet. They are the first three letters that we learn, and they are the building blocks of everything else we learn after. They remind us that simplicity and going back to basics lie at the heart of living well. “In our case, A stands for Academy, B stands for Boutique and C stands for Custom services. When it comes to A, we strongly believe that knowledge and lifelong education are pillars of good living, which is why we are planning workshops and presentations here in the shop. Ozzie will be teaching select groups how to make simple but beautiful leather items and we plan to have occasional guest lecturers coming in from overseas. We are also toying with sailing and well-being talks…” Of course, the boutique part of the ABC is what customers can already see around them. Here, you can find anything from coffee to jam and leather, as well as distinctive, one-of-a-kind jewellery pieces, but nothing feels out of place. “As for the custom-made aspect,” Claude continues, “we are already making everything from candle to camera holders, as well as door handles. It is also our wish to offer a concierge service in the near future, which will offer people everything from advice to organising trips around the island.” Speaking about his future plans, Claude places his emphasis on living in the here and now: “We hope to remain fresh in our ideas by travelling. Our concept is very much based on being present in the present. Our wish is for Birgu Blue to remain niche, small and beautiful, which is in keeping with our ethos of handpicking everything that comes through the doors of the shop. “I am also hoping that our space will serve as a catalyst for further regeneration in The Three Cities. We are looking forward to making people’s lives more beautiful.”

FIND THE MISSING PIECES IN YOUR SPACE IF YOU are looking for that one statement piece for your living area or bedroom, then the Claude armchair by Blanc D’Ivoire may be exactly what you need. It embodies class and comfort with its velvet corduroy finish and homely feel. With seven colours to choose from, including dark grey, saffron, burnt orange, anise, indigo, powder and beige, you can find the perfect shade to complement your home. You can go for a subtle shade, such as grey or beige, to blend into your colour scheme, or go for a bold shade, such as burnt orange or saffron, to inspire zest and energy in your space. The Claude armchair effortlessly adds style and finesse to any space with its elegant and timeless design. Apart from this armchair, the Nino expresso oak dining table, paired with Clara expresso ash dining chairs, are unique contemporary Blanc D’Ivoire pieces that complement each other perfectly to create a welcoming and cosy dining area. The Nino table is chic, elegant and generously proportioned to host your friends and family on joyous occasions and festivities. It’s substantial for eight people, while cleverly designed to fit smaller spaces if needed. The Clara chairs complete the look for a stylish space with a homely feel. You can also mix and match with Clara armchairs in an identical design to add some versatility to the set. Blanc D’Ivoire is a high-end French brand offering lovely home décor such as soft furnishings, unique furniture pieces, armchairs, dining products and so much more. At its essence, it’s all about creating lifestyles that bring warmth and cosiness to your living spaces. Its unique collections feature trendy, innovative products by adding a contemporary touch of elegance to popular classic designs. Finesse is located in Valley Mansions, Triq il-Wied ta’ l-Imsida, Birkirkara, and is open Mondays to Fridays from 9am to 6.30pm and Saturdays from 9am to 12.30pm. For more information, visit www.finesse.com.mt; or find it on Facebook and Instagram.

FEBRUARY 2020 PLACES

TIPS

BETTER LIGHT, BETTER LIFE The only thing that stops light is a solid impenetrable surface, so this is vital when thinking about illuminating a room. Petra Cutajar from Light Design Solutions shows how the appearance of an object does not depend on the intensity of the light source, but on the contrast between the image and its background. LIGHT IS a physical medium. Sure, you can’t see it until it hits something, but it has physical properties that are non-negotiable. You can’t stop light; it bounces around continuously until it has expended all of its energy. The only thing that stops light is a solid impenetrable surface. This is vital when thinking about light in a room. Light has the power to change lives... The challenge of helping to determine the character and support the use of space after dark affords an opportunity to produce strategies and schemes that can beneﬁt all. Light can be used to illuminate the scene in a functional way, but also to create emotional scenic effects that amaze and add character to any environment. In this sense, ‘blades of light’ are immediate and simple tools to obtain wonderful results. To illuminate a scene means to bring some elements to the sight and leave others in the shadow. The appearance of an object, however, does not depend on the intensity of the light source, but on the contrast between the image and its

background. You do not need light sources everywhere. You can use the room as one giant light fitting, and the sources can be positioned out of the way, provided the light can bounce all around and fill the space. Walk into a room bathed in cosy, inviting light and you will feel instantly at ease. Walk into the same room buzzing with harsh fluorescents and your teeth may start to grind.

TO ILLUMINATE A SCENE MEANS TO BRING SOME ELEMENTS TO THE SIGHT AND LEAVE OTHERS IN THE SHADOW So, how early should you organise and order light ﬁttings for a home installation? Be it a new build, or a single room renovation, getting everything ready early is often overlooked. Some preplanning can avoid serious headaches and save a lot of money along the way. Leaving the purchasing of lighting or any other item to the last minute can

have a massive impact on site progress, often resulting in cost blowouts as trades overlap and missing elements prevent final completion. Ultimately, you want the electrician to be able to walk in and wire everything up on the day with no delays. It is always recommended to arrange delivery two months prior to the date lighting is due to be installed. This allows for any delays in availability and shipping from overseas. Holding off on these decisions can mean that quality of the light fittings available is significantly reduced, and given you will be living with your lighting every day, it makes sense to get ahead of the game and make sure you get what you want. It is important to understand your lighting, what its going to do and where it is going. Working with a lighting designer could ease that understanding and mean achieving unique light that is completely different from what is seen in most homes.

FEBRUARY 2020 PLACES

PLACES PROMO

The Parade Ground at Fort Manoel.

FOR GENERATIONS TO COME Over €21 million have been invested by MIDI in the restoration works of local heritage in a massive historic conservation project that has ensured that the neglected buildings on Manoel Island and Tigné Point will now be preserved for generations to come, providing tangible evidence of Malta’s rich and diverse history. MIDI’S SERIES of restoration projects at Tigné Point and Manoel Island, brought to an end last year to the tune of over €21 million, are considered to be the largest conservation initiative for local heritage ever carried out by a private company in Malta. These extensive projects kicked off in 2001, spanning almost two decades of intensive studies, planning and conservation works by a team of experts. They have brought the magniﬁcent Fort Manoel and its surrounding areas back to their former glory, together with Fort Tigné, the Garden Battery and a number of other heritage sites. The laborious and intensive restoration of important heritage sites began with the rehabilitation of St Luke’s Garrison Chapel at Tigné, where a foundation stone traces the chapel’s origins right back to January 16, 1910. Once restored, the chapel served as MIDI’s head office for a number of

PLACES FEBRUARY 2020

years and is now used as the head office for an international company operating in the aviation sector. Concurrently, the long rehabilitation process began on Fort Manoel, which, following the departure of the British, was left in a state of neglect for many years and was subsequently damaged by a combination of vandalism and neglect. It lay forgotten and abandoned until MIDI took on this mammoth project, and beneﬁtted hugely from the attention and detail given to its restoration. New life was also breathed into Couvre Porte, standing proudly and looking out to the capital in all its beauty, while the recently restored quadrangle is majestic in the space it offers, as are the Parade Ground, the arcade and the Polversita. The small but perfectly renovated Chapel of St Anthony of Padua was also completed and is open to the

The chapel under construction.

public, with Sunday Mass held there during open days. The counterscarps, which form part of the outer fortiﬁcations, have also been completed. Built in the 1720s, these protective walls are largely rock cut rather than built, given their location and topography. Their main purpose was to serve as opposing walls to the enceinte across the ditch and to accommodate the covert staircases. Then there is the beautiful St George’s funerary chapel. Following years of dilapidation, it has today been meticulously restored to its former self. During the restoration process, two fragmented but original tombstones were found strewn inside the chapel and these have now been restored and mounted within. This ancient chapel

The Polverista before…

and after.

St Anthony’s Chapel on Fort Manoel.

St Luke’s Garrison chapel at Tigné.

formed part of the Lazzaretto quarantine hospital on Manoel Island, along with the recently restored cattle shed where livestock used to be kept in quarantine. Interestingly and lesser known is the fact that the Lazzaretto is not one building, but a collection of structures dating to different periods between 1643 and 1836. It was not built as a plague or isolation hospital, but as a maritime quarantine station for the seclusion in quarantine of healthy, and normally wealthy, ships’ passengers, their retinue and chattels. A part of the Lazzaretto, known as the Profumo office, was, at one time, used for the fumigation of incoming mail. The Lazzaretto fell to other uses once it ceased to be needed for quarantine.

The plague hospital, which is of a much later construction, was a different building altogether, and was situated west of the Lazzaretto. All that remains of this is the one-time superintendent’s house, later used as a customs house, and an associated small chapel. Both structures will also be restored by MIDI. Incidentally, the Lazzaretto is not the oldest surviving construction on Manoel Island – that would be the cattle quarantine shed erected just outside the Lazzaretto divisions and later a beer distribution centre, which, as the name suggests, was used for the quarantine of cattle imported into Malta. Fort Tigné has also been restored to its former glory. Originally built in 1792

to the design of the Order of St John’s chief engineer, Stefano de Toussard, the objective of this fort was to strengthen this particular promontory against possible attacks from sea and land. The restoration project for this fort foresees the revitalisation of this unique 18th-century ediﬁce to house a number of cultural and commercial activities, as well as to restore and maximise accessibility to what was, until recently, an abandoned and derelict ruin. The Garden Battery at Tigné Point, which was constructed in 1894, also received much needed professional attention when it was rediscovered by MIDI, retaining and restoring as much of it as possible at the additional cost of €7 million. This area originally provided protection for the seaward side of Tigné Point, while bridging the gap between Fort Tigné and the Cambridge Battery. The decision by MIDI to retain, preserve and breathe new life into the battery, while seamlessly incorporating it into the plans for the Tigné Point development, will now see it form part of a heritage trail that will link Fort Cambridge to Fort Tigné, connecting to an uninterrupted pedestrian promenade around the Tigné Point peninsula, from Qui-Si-Sana to Tigné Seafront. This massive historic restoration and preservation project has ensured that the neglected heritage buildings found on Manoel Island and Tigné Point will now be preserved for generations to come, providing tangible evidence of Malta’s rich and diverse history.

FEBRUARY 2020 PLACES

CONSERVATION CORNER

Interventions to preserve two Girolamo Gianni paintings have resulted in stunning and vibrant 140-year-old snapshots of urban Malta. Here’s how ReCoop went about the task, in the words of conservators Roderick Abela and Connie Formosa.

PERFECTING PANORAMAS ABOUT THE PAINTINGS These two paintings by Girolamo Gianni are a pair, both measuring 93cm x 22cm in dimension and painted in oil on canvas in 1880. They represent opposite views: The Three Cities as seen from Valletta’s Saluting Battery below the Upper Barrakka Gardens; and Valletta as seen from under the end of the fortiﬁcation of Fort St Angelo. A study of the direction of the sunlight that shines on the scenes indicates that they were both painted in the late afternoon, or early evening, creating a highlighted

PLACES FEBRUARY 2020

contrast between light and shade on the buildings and other objects, making them stand out sharp and clear. They are almost only painted in two colours, namely blues and yellow ochre tones, catching the cool evening hues perfectly.

ABOUT THE ARTIST Gianni was a Neapolitan artist born in 1837. He lived in Valletta and was a very proliﬁc painter, producing many very faithful and extremely detailed views from

View of The Three Cities during cleaning.

View of Valletta after conservation treatment.

around the Maltese Islands, such as landscapes, coastal and harbour scenes. He was one of the most important topographers of the Maltese Islands, and was later in his life commissioned by the Duke of Edinburgh to portray the ships of the ďŹ&#x201A;eet. His workshop was visited by many important people who visited the islands, and most of his works were sold to officers of the English garrison and navy on the islands. Gianni also painted views from Italy and North Africa with the same impressive accuracy and detail. He returned to Naples in his later years and died in 1895.

Many of his paintings are portrayed as panoramic views, as is also the case with these two beautiful works of art.

ABOUT THE STATE OF THE PAINTINGS Both paintings were darkened and yellowed by embedded dirt and old varnish. The paint layer was crackled and loose in several places, especially in the view of Valletta. Some areas were evidently overpainted, and ultraviolet investigation conďŹ rmed and

FEBRUARY 2020 PLACES

CONSERVATION CORNER

View of The Three Cities seen in ultraviolet lighting.

View of Valletta seen in diffused lighting.

Details before...

revealed other areas of this, indicating that the paintings were restored in the past. Most of the overpainting corresponds to the cracks and losses of the ﬂaking paint layer. The dark aged layer of varnish that was present on top of the paint layer was hindering the viewer from seeing the original colours and ﬁne details that are characteristic of the artist, and rendering the works dull and muted. Old retouching was present in large areas, especially on the sky, which can clearly be seen under UV light.

ABOUT THE PRESERVATION METHOD The paintings were well documented and examined before the actual interventions to determine the best possible treatment for their preservation.

PLACES FEBRUARY 2020

Detail of consolidation.

Several detached areas within the paint layer were consolidated, after which, the cleaning treatment could start. From beneath the aged and discoloured layer of varnish, the true bright colours slowly came to light. Once the consolidation and cleaning were completed, all the old retouching had to be very carefully removed and consequently more details were revealed. From this stage onwards, the work focused mainly on the aesthetic part of the painting. Any missing paint and ground layers were infilled with gesso and subsequently levelled, matching the adjacent layer. Pictorial integration was carried out with reversible varnish-based pigments and finalised with several thin layers of varnish, which included a UV absorber, until a homogeneous satin finish was obtained. The final results are two stunning and vibrant 140-year-old snapshots of urban Malta.

PLACES PROMO

PRODUCTS OF QUALITY NATIONAL SCHEME The Products of Quality National Scheme is intended to give consumers certainty that a particular agricultural product has been produced following stricter quality parameters. Here’s what it means to have this mark. THE PURPOSE of the voluntary Products of Quality National Scheme is to increase the value of agricultural products being produced according to a set and agreed standard and speciﬁcations characterising the superior quality of a particular product, which goes over and above set minimum criteria as stipulated by law. All stakeholders involved in the production of a particular agricultural product applying for this quality mark need to agree and follow the standard formulated. The superior quality of a particular agricultural product, which can be either of animal or plant origin, can be measured throughout the whole process of cultivation and rearing, processing and distribution by different parameters such as public and animal health, improved environmental practices as well as enhanced animal welfare. The Products of Quality National Scheme is intended to give consumers certainty that a particular agricultural product has been produced following stricter quality parameters. All recognised agricultural producers and processors are eligible to apply for it. Food processing plants, which take in raw materials and process them to form other products, are also eligible to participate. Adhering to the conditions explained below will give the right to these operators to use and affix the quality label to their products. Quality in the rearing of farm animals can be achieved by practising certain animal housing regimes that permit enhanced animal welfare and living conditions. The type and quality

of the feed being given to the animals needs to be certified and the amount and mixture monitored by a qualified animal nutritionist. This is to ascertain that animals are receiving an adequate diet during all the stages of their life. It also reduces wastage of food, a practice that also has a lesser burden on the environment due to a reduction of animal waste and subsequent sustainable disposal. A Control Plan is implemented by all stakeholders to determine how their activity is operating. Any potential contamination needs to be detected and rectified by also making the best possible use of resources. In addition, every entity adhering to the PQNS needs to be in possession of a traceability procedure to record and document the story of a product, the origin of the material and the story of the process. All this information needs to be stored on a computerised

information management system accessible 24/7 by the Agriculture Directorate as the competent authority and administrator of the scheme. Apart from the traceability system, each entity needs to be assigned to an independent control body, which monitors and audits the entity at specific intervals. Two product specification documents have till now been formulated. The drinking milk standard has been approved by the European Commission. Products adhering to the scheme will bear the Products of Quality logo indicating that such a product is produced following stricter controls resulting in higher product quality. Another product specification standard concerning honey has just been sent to the European Commission for feedback and comments by other Member States. In the future we hope to see honey produced by local beekeepers bearing the same quality mark.

FEBRUARY 2020 PLACES

ON SHOW

DESIRES FOR PUBLIC SPACE

Reconsidering the role of architect as social negotiator rather than economic accelerator was the priority of a six-month project, Chalet in Action, which has dealt with public participation as a way to understand peopleâ&#x20AC;&#x2122;s aspirations, desires and statements on public space.

PLACES FEBRUARY 2020

ON SHOW

FEW ARCHITECTURAL icons manage to remain within collective memory in the way Sliema’s Chalet does. Even people who don’t remember it in any form – not just its original – know about it, its heyday and its unique positioning. There’s something about the way it protruded out into Sliema’s dark blue waters, the way waves crash against its concrete up until today, and the way the public has constantly used it, albeit in different ways that makes it iconic. The chalet survives today as an important platform because it operates as one of the only public spaces that Sliema can boast of. As people sunbathe on its concrete, jump off it into the sea and even just sit and watch it from the promenade, it has a reassuring emptiness to it that is becoming rarer. This was the starting point of a project that local architects NIDUM embarked on six months ago in reaction to an invitation to participate in an exhibition, Public Architecture – Future for Europe, at the Schusev National Museum of Architecture in Moscow.

What has followed is a conversation among numerous stakeholders, individuals, groups and members of the public on the state of public space in Malta. A growing concern that the project shed light on through the contributions was the overpowering increase of built fabric across the island; with haphazard architecture taking over the open spaces that seem to be constantly diminishing. Reconsidering the role of architect as social negotiator rather than economic accelerator was the priority of the project from its inception. A series of opportunities to interface with the public were, therefore, set up. Placing the architects in a position of vulnerability rather than agency of power, the public was invited to take stock of the environment they ﬁnd themselves in. Workshops, meetings and activities would extract from participants the sentiments that people had on the topic. The process was called ‘production of desires’, which stems from methods that NIDUM’s main collaborator, Barbara Holub, has for

CALLING FOR MORE SPACES FOR OLDER PEOPLE TO GO OUT; NOSTALGIA FOR A TIME WHEN CHILDREN WERE SEEN OUT PLAYING IN THE STREET; LONGING FOR AN URBAN CONTEXT WHERE THE SOUND OF CONSTRUCTION IS NOT THE KIND OF CONSTANT IT IS TODAY; AND RELATING TO THE KIND OF ETHICS THAT STILL PRIORITISED BEAUTY RATHER THAN JUST ECONOMY: THESE ARE ONLY SOME OF THE SENTIMENTS THAT EMERGED

long been using. Holub’s Viennabased firm, transparadiso, is involved in projects of an artistic nature that tackle the public and urban realms. Through participatory methods like this, she has been the author of artistic work within the world of urban design and innovative architectural methods. Calling for more spaces for older people to go out; nostalgia for a time when children were seen out playing in the street; longing for an urban context where the sound of construction is not the kind of constant it is today; and relating to the kind of ethics that still prioritised beauty rather than just economy: these are only some of the sentiments that emerged. Displayed in a ‘wall of postcards’, the architects have been faithful to their contributors, taking with them statements from interviews, postcards filled in at workshops, and photographs of the process they embarked on. This ‘wall of postcards’ was taken to Moscow alongside video footage that was filmed on the chalet, consolidating opinions from people of what they want of Malta’s architects. All in all, it is one large collection, put together by the architects, of people’s desires for public space. These desires are tools that architects can take forward in their ‘brief’ for the public spaces people around them want to enjoy.

Chalet in Action is a project by NIDUM in collaboration with Vienna-based urban design ﬁrm transparadiso. The team is led by Chris Micallef, and brings together Barbara Holub, Michael Zerafa, Matthew Scerri, Andrew Borg Wirth, Rebecca Micallef and Nick Theuma. A multimediatic installation is currently on display at the Schusev Museum of Architecture, Moscow, Russia, as part of the Public Architecture – Future For Europe exhibition by ECC Russia, until May 10. The project has been executed through support from the Arts Council Malta – Cultural Export Fund, Malta Tourism Authority, Halmann Vella, the Farsons Foundation, Elektra and Sliema Local Council.

FEBRUARY 2020 PLACES

THE GREAT OUTDOORS

LOVE TERRAZZO Traditional terrazzo was showcased in a unique and innovative manner in the Terrazzo Garden, the creation of Mizzi Studio, produced by Halmann Vella Ltd in collaboration with Vicalvi, at the prestigious 2020 Surface Design Show in London. THE VERSATILITY, tactile quality and aesthetic appeal of terrazzo were recently showcased at the nature-infused Terrazzo Garden, designed by Mizzi Studio, for the 2020 Surface Design Show earlier this month in London, in a way that also offered an interactive space that encourages human exploration and interest. Locally manufactured and exported internationally by Halmann Vella Ltd, architectural terrazzo was the protagonist of the Vicalvi Love Terrazzo stand at the leading event for architects and designers to explore the best in surface material innovation.

PLACES FEBRUARY 2020

The display featured a series of incrementally heighted terrazzo columns, with a colour scheme drawing on trends that are dominant in today’s design and architectural world. As the columns fan outward from their lowest point at the centre, they grow taller and lighter in colour, creating a landscape of complementary chromatic gradients. The uniformity of the columns’ diameter is echoed by a circular brass-inlayed pattern on the base of the installation, with glistening tones that offer a pleasant contrast against the earthy brown terrazzo. The entire space was backed with a moss wall, which ampliﬁed

EACH OF THE PRE-CAST TERRAZZO COLUMNS WERE CREATED THROUGH SPECIALIST CUTTING AND FACETING OF LARGE-SCALE BLOCKS IN MALTA, WITH FACETS BEING WATER-JETTED TO ACHIEVE THEIR FINAL SMOOTH CYLINDRICAL APPEARANCE the richness of the terrazzo through its tonal and material contrast, while a selection of plants was placed at the edge of the terrazzo wave, housed within spherically recessed columns that function as over-sized planters. “When we were approached to design an installation out of this timeless material, we knew we wanted to be as experimental as possible,” says Jonathan Mizzi, director of Mizzi Studio, the award-winning architecture and design practice with studios in London and Malta. “By introducing colour, height variation and the integration of

organic elements, we knew we could create something really distinctive and unexpected. We wanted to put forward not just a beautiful showpiece, but an interactive space that people felt compelled to inhabit – something that visitors would want to explore through sight, smell and touch.” The Terrazzo Garden, manufactured by Halmann Vella Ltd, makes use of ﬁve blocks of terrazzo, rendered in ﬁve unique colours. Each of the pre-cast terrazzo columns were created through specialist cutting and faceting of large-scale blocks in Malta, with facets being water-

jetted to achieve their ﬁnal smooth cylindrical appearance. “Terrazzo tiles are an integral part of our company history as they were ﬁrst crafted by my grandfather and his brother in our original plant in Mgarr back in 1954,” says Hugh Vella, director of operations. “Architectural terrazzo offers a solution where the unique material, which is produced locally, can be customised and transformed to the desired form. “Being traditionally constructed using marble, quartz, glass and granite off-cuts, terrazzo offers considerable sustainable advantages in addition to its visual and tactile quality.”

FEBRUARY 2020 PLACES

SPEAKING VOLUMES

ARCHITECTURE’S AFTERLIFE

Architecture is the degree of choice for the future, giving graduates the widest range of skills and the most diverse knowledge base to handle any job, not necessarily as registered architects, according to Dr Harriet Harriss, Dean of the School of Architecture at New York’s Pratt Institute. She talks to Adriana Bishop about the lessons learned from involving the public in architectural design at all stages of consultation, how local architecture talent must be nurtured over international superstars and why Malta should be on the architects’ grand tour.

PLACES FEBRUARY 2020

IT IS nothing short of inspirational to be discussing the future of architecture in the country that boasts one of the oldest free-standing temples in the world, effectively some of the oldest forms of architecture still in existence today. For Malta, a small speck of an island, architecture is a topic that touches us all deeply; where a stone out of place, or one hole in a newly constructed road, can literally affect the entire country. When Dr Harriet Harriss takes to the podium of studjurban’s upcoming Architecture Alive lecture, she will be very much aware of the architectural heritage of the island, both old and new, and the “healthy tension” between the historic and the modern. This will be her third visit to Malta, although her previous trips were not work-related. Widely acclaimed as a “multi-skilled advocate of social architecture”, according to the RIBA journal, the British architect and educator is known for her pioneering work in drawing up new pedagogic models for design education and campaigns for making architecture a better understood, more publicly inclusive and accessible profession. “I have always been fascinated by Maltese culture,” she says over Skype from her New York office at Pratt, which she joined only last August. “I am interested in how you have a tradition of tension between deeply historic spaces and various iterations of historic housing and some fairly significant developments, which are both loved and hated by the public. It is interesting that the Maltese feel engaged in the built environment. There is a really strong sense of architecture needing to play a social role within society and being representative of everybody’s interest not necessarily those who are interested in its development.” We’re only five minutes into the interview and she’s already hit the nail on the head. But then she has a global perspective of the tug-of-war between developers, architects and the public who will live with these decisions. “Across the world, there is a bigger conversation about who architecture really serves – the one per cent or the 99 per cent,” she continues. “That conversation seems to be an acute one within Malta at the moment, both politically and in terms of planning.” Taking Valletta as an example, with its iconic fortifications and baroque palazzos framed by an ultramodern statement gateway, Dr Harriss laments that despite having some of the most innovative architecture, Malta is not on a map of architecture go-to countries at the moment. “There is a conflict between having a Unesco World Heritage Site in a politically and socially quite progressive country where everyone has a voice in architecture. That’s quite appealing for me as, sometimes, people feel architecture is not accessible to them, whereas for the Maltese, they feel they have every right to have an opinion on every piece of architecture that goes up. In some way, that could be perceived as being constraining for architects, but at the same time, if you look at some of the private houses, there has been some innovative work.”

While remarking that the Valletta City Gate project was “phenomenal”, she agrees it came with “challenges”, although she quickly adds that, in this case, “at least there is some willingness in that project to respect the existing fabric of the city; to not just make a modern statement but acknowledge the materiality of the site.” She also highlights the Barrakka Lift by Architecture Project as an “interesting example of, rather than just acknowledging what is already there, producing a counterpoint”. From an educator’s perspective, “Malta should be on the 21st-century architects’ grand tour. It provides a case study portfolio of scenarios that every architect may need to confront during their career: how do you do this in a way that is historically sensitive but speaks to modern design,” comments Dr Harriss. However, she quickly warns of the perils of dangling “architectural baubles” by superstar international architects as an attraction while overlooking local talent, which may have a better understanding of the context and fabric of the country. “There is clearly an aspiration for city developers to subscribe to international icons that put Valletta and Malta on the map. But on the other hand, elsewhere in the world, there is an increasing resistance to the idea of having these signature architects going around the world populating it with these sculptural forms when they are not in any way responsive to their context. They just become another bauble for architecture practice to boast of and for cities like Valletta to collect. There is a growing resistance to this being a desirable thing to do.” Dr Harriss questions why Maltese architects are not getting more high-proﬁle projects to show off their talents at home, and warns that if local talent is not nurtured and encouraged, Malta will end up with a brain drain. “There are always questions, when you have so many talented Maltese architects, as to why they are not getting opportunities to do such momentous buildings.” Dr Harriss explains how the industry now understands that you cannot take one particular aesthetic style and superimpose it on different sites across the world. While it was believed that that was how architecture could be used as a democratising force, bringing people together internationally, it is now acknowledged that such an ideal is problematic and does not quite work that way. However, she points out, we still cannot let that go as an ideal. “The challenge for Malta is: how do you support your locally trained architects to be a big part of making some of the most radical and dynamic new projects within Valletta and beyond?” Dr Harriss points to Malta’s small geographic size as an example of how architecture needs to – and can – address the challenges of the climate crisis; a conversation that all ties in with how architecture studies give students the most diverse set of skills, enabling them to handle future jobs outside the immediate realm of architecture – jobs that may not even exist yet. “Malta is not just a speck of a rock; it is also a very crowded rock and very developed anyway. What’s left of the undeveloped space isn’t necessarily a site waiting to

FEBRUARY 2020 PLACES

SPEAKING VOLUMES

be developed because you still have to make sure there is a balance between nature and urbanism or even rural urbanism. You have to keep returning to cities to reconﬁgure them in order to accommodate the growing population and the needs of a growing economy,” she remarks. “We ask students to design on empty sites and build from scratch, but in fact, we are facing a climate catastrophe,” she continues. “What we need to be doing within the next 20 years, whether we like it or not, is repurposing all of our buildings. We won’t even be able to contend with the idea of continuing to mine the earth’s natural resources and build everything new. We have to recycle and repurpose our buildings, materials and spaces, and that is really how we as architects can respond to the climate crisis and not be part of the problem. This is part of the same conversation about what truly innovative architecture really is. We need to change the nature of that conversation, moving away from continually investing in these exclusive baubles.” Having spent a lot of her early years in council housing in the north of England, Dr Harriss has always seen architecture as a civic project, even going as far as calling it “heroic”.

in reality a rather simple concept. “Architecture had lost its ability to serve communities and we wanted to turn it into a co-design business. Rather than show people two or three designs and ask them to pick one, which was back then the equivalent of consultation, we wanted to work with people to imagine what a building could look like. “Architects need to recognise that if they want people to believe in their buildings and become active stakeholders, they need to involve the public from day one.” They ran workshops with the public, including schoolchildren, getting them to model their building concepts out of playdough and other creative means. For the ﬁrst time, children had a say in how their school would and should look. “We built really strong stakeholder investment in our projects. Children became micro-designers, and at the same time, it got them thinking of what kind of careers they wanted in the future,” Dr Harriss adds. The future of architecture is at the heart of her latest book on which her Malta lecture will be based. Architects After Architecture, which will be published later this year, was co-written with Rory Hyde, curator of contemporary architecture and urbanism at the Victoria and Albert Museum in London, and Roberta Marcaccio, a

ARCHITECTS NEEDS TO RECOGNISE THAT IF THEY WANT PEOPLE TO BELIEVE IN THEIR BUILDINGS AND BECOME ACTIVE STAKEHOLDERS, THEY NEED TO INVOLVE THE PUBLIC FROM DAY ONE “When architecture is exclusively in the service of the elite, with big money to invest, looking for big signature buildings, we forget that where architecture impacts most is when it addresses the needs of poorer communities, non-urban communities and minorities. These communities need architecture more. I would argue that truly radical architecture is not really about making advanced sculptural forms with the latest embedded technologies – that is easily available, so not really radical. Real and true innovation and radicalism lies at the site of acute need.” Originally planning to study medicine, a stint during her gap year working in a township in Soweto taught her how architecture studies could help her make a bigger social impact. She recalled how she was struck by the fact that the residents of these illegal settlements took time and pride to embellish the primitive tin shacks they called home with painted murals. “They painted little windows, letter boxes and the outline of a cat and a milk bottle. I was so struck by these images. This is what home really means to people, and what matters most to us is home.” But by the time she graduated from architecture, she was already disillusioned by the industry’s focus on serving the needs of the wealthy and developers “using architecture as a means to generate capital rather than generate civic outcomes”. She set about changing that by setting up what was then considered to be an innovative design practice with her best friend for which they were awarded government funding. Their “radical business model” was

PLACES FEBRUARY 2020

curator and architecture writer. The book is fuelled by an Erasmus study looking at why architecture graduates do not become architects. “Up to 70 per cent of architecture graduates never become architects, but go on to do other, often very interesting, things,” points out Dr Harriss. “Architecture is the most robust and epistemologically diverse undergraduate degree you can do. It touches on humanities, sciences, the arts; it is informed by all different metadisciplines. I like to characterise it as the promiscuous lover of all disciplines, or the love child of many. That’s why it is so conﬂicted; why there is no real consensus on what architecture really is.” This also makes architecture an ideal future study choice when considering that up to 85 per cent of jobs we will be doing in the next 35 years have not even been invented yet. “Conventional careers like engineering, medicine, or even architecture may not survive as we know them today. Some careers may need to reinvent themselves, or fragment into different specialisms. “Architecture as a multi-disciplinary diverse degree prepares the student for all kinds of industrial opportunities and I think that’s why it is going to be a very resilient and robust degree choice in the future. Our architecture training is more relevant and desirable in other sectors than in our own.” Dr Harriet Harriss will be delivering her lecture on February 26, at 7pm, at the National Library, Valletta. Tickets are available from www.architecture-alive.com. For more information, check out www.studjurban.com