Architecture & Design Issue 07 December 2022

& ARCHITECTURE DESIGN

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ENHANCING QUALITY OF LIFE THROUGH ARCHITECTURE

“I would like to believe that my biggest success as an architect is my contribution towards the improvement of the quality of life of people from all strata through effective architecture and urban design,” these were the words of Edwin Mintoff interviewed in this edition of Architecture & Design.

Edwin Mintoff and his firm EM architects join a coterie of Maltese architects and private firms who not only have made a name for themselves but contributed to innovative design and as Mintoff would put it – ‘effective design’.

It goes without saying that today’s architects are more conscious of architecture that goes beyond

functional. And there is a realisation that the historical and cultural aspects of our small Island cannot be cancelled. They are in fact a reflection of our identity and our evolution.

Mintoff’s work has been showcased beyond these shores as is the case with the Corinthia Hotel in Sudan’s capital Khartoum.

This edition also takes a look at the restoration of the Mithna ta’ Ganu in Birkirkara, which was still in use until 1929 until it was finally restored to become a contemporary art, cultural and crafts centre operated by the Gabriel Caruana Foundation.

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SAVE MALTA

In the decade of the 1960’s two major changes were responsible for the basic transition of the Maltese islands’ character.

The first was the government policy of road widening in the heart of traditional village cores accounting for the devastation and spoilation of the local closely knit urban typologies. Already at that time, warnings were echoed to reverse these policies. In a special issue of the UK Architectural Review (July 1969), Peter Richardson, at the time teaching at the Architectural Department of the Malta University, penned an article entitled ‘The rape of a village’. Richardson referred to the regretful breaking open of the tightly knit fabric of the village of Zurrieq as the “spoilation” of its essential character. He ended his article in hope that lessons could be learnt from the Zurrieq ravage and other villages could be spared. Alas, this was not to be.

The other change was related to the growth of tourism and its necessary edifices together with an array of villas for retired foreign

residents. This resulted in an explosion of new buildings on the island’s virgin coastline, never before built upon. Although still in its infancy, the pattern of destruction was potently evident, and the writing on the wall was already there for what was yet to come.

Richard England, who in those days already believed that architects should not only be designers of the future, but also defenders of the past, penned a 1970 ‘Save Malta Manifesto’ as a prognostic warning of future destruction. The Manifesto’s graphic image designed fifty years ago remains strangely potent and extant to this day.

Regretfully, as in the case of Richardson’s plea to save Malta’s villages, the Manifesto also fell on deaf ears. Today’s situation is even more tragic with the new high-rise mania and policies of additional floors in village cores. It seems perhaps that a new ‘Save Malta Manifesto’ is needed even though regretfully it will surely fall on the deaf ears of the mammon greedy worshipping developers.

A plea for the salvation of the character of the island.

the archItect: EDWIN MINTOFF

I nterview by Philippa Zammit

WHAT ARE YOUR EARLIEST MEMORIES OF ARCHITECTURE?

I must admit that I have always been fascinated with architecture, ever since I can remember there was no doubt in my mind that this was the profession I wished to pursue. The primary school I attended was within walking distance of my uncle’s architectural office. After school, I would make my way there on a daily basis to be picked up by my father to take me home. I recall being fascinated by the drawings, sketches and plans being developed by the architects and the draftspeople working in the studio. Even from such a young age, I was mesmerised by the creative process and I enjoyed every minute of their company.

As I grew older, I also become more and more intrigued by the creative ability of my father who had the passion and talent to create any object he would dream of producing. From Christmas cribs to functional model steam engines, from doll houses to pieces of furniture… anything could be created with passion and detail. I will always cherish these moments spent with him, and in particular I believe this was a major influence in my determination to also develop a creative ability to design buildings in the same way that my father created objects.

HOW WOULD YOU DESCRIBE YOUR WORK?

This is a particularly difficult question to answer, how does one explain how their style has transformed over more than thirty years?

Architectural style often begins from a gut feeling, when creative inspiration kicks in. In very few words, if I had to describe my work, I would say it is creative, contextual and unassuming. However, above all, my work is a consequence of the many talented individuals who work with me and who share the same stylistic goals – we strive to create quality spaces by looking to design not just the building themselves but to consider the new spaces that are created between buildings.

HOW HAVE YOU SEEN YOUR CAREER EVOLVE OVER THE PAST YEARS? HAS YOUR PERSONAL APPROACH TO ARCHITECTURE CHANGED?

It certainly has. As a young architect, always very eager to develop projects, in particular as an urban designer keen to apply what I learnt from my undergraduate and postgraduate studies in the UK, I was determined to design contemporary buildings in an iconic fashion but yet very much in context with their surroundings. It is said that experience is the best teacher, and architecture is no exception. With time, I became more and more involved in the rehabilitation of abandoned and forlorn buildings, many of which form an integral part of our architectural heritage. The satisfaction of intervening to breathe new life into such buildings is immense in spite of the difficult challenges one

faces. The active conservation and restoration of such buildings, such as the British Building at AUM, the Treasury Building and the Macina at Cottonera, Domus Zamittello at Valletta and the Old Brewery at Hamrun, to name just a few, have proved to be very rewarding for my whole firm. The lessons one

Departments for some years. However, my work experience in the UK made me realise that spearheading a team of carefully selected talented architects and engineers would provide me with important support to design and build projects as a team, each contributing to our collective vision of the design. At EM Architects we believe in a holistic approach to all developments, and we look at any project from the architectural, structural engineering, and interior design aspects from the initial preliminary concept stages. Architecture can often be interpreted as an individual pursuit however the detailed process required to bring a project to fruition requires the collective investment of many professionals.

WHAT HAVE YOU BROUGHT TO ARCHITECTURE IN MALTA?

Such a question is difficult for me to answer; one can only reply by explaining what one hoped to have achieved and what I am continuously striving for. Both through the work carried out by my firm and through my interaction with the University of Malta students, I try to encourage a higher standard of architectural design and urban planning. By working tirelessly for all my projects, in particular those which sought to rehabilitate and restore abandoned buildings left to decay, one hopes to improve the architectural landscape for future generations. I would like to think that through my small contribution, the projects completed by our office have somehow served to enhance the quality of life of the Maltese people. For example, if we consider the AUM project, the people at Dock no1. no longer have a building at their waterfront full of dangerous material which previously housed anti-social behaviour.

can learn from the engineering and architectural design of such historic buildings has helped me to grow as an architect.

WHAT LED TO YOUR BIGGEST SUCCESS AS AN ARCHITECT?

I would like to believe that my biggest success as an architect is my contribution towards the improvement of the quality of life of people from all strata through effective architecture and urban design. This is something that I stress not only through the work carried out by my office but also through my continued interaction with young aspiring architects as the University of Malta, where I lecture.

WHAT INSPIRED YOU TO START YOUR OWN BUSINESS?

As an undergraduate student I gained invaluable experience in the public sector and indeed continued to be involved in the Works

CAN YOU COMMENT ON SOME OF YOUR RECENT PROJECTS?

Our office has been fortunate enough to have completed many fulfilling projects and it is hard to describe only a few examples. We were entrusted with the design of the old brewery project in Hamrun, which was one of the first examples of Maltese Art Deco architecture, and we wanted not only restore the building but to rehabilitate it and to accommodate commercial activities besides residential units to provide a connection between the original commercial use of the building and its present one. We have also recently completed the new Hotel Verdi at the Sliema strand, a new and luxurious hotel development where we were entrusted with the entire design of the new development. We have also recently successfully completed many industrial projects, such as the SRT aircraft hangar facility at Luqa, which houses one of the largest prestressed arches in the Mediterranean, as well as the re-development and extension of

the Has Saptan Enemed fuel storage

I try to encourage a higher standard of architectural design and urban planning. By working tirelessly for all my projects, in particular those which sought to rehabilitate and restore abandoned buildings left to decay, one hopes to improve the architectural landscape for future generations

“ ”

neOneO

and distribution facility which was designed with an iconic curved green roof over the office building.

WHICH ARE THE PROJECTS YOU ARE MOST PROUD OF AND WHICH ARE YOUR LEAST FAVOURITE?

Our office designs a vast typology of projects, from small developments such as the restoration and extension of a five hundred year old one-room development in the countryside of Bidnija to the multi-use development of Fortina at Sliema to house iGaming offices, apartments and hotel facilities. We look at all our projects with equal importance, regardless of scale or budget, and therefore it would be difficult to say which I was most or least proud of.

I am however always particularly content when urban design principles can be incorporated into any project. To give just two examples – the OneOneO project at the Sliema Strand was an opportunity for our office to produce luxurious residential units whilst designing a uniform street façade. When designing this project we sought to upgrade the public promenade, and therefore rather than constructing the development up to the building line as is conventionally done, we chose instead to sacrifice

valuable and developable area at the ground and intermediate level and instead left open space so as to connect our development to the public promenade. Diagonal load-bearing piloti columns were introduced to create a playful change to the façade’s volumetric linearity, creating a sense of movement inspired by the waves directly in front of the development. The importance of open sheltered spaces and their benefit to any community cannot be understated and this open area provides a widened sheltered walkway for pedestrians throughout this busy precinct of Sliema.

Another example would be the British Building at AUM, whereby through our design interventions we ensured that many historical elements such as the dock pump equipment were not only restored but exhibited within the cafeteria, thus guaranteeing that they could be enjoyed by the public and in particular by the residents of the Three Cities. I was touched to be personally approached by many older citizens to tell me how much they enjoyed visiting the cafeteria to see this equipment, many of whom could tell me how this brought back memories of their own experiences working at the Dock no 1.

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IN 2019, THE FIRM WAS AWARDED ONE OF THE MOST PRESTIGIOUS AWARDS; THE EUROPEAN GRAN PRIX VERSAILLES SPECIAL PRIZE FOR THE DESIGN OF THE CUGO GRAN MACINA GRAND HARBOUR IN SENGLEA IN THE CATEGORY OF EXTERIOR HOTEL DESIGN. WHAT DO YOU THINK SET THIS PROJECT APART?

The structure known as Macina forms part of St. Michael’s bastion, a critical part of the city of Senglea’s landward defence. In fact, the shear bastion derives its name from its use, a mechanism for ship mast fitting, known as a ‘macchina’, which was active from the early 17th century. Through the creation of the guesthouse and ancillary facilities within the existing structure, we brought new life to the beautiful but derelict structure. In my humble opinion, what was perhaps different about this project was that the building’s new use was planned so as to cause the least changes to the building whilst simultaneously mirroring the original interior and exterior appearance. All modern interventions were designed so as to be clearly visually distinguishable from the remaining original masonry, in particular from the reconstruction of the vault damaged in World War 2, to the introduction of the new pool and the creation of a bridge and lift connecting the Macina and the Annex Building. The unique history of this building had provided us with a perspective into which we projected our new designs, and this proved to be very interesting to many. In fact it was even featured this year by Germany’s international public broadcasting service Deutsche Welle.

I was of course humbled to receive these awards, however it is extremely satisfying to receive recognition for all the support and hard work of all the members of my office. I believe recognition of any local architectural firm is important for all Maltese architects, as it raises recognition for all of

YOU’VE RECEIVED SEVERAL OTHER AWARDS IN THE FIELD OF ARCHITECTURE AND URBAN DESIGN; AND MOST RECENTLY WERE AWARDED THE ‘HIGHLY COMMENDED STATUS IN THE ALUMNI ACHIEVEMENT AWARD’ FROM THE UNIVERSITY OF NEWCASTLE UPON TYNE IN THE UK. HOW DO YOU FEEL ABOUT THE AWARDS AND RECOGNITION?

us and reminds us to adhere to the highest possible level of quality.

Modern architecture can fit within Maltese building styles by designing in harmony with our existing architectural landscape ”

WHAT IS YOUR TAKE ON MODERN BUILDINGS AND HOW DO THEY FIT INTO THE TRADITIONAL MALTESE BUILDING STYLES?

It is my opinion that architects have to convey a message through their work; in fact each project has to speak volumes. What better way to achieve this than by creating something that also highlights our rich history? Modern buildings can offer cost-efficiency, time savings and increased structural spans and heights; however this does not mean that one should only look at the functionality of a project. Modern architecture can fit within Maltese building styles by designing in harmony with our existing architectural landscape. By retaining the Maltese architectural principles, such as the vernacular architectural design of the courtyards thus encouraging passive ventilation and by the utilisation of stone which can now even employed in new and exciting ways through technological advancements, that is by actually combining modern design within traditional architecture, one can create a truly unique and bold result.

CUGÓ GRAN MACINA GRAND HARBOUR

DOMUS ZAMITTELLO

EM Architects were entrusted with the architectural design of a new hotel and commercial premise for the Corinthia Group in Khartoum, Sudan.

The design concept centred on finding a solution which could complement the surrounding context of the unique site location, on the meeting point of the Blue Nile and White Nile

CORINTHIA HOTEL SUDAN

WHAT CURRENT MALTA ARCHITECTURE PLEASES YOU AND WHAT HURTS?

Maltese architecture has drastically changed since I first graduated, and in particular I am pleased to see so many young and talented architects completing truly fancinating buildings. With the emerging technology which is now available, I am however disappointed when I see a lack of sustainable initiative or green architecture being employed. We also need to ensure that our amazing village cores which form such an integral part of our culture, are protected, enhanced and kept in use for future generations to enjoy.

CAN YOU NAME A FEW BUILDINGS THAT SHOULD BE ON THE ‘TRAVEL LIST’ OF YOUNG AND UPCOMING, BUT ALSO ESTABLISHED ARCHITECTS.

My reaction would always be to firstly look at the rich traditional architectural heritage we have all around us in Malta, which can teach us a lot. As a lover of Gaudí, I have to mention Casa Milà and La Sagrada Familia in Spain, as well as the Mies van der Rohe Barcelona Pavilion which I always love to visit.

I would however like to add that besides visiting buildings, whenever abroad one should admire the

urban planning of any city as this too can impart wisdom, from the radial form from which Paris was developed to the careful planned integration of greenery and land reclamation in Singapore.

WHO DO YOU ADMIRE AND WHY?

The list of all those who I admire would be neverending! I admire any architect who has managed to leave a positive lasting mark in our architectural landscape. However, in particular I admire the late Perit Joseph Spiteri, an Architect who I believe helped inspire and shape the minds of many Maltese architects who practice today. I would also take this opportunity to mention all the outstanding work carried by Perit Martin Xeureb who recently passed away. It goes without saying that an International architect I would like to mention is of course Renzo Piano, who I had the pleasure of communicating with directly when he himself contacted me regarding my PhD thesis which focused on the Urban Renewal of Valletta.

WHAT ADVICE WOULD YOU GIVE ASPIRING ARCHITECTS?

I would give the same advice that I have always given to my students at the University of Malta, that I hope that they realise the contribution they can give to present and future generations by being creative and by acknowledging their responsibility in shaping our surroundings and in improving standards of quality of life. They should always continue to look for inspiration, both locally and overseas, and if possible, even try to continue their studies internationally. I myself was extremely influenced by my time abroad, and I can credit a lot of what I have today achieved to both my PhD studies in the UK as well as my work experience there, which indubitably enriched me and gave me new perspectives into my work. I believe that through creativity as well as hard work, any aspiring architect will receive much satisfaction in practising this profession.

WHAT’S NEXT?

I am hopeful that EM Architects will continue to

grow and develop as we have been doing now for more than thirty years, as always trying to utilise the best construction methodologies and urban design principles in our work. We do have several exciting upcoming projects, such as hotels, high-rise buildings and large-scale projects, both in Malta as well as abroad. To name just a few, we are particularly excited to be working on the design of the new Acute Psychiatric hospital in Malta, a project which I feel is much needed as the importance of having a new mental health facility cannot be understated. Additionally, we will soon be starting works on the new Marsa Race Track, our Jerma development and the Metropolis development, to mention just a few.

WHAT IS YOUR ULTIMATE GOAL? WHAT DO YOU WANT TO BE REMEMBERED FOR?

Rather than an ‘ultimate’ goal, I have had the same continued goal since I commenced with my architectural studies, that of contributing to the Maltese architectural landscape in a positive way. I honestly believe that ultimately what counts most is the improvement of the quality of life of people from all walks of life. It is difficult to describe the satisfaction of realising this, very often through a very simple measure integrated in design which can only be achieved by understanding what is most important for the end users. In fact, one of the first lessons I always share with my students is the importance of creating a simple dialogue with the persons who will be directly or indirectly impacted by any project. Rather than being remembered, I believe in the continuation of EM Architects and all the architectural work that will be achieved by the firm in the future. I am extremely fortunate that my daughter, who is also a Perit, has been working with me for some years now and her input will certainly ensure the continuity of what I originally created. When I started my own firm alone more than thirty years ago in very humble beginnings, I could never have imagined that now I would be running a team of some fifty hard-working and talented individuals, who I am extremely proud of.

FIMBANK BUILDING

CROWNING MALTA’S BEST ARCHITECTURE AND DESIGN PROJECTS FOR 2022

Thirteen awards are up for the taking as the 4th edition of The Malta Architecture and Spatial Planning (MASP) Awards gets underway. MASP Awards organiser Peter Gingell explains how these awards are helping us discover and appreciate some Malta’s new architectural gems and the inspirational people behind them.

Even though we see historical and modern architecture as vastly different, both are likewise important and can be equally successful. While old architecture can inform us about the culture, history, and values of the past — such as the unique and charming temples, palaces and churches that beautify our Island, modern architecture has the power to inspire and transform, for the better, the spaces we live in. But for modern architecture to attain the same level of success we attribute to older buildings, today’s buildings must be welldesigned not only exteriorly but interiorly too. Well-designed architecture is not a subjective matter. Style and fashion are.

While we celebrate the works and names of well recognised local architects such as Tumas Dingli, Glormu Cassar, Emmanuel Luigi Galizia to name a few, who left behind them iconic landmark buildings, we are less appreciative

MASP Award Trophy

Commercial Buildings Award Winner 2020 Tipico Building, St Julians - DeMicoli & Associates

Public Open Spaces Award Winner 2020 - Piazzetta, Sliema - Martin Xuereb & Associates

of today’s contemporary architects and designers whose job has never been more complex and challenging with success being far from guaranteed.

“The scope of the MASP Awards - now welcoming submissions for its 4th annual edition - is to recognise and celebrate the quality work and the people behind successful well-designed architecture projects of today. Launched in 2019 by the PA under the Patronage of the President of Malta, the MASP Awards have become the ‘hall of fame’ for local architects and interior designers and a mark of excellence in the industry.,” explains MASP Awards organiser Peter Gingell.

“If it weren’t for these awards, most well-designed projects remain unappreciated and ‘hidden stories’ of the creative local talent we have around us. We believe that giving publicity to best practices there is a better chance of tipping the scales in favour of well designed architecture.” highlights Mr Gingell.

For this year’s edition, two new categories have been added. The Small Projects Award is being introduced to accommodate projects that may not be competitive if included with larger-scale projects in other categories. Here, projects must demonstrate that one can achieve remarkable results even though small in scale. Not exceeding a footprint of 170sqm, projects may also include installations, temporary structures, street furniture, information kiosks, shading canopies and viewing platforms.

The other new category is the Architectural Engineering Award. Behind every great piece of architecture is superb engineering. This award will recognise projects that excel in structural engineering and push the boundaries of architecture through creative engineering.

Mr Gingell continued “Another major change relates to the evaluation stage. As of this year, participants will have the opportunity to give a 5-minute presentation for the projects they would have submitted. This will enable the jury members, especially the foreign experts, to have a more holistic viewpoint and learn more about each project before deciding which the winning projects should be.” “Next year we plan to take the winning projects of the past two editions closer to the people, by having an outdoor life size roadshow exhibition visit a number of localities.” highlighted Mr Gingell.

The President’s Award will once again feature prominently in this year’s edition. To date, this prestigious prize was awarded to dsitinguished professionals including Perit Konrad Buhagiar, Perit Joseph Spiteri (post humous) and Dr Perit Godwin Cassar. With many possible names on the cards, this award will be given to a person who made an outstanding contribution over the years through research, education, theory or practice of architecture and the built environment.

“As we invite entries for this year’s edition, we want to take a moment to express our appreciation for all MASP Awardwinning Periti and designers, whose innovative ideas, forward-thinking mindset and meticulous work inspires the collective design quality change we need in our built environment. For this we remain grateful!”.

The Awards Ceremony for the 4th edition will be held on Saturday 1st April 2023. Entries for the awards are open until Tuesday 31st January 2023, while public voting will take place between 20th February and 12th March 2023. An early-bird offer has been introduced for this edition, which will serve as an incentive for smaller architecture and interior design firms to consider entering more projects and not leave all the preparatory work for the last few days.

at www.maspawards.com

Interior Architecture Award for Commercial Buildings Winner 2020 Community and Nature Childcare Centre - Studjurban

A multi-family residential development that seeks to re-imagine the typical terraced apartment block

DEPIRO EDGE

Depiro Edge is a multi-family residential development that seeks to re-imagine the typical terraced apartment block by promoting a lowdensity development enjoying communal amenities.

Depiro Edge is located within the Urban Conservation Area of St. Pauls Bay. However, the site fronts a busy road, with very narrow pavements. This situation has led to severe urban degradation of the area, were several abandoned and dilapidated buildings characterise the streetscape. The idiosyncrasy of the site lies in the fact that it enjoys breath-taking sea views and is situated directly above an area of high landscape value. This duality was the catalyst for the concept development of this project that would result in a building that is successful in its use and design and contributes to the urban regeneration of this area.

Architecture & Design: MODEL and CVC Architecture Studio Photography:

Alex Attard

The building façade was designed using a vernacular language, mimicking a traditional townhouse which preserves the rhythm and scale of the streetscape. However, the street façade acts merely as a screen. The intervention sought to create a buffer from the busy street by detaching the building and creating a garden space over which bedrooms overlook. This detachment allows for the levels inside the building to be adjusted for the client’s requirements by delivering two basement levels and three above ground floors.

The development consists of a communal swimming-pool with amenities at basement level. Three apartments are raised on pilotisinspired columns creating an entrance ‘plaza’ that accommodates vehicular parking but concurrently acts as a social space surrounded by landscaping. The large apartments enjoy fantastic open seaviews from their open plans and bedrooms.

The overall design philosophy was that notwithstanding the site’s large allowable building potential, only 37.5% of the site area

was built-up. Care was taken in eliminating the negative visual impact of blank party walls by receding the building inwards creating side facades, thus improving the visual amenity of the area.

The result is a building that threads lightly on its sensitive location, seemingly floating above the natural landscape, whilst concurrently offering the users a unique contemporary living experience that belies the traditional, almost humble facade when viewed from the street.

TRIDENT PARK: THE ICONIC TRANSFORMATION

Trident Park is a stunning large-scale regeneration project, which will see one of Malta’s finest 20th century industrial buildings transformed into a thriving and vibrant green office campus and world class business destination. Located in the heart of the emergent Central Business District on the site of the historic former Farsons Brewery, the vision of this prestigious redevelopment is to create an exceptional and exemplary work environment in which businesses can flourish and excel.

Halmann Vella has enriched its portfolio by being an integral part of transforming yet another iconic building, into a thriving and vibrant office campus and world class business destination. The prominent late 1950’s Art-Deco style building known as Farsons Brewhouse has now been redeveloped and combined with Trident Park. Altogether, these form an environmentally sustainable Business Park with a Campus environment, aiming to be a world class business and commercial project.

As the lead contractor in charge of the finishes works package, Halmann Vella was strongly supported by Archi+ and Actsmart offices, to project manage the joint venture to completion stage.

Works were diverse and substantial. Part of Halmann’s scope was to furnish 3000sqm of external hard landscaping made from terrazzo. The custom mix-design and surface finish of terrazzo was designed and discussed in detail with world renowned and UK-based designers from Ian Ritchie Architects office (iRAL). Chosen mix design complemented grey hues, were resulting slabs were then sand-blasted and cut in 300 x 600mm and 1206 x 300mm formats.

The Halmann Vella team have also developed and manufactured a collection of furniture pieces such as fifteen-metre-long benches and planters made from a different mix which complements the surrounding floor in brushed finish.

External raised flooring in terraces and sunken gardens were finished in a 20mm thick 1200 x 600mm grey ceramic tile to complement the grey terrazzo at ground floor level. Pavers are supported onto pedestals set out on a 600mm x 600mm grid. Such a system provides end user with adequate exposure to live loads and provides easy access to the drains located in the concrete slab below.

For the walkways and finishes in Tower B, Halmann Vella used the Marca Corona green Encode 1200mm x 600mm and 600mm x 600mm tiles to furnish

the external walkways leading to the offices’ main entrance reflecting the corporate identity of the client. The same tile, this time tailor-cut in a triangular form, with a water-jet machine at the factory in Lija, was used to surface the spiral staircase at Tower B.

For the staircase cores, the Architects have also opted to use the 30mm thick light grey custom terrazzo threads and risers with a medium grey anti-slip detail in the thread to abide by regulations issued for public external spaces.

Miami White from Silestone was used for the vanity tops installed in wet areas inside the offices and in publics spaces. The hybrid surface made from premium minerals, quartz and recycled materials catered for three wash hand basins.

Apart from stone and ceramics, Halmann Vella also supplied and installed three distinct stainless-steel mesh systems inside the car park. One which caters as a fall restraint to staircase cores, another type to close off ramps and another typology installed in between car park levels. Halmann Vella has also supplied fire rated metal doors located on the west and east staircase cores inside the car park.

This project would not have been possible without Halmann Vella’s fellow sub-contracting partners;

Cuschieri, who was responsible to seal the external envelope with project specified apertures, garden skylights, and other aluminium and stainless-steel works.

E&L for all the metalworks installed on the project, most especially the curved handrails to the staircase on Imdina road and handrails installed along the walkways and colonnades.

Makaw, for bringing colour to the space and being patient enough to snag walls and ceilings time and time again.

S.A.W who produced doors, vanities, cubicles and all the furniture inside the historical Block A4 Conference building located right in the middle of Trident Park project.

The main historic building was restored to its former glory, with water fountains located on the east and west side of the historical structure machined from granite according to IRAL’s custom design.

Trident Park is the first development in Malta to receive BREEAM Excellence Certification.

Halmann Vella Group is principally engaged in the running of a diverse portfolio of business entities involved in the manufacture and business of stone, marble, granite, terrazzo tiles and pre-cast elements; general contracting and other services; property development, letting and resale; as well as operation of photovoltaic (PC) systems.

For more information on Halmann Vella Group’s wide range of products, visit www.halmannvella.com; call +356 21433636, or experience the showroom on Mosta Road, Lija.

ABOUT

The historical evolution of buildings and the importance of energy performance in the design and construction of houses

Through the history of civilisation, humans have built shelters to practice their social activities, while having protection against weather, wild animals, and other human beings. Over the course of time, dwellings have evolved to respond to climate challenges, available materials and cultural expectations in a given location. Such buildings include the open courtyard building design.

By time, new technologies, materials, and changes in societal structures have changed the way buildings have been designed and constructed. Reinforced materials increased the strength of constructions, and hence played a vital role when designing buildings. After the Second World War, these changes led to the creation of modern architecture. It was related to social and political conditions, to the evolution of materials and to technological advancement, which brought innovations. New materials, such as iron and steel had an impact on building constructions. New building techniques, using reinforce materials and steel structure, changed the forms of buildings from the robust stone architecture to a slenderer one. Modern architecture can also be characterised by houses taller than 6 floors, which were rare earlier. With the invention of the elevator and management of water pressure, the height of buildings increased significantly.

Since the start of the postmodern architecture, in the middle of the 20th century, the world had reached new heights of population growth rates. This architecture has been criticised for being populist and not engaging itself in contemporary social and environmental issues. Human population, consumption patterns, and economic growth have increased the demand for natural resources. Modern lifestyle has reached a stage where ecological services are used faster than nature can regenerate them, and humanity has become more dependent on energy. For example,

heating, ventilation and air-conditioning systems in buildings became widely used to improve indoor comfort.

Due to the realisation of the finite nature of natural resources following the middle of the 1970s oil supply crisis, the relationship between building design and the environment moved from only ensuring enough thermal comfort to promoting energy efficiency It was during this time building regulations in many countries started to include aspects of thermal performance of building fabrics and in recent years also the reduction of greenhouse gases. Today, the sustainable construction movement is international in scope.

Buildings affect the environment during their entire lifetime, which include production of material, construction, operation, maintenance, disassembly and waste management. During these phases natural resources are consumed, land is used, waste is produced, and emissions are released to the environment. The effect on the environment may remain many years after a building is demolished. With business as usual, the environmental impact of the building sector will increase in the future due to increased demand for better indoor comfort, increased time spent indoors and global population growth.

It is also a challenge to provide a sufficient number of dwellings for a growing world population while maintaining a high standard of living and good thermal comfort. As a measure to realise this potential, the European Parliament approved the Directive on the Energy Performance of Buildings in 2010, which was eventually revised throughout the years until when in the year 2021, all Member States were obliged to establish national building renovation plans. This directive was revised in the context of the Fit for 55 legislative package, designed to reduce the European

Union’s greenhouse gas emissions by 55% by 2030. In the same year, that is 2021, Malta launched the LongTerm Renovation Strategy, a strategic framework for the renovation of the building stock over a 30-year period, from 2020 to 2050. This presents long and medium-term strategies for speeding up energy efficiency by renovations. This, in turn, requires the people involved in the design and construction of houses are trained and pushed to make energy efficient houses.

Currently, the Building and Construction Authority is inviting professionals possessing a degree in architecture and/or civil, built environment, building services, mechanical or electrical engineering at MQF level 6 recognized by the University of Malta or equivalent to attend the ‘Energy Performance of Dwellings in Malta’ EPRDM course. After successful completion of this course together with a two-day CPD course qualification, one becomes an assessor of buildings and thus able to survey various properties of the building which need to be considered in the Energy Performance Certificate calculations. Among other things the assessor will survey the construction materials and insulation levels, the types of doors and windows, the ventilation features and the type of cooling and heating systems present.

With so much emphasis now on energy efficiency it is highly expected that more people will begin to rely on the results of a properties energy performance rating performed by a qualified assessor, not only when considering purchasing or letting their property but also to know the energy efficiency of their building. As a matter of fact, an assessor may recommend a number of ideas for your particular property to improve the building’s energy efficiency, to reduce the carbon dioxide emissions and to also reduce the yearly energy expenses.

“WE CREATE OUR LIGHT”

CATELLANI & SMITH

Customisation is becoming increasingly relevant for brands that want to stand out in the design world. Its not just about adapting a piece of furniture or an accessory to style and space requirements, it’s a creative tool that results

in unique design element.

Catellani & Smith produces custom pieces for private and public spaces including museums, art galleries, theatres, prestigious hotels, exhibitions and events.

Enzo Catellani, founder of the company, always said, “when I create a lamp, I always start off with a prototype.

My laboratory is a workshop, a place where I continually accumulate materials, parts and objects of different kinds, this is where it all began, I assemble, weld, bend, shape, I need to feel the materials to see how they interact with light.”

Catellani & Smith reflects his artistic personality, carrying out, for thirty years, work that is in continuous evolution, halfway between art and craft. Enzo Catellani’s

lighting creations are objects with a soul, which reveal the importance and unique qualities of a product made ‘by hand’.

The distinctive and personal approach to design, together with the advanced research in the field of technology is what makes the company one of the leading brands in the lighting sector.

The team is driven by passion, acting before designing, and making experiments with light. The workshop is a space where each element is studied to free creativity, breaking down any barriers to it; this is how vortex of light sources come to life and put in a new and bold structure. This whole process is strictly made by craftsman’s hands, skilfully guided by inventors’ minds and vision.

Catellani & Smith gives a voice and spirit to its creations, transforming them into objects that can speak and interact with their users and environments. Production uses exclusively artisanal methods, which represent the cornerstone of the brands values and identity. That is why each lamp is one of a kind shaped by the hands of an artist with all the imperfections that go with it. Attention is the keyword that describes the approach taken during all phases of the lamps’ construction, right up to the finished packaging.

The soul of Catellani & Smith lamps is the fruit of the passion and dedication of a company made up of people with values linked to tradition alongside technology looking to the future without compromising its identity.

ABOUT

Light Design Solutions specialises in lighting design, focusing on innovative and cost effective solutions.

For more information on LDS, visit www.lds.com.mt; call +356 2149 6843

MITĦNA TA’ GANU: THE RESTORATION

The Gabriel Caruana Foundation was awarded funds to implement the SKOPRI project, through the Post-Pandemic Support Scheme for Cultural Heritage by the Ministry for The National Heritage, The Arts And Local Government

Words by Raffaella Zammit (Executive Director Gabriel Caruana Foundation) and Perit Gaston Camilleri (Partner TBA Periti)

The birth of the Gabriel Caruana Foundation was the natural progression of a lifetime that Gabriel Caruana had dedicated to art. With a rich artistic programme, supporting emerging artists, collaborating with different communities, the Gabriel Caruana Foundation is on a mission to rehabilitate and restore the Mitħna ta’ Ganu, housing The Mill - Art, Culture and Crafts Centre. The Mill is a unique Grade I Scheduled building that stands singularly on the busy street of Naxxar Road, Birkirkara. The Mill has been subject to a yearlong research project, SKOPRI, led by Gabriel Caruana Foundation in collaboration with a number of professionals who have been engaged to assess numerous aspects of the rehabilitation process. TBA Periti have been tasked with assessing the structural condition of the property, to propose a restoration methodology for the building fabric, and together with Galea Curmi Engineers, advise on the approach for the building services installation, which is always a challenge in buildings of this type.

PHOTO BY ELISA VON BROCKDORFF:

NIMXU MIXJA COMMUNITY

In 1990 the mill was transformed by the late modernist and contemporary artist Gabriel Caruana, MQR (1929 - 2018) into a contemporary art, cultural and crafts centre

Mill exhibition

Photo credit: Elisa Von Brockdorff

This humble yet imposing building was initially built in 1724 by Grandmaster Manoel de Vilhena to serve the growing population of Birkirkara. A first floor was added around 1860, resulting in two distinct building methods. The ground floor, which has high ceilings, has its roofs composed of arches which support stone slabs, whereas the first floor has lower ceilings composed of timber beams supporting stone slabs. The Ganu windmill was used until 1929 to mill a blend of flour of locally sourced wheat and barley, known as tal-Maħlut, considered back then of inferior quality. The area around the Mill is in fact recorded on maps as agricultural land known as tal-Maħlut. With centuries of land use changes the area is now a mixture of urban dwellings, commercial outlets, and busy commutes in this bustling town centre. As part of SKOPRI, studies by Conservator Nathalie Debono on wall paintings found on the first floor indicate the different leases and potential uses over the last 150 years. After ceasing operations the mill became a residence for multiple families, each living in one of the rooms. For a while up until the 1970s it was used by a blacksmith until this was restored by the Government Works Department in the mid-1980’s. From archival research carried out by the Foundation these works included the part reconstruction of the centrally located spiral staircase and the provision of water and electricity.

In 1990 the mill was transformed by the late modernist and contemporary artist Gabriel Caruana, MQR (19292018) into a contemporary art, cultural and crafts centre. Further structural renovations were carried out in the mid-1990s by England and England with the reopening of a blocked window on the façade of the Mill. In 2012, the windmill was confirmed as a Grade 1 Scheduled Building.

The use of The Mill as an art, culture and crafts centre is the departure point for the Gabriel Caruana Foundation. Since its founding in 2016, the Foundation has worked towards ensuring that the legendary creative energy of Gabriel Caruana continues to inspire artists, students, children and different communities. Moreover his diverse contributions to modern and contemporary art are researched and communicated through different means and media. This unique venue, which has various spaces with the potential to allow for multiple uses, is important for the Foundation to achieve this goal. The layout, although relatively small and organised on two floors with the rooms all interlinking and surrounding the copious central staircase, is used interchangeably as exhibition space, workshop spaces, offices and storage space. True to its origins the Foundation has collaborated with over a hundred artists and creative practitioners in the last six years proposing numerous artistic and creative projects, exhibitions and related events. Being able to offer creative artistic workshops to different communities in such an inspiring

and significant setting is an important and crucial aspect of the Foundation’s work and engagement process. Therefore the different uses and the ability to shift from one use to the other has been the subject of studies through the SKOPRI project. Working with Toni Attard of Culture Venture has allowed a refining of the Foundation’s operations and the creative sustainable strategy employed by the Foundation.

The building fabric, which as explained above is between 150 and 300 years old, will be restored, both internally and externally. What is of particular interest and different to other restoration jobs, is that the

envisaged restoration works, apart from being sensitive to the actual masonry fabric, have to be respectful and conscious of Caruana’s energy, that can still be felt in his physical absence. The artworks and fragments which Caruana inserted and merged with the masonry fabric, are also of immense value and are to be preserved.

SKOPRI also allowed the Foundation to continue its archiving efforts, where over 200 artworks are being documented, led by the Foundation’s Curator Elyse Tonna and a team of volunteers. This was considered essential to take a snapshot of how Gabriel Caruana and The Mill contributed to the accessibility of modern and contemporary art, by providing a space for hundreds

Conservator Nathalie Debono

Workshop at the Mill

Photo credit: Elyse Tonna

of artists to exhibit since the 1990s. The remarkable and unique juxtaposition of the vernacular building and the contemporary works of art, excite the senses and intrigue the minds, as well as offering a challenge in terms of espousing regenerative architectural principles.

The restoration works also include sustainable interventions to improve the level of comfort within the building, the existing walls, which are relatively thick, provide sufficient insulation (thermal mass), however the roofs, which consist of a deffun finish, are relatively thin, and are a large source of heat gain and heat loss. For this reason, the intention is to install a green roof, which is reversible, since this will be placed above the existing roof. This is being led by Architect Antoine Gatt. The green roof, apart from providing an ecological stepping stone in an urban environment, also provides insulation, since this creates a barrier and vented gap/cavity above the existing roof. In fact, to ensure that this is possible all the timber beams have been tested, by Joseph Aquilina (of Queen’s Furniture) and duly graded, so that their structural capacity could be calculated. This exercise will determine whether the beams are capable of withstanding the envisaged load in their current state, or whether these need to be duly strengthened. In addition to the green roof, all the rainwater is to be directed into the existing water reservoir beneath the Mill. This will be used as second class water to service the W.C. and also used for the upkeep of the green roof. Lastly, the timber apertures will be replaced with double glazed apertures, since today the existing apertures are single glazing and are a large source of heat gain.

Apart from the restoration challenges as outlined above, another major challenge is that of the insertion of building services into a 18th century vernacular building, which is complemented with Caruana’s art throughout the building. The building fabric (walls and floors) was at times Caruana’s canvas. The engineers, Galea Curmi, together with TBA Periti, have been working on various options and solutions. Great care and detail are being taken to study the building to ensure that the service installations are sensitive.

The Gabriel Caruana Foundation was awarded funds to implement the SKOPRI project, through the Post-Pandemic Support Scheme for Cultural Heritage by the Ministry for The National Heritage, The Arts And Local Government. This has allowed the Foundation to take this regenerative approach forward, ensuring that the rehabilitation of the building fabric and the use of this unique and significant space can continue to inspire future generations. An exhibition presenting the findings and proposals of SKOPRI will be launched in January 2023 at The Mill - Art, Culture and Crafts Centre.

For further information about the Gabriel Caruana Foundation (VO1236) and to support this non-profit organisation visit www.gabrielcaruanafoundation.org

Mill interior

Photo credit: Elisa Von Brockdorff

Mill exhibition

Photo credit: Elisa Von Brockdorff

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