Architecture & Design Issue 8

& ARCHITECTURE DESIGN

Gracing the cover of the magazine is the facade of St Rita Cloister in St Julian’s, an MASP nominated project by Paul Camilleri and Associates in the category of conservation and rehabilitiation. According to Perit Camilleri, it is “ the clean, methodical, correct ‘no-frills’ physical restoration of the building and its rehabilitation into a peaceful ‘oasis’ located within an area of frenetic activity surrounded by a completely different architectural idiom” that sets this project apart.

Camilleri’s work has been showcased beyond these shores as is the case with the 22-storey ‘Saudi Ports

Authority’ building and the construction of the ‘Gulf Cooperation Council’ (GCC) conference centre in the Riyadh Diplomatic Quarters in Saudi Arabia.

In this edition we meet up with the man behind the firm, Perit Paul Camilleri himself and his son

Perit Matias Camilleri de Marco, who has followed in his father’s footsteps. We speak to them about the inspirations they held along the years, which projects they’re most proud of, which Malta architecture pleases them and which hurts.

This and so much more in another edition of Architecture & Design.

Photo credit: Michael Callejja

PA FUNDS NEW EDUCATIONAL CENTRE ON FOOTPRINT OF FORMER ATTARD RAILWAY STATION

The Planning Authority and the European Regional and Development Fund will be financing the new Education Centre, which will include a library, reading area and public convenience facilities.

The community of Attard will soon benefit from a new cultural and educational centre, which is being built on the original footprint and recalling past proportions of the former railway station at Ġnien L-Istazzjon in Attard. This centre, which is being financed by the Planning Authority (PA) and the European Regional and Development Fund, will not only enhance the visitors’ experience to this public open space but will serve as a reminder of the Malta railway line, part of which still exists close to this garden.

The Educational Centre for which the PA will be financing close to €200,000 through its Development Planning Fund (DPF) will include a library, reading area and public convenience facilities. The building will be finished in fair-faced limestone and white ender, with timber and aluminium glazed apertures. A wrought iron canopy will be installed in front of the building to recall the late nineteenth century station building which served to provide shelter to waiting passengers over the front part of the platform.

Ġnien l-Istazzjon was the principal train station for Attard village forming part of the Malta Railway system (Il-Vapur ta’ l-Art) which operated between 1883 and

1931. The station building was reportedly destroyed during the Second World War.

Mr Oliver Magro Executive Chairperson of the Planning Authority said “this project will not only enhance the public open space of Gnien l-Istazzjon but will resourceful serve to help us recall our past heritage and link it with our future.” Mr Magro added that “the Authority supported this project holistically. Back in 2020, the PA contributed over €145,000 to partially fund the restoration and conservation of the almost 400metres Attard embankment structure which is a substantial survivor of the Malta railway line. Besides the remaining former railway stations and tunnels, this engineered structure, is no doubt, the most important surviving architecture associated with Malta’s transportation heritage.”

Mr Magro commended the vision and work of the Attard local council that is responsible for the implementation of this project.

The Minister for Public Works and Planning Stefan Zrinzo Azzopardi said that this project can be considered another example of how funds from

the Development Planning Fund (DPF) are being used to beautify this space.

Minister Zrinzo Azzopardi said, “it is a pleasure for me to see such initiatives by the Local Councils so that, with the help of these funds, we can continue to look after another part of our heritage.” The Minister ended his speech by saying that he looks forward to more similar projects that continue to renew the Government’s work in favour of the conservation of cultural and environmental heritage and the wise and structured use of public funds.

Parliamentary Secretary for European Funds Chris Bonett said that this project is being done with an investment of €747,000, of which €514,000, are EU funds from the European Regional Development Fund 2020. Dr. Bonett said that this is an important project with the aim of offering a more competitive cultural tourist product within the urban core of the Three historic Villages.

Attard Mayor Mr Stefan Cordina said “this garden contains beautiful memories of the Railway Station and therefore it was appropriate to have a tangible symbol of a transport system that unfortunately was taken away from us because of the war. This ambitious project which is now at an advanced stage has the potential to become a space where locals and tourists alike may learn more about the rich cultural assets and stories that the localities of Ħ’Attard, Ħal-Lija and ĦalBalzan have and share in common.”

The Malta Railway was inaugurated on the 28th February 1883. The line started from Valletta to the old capital city of Mdina at a length of nearly 7 miles. There were six stations along the route which were Valletta, Hamrun, Birkirkara, Attard, Rabat and Mtarfa. The railway passenger train made its last journey on the 31st March 1931.

Reception

LIKE FATHER, LIKE SON

Interview with Paul Camilleri and Matias Camilleri de Marco

Father-son architect duo speak to us about their shared eye for design, their road to success and their contributions to Malta’s architecture

WHAT ARE YOUR EARLIEST MEMORIES OF ARCHITECTURE?

Matias : My earliest memories of architecture are Saturday site visits with my father and building Playmobil houses with the pieces my father would gift me from time to time.

Paul: Same as with Matias, as a 14 year old, my earliest memories are accompanying my father to a large tourist development, designed by Richard England, which was then being built by foreign investors and which my father was managing on their behalf.

HOW WOULD YOU DESCRIBE YOUR WORK?

Both: We strive to evolve with time as the times necessitate us to do so to stay relevant. We have retained our pragmatic, no-frills approach and have started to apply it in a more holistic manner since clients’ needs and wants have increased and changed over time due to increased awareness of construction related issues and increased technology.

Paul: Pragmatic, site-specific, client-requirement approach translated into a sustainable allencompassing design

Matias: I am noticing an increased need for a fuller and more immersive experience with clients. Sites are getting smaller whilst competition is getting stiffer. There is therefore a need to offer that extra service that is becoming expected. Everyone has Pinterest and Instagram and all want to achieve that designed aesthetic regardless of their budget.

Achieving this, particularly in a fragmented market like Malta can be daunting. To this end I am offering more to each project, including interiors and management. This has been very challenging but also very rewarding as the time and intimacy spent with each client increases dramatically. Despite the stressful moments, I am convinced that the final product is of better quality since there is a common end goal from the moment an application is submitted to the planning authority.

My work may be described as pragmatic which I’ve inherited from my father with an old school approach to client and contractor relations with a more contemporary approach to interiors.

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

Paul: My career has evolved seamlessly over the years. I do not recall any singular milestone which may have defined this evolvement. My career has evolved step by step, but looking back; my personal approach has not changed insofar as the commitment to understanding and delivering projects which

address the diverse and particular requirements has remained the same despite the evolvement of society and its expectations.

to completing a project.

WHAT LED TO YOUR BIGGEST SUCCESS AS AN ARCHITECT?

Paul: Listening carefully to and interpreting correctly what the clients’ requirements are, rather than imposing; subsequently merging such requirements into an all-encompassing sustainable design.

Matias: In my case it was always remembering to not squander the massive advantage I have of having a veteran Architect like my father by my side whilst at the same time being given the space to create my own work. I have been able to pitch for some decent projects and I am very optimistic for the future.

WHAT INSPIRED YOU TO START YOUR OWN BUSINESS?

Paul: After 10 years of studying and working abroad, earlier on in my career, having returned to Malta, I opted to start off on my own, putting into practice what I had learnt abroad.

Matias: Whilst I am in my father’s office, the most valuable asset I am inheriting is experience but at the same time I am creating and carving a character and environment that I would like to carry on working within.

WHAT HAVE YOU BROUGHT TO ARCHITECTURE IN MALTA?

Paul: I believe that such a question should be responded to, by others !

WHAT HAS BEEN THE HIGHLIGHT OF YOUR CAREER SO FAR?

Matias: I always loved all aspects of being a Maltese ‘Perit’, taking great pride in being able to handle diverse situations from Planning Applications, valuations, structural analysis, and architectural design. Whilst I feel it is imperative to be able to manage all these situations diligently, I am now trying to focus on doing the things that I’m massively passionate about and that is largely Design and Conservation.

Despite being in the industry for just over ten years and have come a long way from my earlier days, this career has a lovely way of showing me how much more there is always to learn. It may sometimes feel overwhelming but it is mostly exhilarating.

Completing my own home was a major turning point in my approach to architecture. It is the first instant when you are client and architect at the same time and it was an extremely formative experience which helped me empathise much more significantly with my clients after enduring the same anxieties related

Paul: There have been various highlights over the years, one of which being the three ‘Din l-Art Helwa’ awards for two of our projects and namely the Lombard Bank ‘Palazzo Spinola’ annexe in Triq San Federiku, Valletta and the ‘Malta at War Museum and underground War shelters’ at Couvre Port, Birgu.

For the former project, in 2010, we won two awards and namely the ‘PRIX D’HONNEUR (Category B)’ and the ‘Silver Medal’ as the overall winner in all categories “for the outstanding and significant contribution to Maltese Cultural Heritage and to the achievement of architectural excellence in Malta through the admirable conservation and re-use of the Palazzo Spinola annex – a work of the very highest standards of restoration, conservation and reuse”

For the latter project, in 2012, we were awarded a ‘Diploma (Category C)’ “for the outstanding contribution to Maltese Cultural Heritage and to the achievement of architectural excellence in Malta for the admirable restoration and conservation of the ‘Malta at War Museum’ and underground War shelters at Couvre Port, Vittoriosa by Fondazzjoni Wirt Artna –

The dilemma which architects are facing is that of reconciling what should actually be done on a site with what is actually allowed by the Parliament approved Local Plans; what the clients think are their legitimate expectations based on current legislation versus what is actually correct for that site.

INIALA HOTEL INTERIOR: A-CERO ARCHITECTURE

a work of the very highest standards of restoration and conservation”

The significance of such awards is that our efforts and contribution in restoring and reviving such historic, heritage buildings are recognised by eminent peers and heritage experts; which is humbling and yet at the same time gives one that confidence that the approach undertaken on such projects is being recognised as being the valid one.

The other highlight is that of the design for the 43-storey ‘Medina Towers’ mixed-use building in Tripoli, Libya designed in collaboration with Periti Aaron Abela and Daniel Scerri, which was the project chosen from among five other competing designs by international architects. Unfortunately this project has not been constructed due to the troubles in Libya.

CAN YOU COMMENT ON SOME OF YOUR RECENT PROJECTS?

Both: We are fortunate to be handling a diverse portfolio of works from the ‘Playmobil’ factories and warehouses to boutique hotels, villas and rehabilitation/ restoration of buildings, the most important of which is

the restoration and conversion of St. Augustine Church and Convent in Valletta into an interpretation centre; including three museums.

WHAT ABOUT INTERNATIONAL ONES?

As mentioned above, my early career was spent abroad. I graduated in 1977 and worked for two years in a large Maltese architectural practice handling projects in Saudi Arabia; I was awarded a scholarship to continue my studies at the ‘Politecnico di Milano’ where I obtained my post-graduate degree.

Following this, I worked briefly in Italy, then Libya and in 1982 moved with my family to Riyadh, Saudi Arabia for six years. During this period, I was involved in two major projects; the construction of the 22-storey ‘Saudi Ports Authority’ building and the construction of the ‘Gulf Cooperation Council’ (GCC) conference centre in the Riyadh Diplomatic Quarters.

Having returned to Malta and started my private practice, together with an Italian architect friend of mine, Carlo Santini (who incidentally was one of the lead architects who designed the original Ta’ Cenc Hotel), we designed quite a few residential buildings

and complexes for private clients which we would handle from initial sketch phase, through working drawings to completion. This entailed regular visits to Saudi Arabia, which was very demanding due to the logistics of getting there and back and juggling the responsibility of the projects we were handling in Malta.

In 2008, as intimated above, I was asked to submit a design the design for the 43-storey ‘Medina Towers’ mixed-use building in Tripoli, Libya and we teamed up with Periti Aaron Abela and Daniel Scerri to design this project.

Currently we are not handling any international projects, but we are optimistic of soon landing a project in Saudi Arabia, where commercial activity is picking up again after a few years of very limited activity.

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

Paul: The projects I am most proud of the ones involving the rehabilitation of existing buildings, insofar as by definition, one is adopting one of the basic principles of sustainable design; as well as the new-builds which we have designed a-priori to sustainability principles, such as the two office buildings we designed in Smart City which, I believe, are the first buildings in Malta to obtain ‘LEED’ certification. I cannot identify a ‘least favourite project’, insofar as we give each project the input and energy required to achieve the desired outcome.

Matias: I am most proud of our rehabilitation projects, my favorite of which was the Iniala Hotel on St. Barbara Bastion, Valletta. We were the lead architects and we got to collaborate with some world class designers to make a great project happen. I feel like I grew up architecturally with this project as it was a labour of love of over eight years.

I am currently heavily involved in the architectural design/ renovation of a Palazzo in Qrendi with what I deem to be an exemplary client in so far as we are both on the same wavelength when it comes to respecting our architectural heritage. Even though it is not yet complete, I cannot wait to see the outcome but just like a good book, I will also be sad to close it.

I am grateful for the experience and knowledge gained from each project and therefore, identifying a least favorite project is not possible as the criteria

INIALA HOTEL FACADE MEDINA TOWER

PALAZZO SPINOLA

of satisfaction from a project are vast; ranging from the final aesthetic, the engineering prowess, the budget constraints as well as the relationship formed with clients and contractors.

ONE OF YOUR RECENT PROJECTS, ST. RITA CLOISTER, HAS BEEN NOMINATED FOR AN MASP AWARD IN THE CATEGORY OF CONSERVATION AND REHABILITATION. WHAT DO YOU THINK SET THIS PROJECT APART?

The clean, methodical, correct ‘no-frills’ physical restoration of a building and its rehabilitation into a peaceful ‘oasis’ located within an area of frenetic activity surrounded by a completely different architectural idiom.

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

Paul: I believe that an answer to this question cannot be realistically answered in a few words; insofar as the context of each project is never the same. Architecture has always and invariably courted controversy be it the Centre Pompidou in Paris or the Parliament building in Valletta. Essentially, assessments are subjective ones. Has an intervention on an old building been too radical? I believe there are various examples of successful architecture interventions on old buildings; among which AP’s Stock Exchange building in Valletta and ‘Demicoli & Associates’ Middle Sea office conversion in the Mall, Floriana.

Matias: I am very much in agreement with my father’s comments. With such a long and rich history it is pertinent to note that even places like Mdina and Valletta host a myriad of architectural styles from different periods. There is only one common thread that runs through the whole fabric and that is that they have been created with pride and intent. To this end conservation and renovation should always come first, though when it is necessary, a contemporary approach could be very welcome. This doesn’t necessarily need to be radical. Blending in is also an art but it is my opinion that there is no need to copy or build in a style that is no longer contemporary as it makes a mockery of all the sacrifices our forefathers made for us to arrive here.

WHAT CURRENT MALTA ARCHITECTURE PLEASES YOU AND WHAT HURTS?

Paul: The dilemma which architects are facing is that of reconciling what should actually be done on a site with what is actually allowed by the Parliament approved Local Plans – what the clients think are their legitimate expectations based on current legislation versus what is actually correct for that site. This is what is at the root of what current Malta architecture pleases us and what

hurts. It is only with a wholesale, comprehensive and radical re-think of current Legislation that such issues may be addressed.

Matias: I am very optimistic for Maltese architecture and design as I see some of the works of my contemporaries who are making the most out of their projects. I think the best outcomes are being seen in Villa design and historic renovations. The part that hurts is what appears to be soulless and without intent. As my father has intimated, and I am sure many architects also feel the same way, the planning and construction process in Malta can be so laborious that it may be easy to forget that our primary mission is to create pleasure from form.

CAN YOU NAME A FEW BUILDINGS THAT SHOULD BE ON THE ‘TRAVEL LIST’ OF YOUNG AND UPCOMING, BUT ALSO ESTABLISHED ARCHITECTS. The following is a list of buildings we feel are landmarks in their fields.

1. The Taj Mahal, Agra, India - This beautiful mausoleum, built in the 17th century, is a stunning example of Mughal architecture and a testament to the enduring power of love.

2. Guggenheim Museum Bilbao, Spain - Designed by Frank Gehry, this museum is considered a masterpiece of contemporary architecture.

3. Louvre Pyramid, Paris, France - Designed by I.M. Pei, this iconic pyramid structure has become a symbol of the Louvre Museum and an important landmark in Paris.

4. Sydney Opera House, Sydney, Australia - Designed by Jørn Utzon, this iconic building is a UNESCO World Heritage Site and a masterpiece of modern architecture.

5. Fallingwater, Pennsylvania, USA - Designed by Frank Lloyd Wright, this stunning house is considered a masterpiece of organic architecture and a symbol of Wright’s innovative design philosophy.

6. Walt Disney Concert Hall, Los Angeles, USADesigned by Frank Gehry, this spectacular concert hall is a shining example of Gehry’s signature style of sculptural, organic forms.

WHAT’S NEXT?

We are very excited to be working on the rehabilitation and renovation of two magnificent palazzos which are both in different stages of design and construction as well as a larger scale commercial project we hope to be announcing shortly.

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

Having contributed to conserving the nation’s past, and, at the same time, having contributed to shaping the nations’ future.

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The Vicenza Kode series features four warm and versatile colours that reinterpret the classic stone’s code. The neutral tones and rich designs blend perfectly with cream, wood, and taupe palettes.

Halmann Vella Introduces Dekton’s New Pietra Kode Collection

The Travertine Kode series pays homage to the stone that built Rome and features two elegant designs with nuances that evoke the sobriety of classic style.

Finally, the Ceppo Kode series reinterprets the beauty of Ceppo di Gré stone, a favourite in Milan architecture, to create spaces that connect us with nature. Its distinctive blue-grey multiform structure inspires its unique colour, which is ideal for both indoor and outdoor applications.

Overall, the Pietra Kode collection by Cosentino Group is a testament to the ingenuity of modern technology and the timeless beauty of classic Italian stones. It is a stunning achievement that is sure to inspire architects and designers alike.

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This collection is for those inspired by classical art and Renaissance architecture.

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The Collection:

VICENZA KODE SERIES

VK01 Nebbia is inspired by the texture of Grigio Alpi, with a fine-grained white creamy base dotted with warm taupe hues.

VK02 Avorio features a light beige shade in an extremely natural finish inspired by the eponymous Avorio stone, an Italian material characterised by the presence of fossil shells.

VK03 Grigio boasts a grey colour scheme and warm nuances. VK03 Grigio draws its inspiration from Grigio Alpi, made popular by the Renaissance architect Andrea Palladio, who used it in his villas and palaces in the Veneto region. It blends perfectly with creams, woods, and taupe colours.

VK04 Grafite combines a mix of black and grey interspersed with whitish and reddish cloudlike patches, channelling the texture of dark, fine-grained limestone.

TRAVERTINE KODE SERIES

TK05 Sabbia reinterprets Italian Travertine, cut with a vein in its thread that flows through the pieces in a disorderly and colourful way making it perfect for rustic or natural environments.

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CEPPO KODE SERIES

CK07 Ceppo The distinctive blue-grey multiform structure of the Italian Ceppo di Gré stone inspires this unique colour. An unmistakable pebbled pattern that is ideal for both indoors and outdoors and whose timeless design makes it a perfect choice for a classic or modern look.

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NURSERY DECOR:

TIPS FOR DESIGNING THE ULTIMATE BABY’S ROOM

Words By Enrica deGabriele, Interior Designer Photography: James Bianchi

Baby nurseries have quickly become one of my favourite rooms to design, they hold a particular youthfulness and joy with a vision of hope for children’s futures. Designing my daughter’s nursery was always a dream of mine, so understandably, it was a highlight of my pregnancy journey to sit in the empty room and envision a space that would inspire her and give her a sense of comfort.

The wallpaper is probably what inspired the theme and style of the entire room. It’s a William Morris print called The Strawberry Thief, which I thought would contribute to creating a joyful and exciting theme to the room. I loved the colour combination which served as a foundation for the rest of the space but especially loved the naive image of the birds holding strawberries in their mouths.

The following are a few tips to keep in mind, that I also used when designing my own daughter’s nursery.

Choose a protagonist

Choose a protagonist that will serve as a foundation for the room, one that will inspire and create a sense of youthfulness in a way that will age with the child. The wallpaper was mine in this case. Rather than using the wallpaper from floor to ceiling, I opted for a block colour on the bottom half and dividing the two treatments with mouldings. This brings me to my next point.

Accessibility and safety

I believe that accessibility and safety is priority in a nursery and it’s one of the reasons why I chose to have the bottom half of the walls in a block colour; To be able to hang low lying book shelves for my child to pick her own books and allow her to display her future artwork. We want children to feel safe and comfortable in their rooms with minimal possibility of getting injured - this is why I decided to leave the centre of the room quite spacious and lay a rug to give my daughter the freedom to crawl around and play with her toys with no furniture blocking the way.

Storage

Storage is another critical feature to have in a nursery. No-one prepares you for the amount of toys a child will have, even if you try to keep it minimal. Storage in the sense of pretty baskets for the smaller toys or stuffed animals that marry well with the aesthetic, the bottom part of the wardrobe to be used to store away larger toys that may not fit anywhere else in the room but still remain accessible to the child. Some toys do fit in really nicely and I love decorating the room with items that make it more youthful and fun.

Ultimate goal

The ultimate goal to designing a nursery or child’s room is to curate a space that ages well throughout childhood, one that the child enjoys spending time in and aids their development. Remember to choose an element that paves the way to designing the rest of the space; this not only makes the process easier but gives the room something unique and personal too.

FORTRESS GARDENS: WHERE LUXURY MEETS SEA

Interior Concepts

The apartments are designed with generous glazed sliding doors and high ceilings to provide a light and airy environment. The interior finishes use a natural, clean, and neutral palette of materials which appeal to a range of clients with varying styles and tastes.

Penthouse Floors

Five penthouses are provided across the upper floors where the building steps back, providing generous south facing terraces with swimming pools and views towards Valletta and out to sea. Living areas for penthouses are oriented with sea views while opening out to the terraces.

Tigné Point

The block, located on the north shore along the Garden Battery between Fort Tigne and Fort Cambridge is branded as Fortress Gardens. Developed over 16-floors the block comprises 63 luxury apartments and penthouses situated at one of Malta’s most exclusive addresses, Tigné Point, Sliema.

The Residential Block

The superstructure consists of a highly articulated stepped form to maximise shading and views, while providing stunning south facing roof terraces to the penthouse units on the upper levels. It was superbly designed by the London based architectural firm LOM Architecture and Design. The building massing is designed to reflect the structural grid of the building to convey a sense of verticality and slenderness. The building has a stepped profile to create a fitting conclusion to the Tigné Point development while also creating a distinct profile.

Arrival

Fortress Gardens is accessed from the south via a generous covered area providing protection and shading from the wind and sun. Residents and visitors will arrive at a comfortable lobby, manned by a concierge. The block also features a gym overlooking the Garden Battery for the exclusive use of the residents.

The building common areas have a palette of highquality materials which reflect the exterior facades with a combination of light porcelain floor tiles, and natural stone tile wall finishes. Bronze trim accents and rich walnut timber doors are used to compliment these features. The finishes in the lift lobbies on ground and upper floors will offer a warm, welcoming, and refined aesthetics for residents and their guests.

For those seeking the unique warmth of neighbourhood life with ease of movement and assured security, Fortress Gardens meets every need.

Tigné Point has been transformed over the last 20 years with the development of residential, leisure, retail and office accommodation focused around Pjazza Tigné. As part of this development the recently restored Garden Battery will be landscaped to create a new landscaped area for the enjoyment of residents and the public and the pedestrian links connecting Censu Xerri Street and Pjazza Tigné to the Sliema promenade will be created. This final phase of the development completes MIDI’s development of Tigné Point.

Further information about this development is available on www.fortressgardens.com.mt

The last stage of Tigné Point’s residential development is well underway with the superstructure expected to be completed by June

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MAKING YOUR LIGHT FLEXIBLE:

TRACK LIGHTING

load-bearing requirements, hi track profile is a further solution with a deeper profile. Different types of products can be inserted in the track having, the ability to create different effects; such as directional spotlights creating a focus, downlights creating a general light, wall washers creating a uniformity of light and also pendants creating a focus of light. Now you can also find emergency lights that are inserted in the track.

Since the invention of the incandescent lamp no product has revolutionised lighting design as much as the track lighting system. It is only track that releases light and luminaires from the constraints of fixed installation. It forms the basis for variable, flexible lighting design that adapts to the changing designs and uses of a room.

There are various types of tracks; 48v tracks for low voltage and universal tracks for main voltage. For indirect lighting and higher

Free up the alignment of your lighting from rigid mounting points and design freely. Tracks can be mounted almost anywhere: on ceilings, vertically on walls and even in furniture; flush mounted, surface mounted or suspended. There is also the facility to control the luminaires through Bluetooth (wireless) or Dali (wired).

With the availability of accessories, the track can be designed without restrictions, corner, X, T and flexible connectors enable diverse geometries. Not only to create

any shape desired but with today’s evolving technologies, the track can be use not only to supply luminaires but also to suspend pictures, signage and objects by using special hooks.

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Design:MODEL Project Management: David Grech

Photography:Alex Attard

LACE HOUSE,ZEJTUN

Lace house is a story of a couple and their dogs, who fell in love with the Maltese Islands and decided to make it their home. After viewing numerous properties, they were lovestruck by this beautiful wide fronted, well-proportioned building in Zejtun that had a good-sized back garden. This property was a period house that had enough space to accommodate all that they love; cooking, dogs, books, and film.

The house was in relatively good structural condition and the architect’s approach to the restoration focused on returning the building to its original state, while upgrading and extending the spaces to make them better suited to contemporary living.

In general, the ideology was to intervene with an architectural language that was silent and direct with a reduction of architectural elements and materiality using a basic palette of stone, steel and concrete. The interventions carried out include rationalising the back facade with the construction of two back wings of the property formed by small rooms to complete its symmetry and the construction of a recessed volume at roof level to complement an already existing volume divided by an existing staircase to the upper roof.

THE RESTORATION OF THE DOME OF THE CHURCH OF SAINT LAWRENCE

Eight decades after the destruction of the dome of the Collegiate church of Saint Lawrence during WWIII, the church’s dome has now been furnished with a new work of art that can be fully appreciated in all its glory — thanks to a lighting project entrusted to ESS.

The 350-year-old Collegiate Church of Saint Lawrence, once a conventual church for the Knights of Malta, is an integral part of Vittoriosa’s rich history. The church houses a collection of masterpieces by the renowned artist Matti Preti, adding to its cultural significance.

Following the extensive damage caused by a German air raid in 1941, the church had to completely rebuild the sacristy and the dome. The new dome, which was completed in 1954, lasted 67 years undecorated until the current artwork was commissioned by the Collegiate in 2019.

Based on the original artwork by Carlo Ignazio Cortiz, the Gozitan artist Manuel Farrugia was commissioned to depict a religious interpretation of the Knight’s victory in the Great Siege of Malta in 1565. The painting which decorates the inside of the dome is divided into two main parts - The sacred part which consists of the Sacred Mary along with Saint Lawrence and the other martyr Saints; and the other part which represents the Victory of the Great Siege of Malta, highlighting the role of the Maltese people in the victory.

Entrusted with illuminating this work of great workmanship, ESS had to pay attention to two main considerations in setting up the appropriate illumination for this delicate project. Respecting the architectural elements of the Church, ESS together with Arthur De Marco and his team made sure that there was no visible

wiring or large light fixtures that would interfere with the architectural elements of the historic Church, opting to hide the wiring discreetly on the ring beam footing of the dome.

Carrying out an intricate light study, which entailed a false rendering to analyse light distribution within the dome and cupola, the light fittings were positioned in order to choose the optimal spot.

The second important factor in this project was to choose the right light fitting: one that does not emit UV light, as it damages artwork. The light fitting chosen for this project - Orion by Ilmas was used due to its high colour rendering index of CRI>98, to ensure the colours used in the artwork are perceived as accurately as possible, enabling visitors to contemplate the artwork in all its magnificence. The dimmable function of the chosen light fitting allows the lighting to be controlled remotely to suit the needs of different ceremonies held in the church.

Inaugurated in 2021 by the Archbishop Monsignor Charles Scicluna, the project which was partially funded by Carmelo Busutill - the Archpriest of Vittoriosa, the collegiate church of Saint Lawrence is now finally restored to its former granduer.

Digital render demonstrating optimal position and angle beam for the light fittings

Orion by Ilmas

KEEPING MENTAL HEALTH IN MIND

Words By Nicole Turner, Interior Designer at Disinji

Mental health has been a hot topic in Malta in recent years, with growing awareness and advocacy efforts by various organisations. In 2018, the Maltese government also launched a national mental health strategy, which aims to improve mental health services, reduce stigma, and promote mental well-being for all citizens. The COVID19 pandemic has further highlighted the importance of mental health in Malta, with increased demand for mental health support services and initiatives.

In the past 20 years, mental health awareness has also evolved in the field of architecture, with a growing understanding of how the built environment can impact mental health and one’s wellbeing. In recent years, architects and designers have increasingly recognised such an impact. The focus has shifted towards creating spaces that promote emotional and mental wellness through features like natural light, greenery, calming colours and textures, and reduced noise pollution. There has also been a greater emphasis on designing spaces for individuals such as; mental health conditions, people within the spectrum and dementia, with a focus on creating accessible and supportive environments. We feel that this impact has begun to develop further within the local industry but strives to increase such awareness and emphasis.

Furthermore, the pandemic has led to a shift in people’s relationship with the outdoors, as nature became a support system for mental wellbeing during lockdowns. This has caused many to value outdoor spaces more than before, highlighting the need for designing spaces that are usable and accessible to all. The impact of the environment on emotions and behaviour has led to the emergence of fields such as Neuroarchitecture and Space Psychology. Designers and architects can make a significant impact on the user by considering emotions, healing, and happiness when designing spaces such as schools that encourage more creativity or working environments that make one feel fresh and focused.

The psychology of the colour theory has a long history and is recognised as an essential factor in architecture and interior design, as colours evoke spontaneous emotional reactions that can affect our mood. Therefore, exploring the impact of colour in all contexts is crucial. Ultimately, designing spaces with the well-being and happiness of users in

mind can lead to more positive experiences and a better quality of life.

Here, we build upon our previous discussions about incorporating green spaces in urban areas, sustainable interior design, and the influence of visual perception and colour in interior spaces on both the environment and human beings. Our focus will expand to explore the effects of spaces on mental health and individuals across the spectrum.

The recognition of the colour theory’s significance in architecture and interior design is due to its long-standing history. Colours evoke emotional reactions that have an impact on our mood. Therefore, it’s important to investigate the influence of colour in all contexts.

Neuroarchitecture and space psychology study the impact of architecture not only on the technical parameters of legalisation, ergonomics and sustainability, but subjective to the human brain and behaviour, aiming to create environments that promote emotion, well-being, and friendliness for all users.

Mental health and individuals within the spectrum were previously avoided topics, due to cultural beliefs, social stigma, and a lack of awareness and resources, but there has been a shift towards more open discussion. Designers and architects have a unique ability to create spaces that not only aesthetically and follow function but also influence occupants’ mental health through an understanding of how the environment can impact moods, needs, and behaviours.

How many times have you visited places that make you feel anxious, depressed, confused or on the contrary, overwhelmed and/or excited? With advancements in neuroscience, it’s becoming easier to understand how shapes, forms, colours and scales can influence human perception.

At our interior design studio, we promote spaces that encourage a positive mental health and wellbeing whilst promoting diversity. Our ambition is to design environments that are calming, supportive, and uplifting, with a focus on natural light, soothing colours, and comfortable textures. We believe that the built environment can have a powerful impact on mental health, and we are committed to creating spaces that foster a sense of safety, security, and peace. Our approach is inclusive and accessible,

Conservator Nathalie Debono

with a focus on designing spaces that are welcoming and supportive for all individuals, regardless of their needs or abilities. Overall, our goal is to create environments that promote healing, rejuvenation, and a sense of joy and wellbeing.

How can spaces affect our mental health?

Numerous studies have shown that interior design can have a significant impact on mental health by affecting mood, stress levels, and overall well-being. According to a study published in the Journal of Environmental Psychology, “exposure to nature and natural elements, such as daylight and plants, has been shown to enhance mood, decrease stress, and promote restoration.” (Joye, van den Berg, & Tack, 2019). The use of colours and lighting in interior design can also have an impact on mental health, with warm colours and natural lighting promoting relaxation and calmness, while bright and artificial lighting can cause stress and agitation. Overall, interior design plays a crucial role in creating spaces that promote positive mental health outcomes.

Design, art and architecture open up endless possibilities through innovation. It also leaves a mark on what has been acknowledged by incorporating thoughtful and intentional design elements, such as:

1. Lighting: Proper lighting can create a warm and inviting atmosphere, improve productivity and mood, and reduce eye strain. Natural lighting is preferred, but if it’s not possible, then artificial lighting that mimics natural light can be used.

2. Colours: Affect our emotions and mood. For example,

warm colours like red, orange, and yellow can create an energetic and lively environment, while cool colours like blue, green, and purple can create a calm and peaceful environment.

3. Furniture: Ergonomic furniture is essential to create a comfortable and supportive workspace. It can help to reduce physical discomfort and strain, which can lead to increased productivity and better overall well-being.

4. Indoor plants: Plants not only add aesthetic value to a space, but they also have numerous health benefits. They improve air quality, reduce stress levels, and increase productivity.

5. Accessibility: Designing spaces that are accessible to all individuals, regardless of physical ability, is crucial. Thoughtful design elements such as wheelchair ramps, wider doorways, and adjustable height desks can create a more inclusive and welcoming environment.

Incorporating these elements into interior design can have a significant impact on mental and physical wellbeing, creating spaces that are not only aesthetically pleasing but also promote health and wellness.

An architect and professor Jan Golembiewski, based in Sydney and founder of architectural practise Psychological Design, has shown that the neurological mechanism on the quality of external - environmentalstimuli impacts the symptoms of the severely mentally ill. The firm offers specialists in architecture that require a greater understanding of its inhabitants, including educational design, aged care, residential design and more. By designing positive environments for these

individuals, one can prevent unwanted behaviours. He is developing different design languages, enhancing spaces for those with anxiety, depression, bipolar disorder, post-traumatic stress, schizophrenia, autism and alzheimer’s. As Golembiewski states, “Design and architecture can create spaces that support and promote mental health and well-being.”

Furthermore, it’s not just the colour that helps the

wellbeing. The type of materials aligning with the five senses (taste, hearing, sight, smell and touch) that are being used in the space will also affect the individual.

Neuroscientists have discovered that thoughtful design choices, from flooring to lighting, can lead to a better way of living for those with mental health issues or on the autism spectrum. By incorporating inclusive and accessible design principles, individuals with disabilities, both visible and invisible, can benefit from spaces designed for their needs. Whether it’s ramps or elevators for wheelchair users or reducing overstimulation for those with sensory processing disorders, designing for diversity and accessibility is crucial for creating spaces that support and promote well-being.

Some of these benefits include:

- Connecting the user to the space.

- Safe space to grow and develop.

- Calming environments that assist in concentration and focus and decrease stress and anxiety.

-Enhance social interaction without risk.