LIKE FATHER, LIKE SON

Interview with Paul Camilleri and Matias Camilleri de Marco

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 –

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 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.

Introducing the Pietra Kode Collection: the Italian stones of yesteryear recoded by DEKTON for contemporary architecture and design