Architecture & Design Issue 04 April 2022 by Architecture & Design

ARCHITECTURE ISSUE NO. 04 | APRIL 2022

DESIGN

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2 | Architecture & Design

“IN THE QUEST FOR GOOD ARCHITECTURAL QUALITY”

racing the cover of the magazine is the state-of-the-art Malta Life Sciences Park , a world-class research facility and digital hub designed by TBA Periti. Architecture & Design sits down with one of the three founding partners, Professor Alex Torpiano, who also happens to be the Dean of the Faculty for the Built Environment and Executive President of Din l-Art Ħelwa.

the past - but simply reflects greed, the greed that leads to buildings which are out of scale with their context, and which occupy all open spaces, because land is measured solely in terms of the possible return from development.”

He speaks to the magazine about his earliest memories of architecture, his take on modern buildings, his views and prospects.

This issue of the magazine also focuses on projects including the renovation of a charming town house in Żebbug and the MASP awards for Architecture and Interior Design. We even look into the importance of depth in interior design and design methods to add depth to living spaces, making rooms comfortable and attractive while changing the perception of the space.

“The real problem is that contemporary building does not reflect an aspiration to power, to prestige, to civi pride, to beauty, or to whatever was the motivation for building in

“My work, I hope, follows the logic of being true to the materials that one is using, and to the structural forms which are best suited to the particular project, in the quest for good architectural quality.”

PUBLISHED BY MediaToday Co Ltd

DISTRIBUTION Free with the MaltaToday

DESIGN Philippa Zammit

PUBLISHER AND REGISTERED EDITOR Saviour Balzan

SALES COORDINATOR Adriana Farrugia afarrugia@mediatoday.com.mt +356 2138 2741

REGISTERED ADDRESS MediaToday Co Ltd Vjal ir-Riħan San Gwann, Malta

CONTACT Philippa Zammit pzammit@mediatoday.com.mt COVER IMAGE Life Sciences Park, San Gwann by Sean Mallia

Architecture & Design | 3

CONTENTS 06

INTERVIEW WITH PROFS ALEX TORPIANO

DESIGN CONNECTIONS

24 A CHARMING RENOVATION

4 | Architecture & Design

MASP AWARDS

WELLBEING FIRST INITIATIVE

VISUAL AND COLOUR PERCEPTION

16 CONTEMPORARY VENETIAN ELEGANCE

22 THE LOUNGE CHAIR

30 EMERGENCY LIGHTING

08 16 25

Architecture & Design | 5

Photo by Sean Mallia

the archItect: ALEX TORPIANO Interview by Philippa Zammit

6 | Architecture & Design

WHAT ARE YOUR EARLIEST MEMORIES OF ARCHITECTURE? I think I must have been around eleven years old when, through a children’s ‘newspaper’, which had been recently launched, called ‘Look and Learn’, I discovered St.Michael’s Cathedral in Coventry, designed by Sir Basil Spence and built between 1956 and 1962, adjacent to the remains of the old Cathedral, which had been badly damaged by bombardment during the Second World War. I think that I decided I was going to become an architect because of that discovery. I remember writing a school essay, about what we wanted to become when we grow up, in which I actually “declared” that I wished to become an architect. Sir Basil Spence eventually settled in Malta, although, unfortunately, I never got to meet him. But for me, he remains one of the greats. The other architectural event which sticks in my memory is a visit to the Church of Manikata, during a typical Sunday drive with my parents, when the construction was not yet completely finished, (probably 1970 or 71), and was therefore quite raw and powerful. This church, designed by a young Richard England, won me over completely. HOW WOULD YOU DESCRIBE YOUR WORK? It is difficult to ‘describe’ one’s work. After I studied architecture, I studied structural engineering, and I suppose this preparation conditions my thinking. During the early years of my preparation, the widely held belief was that if you were good at architectural design, you could not be good at structural engineering, and vice-versa. However, I later discovered that this was not necessarily true, especially in the non-Anglo-Saxon tradition. Continental architect-engineers such as PierLuigi Nervi, or Robert Maillart, or Frei Otto, showed me that good structures were beautiful, and beautiful buildings need a clear structural logic. I therefore admire designers, such as Renzo Piano, Peter Rice, Ove Arup, whose work and philosophy bridge between architectural design and structural engineering. My work, I hope, follows the logic of being true to the materials that one is using, and to the structural forms which are best suited to the particular project, in the quest for good architectural quality. CAN YOU DESCRIBE YOUR ROLE IN DIN L-ART HELWA? AND WHAT CURRENT PROJECTS ARE YOU WORKING ON WITHIN THIS ORGANISATION? I am the Executive President, which means I am the legal representative, and one of the statutory officials of the organisation. I obviously set the

Agenda for, and chair, the meetings of the Council, and of the Executive Committee. Din l-Art Helwa has three main roles. First of all, it manages about 15 sites, which it had previously restored, and tries to make these sites available to the public. It also jointly manages another couple of sites, including the Park Majjistral. This depends on volunteers,

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My work, I hope, follows the logic of being true to the materials that one is using, and to the structural forms which are best suited to the particular project, in the quest for good architectural quality

”

who dedicate their time to their beloved sites. The second role is that of campaigning in favour of the preservation of our built and natural heritage, and against inappropriate development and policies. This is a laborious, and expensive, task, which starts from screening planning applications, filing objections, following the cases during determination, filing Tribunal appeals, or even going to Court, if we deem it appropriate. The third role is that of salvaging abandoned sites, raising money for their restoration and bringing the sites back to life. This depends on two things. The first, often the most difficult and one that takes longest, is that of getting a Guardianship title, which would then allow us to undertake the second - that of raising funds, from our corporate supporters and other sources, to undertake the work. After years of pushing, late last year we obtained the Guardianship of the so-called Australian

Bungalow, which is a timber structure, sadly badly deteriorated, which is a unique relic of the heyday of emigration to Australia. We have raised ca. 30% of the funds, already, but we need to start work in earnest, since the deterioration is proceeding very fast. A few years back we also asked for Guardianship of the Medieval Chapel of San Cir, limits of Rabat, but, although we have all the necessary approvals from the Ministry of Culture, the Superintendence of Cultural Heritage, and the Planning Authority, we are still waiting for the Lands Authority to approve. We have also expressed interest in a number of other sites, including the Cavallerizza, and the Wied Musa Battery, both in Mellieha, as well as Vendome Battery in Marsaxlokk - we are still at the beginning of a long process for these sites. In truth, Ii do not understand why it i us so difficult for the authorities to agree to allow us to restore such places, and to look after them. AS THE DEAN OF THE FACULTY FOR THE BUILT ENVIRONMENT, WHAT IS YOUR ROLE IN PREPARING TOMORROW’S ARCHITECTS FOR THE COUNTRY’S NEEDS IN THE BUILDING INDUSTRY? I have been Dean for nearly fourteen years, and over this period we have gone from a Faculty with two Departments, which offered one fiveyear bachelor degree course (in engineering and architecture), to a Faculty with seven Departments, ranging from Architecture and Urban Design, to Civil and Structural Engineering, to Conservation and Built Heritage, Construction and Property Management, Spatial Planning and Infrastructure, and others; and offering a range of professional and specialisation courses, at Bachelor and Master level, covering the whole gamut of disciplines impacting our built environment - hence the name of the Faculty that we adopted in 2010. This was my response to the country’s needs in an increasingly complex building industry. The logic behind all these changes was to create a system whereby students could appreciate the breadth of the skills required of the actors in the built environment, (architects, civil and structural engineers, planners, conservation professionals, project managers), and could hence choose their particular career path as they discovered, during their time at University, what role they wished to play. The Dean of the Faculty does not necessarily determine the design philosophies adopted by the Faculty students, but my role has been to create the space for students to find their own design

Architecture & Design | 7

Life Sciences Park, San Gwann

Farsons

8 | Architecture & Design

Valletta Waterfront

ICT Faculty Building

Dock No 1 Photo by Patrice Peyre

philosophy. My role has also been to select members of staff who could understand this vision, and who could continue to evolve the Faculty. I think that the Faculty of 2022 is completely different from that of 2008, and it will continue to change. WHAT IS YOUR TAKE ON MODERN BUILDINGS AND HOW DO THEY FIT INTO THE TRADITIONAL MALTESE BUILDING STYLES? This is a bit of a loaded question! Let us first of all address the words “traditional Maltese building style”. Our built legacy spans hundreds of years, and included many architectural ‘styles’ - Renaissance, Baroque, Neo-Classical, Neo-Gothic, Art Nouveau, Modernist as well as Regionalist - many of which styles have ‘lived happily’ next to each other. Which one of these styles is the traditional Maltese style? These are effectively styles that flourished all over Europe, and are not specifically Maltese. Or does the appellation apply to the vernacular, which is admittedly timeless - and hence arches, xorok, timber closed balconies, ‘balavostri’? Then we come to the words ‘modern buildings’. If by these words, you refer to the buildings that have characterised the last decade or two, a better term would be ‘contemporary building’ - but certainly not modern architecture. Indeed, most are not even architecture. And the problem is not that contemporary buildings have abandoned the use of stone masonry - which, admittedly, helped bind together all the styles mentioned before - but adopted concrete. The problem is not concrete. It is too facile to refer to a “concrete jungle”, where the term ‘concrete’ has a disparaging connotation. Indeed, some modernist buildings manage - as did the modern movement elsewhere in the world - to celebrate the use of concrete. Carlo Scarpa comes to mind in this regard. The real problem is that contemporary building does not reflect an aspiration to power, to prestige, to civi pride, to beauty, or to whatever was the motivation for building in the past - but simply reflects greed, the greed that leads to buildings which are out of scale with their context, and which occupy all open spaces, because land is measured solely in terms of the possible return from development. WHAT LED TO YOUR BIGGEST SUCCESS AS AN ARCHITECT? The question presumes that I have been successful as an architect. I am not the person who can judge my success or otherwise. I can only state that I have always strived very hard to give the best service I could to my clients, in my professional work, or to my students and staff, in the Faculty, honestly and

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Dar il-Hanin Samaritan meditaion garden. Photo credit Daniel Cilia

The real problem is that contemporary building does not reflect an aspiration to power, to prestige, to civi pride, to beauty, or to whatever was the motivation for building in the past - but simply reflects greed, the greed that leads to buildings which are out of scale with their context, and which occupy all open spaces, because land is measured solely in terms of the possible return from development

”

Architecture & Design | 9

professionally, never accepting the status quo. WHAT HAVE YOU BROUGHT TO ARCHITECTURE IN MALTA? Another difficult question! What makes you think I brought anything to architecture? Perhaps, I would feel more comfortable to say that I have contributed to changing the profession, the ‘perit’, to better respond to the contemporary needs of the industry. I suppose that I have been able to do this, given that I have been teaching for over forty years, and that I have also been involved in the ‘politics’ of the profession, through my membership (and presidency) of the Kamra tal-Periti - which culminated, after more than a ten-year saga, to a new law regulating the profession. Actually, I was involved both in the Periti Act of 2000, the first change since the 1919 Architects’ Ordnance, as well as in the new 2020 one. CAN YOU COMMENT ON SOME OF YOUR RECENT PROJECTS?

You have to appreciate that in my professional practice, projects are based on team work and collaboration. So, to talk of my recent projects, I have to talk of “our” recent projects. And our most important projects are always the current ones, irrespective of scale. The project that has been the centre of our work over the last couple of years is certainly the transformation of the old Farsons Brewery into a contemporary office space, and a monument to over 70 years of brewing by Malta’s foremost beer company. This is a project which we have been working on in collaboration with Ian Ritchie, and which is nearing completion. It is a project where architectural design, structural engineering, conservation and technical innovation combine to do what architecture is meant to do - create beautiful spaces, spaces which are beautiful to walk through, beautiful to work in, and beautiful to see. A legacy for the future. Another project completed in the last decade is the Life Sciences Park in San Gwann, which, I feel,is important because it redefined the quality of industrial

cum office buildings in Malta, in industrial areas. WHICH ARE THE PROJECTS YOU ARE MOST PROUD OF AND WHICH ARE YOUR LEAST FAVOURITE? My favourite projects are obviously those in which I had a leading role in both the architectural design and the structural engineering. The ICT building in the University of Malta is one such building, where the main material is glass and steel. I am also proud of the Mriehel BOV building, as well as of what is now the Transport Malta Administrative Centre in Mosta. I am also particularly proud of the main staircase, which is the centre piece of the Farsons Logistics Administration Extension, which we completed in 2018, and which won a Premju E.L.Galizia for Engineering Excellence. I am also proud of some structural engineering works which are not visible, such as the first reinforced concrete flat slab structures in Malta, in the Park Tower and Plaza projects, or the foundations of the steel arches of the Protective Covers over the Ħagar

Main staircase of Farsons Logistics Aministration Extension

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St Johns Co Cathedral: The new tapestry hall. Artist impression.

Qim and Mnajdra Prehistoric Temples, or the secant piling retaining wall structures at Farsons and in an underground sewage pumping station in Xemxija. I have never really thought about my least favourite. And, in any case, talking about a least favourite building is as bad as talking about a least favourite child. WHAT CURRENT MALTA ARCHITECTURE PLEASES YOU AND WHAT HURTS? Good architecture in Malta is thoughtful architecture, architecture which tries to go beyond building, and beyond the design of a facade. An architecture that exploits materials, light, shadow, space, to create places which people inhabit and enjoy. What hurts most is first of all ignoring scale, such the massive monoliths that are the result of the exploitation of every centimeter allowed by the planning guidance rule book. What hurts is the bland attempts at “innovation” with, for example, pointless inclined columns, that are

Mriehel BOV interior

born from the drawing of lines on a flat paper, or computer screen, without any understanding of architectural proportion, or detail or composition. What hurts is the complete insensitivity of building adjacent to buildings of quality, (not only heritage buildings), or in streets with character. What hurts is the downright poor quality of some speculative buildings, for example with tiny, steep, staircases, and inaccessible elevators, designed to simply exploit plots which are really too small for what is intended. You will note that I used the word exploit a number of times. Perhaps, this is what I hate most - the exploitation and banalisation of our profession, simply for someone to make more money. WHO DO YOU ADMIRE AND WHY? I am not sure whether you mean somebody in the architecture world, and particularly in Malta. The contemporary architect who I admire most is Renzo Piano. In Malta, I admire Richard England, not only for his early pioneering work, where he translated our vernacular motives into contemporary design, in a way so natural that lesser architects have blatantly plagiarised in an attempt to create “modern architecture” - but also because he continued to re-invent himself, ultimately showing that contemporary architecture, in Malta, and also based on stone, was possible. I also admire a number of young (and not so young) architects who have bravely set for themselves a high standard of work - There are many, but I would certainly like to mention the Valentinos, Chris Briffa, MODEL Architects, Archi+; and I am sure I am not doing justice to the many others who do excellent work. As a tutor in the Faculty for so many years, one thing I can attest to is that there is a lot of brilliant talent in our young professionals. Unfortunately, these talented professionals do not necessarily get as many commissions as others who are only interested in the process of obtaining planning permission and “building”. Speculative building is king, and the more popular architects are those who can delivery the most in the shortest possible time. This is why the quality of our urban environment is what it is. And this is why I believe that it should be mandatory, by law, for any publicly-funded project to be designed after an open design competition, as happens in other (perhaps more culturally aware) countries, so that the best talents have a chance to show their skills on a national scale, and this to the benefit on Malta and Gozo.

The Barrakka Lift

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MAsp awards:

CELEBRATING archItecture and InterIor desIgn IN MALTA The Malta Architecture and Spatial Planning Awards serve to give recognition to architects, interior designers, university students and any person who would have made an outstanding contribution over the years through research, education, theory or practice of architecture and the built environment

he Valletta Design Cluster, the Sterling HQ, the Imperial Residential Home and the Portomaso Laguna are some of the projects that took the top spots at the 2021 Malta Architecture and Spatial Planning (MASP) Awards.

The MASP Awards, which are held under the Patronage of the President of Malta aim to promote and give recognition to quality architectural and interior design projects that promise to leave a positive mark for decades to come. The awards celebrate the meticulous work and innovation of the people behind these iconic projects – from established professionals to graduating students. This year, the prestigious President’s Award was conferred to Perit Konrad Buhagiar for his outstanding contribution to the education, theory and practice of architecture and his distinguished lifetime service towards the profession.

12 | Architecture & Design

Interior Architecture Award for Residential Projects Winner 2021

The Rehabilitation and Conservation Award was won by the Restoration Directorate for the Valletta Design Cluster. This project is praiseworthy for the manner how a disused Grade 1 scheduled building within the heart of lower Valletta was rescued from obsolescence and given a new lease of life through sensitive adaptive reuse. The House for two sisters in Senglea by MODEL Architects and Ċentru Parrokkjali Santu Rokku in Valletta by Perit Silvienne Camilleri received a special commendation. AP Valletta won the Restoration Award for the Teatru Manoel in Valletta. This project illustrated that high-quality restoration can be achieved on the basis of extensive research into the history of the building as well as its socio-political and architectural context. One of the key components of the project was the reconstruction of the façade in accordance with the original façade drawing within the eighteenth-century Vilhena Cabreo. Here AP Valletta went further than mere reconstruction, but creatively suggested subtle changes to the facade to accommodate new elements which allow the façade to assume its historic prominence.

The restoration of the Belvedere in Lija by Perit Amanda De Giovanni and Concrete Water Tower in Marsa by Prof Perit Ruben Paul Borg were given a special commendation. The Sterling HQ building in San Gwann by Christian Spiteri Architects was the winner of the Design Award for Good Architecture, Building and Structure. Although located within an industrial estate, this high-quality contemporary building is an ambitious attempt to reverse the nondescript architecture that characterises such places. The design is a play on visual lightness and heaviness that required the solution of several design challenges through structural design acumen. Serving as a multifunctional space, the design has successfully addressed the client’s requirement for warehousing, manufacturing, exhibition spaces and offices within the same building. A special commendation within this category was given to MODEL Architects for House 51 in Sliema and EM Architects for OneOneO in Gzira. De Micoli & Associates won the Residential Architecture Award for the Portomaso Laguna. The

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The MASP Awards aim to promote and give recognition to quality architectural and interior design projects that promise to leave a positive mark for decades to come

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Design Award for Good Architecture, Building and Structure Award Winner 2021

Public Open Spaces Award Winner 2021

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Restoration Award Winner 2021

14 | Architecture & Design

project is a high-quality solution to a design brief that required the prioritisation of the waterside location. The project also showcases several energy efficient measures to minimise thermal transmittance through the building fabric including overhang shading to add support to the thermal performance of the specialised glass of the facades.

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Marian’s Place in St.Paul’s Bay by MODEL Architects & CVC Architecture Studio and Valuing the past/integrating the contemporary in Sliema by Studjurban received a special commendation.

The prestigious President’s Award was conferred to Perit Konrad Buhagiar for his outstanding contribution to the education, theory and practice of architecture and his distinguished lifetime service towards the profession

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The Public Open Space Award was won by Restoration directorate and Tetsuo Kondo Architects for the Roof Garden and Green Wall at the Valletta Design Cluster. The project is a flagship example of what can be achieved with vision and resilience and is now a new public green space in Valletta. The soft landscaping was extensively researched to provide a sensory experience to the visitor, reflecting the typical colours, scents and characteristics of the Mediterranean scrub. Chris Briffa Architects won the Commercial and Public Buildings Award for the SAW Factory and Offices in Qormi. Natural light, ventilation, thermal comfort, inspiring interiors and an iconic structure set to contrast with the industrial neighbourhood, were key factors in the innovative design. The Interior Architecture Award for Residential Projects was won by Daniel Scerri Periti for Change in Direction. This residential transformation project is a lesson in the re-imagination of an existing space to create a home that meets the client’s needs in a very personal manner. A special commendation was given to AP Valletta & MTGF Design Studio and Daniel Scerri Periti for a Valletta Townhouse and Zen in Żejtun respectively. 3DM Architecture were the winners of the Interior Architecture Award for Commercial & Public Buildings for their Portughes Outlet project in Swieqi. This project challenges the user to experience a new aesthetic for a laundromat, using untraditional colours through the use of contemporary materials in its design approach. The Maltese Office in Marsa by MODEL Architects was given a special commendation. University Architectural students Maria Bilocca and Mireille Tabone received the Urban Planning Concept Award. The project is an investigation of voids – forgotten, wasted or dead spaces within the industrial estate of Kordin, with the intent to activate the voids and rethink the food and material industries, and their waste. The concept was very well articulated and detailed, having insightful visualisations that reflect the depth of thought.

A special commendation was given to architecture student Thomas Mifsud for his concept project Water Archive and to Katrina Grech Mallia for her project ‘An antithesis to the Shifting Baseline Syndrome’. The Imperial Residential Home for the Elderly in Sliema by Foresite FS Design and MED Design received the Hospitality, Tourism Accommodation & Leisure Award. This project is an exemplary transformation of one of the oldest buildings in Sliema. With an architectural style which is in keeping with its use, the project accomplished the restoration of the original historic building while providing top notch facilities. The Architectural Photography Award was won by Rakel Vella. The winning image is a commendable abstract of the architectural subject due to the composition and visual impact of the photograph, with light and shade being used to highlight the straight lines of the building in the image. Perit Kurt Sammut Alessi was the winner of the Public Vote for his project 4, 6, 8, Tower Road.

For more information visit www.maspawards.com

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Contemporary Venetian Elegance LODES SINCE 1950 Previously known as Studio Italia Design, Venicebased Lodes completed a rebrand process in June 2020 — on the occasion of its 70th anniversary. Lodes has, since then, been heralding a new era of contemporary design celebrating the company’s manufacturing know-how and high-quality Made in Italy essence. The brand has been designing and producing lighting solutions for interiors and exteriors since 1950. Originating in founder Angelo Tosetto’s passion for glass and informed by continuous technological research, the company has evolved into one of Europe’s leading designers and manufacturers of decorative lighting, currently present in 90 markets worldwide.

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MEANINGFUL SOLUTIONS The brand proposes multiple canopies that are smart functional solutions as well as stand-out decorative elements for suspension lamps or wall fixtures. these provide an array of possibilities to personalise any space, whether domestic, commercial or public. LED TECHNOLOGY The brand offers line voltage and low voltage LED modules—efficient solutions to effectively provide the same light quality as halogen bulbs.

COLLECTIONS Lodes products strike a perfect balance between technical know–how and sophisticated aesthetics. Various cluster pendants can be composed together with the chosen canopy to create a lighting masterpiece. Apart from the cluster pendants, the product portfolio also encompasses suspended fittings, wall mounted fittings, table and floor lamps. Lodes has forged an exclusive partnership with ESS Ltd for the Maltese islands. Queries about the brand can be sent to info@ess.com.mt

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DESIGN CONNECTIONS. Words by Perit Alexandra Manche at Amanche Architecture

“Gian – insa li ha taghddi minn hemm” I hear another pedestrian bark from behind me. As I manoeuvre my way through one of the main squares in Birgu on my way to one of my local hangouts, lorries and cars are all claiming precious space in what was once a large pedestrian zone. Now the only seating area is squeezed into two of the peripheral parking spaces that block the ground floor tenements on the piazza. The people are secondary, and they feel it. With the importation of the car, Malta gradually moved away from the pedestrianisation of its village cores as the vehicle increasingly became the prime means of transportation – the tarmac was laid down and we all piled into our cars. Traffic has become the

bane of the whole population, yet ironically it is the population that uses the car to create that very same traffic. And we push back on pedestrianisation as a great inconvenience; the thought of walking to and fro experiencing the village has become a vestige of a different era or an absurd waste of time.

pedestrian pathways. Feeling that we have no choice but to drive, we have become reliant on our cars. Over the years, we have seen our European counterparts understand the errors of their ways and give priority to pedestrians over cars and re-establish pedestrian priority in their cities, yet we continue to

In his book The Image of The City, Kevin Lynch introduces and describes five elements - nodes, paths, districts, landmarks, and edges - that give shape to the mental representation of the city. Despite what research suggests, we seem to be ignoring all that leads to a solution and instead we are increasing the number of cars, widening our roads and erasing the paths that link the nodes that create an intrinsic part of our community. The place from where we buy our morning coffees, the barber, the lotto office, our pharmacy, the bars that we frequent or even that bookshop that we find ourselves browsing through even though we have an e-book reader – these may be some of your nodes – they are different for all of us. We have landmarks in common. “Meet me in the square.” “I’m in front of Parliament” “I left my car next to the police station”.

Vittoriosa Square

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These nodes and landmarks are linked by paths that enable us to navigate through towns, villages, and cities. With the widening of our roads and the annihilation of our pavements we are eliminating

Plaza de la Encarnación, Seville, Spain

widen our roads, reduce the width of our pavements, and increase on-street parking. I recently visited Seville. Today, its city centre is largely pedestrianised, but our guide explained that years before, the main thoroughfare, Avenida de la Constitución, was always lined with cars. It was only when two of the large columns in the main cathedral started to collapse due to the vibrations caused by traffic that the city was forced to deliberate on how to change the area and find an alternative. The introduction of a tram on three main routes, leaving the narrow winding streets in between them untouched, has alleviated traffic and given back the city to its people. Elsewhere in Spain, Barcelona introduced its first superblock in 1993 near the Basilica de Santa Maria del Mar in the historical neighbourhood of El Born. They then planned another two in Gràcia in 2005. Following their implementation research from their pilot projects started in 2014 has shown an increase in pedestrian trips by 10%. Seville’s urban planners seem to have taken the city block idea their compatriots had used and tweaked it to accommodate an organic city plan. You may be asking yourself what is a superblock and how does it work? Looking at the gridiron plan of Barcelona a “superblock or super-block is an area of urban land bounded by arterial roads that is the

size of multiple typically-sized city blocks. Within the superblock, the local road network, if any, is designed to serve local needs only.” The replacement of on-street parking by underground parking and the linking of landmarks with trams makes Seville easy to navigate – a car does not even seem like an option in these circumstances. Orange trees line the pavements, restaurant tables overflow onto the streets. People are out having drinks and talking – the city centre is a hive of activity and amidst all its history and culture is a large modern intervention; the Setas de Sevilla. It is what the Sevillians call “the mushrooms” that tower over one of their main, more modern squares making sure that the present is represented as much as the past. Have we lost this locally? The current perception is that we need green spaces – proposals to eliminate over-ground carparks in our villages or larger towns replacing them with green piazzas and parks are popping up over social media and the excitement of much of the population is evident. However, have these been thoroughly thought through? While it is no secret that we do need an increase in greenery and social space, introducing new nodes without joining them up with paths will possibly lead to more areas for crime and loitering, not to mention littering. Are we looking at our island as a whole or have

we just decided to put lipstick on a camel with the expectation that we have arrived at the solution to all our problems? There is a lot of talk currently about getting people to abandon the use of their cars and move towards walking and public transport – yet we fail to design for it. The size of our island can be likened to a European middle-sized city, Malta can be overlaid onto inner Paris and will be roughly the same size. It is pointless to have a green space – or a public space - if it is surrounded by carriageways and not easily accessible. On my arrival back to Malta the taxi driver took me through Marsa junction. As I looked at the manicured green areas in between the cars on the multiple carriageways, I thought of a recent Instagram post that a friend of mine had shared of him and his girlfriend lazily enjoying the sun surrounded by cars on the only green space which the government has really financed. Ironically the green space was probably present as a requisite to gain funding for the roads that block pedestrian access to isolated oases. It is a shame to have a green space if it is not easily accessible. As Jane Jacobs would say “There is no logic that can be superimposed on the city; people make it, and it is to them, not buildings, that we must fit our plans.”

Aerial view above of Barcelona superblocks

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WELLBEING FIRST INITIATIVE THE FIRST STEP TOWARDS TRANSFORMATION

The BCA announces that the Community Wellbeing First Initiative has come into effect. This initiative is part of an ongoing extensive reform of the building and construction sector to provide peace of mind to residents while continuing to strengthen the industry TRANSFORMATION - COMPLEX BUT ACHIEVABLE The Building and Construction Authority (BCA) is aspiring to drive the much-desired transformation of the sector in a staggered approach. Key to the successful transformation is the industry itself, with stakeholders expected to understand the current and future threats and ultimately embrace the opportunities, adapt and lead in time.

strangers to all of this, as people live, work, and socialise within the context of a building. Therefore, there is a need to ensure that our building stock improves in terms of quality and performance. WELLBEING FIRST - THE INITIAL STEP

As with all economic sectors, both the external and internal environment are continuously evolving, thus emphasising the need to adopt good practices and upscale standards. Analysing and studying consumer patterns and behaviour within the context of an economic sector is critical and therefore, any changes, especially those of a highly technical nature, need to be analysed from a socioeconomic point of view and explained adequately. This, together with constructive dialogue and consultations, becomes key towards the implementation of successful policies and regulations.

The goal here is to address the origin of multiple issues through a scenario whereby the industry is understanding and concurrently adapting new processes and practices and hence start detaching from what is traditionally accepted as the ‘norm’. Concurrently, industry would realise the benefits of change and should be able to not only to align itself but improve and progress within a continuous development context. Resistance to change is inevitable, especially given the industry’s attachment to traditional practices. The wellbeing first initiative is proof of this, as effectively what is considered an enhancement to an existing law within the context of the protection of a third party generates some resistance.

CLIMATE CHANGE - THE DOMINANT BASELINE

RISK ASSESSMENT – THE BASIS OF EVERYTHING

Specific to the building and construction sector, the scope to transform the industry is substantial, and this aminates from a combination of several reactive and proactive triggers. Without divulging in any way into the crucial urban planning aspects of the nation, it is true that climate change is a predominant factor to all of this, and this applies to all economic sectors. The change in consumer patterns and behaviour, as well as the introduction of new laws, regulations and standards, shall continue to shape the very basic principles of any market by impacting the supply and demand within our economic sectors. This also impacts the building and construction industry.

We are continuously risk assessing as the environment around us changes day by day. The Wellbeing First Initiative is promoting this notion and the importance to carry out risk assessment to drive adequate planning and the implementation of construction activities that in turn integrate mitigation measures to the risks identified. There are common benefits to all the stakeholders given that this essentially means the enhancement of the stakeholders’ chances to reach their objectives. On one hand, the third party has the right to continue to live and enjoy the property safely amongst other aspects. On the other hand, the owner of the property that is due to be developed has the right to ensure that the investment is realised.

Quality of life and wellbeing should be intrinsically ingrained within our societies. Improving the wellbeing of an individual means improving the chances for that individual to improve not only personally, but also improve the person’s social ‘bubble’ and society at large. This means that the individual’s surroundings, including one’s lifestyle, are also subject to improve concurrently as the person’s own capabilities improve. Buildings are no

The obligation of the developer is to draw up professional condition reports relative to the third-party properties that are anticipated to be affected by the development, as well as providing visibility to the interested third-party to the technical method statement. These ‘documents’ are essential as together these set the baseline prior to the commencement of works. Whilst the condition report

provides a snapshot of the property’s state of repair at that point in time, the method statement provides technical details that reflect how the development is intended to be executed taking into consideration the characteristics of both the property or site to be developed and the properties that fall within the affected zone. Providing visibility to the third parties relative to the affected zone broadens the chances for the developer to be able to capture any unknown characteristics that might have not been captured by the design team, and therefore this process technically enhances the chances to reduce assumptions and pre-plan any mitigation measures prior to the commencement of works. This may take the form of a combination of revised solutions; a mix of design and construction methodologies. In this way, the developer is securing certainty to his investment, both in terms of cost and the smooth execution of the development’s construction cycle. At the same time, the third party who may not be technically versed, has the option to appoint a professional of his or her choice to assist in such reviews. The process allows for the reimbursement of such costs (capped at a maximum of €500 per complex), which will be recovered by the third-party from the developer. As a result, the industry at large should benefit as the whole notion is to upscale standards that would mean a sector that has improved its reliability and credibility in the long term, as well as lowering costs through the benefits of improved processes and practices. This potential could possibly include minimising the ‘indirect costs’ paid today for a design that considers a high safety factor, costs related to redesign owing to several assumptions taken due to lack of data and analysis, and the connotation to insurance premiums and claims. Apart from this, one should also consider the cost related to delays and inconveniences as a result of any issues which may arise during construction works. The BCA believes that although the Wellbeing First Initiative is a snippet of the planned regulatory reform, this initiative is a small step towards the right direction and through which risk assessment is being guaranteed. For more information visit: www.bca.org.mt

Architecture & Design | 21

THE LOUNGE CHAIR

AN UPDATED VERSION OF THE OLD ENGLISH CLUB CHAIR

harles Eames was the man behind the development of the Lounge Chair, a process that took several years. ‘Why don’t we make an updated version of the old English club chair?’ This was his comment that initiated the project. The aim was to satisfy the desire for an amply proportioned chair that combined ultimate comfort with the highest quality materials and craftsmanship. The armchair designed by Charles and Ray Eames in 1956 set new standards: it is not only lighter, more elegant and more modern than the conventionally ponderous club chair –it is also more comfortable. Thanks to these qualities, the Lounge Chair became one of the most famous designs by Charles and Ray Eames and has attained the status of a classic in the history of modern furniture. Since the Lounge Chair first went into production, the average human height has increased worldwide by nearly 10 cm. In close coordination with the Eames Office, Vitra developed the new larger version so that taller people, too, can enjoy the same exceptional comfort that Charles and Ray Eames intended with their original 1956 design. According to their grandson, Eames Demetrios, rosewood was their favourite type of wood, and they wanted the Lounge Chair and Ottoman to have the ‘warm receptive look of a well-used baseball glove’. For 60 years Vitra has been the sole authorised manufacturer of the Eames Lounge Chair for markets in Europe and the Middle East; the American manufacturer Herman Miller is responsible for all other markets. The cooperation between Vitra and Charles & Ray Eames began in 1957 and continues today in close partnership with the Eames Office, which represents the Eames family. This ensures that every Lounge Chair gives its user the exact design experience originally intended by Charles and Ray Eames. Just as it did 60 years ago, production of the Lounge Chair today requires 47 different steps, many of which must be performed by hand. The meticulous execution of each step, in combination with premium-grade materials, ensures the enduring quality that makes the Lounge Chair last for generations. And if anything might ever need to be repaired, Vitra Service is there to help. Even 60 years from now. A certainty that only the original can offer.

22 | Architecture & Design

Available at your exclusive, local Vitra dealer: Vivendo Group, Mdina Road, Qormi, QRM 9011 · 2277 3000 · info@vivendo.mt · vivendo.mt

Architecture & Design | 23

A CHARMING RENOVATION O l d t o w n h o u s e s , w i t h a l o t o f c h a r a c t e r, a r e s t i l l w a i t i n g t o b e r e v e a l e d , d i s c o v e r e d , b r o u g h t to life and to be transformed into real jewels, like this boutique hotel in Żebbuġ Words by Perit Duncan Muscat 24 | Architecture & Design

n architect’s job does not merely consist of designing units or edifices that are both functional and pleasing to the eye. When we are consulted on developing a property, we cannot simply look into the potential of a site and the allotted budget, but we also have to understand the client’s present and future needs and act accordingly. Moreover, in most projects, a client will tend to modify the development through minor or major changes, with a substantial number of these changes occurring once the relative permits have been issued and the development has commenced, thus resulting in quite a ‘grattacapo’ for the architect involved. Having said that, as architects and civil engineers, we have to admit that we particularly enjoy the final achievement even more when it is difficult to attain, even though we are generally relieved when a project is completed to the satisfaction of the client. While these alterations are considered by many in the profession to have become standard procedure, the same may not be said in the case of LULU, situated in the heart of Żebbuġ, where a complete ‘change of plans’ from a family home to a boutique hotel was requested half-way through the project. However, as very often happens in the projects we periti tackle in this profession, the ‘modified’ result was exceptionally rewarding. It was 2008, when Liudmila and Clive Simpson approached Perit Tony Muscat with a view to transforming a dilapidated, late 17th Century house, situated in one of the oldest areas of Zebbug, into a home in which to raise their family. They had just purchased the house, after months of negotiations with the vendors and were extremely enthusiastic about transforming it into the home of their dreams. After consulting with Perit Muscat, they started off by requesting the design of a large living area at ground floor level and four bedrooms, each having its own ensuite bathroom. However, both their enthusiasm, and consequently the size of the project, escalated exponentially when they also requested the inclusion of a fifth bedroom (with ensuite), a second (outdoor) kitchen, an indoor jacuzzi and a pool. Although they had originally regarded the house as being a home and safe space for their family of four, they soon started seeing it as a point of reference for their families to visit, and to host their children’s friends, stressing the point with Perit Muscat that they loved the idea of having a mini ‘community within the community’. Clive Simpson had set his eye on the said property quite a few years prior to its actual acquisition, as the house had played an important role in his childhood. In fact, the place was originally occupied by a farmer who used to breed chickens and rabbits, and was a point of reference within the quaint area of ‘Tad-Dawl’ within Żebbuġ. Clive remembers accompanying his parents to purchase eggs there from time to time. Clive’s grandfather, who also lived in Zebbug, used to tell of the house’s importance for the community, in that it provided the families living in the area with various dairy products and meats. The dwelling used to also house a small mill and would provide bread for the residents living in the close neighbourhood. They would make use of a horsedrawn ‘karettun’ to and from the house. This house, in fact,

Architecture & Design | 25

originally boasted of a small ‘remissa’ or stable which was purposely situated at the front of the house to facilitate the service that the farmers provided to the community. The house also played an important role during the war, as the underground ‘Kantina’ was directly connected to the subterranean passages leading to the main bomb shelter in the area. The local community benefited on many occasions from the location and versatility of this house.

“

However, the most recent development would benefit travellers from way beyond the village core of Żebbug.

While alterations are considered to have become standard procedure, the same may not be said in the case of LULU, situated in the heart of Żebbuġ, where a complete ‘change of plans’ from a family home to a boutique hotel was requested half-way through the project

”

26 | Architecture & Design

During the initial stages of the development, the house was restored to much of its former glory using very traditional methods. All the stones were cleaned thoroughly so as to bring out the attractive pink / calcium colour from behind the oil-based paint and patches of cement which were periodically splashed onto the walls over the years so as to hide the ‘dnubiet’ or sins left by stone erosion. All stone walls were regrouted using stone coloured hydraulic lime and left bare so as to showcase their beauty in all their flaws and partially eroded features. Stones in an advanced state of erosion were replaced strategically so as not to mar the composition of the internal and external walls and facades. The doors and windows were rebuilt in painted timber and glazing was installed in most apertures to flood the interior of the building with natural lighting. The wooden beams and ‘xorok’, or stone slabs, were also restored to their

original splendour with the beams cleared of any invasive insect species and the stone xorok cleaned and white-washed so as to add brightness to the already (naturally) well - lit rooms. The restoration of the walls, roofs and apertures was, however, only the initial stage of the work envisaged for the house, as the Simpsons loved to add their personal touch to each and every room. Clive and Luda used to spend hours at our architects’ office, discussing the project with Perit Tony and convincing him to change the plans multiple times. He, in turn, would visit the site regularly and eventually became equally enthusiastic about the project, allowing, during their onsite / office brainstorming sessions, to let their imaginations spiral, often referring to designs they had seen in magazines or architectural features encountered during their travels. It was during one of these ‘sessions’ that it suddenly dawned on them that the project that had started as a family home was starting to take on the identity of a hospitality establishment. The rest is history. Being fervent and seasoned travellers, the Simpsons have journeyed around most of the globe, visiting many different cultures and touching realities far away from the ones we are all accustomed to within the Maltese archipelago. However, they do not regard themselves as conventional tourists in that they believe in the ‘home-away-from-home’ philosophy. They want to feel like they are being treated as a local family and allowed to share in the local

culture as insiders rather than as a contribution to the country’s tourism statistics, where the hotel is nothing more than a recharging station between guided tours and being herded around the pyramids, heading to downtown Bangkok, shopping sprees in Oxford Street, binging at the Temple Bar and other excursions. The Simpsons were having none of that in their hotel. By maintaining the same traditional style and workmanship used to restore the house as initially projected, Perit Muscat applied for new permits and guided the works which included the construction of a vaulted outdoor breakfast bar coupled with a cocktail bar and wood oven, typical Maltese stone balconies overlooking the back garden, and the installation of a heated pool at roof level, besides the already intended one at ground level in the garden. The Simpsons also increased the original number of bedrooms from Five to Eight and equipped them with a small lounge / kitchenette area and installed a jacuzzi in each bedroom (including an underground one in the Kantina). The hotel was also made accessible to all, according to universal design. ‘Lulu’, as the hotel was named, was originally created with the intention of providing a ‘home away from home’. The name was originally chosen as it is a shortened version of the name Liudmila, but it also means ‘exceptional’ or ‘pearl’. The analogy of these meanings to the present-day use of the hotel is evident as it is an attractive establishment where one

can find oneself in a beautiful, luxurious, safe and comfortable environment, hidden away in the old area of Żebbuġ, which may be, to some, even better than home. Lulu, is indeed a pearl. Although the internal decoration is a mixture of purely Maltese soft and hard furnishings, there are a few additions which make Lulu uniquely Maltese in character. These include the eight-pointed cross or the design portraying the Loggerhead Turtle, which feature on all the metal work integrated into the furnishings and the brass door knobs, similar to the ones found in the noble houses in Mdina, which are placed on each internal and external door. Besides these, the ‘sleeping arch’ and balconies overlooking the pool / garden area, exhibit the same stone structural designs which have been cut by local stone masons for centuries. These features, together with a myriad of indoor and outdoor plants gracing absolutely every possible corner of the common areas as well as each of the rooms, the well-equipped breakfast and bar area, the welcoming splendour of natural light illuminating the internal areas of the hotel, the charming rooms all featuring a living area, kitchenette, lounge area, jacuzzi, bathroom and internet TV and, last, but not least, the warm hospitality of Luda and Clive, all make customers reluctant to leave the hotel, which pretty much resembles a cosy home.

before his creation was completed. However, it is safe to say that his contribution to the development of the now finished hotel was essential. We, at the office at Perit Muscat, hope that you remember my dear late father Perit Tony Muscat whilst you enjoy staying in your home away from home at Lulu Boutique Hotel. Clive and Liudmila are sure to mention him to you one way or another during one of their homely chats by the bar at Lulu.

‘Lulu’ has been open for a couple of years now. However, the Simpsons still modify the decoration every now and again, introducing little additions to the already exquisite homely interior. Indeed, the hotel is thus kept alive. Unfortunately, Perit Tony Muscat did not live to see the hotel start to operate and come to life, and like many architectural icons before him, this creator passed on to another life

Architecture & Design | 27

VISUAL AND COLOUR PERCEPTION W o r d s b y N i c o l e Tu r n e r G a l e a Co-Founder & Creative Director of Disinji

orking from home has become the new norm. Humanity is spending more time inside, whether it’s because of work or just staying at home. Studies show that 87% of our lives are being spent indoors. Coming out of the pandemic, many people are still working from home. The perception of your interior defines the effects on the individual, now more than ever. Without knowing, it controls our moods, emotions and feelings. A pleasant environment influences the mood and wellbeing of its occupants in a positve way, whilst a poorly lit environment gives off a gloomy look and makes anyone feel demotivated. Interior design has an underestimated effect on all of our lives. Gaining control over your internal spaces results in control over your daily mood. “ THE SPACES WE LIVE OR WORK IN CAN UNDOUBTEDLY EFFECT OUR DAILY MOOD.” Whether you live in a small apartment or want to make the most out of your habitable space, decorating it to amplify the feel of the square footage is a must. The rooms in our homes aren’t always the perfect fit we’d hope for. They might be a little small or oddly-shaped for our comfort and re-modeling isn’t always on the cards.

Souza, 2020

WHY USE DEPTH IN INTERIOR DESIGN?

a few little visual tricks to enhance the space.

If you’ve been in a room that feels too crammed or claustrophobic, you know exactly why depth is important. Adding extra square footage to give the space some extra breathing room may not always be possible, however, it is entirely possible to incorporate

Furthermore, it’s not just small spaces that can benefit from this. Large spaces may also feel flat and bare.

28 | Architecture & Design

Adding depth to a room transforms the space dramatically, brings more style and adds more space.

This can be achieved by optical illusions through the use of different colours, materials and even textures. Depending on your choices, these elements may or may not create a contrasting effect on the environment. This method is quicker and cost effective. Contrast

brings life into space, adds depth, livens a room and makes it more appealing. COLOUR MAKES A DIFFERENCE The spatial experience of a room can be achieved without making any structural alternations. Applying different coatings and materials to surfaces may be the right approach for you. Colour is sometimes the magic ingredient in interior design. It does not only combine separate elements within a room but it also influences the mood and perception on the individual. Using contrasting hues tricks the eye in perceiving depth to a space. It’s about adding a mix of light and dark shades. Depending on the maximum effect of contrast you’d like to add in the room, highlighting the difference between two colours will create this effect. The darker hue will help the lighter hue enhance the depth. (Souza, 2020)

when trying to achieve a more compact, cosier and at times, even dramatic effect. These colours will absorb natural light and will project closure. This can be beneficial for certain spaces to achieve a lower ceiling height. Painting them darker or leaving the material texture visible will give off this impression. In certain spaces, this can provide a pleasant and welcoming feeling.

A lighter white ceiling gives the impression that the room is larger, whilst the darker maroon ceiling gives the impression that the ceiling is lower, making the room feel more compact. To make a space feel wider, the ideal way is to paint the ceiling and the back wall in the same dark colour, leaving the side walls lighter. This method is strongly used in narrow rooms or corridors.

THE ARRANGEMENT OF COLOUR

One of the tricks to shorten walls may be achieved by applying a darker shade at the bottom of the wall. Drawing attention to a particular colour is attained by keeping a light colour and darkening the rest of the walls. In this way, the lower third of the room is brought to eye-level, giving the impression of a higher ceiling. This is widely used where seating is involved, such as cafeterias, living rooms and dining rooms.

method. This makes the surfaces look larger to the eye. On the contrary, stronger and darker colours work well The Scandinavian Colour Trends of 2020 from Jotun Lady

2021, 2020

In today’s buildings, we see many low ceilings. Painting the walls in a darker colour or material and leaving the ceiling white, creates the illusion of a higher ceiling. This elongates your room.

There are various ways of how people translate this approach. If the room is relatively small, one may consider painting the entire room lighter and add a slightly darker hue on one wall. Highlighting part of the space using an accent colour on a far wall will draw the eye and create an illusion of more depth. Keep in mind that light and cool colours make the space appear larger, whilst, darker colours make the space appear enclosed and smaller to the eye.

Whether you want to make a room appear longer, taller, wider or even highlight a particular element, the colour arrangement will change the perspective of the environment. To create a feeling of spaciousness in a room, opting for light colours that reflect natural light is a smart

Bloomingville fête son 20e anniversaire avec sa collection décoration et mobilier pour l’automne hi-ver 2020

To make a very wide room feel more compact, painting the two side walls in dark colours and leaving the background and ceiling in light colours, will create the illusion of a narrower space.

POSITIVE AND NEGATIVE SPACES This is one technique us interior designers use to create the perfect balance between a space that is not too visually chaotic nor too minimalist. Both positive and negative spaces play an important role in how the room’s scheme works.

VISUAL WEIGHT Typically, adding layers of texture and textiles grounds up the space, whilst making it feel more well-rounded. On the other hand, this typical method may not apply for smaller spaces as it may end up making the room overbearing for it’s size. Focusing on making the room feel as light and open as possible might be the best way of going about a small space. Picking the right decor and choosing minimal furniture with clean lines enhances the room. Opting for natural finishing is also the right approach. NOT FORGETTING MIRRORS We have no doubt that at least once in your lifetime you have heard someone mentioning that mirrors play an important role when adding depth to a room. It is important to note that the wrong mirror or position can end up drawing attention to unwanted details. The size and placement are key elements. The viewpoint you’ll be using is the first thing to consider. A mirror should be placed against the wall furthest from that spot.

Taking for instance a bedroom, the positive spaces are the actual objects: The wardrobe, bed, nightstands, chest of drawers, armchair etc, while the negative space is the empty space that is left between or around the furniture.

Hint: Placing mirrors where the light naturally echoes is one of the oldest but best tricks in the books. It reflects the natural light and makes the room appear much larger and brighter.

Embracing the positive space is about giving the pieces you choose room to breathe, whilst creating a feature. For example, a shapely armchair in the bedroom as seen in the image requires space around it. By giving space, it’s curvatures can be appreciated more, whilsts invading it with cushions and throws will lessen the impact it creates.

If your room lacks natural lighting, placing a lamp or wall light adjacent to or in front of the mirror can double its effect. Creating a space where you feel at home and welcome is important. Just by applying a few touches within the room, the perception of the space transforms drastically. Remember, it’s all about making the right and smartest choices!

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Fundamentals of emergency lIghtIng

mergency lighting is a vital and effective life safety tool, that provides guidance to people at critical times when they need to escape quickly and safely from a building.There are a number of emergency requirements that need to be satisfied when implementing an emergency lighting installation so as to meet international standards. Daisalux, a well-established brand in this industry, is dedicated to the design, manufacture and commercialisation of three types of facilities that need to be integrated into a building; emergency luminaires, beacon lighting equipment and safety signalling, all of which ensure the safety of the people occupying the premises in the event of an emergency. The escape route depends primarily on the people who carry it out. The main causes of panic during an emergency are: • Lack of knowledge of the building’s geometry • Lock of knowledge of the route to be followed • The feeling of being penned in • The feeling of a lack of time • Confusing and faulty signalling • Insufficient lighting • Blocking of emergency exits • Crowding at emergency exits To eliminate these risks, it is essential that emergency

30 | Architecture & Design

lighting and signalling allow panic to be controlled and facilitate the safest and easiest unostructed escape route from a building. The main objective of the escape route lighting is to assist the safe exit of people from a location, by providing clear visual signage and instructions.It is also important to highlight fire fighting and safety equipment that can be easily located and used. The horizontal illuminances on the floor along the centre line of an escape route shouldn’t be less than 1 lux. With regards to open areas, the horizontal illuminance cannot be less than 0.5 lux. These appropriate visual conditions and directions reduce panic and enable safe movement towards escape routes. The minimum duration of the illumination of the emergency escape lighting and open area lighting is three hours. All equipment used must be capable of being demonstrated as of adequate quality, are safe to use, and have been designed and manufactured for correct performance under emergency conditions, which means that emergency luminaires should comply with EN 60598 2-22 standard. Emergency signalling should be placed to indicate the escape routes. The visual ergonomics of safety signalling must facilitate visual accommodation even in the most adverse conditions. Regulations must be complied with but

is is also important for the signalling to be highly effective. Daisalux designed the Ikus series based on these efficiency considerations, which uses a LED light source and an LGP (Light guide panel) made up of seven layers to distribute the light around the emergency sign, achieving the perfect contrast and uniformity values and thus providing high visibility even in demanding environments. Under emergency lighting conditions, it is important that the sign is sufficiently illuminated and the safety colour remains green with white as the contrasting colour, with a ratio of luminance of white colour to green colour not less than 5:1 and not greater than 15:1. In the European and international standard EN ISO 7010 no text is used. The ISO 30061 standard also recommends the use of beacon lighting as a support system for emergency lighting in the event of a fire in which smoke can reduce emergency lighting levels. While emergency lighting is critical to life safety and must function to code, no one wants to see the devices ruin the aesthetics of a building’s interiors. This is why Daisalux has managed to create solutions such as the installation of recessed emergency lights that allow for a seamless, flush architectural look by hiding most of the emergency light housing within the wall or ceiling. The brand also offers the option of a track system, emergency lighting in one slim, aluminium profile.

IZAR

Emergency Light Luminaire formed by three independent modules: op�cal group, electronic system and ba�eries. Two lens op�ons: escape route and open area. The "escape route" op�cal group allows a greater placement inter-distance in places such as corridors, achieving adequate ligh�ng in evacua�on routes. Suitable for ﬂush moun�ng on suspended ceiling.

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32 | Architecture & Design

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