the
design
architecture
in this issue
1. An extensive overview on Malta Design Week which took place in the first week of October. Conversations with the organisers and testimonials from selected creatives. 2. Interviews with Kane CalĂŹ, Austin Camilleri and the camilleriparismode team. 3. An in depth look at designer lighting with a selection of some of the most desirable pieces available.
furniture
arts
interiors
paper
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the
paper
Issue no. 2
The Archetype Paper The Archetype is a quarterly newspaper by onepercent ltd about architecture, design,interiors, furniture & art.
Date November 2011 Art direction by werkdesigns.com Interviews by Lisa Gwen Editorial design by Matthew Attard Navarro Portrait photogrpahy Alexandra Pace To subscribe to the paper please do the following Log on onepercent.com.mt Subscribe in the ‘Archetype’ section Also available from onepercent, Valley Road, Msida, Malta onepercent.com.mt Cover Image Cloud[S]cape a site-specific installation designed and fabricated by Steve DeMicoli of dfab.Studio. Created for the Malta Design Week (October 1-8, 2011), the installation was set against a backdrop of Valletta’s Old University Buildings.
THE ARCHETYPE PAPER 4
Dear reader, Three months go by in a flash. And in those three months, The Archetype’s ‘theme’ has progressed from chair to light design: from being lit, to lighting up. Since the launch of this publication, much has happened on the local design scene, including the first edition of Malta Design Week, in which Onepercent was both partner and active participant. The week-long event set a precedent in the country, so The Archetype felt the need to pay tribute to this admirable private initiative by dedicating it a fair amount of space. This was done primarily in the hopes that the MDW endeavour will bear fruit and can continue to grow and evolve into an annual or biennial event which has good design, quality products and high standards at its core. This issue also features Gozo-based ‘maker of images’ Austin Camilleri, brilliant young artist/designer Kane Calì and the dynamic team at camilleriparismode. There is much to feast your eyes on... we hope you can savour it all. The onepercent team
section 1
must haves
Bloom, designed by Brian Rasmussen. Diffuser in white metal or white / gold leaf. Fixture in white metal or gold leaf.
LIGHTUP An assortment of the most covetable designer lighting All of the featured lights can be found at onepercent
THE ARCHETYPE PAPER 5
section 1
Top Ten, is characterised by an unmistakable design that, originated by the strong technical peculiarities, gives personality to a formal, clear and essential composition.
THE ARCHETYPE PAPER 6
must haves
section 1
must haves
Limeiight, design by Brian Rasmussen. Diffuser in transparent or black / transparent crystal glass. Fixture in polished stainless steel.
THE ARCHETYPE PAPER 7
section 1
BAG, designed by Carlo Colombo. Lamps made of thermo-plastic expansion available in the glossy colours of white and black.
THE ARCHETYPE PAPER 8
must haves
section 1
THE ARCHETYPE PAPER 9
GLO, also designed by Carlo Colombo. Lamps with chromed metal structure and borosilicate glass. Outer shade transparent or iridescent, inner shade sandblasted.
section 1 Fairy, the Fairy series of pendant lamps was designed by Roberto Pamio & Renato Toso for Leucos in Italy. Delicate little crystal glass spheres encase a light to create this wonderful and magical pendant lamp.
THE ARCHETYPE PAPER 10
must haves
section 1
must haves
AT SO, designed by Carlos Julio Ramirez. Suspended luminaires for diffused lighting. Modular acrylic diffusers available in clear, white or black colours. Chromed metal frame.
THE ARCHETYPE PAPER 11
Blow, designed by Pio + Tito Toso is a table standing luminaire for direct lighting. Frame in chromed metal with accents in brushed aluminium. Diffuser in crystal clear handblown glass. The light source can be adjusted from the outside through a magnet placed on top of the diffuser.
THE ARCHETYPE PAPER 12
Tanti Interiors
TANTI INTERIORS SPECIALIZE IN INTERIOR DESIGN
The camilleriparismode Design Consultation and Projects Studio photographed by Alexandra Pace at the Rabat_workshop.
THE ARCHETYPE PAPER 14
case study section 2
section 2
case study
WORKSHOP WONDERLAND Under a tilted roof.* That’s where all the magic happens.
Camilleriparismode’s Rabat_Workshop is a
interpretation panels. There are price tags
Camilleriparismode is a fourth and fifth
ambience.
1890, by Paolo Camilleri, the original firm
instead. But those easily melt into the
Wonderland of sorts. Soft and occasionally
Designed by Architecture Project, after
a variety of seats, chairs and sofas implore
building re-opened its doors as the newly-
bright colours punctuate walls and floors; visitors to sink into them
three years of restructuring, this stunning
generation family business. Founded in was known as A La Ville de Lyon which
specialised in fashion fabrics and garments. 40 years later, the name camilleriparismode
was coined to reflect the rising prevalence
of Parisian trends on the
(books aplenty, readily at
wine
hand);
glasses;
squashy rainbow
island. It was not until
suspended
floating
cushions;
locked
the 1960s however, that
in
the
a
whole
interiors
an
into play.
armoire; a steely Great
concept
was
of
brought
Dane staring fixedly at
Fast forward to the present
the fabrics... the rolls of
has become a thriving
a butler’s mirror; and oh materials,
the
day:
colours,
and successful business
patterns, designs... This
operating
must be Wonderland.
outlets
Then I must be Alice. I half his
pocket-
with
and
projects,
one
of
the development of the
important date.”
here
three
their latest initiative is
late, I’m late, for a very
time
Malta,
in Gozo. Always buzzing
watch to rush past. “I’m
No,
from
in
having a representative
expect the White Rabbit checking
camilleriparismode
Design Consultation and
stands
Projects
Studio.
Paul
Monica
Mello
and
Camilleri, Silvia Buriani,
still. These four floors are ‘stuck’ in a glorious
Andreia Pavel are the
bubble. The context and
dynamic team providing
environment starts and
the
ends with the walls, the
necessary
synergy
to pull off some of the
glass and concrete.
challenging
and
often
ambitious projects they
Out the rabbit-hole and back to reality.
designated flagship of camilleriparismode
are called in for.
one of the wings at the V&A. Were it not
factory/workshop is now home to a veritable
Their office, on the workshop’s second floor,
fabric samples, among other delicacies
a mountain of (neatly stashed) books,
This space could be a textile museum, for the familiar tunes of Nouvelle Vague gently resounding and bouncing off the
high walls, I’d be looking for captions and THE ARCHETYPE PAPER 15
in January 2009. The building, previously a treasure
trove,
and intricacies.
boasting
some
40,000
is a pale pink and grey space containing
samples, plans and swatches of material.
section 2
case study
Here’s where projects are born, crafted
alteration of public perception. After all,
The whole camilleriparismode company
interpreted and transposed into modern
are those in want of something totally
an expert in the field of textiles, fabrics
and realised. Here’s where old themes are environments.
The team enthusiastically (and animatedly)
most people seeking the team’s expertise different, which is generally unavailable on the island.
talks about one of their latest projects – ID
“People come to us because of our ‘mix’.
of the Sliema commercial centre on The
we do have a style. You can’t shift a design
Café – a place which is situated in the heart Strand. Previously somewhat of a small,
dark hole, the project team’s brief was to make the space appear and feel larger than it actually was, create extensive storage space, while simultaneously increasing the
number of table covers. With a relatively low
budget, a compact space and tight times to work with, the team nonetheless managed
We have no stereotypical style, although
greys, the designer chairs... it’s signature camilleriparismode.
The Project Studio takes on takes on those complex projects requiring start-to-finish
/ hands-on assistance. Thanks to their extensive pool of knowledge, the studio’s
services are used by several architects and designers. They tackle both commercial and domestic projects; which come in
abundance. In fact, the ratio of the one to the other seems to be neatly divided down the middle – 50/50.
They explain how it often takes time for their clients to trust them fully. However their job is not limited to gaining the trustworthiness of the client, but rather extended to the THE ARCHETYPE PAPER 16
injecting life, energy, colour and taste into every small or grand project assigned.
showcasing the work of Alexandra
to be a mirror of the people living, working
or visiting there. Designing a space can’t
be a cut and paste job. There’s nothing formulaic about what we do.”
with ours. Yet, what he/she wants, what
wood panelled façades, the whites, the
certainly seems to be at the heart of it all,
reinforces this notion: “A space is meant
a shop,” Silvia says matter-of-factly. Paul
was craftily extended and merged thanks The result? Well, the hand-painted solid
Design Consultation and Projects Studio
*Under a Tilted Roof was the title
“It’s a matter of incorporating two visions
to a low bar/counter overlooking the street.
and the creation of soft furnishings. Yet the
concept from a house to a showroom to
to devise a Parisian-like airy café having an indoor and outdoor seating area that
comprises as many as 36 people... each
– that of the client (generally his and hers)
they need and what they can or can’t have is a different story,” Paul says. It’s all a
very delicate balancing act; one which they seem to have truly mastered.
The client is always at the centre of
concern. People from all walks of life visit the Rabat_workshop; each person
is pampered and greeted with a genuine smile (if you’re lucky an excellent cup of
coffee too). Those paying the workshop a visit are given special attention and the
team is always ready to assist, advise and
give clients a genuine opinion. This is only enhanced by the constant revamping of the display – every 4-6 weeks – while launches, presentations,
exhibition
openings
are
organised on a very regular basis, keeping
the space constantly vibrant. ‘Tis no wonder that people keep coming back to seek their skill, vision and expertise.
of a photographic exhibition,
Pace, Anna Runefelt and Kurt Arrigo at camilleriparismode Rabat_workshop
– a satellite event organised for Malta Design Week. LG
section 2
THE ARCHETYPE PAPER 17
case study
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Kane CalĂŹ photographed by Alexandra Pace in her studio.
THE ARCHETYPE PAPER 20
case study section 2
section 2
case study
SHARDS Beginnings. Playing videogames seems like a
materials and textures which he gradually got a feel
cutting-edge technologies, which culminated in a
remote place to start off a career in design.
for and with which he could work and experiment.
project to be exhibited in the Final Degree Show,
Kane spent two years at MCAST, following The
titled Ripple Landscape. The project consisted of
Foundation Studies in Art and Design course,
seven glass pieces of various sizes made through
leaving “before it got too serious”. Yet, it wasn’t
by laser cutting. He explains how his work is really
A beginning is a beginning after all; as such it should
just the course he decided to leave; soon after
about the process, and one’s appreciation of it.
just point towards a direction; no need for it to be
MCAST Kane enrolled at Middlesbrough’s Teesside
“The finished product has a story to tell... there’s
contested or dissected. And if that initial path/point
University, following a course in 3Dimensional
a power and potency in the making, which needs
of departure should lead to the expression and
character animation in response to his “obsession”
and deserves to be respected...”
creation of something delicate, intricate... exquisite
with videogames.
But it doesn’t have to be.
– then perhaps a healthy dose of games and 3D visual stimulation is the right way to go.
Kane describes the painstaking process by which Yet the unwholesome environment surrounding
his seven-piece wonder was created: “As with
Teesside University was not conducive to him
a lot of my work, I try to encompass the natural
Kane Calì’s journey just happened to start in front
developing his raw talents. “I shaved my head, I
world through science’s lens. Ripple Landscape is
of a computer screen, while playing Tekken, Gran
wore hoodies, and I always walked with my head
a metaphor for the one binding element that holds
Turismo or Zelda. Picturing him avidly killing off
hung low... I tried being as inconspicuous as
all things together, vibration. I wanted to capture
voluptuous, scarcely-clad women or alternatively
possible,” is the way he describes himself trying to
a moment in time through the embodiment of a
über-buff men is surreal, to say the least. Yet
cope with the ‘tough’ environment faced on a daily
ripple and illustrate its fundamental importance to
inspiration manifests itself to each in a different way.
basis.
the existence of all objects governed by the laws
And when one’s heritage and ancestry includes
of matter.”
Giuseppe, Ramiro and Guido Calì and Maria Calì
He quickly started looking for better colleges and
Corleo, then manifest itself it would, inevitably.
universities, and before long he started a course in
Not only does Kane borrow science’s perspective
3Dimensional Design, with a specialisation in glass,
to aid in the creation processes, but also its
Glass – his chosen or preferred medium might
at Farnham’s University for the Creative Arts (UCA).
technology. “With the use of 3D modelling software
be different to that of his predecessors – yet the
It was in-between courses that Kane came to the
I primarily produce my ideas in a virtual medium in
excellence with which his expression manifests
realisation that he no longer enjoyed sitting behind
which I am engaged in a method of manipulation
itself, is not.
a computer screen all day, but rather needed to
unlike anything I could experience with my own
exercise his sense of touch and his need for texture.
hands. I find myself adding and cutting away from
And this is where he thrived.
my creations in a matter of minutes, giving me the
Like many other young, somewhat dissatisfied and disillusioned creatives, Kane was in search
freedom to amend as I see fit.”
of an alternative to the regimented and traditional
Before deciding to specialise, Kane’s course
educational system in Malta, and so opted to
focused on ceramics, mass manufacture and mould
He feels that his computer has almost become
follow a course at MCAST. It was here that he
making, yet he was soon drawn towards the cold
an extension of his sketchbook. “In order to bring
was introduced to stone carving, graphic design,
yet simultaneously sensuous glass material. He
these virtual thoughts to life I use CNC machining
the decorative arts and a wide variety of different
slowly began integrating traditional materials with
or rapid prototyping to recreate the idea into a
THE ARCHETYPE PAPER 21
section 2
case study
physical object. From this point on I use more
Kane’s most recent project was collaborating on the
traditional methods such as mould making, glass
proposal of a ‘sculpture’ devised for a competition
fusing /slumping and even investment casting.”
which would see the winning design adorning the new Skyparks Business Centre in Luqa, due to be
His Ripple Landscape project has already been
inaugurated early next year.
exhibited on several occasions, earning him the New Designers 2010 CGS glass prize (runner
Together with Vanessa Borg and Neil Pace O’Shea,
up). He was consequently awarded a two-year
they presented a structure whose underlying
membership with the Contemporary Applied Arts
concept was based around the singularity of the
(CAA) gallery, which offers a limited two placings
moment of liftoff when the Wright Brothers first took
per year. Earlier this year, he also exhibited at the
to the skies. The abstract structure, comprising
Mall Galleries in London.
two vertical conical forms, titled Sky Scape, will measure 2.2 (H) x 2 (W) x 2.2 (L) metres.
On successfully completing his course at the UCA, Kane was awarded a Malta Arts Scholarship to
The design of their structure was fabricated with the
further pursue his studies with a post graduate
use of 3D CAD software as well as CAD hardware
degree. His choice was a two-year Masters course
(laser cutting). The team chose to use this process
in ceramics and glass at the Royal College of Art,
since the structure was meant to reflect present
with a specialisation in architectural glass, wall
times. It was thus materialised through a process of
panelling and dinnerware. Although the course
manufacture that is said to be at the heart of what
may have kicked off just last month, Kane has a
is now being described as “the second industrial
pretty good idea of what he wants to achieve... he
revolution”.
passionately explains a project concerning glass in motion – a concept for which he will need the engineering assistance and expertise provided by the neighbouring Imperial College. Besides oscillating between student and academic, Kane has also been working on a number of personal projects – his first solo exhibition in Malta is due to open next month at Christine X Gallery – and he is also collaborating with glass artist Colin Webster at GlassZoo Ltd on the creation of glass wall panelling for super yachts.
THE ARCHETYPE PAPER 22
LG
section 2
THE ARCHETYPE PAPER 23
case study
section 2
case study
THE
MAKER OF IMAGES Austin Camilleri is a deliciously complex man. Well,
life. Random ramblings. A running commentary
“Holistically this always has to do with the research
not just a man technically, an artist – a maker of
on the state of affairs – serious, incisive, political,
(most of my work is primarily conceptual); the
images.
satirical, sexual, pornographic, tongue-in-cheek –
medium exploited is just a tangent to it all. I
every aspect is given its own measure. And each
don’t feel I’m a sculptor, videographer, painter or
Yes... he is decidedly one of the very few whose art
measure throbs on the surface; sometimes below
installation artist. I play with associations and create
towers and dominates; overriding his gender and
it, but most often, this ‘beating heart’ is embedded,
tangible images. I hate labelling… how should we
taking full possession of him. You see him, you see
pulsating between the folds of a work.
refer or classify people like, Gerhard Richter, Mark
his art. The two are intertwined; a relationship of the most intimate kind.
Wallinger, Tracey Emin, Martin Kippenberger, or This notion is mirrored in Austin words: “When a
even going as far back as Michelangelo?”
work is done it has a life of its own.” Perhaps it This intimacy is plain to see in his work: Layers
is this ‘life’ which speaks, murmurs or vociferously
Like some of his peers and contemporaries,
upon layers of regurgitated emotion. Musings on
protests... We feel merely compelled to listen.
especially the members of the group StART, with whom he has often exhibited and collaborated,
Artistically, there is no typical Austin... his career has
Austin has, throughout the years, shown his work in
been punctuated by phases. I was first introduced
a number of spaces. Among which are dilapidated
to his installation work, particularly to his babies,
and derelict houses, warehouses, historic buildings,
through his sculptural piece (now forming part
public spaces, not to mention the many galleries...
of the national collection) Kuruna. Since then
often creating site- or space-specific work. But
however, I have experienced an array of different
how does this translate to a home?
Austins, including one in which he collaborated with composer Ruben Pace to create a video installation
“When a work is created particularly for a space,
for the Malta Association of Contemporary Music
with its story and limitations, it’s site-specific. It
event, titled 3 Artists – 3 Composers, thereby
feeds from its origins. But, as most good works
challenging the separation between media.
show us, they work on different levels when eradicated from their original place.”
But how does one oscillate between painting, installation or video? What dictates the mediums/
But how would this apply to 2D works such as
vessels through which art is expressed and
paintings – can painting be site-specific or does
channelled?
the nature of this art form make it more malleable – meaning that paintings are more easily/readily
He quotes: “As Julian Schnabel once said about his
transferable and consequently adapted to a
Polaroids: ‘It’s not about the song, but the singer.
space?
It’s the way you use the medium that counts.’ I
THE ARCHETYPE PAPER 24
believe that the medium is just a vehicle – but we
“Some paintings ‘gain’ further meaning if located
need not only arrive, but try to arrive gracefully...”
in a particular venue or if they are made particularly
Austin Camilleri photographed in his studio by Alexandra Pace
THE ARCHETYPE PAPER 25
case study section 2
section 2
case study
for the site. However, as you rightly noted, 2D
older works. I use them as found objects. Either
take place between December 9 and January
works are easily relocated and can easily live in
as ground retaining their intrinsic character or as
6, 2012 at Art.. è gallery, Victoria, Gozo.
places where they are allowed to breath or interact
icons/reminders (the same way I use a copy of
with other objects/works. Having said that, I find
Velasquez or the image of Mickey Mouse). The
it difficult to see Claude Monet’s Waterlilies or Cy
source always ‘is’, beginnings are always in the
Twombly’s Lepanto series working better if not at
process of ‘becoming’.”
the Tuileries and Munich’s Brandhorst Museum, respectively.”
What’s in store for Austin? Enigmatically, he answers: “I need to be surprised… I need to find
Austin is well known for re-using older works and
new ways.”
re-visiting themes/subjects. What compels you to do so? Are there some demons which have
There’s no doubt in my mind that he will...
yet to be expelled, or do you feel there are some subjects which deserve several interpretations to
LG
be addressed in different times of one’s artistic career?
Austin Camilleri will be presenting a series of intimate drawings and works on paper
“Edward Said makes a distinction between
produced in tandem to his mammoth paintings.
‘sources’ and ‘beginnings’. I do not reinterpret my
Titled Camilleri – on paper, the exhibition will
THE ARCHETYPE PAPER 26
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section 3
Malta Design Week special
FIRSTEDITIONS Not books but design weeks. October marked Malta’s first Design Week. Across the globe, countries like Beijing, Moscow, Vienna, Istanbul, Barcelona, Venice and Holland collectively celebrated design... this year, Malta was on that list. First editions have a thing of prestige. Perhaps beginnings always do, at least for those experiencing, living, and even,
creating those beginnings. And when that is somehow augmented by a collective sense of craving (on a national scale) – the need for visual eye candy; the need of an identity which projects and reflects more than heritage or language – well, that’s where a design week comes in. THE ARCHETYPE PAPER 31
section 3
Malta Design Week special
MDW went beyond the public’s expectations. To
Yet the biggest and most radical transformation
the Society of Architecture and Civil Engineering
none. There was nothing before: A tabula rasa
University’s courtyard. The ample outdoor space
Foundation in Design Studies students, Lily Agius
be frank, it’s probably because the public had environment... where showcased design was concerned. Apart from a few fabulous showrooms,
stores and outlets, there are few places to soak in anything design. MDW filled that lacuna. At least for a few, precious days.
The opening of design week was set to coincide
with Notte Bianca and World Architecture Day – October 1. The former, an anticipated date
on the cultural agenda which generally sees some 50,000 visitors flocking to Valletta, was an
excellent ‘excuse’ to launch the project, introduce it and make it available to a wider variety of audiences.
was surely seen (and felt) in the Valletta had, for many years, been relegated to a car park.
What were the changes: Turf was laid down, white pebbles created textured accents, large square
white, blue and green which dotted the space only
were then held in galleries, furniture and design
completed by teh bar and outdoor kitchen (and sumptuous cuisine provided by ID Cafe), indie and chillout music bouncing off the walls... The
Old University became an outdoor lounge bar for a week, people couldn’t get enough of the place,
which felt so foreign but which was situated in the very heart of the capital. It was special, there’s no other way of putting it.
through the halls and corridors of the Old
visitors in the seven days of talks and lectures
hosting MDW. Previously, and most recently the headquarters of Heritage Malta, the national agency for museums, conservation practice and
cultural heritage, the building was a cold and lifeless space begging for some vision and, well... some TLC.
The space was transformed. Literally. The highceilinged rooms and the airy corridors were allocated
to an individual or team – University students, the
Institute of art and design students, architecture
firms and independent designers shared the space which was injected with life and purpose. THE ARCHETYPE PAPER 32
Duncan Bone and others still.
Although the main events comprising MDW were
out areas, Pedrali provided tables and chairs in
The gorgeous outdoors apart, the wide-ranging
University Building in Valletta – the main venue
Gallery, FLOW showroom, Richard England,
pots provided ‘partitions’ to the various hang-
Between 6.30 p.m. on October 1 and 2.30 a.m. on October 2, thousands of people walked
Students (SACES), The University of Malta’s
events programme was what attracted so many which featured some of the foremost international
promoters and creators of good design. Such as:
Gilian Schrofer (Netherlands); Charles Knevitt (UK); Shelley F. Martin (US); Ralph de Lange
(Netherlands); Gaspar Gonzalez (Spain), Nicolas Roope (UK), Giulio Patrizi (IT) and others.
held in the capital city, a number of satellite events stores, run-down buildings, artists’ and artisans’ studios and showrooms. Especially successful events were those held at the newly-launched
FLOW multi-brand bathroom showroom by S&S in Lija, or the OPEN exhibition, hich utilised a beautiful abandoned building immediately outside the Marsa Open Centre.
Where do we go from here? Besides establishing
Malta as a hub for Mediterranean creativity, MDW could give a vital contribution towards developing
relationships between manufacturing businesses and designers, while placing local design and
designers in closer contact with the realities of the international market. Through collaboration
and healthy cross-fertilisation, MDW could and will hopefully develop into a biennial or annual event.
But MDW was always about creating a common
“Why then the world’s mine oyster/Which I with
So, as inherently important as it was to have valid
Windsor).
platform – a single yet unique design scenario. international participants headline the event, MDW
was likewise concerned with showcasing up and coming, as well as established Maltese talent. Local participants included: camilleriparismode,
sword will open...” (Shakespeare, Merry Wives of
section 3
Malta Design Week special
MOSHOW – Exhibition by Violet Kulewska & Adrian Abela
THE ARCHETYPE PAPER 33
cloud[S]cape – Installation by Steve DeMicoli
section 3
THE ARCHETYPE PAPER 34
Malta Design Week special
section 3
THE ARCHETYPE PAPER 35
Malta Design Week special
section 3
Malta Design Week special
to assist the Foundation course; or even Steve
Aspiring people in the design industry and
his cloud[S]cape installation.
quite inspirational. The event created a bridge.
DeMicoli receiving a request for the purchase of
Pedrali also felt they had never received so much
exposure locally; they were really happy the event was of such a high standard. So much so,
they intend using the images taken during MDW for marketing and promotional campaigns.
Halmann commented: “This is the beginning of something great for Malta.” I think this reaction sums up what we wanted to achieve.
Yet MDW also came with a few disappointments...
the biggest being the lack of attendance by
A few words from MDW project coordinator, Chris Briffa Some 300 people, in different capacities, exhibited
authorities; only one MP visited the event
throughout its duration. I feel the event needed
more support. It is not enough for there to be a the structure in place for people to apply and create such events and receive the financial
or participated in Malta Design Week.
support necessary to back it up, there needs to
The strong points of the event were decidedly
be disseminating and promoting such events...
educational, academic, industrial – who all came
However, I do want to thank University for providing
is what we wanted to do... and in doing that we
extent of what can be done with a space such as
the different people from different backgrounds –
be more awareness from authorities who should
together on one and the same platform. Which
us with such a great venue. The event showed the
managed to create a vessel for communication.
that, especially the outdoor yard. It could become
MDW had quite a few immediate and direct
talk, exchange. A social/communication structure,
Foundation course who was approached to have
base. People used the yard at MDW to design,
or the 3D printer collaborating with University
have to stop with MDW.
a melting pot; a space where people can meet,
benefits, such as a student from the University’s
which has a certain academic perspective as its
the prototype of his dynamic canoe design built;
discuss; workshops extended outside... it doesn’t
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students loved MDW... the lectures/talks very
What a lot of people don’t realise is that design is a language which everyone understands.
Background or no background, design, especially
good design is a common language. MDW tried to put this level of communication in people’s frame of mind. Those who visited MDW were confronted
with a huge repertoire of design disciplines; it was
impossible for people not to take something back with them.
What about the future? If there has to be another
MDW it might not be in Valletta. Having the event in the capital did help and augment attendance,
as did the inclusion within the Notte Bianca
programme. The fact of the matter is that one
needs to create a commercial reality... not only for those attending the event, but also for the people of the locality to benefit from it.
MDW is about education, being knowledgeable about a subject, but from first-hand experience;
you need to see touch, smell, eat – the experience
consisted of not only by seeing, but living it. Now that the seeds have been sown, people will
realise that it can grow, beyond a local initiative. If people show a serious interest in this event, it can become another puller for cultural tourism
which Malta really needs – we can’t survive only on history, sun and sea. Culture and education on
the creative business side can be very profitable in the long run.
section 3
MCAST Institute of Art and Design exhibition
Malta Design Week special
CONJUGAL – Exhibition of architecture and interior work, curated by MJMDA and Alexandra Manche
CONJUGAL – Exhibition of architecture and interior work, curated by MJMDA and Alexandra Manche
RED BLUE SHELF – Furniture by Chris Briffa Architects
MCAST Institute of Art and Design exhibition
SULLUZZU – Conceptual Installation by Julian Mallia
MCAST Institute of Art and Design exhibition
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section 3
Malta Design Week special
Participant’s testimonials.
Sue Mifsud (obo Ceramika Maltija)
Charles Knevitt (UK)
Gaspar Gonzales (ES)
Malta Design Week oozed professionalism, from
The inaugural MDW was a brilliant success and
Talking about Malta Design Week, all one needs
presentation to the public. There was clearly a
time all those involved in the creative and design
to mention is Chris Briffa and the organisation
team, and the incredible event that was carried
out, in line with other larger, more important, older or more famous...
As a participant, I can only be thankful for this
the behind the scenes organisation to its overall predetermined vision for its outcome and a high
standard set for its delivery. We participated as an exhibitor at the main venue and as a satellite
event, with two lectures given by Scottish artist/ designer Bill Brown.
opportunity. Being able to talk about my work with
We benefitted from inclusion in the event by
locally and internationally is something that will
recognition of our work’s design aspect, the event
other professionals, students and artists, both help me to develop my work in the future. And certainly also that of the other participants...
MDW has certain characteristics like people, its
strong, historical past, blending of cultures, etc...
the awareness created of our products and also assisted in establishing Ceramika Maltija as
a place of creative learning through the excellent
marketing and advertising campaign carried out by the MDW team.
that can help make this celebration something
Richard England (MT)
others that seem too similiar to each other. I
Malta Design Week was without doubt one of
back...
showcase events ever produced locally.
unique and special, differentiating it from many
hope MDW happens again, and of course, to go
Giulio Patrizi (IT) Malta Design Week? What to say? Excellent
location in the heart of the city of Valletta,
the most high quality design and architectural The
whole experience, including the refurbishing of
the premises, the creative exhibits, events and the overall atmosphere, provided a most stimulating, innovative and imaginative design platform.
transformed into a welcoming, pleasant place.
The organisers of this event deserve admiration,
projects presented: product design, fashion,
become an annual event.
Beautiful rooms with good design show. Several architecture and photography. The programme of events was broad ranging conferences with
different subjects. The Malta Design Week in its first edition is already a good start.
Thanks to the beautiful place, Malta Design Week
can offer design and entertainment tourism: sea, history and design at the same time. That’s the right way for me.
THE ARCHETYPE PAPER 38
encouragement and praise and one hopes it will
deserves to become an annual event. For the first sectors came together to converse and show their work.
The courtyard of the old University building was transformed into a convivial setting for meeting,
discussion and socialising, and was imaginatively
furnished and lit. The international programme of
speakers and events was ambitious and helped to deliver an outstanding and thought-provoking
educational and cultural ‘fix’. The organisers and backers are to be congratulated.
section 3
Malta Design Week special
What was inside the first edition
Workshops
Lectures
Exhibitions at the Old University Building, Merchants’ Street, Valletta:
CONCERNING HOSPITALITY: turning traditional Maltese heritage into a charming global guesthouse – Workshop by Gilian Schrofer (NL) INTERVENTION IN THE CITY – Workshop by Ralph De Lange (NL) POETHICAL – Workshop by Giulio Patrizi (IT) EXPERIENCE SCENE – Workshop by Gaspar Gonzalez DESIGN IT, LIGHT IT UP! – Workshop by Boryana Chaneva (BG) and Gergana Ivanova (BG) GIVE IT SOME LOVE... – Workshop by Alexia Medici (MT) ANOTHER VALLETTA – Workshop by Alexia Medici (MT) VALLETTA: LIFESTYLE DESIGN – Workshop by Wendy Jo Attard (MT), Paul Gauci (MT) and Antoine Zammit (MT) LIGHT AND CREATIVITY – Workshop by Alexia de Medici (MT) EXPERIENCE SCENE – Workshop by Gaspar Gonzalez (ES)
POETHICAL – Lecture by Giulio Patrizi (IT) MIXACADEMY – Lecture by Ralph de Lange (NL) JACK OF ALL TRADES – Lecture by Duncan Bone (MT) THE DIFFERENCE BETWEEN A LIGHT BULB MOMENT AND A LIGHT BULB – Lecture by Nicolas Roope (DK) WINDOW AND IN-STORE DETAILS FOR RETAIL – Lecture by Gergana Ivanova (BG) EDUCATION OF AN ARCHITECT:THE ENVIRONMENT OF A QUESTION – Lecture by Shelley Martin (USA) LE CORBUSIER KNEW MY FATHER – Lecture by Charles Knevitt (UK) COOKING – Lecture by Jamie Mc Tavish (AU) TEMPTATION – Lecture by Gilian Schrofer (NL) HISTORY OF MODERN FASHION DESIGN – Lecture by Carina Camilleri FORMULA NEW LJUBLJANA – Lecture by Jurij Sadar (SI) MANIKATA AND THE MAKING OF SACRED SPACES – Lecture by Richard England (MT), followed by SANTORINI – Book Launch by Richard England (MT) THE FIRST STEPS – Lecture by Gaspar Gonzalez (ES) WHAT OBJECTS WOULD SAY – Lecture by Odoardo Fioravanti (IT)
PROCESS – Exhibition by the Foundation in Design Studies, curated by Anton Grech MCAST Institute of Art and Design exhibition CONJUGAL – Exhibition of architecture and interior work, curated by MJMDA and Alexandra Manche MOSHOW – Exhibition by Violet Kulewska & Adrian Abela STAND BEHIND THE YELLOW LINE – Audio/Visual exhibition by Malcolm Bonello IF THIS IS A MAN – Illustration and graphics by Christiane Stelberg 24/7 – Interactive installation by Boryana Chaneva and Alberto Favaro IN-SIGHT – CONTEMPORARY JEWELLERY REVEALED by Nadege Cassar CITYWISE – Launch of CityWise city guide by Projects in Motion Ltd. SIMILARITIES – Exhibition by Alexia Medici A THESIS FOR THE BUILT ENVIRONMENT – An exhibition of BE&A (Hons) Thesis Projects from the University of Malta 2011 cloud[S]cape – Installation by Steve DeMicoli DISTORTION – Textile printing exhibition by Carla Grima SULLUZZU – Conceptual Installation by Julian Mallia RED BLUE SHELF – Furniture by Chris Briffa Architects KINEMASTIK short films and other moving pictures ROLLING OUT THE RED CARPET – Installation by JPA HOT LIPS – Setting up of lecture room by camilleriparismode ONEPERCENT – An exhibition of award-winning designer furniture and lighting pieces FIZZARMONIKA – Installation by Halmann Vella BEAUTY OBSESSIONS – A Photographic Interpretation by Brian Grech LACESCRAFFITTO – Exhibition by Ceramika Maltija
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Satellite events GROWTH – Exhibition by SACES 59, St Dominic Street, Valetta RIPPLE LANSDCAPE – Exhibition by Kane Calì at St James Cavalier, Castille Place, Valletta LILY AGIUS GALLERY: COLLECTIVE EXHIBITION – SCIENCE AND SOCIETY – Exhibition at Cathedral Mansions, 54, Cathedral Street, Sliema, Malta OPEN – Exhibtion by SACES/GetUp StandUp at Old Trade School, Xatt il-Mollijiet, Albert Town, Marsa THE CERAMIC ISLAND – Lecture by Bill Brown (UK) at Ceramika Maltija, 30 St Anthony Street, Attard THE WAITING ROOM – A CONVERSATION WITH BILL BROWN ABOUT IDENTITY, DESIGN AND CREATIVE POSSIBILITES – Lecture by Bill Brown (UK) at Ceramika Maltija, 30 St Anthony Street, Attard FULU – Concept sofa exhibition by Mary Ann Attard at Splendid, 74, Strada Stretta, Valletta UNDER A TILTED ROOF – Exhibition by photographers Alexandra Pace, Anna Runefelt and Kurt Arrigo at camilleriparismode, rabat work_shop, 54, St Catherine Street, Rabat ISOLA – A new kitchen island proposal targeted for a stand alone open plan units by Carlo and Stephania Schembri at 134, Archbishop Street, Valletta FLOW – Showroom Launch at FLOW, Mosta Road, Lija
Malta Design Week was financially supported by the Malta Arts Fund, the Good Causes Fund and Bank of Valletta; and co-ordinated by architect Chris Briffa, Prof Alex Torpiano, Anton Grech, Stephen Vella, Matthew James Mercieca, Justin Schembri, Liliana Vella, Matthew Casha and Lisa Gwen.
section 3
Malta Design Week special
Chandelier by Light4
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Wallace by Jean-Marie Massaud
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The Poliform Wallace armchair has been designed by acclaimed architect and designer JeanMarie Massaud. The organic look of the chair is characterized by free-flowing shapes that explore new trends and creative possibilities defining the armchair genre. The structure is made from moulded polyurethane foam with a leather covering optional, and the base is painted aluminum, which is available in matt white or black. Poliform has been able to combine design and high technology to meet consumer’s desire for style and refinement.
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