Joseph M Spiteri - A Maltese architect and his work

a maltese architect and his work

joseph m spiteri

joseph m spiteri a maltese architect and his work

Edited by Dr Stephen C Spiteri Ph.D. 2011

First published in electronic and digital printing formats in 2012 Edited and produced by Dr Stephen C. Spiteri Ph.D. Š Copyright – Dr. Stephen C. Spiteri Ph.D. 2012 Book design, layout, and cover by Dr. Stephen C. Spiteri Ph.D All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission in writing of the author and editor.

To Marlene and family

'Ego autem, Caesar, non ad pecuniam parandam ex arte dedi studium, sed potius tenuitatem cum bona fama quam abundantiam cum infamia sequendam probavi.

Ideo notities parum est adsecuta, sed tamen his voluminibus editis, ut spero, etiam posteris ero notus.'

Vitruvius De Architectura, Book VII

contents

Joseph M. Spiteri – a Maltese architect and his work

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Drawing Architecture 1 / A Master Architect 7/ A Maltese Architect and Designer 11 / Housing and residential schemes 25 / New Tarxien Community 26 / Kings Gate Apartment Block 44 / Mtarfa Apartment Blocks 52 / Qawra Point Marsovin Estates Ltd Apartment Blocks 56 / Public and private schools 65 / Civic centres and public buildings 73 / Valletta Law Courts 80 / Public Works Headquarters 86 / Marsa Industrial Estate 90 / Private residences 93/ Ta' Xbiex Villa 100 / Villa Mediterranea 108 / Hotels and tourism facilities 127 / Parks and monuments 153 / Kennedy memorial grove 154 / Ta' Qali National Park 160 / Churches and religious buildings 169 / Balluta church 170 / Żebbiegħ church 186 / Tas-Sgħajtar church 190 / Trade far pavilions and exhibitions 201 / Saudi Arabia projects 219 / Mediterranean conference centre 238 / National arts centre competition 242 / Other commissions and projects 249 / Landscape studies and various freehand sketches 271 / Career and projects 293

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Acknowledgements I would like to thank all those who shared their interest and enthusiasm in the making of this book as well as those who went out of their way to contribute towards its production, foremost amongst whom were Prof. Denis de Lucca and Arch. John Lockerbie, Arch. Hermann Bonnici, and Dr. Vincent Buhagiar. I would also like to thank the many architects, colleagues, draughtsmen, and former students of Arch. Spiteri who worked with him throughout his long career and encouraged me to complete this book and bring it to its fruition. I am also thankful for the support offered by Artist Alfred Chircop, Dr. Edwin Mintoff, Arch. Franco Montesin, Mr. Paul Cassar, Arch. Vincent Cassar and the Chamber of Architects (il-Kamra Tal-Periti, namely Damien and Simone Vella Lenicker, and Edward Said), Dr. Konrad Thake, Arch. Ruben Abela, and Arch. Joe Spiteri. I am likewise grateful to Mr. Joseph Micallef, Mr. Richard Azzopardi, and Mr. George Stagno Navarra and Mr. David Abela of the Association of Lyceum Past Students (ALPS) for their support.

A heartfelt thanks also goes to all family members and friends who sought to assist Arch.

Spiteri throughout his long and debilitating illness, during the course of which this book was produced.

Dr. Stephen C. Spiteri Ph.D.

Where does beauty lie?

This humble group of buildings has a delightful and beautiful composition that possesses what the Greeks call 'Sophrosyne', a word which has no immediate English equivalent but which has been explained as 'the sense of proportion, scale, harmony, balance, fittingness, which, without loss of power, instinctively rejects all that is turgid and exaggerated'.

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Drawing Architecture ‘Where the spirit does not work with the hand there is no art' Leonardo da Vinci

This book is not a biography. It aspires to simply bring together some of the architectural drawings and projects produced by my father, Arch. Joseph M. Spiteri, throughout the course of his long career as a design architect working in Malta in the 1960s, 70s, 80s and early 90s.

Primarily, it was born out of my own curiosity to discover the extent and nature of his work and, in a way, to record for posterity the legacy of his labour.

In its broadest terms, however, this book will also serve to mirror the nature and development of architecture in the Maltese islands during the post-war period. Indeed, in their own way, these drawings and photographs reflect the emergence of the new post-war thinking behind building and planning design in the Maltese islands and the evolving styles that were to hold sway for the past decades. They illustrate, on their own clear terms, the work of an architect influenced by the tenets of modern architecture, wrestling with the demands of the changing nature of Maltese society in the post-war period; a transformation that was primarily evident in the social and economic aspirations of the Maltese people and the ensuing development that saw the widespread emergence of new housing projects, schools, hotels, factories, luxurious private residences, and holiday apartments.

These unique circumstances gave rise to the underlying ‘modern’ architectural trends that are reflected in the projects and designs illustrated here. Arch. Spiteri’s own architectural style, characterized by its clean lines and plain forms, carefully crafted sense of massing and spaces, and an eye for landscaping, echoes many of the features derived from the paraphernalia of the international-style as coined by Henry Russell Hitchcock and Philip Johnson – i.e., functionalism, structural clarity, simplicity, non-ornament, flat surfaces, etc., – without, however,

Joseph M. Spiteri – a Maltese architect and his work

alienating itself from the local context of time-honoured ‘stone upon stone’ construction that had defined and shaped the traditional Maltese landscape with its cubic forms of town and village buildings.

Many of the drawings were chosen for their verve and enthusiasm as well as for their ability to reflect, and at the same time document, the wide variety of projects and schemes that were designed and undertaken by Arch. Spiteri in his long, and at times difficult, career as an architect working in the Public Works Department as well as those produced through the various channels of his own private practice. Some of the projects, like the designs for the new Law Courts in Valletta (1961) and the Church at Żebbiegħ in the limits of Mġarr (1969), unfortunately, never made it off the drawing board while others like the Kennedy Memorial Grove at Salina, the Carmelite church at Balluta, and the Qawra Point apartment blocks have long become familiar and respected landmarks.

Two of Arch. Spiteri’s designs, namely the Ta’ Xbiex 1962 villa (see page 100), and Artist Emvin Cremona’s villa in Attard (page 108) have even been recently listed as scheduled monuments by the Malta Environment and Planning Authority The drawings have all been selected from Arch. Spiteri’s own personal records and are mostly embryonic, initial sketches executed by the architect himself. At the time, it was more likely that concept sketches were retained by the architect since most presentation drawings, on the other hand, were done for the benefit of clients and were rarely returned, given that reproduction methods in the 1950-70s were comparatively expensive. A few presentation drawings, included towards the end of the book, do not show Arch. Spiteri's projects at all but were only drawn by him on behalf of other architects who sought his graphic skills. In no way does the material gathered in this book represent the full extent of Arch. Spiteri’s oeuvre. Some of the perspective drawings, elevations, and plans in his records, such as photocopies and reproductions of photographs, were unfortunately not of sufficiently good quality to be reproduced here. Many others have simply been lost or were given away. There are also many other drawings in public records, in the archives of various architectural firms, and in private collections, which have not been included. Further research may help locate more of the original designs so that they can be added to this compendium. Hopefully, too, this book

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3 will serve to set the record straight where the authorship of various designs and projects has been confused. Incredibly, the design of the Ballutta Church, as redesigned and completed in 1963-1978

by Arch. Spiteri in collaboration with Arch. Godfrey Azzopardi, is still being wrongly accredited in some sources to Emmanuel Galizia (1836-1906), who was the architect of the much smaller and earlier church built in 1877, itself built to replace a slightly earlier church of 1859. Still, a book of this kind can never ever hope to capture the widespread influence on design and planning matters which Arch. Spiteri was able to exert on many generations of architects, both through his seminal position as Senior Lecturer at the Faculty of Architecture in the University of Malta and, more directly, through his involvement in the various planning boards and public committees on which he sat for many years. His design skills and notions of aesthetics and planning were keenly sought and respected.

The book ends with a small selection of sketches and watercolour studies of Maltese landscapes and vernacular buildings, accompanied by a brief commentary on the qualities that defined the Maltese vernacular, extracted from a paper written by Arch. Spiteri entitled ‘Mediterranean Architecture: Towards an Understanding of the Character of the Maltese Town and Village’.

This material has been included largely because it captures both Arch. Spiteri’s innate love of drawing as well as his deep affection for the Maltese countryside, both of which formed the very basis of his fascination with architecture in the first place.

That this work is largely a book of drawings is the direct product of the fact that Arch. Spiteri was a firm adherent of the traditional school of thought that saw drawing as being at the very essence of architecture. For buildings, as observed by Thomas Wells Schaller in his book ‘The Art of Architectural Drawing: Imagination & Technique’ (1997), ‘always begin as drawings’; and as ‘concepts on paper’, architectural drawings are the ‘very essence of planning, designing, and executing structures’. These drawings, therefore, are not simply drawings for drawing’s sake.

Ever since the renaissance, the skillful use of drawings to convey architectural concepts and ideas helped usher in a culture of visual observation and expression, establishing a primacy of graphics over words – a visual language, so to speak, that remains the main ‘currency’ of the

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Joseph M. Spiteri – a Maltese architect and his work

architectural profession today. ‘Disegno’ wrote Pietro Cataneo in his Quattro primi libri di architectura (Venice,1554) ‘is one of the two main prerequisites in architecture’. In a time when computers did not exists, an architect had to rely more directly on his drawing skills to create, illustrate, and present his concepts and designs to his peers or clients. For centuries, and up until only a few decades ago, good drawing skills were one of the architect’s most important outils du métier and a mastery of drawing was considered the hallmark of a competent architect.

For Arch. Spiteri, then, the ability to draw, in architecture, meant the ability to communicate and this philosophy formed the basis of his profession, both as a practicing architect and as a design lecturer in the faculty of architecture at the University of Malta. Arch. Spiteri saw drawing as an intrinsic part of the creative process crucial to the evolution and flow of ideas ‘in the round’ and the most effective medium with which to assess the variety of solutions to particular problems. He was a firm believer in the notion that it is the drawings, rather than words, that must 'do all the talking' in architecture. He understood that drawing constituted 'the true test of art’, to cite the great artist Ingres, in the sense that it is fundamental to every kind of artistic activity and that the success of architecture, though itself not a pure art, depends to a large extent on the architect having the sensibility of an artist.

It is this then, perhaps, the one subliminal statement this book may be seeking to impart – a point that, hopefully, will not be lost on the new generations of young architects and architecture students who are nowadays so seduced by the facility with which computer software can be manipulated to create drawings of buildings, and who may, as a result, no longer perceive hand drawing as fundamental to design.

Still, there will surely be those who will deem it odd that this book may seem to be championing sketching and hand drawing at a time when, in the words of the American architectural innovator, educator and founder of SITE, Environmental Design, James Wines, ‘every progressive architect in the world seems obsessed with elevating computerized delineation to new heights of illustrative supremacy’. Yet one cannot but feel that machines will somehow always lose out on the ‘fertile territory of subliminal accident’ that only ‘guiding finger tips can provide’. By focusing exclusively on

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5 the digital graphics, to cite James Wines once again, ‘something conceptually profound is forfeited in design’. In the words of Dr Ellen Yi-Luen, a trained architect with design practice experience and an architectural educator at the Georgia Institute of Technology, in Atlanta, the most frustrating and disappointing limitations of computer aided design is that none of the CAD applications and their ‘design tools’ support ‘the most common activities in the early stages of design’, that is, ‘freehand drawing and sketching.’ As Arch. Spiteri himself was often fond of saying, ‘the mind may be impressed, but the heart is left cold!’

Undoubtedly, the question of whether or not to draw will continue to be a debatable issue for many years to come in a profession that is increasingly being dominated by digital technology. It is certainly not for this book to decide the issue, but I am sure that this collection of drawings will help add its own weight to those arguments that will continue to uphold the art of ‘thinking with the pencil’.

Dr. Stephen C. Spiteri Ph.D. April 2012

Joseph M. Spiteri – a Maltese architect and his work

‘To draw means to learn … to look with your own eyes, observe, and discover’ Le Corbusier Right, Copy of the programme outline for the first and second semesters of the Design Course at the University of Malta. For many years, the design programmes created jointly by Arch. Spiteri and Artist Alfred Chircop were the backbone of the architecture course at the University of Malta. These were structured in such a way so as to gradually help students build up the skills necessary to draw - from measured drawings of buildings to freehand sketches and perspective drawings, moving from streetscapes in rural villages, to the more evolved and formal urban settings of Mdina and Valletta. The exercises progressed to the study of light and its effects on plain and textured surfaces, followed by the ‘consideration of unity’ through proportion, rhythm, contrast, climax, cohesion, and balance. As they progressed, students were given carefully selected, larger, and more complex design projects.

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A Master Architect ‘The very act of drawing aids comprehension’ Frank Whitford

Architect Joseph Spiteri has throughout his career demonstrated an indefatigable urge to create buildings that were meant to interact with the cultural context of the Maltese islands to produce an innovative architectural vision inspired by the achievement of the great European scions of the modern movement. Considered from this viewpoint, the many drawings and projects which are presented in this volume bear testimony to what Irving Stone would have called the agony and the ecstasy of Spiteri’s long career as an architect following his graduation from the then Royal University of Malta in 1958. Since that time, his architectural drawings for both the public and the private sector have become known to many.

What is perhaps less known than Arch. Joseph Spiteri’s architectural career was his role as a teacher of that fascinating subject, following his appointment as an academic staff member of the University of Malta in 1979. Operating in very difficult circumstances when architectural education and civil engineering education became once more unhappily intertwined following the ‘failure’ of the Quentin Hughes experiment of the late 60’s and early 70’s to divorce these two entities, Joseph Spiteri’s declared mission at the university was to create an awareness among his many students of the underlying principles of good architectural design, hoping that these young men and women would eventually be in a strong position to positively intervene in the built environment of the emerging island state following their graduation. I have the honour to say that since 1981 I have been an eye-witness to the efforts of Joseph to teach architectural design to the many students who used to regularly attend his lectures and tutorials, many of them spending long hours discussing with their teacher some aspect of the creative process of designing buildings or restoring others, which would particularly interest them. With a pencil in his right hand, it soon became clear that Joseph Spiteri was determined to spare no effort to passionately explain to his attentive students his innate love of architecture, combining formidable self-thought pedagogical skills with his long experience of designing buildings of various shapes and sizes in different contexts. I do remember that his words had a profound influence on some students. I do think that their creations today very much reflect the teachings of the master.

Joseph M. Spiteri – a Maltese architect and his work

Arch. Joseph Spiteri’s achievement as a teacher was admirable. He had a rare ability to goad those talented students who already had an innate understanding of architecture to achieve even better results but he was also good at teaching the essential principles of architecture to those less fortunate students who had problems of thinking creatively. The result of his effort was a generation of professional ‘periti’ who could adequately cope with the many built environment challenges that they encountered in the course of their careers, sometimes even achieving the type of excellent results that was reflected in a unique situation that happened in 1984 when a UNESCO award was won by three of his students.

As a keen observer of Arch. Joseph Spiteri’s role as a teacher, I still vividly recall that he took great pains to teach free-hand drawing skills as well as the sophistications of perspective to the younger students, advising them that these should always be the primary tools of communicating their ideas to the uninitiated at a time which preceded the introduction of virtual reality computer programmes! I also recall that Joseph would patiently spend much time explaining to his students the need to be aware of those basic and unchanging grammatical elements in design that could be observed in the work of the great masters of architectural history, also emphasizing the need of observing ‘good manners’ in their architectural creations and being sensitive to those time-honoured concepts of elegance, beauty, and good taste that could be seen in the fine buildings that made it to the architectural journals in the university library, which he urged students to regularly consult for their inspiration. I understand that these important admonitions of Joseph Spiteri are still vivid in the minds of many of his former students, as attested in their architectural projects that have been realized in the past twenty years.

He was particularly fond of the great pioneers of the modern movement, repeatedly drawing the attention of his students to the need of reading about the achievement and scrutinizing the writings and buildings of Adolf Loos, Le Corbusier, Walter Gropius, Mies van der Rohe and so many others.

I recall that according to him, a key text that was basic to the student’s understanding of what the modern movement in architecture was all about was the celebrated essay on Ornament und Verbrechen written by the Austrian architectural theorist Adolf Loos in 1908. Joseph Spiteri would

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9 explain to his attentive students that the 1913 English translation of this essay entitled ‘Ornament and Crime’, articulated those moralizing views that went a long way to define and promote an understanding of the ideology of modernism in architecture.

This volume is the first publication of its kind that outlines the career and achievement of Arch.

Joseph Spiteri. In my opinion, it would have been incomplete had it not contained this information about Joseph’s role at the University of Malta during the period 1979 – 2002 when, together with Professor Vladimir Karfik and, later, in close collaboration with the distinguished Maltese painter Alfred Chircop and myself, he was responsible for teaching design to so many students. This was a time of great changes and Arch. Spiteri’s involvement in academia happened at a time when there was a great need for young professionals to come up with fresh ideas and creations that would reconcile the rich historical legacy of the Maltese islands with an innovative approach which had the potential to give a valid and meaningful future for our past. It also happened at a delicate moment when many were questioning the wisdom of the departure of Quentin Hughes’ shortlived architectural school based on the Liverpool model of which I am proud to have formed a part and when many traditionalists were lauding to the skies its replacement by a hybrid architectureengineering model inspired by the perit tradition of medieval origins. It is to the credit of Joseph Spiteri that he managed, during this transitional time which has regrettably still not ended, to keep the beacon of good architectural design alight in a world where many people seem to be expressing doubts about the need and value of fine things and lofty ideals. As I see it, this book is about the fine buildings that Joseph created during his lifetime. Complementing such an outstanding achievement, this short contribution is intended to pay homage to those lofty ideals that Arch. Joseph Spiteri preached to many young students with the aim of making our world a beautiful and comfortable place to live in.

Prof. Denis de Lucca Head – Department of Architecture and Urban Design University of Malta - November 2011

Joseph M. Spiteri – a Maltese architect and his work

introduction

The widespread destruction wrought on the urban fabric and infrastructure during the Second World War was to prove a turning point in the development of Maltese architecture. It was within these circumstances that a new generation of young architects like Arch. Spiteri had to forge a new architectural environment.

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A Maltese Architect and Designer There is little in the way of literature on the most recent architectural history of the Maltese islands, specifically its post-war, modern period. While the earlier subjects of the Knights and the Baroque are more fully covered, there has been a significant gap in this later aspect of Malta’s history, one that is necessary to understand better in order to address issues arising from a variety of abuses that have created the architectural environment we see there today.

Some time ago I was invited to join a large team of Maltese and expatriate consultants involved in formulating, directing and managing change in the Public Service through the office of the Prime Minister. As an architect and town planner, my particular focus was on the status and practices in these two areas, my work entailing the facilitating of changes that would move standards in Malta towards a position where they would be commensurate with those in Europe.

Most of my work was within the Public Service, particularly Public Works, dealing with organization, regulatory frameworks and skills transfer. It was here that I learned much about the manner in which Maltese buildings were being designed and constructed, a considerable amount of it based on outmoded concepts and regulations, in some cases these being dramatically at odds with both sensible theory and practice. Regrettably, over time a series of technical, functional, and administrative practices had developed which were producing buildings that did not benefit those living and working in and around them nor, by extension, the State.

Surprisingly at that time, there was little in the way of studies of post Second World War architecture (apart from the Harrison and Hubbard report published in 1944) from which I had hoped to learn how Malta was being developed, and why individuals I met were resigned to what they believed to be their inability to change the system which had created, and was continuing to produce, buildings responding poorly to their environment. Without publications demonstrating the process and history of recent development, those wishing to learn or research have little from which they might inform their own studies and practices.

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Joseph M. Spiteri – a Maltese architect and his work

Malta has a significant history of earlier architectural works, but the rapidity and character of political changes appears to have been reflected in a loss of direction in the areas of building science, architecture and planning. The sadness to me was that the small archipelago, particularly the main island of Malta, was being visually swamped by mediocre architecture, poorly constructed and uncomfortable in which to live. In addition to working with the Public Service, I also lectured and tutored at the University of Malta, which was where I was fortunate to meet Arch. Joseph Spiteri, a senior lecturer at the Faculty of Engineering and Architecture and, through him to learn a little more about the initiatives and issues governing and directing the progress, or lack of it, in architecture and planning in Malta.

Few architects have been responsible for the range and character of projects as are illustrated here.

While the intention of the author of this book may have been to document the work of his father, in effect this is a record of half a century of one designer’s view over a period that has witnessed considerable pressures and changes, historically, politically and technically; it can be seen as a view of the architectural history of Malta from its post-war era, the first of these projects dating from the period between the end of the Second World War and Malta’s independence in 1964. It is against this background that the projects here should be viewed as that background was in flux, unstable and an extremely difficult political and professional framework within which to practise architecture.

A British colony since 1800, Maltese architecture developed mainly in a Baroque style utilizing the honey-coloured limestone of which the islands are founded. While there were significant buildings in the larger towns, the essential character of development was to be found in the isolated farm buildings and rural villages with, in the latter, two storey row housing associated with a wide variety of narrow roads and open spaces, many of these structures associated with churches. These developments were organic and, being constructed from the natural stone, created a sculptured feel to these urban environments that blended into the natural environment within which they were developed and sat at one with their setting. But the open land of the island in which this architecture developed is increasingly and dramatically reduced; it is now difficult to find any place in Malta into which buildings do not visually obtrude.

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13 The typology of the Maltese row houses - from the humble elevation to the more evolved faรงade, the dimensions of which were dictated by the local unit of measurement - the qasba (Maltese cane).

It is now difficult to comprehend the extent of the damage that was done to the urban infrastructure by the bombing of the Second World War. The rebuilding of the main towns that followed was carried out in a period of rising political instability when there were little funds available and with considerable uncertainty about the manner in which the profession of architecture was developing not just in Malta, but internationally, an issue that continually affects professionals in all countries.

But, more than this, there was a great deal of interest being taken in the new projects by those with any degree of involvement in development in its widest sense. Bear in mind that Malta is a small Catholic country where the two main political parties are relatively evenly balanced, and where considerable influence can be brought to bear on any area where individuals or groups believe they have an interest. In addition to this there was the increasingly overt struggle for independence. All this, together with limited funds, brought about a situation that created or encouraged attempts to micro-manage every project, both those within the private as well as the public sectors. This process considerably interfered with architects and their ability to produce effective responses to their briefs.

More than this, it made it almost impossible to develop better solutions to common problems and, more importantly, to innovate, one of the most important benefits which good architects can bring to the projects on which they work.

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Joseph M. Spiteri – a Maltese architect and his work

One notorious example of the political issues having an effect on development has been the lack of decision-making with regard to the mid-Victorian Royal Opera House that occupied an important position in the Mediterranean world of the arts. Physically the building dominated an important position, just inside the main entrance gate to Valletta, but it suffered from fire and then the eventually destruction by bombing in 1942. Because of Malta’s strategic and artistic importance in the centre of the Mediterranean, it is extraordinary that the site has been left for seventy years as a ruin. The original plans to rebuild it after the war were halted by political opposition and petty rivalries, and continuing vacillation has marked attempts to deal with the building and its site – as well as other, related projects such as a parliament building. It is an exemplar for the problems facing architects in Malta.

Difficulties in designing buildings can be loosely thought of as reflecting the combination of design as an exercise – a practice amalgamating intellectual, artistic and engineering disciplines – with responses to a variety of constraints, particularly relating to the political and socio-cultural environment within which clients and the State’s administrative activities are directed. It is from the latter, particularly, that Arch. Spiteri has suffered in his attempts to define a modern architecture that was responsive to the environmental and cultural requirements of the islands, though funding will also have played a major part in constraining possible design initiatives.

The work set out on these pages illustrates not just Arch. Spiteri’s interest in the natural forms and history that have informed his designs, but the working of an intellect attempting to find coherence within a self-defined modernism, a development of some of the ideals which had originated in mainland Europe and were being developed, with different degrees of skill, in Europe and the United States. This can be seen in his sketches not just of buildings in the country or at the edge of villages, but chiefly of those made in urban environments where there are significant problems associated with scale and the capability of a building industry, essentially geared to small scale operations and masonry construction.

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15 Seen from a distance, the rather confusing mass of modern development is saved by a homogeneity induced by the cubic shapes of the buildings and the use of stone.

Those readers who are not architects should be aware that the drawings shown here demonstrate considerable skill, not just in illustrating projects at different times in their development, but in their investigation of solutions to a given set of problems facing a designer. Many sketches are, of course, not shown as they will have been discarded during the process of investigation, and we should be grateful that some have been saved. There is much to be learned in this aspect of investigative and developmental sketches, particularly for modern designers who rely on computers to create and organize spaces and the associated containing elements of buildings and urban structures. The

introduction

Joseph M. Spiteri – a Maltese architect and his work

working sketches for Arch. Spiteri’s own house are a case in point. The plan and sectional sketches are placed together with internal and external perspectives that serve to illustrate a point in time in the process architects go through in sorting out the uses and associated spaces and forms which go together to create the finished project.

But it is the sketches of buildings of the Maltese vernacular that are especially evocative to me, catching in simple studies much of the spirit of the old housing. As a whole, the variety of styles represented in the book’s drawings are a pleasure to look through as they show, in plan, elevation, aerial perspective and sketch form, different aspects of the variety of projects and interests in which Arch. Spiteri has been involved. Because of this it might be useful to look at a few of the projects.

The two apartment buildings for Marsovin Estates Ltd. at Qawra Point are a good starting point to view his work in that they are representative of the more characteristic architecture of the nineteensixties. The plan form for each of the two structures is of three clustered apartments on each floor arranged around a central vertical core containing lifts and stairs to reach the eight storeys.

Designed to take advantage of this prominent point on the north-east coast of Malta, care has been taken to ensure there are views to sea and land to be enjoyed from each apartment. The structure is load-bearing stone with reinforced concrete floors with these projecting from the living rooms to create generous balconies for those living there. While each floor plan is orthogonal, the three apartments on each floor are set at angles to each other, a design feature which helps to reduce overlooking between apartment balconies. But aesthetically it also creates, on the external form of the building, a series of façades that do not align but establish a series of planes that catch the light at varying angles, ensuring differing lighting intensities throughout the day on their surfaces. The buildings’ regular planes of vertical stonework, relieved by openings and balconies, stand exposed towards the end of Qawra Point, contrasting with the rough natural features of the rocks and the adjacent sea in all its attitudes.

The villa at Ta’ Xbiex is one of the most interesting schemes illustrated here. Designed in the early 1960s, it reflects the influence of modern European architecture and its concern for a number of

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17 Ta’ Xbiex Villa (The Lodge) under construction in 1961, and now listed as a scheduled monument.

The use of concrete masonry blocks (bricks) and reinforced concrete provided the opportunity for new design solutions.

issues. Society in Europe was changing rapidly as increasing wealth and stability began to settle society across the continent. Architecture reflected this with a number of movements based on intellectual and technological initiatives. The villa demonstrates two particular strands of the modern movement in architecture, the emphasis on simple forms, often structural, and the absence of ornamentation. Built on rising ground and overlooking a part of Marsamxett harbour, the villa utilizes panels of in-situ concrete, their stark planes contrasted by curved elements, the only softening of its main lines. The villa was designed to stand within a terrace of traditionally designed and detailed Maltese grand residences and, rather than attempt to replicate them in scale and detail, the villa stands in dramatic contrast to their urban statement. It would have been, for the time, a considerable

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Joseph M. Spiteri – a Maltese architect and his work

architectural – and political, statement that must have created significant comment when it was constructed.

Following that design were a number of villas which illustrate a departure from the rationale of the more formal Ta’ Xbiex villa solution. These villas illustrate the beginnings of an accommodation with the traditional architecture of the islands with the incorporation of stonework panels, flue and chimney elements together with a small amount of detail which serve to add depth to the planes.

While this vocabulary is not based on traditional details, nevertheless it begins a process that can be witnessed in later schemes where a softening of lines and planes has been created, diminishing the contrast between the hard lines of modernism and assisting the schemes to meld with their immediate environment.

Other schemes suggest an intent to consolidate this link between the man-made building and its immediate setting, such as the villa at Baħar ic-Cagħac and a suggested villa improvement where the use of angled elements replicate the more natural lines of the landscape, drawing the building up from the ground.

Contrasting with the Ta’ Xbiex villa was Arch. Spiteri’s involvement with the Carmelite church at Balluta Bay where a need to accept larger congregations resulted in a building with allusions to Gothic architecture, designed and constructed over the original, smaller church. In large measure the design has been constrained by an obvious wish to retain something of the original, smaller church, the new structures strongly suggesting the originals but with an elegant elongating of their forms. Nevertheless, the façade is relatively flat and two-dimensional, in this reflecting the traditional architecture of the adjoining buildings, though having pointed arches which contrast with the semicircular, traditional arches of the residential component.

The internal nave and aisles are expressed in the articulation of the façade with that part of it reflecting the two aisles stepped to form a well-scaled transition between the flanking two-storey traditional buildings and the elegant, tall central element reflecting the nave. Light has been

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19 Carmelite Church, Ballutta.

introduced to the nave by both the pointed lancet windows with their restricted capacity, as well as by rose windows set high and framed externally by arched gables. While internally these windows act as foci to the eye as it is led upward by the vertical emphasis of the clustered columns, externally the framing of the circular windows by arched gables backed by the ribbed roof, creates a dramatic rhythm along the top of the nave wall. The building really has to be viewed from across the bay where its relationship to the two-storey structures flanking it and the rose windows can be seen to advantage. But it also has to be seen as a balance to the art-nouveau Balluta buildings to its south against which it provides a degree of necessary balance to this area of the urban environment of Malta.

One of the most significant projects in which Arch. Spiteri was involved is, perhaps, that of Sta. Lucija, a large scale urban development. A medium density project, it was designed in the manner of the British New Towns of the nineteen-fifties within a ring road system with local distributors giving vehicular access to the housing and other land uses within it, and designed to segregate pedestrian and vehicular circulation. A central shopping centre was located to provide for the daily needs of those living there.

You will read elsewhere that one of the defining characteristics of Maltese architecture has been the uneven massing of the rural buildings and their relationship with the land and its associated sparse landscaping, both formal and informal. While New Towns planning in Britain – the source of planning initiatives in Malta – wished to see the integration of buildings and their uses with landscaping and outside activities, the theory was not as readily adaptable as might be have been wished.

The landscaping palate of the Maltese islands is very different from Britain and the integration of man-made structures with a natural environment had never been explored when this project was initiated. Arch. Spiteri, with his concern to see that the landscaping of the site was considered, suited, responsive and adapted to its installation had to develop his interest in landscaping, a discipline for which there was no precursor in Malta. The sketches for Sta. Lucija illustrate linear tree planting along roads and a concern for the spaces between buildings, though obviously this has not been developed in the sketches published here. What has been illustrated, and was a very

introduction

Joseph M. Spiteri – a Maltese architect and his work

important initiative, was that an effort was made to vary the masses of buildings in a manner that replicated the volumes of the structures forming traditional settlements, albeit on a much greater scale. The aerial sketch of the development shows the manner in which the different volumes were to be dispersed across the estate; other drawings show an intent to break up the long skylines of residential buildings in order to reduce the impact of their larger scale.

But, just as there were problems in Britain with funding these development initiatives, they were more serious in Malta where the need to reduce costs saw both the elimination of sensible building standards as well as the introduction of features which have diminished the possibility for enjoyment of new constructions. On this issue Arch. Spiteri had little leeway in dealing with the new standards demanded other than using his skill to diminish their impact. Those who live in, or visit, the structures of this period will be uncomfortably aware of the problems introduced by internal shafts combining water and drainage services with window openings theoretically providing light and air, but also a source of noise and unpleasant smells, as well as the introduction of single stone wall construction which heats rooms in summer and cools them in winter.

It is significant that Arch. Spiteri visited Libya in the 1960s to work on a Maltese government project, and in 1976 was involved in the design of projects for Saudi Arabia, working in collaboration with English and German firms. What is interesting about the work illustrated there is the degree of introversion seen in his designs compared with his work in Malta.

This reflects not just the nature of the society in which he found himself, but more importantly, that he was aware of an essential architectural vocabulary responding to the harsh environmental conditions at the centre of the Arabian peninsula. Even though summers and winters in Malta can be hot and cold respectively, they do not approach the range and extremes of temperature and relative humidity values experienced in Saudi Arabia. The use of shade and the screening of window openings developed in response to the Arabian environment are significant differences from Maltese architectural vocabularies.

20

21 This book presents the oeuvre of a single, caring Maltese designer, an extremely valuable resource for those studying and researching not just the recent architecture of the islands but also the work of an individual architect and designer. In this, it is essential to understand that the built works we see around us are not each the creation of a single mind, but reflect and represent a considerable number of conflicting factors created by the observation, training, and skill of the designer as well as the political, financial, and administrative dictates of those able to influence those works. Not only is it important that design work is understood within this overall context, but that it is recorded and presented in such a way that it can be viewed in its entirety, as it is so well here.

John Lockerbie RIBA MRTPI London - June 2011

‘In the brain the idea is born ... but it is the drawings ... which unlock, architecturally, the echo, the visual echo in the realm of shape’ Le Corbusier (1887-1965)

Sketches, drawings, plans, and projects

Joseph M. Spiteri – A Maltese Architect and his work

' ... my beauty, though but mean, Needs not the painted flourish of your praise: Beauty is bought by judgement of the eye' William Shakespeare Love's Labour Lost (1588)

25

housing and residential schemes

1

Joseph M. Spiteri – a Maltese architect and his work

housing schemes

New Tarxien Community

26

Many of the early drawings are concerned largely with public housing projects and schemes. Amongst the most important housing projects in which Arch. Spiteri was involved with was the Tarxien New Community, later known as Santa Lucija, which was then a novel and pioneering housing concept.

After 1945, the main burden of providing houses had fallen on Government and with the Island being then a British colony, governments were understandably influenced by British trends and policies where complex social conditions had led to the concept of ‘New Towns’. Serious housing problems in Britain first arose in the early years of the Industrial Revolution but a “New Towns Committee” was only established in 1945. Its recommendations formed the broad basis of the New Town Act of 1946. The essence of the innovation was to supplement cities with independent self-contained towns, working class housing estates and all

other types of development. By 1959 there were fifteen such New Towns in Britain.

In Britain, the guidelines for housing were published by HMSO which were consulted and studied especially as regards planning and the importance of creating amenable environments. Conscious of these new ideas, Malta sought the help of British experts. The result was that initially local housing policies were modelled on experiments taking place in Britain.

It was towards the end of the 1950s that these new ideas in housing design made their mark locally. A housing section was set up headed by Arch. J. Gambina and under his direction the new pioneering ideas on housing were slowly ushered in. The first experiment resulted principally in the first housing estate of Santa Lucija which was the closest model to the English housing policies of the new towns (‘estate’, probably, being the word that best fits the description for Santa Lucija because of its population size). A few of the new innovations and provisions were conditioned by financial considerations as the cost of dwellings had to be reduced, compared with other developments. In brief, these were: the adoption of low-cost housing principles which brought about lasting changes; reduced floor areas after careful studying of the functions of the various rooms; reduced floor

27 Initial layout design showing aerial view of the New Tarxien Community.

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Joseph M. Spiteri – a Maltese architect and his work

28

to ceiling height – from 11/12 courses to 10 courses (this in turn meant a reduction in the amount of stairs required, till then traditionally rather high, and affected stair design); the elimination of roof parapets; and the reduction in double wall thickness.

The project also introduced the concept of ‘mixed development’, mixing flats and houses of various types - slab blocks, point blocks, and row houses. This had the effect of increasing density and reducing frontage widths. It also saw the introduction of internal shafts to screen service pipes from view.

The new design introduced the concept of pedestrian precinct and vehicular segregation, with the introduction of new road standards, involving less width and more green and the careful treatment of the spaces around the buildings, with abundant use of greenery to create a green belt separating estate from the arterial neighbouring roads. This greenery, however, was never repeated on the

same scale as at Santa Lucija.

The Santa Lucija project was intended to take shape in three phases but this was not rigidly adhered to owing to policy changes.

In the process of designing the layout of the first section it became clear that basic principles of composition were to be kept in mind and that it was not enough to leave open spaces between buildings looking as left-over spaces. Nature and building had to complement one another in order to create a character appropriate to the individual site, exploiting existing features, interesting buildings and views outside the site.

Furthermore, the common open space between buildings had to include in the design a planting scheme with trees and shrubs to link together the different open spaces. It was these considerations that motivated Arch. Spiteri to take up the study of landscaping, a subject that hitherto had not attracted any specialization by local architects. Indeed, it took a couple of decades after Santa Lucija first phase was completed before landscaping became an important branch of Maltese planning and even become a household word.

The greatest contribution of the Santa Lucija project, however, was that the town had set a pattern of design, mainly concerning layout and overall treatment. Henry Brookes, in the foreword to HMSO booklet on housing design in 1958, writing

29 Oil painting of New Tarxien Community.

Joseph M. Spiteri – a Maltese architect and his work

housing schemes

Apartment block, Luqa Road, Paola Hill, 1960.

Plan, photographs and elevations.

30

31 Perspective view of apartment block, Paola Hill, 1960.

Joseph M. Spiteri – a Maltese architect and his work

housing schemes

New Tarxien Community. Sketch showing colour scheme proposed for terrace houses.

32

33 New Tarxien Community (Santa Lucija)

the following, expressed the desire for towns ‘to achieve the complete combination of attractive buildings, a happy variety of form and skyline, a satisfying massing of blocks, and a sense of space pleasingly planned’ - fundamental objectives that were, and remain, the essence of good design and ones which were heeded by the local designers in the novel Santa Lucija project. These innovations were echoed in several other housing projects that were to follow although, successive smaller housing estates carried out at a later date failed to achieve the same kind of cohesion. Another housing estate built on similar lines of Santa Lucija and found in the drawings reproduced in this book, was that built at San Ġwann t’Għuxa.

In time, the concept of New Town was abandoned and small estates attached to practically every town and village became the norm. By 1969, the then Government had reversed the idea of building new communities on the Santa Lucija model and began to plan instead small schemes attached to existing towns and villages. The impact, on the environment, however, was devastating. Apart from the fact that these schemes brought no worthwhile innovations to design, the new buildings began to dot the landscape with monotonous uniformity.

The distinctive organic character of the old villages was now neutralized by hastily designed regimented rows of boxes sprouting like mushrooms around old picturesque settings.

Many old villages and towns – Safi, Kalkara, Żabbar etc – were transformed almost beyond recognition into anonymous and monotonous labyrinthine mazes of houses.

Joseph M. Spiteri – a Maltese architect and his work

housing schemes

Elevation of façade of apartment block at Msieraħ.

35 Sketches and elevation of apartment block, at Corradino Hill, Paola, 1959.

housing schemes

Joseph M. Spiteri – a Maltese architect and his work

36

37 Elevation of apartment block, Msiera침, October 1960. Opposite page, apartment blocks in Paola and Tarxien.

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Joseph M. Spiteri – a Maltese architect and his work

38

Below, terrace houses elevation, Msieraħ, 1960.

Opposite page, top, proposed elevations, Tarxien community.

Joseph M. Spiteri – a Maltese architect and his work

housing schemes

Proposed elevation of apartment block, GĹźira, 1960.

40

41

Joseph M. Spiteri – a Maltese architect and his work

housing schemes

initial pencil sketch with pencil colour shading for Floriana housing scheme

Apartment blocks in Floriana.

42

43 Initial pencil sketch with colour shading for apartment blocks, Floriana.

Joseph M. Spiteri – a Maltese architect and his work

housing schemes

King's Gate Apartment Block & Shopping Centre, Valletta

44

As a result of the Opera competition in 1954, the winning design by Bergonzo had placed the theatre with the main elevation facing the main city gate, incorporating a piazza. This can be seen in his project drawings. Previous to that even Harrison and Habbard had proposed a piazza in this area but on a smaller scale. Eventually, this was the origin of the present-day piazza which is rather too large but also useful for outdoor events – carnival, exhibitions etc. The site overlooking this piazza, situated in line with the Francia block was excavated down to piazza level. For some years this site remained undeveloped but when the Labour Party was elected in Government in 1971, it was decided to develop it for housing purposes. Needless to point out, this was a political decision and plans were prepared for a housing block which, however, were deemed unsatisfactory.

The first proposed design had nothing to distinguish it from housing projects in Pietà, San Ġwann, or any other urban housing schemes. Moreover, these plans made no provision for other uses apart from housing accommodation. It

was at this stage that Arch. Spiteri was handed the problem by his superiors and instructed to produce a design that was ‘classiccheggiante’.

On studying the site, it appeared that a shopping area could be better suited to the lower two floors, since this not only introduced ‘life’ at street level but also brought the housing part of the block in level with the Valletta ring road. It also made the building financially viable as it partly compensated for the huge outlay as government housing was not meant for the well to do, and the inherent costs could not be easily recuperated.

Situated, between the two Valletta cavaliers and the adjoining Francia block, it was essential to keep the new building at least in line with the skyline of these three dominating landmarks.

This, in turn, determined the height of the floor-to-ceiling internal heights and this in turn meant that a truly classical style was impossible to adopt within the restrictions of the resultant outer façade.

Provisional plans were discussed at higher political level where changes were imposed on the proposed design, such as the arches that break the flow of the arcade beneath the upper block.

The plan was not an easy exercise as it sought to prevent an undesirable overcrowding, particularly on the back and court area. To achieve this, it had to be of a certain size, ensuring a good distance from one face to the opposite side. There were countless other problems which had to be solved. The

45 Early front elevation drawing of City Gate Project, Valletta, 1971.

The wooden jalousies are painted green to create a contrast with the stonework. Large buildings in Valletta (such as the Auberge de Castile) tend to rely on this play of contrasting colours to accentuate their features.

‘Architecture is the most political of the arts’ John Ruskin (1819-1900)

housing schemes

Joseph M. Spiteri – a Maltese architect and his work

46

City Gate Project, Valletta - ground-floor plan and elevation on Republic Street.

Right, view of main façade and arcade on Republic Street.

City Gate Project, Valletta, 1971

47

City Gate Project, Valletta, 1971.

Joseph M. Spiteri – a Maltese architect and his work

housing schemes

City Gate Project, Valletta - interior views of shopping arcade in 2011.

48

49 balconies, for example, were never easy to insert but it was impossible to deny them to people who resided in small residences. These, at least, compensated by providing outdoor views, especially along the Floriana and Grand Harbour sides.

To make matters even more difficult, the whole project had to be executed within the space of a mere three months, the time limit set almost as an ultimatum. The drawing shown earlier in the book was done purposely to show that the three arches in the centre at ground level - a decision imposed from above - were out of tune with the overall composition.

Trees were also proposed for the adjoining piazza as it was evident that this was too ‘empty’ especially when seen with the rather already empty space of the demolished theatre site nearby.

housing schemes

Joseph M. Spiteri – a Maltese architect and his work

Left, View of one of the apartment blocks at San Ġwann t’Għuxa, Bormla, built in 1971-72 outside the Santa Margherita enceinte.

This complex of public housing comprised a mix of apartments blocks and row houses (see initial presentation sketch on opposite page).

Above, Arch. Spiteri was also responsible for designing the housing complex built nearby in the gorge of St. Nicholas Bastion.

51 San Gwann t’Ghuxa Housing Estate

Joseph M. Spiteri – a Maltese architect and his work

housing schemes

Mtarfa Apartment Block

52

Mtarfa was a garrison town and hospital used by the British military and which, after the attainment of Malta’s independence in 1964, and the departure of the services, was assigned to serve for housing purposes. A competition to convert the barrack complex into a small town to house a population of about 2,000 people was held in 1988. The drawings shown here show the entry proposals which gained second place in the competition (out of four competitors).

The project was undertaken in collaboration with Arch. Keith Cole.

As a result of the competition, the group was commissioned to design two blocks (shown here) which were eventually built on a site decided by the government housing section.

53 Front elevation of one of the two Mtarfa apartment blocks, 1992. Previous page, initial sketches and plans.

housing schemes

Joseph M. Spiteri – a Maltese architect and his work

55 Opposite page, Designs submitted for Mtarfa competition in 1992, showing the insertion of proposed additions to the existing barracks and hospital. The scheme proposed to make full use of the available space to expand the complex into a veritable town. Right, Initial plan for Mtarfa apartment block. Below, view of one of the two blocks built at Mtarfa.

Joseph M. Spiteri – a Maltese architect and his work

residential schemes

Marsovin Apartments, Qawra Point

56

In designing point blocks depending on plain walls with windows and balconies, it is difficult to reduce the massiveness of the resulting design. Arch. Spiteri believed that it was necessary to break up the mass in such buildings to create a better visual effect. He first experienced this problem during his work on the design of the housing blocks at Santa Lucija. One solution provided by British planners was to construct cruciform blocks and this idea was adopted by Perit Spiteri and adapted to a Y-shaped point block design which was used as the basis of some of the housing blocks at the Tarxien New Community and in the Qawra apartment blocks shown here.

The use of such point blocks made it possible to place the access in the centre of the building and it also eliminated the need for central courtyards as all the apartments came in contact directly with the exterior. At the time of their construction by Marsovin Estates Ltd, the Qawra apartment blocks were considered luxury flats located in a part of the Malta

57 Front elevation, view and scale model of the Marsovin Qawra Point residential apartment blocks.

Joseph M. Spiteri – a Maltese architect and his work

residential schemes

that was then still undeveloped. It took another forty years for other developers to see the advantages of point blocks, especially in areas surrounded by open country and panoramic sea views.

58

59 Opposite page, Plan and contemporary photograph of elevation.

Below, Scale model of Qawra blocks.

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Joseph M. Spiteri – a Maltese architect and his work

61 View from the seaward side of the Qawra apartment blocks today.

Marsovin apartment blocks, Qawra Point, 1967

Joseph M. Spiteri – a Maltese architect and his work

residential schemes

Elevation of housing apartment block on site of former Flores College (St. Albert), in Old bakery Street, Valletta, designed in 1972. The problem of providing new apartment blocks in Valletta presented various challenges. The crowding of so many window openings in a limited area reduced the possibility of attaining the ‘gravitas’ that is associated with the palazzo-type buildings which characterize Valletta.

62

62

63 Above and right, Present view and Initial sketch for development of site at Balzan designed to accommodate 23 blocks, by Marsovin Estates Ltd. A streetscape of the houses is shown above. Below, Presentation drawing for private development of semi-detached row houses at Marsascala (unbuilt), showing a play of shadows and rhythm that Arch. Spiteri considered essential in the design of row houses.

Joseph M. Spiteri – A Maltese Architect and His work

'I prefer drawing to talking. Drawing is faster, and leaves less room for lies.''

Le Corbusier (1887-1965)

64

public and private schools

2

Joseph M. Spiteri – a Maltese architect and his work

schools

Rabat School

66

The building of new schools was one of the many important commitments undertaken by successive Maltese governments in the post-war period. In 1963, Arch. Spiteri joined the Schools Section of the Public Works Department and carried out works on the laboratories, workshops, furnishings, and exterior of the new Malta College of Arts, Science and Technology, which was set up at Msida.

In the early 1970s, he was directed to design a new Girls' School at Rabat. The drawing on the following page shows the initial sketch for the first design for a school in the area known as Taċ-Ċaqi. This design, however, had to be shelved owing to a change in the choice of site and a new design for the second site was prepared.

The scale model and sketches on pages 68-69 show the proposed design for the second school. Only one wing of this school had been completed by 1971 when works were brought to a halt owing to a change in educational policy requirements.

Among the first works undertaken by Arch. Spiteri as a Public Works employee in the Schools Section were those involving the design of laboratories, workshops and furnishings of the new Malta College of Arts, Science and Technology, which was set up at Msida. The above drawing of the façade of the Malta College of Arts, Science and Technology was made by Arch. Spiteri for the Public Works Department's publicity campaign.

67

Joseph M. Spiteri – a Maltese architect and his work

schools

Details of scale model of proposal for Girls’ Primary School, in Rabat, 1965.

68

69 Initial sketch and scale model of proposal for Girls’ Primary School, in Rabat, 1965.

Joseph M. Spiteri – a Maltese architect and his work

schools

St Augustine College

70

In the early 1960s the Augustinian Order had decided to enlarge their college at Tarxien.

This, however, was not deemed desirable and they sought instead to build a new building at a different location. Two sites were considered, one at Tal-PietĂ , where the new structure eventually took root, and the other at Santa Lucija. The Santa Lucija proposal, shown here, was the more ambitious of the two designs but the required land was not granted.

The design was based on the cluster principle to avoid long corridors and provide more attractive common interior spaces.

71 Proposed Grammar School, PietĂ .

Drawing of the proposed college at Santa Lucija intended to persuade the authorities that the site was suitable for a different approach to school design - then a difficult task considering the limitations imposed by government policy in cases involving direct allocation of large tracts of land.

Joseph M. Spiteri – A Maltese Architect and his work

'All fine architectural values are human values, else not valuable' Frank Lloyd Wright (1867-1959)

73

civic centres and public buildings

3

Joseph M. Spiteri – a Maltese architect and his work

public buildings & offices

Civic Centres

Civic centres were premises designed to meet the every-day needs of local communities by providing the necessary public services - health clinics, postal offices, police station etc., - by gathering them all in one building in order to facilitate administrative functions and services. The buildings had to provide independent access to the various offices and services. The following pages depict many of the designs created by Arch.

Spiteri for various localities, a number of which, such as those of Rabat and Ĺťabbar, were constructed.

Initial pencil sketch of proposed civic centre for Marsa, 1959.

74

75 Presentation drawing of the Civic Centre built in Ĺťabbar, 1964.

Joseph M. Spiteri – a Maltese architect and his work

public buildings & offices

Initial sketch for Paolo Civic Centre.

76

77 Alternative sketches for Paolo Civic Centre and plan (left) of Ĺťabbar Civic Centre.

public buildings & offices

Joseph M. Spiteri – a Maltese architect and his work

78

79 View of the Rabat Civic Centre as seen today and its groundfloor plan (opposite page).

Joseph M. Spiteri – a Maltese architect and his work

public buildings & offices

Law Courts, Valletta

80

The demolition of the Auberge de France during the War had left a large empty site along what was Strada Reale in Valletta (today’s Republic Street) that had to be rebuilt. The site was chosen for the new law courts, which hitherto had been located in Merchant’s Street. Several proposals for the facade of the new law courts were made with fruitless results and at one stage, in 1961, Arch. Spiteri was asked to submit ideas. The result was he building shown here, influenced by certain trends of the times. The idea was to link the building to the ground floor, giving the illusion of a continuation of shopping centres that line most of Valletta’s main street while at the same time avoid introducing glazed openings, windows, balconies, and those features that normally constitute a typical facade.

In order to compensate for the large area of unadorned surface, the building’s texture was to be enriched by the curved panelling effect, while a large frieze,

in low-relief, crowned the central part of the facade, portraying a celebration of the idea of justice. This was designed in a way so as to match the lines of the panels and was placed in an rectangular frame, with the figures in the low-relief forming a triangular arrangement hinting at a crowning pediment. The facade was retired from the line of the street, to create a larger opening in front of the building. This also allowed for the introduction of a large winged canopy over the main entrance. the panels and was placed in an rectangular frame, with the figures in the low-relief forming a triangular arrangement hinting at a crowning pediment. The facade was set back from the line of the street, to create a larger opening in front of the building. This also allowed for the introduction of a large winged canopy over the main entrance.

81 Proposed design for new law courts in Valletta, 1961

Presentation drawing of proposed law Courts, showing front elevation on Kings Way (Republic Street).

Joseph M. Spiteri – a Maltese architect and his work

public buildings & offices

Detail showing frieze crowning the central part of façade of proposed courthouse.

82

83 Side and rear (partial) elevations of proposed courthouse on Santa Lucija Street and Strait Street respectively, Valletta.

Joseph M. Spiteri – a Maltese architect and his work

public buildings & offices

Initial sketch for another proposed design for the new courthouse in Valletta, 1961.

84

85 Initial sketches for alternative design proposal (front elevation on Kings Way) for the new law courts in Valletta, 1961.

Joseph M. Spiteri – a Maltese architect and his work

public buildings & offices

Public Works Headquarters, Floriana

86

In 1965 the then Director of Public Works , Salvinu Mangion was keen to concentrate all the branches of the Public Works activities in one central building. Perit Spiteri was asked to draw up plans for such an edifice on a then vacant site near the Hotel Phoenicia. However, it eventually transpired that since the building was to be five storeys high above the level of Great Siege Road, it was thought that this was going to compete with the nearby hotel. The ensuing public outcry was enough to stop the whole project, especially as the 1971 elections were in the offing.

A ‘Y’-shaped plan was chosen for the building since this eliminated the use for an internal courtyard by having all sides of the building in direct contact with the outdoor. The block was to contain all facilities for as well as a lecture theatre for the in-house training of Public Works personnel.

Initial sketch, proposed Public Works Administrative Block, Floriana, 1970, and scale model, below.

87 Front elevation of proposed Public Works Administrative Block, Floriana, 1970

Joseph M. Spiteri – a Maltese architect and his work

Ground-floor plan of proposed Public Works Administrative Block, Floriana, 1970

89 Proposed Public Works Administrative Block, Floriana, 1970

Joseph M. Spiteri – a Maltese architect and his work

public buildings & offices

Marsa Industrial Estate

90

One of the first project which were assigned to Arch Spiteri on taking up employment with the Public Works Department in 1956 was to assist in the drawing up of proposals for the first industrial estate in Malta. This was to be located at Marsa and the project mainly involved the overall layout and the design of roads in the area, then still undeveloped under the direction of Arch. AndrĂŠ Zammit.

These proposals were to serve as a model for subsequent developments in other industrial zones around the island.

Arch. Zammit had provided material on design from Team Valley Estate (Durham) where he had studied and visited. The Marsa estate has continued to grow and develop to the present day, absorbing new factories and industries in the process.

91 Initial drawings for Marsa Industrial Estate, 1960

Joseph M. Spiteri – A Maltese Architect and His work

'Architecture is a visual art, and the buildings speak for themselves' Julia Morgan (1872-1957)

92

private residences

4

Joseph M. Spiteri – a Maltese architect and his work

private residences

Initial design sketches for Arch. Spiteri’s own private residence at Balzan.

94

95 Initial sketches for Arch. Spiteri’s personal residence at Mrieħel, l/o Balzan

Joseph M. Spiteri – a Maltese architect and his work

Initial design sketches for Arch. Spiteri’s own residence ('Arkadia') at Balzan, 1963, and photograph of the building in its early days.

97 Right and below, Two views of the right side and part of the faรงade overlooking the road of 'Arkadia', at 174 St Francis Street, Balzan. These photographs were taken in 2010. Various modifications had been made to the original building over the course of nearly half a century.

These alterations included the addition of a lateral garage and apartment (later converted into a study), kitchen (towards the rear) and the roofing over of the internal courtyard to create additional rooms.

Joseph M. Spiteri – a Maltese architect and his work

Below, Views of the exterior and interior (first floor) of 'Arkadia'.

99 Initial design sketch for villa residence, 1963.

Ta’ a Plans, elevations and photographs of Ta’ Xbiex Villa under construction, 1961, now listed as a scheduled monument.

101

Ta’ Xbiex Villa.

Joseph M. Spiteri – a Maltese architect and his work

Current views (right) and elevation sketch of villa at Mrieħel, overlooking Mdina Road (below). This residence was designed for Arch. Godfrey Azzopardi, who shared Arch. Spiteri's views on design and modern architecture.

103 Front, sides, and rear elevations of the villa at Mrie침el, overlooking Mdina Road, illustrated on the opposite page, 1961.

Joseph M. Spiteri – a Maltese architect and his work

105 Current views of villa at Mrie침el, overlooking Mdina Road, illustrated on the previous pages.

The wall bordering the road forms part of the seventeenth century aqueduct built by Grand Master Alof de Wignacourt in the early decades of the seventeenth century.

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Joseph M. Spiteri – a Maltese architect and his work

106

107 These two pages show the initial sketches for proposed country villa at Baħar ic-Cagħaq with the Great Fault at Madliena serving as a backdrop. The design of this building (which was not built), with its combination of rustic masonry, extensive glazing, and horizontal emphasis stands in direct contrast with Arch. Spiteri’s inherent sobriety.

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Joseph M. Spiteri – a Maltese architect and his work

108

109 Elevations, plans, and details of Villa Mediterranea, Artist E. Cremona’s private residence at Mdina Road, Balzan. Arch. Spiteri’s professional relationship with Mr Cremona began with their collaboration on the design of the Osaka ‘70 World Trade exposition in Japan. This eventually led to Arch. Spiteri’s active involvement in the design and construction of Mr Cremona’s private residence (1970-77). Arch. Spiteri was instrumental in translating Mr. Cremona’s complex painterly concepts into a feasible architectural design and was also responsible for preparing the working drawings, and executing the villa’s construction.

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110

111 Plan, elevation and presentation drawing for one of two seaside bungalows built

by Marsovin Estates Ltd. at Qawra Point during the late 1960s.

Joseph M. Spiteri – a Maltese architect and his work

private residences

In the 1960s land speculation in Malta was at its hightest.

The bungalow designs shown on these and the following pages were commissioned for one particular developer who requested a different design approach to the types of bungalows that were available then. None of the designs, however, were built.

112

113

Joseph M. Spiteri – a Maltese architect and his work

private residences

Proposed bungalow designs, 1960s.

114

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private residences

Proposed bungalow designs, 1960s.

116

117

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private residences

Initial sketches and plans showing various exercises at finding design solutions for the conversion of old rustic buildings into contemporary countryside dwellings.

118

119 Presentation drawing, prepared Improvements in 1976, showing to design attempt to fuse two separate rural buildings of country into one residence structural composition with the introduction of a decorative rustic central section, designed to serve also as the main entrance to the new building. The watercolour drawing has design notes on the rear.

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private residences

Front elevation of villa built at Ta’ Xbiex in the 1960s.

Opposite page, elevations and plans of private residence built at Ta’ Ġiorni in the 1960s.

120

121

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private residences

Elevations and plans of private residence built at Balzan in the 1970s.

122

123 Front, rear, and side elevations of private residence built at the Gardens.

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private residences

View, elevation and plan (opposite page) of the Apostolic Nunciature, Rabat. In 1994, Arch. Spiteri was appointed by the Curia to revise the plans for the Apostolic Nunciature located at Tal-VirtĂš, Rabat.

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'Even though I build buildings and I pursue my architecture, I pursue it as an artist' Maya Lin

126

hotels and tourism facilities

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128

Marsovin Estates Ltd. had for many years attempted to build a hotel. This presentation drawing was an attempt to build one in an area at BuÄĄibba on a piece of land owned by the same firm.

The design was an attempt by Arch.

Spiteri to create a different solution to the run of the mill prescriptions that had been the ordinary approach in cellular buildinglike hotels.

129 Design for seaside hotel at Bu치ibba, for Marsovin Estates Ltd., November, 1967.

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131 Front elevation and current view of Primera Hotel in Bu치ibba (built in 1975-77)

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132

Plan and rear elevation of Primera Hotel in BuÄĄibba comprising 82 rooms, an 80seater restaurant, a meeting venue, an indoor heated swimming pool, and a sun roof terrace with splash pool.

133 Initial design for front elevation for proposed hotel in Pioneer Road, Bu치ibba, prepared in October 1980.

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hotels and leisure facilities

Elevations and plans for a proposal for holiday apartment block, 1960s.

134

135 Tentative presentation design for a sea-side hotel proposal with beach facilities, 1960s.

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hotels and leisure facilities

Below, Detail from elevation of apartment complex designed by Arch. M. Manighello and embellished by Arch.

Spiteri, intended to be adopted in design of extensive holiday complexes. Opposite page, Proposed design for a seaside public resort intended for the foreshore of Santa Maria Estate, Mellieħa.

136

137

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hotels and leisure facilities

Side and sectional elevation through site, and plan, of a holiday apartment complex designed for an inclined site at Xemxija, St. Paul’s Bay, 1970s.

139 Front elevation of a holiday apartment complex designed for an inclined site at Xemxija, St. Paul’s Bay, 1970s.

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140

Seafront apartment block, BuÄĄibba, 1960s.

141 Initial concept sketch showing a tentative proposal for the development of small part of Wardija for tourism and residential purposes.

Joseph M. Spiteri – a Maltese architect and his work

Front and side elevations for a proposed hotel in Valletta, designed in the 1960s to occupy a site at the top of Old Mint Street corner with South Street (then a vacant site near the Workers’ Memorial Building).

143 Presentation perspective drawing of proposed hotel in Valletta.

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hotels and leisure facilities

Waterfront hotel proposals for the Manoel Island development project, Marsamxett Harbour, a private initiative proposed in 1966.

144

145 Master plan for proposed Manoel Island project, inside Marsamxett harbour, 1966. This aerial perspective presentation drawing shows the proposed layout of the island with the various hotels, seaside apartments, and yacht marina surrounding the old Knights’ fort and the Lazzaretto.

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hotels and leisure facilities

Ground floor plan of holiday apartments intended for sites owned by Marsovin Estates Ltd.

146

147 Elevations of holiday apartments intended for sites owned by Marsovin Estates Ltd.

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hotels and leisure facilities

Sectional elevation and plan of proposed seaside catering facility for TignĂŠ Seafront, Sliema.

148

149 Initial sketches for catering seaside facilities, 1980s.

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hotels and leisure facilities

Elevation for roadside façade of seaside catering establishment at Mellieħa Bay, 1960s Opposite page, initial sketch showing interior design for restaurant area of Mellieħa catering establishment.

150

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'Painting is art to look at, sculpture is art you can walk around, and architecture is art you can walk through’ Dan Rice

153

parks and monuments

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parks and monuments

Kennedy Memorial Grove, Salina

154

In 1965 the Maltese government decided to erect a monument to commemorate the memory of US President John Fitzgerald Kennedy.

This memorial, in the form of a ‘garden, grove, and girdle of stone’ was dedicated in ceremony held on Sunday, 29 May 1966 and attended

by Mr. George Feldman, United States Ambassador to Malta and the Governor General, H.E. Sir Maurice Dorman. In his inaugural address during the dedication, Sir Dorman stated that the late President ‘would have approved this memorial for its sensitive proportions, its simplicity and lack of ostentation, its natural grace and strength. It has a sense of style.

For this, a young Maltese architect, Mr. Joseph Spiteri, deserves our respect and praise.’

The memorial designed by Arch.

Spiteri was given the shape of a

stripped down circular temple to evoke the notions of sanctuary - a design influenced by the rounded temple, or rotondo, of antiquity, such as the temples of Lysikrates or Delphi, and also by the depiction of classical temples in the classicist landscape paintings of artists like Claude Lorrain and Nicolas Poussin.

The inner core of the enclosure consisted of a circular metal girdle surmounted by 52 stars (representing the number of states forming the United States of America). The words of Kennedy’s famous dictum, ‘Ask not what a country can do for you, but what you can do for your country’ were inscribed on one of the walls.

155

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156

157 Initial sketch of design concept for the Kennedy Grove Memorial at Salina, 1966.

parks and monuments

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159 Detail, Kennedy Grove Memorial at Salina.

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parks and monuments

National Park, Ta’ Qali

160

In 1986, Arch. Spiteri was instructed by the Prime Minister’s office to take steps to develop the old disused World War II airfield at Ta’ Qali into a ‘national park’. Unlike national parks found in other countries, which normally mark out for preservation large tracts of country with special natural attributes like geography, fauna, and flora, the Ta’ Qali park was to serve largely as a recreation area combining public gardens, walkways, an open-air amphitheatre, and picnic areas, with stretches of planted woodland. Apart from serving to provide a place for leisure activities for people living in overcrowded urban areas, the Ta’ Qali park was also intended to serve as a buffer zone against urban encroachment in the rural areas south of Mdina, the island’s picturesque ancient capital.

Situated geographically in the centre of the Island, the relatively large

expanse of the Ta’ Qali airfield placed it within easy reach of the main towns and villages. The design of the park sought to provide a balance between ‘wild’ or unspoiled landscape areas augmented by planted clumps of trees, and planned ‘gardenesque’ areas carefully subdivided for particular and compatible uses, both of which were organized into a unified whole. The recreation area was provided with gardens of a ‘romantic type’ and the whole setting was given a pronounced centrally-sited promenade. The design of the promenade consisted of an arched foyer, acting as the formal entrance to the park and garden, with its open-air amphitheatre and auditorium. The idea of the design for the arched portico was a decorative one intended to impart a sense of enclosure as employed in classical gardens such as Villa Aldo Brandini and Villa d’Este, merged with the Roman concept of the Peribolos, as employed for example, in the ancient city of Jerash, in Jordan. The axial design of the garden was orientated in the direction of Mdina which itself was exploited to serve as a dramatic landscape backdrop to the whole complex.

161 Detail of Ta’

Early initial drawings for the proposed layout of the National Park at Ta’ Qali.

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parks and monuments

Arcaded portico and entrance into Ta’ Qali National Park complex.

Arch. Spiteri referred to the structure as il-Barrakka ta' Ta' Qali and envisaged it partly covered by flowering climbers.

163 The idea of the design for the arched portico was a decorative one intended to impart a sense of enclosure as employed in classical gardens, merged with the Roman concept of the Peribolos.

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parks and monuments

Arcaded portico and entrance into Ta’ Qali National Park complex with the ancient city of Mdina clearly visible in the background. The axial design of the garden was orientated in the direction of Mdina which itself was exploited to serve as a dramatic landscape backdrop to the whole complex.

165

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parks and monuments

Arcaded portico at Ta’ Qali National Park complex under restoration in 2010.

167 Design proposals for football stadium and grand stand, Ta’ Qali National Stadium, 1975.

Joseph M. Spiteri – A Maltese Architect and his work

'Architecture, of all the arts, is the one which acts the most slowly, but the most surely, on the soul' Ernest Dimnet (1866-1954)

168

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churches and religious buildings

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churches and religious buildings

Carmelite Church, Balluta

170

In 1963, Arch. Spiteri was approached by Structural Engineer Godfrey Azzopardi and asked whether he was prepared to collaborate with him on the proposed new Carmelite Church at Balluta, which had been originally begun according to a design by Prof. J. Colombo.

However, Prof. Colombo fell seriously ill and was unable to proceed with the work. As a result, the Carmelite friars then decided to find another architect willing to take on the project.

Having engaged Arch. Azzopardi, they requested a revised design. Arch. Spiteri eventually undertook the assignment and prepared a revised design that incorporated various notable and vital alterations. The new revised design changed the visual aspects of the interior space of the church such that the

perception was rendered more impressive.

Prof. Colombo had been responsible for determining the perimeter but had only completed the main columns on the right hand side of the crossing, which left Arch. Spiteri free to design all the rest of the present structure. The revised design necessitated the demolition of a substantial part of the structure that had been built till then, and the further excavation of the site as the church stood partly on a steep incline. Arch. Spiteri also added a new apse and other alterations, all of which were intended to create a larger and more impressive religious space more in keeping with the motifs of the historic style intended. Attention was paid to the unification of the various parts making up the style, and to relieve any sense of monotony resulting from plain walls. A new front elevation of the main façade had also to be redesigned.

Arch. Spiteri also designed the detailing of the church interior, including the altar, chandeliers, confessionals, the ceremonial seating, via sacra, entrance vestibule, and main door. He also managed to retain control over all details and furnishing, including consultations on their design. The new church was consecrated in December 1984.

171 Night view of the Carmelite Church, Ballutta, as seen from across Ballutta Bay

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churches and religious buildings

Sectional elevations through the two main axis of the church.

172

173 Present day view and initial drawing of the front elevation of Balluta Church.

churches and religious buildings

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174

175 Views of the altar and choir of Ballutta church.

churches and religious buildings

Joseph M. Spiteri – A Maltese Architect and his work

177 Right, Plan of a section of the church showing the apse.

Above, Detail of drawing of triforium. Left, View of the rib vaulting, fenestration, and triforium over the choir.

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churches and religious buildings

Right, Sectional elevation showing the back of the façade with organ loft. Below, an impressionist style view of the interior of Balluta church, Arch Spiteri's last painting, following the onset of his illness.

178

179 Plan of Balluta Church with adjoining buildings and grounds.

Joseph M. Spiteri – A Maltese Architect and his work Design details of rose window, biforium window, and mouldings.

Opposite page, Detail of façade, showing rose window and blind arcade.

181

churches and religious buildings

Initial pencil sketch, and view of the chandeliers at Balluta Church.

182

183 Designs for main and side doors, 1982.

Joseph M. Spiteri – a Maltese architect and his work

Detail of choir seating and initial design for one of the chairs (1985), bottom, opposite page.

Opposite page, Initial sketches showing early designs for the main altar (1986), one of the confessionaries, Stations of the Cross, and Arch. Spiteri’s sketch proposals (inspired by Swabian Gospel manuscript illustrations) intended to assist the artist commissioned to paint the triglyphs for the side altars.

184

185

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churches and religious buildings

Proposed Church, Żebbiegħ

186

Elevations and plan for a proposed church at Żebbiegħ, l/o Mġarr commissioned by the office of Lino C. Spiteri. The Y-shaped plan provided a different approach to the interior layout, creating three separate seating areas for the congregation, all facing a centrally-placed altar. The curved interior walls are punctuated with rounded niches and serve to create the concave external facades with their rounded towers. The structure was topped by a trefoil cupola. The whole composition combined modern treatment with the echoes of historical styles.

187 Presentation drawing for a proposal for a new church at Żebbiegħ, l/o Mġarr.

churches and religious buildings

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188

189 Various initial design concept sketches that eventually led to the final design of the Żebbiegħ Church shown on the previous pages.

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churches and religious buildings

Tas-Sghajtar pastoral centre, in Naxxar.

190

191 In 1993, Arch Spiteri was commissioned, together with Architects Franco E. Montesin and Anthony Scerri to design a pastoral centre at Tas-Sg침ajtar in Naxxar.

The centre incorporated a 300-seat church, a youth centre, a conference hall, and sleeping quarters for priests.

The foundation stone of the centre, which was built by AX Holdings, was laid down on 7 May 1995 and completed in December 1998. The design was intended to raise the civic humdrum qualities of the surrounding areas.

Initial sketches and perspective views for Tas-Sg침ajtar pastoral centre in Naxxar 1995

Joseph M. Spiteri – a Maltese architect and his work

churches and religious buildings

Tas-Sgħajtar pastoral centre, in Naxxar.

193 Initial design for a funerary monument for the L. Gauci family erected at Addolorata Cemetery, Paola in the 1970s.

churches and religious buildings

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194

These two pages show the elevations, sectional elevations, and plan of a proposed church at Baħar ic-Cagħaq.

Arch. Spiteri was engaged by the architect earmarked by the Franciscan Friars to present his ideas for a small church and convent at Baħar ic-Cagħaq. The plan layout was suggested by the architect who commissioned Arch.

Spiteri to develop the design.

195

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churches and religious buildings

Initial design for chapel altar at St. Joseph Girls’ School, Rabat.

196

197 Initial sketch design for altar, November, 1972.

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churches and religious buildings

Funerary Chapel, Addolorata Cemetery.

199 These two pages show the elevation drawings and current view of funerary chapel for the J. Cassar family, at Addolorata Cemetery, designed in 1970.

Joseph M. Spiteri – A Maltese Architect and his work

'The frightening thought that what you draw may become a building makes for reasoned lines' Saul Steinberg (1914-1999)

201

trade fair pavilions and exhibitions

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pavilions and exhibitions

Malta Pavilion in Tripoli, Libya, 1967.

202

203 Design for Malta Pavilion in Tripoli, Libya, 1967.

Joseph M. Spiteri – a Maltese architect and his work

pavilions and exhibitions

Designs for the Australian pavilion at the Malta Trade Fair in Naxxar, 1960.

204

205 Designs and views of the Malta Trade Fair Pavilion at the Trade Fair grounds in Naxxar, 1965, intended to convey a festive character of the local trade fair.

Joseph M. Spiteri – a Maltese architect and his work

pavilions and exhibitions

Exhibition layout of the Malta pavilion at the XII Malta International Trade Fair in Naxxar, showing various displays highlighting government projects.

207 Right sketch of exhibition layout of the Malta pavilion at the XII Malta International Trade Fair in Naxxar showing various displays highlighting government projects, 1968.

Above, cutting from The Times of Malta of 30 June 1968, featuring this same sketch, reported that the ‘exhibition consisted of two main divisions’, the central part of which was occupied by a ‘series of specially designed display stands centred on seven large back-lighted aerial views of Malta’ while a small hall was ‘fitted with a cinema where films produced by the Department of Information’ were shown.

pavilions and exhibitions

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208

209 Design for shop-like stand intended for display in one of Malta’s trade fairs, as required by the Department of Information.

Joseph M. Spiteri – a Maltese architect and his work

Initial sketch for design of pavilion intended for exposition at Okinawa, Japan, in 1975 world trade fair.

210

211 Alternative initial sketch for design of pavilion intended for exposition at Okinawa, Japan, in 1975 world trade fair.

pavilions and exhibitions

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212

213 Presentation drawings for proposed design for Trade Fair pavilion, Seville, Spain, 1990.

Joseph M. Spiteri – a Maltese architect and his work

214

215 Proposal for Malta Exhibition pavilion, Seville, 1990, showing sectional elevations and interior views.

Joseph M. Spiteri – a Maltese architect and his work

Exhibition pavilion for Seville, second proposal, 1990 – isometric watercolour painting by artist Alfred Chircop. For many years, Mr Chircop tutored architecture students in design along with Arch. Spiteri. .

217 Front elevation of Exhibition pavilion for Seville, second proposal, 1990. .

Joseph M. Spiteri – A Maltese Architect and his work

'We require from buildings two kinds of goodness: first, the doing their practical duty well: then that they be graceful and pleasing in doing it.'

John Ruskin (1819-1900)

219

saudi arabia projects

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saudi arabia

Malta Consult Int., Projects for Saudi Arabia

220

Owing to unrest in the Middle East during the 1970s, various design companies working from Lebanon established their offices in Malta. Arch. Spiteri was approached to join the architectural firm Malta Consult International, a multidisciplinary firm of consultants in the field of architecture and urban planning and engineering, based in Malta, to train drawing office personnel to work on concept and detailed production drawings for important international architectural firms like Sir Leslie Martin and HentrichPetshnigg of Germany. One such important project involved the Jeddah Civic Centre in Suadi Arabia designed

by HPP, which entailed the production of some 700 A0 sheets. Other projects included the Hajj and Mawassem Security Forces Quarters project for the Holy City of Mecca, Saudi Arabia, which covered a site area of some 534,400 sq.m. and designed to provide accommodation for 2,000 people.

Arch. Spiteri was also involved in the design of various projects originated by Malta Consult itself, such as the Riyadh school for girls, and other projects involving design of office buildings and private residences in Riyadh, and the Ear Nose and Throat Clinic and Engineering College in Jeddah.

221 Design for school for girls, Riyadh.

Joseph M. Spiteri – a Maltese architect and his work

Design for school for girls, Riyadh.

223 Design for residential block with ground floor commercial centre.

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saudi arabia

View of administration block, College of Engineering.

224

225 Various designs of school facades in early stages.

Joseph M. Spiteri – a Maltese architect and his work

saudi arabia

Initial sketches for ENT clinic at Jeddah.

226

227 .

Design for ENT clinic at Jeddah.

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saudi arabia

Initial sketches for ENT clinic at Jeddah.

228

229

saudi arabia

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Residential apartment blocks intended for a college complex of technology.

231 Drawing of office building at Riyadh by Arch. Spiteri, intended to 'dress up' the bare concrete framework designed

by Arch. A. Rahman.

Joseph M. Spiteri – a Maltese architect and his work

saudi arabia

Design for private residences at Riyadh.

232

233 View of library, College of Engineering.

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Designs for pavilion, Saudi Arabia, 1976.

234

235 235

Designs for pavilion in a leisure park, Saudi Arabia, 1976.

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'I am but an architectural composer' Alexander Jackson Davis (1803-1892)

236

237

mediterranean conference centre national arts centre competition

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mcc

Knights Hall, Valletta

238

In 1978, Arch. Spiteri was asked to assist in the design of the conversion of the old Sacra Infermaria into a fully-equipped modern conference hall. This old and imposing historical building, built as a hospital by the Knights of St John in the sixteenth century, was then largely unused and run-down, and its renovation provided an opportunity to give a new use to a disused historic building.

The architectural solution behind the conversion project revolved around the basic decision to roof over the large old central courtyard of the original building and its transformation into the main hall of the conference centre with a seating capacity for around a thousand people.

The adjoining rooms and buildings at street and upper floor levels were also incorporated into the design as secondary congress halls while the old hospital ward was incorporated as a spacious foyer with full exhibition facilities.

The conversion project posed many

architectural, technical, and structural problems caused by the great height of the yard, the design of the girder over the main stage (which had to span a considerable width of 17m and support all secondary beams that had to take the weight of all the stage enclosure), and the suspension of three kinds of different false ceilings to eliminate all external noises. The acoustics in the hall also proved problematic owing to the open side arcades.

Arch. Spiteri was responsible for the architectural treatment and for preparing all the necessary drawings, decorations, and furnishings.

The project was completed in the space of little more than a year. The complex was renamed the Mediterranean Conference Centre (MCC) and in April 1980 was awarded the Europe Nostra Diploma in recognition of the conservation achievement. Early in 1987, however, a fire totally destroyed the main conference hall and other parts of the complex but these were reconstructed and in 1990 the centre was re-opened for conferences and conventions.

239 Below, View of the main conference hall, MCC before 1987.

Left, Annotated sectional elevation of main hall showing roofing details.

Joseph M. Spiteri – a Maltese architect and his work

Left, Annotated sectional elevation of main hall showing roofing details.

241 Below, Initial and concept sketches for interior decoration and roofing of the main conference hall, MCC, Valletta, 1978.

Left, front cover of Europa Nostra award ceremony programme held on 18 April 1980, with a dedication from the then minister of Public Works, Mr. L. Sant.

Joseph M. Spiteri – a Maltese architect and his work

Arts Centre Competition, Valletta

national arts centre

‘Architecture is the least innocent of the arts’ Bethold Luvetkin (1901-1990)

242

These designs show the project proposed

by Arch. Spiteri and Arch. Lawrence Buttiġieġ for arts centre competition entry in 1991. It was Arch. Spiteri’s conviction that a theatre remains the best choice for the site, largely because it will prove instrumental in enlivening Valletta’s early night life as well as help to uplift the cultural educational level of the people.

Within the complicated framework of accommodation that was required by the design brief, undoubtedly the two vital spaces were the auditorium/hall and the stage. The submitted proposal was dependent on the provision of adequate theatre and stage facilities. The auditorium was designed as being capable of 3 sub divisions, rather than 4 and the stage was provided with drum-revolve.

The design of exterior evolved from the primary consideration that a building of this size, though not small, but neither too big, produces a mass which is best treated as one whole. Its homogeneity and harmony depended on the handling of one dominant idea. Such treatment produced a strong expression of unity and strength, characteristics that harmonize

with the severity of the neighbouring Hospitaller ramparts. Other qualities that were thought desirable were a strong and crowning horizontal feature, solid corners, and the predominant use of stone. The design also attempted to recapture the splendour and majestic presence of the old building without resorting to mere copying, or wedding the old to new. The primary objective was a reinterpretation of classical modulation, modified, with a measure of originality. Emphasis was placed on volumetric clarity, so as to create an air of tranquil repose, a quality which, after all, was among the chief aims of Renaissance architects.

A glazed curtain enclosing peripheral corridors was placed behind a screen of coupled columns, in order to create a foil to the heavy mass and to expose a measure of interior activity ̵ the setting for the theatre to be combined with a setting for social display.

The coupled columns were to be capped in an unorthodox fashion with gun-metal ‘head and pin’ entablature supports ̵ hinting at the missing classical capitals. This idiosyncratic nuance avoided a strict veering towards a neo-classical solution, and whilst introducing a tinge of mannerism, counterbalanced effectively the astringent solemnity and quiet gravity of design. Because of this device, the coupled columns in turn become lighter and the recesses more pronounced, making stern mass dissolve in patterns of light and shade.

The treatment of exterior was conceived as a wrap-up, an allembracing semi-solid curtain, consisting of a peristyle bearing with similar proportions to the former theatre but shedding the finicky and fussy trappings of the latter. This iea was inspired by the Greek temple and its manner of enclosing its ‘naos’. 'The neo-classic air does not automatically relegate the design to yesterday. Nuances essentially playful but robustly

243 National Arts Centre Competition, entry design,Theatre 1992 Perspective study for National

competition design entry.

Joseph M. Spiteri – a Maltese architect and his work

national arts centre

Sectional elevation of theatre proposal. and plan of seating level and stage.

244

245 Study of front elevation for National Opera House / Theatre competition design entry, 1992 sane, appear in mannerist tradition, giving full rein to imagination and distinguishing ensuing result from what otherwise may have just been an ordinary effect. This is achieved without, hopefully, sacrificing the eloquent simplicity and (paradoxically) the innate grandeur – pervasive graces which the Classical genius is capable of bestowing upon buildings. The retention of classic modulation avoided a complete break with past imagery’.

Arch. Spiteri strongly believed that when people expressed their admiration for the old theatre, they were actually sensing what Leon Krier so aptly condensed when he wrote that ‘the genius of classical architecture is so pervasive that even the revivals of revivals will be graced with its advantage’.

national arts centre

Joseph M. Spiteri – a Maltese architect and his work

Studies for front elevation for National Opera House / Theatre competition design entry, 1992

246

247 Studies for front elevation for National Opera House / Theatre competition design entry, 1992

Joseph M. Spiteri – A Maltese Architect and his work

‘The architect is really all we have whose business is with everything’ R. Buckminster Fuller

249

other designs / projects

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various

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250

251 Elevations and plan of competition entry for design of multi-storey shopping centre at Bisazza Street, Sliema, incorporating the then Majestic Theatre. This project was undertaken in collaboration with Arch. Anthony Cassar and Arch. Joe Borg Grech, assisted by Arch. Joe Borg Grech Jr. Opposite page, Arch. Spiteri’s presentation drawings showing the external façade of the shopping complex on Bisazza Street and a view of interior layout.

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various

Designs for residential block, with street-level commercial outlets, on an island site at Sliema.

253 Designs for residential block, with street-level commercial outlets, on an island site at Sliema.

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various

Plan and elevations of residential home for the elderly, a project commissioned by Moviment Azzjoni Socjali at Għajnsielem, Gozo, 1993.

254

255 Presentation drawing and scale model for residential home for the elderly, a project commissioned by Moviment Azzjoni Socjali at G침ajnsielem, Gozo, 1993. Only part of the complex was constructed.

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various

Various designs for a development at Wardija.

256

257 Various designs for a development at Wardija.

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various

Front elevation of proposed design for Enemalta administration centre, 1990s.

Bottom, Elevation of residential apartment block.

258

259 Elevations and plan for a proposal for administrative centre at Marsa sports ground, 1990s.

various

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260

261 The drawings on these two pages show a sample of various commissions for interior designs undertaken during the 1960s and early 70s.

various

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262

263 Design of a proposal to create an enclosed and paved seating area in Piazza Re치ina, one of the most beautiful and monumental squares in Valletta.

various

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265 Perspective drawing and plan (opposite page) showing layout and planting scheme for the landscaping of the Hilton Hotel grounds at Spinola, St. Julians, carried out in 1966.

Arch. Spiteri was assisted by Mr. A Muscat in choosing and procuring the required trees from Sicily. The site was a difficult one owing to its proximity of the sea and its rocky nature, which necessitated the digging of many pits in rocky ground to allow for the planting of trees. The hotel and its ground were replaced by later development in the 1990s.

Joseph M. Spiteri – a Maltese architect and his work

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The drawings on these pages are presentation drawings commissioned for projects undertaken by other architects. Below, Dean Hotel, Salina.

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267 Presentation drawings commissioned for projects undertaken by other architects : Administration block, Marsa; Façade of Institute of Tourism Studies, St George’s Bay; and Qormi housing estate.

Joseph M. Spiteri – a Maltese architect and his work

269 Presentation drawings commissioned for projects undertaken by other architects : Right, Apartment block in Sliema; Left, MMU plant.

Joseph M. Spiteri – A Maltese Architect and his work

‘As I trained myself to think about buildings and drawings from Sir Banister’s point of view, I became aware of an intimate relationship between drawing style and one’s perceptions of buildings. Where previously my conceptual drawing style had encouraged me to look for the formal idea behind a building form, my increasing command of a pictorial drawing style made me aware of materials, weathering, of light and shadow passing across the form, of changing perspective views. At the same time, my heightening awareness of these sensory experiences encouraged me to develop even more thoroughly the drawing techniques with which I could render the new perceptions. The blandness of much modern building, I began to suspect, results in no small way part from the inability of many architects to draw – and hence to observe – with the same close attention to sensory detail as is displayed in Sir Banister’s drawings.’

Mark Gelernter (1987)

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landscape studies and various freehand sketches

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studies in vernacular

Maltese vernacular

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The drawings and sketches on the following pages are taken from Arch.

Spiteri’s studies of Maltese vernacular architecture and rural landscape.

Arch. Spiteri understood that any real appreciation of the development of the local vernacular demanded a study of those underlying features that gave the old towns and villages of Malta and Gozo their sober, staid, and captivating character. Foremost among those qualities which helped shape and define this unique and evocative character was the sensation of a particular `feeling of unity`due to the ‘homogeneity’ of the nature of the island's composition.

Without this quality, the organic compositions of the Maltese rural environment would lack unity. Although the towns and villages of Malta are an agglomeration of shapes, they still remain homogeneous.

Accounting for this homogeneity was the consistent use of stone as a building material. Furthermore the stone, with its characteristic cream colour capable

of so many subtle tints and shades (which in turn are the result of different causes like weathering, colour wash, dressing and texture) enlivened the scene. The inherent and unique qualities of the stone allowed it to impose a unity on the variety of parts. The continuous flow of limestone walls provided the strong tie that effectively bound the diverse parts together and moulded the assortment of shapes into one composition.

New additions merged seamlessly into the fabric of older buildings without disrupting the homogeneity of the overall environment.

Another striking quality that belongs to the character of the Maltese towns and villages is the skyline resulting from the use of simple cubic volumes of diverse shapes. The flat roofed structures with infinite variations in heights create a long landow skyline broken occasionally by the hump of a dominating church. The spatial quality of these towns and villages composed from a sequence of streets and spaces contributed to that quaint atmosphere resulting from confined, enclosed spaces.

The views from these spaces change continually and unpredictably. These spaces came into being as farms attached to dwellings, formed

273 Studies in Maltese vernacular - traditional organic development at l-Abattija.

Joseph M. Spiteri – a Maltese architect and his work

275 Studies in Maltese landscape and rural buildings - ink sketches and water colour paintings.

studies in vernacular

Joseph M. Spiteri – a Maltese architect and his work

Studies in Maltese landscape and rural buildings - water colour paintings. Far right, Sketch of Fawwara Church.

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settlements which in turn grew and formed villages. The buildings in these villages were enhanced by simple but carefully designed elements having mouldings borrowed principally from the historic styles. These elements, executed by talented craftsmen, humanised the natural limestone, displaying in the process a love for pure craft.

Balconies, originally constructed in stone but later enclosed and made of timber punctuated the street façades and contributed to the rhythmic quality of the streetscapes. The different colours of the timber balconies add to the scenic setting as do those applied to the doors and windows of Greek island dwellings. Arch. Spiteri believed that the timber balcony was perhaps the only architectural element in the Maltese environment which, without its colour, would be incomplete. Somehow, colour on timber balconies looks right and is almost essential.

The details of mouldings seen on the buildings likewise add to the atmosphere - and hence the roles of the craftsman, the stone dresser, the mason, were essential in providing those few details that enhanced the unpretentious buildings of these towns and villages. Buildings were wholesome, dignified, and charming largely because they received the tender touch of the craftsman. The organic nature in which the towns were developed and laid out relied on repetitive common features. They were somehow saved from dullness and uniformity by the simple means of variety and subtle differences in individual buildings.

One other quality, best described by the poet as ‘sweet disorder’ or ‘wild civility’, arose from the fact that these spaces have a bewitching quality more expressive than if ‘Art was too precise in every part’.

With the nineteenth century came the row house and the village streets acquired another kind of order, without however, losing their articulation.

The overall environment was but a summation of basic elements leading to a convincing

279 Studies in Maltese village and town streetscapes freehand ink sketches.

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totality. Most of the buildings had nothing exceptional. It is the environment that they collectively created which was exceptional.

Indeed, in Malta’s old towns and villages, one is confronted with a beauty which evolved from the pursuit of the ordinary.

It is, nevertheless a beauty that Arch. Spiteri believed expressed the unutterable - that which perhaps approaches the ultimate ideal of Art. In tidy contrast to the old, the new modern additions to towns and villages, lack both the finesse and craft, and ultimately, the homogeneity, of bygone days.

Most disruptive was the ubiquitous presence of the motor car as streets were widened and tailored to meet new conditions.

281 Studies in Maltese town streetscapes and balconiesfreehand ink sketches.

studies in vernacular

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Studies in Maltese landscape and rural chapels - pencil sketches and water colour paintings.

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studies in vernacular

Studies in Maltese landscape pencil sketch of Ä nejna Bay.

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285 Studies in Maltese landscape - ink sketch of Dingli Cliffs. This was one of a number of drawings prepared by Arch. Spiteri to illustrate the Advisory Outline development Plan for North West Malta, 1966.

Joseph M. Spiteri – a Maltese architect and his work

Studies in Maltese landscape (Advisory Outline development Plan for North West Malta, 1966).

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287 Pencil sketch of Maltese landscape.

Joseph M. Spiteri – a Maltese architect and his work

Studies in Maltese landscape (Advisory Outline development Plan for North West Malta, 1966).

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289 Pencil sketch of Palazzo Gomerino, l/o Rabat.

Joseph M. Spiteri – a Maltese architect and his work

In 1996, Mr Lino Gatt, well-known to radio listeners, staged Puccini’s opera Manon Lescout at the Manoel Theatre in Valletta. Arch. Spiteri was asked to design the stage settings for this opera. An initial sketch for one of the scenes is shown below as well as a photograph showing one of the performances (left).

Manon Lescout was followed, in February 1997, by the design for the stage set of Donizetti’s Elisir d’Amor, staged by the Manoel Theatre Committee. Both performances received good reviews. Below, An initial sketch for one of the scenes of Elisir d’Amor.

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291 Right, The faรงade of NotreDame de Reims Cathedral in France - a pencil drawing exercise by Arch. Spiteri when still an architecture student at the Royal University of Malta, 26th November, 1954.

Joseph M. Spiteri – A Maltese Architect and his work

'Every calling is great when greatly pursued' Oliver Wendell Holmes (1841-1935)

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career and projects

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GOZO

Għajnsielem Comino

Qawra

Mellieħa

Baħar ic-Cagħaq

Buġibba

Balluta St. Pauls Bay

Salina

Msieraħ Naxxar

Wardija

Balzan

Rabat Tal-Virtù

Map of the Maltese islands showing the location of the various projects mentioned in this book.

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Valletta

Manoel Island

Pietà

Ta' Qali

Żebbiegħ

Sliema

MALTA

Floriana Marsa

Bormola Tarxien

Santa Lucija

M'Scala

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Career and projects

Arch. Spiteri's working on the Santa Lucija housing project in 1959.

1956 • Employed with the Public Works Department (PWD) and attached to Roads Section as student engineer where he worked on various studies on the layout of the then first industrial estate in Malta at Marsa. He also worked on the drawing and design work connected to the Tarxien and Marsa by-passes under the supervision of Eng. A. Zammit and L. Busuttil.

1957 • Attended IV International Conference of Architecture Students, at Copenhagen; visited the works of A. Aalto, Jacobsin and Sarrinen in Finland.

1958 • Graduated B. Arch. from the Royal University of Malta (RUM).

Attached to the Design Section of the PWD. 1959 • Joined Housing Section of the PWD and worked on various housing programmes. Worked under the direction and in close collaboration with Mr. J. Gambina on the design of the Sta. Lucija and Msieraħ housing estates.

1960 • Prepared a number of designs for Second Housing Community at San Ġwann.

Prof. ManchĂŠ, Rector of the Royal University of Malta, awarding the degree in architecture to Arch. Spiteri in 1958, in the presence of the then resident governor of Malta, Lieut.-Gen. Sir Robert E. Laycock.

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Arch. Spiteri accompanied by Robby Dimech and a Trade Fair official at the Malta Pavilion at Tripoli Trade Fair, 1967.

297 Arch. Spiteri on the roof of the Ta' Xbiex villa during its construction in 1961.

1961 • Prepared designs for proposed new Law Courts in Valletta.

• Awarded Commonwealth Scholarship.

• Designed Ta’ Xbiex villa.

• Prepared designs for Floriana Housing Scheme.

1962 • Selected as Commonwealth Scholar to read for Diploma in Landscape Design, at Newcastle University, UK. 1963 • Prepared new revised designs for Carmelite Church, Balluta, together with Arch. G. Azzopardi.

• Carried out works on the laboratories, workshops, furnishings, and exterior of the Polytechnic at Msida.

• Joined the Schools Section of Public Works Department (PWD).

1964 • Appointed on Committee for Independence Celebrations, and placed in charge of exhibition & decorations.

• Designed Civic Centre, Żabbar.

• Attached with ltalconsult - Town planning consultants then employed by the Maltese government and worked on the physical master plan preparatory work.

• Designed Rabat Girls School.

1965 • Designed Paola Civic Centre.

• Designed Trade Fair Pavilion.

• Worked on MAS housing initiative, Sta. Lucija.

• Prepared the North West Report and analysis, in association with Arch. J. Huntingford and Arch. J. Borg Grech, and carried out a detailed planning survey for the PWD. Executed illustrations and contributed to a the drafting of the final document.

1966 • Prepared design proposals for a new Public Work administrative centre in Floriana.

Sir Maurice Henry Dorman, Governor General of Malta, and Minister Ä useppi Spiteri being shown the plans for the new polytechnic at ÄŚamrun by Arch. Spiteri.

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Arch. Spiteri at the Tripoli Trade Fair in Libya, 1968.

The Kennedy Memorial under construction, 1966.

299 Arch. Spiteri accompanied by Artist Emvin Cremona and Mr. Paul Naudi, Director of the Department of Information, together with a Japanese official, on their way to the OSAKA '70 international trade fair in Japan, in 1970.

• Sent to Tripoli to convert Maltese embassy quarters in Libya.

• Prepared designs for Manoel Island development proposal for Messrs Cassar Torregiani.

• Undertook design of Hilton Hotel landscaping - visited Catania to buy trees.

• Designed Kennedy Memorial Grove at Salina.

• Joined Marsovin Estates Ltd. design office.

• Appointed by Prof. J. Colombo to assist in design tutoring (RUM).

• Designed leisure facilities at Sta. Maria Estate foreshore, Mellieħa Bay, for Mortimer & Degiorgio.

1967 • Designed Tripoli Trade Fair Pavilion.

• Designed Malta Trade Fair, Naxxar.

• Designed decorations for the visit to Malta of H.M. Queen Elizabeth II. • Liaised with 525 Services Specialist Team in beach improvements at Baħar ic-Cagħaq and Sliema.

• Visited Milan Trade Fair as Marsovin Estates Ltd representative.

• Designed Qawra Point Blocks for Marsovin Estates Ltd. • Undertook interior design works in ex-Majestic Theatre, Sliema, and Marina Hotel, Sliema.

19 6 8 • Designed Rabat Civic Centre.

• In charge of works at Rabat School and Rabat Civic Centre.

• Designed Tripoli Fair Pavilion and Malta Trade Fair Pavilion at Naxxar.

• Headed delegation to buy a new quarters for Maltese embassy in Tripoli, Libya.

1969 • Designed Tripoli Trade Fair Pavilion.

• Designed Malta Trade Fair Pavilion, Naxxar.

• Designed Malta Pavilion, for Osaka, Expo 70, Japan.

• Designed Housing Estate, Pietà.

Commemorative stamp, Kennedy Memorial Grove, 1966.

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Arch. Spiteri on roof of Balluta church in the company of Ä ustu Calleja, foreman of works at Balluta church, with Arch. Spiteri, Rev. Fr Eugene Theuma, and gang of the contractor during the laying of concrete. workers employed with contractor Carmelo Micallef,

301 Arch. Spiteri with Rev. Fr. Eugene Tonna and Rev. Fr. Albert Brincat preparing to meet Messrs.

Giuliani at the Vatican in Rome in preparation for the commissioning of the stained glass work for Balluta church, in 1975.

1970 • Two months in Tripoli working on modification of new Malta embassy quarters.

• Designed Malta Trade Fair Pavilion, Naxxar.

• Designed Funerary Chapel for Cassar family.

1971 • Designed Tripoli Trade Fair Pavilion.

• Completed building works Rabat School.

• Completed building works on Chev. E. V. Cremona’s villa.

1972 • Designed City Gate shopping/housing project.

• Prepared technical details for Naxxar niche designed by Artist E. V. Cremona.

• Appointed architect to National Festivities Committee.

1973 • Designed Housing Scheme at St. John Almoner (San Ġwann t'Għuxa), Cospicua.

• Designed housing blocks in Valletta at ex-Flores site, St Joseph Street area, and Old Wells Street area.

• Designed Malta Trade Fair Pavilion, Naxxar.

• Accompanied Minister of Agriculture to Italy prior to preparation of plans for Malta Milk Undertaking facilities.

• Designed and erected stages for Malta Arts Festival in Palace Square and San Anton Gardens.

• Appointed full-time lecturer at the faculty for Architecture, University of Malta (UOM) but unable to accept.

1974 • Worked on the design of façade of Carmelite Church, Ballutta.

1975 • Completion of City Gate apartment block.

• Commenced studies for design of National Stadium at Ta’ Qali.

• Visited stained glass workshop of Messrs Giuliani in Rome, to finalize windows for Carmelite Church.

• Consulted by Arch. G. Azzopardi on design of Fgura Church.

• Left Public Works Department to join Malta Consult.

• Commenced design work on Saudi Arabia projects for Malta Consult.

Review of students' design work at the University of Malta, with Prof. Karol Kaldarar, Arch. Denis de Lucca and Arch.

Marian Malovani.

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303 Arch. Spiteri presenting the plans of Balluta church to the the Archbishop of Malta, Ġuseppi Mercieca on the day the church was consecrated in December 1984.

1976 • Appointed Chief Architect at Malta Consult.

• Designed Riyadh School, Saudi Arabia.

• In charge of production drawings for the Royal Guards Barracks, Taif; Mosque and Mawassem Quarters.

• Designed Flora (Primera) Hotel, Buġibba.

• Designed swimming pool complex, St. Julians.

1977 • Prepared production drawings for Jeddah Civic Centre in conjunction with HPP (Germany).

1978 • Designed proposal for ENT clinic, Suadi Arabia.

• Designed proposal for Technical University, Saudi Arabia.

• Designed Mediterranean Conference Centre after visit to Strasbourg and Bonn, conducted supervision of construction works.

• Designed Villa and private clinic in Żebbuġ.

1979 • Appointed full-time lecturer in Architectural Design with Prof V. Karfik, teaching design, graphics, and landscaping.

1980 • Europa Nostra Award for Mediterranean Conference Centre.

1982 • Designed interior furnishings for Carmelite Church, Ballutta.

1983 • Attended EAAE Conference in Newcastle (Architecture Education in Third World Countries).

• Attended Mediterranean University Conference in Bari, Italy.

1984 • Edited Architecture publication Review 84.

• Participated in organization of exhibition by Goepfert and Hoelsinger (German architects).

• UOM Architecture students won mention in International UNESCO competition.

• Requested to revise design of Gżira housing complex.

Prof. Denis de Lucca delivering his opening speech during Arch. Spiteri's watercolour exhibition entitled 'My Native Land' ,held at the Corte Capitanale in Mdina in January 2003.

Arch. Anthony Cassar with Arch. Spiteri at the Gozo Citadel.

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305 Arch. Spiteri's in his office in the Department of Architecture, at the University of Malta, sometime during the late 1990s.

1985 • Submitted report on Students-Worker scheme.

1986 • Designed Ta’ Qali National Park, after submission of report.

• Designed Institute of Bankers Exhibition at the Borsa, Valletta.

• Entered design for Plaza Complex competition.

1987 • Drafted guidelines for Aesthetics Board and architects’ competitions.

1988 • In charge of the design proposal for Green Exhibition, Malta Agriculture Pavilion, Berlin.

• Entered design for Mtarfa housing competition; project placed 2nd.

• Entered design for Mediterranean Conference Centre Competition, following its destruction by fire.

1989 • Commenced works at Ta’ Qali National Park.

• Designed interior decoration of Buġibba Holiday Complex.

1990 • Worked on renovation of the Fish Market, Valletta.

1991 • Designed and supervised the construction of the intermediate floors at Santo Spirito Archives in Rabat.

• Designed Mount Carmel Hospital Assembly Hall.

• Entered design for the Arts Centre (former Opera House Site) Competition.

1992 • Collaborated with Arch. J. Falzon in the designed of the Sports Pavilion, University of Malta, Tal-Qroqq.

1995 • Designed Naxxar Pastoral Centre for AX holdings in collaboration with F.E. Montesin and A. Scerri.

1966 to 1973 1979 to 1999 1999 to 2002 1979 to 1992 1992 to 2000

Part-time lecturer, Dept of Architecture, RUM. Full-time lecturer, Dept of Architecture, UOM. Part-time lecturer, Dept of Architecture, UOM. Served on PAPB and Aesthetics Boards.

Served on Appeals Board, Planning Authority.

Dr. Stephen C. Spiteri works in heritage conservation and specializes in military architecture. He is the author of a number of books and papers on military architecture and history of the Maltese Islands and of the Knights of St John. Dr. Spiteri also lectures at the International Institute for Baroque Studies on Hospitaller military architecture and fortification history.

Prof. Denis de Lucca is an architect by profession and the Director of the International Institute for Baroque Studies and the Head of the Department of Architecture and Urban Design at the University of Malta. Prof. Denis de Lucca is also an established architecture historian who has researched, written, and published extensively on the military architecture and military engineers of the Hospitaller knights of Malta.

Mr. John Lockerbie is an architect, urban designer, and planner educated and trained in the United Kingdom who has worked in various parts of North America, Europe, and the Middle East in the areas of architecture, planning, urban design and project management. He has also taught architecture, urban design, graphic design and presentation techniques and has been involved in regulatory controls, change management relating to national and local government, and in primary education.

The architectural drawings and projects of Arch. Joseph M. Spiteri produced throughout the course of his career as a design architect working in Malta in 1958-1998.