Interview /Malta’s National Pavilion

The village core from which the project takes its inspiration is not immediately recognisable in the project’s design. But its conceptualisation is present in its seemingly haphazard layout and its narrow, limestone streets, radiating from the focal-point of the village square and evolving over centuries. What were once thick, immoveable, yellow ochre walls have been transformed into almost its visual opposite; rich purples, vibrating on floating vertical fabrics, on a light and permeable frame. The only trace of the vernacular urban planning of the Mediterranean is its maze-like layout which gently leads the visitor along its streets and towards its centre.

detail and an awareness of the fragility of our ecosystems is present throughout the project – in how its materials are sourced and treated, and the plans for their re-use once the project has finished.

Ultimately, the team has produced a design that is both minimalist and luxurious; where raw materiality takes centre stage, but where design is refined and subtle. The structure’s materials speak with their own voice - materials are left natural and almost untreated; nothing is disguised or hidden. As we speak, it becomes apparent how important a genuine respect for the integrity of the materials is to the team, and consequently, the treatment of these materials. The integral nature of the design is understated, and yet behind it was an ambitious undertaking, with untreated wood, meticulous dyeing processes, and materials that can be disassembled & reused, including working with wood sections left at a length that is still acceptable for re-use after this project’s life-span.

The artists tell me they were aiming for the evocation of a sense of memory as well as space within the installation, and indeed their concept seems to draw diverse periods of history and memories together; the Phoenician era, much later centuries when Maltese villages began to mushroom around the island, the Georgian period in Britain, and contemporary times during this century flow around each other through the fluid streets of the installation.

And during its time in the square, the installation will create its own histories and narratives; natural colours may fade, timbers may shift, and fabrics may billow and float – this is part of the life-cycle of the natural materials it contains. Visitors will wander through it and create their own experiences, which will change with the weather and time of day. It is this cyclical, temporal quality which is intrinsic to natural materials and processes that the Urban Fabric project is quietly advocating for.

Take a step back, and the contrast with the surrounding environment becomes clear. The Georgian square of Somerset House, itself steeped in British cultural history and characterised by symmetry, balance and proportion has become home to a fluid, almost breathing structure. But there exist other contrasts in this design exercise; a battle of architectures, and a subversion of hierarchies. The vernacular architecture of southern Europe, with its connotations of sun-soaked walls and Mediterranean living has shifted northwards. Its fluid and floating aesthetic and its temporality contrast with the solid walls which surround it, and their grandiosity and permanence. It inserts a chink – of light, of air, of mutability – that may come to represent something more in future times. The design contains a subversive element – whether intended or not - sneaking a village ‘pjazza’ into a square of palatial grandeur: interrupting its symmetry and poise with irregular pathways and billowing sails. The decolonial act lends importance to vernacular and organic urban planning, and places it on a world stage.

The installation proposes a collaboration with its surroundings, with the architecture around it, with the sprawling city of London and with the visitors who walk through it. But it also offers a conversation with the natural elements that it will face; the wind that will buffet it sails, the sun that will lighten its colours, and the rain that will, no doubt, soak it quite thoroughly. It lays down a challenge too, to the ugly concrete structures that have mushroomed in Malta over the past decades, all but obliterating its more dignified indigenous architecture.

We also talk about the technology that is employed in the piece; the heat-mapping tools that will reflect visitors’ movement within the space - that ebb and flow of people which any public space experiences as the day progresses. As in a village square, visitors may pass by slowly or quickly, may spend hours lingering, or may arrange to meet friends alongside it. Their movements will change the character of the space, and the light and colour within it.

Ultimately, good design is thoughtful, intuitive and sensitive; if it has a point to make, it doesn’t force that point home. This project has been conceived with a quiet certainty, one that allows it a feeling of fluidity and intimacy within an environment of grandeur.

The fourth edition of the London Design Biennale will take place from 1 to 25 June 2023 at Somerset House, London. The Malta Pavilion “Urban Fabric” by Open Square Collective, is commissioned by Arts Council Malta under the auspices of Malta’s Ministry for the National Heritage, the Arts and Local Government.

Open Square Collective, is an art and design collective by creative lead Matthew Joseph Casha, fashion designer Luke Azzopardi, artist Trevor Borg, and architect Alessia Deguara, supported by Ramona Depares and Gilbert Micallef.

Internationalisation Executive at Arts Council Malta, Romina Delia, is project-leading Malta’s participation at the London Design Biennale 2023.