the
paper
Introducing: Foundation 808
p. 13
Abandonment Issues p. 20
Issue No. 5 - September 2013 the new issue NEWSPAPER POST
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the
paper
Issue no. 5
The Archetype Paper The Archetype Paper is a quarterly magazine published by Dark Dragon Media Ltd. about architecture, design, interiors, furniture & visual art.
Date September 2013 Editor Lisa Gwen Editorial Design by Dark Dragon Media Ltd. Photography Ritty Tacsum To subscribe to the paper please visit archetypepaper.com Cover Image St. Paul’s Anglican Church in Valletta as seen from The Fortress Builders Interpretation Centre, Photograph by Ritty Tacsum
archetypepaper.com
Summer makes me lethargic. Yet the sea is uniquely and unequivocally invigorating. And there’s nothing quite like the sea. Early morning, or late evening swims are just about the only chillers that quench my thirst for cooler temperatures. Save the sporadic and mostwelcomed August showers, that is. Although I haven’t embarked on any summer hols, playing local tourist always satisfies my incessant hunger for new places and spaces. Travelling is, above all, a state of mind which one should be able to journey to, at will, irrespective of the distances covered. This issue, should provide readers with a few ideas for alternative outdoorsy activities – such as visiting a museum, that’s spanking new yet hidden within the walls of history; or journeying from one ‘city of the Knights’ to another, by elevator and then by ferry-boat; or simply absorbing the beauty of time and nature as each takes its course and eats away at man-made structures. We’re theming up: this issue, the fifth since The Archetype was launched, being the new issue, for obvious reasons. In this, and forthcoming issues, we’re introducing a number of feature series – such as creative conversations with individuals who make a living through art and culture; design and architecture projects: past, present and future; the visual scrutiny derelict and abandoned places that somehow persist in our landscapes yet hardly in our memories. True, we’ve been absent a while, yet we haven’t been hibernating. Just looking, searching, exploring, discovering, conquering...
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, photocopy, recording or otherwise, without the prior permission of Dark Dragon Media Ltd.
Till the next adventure. LG
Opinions expressed in The Archetype Paper are not necessarily those of the Editor. All care has been taken to ensure truth and accuracy, but the Editorial Board cannot be held responsible for errors or omissions in the articles, pictographs or illustrations. The Archetype Paper was originally concieved by WERK Designs.
contents Barakka Lift 4 In Conversation 6 Introducing: Foundation 808 13 In Context 16 Abandonment Issues 20 Far from Manhattan 22 Love and Other Drugs 28 Biographies 30 www.darkdragonmedia.com
Projects Page
BARRAKKA
lift
This
recently
storey
completed
high
twenty
panoramic
commissioned
by
the
lift, Grand
Harbour Regeneration Corporation plc and designed by Architecture Project (AP), is located on the edge of Maltaâ&#x20AC;&#x2122;s historic fortified capital city of Valletta. Where once the 16th century fortified walls of the town served to keep enemy ships at bay, they are now under conservation order and provide an unbeatable new access for visitors and residents flocking here. Valletta is being given a new lease of life as the island prepares to host the presidency of the European Union in 2017 and the city having recently been named European Capital of Culture for 2018. The
structure
enhance
is
designed
movement
of
to
large
numbers of visitors and residents between the Grand Harbour and Valletta, from the waterâ&#x20AC;&#x2122;s edge along the Valletta waterfront, over the
powerful
landward
enceinte
of fortifications and into the heart of the city, creating new links to the Upper Barrakka Gardens and the new City Gate.
It is bound to
leave a significant visual impact on this sensitive heritage site and leaves no room for compromises on the engineering level, where attachment to the historic walls was not possible and where the programme was extremely onerous. The Barrakka Lift project therefore required a certain rigour to resolve the dichotomy between the strong historic nature of the site and the demands for better access placed upon it by cultural and economic considerations.
4
the archetype paper
Issue No. 5
Projects Page
Shifting
political
realities
have
and always
economic been
a
challenge for this World Heritage Site and the connection between harbour and city has transformed itself over the years in response to these unremitting changes. The 18th century saw the development of harbour infrastructure that gave rise to a thriving commercial hub outside the walls, separated from the residential heart of the city, while the British period transformed the port into a vital strategic naval and merchant base in the Mediterranean. Today, a very different economic reality is once again dictating the transformation of this dynamic area of the town: the recent restoration of Baroque waterside warehouses into a thriving cruise ship terminal as
well
as
the
development
of
restaurants and cafes, prompted the re-activation of a lift that had been built to connect the harbour with the town in 1905 during Valletta’s heyday as a trading port. The original lift structure was 60m tall and contained Images by Guillaume Dreyfuss, Alberto Favaro, Sean Mallia, Luis Rodriguez-López. More images available on www.architecture-project.com
two lift cabins each with a capacity of 12 passengers. The operation was closed down in 1973 and the structure abandoned and eventually dismantled by the 1980s. serves
two lifts apart, where a staircase could be
it hits the structure, emphasising its verticality.
the needs of thousands of visitors
threaded in between. Not only does this
The mesh masks the glazed lift carriages,
approaching
the
space accommodate mandatory safety
recalling the forms of the original cage lifts,
traditional arrival point at the foot of
requirements, but it also reduces the
whilst
the bastions. The heavy demands of
visual weight of the lift structure itself
passengers as they travel between the city of
accessibility to and mobility around
and accentuates the vertical proportions
Valletta and the Mediterranean Sea.
the town required a much larger
of the structure.
The
renewed
connection the
city
from
providing
shade
and
protection
to
The Barrakka Lift together with the New
footprint and a stronger vertical statement within the skyline of the
The geometric qualities of the plan
Brewhouse for Simonds Farsons Cisk have been
historic
therefore
echo the angular forms of the bastion
both shortlisted for awards at this year’s World
inevitable. In order to resolve this,
walls, and the corrugated edges of the
Architecture Festival in Singapore (October 2-4,
a cavity was created by pulling the
aluminium skin help modulate light as
2013).
harbour
the archetype paper
were
Issue No. 5
5
In Conversation
in conversation 6
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Issue No. 5
In Conversation
Malta’s first museum of the 21st century is somewhat of a well-kept secret. An austere, albeit heavily restored façade, punctuated by clean white apertures and the coat of arms of Grand Master de Verdalle, greets visitors and passers-by climbing up the steep Marsamxetto Hill. But just a little way around the corner, is a towering expanse of honey-coloured limestone bearing the name The Fortress Builders. Originally known as Biagio Steps, over the past four years, this 16th century warehouse was extensively restored and converted into a “museum-cum-interpretation centre”. The €2.5m restoration project was awarded the prestigious Din l-Art Helwa Architectural Heritage Award last year, ahead of its inauguration to the public in February. A few months in, Charlene Calleja chats with architect Tabitha Dreyfuss about the many considerations behind rehabilitating a historic building and transforming it into a contemporary space suited to public demands and sensibilities.
What is The Fortress Builders all about?
a certain dynamic – allowing the visitors to
the
come up with their own version once their
Fund (Operational Programme I) by the
It is the tale of our fortifications; it is
experience is extended beyond the centre
Restoration Directorate within the Ministry
the
to the actual fortifications on site.
for Resources and Rural Affairs.
story behind them. In essence, it is an
One of the main differences with a museum
The Fortress Builders FIC was also granted
interpretation centre dedicated to all that
is precisely this extension of the visitor
part
constitutes fortifications on the Maltese
experience which goes beyond the centre,
under the same ERDF programme and
Islands.
but it is provoked by it. Visitors will also be
was undertaken by the same Restoration
able to take in the views of Marsamxetto
Directorate.
visitor’s
link
fortifications
between
stand
today
how
these
and
European
Regional
Development
the funding
by
the
European
Union
What makes this centre different from
Harbour together with its fortifications from
museums and what can one expect to find
the centre’s terrace on St Andrew’s demi-
The creation of the centre was therefore
there?
bastion. Another highlight is the restored
very significant in the overall project of
drop down drawbridge of Valletta’s original
fortifications restoration since it brought
City Gate located in the main entrance hall.
about the opportunity for the general public
The
centre
works
on
many
levels.
Predominantly, it hinges on an extensive
to consolidate their heritage experience.
exhibition with a chronological route as
Why was the Fortifications Interpretation
So, for example, the person in the street
well as themed areas such as construction
Centre created; what was the motivating
will see that the bastions of Valletta are
techniques and tools. Various media are
factor behind it?
being restored and some appreciation for
used here; models, information panels,
this will be stirred. But what the centre
virtual tours and animations. There are
The centre was conceived at a time when
aims to achieve is for this person to be
other
exhibition,
the country’s main fortifications in Valletta,
able to look at the restored bastioned
including an area devoted to children,
Birgu, Mdina and Cittadella started to
wall in Valletta and to experience more
a reference library and documentation
undergo major restoration works with a
than mere appreciation. We want them to
centre
These
co-funding rate of 85% through EU Funds
take in the whole story; the fortifications’
elements work together to give the centre
and 15% from National Funds under
context, their significance and value.
aspects
and
the archetype paper
a
besides
lecture
Issue No. 5
this
theatre.
7
In Conversation
“…the second floor was pretty much a blank canvas except for the façade”
8
the archetype paper
Issue No. 5
In Conversation
the archetype paper
Issue No. 5
9
In Conversation
Why was this building, the Biagio ex-
important changes led the building to work
lead out to Valletta’s signature skyline. The
examination hall chosen as Fortifications
in an assimilated manner and formulated a
choice of materials is predominantly stone,
Interpretation Centre, and what is the
visitor flow throughout the centre starting
timber and glass which work together to
history of this building?
in St Mark’s Street and concluding in Melita
generate a certain sense of order. The
Street above. In conjunction with these
spaces are rational ones that are clear and
The principal reasons for choosing this
works, a public lift was inserted into the
unambiguous; this generates a feel good
building were its location and its large
annexe to create a vertical link between
quality that many people can relate to.
internal spaces. The building is situated
the two streets. This works independently
adjacent to St Andrew’s bastion and on one
from the centre.
A lot of emphasis was put into detailing
of the direct routes into the city of Valletta, providing
direct
access
to
and this is what makes all the difference.
Valletta’s
Were there any difficulties in the adaptation
We gave importance to making this centre
ramparts. The building was originally a
and re-use of the historical building in
universally
warehouse, built by the Knights of St John
order to meet the requirements that the
the levels of our new annexe so as to
in the 16th century to store merchandise
centre imposed?
accommodate this need and we used
that was offloaded in Marsamxett harbour.
accessible:
we
positioned
ramps at ground floor where we had large
The building is special in that it is one of its
As with any project involving the re-use
changes in levels. We also wanted to pay
kind – very solidly built and bomb proof –
of a historical building, there needed to be
particular attention to the ecological design
all other warehouses that were built on the
a delicate balance between conservative
aspect of the building and did this through
Valletta perimeter date back to later on in
and flexible reuse. Although exclusive
the
the 17th and 18th centuries. Until recently,
conservation
complete
photovoltaic cells, rainwater collection and
the two large halls at first floor were being
retention of all that is original in a historical
reuse, and the restoration and reuse of
used as examination halls. The two halls at
building is not conducive to re-use, every
original passive ventilation systems.
ground floor were independent, serving as
proposed
stores, one occupied by Teatru Manoel and
considered within the context of the overall
the other by the Education Department.
project and measured against possible
The third floor was derelict and abandoned;
alternatives. This is what we call critical
it only had a partial façade due to damage
restoration and it plays a fundamental role
resulting from World War II bombings.
in any rehabilitation project.
So what did the work involve in the
What were the influencing factors on the
transformation of the centre?
design elements in the rehabilitation of
through
intervention
the
needed
to
introduction
of
power
generating
be
this building? The project started with the rehabilitation of the historical building itself. Those
The building itself presented its own
spaces that were isolated – like the halls
opportunities which were important for us
at ground floor – were integrated into
to recognise. While the four halls at ground
the building through connections and the
and first floor were intact and therefore
incomplete second floor was rebuilt. The
mostly conserved, the second floor was
three levels that previously functioned
pretty much a blank canvas except for
independently
a
the façade. Therefore, at this level, we
was
roofed in a manner that allowed the space
designed to accommodate all the vertical
to be more open. Here we created visual
circulation, the back of house and the office
links between the different spaces and the
space that the centre would require. These
façade’s large dominating windows that
newly-built
10
were
annexe
linked block
through which
the archetype paper
Issue No. 5
In Conversation
“We want them [passers-by] to take in the whole story; the fortifications’ context, their significance and value.”
the archetype paper
Issue No. 5
11
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03/06/2013 15:49
Introducing: Foundation 808
Introducing: Foundation 808 Design is such a broad, all-encompassing word. And yet it’s so abstract.
The mind cannot really grasp a single
chairs or the suspended cloud-like, site-
and
image to incorporate all things design.
specific installation.
quickly vanish in the light of the spectacle.
‒ which results in a multi-layered blur of
MDW established standards and an image
It’s hard to imagine that a core team of
items, products, buildings and accessories.
with which to associate design in Malta.
three people can be responsible for a
But the event went a step further than that
multi-media, multi disciplinary event such
The resultant image is not unlike a multiple
‒ it gave its audiences an experience, as
as MDW. However, Chris Briffa, Justin
exposure photograph.
well as a taste of, and for design.
Schembri and Albert Delia are those three
Nonetheless, the picture starts to sharpen
It’s easy to look at the final event, at the
once focus is placed on any one tangible
finished product. As members of the public,
Ahead of the second edition, the trio have
premise. In this case, that premise is
we hungrily devour images and readily
founded 808 ‒ an organisation set on
Malta Design Week (MDW). For all those
absorb happenings; often, failing to pause,
establishing an intensive design portfolio
who attended and experienced the first
ponder or consider the conceptual / artistic
‒ which might have MDW as a point
edition in 2011, it will be hard to forget the
process that has lead to the implementation
of departure, yet their aspirations and
landscaped yard, the red Perdali folding
and realisation of a project. The laborious
ambitions are broader and far-reaching.
gruelling
months
of
organisation
Rather, it assimilates and fuses images
people.
From left - Justn Schembri, Chris Briffa & Albert Delia sitiing on Vitra chairs kindly provided by Vivendo Group for Idea Casa.
the archetype paper
Issue No. 5
13
Introducing: Foundation 808
The trio explain how the Foundation was
Justin Schembri
created as a platform from which all
treasurer
design-related endeavours could stem. “808 will be our masthead and banner.
Besides the obvious role of keeping the
Formalising the group as a foundation with
books, I spend most of my time trying to
its own image, branding, and philosophy
see how we’re going to fund our future
will also help us deliver a more professional
activities. Each of us keeps an eye out for
product. This way we’ll be able to attract
formal funding opportunities. I generally
more like-minded individuals, giving us
prepare most of the paperwork involved,
the man power to achieve more on a host
with the help of Albert’s guidance, which
of different levels.”
is backed by his ample experience in this field. So far, I am pretty pleased with the
“The group’s main function will be to
way things are proceeding.
organise future editions of Malta Design Week in collaboration with people, groups
I’m also actively involved in coordinating
or organisations of the same mind-set.
event logistics. This generally involves
But Malta Design Week won’t be the
some managerial skills and a lot of
Foundation’s sole objective: our main
phone calls. A vision of the final product
goal shall be that of ‘popularising’ design
is essential throughout. This was my role
in
awareness-raising
in the first edition of Malta Design Week;
events with an island-wide and gradually,
I believe the 2011 event taught me a
international reach. There’s also the all-
lot. It was not without hitches, but I’m
important aspect of education; creating
better prepared for the future. However,
lecture-based events featuring local and
when things get messy, I don’t shy away
foreign speakers; student trips and setting
from the inevitable “manual labour’’ that
up small expos or exhibitions are all part of
inevitably comes part and parcel of event
our agenda. We want to have a year-long
organisation.
Malta
through
presence and believe we have an honest contribution to give.”
I believe each of us contributes equally to 808’s vision. Choices are made collectively
Chris Briffa
and everyone is kept in the loop. I think
president
our radically different characters make us a strong team; the future is bright.
An organisation promoting good design in Malta has long been on the agenda. This
Albert Delia
need was not only felt by architects and
general secretary
designers, but also by all those concerned with
the
quality
of
our
surrounding
environment.
In essence, I’m the one without any formal training in design in this group. I do however consider myself to be a cultural
Primarily, my role in the Foundation consists
consumer. You could say that I represent
of bringing together individuals, groups
those people out there who are not artists
and organisations ‒ from neighbouring
and/or designers themselves, but have an
cities and countries and beyond ‒ to our
appreciation for the discipline and want to
beautiful island, to share and celebrate
contribute to it.
good design. My
in
808
mainly
consists
in
In the long-run, 808 could establish
fundraising and the strategic planning of
itself as an institution similar to the UK’s
the projects and activities we are trying to
Design Council, which not only promotes
put up. We design our initiatives together,
good
its
and I mostly take care of coordinating
potential to improve social, economic and
time frames and conceptual planning,
technological realities. This Foundation is a
so I’m mostly involved at the very initial
life-long project; one that has been set-up
stages of a project until it starts picking up
to take on and stimulate debate, influence
momentum.
design
but
also
harnesses
policies and build networks to promote the benefits of design for everyone.
14
role
Foundation 808 is supported by the Malta Arts Fund www.maltadesignweek.com
the archetype paper
Issue No. 5
the archetype paper
Issue No. 5
15
Multiplicity by Ritty Tacsum, for the Archetype Paper
An established name in the Maltese art
a great impact on Attard in his teenage
scene, Norbert Francis Attard is one of
years. Architecture was to become one
three artists who represented Malta in its
of the common threads throughout his
last participation in the Venice Art Biennale
life’s work whether in drawings, paintings,
in 1999. Now based in Gozo and Berlin,
lithographs or present-day installations.
we retrace Attard’s artistic journey from
He would also incur other influences,
his first studio in his parent’s house to his
especially those of Picasso, Mondrian and
present projects and future plans.
Giacometti. His own personal style would
CONTEXT
Case Study
IN
emerge in the mid 1970s; the years during “The first work I created was a plasticine
which he studied and eventually graduated
sculpture: a zoo depicting different animals”
in architecture.
Attard recalls. “My earliest influence was my uncle, Frank Portelli, one of a handful
Attard’s love for Gozo can be traced back to
programme in Kamiyama gave him the
of artists who introduced modern art to
this phase of his life. He recalls time spent
opportunity to create several installations
Malta”. Portelli’s paintings and home had
there with his grandmother and entire
including a permanent concrete public
family. “Gozo represented my south of
sculpture called ±1.618034. These works
France, therefore imitating the Modernist
subsequently led the artist to participate
artists who fled Paris to paint in warmer
in the Echigo Tsumari Triennale in 2006.
climates and were influenced by the Southern light”, Attard reveals. “I became
“I believe that all good works are spiritual”
aware of the importance of leaving one’s
he notes. “When I ventured into abstract
familiar surroundings to go to another
painting in 1988, I thought I had discovered
place and create work elsewhere. I also
the world”. But after 10 years of abstracts,
became aware of the meaning of context;
he admits having found himself in an artistic
a concept which was to remain important
cul-de-sac. In 1996, he inevitably turned
throughout my life.”
to installation art, sculpture, photography and video. “I wanted to express ideas and
In 1977, Attard began a series of lithographs,
concepts about real life situations and
silkscreens and etchings. Of these, the
soon discovered that I could not fulfill this
Kimono cycle would initiate his appreciation
with abstract painting” he says.
towards Japanese culture; an interest he
16
still holds strongly today. To Attard, the
1996 was the year of important decisions
Japanese mind is full of paradoxes: Only
for Attard, not only would he opt for a
Japan can make contradictions work he
complete change of direction in his art,
once said. “Japan has strong traditions
he would also terminate his architectural
but an equally firm relationship with
practice permanently.
Norbert Francis Attard,
commodity culture as it does with nature
photographed by Ibrahim Mahammed in front of his window installation for the Strait Street public convenience project.
– this understanding reflects my being”, he
This was the beginning of a fruitful and
states. Attard has visited Japan eight times
challenging period which would encompass
to date, in 2004, an artist-in-residency
several disciplines: photography, painting, the archetype paper
Issue No. 5
Case Study
±1.68034 - Permanent concrete sculpture with water. Kamiyama, Japan, 2004.
Shelter: Architecture of Death - Centro Cultural Solar do Barão, Curitiba, Brazil. Curated by Ticio Escobar and Leonor Amarante. 5th Biennial VentoSul, Curitiba, Brazil, 2009.
Wittgenstein’s Ladder III - Wood, metallic spray, colour changing LED bulbs, LED strip lighting. Dresden Messe, Dresden, Germany, 2011.
“Only Japan can make contradictions work”
Boundaries of Infinity - Concrete sculpture in public park, curated by Phillip Van den Bossche, Beaufort 04, De Panne, Belgium, 2012.
the archetype paper
Issue No. 5
17
The Future of Light is LED
Classic
Curved
Triq il-Kappillan Mifsud, Hamrun HMR1855 Tel: (+356) 2124 1111 Fax: (+356) 2124 3706 Email: hydrolectric@hydrolectric.com.mt
Square
Opening Hours Mon to Frid: 7.30am - 5.00pm Saturday: 8.00am - 12.00pm Sundays: Closed
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Case Study
“Gozo represented my South of France”
video, site-specific installations and of course, architecture. “Site-specific works compliment my architectural sensibilities” he replicates. “Context, once again became the operative word, and my architectural background
was
instrumental
in
the
creation and realisation of the works that followed.” Participating in the Venice Biennale in 1999 was a rewarding experience in many ways for Attard. It injected energy and impetus to work harder and made him more ambitious to exhibit internationally and to be proud of representing his country.
Norbert Francis Attard, photographed by Julia Winckler in his Gozo studio.
“I definitely think Malta should invest in participating in the Venice Biennale, in Manifesta which takes place in a different European country every two years, and, even more importantly, establish its own Biennial or Triennial”, he stresses. In the near future, Attard plans on opening up an art space in the Maltese capital. “Valletta Contemporary Arts (VCA) proposes to be an innovative project for the Maltese contemporary art scene”, he announces proudly. The space will be a hub for the exhibition of contemporary art but will also emphasise educational objectives
by
including
workshops,
seminars, lectures, recitals, performances, and related events. This ambitious project is slated for completion by the end of 2016 in order to be fully functional in time for 2017 and 2018 when Malta will hold the European Presidency and title of European Capital of Culture respectively. Attard is presently developing a permanent interactive sculpture named Spirit of the Wolf for the grounds of Verdala Palace in Buskett, as well as a soon-to-be-published monograph spanning a chronology of all the works he has produced since 1997. Norbert Francis Attard’s ongoing endeavours can be followed on norbertattard.com FMS the archetype paper
Issue No. 5
You are the Staircase - Kee-Klamps system and LED lighting strips. Science in the City Festival, Valletta, Malta, 2012.
19
Abandonment Issues
20
the archetype paper
Issue No. 5
Abandonment Issues
Abandonmentissues curated by Lisa
Gwen images by Ritty Tacsum
“It is not the beauty of a building you should look at; it’s the construction of the foundation that will stand the test of time.” the archetype paper
Issue No. 5
- David Allan Coe 21
Feature
FAR FROM MANHATTAN
22
the archetype paper
Issue No. 5
Feature
Words are rarely auto-descriptive. And that’s why we often attach very specific and highly personal images, experiences or even scents to each of the words stored in our mind bank. Loft is one such word. It conjures images of a large, open plan space, having a distinct industrial feel. The image I hold is one of concrete surfaces, red-brick walls, large window panes, high ceilings and a steel staircase dividing the space in two. Perhaps, this image is a direct consequence of having watched a few too many movies portraying the downtown Manhattan / Soho loft... The very word intrigues me; it promises a space and an ambience which we are largely unaccustomed to in our houses of character or townhouses. Yet a loft can also be an attic-like space ‒ one which hosts miscellaneous nick-nacks and assorted bric-a-brac, stashed away old toys, memorabilia, odd bits of furniture, magazines and other random bits: things which once might have meant the world to us, yet which are gradually relegated to a dark corner, only to be picked up again by some sentimental relative who has a penchant for antiques. Whether big open spaces or treasure troves, lofts are decidedly special spaces. Which is why a recently-opened boutique by the very same name, has been attracting so much attention. Loft (Naxxar) is a small, yet gorgeous space in which one can find a delicious and eclectic assortment of goodies that come in all shapes, colours and textures. In fact, I’d like to pause on the latter, because Loft is truly all about textures and textiles. All the different materials working together within the same space is highly attractive; one can’t help caressing the fabrics, or running their finger along the delectable designer furniture. Yet a space is only as gorgeous as the people with the vision to drive it forward. the archetype paper
Issue No. 5
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Feature
The business is run by a small and able
things; things with a history and character;
pieces from contemporary designers, even
team of like-minded individuals who have
things that have stood the test of time
local ones, and with our wide selection of
design wholly at heart. At the helm of the
because of quality, craftsmanship or good
customisable products, it is a studio where
team is designer and entrepreneur, Josette
design… These are qualities which we, at
clients, designers and architects can come
Schembri Vella, whose passion for spaces
Loft, strongly believe in.”
to find products that will help them create
and interiors stems from her upbringing in North America.
unique spaces.” The idea of the loft “as a residential space, was originally popular amongst artists;
When Josette first dreamt of opening Loft
Her personal notion of a loft is a modern
this too is a reflection of the character that
she wanted to offer something different to
day living space, perhaps an old factory or
Loft wants to offer Malta.” Such a dwelling
the market. “Since I had been in Malta for
warehouse. She explains how the trend of
was considered odd to the average client,
over 10 years, I felt there was a need for
turning such derelict buildings into living
“perhaps our Loft may appear a little odd
something a little different for this island.
spaces was originally popular amongst
to most people too, but it is this out of the
My upbringing in North America had a
artists, as lofts offered large spaces at
norm character which we seek to keep
great influence… I guess the style of the
relatively low prices. The opposite became
alive. Loft is a place where you can find
boutique is an eclectic mix of my childhood
true once such spaces gained popularity.
that unique piece which complements your
memories and the constant stimuli I
The word loft can also refer to spaces such
style.”
encounter when travelling.”
as attics, storage spaces. Josette
notes
how
lofts
have
been
“We also look for things with a story and
The name “Loft fit the shop’s profile to a
synonymous with art galleries or studio
a conscience; things that are made from
T for many reasons. Firstly, because in a
spaces. “In a way our space is also a
recycled materials or things which would
loft or attic, one can generally find unique
studio / art gallery as we try to showcase
have normally been thrown away. In fact
the archetype paper
Issue No. 5
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Feature
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the archetype paper
Issue No. 5
Feature
this is evident in our pallet wood floor. It
smaller brands have better quality, as they
is our mission to find items, objects and
are not mass produced and more attention
products which we feel are missing on the
is given to detail. This applies to all fields
island. We strive to offer exclusive items
however, even fashion.”
as our market is small and there is no need for us to make more of the same
The Loft team: Josette Schembri Vella,
available.”
Chris Fountain, Naomi Camilleri Mercieca, Shaun Fenech and Stella Mattia.
With so many furniture / soft furnishing stores on the island, it is imperative for any
LG
furniture or design business to distinguish itself on the market. Josette explains that “Loft is different to other stores on the island in that it does not try to source from mass marketed brands which aim to sell quantity. Loft wants to give consumers the possibility to create unique interiors that complement the users as well as the functions of the space. Loft represents a range of brands which hold traditional and authentic values, many of which boast handmade
craftsmanship
and
quality.
Our brands do not necessarily present a massive turnover, yet they are brands which are sought after by the discerning buyer in search of good quality and authenticity. Just one example is a fabric house which we represent ‒ Designs of the Time. This fabric company has a collection of linens which boast the Masters of Linen Quality trademark, which range from very light to heavy stone-washed linens which are highly suitable for upholstery.” With all the luscious, luxury items and products
available
at
Loft,
one
can’t
help but wonder whether the market is rife with design-conscious and designhungry individuals. Josette feels that “on the whole, the Maltese are very house proud, but that does not necessarily make us design conscious. Having a piece of designer furniture in a space does not make the space well-designed. The more our community travels and is stimulated by innovative uses of materials, the more one becomes conscious of what makes good design ‒ whether this be a single item or a whole space. However, she also notes that “not all mass-marketed brands are of high quality and great design. The Maltese love brands, it is very evident in how we dress and what we drive. When it comes to interiors, however, in general the the archetype paper
Issue No. 5
27
Window Displays by camilleriparismode
1
LOVE AND OTHER DRUGS
2
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1. C. Camilleri, Valletta. Façade, c. 1929 From the onset, the design team treated the windows as they would actual interiors, to let their clientele know just what they were capable of. No title was given to the window installations at this time however a team of 4 would come up with the concept and dress the window display. The same process is still adopted today. 2. camilleriparismode, Sliema: August 1993 Window display made by in-house team: curtains draped by cpm members of staff and blinds sewn by cpm seamstresses.
3. camilleriparismode, Sliema: August 1993 Poles, tie-backs and fabric window. The effect created through the use of the poles and cascading chairs was one of CPM’s earlier and more adventurous windows, beginning what is now a tradition of hanging things upside down at camilleriparismode. 4. C. Camilleri, Valletta: January 2013 Let there be love - Valentine’s Day. Custommade heart; metal skeletal frame and coloured ribbons.
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Love and Other Drugs
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5. camilleriparismode, Sliema: January 2012 Love your love â&#x20AC;&#x201C; Valentines-themed window. Custommade, upholstered heart. Fairy lights, a dash of flowers and a pinch of fabric. 6. C. Camilleri, Valletta: March 2013 Spring approaches - Onset of Spring in the City. Flower arrangement composed of over 100 artificial flowers and leaves.
9. camilleriparismode, Sliema: November 2012 A mobile installation was created to welcome the onset of the Christmas period; this was done through the use of transparent sheets of plastic representing the weightlessness of icicles.
8. C. Camilleri, Valletta: September 2012 Fly-by summer - End of summer. Metal structure on which silk scarves were draped to make them look like butterflies.
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the archetype paper
7. camilleriparismode, Sliema: December 2012 Burst of paper & Frosted light â&#x20AC;&#x201C; Christmas-themed window. Newspaper flower arrangement in vase; plastic snowflakes and chandeliers. These different windows utilised reclaimed materials.
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A bit about me: The role of an editor is almost interchangeable with that of a curator. Both deal with space, its distribution, aesthetics, design, interpretation and experience. The one deals mostly with words and type, whilst the other with artworks and installations. Both ‘create’ images, visuals. Yet one can be a curator of words and an editor of spaces. That is what I strive to be. Besides an innate passion related to all fields of visual art, I like playing local tourist. Exploring the sites off the beaten track and scrutinising the natural, the built as well as The Third Landscapes, through a camera lens.
LG
And the other me: Lisa Gwen holds a first degree in History of Art and a Masters in Cultural Heritage Management. She has been studying visual art for 15 years. During this time, she developed a penchant for writing. She is as a freelance curator and has been directly involved in the organisation of large-scale events such as the visual arts programme of the Malta Arts Festival (2010), the Valletta Photography Festival (2011), Malta Design Week (2011) and the multidisciplinary project Milkshake (2013). She currently holds the position of Visual Arts Executive at the Malta Council for Culture and the Arts. FMS
Symmetry, soft cheese and the juxtaposition of absolutely disparate things enthral independent writer and curator Fabrizio Mifsud Soler, 27. Analogue photography, European cinema, vintage cars and Nordic design also easily fit his bill. ‘Art is about everything and nothing’ rings his motto, therefore when necessity dictates, his search for beauty might
graphies
lead him from a Van Dyck to a leafy green salad or from a patch of peeling paint to a flawless Alexander McQueen creation. Having recently returned to Malta from a 10-month stint in Vienna and Budapest, Mifsud Soler is looking forward to dig his teeth into all sorts of exciting projects and collaborations; as long as they’re fun that is.
Bio
CC
Charlene Calleja works at the Fortress Builders or Fortifications Interpretation Centre (FIC), which is part of the Restoration Directorate under the Ministry of Tourism. Prior to joining the Restoration Directorate, she read for a Masters in Museum Studies from the University of Leicester, specialising in on education within museums. She also holds a B.A. with Honours in History of Art from the University of Malta.
Ritty Tacsum is a self-taught independent photographer and multimedia artist with a keen and sensitive eye for the abnormal, absurd, weird and surreal. Since her 2011 debut exhibition at St James Cavalier Centre for Creativity, her work has been featured in many local and foreign books, magazines, blogs and trend portals. Towards the end of the year, Ritty will be presenting an extensive analytical and introspective solo project in Valletta, titled Four Rooms. She was also hand-picked and invited to participate in a collective RT
show titled Post Humanist Desire, at the Museum of Contemporary Art in Taipei, amongst leading international artists.
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Issue No. 5
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