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contents 21

09 12

PRACTICE 04

4 Editorial 5 KTP News 6-7, 22 People & Projects 8 EU Desk 9 SACES

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FEATURE 10

10-11 World Architecture Festival 12-15 Showcasing the Profession 16-17 DLH awards

current 18

18-19 AGM 20 heritage 21 EVENTS 23 International Events

“There is a clear responsibility towards future generations to properly manage the built environment that they will inherit. This responsibility is partly, or should I say largely ours.” – Perit Vincent Cassar (see pgs 18-19) JANUARY 2010

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EDITORIAL

New Year Resolutions…

The beginning of a new calendar year is traditionally a time for the making of resolutions or commitments to be carried out during the year ahead. It is also a time to look back, take stock and assess one’s situation, and to plan ahead, setting goals to be achieved and tasks to undertake.

The Kamra tal-Periti starts off this new year with a new Council; or should I say an old Council plus one? The terms as Council Members served by Periti Danica Mifsud, Anthony Fenech Vella, Ruben Paul Borg and the undersigned ended at the Annual General Meeting held on the 11 December 2009, and each was re-elected for another term of two years. Last year’s Council was one person short and the vacant post has now been taken up by Perit Anton Valentino, who is the new addition to the Council following his nomination for election and confirmation of such at the AGM. On behalf of Council, I take this opportunity to thank him for his generosity in accepting his nomination and welcome him on board!

This year promises to be another exciting one for the Kamra. At its first meeting of the year the Council went through a whole list of topics that need to be addressed throughout the year and that will shape its future for years to come. The main goal will certainly be the conclusion of the negotiation process currently underway with Government in order to update the suite of legislation that governs the Kamra and the profession. This has been no easy task, and its conclusion will bring to an end a long process that began in December 2007. Bring to an end in a manner of speaking … it will be the beginning of a new era for the profession and the way it operates, and will open a new series of tasks for the Kamra tal-Periti and its Council.

2010 will also mark an important anniversary in the Kamra’s annals. Following the promulgation in 1919 of the Architects’ Ordinance, the Chamber of Architects and Civil Engineers was formed in 1920 through Government Notice 202 published on the 12 June of that year. This year therefore marks the 90th anniversary of the Kamra tal-Periti; 90 years in which it has always strived to serve the profession and to keep abreast of changes that affect the practice of its members. This anniversary cannot go by unnoticed and a series of events are being planned to commemorate this milestone.

Hopefully, 2010 will also see some progress in relation to the setting up a Centre for the Built Environment, which the Kamra has been actively working on for

the past couple of years. The main stumbling block is the acquisition of premises to house such a Centre, and discussions are underway with Government in this regard. Although not much progress has been made to date, our fingers (and toes!) are crossed and the Council hopes to be able to celebrate the Kamra’s anniversary in style, hopefully with the opening of new premises or at least a firm promise of such as a new project to be undertaken in the coming years. Tied in with this, though not necessarily a linked task, is the formulation of a National Policy for Architecture which follows up from the Kamra’s publication “The Urban Challenge” and the setting up of Design Review Commissions, proposals on which have already been made to Government by the Council.

This year promises to be interesting also on a national level with the promise of a conclusion to the Malta Environment and Planning Authority (MEPA) reform process being the main item of interest. The Kamra has actively participated in the whole process and has assisted Government in formulating changes to the planning process, and it is hoped that the announcement of the reform is imminent and that it addresses the numerous concerns voiced by a number of sectors of society on the operation of MEPA. The Perit’s role as one of the key players in this process cannot be emphasised enough. A recent survey carried out by MISCO indicates that 63% of the Maltese public (based on a 500 respondent sample) believe that the applicant’s choice of architect has a direct bearing on MEPA’s decision. In response to this, the Kamra, through a statement issued by President Vincent Cassar, stated that this indicates a perception but is not necessarily a reflection of reality, adding that “We are here referring to professionals who undoubtedly render a good service and who do their best in order to get the best results for their clients.” This survey evidences the fact that public perception of the profession is not as good as one would expect and hope, and the Kamra together with all its members have an important, though certainly unenviable, role in this regard in changing this perception.

THE PROFESSIONAL CENTRE SLIEMA ROAD GZIRA GZR 06 - MALTA TEL./FAX. (+356) 2131 4265 EMAIL: info@ktpmalta.com WEBSITE: www.ktpmalta.com

To support members of the profession in achieving excellence in their practice of architecture and engineering in the interest of the community

The Council of the Kamra Tal-Periti for the year 2010 consists of Vincent Cassar (President), David Felice (Past President), Simone Vella Lenicker (Honorary Secretary) and Council members Ruben Paul Borg, Jacques Borg Barthet, Keith Cole, Philip Grech, Anthony Fenech Vella, Danica Mifsud, Anton Valentino and Damian Vella Lenicker.

The Architect is the official journal of the Kamra Tal-Periti. It is published on a quarterly basis and distributed with the Business Today newspaper. The Architect is not to be sold separately.

The contents of this journal are copyright. Reproduction in part or in full is forbidden without the permission of the editor. The opinions expressed by writers of signed articles and letters appearing in the magazine are those of their respective authors, and neither the Kamra Tal-Periti nor MediaToday Co. Ltd is responsible for these opinions or statements.

Editor: Simone Vella Lenicker Consulting Editor: Danica Mifsud Design: Zvezdan Reljic – ZED Creative Sales: Adriana Farrugia Tel: 21 382 741 ext. 126 Printed at: Print It Published by:

Vjal ir-Rihan, San Gwann SGN 4016, Malta Tel: +356 21 382 741, Fax: +356 21 381 992 Email: admin@mediatoday.com.mt

Simone Vella Lenicker Editor Note to readers: Due to changes in Maltapost policy, “the Architect” will not be mailed together with the newspaper MaltaToday but will be mailed separately.

Cover: The Arc see pages 12-15

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JANUARY 2010

Cassar as President, Perit David Felice as past-President and Periti Damian Vella Lenicker, Philip Grech, Keith Cole and Jacques Borg Barthet whose terms end in December 2010.

KTP candidate contested ACE executive board elections Perit Vincent Cassar, KTP President, concluded his two-year term on the Executive Board of the Architects’ Council of Europe

(ACE), where he occupied the post of Treasurer. Elections were held on the 20 November in Brussels during the ACE’s General Assembly. Vincent Cassar re-contested the elections but unfortunately was not re-elected. The new members of the Executive Board are Dalibor Borak from Czech Republic; Lionel Dunet from France; David Falla from the UK; Wolfgang Haack from Germany; Christian Lerche from Denmark; Jos Leyssens from Belgium; Georg Pendl from Austria; Vladimir Petrovic from Croatia; Eva Tétényi from Hungary and Serban Tiganas from Romania. Selma Harrington (Ireland) was elected as President.

AIRMALTA Corporate Sponsorship

Kamra tal-Periti football match raises €5,000 for charity The Kamra tal-Periti and Bawag Bank donated €5,000 to the Community Chest Fund during a short ceremony held on the 26 October 2009. The money, which was raised during a charity football match between a team of Maltese Periti and one of Austrian Architects, was presented to President George Abela by Profs. Alex Torpiano at the Grandmaster's Palace. Her Excellency the Ambassador for Austria, Lady Caroline Gudenus, Perit Vincent Cassar, President of the KTP, Dr.Otto Karasek, of Bawag Bank, Perit Patrick Calleja, captain of the Malta team, and Mr.Alex van de Donk, one of the Austrian players, and his wife Melanie, were also present during the ceremony. The Maltese contingent won the match 4-1, and a return match is being planned for April 2010 in Vienna.

A further €1,375 were raised by the Kamra tal-Periti and its members following a call for donations to the Community Chest Fund. This contribution was presented live by representatives of the Kamra’s Council during the programme “L-Istrina” held on Boxing Day.

Back row: Ivan Attard, Dylan Agius, Matthew Gauci, Mark Vella, Gaston Camilleri, Kurt Camilleri Burlo', Mark Montebello, Jacques Borg Barthet, Ivan Zammit, Alfred Briffa. Front row: Paul Borg, Joseph Zerafa Boffa, John Ebejer, Patrick Camilleri (capt.), Giancarlo Torpiano, Frank Ellul, Norbert Gatt, Mark Borg

JANUARY 2010

The Kamra tal-Periti has extended its agreement with AirMalta for a further year up to 31 December 2010. The benefits offered by Airmalta have rendered attendance to various international conferences more possible for Council members and the Kamra’s representatives, as well as helped fund the cost of flights for the various foreign speakers invited by the Kamra for a number of events, including Architecture Nights and other conferences and seminars. A 10% discount on all flight fares (excl taxes) has also been offered to KTP members. More information is available on the KTP website.

KTP Council hosts UIA President Apart from the normal level of rapport, based primarily on the news received through the UIA (International Union of Architects) Newsletter, the Kamra tal-Periti was honoured to receive a short visit, between the 8 and 10 October 2009, by

UIA President Louise Cox who was attending an ICOMOS General meeting, but dedicated most of her time here with the Kamra.

Being a keen DOCOMOMO activist, she had been wishing to come over since the beginning of the year for the launching of the Modernist Malta exhibition but was held up

by UIA Council meetings. Her visit coincided almost to the day with the 10th Anniversary of the last visit by a UIA President, Vassilis Sgoutas, who inaugurated our Gzira premises and it helped her take cognisance of the setup of the Kamra and of the programs it had in line, as well as that of the general position of the profession locally and within the context of its transition into the EU. Her program included a visit to the KTP offices, to the Faculty of the Built Environment at the University where she met the representatives of SACES, as well as a courtesy call to the Hon Dr Mario De Marco, Parliamentary Secretary entrusted with the MEPA Reform.

In a thank you note she sent to the Council, Cox stated, “Thank you all so much for looking after me so well. It was an honour to come to see you at your headquarters and to discuss so many things of mutual interest. It was also great to be able to be guided round Malta with you. You have a wonderful country, you do so much, that I am jealous of your way of life. You were all amazing. I knew that I always loved your country and these few days with you reinforced that. Good luck with the Built Environment Centre of Excellence and the retention of architects on your design review panels. If and when you need any support from UIA, please remember we are there to help and encourage people, to share as much as possible also.”

KTP NEWS

The Annual General Meeting of the Kamra tal-Periti was held on the 11 December 2009 at the Aula Magna in Valletta. The terms of office of Periti Anthony Fenech Vella, Ruben Paul Borg, Danica Mifsud and Simone Vella Lenicker came to an end. Each of these stood for re-election, together with Perit Anton Valentino, and were all elected to serve on Council for the coming two years. The remaining Council members are Perit Vincent

Left to right Perit David Pace, Perit Vincent Cassar (President KTP), Hon Mario de Marco (Parliamentary Secretary for Tourism), Louise Cox (President UIA), Perit Anthony Fenech Vella, Perit Jacques Borg Barthet

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& people & projects

Stephen and his daughter Bernadine Mizzi.

On behalf of the Council of the Kamra talPeriti and its members, the Editorial Team extends its condolences to his family and friends.

RIBA President's Medals 2009 The Royal Institute of British Architects (RIBA) has been awarding the President's Medals since the 1850s and the awards were established in their current format in

Perit Salvino Mangion Perit Mangion passed away in November 2009. Born on the 15th June 1911, he graduated from the University of Malta in 1937 and initially entered the Public Works department. During the war years he was responsible for keeping the flour mills and other important installations going by supervising the repairs that needed to be done as a result of the aerial bombardment.

Shortly after the war he was transferred to the Water Works Department where he was promoted to senior engineer. In the early fifties he was transferred back to the Public Works Department and in 1954 he was appointed Director of the Public Works Department.

Shortly after his appointment, the Maltese government embarked on an accelerated and greatly increased programme of school buildings, factories and housing estates. In fact, the first industrial and housing estates were planned and built during this period.

These years saw Malta progress from a colony to an independent state which had to stand on its own.

He was awarded the O.B.E. in 1960 for his services to the country as well as the Fellowship of the Institute of Civil Engineers. He retired from the Public Works Department in 1971 and worked for a period of time as a consultant to So.Co.Mar. in connection with the Gozo harbour works. Thereafter he joined his son in setting up the practice, Mangion and Mangion. Despite the long period since his retirement, he maintained a lively contact with his colleagues. Perit Mangion was also President of the Kamra tal-Periti in the seventies. For a period of time, he was the oldest living architect in Malta. His demise means that the oldest living architect is now Perit Dom Mintoff.

Perit Mangion is survived by his son

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10 towers in context - a defensive architecture

1984. The aim of these prestigious awards is to promote excellence in the study of architecture, to reward talent and to encourage architectural debate worldwide.

Widely regarded as the best architectural education awards in the world, students aspire each year to be selected by their school to enter for the medals and for the opportunity for their work to be recognised and publicly exhibited. The President's

A hybrid ecology where tourists, industry and endemic wildlife can co-exist - An augmented ecology of wildlife and industry

Medals website (www.presidentsmedals. com) features all the nominations since 1998. The site includes a database of projects and statements of intent from the students, schools define their educational

Study on the construction of skew bridges

policy and aims, tutors justify their nominations and the judging panels explain their decision making process. All nominations can be searched by name, school, country and year, enabling the user to browse material from any category.

Medals were awarded in December to three students. The Bronze Medal for the best design project at Part 1 was awarded to Wen Ying The from the Architectural Association London for the project “An augmented ecology of wildlife and industry”; the Silver Medal for the best design project at Part 2 went to Nicholas Szczepaniak from the University of Westminster London for the project “A defensive architecture”; and the Dissertation Medal was presented to the project “The art of skew bridges: the technique and its history explored” by Rebecca Gregory from the University of Westminster London.

Ġgantija Design Competition A design contest ‘Enhancing the visitor experience in the Ġgantija Heritage Park World Heritage Site’ was launched by Heritage Malta in October 2009. This formed part of the €9.2 million Archaeological Heritage Conservation Project, 85 percent of which is co-financed through the European Regional Development Fund (ERDF), and which includes works on three sites - the Tarxien Temples, the Ġgantija Heritage Park in Xagħra and St Paul’s Catacombs in Rabat.

The aim of the €2.5million project at the Ġgantija Heritage Park is to present an organised and pleasant experience, to the some 150,000 people who visit the temples each year. The project also aims at highlighting the landscape setting of the temples, mitigating past interventions which had a negative impact. The project components include the construction of an ‘interpretation centre’, an ‘exit point’ (including a souvenir shop and other basic amenities), as well as pathways to link the

interpretation centre to the temples, and the temples to the exit point. The project will also include the rehabilitation and landscaping of the Ġgantija Heritage Park, including the restoration and rebuilding of around 200 metres of rubble wall.

The winning entry was that submitted

by Perit Robert Sant. Made of recycled U-shaped pieces of glass, precast concrete and perforated copper, the design was deemed to be the best of eleven other submissions, which included two foreign entries and two others involving a joint

Ggantija Temple

venture between Maltese and foreign consultants. The submissions by Perit Alex Torpiano of TBA Periti and Perit Martin Xuereb of Martin Xuereb & Associates and Politecnica Soc. Coop. - Firenze were runners-up.

The twelve entries will be on display at Heritage Malta's head office in Merchants Street, Valletta, between January 18 and February 21. The Editorial Team hopes to be able to review the submissions in the next issue of “the Architect”.

Museum of Polish History In May 2009, the Polish Minister for Culture and Heritage, Bogdan Zdrojewski, launched an open international competition, in two stages, for the design of the Museum of Polish History in Warsaw. The aim of the competition was to select the architectural concept for the future museum with a surface of 20,000 sqm to be built in the Jazdow district close to the banks of the Vistula and to the vast and prestigious parks that are a significant part of Warsaw’s identity.

Ten projects were selected at the end of the first stage of the competition and the first prize was eventually awarded to Paczowski and Fritsch (Luxembourg-Poland). Their entry consisted of an elegant and minimalist proposal that in the judges’ opinion JANUARY 2010

2010 AIA Architecture Firm Award The American Institute of Architects (AIA) Board of Directors (BOD) voted on the 3 December 2009 for Pugh + Scarpa Architects to receive the 2010 AIA Architecture Firm Award. The distinction is based on its 35 years of consistent excellent work, including its seamless blending of architecture, art, and craft; community involvement; attention to sustainable design; and nurturing of in-house talent. The AIA Architecture Firm Award, given annually, is the highest honour the AIA bestows on an architecture firm and recognises a practice that consistently has produced distinguished architecture for at least 10 years.

Cherokee Lofts, Los Angeles, CA (Photo Tara Wujcik)

JANUARY 2010

Vail Grant Residence Silverlake, California, USA

“Pugh + Scarpa’s practice is known for both design and its commitment to running a socially and environmentally responsive practice,” writes Thom Mayne, FAIA, in support of the nomination. “Comfortable with aesthetic, practical, political, and functional issues, they have mapped an architectural path that is as didactic as it is successful.”

The award will be presented in June at the 2010 AIA National Convention in Miami.

Previous recipients include Olson Sundberg Kundig Allen Architects, Leers Weinzapfel, Moore Ruble Yudell, Muphy/Jahn, and KieranTimberlake. In recognition of Pugh + Scarpa’s legacy to architecture, their name will be chiselled into the granite Wall of Honour in the lobby of the AIA headquarters in Washington, D.C.

RIBA to launch Register of Conservation Architects The Royal Institute of British Architects (RIBA) has announced plans to establish a Register of Conservation Architects. The register will enable those looking to commission work on heritage buildings find architects with the specific skills and experience they require, encompassing all aspects of historic building conservation, repair and maintenance.

Recognising the distinct nature of conservation work, and moving away from a ‘one size fits all’ approach, the Register will operate upon three levels of membership, which also provide an incremental process

WAN Awards 2009 Commercial Sector

Sustainability snaps Keeping in touch with the jargon and what’s going on

In 2012 the Kyoto Protocol to prevent climate change and global warming runs out. To keep the process on the line there is an urgent need for a new climate protocol. At the conference in Copenhagen 2009 the parties of the UNFCCC met for the last time on government level before the climate agreement needs to be renewed.

Therefore the Climate Conference in Copenhagen held in mid-December 2009 was essential for the world’s climate. After a frantic day of negotiations, world leaders agreed to the Copenhagen Accord on last day of the conference. While all admit it is inadequate to the task, the Accord is a significant first step in engaging the world's largest emitters in the global effort to slash carbon emissions.

of accreditation for those who are in the early phases of establishing their careers in building conversation. Membership of the Register is open to any ARB registered architect, whether directly in charge of conservation projects or working in a policy capacity, who meets international standards of conservation, and who can demonstrate the appropriate level of competence in the fourteen specialist skill areas detailed in the ICOMOS Training and Education Guidelines.

Ruth Reed, President of the RIBA said: “The RIBA is fully committed to the conservation of our historic built environment. In setting up this Register, the Institute intends to strengthen the profession’s credibility and standing within conservation; establishing an accessible and progressive system to benefit both architects and those commissioning work on heritage buildings is of significant importance.”

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is simple without being trivial and allows great flexibility of the spaces and varied museographic interpretation of Polish history. Designed as a transparent pavilion, this project is characterised by a clear and functional layout: an internal street along which run the exhibition halls on one side and the administrative functions on the other. Its monumental glass façade offers the city a huge outdoor cultural landmark.

The International Jury was chaired by Jong Soung Kimm, Republic of Korea, representing UIA and composed of Grzegorz Buczek, architect, Poland; Aurelio Galfetti, architect, Switzerland; Ryszard Jurkowski, architect, Poland; Tomasz Merta, Vice-Minister for Culture and Heritage; Marek Mikos, chief city architect, Warsaw; Rafael Moneo, architect, Spain; Andrzej Rottermund, art historian, Poland; Eduardo Souto de Moura, architect, Portugal.

Founding partners Gwynne Pugh, AIA, and Lawrence Scarpa, AIA, and Angela Brooks, AIA, who became a partner in 2001, are known for forging a broad, inclusive, experimental approach to socially and environmentally sensitive urban planning and design. “We’re thrilled,” said Lawrence Scarpa, AIA, after being notified. “It was a surprise just to be nominated. It’s just stunning to win.”

World Architecture News (WAN) is currently running a bi-monthly programme of International Awards by Sector. The most recent awards announcement was that relating to the commercial sector, probably the most competitive of the six sectors in which the awards were organised (education, health care, civic buildings, urban design, commercial and residential). The volume and quality of entries in this sector broke all previous records with many of the top firms vying for the winning position. Over the two categories, built and un-built, the range and scope of the projects impressed the judges. Projects reaching the shortlist ranged from a stunning cafe in Vietnam to huge office towers in the world’s leading cities, through to an innovative hotel in Dubai, office headquarters in Mumbai, an opera house in China, a convention centre in Virginia Beach, a meeting centre in Brussels, to a car showroom in Paris.

All of the shortlisted projects were exemplary, all had merits of some kind making

Gensler’s Naru Tower in Seoul

it particularly tough on the judges but in the Built category, the Citroën showroom in the Champs-Elysées, Paris by Manuelle Gautrand Architecture was determined as the overall winner. In the Unbuilt category, Gensler’s Naru Tower in Seoul was deemed to meet the core criteria, namely that the design should demonstrate how the project has advanced its building type in some way and how it addressed key elements of the brief. Interesting to note is the disparity in the size of the practices; Gensler being the largest firm on the planet, while Manuelle Gautrand Architecture on the other hand was unknown to the judges.

Letters to the Editor Letters from our readers to be considered for publication are most welcome. Letters for inclusion in Issue 52 are to reach us by the 25th February 2010. Please write to: The Editor, "the Architect", Kamra tal-Periti, The Professional Centre, Sliema Road, Gzira GZR 1633 or send an email to thearchitect@ktpmalta.com. All contributions will be acknowledged. continues on Page 22 3

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& EU DESK

The Architectural Profession in Europe (2) The Architects’ Council of Europe (ACE) commissioned a Sector Study in two phases in collaboration with its member sections. The study was aimed at 32 countries (E32). Just over 8,000 participants sent in their responses from a total of 17 countries (E17), with 24% of Maltese Periti responding to the call made by the Kamra tal-Periti to send in their feedback. A review of some of the results regarding the demography of the profession and the architectural market was published in the last issue of this journal. Here we will take a look at some of the other results that came out of this Sector Study regarding architectural practices and the individual professionals.

The Practice

There are an estimated 69,800 private architectural practices in the E17. Grossing-up this figure to reflect all 32 European countries produces an estimate of 130,000 private architectural practices in Europe. More than half (54%) of these practices are one person firms. A further 35% have between 2 and 5 architectural staff. 8% of practices have between 6 and 10 architectural staff and 3% have 11 to 30. Only 1% of architectural practices have more than 30 staff. But large firms employ a significant number of architects. It is estimated that in the E17, 12% of the total private practice workforce, is employed in firms of more than 50

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architectural staff. So 19,000 architects are employed in 350 firms. At the other end of the scale, the 37,000 one person firms employ 21% of all private practice architects.

Over half of Principals (Sole Principals, Freelancers, and Partners & Directors in Private Practice) work in practices they classify as ‘Independent Architect’. This may include freelance architects and architects working on their own as a Sole Principal.

The Independent Architect practices model is most common in Austria, Belgium France, Germany and Luxembourg. In each of these countries it accounts for over 50% of architectural practices. 18% of Principals work in partnerships, and rather more (22%) are Directors in limited companies. The highest proportion of Principals working in partnerships is to be found in Estonia (44%) and Greece (35%). Limited companies are the preferred legal formation in the UK (57%), Turkey (56%) and Ireland (49%). PLC’s are significant only in Finland (52%), Estonia (19%) and Sweden (11%). The highest prevalence of the EIG (Economic Interest Group) business type is in Sweden (18%), Greece (16%) and Malta (13%).

The survey asked Principals to provide details of their revenue in the calendar year 2007, or the most recent 12 month accounting period. Average revenue rises in line with practice size, with an average of €59,389 for one person practices almost doubling to €117,827 for two person firms.

The average for a 3 to 5 person practices is €201,693, less than half that of a 6 to 10 person practice. The averages for larger sizes of firm are only indicative as the staff intervals are large and there can be a very high variation in revenues reported.

Geographically, highest average revenues per practice (measured for practices up to 10 staff, for which there is least variation) are recorded in

France, the UK and Denmark. Lowest average revenues are recorded in Turkey, Greece and Romania.

The most common method of calculating charges is as a percentage of the total contract value. A majority of jobs currently being undertaken by architects are being charged using this method. Next most popular (23%) is a charge agreed after an estimate of time required; while 16% base their charge on an hourly rate. 6% of jobs appear to be undertaken ‘at risk’ where there has been no agreement on charges.

The Individual

Architects in Europe earn an average of €36,686 before tax. However, there is a substantial variation in this average across Europe. The survey attempted to adjust the average earnings to take account of differing price levels in the 17 surveyed countries, adjusting each country’s average earnings figure by its purchasing power parity (PPP) index. These adjusted figures show that average earnings are highest in the Netherlands and Ireland closely followed by Austria, the UK and Luxembourg. Average adjusted earnings are lowest in Romania and Turkey. The adjusted average earning for Malta is of €34,447 (€25,250 unadjusted).

The highest earning group of architects is Partners/Directors. Their average earnings, at €44,847, is 17% higher than that of the second highest earners, Sole Principals.

Salaried Architects in private practice earn an average of €34,047, some 24% below that of Partners/Directors. The average earnings of architects in Local Central Government, at €25,124, is 26% lower than that of Salaried Architects in private practice. This relative pattern of earnings is not repeated in every country. Although sample sizes mean data should be considered with caution, there are several countries – Austria, Belgium, Denmark, Estonia, Luxembourg, Malta and Slovenia – where the average earnings of Sole Principals is greater than that of Partners & Directors. And in Denmark the average earnings of architects in Local Authorities and Central Government are the same as Partners & Directors in private practice.

Average earnings clearly rise in line with an architect’s age. In fact the relationship

between earnings and age is so strong that earnings rise in all but one age group, to reach a peak value at age 60-64. The differential in the average earnings comparing the age group 30 to 34 with age group 60 to 64 is 36%.

The highest proportion of architects (39%) expect to retire between the ages of 65 and 69. Half as many, 20%, plan to retire earlier at age 60-64. 14% expect to retire younger than 60, while 16% expect to remain working until they are at least 70. However, 12% – one in eight architects - say they will ‘never’ retire.

The highest number of hours worked is recorded by Sole Principals (51 hours per week) closely followed by Partners & Directors (50 hours per week). Their salaried colleagues in private practice work an average of 46 hours per week. Architects working in the public sector have a shorter working week than in the private sector, although average hours are still 42 (Local Authorities and Central Government) or 43 hours (other public). The longest working hours per week for Partners & Directors are recorded in Belgium (58 hours) and Malta (54 hours); longest working hours for private practice salaried architects are in Belgium, Austria, France and Turkey (each over 48 hours). Architects in all employment areas report they work longer hours than their contract demands. Freelance architects report the highest mismatch, working 7 hours longer per week than they are contracted to; ‘Other Private’ architects work 6 hours longer than contracted. Salaried Architects in private practice work 5 hours longer.

Architects were invited to rate their satisfaction with four professional areas: career; pay; business environment and quality of life. Respondents selected their satisfaction level on a scale of 0 (totally dissatisfied) to 10 (totally satisfied). The greatest satisfaction is recorded for the choice of architecture as a career; the average score here is 7.7 out of 10. Next highest is satisfaction with the business environment – colleagues, fellow professionals, public planning bodies and so on. Quality of life scores 5.9 on the scale, while least satisfaction of any criteria measured – with a score of 4.7 – is the amount architects are paid.

JANUARY 2010

Over 120 students and architects participated in 'SENSEable_ity', the ninth annual SACES workshop, organised for students of the Faculty for the Built Environment, sponsored by Papier Plus, Ballut Blocks and HSBC. It is an event aimed at encouraging group work, while investigating a particular theme to design an installation.

Participants were given a brief, outlining the general theme and aim of the workshop. This year's workshop sought to explore human sensibility within architecture, focusing its attention on the human being in the ideal city.

The title, SENSEable_ity had a double meaning: referring both to our senses within a city, and to the aim of proposing solutions for a city which MAKES SENSE. Participants were split into ten groups, each of which were assigned a particular theme which may form part of the ideal city, namely: Work, Rest, Money, Fashion, Dine, Play, Reflection, Waste, Journey, Talk, and Learning.

The Workshop began on Monday 19th October, when participants and architects met for the first time to discuss the brief and start brainstorming their installation. The discussion sessions continues until Friday 23rd October, when the Workshop's live-in weekend kicked off at

JANUARY 2010

noon.

One of the groups, led by Perit Simon Grech and 5th year student Mark Sullivan, tackled the theme 'Waste'. Veering away from the conventional idea of waste, the group chose to tackle the waste of ideas, therefore creating an "Idea Bank". The individual is invited to jot down an idea, and seal it in one of the many plastic bottles making up the structure. The structure itself is

made up of waste, namely a refurbished climbing frame found onsite at Bighi, and hundreds of plastic bottles.

The group tackling the theme 'Money', led by Periti Peter Brincat and Jing Yao Xu, and 3rd year student Claire Brincat, started off from the basics: their 100euro budget. They decided to use this money as a material rather than as a means - and proceeded to convert to 10,000 euro cents.

The group relocated to Freedom Square

SACES &

SACES Workshop 2009: SENSEable-ity for Future Cities

Valletta, where they used the coins to create two superimposed images on the street floor. The original image, made up of both loose coins, and coins glued to the floor, was of the Valletta skyline as we know it. When the general public passing through the square started to pick up the loose coins, another image was revealed that of a more sombre, flat-roofed skyline.

The group's message was this: not to let money be the cause of the deterioration of our beautiful cities.

The group tackling the theme 'Dine' created an installation aimed at addressing the demands of sustainable forms of dining in a future city. Food is generally sourced from areas well outside the city's boundaries, so the system was designed to try and grow produce from within the city itself. The installation consisted of a dining area, enclosed by a multitude of intertwining ropes, which formed a system of waste water recollection (for example that from air conditioning units). Through percolation, these would absorb the water which would in turn rise through the ropes by capillarity (as exhibited by dye in the installation). Seeds would be planted within the rope could then flourish, thus not only addressing the initial problem (growing produce within a city), but also forming a shading device to the tensile structure. the architect

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WAF

World Architectu An exchange of emails early in 2009 led the Kamra tal-Periti to act as one of the endorsers of the World Architecture Festival, which simply meant that the Chamber had to promote the event amongst its members. It later became known that the organisers had allotted two entry tickets to representatives of the Kamra to attend the Festival as observers.

Perit Simone Vella Lenicker as editor of this journal, accompanied by Perit Jacques Borg Barthet, co-Chairperson of the Built Environment Standing Committee, attended the event. The latter shares with us the experience and gives an insight into the workings of such an event.

What’s WAF?

3 days, 272 shortlisted projects, 8 presentation rooms. That in a nutshell was the 2009 World Architecture Festival, held at the Centre Convencions International Barcelona (CCIB) just outside Barcelona city centre between the 4th and the 6th of November. The event, organised by EMAP, is now in its second year and attracted more than 1,500 visitors, most of them eager competitors, anxious to see their projects win awards in respective subcategories to compete for the final in the Building of the Year and Future Building of the Year awards.

Spanish Pavilion for 2010 Expo Shanghai Category: Future Projects - Cultural Location: China Architect: Miralles Tagliabue Embt, Barcelona, Spain Award: World Architecture Festival 2009 - Future Project of the Year

The event also includes seminar presentations, a gallery wherein boards from the submitted projects were all mounted, and a festival hall, featuring thematic exhibitions and sponsor and exhibitor displays.

The presentations area however is really where it all took place. Here, in rooms seating some 120 people, the firms responsible for each of the shortlisted projects in the respective categories were allotted ten minutes to communicate their schemes and five minutes for judges’ questions as the machinery of the awards process went through the various entries. With presentations running concurrently in 8 rooms,

the independent observers, who were not specifically interested in the outcome of a particular category, flitted from room to room across the corridor, trying to keep up with all that seemed to be of interest.

Keynote presentations, ended the respective event days, giving the judges time to debate and discern their choices for the winners of the various categories, which were announced at the end of each day.

World Architecture

The draw of the event is the diversity of projects and firms presenting. One minute its one of the bigger fish in the architec-

tural ocean – say Benedetta Tagliabue, or SOM; twenty minutes later it may be a little-known firm from the Ukraine or Vietnam; it allows a particular insight into the playing field that the international architecture market is. The fact that presentations and jury questions are ‘live’ also allows one to appreciate a diversity of architectural approaches and presentation formats as well as the different hierarchical approaches to running practices, characterised by the choice of presenters.

It was particularly refreshing to see here, that hi-tech architectural graphics are not a requisite for competition success, and that content and poetry can still eclipse the power of the moving image. One beautiful set of hand produced graphics for example, earned a remarkably simple and picturesque cemetery in Hungary an honourable mention.

Because a number of the jury members are key figureheads in the architectural world, the questions themselves are of particular interest, reflecting specific personal approaches as well as some of the general themes which face the profession at large.

The theme for this year’s event was ‘Less Does More’, which in reflection of the current global economic climate, was intended to examine the challenges facing architects to produce more value for

Mapungubwe Interpretation Center Category: Culture Location: South Africa Architect: Peter Rich Architects, Johannesburg, South Africa Award: World Architecture Festival 2009 - World Building of the Year

Architecture blending with the landscape

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Mapungubwe Interpretation Centre in South Africa, designed by Peter Rich Architects of Johannesburg, is situated at the confluence of the Limpopo and Shashe rivers, and is designed to house artifacts from the region’s prehistory. The Mapungubwe National Park celebrates the site of an ancient civilization linked to the Great Zimbabwe trading culture in the context of a natural setting that re-establishes the indigenous fauna and flora of this region. The Interpretation Centre is set on the side of a mesa, formed from the dramatic geological events that resulted in the Limpopo River changing its course from

flowing into the Atlantic Ocean to discharging into the Indian Ocean. The ceremonial centre of this civilization is located on a sister mesa, one kilometre away from the site, and is the visual climax of the architectural experience orchestrated in the design of the Centre. This is a poverty relief project using ecological methods and materials.

The project is underpinned by a strong social programme, using the skills and labour of local people and involving them in the design and construction process. The complex landscape was both the inspiration for the design and the source of most of the materials for its construction. This

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Corian Super-Surfaces Showroom

ARENA ZAGREB

Category: Interiors and Fit Out - Retail (small) Location: Milano, Italy Architect: Amanda Levete Architects, London, United Kingdom Award: World Architecture Festival 2009 - Interiors and Fit Out Overall Winner

Category: Structural Design - Spans (eg bridges, stadiums, big sheds) Location: Zagreb, Croatia Architect: UPI-2M Award: World Architecture Festival 2009 - Structural Design of the Year

Images: Leo Torri

Image by Tihomir Gržincic Feature wall and integrated Seating

Interior View

less cost. Sustainability featured strongly on the agenda of many juries although there were few holistic approaches to sustainability and on the flip-side there were some attempts at creating sustainable schemes which in the opinion of the jury, made little attempt at creating architecture. It was refreshing too to see an emphasis on the role of projects beyond the scope of their individual sites and the underscoring of their value in terms of

Interior View

resulted in a composition of structures that are authentically rooted to their location. Judges praised the project for its roughness and handcrafted intelligence. They also admired the way in which it handled issues of sustainability and its relationship to the landscape.

JANUARY 2010

their contribution to and integration with the city fabric.

All in all the event also demonstrates the dynamics of the platform of world architecture and the way that architectural proficiency is communicated in the ‘world community’; despite the immortalisation of some regular names in the global glossies one notices that even the big-boys sometimes do projects which are far from great (and which still get shortlisted) and

Speaking at the WAF Awards Paul Finch, WAF programme director and editor of Architectural Review said, “The super-jury faced a tough challenge to choose a winner from such a strong list of finalists. Yet again we received a huge response to these fiercely contested Awards, with 272 projects shortlisted from 67 different countries. The wide geographical range and quality of this year’s designs were exceptionally high and offer a real insight into the current condition and diversity of global architecture. Our congratulations go to Peter Rich Architects who thoroughly deserve to receive world architecture’s highest accolade.”

Collecting the World Building of the Year Award, Peter Rich said: “I will continue my quest to be of service to the less privileged, because they deserve it.” Commenting that his

that there are a lot of up-and-coming firms all over the world who have what it takes.

And Maltese architecture itself, when there is a sincere attempt at creating architecture, is well and truly on the same plane as regards the quality of the thought and the offering.

Festival?

The event also hosted, concurrently, a series of seminar presentations as well as

next project would be in Ethiopia, Rich added: “I’m going to continue the good fight and take it to the world.”

In addition to the 15 categories in the World Building of the Year, for buildings completed in the last year, this year’s Awards featured three new sections – Interiors and Fit-Out, Structural Design and Future Projects, which celebrates excellence in design for projects still on the drawing board.

The World Structural Design of the Year Award went to upi-2m for Arena Zagreb in Croatia, the World Future Project of the Year Award was given to Miralles Tagliabue Embt for the Spanish Pavilion for 2010 Expo Shanghai and the World Interiors & Fit Out of the Year Award was won by Amanda Levete Architects for the Corian Super-Surfaces Showroom.

keynote lectures from Farshid Moussavi of Foreign Office Architects on her new book ‘The Function of Form’, and by Rafael Vinoly describing two recent projects.

The final keynote was a panel discussion on the then forthcoming Copenhagen climate 'summit', and how architects can better respond to challenges which are already with us.

Because of the draw of competition glory, the seminar presentations were unfortunately very poorly attended. The lack of opportunity for questions from the floor in any of the presentations also diminishes the event because it limits the balance of power to established peers. In this sense there is certainly more scope for better debating opportunities which can engender a more open approach to architectural practice and in this sense create a real ‘Festival’ feel.

It will be intriguing to see how the event evolves in the years to come and whether it becomes a more ‘open’ opportunity for architectural discourse; here too, a more amenable participation fee, would certainly give scope for wider attendance and participation. The event, nevertheless remains an interesting one and certainly worth visiting for the breadth of projects and firms on display.

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WAF

ure Festival (WAF)

Installations Images courtesy of Chris Briffa Architects

Showcasing the Pro

Skin Peep

In November 2009, Chris Briffa Architects and Matthew James Mercieca Design Architects set up two concurrent installations at the St James Centre for Creativity in Valletta with the aim of bringing the perit’s profession closer to the public. Here “the Architect” takes a look at both exhibitions through interviews with the main actors behind “SKIN PEEP” and “THE ARC”. Prof Richard England also provides us with a review of the work of these two local architectural studios.

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Review, by Prof Richard England The main hall of the St. James Cavalier Centre for Creativity, during the month of November, hosted a novel exhibition mounted by two young colleagues, Chris Briffa and Matthew James Mercieca. Briffa and Mercieca have been practicing for just over a decade but have already left their mark with a series of eye-catching iconic works. To my mind, they are among the most promising of a group of talented young architects who graduated within the last few years. Their work is crisp and does not follow any fashionable ‘ism’. No drunk, degenerate forms in the manner of the current fashion of De-Constructivism, for theirs is an expression based on Modernist theories recast in contemporary minimalist terms. Their interiors and buildings stand out as beacons in an era where local architecture has regretfully degenerated into a commercial, money-making, speculative industry.

The exhibition at St. James was organised, not so much to present portfolios or photographs of their work, but more so, to allow the visitor to delve into their working methodology and design process in manifesting the completed work. Briffa literally transferred his working Studio to the premises, allocating his staff and office in a punctured ‘peep-hole’ container, allowing an insight into the work procedures of an architectural office.

Mercieca also chose a similar theme, incorporating a fascinating floating structure to demonstrate what he terms ‘electric arcs’, a series of links which trace the creative path from the initial stages of what an architect absorbs and takes in and what he eventually emanates and exudes as the final project.

In a fascinating and innovative presentation, one is able to follow the road mapping process from design to completed work. The whole exhibition allowed the public at large to come to terms with the workings of an architect, thus demystifying the hype, while demonstrating the deep-

rooted professionalism and exactitude required in the making of a building.

The haptic ambiance designed by the architects provided a celebratory occasion to view an architecture in the making, which is not only exciting, but which also approaches the realm of poetry. In both these young architects’ work, especially in their carefully crafted interiors, magic and beauty are evident, thus raising their professional products to the higher realms of architecture.

What is perhaps the most interesting aspect is that the viewer is actually able to perceive the multidisciplinarian requirements of an architect as designer of the stage on which human life unfolds.

Both architects clearly demonstrate that their role is far removed from what is commonly termed the ‘Perit’ who unfortunately, in the eyes of the man in the street, is now conceived as an uncomfortable, but necessary addenda to obtain MEPA and other approvals.

The real purpose of the architect is to enrich the joy and drama of living, for architecture provides the scenic backdrop to our lives, and the way the stage is designed, affects the way we live. These young practitioners prove that architecture can indeed be a fantastic adventure. Hopefully, in future, they will find design conscious clients who will allow them to express their talent and flair. Their work reveals their concern for an architecture relevant, not only to the people who view it, but also to those who use it, and takes into account the duty which architects today must have to produce a sustainable architecture, as a recuperative respirator for our much damaged and polluted planet.

This was indeed a most interesting show, providing traces of healing antidotes for a sadly, much defiled and ailing island. Briffa and Mercieca’s work promises that architecture may, on this land, again become ‘a business to weave dreams’ as it once was in ancient times.

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Chris, tell us about SKIN PEEP, what inspired you and what you wanted to achieve through it?

While the term perit has become associated with a Machiavellian construction industry whose priorities are very far from producing Architecture, we feel that good architectural design in Malta is often appreciated in a skindeep manner. Besides, it seems that the general public mainly associates our profession with issues of MEPA, structure and construction. After a long discussion with a number of colleagues, we decided to set-up an architectural exhibition with a difference, whose aim doesn’t solely rest with showcasing our work but also to change the perception of the architect’s role through exhibiting the design process that leads to a successful project.

By literally relocating our entire architectural office into a temporary interactive space, SKIN PEEP was intended to put this process on display. Placing members of an architectural studio within a voyeuristic "skin", the public was encouraged to "peep" into the office, viewing the live workspace, while becoming part of a novel anthropological experiment.

Attempting to break down the divide between the architectural profession and the public; SKIN PEEP also served to mark the studio's 5th year of activity, displaying selected works while focusing on the deeper issues and processes behind them.

What materials did you use, and how easy was it to assemble the various bits?

The low-tech construction, built in standard 9” concrete blocks, framed images of various architectural projects; during their design, construction and finished stages. After 3 months of preparation, the perimeter walls were laid in 3 days by an incredulous team of builders and later fitted with timber structural support, lighting, desks, computers, a drawing board plus scale models, books and magazines.

The biggest construction challenge (and perhaps SKIN PEEP’s greatest feat) was the camouflaged door: consisting of specially fabricated steel hinges, a heavy timber frame and ply, finally clad with concrete blocks that had to be carefully sawn to a 40mm width. All bricks JANUARY 2010

Installations

fession were recycled back into the industry; while the concealed timber supporting them was itself recycled formwork from one of our sites. The desks were also assembled with plywood and concrete blocks, while the shelving was created from St James Cavalier’s timber benches placed on their side, with sandwiched boards.

How did you go about the construction process and the translocation of your whole office to a 33 square metre space in St James Cavalier?

For 7 days and 7 nights we supervised builders, assembled timber joists and stairs, put together furniture and lighting, and finally painstakingly covered around 300 strategic brick holes with images of our projects. It was particularly hard to make our new studio dust proof; the vault above our heads rained a constant shower of salty, limey dust.

The actual translocation was greatly helped by our sponsors who donated iMacs, chairs, a meeting table and track lighting. We then moved our printers and papers, files, some books and periodicals and, of course, the drawing board. It was a most interesting exercise that revealed what is the most essential equipment required to operate our practice.

How did the public react to your “experiment”?

What were the main difficulties you experienced?

It was very bright inside, and dark outside; so we couldn’t really see who was watching.

The best memories about our one-month sojourn were probably the diverse reactions we had from our varied audience.

One time a bunch of kids came

to visit us; climbing on our walls, putting their little hands inside the holes. We will not forget the amazement on their faces when we opened the ‘magic’ door. Another time, an elderly couple exclaimed ‘what is this s***!?’ and quickly ran away when they realized we were inside, hearing their comments. A team of Italian architects hailed our intervention “eccezionale!” and insisted we put it up in the next Venice architectural Biennale. A couple of architecture students were very thrilled and congratulated us for explaining Architecture with a piece of architecture, and proceeded to make a short movie out of it. One client (who at first couldn’t find our secret door) loved the space so much that he has now commissioned us to build a (weatherproof ) SKIN PEEP in his garden.

At first we were very excited about the whole thing. It was something in between being in a site office, and sitting in a cage in a zoo. The staff reacted differently; some were actually motivated to focus on their work, others would constantly move around the space in search of the most private spot. One didn’t want to go back to our studio when it was over! I must admit that after two weeks of innovative guest reactions, I got a little distracted, and looked forward to going back to my studio.

What insights regarding public perception of the profession do you think you learnt through this experience?

We hope that SKIN PEEP was not just a live show of architects at work, but also a stimulating motivation for young talent and the general public towards contemporary architecture.

I think our installation has helped demonstrate that our profession is not a necessary evil and a contaminated mechanism of short-term profit, but a sensitive vehicle of enthusiastic creativity. It is up to us, architects, to continue to positively change this perception, instilling a lasting sense of pride in our local architectural abilities. We eagerly await the next architectural exhibition!

Anyone you wish to thank?

Yes, my staff for their enthusiasm and support, as well as our sponsors iCentre, Ballut Blocks, Ritemix, Light Projects, BSL Lifestyles, Valentino Brothers, Cortis Woodworks, Doneo, Francis Busuttil & Sons Marketing, Illy coffee and C. Camilleri & Sons (Catering) Ltd. the architect

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3

Installations

Showcasing the Profession

THE ARC

images courtesy of MJMDA

“The name of this exhibition is seeded in the interpretation of the electric arc or spark as a transfer of potential. It is also a geometric metaphor for the three points (three role players) that go on to form an arc (architecture). Furthermore it is a symbol of collaboration and social communion interpreted from the biblical Noah’s Arc, required to surmount the obstacle of architectural degradation. It may be time for a flood and cleansing process to rid many from the vile perpetrators of inadequate and sub standard architecture.” With these statements as the crux of their installation, Matthew James Mercieca Design Architects (MJMDA) proceeded to set up three exhibits at St James Cavalier representing the architectural process through its three main players – the architect, the client and the contractor – in an attempt at making more visible and understandable the complex processes and communication that takes place in any good work of architecture.

Matthew, tell us about THE ARC, what inspired you and what you wanted to achieve through it?

The daily contact with many of our clients has shown us that they are very interested about ways and means to get a project done properly. However they many times do not have the right information in order to make the right decisions. For example

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it is a common occurance for many to believe that the Perit is only there to 'get a Planning Authority permit'. The expertise and passion of a good architect is sometimes expected to be left by the wayside to become an instruction taker, and simply the implementer of instructions with limited vision and legal obligations. Furthermore we sometimes face the attitude of permits

being the be all of architecture. This cannot be further from the truth to me. As one of the firms that makes it a point to be involved with projects that are adequately designed, detailed and supervised to completion in order to establish a good level of quality in architecture and interiors, we wanted to make more evident the entire process really required. In this way,

individuals and organisations requiring to commission architects can ask the right questions that are quality generative.

The ARC was born through acknowledgement of past, and understanding of where we are now, and how we would like things to work better in the future. It is about cradling great ideas and functionality from inception to successful completion. 3 JANUARY 2010

The process was a hands-on journey for all the office. We wanted to personally put our visions together into physical reality.

The major component of the exhibit was the 'floating and arcing cloud'. We first virtually modelled the general form of the dynamic shapes and sculpture intended to represent a snap shot in the life of the architectural process. The dynamic mass was then sliced, punctured and computer cut out of plywood including projections that would serve to wrap the woollen skin of the three different intertwining masses in different colours representing the three key role players in architecture: clients, contractors and architects. The sculpture was internally illuminated by symbolic electric arcs representing the constant exchange of information and communication required.

The entire structure was assembled onto steel spines that were in turn hung of a stainless steel cable threaded across the barrel vault above.

The other parts of the exhibition consisted of prints showing the different stages of several projects, some of which could be traced through time with woollen threads.

At one point the threads were converged through a black lacquered figure, an acknowledgement of the architect as a central interpreter of the past. So whereas the sculpture was a snap-shot in the life of the future architectural process, the large print was a timeline and the life of a project.

How did the public react to your installations? What will you do with this sculpture after the exhibition?

They were generally fascinated by the installation. Some people found the amount of information overwhelming and a little compressed. The exhibit was designed as an installation and meant to be explored and discovered using a keen sense of observation and involvement and not simply as a passive bystander. Therefore, I think we managed to involve the viewers by requiring a level of attention and many people were taken in by this process and discovered something new along the way.

What will happen to the sculpture... this must have been the most common question throughout! In the design phase we discussed the compressibility and reusability of the installation as a sculpture.

That is, when each of the 300mm spaces between each slice are taken out of the 7m installation, the masses collapse to a mere 375mm or so. This makes it re-usable as a JANUARY 2010

space divider or a wall mounted sculpture.

In reality however, the sculpture is temporarily in storage since there has been some interest to re-assemble the entire mass as exhibited in large spaces such as a hotel lobby or public building to make for an impressive display of fluidity and dynamism. We would gladly collaborate with interested parties to find a home for it in its full scale!

What would you say were the main challenges in setting up this exhibition?

Interlacing our very taxing busy schedules with something of cultural value, that costs a great deal of time and money in reality.

Even though we found support from sponsors and from St. James Cavalier, without which the event would not have been possible, it is impressive how expenses rack up to create such an event.

What were the main insights into the profession that you gained while creating this exhibition?

That the only way our profession survives and that events such as these exist is through the energies and beliefs of those passionate about it. Because apart from funds, passion, dedication and commitment are the cornerstones of what we do.

We literally give part of ourselves in our work, we leave part of our life alive in what we create. We do this for all our projects, and have done this for this event. I am very proud to be leading this hard working and talented group of individuals in a profession that is productive and that leaves good tangible results. For this I would like to thank my team for their strength, support and encouragement.

Has this experience changed in any way your perception of the role of the perit? How do you see the perit’s role changing in the future?

Our interpretation of the changed perit's role is what we live everyday. It is because of the incongruence between what we feel our clients think they need, and what we should be doing in order to create better architecture, that we want the public to change their perception of the role of the perit. The role is in fact changing actively in our experience. The architect must be involved with the entire process of at the very least the construction and external finishes of a building as it should be. The nonchalance of periti practically abandoning projects after MEPA permits and claiming no control over the final stages of a build because they do not want to take responsi-

bility of the details cause many blatant horrors that we face now. Sometimes developers choose to mis-guide themselves, however at other times, it is the responsibility of the perit to stand up and enforce a level of architecture akin to his expertise and good standards. In this way we can look forward to an upgrading of our environment.

Many criticise what periti have created on our shores. Whilst some eye-sores might be the fault of less than ideal directions taken by some periti, I believe it is also the mounting pressure from developers and some do-it-yourself individuals on architects to step aside, making way for the badly compromised decisions to completing architecture. Just because a building stands up it does not mean it is a good building. Many pay dearly for this presumptuous mistake, affecting the value of their investments, their own lively hood and quality of every day life.

The public requests of architects such as us way more than what is has become to be understood that one should expect from a perit. They do this because it is the architect who is known to be responsible for our environment ultimately. We are attempting to live up to those requests by offering a service that matches what we are asked for in the long term. We are standing strong in the name quality of our environment for our people, not bowing under the pressures of greed, bad standards and short cuts. We know it will take time, and we are in no rush: hopefully our actions will slowly redefine what periti are really capable of doing in the public mind’s eye because they will live the difference.

Anyone you wish to thank?

Yes, thank you very much for the insightful opening speech by Prof. Richard England, who inaugurated the exhibition on the 16th October 2009. Thank you to our sponsors for their assistance in the build-up of this event: St James Cavalier director and staff for their assistance and the opportunity given to us; FBS Marketing Ltd., with premium wine by Tenuta Ulisse & cold cuts; C. Camilleri & Sons Ltd., with cheeses, fruits and nuts and preparation assistance; Eurocraft, with cutting edge CNC technology and production; David Abela of Woody Woodworks, with buildup assistance; Emanuel Baldacchino, with construction equipment; Vassallo Construction, with construction equipment; Light Projects, with lighting supplies; Brands International, with material and transport. Well done to the dedication of the MJMDA team and especially to Janice Fiorentino and Edward Coppini who co-ordinated the event.

the architect

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Installations

What materials did you use, and how easy was it to assemble the various bits, particularly the sculpture?

& — Din l-Art Helwa

Din l-Art Ħelwa Awards for A

I

n what has now become an annual event, Din l-Art Ħelwa has recently announced its awards for local architectural heritage projects. The entries were classified into three different categories.

The first category relates to major urban regeneration projects. There were no entries in this category this year.

The second category refers to the ‘Rehabilitation and Re-use of Buildings’ comprising projects which have sought to rehabilitate historic buildings and also to re-define their uses. This would encompass projects that emphasise re-adaptation and re-utilisation to the needs of contemporary society whilst respecting the historical memory of that particular building or structure. Particularly it encourages entries that demonstrate the pursuit of a positive synergy between the historic fabric and compatible modern interventions. In this category, a diploma of merit was awarded to the conversion of the premises at No. 254, St Paul’s Street, Valletta into the Representation Offices of the European Parliament and European Commission in Malta.

The jury citation for this project submitted by Perit Martin Farrugia stated that “this classic 16th century Valletta townhouse has been beautifully converted into modern and spacious offices for the EU Commission in Malta.

It successfully combines modern interventions with the visual and aesthetic integrity of the

Awards Presentation

building whilst adapting it to its new use. It also distinguished itself by the provision of the most comprehensive access facilities for the disabled.”

The third award category considered projects that were intended to seek comprehensive restoration and conservation and that were as much as possible faithful to, and in conformity with their original state. There is also the premise that such restoration projects should

be carried out on the basis of sound scientific methodologies. The jury decided that a second diploma of merit be awarded to the Government Works Department team headed

by Perit Claude Borg for the restoration, conservation and rehabilitation of Villa Francia in Lija.

This elegant, eighteenth-century Baroque palatial villa, with its extensive surrounding gardens has been beautifully restored and conserved

after several years of neglect and dereliction.

The ornate interiors have been restored to their former glory and are now appropriately furnished. The jury commended the meticulous attention paid to detail in aspects pertaining to paintwork used in the interiors, internal wall and ceiling frescoes, stonework, statuary, and landscaping of the surrounding gardens. The report presented as an integral part of the submission delves in detail on the comprehensive restoration process devoted to the building fabric and the landscaping of the surroundings with specific attention to the paving, various fountains and monumental nympheum structure in the rear garden.

The overall winning entry presented by the agency ReCoop – ‘The Restoration and Conservation Coop Ltd’ – for the restoration and rehabilitation of the Carmelite Priory in Mdina was awarded the Silver Medal as the most deserving project submitted. The Carmelite Priory has undergone significant restoration over a period of two years and is now open to the general public offering a fascinating insight into the way of life of the cloistered friars, as well as access to an impressive selection of paintings, silver sculptures and other objets d’art. All these have been meticulously restored in spite of a limited financial budget. Restoration works undertaken include both conservation work on the main fabric of

Villa Francia

Villa Francia garden

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Villa Francia

JANUARY 2010

the building as well as the restoration of several scores of paintings, silver, furniture and artifacts. Furthermore, a management partnership was established to coordinate future restoration works and to ensure the economic viability of the project. In their award citation the jury commended the Carmelite Order for their vision and pioneering initiative in restoring this outstanding seventeenthcentury, Baroque monastic complex and opening it up to the general public. The jury expressed the hope that in the light of the richness and abundance of ecclesiastical heritage on the island, other monastic orders would take a cue from the Carmelite Priory project and seek to emulate it.

The heritage awards ceremony was held on 11th December 2009 at the headquarters of Din l-Art Ħelwa in Valletta. President Emeritus Prof. Guido De Marco presented the awards and commended the winners.

The members of the jury were Martin Scicluna (Chairperson), Ms. Maria Grazia Cassar, Dr Keith Sciberras and Perit Dr Conrad Thake as the official representative of the Kamra tal-Periti.

— Din l-Art Helwa &

rchitectural Heritage 2009 Dar l-Ewropa

This report was compiled by Perit Dr Conrad Thake on the basis of the entries submitted and the jury’s official report.

Facade

Fountain in Dar l-Ewropa

Carmelite Priory

Internal view

JANUARY 2010

Courtyard View

Lavabo

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& agm

Annual General The Annual General Meeting of the Kamra tal-Periti was held on the 11 December 2009 at the Aula Magna in Valletta.

Although attendance of such meetings is not always as numerous as one would hope, the outcome and feedback that came out of this year’s Meeting was fruitful and productive.

In this article I will dwell on some of the points raised by Perit Vincent Cassar at the end of his first year as President of the Kamra in his speech at the beginning of the General Meeting. He started by noting that 2008, 2009 and 2010 mark three historic moments and milestones for the Kamra. The first is the proposals for amendments to the suite of legislation governing the Kamra and the profession, on which agreement with Government is expected to be imminent.

The second important moment for us is the 90th anniversary of the institution of the ‘Chamber of Architects’ as it was then known on the 12th June 1920 by His Excellency the Officer Administering the Government, through government notice no 202, published in The Malta Government Gazette. Thirdly he referred to the fact that members of the profession who are not Full Members of the Kamra were invited to participate in the General Meeting as observers, although unfortunately this invitation was not taken up.

Perit Cassar’s appeal to these Periti who prefer to remain somewhat detached from the Kamra was this: “Whilst we consider you as ordinary members of the Kamra we would not like this relationship to be restricted solely to think about you as being subject only to the discipline of the Kamra as authorised by the Periti Act, but it would be nicer and would be more pleasant to have you also as participating Full Members of the Kamra. Our voice can be heard more clearly and be more forceful if we have the full support of all Warrant Holders. After all, the Kamra and its Council represent the interests of all Warrant Holders and it is only through the participation of all members of the profession that we can achieve the optimum and

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best conditions for the profession.”

The President also voiced the Council’s concern and wish to see greater member engagement and involvement in the activities of the Kamra by all Warrant Holders, expressing the Council’s intention to hold a series of ad hoc meetings in 2010 with those members of the profession that are sole practitioners, those that are in government service, those that are employed with building contractors, those that are employed in partnerships, etc. “We need to know what your concerns are, what your aspirations are, but more importantly we need to know how the Kamra can help and assist you in your profession.”

In spite of this, he noted that membership of the Kamra has seen an increase over the last years. At the end of November 2009 the total number of Warrant Holders was of 652, out of which 223, representing 34.2% of the total of Warrant Holders, were Full Members of the Kamra. Together with these 18 graduates, representing 53% of all graduates (less than five years after Warrant) were also registered as Full Members together with 6 student members.

Among the various aspects of the Council’s work during 2009, one of the main tasks was the participation in the Malta Environment and Planning Authority (MEPA) Reform process headed by Government. During 2009 in fact, the Council was involved in discussions with the Prime Minister, with Dr Mario De Marco the Parliamentary Secretary entrusted with the implementation of the reform, and with other government officials in this respect. Moreover, the Council also presented a document outlining the Kamra’s proposals for such a reform process and took an active part at the National Conference held in June 2009. At that Conference Dr de Marco specifically thanked the Kama for its contribution in the reform process. Perit Cassar also noted with pleasure the appointment of two Members, Periti David Pace and Tony Fenech Vella, onto the newly established MEPA Policy Review Commission.

The debate on this reform goes on and on. Council is keeping track of what is happening in order to be able to react to anything that might be of concern to us.

Once the main aspects of the Reform are made more clear, it is Council’s intention to call an ad hoc meeting for all periti where the whole concept will be explained and where Periti will be able to give their reactions and input.

Perit Cassar also referred to the transposition of the Services Directive that will come into force early this year and that will bring about new ways in which we can carry out business, either on a temporary or on a permanent basis, in other Member States and how professionals from other Member States can in similar fashion carry out business in Malta. The Qualifications Directive, which has already been transposed under the title of ‘Mutual Recognition of Qualifications Act’, will also have an effect on the qualifications obtained from the University of Malta and on the constitution of the course leading to qualification as an architect and/or civil engineer. In fact, the course will be restructured into a first degree course of three years to be followed by a Masters degree course of two years, and where the completion of the latter course, supplemented by two years of qualifying professional practice experience, will be the only way of recognition for qualifying as an architect and/or a civil engineer. “This is in line with the changes that are taking place all over Europe and is essential so as to ensure that those who provide architectural services would have acquired the necessary skills and experience commensurate with a task that has a profound effect on society and, at the same time, guarantees a high level of quality of the service given and protection of the end-user,” he stated.

Various other aspects have had or will be having an impact on the profession, such as the recently enacted Rent Law as well as the re-cast of the Energy Performance of Buildings Directive (EPBD), the Regulations on Excavations, the EuroCodes and the CE marking of Products.

President Cassar also referred to the need to enhance the quality of the built environment. This was one of the Kamra’s main criticisms of the proposed MEPA Reform: the concept of ‘quality of the built environment’ was never mentioned in the document presented by Government. “We feel that adopting integrated and holistic approaches that take more than economic and technical aspects into account so as to include social and cultural considerations is the only option that will allow us to achieve all and any political objectives and targets that are set out for a quality and sustainable built environment. It is only by doing so that we may be able to answer the expectations of society and of future generations for a better quality of life. I am sure that you will all agree with me that the productivity, prosperity and the well-being of our nation is closely tied to the architectural, functional and technical quality of the built environment that forms part of our human habitat.

As a result, there is a clear responsibility towards future generations to properly manage the built environment that they will inherit. This responsibility is partly, or should I say largely ours.”

Continuing on this train of thought, the President stated that there is a need to elaborate and build upon the policies and other relevant political conclusions and declarations, relating to architecture and the built environment, that have been adopted over recent years at EU level such that the recommendations made therein become truly integrated into local policies and legislation. These include the Leipzig Charter on Sustainable European Cities, the Council Conclusions on the Contribution of Architecture to Sustainable Development and the Declaration of the Urban Development Ministers. Although over the past couple of years the Kamra has started to work on the formulation of a National Policy for Architecture, it has not been able to sensitise the politician, the public in general and other interested players, such as MEPA, to this important aspect. The adoption and implementation

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of a coherent and well-thought out architectural policy, will ensure that decisionmakers at all levels and the public at large are aware of the positive benefits that architecture can bring to their daily lives.

Here he reiterated Council’s commitment to draw up a draft architectural policy for discussion and eventual approval and adoption by Government.

Climate change is another important aspect that should have an impact on the way Periti carry out their profession.

The EU has committed itself to tackling the question of climate change through its 2020 commitments and it has been pointed out that the existing buildings of the EU represent a vast energy reserve that can be tapped by dramatically improving their energy efficiency and performance.

“In this context it is evident that the architectural profession, through best practices and examples, is best suited to play its part in bringing about the changes necessary to address this huge challenge.

In addition to the importance of energy efficiency, the efficient use of resources, the creative management of our existing building stock and more specifically our architectural heritage need to be taken into consideration in any formulation of a sustainable development strategy.”

During 2009, the Council of the Kamra talPeriti has made its voice heard on public procurement and made it clear that the procedures used for the procurement of buildings and all structures that constitute the built environment, in particular for those projects that receive public funding, are conceived and implemented in such a way that they permit the selection of the best quality proposals having regard to sustainability, architectural quality and life cycle costing. Public service officials and Government itself must be alerted to the fact that in relation to the built environment the most economically advantageous tender that includes quality criteria must always be preferred. “Furthermore, we need to ensure that the market for architectural services remains open in a level-playing field, especially for innova-

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tive and emerging talent and for alternative systems of delivery that are quality based,” he affirmed.

It is essential to ensure that those who provide architectural services do not only acquire the necessary skills and experience before being allowed to exercise the profession but that in the interest of the profession itself and in a quest towards guaranteeing a high level of quality of the service and protection of the end-user, there is an established and recognised process of continued professional development.

In this respect the Council is advocating a process where CPDs will become obligatory and where such CPDs are not only linked to a life long learning process for the individual Periti in maintaining an acceptable level of knowledge, skill and awareness about the discipline in which they practice, but also directly linked to the delivery of a good standard of professional practice in the interest of both the consumer and the profession.

“there is a clear responsibility towards future generations to properly manage the built environment that they will inherit.

This responsibility is partly, or should I say largely ours.”

– Perit Vincent Cassar

This topic is also of relevance in relation to the globalisation of trade, in particular at a time when there is an acceleration of the process for the negotiations of mutual recognition of architectural qualifications and of architectural service agreements, in the context of existing and ongoing trade negotiations between the EU and third countries. Such agreements are intended to open up, in a truly reciprocal and equivalent manner, new markets for the architects of Europe and the world, now and for future generations.

we now have a record number of eight schools participating in the programme.

Here, the President thanked Perit David Pace and his team consisting of Perit Audrey Galea as programme coordinator and Periti Michelle Micallef, Angelique Abela and Gina Lenferna who act as tutors for organising and taking care of this activity.

Besides these tasks which are mainly of an administrative and legislative nature, the Kamra was also involved in a number of other activities and events during 2009.

One of the Kamra’s current projects is the Children and the Built Environment project. This started off last year as a pilot project with the involvement of two schools, one from the private sector and the other from the public sector. Following a seminar for teachers held earlier this year and at which seminar the results of the pilot project were explained to those present

He also referred to the series of Architecture Nights which are always well attended and which are proving to be very successful, thanks to the dedicated organisation by Periti Danica Mifsud, Claire Abela and Melanie Galea. He further referred to the organization of a series of seminars aimed at introducing graduates and under-graduates to professional practice and the Code of Professional Conduct.

The seminars, organized by Periti Keith Cole, Saviour Borg, Damian Vella Lenicker and David Pace were well attended and it

agm & &

l Meeting 2009

is hoped that Council will be able to follow up with similar and other seminars in the coming year. Since ethical behaviour towards the public and other professionals is what distinguishes the service of a warranted professional person, it is also the intention of the Council to encourage the Faculty to introduce the teaching of applied ethics in its core curriculum throughout the course of studies.

During 2009, members of the Kamra also had the opportunity of organising a special visit to the Valletta Entrance Exhibition and to meet Architect Renzo Piano in person. This proved to be not only an exciting morning for all those who attended the event, but also proved to be a memorable occasion for Renzo Piano himself as he was able to meet the local architectural profession and discuss with those present his proposals for the project.

Ending on a light note, Perit Cassar recalled the enjoyable football match that saw the Kamra’s football team engaged against a team of architects from the Chamber of Architects of Austria and which match we won with an outstanding score of 4 to 1.

Here he thanks Periti Alex Torpiano and Patrick Calleja for organising the match and taking care of all logistics, and to the players and substitutes that formed the team. He noted with pleasure that this event, through the generous contribution of a number of sponsors, managed to raise the handsome sum of €5,000 which was donated to the Community Chest Fund.

In conclusion, he stated that one of his key priorities as President is to “ensure that the Chamber continues to fully support and promote the profession, and work towards improving the conditions that regulate the profession. We need to emerge stronger than before to meet the challenges of the new economic climate and the new scenarios/opportunities/challenges being presented to us locally and abroad. I am proud to be part of this challenge and I only hope that many more will join the Chamber and take an active part in its proceedings and activities.”

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heritage

Birżebbuġa style – vernacular villeġġatura

by Perit Edward Said Do you ever walk around certain neighbourhoods in Malta and have the sensation that you could be abroad or back in the past?

Well, I felt this way last year in Birżebbuġa old town on a sunny November afternoon; a seemingly desolate place save the occasional housewife dexterously sponging a pavement or the odd figure hobbling hurriedly along, only to suddenly disappear into a doorway. So far, quite Maltese. Yet it is the walls that these doorways pierced that suddenly gave an unusual alien air.

First of all it was quite curious how these houses almost looked asleep behind their heavily louvred facades. You almost feel you have to walk gingerly past them

An unusal portico fronting houses near Pretty Bay

in order not to disturb! Taking a photograph feels like an intrusion, almost rude! Yet doing so is irresistible when seeing the way some of these facades are designed.

A curious assortment of arches, Gothic and Moorish in shape,

One eternally wonders why the authorities allow such a crass intervention.

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One of the fine seafront residences built in a typical British Colonial manner

heavy rustications, brickwork, renders, crenellations, and a variety of motifs make up what could only be seen in Maltese vernacular seaside resorts or ‘villeġġatura’. Some streets predominantly boast Art Nouveau and Art Deco styles so much so that you could be in Via

An example of two residences with an Art Deco facade

Pseudo Gothic architecture at Birzebbuga seafront

Roma in Pozzallo or Marina di Modica. A few are British Colonial with barrack-like colonnades, arcades and rusticated quoins and dados. Others are Eclectic with timber balconies, Maltese crosses and Tuscan columns. And then there are the colours. Besides the quintessential biscuit limestone, a range of blues, reds and yellows incorporated with the masonry that is somehow very Birżebbuġa!

You can still see the odd house painted in the once fashionable ‘demm il-baqra’ red.

The architecture of old town Birżebbuġa is somewhere in the middle-ground between the stately, classically-orientated grammar that once characterised Sliema and the diminutive simplicity of bygone Xlendi. The two-storey rows of houses both along the seafront and behind still

retain the charming coolness of Maltese ‘villeġġatura’ architecture.

Occasionally, a larger villa stands out amongst the regimented terraces. Dates range from the turn of the twentieth century up to the fifties and possibly early sixties.

Somehow there I notice many designs comparable to those at Marsalforn, now (of course) destroyed; the daring use of colours, textures, and ‘exotic’ grammars that are now practically extinct elsewhere in our ‘summer’ settlements.

All other historic ‘villeġġatura’ settlements are mostly or completely ruined. St. Paul’s Bay, Xlendi, Marsalforn, Xgħajra and much of Sliema, St. Julian’s and Marsascala are now a collection of soulless blocks standing tightly like chests of tombs in Italian cemeteries. Of course the contagion of greeddriven, non-descript, sterile construction frenzy that is contemporary Maltese utilitarian ‘architectural’ progress is cancerously spreading around old Birżebbuġa however at a curiously slower pace, thankfully.

My appeal is to all of those interested, to get down to Birżebbuġa with a good camera and take it all in before it vanishes.

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The last in the series of Architecture Nights for 2009 saw Architect Alexandros N. Tombazis as its guest of honour. Born in India in 1939, Tombazis spent his early childhood in India and England before moving permanently to Greece. As a child he wanted to be a painter, and it was his painting teacher who first suggested the idea of his becoming an architect. Architecture was then for him something abstract and difficult to comprehend, but once the decision was taken, he never regretted it. His interest in technology and the first oil crisis made him turn towards the use of solar and alternative energy sources, which have become an integral part of his architectural design.

Today, Alexandros Tombazis divides his time between his office, which employs about 60 people, and travelling. A lecture at a congress or to University students

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Tombazis with the students at University

gives him the opportunity to express his thoughts, but also becomes the starting block for one more trip, which combines his basic interests – architecture, painting, photography – and through these the exploration of yet another part of the world.

Alexandros Tombazis has been awarded prizes in more than 110 national, international or invited competitions. Apart from those in Greece, projects have been built in Cyprus, Portugal, the Netherlands, Romania, Ukraine, the United Arab Emirates and Oman. In 1991 he was elected honorary fellow of the American Institute of Architects, while in 2006 he was awarded an honorary PhD by the Aristotle University of Thessaloniki.

Tombazis’s presentation was held immediately after the Kamra’s Annual General Meeting held on the 11 December 2009 at the Aula Magna in Valletta. Earlier that same day, he participated in a Design Seminar supported by the Kamra tal-Periti, and organised at the Faculty for the Built Environment, by Council Member Perit Ruben Paul Borg who is also a lecturer at the Faculty. At University, Architect Tombazis had meetings with the students and with staff including the Dean, the Head of Department of Architecture and Urban Design and the Year 4 and Year 5 Architecture Design Tutors. He participated in a studio workshop and discussion with students on their final 5th year design thesis projects. The seminar was followed by a lecture to students entitled “A letter to a young architect” delivered by Tombazis to an enthusiastic audience.

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events

Architecture Nights

7 continued from Page 7

Landward elevation showing the only entrance into the tower

Gargoyles and Shadows: Gothic Architecture and 19th Century Photography

The Victoria & Albert Museum, London, display “Gargoyles and Shadows: Gothic Architecture and 19th Century Photography” will look at the relationship between photography and architectural practice. It will feature a range of photographs dating from the 1850s to circa 1915 by the leading British, French and Italian photographers of the day. The photographs are all of Gothic or Gothic revival buildings, in the UK and Europe.

Alongside them will be a selection of drawings, sketch books, watercolours and prints.

Running up till May 2010, the display addresses the multi-faceted relationship between architecture and photography. It shows how photography facilitated the rediscovery of an idealised past, as seen in the popularity of Picturesque views and Gothic Revival architecture. It also looks at the role played by photography in documenting architectural heritage, by John Ruskin amongst others, and in securing a record for buildings facing demolition. Photographs were also a significant source of inspiration to architects, not least in the Gothic Revival where architects like Pugin drew upon Gothic design and its perceived spirituality and nationalism in the designing of buildings such as the Palace of Westminster.

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Green light for two major projects

In mid-December, the Malta Environment and Planning Authority Board (MEPA) gave the green light for the rehabilitation of an existing dumping site into a Family Park in Marsascala. The land which stretches over an area of over 85,000 square meters, between the Sant’Antnin recycling plant and ir-Razzett tal-Ħbiberija, will include a small amphitheatre, a farm for animal petting, an Equestrian Facility, a kiosk area, a large open landscaped area, a volleyball and 5-a-side football pitch, a tennis court, outdoor gym equipment, a landscaped maze, an agro-tourism products exhibition area, an olive grove, a 100 space car park, and a multi-purpose space.

This project was a planning gain permit condition, which MEPA had imposed on Waste Serv when it had granted planning permission for the development of the Sant’Antnin recycling plant.

The MEPA Board also approved embellishment works to be carried out along the waterfront of Xatt ir-Risq, between the Regatta Club and the Freedom Day Monument. This project, which is part of a wider plan to embellish and make the Dock 1 area accessible to the public together with the waterfront around the whole of the creek, will include major landscaping works together with the development of an urban space, a kiosk area, an outside seating area and parking provisions. The applicant, through the Malta Transport Authority, has committed to provide temporary additional parking facilities around the locality.

Can you identify this distinguished personality? He pioneered the study and appreciation of Maltese architecture during the rule of the Order of St John (1530-1798). He wrote the first architectural history of the Maltese islands in The Building of Malta published in 1956. This was followed by several other scholarly works dealing with aspects of both civil and military architecture in Malta. He was also instrumental in the re-organization of the Department of Architecture at the then Royal University of Malta in 1969.

competition

people & projects

De Redin Tower The crumbling De Redin tower featured in Issue 39 (December 06) of this journal has been fully restored after months of arduous operations. Held in trust by Fondazzjoni Wirt Artna (Malta Heritage Trust), the restoration works were sponsored by MEPA and carried out by Vaults Co. Ltd. Overseeing the works where consulting architects Perit Edward Said and Profs. Alex Torpiano. Works ranged from geotechnical consolidation of unstable foundations to reconstruction of missing rooms and features on the roofing gun platform. Other interventions included stone-replacement, complete repointing of joints and removal of several cubic metres of accumulated debris. FWA hopes to restore other important military sites along the Xgħajra-Żonqor coastline and eventually set up a heritage route along the way.

The winner of this competition will be entitled to any Air Malta scheduled return flight at a discounted price of €75 excluding taxes, booked before the end of the year. Send your entries to: The Editor, The Architect Competition, Kamra tal-Periti, The Professional Centre, Sliema Road, Gzira, or by email on thearchitect@ktpmalta.com. The first correct entry drawn on the 1 March 2010 will win. Only residents of the Maltese Islands are eligible to participate. Members of the Editorial Board and their families are not eligible to participate.

The building featured in last issue’s competition was the Paola Parish Church dedicated to Christ the King and designed by architect Guze D’Amato. The winner is Ms Sara Pavia from Marsaxlokk

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Pipers Central London Model The Pipers Central London model is built to a scale of 1:1500. Measuring some 12m, the model covers an area from Paddington in the west to The Royal Docks in the East and from Battersea in the south to King’s Cross in the north. Major new and proposed buildings with planning permission are highlighted in white, including the Olympic masterplan and a range of new tall buildings set to transform London’s skyline. www.newlondonarchitecture.org Now to 29 January 2010; Danish Architecture Centre, Copenhagen, Denmark

New Public Spaces The exhibition shows a number of tendencies that characterise development today. The audience can experience 26 chosen urban spaces seen through the lenses of photographers Jakob Galtt, Mads Emil Hilmer, Nicolai Perjesi and Lene Sørensen Rose. Moreover, five new documentary film directors from the National Film School of Denmark have each created a thematic film for the occasion. The artist HuskMitNavn has developed five figures commenting on the meeting between the individual and the urban space, while Henrik Oxvig reflects on the relations between people, places and architecture. http://english.dac.dk Now to 29 January 2010; Arup Gallery, London, UK

Renoma: Reflections of Wroclaw This exhibition maps the turbulent history and changing face of Wroclaw, Poland, by telling the story of RENOMA. Designed in 1930 by modernist architect Hermann Dernburg for the Wertheim family as one of the largest, truly international retail stores, its original concept was shortlived.

After years of neglect, it reopened in April 2009 with a carefully restored façade and a new wing designed by Mackow Architects in collaboration with Arup. The exhibition also features collage artist Jan Dziaczkowski and photographer Marcin Czechowicz. www.architecture.com Now to 30 January 2010; Sir John Soane’s Museum, London, UK

Order: Myth, Meaning and Beauty in Architecture What are the orders of architecture? Where did they originate?

Why did ancient architects build using the 'Classical Orders' and why do architects still refer to them even today? How can a

JANUARY 2010

building have 'secret' language of meaning in the way it is decorated? How, for that matter, can a building have a gender? Drawing upon some of the 30,000 drawings held in the collection of Sir John Soane's Museum, this exhibition will undertake to answer these questions in a way that is engaging to both the student of architecture and those who have no prior understanding of Classical architecture. It will explore how this 'hidden' language of architecture is still around us - often in surprising ways! www.soane.org Now to 31 January 2010; Design Museum, London, UK

David Chipperfield With a style that is restrained, quiet and thoughtful, David Chipperfield is of one of Britain’s leading architects. This comprehensive overview will look at key moments in his development as well as at major recent projects including the Museum of Modern Literature in Marbach, Germany, the America’s Cup Building in Valencia, Spain, the newly completed Neues Museum in Berlin and the Hepworth Museum in Wakefield, Yorkshire. www.designmuseum.org Now to 7 February 2010; Geffrye Museum, London, UK

Eco Home This exhibition aims to address widespread and increasing concerns about ecology and the state of the planet and how this links to our homes and the way we use, decorate and inhabit them. It will examine current ideas around ‘eco-living’ in an informative and timely way. The climate change agenda is having an impact on almost every area of life and the home is no exception.

Recycling and saving energy have, for some, been part of daily life for generations but today they have a new significance and urgency. The mantra ‘Reduce, Reuse, Recycle’ is prompting us to change our habits and there are now a plethora of products out there to help us. www.geffrye-museum.org.uk Now to 14 February 2010; Imperial Furniture Collection, Vienna, Austria

Interior Design between the Wars The Imperial Furniture Collection holds one of the key works of Viennese interior design around 1930: the apartment of the ceramic artist Lucie Rie, designed

by Ernst Plischke in 1928. In the exhibition Interior Design between the Wars this outstanding ensemble will be placed in the context of the history of Viennese furniture design. www.hofmobiliendepot.at Now to 18 February 2010; Museum of Finnish Architecture, Finland

Gert Wingårdh One of Sweden's most renowned architects, Wingårdh started his practice in Gothenburg in 1977. Most of his buildings have materialised in western Sweden, but some have been built in various parts of the world. The exhibition

displays buildings reflecting the characteristics of the architect's prolific and wide-ranging output. In addition to buildings, the exhibition features Wingårdh's view of architecture. www.mfa.fi Now to 07 March 2010; Design Museum, London, UK

Ergonomics – Real Design Described as the science of everyday life, ergonomics combines the knowledge of human performance with design and engineering to create systems, products and services which are safe, efficient and enjoyable to use. From the humble tape measure and TV remote control, to the vast and complex areas of transport systems and medical care, ergonomics improves how we interact with the world around us. Through prototypes, interactive displays and examples of ergonomic design, this exhibition reveals the importance of ergonomics in creating effective design for the real world. http://designmuseum.org Now to 07 March 2010; Design Museum, London, UK

Less and More – the design ethos of Dieter Rams “Question everything generally thought to be obvious” Dieter Rams. As head of design at Braun, the German consumer electronics manufacturer Dieter Rams emerged as one of the most influential industrial designers of the late 20th century by defining an elegant, legible, yet rigorous visual language for its products. The exhibition will showcase Rams’ landmark designs for Braun and furniture manufacturer Vitsœ, examine how Rams’ design ethos inspired Braun’s entire product range for over 40 years, and assess his lasting influence on today’s design landscape. http://designmuseum.org Now to July 2011; V&A Museum, London, UK

Aestheticism: Beauty in Art and Design 1860-1900 This will be the first international exhibition to explore the unconventional creativity of the British Aesthetic Movement (1860-1895). Featuring superb artworks from the traditional high art of painting, to fashionable trends in architecture, interior design, domestic furnishings, art photography and new modes of dress, this exhibition traces Aestheticism's evolution from the artistic concerns of a small circle of avantgarde artists and authors to a broad cultural phenomenon. www.vam.ac.uk 22 January to 03 April 2010; CUBE, Manchester, UK

Alan Fletcher – Fifty Years of Graphic Work (and Play) This exhibition brings the work of Alan Fletcher, a pioneer in the world of graphic art and design, to the North-West of England for the first time. This fascinating exhibition will track the 50-year career of Alan Fletcher: from his early days in London and New York; through the ‘60s and ‘70s when he co-founded successful and influential advertising agencies and design companies, such as Pentagram; through to his highly productive later years when he took the risky step of becoming independent. www.cube.org.uk

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international events &

Ongoing; New London Architecture, London, UK