The archetype paper issue 8 by arthouse

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issue 8

4/2016

contents

EDITORâ&#x20AC;&#x2122;S LETTER Life is all about regeneration 5 DESIGN The mark of a singular designer 7 REGENERATION Giving space back 11 A positive regeneration 22 RESTORATION The art of the matter 17 HOTELS A beautiful chapter 25

Issue 8 April 2016 Editor Victor Calleja Publisher ArtHouse Design Studio Photography Sean Mallia Facebook thearchetypepaper Subscriptions archetypepaper.com Printing Print It ltd. Distribution Maltapost plc.

The Archetype Paper is a quarterly magazine about architecture, design, interiors, furniture & visual art.

LIGHT Lighting up our ways 29

PROPERTY Putting life back into properties 32 FOOD The palace that food saved 37 DOCKYARD Port of call 41 A ship called pride 45 TV Where the street has a name 48 NEWS Waterproofing: when health matters 47 Fit for a palace 50 Added Value 51 An office for the people 53 A success story in the making 54

Cover Rendering: Chris Castillo & Noel K. Micallef See page 7

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without the prior permission of Dark Dragon Media Ltd. Opinions expressed in The Archetype Paper are not necessarily those of the editor. All care has been taken to ensure truth and accuracy, but the editor, the editorial board and the publishers cannot be held responsible for errors or omissions in the articles, pictographs or illustrations.

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Photo: Patrice Peyre

Dock 1 Creek today. See page 11

“If we don’t move, we die. Without movement, we end up fossilised and uninteresting, stuck in a stagnated swamp.”

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Editor’s letter Life is all about regeneration

If we don’t move, we die. Without movement, we end up fossilised and uninteresting, stuck in a stagnated swamp. Our own bodies have been designed, by chance or some supreme being, as vehicles of change and regeneration. The old is shed and the new takes over. Life is all about change. Unfortunately many of us don’t embrace it – rather, we fear change and are often more inclined to let the old, the traditional, and the conservative lead us. We sometimes fail to find new ways by learning, by accepting how grand the old was but how it all needs regeneration. In life nothing is perfect and nothing is forever. What we need to grasp better is that all that is new is rooted in the old. From the old comes forth, if we are wise, prudent and innovative, the new. The old is never dumped; the traditional does not necessarily sound hollow. There are ways to turn old ideas, trodden ways, historic buildings into new. Modern or contemporary is not necessarily a repudiation of what there was before; it is a natural progression, an evolution. New thinkers need to learn and revive ideas that might seem to have passed their prime by using them as fertile ground for their transformative ways. When Cottonera, the Three Cities, were built they were new, vibrant, a break with the past. The same happened when resplendent Valletta, the ‘citta nuova’, was designed and turned into a fine place for refined gentlemen and their elegant womenfolk.

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Time passed and sometimes treated these cities badly – all four cities at some point suffered an exodus. Their populations dwindled or changed, people sought accommodation and trade elsewhere and the cities’ intrinsic beauty suffered, declined and practically disappeared. They were seen as uncouth, unfashionable and, by some, to be sneered at. As this happened parts of them were left to rot and fall from grace. Then people were attracted back to the inner city core. The cities started breathing again; slowly, sometimes hardly enough to revive. Some parts of Cottonera and even Valletta are still hardly remarkable except for their drudgery and degeneracy. Unfortunately, rebirth doesn’t come without pangs of pain. Cities which are transformed and regenerated suffer somewhat the new affliction of turning everything into commercial entities; all has a price and as modernisation takes hold the place becomes too costly for its previous inhabitants or too tied to a new, unwelcome way of living. The new spate of hotels in Valletta and elsewhere has seen palaces, old houses, even old slums, turned into glittering accommodation centres. This is regeneration at its best – but go and explain that to the people who lived in quiet seclusion years ago, at no great expense. Archetype explores a few paths of regeneration in this issue. The team behind it all felt revived by seeing such new avenues to move on in life, to fight new challenges. Enjoy exploring what lies inside these pages.

Design

Photo: Sean Mallia

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THE MARK OF A SINGULAR DESIGNER Archetype shines on Chris Castillo’s singular creations.

When you think of what Malta produces, jewellery is not the first thing that comes to mind. But Archetype met a young man whose jewellery design is truly impressive. Chris Castillo has just finished designing his first signature set of jewellery inspired by the Mosta dome. Art, craft, architecture, design and more are all fused into Castillo’s creations. This is design with a twist that goes back to our roots of religion and heritage and finds new expression. The architectural temple doesn’t immediately spring to mind when you look at the pieces designed by Castillo. But the devil is in the detail and if you look intently you can see the iconic church’s ceiling beautifully reflected in the ring and the other pieces that form the collection.

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Far from being kitsch and boring, Castillo’s jewellery marks a true fashion statement. It is as good as anything seen on the international circuit – the designs have force, luminosity, monumentality and movement. Castillo is a quiet man who, by day, works in marketing design and by night, and in his free time, can be found at the design table getting to grips with the world of jewellery. He read for a BA in product design at the University for the Creative Arts in Rochester and, together with a fellow Maltese student, he excelled in jewellery design and silversmithing. Whilst in the UK Castillo and the other Maltese student, Noel K. Micallef, took part in various leading competitions in the UK

Design

Renderings: Chris Castillo & Noel K. Micallef

and internationally. The praise and awards they won were ongoing, and they even placed first and second in a number of top competitions, winning several bursaries and prestigious awards. After graduating Castillo worked in the UK for a year with a top jeweller and then returned to Malta. Micallef stayed on in England working in the jewellery industry but their close collaboration is still alive and the designs inspired by the Mosta dome, aptly called The Holy, were a combined initiative.Micallef and Castillo are partners in this venture with Castillo on design renderings and finishing while Micallef provides assistance in the technical aspect. Castillo believes Malta has so much heritage that if you look hard enough you are swamped by it – all you have to do is study the old and give it a new twist. There is art everywhere and it can all be interpreted and re-

interpreted to make things shine, and feel regenerated. Castillo blends his jewellery and what inspires him into contemporary design. Micallef still prefers using traditional instruments, using only manual aids. On the other hand, Castillo also uses computeraided programs for his designs. Together, these Maltese designers have gone where few dared go and the result is mindblowing. The work behind the collection is painstaking and slow. Castillo and his friend had been at the design stage for over two years before coming out with The Holy. One thing Castillo insists is that he will remain tied to quality – in his own words, he will be ‘a slave to quality’. It is very inspiring to hear someone so passionate and patient, still waiting for his hard work to give him some monetary return.

Castillo knows he can go down easier paths by commercialising his wares and selling less exclusive stuff. But his dream is to reach the higher echelons of design; he would rather suffer to get to the top, no matter how long it takes. The work also needs diversity, functionality and must have a wide range of connected designs and products. Castillo spends a lot of time on the renderings which are time-consuming, making sure they are of the best quality possible as they help the two designers visualise what each piece will look like once finished.

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The mark of a singular designer

“Castillo blends his jewellery craft and what inspires him into contemporary design”

His vision is all about quality and he wants his collection to be works of art – all have the hallmark of artistry already but he wants to go on designing, to be inspired by what Malta has in abundance everywhere you look. Even if and when he develops them under a brand Castillo wants to do it with longevity in mind. He wants each piece to have its own uniqueness and, most importantly, be numbered and produced in small quantities.

The owners of the pieces, Castillo sincerely hopes, will be proud of what they possess and will cherish and look after them for many years to come. Looking at ways of turning old crafts into a new modern idiom is definitely a step in the right direction for artists and designers in Malta. Our size might be small, but our creativity can be kickstarted to cause a few ripples even in something as hard to penetrate as jewellery design.

Once the right path is chosen our size and our small market will also be surmounted. Castillo has managed to break into a rather unusual line and his design is unique and refreshing. In the past, Maltese silversmiths were very well known and respected internationally. Castillo’s designs seem like sure bets to make a hit in jewellery circles in the near future.

Photo: Sean Mallia

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Regeneration

â&#x20AC;&#x153;More than the individual buildings, we need to look at the whole space, at what makes us unique both in the built and unbuilt environmentâ&#x20AC;? Alberto Miceli-Farrugia

Photo: Sean Mallia

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GI V ING S PACE

BACK

The Cottonera area never fully recovered from the World War II bombs. Despite the post-war reconstruction of bombed-out quarters based on the Harrison and Hubbard studies, the population continued to decline, several buildings were left vacant and in a derelict state, and a lack of planning left the area without a clear future. In recent years, however, we have seen the first signs of regeneration. Perhaps the most recent intervention at an urban scale is the regeneration of Dock 1. It was designed to restore to the communities of the three cities better connectivity between them and accessibility along the full length of the beautiful waterfront. This, and more, was done by Architecture Project. Archetype meets Alberto Miceli-Farrugia, one of the partners of the firm, now in the process of founding a new design office. The discussion was wide, far-reaching and touched on many aspects of what regeneration is all about. This is part of that discussion.

What is your definition of regeneration? Archetype:

Alberto Miceli-Farrugia: I would

say it is all about renewal, innovation. But it should always be seen in the context of what already exists. I seriously doubt if regeneration should be just concerned with buildings. One has to see it in the context of the heritage involved, the cultural, social and even environmental traditions. One has to study the past, assess the present and plan for the future. Regeneration is as much, if not more, about improving the quality of life of residents and the experience of visitors, than of restoring the fabric of any particular building. There are different ways of achieving regeneration. It may be achieved through the introduction of an iconic or signature building which becomes an international attraction, such as in Bilbao perhaps - people flocked to it, adding an economic and social injection to the place. Turin is today surprisingly the fourth most the archetype paper

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visited city in Italy. The wellknown Lingotto factory, once no longer required was turned from a disused industrial carapace into a multi-use complex with hotels, exhibition spaces and conferencing facilities. Together with the careful restoration of some of the principle squares, the new Lingotto gave new life and vibrancy to the city. Back in the 1980s, Barcelona’s regeneration started very differently, in a gentler, more organic manner. Little interventions were used to prompt a subtler yet more widespread urban regeneration with dilapidated quarters given new blood, not through a huge intervention but by tidying up, adding green spaces and public plazas, and generally refurbishing rather than demolishing properties. It encouraged individual initiative – people responded and whole quarters were given new life.

Has the same happened in Malta: Valletta for example? A:

AMF: Yes. Valletta is finally alive.

Valletta is attracting investment – has this spoilt the capital’s fabric? A:

AMF: Ironically, I have heard

long-time residents criticise the increased levels of activity and noise within Valletta, saying that it has now become too busy, and that they miss the silent streets, the lifeless corners. But can you ever regenerate and get it completely right? Speculation of a purely commercial nature is now also growing and, unless controlled, it may damage the fabric of Valletta’s social mix. I believe there should be a greater effort to encourage the original residents and families to remain, while still attracting people to move in or return to Valletta. Initiatives should be ongoing to make Valletta a real home for its residents. A small but

significant example is a proper food market. When the food market was relocated outside town, Valletta, especially its residents, lost out, not only on the opportunity to purchase quality fresh food closer to home, but on an essential element, a mainstay for a rich, varied and vibrant social fabric within any town. We would also need to tackle accessibility, but this applies to the whole of the island and not to the capital alone. The time has come to implement essential measures, long overdue, which will promote further use of existing and new modes of public transport, to the extent that using private vehicles would no longer make financial sense. In Valletta, there should be more emphasis on opportunities for social gathering and interaction, a more varied leisure and entertainment offering than more cafes, bars and canned music. Garden spaces and piazzas and the streets, especially in a town so dense should cater for children to play and roam, for the

Regeneration

Photos: Guillaume Dreyfuss

old and infirm to feel comfortable, welcome and have a home outside their home. Fortunately, the town still retains its rich social fabric and its varied sports and social clubs, parishes, bands and community clusters, which is part of what makes it attractive. We shouldn’t expect that people will return only because of the architecture and heritage; that exists of course and is a major attraction but living within the city walls needs more and the change – the regeneration – has to be ongoing. Valletta is and needs to function as our capital, but it also needs to remain a home to those who live there, day and night all year round.

Too little too late or is it never too late? A:

AMF: The cliché itself says it’s

never too late. And one must never say a problem has grown too big to solve. Evidently we have lost some remarkable architectural icons over the years, which can no longer be recovered. And over the past few decades we have caused some considerable damage to our towns and villages and our traditional communities, and we need to review our strategies

and take corrective measures to address these issues. We are however fortunate to have managed to retain several more, on which we can start to rebuild. But the longer we take, the harder it will prove to be, and the more drastic will be the action required. In the urban field, we are definitely late on a number of counts especially on a national level. Transport, connectivity, livable spaces within our towns and cities, continuing urban sprawl, all need immediate tackling. Leaving it all as it is now with no plan or strategy can be lethal in 10, 20 years’ time. Traffic, transport, fumes and densities are all coming to a head with no counter measures yet planned. The lack of a long term vision and approved strategy ought to be of concern to all of us.

How were the plans for Dock 1 received by the people of the locality? A:

AMF: When we prepared

the plans for the Dock 1 redevelopment, we took our proposals to the community. We met with community groups, the Local Councils and made a presentation to the residents

themselves. It was very satisfying to know that generally the community was very much on board. There was however one primary obstacle. Parking was then – still is – a major problem for the residents of the three cities and councillors feared that any new proposals within the area would make the problem worse. The authorities had, in the initial plans for the Regeneration of the Birgu Waterfront, committed themselves to provide underground parking just off Dock 1. These plans were however never implemented, and of course demand for spaces only grew. The Councils’ concerns were evidently correct. Although they saw the advantages in the proposed refurbishment of the area, and had no interest in preventing the project from going ahead, they required a solution for the problem that affected their residents daily. We amended a part of our initial plan to retain some parking, although never enough to meet requirements. I’m here looking at the small picture and how one issue affected plans for an important part of our urban landscape. In the grand scheme of things, on a national level, it is taking us a considerably long time to prepare a holistic strategy

for public transport which will help us move private vehicles off our streets.

A: What

architecture and heritage was saved?

AMF: Fortunately, a lot has been

saved, and we have some NGOs and Government departments that are doing a lot of very worthy work in this respect. No need to produce a list here. But we have also suffered some insensitive losses. Again one must not look only at the artefact but the whole fabric. We need to always look at the unique environment as a whole. It’s fabulous to save individual buildings but it’s also important to give value to the whole context, and that includes social and environmental. And it is always most important to ensure that the community is integrated in all the changes.

A: But

then does development ever come in and wreak havoc? AMF: Interestingly – or worryingly – developers and the authorities never stop to think about whether over-development will eventually destroy the very attractiveness of a site and its surroundings. Moving out of our older urban cores, it is scary how no plan is ever drawn up – again this lack of planning is the archetype paper

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Giving space back

endemic – and in places like Sliema and St Julian’s, just as examples, development goes on incessantly, indiscriminately. And yet developers and the whole of Malta need these two locations to retain their attractiveness and their pull. Uncontrolled development, coupled with poor quality, is its own worst enemy. People seeking to move to Sliema or St Julian’s for the evident advantages they offered could soon be looking away. And an exodus is possible, as densities become insupportable and we build more and more poor standard apartments to replace the few houses left. None of our villages and towns under this pressure will remain an attraction.

A: The

Three Cities were practically saved of the sprawl other villages and towns suffered in Malta. Only a few towns in Malta retain their distinctiveness with most just merging into each other. AMF: Very true. And because

of historical economic problems and the resulting social consequences, coupled with a lack of investment in regeneration projects, the three cities in Cottonera were left untouched for a long time, in a sort of the archetype paper

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bubble that fortunately spared them from the excesses of overdevelopment. And perhaps only now are their charms and character being rediscovered and sought after. The price advantage has evidently also assisted in attracting new interest in the three cities as a place to live. Maybe the recent projects, the waterfront at Birgu and its marina, the new gardens and the introduction once again of a ferry service to Valletta have helped increase the area’s exposure and desirability.

Should more be done to conserve houses and other buildings? A:

AMF: More can be done to

save what is worth saving, and not just buildings. A few years back, when on the Council of the Kamra tal-Periti (Chamber of Architects), we sought to raise awareness of the need to conserve some important architectural landmarks of the 20th century, buildings few considered sufficiently historical to warrant protection. The unique post-war modernist primary schools designed by Joseph Huntingford (amongst others), for example. As part of the Works Division, he designed several schools, especially in Gozo. The Qala one was about to be

completely demolished. We managed to save a significant part of it, though not all. We prevented the demolition of Rediffusion house, which has since then been completely refurbished. Matters have improved since then, of course, and society has generally become a little more sensitive to the need to conserve our heritage and to save what is important for the benefit of future generations and for us to enjoy. But more than the individual buildings, we need to look at the whole space, at what makes us unique both in the built and unbuilt environment, in our tangible and our intangible heritage. We need to understand what gives us our identity. We need to find our own ways of developing our economy, building on our strengths, yet not destroying them.

A: What

has happened so far in the Three Cities in the grand scheme of things? Is it a step in the right direction? AMF: A lot has been achieved

and a lot has seen fruition with more interaction by the residents and outsiders too. Through the Dock 1 gardens we achieved some of our original goals,

connectivity, a sense of place and spaces for the enjoyment of the residents, a green heart for Cottonera which manages to retain a sense of the industrial significance of the area. The dockyards were strategically important as drivers of the whole country’s economy. Over time, their importance dwindled and the place fell into disuse. The Docks closed, unemployment soared, buildings deteriorated, and what was a thriving city lost its appeal. Now that Dock 1 has been opened up to the city, people have started to enjoy the new gardens and the quays, the walk between the towns. More has to be done but at least something is happening. It’s a good start. The soon to be completed Science Centre in Kalkara and the proposed introduction of a campus for the new Higher Education institute in Cospicua should introduce more activity to the area. Young people using the area will definitely make it alive. This will help existing residents invest in their own properties and attract new residents to buy properties in the area. The ferry has also helped breathe new life by making this side of

Regeneration

Giving space back

the harbour more accessible to visitors. Finishing the Birgu Waterfront project may also further improve the situation. Despite their difficult recent history, or perhaps as a result of it, the Cottonera residents retain great pride in their locality and their community, which should not just be applauded but encouraged, and new initiatives would need to nurture this

What do you feel should happen now?

be encouraged to come up with their own contributions; mechanisms ought to be put into place to encourage and assist them in developing medium to long term proposals for their own environments. Together with this, proper governance to provide for the implementation of all projects, all works, all plans. An overall shift is necessary – to get all on board but this has to have proper teeth that gets things done and are seen to be done from all aspects.

AMF: I think with regard to

regeneration and also beyond regeneration the most important thing to do is draw up a carefully studied, expertly considered master plan, a proper long term vision for the country. Within this vision, the localities should

Unless this is done now it could become too late. In 1969, Quentin Hughes edited a special issue of Architectural Review on Malta and had words of respect for our built environment and also our heritage; but he also pushed for a master plan, a new vision to keep away from

over-development. Obviously he wasn’t heeded – but we still need to wake up and plan and devise a strategic system for our island. Some years ago we, as the Kamra tal-Periti, called for the setting up of Design Review Panels to appraise projects that are proposed especially those using public funds. The panels would be designed to review projects’ design not from the point of view of their aesthetics, but in terms of their contribution/impact to their surroundings, and on the quality of life of the residents and immediate communities. There is still a crying need for this.

A: What

finally would you love to see more of? AMF: As already mentioned,

considered, objective and long term vision for the urban and rural development of the country, and the governance structures to implement it, at arms’ length and protected from the far more fickle and immediate goals of our political system. On a local level, greener, more livable cities and towns. I would say that what we now need to plan for is to see people win back public spaces by taking cars off our roads or at least just making sure they are only used when necessary. Our villages need to regain their livable qualities. We need to provide more gardens, piazzas and public parks, more space for social activities to help strengthen our communities. Then we can truly say regeneration works.

on a national level, what we really need is a carefully

Photo: Guillaume Dreyfuss

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Restoration

Photos: Sean Mallia

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THE ART of the matter

When Pierre Bugeja and his team at Prevarti were tasked with the conservation of some paintings on the ceiling of the Parish Church of the Transfiguration at Lija, they set about their work in earnest. What they never expected was that the painting they were working on, which was always considered to be by Giuseppe CalĂŹ, had been restored in the 1930s and 70s and part of it had been changed. The restorer tells Victor Calleja how he got carried away, copied part of the original and stuck on his own interpretation. the archetype paper

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Restoration

â&#x20AC;&#x153;Art is our history, part of our legacy, our essence.â&#x20AC;? Pierre Bugeja

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The art of the matter Pierre Bugeja is the perfect depiction of a man who works in art. He looks the part of the artist in turmoil, with his flowing locks and deep-set eyes. But speak to him and you realise he is soft-spoken, gracious and a mint of information about the meticulous work of the art conservator. Bugeja is serious and obsessive about minutiae – and he has to be because the art of conservation is all about detailed work which needs long hours of work and historical knowledge, such as the fact that Calì, the renowned artist who painted many ceilings of churches, never really painted in the fresco style. Rather, he painted in oil on stone, the same method used by Mattia Preti on the vault of St. John's Co-Cathedral. When Prevarti quoted for the conservation works they obviously had no clue what they were faced with. From a simple conservation job, the task became a tough one involving checking, counter-checking and making sure that what they were claiming and seeing was right. To further complicate matters, the restorer who changed part of the original was related to Giuseppe Calì and an artist himself. So the copy he made was good; in fact it was good enough to make the rest of the art world in Malta and everybody who saw his work believe the original still adorned the ceiling. Bugeja and his team had no documentation to go on, so it was all a rather baffling and intriguing mystery. At first they started work on the painting that was visible to the naked

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eye; it soon transpired that this was a canvas and not Calì’s usual painting on stone. Pierre consulted his team and they decided to do more tests before taking off the copy to reveal the original. Obviously even the copy that covered part of the original was kept in its entirety and it was removed piece by piece with special care. That is being conserved and regenerated as a copy that stood in shining prominence for a good 80 years, and will be hanging in the church museum as a piece of art by Rafel Bonnici Calì. This copy will be called just that, with a note to illuminate all viewers about its origins and its convoluted history. The art of conservation is all about going into the problems that befall art. These can be botched conservation, water seepage, mould, salt deposits, worms and other natural and unnatural problems. While in the past there was more intervention by restorers, today the emphasis is on conservation. Any changes on any piece of art or artefact have to be obvious and almost fully reversible. All conservation and all problems caused by the passage of time need to be looked into and treated but proper conservation must not take the form of a new artist or an artist working in the place of the original one. What happened in previous ‘restorations’, especially as in the case of the Calì painting, is now considered wrong; but we cannot condemn it outright. It was the practice then but today the art world and conservation have moved on and improved with more scientifically-based

Restoration

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The art of the matter studies and research. And everything is highly documented thus making it easier for future work and conservation. In the past, artists, if they had a bent for art research and conservation, were commissioned on their own artistic merits and so many artists did conservation work without knowing much about the science behind it. Today the study and science behind art conservation goes much deeper and is constantly improving. Bugeja thinks that by looking after and making sure no more damage is done to the art in churches, museums, homes and other buildings, we are preserving it for future generations. “Art is our history, part of our legacy, our essence,” Bugeja says. “If we don’t look after

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art – in all its different forms – we lose our culture and an essential part of our history. Once lost, art will never come back in its true form – as our idiom changes, as we move on, we modernise and find new ways of expression. But we need to protect our past legacy for us and for future generations to appreciate and live art fully.” “But is enough happening?” I ask Bugeja. “It’s never enough,” he replies. “Our country is very rich in art and all things worth preserving but obviously our resources are limited. I feel more should be done to avoid the cheapest quotes being won. I know this is not easy to accept but if amateurs offer their services for less than market prices or cheaper than the professionals, the harm on the art done in the name of conservation will or could be irreparable."

“At Prevarti we always go the extra mile to further our knowledge base: we organise training, go abroad, use the latest materials and, when quoting, we make sure we will be able to use the best advice, experts and testing. This is hardly cheap. However, regeneration of art, conservation of our heritage, deserves the best, not the cheapest, available.” Sleuthing was not part of what Bugeja studied but he and his team must do a lot of it to do their work. And thanks to that work, in Lija, the true work by Giuseppe Calì, lovingly restored, will soon be in splendid view for all to enjoy. In this case the regeneration was not just because the art was conserved but also because the real art was re-discovered and revealed.

Regeneration

A positive regeneration Dr Antoine Zammit says that regeneration is an opportunity to create a more meaningful place.

A new green public space for Mellieha _ existing and proposed view, developed by studjurban

A concept masterplan for the regeneration of the Flaminio district in Rome, to house new public open spaces, contemporary affordable housing and the new City of Science together with ancillary mixed-uses, developed by studjurban in collaboration with Building Design Partnership, UK and Burlando Architettura, Genova

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Archetype: Regeneration

of any locality brings about a new beginning. Is it always for the better? Antoine Zammit: If regeneration is done

correctly then, yes, it should bring about change for the better. I increasingly see projects, however, that are branded as being ‘regeneration’ projects when they are effectively speculative projects. The true test of regeneration is when redevelopment brings about positive change to an existing community. If their lives are improved, tangibly, then we can really talk about ‘regeneration’. If change happens just to accommodate a few and to make them richer, then it is simply speculation. When we talk about regeneration we also refer to a medium-to long-term process – change does not happen overnight. If people approach regeneration as a shortterm process then it will be, simply stated, a shortsighted intervention that solely looks at the short-term gains (as is indeed the nature of speculative development). Furthermore, if it happens without the presence of a long-term framework (such as a masterplan or spatial vision) then it will be subject to other temporary and volatile forces, such as the market that then results in other consequences, including gentrification.

A: What

problems does such change bring?

AZ: The problems are due to the lack of

a long-term vision when addressing the potential renewal, or redevelopment, of an area. If the focus is simply developmentdriven then the market will rule, resulting in an increase in property values. This may not always be negative, of course, but it may create issues with affordability resulting in the creation of enclaves that are limited to specific income groups. In turn this may force existing tenants to move out if, for instance they cannot afford new (increased) rents. We have seen this happening locally – property prices and rents have gone up due to new projects, or even just the mention of them. Some years ago, prices in Senglea rose significantly due to the Cottonera Waterfront project right opposite. Recently, just the mention of the upcoming design cluster in Valletta’s Biccerija neighbourhood resulted in an increase in property values.

A: Does it lead to social division? AZ: If existing communities are relegated and

forced to move out, and a new enclave is inserted indiscriminately therein, then it could very well lead to social division. Unfortunately the archetype paper

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many people look at regeneration as an opportunity to ‘sanitise’ an area and create an ‘exclusive’ address which only a small percentage of people can afford. They fail to realise that the success of places is, actually, quite the opposite – a vibrant place is a socially diverse one, containing a mix of tenancies, property typologies and land-uses. Regeneration is an opportunity to create a more meaningful place for existing residents and there should be a balance between potential income that may be generated in an area (through new commercial uses, for instance) and the investment that may be directed at other parts of a locality. A waterfront development is not solely an opportunity to create a new polished ‘front’ full of marinas or commercial units but an opportunity to think about the ‘back’ and to link the residential community living behind – unfortunately, locally, this has failed to happen in a number of waterfront developments.

A: What

would you suggest should be done to reduce such problems?

AZ: There are two important requirements for a regeneration project to be truly successful.

First, that any regeneration project must take place within a broader, long-term vision that balances out public and private requirements and offsets current weaknesses through potential opportunities that may be generated through the injection of new development. Goals should be set for the short-, mediumand long-terms within a structure that is rigid enough to provide certainty but flexible enough to adapt to circumstances as they may change along the years. Second, that governance structures should be in place to pre-empt issues in relation to gentrification. Central government may have a pivotal role to play in this respect, by actively demanding that a percentage of property would be affordable, for instance, as is the requirement of major

redevelopments in a number of countries. The role of the public sector in corporations or PPPs (a frequent set-up in most regeneration projects) needs to be more proactive and socially oriented parameters should be established at the initial stages of any regeneration strategy.

A: What

can society do to assist the regeneration of localities without losing their soul or their true inhabitants? AZ: If allowed, society could have an

active role to play in the development of a masterplan involving the regeneration of a locality or an area therein. Public participatory processes, which allow residents to have a say in the development of an area, can go a long way in guaranteeing the achievement of a correct balance between private and civil society interests. Successful regeneration projects have shown, time and again, that the first step should be to enhance and enrich the existing character and local distinctiveness of an area and that positive change, and investment, should first happen in the urban spaces – the neighbourhood surrounding that intervention. Architectural interventions would then happen at a later stage, within the improved urban realm, and in this way they may truly become further catalysts for an area. Unfortunately, stakeholders sometimes focus on the interventions themselves without thinking about the urban space. An over-dependence on the latter is risky because if, for some reason, this fails (due to a volatile economic or property environment, for instance) then the entire area may be compromised. In contrast, if the neighbourhood has seen an investment and is resilient it will still provide a healthy supporting infrastructure within which, even if an architectural intervention does not go as planned, another one may eventually take its place.

Sketch of the newly rethought approach to the Flaminio neighbourhood, characterised by active frontages, new and rehabilitated architectural interventions that enclose a walkable green environment, developed by studjurban in collaboration with Building Design Partnership, UK and Burlando Architettura, Genova (sketch by Arch. Richard Rees, Richard Rees Consultancy)

Tower Street, Msida Tel: 2011 7900 www.banjuboutique.com facebook.com/BanjuBoutiqueMsida

Hotels

A BEAUTIFUL CHAPTER At The Xara Palace, we feel that we are privileged custodians of history, Nicola Paris says.

Today, ‘boutique living’ has entered popular terminology. However, you started this in Malta years ago. How did the progression happen? The Xara Palace as we know it today started as a dream that my parents had in 1995 when they bought this beautiful property with the idea of changing it into a small boutique hotel. My parents always loved entertaining and my mother is the perfect hostess, so they opened The Xara with the same mind frame as they would entertain guests in their house. The idea was to offer a more intimate experience to our guests, while promoting Malta’s rich and vibrant culture and gastronomy. When the Xara Palace opened in July 1999, Malta was still being sold primarily as a sun and sea destination. However, at The Xara, we aimed to highlight the importance of our culture and beautiful buildings. One of the unique selling points for all of us in Malta, is the size of our island – this makes Malta an ideal city break destination, where one can do so many things in one day. The sheer elegance of The Xara Palace, set against the backdrop of Mdina, is all you need to attract visitors. Or not? There are many things that make up The Xara Palace and what it has come to stand for. Yes, it is a most beautiful palazzo, restored to its former glory, set in the most romantic city on the island, forming part of the bastions, and steeped with history. However, beauty, ambiance and location are the archetype paper

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not enough to create a great hotel. It is the people who operate it that make it so special. Without the Xara team and their dedication, the hotel would be but a beautiful shell. It is the passion that we share in creating memorable experiences for our guests and doing the simplest things in extraordinary ways, that makes The Xara Palace what it is. It is about an amazing team sharing the Zammit Tabona vision and working together in the family spirit. We are also part of the association of Relais & Chateaux. This gives our staff members the opportunity to go and spend some time on a stage in other Relais & Chateaux properties, learn, and share the passion of other Relais & Chateaux members. How has the palazzo been changed, looked after and regenerated? The palazzo is forever changing slightly. This is a 17th century palazzo and needs to be shown constant tender love and care. Every year we embark on a project for the year and that is what we focus on for the whole year. One year we decided to restore all the antique furniture and paintings, another year we restored the apertures and stonework. Then there is the upgrading of the soft furnishings in the rooms and restaurants. It is however important to mention that whatever changes are done, we must always respect the spirit of the building.

On a more day-to-day note we can talk about the regeneration of tastes and how it is important to be innovative when creating our menus. These are changed seasonally and also changed to reflect the current tastes of our guests. In what way was the history of the palazzo respected and what experts did you involve? We were very fortunate to have engaged the services of David Drago and Konrad Buhagiar, from Architecture Project, who were instrumental in the restoration of the palazzo. Before restoration started, we underwent a survey of the building which showed that it was originally three buildings. We started by removing all the additions that been built over the years, reinstated the original staircase and opened up the courtyard, or atrium, as we call it today. Throughout the conversion, Heritage Malta was involved and consulted to ensure that the building was renovated with respect. A French lighting designer, Franc Franjou, was brought in from Paris to assist us with the lighting. One of the most difficult things to do was installing the shafts which had to be fitted within the thickness of the walls. The restoration of The Xara Palace was basically a series of mini projects, where each room due to its size, and location was restored and decorated individually to create the right atmosphere.

THE ECONOMY'S VOICE

www.maltawinds.com maltawinds

Hotels

A beautiful chapter

“Whatever changes are done, we must always respect the spirit of the building”

The fabrics, furnishings and furniture was chosen to reflect the mood of the room. In actual fact due to the diversity of the rooms, we have nine different categories within the 17 rooms in the palazzo. We very much wanted that each room is completely different in atmosphere and feeling. We get a number of repeat guests who like to stay in the same room, so having a feeling of coming back home. Does Relais & Chateaux expect certain standards in the living history of a place or does it only look at excellence in service, accommodation and food? Relais & Chateaux is an association of around 500 like-minded people from all over the world who have a strong passion for hospitality and gastronomy, or what the French call “l’art de vivre”. In a world that is rich in its differences, people from all cultures have always placed a great importance on these two timeless traditions: cuisine and hospitality. Many historical properties have been associated with Relais & Chateaux, however this is really because Relais & Chateaux shares the passion of preserving ones culture and respecting the different cultures from all over the world. Their slogan in actual fact is “All Over the World Unique in the World”. Relais & Chateaux is a luxury brand and places the importance of experiences and creating memories for the guests that stay in their properties. It’s about the simple living, doing simple things in extraordinary ways. the archetype paper

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It is about creating feelings, moments and memories, whether through the art of cuisine or through the passion of hospitality and to work together to create a more humane world. In a way it is a somewhat romantic approach to the world of hospitality. A gem of a place in a gem of an old medieval city. Do you feel responsible for looking after a bit of history? During these last 20 years there has been a lot of investment in the restoration and preservation of Mdina. It first started with the removal of the overhead wires which were placed underground. The paving of the city then followed. Recently the bastions were restored, adding pride to the old capital. We feel very proud and honoured to be part of this great palazzo, its wonderful history, and the medieval city of Mdina. We are privileged custodians preserving our history so that we may be able to pass this on to future generations. It is important that all decisions that are taken respect the environment that we form part of, and continue to preserve the respected ambiance of Mdina. It is our duty and responsibility to enrich our guests’ lives and that of all the people visiting Mdina, as we share our rich and vibrant history and culture to all who walk through our doors.

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Light

Lighting up our ways

Dar Tal-Providenza Designed by Galea&Galea Architects Lighting by Elektra

Without light, our world would still be in the shadow of the dark ages. Light, whether natural or artificial, makes everything more interesting. Buildings, homes and artefacts are enhanced by Quality lighting, an art based on scientific and objective qualities. Archetype steps into the light with lighting artist Gabriella Cuschieri, who owns and runs Elektra and is highly involved in designing light solutions for homes, commercial outlets and projects and also teaches lighting techniques and basics.

Lighting is an art. How can it fuse with art itself? A:

GC: Everything can be improved by quality

What is the most important thing in lighting? Archetype:

Gabriella Cuschieri: The light effect itself

and not so much the fitting, unless it’s just for decoration. Application comes first then the form. It’s always a big challenge to get into the architect’s design and to be able to highlight the best features and hide the less attractive ones. What is great in today’s world is that architects, lighting artists and others involved in the design of buildings work with people like us so that the lighting is devised at planning stage. This makes it all better and easier. the archetype paper

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lighting. Colour, texture and luminance, which can be also be controlled, can help make objects and buildings look better. By seeing the redeeming features and emphasising them, lighting seems to create new aspects. Something drab or unremarkable can be brought back to life while buildings can also be given a new perspective. Consider space, shadow and application in order to create a fluid design.

Even with old buildings you can have new lighting and give the buildings new life? A:

them. We work hand in hand with other experts – including architects, engineers and interior designers – to achieve this. We try to accentuate the beauty of buildings in all possible ways while avoiding damage at all costs. I don’t believe lighting, or for that matter anything, should damage buildings to make them look better. In old buildings the lighting must obviously be installed after planning stage, unlike a new project which can have the lighting fitted in and devised at planning stage. This can be tricky or more challenging. We treat each project individually and consult experts whenever we need.

GC: I believe so. All lighting experts work

towards that goal: to regenerate buildings, help breathe new life into them and embellish

Light

â&#x20AC;&#x2DC;EY Offices Designed by X,Y,Z Architecture & Design Lighting by Elektra

How essential is light in our life? A:

GC: Light is seen by many as a key tool for

life improvement. From a biological aspect, research shows that light exposure affects us all. We might not realise this but the way light is distributed or shaded affects our moods and productivity. A person is likely to remain longer in a space that feels safer and is lit comfortably. Light needs to speak to our senses and it has to be seen as enhancing the aesthetics around us.

A: Besides

the aesthetic element, are there other issues you need to keep in mind when planning any lighting strategy? GC: The obvious issue is always the running

costs and maintenance after the lighting is installed correctly. What you plan and put into practice needs to be sustainable and well thought out so that long-term maintenance can be done easily and additional costs eliminated.

over-lighting at the wrong time. But the main thing to keep in mind is that light pollution should be kept to a minimum. There are ways â&#x20AC;&#x201C; such as avoiding light being directed upwards wherever possible â&#x20AC;&#x201C; to make its impact less intrusive

Is there enough general awareness about lighting and do architects and interior designers always give good advice? Also, how essential is it for lighting experts to be involved at planning stage? A:

GC: We are generally involved at planning

stage. Architects today involve us more and the end-results are so much better for the client as well as for the designers and architects themselves, and even more economical. When we are involved at the planning stage, everything is so much easier. Even to suggest the best in environmentallyfriendly and quality products, being involved at planning stage gives us great advantages, creating eco buildings.

A: Bastions,

palaces and historic buildings look wonderful when lit up. Is Malta investing more in effective lighting design? GC: Except on the odd occasion, on the

whole we are in the right lighting direction. There is more subtlety in lighting, more than just a look-at-me attitude. Lighting as an art takes time to believe in, but once you do there is or should be no turning back. And the country has made great strides. We take more pride in how we light up big and small projects. On a national level, I am very happy although, as with everything, more can be done and more can be learnt. At Elektra we try to do all this and more as we learn more and assist all who use our services to create a feel good factor and enjoy their surroundings in better-lit ways.

Cleaning is also an important factor. As little power as possible should be used along with gradual brightness and dimming to avoid

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Lighting up our ways

Fort St Angelo Designed by Franck Franjou, Consultants - Titan International’ Lighting by Elektra

“The way light is distributed or shaded affects our moods and productivity”

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Property

Putting life back

INTO PROPERTIES For Sara Grech and Benji Tabone Grech, real estate is not just a business â&#x20AC;&#x201C; itâ&#x20AC;&#x2122;s a passion for property.

Photo: Sean Mallia

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When discussing regeneration, one of the last professions you would think of is the real estate one. Many people consider agents a breed from hell, pushing their sales at whatever cost and fuelling more development. However, many do practise their trade conscientiously, seeking and promoting properties which are either gems at present, or which, with careful planning and investment, could be transformed into dream homes. Sara Grech, who first set up her company over 30 years ago, is the daughter of one of the pioneers of the Maltese real estate world. She built up a good portfolio and now represents one of the major real estate agents in the world. Engel & Volkers Sara Grech have a philosophy that goes completely against selling at all costs. This is what Sara Grech and Benji Tabone Grech have always fought against and they have built a business on a smart and sound plan. To them, selling is not just a question of finding a place and getting as many clients to see it with as many agents as possible. All has to be done intelligently. Whether selling to locals or foreign nationals, and both at the high or lower end, the philosophy is the same: find the right property to suit the client. Getting to know the client and having an agent consigned specifically to them is what Sara Grech and her son Benji consider the only approach.

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â&#x20AC;&#x153;Even Maltese people need to appreciate what Malta is all aboutâ&#x20AC;?

Property

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Putting life back into properties

Tabone Grech is an architect by profession and he does not believe that property should be sold by taking the easy way. He wanted to continue what his mother had started – loving properties first, then understanding and getting to know them. His deeper knowledge of the subject makes him appreciate this approach even more and shares his mother’s quasi-reverence for our buildings. When selling property they first think of selling Malta as a concept. “Even Maltese people need to appreciate what Malta is all about,” Tabone Grech says. “Obviously locals know more about the Maltese fabric of society and have ideas where they want to live and why. Foreigners come with hardly any idea but most of them have a dream. We help them turn that dream into a breathing reality. But the important thing is that all understand the beauty and the advantages of owning a piece of property or renting on the island.

The resurgence of Valletta and the Three Cities has been spectacular. People are now slowly going back to live in the old houses, the palazzos and even in places which until some years ago were considered ugly. Putting life back into such properties by people living in them immediately changes the way we look at them. The more alive the old parts of Malta become, the better they appear; the tired look becomes quaint and desirable. The magic will continue working and will weave its way even into other surrounding areas, from Valletta to Floriana and the surrounding areas. The mother and son team are doing their bit too to help make these places not just more liveable but also alive.

“Malta is an enchanting place – but you need to know it well to fully appreciate it.” Buying, renting or selling is not just a business – it has to be fuelled by a passion for property. Knowing about village cores, seaside locations, modern and old is pivotal to match client to property. When someone lives in a particular property it is their life which will be affected not just for a short time but usually for the long-term. So the knowledge of the intermediary – the estate agent in this case – is crucial to help the client to make the right choice. The Engel & Volkers way is to sell a lifestyle, not just a property. The directors follow the philosophy of the foreign franchise which believes you need employ plenty of analytics and strategy to understand and service your clients. Sara Grech in Malta also uses the extensive network that Engel & Volkers offers its franchise owners throughout the world. People who work for Grech and Tabone Grech must embrace the vision of the company, which means not just wanting to sell but knowing what and how to sell. People are not just numbers to tot up a sale.

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Food

THE PALACE that food saved Food not only nourishes us but also regenerates our precious historic buildings.

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Food

The palace that food saved

“It is said that when the Knights of St John came to the island they received the symbolic keys of Mdina at the house that Castelletti built and lived in”

Life marries some beautiful coincidences, but also presents various contradictions. For instance, without development we would not be the sophisticated animals we are today and we would still be living in dimly-lit caves with stupendous and uninterrupted views to enjoy. But most probably we would have no interest in views and would be more concerned about the savage animals prowling outside our cave, waiting to turn us into breakfast, lunch or dinner. This is our predicament: the human race grew in size and in domination of the planet. We farm the land, conduct complex research, have better medication and top living conditions like air conditioning and all other commodities that add to our burgeoning waste. These advances, while making our life more comfortable, ironically all contribute to our planet suffering long-term harm. Some think that this damage is irreparable and that our only escape is to go further afield, conquering new territory in outer space. Others believe that regeneration and salvation lie in what keeps us the archetype paper

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alive and sustains us: food. Next time you are at a restaurant, while you contemplate the ironies and contradictions of our world and its food supply, try to think of what life the restaurant building lived before it was transformed for our dining entertainment. If you drive, or preferably walk, cycle or take a bus to Rabat make sure you enjoy a drink, a snack or a fine dining experience at Palazzo Castelletti. Enjoy the imbibing while keeping in mind that the people behind this place took over a piece of history, preserved it well and now use it as a meeting space for locals and visitors to our islands. Think of what the stones that make up the building could tell if we humans could decipher their voice. Palazzo Castelletti has an amazing history. It started off as the abode of a nobleman. Legend has it that the place had a glorious connection to one of Malta’s most important events. It is said that when the Knights of St John came to the island they received the symbolic keys of Mdina at the house that Castelletti built and lived in. The beautiful family coat of arms shows how distinguished the owners were. The palazzo also has a saintly connection, as

for some time it was owned by Baron Benedict Pisani Mompalao Cuzker and the residents were the Blessed Maria Adeodata Pisani – who was beatified by the Blessed John Paul II in 2001 – and her mother. Later, the palazzo’s ownership passed to Mgr Professor Carmelo Grima whose descendants, the Pullicino family, now own the palazzo. But ownership by the Pullicinos passed through some gruelling times. Politics and sad decisions by the government of the day meant that in the 1970s, the palazzo was requisitioned and split up into different units, one of which – ironically – housed the Social Services office, while the other two were private dwellings. After a long court battle, some years ago the Pullicinos regained their rightful title, although they still had to find alternative accommodation for the families who had been given legal use without title.

amount of work, it was restored to its former, noble glory. An altar was rebuilt and some lovely frescoes which were discovered were restored. A stunning statue of St Andrew patron saint of Luqa stands in the imposing courtyard. The statue, which to some Rabat locals is odd seeing that the saint has no connection to the locality had been commissioned by Mgr Professor Carmelo Grima who originally hailed from Luqa. The tenant is now running three catering establishments in the Palazzo: a fine dining one, San Andrea; Red White, a pizza and pasta place in the basement; and Trois, a French-style wine bar. Entrepreneurship has saved a gem of a house with a chequered past. Locals and visitors can enjoy the food as well as the rooms and courtyard and the magnificent view from the roof which make the visit to this palazzo truly worth every second.

The owners first considered regenerating the palazzo as a private house – however, the Pullicinos then decided to turn it into a catering space. Some parts of the palazzo had been left to decay, but with a substantial

S UP ERYA CHT S RE FI T N A P L E S

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M A L T A

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M A R S E I L L E

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T E N E R I F E

THE SUPERYACHT REFIT YARD IN THE HEART OF THE MEDITERRANEAN

info@palumbosy.it www.palumbosy.it

Dockyard

PORT OF CALL

Our greatest achievement lies in our ability to contribute to Malta’s growth in the marine industry, Michela de Curtis from Palumbo Shipyard, says.

The regeneration of a country must be fuelled by a strong economy. But one needs to respect the place, the history and the residents. What is Palumbo doing in this regard? We have invested in a long-term project in Malta and thus believe it is critical for us to integrate with the country’s tradition, history and culture. In every decision we take, we keep in mind the symbiosis between Malta and the docks. We are aware that the docks were more than just a commercial enterprise. They narrate the life and times of men who in time have turned the shipyard into a key player in the local economy. Our strategy seeks to create a healthy balance between the commercial viability of the docks and the conservation of the identity and well-being of the surroundings. We have implemented rigorous measures to ensure the tidiness and general upkeep of the place. Indeed, the area, so much linked to heavy industry, is kept spic and span. We have also invested heavily so as to modernise the shipyards in a way that does not clash with the architecture and culture of the surroundings. Moreover, we have implemented structures and systems so as to ensure a rigorous adherence to international standards. the archetype paper

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Does Palumbo and its employees try to integrate with the residents? Cultural integration is key for every foreign entity operating in another country. It helps ensure homogeneity and lessens unnecessary misunderstandings and conflicts. We respect the culture that surrounds us and try in many ways to be heavily present and involved. We are aware of the traditions around us and give our contribution and support to initiatives, including the regatta as well as the local football clubs. We keep regular contact with local associations and the local councils so as to keep them abreast on any initiatives and measures we take.

believe our greatest achievement lies in our ability to contribute to Malta’s growth in the marine industry.

How successful has the enterprise been? We always saw a future in the drydocks. The shipyards were like a jewel with a huge potential The country’s geostrategic location, the excellent docks and the reputation of the local labour force are key assets which distinguish Malta from other countries in the marine industry. Over the years we have invested heavily in both the facilities so as to ensure the shipyards’ competitiveness. Our investment is gradually reaching positive results with an inevitable ripple effect on the Maltese economy.

Palumbo purchased a business that had long historic ties with our ship repair heritage. Have you looked at the regeneration of skills connected to this line? In a book I recently came across, History of the Shipyards, Karmenu Ellul Galea perfectly describes the significance of the shipyards to Malta by comparing it to, “the coal mines in England and the gold mines in South Africa.” We believe there is a future for Malta’s marine industry and its growth over the past years is a clear proof. In our strategy for the island, we have sought to consolidate the key traditional strengths of the local ship repair industry yet have also adapted and introduced new services in line with the requirements of the international market. We have adopted various measures so as to maximise the potential of the shipyards and to offer a more holistic package to our clients. A case in point was the recent conversion of one of the yards’ massive stores complexes, close to the Senglea side of the facilities, into a mini-hotel where crews of multimillion-euro super yachts can stay until their vessel is refitted.

Nevertheless our success should not only be measured from a financial perspective. I

We have also introduced a drastic shift in mentality with a more disciplined and

SHOWROOM REFURBISHMENT IN PROCESS OPEN FOR BUSINESS UPSTAIRS We are currently refurbishing our Paola Showroom. Whilst we apologise for any inconvenience, we would like to advise our esteemed clientele that we are open for business upstairs.

Arcade Street, Paola Tel: 2011 7900 www.facebook.com/BanjuBoutiqueLtd facebook.com/BanjuBoutiqueMsida

Dockyard

Port of call

organised approach to work thus ensuring better efficiency and competitiveness especially with yard obtaining ISO 9001 certification, The yards are now even more competitive and able to bid for important jobs internationally. As part of the shipyards management regeneration process, the company invests heavily in training locally and abroad. Indeed, we do send our employees on specialised intensive courses in Aberdeen, London and Germany. How do you ensure that you source the best human resources? We are always on the lookout for local skilled workers. Regretfully, not many young persons take ship repair as a career so we have to source human talent from various parts of the world. At the moment we have 140 Maltese working full-time at the shipyards and a number of local subcontractors yet we do admit the need for us to import foreign workers. We feel it important that experienced skilled workers are involved in the training process so as to avoid losing specific marine skills. From our end, we do our utmost to keep in contact with retired workers so as to help us in the training process yet it is not always easy.

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What are your plans for the future of ship repair in Malta? We are looking long term. We have a concession for 30 years and we want to make this facility the best in the Mediterranean. So far we are managing to change how ship owners look at our reputation as this is crucial. Still, we need to work harder and need everyone’s cooperation. We are committed to invest further in the shipyard so as to reach our goals. We recently launched a floating structure that can be submerged to permit the admission and docking of large boats in a bid to attract larger boats to Malta for repair is one of a series of investments the company has embarked on so as to increase its competitiveness as a central hub in the Mediterranean basin. The site you are using embodies the story of a people whose toil helped Malta progress. What are you doing to preserve the site and its history? The shipyards are more than just a marine hub – they are a living historical monument which tell a very important part of Malta’s history. Every stone, machine and worker at the shipyards are part of the living museum of Malta’s marine history. As part of our regeneration of the docks, we have ensured all machinery is conserved and restored. In some cases, some machinery is still used.

As art of our social responsibility towards the country, area and past workers, we have created a museum that conserves all tools and machinery used at the shipyards over the past decades. And what are you doing to make this better known and visited by locals and foreigners? Our docks are full for almost 80 per cent of the time and we are working to further increase their use. We consider the historical value and richness of the yards as well as the neighbouring cities as the added value over our competition. We pride the richness of the island and shipyards during our presence in fairs and exhibitions across the globe including the Monaco Boat Show, Seatrade in Miami, US, Sea Asia in Singapore and the Dubai International Boat Show. We also encourage the crew of the luxury yachts and superyachts using our docks for various services with top European engineering companies such as MAN Diesel, Germany and Metalock Engineering, Germany with whom we have service agreements to pay a visit to our museum.

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Dockyard

A SH I P C A L L E D PR I DE We should be proud of and rediscover Cottonera’s maritime identity, Simon Mercieca says.

The Three Cities have had a chequered history in which ship repair has written a prominent chapter. Has it always been an easy rapport? The word ‘chequered’ means that the history of ship repair in Malta has been marked by fluctuations of fortune. Without a doubt, an island cannot survive without some form of shipbuilding and repair activities and these must have been with us for at least the past 1,000 years. The first clear references to an arsenal in Malta for ship building and repair goes back to the 14th century. It was situated next to Fort St Angelo. The stone shed survived World War II but was recently pulled down to make space for a block of flats. Most probably, this arsenal remained in use until Valletta was built in 1566. When the knights built Valletta, they wanted to transfer the arsenal to this new city. The project failed and instead, a new arsenal was built in Birgu where today the Maritime Museum is situated. In the meantime, private individuals also started to engage in boat building and repair. These boatyards were mostly concentrated in the French Creek area, which is the part of Senglea where the modern docks are situated. The golden age of Maltese shipbuilding was at the turn of the 19th century. Beautiful barks and schooners were built at our private docks. However, the arrival of the British was marked by the introduction of modern technology and the concept of a drydocks was adopted after having been experimented with success in Turkey. The first dock in Malta was built in Cospicua, amid great resistance from the residents. Indeed the British had no interest to support local shipbuilding. But that is another story. What more can you tell me about the history of the people in the area? The formation of our harbour cities was conditioned by the history of the sea. Historically, the idea that Vittoriosa was the first city to be build in the area is now being challenged. Thierry Duggan, who teaches Medieval History at Antalya University, convincingly argues that the first habitat was situated where Cospicua is today – Vittoriosa then became an extension or the suburb of this city. In fact, some of the most important parts of medieval Vittoriosa, the Contrada the archetype paper

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Sancta Margherita, are to be found in present day Cospicua. Even the vernacular placename ‘Bormla’ could be Arabic and could have the same origins as the name ‘Palermo’.

no longer the case today. The strong cultural traditions that we come across in Cottonera today are the residue of this seafaring identity that still lingers on.

Undoubtedly, the fortune of these towns is linked to the sea and to the many seafarers who settled here from all over the Mediterranean. After seafaring, the most important activity for the people here was that of working in the dock. These activities became part and parcel of the identity of the locality until recently.

Does the survival of the business help keep the trade alive? Unfortunately, until the shipyards were taken over by Antonio Palumbo, their future was bleak in all senses. Perhaps the current operator is still suffering from the bad name that these docks started to acquire in the Maltese collective mentality, which ended up affecting negatively the people living in this area. It is extremely difficult to reverse this perception. More needs to be done in this area for a true rebirth. I strongly believe that the shipyards still have a place in Cottonera and as a nation we need to see them become once again as a hub of modern craftsmanship.

Economically ship repair and its ancillary industries have contributed heavily to the area and the people. Does it still have economic importance today? It is a great pity that the ties of these towns with ship repairing have now been severed. The fortune of Cottonera lies with the sea. Both seafaring and ship repair have practically disappeared from Cottonera. However, I am relieved to note that ship repairing has returned to the area and for the first time in approximately 150 years, this has become a commercially viable industry. The problem today is that most of the workers are not necessarily from the area. Modern means of transportation make it no longer necessary for those wishing to work at the dockyards to have to settle in Cottonera or its suburbs. Indeed places like Paola, Fgura and Kalkara were offshoots of Cottonera, and they developed to offer adequate residential space for thousands of dockyard workers. Gradually, Cottonera is losing a feature, which was part and parcel of its identity for the last thousand years. In the past, some of Malta's leading tradesmen operated within the ship repair business. Is this still the case? Dār-aṣ-ṣinā 'a (Maltese: dar is-sengħa) is the Arabic word for dockyard, from where the English word ‘arsenal’ derives and this was more than factual. The arsenal and later on the dockyards were the mother of all the Maltese crafts and trades. Malta’s leading craftsmen worked there. This was not only because they were paid well, but also because the shipyards were the place where craftsmen could master their skills and show their prowess. The dockyard was also a source of social pride. Leading 19th century artists such as Salvu Psaila and Antonio Chircop started their carriers at the shipyard. Unfortunately, this is

Are the people who had family members connected to ship repair proud of their association? Yes, they are. In fact, I am one of them. My paternal grandfather started his career as a riveter, which at the time was a highly specialised skill, enabling iron plates to be joined in such a way as not to allow any water penetration. This trade was extremely important in particular before welding was invented. Any of the older generation of Cottonera and those living close by will tell you that working at the Admiralty Dockyard were prestigious and brought pride to all the family. Even education in Cottonera revolved round the dockyards. The Freres, as the brothers of De La Salle were known, opened their school in Cospicua simply because of the dockyards in order to prepare students for the dockyard’s competitive entrance examination. Life of the Three Cities revolved around the dockyards. This explains why the dockyards made the people of the area proud. That sense of pride is still there and the most vociferous voices against the dockyard today come mostly from individuals who do not hail from the locality but from foreigners, who have no ties or contacts and whose only interest is that of property speculation. This goes beyond the ethos for which these localities were created. But regrettably these voices form part of Cottonera's chequered history.

NEWS

WATER P R O O F I NG W H E N H E A LT H M ATTERS Mould and mildew are dangerous for both home and office.

There is no denying the destructive power water can have in a household. Mild and mildew build up while cracks in the foundations and actual structure failure have been known to be caused by an unwanted presence of water. A small problem can become a nightmare if left untreated. Most water damage repairs have three basic components: time sensitivity, knowledge, and materials. Mould and mildew are fungi, simple microscopic organisms that thrive anywhere there is a moist environment. They grow within 24 to 48 hours and reproduce by spores, which are tiny, lightweight seeds that travel through the air. Mould digests organic material, eventually destroying the material it grows on, and then spreads to destroy adjacent organic material. Once the interior walls of your home are damp, mould and mildew can build up quickly and circulate readily throughout the rest of your household and endanger you and your family. Generally, there are two ways to discover mould accumulation before actually seeing the mould and mildew. The first symptom is usually the mildew smell. There are also symptoms that could indicate the need for further inspection, including irritated eyes, sinus congestion, coughing, rashes, difficulty breathing, the onset or increase of asthma, itchy throat and headaches. The Malta Professional Waterproofing and Resin Flooring Association provides its members with adequate information and training in every aspect of waterproofing, including water damage repair and foundation repairs. Some waterproofing products must be installed by certified professionals for a correct and successful application. Materials are always an important factor in any home maintenance project, including water damage repairs, waterproofing of roofs and foundation repairs. The job is only as good as the materials being used. Toprated products and systems like NAICI have already been proven to be effective. Water problems are aggressive and progressive. We know that a water problem that is not taken care of quickly can lead to bigger problems. Water damage remediation can be a long and tiresome process, especially when you take advices from unqualified personnel who recommend you the archetype paper

Issue No. 8

senseless solutions just to sell you their product. The more time you spend looking for water damage services, the worse your home can get. So what is the correct way to stop rising damp in walls and what are the right materials to implement? The truth is quite simple. Rising damp wants to get out of your walls and this is done naturally by way of evaporation. This generated force is called negative pressure and the first symptoms of it are detaching plasters or paint, followed by mould and mildew. Water vapour creates pressure and once this pressure reaches 3.5 per cent, plasters and paint will detach. The only way to stop this unwanted situation is by creating a water barrier inside the walls and afterwards plaster with materials able to resist negative pressure. How do you create a water barrier inside the walls? Thanks to in depth research, companies like NAICI can offer the right solutions. First a serious of holes 10mm in diameter is drilled in the walls parallel to the ground, 10cm from each other and 10cm above the ground. These holes must be watered until saturation. Afterwards Salvamuro Gel is inserted in the created holes with the use of a sealing gun. Once applied the material will seal all the micro openings and cracks inside the stone and stop the water from emigrating. The vapour barrier must be completed with a special cement plaster called Nai CM Osmotico cement. This material has an exceptional resistance to negative pressure and is able to penetrate inside micro cracks and openings, sealing them completely by way of osmosis. It vitrifies at product dry and seals completely the surface. A further plastering with Nai CM Rasante Ultra is required in order to aesthetically finish the surface. The same thing can be said for roofs. Most cheap products applied are made of plastic compounds or Bitumen. They have a very low resistance to UV rays, thus become brittle and flake soon after. Bitumen carpets are considered the worst, as they melt at low temperatures, are a hazard to the environment and create heat intake. Also, they open from the seams, from which

water can enter unnoticed in the structure, damaging it and creating the perfect habitat for bacteria to invade your home from above. This can be easily noticed as it usually blacks the ceiling with mould. A revolutionary product made from resin and reinforced with fibre glass can easily stop all water infiltration and put an end to the mould habitat. It is resistant to traffic, UV rays and can withstand concrete movements due to its elasticity. Apart from providing effective waterproofing, Naici Guaina Relfex is also thermal and can reduce the roof heat intake by 90 per cent. No more humid and heat inside the houses and less air-conditioning usage. Two solutions in one product for our flat roofs in Malta. Unfortunately materials do not speak so they canâ&#x20AC;&#x2122;t defend themselves when someone applies them in the wrong manner. If you have in mind to hire third parties to do your waterproofing works make sure they

are members of the Malta Professional Waterproofing and Resin Flooring Association â&#x20AC;&#x201C; only in this way you are guaranteed that the persons you are hiring knows what it takes to implement a good waterproofing system. The Malta Professional Waterproofing and Resin Flooring Association was formed with the aim to teach and promote the correct use of materials and proper workmanship. The NAICI International Academy together with the Malta Professional Waterproofing and Resin flooring Association and the Resin and Membrane Centre are regularly organising seminars with regards waterproofing and resin flooring for those who wish to learn more about the trade how to correctly implement them. This academy is renowned in Italy for its constant dedication in the trade Industry. For more information visit the Resin and Membrane Centre showroom at 264, Old Railway Track, St Venera.

W H ER E T H E

S TR E E T

HAS A NA M E

It’s not just sin, gin and gore in Strada Stretta.

When a bright spark invented the television, the world was justifiably excited and intrigued. From its tentative beginnings, with its few hours of transmission on a handful of channels, it has grown to ever-grander dominance of our life. From a box of entertainment it has progressed to become the near be-all-to-end-all. It has ended conversations and family dining. It has reduced our reading time. Timings became 24/7, channels proliferated and other devices, from laptops to mobiles and tablets, added to the diversionary allure of the moving picture. Life without a screen to look at has become nearly unheard of in our world. Pure entertainment even in documentaries, news and talent shows has taken over. Viewers want to have a good time and hardly consider or appreciate the value of what is said or presented. As always there are exceptions but this is the general state of the world. Dramas dominate the local airwaves, with the stations

fighting it out tooth and nail to put up gripping stories about murder, mayhem and floundering relationships. Nothing terribly inspiring. But one series which hit the airwaves and which has contributed a streak of regeneration where it was least expected is Strada Stretta. The series, like all the rest, seeks to entertain with its fair share of spice and gore, fights and murders. But Strada Stretta has also created an interest in how that part of the capital lived back then. To most locals and visitors, Strait Street was Malta’s own vice street. Prostitutes, pimps and roughies are what most people think of when thinking of ‘the gut’. But there was a worthy side to the street that the local TV series is putting under the spotlight: Malta’s best musicians of the last decades, who are now passing on to the next plane, completed their apprenticeship there. They learnt and practised in the bars which were more like cabaret

outlets than sin pits. People who follow the TV drama can hear, or at least hear something akin to, what the sailors and soldiers and frequenters of Strait Street heard in the bars half a century and more ago. Will this contribute to the regeneration of bars? If viewers appreciate and enjoy the live music, owners of bars in Valletta and outside the city might realise its importance and how it adds value not just to their establishments but to the patrons, ultimately leading to the proliferation of better musicians.

Photo: Reno Rapa

Singing, dancing and fun played an important role in the life of Strada Stretta. A new generation might make it all happen again and turn Strada Stretta – which is slowly turning into a mini-Paceville – into a more sophisticated centre of art, music, dance and pure entertainment.

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Historic Palazzo with a blend of Practicality and Class A brand new exclusive listing available to our local market with Engel & Vรถlkers Sara Grech is a 16th century Palazzo which retains most of its original features. The fully converted property is located in the quiet village of Qrendi. Enjoying the village life is something synonymous with this property which fits in perfectly with its surroundings. The Palazzo includes main entrance area, formal dining room, open plan living room with traditional high ceiling, bright kitchen/dining and sitting room, 3 bedrooms, 2 bathrooms, internal courtyard and a spacious pool area for entertaining. For more information contact us today for a viewing of this truly amazing home.

www.evsaragrech.com

NEWS

FIT FOR A PALACE

When developing luxury accommodation, the careful selection of suppliers and the level of the products they offer is of utmost importance, says JK Farrugia from Prince d’Orange.

Your company manages Prince d’Orange, a suite of apartments in the heart of Valletta. What was the attraction of an old palazzo as your company’s first foray into hospitality? In 2013, in the start-up phase of the company, the objective was to manage boutique hotels or serviced apartments within a historical building. While browsing through a design publication, I came across the palazzo, which back then was being used as a private residence. I immediately saw the potential of it as a hospitality project rather than a residence. The way it was lovingly restored and carefully designed, as well as its location in one of Valletta’s most popular streets, meant that it ticked all the boxes. By suggesting a few changes to make it welcome and accommodate discerning guests, we transformed the palazzo into a boutique residence. You also integrated modern comforts in the building, while respecting its historical value. Was this a difficult process? The entire restoration process and the eventual integration of design elements took much longer than anticipated. This was due to the complexity of the project and to the attention to detail we wanted to achieve.

When choosing materials and products, did you look beyond aesthetics? Aesthetics was of utmost importance in such a process, but the durability of the items was also a prime consideration. Both elements were top criteria especially when such an investment would be used as a hospitality offering to a discerning clientele. Did the history and track record of the company behind the products have a bearing on your choice? Most definitely. Due attention was given to selecting suppliers especially those who had a good reputation in aftersales, which unfortunately is somehow lacking in some business locally. Regeneration of old palaces is an ongoing story. Do you however look at the long-term gain when choosing suppliers connected to the places you manage? In such luxury properties, the careful selection of suppliers and the level of the products they offer is of utmost importance. Having a historical value, the finishes have to be of a very high standard and the guests attracted are quite demanding so hence this decision. What’s next for Prince d’Orange? For the next few years, the palazzo will establish itself further on the Valletta serviced accommodation market, and will keep attracting highend clientele seeking a prominent and luxury accommodation.

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What is the added value you offer clients especially in prestigious homes like Prince d’Orange? Probably the value our clients cherish most is peace of mind. Clients such as Prince d’Orange cannot afford to spend their time fixing or tending to bathroom problems. Our selected products last for a good number of years even in a tough environment like a bathroom in a boutique hotel. We also offer spare parts for a number of years so our client can be sure that the workability of our bathroom fittings can be extended for a good number of years. Clients and their architects and designers are nowadays more discerning and demanding. Is this a disadvantage for suppliers or does it mean that quality is increasingly being appreciated? The way you deal with knowledgeable and demanding clients and what materials you offer them is proof of your good work. You cannot just sell the design of the product – knowledge, materials, and aftersales are all very important to such customers. The quality of the materials you import and supply is not enough. You also need knowledge of the materials in order to give clients the right recommendations. How did you manage this? First of all, the relation between the manufacturer and us has to be strong. You need all the latest information, tests and quality assurance to be able to sell and maintain such products. Without the backing of the manufacturers it would be very difficult to offer such a service. the archetype paper

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The more quality-centric you become, the more knowledge and knowledgeable staff you need. Is this a disadvantage? The main disadvantage we have is finding the right staff. It’s very difficult to employ someone who is good in sales as well as in technical matters. Since we are a family business we split these responsibilities. Our sales team is only focused on the sales part and is the primary contact for our clients. Mark Anthony and I tend to handle the technical part – since we have been in this business for a very long time, we have the necessary knowledge and experience on these matters.

ADDED VALUE

The way you deal with knowledgeable and demanding clients and what materials you offer them is proof of your good work, Jason Bianco from Banju Boutique says.

Prince d’Orange offers top quality accommodation. What did your products add to the residence? With accommodation properties, the end client is very important. You always have to keep in mind that the guests are away from home and therefore, the room they are occupying for a short period of time is not just a room but an extension of their home. The bathroom is a very important part of this extension, both functionally and in terms of design. Wear and tear do happen and no manufactured product in the bathroom sector lasts for a lifetime. However, replacing and repairing these supplies must be efficient and effective. This can only be achieved if the initial supplied product is of good design and quality.

AN ICON AT WORK AT HOME

C. FINO + SONS LTD Fino Buildings, Notabile Road, Mriehel BKR 3000, Malta T: +356 2549 3000 E: projects@fino.com.mt W: www.fino.com.mt facebook.com/FinoGroup

News

Office

An office for the people An elevated experience of work for people, which helps organisations achieve their strategic goals, is the pillar around which Herman Miller delivers its office furniture collections. “At Fino, we believe that offices should be designed around the understanding of people, their work and the tools they need to succeed,” Mr Dino Fino, Fino’s sales director, says. “Our experience with Herman Miller’s office furniture is that where it’s deployed, the furniture provides a place where people work not because they have to, but because they want to.” Herman Miller’s Living Office is a high-performing workplace that delivers an elevated experience of work for people, and helps organisations achieve their strategic goals. Its products are based around the notion that offices should exalt the people who work in them. People are the single most important asset to every organisation, yet many of today’s offices aren’t designed to support their needs and activities. With Living Office, Herman Miller offers a new kind of workplace

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which is designed around a research-based understanding of people, the work they do, and the tools they need to succeed. The desks are built to complement the requirements of every end user, where care is given to the holistic well-being of each individual. The chair is one of the most important furniture products in the design field. What makes a chair a perfect item is beautiful design, comfort and ergonomic features together in a perfect combination with dimensions and materials. Herman Miller chairs are built to support moves that enable one’s correct posture. Thanks to the patented PostureFit technology, one can maintain proper posture with less fatigue. Herman Miller was a West Michigan businessman who helped his son-in-law, D.J. De Pree, buy the Michigan Star Furniture Company in 1923. De Pree had been working at the company, which opened in 1905, since he was hired in 1909 as a clerk. De Pree knew his father-in-law was a man of integrity, so he decided to rename the company

after him. By the middle of the 20th century, the name Herman Miller had become synonymous with modern furniture. Working with legendary designers George Nelson and Charles and Ray Eames, the company produced pieces that would become industrial design classics. Since then, the company has collaborated with some of the most outstanding designers in the world, including Alexander Girard, Isamu Noguchi, Robert Propst, Bill Stumpf, Don Chadwick, Ayse Birsel, Studio 7.5, Yves Béhar, Doug Ball, and many talented others. Today, in addition to their classic pieces and new designs for the home, Herman Miller is a recognised innovator in contemporary interior furnishings, solutions for healthcare environments, and related technologies and services. A publicly held company headquartered in Zeeland, Michigan, the company has manufacturing facilities in the United States, China, Italy, and the United Kingdom and sales offices, dealers, licensees, and customers in over 100 countries. The company is based on people and their stories. The

company’s past gives it a strong foundation for the future. The company’s methodology is based on solving problems. Everyone is engaged in providing solutions and every employee and their representatives actively participate in understanding problems and developing solutions. Ultimately the company is aimed at bringing everyone together to make a difference. This same philosophy is applied in the office furniture produced by the company. In fact the teaming up of Fino with Herman Miller was a natural choice as there’s a commitment at Fino of providing solutions, where everyone involved, is engaged in making a difference for their clients. A vast choice of office furniture, aimed at giving life to the office environment can be viewed and experienced at Fino’s showroom in Mriehel. “Herman Miller is synonymous with innovation in contemporary interior furnishings, solutions for healthcare environments, and related technologies and services. We are proud to represent it and offer it to our esteemed clientele in Malta,” Mr Fino says.

News

Investment

A success story in the making In 2012, Bank of Valletta launched its first pilot investment centre. Today there are six regional investment centres spread across the Bank’s retail network. Roberta Bellizzi, manager investment centres – operations is responsible to coordinate these centres. She speaks about their operation four years later.

Why did Bank of Valletta feel the need to set up investment centres? Bank of Valletta envisaged these investment centres as centres of excellence, bridging the gap between investment services offered at branches and BOV’s wealth management arm. The transfer of the relationship from the branch to the regional investment centre is undertaken in line with the progressive growth of the client’s portfolio. Once the clients’ portfolio reaches a given threshold, they are then moved on to the wealth management unit. This is in line with the bank’s brand promise, and customer-centric vision, which pivots on sound knowledge of the client, and nurturing of long-term mutual customer relationships. Investment centres were introduced concurrently with the recategorisation of the BOV Group’s investment products, which classifies all products in terms of their risk and volatility levels. Clients who require investment advice and others who are interested in more complex investment products are referred to one of the regional investment centres, where qualified and authorised personnel are able to provide them with all the necessary information, and advise them accordingly. How is an investment centre structured? Typically, a BOV investment centre is made up of six to eight financial advisors and one portfolio administrator led by a manager who is responsible for the general overseeing of the centre, ensuring smooth operation at all times. The bank’s investment centres are supported by a specialised unit which seeks to provide them with necessary resources and backup while ensuring that all investment centre staff receive the required training and are continuously updated with the latest market information. BOV leaves no stone unturned in ensuring that its investment centre staff are enabled to provide a premium level of service to all its customers.

What type of relationship can a client expect from these investment centres? Every financial advisor is responsible for a number of client relationships with whom they meet on a regular basis, in line with the exigencies of every client. Regular discussions with customers enable our financial advisors to better understand their individual requirements and to be in an optimal position to identify the right product to match the client’s needs and objectives in line with their risk profile.

“BOV considers its people as its most important resource”

When a client holds a relationship with an investment centre, does it mean that they need to refer to the investment centre whenever they require any service from the bank? At BOV, we work very hard to offer our clients an integrated service that includes options of both self-service and face-to-face banking. Clients can reach out to any channel of their choice, be it physical like visiting a branch, an investment centre or utilising the bank’s state-of-the art virtual channels like internet banking or BOV mobile banking. Due to the varying degree of complexity and unique characteristics of every individual, clients’ investments requirements would be taken care of by the investment centre. In order to ensure a seamless experience, constant liaison is maintained between the bank’s branch network and the respective investment centres with both front office units enabled to meet the clients’ day-to-day requirements through a structured approach.

In what way are the investment centres, centres of excellence, as you referred to them earlier on? BOV considers its people as its most important resource and to this end we continually invest in the training and development of all our employees. All our financial advisors are fully qualified and authorised by the MFSA to provide investment advice on a wide range of products. They are well versed and keep themselves constantly updated, not only on the extensive range of products they sell, but also on the macroeconomic environment and financial markets, which could have a major impact on the performance of client investments and on the level of financial advice that they give to their customers. They attend regular training programmes organised by the Bank’s training centre as well as market and product seminars organised both internally and externally by investment specialists. In this manner they are able to offer a customised and personalised service to their clients, based on in-depth knowledge of the markets. What has clients’ reaction been so far? Since the introduction of the investment centres in 2012, over 49,000 clients have visited one of our centres at some point or other during the term of their relationship with the bank. We are very pleased to state that the continuous feedback received by the bank indicates that customers utilising the services of its Investment centres are satisfied with the level of service received. Clients have expressed their satisfaction with the holistic experience when visiting the centres in particular, the high level of privacy and confidentiality which they are afforded. Reactions are also positive with respect to the timeliness of appointments and the execution timeframes within which, instructions received from customers are executed. We remain committed to continue enhancing the level of service offered through the BOV Investment centres, ensuring that customers availing themselves of our services obtain the maximum benefit they so rightly expect and deserve. Bank of Valletta p.l.c. is a publicly limited company licenced to conduct Banking and Investment Services business by the Malta Financial Services Authority.

at BOV your wealth is in safe hands Whether you are a conservative, balanced or growth orientated investor, our qualified financial advisors located at the Bankâ&#x20AC;&#x2122;s Investment Centres can provide you with tailor-made financial planning solutions. Visit any BOV Branch or Investment Centre in Malta or Gozo to discuss your financial planning requirements and to set an appointment with one of our professional Financial Advisors.

your success is our goal

BOV INVESTMENT CENTRES

2131 2020 I bov.com

INVESTMENT CENTRES 213x318.indd 2

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Issue No. 8

Bank of Valletta p.l.c. is licensed to conduct investment services business by the Malta Financial Services Authority.

Issued by Bank of Valletta p.l.c., 58, Triq San Ĺťakkarija, il-Belt Valletta VLT 1130

01/04/2016 16:03