356 NOVEMBER 2024
AUTUMN gluggaveður
Gloo-gah-veth-ur. Icelandic. When the world outside your window looks magical, yet the crisp air and elements make you appreciate it best from the warmth indoors. Literally translates to “window weather.” The idea of gluggaveður reminds us that in challenging times there is always something to value.
Mercury | The Point | Sliema | Valletta
“Wrong does not cease to be wrong because the majority share in it.”
Leo Tolstoy
SHAME MUST CHANGE SIDES
Brave, courageous, and resolute –these words only begin to capture the strength of Gisèle Pelicot. At 72, this Frenchwoman has sparked global conversations about sexual assault and shifted the focus of shame from victims to perpetrators. Her case is well-known yet no less haunting: her husband of nearly five decades, Dominique Pelicot, stands accused of repeatedly drugging her and inviting men he met online into their bedroom to rape her while she lay unconscious. With over 50 men now implicated, Gisèle has bravely chosen to face this publicly, turning the dial on how we discuss sexual assault. Gisèle has refused to hide. Instead, she demanded that the trial of Dominique and the 50 co-defendants be open to the public, determined that the burden of shame should shift from the victims to the perpetrators. She fought to make public the video evidence of her assaults, stating that the world needed “to look rape straight in the eyes.” She has become a symbol of defiance and courage in the battle to change how society views and addresses sexual violence. “Shame”, she said, “must change sides –from the victims to the perpetrators”.
ON THE COVER: Spray Valley, Provincial Park, Kananaskis Country, Alberta, in the foothills and front ranges of the Canadian Rockies. Photo Ben den Engelsen. THIS PAGE: Gisèle Pelicot leaves the court house in Avignon, southern France, Oct 2024. Photo Lewis Joly/AP.
The 45th ROLEX MIDDLE SEA RACE. Photo courtesy RMYC © Rolex/Kurt Arrigo.
LA DOLCE VITA. Glamour on Copacabana Beach. Photo Gustavo Nacht.
FRAGRANCE. A Philosophy of Scent
A look at
356. NOVEMBER 2024]
8
LA DOLCE VITA.
Glamour and History in Rio. Inside Belmond Copacabana Palace.
18
INTERIORS
American Design. Designer David Netto.
28
FRAGRANCE
A Philosophy of Scent-Part 7. Agency and Rapture. AlookatCHANEL COCO EDP andCOCO EDT.
32 YACHTING
Racing the Maltese Coast. The Thrill of the Yachting Malta Coastal Race.
37
ROLEX MIDDLE SEA RACE
Beyond the Finish Line. Endurance and Camaraderie in the 45th Rolex Middle Sea Race.
49 MELITENSIA
The Restoration of a Maltese Treasure. The Grand Master’s Carriage.
53 VALLETTA
Layers of Legacy. Fort St Elmo.
67
ARCHITECTURE
A Matter of Design. Premju Emanuele Luigi Galizia.
76
HERITAGE
Fortifying the Past. Malta’s Coastal Batteries Earn Protection.
78
GASTRONOMY
The Art of Modern French Cuisine. Pétrus by Gordon Ramsay.
87
HEALTH & WELLBEING Notes on Diabetes.
90 STYLE
Margot Robbie. The New Face of N°5.
and
INTERIORS. American Design. Designer David Netto. Photo Francesco Lagnese, courtesy Vendome Press.
GASTRONOMY. Pétrus by Gordon Ramsay. Photo courtesy Pétrus by Gordon Ramsay.
VALLETTA. Fort St Elmo Restoration. Photo courtesy Heritage Malta.
ARCHITECTURE. Premju Galizia. SON Architecture, photo Julian Vassallo, courtesy Kamra tal Periti.
–Part 7.
CHANEL COCO EDP
COCO EDT. Photo FIRST.
“Brazil is not what you see but what you feel. Once you spend time here –a week, two weeks –you get in the vibe. It's really intoxicating.”
Francisco Costa –Brazilian Designer
RIO’S JEWEL
GLAMOUR AND HISTORY ON COPACABANA BEACH
INSIDE BELMOND COPACABANA PALACE
An iconic landmark and a cultural cornerstone of Rio de Janeiro, the Belmond Copacabana Palace –known fondly as “Copa” –is as synonymous with Rio as the city’s vibrant rhythms and golden beaches. This Art Deco masterpiece exudes old-world glamour and timeless elegance, making it a magnet for the world’s elite for over a century. From royal figures to rock legends, the Copa has hosted an endless list of personalities including Princess Diana, Ava Gardner, Nelson Mandela, Alberto Santos Dumont and Mick Jagger, creating an enduring legacy that lures guests to its storied halls year after year.
Main photography courtesy Belmond.
This page: Christ the Redeemer, an Art Deco statue of Jesus in Rio de Janeiro. Photograph Gustavo Nacht
The famed history of the most traditional and luxurious hotel in Rio de Janeiro began with its construction by businessman, Octávio Guinle, in 1923 – a suggestion from the then President of the Republic, Epitácio Pessoa. Designed by the renowned French architect Joseph Gire, Copacabana Palace was inspired by French Riviera icons like the Negresco in Nice and the Carlton in Cannes. The vision was bold: a grand hotel on the thenremote Copacabana Beach to mark Brazil’s Centennial Celebration of Independence. With its Mediterranean style and art deco grandeur, the hotel rapidly became a sensation, establishing Copacabana Beach as a must-visit destination. It was only however during the 1930s, that the hotel inaugurated the Golden Room, the first Latin-American ‘salon‘, a grand setting for shows, bringing world-renowned artists such as Josephine Baker, Ella Fitzgerald, and Nat King Cole to perform for Rio’s high society. In 1933, it even served as the backdrop for the film Flying Down to Rio, the first film to feature Fred Astaire and Ginger Rogers dancing together. Today, the Golden Room continues to evoke the glamour of this bygone era, hosting Rio’s top events, from the legendary Carnival Ball to exquisite New Year’s Eve galas under fireworks that light up Copacabana Beach.
Above left: Designed by the renowned French architect Joseph Gire, Copacabana Palace was inspired by French Riviera icons like the Negresco in Nice and the Carlton in Cannes. Photograph © Belmond / Marco Valmarana. Above right: Sunbathe, swim and socialize in one of Rio’s largest and most attractive swimming pools. Photograph © Belmond / Fran Parente. Below left : Superbly positioned overlooking the golden sands of Copacabana Beach. Photograph © Belmond / Fran Parente. Bottom right: The veranda at Copacabana Palace. Photograph © Belmond / VREBEL CINEMA ONE.
But beyond parties and glamour, the Copacabana Palace is also known for its exceptional culinary scene, which features three distinctive restaurants. The award-winning Restaurant Hotel Cipriani combines Italian and Brazilian flavours with creative finesse, with views over the hotel’s famous swimming pool. At the Chef’s Table, positioned right within the kitchen, guests enjoy a tailored, interactive tasting menu that’s uniquely crafted by the chef for an unforgettable gastronomic experience.
The acclaimed MEE restaurant, Rio’s first Michelin-starred panAsian eatery, takes diners on a journey through Asia with dishes conceptualised by Chinese culinary icon Ken Hom and Brazilian chef Kazuo Harada. Inspired by Thai, Korean, and Vietnamese flavours, the
restaurant delivers a rare fusion of authenticity and innovation, placing it among the finest dining options in South America. Meanwhile, Pérgula provides a more casual yet stylish setting.The Copacabana Piano Bar is where Rio’s A-listers gather to mingle over caipirinhas to the soft sounds of live piano music, and the famed Copacabana Palace pool itself, framed by the three restaurants, is an oasis within Rio.
For those staying in one of the seven penthouse suites on the sixth floor, the experience is taken a step further. These exclusive retreats are furnished with hand-selected antiques, French textiles, and oriental rugs, and each suite comes with a dedicated 24-hour butler. Guests can relax at the private black-tiled pool, where lush greenery and trellises create a secluded haven with sweeping views over Copacabana Beach.
Above: Pérgula – a restaurant with a mix of Mediterranean & Brazilian cuisine. Photograph © Belmond / Tomàs Rangel. Bottom left: Copacabana Beach. Photograph © Belmond / Romulo Fialdini. Bottom right: The Noble Room. Photograph© Belmond / Alessandro Batistessa.
With 239 rooms, including 146 in the main building, Copacabana Palace combines heritage charm with modern comforts. Beds are said to be so comfortable that Keith Richards’ wife asked to buy some after staying at the hotel when the Rolling Stones were on tour. Meanwhile some of the luxurious bathrooms feature oversized tubs accentuated by pink and white Brazilian marble, capturing a classic yet exotic aesthetic. While the bustling excitement of Copacabana Beach is just steps away, the ambiance within the Art Deco hotel remains tranquil and
timeless. Guests are wrapped in a sense of peace, able to immerse themselves in Rio’s soul while enjoying a sanctuary of sophistication. Over the years the hotel has welcomed a long list of celebrities, including Marilyn Monroe, Tony Bennett, Gene Kelly, Orson Welles, Nelson Mandela, Bill Clinton, The Prince and Princess of Wales, King Juan Carlos and Queen Sofia of Spain, Madonna and Paul McCartney, while Brazilian supermodel Gisele Bundchen is amongst those who call the hotel their second home. Belmond Copacabana Palace’s Golden Book, filled with the signatures of VIP guests, is so precious that is locked in a safe and white gloves must be worn before handling it.
Above left: Become part of history with a stay in rooms once graced by Marlene Dietrich and Orson Welles. Photograph © Belmond / Romulo Fialdini. Above right: A relaxed bright atmosphere at Pérgula restaurant. Photograph © Belmond / Fran Parente. Below left: There are seven penthouse suites on the sixth floor of the hotel. Each one is filled with specially chosen antiques, French fabrics and oriental carpets, and comes with a 24-hour butler. Photograph © Belmond / Timothy Evan Cook. Below right: While the bustling excitement of Copacabana Beach is just steps away, the ambiance within the Art Deco hotel remains tranquil and timeless. Photograph © Belmond / Alessandro Batistessa.
Over 100 years since it first opened, Copacabana Palace remains a living legend that embodies the glamour, culture, and vitality of Rio de Janeiro itself. It offers a journey into Brazil’s past, a taste of its present, an experience beyond the ordinary, and a glimpse into a world of classic elegance.
ABOUT BELMOND Belmond has been a pioneer of luxury travel for over 45 years, building a passion for authentic escapes into a portfolio of one-ofa-kind experiences in some of the world’s most inspiring destinations. Since the acquisition of the iconic Hotel Cipriani in Venice in 1976, Belmond has continued to perpetuate the legendary art of travel. Its portfolio extends across 24 countries with 50 remarkable properties that include the illustrious Venice Simplon-Orient-Express train, remote beach retreats like Cap Juluca in Anguilla, Italian hideaways such as Splendido in Portofino, or unrivalled gateways to world natural wonders such as Hotel das Cataratas inside Brazil’s Iguazu National Park.
Above: Panoramic view of Rio de Janeiro from Pão de Açúcar. Photograph Raphael Nogueira Below left: Helicopter ride above Rio de Janeiro. Photograph Mauro Lima. Below right: The Copacabana promenade has used a black and white Portuguese pavement design since its origin in the 1930s: a geometric wave. Photograph Luis Diego Aguilar.
INTERIORS
“Interior design when it gets really interesting is not the pursuit of one-liners like the colour red or a good piece of French furniture or a rug that ties the whole thing together. For me it must also include the sense of memory.”
David Netto, Los Angeles, 2023
Facing page: I believe that fireplace slips are an important detail with the power to change the mood in a room, so I like to sneak in surprises – in this case, unfilled travertine. The bronze Branches mirror is by Hervé Van der Straeten. Photo Francesco Lagnese.
Above: For this living room, beautiful clerestory light plays across the pale wood of the sloping ceiling. The pillow fabric is by Alan Campbell and the bent-plywood chairs are by Alvar Aalto. The tapestry is a Calder, and the plaster sculpture over the fireplace was made for the house by Jennifer Nocon. Photo Gieves Anderson.
A DISTINCTIVE VOICE IN AMERICAN DESIGN WHOSE WORK, A BLEND OF SOPHISTICATED FINISHES, TEXTILES, ANTIQUES, AND CONTEMPORARY FURNITURE, HAS WON HIM A DEDICATED FOLLOWING FROM TASTEMAKERS
AMERICAN DESIGN DAVID NETTO
For more than a decade, David Netto has been profiling the leading lights of the design world in lively, illuminating articles for numerous publications. Now he turns his erudite eye and rapier wit to his own work as an interior and architectural designer in his first monograph, published by Vendome Press. Featuring projects, ranging from city apartments and country houses to seaside and mountain getaways, David Netto reveals an eclectic aesthetic that brings to modernism a touch of warmth and personality and to traditionalism a jolt of energy and a dash of the exotic.
Photography courtesy Vendome Press.
“Iguess you could call me one of decorating’s late bloomers; even though I grew up steeped in it... I quit at least three times, and it was a very complicated and personal thing for me psychologically to come to terms with this career and this
identity,” writes David Netto. “But as you see, I am now committed. And more than that, I am grateful.“
“What I think I enjoy most about being a designer are the relationships, which is odd, because in the beginning that was the thing that bothered me so much. I hated being in a service business, having to share myself with clients who intimidated me. But I worked on
that, and it turned out that people I have admired my entire life– and some I never thought I would even meet– have become clients and, in many cases, friends.I’m proud to say I am friends with most of my clients, even though– teaching moment #1 here– it’s hard to think of something more important for decorators to remember than to know their place.“
“One thing I can tell you about my personal process of designing is that the source materials for the rooms I like to do, and the taste I stand for, are rooted in childhood. There were two sets of images, mind you, that made up my childhood experience: what I actually saw in the world around me, and what I became aware of from film. As the only child of much older parents, both born in the 1920s and for whom black-and-white movies were still (in a sense) The Present, this led to confusion on the part of my young self as to what was really going on out there. Who was winning, Fred Astaire– or Crazy Eddy? Unclear which thread made up the greater reality, I was left feeling that there was a choice available, a choice to not belong only to one’s own time. I couldn’t bear for all the things that interested me to have happened before I was born, so, like Wes Anderson, I just sort of stopped accepting it. This has more or less remained the case– once a handicap but now a tool.”
Above left: A really exceptional Louis XVI plum-pudding mahogany secretary was found for pennies at auction. Photo Francesco Lagnese. Above right: A 1980s reproduction of Josef Hoffmann’s Purkersdorf armchairs and table, designed ca. 1905 for the Purkersdorf Sanatorium. Photo Rishad Mistri. Below: A pair of harlequinpainted eighteenth-century Italian cabinets bought at Robert Kime. The bronze urns on top were formerly in the collection of Henri Samuel. Photo Simon Upton.
Above: The living room is faux painted to resemble Jean-Michel Frank’s goatskin squares; his Louis XV-style armchairs are here as well. The colour scheme of creams and yellows was driven by the clients’ acquisition of a great painting by Philip Guston, full of strong. As a rule, bold, happy colours keep formality to a minimum within the architecture of one of the most significant properties in Los Angeles, by architect James Dolena, ca. 1937. Below: I like to use silver paper on almost any ceiling, but especially on a big one that could otherwise be boring. The bed is by Rose Tarlow Melrose House. Photography this page Roger Davies.
“Interior design when it gets really interesting is not the pursuit of one-liners like the colour red or a good piece of French furniture or a rug that ties the whole thing together. For me it must also include the sense of memory. A knowledge, visually embedded somehow, of what once was and what might still signify again in a new way. This is not to say at all that I only like rooms that are traditional or rooted in the past. But I know I respond to architecture and rooms as a means of storytelling as much as to their form. The most overlooked of the senses may be olfactory; memory is that for me in interior design. The emotional connection it triggers enables one to start a conversation with any object, or colour, or quality of light ”
Top right: In this powder room, a seventeenthcentury drawing hangs over the vanity, and wallpaper from CW Stockwell forms a frieze. The sconce is from Ann-Morris. Photo Pieter Estersohn Right: The wallpaper is by Tapettitalo in Finland, the Eileen Gray Transat chairs come from JF Chen, and an illuminated library table by Michael Graves was bought at auction. Photo Rishad Mistri.
Above: Friends have christened this
the
“And what about Taste? What happens to separate good taste from bad taste is very mysterious and perhaps none of my business. To paraphrase a famous fashion editor, “There are millions of people out there with no taste at all. They are happy.” But what I will say is that decorating is not done in a vacuum. It’s not about one object at a time and whether that object is in
good taste or bad. It’s about narrative– what you put next to something, and the next three things you do after that. Good decorating is the alchemy of composition. That’s why confidence is so important and a primary skill requisite for success in this job– the confidence in your own instincts on how to get the result you set out to pursue, insisting on it (diplomatically or not) and not letting yourself get talked out of it by crossfire, distractions, and the temptation to listen to the last thing you heard.”
ABOUT THE AUTHOR.DAVID NETTO dropped out of Harvard’s department of architecture to found his studio in New York in 2000. He has written on architecture and design for the Wall Street Journal, the New York Times, Cabana, and other publications, and he currently writes the “Case Studies” column for Town & Country. He is the author of monographs of François Catroux and Stephen Sills, and his interiors have appeared in Vogue, ELLE Decor, Architectural Digest, House Beautiful, House & Garden, Town & Country, and Veranda. He divides his time between Los Angeles and Amagansett, Long Island. MITA BLAND is a watercolourist specializing in interior renderings. She lives in Stanfordville, New York.
DAVID NETTO by David Netto. Illustrations by Mita Bland.Published by Vendome Press. Hardcover with jacket. 250 colour illustrations, 320pages.
“Annabel’s Room,” after
beloved Mayfair nightclub full of opulence and surprise. I take it as a great compliment.
Photo Simon Upton.
A PHILOSOPHY OF SCENT. PART 7.
Agency and Rapture
A look at CHANEL Coco EDP and Coco EDT
We can safely say that being is as much about seeing and knowing as it is about happening, what shows itself may be widely different to what is happening in reality or very similar but never identical or one and the same thing. One excludes the other but in every case a dose of time is necessary for their coexistence. That is for the coexistence of the real and the perceived in equal measure and intertwined, writes Kris Bonavita.
Photography courtesy CHANEL.
We can also say that time is temporary where space is boundless. And where space may seem more familiar, it is rather time that is more fathomable. We can appreciate the known age of the universe as a quantity of years; but to come to terms with its length, breadth and depth is beyond us or rather unimaginable. Space is carefree where time is precious, and within a great expanse time is relatively in short supply when seen in the context of our lifetime. Just enough time to allow us to begin to appreciate or understand, but certainly not enough at all.
This may seem all tautological or blindingly obvious, but it is at the heart of time’s most appreciable attribute and that is change. Being lends itself to things to exist temporarily in space, but the economy of time presents the chance necessity for a change in causality, one far from a predeterministic possibility that would make being static and reversible, to something other, unique and improbable with no recourse for return.
Time allows for an improbable future state of affairs, over and beyond the immediately causal inevitability for what is happening. And at the heart of this possibility of improbable events, is not physical chaos, but the easily facile but equally fraught exercise of
agency in free will. A free will that by its very nature draws on the metaphysical necessity of an innate morality, or an ethical compass; and steers between an appreciable good and an unassuming but malign evil. There would be no cause for morality if good and evil were not necessary but unfortunate contexts of our time and being; and there would be no cause for the precious agency of free will if morality was not at the heart of being in this world. From a physically non ecstatic mundane but pleasurable landscape of objects and their predictable movements, being has evolved or contrived into one beyond the physical and very much flirting into the dimension of the metaphysical for better or for worse. But in so doing it gives rise and enshrines the uniqueness of each self and its priceless immortal battle of agency towards something, somewhere, sometime; with some semblance of heroic rapture.
Any lived in reality has one more dimension to its being beyond the observable, knowable or existent, to an underlying or overlying structure or basis beyond our consideration. A what lies beneath or beyond, so to speak. Any lived in reality no matter how mundane, on the grounds of agency, is an infinite source of ecstatic rapture; even if rapture by its very nature is helplessly beyond the grasp of our small but by no means inconsequential free will, it is at the core of all we are or opine to be.
Facing page: CHANEL COCO EDP. COCO expresses the intensity of Gabrielle Chanel's character and her taste for the baroque. A lush amber symphony that gradually reveals its contrasting notes. Photo courtesy CHANEL.
“The most courageous act is still to think for yourself. Aloud.”
COCO CHANEL
Chanel COCO edp and COCO EDT
The inspiration for the Coco range of perfumes is Gabrielle Chanel’s cultivation of the art of paradox. The woman behind an understated, pareddown style that revolutionised women’s fashion, was equally fond of the baroque; inspiring the décor of her apartment on rue Cambon and her love of Byzantine jewellery. The Coco fragrance true to her nickname reveals the whimsical radiant facet of her fascinating personality in ambery scent with shimmering hues.
The House describes Coco as an expression of Gabrielle Chanel’s intensity and her love of all things baroque, which is just as well as this perfume amongst the panoply of Chanel’s fragrance world is one of the more rapturously flamboyant, with a luxuriant ambery symphony at the heart, slowly unfolding contrasting but lyrically balanced notes.
Coco EDP opens with a citrus tone of Sicilian Mandarin, fast unveiling a jasmine absolute centre, with layers of Comoros ylang ylang and Tunisian orange blossom, only to be upstaged by an alluring trail of Indonesian patchouli, tonka bean and benzoin. Voluptuous, intense, playful and alluring would be my take.
A perfect accompaniment to the N°5 range, Coco is equal parts classic Ernest Beaux N°5 crystalline floral tones but with an endearing dimension of warmer sweeter and exotic almost oriental tones in lieu of the cooler Nordics of the original N°5 fragrance. Equally complex yet with no superfluous notes within its very expressive range of ingredients, Coco has a length and projection far beyond more modern fragrances available on the market today. Frangipane, clove, frankincense, cinnamon and rose all make their mark; depending on the season, time of day or wearer, so certainly as mysterious and evocative as the grand dame herself.
Coco EDT is an ambery floral fragrance with fresh undertones. The floral spicy accord opens with a citrus mandarin highlight before revealing a heart of jasmine absolute heightened by Comoros ylang ylang, followed by a scented trail tinged with Indonesian patchouli, wood tones of sandalwood and rose.
More luminous and lighter than the EDP, the EDT offers a softer more versatile take, without veering too far from the splendid concentration and deep voluptuous layers that makes Coco so endearing. Certainly both fragrances complement each other and can be used in tandem for a more complex layering.
is distributed by Alfred Gera & Sons Ltd.
Facing page: CHANEL COCO EDT. Amber composition with floral and spicy notes, the eau de toilette gains in lightness without losing its richness. Photo courtesy CHANEL.
CHANEL
RACING THE MALTESE COAST
THE THRILL OF THE YACHTING MALTA COASTAL RACE
The Yachting Malta Coastal Race, organised by the Royal Malta Yacht Club, brought together an impressive array of 56 yachts from across the globe this past October. Held just days before the prestigious Rolex Middle Sea Race, the Coastal Race is a pivotal event for sailors, providing a final opportunity to fine-tune their crews and systems on Malta’s challenging waters. This year’s race was held under perfect conditions and featured a 19-nautical mile course beginning and ending in Marsamxett Harbour. The course led the fleet to a mark near Munxar Point on Malta’s eastern coast, a popular diving site, before looping back to the finish line. The fleet was a diverse mix of teams from 16 countries, including Austria, Croatia, Denmark, France, Germany, Ireland, Greece, Italy, and beyond, with 12 Maltese yachts representing the island’s proud sailing reputation.
Photography Deea Buzdugan and Alex Turnbull, courtesy The Royal Malta Yacht Club.
page: An exhilarating start to the Yachting Malta Coastal Race. Photo © Alex Turnbull.
In
Walter Watermann’s German
provisional first place by an astonishingly narrow margin –just two
co-skippered by seasoned ocean racer Stu Bannatyne and Dutch sailor Rogier van Overveld, took an early lead and finished with Line Honours in a remarkable two hours, 38 minutes, and eight seconds. Photography © Deea Buzdugan. Below left: The Podesta family’s Elusive 2, a First 45, narrowly outpaced Jonathan Gambin’s Dufour 44, TontonLaferla, to be the first local yacht over the finish line. Photo © Deea Buzdugan. Below right: Maltese sailors had further cause for celebration with Andrew Agius Delicata’s Vivace, a Reflex 38, triumphing in IRC Class 6. Photo © Alex Turnbull.
The largest yacht, the Maxi 72 Balthasar, co-skippered by seasoned ocean racer Stu Bannatyne and Dutch sailor Rogier van Overveld, took an early lead and finished with Line Honours in a remarkable two hours, 38 minutes, and eight seconds. Balthasar’s win wasn’t just about speed, though, as the yacht went on to claim victory in IRC Class 2 once time corrections were applied.
However, the real thrill of the day lay in the neck-and-neck race for the overall title, decided by IRC time correction. In a nail-biting finish, Walter Watermann’s German yacht X-Day, a GP 42 designed by famed designer Bruce Farr and skippered by Lars Hückstädt, claimed provisional first place by an astonishingly narrow margin – just two seconds. Following closely was Peter Lezhnin’s Jedi, a J/112 from Kazakhstan, which secured a well-earned second place overall and the top spot in IRC Class 5. X-Day’s stellar performance also earned them first place in IRC Class 3.
The competition was equally fierce among the Maltese boats, as the Podesta family’s Elusive 2, a First 45, narrowly outpaced Jonathan Gambin’s Dufour 44, Tonton Laferla, to be the first local yacht over the
finish line. After time correction, Elusive 2 maintained its edge, winning IRC Class 4 and claiming the Maltese title by a slim seven-second margin. Maltese sailors had further cause for celebration with Andrew Agius Delicata’s Vivace, a Reflex 38, triumphing in IRC Class 6.
The Coastal Race also welcomed a group of Class40 designs, in Malta ahead of the 45th Rolex Middle Sea Race. These trans-ocean racers gave spectators an early taste of competition in their level-rating class. French skipper Mikael Mergui led this fleet with his Lombard-designed Centrakor, while Italian sailor Matteo Sericano’s Lucente claimed second, followed closely by Andrea Fornaro’s Influence 2, a recent launch by Guelfi.
The start of the race was a sight to behold, with yachts filling Marsamxett Harbour against the vibrant Valletta skyline. After departing the harbour, the fleet left the Valletta Harbour Fairway Buoy to starboard and sailed east along Malta’s northern coast to the cardinal mark over the Munxar Reef. There, they shifted course, hoisting spinnakers for a downwind leg towards Saint Mark’s Tower off Qrejten Point, before returning on a final beat to the Fairway Buoy. A short sprint brought the yachts back to Marsamxett Harbour, with the finish line in sight of the Royal Malta Yacht Club– a fitting end to a day of exciting competition on Malta’s waters.
Above left:
a nail-biting finish,
yacht X-Day, a GP 42 designed by famed designer Bruce Farr and skippered by Lars Hückstädt, claimed
seconds. Photo © Alex Turnbull. Top right and above right: The largest yacht, the Maxi 72 Balthasar,
“The Rolex Middle Sea Race can be an easy or a hell of a ride, do not underestimate the Mediterranean. Do it because you are keen and have ambition and, above all, race with people who know what they are doing!”
Christian Ripard
BEYOND THE FINISH LINE
ENDURANCE AND CAMARADERIE IN THE 45TH ROLEX MIDDLE SEA RACE
fleet depart from Valletta’s Grand Harbour. The atmosphere was alive with anticipation as the yachts, ranging from 9 to 30 metres, launched into the 606-nautical-mile race around Sicily. With nearly 1,000 crew from 42 nations on board, representing 30 countries, this year’s race drew both seasoned sailors and fresh talent, from an 80-year-old veteran to a 14-year-old first-timer.
Photography courtesy Royal Malta Yacht Club, © Rolex/Kurt Arrigo.
This page: BLACK PEARL, Sail No: GBR7017R, Design: BOTIN 56, IRC Class 2, Skippers: Stefan Jentzsch, Owner: Tortuga Marine, Boat Country: Germany. Photo © Rolex/Kurt Arrigo.
ROLEX MIDDLE SEA RACE
Areasonable southerly breeze set the stage on Saturday 19th October, as the fleet made its way toward Capo Passero, the Sicilian headland that serves as the gateway to the race’s demanding Mediterranean route. The weather proved anything but predictable, with a low-pressure system throwing squalls and water spouts, thunder and lightning, and short, steep potentially boat-breaking waves into the mix. As darkness fell on the first night, an unexpected squall of over 40 knots swept across the fleet, catching many off guard. The sudden change showed no respect for experience, size or status. Sails were shredded, and some yachts suffered dismasting; by the end of the night, 29 yachts had retired, and the most high-profile entrant affected was last year’s winner Bullitt.
The seasoned John Ripard Jr., on his 30th Rolex Middle Sea Race, described the brutal conditions on the Maltese Swan 47, Lazy Duck, which he was sailing double-handed with his son, Tommy. “A harrowing 30-minute squall of quite some intensity caught us as we were with full main and code zero. We emerged from that bruised but not beaten.”Another Maltese entry, Elusive 2, co-skippered by Christoph Podesta, faced a similar onslaught. “We saw multiple water spouts forming around us and managed to carefully dodge the dangerous parts.”
Following the violence of the first night, the fleet endured a day of near-total calm. Yachts drifted in little to no wind, with Lazy Duck and Elusive 2 recounting painful hours of negligible progress, waiting for conditions to shift. By the time they reached the Tyrrhenian Sea, battles within the fleet were well underway. The race’s smaller yachts, competing under IRC time correction, demonstrated that size mattered less than skill. Maltese entries proved especially fierce: the Farr 30 Calypso, skippered by Seb Ripard and Dan Calascione, showcased exceptional navigation, leading their class by 85 nautical miles at one point.
This page: BBALTHASAR, Sail No: MLT5, Design: MAXI 72, IRC Class 1, Skippers: Rogier van Overveld, Owner: Saturnus Two, Boat Country: Malta. Photo © Rolex/Kurt Arrigo.
Hans Kastenhofer, Owner: Hans Kastenhofer, Boat Country: Austria. SPORTSKI VUK 44, Sail No: CRO2776, Design: GRAND SOLEIL 44R, ORC 4, Skippers: Ursula Berger & Christian Kargl, Owner: UB2 Racing Team, Boat Country: Austria. FIRECREST, Sail No: FRA9815, Design: S-40, IRC Class 4, Skippers: Benoit Tuduri, Owner: Benoit Tuduri, Boat Country: France. Photography this page © Rolex/Kurt Arrigo
Key to Calypso’s progress was a bold move in the Strait of Messina. The crew caught favourable wind just before exiting the channel, building an impressive lead over competitors. “We knew we were sailing almost a dinghy,” Ripard said, referring to the yacht’s compact 30-foot size. “We wondered how we would handle it,
particularly the squall on the first day. We are surprised at how well that went and had growing confidence in the boat from a seamanship aspect.”
Other Maltese entrants also put on a memorable show. The Podesta family, longtime stalwarts of the race, delivered yet another strong performance on Elusive 2
Siblings Aaron, Christoph, and Maya Podesta carried forward a family tradition dating back to their father, Arthur Podesta, a Rolex
Middle Sea Race veteran. “This is very special to us, we have to do it. We always aim to top our class,”Maya explained, “and overall, our strategy is to always push the boat over 100%. It is always a boost to see that you are in the same water as faster boats, and that motivates us to push even more.”
Maya, fresh off maternity leave, thanked her mother, Kristine, for making her participation possible, calling her “super mum.”
Above: CALYPSO, Sail No: MLT 030, Design: FARR 30, IRC Class 5, Skippers: Sebastian Ripard & Daniel Calascione, Owner: Sebastian Ripard/Daniel Calascione, Boat Country: Malta Below left: Start of the Rolex Middle Sea Race, 2024. SCALLYWAG 100, Sail No: HKG2276, Design: DOVELL 100, IRC Class 1, Skippers: David Witt, Owner: Seng Huang Lee, Boat Country: Hong Kong Below right: Start of the Rolex Middle Sea Race, 2024. BUTTERFLY, Sail No: AUT2407, Design: ARCHAMBAULT A40, ORC 4, Skippers:
By the third day, the frontrunners had gained enough distance to enjoy steady winds. For the larger yachts vying for line honours, such as Scallywag 100, this was a much-needed break after a bruising start. The Hong Kong entry ultimately took line honours on Tuesday, crossing the finish line in two days, 21 hours, and 33 minutes. Just 18 minutes later, Black Jack 100 followed, completing a nail-biting sprint to the end. Another notable finisher was the 88foot Lucky, which had retired last year, redeeming itself with a swift completion.
Top: ARTIE III, Sail No: MLT2222, Design: HH 42, IRC Class 3, Skippers: Lee Satariano & Christian Ripard, Owner: Lee Satariano, Boat Country: Malta Centre left: Start of the Rolex Middle Sea Race, 2024. LUCKY, Sail No: USA2872, Design: JUAN K 27M, IRC Class 1, Skippers: Daniel Hedges, Owner: Bryon Ehrhart, Boat Country: United States Left: YAGIZA, Sail No: FRA9845, Design: BENETEAU FIRST 53, IRC Class 4, Skippers: Nicola Henderson, Owner: Nikki Henderson –59 North, Boat Country: United Kingdom. Above: ELUSIVE II, Sail No: MLT450, Design: BENETEAU FIRST 45, IRC Class 4, Skippers: Christoph Podesta & Aaron Podesta, Owner: Christoph, Aaron & Maya Podesta, Boat Country: Malta. Photography this page © Rolex/Kurt Arrigo.
As Wednesday evening approached, the German TP52
Red Bandit, helmed by Carl-Peter Forster, was declared the overall race winner based on IRC time correction. This marked an incredible achievement for Forster and his team. Meanwhile, Maltese pride was riding high as Elusive 2 took the top spot in
IRC 4, adding to the crew’s collection of memorable finishes, while Calypso claimed victory in IRC 5. These class wins underscored Malta’s long-standing yachting heritage and commitment to the Rolex Middle Sea Race.
Beyond competition, the race highlighted bonds forged through tradition and family.
Lee Satariano, skipper of Artie III, reflected on the race’s draw for top talent from around
the world, saying, “The Rolex Middle Sea Race attracts top international sailors. The most important goal this year was to finish the race, especially after the damage suffered in the big squall.”The Artie III crew finished as the first Maltese yacht.
Adding another layer of history, the Ripard family also made headlines with John Ripard’s Swan 47, Lazy Duck, finishing second in the double-handed division.
Top: HEAVEN, Sail No: ESP3462, Design: POGO 44, IRC Class 3, Skippers: Clair Reed & James Gallagher, Owner: James Gallagher, Boat Country: Spain
Right: FUJIMO AB, Sail No: POL14833, Design: JUDEL/VROLIJK, IRC Class 5, Skippers: Tomasz Kosobucki & Grzegorz Grabowski, Owner: G&J Boats, Starfax Polska, Boat Country: Poland. Far right: EVE, Sail No: 8565, Design: SWAN 65 KETCH, IRC Class 5, Skippers: Benjamin Roulant, Owner: Steve Capell/Fraser Welch, Boat Country: Australia. Photography this page © Rolex/Kurt Arrigo.
sailors. Underwritten by true evidence of
human endurance, courage and determination. Photography this
By the race’s close on Friday, 77 yachts had completed the course, while others retired due to equipment failure or severe weather. The Rolex Middle Sea Race’s blend of Mediterranean drama and Maltese legacy
was firmly intact, with an unforgettable edition marked by intense weather, tactical brilliance, and a sense of tradition that resonates deeply with the Maltese sailing community.
For many sailors, this year’s race was not just a competition but also a celebration of endurance and camaraderie. For Artie III,
Elusive 2, Calypso, and other local favourites, the race was a celebration of Malta’s place on the international yachting stage–a stage where the sea’s challenges are met with skill, resilience, and a touch of Maltese spirit.
The 46th Rolex Middle Sea Race will start on Saturday, 18 October 2025.
Above: BALTHASAR, Sail No: MLT5, Design: MAXI 72, IRC Class 1, Skippers: Rogier van Overveld, Owner: Saturnus Two, Boat Country: Malta Below: The 2024 Rolex Middle Sea Race was one of the most memorable on record, with fierce, unpredictable weather that tested even the most seasoned
camaraderie and team spirit, the story is one of overcoming adversity and pushing through, a story of
page © Rolex/Kurt Arrigo.
The Cippi of Malta
THEIR STORY AND VOYAGE
An exhibition held at the National Museum of Archaeology 23 November 2024 - 31 March 2025
THE RESTORATION OF A MALTESE TREASURE
THE GRAND MASTER'S CARRIAGE
Heritage Malta is breathing new life into a rare piece of Malta’s history – the Grand Master’s carriage – thanks to a collaboration with the Eden Leisure Foundation. This restoration effort forms part of the broader Grand Master’s Palace project, the largest conservation initiative we have ever undertaken, writes the team at Heritage Malta.
Photography courtesy Heritage Malta.
This page: The Grand Master's carriage, a unique piece of history, is an 18th-century luxury French Berline coach. Its meticulous details attest to the remarkable craftsmanship of the time. With opulent green velvet interiors, intricate mouldings and once gilded in gold, it was made to impress, to command attention, and to convey status.
The Grand Master’s carriage, an 18thcentury luxury French Berline coach, is a unique piece of history which represents more than just transportation; it symbolizes Malta’s unique journey through history and the evolving identities of those who ruled it. Commissioned for ceremonial purposes, it served
multiple Grand Masters of the Order of St John and witnessed pivotal historical events. Malta’s last Grand Master, Ferdinand von Hompesch, offered its use to Napoleon Bonaparte upon his arrival, but Napoleon famously declined, choosing instead to walk into Valletta. Later, during the French occupation, the carriage was used by General Vaubois, Napoleon’s representative on the island, solidifying its association with both Maltese and French histories.
The coach, with its meticulously crafted details, attests to the remarkable craftsmanship of the time. Designed with opulent green velvet interiors, intricate mouldings and once gilded in gold, it was made to impress, to command attention, and to convey status.
One of its most striking features is the four emblems on each of its sides, added during French rule, which feature depictions of
Marianne, the personification of French liberty, holding a staff topped with the Phrygian Cap, a revolutionary symbol.
Over the years, some elements of the carriage were altered, each era from the Knights to the British leaving its mark. Various repairs and replacements were carried out during the British period, and these later modifications, such as the repainting of the exterior in a sombre dark brown and black, and the replacement of some original seats, reveal changes in taste and craftsmanship across eras. Heritage Malta’s conservation team will strive
to preserve these layers, offering viewers a window into the evolving aesthetics and political influences that shaped the carriage. Once completed, the carriage will be a centrepiece in the restored Grand Master’s Palace’s ground floor halls– the former stables, where the carriage was formerly housed. The space is currently undergoing restoration in preparation for the artefact’s return. Alongside other similar means of transport pertaining to the Palace, the carriage will be a storytelling piece that invites a new generation to appreciate Malta’s layered past.
Above: One of the carriage's most striking features is the four emblems on each of its sides, added during French rule, which feature depictions of Marianne, the personification of French liberty, holding a staff topped with the Phrygian Cap, a revolutionary symbol.
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FORT ST ELMO AND THE NATIONAL WAR MUSEUM
LAYERS OF LEGACY
CENTURIES OF STRENGTH ON VALLETTA’S SHORES
Fort St Elmo was originally conceived as a war machine, built in a strategic location at the tip of the Sciberras Peninsula to confront and hold back the Ottoman armada. From here, the fort commands sweeping views of the Grand and Marsamxett Harbours, as well as the surrounding towns and villages. This vantage point was already valued and exploited during the Medieval period. Reference to a permanent watch-post at Santo Eramo can in fact, be found in the Militia Roster of 1417. Following a harsh Ottoman razzia in 1551, and various reports indicating a looming Ottoman siege, Grand Master De Homedes issued an order for the immediate construction of a new fort.
Main photography courtesy Heritage Malta.
This page: The bastion wall of Fort St Elmo and the Breakwater Bridge at the entrance to the Grand Harbour. During the Medieval period, this strategic position at the tip of the Sciberras peninsula was already recognised and exploited, keeping watch over the entrances to the Grand and Marsamxett Harbours. Photo courtesy Neil Howard / Flickr.
VALLETTA RESTORATION
In 2005, a committee was established by the Grand Harbour Regeneration Corporation and Heritage Malta to develop a master plan for Fort St Elmo’s restoration. Restoration work commenced in 2011 and included both structural and archaeological works across the site’s 39,000 square metres. Efforts focused on the barracks, chapels, and the main courtyard. Above: Photo courtesy Heather Cowper –Heatheronhertravels.com / Flickr. Below: The Porta del Soccorso, serves as the main entrance to Upper St Elmo. Photo courtesy Michael Gaylard / Flickr.
Above: The Chapel of St Anne's existence was first documented in the late 15th century. The chapel might have originally been dedicated to Erasmus of Formia (also known as St Elmo). When the Order of St John began construction of the fort the chapel was incorporated into its walls near the Porta del Soccorso gate. Photo courtesy Hispalois / Wikipedia Commons.
By the 15th century, the local militia had already established a permanent lookout on the tip of the Sciberras Peninsula and in 1488, a medieval watchtower was present on St Elmo point, together with a chapel. Recognising the site’s strategic value, the Order of St John attempted to reinforce this tower in 1533, but nothing materialised. After an Ottoman raid in 1551, in which Turkish forces sailed unopposed into Marsamxett Harbour, plans for a major fortification were expedited. A new star fort was designed by the military engineer Pietro Prato, under the supervision of Knight Fra Leone Strozzi. By 1565, the fort had acquired essential defensive features such as a cavalier, a redoubt, a tenaille, and a ravelin that was hastily built in preparation for an impending siege. During the 1565 Great Siege of Malta, Fort St Elmo withstood the full force of the Ottoman assault. Against all odds, it withstood the siege for a month, surrendering on 23 June, having gained crucial time for Malta’s other defences and for the arrival of Sicilian reinforcements.
Following the siege, Grand Master Jean de Valette ordered the construction of a new city on the peninsula, and work began in 1566. The ruined Fort St Elmo was rebuilt under the design of the Italian architect
Francesco Laparelli, sent by Pope Pius V to oversee the project. Throughout the 17th and 18th centuries, various additions were made to the fort, including barracks, a church, and a lighthouse. By 1689, Fort St Elmo had been fully integrated into Valletta’s fortified perimeter.
This page: The Porta del Soccorso, with its iconic eye carved above, is located behind the internal angle of the south and north-east spurs. Photo courtesy Barnaby S. / Flickr.
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The 17th century saw further modifications to the fort, including the construction of Vendôme Bastion in 1614 and the Carafa Enceinte, a bastioned wall built in 1687 that encircles the fort. During the 17th century, a huge lighthouse was established on top of the fort’s cavalier to aid navigation towards the Grand Harbour. The 18th century saw the addition of a new polverista, or gunpowder magazine, in the Vendôme Bastion, as well as warehouses built between the main fort and the Carafa Enceinte. These warehouses, now known as the Pinto Stores, are part of what is known as Lower Saint Elmo.
Fort St Elmo continued to serve as a barracks under the Hospitallers until the arrival of Napoleon’s Army of the Orient in 1798, after which it became a British military installation armed with heavy cannons to defend the approaches to Malta’s harbours by the early 1800s. The fort remained in use under British rule, undergoing significant upgrades to support modern artillery, and it played a vital role in Malta’s defence during the Second World War. One of the first aerial bombardment of Malta took place here on 11 June 1940 resulting in the first military casualties of the war. After the war, Fort St Elmo served as a barracks until the early 1970s, when it was vacated and parts of the lower fort used as a film set and for the building of carnival floats.
Above: In the mid-17th century, the interior of the modest Chapel of St Anne was embellished with ornate Baroque stone carvings. Photo courtesy Heritage Malta.
Above: On 23 June 1565, during the Great Siege of Malta, Fort St Elmo fell to Ottoman troops. During the final battle, its defenders made their final last stand within St Anne's Chapel. Photo courtesy Heritage Malta. Below: During the 1565 Great Siege of Malta, Fort St Elmo withstood the full force of the Ottoman assault. Against all odds, it withstood the siege for a month, surrendering on 23 June, having gained crucial time for Malta’s other defences and for the arrival of Sicilian reinforcements. Matteo Perez d' Aleccio (1547-1616) –The Siege of Malta, Siege and Bombardment of St Elmo, 27 May 1565, Royal Museums Greenwich. Source Wikipedia Commons.
VALLETTA RESTORATION
In 2005, a committee was established by the Grand Harbour Regeneration Corporation (GHRC) and Heritage Malta to develop a master plan for Fort St Elmo’s restoration. The GHRC submitted an application for funding within the 2007-2013 EU’s Regional Development Funding Programme for the restoration of the fort which totalled around €15.3 million, 85% of which came from EU funding. Works on-site began in 2011 and divided into two major phases; the restoration and finishing phase and for a new National War Museum. Restoration work, which commenced in 2011, included both structural and archaeological works across the site’s 39,000 square metres. Efforts focused on the barracks, chapels, and the main courtyard.
Above: Upper St Elmo –the original star fort, consists of two demi-bastions, two flanks and two faces, a parade ground, barracks and a large cavalier. Pictured –The left demibastion. Below: (Detail of) St Ubaldesca Curtain –also known as Abercrombie's Curtain - a long curtain wall linking St John and St Lazarus Bastions, which contains a number of British gun emplacements. Photography this page courtesy Yannick / Flickr.
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Restoration work at Fort St Elmo revealed many historical insights, including the foundations of a windmill frequently depicted in historical etchings, 17th-century graffiti, and the possible entry to a buried sally port leading directly from the fort to the old ditch between the latter and the cavalier. The project was inaugurated on the 450th anniversary of the Great Siege in 2015. Above and below: The Church of St Anne overlooking Piazza d’Armi, was built in 1729. It was deconsecrated during the British period, and it's interior completely remodelled. The Church of St Anne is now known as the War Memorial showcasing medals commemorating acts of bravery and service during the Second World War. Photography this page courtesy Heritage Malta.
The restoration revealed many historical insights, including the foundations of a windmill frequently depicted in historical etchings, 17th-century graffiti, and the possible entry to a buried sally port leading directly from the fort to the old ditch between the latter and the cavalier. The project was inaugurated on the 450th anniversary of the Great Siege in 2015.
Today, visitors to Fort St Elmo can experience the fort's impressive grounds, including two chapels dedicated to St Anne. The older of the two possibly dates to 1488. The chapel's interior was embellished in the mid-17th century with ornate Baroque stone carvings. The second chapel, the Church of St Anne overlooking Piazza d’Armi, was built in 1729 and was deconsecrated during the British period. It is now known as the War Memorial showcasing medals commemorating acts of bravery and service during the Second World War.
The National War Museum, housed within the fort, is divided into seven sections and covers 7,000 years of Maltese Military History from the Bronze Age until Malta’s accession in the EU. While notable artefacts include military armour of the Order of St John and the Ottoman Turks, the Second World War is the most represented conflict in the museum. Highlights include the Gloster Sea Gladiator Faith, President Roosevelt’s Jeep Husky, and Malta’s George Cross medal for gallantry.
From a medieval watchpost to a fortified bastion, and finally a museum, Fort St Elmo is layered with centuries of dedication, sacrifice, and craftsmanship. One wonders what secrets still remain hidden.
“God is in the details.”
Mies van der Rohe
PREMJU E L GALIZIA, 2024
A MATTER OF DESIGN
In 2018, Kamra tal-Periti launched the Premju Emanuele Luigi Galizia for architecture and civil engineering to celebrate and promote local excellence in design and the built environment. These awards provide practitioners in architecture, structural and civil engineering, interior, and product design with a platform to showcase their work and have their contributions to our shared urban spaces evaluated by a panel of experts. This year, five years after the last edition in 2019, Kamra tal-Periti proudly introduced the third edition of the Premju Emanuele Luigi Galizia.
Photography courtesy Kamra tal-Periti.
Named after Emanuele Luigi Galizia, one of Malta’s most influential architects, the Premju Galizia offers a unique platform to underscore the essential role of quality architecture and construction in fostering sustainable cities and communities. It emphasises the vital connection between quality of life and the built environment.
Galizia, a graduate in civil engineering and architecture from the University of Malta, received his warrant in 1852 and is still celebrated as a leading figure in nineteenth-century Maltese architecture, remembered for iconic works such as the Neo-Gothic Addolorata Cemetery (1860) and the Ottoman Military Cemetery (1874).
Above and below: HERITAGE PRESERVATION AWARD WINNER. CASA GOURGION –MODEL + CVC. JURY MOTIVATIONS. The jury appreciated the ethical and humble approach of the designers-owners to open the doors of this particular building to the public, sharing a portion of their individual and intimate family history. This project reflects a civic engagement that benefits the community over the personal interest, and so it gives a positive message to the role an architect can play in the society and community. Photography Alex Attard.
Above: COMMUNITY IMPACT AWARD WINNER. DAR TEREZA – LOCAL OFFICE FOR ARCHITECTURE. JURY MOTIVATIONS. The restoration of the two houses has revitalised their functionality, creating thoughtfully designed spaces that optimise natural light and orientation. The addition of a rooftop structure enhances flexibility for resident families, promoting interaction while allowing for independent living and minimising conflicts. By offering diverse spaces with varying degrees of privacy, Dar Tereza enables residents to develop the skills necessary for unassisted yet supported living. This project exemplifies how architecture can serve as a catalyst for community development, promoting healing and well-being. Photography Sean Mallia.
After a five-year hiatus since 2019, Kamra tal-Periti introduced a reimagined edition of the Premju Galizia.
This renewed event celebrates the diverse disciplines within the field – from architecture and civil engineering to interior and urban design and the conservation of built heritage –providing a platform for professionals to have their work evaluated by a panel of experts.
The core categories this year included the Design Excellence Award, the Community Impact Award; the Interior Architecture Award,the Heritage Preservation Award,the Landscape Architecture Award,the Architecture Vision Award,and the Innovation Award. Special Categories included the Emerging Practice Award, and the Climate Action Award. Also Role Model Categories which include the Architecture Leadership Award,and Lifetime Achievement Award. The Premju Galizia also includes the President’s Award for Best Overall Project.
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Above left and right: INTERIOR ARCHITECTURE AWARD WINNER. CASA URSULA –OPENWORKSTUDIO. JURY MOTIVATIONS. This design showcases innovative response to the existing context, skillfully transforming the property’s fragmented layout into a cohesive living space. The thoughtful restoration reveals hidden structures and honours the building's history while maximising light and connectivity. Photography Julian Vassallo.
Below: LANDSCAPE ARCHITECTURE AWARD WINNER. THE REHABILITATION AND RESTORATION OF WIED FULIJA LANDFILLS – DTR. JURY MOTIVATIONS. The jury appreciates the beautiful and subtle transformation of a landfill. This parcel of land was taken from nature in the past and has been given back, magnified, so people can walk on it and discover a revitalised biotope to the benefit of fauna and flora. This project is sending a true message of hope emphasising the fundamental role of the architect on our fragile planet; the architect here is repairing human interventions on the land. Photography Daniel Mifsud.
Centre and above: ARCHITECTURE VISION AWARD 2 WINNER. THE REGENERATIVE MULTI-MODAL TRANSPORT SYSTEM –MIZZI STUDIO. JURY MOTIVATIONS. This project's goal of enhancing public transport reflects a strong commitment to sustainability and eco-friendly transportation solutions. By reimagining and redesigning old buses, it effectively connects Malta's rich heritage with modern innovation. The initiative encourages the use of public transport as a sustainable alternative to private vehicles, reducing carbon emissions and alleviating traffic congestion. Images Mizzi Studio.
Ahead of the final Awards Ceremony, finalists in each category presented their projects to juries in a lecture series held at the Valletta Local Council. This series marked the start of the Premju Galizia programme, officially inaugurated by the President of Malta, HE Miriam Spiteri Debono.
This page: PRESIDENT'S AWARD WINNER FOR BEST OVERALL PROJECT 2024 and ARCHITECTURE VISION AWARD 1 WINNER. CITY OF 1000 GARDENS –NIDUM. JURY MOTIVATIONS. The project strongly embodies the concept of creating harmonious spaces within the territory, emphasising the importance of public areas that seamlessly integrate nature and enhance the community's connection to the natural world. By prioritising green spaces, the initiative fosters a sense of tranquility and well-being among residents, encouraging outdoor activities and social interactions. Images Nidum.
On 26th October, winners were announced at the Malta National Library during a memorable evening ceremony, recognising the exceptional achievements of this year’s finalists. The ultimate prize of the evening, the President’s Award,awarded to the best overall project among the finalists, was given to NIDUM for their project a City of a 1000 Gardens which envisions the transformation of Marsascala into a sustainable seaside village immersed in parks and gardens. With dignitaries and special guests in attendance, the event shone as a highlight on Malta’s architectural calendar.
WINNING PROJECTS PREMJU GALIZIA 2024 Trophies: President’s Award for Best Overall Project 2024: City of 1000 Gardens. Lifetime Achievement Award 2024: David Felice. Architecture Leadership Award 2024: Paul Buttigieg. Special Contribution to the Profession 2024: Anthony Cassar. Design Excellence Award 2024: Bothouse. Heritage Preservation Award 2024: Casa Gourgion. Community Impact Award 2024: Dar Tereza. Interior Architecture Award 2024: Casa Ursula. Emerging Practice Award 2024: SON Architecture. Landscape Architecture Award 2024: The Rehabilitation and Restoration of Wied Fulija Landfills. Architecture Vision Award (1) 2024: City of 1000 Gardens. Architecture Vision Award (2) 2024: The Regenerative Multi-Modal Transport System. SPECIAL COMMENDATIONS Interior Architecture Special Commendation 2024: Twentyfour. Architecture Vision Special Commendation 2024: The Way We Live. Architecture Vision Special Commendation 2024: Help Malta Breathe. Innovation Special Commendation 2024: Aircraft MRO Hangar Facility.
PREMJU GALIZIA SPONSORS AND PARTNERS.Satariano and JMV; Malta International Airport and ESS; Vivendo, Spiral Insurance Brokers, Deloitte and San Karlu Hotel; APS Bank, FORM, DARI, sallux, Panta, S&S Bathrooms; and SHARE Architects, the Embassy of France, the Embassy of Türkiye and the Swiss Consulate.
FORTIFYING THE PAST
MALTA’S COASTAL BATTERIES EARN PROTECTION
PLANNING AUTHORITY SCHEDULES BRITISH-ERA BATTERIES TO PRESERVE MALTA’S MILITARY ARCHITECTURE
In a continued effort to preserve Malta’s historic military architecture, the Planning Authority (PA) has announced that nine British-era coastal batteries across Malta have been designated as Grade 1 buildings, with an additional two classified as Grade 2. These classifications aim to safeguard the military and defensive infrastructure and recognize the architectural and historical value of these fortifications, which reflect the political (in the region and beyond) and military climate under the British Rule from the 1860s onwards.
Photography Planning Authority.
Above: Delle Grazie Battery, Xghajra. Bottom left: Cambridge Battery, Sliema. Bottom centre: Zonqor Battery, Marsaskala. Bottom right: Misrah Strejnu Anti-Aircraft Battery, Zejtun.
The Grade 1 sites include Delle Grazie Battery (Xghajra), St. Peter’s Battery (Kalkara), Wolseley Battery and St. Paul’s Battery (Marsaxlokk), Għargħur High Angle Battery (Għargħur), Misraħ Strejnu Anti-Aircraft Battery (Żejtun), San Giovanni QF Battery (Swieqi), Wardija Battery (San Pawl il-Baħar), and the Żonqor Battery (Marsaskala). Two Sliema batteries, Cambridge Battery and Garden Battery, have been classified as Grade 2 sites.
These defensive structures were originally constructed by the British Empire to protect Malta’s coastal areas, especially following the Crimean War (1853-56) and the opening of the Suez Canal in 1869, which led to increased naval traffic in Malta and an increase in British interests in securing these trade routes through Malta. Moreover, the military technological advances, particularly in France and Italy, underscored the need for reinforced coastal defences to protect Malta’s strategically significant harbours.
“The designation of these sites highlights the unique role Malta played within the British Empire and in Mediterranean geopolitics,” said Daniela Formosa within the PA’s Heritage Planning Unit. “The preservation of these sites honours the island’s military history while ensuring these structures can be appreciated for generations to come.”
Malta’s British fortifications were a direct result of these heightened European military tensions in the wider Mediterranean context in the late 19th century, especially as nations advanced to ironclad warships and other technologies that outmoded previous Hospitaller defences. With the construction of the Duilio and Dandalo warships by Italy in the 1870s, each armed with 100-ton guns, British fortifications in Malta were promptly upgraded with similar artillery, a decision that reinforced Malta’s defensive capabilities.
To view the entire list of scheduled properties, visit the PA’s Scheduled Register at www.pa.org.mt
Top left: Garden Battery, Sliema Top right: St.Paul’s Battery, Marsaxlokk. Middle: Wardija Battery, St.Paul’s Bay. Above: Wolseley Battery, Marsaxlokk. Bottom left: Gharghur High Angle Battery, Gharghur. Bottom Centre: St. Peter’s Battery, Kalkara. Bottom right: San Giovanni QF Battery, Swieqi.
Michelin star in belgravia
Pétrus BY gordon ramsay
The Art of Modern French Cuisine
Nestled between Belgravia and Knightsbridge, Pétrus by Gordon Ramsay offers an unforgettable dining experience. The Michelin-starred restaurant showcases exquisite modern French cuisine, complemented by a world-class wine cellar that features exceptional vintages from Château Pétrus, after which the restaurant is named. As one would expect, the wine list offers numerous vintages of this renowned wine, but it also boasts an impressive selection of fine wines from France’s top vineyards and rare European gems. The pairing of these wines with Michelinstarred dishes creates a truly exceptional dining experience. Since its opening in 1999, Pétrus has remained a mainstay on London’s fine dining scene, maintaining its Michelin star since 2011 and earning recognition for both its style and substance.
Photography courtesy Pétrus by Gordon Ramsay.
This page: Orson Vergnaud first moved to London in 2012, having spent five years training in Toulouse. His experience in the last decade includes three stints as head chef, first at Le Pont de la Tour and Jason Atherton’s one Michelin-starred City Social, before taking the reigns at the Galvin brothers’ Michelin-starred La Chapelle. He joined Gordon Ramsay restaurants in 2022.
Above: Pissaladière – Allium, mushroom dashi, anchovy. Right: Head Chef Orson Vergnaud's menus are driven by the rhythms of the seasons and infused with both artistic flair and culinary innovation. Left: Pétrus has been recognised by The World of Fine Wine for winning the World's Best Wine List (Medium-sized). The restaurant prides itself on its extensive wine collection that showcases breadth, depth and originality.
Originally launched in 1999 on St. James’s Street, Pétrus moved to the Berkeley Hotel in 2003 before finding its permanent home on Kinnerton Street in 2010. Since then, it has been the epitome of Michelin-starred excellence, offering a blend of refined elegance and a welcoming, homely atmosphere. The restaurant prides itself on creating a menu that marries classic culinary techniques with innovative twists. Each dish is presented on beautiful Parisian crockery, building an immersive journey through both flavour and beauty.
culinary team sources the finest seasonal ingredients, ensuring a dynamic and ever-evolving menu that captures the essence of modern French cuisine. Below: Lobster Raviolo
At the helm of the kitchen is Head Chef Orson Vergnaud, who leads a talented team that sources only the finest seasonal ingredients. His menus are a reflection of modern French cuisine, driven by the rhythms of the seasons and infused with both artistic flair and culinary innovation. Orson’s journey to Pétrus began in 2012, when he moved to London after training in Toulouse for five years. Since then, he has held head chef positions at Le Pont de la Tour, Jason Atherton’s Michelinstarred City Social, and the Galvin brothers’ Michelin-starred La Chapelle, before joining Gordon Ramsay Restaurants in 2022. Contrary to the stereotypical notion of Michelin-starred establishments, Pétrus offers a refreshing departure from the norm with its relaxed and inviting ambiance. The space encourages guests to unwind and savour every moment of their meal, creating an experience that is both refined and comfortable. For those seeking a more intimate and immersive encounter, the Chef’s Table provides an exclusive opportunity to dine in the kitchen. Situated within the heart of the action, guests can watch the culinary team in full flow while enjoying a bespoke menu curated by Vergnaud and his team.
Top left: Rabbit à la Royale –Black pudding, pickled cabbage, brioche. Above: Led by Head Chef Orson Vergnaud, the
–Finger lime, fennel, bisque.
Above and below: Pétrus' exclusive Chef's Table experience. Positioned in the kitchen, this private area allows guests to witness the magic unfold.
The striking wine cellar, which stands in the centre of the dining room, is a focal point that sets the tone for the exceptional wine list. With 900 wines carefully curated by the restaurant’s expert sommelier team, the collection spans French vintages, hidden European gems, and rare selections that elevate each dish they accompany. Pétrus’ commitment to offering a world-class wine list was recognised by The World of Fine Wine, which awarded the restaurant the title of ‘World’s Best Wine List (Medium-sized)’. This celebrates the exceptional breadth, depth, and originality of their collection, inviting guests to indulge in a truly unforgettable wine journey.
Pétrus’ ethos is rooted in providing a welcoming environment where guests feel at home, regardless of the occasion. This commitment to inclusivity is reflected in the variety of menus offered, including the Prestige Menu, a vegetarian alternative, the Discovery Menu, à la carte options, a weekday three-course lunch menu, and the Chef’s Table menu. Wine pairing is offered throughout, ensuring the perfect complement to every dish.
Gordon Ramsay first opened Pétrus just a year after launching his namesake restaurant, Restaurant Gordon Ramsay, which has held three Michelin stars since 2001, making it the longest-standing restaurant in London to achieve this prestigious honour. Pétrus, which celebrates the finest culinary craftsmanship and the very best of wine, continues to embody the elegance and innovation for which the Gordon Ramsay brand is known.
Above: The stunning circular dining room, where a floor-to-ceiling wine cellar creates a captivating atmosphere. As one would expect from a restaurant named after one of the world’s finest wines, the wine list features many different vintages of Château Pétrus. However, it’s not all about this varietal with Pétrus offering an expansive list that focuses on France’s top vineyards and other fine and rare European gems. Below: Aynhoe Park Deer - Beetroot, verjus, shiso.
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Diabetes and well-being. According to the International Diabetes Federation (IDF) millions of people with diabetes face daily challenges managing their condition at home, work, and school. They must be resilient, organised, and responsible, impacting both their physical and mental well-being. A new global survey conducted by the IDF reveals that 77% of people living with diabetes have experienced anxiety, depression, or another mental health condition because of their diabetes. Diabetes care often focuses only on blood sugar, leaving many overwhelmed.
FROM HEART HEALTH TO HEALTHY HABITS
DIABETES AND LIFESTYLE
Diabetes, a condition affecting millions worldwide – and 37,800 total cases of diabetes in adults in Malta according to the International Diabetes Federation Europe – is not just a diagnosis; it’s a lifestyle shift that calls for awareness, adaptability, and dedication to overall well-being. For those managing diabetes, maintaining an active and positive lifestyle is a meaningful goal which involves more than medical care; it extends to dietary choices, exercise routines, mental attitude, and nurturing connections within supportive communities. With a mindful approach, people with diabetes are discovering that well-being is within reach, no matter the challenges of the condition.
Photography Erol Ahmed.
Acentral aspect of managing diabetes revolves around nutrition and ultimately making informed choices that directly impact blood sugar levels. For people with diabetes, food is more than sustenance; it’s an essential element of their health strategy. Balancing carbohydrates, prioritising whole foods, and carefully monitoring portion sizes are all steps that can prevent sudden spikes and dips in blood glucose levels.
Small dietary changes can make a big difference, such as choosing complex carbohydrates over refined sugars or swapping processed snacks for whole fruits and nuts. These adjustments don’t necessarily mean giving up flavour, either. Practical meal planning, combined with mindful ingredient choices, can create dishes that are both delicious and beneficial to one’s health.
Please note that this is something which
anyone can apply at any age, regardless of whether they have diabetes or not. Food choices that are beneficial to people with diabetes are in reality the same food choices that are healthy to everyone really.
One way to make these healthy choices more manageable is through strategic shopping. Instead of reaching for highly processed foods, opting for fresh vegetables, lean proteins, and fibre-rich grains allows for flexible and diabetes-friendly meals throughout the week.
HEALTH & WELLBEING
So what to choose?
When selecting fruits, for example, berries, apples, and pears tend to have a gentler impact on blood sugar than tropical fruits. Nuts, seeds, and avocados provide healthy fats that help keep you satisfied and reduce the likelihood of sugar cravings. This proactive approach to meal planning and shopping fosters a sense of empowerment –those living with diabetes can feel in control of their choices, making food an ally rather than a restriction.
Exercise also plays a crucial role in diabetes management and overall health. Regular physical activity helps regulate blood sugar by making the body more responsive to insulin, and it also has a positive impact on mental well-being.
Incorporating cardio and strength training activities into one’s routine can help in building endurance and maintaining muscle mass, which supports metabolic health. Even small changes, such as taking short walks after meals, can make a long term difference. Physical activity does not have to be intense or time-consuming to be effective; the key is to find enjoyable activities that fit naturally into everyday life, making it easier to stay consistent.
But managing diabetes is not limited to physical health alone. Living with a chronic condition requires mental resilience – it can occasionally feel overwhelming to navigate the necessary lifestyle adjustments. Stress and anxiety can affect blood sugar levels, underscoring the importance of mental well-being for those with diabetes. Many find support in diabetes advocacy groups or online communities, where sharing insights and struggles can bring comfort and encouragement. Practicing relaxation techniques, such as mindfulness and deep breathing exercises, can also ease stress,
providing a moment of calm in an otherwise busy day.
Diabetes can also affect heart health, as those with the condition face a heightened risk of developing cardiovascular diseases. This makes holistic care crucial. To minimise risks, it’s important to manage blood pressure and cholesterol levels alongside blood sugar. Certain foods, such as leafy greens, oily fish, and whole grains, contribute to both heart and metabolic health, making them valuable choices for anyone aiming to live well with diabetes. Reducing salt intake, avoiding trans fats, and incorporating foods rich in omega-3 fatty acids can also support cardiovascular well-being, addressing two major health concerns simultaneously.
One way to embrace these changes practically is by experimenting with diabetes-friendly recipes and snack ideas. A small apple with a handful of almonds, for instance, combines fibre and healthy fats that help stabilise blood sugar. Greek yoghurt with fresh berries provides a balance of protein and antioxidants, perfect for a mid-morning boost.
A vibrant vegetable stir-fry, complete with lean protein and a sprinkle of sesame seeds, offers a colourful and satisfying meal that supports both heart and metabolic health. Each snack or meal can be made to nourish the body, providing stable energy without sacrificing enjoyment.
Managing diabetes is about balance that requires planning and flexibility, with each person finding a rhythm that works for them. By making mindful decisions around food, staying active, nurturing mental health, and prioritising heart health, people with diabetes can thrive while also potentially improving their condition. This approach transforms diabetes management from a list of rules into a holistic lifestyle, where physical and mental health come together.
MARGOT ROBBIE THE NEW FACE OF N°5
Margot Robbie, the new face of CHANEL’s iconic N°5 perfume has been Ambassador of the House since March 2018, and today is part of the lineage of great actresses who have in turn embodied the essence of this unique scent. When in 1921, Gabrielle Chanel launched N°5 perfume, she had already sealed her reputation for redefining the feminine silhouette as a way to liberate women. In that same vein, N°5 was created to pioneer a certain idea of femininity. Gabrielle Chanel was the first of her kind, an original, imaginative trailblazer who held her own in the male dominated world of Haute Couture. CHANEL N°5 also embodied those attributes. Golden, distinctive and legendary, CHANEL N°5 is powerful, individual, inimitable and always in tune with the present moment. Which is why it is, and has always been, a scent for a woman who chooses herself.
Photography courtesy CHANEL.
Continually evolving her diverse body of work, Margot Robbie brings gripping narratives to life in coveted roles that speak to her powerful on-screen presence. Since her breakthrough in The Wolf of Wall Street by Martin Scorsese in 2013, Margot Robbie has notably played Sharon Tate for Quentin Tarantino in Once Upon a Time... in Hollywood and her performance as an ambitious young woman who started over again in Babylon was unforgettable. She received her first Oscar nomination for I, Tonya, an independent feature telling the controversial story of Olympic figure skater, Tonya Harding, which she also produced under her LuckyChap production banner. Most recently, Margot Robbie produced and starred in Greta Gerwig’s Barbie, a global phenomenon, which went on to receive eight Oscar nominations. Margot Robbie has numerous film and
television development projects with LuckyChap, all of which correspond to their objective of finding and championing female stories, female voices and emerging filmmakers.
An Academy Award nominated actress and a visionary producer, Margot Robbie is a woman who has decided to create the conditions for her own accomplishments, always with the desire to tell stories carried by strong female figures in mind. Her career as an actress and producer is impressive, her aura is irresistible, her charisma, both powerful and serene, resonates in every way with the unique character of the iconic N°5.
“I think CHANEL N°5 is one of the most iconic fragrances in the world. It’s incredible to be a part of it.There’s such an impressive lineage of women who’ve been associated with the fragrance over the years. I am very honoured to be joining that long list of incredible talents.”
