Places - Design & Living (April 2017) by Times of Malta

PLACES ISSUE 15 APRIL 2017

Design & Living

THE OFFICE ISSUE Living workplace layouts

GOING TO TOWN Sleep in the city Work this space

Reflecting company identity

DÃ©cor diaries RENEWING THE REAL OLD SPRUCING UP FOR SUMMER REBIRTH OF THE TRADITIONAL BATHROOM

THE BLUEPRINT

PLACES

Design & Living

ISSUE 15 APRIL 2017

MY DESIGN

THE PROJECT 10

Labour of Love Stories inside eclectic interiors

Flying High City hotel sojourn

PROJECT PEOPLE 24 Salt of the Earth Redesigning in Brussels buildings WORKSPACE 29 A Place to Park Design Ideas Growing a garage into an architectural studio 38 From Disuse to Good Reuse Sensitive workshop refurbishment 42 Welcome to Work Reflecting a company’s identity HOME DÉCOR 46 DOING IT UP: DO/DON’T Living in the Office For an elevated work experience 48 LIVING DESIGN Not Too Light, Not Too much, Just Right Sprucing up the house for spring/summer 53 TRENDS Bathtime Soak up the latest styles DESTINATION, HERITAGE & ENVIRONMENT 56 GOING PLACES Where Myth is Truth Loving the island of Aphrodite 61

DIGGING IT UP On a Silver Platter Bringing back the work of Maltese silversmiths

64 IF WALLS COULD TALK Setting the Stage Breathing life into Malta’s theatres

ON THE COVER PHOTO: SEAN MALLIA See story on page 10

PLACES APRIL 2017

PHOTO: SEAN MALLIA See story on page 42

PHOTO: Sean Mallia

MY DESIGN

THe OTHeR day, a toddler was complaining about the bumps in the road. To cushion the painful reality that this discomfort is rampant in Malta, i said it was because we were driving on country lanes… in the countryside. She retorted, with a whatare-you-talking-about tone: “But the countryside is in Sicily and we are not in Sicily!” By elimination, i understood her to mean that there was no sorry excuse for rural areas here. Her brush with the countryside was only experienced in trips to that neighbouring island, and could she possibly have made the topographical distinction between the two? Whether i was reading too much into it is beside the point. To be fair, intended or not, she did have an innocent point and it got me thinking.

i concurred that there was more countryside in that neighbouring island than in ours, but that we had some pockets of it too. Having said that, i’m not sure i was convincing... and the fact that the bumps in the road continued throughout most of our journey home, when we had long exited one of those pockets, didn’t help to prop my argument about the roughand-tumble country lanes. Malta as seen through the eyes of a child can be quite fascinating, not least from the Bob-the-Builder point of view. The real-life cartoon character and his machinery – and we know how much kids love diggers and bulldozers – are everywhere… no need for a trip to a theme park to meet Bob. But once the allure is over…? We’ve stopped calling out his name when we see a workman operating in a cloud of dust. and i don’t think it has much to do with the fact that we’re over this animated guy, but more to do with my dampening angry reactions when no health and safety precautions are in place – if not to protect themselves, to safeguard neighbours and passers-by; in other words, me! “Yes, we can [fix it]!” no longer springs to mind – not even in a toddler’s head – when yet another unruly construction site is spotted and we fly into a rage.

Speaking of which, office building developments seem to be all the rage nowadays, in keeping with that sheep-like attitude of the Maltese, which sees everyone jump on the tight bandwagon the moment a new idea takes off. Riding also on the possible Brexit stroke of good luck for the Maltese economy, every block is being turned into a workspace and rented at exorbitant prices. and as with everything else, we have a glut. Take the blossoming of boutique hotels in Valletta for example. The expression, jew nejja, jew mahruqa [either raw or burnt], couldn’t be more apt as we move from a situation of not a single bed in the capital to nothing but… i don’t think any foresight has come into the copycat equation as the dollar signs that drive the nation cloud better judgement. But let’s just say that when this property bubble does burst, only the best will be left standing. PlaceS: DeSiGn & liVinG is constantly picking these projects out. When push comes to shove, it should be these offices and hotels, which have broken away from mass production, focused on clever conservation and reuse, respected their environments and our heritage and created something individual and original, that won’t bite the dust.

aPRil 2017 PLACES

THE PROJECT

LABOUR OF LOVE

Natasha Borg has been collecting furniture for a while. Now, these painstakingly restored authentic vintage pieces have found their rightful place in the eclectic design of an Old Bakery Street boutique hotel. Every corner of The Coleridge has a story to tell.

PHOTOS: SEAN MALLIA

When Natasha Borg and Trevor Zahra got their hands on 89, Old Bakery Street, Valletta, the façade of the 17th-century three-storey house was scarred by some intrusive interventions that took place over recent years. But it didn’t take long for the accretions – “anything that wasn’t authentic to the place, the period and Valletta” – to be stripped off. Natasha wouldn’t have it any other way. With a background in History of Art & Architecture, Culture Planning & Regeneration, it is not surprising that the rationale was to retain and regenerate as much as possible of the house’s original character and features.

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Being eco-conscious – even the hotel’s stationery is recycled and toiletries refillable – the starting point was to restore what they could, which never means taking the easy way out. Inhabited when they bought it, minimal intervention was required in terms of civil works, so the initial idea was to embark on cosmetic design changes. But as the ball got rolling, there was no stopping them from delving into minute detail, turning the project into a labour of love and leaving no stone unturned… almost literally. When digging for the lift, they discovered a cellar, which had been filled with debris. It was restored and turned into the dining room, where

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THE PROJECT

IT’S NOT SO MUCH THE IDEAS. THE PROBLEM, MORE THAN ANYTHING, IS FINDING SOMEONE TO EXECUTE THEM

breakfast is served, and could also serve as storage for a small selection of fine wines. Natasha and Trevor took on the arduous project management of the place and its interior design with full force – cutting no corners and probably complicating life. And finally, the fruits of what seemed to be a thankless task are starting to be reaped as The Coleridge welcomes its first guests. The design concept was based on “respect” for the context, but

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also on a passion for vintage pieces and creative recycling, which means barely any off-the-shelf items have been used to decorate its individual and distinct five rooms [soon to be six with the addition of a connecting duplex suite]. Many items were sourced by word of mouth and purchased locally and internationally. And restoration was the name of the game. It would have been much easier to replace the doors, for example, but it’s not Natasha’s style. Each

one is original. Each was stripped to bare wood, restored and repainted [by a painter, and an artist for the detail] and modified to integrate the electronic lock system. These doors alone – the only items in the property that are all the same – required the work of several different craftsmen, not to mention removals and dismantling.

Looking back, it was a “nightmare”, Natasha admits. And it is not surprising either that she “almost had palpitations” when she was told she had no choice but to use stainless steel electronic lock system handles when the originals were brass and she had even sourced brass peepholes. But Trevor managed to eventually

track them down. And even the brass escutcheons were bought from abroad. Like this story, there are others. In one of the suites, the lampshades by the bed are not only hanging, but also upside down. To do this, a bespoke metal structure had to be created [and hidden] to hold them up, and other details designed to

cover and tidy the alterations; then, of course, the shade had to be made… As with most objects in this hotel, a whole lengthy process was involved and, sometimes, several hands. “It’s not so much the ideas,” Natasha says. “The problem, more than anything, is finding someone to execute them.”

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THE PROJECT

Take, for example, the threearmed brass bedside wall lights in one of the rooms. They are more than what meets the eye; a complex process of restoring, replacing and rewiring, as well as re-upholstery.

IT WAS ACTUALLY PASSED ONTO ME BY A FRIEND TO USE TO COVER AND PROTECT THE FURNITURE WHILE WE WERE DOING WORKS. ORIGINALLY, THE FABRIC WAS A CURTAIN IN AN OLD HOUSE. I GAVE IT ONE LOOK AND FELL IN LOVE WITH IT, DRY-CLEANED IT A FEW TIMES AND THIS IS THE RESULT “They were one of the first pieces I bought. I even replaced the candle-like tube of worn-out plastic with hand-rolled paper I sourced from abroad…,” she says. Their shades are created from the same rich fabric of the pelmet and cushions… But only because Natasha has an eye for interiors. “It was actually passed onto me by a friend to use to cover and protect the

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furniture while we were doing works. Originally, the fabric was a curtain in an old house. I gave it one look and fell in love with it, dry-cleaned it a few times and this is the result.” With an approach of the sort, it is no wonder that no two suites are the same; no two colours; no two pieces of furniture. Starting from the reception, with its panelling in a deep green and grey moulding, the

feeling is quintessentially English; but in the corridor, the stone slabs [xorok] are laid bare, moving onto the Maltese architectural feel.

A French flair is coupled with baroque and Art Deco touches too. The rooms contain anything from period pieces from the 18th century to G Plan and flea market furniture, items from the 1970s, bought in auction sales, and modern Danish designs, all tastefully intertwined and with a story to tell. “I used to just buy what I liked, but knowing the hotel was underway, I’d keep it in mind,” Natasha says. Her antique wardrobes, French polished from scratch, have found the ideal use; chandeliers have been cleaned and rewired; and original 1920s bedside tables have the space for the bedpans. The Napoleon chair in one of the spacious rooms was “battered and

horribly upholstered”. It has been stuffed and looks as good as new and better. Opposite, a dainty bureau de dame doubles as the ideal and clever desk for a laptop. It needed light restoration and the back was upholstered in velvet, Natasha explains. “It was originally designed to live with its back – in flat and unpolished wood – hidden against the wall. But it has been given a more threedimensional use now, occupying the space in a different way…” Natasha points out the different and pristine Art Deco chairs in the suites, and no one can miss the leather deco-style armchair, which lends itself beautifully to the room it is in – probably also because it is the space it has always occupied,

being one of the few pieces kept from the original house. The art in the rooms, including several engravings, plays an important role for Natasha; each piece is original and was bought specifically for each suite. In one, the subject is architectural design and fortifications, with an interesting reference to an engineer who worked in Malta back in the day. In another, Grand Masters’ portraits, typical of old houses and usually lining the stairs, sourced a while back from a local auction, have been “integrated” in the lounge area, with a “more modern twist as they take centre stage”. Mirrored sconces were dismantled and recreated in a team effort, and Victorian glass shades

APRIL 2017 PLACES

THE PROJECT

IT’S NOT THE FIRST TIME NATASHA AND TREVOR WENT TO LONDON AND SPENT FOUR DAYS RUNNING AROUND HARDWARE STORES FOR THE RIGHT SCREWS AND ESCUTCHEONS are also linked to a saga: they were probably hanging, or on a lampstand, but Natasha’s became wall lights to be sure she went down the more complicated route. The light fitting she designed had to be produced from scratch, which meant finding someone who works with brass and was willing and able to do the job. [Thanks go to her electrician, who patiently worked on all her light endeavours, she points out.] When all was done and dusted, “we had to find the brass screws”. In fact, it’s not the first time Natasha and Trevor went to London and spent four days running around hardware stores for the right screws

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and escutcheons. “Our holidays have been hilarious,” she admits. In fact, although most items have been recycled, some had to be sourced from overseas to meet Natasha’s needs… down to the plant pots. And if she had to choose,

her pride and joy are the modern designer LED bulbs she turned into simple pendant bedside lights in the top-floor room, the Fayette Suite, which has a more modern feel, mixing rust with green and a feature wall of foliage wallpaper. “I could easily look at these bulbs for an hour,” she says. While the old Maltese tiles in the rooms were salvaged, where possible, and ceilings expose stone slabs and beams, the bathrooms have a more modern micro-cement finish. But each one stands out for its different vanities, some original, with antique marble surfaces, others in the form of a restored and reused antique table, as well as the modern concrete version. The bottom line is that nothing is made to look old, Natasha insists. “All in all, it was a fun project,

especially in terms of colours, and here I was fortunate to be able to bounce off ideas with my good friend Henry,” she adds. Natasha loves the fact that The Coleridge is located at the bottom of Valletta – more easily accessible from below, in fact – with Fort St Elmo and the sea in its view. “It’s central, and yet, at the same time, it’s not in the hustle and bustle of the city. While still having the advantage of being on one of its principle streets, you are not in the thick of it when you step out, and important sites like the Grand Master’s Palace are just a road away. The whole area is being regenerated,” says Natasha. And it is, in fact, the address of the boutique hotel that inspired its name. Rather than go for the

obvious and focus on the period of the Knights of the Order of St John, Natasha and Trevor wanted the property to have a literary theme and toyed with various related ideas. Since the poet Samuel Taylor Coleridge spent some time in Malta and actually lived in Old Bakery Street, he was the obvious choice. And the names of the suites are all related to his poetry. Yes, the anecdotes abound at The Coleridge. A former owner passes by and tells Natasha and Trevor the wood of the beams in one of the rooms was from the hull of a galleon from the time of the Knights. So it seems the Order has managed to infiltrate the décor of this child-free, boutique hotel anyway to add to the exquisite eclectic mix that it is.

APRIL 2017 PLACES

THE PROJECT

FLYING HIGH It was once called Strada del Gran Falconiere, so the new city hotel on Melita Street, Valletta, is named after that bird of prey, turning a 16th-century property, rebuilt in the 1950s, into 43 rooms that draw most of their design inspiration from its post-war style. PHOTOS: ALAN CARVILLE, MARK G MUSCAT, ANDREW RANDON

PLACES APRIL 2017

YOU’VE PROBABLY walked past this Melita Street building for years and never noticed it. But today, you probably would. Another decrepit property in Valletta has been converted into a city hotel, upgrading the area and breathing life into a disused and dilapidated space. It’s a falcon that has risen from the ashes this time…

Mark G Muscat, the interior architect of the project that was completed in a year and has recently opened its doors to guests, recalls stepping into a broken-down building of mixed use. While it was structurally sound, it had gone through several changes, parts were vacant and dilapidated and the entrance was full of pigeon excrement. But today, La Falconeria’s

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THE PROJECT

connection to birds is somewhat more sophisticated and clean. Despite the challenges and constraints of property development in Valletta, in an intense year, civil works and finishes were completed, and the result is a retro feel that harks back to the building’s post-war days. It was bombed in the war, together with the Auberge de France behind it, and was rebuilt. The basic design elements are mostly traditional, including the wooden apertures and cement-style tiles, which were reproduced to take the property into the 21st century. Swivel doors make the most of tricky spaces and the geometric patterns of the flooring – also reflected in the soft furnishings – add that modern edge, which is further complemented by contemporary light fittings. The woodwork is probably one its most striking features, with panelling, both smooth and ribbed, making a subtle statement in various areas throughout the hotel, says Mark. But the pièce de résistance is La Falconeria’s indoor pool, deep in the belly of the building in its bell-shaped well. Considered one of the major design feats of the project, it is a unique reinterpretation of the well. Apart from the indoor pool and fitness area, the property is also proud of its on-site restaurant, L’Artiglio, operating seven days a week for lunch and dinner and open to non-guests. The idea was to create a homely trattoria feel, says Mark, with its cement tiles and customised joinery. The woodwork lends the warmth and the use of a bench gives that casual feel. Then, there’s the back-lit drinks cabinet, which had to make a statement as it is directly visible from the road. Other touches include eco-leather seating, a metal gate that divides the areas, but is also aesthetically interesting, and the open kitchen that churns out 21 meals a week! While La Falconeria, part of the La Toc Hotels Ltd portfolio, which has others in the pipeline, does not define itself as a boutique hotel, it is a “design-oriented property, with a big emphasis on making it look different…” In this case, the difference was achieved through a neutral palette in the rooms, with a subtle hint of colour

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THE PIÈCE DE RÉSISTANCE IS LA FALCONERIA’S INDOOR POOL, DEEP IN THE BELLY OF THE BUILDING IN ITS BELL-SHAPED WELL

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THE PROJECT

in the form of a bright lamp, for example, or the artwork on the wall. The lino prints by Jennifer Mallia are hand-painted individually so no two are the same. And that’s also where the touch of colour comes in. “Hardly anything is off the shelf and we have focused on high-end finishes, with Pedrali sofas in the lounge area and some iconic lights… More than anything, it’s a warm mid-century modern and minimal feel, with retro-style bathrooms,” Mark says. He used contemporary pieces he feels lend themselves well to the old building. Reflecting its later stages, the interior

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design is by no means classical, veering away from an exaggeratedly grand feeling and that “fake old”, which can verge on the kitsch. The staircase is original and the entrance hall – the front part of the property dates back to 1580 – and courtyard were retained. The rooms – seven categories – are mostly accessed through an outdoor corridor, overlooking the shady courtyard. Four suites have terraces, and others enjoy Maltese balconies on the façade, which have views of a grand total of five churches, as well as the colourful rooftop life of the locals that simply adds to the charm.

PEOPLE PROJECT

The ‘all-seeing eye’ in the atrium of the Justus Lipsius building.

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SALT OF THE EARTH PHOTOS: MONICA AUDREY GALEA

Every six months, the Presidency of the EU Council rotates between member states, and each time, a number of spaces and rooms in the Justus Lipsius building and, for the first time this year, inside the Europa building in Brussels, are redesigned by the country that holds the presidency. This time, it’s Malta’s turn… and this is what its design team has done. REDESIGNING rooms in the Justus Lipsius and Europa buildings in Brussels is an opportunity for each member state to react to a current theme that is chosen by the EU Council and to interpret it in a series of projects and installations. The chosen theme for the Presidency of the EU Council is migration and the Mediterranean; “a theme that is charged with both hope for those who brave the seas in search of a better life and also tainted with tragedy at the mercy of the elements. The sea is seen as that which isolates, but also as that which connects, giving the Maltese their unique characteristic identity as a nation,” according to the design team from Malta. The team was made up of members of the Faculty for the Built Environment from the University of Malta, Dr Antoine Zammit and Monica Audrey Galea, together with three Masters in Architecture graduates, Daniel Attard, Sacha Cutajar and Kristine Pace. They were inspired by the leitmotif Ilma u Melh [water and salt], the title of the collection of projects. The team transposed these elements, both literally and figuratively, into its work. The priorities for the Maltese presidency include the Mediterranean, migration and maritime affairs,

which for the design team, represent “duality, fulfilling potential and natural growth” and have, in turn, inspired their series of installations. Together with a team of 12 skilled workers, they transformed six spaces: the atrium, foyer, Presidency room and waiting area in the Justus Lipsius building, and the meeting room and waiting area in the Europa building. The components used in these spaces were built and manufactured in Malta to strict specification requirements and tight deadlines before being installed in the areas for which they were intended in Brussels. All six areas are experienced in different ways, some having a more interactive nature due to the high volume of people that pass through them on a daily basis, while others are located in more restricted parts, open only to heads of state and their guests. All are, however, variations on the theme Ilma u Melh and act as an open invitation for reflection on these important themes.

The atrium The atrium unites the three themes of duality, fulfilling potential and natural growth. The design proposes an interactive installation that, on plan, references the eye found on the Maltese luzzu, a symbol of protection for fishermen against the sea, says Audrey. It includes two pathways: one over a platform that gives access to information on TV screens installed around the centre of the ‘all-seeing eye’; and another through a tunnel. Inspired by a nautical structure, the metal ribs compose the backbone of the tunnel, and drapes that act like sails close the gaps between the structural members. “The drapes represent the temporary nature of an immigrant’s stay in Malta and may be opened up at will to allow visitors to catch glimpses of what lies outside the tunnel,” explains Audrey.

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PEOPLE PROJECT

Salt designs in the Europa building meeting room.

THE VARIOUS LEVELS PROVIDE INFORMAL SEATING AND MOBILE CHARGING STATIONS, WHILE THE INTRODUCTION OF A GARDEN IS AN INVITATION TO PAUSE AND SLOW DOWN

The Justus Lipsius waiting area.

The chosen vibrant yellow represents the colourful Maltese culture and offers some of the warmth that a dose of Maltese sunshine could bring to an otherwise grey and cloudy Brussels day. Inside the tunnel is a sound installation, including an ocean drum that visitors may interact with to create, for example, the effect of the waves crashing on the shore. “Passing over the platform and tapping into the information monitors signifies fulfilling one’s potential. Passing through the tunnel and, therefore, choosing a more uncertain path [whose exit is not clearly visible from the entry point], visitors temporarily come face to face with some of the hardships of migration: facing a journey with an unknown outcome, bathed in the soft light that filters through the overhead drapes and accompanied by the sounds of the ocean drum, offers temporary disorientation, giving the passer-by a chance to detach and reflect on the contemporary reality of forced migration,” Audrey says.

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The foyer The passage through the tunnel culminates in the foyer, an area for engagement with realtime storytellers, offering another opportunity for interaction. “The foyer is a place for stories; stories recounted in different languages, with the help of interactive screens. This area has been transformed into the stylistic representation of a Maltese landscape in terms of the topographical layers that define it,” Audrey explains. This is achieved through the creation of a natural indoor garden, laid out along the lines of a multilevel formal grid layout. The colours used reference the rocky Maltese shoreline, offset against an ocean blue carpet that delineates the extents of the foyer. The various levels provide informal seating and mobile charging stations, while the introduction of a garden is an invitation to pause and slow down. Asked about the use of ‘nature’ in the design of the foyer, Audrey explains that it “requires maintenance

to thrive, as does the EU require constant care and maintenance for its citizens to understand what it does and how this affects them”. She continues: “The foyer is a place to stop and reflect… an opportunity to engage … through the sharing of stories… It represents the way migration has provided a healthy growth of European communities and is a fundamental component of the EU’s raison d’être.” The use of salt plays an important role in the design of all the installations. “Salt has an important [and opposing] duality – it sustains and preserves life, increasing the lifespan of products; but at the same time, the human body is unable to ingest seawater due to its high salt content. “Physically integrating it into the spaces was one of the major challenges of the project due to its fragile unstable nature and its hygroscopic properties,” Audrey says.

The beauty, abundance and versatility of Maltese salt is celebrated and successfully integrated into the design of the spaces in two ways: coarse textured Maltese salt was used to fill some of the wooden planters in the foyer and also in the Europa building waiting area such that people could touch, taste and feel this element up close. It was also combined with resin in an experimental process that transforms it into translucent panels of considerable strength, varying texture and beauty. These were then integrated with lighting and transformed into walls and tables in the various spaces. The salt metaphor, introduced in the foyer, meets its ultimate expression in the vertical salt column at the centre of the ‘garden’. “It is both a memorial and a symbolic reference to the lives lost at sea, as well as a reminder of the close relationship the island has with the Mediterranean,” Audrey points out.

The Justus Lipsius Presidency room, the Europa building meeting room and waiting areas

The Justus Lipsius Presidency room.

The foyer in the Justus Lipsius building.

Salt plays an important role in the design of these spaces too. In the Presidency room, the customcreated salt panels are transformed to recreate the strong visual imagery of the salt pans. Illuminated from within, the salt is reworked into the highly geometric expressions of the salt walls, the only elaborate elements in an otherwise minimal space. The ocean blue carpet features once again in this area, contrasting with the custom-built monolithic salt tables. The Presidency room and its adjacent waiting area are two sides of the same theme, “with the waiting area describing the influence of the Mediterranean, maritime sector and migration on the economy, as visualised through the salt pans”. The Europa building meeting room is a continuation of this theme. It is a calm and minimal space that includes references to the salt pan walls visible in the other spaces. The main design focus of the space is the custom-made salt tables, this time having clear glass tops to allow the smooth and rough textures of the salt slabs to really come through with the use of light. The adjoining waiting area is once again a contemporary reference to a rugged Maltese coastal landscape, this time without the formality that characterises the foyer. The space incorporates planters and surfaces that double as seating and tables and culminates in the illuminated ‘salt pan’ wall that sets the tone for a space that is used for reflection and debate.

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WORKSPACE

Where do the architects work? How do they design their own spaces â&#x20AC;&#x201C; hubs of creativity? What are the architectural elements that create their ideal office environment? How do they play with space and adapt their backgrounds and beliefs to their own projects? PLACES provides two examples of saving space and heritage when changing a garage and a workshop into an office. APRIL 2017 PLACES

WORKSPACE

A PLACE TO PARK DESIGN IDEAS This office was born out of a non-descript garage – the ideal canvas to showcase a start-up architectural studio’s ability to personalise a space and use it as an expression of itself and its capacity to create a new work environment from nothing. Dr Antoine Zammit, urban designer and founding architect of studjurban, explains what it took to design a space where everyone can feel part of a bigger team – as well as positive and serene when tight deadlines cause stress.

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PHOTOS: SEAN MALLIA

What drew you to the space in Balzan? At the neighbourhood level, it was the centrality of the location, the familiarity of the area [it is on a good street and close to where I grew up] and its north-facing orientation, giving a good light to the space, without overheating it in summer. In terms of the space per se, it was the right size for a start-up office. I was drawn by the potential that the volume had, being a garage with a higher than normal floor, and I loved the fact that there was a possibility to have a small front garden [previously the driveway]. From an urban design point of view, I guess I was excited by the prospect of creating a new active frontage onto the street out of a previously dead faรงade as a garage door, and thus positively contributing to the streetscape. I did not want to move into a ready-made office, particularly if it was part of some other development, as I wished to personalise the space and use it as an expression of the studio itself and its ability to produce a new working environment from a non-descript property in an inventive manner. What state was it in? The garage was in use, so it had electrical and drainage connections [and a small WC at the back]. It was also painted, but it was far from acceptable as an office space. What were the challenges you faced in converting it into an architectural office for four? The main challenge was to accommodate four to five desk spaces in an efficient manner; in a way that would give people their own space while encouraging semi-formal debate, and allowing for an additional area where a more formal and structured discussion could occur. Then there was also the need to provide for amenities [a kitchenette and WC], so accommodating these spaces in a way that worked seamlessly with the rest was a further challenge.

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WORKSPACE

How did you work with and turn around what was essentially one long room? The trick with the space was exploiting the volume as much as possible, without compromising the available floorspace at ground level. A fundamental change was made to the volume at the back to introduce a mezzanine level and increase floorspace, while housing our amenities, and we worked with ceiling soffits and our custom woodworks, produced in collaboration with The Picture House, to define the individual spaces. The idea was to articulate the single space into four character areas: the front garden [with future plans to transform it more formally into a breakout outdoor discussion space], the waiting-area-cum-workspace, and the split back portion, with the mezzanine meeting area above and amenities below. Two of the four working desks have pull-out segments that enable small informal meetings to take place between two people, providing additional space, generally for sketching quick options, as and when needed.

A servicing compartment was also created beneath the flooring, with parts of the screwed floor that double up as hatches if we need to access the tank and pumps. What is your view of the open plan in office area arrangements, and is it important to, nonetheless, create subtle divisions and separations? I think that in our line of work, and given the size of our office, an open plan is critical as we are essentially one team and bounce off each other constantly. As the office grows and if we had to relocate in the future, some more separate enclosed spaces may be needed, but the main workspace should nonetheless remain an open plan. Otherwise, I fear that it creates divisions in an office and reduces team spirit. I have worked in both types of environments in the past, and certainly prefer the open-plan layout. Of course, it has its challenges, and becomes harder as an office grows in size, due to increased possibilities

TWO OF THE FOUR WORKING DESKS HAVE PULL-OUT SEGMENTS THAT ENABLE SMALL INFORMAL MEETINGS TO TAKE PLACE BETWEEN TWO PEOPLE, PROVIDING ADDITIONAL SPACE, GENERALLY FOR SKETCHING QUICK OPTIONS, AS AND WHEN NEEDED Natural light was fundamental to the space, and the north-facing façade enabled us to maximise the front wall with glazing – a glazed front door and high-level openable windows that provide further sources of light while also allowing for ventilation. One of the fundamental features is the lower and higher level at the end – the sunken kitchenette and the raised boardroom. Could you elaborate on how and why this was done? The garage was quite high [3.9m], but not high enough to fit in two floors. It was, therefore, considered to be a good idea to excavate part of the back portion of the garage by around 1.2m, and house the WC and kitchenette at this lower level, accessed via a few steps. This allowed for the creation of an intermediate [mezzanine] space above, with both upper and lower levels being able to enjoy a decent headroom. There were a few iterations to the design, particularly due to some site constraints [for instance, the fact that the garage was not a rectilinear space, but it tapered inwards; the need to leave 75cm from the neighbouring property, which meant we were not able to excavate the entire extent at the back; the need to house services, most notably a drainage tank and pumps to pump up the drainage because we were now going to be below the level of the main sewer]. But we managed to accommodate everything. The inability to excavate the garage width entirely due to the neighbouring property meant we were left with a ‘shelf’ that we turned into a storage cabinet, accessible from the WC, and a space for storage and appliances in the kitchenette.

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of cross-conversations that may disturb others, so a level of control may be necessary. Hot-desking may be a solution to avoid issues of territoriality. So while subtle divisions may be necessary – I think people still need to have a feeling of ‘owning’ part of the space – in our office, we often have to hot desk [due to the need to use different machines for different tasks], and to be honest, I find this quite healthy. Everyone feels that the whole space is jointly owned in an equal manner. Again, our size makes this easier to achieve. Is it a problem that there is no private area and that this could cause disturbance and distraction? More often than not, the meetings that take place at the mezzanine level would have involved team members, and generally, everyone is aware of all the projects the office is working on. I like the fact that they can be aware of what is being discussed and contribute to the discussion on the project’s development, post-meetings. In addition, the longer meetings tend to happen quite late due to clients’ work patterns, so it does not

really cause much disturbance to the team. When one of our phones rings, whoever is answering tends to go outside and stay in the front garden so as not to disturb colleagues, so that works well. What is the work environment you wanted to create in the office and how did you achieve it through the design elements, including colour and materials? How does one create harmony and enhance productivity through interior design? I wanted a work environment where everyone can feel part of a bigger team, and feel positive and serene even at times when tight deadlines can increase stress levels. I also wanted everyone to feel proud of this office, so its image was very important in terms of making them look forward to coming to work. An essentially neutral palette [white and tones of greys and browns] allows for the introduction of splashes of colour in specific areas, such as the orange chairs [in line with our office logo] and the colour of numerous books, journals, magazines and technical literature.

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THE USE OF NATURAL MATERIALS, SUCH AS REAL WOOD, AND THE PRESENCE OF PLANTS ALSO HELP THE ENVIRONMENT, CREATING A ‘LIVING LAB’ THAT IS NOT STERILE

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The use of natural materials, such as real wood, and the presence of plants also help the environment, creating a â&#x20AC;&#x2DC;living labâ&#x20AC;&#x2122; that is not sterile. A clean look is provided through retractable spaces and a complementing palette, while lighting is also an important feature, with different ambiences created through a mix of diffused lights, feature lights and more specific task lights. I think productivity is enhanced by good lighting and the presence of stimulating elements and reference points, including books, samples and even plants. Music is also important, and we are lucky in that our musical tastes are quite similar, so when one of us is playing some tunes, it helps our productivity too. When designing an office, as opposed to a residential project, one has to take into account ergonomics. What particular considerations did you make? Ergonomics are critical, yes. Of course, heights of tables and shelves, adjustable seating for the working area and comfortable seating for the meeting area were crucial, as well as the right position of monitors for good posture. The design of the kitchenette demanded some more thinking due to the restricted space and the need for retractable elements. We ensured that even the furthest corners could be reached by all by pulling

out specific units. Then of course, there was the need for good lighting, both natural and artificial. Being the office of an architectural firm, was it important to also make a design statement? If so, how and where was this achieved? Yes, I think it is important that the office space reflects our abilities â&#x20AC;&#x201C; particularly to create a work environment that is flexible and innovative in an interesting and dynamic volume. New clients invariably remark on the inventive use of the space and how we managed to accommodate everything within its limitations. A number of materials and design details are used as examples for clients during meetings when we propose certain features, such as the wood panelling at the mezzanine level, the custom ceiling soffit works, the incorporation of lighting and the disposition of the different furniture elements. We always try to exploit a design constraint to our favour and transform it into a potential in its own right. The curved feature on the ceiling at the back of the room is eye-catching. What was the design scope? We needed to house the ceiling-mounted AC unit and we thought it could be a design statement in its own right. Given that everything is so linear, we felt

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WORKSPACE

a nice curve would complement this in a distinct manner and create a feature, while satisfying the functional requirements. We were inspired by the curve from the SU logo and felt it would be reminiscent of it in a subtle way. The woodwork, the steps, the panelling, secret features, sliding doors… are these trademark SU design elements that you also incorporated into your office? Yes, we like to work with custom design elements and are currently working on a number of projects where we have incorporated some of these features. Space is at a premium everywhere, and we rarely have the luxury to be wasteful, nor should we. We incorporate these elements not for the sake of having our signature, but as and where they are needed. For instance, we exploit open staircases to allow natural light to filter through, or we use retractable designs when we need to double up an existing area and liberate additional space. What about lighting – natural and not? Lighting was a fundamental starting point, coupled with the possibility of glazing a large extent of wall without generating excessive heat. It determined the space selection in the first instance, and features prominently, allowing a good amount of light to filter through. Different options of artificial lighting were created to meet different requirements: diffused lighting supplements natural lighting at the early hours of the morning, late afternoon, or on overcast days, especially in winter; recessed lighting within the customdesigned SU logo in the ceiling provides uniform lighting for the whole space in the evening, doubling up as a feature in its own right; and task lighting accentuates specific working areas as needed. What about dressing up the space? How important was that? The space is dressed up with the core design elements themselves, without requiring the need for additional accessories. Plants really help the work environment and they are an important component of the space. Our growing material and sample library, together with

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some physical models, also complement the space. We also have some framed projects, at different stages of completion, and this helps give clients a flavour of what we can do and hints at our growing portfolio of projects. Small details, such as our custom mugs with the studjurban logo, add a nice touch to the office. I think that if they are not overdone, these elements can really transform a space. It is like turning a house into a home, really. They should not be too prominent, and detract from the main features [the volume, the light, the main interventions, the distinct design elements] and care must be taken not to create too much clutter, especially when the space is not large. In small doses, they can help. I really like the way these features work in our space and how they add a lovely personal and dynamic touch to it. How did you work around the storage situation, being a small space? The constraint of not being able to excavate on the side of third party properties was transformed into a good storage space at the back of the office. We also housed retractable kitchen shelving and our fridge and microwave in the kitchenette. We then have a physical filing system that complements the digital filing system. We exploited the volume by having a modular system [that could extend vertically if needed] to accommodate these files, books, technical literature and product samples. And we have two additional cabinets to store stationery and to house our coffee machine and pods. So far, all this has served us well and I envisage that it should be sufficient for the next couple of years, following which we may need to add some more units. What would you say is the most important feature? Most certainly the back part of the office, incorporating the mezzanine space and the amenities below. It was really the defining intervention that made the rest of the space possible and it really brings out the volume’s potential. What if the SU team were to grow? Would the office be able to grow with you, or would it be time to move on? We can currently accommodate five people – on four desks and a fifth desk-cum-drawing-table, together with the mezzanine space if need be. Our team will be expanding to six from four in the coming weeks, meaning that the five spaces would be occupied and I would probably work on my laptop in the mezzanine whenever I am at the office. I think this is the natural limit of the space. Unless we have the possibility of expanding horizontally by renting or acquiring a neighbouring property in the future, we will have to seek alternative premises if the team grows. This is not necessarily a bad thing, and we would use it as a new design challenge.

THE PROJECT

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FROM DISUSE TO GOOD REUSE Architect and structural engineer Dr Konrad Xuereb offers an overview of key design aspects involved in the sensitive refurbishment of a disused workshop into an architectural office. AFTER OVER 15 years living in London and Milan, choosing a Malta base was not an easy decision, but a 1930s Valletta workshop immediately caught Dr Konrad Xuereb’s eye. The unit, which was previously a photography workshop and store, had been derelict for over a decade and appeared dark, battered and confined. However, its towering 4.5-metre-high ceilings, spectacular windows and original timber doors presented an exciting opportunity for him to convert the dramatic space into a serene working environment.

original spatial layout, injecting new life into the space through the careful introduction of modern interior architectural features.” Even though it would have been easier to buy new doors and plaster the walls, this would have attenuated the architectural merit of the building. Exposing the original stonework by removing layers of stained paint was a priority – and exciting as it revealed mysterious closed-up arches and doorways that reflect the building’s history and previous uses. Dr Xuereb ensured that the stonework was cleaned meticulously

carefully sourcing missing or broken glass panes and door handles from salvaged material before treating and repainting the wood. The restoration work was carried out by a skillful carpenter, who repaired the timber and cleaned all door components prior to reinstallation, including the hinges, locks and handles. A similar approach was adopted for the restoration of the derelict original wooden and metal-framed windows facing the internal yard. The original monochrome floor tiles had experienced considerable wear and tear over the years, but

REUSING AND ADAPTING EXISTING BUILDINGS IS BENEFICIAL BOTH TO THE BUILT ENVIRONMENT AND TO THE LONG-TERM VALUE OF REAL ESTATE Dr Xuereb’s research background and experience has made him a firm believer in sustainability. Reusing and adapting existing buildings is beneficial both to the built environment and to the long-term value of real estate, thereby providing a better return on investment. “I, therefore, aimed to restore the original fabric as much as possible, while respecting the

and mortar joints pointed neatly, allowing original architectural features to emerge and grace the internal space. The stone slabs [xorok], spanning onto steel beams that roof the space, were likewise cleaned, treated and painted to create a homogenous white surface above the stone walls. The original timber doors, with frosted glass panes, were restored by removing the existing paint and

still had great potential to provide a distinctive character to the space. An important architectural decision was taken to restore the existing ceramic tiles and treat them chemically to bring them closer to their original state, creating an elegant surface delineating the masonry walls. An early 20th-century workshop desk left in the property was also salvaged and restored to its

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PRE AND POST

AN EARLY 20TH-CENTURY WORKSHOP DESK LEFT IN THE PROPERTY WAS ALSO SALVAGED AND RESTORED TO ITS ORIGINAL STATE WITH A NEW LEATHER PANEL INSTALLED OVER ITS DAMAGED SURFACE, TRANSFORMING IT INTO A CENTREPIECE IN THE ARCHITECTURAL OFFICE

original state with a new leather panel installed over its damaged surface, transforming it into a centrepiece in the architectural office. The strict adherence to restore the original fabric was balanced by the introduction of key modern features, in particular the light fittings that provide a discrete burst of colour to the space. Blue hanging lights provide an interesting contrast to the walls and ceiling. Colour is also delicately introduced through the furniture. Large photos of architectural projects carried out by the practice were printed on tempered glass and bolted to the masonry via

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stainless steel pins, providing another interesting interplay between the restored fabric and the new features. Similarly, the office logo consists of a print on tempered glass connected by stainless steel pins onto the masonry, casting a shadow of the company logo onto the stone beyond.

WORKSPACE

WELCOME TO WORK photos: sean mallia

the challenge was to reflect this company’s identity in its office décor. camilleriparismode design and projects studio used mahogany mainly to reflect its maritime links. office owners are investing more and more in a well-designed reception space as this is a company’s first impression on most of its clientele. in this case, the brief was to develop a functional work/office space that was welcoming and, at the same time, reflected the company and its ethos.

in addition, the circulation of the space wasn’t well planned and was quite unwelcoming, with a desk blocking the entrance to the stairs. the décor in general did not reflect the company’s corporate identity, with a hotchpotch of materials and styles throughout.

We focused on introducing mahogany slats to immediately link up to the maritime aspect sullivan maritime in st Barbara Bastions, Valletta, engaged the services of camilleriparismode design and projects studio to work on the ground-floor area, which consisted of a reception and storage that was already in use by the company. the finish of the space was clearly dated and in a state of disrepair. marble had been used to clad the walls and it was showing clear signs of discoloration and wear.

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“our main concern, in fact, was to reflect the company’s identity in the décor. We focused on introducing mahogany slats to immediately link up to the maritime aspect,” says paul camilleri, director of camilleriparismode design and projects studio. another aim was to create a welcoming feeling in the entrance and rethink the reception desk location for a functional space that would be easier to navigate.

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Since the place was already being used, the design and projects studio could gauge directly from the employees what was required. Discussions were held with them to see what needed improving, and storage space turned out to be the main issue â&#x20AC;&#x201C; they previously had no way of concealing printers and numerous files.

BY CREATING A LARGER DESK SPACE THAT DEFINED THE ENTRANCE, THE RECEPTION WAS MUCH MORE MANAGEABLE BY BOTH THE RECEPTIONISTS AND CLIENTELE With this in mind, the wall behind the main desk was turned into a floor-to-ceiling storage space. The entrance to the storage room was opened up to create an open-plan desk space, with storage of its own concealed behind wooden slat cladding on the inner wall. A thick beam, which was previously running across the entrance, was concealed by introducing a lower ceiling in wooden slats to define the entrance space. The same slats

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were repeated vertically in the same rhythm as the ceiling to line the wall adjacent to the entrance, and a gypsum soffit was also introduced with a well-planned lighting layout for a workspace. By creating a larger desk space that defined the entrance, the reception was much more manageable by both the receptionists and clientele.

Dark grey panelling was used behind the reception desk to give more importance to the wooden desk. It also doubles as floor-toceiling storage that can easily be opened up by the sliding doors. The closed meeting room, which was, in fact, never in use, was opened up to become part of the rest of the space, only defined by the dark walls and wooden slats. This added a more functional two-person working space, with more storage hidden behind the slatted wooden walls. It was very important to create a better entrance for clients, says Paul. By introducing the lower slatted ceilings and walls, the entrance was distinct and created a clearer path to the reception desk. The most prominent feature in this office is the mahogany desk in a reversed diamond match veneer that recalls a classic front desk. The beautiful marble floor was retained and repolished. However, the flooring in the lift area was in a bad state, so, rather than replacing it with the same marble in a new finish, it was changed completely to a new marble,

Grigio Bardiglio, and the lift entrance was clad in the same material too. â&#x20AC;&#x153;In so doing, we created a visual barrier between the main reception area and the rest of the ground floor,â&#x20AC;? says Paul. While the main material used is mahogany, the rest of the grey colour palette was chosen to complement and highlight this beautiful wood. A play of lighter and darker shades of grey was also used: the lighter shades reflecting more general light where it was needed, for example, in the staircase area; and the darker shades allowing for a more focused light, such as in the desk space. As always, the major challenge on the job was the timeframes, in this case, aggravated by the fact that the office was still in service during the works. The design team also included Trends for the carpentry and Velpa Projects for project management and contracting.

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DOING IT UP: DO/DON’T

LIVING IN THE OFFICE Have you ever noticed how work has changed yet most offices haven’t? To avoid stagnation, Antonella Riotto, interiors architect at Fino Interiors Design Studio, outlines the Living Office concept, which brings the workplace to life. A LIVING OFFICE is a high-performing workplace that delivers an elevated work experience for people and helps organisations achieve their strategic goals. Conceptualised by Herman Miller, it brings you the best tools to bring your workplace to life. By recognising that individuals and organisations have their own unique purpose, character and activities, Living Office transforms the workplace into a powerful instrument that expresses an organisation’s unique culture and progresses its unique ambitions. When designing an office layout that merges with the Living Office concept, many things are taken into consideration. But the well-being of the employees making use of that space is probably the most important aspect.

LIVING OFFICES SHOULD BE FLEXIBLE AND PROVIDE A VARIETY OF AREAS THAT ENCOURAGE MOVEMENT THROUGHOUT THE DAY It is obvious that every company’s dream is to keep workers engaged and focused on their daily assignments. But how can that be achieved? To some employees, the slightest detail can be a distraction... So, here’s a set of rules that should apply in delivering not just a stylish product, but also a hive of engagement and productivity:

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IDEAS & MORE

Your very own spa The spas from Villeroy & Boch combine innovative, high-quality technology, outstanding design and premium quality to create a unique, comprehensive experience. They are exclusively available from Bathroom Design Ltd, Naxxar Road, B’Kara. Call on 2144 1328. www.bathroomdesign.com.mt

Living Offices should be flexible and provide a variety of areas that encourage movement throughout the day. Designated lounge areas for employees are another trend when designing a workspace. The choice of furniture also enhances the creation of quality environments. Here we’re witnessing a move from permanent work layouts to the creation of modular elements that turn into an ever-changing landscape. Modular components that can be interchanged, stacked and moved around offer a number of combinations that transform a normal office into a dynamic and collaborative workplace. The identity of the company is one of the factors that defines the layout of an office. In many cases, an office can enhance this identity and turn it into a stronger corporate image. A workspace should also have a bright open feel. Clean air and water, proper AC systems and the correct use of blinds are just a few elements that allow employees to spend a reasonable amount of hours without tiring due to poor ventilation and lighting. An office layout, including flooring, partitions and furnishing, is often ruined by poor electrical and lighting systems. Access to all devices should be eased and systems brought together at the click of a button on a mobile, tablet, or computer. Reducing the number of wires in a workspace might seem like an unimportant factor, yet it is key to giving all workstations a tidy appearance. A good colour scheme can boost happiness, productivity and creativity among employees. This can be achieved through a wide spectrum of colourful accessories and furniture from top brands worldwide, such as Arper, Herman Miller and Della Valentina Office, Romo, Adriani&Rossi and Ligne Roset.

Open day It’s the last day of Halmann Vella’s Open Week at their showroom in Mosta Road, Lija, which is open from 10am to 5pm. Clients are invited to view a vast selection of surfacing materials, while benefitting from special offers on all materials including marble, quartz, granite, parquet and ceramic. They can also discover the range of top-quality brands available, including Silestone, Dekton, Marca Corona and Keope. Halmann representatives can discuss surfacing requirements for bathrooms, kitchen tops, outdoor cladding, fireplaces, flooring, staircases and swimming pools over a glass of wine. For more information, visit www.halmannvella.com, or find Halmann on Facebook.

Swing softly The Hammock Rope Chair, at €79, is available in a variety of colours and styles at HomeTrends in San Gwann and Zebbug. Call on 2144 5654 for more information.

WWW.FINO.COM.MT

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NOT TOO LIGHT, NOT TOO MUCH, JUST RIGHT

LIVING DESIGN

Emma Mercieca Cristiano, from Brands International Ltd, takes a look at how “lagom” has inspired this year’s Spring/Summer trends and how we can prepare our homes this season, taking a less-is-more approach.

TYPICALLY, spring brings to mind new beginnings, and indeed, inspiration for this season has been driven in part by the concept of “lagom” that is trending in 2017 and takes the idea of Scandinavian “hygge”, which was big in 2016, a step further. The Swedish word “lagom” translates into “not too light, not too much, just right”. Whereas “hygge” was all about achieving cosiness and warmth at home, “lagom” is more about a philosophy of moderation and well-being that becomes a part of our lifestyle. It is also about the love for natural materials, such as marble, terrazzo, concrete and glass, and achieving a sense of luxury through them. Follow these tips to make your home ready for the new season. The end result will be chic, inspiring and easily updated throughout the year.

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Go greenery Green is in again this year and Pantone chose Greenery as the colour of the year. While it is more of a fresh yellow-green, deep verdant tones are easier to incorporate at home and convey a sense of sophistication. As a colour for a fresh start and to reconnect with nature, green can’t be

IF YOU ARE AFTER A LIGHTER, FRESHER TAKE ON GREEN, TEAMING IT WITH STARK WHITE MAKES FOR A LOVELY ACCENT beaten. However, styling it with bronze, brass, linens and earthy tones means it stands a better chance of remaining attractive even after the season is over. If you’re not yet convinced about having a green sofa, you could introduce green through simple plants and foliage, or a green vase. If you are after a lighter, fresher take on green, teaming it with stark white makes for a lovely accent.

Top brass While copper’s going nowhere yet, brass is hot on its heels, imbued with an industrial aesthetic and warmth that works just as well for contemporary interiors as it does more classic schemes. Apart from the obvious places, such as lighting and hardware, brass has been coming through on statement pieces of furniture – from tables to sideboards, dressers and mirrors – as well as accents and accessories, including tea light holders and vases. However, in keeping with the less-is-more idea, the key is to keep it subdued and only in accents as refined detail.

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LIVING DESIGN

Botanical and flora Botanical leaves and branches can be seen as prints and wall decorations in a new interpretation of the classic Art Deco style. Flora doesn’t only need to be in vases; if you don’t have green fingers, you can still be in with the trend by hanging clear glass vases on the wall and filling them with a single flower, or hanging white porcelain flowers on a darker wall, creating an effect that is just as striking.

Rugs are not only for winter A rug could be the only thing you need to take a room from winter gloom to spring glory. Go for pastel shades or light tones and lightweight woven fabrics in spring and summer.

Sustainable and versatile When it’s time to go outside, nothing beats the sophisticated, warm look and feel that timber decking provides. Whether it’s a small terrace, or a large pool deck, decking in hardwoods such as Ipe, Garapa and teak exudes authenticity and refined luxury. To complete your outdoor area and ensure your privacy, fencing in pressure-treated-wood can be finished in a variety of tonalities, is extremely low maintenance and exudes a sense of wooden warmth. Furniture that can be used indoors as well as out – and is portable – is also very much on trend.

Darker tones on outdoor furniture White outdoor furniture is still very much in, but darker tones are making a strong entry. A key look this season is the trendy cement look on durable HPL tops, with graphite grey aluminium powder-coated legs. For easy cleaning and a weatherproof and rustproof solution, the cement look is great paired with chairs in Textylene wipe-clean seating.

The big blue Blue has been deemed the new black and has been trending for a while. But it seems like it’s here to stay. Whereas originally it was being used more as an accent colour, it is now taking centre stage, and is the perfect backdrop for timber, metallics and other neutrals such as white and grey. Outdoors, brighter shades of blue look right in place against dark furniture frames, or the more traditional cane, while indoors, darker shades look more elegant and refined.

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Minimalist outdoor lighting No outdoor space is complete without proper lighting. Choosing simple, yet eye-catching, designs ensures that your space remains timeless.

Accessories Simplicity in accessories is key this season. Think dark natural materials and warm colours to form beautiful and striking contrasts when mixed with soft, light pastels. Flora and green hues add more personality to furnishings.

Bathtime Todayâ&#x20AC;&#x2122;s bathrooms are no longer merely functional spaces, and Charis Mallia, operations manager at Onepercent Group, knows something about that! She talks us through the type of bathroom she has gone for in her own home, offering insight into the latest trends in sanitary ware style.

TRENDS

SINCE SHE joined onepercent as operations manager almost three years ago, Charis Mallia has inhabited a world of endless design ideas and possibilities, heightened by the challenge of converting her own 300-year-old townhouse. Over the past months, she has been working closely with her team to launch onepercent bathrooms, a new showroom on Valley Road, Msida â&#x20AC;&#x201C; a timely venture, having exposed her to the wonderful world of bathrooms just when she was about to select her own for her home. Her travels for meetings and product presentations with the new bathroom suppliers has allowed her to absorb the latest details, design-led ideas and innovations.

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TRENDS

“Today’s bathrooms can be beautiful spaces, where we can lock the door, forget the outside world and relax under a hot shower, or soak in a decadent bathtub. They can be the private spaces where, for that brief moment, we can forget work, the children and social media to truly take time out for ourselves,” Charis says.

THEY CAN BE THE PRIVATE SPACES WHERE, FOR THAT BRIEF MOMENT, WE CAN FORGET WORK, THE CHILDREN AND SOCIAL MEDIA TO TRULY TAKE TIME OUT FOR OURSELVES Bathrooms nowadays have endless design potential, she has learnt. “Forget the boring taupe tile and standard fixtures and be adventurous in your choices, leaving a stunning impact. Think striking lighting, wallpaper for a guest powder room, a statement bathtub, or a contemporary walk-in shower, framed in glass.”

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The traditional revolt Contemporary bathrooms and modern fixtures have become so mainstream and such a common choice. But fortunately, traditional elements and classic design are making a huge resurgence abroad and are particularly suitable for old Maltese houses that are bursting with character. Once upon a time, they were considered old fashioned, or unsuitable for a modern apartment. But today’s classical pieces and sanitary ware are breaking boundaries and traditional bathrooms are making a comeback in a huge way. Even the most minimalist Scandinavian and Japanese architects are going back to what they describe as natural and recognisable shapes. In recent years, we have seen an increasing demand for the classic and traditional, with a contemporary and modern edge.

Charis has embraced this mood, going for â&#x20AC;&#x153;beautiful classical pieces from the Burlington bathroom range that, even when mixed with a modern interior, work perfectly to create a timeless spaceâ&#x20AC;?. She has gone for a traditional roll top bath, with a modern twist thanks to its white raised legs, which she has positioned in the centre of the room. Her Edwardianstyle basins have a modern touch by being placed on chrome pedestal stands.

The marvel of marble Marble is perceived to be costly, but Charis went for Bianco Carrara for her own bathrooms, which, she says, compares well with the price of other tiles. Marble offers the luxury of more options when it comes to the installation process â&#x20AC;&#x201C; from larger slabs to beautifully cut tiles in, for example, hexagonal and subway patterns. R Lautier Natural Stone Workshop, which did the marble work for the new onepercent bathroom showroom, has created many bespoke design ideas that are sure to inspire.

Innovation & design Modern interiors are driven by apps and devices that allow us to control our homes even from abroad. With the push of a button, front doors can be opened, air conditioners turned on and ovens preheated before even stepping into the home. And the bathroom is no different; it is catching up with this fast-paced world: from smartphone-controlled speakers within bathroom mirrors to digital showers, which offer the luxury of starting the flow of water, set to a pre-set perfect temperature, by pressing a button before entering. The digital range is clever, yet simple, giving complete control over the bathroom. Showers can be controlled from a 10-metre distance via a remote switch that, like the digital mixers, is available in both a modern and classical look. The clean, subtle design of these digital showers allows them to blend seamlessly into every style of bathroom. Speakers with Bluetooth wireless technology, LED lighting and infrared switches, as well as demisting mirrors and built-in digital clocks are features to look out for today.

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GOING PLACES

WHERE MYTH IS TRUTH Stoy Kyr Yianni tavern in Omodos.

According to Greek mythology, the ancient goddess of love and beauty was born in Cyprus. Here’s what to look out for – and maybe fall in love with – on the island of Aphrodite.

WHY CYPRUS? Apart from the fact that it is well connected, thanks to daily flights on Emirates, which always makes travel more appealing, the island shares so many similarities with Malta. These include the terrain and the beaches, elements of its history, the mild Mediterranean climate and an abundance of archaeological sites, all of which create a sort of comfort-zone,

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home-away-from-home feeling, with the additional benefits of a far less dense population, resulting in wide open spaces… Then it’s the slight divergences that allow for the intrigue and inquisitiveness to set in. WHAT’S THE VIBE? Cyprus moves at a slow and relaxed pace, which creeps up on you when you visit. Modern cities and seaside resorts

are not too far from rural villages. It’s a melting pot of Europe, the Med and the Middle East. Colonial touches infiltrate the scene; and Hellenic culture prevails. Religious devotion plays a major role in the lives of the Cypriots and Orthodox churches dot the island. WHERE TO GO Beyond the obvious city stops, stray off the beaten tracks along the wine routes and nature trails. Driving is quite a walk in the park too. Signs are in English and traffic jams are not the order of the day. Remember we’re talking a population density of 129 per square kilometre, as opposed to 1,314 people in the same area in Malta.

Mrs Loulla’s halloumi.

A street in Omodos.

Fine mosaics in the Kourion archeological site.

WHERE TO EAT At Zannetos in Nicosia, a stone’s throw away from the border with the area under Turkish occupation since 1974. The food is abundant, the ambience warm and boisterous, the owners friendly – everyone knows Malta – and the smell of rosewater fills the air. Outside, the proximity with the Turkish border can be daunting in this old part of town, but there’s a feeling of business-as-usual safety nonetheless. Stop for lunch at Hondros tavern, by a glowing fire if the weather isn’t warm, near the harbour of Pafos after a visit to its archaeological park; and for a more traditional vibe, wine and dine at the Sykaminia tavern, in Limassol. It

may have live music, but it’s not your typical tourist trap. Wherever you go, you’ll eat the same meze, but you won’t ever tire of it. Consistency is, after all, the name of the game. Salads are simple, but oh so right, with crunchy leaves, a good sprinkling of feta cheese, juicy tomatoes and a drizzle of olive oil, while other staples include tahini, grilled halloumi, succulent kebabs, spicy sausages, stuffed vine leaves, baked moussaka and the most tender lamb. Finish off with some mahalepi drenched in pure aromatic rosewater… or refreshing apple and orange slices. Who would ever have thought that something so simple could go down so well?

WHERE TO DRINK Wherever it is, opt for Cypriot coffee and the trademark beer, Keo [again bearing a striking resemblance, at least in branding, to the local brew], or the Commandaria, one of Cyrpus’s traditional wines, which has had the same name for eight centuries.

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GOING PLACES

Orthodox Church, with its old icons, wood carvings and other ecclesiastical objects. Then enjoy a wine-tasting experience in nearby Yerolemos winery, after visiting Omodos’s old wine press known as Linos.

WHERE TO SHOP Lace and silver filigree are so similar to the Maltese versions, it’s almost uncanny. Pano Lefkara is famous for these.

MEMORABLE MOMENTS WHERE TO SLEEP Try out agritourism accommodation in one of the villages. No, it’s not just Sicily and Italy that offer this. And while you’re at it, sample Mrs Loulla’s halloumi, or dip your bread into some olive oil at workshops in Choirokoitia, not too far from Tochni village, which is a good base, being a short drive from Larnaca International Airport. CHOICE BUILDING Kolossi mediaeval castle is a fine example of military architecture – once home to the very same Knights of the Order of St John. Lodged between Lemesos and Pafos, you can take in vast stretches of land from its turreted rooftop. IMPRESSIVE INTERIORS The House of Eustolios at the Kourion archaeological site has breath-taking views that cascade down to the sea. It consists of a complex of baths and rooms with beautiful 5th-century mosaic floors, protected by roof structures that allow visitors to enjoy them all year round.

Sampling raw cocoa beans in a chocolate workshop in Pano Platres, owned by an English chocolatier, John Adams, who has created Cyprus Chocolates and the nutritious, handmade Flava. Full of polyphenols and minerals, these are retained in the chocolate thanks to its unique lowtemperature production method. And Kolossi castle. it is further enhanced by the addition of the The ancient theatre in the Kourion archaeological site. beneficial natural super food, Royal Jelly. Standing at the top of the ancient theatre in Kourion and listening to the sound of the Cypriot guide’s voice as it is projected and amplified through the howling wind when she finds the prime spot on the suggestive stage, the backdrop of which Fine mosaics from the Kato Pafos archaeological park. are the crashing waves of the Mediterranean Sea. INSPIRATION From the colour schemes, patterns and trompe d’oeil designs of the fine mosaic floors of the Kato Pafos and Kourion archaeological parks. Considered masterpieces of mosaic art, they have withstood the test of time… and are itching to make their way into today’s home interiors, or clothing fabrics…

TOP SPOT A FEAST FOR THE SENSES Petra tou Romiou along the main road from Pafos to Limassol is Aphrodite’s birthplace, as legend would have it. Stop for a [Cypriot] coffee break at the top of the hill to look down at the rock and imagine her rising from the crashing waves, or contemplate swimming around the Aphrodite Rock to be blessed with eternal beauty, according to a local myth.

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At Omodos, you can stroll around the mountain village, have lunch at Stoy Kyr Yianni tavern, with its quaint and quirky interiors touches, and once again, have Cypriot coffee – and glika tou koutaliou [preserved fruit in syrup] sweets – in the picturesque square. Visit the Holy Cross church and understand the different rituals, layout, altar and seating arrangements of the

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CONSERVATION CORNER

ON A SILVER PLATTER Antiques collector and connoisseur Daniel Azzopardi has unearthed another “very important” piece of Maltese silver, related to another piece of Maltese history. He shares his find with infectious enthusiasm as he continues on his mission to bring the work of Maltese silversmiths back to our shores.

IT IS not surprising that when Daniel Azzopardi lays hands on a large silver charger, totally embossed by hand, dating back to the early 1700s, he is ecstatic and wants to share his find. Literally born with a silver spoon, his passion stems from his roots. The 34-year-old son of one of the last remaining master silversmiths on the island, Victor Azzopardi, who has continued in the footsteps of his ancestors, keeping up a tradition that dates back to the early 1800s, Daniel has inherited a fascination for anything in the world of silver – and art in general – that has historical ties with Malta and Maltese culture. From his active participation in his father’s bottega, where silver sheets would be chiselled at to create artefacts of all sorts and dimensions, the antiques and fine arts connoisseur moved on to creating a collection that is connected to the island, his family and Maltese heritage, organising

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CONSERVATION CORNER

The original engraving, Orpheus enchanting wild animals, created between 1555-1630 by Antonio Tempesta and used by silversmith Andrea Pace for inspiration when the silver presentation dish was commissioned.

exhibitions of Maltese silver and building a knowledge of the creation processes, the tools used, the marks, the makers and their roots, as well as the styles they adopted, using his experience to help those on the hunt for an authentic piece.

FOR SEVERAL YEARS NOW, DANIEL HAS BEEN ON A MISSION TO BRING BACK HOME AS MUCH MALTESE SILVER AND OTHER ITEMS OF LOCAL HERITAGE Back in the day, he says, silver was a great luxury and the domain of the nobility and the wealthy. Many Maltese would save up their silver coins to be able to commission a piece for their parish church. They would take them to their trusted silversmith, who would melt the away to have enough silver to create a piece they could donate. Normally, they would have their initials engraved on it. Till today, silver items are commissioned to be given to the parish church, Daniel continues. For several years now, Daniel has been on a mission to bring back home as much Maltese silver and other items of local heritage. Maltese silver, created by the very few silversmiths of the time, is known to have left our shores, so Daniel is constantly scouting the international market for it.

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His latest find is a silver presentation dish, or charger, which was recently unearthed from overseas. It is an important piece, measuring 45.5cm in diameter and weighing 1,170g. Round in shape, it has an open-work rim, with various naĂŻve animal figures embossed by chisel around the central allegorical scene of King David surrounded by nature. This museum piece bears the original and official assay marks of the period, perfectly preserved and visible, also uncommon for a piece that dates back to the 17th century, the period of Grandmaster Perellos [1697-1720]. It was created by a renowned master silversmith of the time, Andrea Pace, also revealed from the Makerâ&#x20AC;&#x2122;s Marks.

IF WALLS COULD TALK

SETTING THE STAGE PHOTOS: SEAN MALLIA

An updated catalogue and audit of theatres in Malta and Gozo is raising awareness of hidden existing spaces that are ready to be used, improved and re-invented if necessary. The lack of funds and projects to do this is a reality Spazji Teatrali hopes to change. Its editors, Glen Farrugia and Sean Buhagiar, say it is now also up to the artistic community to breathe life into these spaces.

What was the reason for creating a catalogue of theatres in Malta? What is its aim? It all started with a quest to update an official NSO list of theatres in Malta and Gozo and to take stock of other spaces that were still functional and accessible to production companies. Maltese performing artists regularly lament that the overall local theatrical infrastructure is still offering a challenge, particularly when they seek places for

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rehearsals, or to present their work to the public. The Valletta 2018 Foundation and Arts Council Malta tried to address this long-standing issue by publishing an updated and detailed list of theatres, which could help the local, but also the international, creative sector to identify spaces that were not previously considered, either due to their communal nature, or because of the change of use following a decline in the regular community performing arts activities.

winding road. But it led us to beautiful spaces and we met very interesting personalities behind each one. each space surprised us in some way or another, and we were also surprised by the constant discovery of other spaces. constant review of criteria was carried out in parallel with new spaces being discovered. How many theatres does the catalogue contain? Is the figure exhaustive, is it considered to be a large number for Malta and what does it say about Maltese cultural life? the catalogue contains a nonexhaustive list of 78 theatres located in malta and gozo. considering the islandsâ&#x20AC;&#x2122; dimensions, this is a rather large number; however, it does not mean that all the theatres included in the catalogue are still used as performing spaces. the majority of these are community spaces, which might imply that performing arts was an important component in the villages and towns as well. What is their general state, have many fallen into disuse, and were any just stumbled upon and discovered by chance? we can safely say that most of them need refurbishment, but can be used for performance and rehearsal purposes. the lack of funds and projects is a reality we hope to change with the simple

As fAr As the ActuAl dAtA collection goes, it wAs A long And winding roAd. But it led us to BeAutiful spAces And we met very interesting personAlities Behind eAch one. eAch spAce surprised us in some wAy or Another, And we were Also surprised By the constAnt discovery of other spAces How did you go about it, how long did it take and were there any surprises along the way? the inception phase of the project involved lengthy meetings with members of the scientific committee to develop the criteria by which the theatres were going to

be assessed. the second part of the initial phase was to identify the number of theatres where we could pilot the audit criteria.Â then, the data collectors started reviewing all other theatres. As far as the actual data collection goes, it was a long and

awareness that these spaces exist and are ready to be used, improved and re-invented if needed. many other theatres were discovered through discussions with the caretakers of these spaces, who would nostalgically talk to us about the time when they were in their

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IF WALLS COULD TALK

Many other theatres would iMpress you with the level of trapdoors, or hydraulics, and the size of the spaces surrounding theM. Most of this is due to the passion play tradition

prime. in conversation, they would mention other spaces they know of, and boom, we would find something new – many of which have not remained theatres. Which theatre is the most important hidden secret? the Blue arena was surely one of the hidden secrets – an open-air theatre, with art deco unique features, which is currently under the jurisdiction of the Soċjetà Mużikali Maria Mater Gratiae of Żabbar. sadly, this has not been used for theatre production for a number of years. Many other theatres would impress you with the level of trapdoors, or hydraulics, and the size of the spaces surrounding them. Most of this is due to the

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passion play tradition, which the spaces would have prioritised. When most people think of the theatre, they think of Teatru Manoel. How could this catalogue serve to change this perception and perhaps get companies to tour, thus bringing theatre to various communities? this catalogue is only a document, but a very useful one. practitioners need to change their perception. it is up to the artistic community to give life to these spaces if they want to. the inception of teatru Malta is definitely a step in the right direction.

looking for nostalgic memories to any kind of local and foreign cultural practitioners looking for a different space in different areas. the catalogue is a tool in the preparation of the valletta 2018 cultural programme and we genuinely hope it will be utilised by different practitioners to discover and make the best use of these community theatres, to allow them to have more facilities at their disposal and to bring the performing arts closer to communities around Malta and gozo.

Spazji Teatrali: A Catalogue of Theatres in Malta and Gozo is a publicly-funded

Who is the catalogue intended for? anybody who is genuinely interested… this includes audiences

research project, published by the valletta 2018 foundation and commissioned by arts council Malta.