Places – Design & Living (April 2018)

PLACES ISSUE 20 APRIL 2018

Design & Living

What Malta could be Capitalising on the Mediterranean mood

Joining forces with environmental NGOs LET'S HELP SAVE THE ISLAND'S HERITAGE

DESKTOP DESIGN ACCESSORISING A WORKSPACE STYLISH STATIONERY TO INSPIRE

The interplay between space and sound The fusion of form and fashion

Trending It's all about the 'new traditional'

THE BLUEPRINT

PLACES

PIPES AND TASSELS BY TOM VAN MALDEREN Photo: Malta conteMPorary art See story on page 26

Design & Living

ISSUE 20 aPril 2018

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MY DESIGN

THE PROJECT 14 The Magic of Mediterranean Landscapes blurring gently into the surroundings 26 PROJECT PEOPLE Where Art, Design and Architecture Meet Somewhere between sculptural objects and architectural models HOME DÉCOR 32 ACCESSORIES Desktop Delights Stay inspired with quirky stationery to suit all states of mind 43 TRENDS The New Traditional blending old and new for a lived-in and layered look 45 TIPS Let the Sunshine In how lighting affects human performance 47 ONSHOW The Setting of Music Sound and space come together in six concerts 51 FASHION & FORM The Secret Garden clothing collection marries architecture DESTINATION, HERITAGE & ENVIRONMENT 56 GOING PLACES The Other Side of Japan Photographer alexandra Pace’s eyes on hachinohe 62 IF WALLS COULD TALK “Learn from the past and build for the future” why St ignatius villa should be protected 66 IDEAS & MORE

ON THE COVER Photo: Sean Mallia froM toP left: eclecticiSt table laMP, €520 | caMilleri PariS Mode liMited-edition SPaceShiP, €113 | Grey & adler feather Statue, €25 | fabulouS hoMe MicroScoPe with foSSiliSed inSect, €295 | caMilleri PariS Mode bowl, €430 | caMilleri PariS Mode candle, €70 | caMilleri PariS Mode cloche, €75 | SMart creationS caGe laMPShade Structure, €26 | eclecticiSt SPiked water bottle, €45 | eclecticiSt ceMent Pot, €45 | eclecticiSt owl bluetooth SPeaker, €135 | eclecticiSt wireleSS headPhoneS, €109 | eclecticiSt toM dixon tall container, €50 | eclecticiSt toM dixon Short container, €50 | eclecticiSt toM dixon tea liGht holder, €50 | eclecticiSt toM dixon Pencil and Pen, €30 each | eclecticiSt Salvador dalí kokeShi, €32 | eclecticiSt toM dixon Quill bookMark, €15 | eclecticiSt toM dixon deSk tidy, €250.

See story on page 32

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MY DESIGN

I’Ve DecIDeD to allocate space in this magazine to Din l-Art Ħelwa on a regular basis from this issue onwards. the nGo was set up to defend and preserve malta’s historic, artistic and natural heritage – all under siege like never before in this country – and it has taken on this David and Goliath battle while many of us, myself included of course, whinge away in the wings and take a defeatist approach to this wanton destruction.

But if there is nothing more we can do to safeguard our environment, other than mutter complaints to ourselves, and share them loudly only with those we know are on our wavelength and won’t retaliate fiercely if they are not; if we are unable to file an official complaint about a construction breach in our neighbourhood because the malta we live in today has instigated a lack of trust in the authorities and we don’t know whether our call will remain anonymous; if we are so frustrated and angry, but yet systematically made to feel weak and helpless because, no matter what, the rape

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continues; if we are starting to think it is better to live in stifling pollution, shabbiness and a lack of open spaces, rather than the possibility of being tormented and targeted for standing up to these… there is one little thing we can do.

I urge you to become “a guardian of malta’s heritage” by, at least, becoming a member of Din l-Art Ħelwa, which is on a mission to increase its much-needed support.

Put your hands in your pocket for a life or annual membership of the nGo. It’s a simple and ‘safe’ gesture… which could have far-reaching effects. [for more details, send an e-mail to info@dinlarthelwa.org] And while you’re at it, ‘like’ Din l-Art Ħelwa’s save the countryside facebook page that seeks to campaign to protect malta’s few remaining green and open spaces, inviting you to stand up for its natural beauty, biodiversity and heritage.

Just imagine, in one week alone, a total of 16 properties that should be saved were up for demolition all over malta and Gozo, and Din l-Art Ħelwa has been objecting for over two years to these sorts of permits, having flagged more than 300 historic places at risk of obliteration.

Yes, it is somewhat demoralising that very few of their objections were heeded, but they are by no means giving up the fight. However, to do this, they need help. Increased membership and funds are ways of supporting the nGo. Yes, this one little thing could make a difference. meanwhile, in its first slot in PlAces: DesIGn & lIVInG, Din l-Art Ħelwa zooms in on st Ignatius Villa [pictured above], a text-book case of a building that should have been preserved, no questions asked, but instead has a guillotine hanging over it to appease the rabble. read If Walls could talk on page 62 to

April 22, 2018 | Issue 20 | PlAces is a bi-monthly magazine | EXECUTIVE EDITOR fiona Galea Debono | PUBLISHER Allied newspapers ltd | PRODUCTION Allied newspapers ltd | PRINTING Progress Press ltd | DESIGN manuel schembri | ADVERTISING SALES Veronica Grech sant [2276 4333; veronica.grechsant@timesofmalta.com]

understand why it is so obvious that it should have been scheduled – obvious to most of us except the authorities and, of course, the developers, but we never expected better from them. the property was once named Bel-Vedere, but soon there will be nothing beautiful to see. once upon a time, a stunning villa on a hill had unobstructed views to the sea, and gardens that rolled all the way down to the bay; now, you would barely notice what’s left of it buried under a mound of ugly blocks of flats.

And on the subject of beautiful villas, I had to look beyond our shores for something worth featuring that truly encapsulates the character of the mediterranean; what buildings in malta could look like if we capitalised on this and were able to see beyond the destructive dollar signs when faced with a garden and some greenery. this particular house in mallorca is situated on a narrow peninsula with views of the mediterranean on both sides. A beautiful blurring of boundaries, of softness with transparency and of the contemporary with the organic, it epitomises all that is most special about mediterranean living. And most of all, its design fits perfectly within its stunning location, enhancing it, rather than taking anything away. It shows how the right development, even in rural areas, could actually improve already beautiful natural settings. check out the Project on page 14 to see that in some parts of the world, they are not only saving the likes of the Bel-vedere, but also tastefully building others that blend into their surroundings. try finding a spot like that in overbuilt and choking malta. try believing that the open space around it wouldn’t fast be trampled on by Goliath.

this publication is being distributed as part of © 2018. All rights reserved. reproduction in whole, or in part, without written permission of the publishers, is prohibited.

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THE PROJECT

PHOTOS: GREG COX | TEXT: NOREEN JOHNSON | STYLING: TILLE DEL NEGRO

THE MAGIC OF MEDITERRANEAN LANDSCAPES

Poised on a rocky promontory in Mallorca, Spain, is a family home with panoramic views and architecture that makes the most of its spectacular location. The stone, the colours, the surrounding landscape… they are vaguely reminiscent of Malta. Is this what parts of our island could have been like had we capitalised on and not buried its Mediterranean feel?

And why is it that if we had a property like this, we would never feel safe in the knowledge that its all-important surrounding beauty and views would be preserved forever?

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The house has a lower floor on the street-facing side and an upper floor that becomes ground level on the other side of the structure. The façade features natural stone cladding and textured concrete, and the extended eaves combine with these elements to give the building a boldly sculptural appeal.

THE OWNERS of this remarkable home on the island of Mallorca needed plenty of patience during their search for a Mediterranean holiday property: it took no less than three years of careful hunting to find the place they were looking for. At last they discovered the right house – built in the late 1950s by a renowned Mallorcan architect, Pere Garau, and situated on a rocky clifftop on the outskirts of Santa Ponsa in the Calvia district of the island.

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THE PROJECT

From the parking area, the main entrance to the house is up a short flight of stairs on what is an upper floor on this side of the building.

The strict Spanish building code insists on balustrades, and these glass versions were chosen because their transparency means they don’t draw the eye too much.

the property’s location is nothing less than spectacular. situated on a peninsula-like site, it overlooks two separate bays, with views of the open mediterranean on the horizon in one direction, and the small port town of santa Ponsa in the other. this made it the perfect choice for the new owners, who have a large extended family and wanted a holiday epicentre at which everyone could gather from around the world to spend time together. [while it is currently a secondary home, it’s envisaged that the house will progressively become a primary residence as the older members of the family retire.]

we wanted the house to fit gently into its surroundings as well as making the best use of both the morning and afternoon light the existing structure had been subject to a previous renovation sometime in the 1990s and had some unfortunate elements, including ugly aluminium windows that had been added to the façade, and a rather ‘cold’ interior that featured high-shine marble floors. the designconscious owners determined right away on a substantial renovation and called in mallorca-based architecture and design practice, more design, to work on the project.

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Accessed from the main entrance hall is the elegant living room, one side of which is taken up by an intimate seating area.

Located at the front of the house, it features large windows that open completely from ceiling to floor, leading onto the outdoor living and dining spaces.

Attracted by the practice’s minimalist and contemporary approach, which also features historic and locationappropriate rustic elements, the owners’ brief included a request to use the right raw materials to create simplicity and serenity in the space.

Designer Manuel Villanueva says: “We wanted to create a place where people felt comfortable; where anyone would want to read a book, fall asleep, have an intimate conversation. And we wanted the house to fit gently into its surroundings as well as making the best use of both the morning and afternoon light.”

The renovation began in 2016 and included substantial structural interventions to the pre-existing house. New staircases and passageways were added so as to connect the different areas of the home more organically, and it now features eight bedrooms, most of which are en suite, as well as substantial interior and outdoor living areas, a large kitchen, a separate laundry and a wine cellar.

Key to the overall success of the design is the way the house is orientated to the outdoor landscape that surrounds and envelops it. With its natural stone-clad façade and gently curving roof, the structure blends seamlessly into its rocky, cliff-side site. The unsightly aluminium window frames have been replaced with a system in which the windows appear to have no frames at all. They are “almost voids”, says Villanueva, “which can be opened

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The ProjecT The centrally situated kitchen features custom-made cabinetry made from fir wood that has been given an aged effect.

The main living spaces, the kitchen and several bedrooms are situated on the upper floor. The wire sculptures that divide the hallway from the room on the left are by Pierre-Augustin Marboeuf. This passageway is lined with artworks by French portraitist Ludovic Florent. The floors – as in the rest of the house – are clad in microcement and the walls have been given a lightly textured, limewash-style paint effect.

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This outdoor dining area is situated under cover on the terrace, adjacent to the kitchen.

This study space in the main bedroom suite looks out onto the garden and the spectacular view of the Mediterranean Sea beyond it.

fully so that the house feels like part of the landscape”.

The design also reflects the influence of more naturalistic – and especially Brazilian – strains of mid-20th-century architecture.

“We are huge fans of [Brazilian architect] Lina Bo Bardi,” says More Design’s Oro del Negro, and this is clear in “the use of stone cladding, the elongated roof overhangs, the massive openings, the open floor plan and the infusion of landscape [into the interior]”. Overall, he adds, the design is all about “functional pragmatic living”.

This “blurring of borders” between the interior and exterior, achieved via the huge windows and doors as well as by the fact that the floors of the immediate outdoor terraces are finished in the same way as those in the interior spaces, is precisely what “the magic of Mediterranean landscapes” is all about, says Villanueva.

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THE PROJECT

The main bathroom features a basin made from local Binissalem stone, and the vanity mirror storage unit and shelf were also custom-designed.

The bedrooms – including this guest room on the lower floor of the house – feature custom-made built-in cupboards with fir-wood doors.

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The custom-made bath with a view in the master suite has a steel base over which microcement has been carefully layered.

This bathroom features striking limited-edition encaustic tiles and a concrete basin.

OK Home Your outdoor destination!

rue d’argens, Gzira Tel: (+356) 2134 3865/6 Opening Hours: Mon to Fri 09.00-19.00 / sat 09.00-13.00 Email: info@okhome.com.mt Web: www.okhome.com.mt

Beyond the garden, the site slopes down to a few terraced areas where rustic seating is provided.

Views abound from this outdoor seating area on the terrace, with its custom-made linen seating cushions.

THE PROJECT

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A beAutiful blend of inside And out, of softness with trAnspArency And of the contemporAry with the orgAnic, this house epitomises All thAt is most speciAl About mediterrAneAn living Also key to the success of this aspect of the architecture are the wide overhangs created by the home’s undulating roof structure. these generous eaves are “one of the greatest architecture elements in the mediterranean”, says villanueva, adding that these have been “forgotten” – or perhaps sadly neglected? – in recent times. “they protect from rain and especially from sun,” he says. “being so far south means that the sun in summer is very vertical, and these overhangs permitted us to use the large glass windows without inundating the interior with sunlight that is too bright, hot and direct.” instead, there is a gentle softness to the natural light that floods the interiors. the colour palette for the interior design is made up of soft beiges, bone white and warm greys. microcement

floors and pared-back soft furnishings, set off by contemporary artworks carefully chosen by the owners, create a minimalist yet welcoming interior. natural textures and materials are employed throughout, including signature more design elements such as untreated wood, handcarved stone and locally manufactured encaustic tiles.

A beautiful blend of inside and out, of softness with transparency and of the contemporary with the organic, this house epitomises all that is most special about mediterranean living. its exceptional design fits perfectly with its beautiful location, and the result is a home in which its owners are set to enjoy a great deal of sun-drenched, relaxed and restorative time.

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PROJECT PEOPLE

ERNST [Neufert] I, FROZEN Target shooting playset and Reflective Tree Guard.

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WHERE ART, DESIGN AND ARCHITECTURE

MEET For his solo exhibition, except for access only, at Malta Contemporary Art in Valletta, Tom Van Malderen presents a series of objects that sit somewhere between the intersections of art, design and architecture.

Through reinterpretation, imaginary furniture and models, he takes a humorous look at human urges to be part of exclusive groups, the division between public and private, the politics of fear, island-like monocultures and normative rules for design.

Can you tell us a bit more about the title and the overriding thoughts behind your exhibition?

With this exhibition, I take a closer look at how architecture, design and manmade objects are often employed to instill exclusivity, set up borders and regulations. I choose to reference topical issues in my exhibition as a form of engagement. In the work Tables for the 1%, for example, I look at the dynamics of a society that is hesitant to admit that it actually enjoys exclusivity and entitlement.

The title for the exhibition was found on a DIY sign in the Maltese countryside. It is a misconstrued phrase, made up by someone who, so intent on denying access, merged ‘except for access’ and ‘access only’. Even though the sign’s message is quite hostile and serious, I find the mistaken stitching of words humorous.

There is quite an ambiguity between the lightheartedness and seriousness that are simultaneously active in the work. How do you employ humour in your work?

Humour helps to digest the concerns brought forward through the work and, at the same time, stimulates the raising of questions. Therefore, I attempt to employ it in diverse ways. In the work ERNST [Neufert] I, I took the prescribed standard heights for a bench, a desk, a presentation table, a counter and a bookcase and threw them together in some sort of impossible, almost comical, piece of furniture. In Pipes and Tassels, I worked with the unexpected juxtaposition of copper piping and colourful fabric to explore the tensions between functionalism and formalism. I also add humour and irony by mixing writings in the works, like I did for the Reflective Tree Guard and the made-up rituals that accompany the Tables for the 1% on the printed posters.

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PROJECT PEOPLE Tables for the 1%

IT IS OFTEN SAID THAT ARCHITECTURE AND DESIGN ARE ABOUT PROPOSING SOLUTIONS, WHEREAS ART IS ABOUT POSING QUESTIONS. I FIND IT EXCITING TO BRING THESE TWO ACTIONS CLOSELY TOGETHER The work you are presenting at Malta Contemporary Art sits somewhere between sculptural objects and architectural models. How does it relate to both an architecture and an art context?

Studying architecture at an arts academy in Brussels created an immediate affiliation between the practice of architecture and art. It is often said that architecture and design are about proposing solutions, whereas art is about posing questions. I find it exciting to bring these two actions closely together.

The objects in the exhibition refer to architectural topics and methods, using models, layouts and denominations of scale. At the same time, I want the objects to retain an uncertain status between architectural model and sculpture. This uncertainty brings them closer to sculptures found in contemporary art.

Can you elaborate on the materiality of the objects and how this is key to their meaning?

Materiality can express itself in diverse ways and add meaning on multiple levels. In some works, it is about physicality and provoking a bodily response around the work. In other works, it manifests itself by looking at the process of making and the cultural significance of

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details. On other occasions, it helps to look for alternative readings. In the work Gazebo, the use of acrylic and marble reassesses the value attributed to materiality and skill – pitting these two qualities subtly against the outsourced and the mass consumed.

In today’s world, materials tend to be mostly valued on the basis of performance, practicality and aesthetics, often overlooking symbolic, historic and social values.

Working with sculptures allows me to bring different connotations in different works to the foreground.

What makes your Tables for the 1% sculpture and not design objects?

I am not so troubled by clear-cut definitions and I am happy to leave this decision to the viewer. In a sense, I am more interested in what these tables can provoke, rather than what they are. The way they are presented as unique objects at Malta Contemporary Art, especially in association with the rituals I wrote for each table, makes them, in my opinion, more sculpture than design.

PHOTOS: COURTESY OF MALTA CONTEMPORARY ART TOMVANMALDEREN.COM MALTACONTEMPORARYART.COM

IN TODAY’S WORLD, MATERIALS TEND TO BE MOSTLY VALUED ON THE BASIS OF PERFORMANCE, PRACTICALITY AND AESTHETICS, OFTEN OVERLOOKING SYMBOLIC, HISTORIC AND SOCIAL VALUES

« Gazebo [monument for the public-private space] questions the loss of public space. Its vaguely ambiguous status, caused in part by its 1:5 scale, is further highlighted by its design – a reduced and, to a certain extent, archetypal form of the gazebo.

«

FROZEN Target shooting playset is a timber structure that is essentially a copy of popular blueprints for DIY target shooting tables found online and scaled to fit a child. Van Malderen questions the relationship between the eroding demarcation of public and private space and the growing need to segregate and mark one’s own territory, also evident in the rising number of gated communities, special economic zones and tax havens.

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ACCESSORIES

PHOTOS & STYLING: SEAN MALLIA

DESKTOP DELIGHT Surround your workspace with gorgeous items, from the quirky to the girly, dramatic, playful and smart.

Stationery, gadgets and curios for the study have never been so funky, frivolous and such fun!

ALL BACKGROUND MOUNTING BOARDS ARE COURTESY OF DECO MANUFACTURING.

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THIS IS THE ‘NEW TRADITIONAL’ Study that antique, retro, vintage-inspired, old-science-lab look for Marie Curie appeal.

From left: Fabulous Home magnetic sand timer, €71 | Fabulous Home prism-cut glass ball paperweight, €28 | Fabulous Home Argentina meteorite in ‘flying machine’, €1,452 | Grey & Adler magnifying glass, €50 | Fabulous Home radiometer, €155 | Grey & Adler Cognac glass, €55 | La Boutique globe print magnets, €23 | Fabulous Home metal stand with glass bulb vase, €75 | Fabulous Home flower, €15 | Fabulous Home glass paperweight with coral, €25 | Fabulous Home globe ball, €10 | Fabulous Home stack of leather French books, €70 | Fabulous Home microscope with fossilised insect, €295 | Grey & Adler decanter, €50 | La Boutique imitation Fabergé egg, €136 | Eclecticist black marble mobile case, €32.

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ACCESSORIES

BOYS TOYS Minimal… but maximum fun!

From back left: Camilleri Paris Mode Angelpoise mini desk lamp, €207 | Eclecticist cuckoo clock, €280 | Grey & Adler cars, €65 each | Eclecticist blue sculptural free-standing shapes, €130 | Eclecticist sculptural free-standing shapes in primary colours, €120 | Eclecticist red car, €46 | Grey & Adler Fiat, €65 | Eclecticist complete pencil case, €100 | Eclecticist pens, €22 each.

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From top left: Eclecticist vase, €190 | Eclecticist terrazzo laptop case, €46 | Eclecticist scale model of façade, €200 | Grey & Adler scale model of chair design, €50 | Eclecticist carafe, €34 | Eclecticist glasses, €40 [set of four] | Eclecticist The Visitor sculpture, €85 | Smart Creations marble tray, €34 | Smart Creations marble cup, €25 | Fabulous Home feather plate, €22 | Eclecticist cups, €10 each | Eclecticist water bottle, €20 | Eclecticist cement pot, €45 | Eclecticist large vessel, €150 | Fabulous Home sand timer, €45 | Eclecticist small vessel, €65 | Eclecticist pencil colours, €35.

DAINTY DESIGN

Go pastel, freckled and speckled.

ACCESSORIES

FROM ANOTHER ERA Authentic vintage and more for the travel writer’s table.

From top left: Smart Creations brass vanity mirror, €57 | Fabulous Home globe, €36 | Eclecticist sculpture, €94 | Smart Creations marble table lamp, €72 | Smart Creations LED deco bulb, €32 | Grey & Adler candle holder, €55 | vintage typewriter, private collection | vintage camera, private collection | Eclecticist Akashi Whisky, €42 | Eclecticist Norlan glasses, €54 [set of two] | Eclecticist whisky-tasting set, €40 | Fabulous Home heart vase, €340 | Smart Creations beaten silver pendant light, €45.

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DRAMA ON THE DESKTOP Unleash that wicked streak with glass, marble, black and gold…

From left: Grey & Adler candle, €55 | La Boutique statue, €57 | Smart Creations marble clock, €78 | Fabulous Home horn magnifying glass, €65 | Camilleri Paris Mode shoe horn with lion head, €180 | Eclecticist Christian Lacroix notecards, €35 | La Boutique tray with horns, €78 | Camilleri Paris Mode square cut decanter, €297 | Camilleri Paris Mode square cut glass, €73 | Smart Creations marble candle holder, €12 | Smart Creations chicken leg antique brass table lamp, €115 | Fabulous Home fake books, €305 [for a set of 10] | Fabulous Home horse statue, €75 | Camilleri Paris Mode terminator skull, €870 | Camilleri Paris Mode brass tray, €156 | pen, stylist’s own | Camilleri Paris Mode crocodile letter opener, €156 | Eclecticist complimentary whisky journal.

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From top left: Camilleri Paris Mode bowl, €430 | Eclecticist Tom Dixon pencil and pen, €30 each | Eclecticist owl Bluetooth speaker, €135 | Eclecticist Christian Lacroix notecards, €20 | Eclecticist cement pot, €45 | Camilleri Paris Mode snake platinum magnifying glass, €55 | Eclecticist wireless headphones, €109 | Eclecticist Tom Dixon tea light holder, €50 | Camilleri Paris Mode candle, €70 | Eclecticist marble print iPad case, €37 | Eclecticist spiked water bottle, €45 | Eclecticist Tom Dixon quill bookmark, €15 | La Boutique metal pineapple candle jar, €30.

GIRLY GIRL LIVES ON THE EDGE Pastel pink mixes with black, silver and gold for a high-end, feminine touch.

ACCESSORIES

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TRENDS

THE NEW TRADITIONAL

Antonella Riotto, interior architect from Fino Interior Design Studio, introduces the ‘new traditional’ – an evolving house, blending old and new for a lived-in, layered look. Here, she talks us through the fabrics and wallpaper trends of 2018 to help achieve the desired effect of mixing the old tradition into a modern canvas.

INTERIORS have definitely been swinging back towards traditional design in the last year. We aren’t ready to give up bright, airy interiors and clean lines, which are still very popular, but are loving the collected look of mixing a bit of old tradition into a more modern aesthetic.

This is the ‘new traditional’. It takes clean, modern lines and a light, airy foundation and adds the curated look of traditional wallpaper, statement furniture pieces and patterned accessories. The blend creates a lived-in feel, without compromising what we love about modern simplicity.

To this end, the textile and wallpaper brand Romo, a major supplier for some of the world’s most renowned furniture design, has just launched some fabulous and interesting collections, tailored on these new trends.

They explore uncomplicated patterns, formed by simple geometric shapes and inspired by architectural structures, passing through baroque, Victorian features and 1960s/1970s trends, where the texture, the patterns and the materials used are the main features.

The new trends, indeed, are influenced by materials that are inspired by nature and used to add texture, colour and character. As per the 2018 furniture styles, the fabric and wallpaper collections incorporate a mix of modern, graphic patterns and intriguing texture in a confident palette, with lustrous metallics, and matt and shimmer hints. These raw textures have an inherent simplicity and elegance that is of great appeal.

Decadent velvets and decorative wallcoverings feature striking prints, while opulent weaves combine luxurious, textured qualities with unique design.

Masterfully reimagined with a contemporary eye, the 2018 collections bring together an array of influences from history to create a diverse range that exudes an intercontinental appeal, elevating them into modern works of art for the 21st century.

An evolution of colours, atmospheric, astral and quirky shapes, floral and earthy inspirations instil a sense of drama and grandeur, with new shades of rich teal, deep purple and blues sitting alongside soft pinks

and warm spicy tones, creating a trendsetting palette of contemporary colours. Meanwhile, metallic tones continue to feature prominently, with shades of bronze, gunmetal grey and rose gold adding a lustrous element to textured weaves.

The new vinyl wallpaper collections combine innovative embossed textures and patterns that give an amazingly realistic three-dimensional effect, while traditional textiles combine a mix of florals, velvets, plaids, chenille, stripes and toile.

The ‘new traditional’ is an evolving house, blending old and new for a lived-in, layered look. It’s also a look that is an easy update.

• Keep the clean, bright foundation you already have, and simply layer in a couple of ideas from above to create a new look for your space.

• Consider updating your sofa with a playful mix of pillows in stripes and florals, or break up your white walls with a wallpaper accent in a neutral chintz, or colourful grasscloth.

• Asian and damask motifs on ceramics, textiles and wallcoverings are big in traditional design. They also make a pretty statement in any space.

WWW.FINO.COM.MT

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An artificial window reproduces the effect of the light and space of the outdoors.

TIPS

LET THE SUNSHINE IN Petra Marie Cutajar from Light Design Solutions highlights how lighting affects human performance.

SUNLIGHT is important for our health. It contributes to the synthesis of vital substances, increases hormones and provides us with the rhythm of the day – with moments for motivation and moments for relaxing. The closer artificial light is to sunlight, the more comfortable and valued it is.

For most of the day, the best and most available source of light is sunlight. While this can change in intensity and colour due to atmospheric conditions such as the weather, it remains firmly the standard by which lighting effects are judged.

Certain basic considerations need to be taken into account when lighting up a space. Some of these relate to the practicality of the task, such as output, efficiency and cost; and some to the aesthetic appearance of the lit space, such as light distribution, intensity and diffusion.

The intensity of light falling on a particular surface, for example a worktop, point of sale, or display, is translated in lumens. Guidelines are available for the desired level of

The amount of light entering the eye has been proven to influence many aspects of the body and also performance. It affects how people work, influencing attention spans and mental fatigue. Therefore, changing the lighting in a workplace can have significant impact on employee productivity; as illuminance is increased, less time is needed to carry out each task.

The light absorbed via the eyes rarely comes from the sun anymore. Bulbs, computer monitors and TV screens are the primary sources. Changes in light exposure cause a deterioration in cognitive performance and mood. Many hours of exposure to blue light and lack of natural daylight can upset the biorhythm, which can result in disturbances in cognitive performance and mood in the long term.

Exposure to dynamic light during office hours is, therefore, essential for sustainable employability, enabling workers to perform better by creating more artificial daylight in the workplace.

EXPOSURE TO DYNAMIC LIGHT DURING OFFICE HOURS IS ESSENTIAL FOR SUSTAINABLE EMPLOYABILITY, ENABLING WORKERS TO PERFORM BETTER BY CREATING MORE ARTIFICIAL DAYLIGHT IN THE WORKPLACE lighting in different work and retail situations. In some cases, these are linked to official regulations.

Display lighting has long been used in retail settings to draw attention to certain items. Lighting can influence behaviour by directing people along a certain path, or by attracting them to an object. More people choose the more illuminated passageway. However, research still needs to be carried out to suggest how lighting should be used to direct people to be more productive.

Due to this, products and innovative solutions are available to create the perception of an extraordinarily wide space by means of a genuine physical reproduction of optical atmospheric phenomena indoors.

These systems reproduce the true effect of natural sunlight entering through the opening in the integrated ceiling, with a rising sun perceived at an infinite distance, surrounded by a clear blue sky. Special lighting is also programmed to give out the same colour temperature as the sun outside.

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ON SHOW

The SeTTing of MuSic Having just announced the Regional Concert Series, composer Ruben Zahra tells Iggy Fenech how sound and space will come together in the six concerts taking place across Malta and Gozo between now and November.

PHOTO: STEPHEN BUHAGIAR

The bond between music and location is something that human beings have been experimenting with since time immemorial. in fact, archaeoacoustics [a branch of music archaeology that studies acoustics methodologically] has traced this link back to complexes that date back to neolithic times, with the hypogeum in Ħal-Saflieni being a prime example of this.

That link is also one that remained unbroken all the way to the end of the 1800s, when sound was first recorded. That obviously meant that, for the first time in history, people could listen to their favourite songs as many times as they wished to. Yet the experience had changed completely.

See, the democratisation of music had ditched setting for the comfort of listening to tunes in the house, or on the go. but while you can take music out of its space, you can’t capture the multi-sensorial elements space contributes to the music experience. in fact, when it comes to a live recital, the space and the venue can be as much of a protagonist as the music itself. and that is precisely the premise for the regional concert Series within the framework of Modern Music days [MMd], which kicked off this month and will end in november. The initiative, though, aims to do more than bring new and avant-garde musical compositions to all six regions of the Maltese islands and unite sound and space.

“The underlying concept of this project is for audiences to experience a unique heritage or cultural

site through the narrative of a music concert,” explains ruben Zahra, the artistic director of MMd. “So much so, that the venue is not just the backdrop, but rather, an important ‘character’ within the drama of the performance.”

Segmented as north, north-east, South, centre, gozo and valletta, another important strand of this series is to take music to the community. This strategy, in fact, promotes the accessibility of modern classical music by presenting it on a stage that is rooted in the cultural legacy of the region and the community.

The venue iS noT juST The backdrop, buT raTher, an iMporTanT ‘characTer’ wiThin The draMa of The perforMance This, of course, has always been the aim of MMd, which is organised by the Malta association of contemporary Music in collaboration with Teatru Manoel and the valletta 2018 foundation. in fact, as ruben explains, this project is a good example of the outreach the european capital of culture title should bring with it. “reaching out to different communities is an important part of valletta 2018, as well as any european capital of culture,” he says. “outreach, however, doesn’t always have to be mainstream and MMd is committed to presenting artistic excellence to all audiences.”

So, what’s in store? here’s an exclusive look at each concert planned for this series.

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ON SHOW

KANTILENA PROCESSION at the Ta’ Bistra Catacombs, Mosta The paleo Christian catacombs of Ta’ Bistra, which date back to the fourth century AD, became the stage for a site-specific electronic music work by Dutch composer Luc Houtkamp. Entitled Kantilena Procession, Houtkamp adopted the text of Caxaro’s poem, Il-Kantilena, for his music.

The electronic sounds that are part of the piece were triggered over a multiple speaker system placed in different locations within the 90-metre-long catacombs, where 57 tombs are laid out over 16 chambers [the largest outside Rabat]. The audience, which was led along a walkway by violinist Brianne Curran, went on a music journey accompanied by an electronic soundscape emerging from the catacombs.

PHOTO: THE VICTOR PASMORE GALLERY

TRANSITION at the Victor Pasmore Gallery, Valletta One of Malta’s lesser-known art galleries, which inhabits a 1640s gunpowder magazine within Valletta’s outer fortification walls, will host Transition, featuring pianist Tricia Dawn Williams. This project transforms the piano recital into an interdisciplinary performance with motion capture technology, video art, electronic music and extended piano technique. The programme for Transition will present a portrait of the avant-garde piano that stretches over almost 100 years of repertoire. Each work breaks new ground as the composer navigates through uncharted waters to depict a new profile for the instrument.

Dates: May 4 and 5, 8pm. [Collaborators: Central Bank of Malta, Fondazzjoni Patrimonju Malti and The Victor Pasmore Gallery]

PHOTO: HERITAGE MALTA

RITUAL

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at the Mnajdra Neolithic Temples, Qormi This concert will celebrate the summer solstice at Mnajdra Temples with a music performance by Scottish trombonist John Kenny, tracing the evolution of the instrument by playing on a seashell, a replica of the Celtic war horn known as the ‘carnyx’ and moving on to the modern trombone. Taking place once at sunset and once at sunrise, this concert unites the aural and architectural history of Mnajdra while opening it up to international, contemporary sounds from both its prehistoric past and the modern age.

Dates: June 23 for the sunset concert and June 24 for sunrise. [Collaborators: Heritage Malta]

trioS at Castello Lanzun, San Gwann Normally closed to the public, Castello Lanzun is the headquarters of the Military and hospitaller order of Saint Lazarus of Jerusalem, which can trace its origins back to the holy Lands after the first Crusade of 1099. Trios will take place in the central courtyard of the Castello and will feature a programme of clarinet, violin and piano trios, duets and piano solo works. the programme includes works by Japanese composers Makiko Kinoshita and Shoichi Yabuta, American composers John Adams and Scott McAllister, Maltese composers Charles Camilleri and ruben Zahra, and Greek-New Zealander composer John Psathas.

Date: August 11, 9pm. [Collaborators: The Military and Hospitaller Order of St Lazarus of Jerusalem & EU-Japan Fest]

Photo: Pierre AxiAq

StriNG qUArtetS at the Żejtun Parish Church crypt taking place just two days after All Souls’ Day, the crypt of the Parish Church of Żejtun – designed by Lorenzo Gafà and dedicated to St Catherine of Alexandria – will still be decked in black damask and candles. the Żejtun crypt, with its barrel-vault ceiling, is the largest in Malta’s diocese [even larger than that at St John’s Co-Cathedral] and will add a new dimension to a programme of 20th-century and contemporary string quartets by Philip Glass, Alfred Schnitke, John Adams and Norma Beecroft.

Dates: November 4, 8pm. [Collaborators: Parish Church of Żejtun]

PerCUSSioN eNSeMBLe at the Citadel Cultural Centre, Victoria, Gozo the strong theatrical presence of percussion instruments will become even more dramatic in the vaulted halls of the Citadel Cultural Centre, a versatile space that has served many purposes since it was renovated. For this concert, three percussionists will present several works featuring an intriguing range of instruments, from the marimba and vibraphone to a variety of drums and cymbals to portray a sculpture-like installation.

Dates: November 17, 8pm. [Collaborators: Citadel Cultural Centre] the reGioNAL CoNCert SerieS iS PArt oF the oFFiCiAL ProGrAMMe oF CULtUre eveNtS BY vALLettA 2018 FoUNDAtioN. www.MoDerNMUSiCDAYS.eU

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FASHION & FORM

THE SECRET GARDEN PHOTOS: MIZZI STUDIO

East meets West, fashion meets architecture… and Star Wars meets Gaudí meets Indian tribal huts at designer Saloni’s Secret Garden by Mizzi Studio, where traditional craft merged with bold, contemporary forms.

When sought-after fashion designer Saloni Lodha decided to celebrate her brand’s 10th anniversary by throwing the party to end all parties, there was just one design agency she could entrust with her vision – the award-winning, London-based Mizzi Studio.

The idea was to create a unique space as a backdrop to her event that would also mark the launch of her latest capsule collection. It was also intended “to celebrate vernacular Indian design through contemporary, bold reinvention”.

The site for the creation of the Secret Garden was on the grounds of the heritage Raas Devigarh Palace hotel in Udaipur, Rajasthan, and the party was launched in celebration of the holi – a hindu spring feast, also known as the “festival of colours”, marking the arrival of spring.

“We love to collaborate with other designers, so this project has been a joy for us to be involved with.

Add to that the amount of knowledge we’ve gained on local building practices, and how to merge craft and technology in new areas, and it becomes clear why this was a dream project for us from day one,” says Mizzi Studio director Jonathan Mizzi.

he and his team have won universal acclaim for projects that merge sci-fi, animation and neo-futurist architectural design, and their recent work in India on behalf of Saloni combined all these elements and more. her brief to the Mizzi Studio team was simple: to create a series of celebratory pods, which would read as Star Wars meets Gaudí meets Indian tribal huts.

“Only Jonathan could have taken this blueprint and created something so magical,” says Saloni.

Reacting to the brief, Mizzi Studio worked on a series of futuristic pods that would celebrate Indian design through a contemporary reinvention, in the same way that the Indian-born Saloni, who founded her label in 2011, has drawn on her heritage in her designs to reinterpret prints, silhouettes and colours in a modern way.

The Secret Garden, which covered 1,000 square metres, also needed to act as a living canvas for its visitors, who were invited to engage in the traditional ritual of holi dust play within the area.

“Our ambition for Saloni’s Secret Garden was to create a space where visitors would be filled with a sense of curiosity and exploration. The structures needed to showcase the vernacular character of their context,

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FASHION & FORM

The weaved structure inside one of the Secret Garden’s mud huts, with a skylight framing views of the nearby palace.

Local artisans working to create the structure for the Secret Garden’s main buildings.

USING LOCAL MATERIALS, THE STUDIO MARRIED TRADITIONAL INDIAN CRAFT WITH ITS SIGNATURE SCULPTURAL FORMS TO DESIGN A COLLECTION OF COLOURFULLY PAINTED, MUD-PLASTERED AND WEAVED HUTS, BARS AND SEATING AREAS, CREATING A SURREAL AND FANTASTICAL SET TO SHOWCASE SALONI’S NEW DESIGNS while communicating a clear contemporary spirit,” Mizzi says.

Using local materials, the studio married traditional Indian craft with its signature sculptural forms to design a collection of colourfully painted, mud-plastered and weaved huts, bars and seating areas, creating a surreal and fantastical set to showcase Saloni’s new designs.

The full extent of the garden included one main mud hut, two ancillary huts, mud food stalls, a mud bar and a main mud platform to showcase Saloni’s new designs.

The project was designed from start to finish with the aim of incorporating as many craft processes as possible: from the tent sheltering the mud platform that was draped in Saloni’s own hand-printed fabrics to the Holi pyramid’s dynamic spiral pattern, which created crevices to hold the coloured dust.

The Secret Garden’s centrepiece was, in fact, the diametrically-patterned Holi pyramid, which invited visitors to encircle and dance around it, while the dramatic and complex mud bar swept upwards to form a central vertical pull.

Within the mud huts themselves, dappled light guided visitors through a loose lattice tunnel that

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connected the different volumes and created a ceaseless interplay of shadow and light. And finally, that same natural light was bounced off the delicate mirrored artwork that adorned the surface of the structures.

Developing such a concept with the celebration of Holi, which sees crowds throw multi-coloured powder at each other in an explosion of laughter, fun and festivity, Mizzi Studio worked with local artisans for just one month to create an enchanting, walled Secret Garden in the palace grounds.

For most of the elements, a weaving technique, using horizontal and vertical bundles of stalks, formed the base structure, and the remote Mizzi Studio team worked closely with the local weavers to negotiate the different bend variations required out of the weaves in different parts of the design, ultimately adopting an iterative approach to perfecting the different forms.

Creating a formal dialogue between the studio’s 3D model and the artisans’ plans on site was crucial to the successful end result, Jonathan says.

“Joined together to form an experiential and immersive landscape, these structures were complemented by domed roofs, inlaid with tiny mirrors that reflected

FASHION & FORM

Saloni Lodha and Jonathan Mizzi

The central ceiling puncture, dubbed the “Moon Hole”.

Model Jessica Hart

PHOTO: PHILIPPE KLIOT

WHEN WE DESIGNED THE PLAN FOR THE GARDEN, WE WANTED TO MAKE SURE VISITORS WOULD BE COMPELLED TO WANDER THROUGH ITS VARYING STRUCTURES AND DISCOVER SURPRISING MOMENTS OF JOY, COLOUR AND LIGHT. WE CREATED ANGLED SKYLIGHTS THAT CAUGHT THE SUNLIGHT AND DIRECTED IT DOWNWARDS INTO THE HUTS’ INTERIORS DURING THE AFTERNOONS light and colour, bringing this unique Secret Garden to life in new and enchanting ways.”

Each individual design was placed to maximise its surroundings. No matter where visitors stood within the garden, they could enjoy the breath-taking views of the Raas Devigarh and the hills beyond, Jonathan says.

“When we designed the plan for the garden, we wanted to make sure visitors would be compelled to wander through its varying structures and discover surprising moments of joy, colour and light.

We created angled skylights that caught the sunlight and directed it downwards into the huts’ interiors during the afternoons.”

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A central ceiling puncture – dubbed the “Moon Hole” – provided framed vistas of the nearby 18th-century palace, which, as the sun went down, stood majestically bathed in moonlight, Mizzi says.

Among the 130 international guests at the event were hotel tycoon Sir Rocco Forte’s daughters, Lydia and Irene; former Vogue deputy editor Emily Sheffield; stylist Martha Ward; and Ernest Hemingway’s greatgranddaughter, Dree, who is also an actress.

But for Jonathan, “our greatest take-away has been the strength and spirit of collaboration, and how it continues to have the power to yield new and unexpected design ideas”.

GOING PLACES

ONE SIDE OF JAPAN

Time slows down when photographer Alexandra Pace arrives in Hachinohe.

She brings out her camera and absorbs everything…

THE 48 HOURS preceding my arrival in Hachinohe in Aomori prefecture felt like a roller coaster. Thirty hours awake, time propelling me into the future, a night out in Shibuya in Tokyo, a few hours’ sleep and a bullet train ride to the northernmost tip of the Honshu island. And then, just like that, time slowed down…

As I transferred from the super-fast Shinkansen to the two-carriage diesel train, with open windows and rotating ceiling fans, I knew things were going to be different in Hachinohe.

I did not choose this place, but rather it chose me. I was commissioned to do a project in Japan, and when I shared my ideas with the commissioning organisation, Hachinohe was pinpointed as the ideal place to explore my interest in identity defined by geographical borders.

Coming from one of the smallest countries in the middle of the Mediterranean Sea, measuring a mere 122 square miles, I am acutely psychologically aware of the perimeter of my island.

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From the moment I arrived in Hachinohe, a little town whose popularity is on the rise, I was immediately drawn to its people and I became intrigued by their identity and how this relates to their proximity to the border.

I believe in the idea of islands having a stronger link with ‘belonging’ to a place. Islands have, in fact, long been considered laboratories for the study of evolution due to their isolation and restricted scale. Hachinohe did, indeed, feel like a laboratory, a land of contradictions that coexist in harmony.

I spent an entire month in this area and most of my time was by the coast as I became part of the various communities that are spread along the Same area, which, geographically, includes Kabushima, Okuki and Shirahama along the Tanesashi Coast.

I learnt about the tradition and culture, particularly the Same Kagura performance group. I learnt from the people how this performance has historically been changed and influenced by its proximity to the border of Japan. At the time of meeting them, the group was planning to reintroduce a lost element of the performance when the man turns into woman. I met Taiga [pictured left and above], a young, softspoken, sensitive man, training to become a nurse – he had been identified as the one who would take that role in the performance and I was privileged to witness the older generation surround him and meticulously dress him in a kimono.

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IT IS A BUILDING WITHOUT AN EXTERIOR, WITH ITS INTERNAL SPACES EXISTING ONLY UNDERGROUND. VISIBLE ONLY FROM AN AERIAL VIEW, IT WAS INTENTIONALLY DESIGNED THIS WAY TO PRESERVE THE ORIGINAL LANDSCAPE WITHOUT ANY DISRUPTION TO THE NATURAL BEAUTY OF THE SETO INLAND SEA

I spent many days with the people whose lives and identity bear an intense relationship to the land, the sea and the border. To many, I was the only foreigner they had seen in their entire lives, and in spite of the language barrier, the open-armed welcome and overwhelming desire to speak to me – the foreigner, the other – was an experience I will never forget.

After a month of experiencing this one side of Japan, I spent an additional couple of weeks hopping the Shinkansen and trying to take in as much as I could. In that period, I travelled to the inevitable Tokyo and Kyoto, celebrated my 40th birthday in the spectacular Hakone Mountains [pictured left] in an unforgettable surprise trip meticulously organised by my partner, and took the ferry to Naoshima Island – a feast for contemporary art and architecture.

In all this, one of the things that struck me most was the Chichu Art Museum, a building designed by the world-renowned architect Tadao Ando. As the name suggests – chichu meaning ‘in the ground’ – it is a building without an exterior, with its internal spaces existing only underground. Visible only from an aerial view, it was intentionally designed this way to preserve the original landscape without any disruption to the natural beauty of the Seto Inland Sea. SAME IS NOT THE SAME BY ALEXANDRA PACE, A SERIES OF PHOTOGRAPHS AND VIDEO WORK, IS ON VIEW AT SPAZJU KREATTIV, SPACES C1–C3, UNTIL APRIL 29. EUROPEAN EYES ON JAPAN / JAPAN TODAY IS PART OF THE VIVA 2018 FESTIVAL PROGRAMME IN COLLABORATION WITH VALLETTA 2018 AND THE EU-JAPAN FEST.

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IF WALLS COULD TALK

“LEARN FROM THE PAST AND BUILD FOR THE FUTURE” Din l-Art Ħelwa suggests rewording this maxim to the, sadly, more realistic “ignore and trample on all that is old and build on it for future profit”. Here, the heritage and environment NGO builds a case for the scheduling of St Ignatius Villa, listing its important links to Malta’s history in the hope that it won’t suffer the same fate as many others, no longer around to tell their tale and to remind us of their eventful past.

MANY OF us have been brought up to follow this maxim in our lives. We were taught to respect those who are elderly and to learn from their experiences. We were taught to embrace our own experiences and to learn from our past mistakes and adventures. And finally, we were taught to treasure our local cultural heritage and traditions.

We live on a small island with an incredibly rich and diverse built cultural heritage. At Din l-Art Ħelwa, we are very conscious of the fact that this is simply not appreciated enough and that often, there is very little initiative to protect what we have for future generations.

Today, we should reword this maxim to “ignore and trample on all that is old and build on it for future profit”. But why is this? Yes, we all know that the promise of future profits acts as very powerful blinkers. And yes, we do support progress and development, but certain things are certainly worth protecting from the bulldozers.

Let us refer to St Ignatius Villa in Scicluna Street, St Julian’s, as just one example of this. Some months back, this NGO did all it could to present a case for its scheduling by the Planning Authority. Instead, its representatives had to helplessly witness the horrific and illegal destruction of certain sections of this iconic building without much support from the authorities.

Is it possible that all those concerned are so unaware of the architectural

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beauty of this building? Maybe it is because, today, it is completely overshadowed by nondescript blocks of flats, or maybe the blinkers are on again.

Is it possible that those concerned are so unaware of the building’s links to so many chapters in the history of our country? Here is possibly where Din l-Art Ħelwa, designed to safeguard Malta’s historic, artistic and natural heritage, comes into its own, being in a position to inform anyone who cares to listen.

In fact, we actively promote the preservation and protection of historic buildings and monuments, the character of our towns and villages, as well as places of natural beauty and importance, and their flora and fauna, especially in relation to the problems arising from modern urban development.

It has to be said that during these past years, in trying to carry out its mission, this NGO’s representatives have often felt they are facing a near impossible task of David and Goliath proportions.

But let’s get back to St Ignatius Villa.

It must have all started with a meeting between a prominent businessman John Watson and his architect, both keen to create something new and original.

Together, they built a stunning country villa on the hill, with unobstructed views of the sea, hence its first name Bel-Vedere. The house, with its extensive gardens stretching right down to the bay, must have been an ideal location for this entrepreneur and his family.

We all know that, for centuries, the production of cotton was one of Malta’s most important industries and was revered throughout the Mediterranean.

It seems that Mr Watson played an important role in ensuring that this industry kept up with the times, as explained in this excerpt [adjusted slightly to be more politically correct] from A Hand Book or Guide for Strangers Visiting Malta by Thomas MacGill in 1939: “We shall take leave to mention the fine house and gardens of Bel-Vedere, the residence of John Watson Esq, who is rendering himself a benefactor to the [locals] by his assiduity and exertions in the introduction of the Brazil cotton plant; an uphill task with a people so [attached] to their ancient cotton and customs.”

Soon after Mrs Watson’s death in 1843, the villa was sold and it became a Protestant college until 1865.

We are all aware of the influential role the Jesuits have had upon Maltese society over the years. St Ignatius of Loyola was the founder of the Society of Jesus in 1540 and the building was renamed accordingly when it became a Jesuit college from the 1870s until 1907.

Within a few years of operation, so high was the demand by those wanting

to be educated there that it soon became a boarding school with a refectory, dormitory, gymnasium, study halls and laboratories. A number of sports facilities were also housed in the former grounds of the old Bel-Vedere.

The Jesuits, or the “school masters of Europe” as they are often known, contributed to improving Malta’s educational standards from this very building – yet another important link to our history.

It was during this time that the adjacent church and the extension were built.

After the departure of the Jesuits, the premises remained vacant for eight years

until 1915, when the building was converted into a military hospital. Starting with 155 beds, St Ignatius Hospital also included an operating theatre with an X-ray room. In fact, the hospital was also used as a surgical facility, with its first 84 patients arriving in July 2, 1915. Injured soldiers, who had served in the Great War, were treated and able to convalesce here – yet another link to Malta’s history, contributing to its gaining the nickname of the “nurse of the Mediterranean”.

St Ignatius College also functioned as a hospital during World War II. It also served as a home for Russian refugees, including a watercolour artist

Clockwise from top: a painting of the villa

by Nicholas Krasnoff; St Ignatius Church; St Ignatius Villa as a hospital.

IS IT POSSIBLE THAT ALL THOSE CONCERNED ARE SO UNAWARE OF THE ARCHITECTURAL BEAUTY OF THIS BUILDING? MAYBE IT IS BECAUSE, TODAY, IT IS COMPLETELY OVERSHADOWED BY NONDESCRIPT BLOCKS OF FLATS, OR MAYBE THE BLINKERS ARE ON AGAIN A painting of Balluta Bay dating back to the early 19th century, dominated

by Bel-Vedere. Note the crenellations and pseudo-Gothic arches.

[PHOTO: COURTESY OF MARQUIS NICHOLAS DE PIRO]

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Today, the premises is in a bad state of repair and its much shrunken grounds totally neglected.

of great accomplishment, Nicholas Krasnoff, who, together with other compatriots, took up residence at St Ignatius College in 1919 after fleeing Russia in exile. And yet again, another Maltese tradition is represented in this building – that of offering safe haven for those who require it.

Today, the premises is, unfortunately, in a bad state of repair and its much shrunken grounds totally neglected. Yet, in the eyes of many of us, it still retains its elegant beauty of yesteryear.

THE PLANNING APPLICATION TO CREATE A ROAD RIGHT THROUGH IT WITH BLOCKS OF FLATS AROUND IS THE EPITOME OF DESTRUCTIVE GREED Din l-Art Ħelwa believes that a particular property should be considered an integral part of a nation’s cultural heritage for two main reasons; namely, if it has specific important architectural features, and for historical reasons, because of the role it has played in the history or memory of the nation or of the community. In this case, St Ignatius Villa has both distinctive architectural features, as well as significant links to various chapters in Malta’s history.

The Government Gazette dated November 10, 1995, describes when the property was scheduled by law. This included St Ignatius Church and the adjacent buildings, but for some reason, not St Ignatius Villa, which remains unprotected.

Din l-Art Ħelwa is doing its best to change this and commissioned Perit Edward Said to draw up a Heritage Assessment Report.

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In the words of the conservation architect: “Close inspection of Bel-Vedere, both in the contemporary depictions and evidence on the building fabric today, show various architectural elements which are of the pointed 19th-century style, albeit retrained, yet unmistakeably original to the early century design. Most of the external façades still survive intact though some extents have been incorporated into the later Jesuit additions on Old College Street, including the church. In conclusion, this begs the question: is St Ignatius Villa one of the earliest, if not the first building in Malta with neo-Gothic motifs?”

The detailed Heritage Assessment Report has been submitted by Din l-Art Ħelwa in its attempt to have the building scheduled. Unfortunately, the Planning Authority has, so far, refused this. This decision has been questioned and the case is still pending.

“It is beyond belief that the PA has refused to schedule St Ignatius Villa, despite the evidence provided of its significant architectural and historical importance.

“The current planning application to create a road right through it with blocks of flats all around is the epitome of the destructive greed, which spares no one and nothing in its path, no matter how valuable or beautiful. This heritage belongs to all of us and to future generations. It should be protected, not wiped out,” says Din l-Art Ħelwa president Maria Grazia Cassar.

We all hope the proverbial David will be successful in this particular battle against Goliath. Unfortunately, there were so many other similar buildings, just as beautiful and important as St Ignatius Villa, but they are no longer with us to tell their tale and to remind us of their eventful past.

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DARE TO BE BOLD

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