Places – Design & Living (August 2018)

PLACES ISSUE 22 AUGUST 2018

FROM THE ECOLOGICAL DESTRUCTION OUTSIDE

COMES THE NEED TO IMITATE NATURE INDOORS

Greening up your interiors Sowing some indoor garden ideas

The tree-hacking saga continues A case against road widening

A house full of character Converting a traditional property for contemporary living

Design & Living

PLACES

THE BLUEPRINT

NATURAL WALL DECORATIONS See story on page 31

Design & Living

ISSUE 22 auguSt 2018

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THE PROJECT 12 A Story to Tell adding more character to a house of character 22 Airs & Graces indoor garden ideas HOME DÉCOR 31 TRENDS Saving Nature Fighting the urbanisation of spaces 36 ACCESSORIES Urban Jungle Plants as beautiful décor objects 45 TASTE Defining Features lighting’s place in architecture 46 TOP TIPS Interiors Outside Unique Furniture Pieces Interplays of Light A Natural Beauty FASHION & FORM 48 On Paper Designing delicate wearable art PROJECT PEOPLE 52 Where Art Meets Science a biochemical virtual route of archaeological sites DESTINATION, HERITAGE & ENVIRONMENT 54 IF WALLS COULD TALK Reaching New Heights Walk along the Xemxija heritage trail 59 CONSERVATION CORNER Dances With Swords the big detail in a small work of art 62 NEIGHBOURHOOD WATCH Widening the Problem Tree-cutting solutions to traffic congestion 65 ON SHOW From the Ruins Comes Opera iconic building returns to its roots ON THE COVER Photo: Sean Mallia See story on page 12

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MY DESIGN

I’M woRkING on doing up my spare bedroom... since I moved into my ‘new’ home, it has steadily turned into that ever-so-necessary storage space; that dumping ground that just keeps on growing and absorbing more and more…

More things I don’t actually need – and never will - have lazily and easily settled down in their new home, instead of finding another use elsewhere, or simply accepting that their time is up.

It’s a slow process, which started with a clean-out operation and the almost enjoyable exercise of rehoming the sentimental items that I could argue were worth keeping. It meant discovering nooks and crannies around the house that could be filled; and being somewhat inventive in terms of other storage spots.

Now, onto the ‘design’ stage, and how to incorporate all my interiors ideas onto practically the last blank canvas in my home; effectively, my last chance to do up a room and somehow use up all the styles that have been brewing in my mind without creating, in my uncontainable enthusiasm, a cacophony.

But to be honest, homing in on the look and feel of this space was really not that painful. And from the cracks in the pile-up that had accumulated, the vision emerged clearly from the start.

It came to me from the get-go that I wanted to simulate an indoor garden; that the inspiration was quite simply greenery; and that the colour scheme would, in fact, be green – that bright green of long blades of grass to be precise, even if I tend to prefer more muted hues.

I want these four walls to feel like an outside space, with pots and plants and birdcages hanging from the ceiling; wallpaper that deceives you into thinking you are looking out of a window onto a country view; outdoor furniture, like a hammock or a swing; bright birds, foliage, flowers and all sorts of vegetation in the patterns of the soft furnishings; woven baskets for lighting; and of course that ubiquitous crocodile green.

I’m writing about this not because I think the amateur interior design of an unused third bedroom is of particular interest to our readers, but because the ethos behind it, and the way it immediately fell into place, says so much about how and where we live today.

I write about it also because this concept has coincidentally been reaffirmed and reinforced by the contents of this magazine, which struck me for the similarity in thought.

The Trends section, which focuses on ways of integrating and imitating nature within indoor confines, on page 31, may have sapped all the originality out of my idea, but it also made me realise how much we are thirsting for the natural world; how the destruction of our surrounding environment is hurting us so much that we are unconsciously trying to recreate it within the safety of the shell we are steadily shrinking into.

Indoor plants and their use as effective, statement decorations all over the house take root in the Accessories shoot on page 36, while one of our main features deals with how to ‘green up’ the home with lowmaintenance air plants, the botanical must-haves du jour.

These stories provide inspiration and some sort of superficial solace in the

August 26, 2018 | Issue 22 | 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]

face of the draining facts that are outlined in Neighbourhood watch on page 62, where heritage and environment NGo Din L-Art Ħelwa spells out how many trees need to be sacrificed to widen an iconic road, continuing on this country’s senseless war against them in the false name of easing traffic.

The incessant and violent hacking of trees in Malta was probably the unconscious start – or rather the natural development – of my thought process for my third bedroom. our actions are subtly motivated by the environment we inhabit, probably much more that we think, and we start to compensate in the oddest of ways. whenever I drive through a shaded road – even if it is just one spot actually, dappled by the leaves of one lonesome, long-standing, large tree – I notice that my mood is lifted. I’m starting to be highly aware of the feeling that this simple play of light and shade provokes. when driving around dusty, gridlocked Malta, there is nothing more pleasing than a tree-lined avenue in the heart a stifling townscape, and the consistent eradication of this is starting to reflect in what we seek out – even in the design of a measly third bedroom.

Just like when this was left to act as a storage space, it only served to gather more useless items, so too is the removal of trees for the widening of roads to ease the traffic disaster only going to increase the number of cars and congestion. It’s just a matter of time.

In the words of DlĦ, it is important that any changes to our infrastructure result in the creation of pleasant, shady pavements and bicycle lanes. In a nation close to gridlock, where distances are short, and obesity is on the rise, the thinking must create solutions that improve health and wellbeing as opposed to creating pollution and congestion.

But with the direction things are moving in, it seems like the spare bedroom will have to do the job.

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

A story to tell

Husband and wife were both architects and clients for this personal project that saw the conversion of a house of character into their home. Alexia Mercieca and Alex Spiteri wanted to create a space that allowed their growing family flexibility, better use of their limited time together and accessible outdoor areas, adapting the home to contemporary living while embracing its old fabric. Traditional houses demand regular maintenance and lots of love; and just like the couple’s, it’s a relationship that changes and matures.

PHOTOS: SEAN MALLIA

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Architects: Alexia Mercieca and Alex Spiteri from Local Office [www.localoffice.com.mt] Styling: Andrew Borg Wirth, using items from CamilleriParisMode Location: Mosta village core Type of property: three-bedroom house of character The original state: This house was originally done up as a short-let rental investment, so it wasn’t really a home.

It felt dark and cramped, with oiled masonry walls, terracotta-colour ceramic tiles with a thick black grout, dark timber apertures, dark furniture, an overgrown back yard and very limited service [power and water] distribution.

Moreover, it wasn’t practical at all, with

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the downstairs toilet only accessible from outside and the upstairs ones needing to be refitted completely.

From a conservation point of view, the services had been chased across old walls, which were also pointed, with some parts wholly plastered in a grey cement-based mix, resulting in extensive areas of disrepair. Sadly, the house wasn’t as respected as it should have been – it had a story to tell and deserved a chance to do so.

The brief: It had to be a space that allowed our growing family flexibility, better use of our limited time together due to our busy lifestyle and accessible outdoor space, while also embracing the old fabric of the house.

Main interventions, both from the architectural and interior design point of view, to adapt this house of character to contemporary living: The first step was to clean out the place and really understand what we were up against. Our practice ethos is about ingenious simplicity and user-centred principles; creating spaces that support their users through the different stages of life.

Architecture and interiors are never distinct; they are conceived and develop in parallel, mutually informing one another, at times one and the same.

The first step was to assess recent accretions and decipher what had to go. The structural interventions were particularly focused on the living area, to allow for more connection between the spaces and with the outdoors.

The glass extension acts as a conservatory in the winter, allowing plants to thrive, and is completely openable in the summer as a seamless transition to an outdoor living space for outdoor play and entertaining.

The glass extension and sky lights allow for more natural warmth and light in the colder months, with the option of traditional bamboo screens [ħasira] for shading in warmer months.

All new apertures also include high-level openings to improve cross-ventilation in the summer, with hot air rising through the traditional staircase core and escaping through openings at roof level, thereby keeping the first floor a couple of degrees cooler, particularly at night-time.

In terms of materiality, a hierarchy needed to be established to balance out the richness of the architectural fabric with the requirements of the brief. For this reason, the new materials follow a cooler grey and white scheme to complement the natural walls while allowing for light to be reflected to the deeper ends of the house.

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The new structural elements and interventions were rendered in white, with evidence of previous openings still very visible, celebrating the history of the house through clear legibility of the structure as it transitions into this new phase as our home.

All white walls are in plasterboard and include an air cavity to ensure a good finish while allowing for ventilation of the old stone. These in-between spaces also host most of the new services essential for contemporary comfort.

The cast-in-situ concrete floor and kitchen top were an important element in the design from the start, further emphasising the continuation between architecture and interiors of the project. Pouring the floor in some of the more restricted nooks meant a lot of the work had to be finished by hand as the standard equipment just wouldn’t fit, resulting

Our practice ethos is about ingenious simplicity and user-centred principles; creating spaces that support their users through the different stages of life. Architecture and interiors are never distinct; they are conceived and develop in parallel, mutually informing one another, at times one and the same AUGUST 2018 PLACES

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The new structural elements and interventions were rendered in white, with evidence of previous openings still very visible, celebrating the history of the house through clear legibility of the structure as it transitions into this new phase as our home in a unique finish that is characteristic of the house.

The clean floor creates a beautiful contrast with the stone while being perfectly suited for little feet to run on and is relatively maintenance-free.

The concrete floor rises to become the reinforced concrete structure that wraps around the kitchen top and cantilevered peninsula, folding down into the cellar beneath. Although seemingly simple, this part of the design was definitely the most complex, particularly in its execution. It was one of the first of its kind locally, when conceived seven years ago, and finding a local contractor willing to take on the task was a challenge in itself.

The process involved several iterations, test samples and many unknowns as to what the final product would actually look like, and more importantly, how it would fare with time. It was

poured and cast in place, with part of the limed oak cabinetry strengthened to double up as permanent shuttering; then it was meticulously finished and eventually polished and waxed by hand. It has cured to a beautiful grey, and in time, has become the main attractor and point of discussion with each first-time guest.

Major obstacles encountered: These included integrating contemporary comfort within the old fabric, for example, installing mechanical ventilation where necessary, as well as all the required technical equipment for Wi-Fi, sound etc‌ while maintaining a clean space; and engaging skilled workers who shared our vision.

The importance of designing custom-built furniture: Architecture and interiors were very much working in tandem from concept stage, with most of the furniture being custom-designed to fit within the space and capitalise on the available area.

This allowed for more storage wherever possible and no left-over awkward spaces. All of the fitted pieces were custom-designed and built, from the kitchen to the living room unit, study/entrance bookcases and bathroom vanities. Custom loose items included the hall console table.

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The study/entrance bookcases were custom designed to fit between the existing stone arches and also include integrated recessed uplighters at the top. The entrance floor is a customdesigned monolithic pattern, inspired by traditional intricate designs, including the grey from the concrete that follows through the rest of the ground floor.

The living room unit and sofa were designed as a continuous loop, which sits at the same level throughout. The custom sofa modules allow for different configurations and the large square pouf was designed to allow kids to easily transition between kitchen and living. The low unit doubles up as additional seating when entertaining, with more cushions stored in the compartments within it, while the sofa back cushions can also be removed to create a comfortable single bed for guests.

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The custom cabinetry and complementing workshop-style table in the kitchen was left clean, with shadow gaps for handles. The top units include the general lighting for the room, illuminating the ceiling and accentuating the original timber beams.

The downstairs WC custom vanity was designed to maximise the limited space available, doubling up as storage on two sides and also as a towel rail. The main bathroom vanity in solid walnut was designed to dip down to the level of the bath to fit the exact proportions of a baby changer while also doubling as an elevated kids’ drying area, or adult seat as necessary. On the other end, the integrated step allows for kids to use the sink independently, without the need of a stool. The square proportions of the bathroom tiles recall those of the traditional patterned tiles in other parts of the house, while the skylight makes for a serene bath ritual [when not filled with squeezy toys].

The hall console table was customdesigned to fit the proportions of the space while still allowing a comfortable passage through to the rest of the house.

The Irish green marble slab, chosen specifically for this piece, draws from the natural greenery throughout the house and is further highlighted by the minimalist black steel sections.

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THE PROJECT The overall look and feel: It’s a family home, where each part and each object has a story to tell.

How this was achieved through the use of particular colours, materials and textures: The white walls and muted timber tones serve as a backdrop for brighter colours used in the finishes and upholstery. The custom furniture is complemented by an eclectic mix of furniture pieces and smaller vintage items, some passed on from grandparents and great-grandparents, either left intact, or given a new lease of life; others picked up at local markets, or from various travels, all brought together in a very personal mix that is quite hard to label – contemporary eclectic, maybe?

Most of the hues draw on natural colours with more important art pieces such as the Gabriel Caruana pastel on timber in the living room, informing the colour combination of the space.

The mix of old stone and smooth white walls – what’s the rule of thumb on that? I don’t think there are any set rules; each house needs to be studied individually, taking into consideration the condition of the walls, humidity levels, the use of the immediate space, the amount of light, furniture layouts and finishes, and the client’s taste.

What was preserved and what simply had to go: Most of the original structure was preserved, but the more recent accretions, the bathrooms, had to be shifted altogether to re-expose the original fabric and install more contemporary facilities.

The trick to striking the right balance between characteristic and comfortable: You can definitely achieve both comfort and character. Due to the more intricate spaces and proportions that are characteristic of a traditional house, more thought needs to be invested at design stage to envisage the entire space holistically, with particular focus on bespoke solutions and custom items.

The downside of working on a house of character as opposed to a new build: They each come with their own challenges, and we don’t feel one is easier than the other in any particular way. What may come across as challenges and restrictions in an older house are generally those same instances that create opportunities for something unique. Traditional houses demand regular maintenance and lots of love; it’s a relationship that changes and matures. We are humbled by the opportunity of being keepers of such invaluable places, even if just for a small fragment of their time.

The outdoors: Most of these spaces where filled with soil and larger trees, allowing no light to penetrate through. The decision to tile both outdoor spaces throughout followed from the original concept of creating flexibility while not compromising on the wish to include plants and greenery and also making the most of the space available. The movable furniture items allow for a paddling pool to be set up one day and a BBQ with family and friends to happen the next.

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The favourite spot: Probably the dining area on a nice day, which easily doubles as a work and reading space from which to watch the changing shadow patterns throughout the morning.

The lighting… and any specific tips to light up an old house: As a more general tip, which is even more valid for an old house, rather than bright lighting throughout the space, use smaller pools of different types of light, within the same colour temperature range, to allow for different moods and an overall ambience that is more comfortable on the eye and more soothing.

In this case, most of the main light sources are concealed within the furniture and shadow gaps in the structure, resulting in more diffused and reflected light emerging throughout. Carefully chosen light fittings, such as the raw concrete Aplomb pendants by Foscarini over the kitchen island and the vintage filament bulb pendants over the hall console, work within the composition of a specific frame/instant, existing as design elements in their own right.

Three words to describe the space: Personal, usercentred, eclectic… home.

THE PROJECT

AIRS & GRACES

CENTRE STAGE

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PHOTOS GREG COX PRODUCTION MARISSA PRETORIUS STYLING SVEN ALBERDING

Naturally beguiling, low maintenance and with myriad species to pick from, it’s little wonder that air plants are the botanical must-haves du jour, offering a modern spin on greening up your interiors.

Mandy Allen sows some indoor garden ideas.

ARTISTIC LICENCE

WITH THEIR almost otherworldly allure, air plants are the perfect subject to inspire your creativity. Almost any object and surface can be the medium to display these exotic botanicals, either affixed to a distressed textured pedestal in an evocative fusion of industrial and organic, or the main event on a hallway table instead of figurines and other predictable decorative homeware accessories.

Display your living installation in a hallway, bathroom, living-room side table, or home office, composing your air plants in a selection of clear round glass containers that are identically shaped, but in varying sizes and forms.

Think bowls, ramekins, small measuring jugs and even vintage clear glass tea cups for a visual synergy while imbuing the installation with a personalised and quirky touch.

Rethink a centrepiece by displaying plants with oversized proportions and graphic forms. The juxtaposition of a sculptural retro statement table with an unruly exotic botanical composition raises the dramatic impact to visionary new heights.

LIGHT WORK

NATURE STUDY

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IN GOOD COMPANY

MAGIC REALISM

RAIN FOREST

GREENERY CAN CREATE AN ORGANIC FOCAL POINT IN A HOME, OR OFFICE ENVIRONMENT, ENCOURAGING CREATIVITY, WHILE ENHANCING A SENSE OF CALM. TAKING ITS CUE FROM THE PLANTS, A SPACE FEELS DECORATED BUT WITHOUT THE USUAL DISTRACTIONS OF DECORATIVE OBJECTS, OVERTLY BRIGHT COLOURS AND CLUTTER Look to nature and replace that painting above the fireplace with an organic, textured sculpture that lives and breathes. A variety of air plants can be affixed to a piece of driftwood using thin craft wire. Hang the driftwood sculpture from a picture hook or nail as you would a framed painting.

An eye-catching indoor miniature garden, with a stripped back, modern aesthetic, can also be created, offering a great distraction if the view from your window is less than desirable.

A contemporary twist on the classic terrarium concept sees a variety of air plants arranged in laboratory-style glass beakers, vases and preserve and storage jars. And a diaphanous effect can also be created by hanging a few air plants in front of a window for a super-simple ‘floating’ installation.

If you’ve got your eye on that botanical print wallpaper, but think it’s ridiculously expensive, why not create a living one using air plants? You’ll not only be beautifying your space, but also purifying and detoxing the air.

Greenery can create an organic focal point in a home, or office environment, encouraging creativity, while enhancing a sense of calm. Taking its cue from the plants, a space feels decorated but without the usual distractions of decorative objects, overtly bright colours and clutter.

In the bathroom, greenery is often overlooked, even though it’s often the best place for plants and your serenity. Here, the air plants get to take advantage of the resulting humidity [saving you from the chore of watering], while you get a tranquil display of colour and form… an oasis all your own.

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A configuration of air plants suspended above the bathtub is an exotic and ever-evolving art installation, while a shower can also be transformed into a tropical paradise.

Suspend the plants from bathroom-specific hooks attached to the shower surface [these usually come ready-to-use with double-sided tape], or screw hooks into the ceiling, and suspend plants with transparent fishing gut.

The presence of art in a bathroom is a relatively overlooked styling idea that really does work. In fact, botanical prints are ideal for this sort of space and have a visual connection with the display of living plants.

Because air plants do not rely on soil as a growing medium, they can be attached using craft wire, or transparent fishing gut to just about anything that ignites your imagination. Hook screws are easily hung from the ceiling: secure lightweight air plants with transparent fishing gut for an ethereal effect and display the heavier species on window sills and flat surfaces. Otherwise, make sure the ceiling can take the weight of the heavier air plants, orchids and ferns that you may want to use.

Air plants generally enjoy a humid environment, but allow some air to circulate so they have a chance to dry off.

Access to at least six hours of indirect sunlight will also ensure that they thrive.

There’s strength in numbers – particularly if you’re a plant [no, really, grouping plants close together increases the level of water vapour]. For a visually arresting mix of air plants

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try out a beautiful living exhibit with its graphic leaf shapes, textures and shades.

An appropriate surface must be chosen – be it a window sill, table top, or vintage tray – to display a selection of air plants with various leaf shapes and hues. Combine these with rustic, natural and man-made elements, such as wood, stone and clear glass lab jars and beakers for an industrial-organic effect.

Small to medium air plants can be attached to the wall using small pieces of double-side tape, although this may damage the paint if you want to take down the display. Alternatively, if you don’t want to fix the plants to the wall directly, tie them – at various heights and intervals – onto an organic piece of driftwood, or bamboo, using transparent fishing gut, and make a mobile that can be hung against the wall using hooks, picture nails,

PLANT PROFILE These exotic – sometimes bizarre-looking – plants are part of the Bromeliad family and originate largely from South America.

They are scientifically classified as Tillandsias, but are commonly referred to as air plants. There are over 550 species of these low-maintenance plants, which do not require soil to grow, absorbing all their water and nutrients through their leaf system.

This makes them extremely versatile for decorating in most environments.

a simple curtain rail, or copper pipe. Additional air plants can be displayed in contemporary vases and vessels.

Don’t limit the idea of layering to your soft furnishings and colour palette: air plants can be complemented by other tropical species, such as flowering orchids and citrus blossoms, with their intensely coloured leaves.

Intersperse these for a dramatic display.

Maximise the impact of air plants by setting them against sculptural stumps of driftwood as well as man-made objects that display the patina of time. A woven basket also makes a whimsical living display when draped with them.

CARING FOR YOUR TILLANDSIAS Air plants are very easy to care for as they absorb moisture from the air, but they will still need watering. Hang them in the shower for no-effort care, or give a healthy misting with a spray bottle every second day.

They will benefit from being dunked in room temperature water for about 30 minutes every third week – once they’ve had a good soak, let them dry in a high-light environment.

Placing air plants in a vessel with a small amount of water will allow them to produce their own moisture. This is known as the ‘self-watering’ terrarium effect. Make sure your chosen container is not sealed as they need circulating air to survive.

Does the colour of your air plant look too grey and dry?

A light misting will restore its green hue. If your air plant is looking especially poorly and dry, give it an overnight soak.

Shake it off properly so it doesn’t retain too much water, which can cause rot.

Air plants prefer bright, filtered light. Basically, the more indirect but bright light, the more they will thrive.

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TRENDS

SAVING NATURE In today’s rapid urbanisation of our spaces, where greenery is being overturned by concrete blocks, and outdoor areas becoming scarcer, people are seeking ways of integrating and imitating nature within their indoor confines. The idea of creating a home that is a haven of tranquility, away from the ecological disaster outside, has never been more relevant. Here, Emma Mercieca Cristiano, from Brands International Ltd, shows how we can inject elements of nature into our everyday spaces to make up for its destruction right outside our doors.

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TRENDS

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BEAUTIFUL spaces aren’t created by chance. They are born out of bold decisions and bursts of individuality, but are also influenced by architectural elements, not only of the space itself, but also in a general, wider context.

For example, in today’s rapid urbanisation of our spaces, where greenery and nature are being overturned by concrete blocks, and outdoor areas becoming scarcer, people are seeking ways of integrating and imitating nature within their indoor confines.

We seek refuge at home, we long to go back to basics and we have an innate longing to be more connected with nature. Putting nature at the centre of the house instantly uplifts the mood and creates a comforting feeling. Therefore, even if having a green oasis at home is not possible, the least we can do is try to include elements that imitate nature, or draw inspiration from a more tranquil past. The idea of creating a home as a haven of tranquility and a place to gather our senses has never been more relevant. Here’s how…

EVEN IF HAVING A GREEN OASIS AT HOME IS NOT POSSIBLE, THE LEAST WE CAN DO IS TRY TO INCLUDE ELEMENTS THAT IMITATE NATURE, OR DRAW INSPIRATION FROM A MORE TRANQUIL PAST The living area One of the hottest colours of the moment is forest green. Even if you never considered yourself a huge fan of green for your interiors, marrying this colour with touches of brass, smoked glass and grey and intricate florals in the accessories gives it an updated contemporary look and injects a natural vibe.

Another colour that effortlessly reminds us of cool summers is coastal blue, which is calming and accented with purple, plum and black, giving off a more luxurious look.

Adding quirky gallery pieces on the wall also brightens up the space and breaks through any formality [while also being a fun conversation starter if guests come over]. Not much floor space is needed to still be able to have foliage around – modern wall decorations also come in the form of miniature hanging glass pots.

As with anything else, the key for a harmonious, natural, living environment is to keep it nice and simple. Breathe in and enjoy your own little oasis of tranquility.

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TRENDS

Flooring The floor of any property plays a very big role in the overall look, and what better way to start with than by using natural materials? A durable, wooden floor made from sustainable materials automatically elevates the aesthetic value of any property and is reminiscent of Nordic country homes.

Available in a wide array, one can easily opt for a country look, with defined knots and aged finishes on the planks, or lighter, smoother tones for a more urban feel. The latter give off a pure, clean look and look great in children’s bedrooms in particular.

Patterned floors such as herringbone style have also made a big comeback and look great if one is after an elegant, but updated modern look. Quality products are nowadays also finished in special lacquers, which preserve the naturalness of the wood, but also make the floor extremely resistant to dirt, liquids and dust.

The kitchen hub Life at home undoubtedly centres around the kitchen.

Food has long been a means of getting people together, but with today’s dreamy Instagram feeds of clean whole-

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some foods and organic creations, many are inspired to prepare what they eat at home and consequently spend a larger portion of their day around the kitchen.

It naturally follows that this space remains the number-one spot, where people gather to unwind and connect over their food. Therefore, what better way to combine nature and let it take centre stage around the kitchen?

The new kitchen model by Aster Cucine seeks to do just that. It embodies the country kitchen feel that evokes so many memories of leisurely country vacations, and yet, somewhere in between is a contemporary mood that brings back modern-day functionality and absolute comfort.

The eclectic charm of natural materials such as oak plays with other textural elements, including lacquered fronts in pale, country greens, duck-egg blues, or curvedetail cutouts. Then the magic happens – when all this is juxtaposed with the more contemporary industrial elements of black steel, clear glass and blackboard fronts. The trend of displaying treasured artefacts is embodied through open shelving and exposed storage in the islands.

WWW.BRANDS.COM.MT

ACCESSORIES

URBAN JUNGLE If you’re craving greenery and can’t watch the brutal hacking of yet another tree, try and create a garden all of your own – even if you don’t live in a large space. Vicki Sleet says you’d be surprised how easy it is to look after plants and incorporate them into your life, whether for their good looks, as a food source, or something to nurture and grow. Approach them as if they are décor objects, chosen for their beauty and sculptural good looks, and they can be your best accessories.

PHOTOS: LAR LESLIE

HANG UP IDEA: If you’re stuck for space or perplexed by an expanse of empty wall, a hanging garden could be your green solution. Ideal for succulents and hardy grasses that need very little care and water, choose a cylindrical container that sits comfortably against the wall and plant up a selection of plants with interesting shapes and colourways. Alternatively, choose plants with scented flowers and allow the fragrance to waft into your home.

FOOD FOR THOUGHT: Edible hanging herb and vegetable gardens are increasingly being seen in urban environments – all you need is plenty of sunlight, a little protection and something to hang your container from.

Choose companion plants like basil and tomato and plant them up in a single container.

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DECO PLANT IDEA: There is a wealth of sculptural plants that can be used to make a style statement in any home. From cacti to succulents and choices like this Staghorn fern that has been trained to wrap its container, approach your plants as if they are décor objects, chosen for their beauty and sculptural good looks.

FOOD FOR THOUGHT: Marrying your plants with a container that echoes the sentiment – like this less-is-more paint tin, teamed with a lean cactus – creates a striking effect. Cacti and succulents are very hardy, almost certainly the easiest plants to grow indoors and specially adapted for neglect.

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ACCESSORIES

VERTICAL CHALLENGE IDEA: Create a mini garden using palette wood nailed together into a neat grid and criss-crossed with fishing gut and plant it up with epiphytes or ‘air plants’, plants that can grow without soil, and mount onto a host – in this case a wooden wall-mounted grid.

FOOD FOR THOUGHT: Bromeliads are famously popular as at-home epiphyte choices as are some species of orchids. Watering is best done by removing the installation, submerging it and the plants in water for up to 20 minutes, then draining it well.

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OUTDOORS IN IDEA: Grow your own oxygen-producing indoor jungle with a host of plants and ferns and enjoy the benefits of outdoor living without having to leave your home.

From sculptural ferns to hanging baskets and those 1970s potted classics, the Love Palm and Delicious Monster, more is definitely more.

FOOD FOR THOUGHT: Potted plants benefit from a mix of indoor and outdoor living – allowing plants that look like they’re past their prime to recover outdoors before moving them back inside for your pleasure is always a good idea. Some plants can be brought inside when they flower. Orchids and agapanthus are a good example.

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ACCESSORIES

CONTAIN IT IDEA: You don’t have to spend a fortune on a series of containers for a potted garden, or green indoor installation; look around you and see what offerings might work. From discarded copper lighting components to PVC piping more commonly used by plumbers, there is a myriad choices that could work.

Use damp coir to create a sense of cohesiveness between the containers and as a passive water source.

FOOD FOR THOUGHT: Whatever you use, you’ll need to ensure you have proper drainage – drill or punch holes in the bottom of your plastic container to allow excess water to seep out, or add a layer of gravel at the bottom. A lump of charcoal from the BBQ will keep the water sweet and the plants happy.

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DEFINING FEATURES

TASTE

Without lighting, where would architecture be?

Petra Marie Cutajar from Light Design Solutions stresses how light is a fundamental element of architecture: it interacts with the space, affecting the way we perceive it, changing the spatiality, the atmosphere and the visibility.

The history of great architecture is about buildings that adapt creativity to light, an excellent tool that can be used to highlight points of interest and detail – from the stairs to the texture of a rough wall and recessed slots within a smooth surface, a wonderful material, a column, an archway, or a fireplace.

Each element needs to be lit up individually to bring out its best features. The idea is to add interest and create contrast, drawing attention to areas that are not usually lit during the day, or are lit only by soft background lighting.

Without lighting, where would architecture be? Lighting can bring an emotional value to architecture; it helps create

its function, which is to help us see. And the efficiency of the lighting should also be taken into consideration, especially in today’s world, since going green and being eco-friendly is a priority. This is done by being certain that the light is reaching its target with less wastage.

To enhance architectural elements and evoke emotions, it’s important to understand spatial borders and how to properly light them. To enhance vertical borders, for example, light should be directed towards wall surfaces by using wall washers that make them appear as an architectural element in their own right, instead of part of an entire room.

TO ENHANCE ARCHITECTURAL ELEMENTS AND EVOKE EMOTIONS, IT’S IMPORTANT TO UNDERSTAND SPATIAL BORDERS AND HOW TO PROPERLY LIGHT THEM an experience for those who occupy the space. Whether its daylight, or artificial light, it draws attention to textures, colours and forms of a space, helping architecture achieve its true purpose. Vision is the most important sense through which we enjoy architecture, and lighting enhances even more the way we admire it.

Three key aspects of architectural lighting need to be kept in mind: aesthetics, function and efficiency. Aesthetics is the focus on the emotional impact that the balance between lighting and architecture has on the occupants. It’s how we want people to feel when they walk around the space. Lighting should also look a certain way, while making sure it serves

Horizontal borders can be emphasised by illuminating the floor and ceiling. This creates a uniformity of light throughout the room and provides proper levels without the use of direct light on objects.

It is also important not to forget about the other architectural elements, such as pillars, archways, textures, etc… and to always draw attention from a room as a whole and force the eye to focus on the illuminated architectural elements. In some cases, where a room is full of colours and architectural elements, it is sometimes difficult to make certain areas stand out. Light can help with this problem by making those elements more obvious.

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TOP TIPS

UNIQUE FURNITURE PIECES To stand out and make a statement…

For those looking for statement pieces, Lola Glamour offers an exclusive collection each with its own unique personality, from chest of drawers, chiffoniers, sideboards, bedrooms, or office furniture. Lola Glamour is a feeling and an attitude, a reinterpretation of the most classical shapes and styles, which are then recreated to singular individual unique furniture pieces. All Lola Glamour pieces have very distinctive forms, materials and colours, creating extraordinary collections. Each piece is handmade and can be made to measure in your preferred size and colour. They are available from SatarianoHome, Marina Street, Pietà.

INTERIORS OUTSIDE

Antonella Riotto, architect and interior designer at Fino Interior Design Studio, continues to focus on outdoor furnishing, insisting that outside spaces should be another living room…

NOWADAYS, outdoor furniture is a very important aspect of ‘interior’ design. The outside is no longer considered a separate space, furnished only after the interior design project has been completed; it is part of the initial design concept, a sort of osmotic space, where indoors and outdoors are combined.

Open spaces – terraces, courtyards and pool areas – have become an extension of home environments, and by expertly alternating fabrics and shapes, it is possible to underline how fine the border is between the indoor and the outdoor.

An interesting outdoor brand is Talenti – a young Italian company that combines tradition, creativity and an innovative spirit in its products. Furnishings and accessories are made in Italy, where a technological heart, using weather-resistant treatments and materials, is combined with stylistic research, making outdoor living more and more sophisticated. These products are a combination of craftsmanship and industry, elegance and simplicity, thanks also to the collaboration with popular international designers.

The use of innovative materials, especially in the textile field, with the latest generation of fabrics that are weather and heat resistant and easy to clean, as well as shapes and designs that look like indoor furniture allow for outdoor spaces to be an extension of an indoor project.

Fabrics, natural stones and ceramic, ropes and cords, powdercoated steel frames, along with natural teak or iroko details, offer a sophisticated option for transforming an outdoor space into a sort of living room.

Wood can be used together with aluminum and fabrics and everything can be in harmony. Armchairs, sofas, tables, sunbeds and accessories, such as rugs, lamps and cushions intended for lasting over time, are not only practical but also sophisticated and exclusive.

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INTERPLAYS OF LIGHT Get enlightened on the latest in lighting.

The Arrangements system by Michael Anastassiades for Flos offers a wide range of configurations, from the suspension of a few elements to the creation of major sculptural installations.

Single chandeliers made up of one or more interconnected modules up to the maximum power output of the ceiling rose [70W or 190W] can be replicated and combined to create unique interplays of light and space. It is available at Elektra Ltd, Qormi.

A NATURAL BEAUTY PHOTOS: FREDRICK MUSCAT

Halmann Vella lines up some guidelines for marble maintenance. This natural stone may require more effort than other surfaces, but once you learn how to preserve it correctly, keeping marble in a pristine condition is really not that complicated.

MARBLE is a beautiful natural stone that comes in unique colours and patterns found in no other material.

But on the downside, preserving this natural beauty tends to worry homeowners, given that it requires a special cleaning routine.

Indeed, preserving marble surfaces takes more time and effort than maintaining other types of surfaces such as laminate or ceramic since the material is significantly softer and more delicate. However, once you learn how to do it correctly, keeping marble in a pristine condition is really not that complicated. Here are a few guidelines on how to safely clean this elegant stone: Prevention is indispensable. Use coasters or trivets to protect the countertop from hot pots, scratches and stains.

Do not expose marble to acidic substances because it is non-resistant to them and they will cause the material to etch, which means it will have visible, dull spots, where the acid has eaten away at it. Acidic substances that are frequently found in homes include wine, fruit juices, citrus and vinegar. If a spill occurs, it should be wiped up as soon as possible. The longer a spill stays on a countertop, the more damage it will do and the harder it will be to remove it. If a marble surface has been stained, contact a marble restoration professional.

Do not use abrasive detergents or cloths when it comes to cleaning marble because it can be scratched and etched. This also goes for natural cleaners such as vinegar

and lemon, which are also acidic substances and will dull the stone as they will eat into the marble surface. Marble countertops are ideally cleaned with water and a mild soap, or a dedicated stone cleaner, using a soft sponge or cloth.

Keep marble surfaces dry after washing. Marble is a porous material, and if it absorbs water, this will dull the surface. This is especially true for bathrooms, which should ideally be cleaned after every use.

Do not put excessive weight on the surface because although marble is a hard material, it is not flexible and can crack under something too heavy. Avoid dropping heavy objects onto the surface.

Seal marble ideally once or twice a year.

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FASHION & FORM

ON PAPER From interior to fashion design, with a penchant for philanthropy and a love for animals in between, James Dimech has directed his focus and energy into the creation of sustainable clothing, with his latest paper collection bringing three-dimensional sculptural forms into his ethereal white dresses.

THE WHITE Paper Star collection by James Dimech has taken the designer’s passion for “wearable art” to another level, with his paper dresses, featuring origami and a combination of cuts and weaves.

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For James, paper is a material that has a life of its own, leading to surprising results. It is unpredictable and offers a constant challenge, he says.

In fact, each piece in the collection was handmade in a meticulous process that

used only the most basic of sewing tools.

In this collection, James used two techniques – origami for the paper butterflies, stars, pyramids and flowers, and paper manipulation, which is a delicate way of folding paper. Needless to say, these took time to prepare and were done in between work on his interior design projects, meaning many long and late nights.

You’d be surprised what You can create with just paper. i don’t think i can group the hours of work on each dress, but just for the mounting of one, it could take three to five working daYs, 12 hours a daY, to have all the pieces readY following the prep work is the artistic part, which comes out at a later stage, when he starts to design the dress base in a way that complements the origami shape. “it’s a matter of trial and error, and even if i have a picture in mind of what i want to achieve, i often tend to modify

and elaborate accordingly,” james explains. the paper manipulation is even more difficult and required a lot of practice and research. “i’m only in the beginning,” he admits.

“You’d be surprised what you can create with just paper. i don’t think i

can group the hours of work on each dress, but just for the mounting of one, it could take three to five working days, 12 hours a day, to have all the pieces ready.” the focus of this collection was the “incorporation of three-dimensional sculptural forms into fashion, exploring and solving the relationship between the organic human forms and geometric shapes created by a variety of folding patterns,” james explains.

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the designer has always focused his attention to detail, sense of innovation and entrepreneurial spirit on the creation of clothes made mostly from recycled and sustainable materials, including paper, plastic and metal, with his first ever origami dress utilising magazines.

Being very environment conscious, James only used waste paper, mostly from printing presses, for the “base” of this collection, and has somehow managed to create a variety of styles, from halter necks to A line, off the shoulder and pinafore dresses. the addition of tulle gives a touch of elegance and flow.

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One of his most iconic pieces remains his hooded, full-length, evening dress, which resembles shiny chainmail, but is actually made of pull-tabs from cans of cat food, marrying his passion for design with his love for animals. the skirt line is the result of shiny paper strips, cut manually from bags of cat food, while the tins were used as bangles, supported by chainlinked pull-tabs from the shoulders.

After all this work, one would like the think these dresses are wearable, but James points out that they are very delicate, especially the pointed ones from the White Paper Star

collection, and also subject to humidity as the paper warps easily in Malta’s climate.

“For the time being, I’m just creating art pieces to showcase on special occasions, but I must say the technique is evolving pretty fast and, hopefully, soon, I’ll have some good news in this regard.”

PHOTOS MARK SOLER AND CARLO JORDAN MAKE-UP JENNIFER DIMECH HAIR LAuRA-LyNN BORg CALLEJA FROM PRIvé DESIGN & STYLING JAMES DIMECH LOCATION StuDIOSEvEN

ART

PROJECT PEOPLE

Where meets SCIENCE

Children generally decide whether they want to go into arts or sciences at an early age in their schooling, and once they’ve made that decision, it’s an us-versusthem type of scenario. Daniela Brill Estrada and Guadalupe Aldrete have found ways to smash that glass ceiling and will be showcasing their art installation, with a scientific edge, ReFraming Carbon, at Science in the City on September 28. They explain it to Rachel Zammit Cutajar.

Science and the arts seem worlds apart, but Daniela Brill estrada and Guadalupe Aldrete, also known as Lala nomada, say this isn’t the case. Art is made up of the physical, which is commanded by science.

Daniela, born in Bogota, colombia, went down the road of fine arts, however, her family was strongly tied to the world of science, particularly physics, so she was always trying to link the two worlds together. This becomes evident in her drawings, representations and installations.

Guadalupe, born in Mexico, has been studying art for the last 10 years, however, at school, she was always interested in science and couldn’t believe she had to choose between the two. “i understood that science is everywhere. even art is chemical, so i needed to find a way to do both,” she says.

The two met at the University of Applied Arts in Vienna, Austria, where they were both studying for a Master’s in Arts and Science, Guadalupe having completed the course earlier this summer and Daniela set to finish in January of next year.

Though they had never worked together before, both artists had done some work with carbon, Guadalupe looking at it from a socio-economic point of view and the materialisation of social problems, while Daniela had taken a more physical and bio-chemical standpoint.

So how does all this fit into an art installation at Science in the city on September 28? The artists are taking a biochemical virtual route of some of Malta’s oldest archaeological sites. Setting up their installation in St George’s Square in Valletta, they will be leading the audience on an interactive journey through time using the chemical carbon.

“The idea is to form a link between past, present and future using carbon. We are using carbon from the past in the archaeological sites we have selected in Malta and Gozo, namely Ġgantija Temples, Tarxien Temples and Skorba. “carbon is involved in the entire structure of the human body, even as the holding structure of our DnA, therefore, we will be using it from the participants’ own bodies in the ‘present’ frame of the installation. “it is also one of the changing elements in the planet’s chemistry, and carbon dioxide prints, produced by air travel, will form the frame we chose for the ‘future’,” they explain.

And it’s an interesting aspect for an island such as Malta.

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“From an ecological perspective, we need to reduce our carbon footprint and reduce air travel, however, you cannot talk about saving the environment in a vacuum.

“Because Malta is an island, air travel is vital to the Maltese, both for Maltese people getting out and for a flourishing tourism industry. We somehow need to find a middle point where the environment can be protected along with everyday life.”

At Science in the city, they will be projecting these three frames together by creating a virtual route through Malta’s greatest and oldest archaeological sites, which are a symbol for the archipelago’s interest in technology and innovation, as well as the traces of a 6,000-year-old civilisation.

History lectures should be reserved for the classroom, and this project is far from a mundane lesson. it is people-dependant and the audience can expect to be taken on a journey through Malta’s technological prowess in pre-history and be fully involved in the story telling.

The playful project should be of interest to people from all walks of life, young and old, scientists, artists, and anyone else, the women say. “Those coming to see the installation are imperative to our project as they will be the ones activating it. it’s an interactive installation, but not in the way that you press a button and something happens; without people the project doesn’t work at all.”

Archaeology has an important meaning for Daniela and Guadalupe. Guadalupe has worked professionally in archaeological excavations and research projects both in Mexico and in europe. For Daniela, the archaeological inspiration has been triggered more by poetry than by actual research since she has used poems by Latin-American writers that use mythology of ancient and indigenous tribes as inspiration.

Although the megalithic temples in Malta, which are some of the oldest free-standing structures on earth, were very interesting to the duo, this was not what brought them here. They were drawn to the island by an open call invitation from the University of Malta to the University of Applied Arts in Vienna.

The University of Malta was looking for artists interested in working in Malta, and after some research into Malta’s prehistoric temples, they were confident they could produce something of interest.

WE SOMEHOW NEED TO FIND A MIDDLE POINT WHERE THE ENVIRONMENT CAN BE PROTECTED ALONG WITH EVERYDAY LIFE

Guadalupe Aldrete and Daniela Brill Estrada.

Even during their application, Daniela and Guadalupe received a lot of help from local scientists, aiding them with their own research into carbon dating of the temples and building a network of communication that would help the duo realise their dreams.

The Fragsus Project, a European initiative that aims to shed light on how the Maltese Islands were transformed and exploited during the first few thousand years of human activity, was also of invaluable support to them. With the help of Dr John Betts from the University of Malta, Caroline Malone, Catriona Brogan and Rowan McLaughlin from the Fragsus Project, they won the application and got to work on their project, spending a week in Malta in March gathering data.

“Though we are appreciative of any help we get from scientists around the world, this is not always the case when working in this male-dominated environment. We are disadvantaged in more ways than one in that we are two young female artists who are not scientists.

“Though a good percentage of people take us seriously and are excited to work with us, we have often come across the attitude where we are just considered cute little girls, trying to get into the world of science, with many scientists simply dismissing us completely.

“Getting what you want is hard in this kind of environment, but not impossible,” Daniela says confidently.

“You just need to stick to your guns and not feel intimidated by the condescending scientist. Once they realise you’re not afraid of them, they take a step back and there you have earned a little bit of respect. Stick to

your focus and even if you don’t know the science, you can learn. Keep pushing your ideas, and eventually, they will get through to the right people.

“Then there are also people who will help you to a certain point, telling you it’s good enough – good enough for a young female artist. But good enough is not enough.

I will not rest until I can do something worthwhile.”

When talking about the ‘present’ frame, where the artists are using carbon in our own body structure, Guadalupe talks about her own life. She has performed under the name of Lala Nomanda, however, she is going back to using her real one after her last exhibition Diluidos, which focuses on political and security issues in Mexico.

“Working with carbon has made me look inwards and I need to go back to my Mexican origins to tell the story of who I really am. I feel like the era of Lala Nomanda is over, and as a grown-up artist, I will be using my real name Guadalupe Aldrete.”

Daniela and Guadalupe will be in Malta from September 21 until October 8 to set up the installation and prepare for their big day at Science in the City, where they will have two volunteers to help them explain what participants need to do to activate the installation. They will exhibit the same artwork again at Notte Bianca on October 6.

While they are here, they hope to visit the temples they have spent the last five months working on. And on a personal level, Daniela hopes to visit the monastery where Nicaraguan poet Ernesto Cardenal wrote a number of his poems.

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IF WALLS COULD TALK

The entrance to the Cave of the Galley.

The Cave of the Galley.

The galley originated among the seafaring civilisations of the Mediterranean.

PHOTOS: ANTOINE AZZOPARDI, TESSA MERCIECA, CHRIS SANT FOURNIER

REACHING NEW HEIGHTS For those who think the Xemxija Heritage Trail is just another stretch of Maltese countryside, Cathy Farrugia offers a colourful appreciation of the area, which goes beyond a beautiful landscape and a lovely walk. Follow in her footsteps…

The lower section of the Pilgrims’ Road.

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The menhir.

carts laden with agricultural produce over the ridge. as the name implies, it was also the route taken by devout pilgrims, who travelled great distances to visit the mellieħa grotto sanctuary, with its centuries-old icon The age-old carob tree. of the madonna painted directly on the rock face. along this stretch of the road, look out for the irrigation channels that were used to collect rain water and divert its flow from the road. There is also what is popularly referred to as the menhir, or megalith [derived from the ancient Greek megas to mean ‘large’ and lithos to mean ‘stone’]. it brings to mind the cartoon character, Obelix, the The two apiary complexes within menhir sculptor in the close proximity of one another.

French comic books Asterix. just off the Pilgrims’ The XemXija heritage Trail Road is the spacious Cave of the can be appreciated on so many Galley. Take a closer look at the levels. it is definitely the place to stonework around its entrance; it is like enjoy stunning panoramic views, being transported back in time when yet just one look at a page from the life was dictated by the rising and Government Gazette No. 763 [1998] setting of the sun, and the seasons takes things to a whole new level. rolled by, bringing life, growth and Xemxija heights is a designated eventually death. The only shelter area of archaeological importance from the scorching sun or cold winter due to a long list of incredible nights would have been in a simple features to be found clustered in cave such as this. close proximity to one another. a galley has been etched into a These include a megalithic temple, squarish shaped stone just inside the late Neolithic tombs, old quarries and entrance to this cave. This simple cart ruts, a Punic tomb, cave image adds an atmosphere of mystery dwellings, megalithic alignment, an old and curiosity to the whole place. road, a corbelled hut, apiaries, a World Who was the artist? Why was it so War ii defence post, mistra Gate, a important to depict this image? Was farmhouse, and finally, the monte della this stone brought here from another Redenzione property marker. location? Did the people on this galley But let’s look out for the signs that survive to tell a tale of stormy seas start halfway up the hill from Xemxija and near-death experiences, or were and follow the trail. they lost at sea?

There are two apiary complexes OVERLOOKING XEMXIJA in this area, one more rustic than the For centuries, the Pilgrims’ Road other, while another part across the was one of the main thoroughfares ridge is known as mġiebaħ [apiaries to reach the north of the island. in maltese], so it is likely that the Beautifully constructed, with its whole area was important for the sweeping curves, it must have carried production of this product.

Local honey was renowned for its excellent quality and the island’s ancient name melita [a derivative of the Latin word for honey] reflects this.

Some years back, i came here with a British friend, who actively promotes the preservation of bees, and she was very keen to see these complexes. She literally made a beeline for the entrance and, to my shock and horror, she went in! Now, as a child, i was brought up in the countryside and we had strict instructions not to go into any caves, hunters’ shelters, or anything like that.

When we did, we usually regretted it and made a quick retreat due to the litter and stench. This one was spotlessly clean and we were both impressed by what we saw.

The whole area is well organised thanks to a small group of people who are regularly at the site. a special mention goes to Frans Scerri, who has invested much of his time here and helps visitors with information and directions. he has also written a poem dedicated to the ancient carob tree. i too have many happy memories spent under the majestic canopy of another carob tree down the road from my childhood home. just before reaching the crest of the ridge, you simply cannot miss what is known as the Burial Cave with its large entrance overlooking the Pilgrims’ Road. access to this burial site was originally from the top of the ridge, but the whole rock face has since collapsed, revealing the interior for all to see. Pilgrims would also have very likely taken shelter in this cave.

ON THE CREST OF THE RIDGE There are some sweeping views from the top of Bajda Ridge. Yet, there is so much more to see in the area.

To one side of the Pilgrims’ Road is an area full of trees, while to the other, is a large expanse of open garigue landscape, with low rubble walls and many points of interest. as a result of an extensive afforestation project, a sizeable tract of land at the top of the ridge is covered with olive trees, pines and other types of trees. among them, in the words of David Trump in Malta: Prehistory and Temples, “a few

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megalithic blocks in the undergrowth could be the remains of a temple-like structure, too ruinous for certainty”.

The Malta Archaeological Review [Issue 5, 2001] includes a detailed report on the excavation of a Punic tomb on Bajda Ridge. It says “the tomb is located on the ridge, near a path that diverges eastwards from the track that links Pwales valley to Mistra valley. It is cut in the Upper Coralline Limestone that outcrops in the area … and consists of a subrectangular chamber that is reached through a low entrance at the bottom of a rectangular shaft”.

The report goes on to say: “The shape of the tomb … is characteristic of an early Punic phase, possibly dating as early as the sixth century BC, and judging by the extant repertoire of identifiable shapes, it experienced a late fourth century reuse.”

The report also comments on the findings of the excavations: “Several ceramic vessels of Punic date were found … These included a trefoilmouth jug found broken in situ, a complete urn, a bowl and a broken amphora. Other finds … included a metal earring and two fragments of what appear to be small bone rings or attachments. A quantity of human and animal bones and molluscan remains were also recovered.”

Close to the Punic tomb, there are also a number of prehistoric tombs that were first excavated way back in 1955 by the archaeologist John Evans.

OVERLOOKING MISTRA Walking in the direction of Mistra Bay once again offers some panoramic valley views with the majestic Selmun Palace on the next ridge.

An easy search in the area will uncover some very impressive examples of cart ruts. These deep parallel indentations in the rock are shrouded in mystery. One theory is that they were caused by carrying heavy agricultural produce in carts using the same route over a long period of time.

The track takes us right along the ridge in the direction of Mistra Bay. Look out for the World War II Defence Post, and hidden out of sight is a flight of moss-covered steps, which will take you over the edge of

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The entrance to the Burial Cave.

The aqueduct on the road to Għajn Tuffieħa.

Pilgrims left their mark in stone on their way to the Mellieħa Sanctuary.

The signs for the Neolithic temples point into this grove.

In these prehistoric tombs, a circular shaft leads to one or more burial chambers.

the ridge. It is definitely worth the climb down to another cluster of caves in the rock face.

So many theories abound as to what these caves were used for, but it is very likely that, over the centuries, they were used for different purposes.

This complex of caves overlooks Mistra Valley, and from here, a typical farmhouse and the back of Mistra Gate can be seen.

For centuries, the Maltese Islands were subjected to the constant threat of piracy, where the locals were often dragged off into slavery and a life of great hardship.

In 1607, Grandmaster Wignacourt set up a foundation for the redemption of slaves known as Monte di Redenzione degli Schiavi. The noble woman Caterina Vitale bequeathed most of her estate to this institution, and upon her death in 1619, a large tract of land covering this location all the way to Selmun Palace, became part of the foundation.

I am always amazed at how rich and colourful Malta’s cultural heritage is. In what is essentially a short walk over just one ridge in the countryside, we are able to experience so much from the various chapters in Malta’s long history.

There are obviously many questions about what took place here, but that just adds to the mystery surrounding it. In the poem, Lamia, John Keats blamed science, represented by Isaac Newton’s study of optics, for destroying the magic of the natural world. Does everything really need to be neatly labelled and categorised?

Rock-hewn steps lead down to the Punic tomb.

Some large caves.

The cart ruts.

Some aspects of the Xemxija Heritage Trail have been lost in the mists of time and that fuels our imagination and adds to the magic of the place. Yet, to my mind, the rainbow is all the more awe-inspiring now that we understand how it is formed.

Some of the history of the trail is well documented and such information helps us appreciate our cultural heritage so much more.

Distant views across the valley leading to Mistra Bay.

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CONSERVATION CORNER

DANCES WITH SWORDS Once the restoration of this female sword dancer was completed by Recoop Ltd, conservator Roderick Abela was amazed by the extent of fine detail in such a small work of art.

The work of art This very fine patinated bronze statuette of a female sword dancer [pictured] is attached by square screw nuts, one beneath each foot, to a beautiful cylindrical dark green marble plinth. It is approximately 35cm high, including the plinth, and is signed F. Iffland, inscribed in its base.

The maker Franz Iffland [1862-1935] was a German artist, active during the late 19th and early 20th century. Besides being a remarkable painter, he was best known for his outstanding Art Nouveau and Art Deco sculptures, and many of his works went through the most important auction houses in the world.

The sword dancer is one of his most acclaimed works of art. Iffland produced several versions of it and we know of at least three, which include the one holding two swords, another holding two trumpets and one holding a snake.

The producers One of the German foundries, where he produced the actual bronze casts, was O. Opitz, which retained and bought the rights to the moulds and started making copies of them. These are recognisable by the fact that there is no signature by Iffland at the base, having the foundry name inscribed at the back instead.

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CONSERVATION CORNER

Snake dancer radiator cap by Reni Palmier.

Franz Iand’s trumpet player.

The sword dancer before restoration.

The copies Three other known artists are documented making copies of the same figure during the early 20th century.

These are Peter Breuer, Franz Thiermann and Reni Palmier, who had even made a car mascot in the shape of the sword dancer. These are recognisable since they are not as finely detailed as the ones by Iffland.

The state of conservation The statuette was in a reasonable state on conservation. Dust was present on the horizontal surfaces especially accumulated within the crevices.

The screws beneath the feet were slightly off centre and both swards were crooked. The plinth needed a good cleaning and the overall sheen had been lost.

The method of restoration Documentation was carried out and followed by the cleaning with mild polar solvents to collect as much dirt and dust particles as possible. This process started exposing the original lustre and colour of both the bronze patina and marble base. Even the original bare bronze colour of the swards started emerging.

The statue was dismantled in two pieces for a better handling and permitted the straightening of the screws.

The swards were also straightened as much as possible.

A layer of protective wax was then applied and buffed all over, serving as protection and also as a final polish to the whole statuette.

The end result The final product is impressive and the extent of fine detail in such a small work of art is amazing.

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neighboUrhood WAtCh

Widening the problem it is only a matter of time before the €55 million Central malta link, which will eat up odZ land and result in the uprooting of hundreds of mature trees, will also become congested. heritage and environment ngo Din L-Art Ħelwa is deeply concerned about the widening of the mrieħel-rabat road, which would have major physical, cultural and social negative effects. it makes a compelling case…

while everyone acknowledges there are bottlenecks within the attard area, the central malta link project, the widening of the mrieħel-rabat road, is a “knee-jerk reaction to a much larger problem”, according to the environment and heritage ngo Din L-Art Ħelwa. it may appear that road widening is the only solution, but in reality, it is a shortterm fix that will only result in further congestion in the future. all experts, including the studies in the documents produced by Transport malta, indicate that widening of roads fuels even more vehicular activity, the organisation points out. with 619 private vehicles per 1,000 inhabitants, malta is one of the european nations with the highest number of cars per capita. This clearly demonstrates that a modal shift to other types of transport is required. many remember when the dun karm psaila bypass – the road leading from lija to the university of malta – was inaugurated in the 1990s; many remember too when this road was not congested, and when drivers could 62

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travel freely along it without encountering the traffic of valley road. however, how long did that last? The bypass is now congested nearly all the time and nearly every day. so, it is only a matter of time before the €55 million central malta link, which will eat up odZ land and result in circa 437 trees being uprooted, will also become congested, dlĦ insists. with 47 new cars, as per the latest statistics, on the road every day, this is not a solution.

committee meeting of July 2 by traffic expert dr maria attard, who called for a holistic study, focusing on different types of transport. “it is only Third world countries that fail to develop an adequate transport system, which inevitably leads to gridlock, pollution and long-term transport problems,” the environment ngo says. it is important that any changes to the infrastructure result in the creation

The road widening would ruin ThaT very essence of whaT makes us seek To go norTh To escape The hecTic Traffic and chaos of cenTral malTa. iT is an inTrinsic parT of our naTional culTural landscape and should be given due imporTance The impact of a four-lane road linking attard to rabat has widespread effects, which must be weighed up against the short-term gain of accommodating traffic now. These overarching concerns were demonstrated at the parliamentary

of pleasant, shady pavements and bicycle lanes; in a nation that is close to gridlock, where distances are short, and obesity is on the rise, the thinking must provide solutions that improve health and well-being as opposed to creating pollution and congestion.

The road from the roundabout leading to Żebbuġ, Mdina and Mtarfa, extending east to the MFSA at the head of the Mrieħel Bypass.

THE TREE STORY

The current plans for the widening of the road will result in the destruction of circa 437 mature trees, many of which are Aleppo Pines. It will take up precious agricultural land, threaten the livelihood of farmers in the area and result in the destruction of around 10 large reservoirs some of which are historical.

The NgO’s concerns are not only strategic, but also social and environmental: this road is a historic route, which linked Attard to Rabat for centuries, but the planning application does not include studies on how old it truly is. According to records, the trees were present in the 19th century, planted to embellish the road, which appears in many paintings and artistic impressions of the area. “surely, Transport Malta needed to prepare adequate studies to establish the historical importance and the possibility of archaeological findings in the area. Perhaps this is the old Roman Road from Attard to Rabat? Whether

it is as old as that, or not, it is clearly historic,” DLĦ points out.

“The road widening would ruin that very essence of what makes us seek to go north to escape the hectic traffic and chaos of central Malta. It is an intrinsic part of our national cultural landscape and should be given due importance.”

DLĦ is also concerned that, so far, this project has not been made subject to an Environmental Impact Assessment, which should also include social and historical studies, and it urged the planning and environment authorities to insist upon it.

DLĦ was present at the Parliamentary Committee meeting, which discussed the current problems and issues surrounding this Central Malta Link project and has offered its assistance, together with transport experts from the Bartlett school of Planning at the university College London, to ensure that the best possible solution can be found for this major transport project.

DLĦ has studied the seven plans dated July 16 and the latest seven plans uploaded on July 25 on the Planning Authority website under PA 9890/17.

These are their conclusions: According to the plans dated July 16, 787 trees, consisting of 31 different species, would be uprooted; 725 new trees would be planted; and 47,556 square metres of mostly ODZ land would be gobbled up for the road widening.

From the plans dated July 25, on the other hand, the number of trees being uprooted dwindled to 437 of 29 different species, with Nerum oleander and Ficus-indica having been eliminated, reducing the perceived amount that would be destroyed; only 247 trees would be transplanted, according to these later plans, which indicate a similar area of ODZ land being taken up for the road widening.

A solution that balances the need for improving long-term transport problems with the importance of our cultural and natural environment is required.

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FROM THE RUINS COMES OPERA As Pjazza Teatru Rjal gets set to welcome its first opera, Aida, since the Royal Opera House was destroyed in 1942, we go back in time to chart the incredible history of this iconic building, which is returning to its roots in a retelling of the Verdi classic.

CULTURE lovers in Malta all know Pjazza Teatru Rjal in Valletta – it is a space that, since its opening in 2013, has become a venue synonymous with dance, music and festivals under the stars.

But, of course, we all know that this theatre’s history goes back a lot longer than that – to 1862 to be precise, when construction started on the capital’s highly-anticipated new Opera House.

Its design was in the hands of architect Edward Middleton Barry [the same man behind Covent Garden], while local architect Salvatore Fenech was the construction supervisor.

“The Royal Opera House was officially completed in 1866 and inaugurated that same year,” outlines Pjazza Teatru Rjal director Christopher Muscat, who has looked through the history books for us. “The very first production to take place was the opera by Vincenzo Bellini, I Puritani – and it certainly seems to have pleased those who were present; even then, audiences in Malta loved opera.”

However, tragedy struck the opera house just a few years later on May 25, 1873, when a fire broke out and completely destroyed its lavish interior. Fortunately, the façade and the exterior remained almost intact and, soon, the reconstruction to restore it to its former glory started.

“On October 11, 1877, the Opera House opened its doors once again, this time to present Giuseppe Verdi’s Aida – which is poignant in that it is to be the first opera to take place here at PTR. It is, indeed, a production that has proved to mark ‘firsts’ in this space!”

And many other operas followed suit. “The cartellone for each season was made up of a wide choice of operas – predominantly popular Italian repertoire

by Donizetti, Bellini, Rossini, Verdi, Puccini, Mascagni, Leoncavallo and Giordano among others, as well as French, including Gounod, Massenet, Thomas and Bizet, and Wagner operas from Tannhäuser to Lohengrin and Die Walküre. Operas by Maltese composers such as Paolino Vassallo, Nani and Carlo Diacono

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From 1866 to…

1942

were also introduced as works off the beaten track for the benefit of opera lovers,” Christopher says.

“But Verdi’s Aida remains the most memorable.”

However – going back in history once again – another tragedy was on the cards, marked by yet another opera performance. “Early in 1942, Donizetti’s L’Elisir d’Amore was presented by the Malta Operatic Company,” Christopher continues. “It was the final

restored, including the front, which had housed a number of small shops for several years.

PTR itself finally made its debut as an open-air theatre in 2013 and the results were impressive – it now had the best sound system and the biggest theatre stage on the island, with a natural backdrop of Valletta’s architecture visible through the perfectly positioned columns.

IT’S WONDERFUL TO BE BRINGING AIDA BACK TO THIS VENUE – NO LESS THAN 141 YEARS SINCE IT WAS LAST ENJOYED IN THE SPACE. QUITE A LOT HAS CHANGED! and irreversible curtain on the season – and, unfortunately, on the theatre. On the evening of April 7, 1942, the Royal Opera House was devastated in an aerial attack by Stuka dive-bombers, and its pristine interior and most of its side walls came crashing down. Only the numerous Corinthian columns and peripheral hard stone base survived – and they are still visible today.”

In the years that followed – and as the building sat in ruins – a number of plans to rebuild the opera house were considered – including a strategy to reconstruct it completely in 1953. But each one was eventually dismissed. “As we know, that all changed in 2006 when the then government announced a proposal that stuck and, in 2008, world-renowned architect Renzo Piano took on the Valletta City Gate project.”

The project was huge – and it included excavation to create changing rooms, space for equipment and a green room, underground behind the theatre, between the Church of Our Lady of Victory and Pjazza de Valette, and now used as a rehearsal room and also as the hall for the Iljieli fit-Teatru series. Then, the remaining ruins of the old theatre were cleaned and

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In the meantime, though, there is no shortage of events to look forward to; events that blend this incredible architectural gem with its original role of bringing culture to the masses. And, finally, the venue will go back to its roots with Aida – in a retelling of this Verdi classic by Opera Spanga – a production that is flying into Malta from the Netherlands in September.

Director Corina van Eijk says the magical oldmeets-new setting of PTR will provide the ideal backdrop for this dynamic production.

“I chose PTR for Aida because I fell in love with it the very first time I saw it back in January 2016,” she says. “What could be better than being right in the heart of Valletta? I am proud that it will be a Dutch company producing the first opera in this space after so many years. Our artistic team is certainly embracing the challenge! It’s wonderful to be bringing Aida back to this venue – no less than 141 years since it was last enjoyed in the space. Quite a lot has changed!”

VERDI’S AIDA WILL BE PERFORMED AS PART OF THE VALLETTA 2018 PROGRAMME AT PJAZZA TEATRU RJAL ON SEPTEMBER 13 AND 15. TICKETS ARE AVAILABLE FROM WWW.SHOWSHAPPENING.COM