Places – Design & Living (August 2019)

PLACES ISSUE 29 AUGUST 2019

Design & Living

PLAYFUL, SURPRISING AND HONEST

VALLETTA KERREJJA GETS COMPLETE CONVERSION

DIVIDING AN OPEN PLAN FOR IDENTITY AND DEFINITION BUT KEEPING THE VISUAL CONNECTIONS

From a constricted and disjointed space

TO WARM AND WELCOMING BOUTIQUE ACCOMMODATION

THE BLUEPRINT

PLACES

PHOTO: LUKE HAYES See story on page 51

Design & Living

ISSUE 29 AUGUST 2019

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THE PROJECT 10 Playing with the Past When a space has so many stories to tell 22 The Everyday Retreat Dividing an area for easy living 32 Connecting Pockets of Space Compact is comfortable HOME DÉCOR 38 TRENDS Functionalism and Craftsmanship Meet Danish designer Anders Nørgaard 45 TIPS Bringing Out the Brightness Light that does a place justice 47 DOING IT UP: DO/DON’T Sun Screen How to choose the right blinds 51

LIVING DESIGN Stingray Takes Flight Another London café for Mizzi Studio

DESTINATION, HERITAGE & ENVIRONMENT 54 GOING PLACES The She Shed How to get hold of a Sicily hideout 58 CONSERVATION CORNER Canvas Paintings Come to Life Restoring 14 artworks from the Mosta Rotunda 64 SPEAKING VOLUMES Gardening Made Simple Green tips from the horticulturist’s mouth 66 IDEAS & MORE

ON THE COVER PHOTO: BRIAN GRECH See story on page 10

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MY DESIGN

THERE’S much to criticise out there.

You don’t have to be an expert to have an opinion on the subject and cringe at the daily sight of jarring developments, renovations, the works…

But what about those projects that are happening off the beaten track, going under the radar, hiding in plain sight, or concealed behind a string of superlatives and big buzzwords like ‘millions’, ‘innovation’, ‘incubation’ and ‘hubs’?

The other day, I had a meeting at the Ta’ Qali crafts village, which is undergoing a long-awaited make-over… And while I imagine the artisans and operators there wouldn’t agree, I have to say that at a previous appointment in the area some months back, when it was a mess of a construction site, it hurt my eyes much less.

To be honest, it just looked like more of the same… dust, debris and detours that anyone living in Malta has had to grow accustomed to.

But this time, it hit me: what exactly was the actual thinking when they thought up this new look for Ta’ Qali? Because what I stumbled upon – albeit not yet complete – seems to be ingenuous, unimaginative, bog-standard and even ironic. I don’t think inventiveness was part of the brief… although I hear “excellence” was!

I would have loved to see what others would have done with such an interesting blank canvas; how they may have played with the Nissen huts that have so much more character and charm than the new build; how they could have projected these into the

future instead of boringly harking back to the past with fake reconstructions of your typical townhouse, complete with red door and Maltese balcony, the original and older versions of which we are – ironically – so intent on destroying elsewhere!

Of course, this is a work in progress and soon it may take on an interesting turn. But as yet, the project seems to encapsulate what our nation stands for.

Indeed, what stands out in this ‘model’ village is the emphasis on parking bays, lanes and painted lines to be certain the car is really catered for, comfort and convenience being key. Yes, in true Maltese style, the ultimate status symbol must have taken priority in the design process of the area.

So, we set out to rehabilitate our crafts village to the tune of €10 million in EU funds.

This should be a good thing. But I’m hoping we won’t end up with an area that is arid, soulless, devoid of creativity and, dare I say, craftsmanship – as long as it costs millions.

Put simply, for “a centre of artisanal excellence” that we have been led to expect, I would have presumed more originality.

So, while new life is breathed into the crafts village, I won’t be holding my own breath in anticipation of the end result.

Instead, I prefer to look out for and feast my eyes on some of the ‘design & living’ projects that are featured in PLACES. Because off the beaten track, hidden away in narrow side streets, beyond tiny doors in village cores and within renovated townhouses, quality projects are actually happening.

We tend to hear more about the loss of our heritage these days, but there is also another current of designers and homeowners, focused on playing with the authentic past, and projecting it into the present, rather than burying or faking it.

There is also something to praise out there. You don’t have to be an expert to have an opinion on the subject and appreciate the rare sight of a reassuring and harmonious development, renovation, the works…

August 25, 2019 | Issue 29 | 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]

This publication is being distributed as part of © 2019. All rights reserved. Reproduction in whole, or in part, without written permission of the publishers, is prohibited.

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PHOTOS: BRIAN GRECH

PLAYING WITH THE PAST

Spatial designer Robert Farrugia talks us through the concept of “informal luxury” that 21 Frederick Street set out to achieve and is a living example of. It’s a space where everything has a story to tell… and PLACES gets to the root of it.

VALLETTA’S Frederick Street is all decked out for the feast…

The festoons need not be stretched too far to reach either side of the quaintly narrow road. They draw the gaze up to the relatively high characteristic buildings of the baroque World Heritage City, which are so often overlooked…

And they make for a grand entrance to number 21 – a restored and refurbished former kerrejja that has turned a hotchpotch of rooms into three gorgeous apartments and a duplex residence above.

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Spatial designer Robert Farrugia, whose baby this is, is standing in an open courtyard that hasn’t lost any of its traditional touches, bursting with greenery, including a large laurel bush in a pot – everything has meaning – with the faint and familiar smell of the old stone lingering in the air.

But of course, there are also plenty of innovative touches that elevate 21 Frederick Street to a completely new and contemporary level. The rich marble flooring at the entrance, with the logo emblazoned;

the stunning, golden wall lights and pendant by Charles Lethaby [a friend from Robert’s student days in London]; the brass hotel-like coat rail; the custom-made black castiron drainpipes, brought from the UK to form a feature in themselves and leave the old walls intact; the bright orange chairs and tables; the quirky décor on the wall at the far end; the Te fit-Tazza artwork; the lift that has been fitted into the existing stairwell, opening onto the external passageway; and the overall openness to the elements…

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On stepping further into the space, the gaze is once again lifted from internal balcony to balcony to take in the light timber structures; the ħasira canopies that let the sun seep through and bring the Malta we love home; the white patterned wrought-iron railings; and the flowerpots. It all feels like a miniature pjazza, overlooked by pretty houses.

From the courtyard, it is evident that half the property is original, dating back to the 1600s, with imposing engraved arches; and the other half was probably damaged in the war and rebuilt. The contrast between the whiteness and the old stone make their marriage even stronger.

The windows onto the courtyard were originally quite small, so they

were turned into balconies to allow for more light and air, and to encourage guests to open them up, look out into the ‘square’ and talk across it, especially in the case of a whole family occupying all the rooms, Robert explains.

This idea of uniting in a common area comes together on the ground floor, where guests can make themselves a cup of coffee and use the modern amenities of the outside kitchenette; or hang out in the cosy living room, which offers a taste of the décor in the rest of the short-let apartments.

It’s an eclectic mix of old and new, recycled and made-tomeasure, vintage and mainstream.

The eye-catching orangey-brown leather sofas were handed down

from the family offices when they underwent refurbishment, and here, they have made the space pop.

“When we brought them in, it all just seemed so orange, together with the wood of the beams,” Robert admits, frequently mentioning things that may not have felt quite right at first, but were turned around with a bit of imagination – and some subtle and clever touches, including a lick of paint here and the right piece of furniture there.

The beams in the living room were, in fact, painted a dirty petrol blue – a colour that finds its place, discreetly and not, throughout the property – and the whole space just came together and took on the right tone.

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IT’S PLAYFUL; IT’S GOT THAT SURPRISE ELEMENT; AND IT’S HONEST. IT’S ABOUT NOT TRYING TOO HARD. AND IT’S ABOUT MATERIALS AND TEXTURES

Then there’s also the large TV and the well-stocked ‘bar’, lots of books and even board games – just what anyone would want to find in a home. And more little touches, like a blackboard listing the top five things to do in Malta, add to the warm and welcoming air that is present throughout.

“We want the tenants to live like locals,” says Robert. “We want to

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offer them a genuine experience.

This may not be how every Belti lives, but we have kept – and celebrated – the traditional touches,” he says of the overall feel in the four-storey space, which has been divided into one studio apartment and two lofts, each with a mezzanine in the double-height piano nobile.

Back in 2012, when the project was conceived, there were hardly any boutique hotels in Valletta and the thinking was to play on the rich baroque spirit and style of the city.

But since then, this idea has been used considerably in the décor of the many abandoned properties that have been renovated, so Robert veered in another direction.

“It’s playful; it’s got that surprise element; and it’s honest,” he says.

“It’s about not trying too hard. And it’s about materials and textures.

We made it a point to use those that were around when the place was built.” And this was a strong starting point for Robert.

Ceramic flooring has been avoided and the rooms have modern

custom patterns on Maltese cement tiles to tie up with the old feel, while the ciangatura has been treated and sealed for a no-shine finish.

Old items, with a story of their own, have been upcycled and upholstered for a new lease of life; and texture plays a major role with, for example, the wood vein in the bathroom vanity left

visible and raw, while shelving in one of the lofts is made of old scaffolding boards, simply power washed and hung for that natural feel that mixes so well with the rest.

“Leisure and entertainment” in design were key players, especially in the studio apartment, says Robert.

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I LOVED THE IDEA THAT THE APARTMENTS ARE SO LARGE AND SPACIOUS THAT EVEN A CLOUD WOULD FORM INSIDE

Onto one of the lofts, the palatial windows are almost 2.5 metres long and majestic – looking onto the crumbling stonework of the palazzo opposite, which is so close it seems

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to be within reach. The colour and state of the stone make for an interesting view as do the red and gold bandalori that flutter in the breeze.

It’s hard to take in the façade when walking down the narrow street. But from the inside, the magnificence of it all can be appreciated.

Looking down from the bedroom in the piano nobile, the whole extent of the double height can be absorbed, together with the long curtains that further accentuate this and draw the eye upwards.

“Let’s face it, you wouldn’t normally hang a curtain that high at home,” Robert points out, adding that “these things give pleasure…

It’s about an experience and an adventure. When on holiday, the need for practicality declines”.

And this has given him the opportunity to do different things.

The massive Frank Gehry cloud light, floating mid-air, also emphasises the height in a playful way. “We wanted to draw attention to the high ceilings in the piano nobile and understood from the start that the right pendant light fitting would achieve this.

Filling the void with something substantial in size would force the eye upwards. The iconic Mama Cloud fitting was just right as it demonstrated the generosity of the space and has a playful nature.

I loved the idea that the apartments are so large and

spacious that even a cloud would form inside!”

The armchairs and sofas in this loft have also been resurrected and reupholstered. They belonged to his grandparents and his aunt remembers them all too well.

From above, the contemporary pattern that marries the old traditional concrete tile can be enjoyed in its full glory. “We all have memories of crazy floors at nanna’s house. If there’s a nation that can live with this, it’s us! It’s part of our collective memory,” says Robert, inserting an element of nostalgia into his work.

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Even the vibrations from treading the steel stairs are part of this “sensual” experience that inspires his design. “When you walk across the boarding of the balconies, you get feedback,” he enthuses.

On the tour of the three rooms, almost everything has a story: the wool carpets from Gozo; the ladder from the Naxxar ironmonger that was bought to access the mezzanine before the stairs were built and became part of the furniture and fittings; the well-incorporated Ikea and Habitat

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touches; the lick of whitewash from the walls on to the engraved Form coffee tables to make their embossed pattern stick out.

Robert is quick to mention that 21 Frederick Street involved input from his clients, Farrugia Investments.

They bounced ideas off each other and took over various aspects of the project under his direction. Items were sourced from all over and the blend has worked well.

No major construction work was required to lay out the space accordingly and the division of

apartments almost fell into place naturally, he says, while noting, of course, the complications of working in Valletta.

Indeed, it must have been a mission to convert a kerrejja into this within the constraints of one of the narrowest streets in the capital.

But nonetheless, the end result is about “relaxed luxury”. Everything looks good, but it’s not try-hard. It’s that type of interior design that is not contrived; that seems to have fallen into place naturally and appears to be effortless.

“We wanted to celebrate space” – not capitalise on it to squeeze the most out of it, Robert says.

“I always envisaged 21 Frederick Street as somewhere you could enjoy close ones, life and Valletta.

We want our guests to just have fun. It’s that same feeling of being given the keys to a wealthy family member’s city pad for the weekend,” he aptly describes, with a cheeky smile. www.21frederickstreet.com

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THE EVERYDAY RETREAT

When Atelier Maison stepped in to design and organise the ground-floor everyday area of a Mosta townhouse, they set about separating the space, instead of working towards the usual open plan. Their concept was to keep visual connections between all areas, while still giving each its own identity and definition. Here’s how and why.

PHOTOS: ALEXANDRA PACE

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Type of property: Recently renovated townhouse Size: Total built area = 264sqm; area addressed at ground floor = 60sqm Location: Mosta Client’s brief: The clients, who both have very busy lives, wanted this everyday space to be maintenance free, practical and beautiful, using a combination of colours, patterns and materials to achieve this. The aesthetic of the space was to be contemporary, but timeless, with clean, neutral colours. The client had a particular liking for blue and green hues. The dining area was meant to be used daily and the island had to be a big part of the space and how it worked. The TV did not have to be a part of the kitchen/dining area.

Atelier Maison’s input: We were engaged to design and organise the space, as when we came into the picture, the house was in shell form and the area we were going to address had just been built. Therefore,

it was actually new, but the setting was that of an old house. So, the challenge was to create a contemporary design that respected the existing fabric of the house, while still being practical.

Where most would open up spaces, you decided to separate the area between the kitchen and living room, with the island on one side becoming the TV unit on the other. Above, you placed a glass partition for a visual connection between the two, but at the same time, keeping them segregated.

Why did you go for this division?

The space was originally planned out differently – the kitchen and the living room were swapped and there was no wall in between, creating an open-plan space.

This resulted in an unnecessarily large kitchen with a lot of wasted space and an awkwardly small living room, which also acted as a corridor leading to the garden.

The concept behind the way the space works is to keep visual connections between all areas, while still giving each space its own identity and definition.

Flow between each space is important.

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Having the kitchen and living spaces so close to each other, it was proposed to divide the two spaces with a low wall, clad with marble and topped with a glass pane above. Like this, the two spaces are connected, but no noise spills over from one area to the other.

The island and TV unit were placed back to back, sandwiching the low marble wall, and they almost appear to be one continuous volume, thanks to the same white marble used on both sides. The space was, therefore, utilised a lot more efficiently, and none was left unused.

RESPECT AND SENSITIVITY WERE KEY, BUT AT THE SAME TIME, WE WANTED TO SHOW THAT THE SPACE REPRESENTED A NEW CHAPTER IN THE STORY OF THE HOUSE What connects the living/kitchen/dining in terms of style? And, at the same time, what makes them stand apart?

In all our projects, we thrive on achieving what we call ‘architectural balance’, which means that both the use of the space and its aesthetic make sense as a whole. Despite the difference in styles, each of the spaces are in dialogue with the other.

We felt we had to intervene in an architectural manner by designing the furniture as though it formed part of the architecture of the space. So, we began by designing the rooms in a volumetric way, and then detailed each space differently.

The floor-to-ceiling unit that was introduced in the living room had multiple functions. While providing ample storage, it also formed an alcove where the sofa is placed. This created a cosier, more intimate feeling in an otherwise very high room. The unit was intentionally finished in the same colour as the walls of the rest of the space to read as part of the architecture.

The underlying factor for all three spaces is the clean, distinct lines, while the geometry used to detail each piece is what makes them stand out from the others.

Although there are clear differences between the spaces, they all look good together. The colour selection and finish were also important when it came to all the spaces working in harmony together.

You did not design the whole house, but did you take the rest of it into account, or did you treat these areas as different entities?

We had to bear in mind that the space we were taking care of had been added on to an existing building, which was beautiful in its own right. Respect and sensitivity were key, but at the same time, we wanted to show that the space represented a new chapter in the story of the house.

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The archways were the dividing element between the old and the new. We consider the outline of an archway to be both classic and contemporary.

So, we wanted to retain that geometry as a bridge between our intervention and the existing dwelling.

WE FEEL THAT MATERIALS LIKE BLACK METAL, BRASS AND GLASS ARE ALL ‘CLASSICS’ AND WE JUST WANTED TO USE THEM IN A MORE CONTEMPORARY WAY The use of the black metal, gold features and glass partitions give the space a very different feel from the minimalist run-of-the-mill design we often come across. Why did you choose these materials and colours? And how would you describe the overall style?

We are constantly pushing our limits to try out new things. By using new compositions of materials and colours, we always end up with a design that is different, but somehow has a feeling of familiarity, almost as though the space has always looked this way.

This is something we always set out to achieve with our projects.

We feel that materials like black metal, brass and glass are all ‘classics’ and we just wanted to use them in a more contemporary way. The client wanted to use brass within the space. The colours we introduced all look good with the brass elements, giving the space a rich expensive look, but in no way does it feel intimidating.

We don’t know if we could actually give the project an actual style. It is the result of a lot of love and attention that was given to each part. It is very ‘us’, and we are really proud of the result.

From herringbone patterns on the kitchen cupboards to square panes and linear designs on the glass, how important are all these different shapes and ideas, and how can they be brought together in one harmonious feel?

We feel like we achieved such a rich result thanks to the layering of all the different forms and shapes. Each element has its own design contribution: when seeing these details in isolation, you can appreciate their beauty, but when you zoom out and look at the space as a whole, all the shapes and forms are compatible.

If you look at the volumes throughout the space, they are very simple. The way the faces of these volumes are treated is what make this project special.

Almost everything was custom designed for the space. What is the pièce de résistance? The piece that gave you most problems? And the most practical part?

Each piece had its own set of challenges, but probably the pièce de résistance is also the piece that gave us most problems and is also the most practical. This

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would have to be the island/TV unit, which is central to the whole space and ties it all together.

Since we were deliberately blocking what once was an open wall, we had to ensure that this solution was the best one. The installation of different materials within the same piece was a big logistical challenge. We had the carpenter, the marble installer and blacksmith all working on the same piece. So, it was quite a headache to ensure that everything fitted in perfectly.

On the side of the kitchen, the central island acts as a work surface and has storage within in, while also having a breakfast station at one side. Like that, the island is kept as clear and organised as possible.

On the side of the living room, the central island acts as a cable management system, where all the hideous cables associated with TV, internet, etc… are hidden away. The clean and crisp white marble connects the two sides and acts as worktop and splashback in the kitchen, dividing wall between the two rooms, and background and floating shelf for the TV. A bottom hung door, covered with black speaker fabric and defined with a horizontal brass handle hides away everyday clutter.

IT HAD BEEN A DREAM OF OURS TO DESIGN A LIGHT FITTING, AND THIS PROJECT GAVE US THE OPPORTUNITY TO CREATE ONE. THIS DEFINITELY WON’T BE THE LAST LIGHT FITTING DESIGNED BY ATELIER MAISON There seems to be a lot of floor-to-ceiling storage.

Was this a special request? Or did you feel it was the best thing to do with the space?

The client requested that we think about storage.

So, it made sense to utilise the given height. The four-metre-high ceilings were made use of by introducing high storage units, which were designed specifically for the living room and kitchen, above which an arched ceiling was also created. This added to the architectural outline of the space and ensured that the ceiling was not a forgotten plane.

Since we had the height, we felt the furniture we were introducing into the space morphed into its actual architectural fabric.

A lot of detail was involved in every element of the project. Which was the most intricate and important?

For us, all details are important. We feel that the high-quality details we work towards are our signature.

However, the detail that was probably the most exciting for us was the light fitting we had custom designed and got made specifically for the alcove in the living room. It had been a dream of ours to design a light fitting, and this project gave us the opportunity to create one. This definitely won’t be the last light fitting designed by Atelier Maison.

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What’s with the curious black box with the glass panels?

When we are engaged to design a space, we try to exceed our clients’ expectations and aim to provide experiences they didn’t know they actually needed.

A perfect example of this was the introduction of the ‘block box’ towards the back of the room.

The available space brought about the opportunity to create an additional small room in the form of a larder. The structure of the larder and door to the garden, is made of blackened steel and was designed as one metal system, made up of a series of glass panes and metal sheets.

Again, you could say we changed the architecture of the space with this volume. It not only had a functional use – that of a larder – but it also acted as a backdrop to a reading area, which is another new experience we added within the space and acts as a transitional area between the garden and the kitchen.

How was this project different from anything else you’ve designed?

Even though we were entrusted to design a relatively small space, the area is big on personality.

We felt this project gave us more poetic licence and we were free to do what we wanted, so to speak.

Our vision, and what resulted in reality, were almost identical, which was a great achievement. We took a couple of risks in the project, but when seeing the result, they were definitely worth it.

What are your plans for the room on the roof – an entertainment area – which you have also been entrusted with?

The roof is an ongoing project, but we were also entrusted to address this space, the main use of which is entertainment.

We addressed it differently to the ground-floor project. We wanted it to feel like a Grecian getaway, with a contemporary twist, where one could spend time and relax. A small pool overlooks the garden below and a similar metal door will be designed and installed to segregate the wet area from the inside.

The front terrace enjoys views of Mosta Dome – a perfect location to spend summer nights sipping a glass of wine.

The interior space will mainly be used as a lounge and kitchen area, so that spending time at the topmost floor of the house would be easier, having all necessary amenities at that level. We plan to clad a wall with patterned tiles and position the kitchenette in front of the pattern to almost not look like an actual kitchen, but rather a piece of furniture that is defined with colour blocking, hues of coral, blue and white.

The feeling at roof level will certainly be different from downstairs – as though you have been transported to an eclectic holiday home – but it will still retain special details in every corner.

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CONNECTING POCKETS OF SPACE This tiny house in the heart of Rabat was converted into boutique accommodation by Ruben Formosa from The Workshop. The challenge: to create an interesting space within the constraints of the site and its disjointed levels. The result: compact is comfortable.

WHEN HE first walked into this derelict, disjointed and minute “mess of a property” in Rabat’s village core, Ruben Formosa from The Workshop knew straightaway that he could work with the space and transform it into more than just a habitable home.

The owner needed his advice to go ahead, he was soon convinced, and the deal was done there and then.

It was all about the way the pockets of space would be connected, Ruben explains.

Despite the fact that this old townhouse, spread over a mere 78 square metres, had no particular architectural value – apart from the “pretty” entrance and a cave that was discovered later – Ruben could see how it could be converted into an interesting onebedroom boutique accommodation and serve as a refuge for its guests.

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In fact, they are taken in by the functionality of its compactness and have also found their own space within its walls, proving that, with some vision, even constricted areas can be cleverly conceived and converted into a welcoming home away from home.

The rooms of The Orchid Boutique Accommodation are all on different levels.

Steps lead down to the living area in the covered courtyard, and the cave’s well – another later discovery – has been turned into a Jacuzzi; the fully equipped kitchenette is on another level, as is the bedroom and en suite bathroom; and at the top is a roof terrace, decked out and complete with grill, armchairs and a table for four.

IN ITS MINUTENESS, BETWEEN THE CAVE AND THE ROOF TERRACE, THEY FOUND THEIR SPACE This means guests can enjoy their privacy – and relaxation – at either end of the property, irrespective of its apparent tightness. Despite the compactness of it all, guests have actually said they hardly went out. In its minuteness, between the cave and the roof terrace, they found their space.

The rest is simple, Ruben continues, but it certainly does the job for a short-term home.

The cave was actually stumbled upon as works kicked off. “We didn’t have a clue,” says Ruben.

“But we immediately saw its potential. It was just cleaned up, illuminated from the ground and tiled.” Two armchairs – outdoor furniture to

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THE IDEA IS TO PLAY WITH WHAT YOU FIND AND USE IT – NOT COVER IT UP

withstand the humidity – and a good selection of wine are the only elements in the space apart from the Jacuzzi in the well.

The whole project required the removal of the old plaster on the walls and meticulous restoration, but being “tiny” and located in the alley of an Urban Conservation Area, the logistics were no mean feat: the number of people working on the property at the same time was limited, plus everything had to be carried in and out by hand and crane access was not possible.

The most interesting feature of the house remains the narrow entrance with a series of arches at different heights, creating niches along the way. “Being well built, we capitalised on that and the wall was left in bare stone,” Ruben explains.

Those that were not salvageable were plastered, also to bounce light off, and neutral colours were

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used everywhere except for the bedroom, which is painted in a deep red and has a complementing burgundy mosaic tile in the shower.

The functioning spira [a hole leading down to the water table to draw water, which is common in Rabat], found at the entrance, was covered in glass and illuminated.

“The idea is to play with what you find and use it – not cover it up,” Ruben says.

The challenge was to create an interesting space within the constraints of the site, with its disjointed levels. The result is a “magical experience”, according to guests, who have noticed the attention to detail.

This is seen primarily in the organic pattern and design of the railing, which is inspired by the stem of the Maltese orchid, repeated also on the shower screen.

Everything is custom-made in the usual “humble” materials to make the most of the space, but the result is anything but modest.

“A piece of wood can be different things in different hands,” Ruben maintains, his background in woodwork and his artistic streak emerging from every nook and cranny.

TRENDS

FUNCTIONALISM AND CRAFTSMANSHIP Danish designer Anders Nørgaard seeks to give the customer a clean canvas on which to paint their personality. Here’s a tribute to the personality of the designer himself as he celebrates 20 years of collaboration with BoConcept.

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“My design is characterised by beautiful lines, minimal styling and perfect proportions. However, functionality is always key. I don’t do noisy design. I want to give the customer a cleaner canvas on which to paint their personality.”

This is the design philosophy of internationally-acclaimed Danish designer Anders Nørgaard, who is this year celebrating his 20-year anniversary collaborating with BoConcept.

Born in Aarhus, Denmark, he has been surrounded by design his whole

life. Danish design heritage was always very much part of his own upbringing and education.

“I grew up with functionalism and craftsmanship. Danish architects of the 1950s and 1960s were friends of my parents and among my teachers at the School of Architecture.”

One of his firm beliefs is that while furniture has to work and fit into anyone’s daily life, it still has to look beautiful: “Functionality can overrule beauty, but if you think outside the box and pay attention to the small details, you achieve a refined and characteristic expression.”

ON DANISH DESIGN AND CRAFTSMANSHIP Nørgaard believes the lasting success and timelessness of Danish design is down to its historical context and the protection of the craft. The craftsmanship that evolved in the Danish Functionalism during the early 1920s is still taught in furniture schools around Denmark.

Although many pieces are made by machines, a lot of the operators can just as ably craft by hand, and still do. In Denmark, designers and craftsmen tend not to be swayed so

The Carlton sofa AUGUST 2019 PLACES

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TRENDS

Anders Nørgaard

The Lucca armchair

Design sketch of the Fargo sofa by Nørgaard.

HIS INSPIRATION AND DESIGN TEAM

I WORK WITH THREE FEMALE DESIGNERS. AS A MAN, IT’S HARD TO IMPART FEMININITY INTO MY DESIGNS, WHICH I BELIEVE IS INTEGRAL TO MODERN FURNITURE. IT’S IMPORTANT THAT MY TEAM’S PERSPECTIVES COMBINE WITH MINE TO CREATE BETTER PRODUCTS much by trends – they are trend-led, but they tend to re-interpret trends to fit their aesthetics.

Nørgaard develops his visionary designs in close cooperation with craftsmen to ensure a product that is optimised in look, comfort and durability. The result is timeless designs.

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His one piece of advice to young designers emphasises the need to be mindful of craftsmanship in a world of automation. “Be yourself but respect the craftsmanship. Always listen to the craftsmen. Because to create a great product, design and craftsmanship must work hand in hand and be optimised for modern production.”

Somewhere in the DNA of every Nørgaard design lies a little piece of Aarhus, and the fact that his studio is located in the Port of Aarhus seems very fitting. The city’s success, and the business, academic and cultural opportunities it affords, has been central to the 59-year-old’s life and career.

He is also deeply inspired by the youthful energy that pervades the city, and apart from attending many local cultural events, art exhibitions, music and theatre, the designer also draws inspiration from furniture fairs, magazines, cooking and fishing.

Nørgaard speaks of his small close-knit team, which he says is another big source of inspiration: “I work with three female designers.

As a man, it’s hard to impart femininity into my designs, which I believe is integral to modern furniture.

It’s important that my team’s

TRENDS

THE DETAIL IS IN ITS SIMPLICITY AND IT CAN BE USED IN MANY DIFFERENT SETTINGS

The Indivi sofa

perspectives combine with mine to create better products. It’s not a one-man show.”

SOME OF BOCONCEPT’S DESIGN HEROES BY NØRGAARD Nørgaard’s “baby” is the Indivi sofa, BoConcept’s first and longest-running sofa, which turned 20 this year.

It gives any room a pared-down expression, and since it has a minimalist classic look, it has remained relevant through shifting trends.

The detail is in its simplicity and it can be used in many different settings. Over the years, it has found its way into many homes across the globe and has been consistently among the brand’s top-two-selling sofas since launch.

The Indivi also marks the start of a long partnership, which has produced

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a host of Nørgaard-penned designs, including the hugely popular Osaka and Carlton sofas, the innovative footstool-bed, Xtra; and more recently, the mid-century-esque, Lucca recliner armchair.

Very central to Nørgaard’s design philosophy of simplicity and respect to classical heritage is the Carlton sofa, taking us back to the stylish upper-class homes of the 1960s and 1970s. This was the era when we began to appreciate clean, simple lines as something exclusive and elegant. Until then, high-end furniture had been dominated by exaggerated details and voluptuous fabrics.

Through the refined design of the Carlton, Nørgaard has added very soft, comfortable cushions to bring a more contemporary, progressive and casual touch to the classic design. The thin seat frame in steel gives the sofa a very light, minimalistic expression.

Another bestselling design by Nørgaard is the Osaka sofa, also reminiscent of the same era as the Carlton and characterised by a light look, slim proportions and perfect ergonomics.

Its subtle feminine touch ensures it still packs a style punch with the beautiful tufted seats adding visual softness and bringing a classic look.

But the choice of straight, inclined, or curved armrests, as well as a choice of legs, and an array of upholstery options, ensures that its design can be adapted to fit many different environments.

This is exactly what Nørgaard seeks to achieve from all his designs – giving the customer a clean canvas on which to paint their personality.

All Anders Nørgaard designs for BoConcept can be found at the BoConcept showroom in San Gwann and are at 20 per cent off until August 31. www.boconcept.com.mt

TIPS

BRINGING OUT THE BRIGHTNESS Have you ever seen a beautiful space where the lighting did not do it justice? Petra Cutajar from Light Design Solutions shows how not to make that mistake.

LIGHTING is one element that is often overlooked, but when you think about it, it could have a tremendous impact on your space. You can have one piece of furniture in a room, but with the correct lighting effect, it could turn into a piece of art.

Lighting can impact and improve everything about a space, from its architectural appearance to its colour scheme.

Always start by identifying the unique properties and expressions of each space. Then create several emotions to make it work under various conditions.

The lighting solution has to work at all hours and in any circumstances. It also has to be easy to use and maintain.

Choosing a mixture of lighting styles will transform a room with the flick of a switch. This can easily be done if an intelligent lighting control system is used, creating dynamic light variation during the day and also in different seasons. Light can also achieve optical illusions and area-defining effects.

Light can change a room’s proportions, creating scale and volume to make it feel bigger, or visually shrinking it to a smaller and more intimate space.

Uplighting can wash walls with light and reflect off the ceiling to create a soft, diffused effect that mimics natural light, creating a roomy, airy feel. By illuminating opposite walls and leaving corresponding walls unlit, you can give the illusion of length to a room. Lighting something beyond the room, such as an adjoining area, can also trick the eye

But do not create too many focal points as nothing will stand out. When creating focal lighting, the point is to make the lit object brighter than its surroundings in order to draw the eye.

Therefore, the light source will need to be hidden so that it will not become the focal point.

A stunning chandelier never fails to attract attention when you walk into a room. However, it doesn’t need to be huge and can be smaller or made of individual pendants. These can create a stunning ambience that improves the beauty of the room in which they are carefully placed.

YOU CAN HAVE ONE PIECE OF FURNITURE IN A ROOM, BUT WITH THE CORRECT LIGHTING EFFECT, IT COULD TURN INTO A PIECE OF ART into perceiving more space than is actually contained within the room, adding to the feeling of openness.

Light can define and link spaces together. For example, using a track light to create pods of light and shadows of varying intensities can define zones and provide a feeling of separate areas like lounging and dining. Using similar intensities of light in two separate but joined rooms can draw the eye beyond its barrier and create the illusion of a single large space.

Light can also create focus. Lighting focal points in a room, such as a painting, an architectural feature or a piece of designer furniture, is an easy way to create interest.

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DOING IT UP: DO/DON’T

type of blind is going to solve your issue better than another. By blocking out the light, you will also be blocking out the heat, which is often also desirable in a bedroom as cooler temperatures make for better sleeping conditions.

Other aperture dressings

SUN SCREEN

Don’t go blind when choosing blinds.

Consider these factors to make the right choice.

BLINDS ARE a great alternative to curtains when it comes to dressing windows and doors. They’re available in a wide choice of fabrics, colours and styles, making them increasingly versatile for all types of apertures.

Given all the options available, ranging from roller and vertical to zebra and venetian blinds, it can be a daunting task to decide which are best suited to your home.

So, what should you keep in mind when choosing the right blinds that are both decorative and functional?

Here are some factors to consider from specialists Adore More when shopping for blinds to help you make a well-informed decision.

If you’ve already got curtains on the aperture where you want to install blinds, this will make a difference to the type you choose, both in terms of style and colour. The right curtains or blinds can change the look and feel of a space, and when they are paired together, it is extremely important to ensure that they complement each other. For example, it is obvious that if the curtains are patterned, then the blinds should be plain, and vice versa. If you can’t choose between blinds and curtains, then the allusion blind – a new style on the market – could be just the thing you need. A vertical blind and a sheer curtain at the same time, it offers a great juxtaposition of the two and is perfect for larger window and doorway apertures, especially bi-folding and patio doors.

The style of the room Adore More offers a wide selection of styles and materials when choosing blinds, because the style you choose will both affect and be influenced by the décor of the rest of the space. If you are looking at a modern and trendy room, then you may wish to consider the stylish zebra blinds; but a basic washroom may require something more practical such as plain roller blinds that can withstand humidity. Roman or vertical blinds are preferable for a more traditional décor, while bamboo blinds offer a more eclectic feel. Whatever the room, there is a blind that is the perfect match.

Privacy and light Colour One of the main reasons to install blinds is to control the light in the room and the privacy that comes along with it. Think about the type of room that you have and what your aim is. If your goal is to block out the light completely, which is often needed in a bedroom, then one

Colour is always an important feature because it affects the way the room looks and feels and depends on the mood you wish to evoke. You could either choose a neutral tone that fits in seamlessly with the rest of the space,

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DOING IT UP: DO/DON’T

or a darker tone whereby you can create contrast with the rest of the room interiors. If you don’t want to attract attention to the blinds, opt for earth colours; however, if you want your blinds to also serve as a decorative feature, then a bolder colour would be the preferred option.

Recess position Another factor to consider is whether the blinds will be placed inside or outside the recess of the aperture. Placing the blinds inside the recess is recommended for windows in smaller rooms that do not have much wall space around them and for when you are combining your blinds with curtains. For larger rooms, it is preferable to choose a blind that sits outside the recess thus serving to block out more sunlight. [To get a total blackout effect, outside recess is always recommended.]

Material Apart from differing in style, different materials also offer different functions.

For example, aluminium venetian blinds are suitable for areas that are exposed to high levels of heat since they help eliminate excess warmth. On the other hand, wet zones such as bathrooms and kitchens would require a specific type of material, such as that used for plain roller blinds, which are purposely designed for wet areas. At Adore More, you will be guided on choosing the best material depending on the type of room you are decorating.

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Safety first Safety is of utmost importance, especially with blind cords. If you have young children in the house, it is advisable to either install cord stops or opt for cordless blinds to avoid dangerous situations since long cords can present a dangerous choking hazard.

This article is brought to you by Adore More Ltd, suppliers and installers of a wide variety of blinds and shading solutions. You can view their extensive range at their showroom at Triq id-Difiża Ċivili, Mosta.

To contact Adore More, call on 2145 6560/2145 6570; send an e-mail to sales@adoremore.eu; or visit adoremore.com.mt for more information.

LIVING DESIGN

STINGRAY TAKES FLIGHT Mizzi Studio completes yet another sculptural landmark coffee house in London’s Hyde Park.

A SCULPTURAL new coffee house overlooking the Serpentine Lake, designed by award-winning Mizzi Studio, has opened to the public, adding a new architectural landmark to London’s Hyde Park.

The semi-transparent pavilion’s structure is built using state-of-the-art technology. It takes inspiration from the vernacular of the ancient Japanese tea house and is defined by an undulating canopy, echoing a stingray’s flight through water.

The building forms part of a wider commission for Mizzi Studio to transform 10 prestigious sites across London’s Royal Parks with individually crafted, freestanding, architectural structures, in partnership with artisan Italian café operators, Colicci.

Based in London and Valletta, Mizzi Studio works across architecture, interior spaces and installations, product and industrial design, fusing digital design with physical craft to create distinctive and playful works that are inspired by nature and filled with colour, warmth and tactility.

In addition to the new Serpentine Coffee House, the practice has designed a family of nine curvaceous sculptural kiosks, each created with detailing that responds to the nuances of its site.

Located between the Serpentine Galleries, with views across the Serpentine Lake and out towards the Princess Diana Memorial Fountain, the new Serpentine Coffee House is designed to form an

IT TAKES INSPIRATION FROM THE VERNACULAR OF THE ANCIENT JAPANESE TEA HOUSE AND IS DEFINED BY AN UNDULATING CANOPY, ECHOING A STINGRAY’S FLIGHT THROUGH WATER

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integral part of a journey through The Royal Parks, welcoming visitors as they approach Hyde Park from Kensington Gardens.

Providing an immersive architectural resting, refreshment and contemplation point, the café reflects and responds to the park’s Grade I listed landscape.

The Serpentine Coffee House is an open, semi-transparent, glass pavilion, evoking the pagoda architecture traditionally seen in Japanese teahouses, which creates a lightness that helps the building to integrate seamlessly into the landscape, resulting in a complete, harmonious design that takes full advantage of its setting.

Its undulating canopy, designed to respond to the movement of the lake, has been hand-painted using specialist techniques to give an aged-brass finish, and is intricately textured on the underside with snakeskininspired, coffer-like dimples.

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ITS UNDULATING CANOPY, DESIGNED TO RESPOND TO THE MOVEMENT OF THE LAKE, HAS BEEN HAND-PAINTED USING SPECIALIST TECHNIQUES TO GIVE AN AGED-BRASS FINISH, AND IS INTRICATELY TEXTURED ON THE UNDERSIDE WITH SNAKESKININSPIRED, COFFER-LIKE DIMPLES Tapered towards its edges, it cantilevers over the glass structure below to create extensive open-air seating, with capacity for 60 people to sit under and around it, within the parkland.

To realise the complex fluid form of the 11x9m canopy, Mizzi Studio worked closely with Arup engineers and manufacturer mouldCAM to develop a structural external

skin [semi-monocoque], reinforced with carbon and glass fibre, produced using a stateof-the-art large-format 5-axis CNC milling machine. Material variation and optimally located arches distribute weight and stress, minimising the contact support points needed and making the canopy appear to float independently above the glass.

The colour palette of the coffee house interior is carefully curated for mindful consumption and to reflect the surrounding environment – further blurring the boundaries between indoor and outdoor. Deep blue tiles behind the bespoke walnut-clad counter, an earthy terrazzo floor, green leather upholstered chairs and Perlino Rosato marble surfaces reflect hues relating to the Serpentine Lake and surrounding trees and flower beds.

Following the opening of the Serpentine Coffee House, the transformation of the final three sites will be completed later in the autumn, including the flagship brass Horseshoe kiosk in St James’s Park, with Buckingham Palace as its backdrop, and two steam-bent oak structures in St James’s Park and Hyde Park.

“It is an honour to have been entrusted with creating a new landmark for such a unique and beautiful setting within The Royal Parks,” says Maltese-British architect and designer, Jonathan Mizzi, founder of Mizzi Studio.

The Royal Parks is the charity that exists to make sure London’s eight historic royal parks will always be there to enrich the lives of local residents and visitors to London. It costs £40 million a year to manage the parks. The charity raises around 75 per cent of this money itself, with the remaining 25 per cent coming from the government.

“Visitors will now be greeted by the welcoming smile formed by the coffee house’s curving canopy, before the glistening reptilian underbelly is revealed, providing a haven to pause and appreciate nature in the city,” Jonathan adds.

Colicci won a Restaurant & Bar Design Award in 2017 for the iconic copper roof at their Westfield Stratford café, designed by Mizzi Studio, and its director Rob Colicci says “we are immensely proud of what we have created in the seven years that we have been working with Jonathan and the Mizzi Studio team.

“Their creativity and ambition to pioneer such unique builds has pushed our brand forward and given us a truly unique selling point in a crowded market. The Serpentine Coffee House has set a new precedent for the experience of buying your coffee.”

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GOING PLACES

THE SHE SHED On a quest to find that special somewhere, Andrea Fay Christians buys a solitary, simple barn in Sicily, where she can relax, close the door on the world and not have to answer to anyone.

DESPITE LOVING life in Malta, neighbouring Sicily has always held a certain allure. It is an island of many faces and, just like Malta, has a tumultuous past and an intriguing language spoken by a proud people.

Moving inland, the hills become mountains and the meandering coastline gives way to a savage beauty. Combine this with great food and relatively low property prices and it’s not surprising that it is proving to be an increasingly popular location for people looking to invest in a second home.

However, until recently, it was relatively undiscovered, or perhaps I should say unappreciated. A parallel universe, where traditions remain strong, it is only now that tourism has really started to take off. As a result, my long love affair with this island has seen little in the way of changes, unlike Malta.

Like so many of my friends, I’m an empty nester and was finally free to

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realise a long-held dream of buying my own little space – somewhere that was mine and mine alone. Call it my version of a she shed, if you wish, but I wanted somewhere I could relax, close the door on the world and have to answer to no one.

My budget was small as I was reluctant to take on a mortgage or bank loan, but 18 months ago, I anyway set off on a quest to find that special somewhere.

It helped that I knew what I was looking for – Malta had all the sea I wanted, so the attraction was the tranquillity of the mountains and the fact that you get more for your money as you move inland.

My advice to anyone seriously thinking of buying a property here is to take your time. Townhouses are easy to find, especially in the mountain villages, and there has been a lot of hype about being able to buy a little house in Sicily for next to nothing. In reality, a small townhouse in need of renovation could be a practical option and is likely to set you back between €10,000 to €20,000.

However, for many, owning a place on the island means having somewhere with land and room to entertain, especially as space is at a premium in Malta. It’s also important not to underestimate, though, that

land needs maintenance, which, ultimately, is time and money.

In the summer months, Sicily is a tinderbox of wildfires, and if you have a property located in a rural zone, you will need to make arrangements with a local to plough or graze animals to minimise the danger of having your dream going up in flames.

Water is another crucial issue.

Townhouses will have mains water, but that’s unlikely to be the case if you are located in the country. That means your property would need to have a well, fed by an underwater spring, or surgente. Again, I talk from personal experience, as during the

MY ADVICE TO ANYONE SERIOUSLY THINKING OF BUYING A PROPERTY HERE IS TO TAKE YOUR TIME final stages of negotiation on a lovely little place with a tiny house and two tumoli of land, clustered with olive and fruit trees, I found out from a third party that the well serving the property was filled only with rainwater.

No water, no house – it’s as simple as that! I pulled out in the nick of time, but it was an important

lesson. There is, of course, the possibility to drill an artesian well if you are fortunate enough to have a line of water on the land, but this will mean bringing in a geologist and the well itself is likely to set you back something in the region of €5,000.

After viewing around 20 properties, I’d grown wise to the phrase: ‘I’d like to sell, but my wife doesn’t want to.’ It normally happened after the second or third meeting. The reality was that it was just a bargaining ploy and the wife couldn’t care less! She was probably tired of having to clean two, or sometimes three, properties and was already fantasising about how

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she’d spend the cash. The moral of the story is that you need to be prepared to walk away and wait – in Sicily, this could mean several weeks.

Another thing is to make sure the documents are in order – take nothing for granted! Late in the negotiations and when money had already changed hands, I was to discover that my place was registered as being half the size and the subsequent modifications were to cost almost €1,000, followed by a spate of rebargaining with the owner for the costs.

That leads me to my final point – get a good lawyer. I was fortunate that mine is a good friend, but a reputable lawyer, or notary, can make all the difference and save you sleepless nights.

The place I finally bought is a little barn located in the foothills of the Madonie Mountains, an hourand-a-half from Palermo and Agrigento respectively. The property was actually one of the first that I saw, and I kept coming back to it.

In the end, my gut feeling told me it was the right place, despite some misgivings about the 150-metre rocky road leading to it, and I shot a price at the owner – not expecting him to accept, but surprisingly he did.

As luck would have it, I was in the right place at the right time as he needed an influx of cash and I ended up buying it for less than the price of a family car. Of course, being a barn, there had to be a change of use on paper and an installation of drains and electricity, but the place had potential, and with a 40sqm floor area, there is enough height to put in two mezzanine bedrooms should I decide to do so in future.

To maximise the space available, I opted for an open-plan layout, with the bathroom doubling as a washroom with an alcove for the washing machine and a sizeable shower. Pinterest was a great source of inspiration and gave me the idea of using an antique sewing machine base for the bathroom sink. The base needed some welding and was a lucky find destined for the skip in a friend’s garage.

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ABOVE ALL, I LOVE THE SIMPLICITY AND AM TRYING NOT TO ACCUMULATE TOO MANY POSSESSIONS

Unable to decide on the flooring for now, I’m content with a cement painted floor – something that is very popular in rural properties in Spain. But in all probability, it will be tiled at some point in the future.

As for the style – I’m not sure it has one. Rather, the place has evolved on its own. I love the rustic feel of the wooden beams and guess

I’d call it an eclectic mix, with many things gifted from friends, or brought from Malta.

Above all, I love the simplicity and am trying not to accumulate too many possessions. During renovation works, we found the terracotta floor of a house that had stood 150 years before. I was saddened we didn’t find it sooner as I would have liked to

somehow incorporate it into the design because there is a sense of continuity here, where the past and present meld together.

Future plans include installing solar energy and going totally off-grid, along with building an outside BBQ area and a wood store.

A good internet connection was a must and proved to be quite a challenge due to the position, but eventually, a company was found that could give a good signal thanks to a newly installed antenna on a nearby hill!

Those who know me have been intrigued, to say the least, and various friends have come up for the weekend. I found it to be the perfect location to finish my first novel and also recently rented the place to a university professor to write her thesis.

Life here is certainly full of surprises. Last summer, a raging storm sent torrents of water down the valley, washing away most of the road, while a screaming wind that shook the house at 6am turned out to be a tornado that tore through the hills. A month later, I watched helicopters swoop down and drop water on wildfires on the brow of the hill, and held my breath, hoping the wind didn’t change direction.

The locals, of course, think I’m crazy and can’t understand why I would want to stay here with only my elderly little dog for company.

But I am far from alone. Every night, I sleep to the sound of nightingales and the cries of foxes and wake to the gentle neighs of the horses stabled here and the sound of sheep bells at dawn as Pepe, the shepherd, passes by on horseback with his flock.

The nearest village, a cluster of houses where tractors outnumber cars, is less than a kilometre away, and there you can buy fresh eggs, the best home-made cheese I’ve ever tasted and freshly baked bread.

There is never a dull moment, and for me, this is truly la dolce vita. I’ve found my very own piece of heaven, which is reflected in the name of this magical place that the locals call the Valley of the Angels.

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CONSERVATION CORNER

CANVAS PAINTINGS COME TO LIFE In the first of a three-part series, conservator Roderick Abela from ReCoop focuses on the restoration of three of 14 canvas paintings in the Mosta Rotunda that the conservation coop is working on. He starts off by injecting new life into Filippo Dingli’s Our Lady of Divine Grace, and the Descent of Christ from the Cross and a painting of Cain and Abel both by an unknown artist.

Our Lady of Grace details and retouching.

LAST JANUARY, ReCoop was given the go-ahead to start work on 14 canvas paintings, dating from the 17th to the late 19th century, in the Basilica of the Assumption of Our Lady in Mosta, also known as the Rotunda – a project partly financed through the European Regional Development Fund [ERDF].

Most of the paintings were works by renowned artists within the Maltese artistic circle, including Filippo Dingli [17th century], Stefano Erardi [1630-1716] and Giuseppe Calì [1846-1930]. Two other paintings were not signed and have no particular attribution, although they can be stylistically compared to other paintings of the same baroque style.

Dingli was a talented and prolific artist, whose works are still being assessed within the Maltese art historical context. Prof. Keith Sciberras maintains some of his works were executed in collaboration with Erardi, shedding more light on each of the artists’ formation and evolution.

Dingli, as most of the artists did, repeated many of his figures in different paintings, and the one at the

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Mosta Basilica, representing Our Lady of Divine Grace, is no exception. The cherubs are almost identical to his Immaculate Conception painting at the Church of St Mary [Ta’ Bernarda] in the village of Għargħur.

This painting had undergone at least one past restoration intervention. Besides common interventions, such as retouching and overpainting, linings, old varnishes etc…, in 1972 [the date is inscribed in pencil at the back], it was removed from its original wooden strainer and stuck with glue to an oriented strand board, known as OSB wood.

Removing this old intervention would have been a major operation, which would have posed a risk to the original painting. After documenting and assessing its condition, in agreement with the expert appointed by the funds board and after seeing that the painting was in a stable condition, it was decided to retain the OSB, thus avoiding unnecessary risks in removing it.

The painting was consolidated, cleaned, gessoed, retouched and varnished, using stable and reversible materials.

Our Lady of Grace after intervention.

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Examination under ultraviolet light.

The Descent of Christ from the Cross painting is reminiscent of the style of Mattia Preti [1613-1699]. The painter must have been someone working in Preti’s bottega, or a follower, since the figures are very similar to those by him.

Examination under ultraviolet light exposed two degrees of old retouchings, some under thick layers of varnish and some on top. These were documented, and after several tests, suitable solvents were used to remove them slowly and safely.

Most of these retouchings were carried out on gesso, which was applied over the original paint layer. This gesso was also removed, exposing as much as possible the original paint layer. New gesso was applied where necessary and levelled matching the surrounding layer. Losses were retouched with reversible varnish-based pigments and varnish was applied, saturating and protecting the whole painting’s surface.

The Descent of Christ from the Cross during cleaning.

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CONSERVATION CORNER

Cain and Abel before…

WITH THE EXPOSURE OF THE ORIGINAL COLOURS, THE PAINTING GAINED IMMENSELY IN DEPTH AND IN COLOUR and during cleaning.

The Cain and Abel painting is interesting as there are two scenes happening. In the background, on the right, the artist describes the offering scene as written in the book of Genesis, and in the foreground, the following act motivated by jealousy – Cain killing his own brother.

Stylistically, it is reminiscent of the Caravaggism style of painting, adopting the dramatic chiaroscuro manner.

But unfortunately, so far, there is no signature or documentation attributing this painting to a particular artist.

This painting was also previously restored. Besides being very dull due to several layers of aged varnish, there were many visible overpaintings, which had altered the colour tonality. After documentation, it was noticed that the paint layer was too fragile to undergo the cleaning process, so the painting had to be dismantled from its wooden strainer and consolidated. Subsequently, strips of canvas were added to

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the perimeter, attached at the back, in order to stretch it back to the auxiliary support.

Seeing that the old strainer was deteriorated, which impeded any future stretching without having to dismantle the painting, a custom-made wooden stretcher was made. After stretching the painting, the painstaking cleaning process commenced, removing the thick varnish layers and all the overpaintings present.

With the exposure of the original colours, the painting gained immensely in depth and in colour.

Several losses were infilled and textured according to the surrounding surface. These were subsequently retouched and varnished with reversible materials.

ALL THREE PAINTINGS ARE FOUND HANGING IN THE PARISH SACRISTY.

SPEAKING VOLUMES

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Gardening made simple Peter Calamatta’s new book lays down the rules of gardening in Malta along with simple and practical ideas on how to make them work for your space – be it in a fullyfledged estate, or a tiny windowsill. Here, Iggy Fenech meets up with the legendary horticulturist to find out more.

Just a few generations back, many of our forebears would have had a natural affinity with their gardens.

Whether a small patch at home, or a field a couple of minutes’ walk away, these spaces would have provided fruit, vegetables, herbs, medicinal plants and, for many, even a living. Yet, as time went by and our towns and villages became more urbanised, that relationship with nature has been all but lost.

the main counterparts in the Environmental Landscape Consortium [ELC], which, since the early 2000s, has been in charge of greenifying our roundabouts and roads.

All this is over and above Peter’s four-decade-long career on TV, which he used to educate people on gardening, houseplants and growing fruit and vegetables at home, as well as his earlier successes, such as being among the first local to grow tomatoes out of season and being responsible for the exportation of certain types of local produce and flowers for the first time.

“While in the olden days, a garden was meant to be productive and useful, today, many look at gardening as a hobby; something to help us take our minds off the demands placed on us by modern-day life,” says the 78-year-old.

“This means that gardening has a crucial role to play in people’s well-being, no matter how much time or space they have. And that’s why this book aims to make that as simple as possible – even for those who believe they don’t have the space or the green fingers to succeed in gardening.”

The book, which has been created in collaboration with fellow horticulturist Peter Calleja, consolidates that in 220 pages, fully-illustrated with beautiful photographs, while the information is segmented in boxes to make it easier to follow and to help aspiring gardeners find what they may be looking for.

The content is also pretty all-encompassing: Gardening in Malta kicks off with the most basic of principles, including how to pick the right indoor plants for your property type;

WHILE IN THE OLDEN DAYS, A GARDEN WAS MEANT TO BE PRODUCTIVE AND USEFUL, TODAY, MANY LOOK AT GARDENING AS A HOBBY; SOMETHING TO HELP US TAKE OUR MINDS OFF THE DEMANDS PLACED ON US BY MODERN-DAY LIFE Now, a book by Peter Calamatta, one of Malta’s foremost names in gardening and horticulture, seeks to change that; not by turning back the hands of time, but by adapting the age-old practices of gardening to the modern world, with the time and spatial constraints it brings with it.

Entitled Gardening in Malta, the book is a natural continuation of Peter’s 55-year career in horticulture, which has completely changed the industry on the islands, as well as their landscapes.

Peter’s work, in fact, includes being a government advisor for 17 years, during which he was in charge of the country’s afforestation programme and of introducing protected cropping on a large scale. He’s also been one of

how to choose the right compost bin; and even a list of what you can and can’t compost [eggshells, cardboard and tea leaves are a yes; while olive oil, meat and butter are a no].

It then goes on to more in-depth topics: from an explanation of how to determine the pH scale of soil to how to recognise signs of nutrient deficiency in plants, through to what garden weeds are actually good, how to use heavyduty power tools, and the setting up of an irrigation system.

“There is also an important chapter on pests and diseases, which are on the increase on the islands,” Peter continues.

“Today, many of the chemicals we once used to deal with these are banned – and rightly so – but that may leave many stumped for how to deal with these realities of gardening.”

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According to Peter, most pests and diseases can be dealt with in a rather easy manner. He suggests using an oldfashioned mix of sulphur and copper to keep most fungi at bay, and soap and water to get rid of aphids [tiny sap-sucking insects that, even in small numbers, can completely distort the natural shape and growth of leaves and flowers].

“Nevertheless, the ideal way of dealing with any insects that eat or cause harm to plants and trees is through a bug-eat-bug ecosystem, and ladybirds are the ultimate weapon in this war as they eat aphids and small creepycrawlies among others.”

Towards the end of the book, Peter has also created a month-by-month gardening guide that begins in September – the ideal month to clear out exhausted annuals and to prepare the bases for growing flowers and fruit, as well as for starting a kitchen garden – and ends in August, when gardeners must “do everything possible to provide moisture” for their plants. This is then followed by a comprehensive and rather exhaustive list of popular plants used in Maltese gardens, complete with pictures and their scientific English and Maltese names.

WE ALSO NEED TO WORK FAST TO SAVE THIS PLANET, AND WE NEED TO START FROM OUR OWN HOMES. WE NEED MORE GREENERY, WE NEED TO REDUCE OUR CARBON FOOTPRINT BY GROWING OUR OWN, AND WE NEED TO APPRECIATE WHAT NATURE GIVES US BY SEEING IT GROW EVERY DAY As a book, Gardening in Malta manages to make gardening as simple and as step-by-step as possible for anyone, regardless of experience, knowledge, age, or space available.

Indeed, one of the most heart-warming parts of the book comes halfway through, when Peter recounts the story of how his nephew, Christian Cuschieri, has managed to grow San Marzano and Alicante tomatoes, Nantes carrots, Amazon spinach and cobra-climbing French beans all in his balcony in Portomaso.

“I am old and ripe now,” Peter

tells me as we reach the end of our interview. “I’ve had a long and fruitful career and many people have taught me a lot of things over the years, so I felt it was time to share that with a new generation. Indeed, I couldn’t be happier that, finally, gardening is no longer seen as a ‘hippie’ pastime and, instead, is now taken for what it is – an absolute joy.

“We also need to work fast to save this planet, and we need to start from our own homes. We need more greenery, we need to reduce our carbon footprint by growing our own, and we need to appreciate what nature gives us by seeing it grow every day. I hope this book helps others do just that.”

And with that, the only thing left to do is to go to any leading bookshop and get a copy of Gardening in Malta – all proceeds from which go to a number of charitable institutions.

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