Places - Design & Living (December 2016)

PLACES ISSUE 13 DECEMBER 2016

The art of tea RESTORING THE RITUAL OF COMFORT AND CALM

FLEXIBLE FURNITURE Maximising space Orchestrating the flow

Design & Living

LIGHT UP YOUR LIFE Glow in that industrialcum-vintage vibe

Subtle festive photography CAPTURING A TOUCH OF RED PASSION… LOVE… CHRISTMAS…

THE BLUEPRINT

PLACES

Design & Living

ISSUE 13 DECEMBER 2016

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MY DESIGN

THE PROJECT 12 Made to Measure Flexible features and furniture 20 City Style Metropolitan motivation HOME DÉCOR 24 TASTE Tea for Two Creativity in a cup 31 DOING IT UP: DO/DON’T Living the Room Lounging time and tips 34 TRENDS Cosy Up The height of Scandinavian hygge 36 ACCESSORIES Light Up Your Line Industrial illumination Wrap Up in a Warm Glow Soft and starry BUILDING A BUSINESS 40 Lightening the Mood The art of crafts in interior design DESTINATION, HERITAGE & ENVIRONMENT 46 ART/CHITECTURE Seeing Red Christmas photography collection 52 SPEAKING VOLUMES Architect Interrupted Secret sacred spaces 56 ON SHOW The Magnificent Model Insight into Frank Gehry’s imagination 60 CONSERVATION CORNER Winning Over the War-torn Battle scene painting reborn 64 IF WALLS COULD TALK Fortifications of Art The beauty of the baroque fortress

ON THE COVER PHOTO: BRIAN GRECH See story on page 46

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PHOTO: BRIAN GRECH See story on page 46

MY DESIGN

PHOTO: SEAN MALLIA

I PUT my Christmas tree up super early this year, supposedly to stretch out and prolong the festive season. But it was a half-baked job, designed only to entertain a toddler.

So the intended colour scheme was ditched; it’s a hotchpotch of decorations that were planned for specific areas of the house, but ended up en masse on the lowest branch; and the lights aren’t even on yet, leaving any hint of a shimmer to drown in gloomy darkness most of the day.

The live tree for the living room is standing lopsided and lonely in a pot that isn’t quite the right size, and again, it is about to topple over due to the weight of a concentration of decorations on the most accessible side. [Our decorating skills are still being dictated by functionality and other physical challenges. Balance, either from the aesthetic point of view, or in the actual sense of the word, is not a design concept we have embraced.]

Yes, we’ve dotted the house with delicate fairy lights, but we may have taken the idea of delicate that bit too far: last year’s batteries are finally running out, so their twinkle is fast fading…

OK, so I clearly need to up my game in 2016, but, apart from the infectious enthusiasm of a tot, there is little going on in this country that truly stimulates the Christmas spirit as the storybooks would have it.

The weather, for starters, is neither here nor there. The minute you start trying to create a cosy atmosphere, your home takes on menopausal traits. Everything is immediately stripped down and the windows flung open to let in the fresh, springlike air. Roll up the carpets and fold away the fluffy plaids.

Lighting the fire is as scary a thought as burning in hell, as is the idea of sipping on mulled wine. So while the firewood is neatly stacked by the stove, it’s starting to look as desperate as someone in the North Pole wallpapering his living room with a tropical beach scene, using a sun lounger instead of a sofa and sipping on a thirst-quenching cocktail.

No, this is not the country for that picture-perfect commercial Christmas as we’ve swallowed it along the way. Where are the snowfilled streets; the light from the flickering lanterns that catches the intricate starry flakes; the must-wear thick coats, woollies, beanies, mufflers and gloves that are fast pulled off the minute you enter those welcoming toasty indoor environments?

Yes, we’re sure to have some attempts at Christmas markets, but really, they are a far cry from the authentic scenes in European cities.

And while we are likely to play pretend and attend them, for want of something Christmassy to do, they may leave us cold and still so detached from the festive scene we crave.

Because it’s all a bit fake and cheap-looking out here; a try-hard situation, which makes you want to book a flight and go to where it’s all happening in a natural and genuine sort of way.

December 4, 2016 | Issue 13 | 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 [2559 4706; veronica.grechsant@timesofmalta.com]

The mediocre and corny winter wonderlands, complete with reindeers pulling sleighs and snowmen that would need more powers than Frozen’s Elsa to remain intact, are actually starting to look kitsch – ironically, at a time when I am accompanied by someone who is really starting to appreciate them.

Out come the tired street decorations, used last year and for the previous decade, and I have to feign excitement when all I want to do is shake off the dust that has settled and solidified, giving everything a matte, dull and wornout finish.

The capital’s stark white branches aren’t doing it to me either, even though they may be more in keeping with the local style and true to our pruning fetish – when was the last time you actually saw more than a skeleton of a tree in the city, or anywhere else for that matter, anyway?

No, this fly-infested island is just not cut out for celebrating the commercial side of Christmas in the way we have been brainwashed to perceive it. We’re just trying to be something we are not – and the fact that we are failing miserably is just highlighting how downright bleak the whole scenario is, making it all harder to digest.

Our feeble attempts at being a winter wonderland make Dubai’s artificial snow-capped mountain for skiers, complete with penguins, and an ice-skating rink in the heart of the desert seem less comical and more coveted. Although I always prefer to experience the authentic, whether it is good, bad, or ugly, at least I can appreciate the UAE’s investment, drive and efficiency to beat records, do the impossible and be the best.

Here, we’re pouring whatever effort we can into creating an oasis out of down-and-out Paceville.

Meanwhile, I’d say those pesky flies are winning hands-down in our own desert of ideas, spirit and style.

This publication is being distributed as part of © 2016. All rights reserved. Reproduction in whole, or in part, without written permission of the publishers, is prohibited.

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THE PROJECT

PHOTOS: SEAN MALLIA

The interior design of this duplex maisonette in Attard is a fine example of flexible furniture, with well-thought-out, bespoke pieces that bring the best out of the space, both from a practical and an aesthetic point of view.

Made to measure 12

PLACES DECEMBER 2016

INTERIOR DESIGN: ARCHITECTS ANTOINE ZAMMIT AND FRANCESCA MICELI FROM STUDJURBAN STYLING: WILLIAM MORAN, USING CAMILLERI PARIS MODE ACCESSORIES CUSTOMISED furniture and features can capitalise on the full potential of a place, but when these pieces are moveable and flexible too, they take maximising that space to another level, allowing it to grow and change according to lifestyles and needs.

Practically everything in this duplex maisonette was made to measure, meaning every nook and cranny has been put to good use, no corner has been overlooked and features can also be functional.

Because Studjurban was involved in the project from the early building stage, which was in the hands of architect Wilfred Debattista, small but important interventions could be made, including a skylight in the kitchen, the reconfiguration of the bridge on the upper floor and other cosmetic changes.

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THE PROJECT

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dining areas, as well as directing the flow from one to the other. It was designed to strengthen the impression that the cabinet is floating and was also used to house the recessed lights.

THE HOUSE IS RECTILINEAR AND CUBIC, SO WE WANTED TO GIVE IT A MORE ORGANIC AND FREER FORM THROUGH OUR FURNITURE, WITHOUT GOING FOR THE CONVENTIONAL CIRCULAR, OR OVAL TABLE

The custom-built kitchen uses materials, such as polished concrete and beech borders, that allow the light to bounce off them. Its clean lines and neutral palette are warmed up by a window seat in mahogany, which has a softening effect, with its at once contrasting and complementing wood and cushions, while providing space for storage‌ and for lounging.

A travertine touch was also included, wrapping around the floating cabinet and creating continuous lines that bridge the space between the kitchen and

On to the dining room, the bespoke table could be described as kidney-shaped, almost like a grand piano, wider at one end than the other, again to guide the flow, leading from the stairs at the entrance into the kitchen. The narrower end towards the stairs avoids any sense of blockage, while the wider part maximises seating near the kitchen. The shape also closes up the open-plan layout slightly, further defining the individual areas and creating a touch more intimacy.

While its curvy and sinuous wooden surface is somewhat chunky, it sits on slender legs. “The house is rectilinear and cubic, so we wanted to give it a more organic and freer form through our furniture, without

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THE PROJECT

THE DOUBLE-HEIGHT ELEMENT WAS NOT JUST DRIVEN BY AESTHETIC MOTIVES: IT HOUSES A WHOLE RETRACTABLE STUDY IN THE SAME DEPTH AS THE STORAGE UNITS BELOW

going for the conventional circular, or oval table. The design emerged from existing important lines and was softened into a curvilinear form,” says architect Antoine Zammit.

Apart from the dining table, this space also boasts a double-height wall unit, which is primarily a feature, but also works as a wine rack in a wood fibre panel [engineered wood] for contrast, while the ‘secret’ push-pull cabinets can even store foldable dining chairs.

The central part of the wall unit was left open and perfectly frames a painting – the owner loves art. The empty space was also designed to prevent the feature from being overbearing and to keep the large structure light.

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In fact, as the wall unit rises to the floor above, the gap between its wooden slats starts to widen; the increased gradation serves to lighten its feel.

But the double-height element was not just driven by aesthetic motives: it houses a whole retractable study in the same depth as the storage units below.

The desk not only folds out, but it also rotates creating an L shape, and even opens up, doubling in width.

Sliding seamlessly on a rail, it can be pushed behind to open up the landing space and make it adaptable: “The clients didn’t really know what they wanted here, so we went for a flexible space, which could just be a place to do the ironing, and in future, work as a playroom. The idea was to exploit the doubleheight feature.”

The staircase is a simple open riser design on a white metal subframe – a scheme that is continued along the bridge. And in order to bridge the gap – literally – between husband’s and wife’s wants, a small vertical piece of wood was placed at the back of each step to narrow the open space from one to the other.

But the most important feature of the staircase is the narrow shelving along the wall that appears to be emanating from alternate steps.

Space for a walk-in wardrobe was also created in the master bedroom by shifting the bed outwards and putting a wall behind it, with sliding doors on either side for access to his and her’s.

Because when everything is purpose-built, anything is possible…

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THE PROJECT

CITY STYLE When designer Diane Pillow was entrusted with doing up four St Julian’s apartments, she made the job more interesting by giving each one a different theme, inspired by four different cities.

Tokyo Our home should be the place where we feel most calm and at peace, and what better style to promote these feelings of serenity than a zeninspired space. This apartment is a modern adaptation of Japanese style, clean and minimalistic lines being the obvious influence of traditional Japanese interiors. The timber and fabric backlit panelled feature wall evokes an oriental look, while playing with light. Other touches include an origami-inspired lamp shade and the use of natural raw materials.

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Paris The City of Light inspired a mix of old and new, where traditional design is offset by modern. Chic and stylish, this apartment has a monochrome scheme.

Crystal chandeliers are ubiquitous in Parisian homes, an obvious place to hang one being a dining room. But why not add a touch of sparkle to a powder room too? The combination of recessed, panelled cabinets, a mix of marble and a light, subdued palette create an elegant timeless aesthetic.

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THE PROJECT

Stockholm A specific colour palette is associated with Scandinavian design: whites, grays, blacks and browns are often interwoven, creating a clean and calming look. The use of light wood adds an outdoors natural feel, and mixed with splashes of colour, it gives that touch of quirkiness.

The focus here is on simplicity, minimalism and functionality.

Milan Modern Italian interior design has a look of luxury, sophistication and quality about it, and this is seen in the duplex, directly accessed by a lift, with its 90-square-metre terrace, ideal for entertaining. The modern Milan inspiration meant more clean-lined, and more black and white than its sister school of thought, the elegant traditionalist.

It’s a more masculine feel, with dark colours and dark wood, in what appears to be a designer finish.

PHOTOS: FRITZ PHOTOGRAPHY

358, Naxxar Road, B’Kara BKR 9040, Malta Tel: (+356) 21441328 | Fax: (+356) 21447188

www.bathroomdesign.com.mt www.facebook.com/bathroomdesignmalta

Tea for two

TASTE

PHOTOS: DIANA MIFSUD

What is it about putting the kettle on and having that comforting and calming cup of tea? Ask these two creative cousins, Joanna Micallef Farrugia and Diana Mifsud, who have turned their lifelong love for the tea ritual into a unique brand, built on the idea that these brews simply make everything better. Together with artist Stephanie Borg, they have created not only the taste, but also the look and feel of Tettiera [inspired by the traditional Maltese word for teapot] – down to a T. Where did the idea of Tettiera sprout from and how did it go from concept to teacup?

We have been lovers of tea since before we can remember, each with our own toy tea set when we were little girls. This drove us to share our love of tea with others and revive the tea ritual. It all started a long time ago over endless cups of tea, with the usual question: ‘What If we had to open a tea business?

What would we do? Why would we want to?’ We started mapping out a scenario of what ifs… until it was too exciting to leave it in dreamland and we took a decision to bring it to life. Once we started the ball rolling on the product development process, our vision began to take shape. It has been a journey of endless discussions, discoveries and sleepless nights!

Tea is a lifestyle. Is it yours too? What does this beverage mean to you? Why do you think putting the kettle on and sipping a cup of tea can be so consoling?

The tea ritual is part of our daily lifestyle. I treat myself to tea from the early morning to whenever I feel I need to revive and refresh my mind, body and soul. A cup of tea always makes you feel better, and even better if you brew it the proper way and serve it in pretty porcelain.

The actual ritual of boiling the kettle and brewing the tea leaves gives you a sense of comfort and calmness.

In today’s hectic life, sometimes, we find pleasure in the

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simple things. The quote from The Book of Tea by Okakura Kakuzo is perfect to explain this: ‘Teaism is a cult founded on the adoration of the beautiful among the sordid facts of everyday existence. It inculcates purity and harmony, the mystery of mutual charity, the romanticism of social order… Let us have a sip of tea…

Let us dream of evanescence and linger in the beautiful foolishness of things.’

How strong do you think the tea-drinking ritual is in Malta, or are we more into coffee?

We Maltese have inherited the instant coffee and teadrinking culture from the UK and the bold coffee bar

A cup of teA AlwAys mAkes you feel better, And even better if you brew it the proper wAy And serve it in pretty porcelAin culture from italy. we strongly feel there are as many tea lovers as there are of coffee, and surprisingly enough, there are many dual drinkers in malta too. How did you go about sourcing artisan loose-leaf teas and where do they come from? our ambition is to provide a high-quality cup of tea and we wanted to choose a supplier whose plantations are managed by tea masters, who still follow the traditional

methods for plantation and cultivation. this is why ours are artisan teas, coming from different and renowned plantations in china, taiwan, sri lanka, india, Africa and egypt‌ and also malta. during our tea masterclass at the uk tea Academy in london last year, we had access to the best advice on suppliers and what to look out for.

Do you think people, even tea lovers, notice the difference between these and their more commercial

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TASTE

counterparts? Is the world heading in that direction in general; looking for good-quality, environment-friendly and traditionally grown products?

Lovers of life, and especially tea lovers, would surely notice the difference in quality between a cup of loose-leaf brewed tea and tea dust.

Going back to basics is good for the soul and Mother Earth. When we were travelling in India and Sri Lanka, we saw our cup of tea in a new way as we witnessed the hard work of the natives, who wake up very early in the morning to pick up the leaves from the shrubs one by one! It is a lot of hard work, and you start to appreciate that cup of tea even more, especially when you experience the beauty of the plantations, the passion of the natives and the tea masters. We want to celebrate the traditions and rituals related to tea and appreciate this more.

What’s your own preferred brew?

[Joanna] My daily morning cup is the Earl Grey Radiance, and when I feel like I need my moment of pampering, there is nothing more comforting than a cup of oolong – Ali Shan.

[Diana] My daily morning cup is our Maltese blend Tgħanniqa [sometimes with milk and sometimes with honey, depending on the mood], and before I head to bed, it’s a must for me to sip on our delicate Fujian Pekoe green tea.

You’ve also created your own local tea. Talk us through the process. And do you have more plans

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WHEN WE WERE TRAVELLING IN INDIA AND SRI LANKA, WE SAW OUR CUP OF TEA IN A NEW WAY AS WE WITNESSED THE HARD WORK OF THE NATIVES, WHO WAKE UP VERY EARLY IN THE MORNING TO PICK UP THE LEAVES FROM THE SHRUBS ONE

BY ONE! for the creation of your own blends in the pipeline, or to encourage the growth of indigenous products that could be used to produce local teas?

We have created a unique Maltese blend with Maltese carob and Ceylon tea – a true morning cup of tea with the aromatic bittersweet flavours of the Maltese carob. The process is long and precise: We pick the carob pods ourselves from our old family carob trees; we clean and dry them one by one; we remove the carob seeds and cut the pods into small pieces and

then we roast them; we then blend the carob pieces with the Ceylon tea leaves and both absorb each other’s aroma. Our plan is to revive Maltese-grown flowers and herbs and to infuse these with traditional teas from the Orient. This is not an easy journey, but we hope to find the right collaborators to help us harvest these herbs and flowers in Maltese soil again.

From toy tea sets to the real thing, Diana Mifsud and Joanna Micallef Farrugia are still creating magical tea ritual set-ups.

Packaging has also played a part in Tettiera. You collaborated on the design with artist Stephanie Borg, best known for her Maltese tile-inspired work and ink drawings of traditional doors. How important is the ‘cover’ at the end of the day, and what was the look and feel you wanted to achieve?

We wanted to capture the emotions that a cup of Tettiera tea will make you feel, and feelings can also be understood with colour.

Tea revives you in an elegant and calming way and we wanted the artist to capture the calming colours of tea through her pattern.

Why did you choose Stephanie and how did she ‘adapt’ her art to reflect the mood of Tettiera, which could be described as fresh and feminine?

Stephanie is one of Malta’s treasures!

Our collaboration is a special one. She immediately understood what we wanted to create and she also liked the idea of the natural and earthy kraft paper tube that we wanted to develop. After some discussion about the look and feel, she delighted us with the packaging artwork that included our logo design. When we

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TASTE

To say ThaT The packaging is as viTal as The acTual Tea leaves mighT noT be an oversTaTemenT. everyone is aTTracTed To preTTy, liTTle Things and we wanTed To creaTe a whole experience for The end user

Let you creative juices flow and reuse the tube imaginatively.

saw the brand identity and the proposed colours and patterns for the first time, we fell even more in love with our brand. we sent the artwork to our packaging supplier and waited impatiently for the postman to deliver our packaging mock-up.

The packaging is also versatile and you have put emphasis on its other uses. Does this stem from an underlying eco-friendly approach to the whole project; is it a means to further highlight the importance of its design; or do you simply want it to offer a dual role for added value? being environment-friendly is part of our brand philosophy. we also want to generate awareness about the reduce, reuse, recycle trend that is paramount for the sustainability of mother earth’s natural resources. so apart from being one of our fundamental pillars, we also wanted to prolong the lifespan of the Tettiera tube by encouraging its potentially different uses. To say that the packaging is as vital as the actual tea leaves might not be an overstatement. everyone is attracted to pretty, little things and we wanted to create a whole experience for the end user. when creating Tettiera and our packaging design, it was always important that we develop something that limits the environmental impact after the tea is

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consumed. being lovers of our surroundings and nature in general, we wanted to create something easily recyclable. enter kraft paper – a natural, unbleached, totally biodegradable material made from virgin fibres of maritime pine. This miracle material decomposes naturally within a few weeks just like leaves under a tree. we’ve all heard of the reduce, reuse, recycle mantra. recycling might not solve our world problems, but taking materials and giving them a second life should be nothing but our sacred duty. although kraft paper is totally biodegradable, this is not an excuse to just dispose of it. we are firm believers that, whenever possible, packaging should be reused, or even upcycled.

Coming from the world of marketing, what do you think Tettiera would have been without the design and packaging details? without its holistic brand concept and consumer proposition, Tettiera would not be what it is today.

The brand identity foundations are of paramount importance to the creation of the product story and the value it offers to its consumers.

You’ve also created pretty trial gift boxes, which, apart from 13 tea blends hand-packed in unbleached teabags, include a surprise book.

WE NEED TO RELEARN HOW TO ENJOY LITTLE MOMENTS OF PLEASURE LIKE THIS AND FIND TIME FOR OUR ENJOYMENT AND PEACE Tell us about the connection between tea and reading – especially in today’s fast-paced life – and how you are going about promoting this somewhat romantic image, which may be far removed from reality.

We want to encourage tea lovers to find time and rediscover the tea ritual. Nothing beats a steamy cup of tea and a good book to allow the mind to switch off from your daily routine. This is such a simple gesture that is taken for granted. We need to relearn how to enjoy little moments of pleasure like this and find time for our enjoyment and peace.

Tea time is also about the accessories… Gimmicks, vital tools, or just more fun?

The true ritual of tea involves various accessories.

Some are functional and necessary and others are decorative, fancy and just for personal enjoyment.

Your campaign is also a completely in-house creation, from the photography to the styling.

Again, what’s the feel and how important is it to effectively convey this ‘lifestyle’ message – the experience beyond the tea.

The idea is that the tea ritual can be created and enjoyed by anyone at any home, or office. So we are simply setting the example that everyone can create the effect and mood they want, even with the ceramics and accessories they already have.

Sometimes, we need to make that extra effort to make that cup of tea for our partners and friends that bit more special.

Tea is a lifestyle: press pause to encourage reflection and reboot the soul.

Tettiera products are being sold from a handful of outlets. How and why did you select these?

Tettiera is a unique brand of tea and we are working with premium retail partners, who believe in our brand philosophy and can help us write our story. The selection process was thorough and we are quite content that we have six retail partners. We do have plans to expand and we even have further trade requests, but we prefer to visit the actual shop to make sure our brand fits into the mood and its shopper profile before we move forward.

You’ve gone all out to create the picture-perfect tea party experience… and you even intend to organise Tettiera tea-tasting sessions in Stephanie’s vibrant art studio boutique in Rabat. How do you think these will go down?

We want to revive the afternoon tea party concept and help consumers rediscover the tea ritual... with hot scones, delicious biscuits, stylish macaroons, mouth-watering canapés and a few pots of brewed tea all served in proper crockery with a set-up that will make you wish the party would never end! This would be a haven for any tea devotee and for those who appreciate the finer things in life.

And finally, could you pass on some tea-brewing tips in between sips…

Surprisingly, the ritual itself can be quite personal, and if you had to ask 10 people how they prepare their tea, you would surely get 10 different replies.

Our most important rule is to never boil water twice.

Make sure to use an infuser that is big enough to let the tea leaves infuse properly. Respect the time indicated for brewing the leaves to maximise their aromas, and never over-brew them. Always drink your tea in your favourite mugs and cups!

WWW.TETTIERA.COM

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DOING IT UP: DO/DON’T

AT THE END OF THE DAY, OF ALL THE PIECES WE PUT IN OUR LIVING ROOMS, THE FOCUS ALWAYS FALLS ON THE SOFA. THIS HAS TO BE COMFORTABLE AND NOT JUST TASTEFUL

Living the room It’s time to curl up and get cosy. And where better to do that than on the sofa in your living room… Interior architect Antonella Riotto, from Fino Interiors Design Studio, lays down the rules to get winter lounging right.

THE LIVING room is, together with the kitchen, the most important area of the house. It is where the family gathers; where we spend most of the time bonding with each other, watching TV, or entertaining.

So purchasing living room furniture is crucial; it is,

after all, the least private area and main showcase of the house.

Of all the rooms in our homes, the living room enjoys the most exposure, so the choice of furniture is of utmost importance. It defines not only the room

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per se, but also our personality, taste and who we are.

But at the end of the day, of all the pieces we put in our living rooms, the focus always falls on the sofa. This has to be comfortable and not just tasteful.

OPT FOR AN L-SHAPED SOFA IF YOU HAVE AN OPEN SPACE THAT NEEDS TO BE DIVIDED, FOR EXAMPLE, THE KITCHEN FROM THE DINING AREA The sofa is always going to be in the spotlight, so it is important to pick something that is not only practical, but also has a strong design line that carries and complements the rest of the space.

Analyse your lifestyle: if you prefer to lie down and watch TV, make sure the couch is directly in front of it; if you prefer hosting games with friends, or having drinks, create a curve of settees around a coffee table, surrounding your couch with poufs, armchairs and oversize cushions to create multiple seating areas.

Opt for an L-shaped sofa [with a corner unit or chaise longue] if you have an open space

that needs to be divided, for example, the kitchen from the dining area.

What is interesting nowadays is the modular sofas that can be assembled to offer freedom of arrangement thanks to backrests that can be positioned anywhere. Double face couches, suitable for spacious environments, or for dividing different areas, are easily created in this manner and are original and distinctive.

Materials are also important, depending on our lifestyles and where we live. Suede and bouclé fabrics are beautiful and give a touch of elegance, but they are delicate and can be a problem in the case of pets and children.

Stain-resistant fabrics, microfibre, or leather are a good choice for almost anyone and they are durable.

Choose the upholstery that echoes your own style and home, be it casual, or formal, and try to calibrate the pattern and texture of your sofa. Don’t be afraid to select a fun, original print, which can add a personal touch and quickly transform the feel of the entire room. But don’t exaggerate; try to create a pleasant balance between colours, patterns and textures.

WWW.FINO.COM.MT

TRENDS

Cosy up How can we achieve the Scandinavian hygge in our homes. Emma Mercieca Cristiano from BoConcept digs up the cosiness in a style that some might consider a bit cold at times. Apply her tips to your home to achieve that peaceful state of mind, which the Danes do best.

IT MAY take a while to settle in, but winter is approaching, and it is only natural that we start looking for ways to make our homes that little bit cosier.

However, gone are the days when we would just roll the same stored rugs back out. With international trends playing such a dominant role in our interiors, and so many beautiful products around, we’re being tempted to take things a step further to cosy up our home.

The Nordic Scandinavian style is worth looking out for if you are seeking to create a cosy, homely feel. Although our climate does not even begin to compare, everyone is attracted to the warm, natural, serene feel that is achieved through this look. And no one does it better than the Danes.

of the reasons that the Danes, year in, year out, are nominated the happiest people in the world.

Here are some styling tips to set you on the right track: GET INSPIRED BUT MAKE IT YOUR OWN Do get inspired by magazines, blogs and nature, but don’t copy; see what works for your own home and what is to your liking. Scandinavian furniture, lighting and accessories are a good way to start. Wood finishes like warm walnut and natural oak never fail, as well as tan leather and chunky textures on rugs.

BRING IN FRAMED PHOTOGRAPHS THAT REKINDLE SPECIAL MEMORIES, OR ITEMS RELATED TO YOUR HOBBIES In fact, they refer to it as hygge, and in the words of Morten Georgsen [one of Scandinavia’s best known designers and the main man behind BoConcept’s key design pieces], hygge is not a thing or something you buy… “Hygge is a state of mind.”

It’s about creating a home that radiates your own personal zen by creating an environment that gives you a peaceful state of mind. Maybe it’s one

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Framing and displaying photographs brings a personal, interesting touch to an otherwise monochrome setting.

Picking a few colours from the picture frames and extending them to a grouped set of cushions in different sizes and textures not only brings a neutral sofa to life, but also creates a coordinated look without being too matchy.

DISPLAY YOUR FAVOURITE PIECES AND MEMORIES Mix books, treasured pieces and favourite memorabilia with Scandinavian furniture. Danish furniture is about simple, clean lines that go with anything, so it is easy to mix and match and create a personal warm space. Bring in framed photographs that rekindle special memories, or items related to your hobbies.

Side tables with integrated storage.

LESS IS [MUCH] MORE If you have a small living room, use small nesting tables instead of a huge coffee table.

It also makes it easy for you to create different atmospheres by moving them around. Danish design is also known to be functional, not only aesthetically pleasing, so look for furniture pieces and accessories that make the most of your space, such as a footstool that transforms into an overnight bed, or side tables and coffee tables with integrated storage.

If space is limited, choose your furniture pieces well – a nest of tables with removable top trays, a three-inone sofa/sleeper/recliner and a footstool that transforms into an overnight bed.

Warm plaids and soft textures on rugs add a homely feel.

CREATE A WARM FEELING WITH A SUBTLE COLOURED PLAID IN PURE WOOL, OR CASHMERE

MUSIC IS A BIG PART OF HYGGE And it must be relaxing. Electronics often look stark, so think about storing and hiding them within your chosen furniture.

For example, a wall system with a combination of units, where you can hide the speakers and electronic devices, but where you can also display your favourite personal items, or a desk where you can store your belongings out of sight, which also includes integrated Bluetooth speakers, are sure winners.

BRING IN LIGHT AND NATURE, WHETHER IT IS IN THE HALLWAY, LIVING, OR DINING ROOM It doesn’t have to be flowers; greenery brings in a certain sense of calm. The use of crisp whites and clear glass makes rooms look brighter. But it doesn’t only have to be white. A combination of oak and a few simple touches of muted colours, such as pale pinks and greys, or a subtle touch of copper, bring the whole atmosphere to life.

CHOOSE YOUR LIGHT FIXTURES WELL Indirect light is great for a hygge atmosphere as it creates a warm glow; so do tea lights and candlesticks. In your reading corner, make sure you have a good reading lamp as well.

Vases and other accessories in natural materials and colours offset the bright white and warm walnut beautifully.

A simple desk with integrated storage and Bluetooth speakers combines technology with aesthetics and does not look out of place if you need to place it in a bedroom or hallway.

SURROUND YOURSELF WITH A FEW WELL-CHOSEN ACCESSORIES Avoid synthetic materials and go natural, with candle holders in materials such as oak, glass, porcelain, terracotta, or metal, which create a warm feeling… as does a subtle coloured plaid in pure wool, or cashmere. Also consider soft rugs in tonal colours, or with smooth patterns and textured surfaces.

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ACCESSORIES

€401, Fino

€296, Eclecticist

clec 6, E €63

t ticis

€125, LDS

€140, LDS

€425, Light Design Solutions

LIGHT UP YOUR LINE PHOTOS: SEan MaLLia | STYLING: iREnE ZaRB aDaMi | LOCATION: PRogRESS PRESS

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€395, Light Design Solutions; €267, Fino [bottom]

€475, Eclecticist

€273, Eclecticist €190, Light Design Solutions

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ACCESSORIES

WRAP UP IN A WARM GLOW Lamp stand, €395; shade, €75, Camilleri Paris Mode | brass tree, €32, Eclecticist | other accessories, stylist’s own.

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BUILDING A BUSINESS

PHOTOS: MARIA CONCETTA CARIELLO

LIGHTENING THE MOOD Ruben Formosa from The Workshop, Architecture & Design, was once a marble sculptor and then went into carpentry before he gathered all his tools in one basket and journeyed to the world of interior design. He says his background puts him in a position to push boundaries and be even more imaginative because he knows his dreams can materialise. And this is evidenced in his latest creations.

RUBEN Formosa has a strong affinity with the materials he uses for his interior design projects. He knows their ins and outs; he knows how far they can go; and he knows whether he can take them further because he has worked with them himself.

Although he has moved from hands-on production to design, the two remain intertwined, and he has a deep understanding of the art and craft he is dealing with… to the point that he can push the realisation of an idea.

So when it came to creating a bar for the new White Rock RestoLounge, Ruben instinctively knew what he had to do. He engaged one of his first employers as a marble sculptor, Ronald Pisani, to execute his impressive design. Apart from an opportunity to reconnect with his past, he wanted a work of craftsmanship.

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The six-metre-long-plus pièce de résistance of a bar is made of vertical arabesque marble strips, carved to look like waves, which stand out even more when lit from the footrest below and from above.

The sculptor worked with 10cm-thick sheets of marble, cut into strips, each individually carved, based on a number of templates, and installed on site to form one solid mass.

Chosen for its whiteness and purity, and the stark contrast created by its dark grey vein that brings out an element of three-dimensional movement, giving it a life of its own, Ruben admits: “It’s nature’s doing and I played along.”

He describes the bar as “the altar to the space” and says it is definitely the focal point, especially when the restaurant transforms into a lounge later on in the evening.

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While it fits in with the name in the most obvious of ways, the bar’s whiteness is in sheer contrast with the whole ambience, which is warm, autumnal almost, and ablaze, based on tones of red and amber that conjure up the idea of burning coals.

The starting point of this particular design process boiled down to the choice of materials to complement the scene the client wanted to set – in this case, an upmarket meat restaurant, which doubles as a lounge bar, but remains comfortable and casual.

The answer was to stick to an element of rawness, with matt and textured concrete

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floors and wood that doesn’t have a glossy finish; the stairs are, in fact, made from railway sleepers.

The mood and feel of the space was also created primarily via the colour scheme, which was achieved through the lighting in particular.

Ruben designed a series of suspended ‘balls of fire’ – 88 of them, to be precise – that are one of the predominant features of the place.

To find the perfect 88, 110 lights were mouth-blown by Mdina Glass, without using a mould. In fact, as a result of this technique, not a single one is the same. Each is an individual, despite their overall circular form, and the

YOU STOP BEING THE DICTATOR AND ALLOW THE ART TO EVOLVE AND TAKE ON A SORT OF LIFE OF ITS OWN patterns in the glass, though based on specific parameters, are random, while their light intensity varies.

For the colours to be spot-on once they are lit, glass chippings were experimented with and the right combination was achieved six trials later.

Ruben is not averse to an element of surprise, whereby certain features develop naturally during the process of creation. “You stop being the dictator and allow the art to evolve and take on a sort of life of its own,” he explains.

That same ‘surprise’ element was, in fact, also witnessed to a certain extent in the blackened, almost unusable look of the reclaimed wood for the stairs, whose eye-catching patterns started to emerge as it was planed.

Being on two levels, the way to get from one area to the other is always important and no stone was left unturned here either. The impact of the staircase lies in the fact that the steps are solid chunks of wood, which also allowed for slots to be carved out to house the lighting. [This means they appear to light up as you ascend in a sort of “transition”.]

The stairs were treated as “a whole carpet; the wood grain is so interesting that you do find yourself looking down to observe the vein,” Ruben points out.

The wine rack is another feature of note, particularly due to its scale: 3.5 metres high, it houses hundreds of bottles, which contribute to the effect.

Although a combination of glass and wood, together with the structural copper-clad columns that were treated to look aged, really, the wine

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BUILDING A BUSINESS

racks are a play on glass that is created by the bottles themselves and the shelves.

They also act as a most original banister to the stairs. And on the subject of railings, those designed to section off areas in the eatery also deserve a mention.

While vertical fencing is not that attractive, it remains the safest in a public space, so Ruben went for that option, but threw in his own twist.

The railing is made of different types of wood – 170 strips of random thicknesses, each individually stuck.

It was also important to have no handrail to avoid any horizontal obstacles blocking the view.

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ART/CHITECTURE

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PHOTOS: BRIAN GRECH

SEEING RED Photographer Brian Grech’s Christmas collection of Valletta images, snapped on impulse over the years, has a coincidental common denominator: red. Rich, yet humorous at times, what makes these limited-edition prints all the more interesting is the fact that, together, they contrast and complement each other, creating different moods, depending on the individual’s personality.

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ART/CHITECTURE

What’s your ‘relationship’ with Valletta? And what inspires you to photograph it? When you do, which seems to be quite often, what is the mood you tend to capture; what is your Valletta?

Over the past 10 years, I have visited Valletta on a regular basis. Most of the time, I don’t carry a camera with me, but when I do, usually because it’s after some other photo shoot, I capture ‘scenes’ that stand out. Some of my photos were taken at feasts, but others are images of everyday life. They do not have a particular mood; they were taken over the years, with no agenda in mind.

The religious influence is strong, though, and a good number of them focus on religious functions, decorations, or celebrations. I have always found our religious customs interesting. Of course, this collection is a selective interpretation, which I think is rich, yet, occasionally, humorous.

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You seem to have a keen interest in the city’s architecture. Seen through your eyes, what can we see?

Valletta has a unique architecture, and the beauty at this point is the mix of baroque buildings with all other sorts.

You look up and see something new. However, this collection of photos is not intended to highlight Valletta’s architecture.

At what point did you realise many of your Valletta photographs had a common denominator – red? Were you surprised? Was this touch completely subconscious, or are you consciously attracted to this colour?

I am asked quite often if I have photos of Valletta [and the rest of the island] for sale, and I do have many, particularly of the capital… However, they are not really catalogued as I never have the time to go through all and organise them. I have accumulated plenty of photo

COLOUR ADDS ENERGY, AND SEEING THAT MOST MODERN HOUSES LOCALLY ARE BASED ON NEUTRAL SHADES, I THOUGHT THAT A TOUCH [OR PLENTY] OF RED WOULD ADD VISUAL INTEREST TO A ROOM. AND YES, IF THERE IS ONE COLOUR TO ADD STIMULUS TO A ROOM, RED WOULD BE IT libraries with different images over the years. Recently, I was putting together a set from different libraries and realised some pictures had a common denominator – red. It stood out. I thought it would be interesting to put them together, and when I did, the set made a good collection that reflects our culture and religion, feasts and celebrations. And it seems that red is possibly the colour of choice for these.

Red is for danger, power, passion, love, seduction, sex, violence, anger? Red is for stop? Red is for Christmas?

What is red for you?

Historically, red, being the colour of blood, has been associated with courage, sacrifice and victory. Red is the colour of life. In China, red represents good luck. I think red is a powerful, rich colour that stimulates; it remains one of my favourites. I think the dominance of red is very local, considering it is even the colour of our national flag.

What spurred you to gather a collection of these images in the run-up to Christmas and create a set of limited-edition prints?

Colour adds energy, and seeing that most modern houses locally are based on neutral shades, I thought that a touch [or plenty] of red would add visual interest to a room. And yes, if there is one colour to add stimulus

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I THINK PEOPLE SHOULD INVEST IN LOCAL ART, BE IT PAINTINGS, PHOTOGRAPHY, OR OTHER FORMS. GIFTING ART IS ALSO PICKING UP SLOWLY to a room, red would be it. Considering that red is also one of the predominant colours at Christmas, it couldn’t be more appropriate and I thought these limited-edition prints would make unique gifts.

Many of the images are contrasting, and for that as well, they work wonderfully together. Where and how do you see them hanging/displayed?

The contrasting or complementing factor is the part I find most interesting. To the collection, I have included a few fashion editorial images that I thought worked well, such as the model lying on the floor at the Manoel Theatre and the other model in a Dolce&Gabbana dress with a gold crown. When you see these next to some of the other photos, you can see common elements. I like the visual emotion this creates. On the other hand, I also like the contrasting option, such as the red phone box with fireworks, or street decorations. I think many of these images can be placed anywhere, on their own, or in sets. I see them hanging anywhere: from living rooms to bathrooms and offices. The mix-and-match philosophy,

in my opinion, is the interesting part – you can create different moods depending on your personality.

Do you have a particular favourite, which has a meaning to you that viewers may not immediately appreciate unless they have the background/insight?

The photo with the religious figure wearing red, holding the gold embroidered umbrella, remains a favourite, mostly for its visual composition. However, I am still fascinated by the baroque influence that runs in our blood [as is reflected in the print of the little girl dressed for Carnival].

Do you think people appreciate photographs as the art form that they are, or do they have a hard time competing with paintings, for example?

In Malta, individuals are becoming more aware of photography as an art form and that’s a good thing.

I have just returned from Paris Photo – a large photo fair – and the quality of work on display shows that fine art photography is in demand. I think people should invest in local art, be it paintings, photography, or other forms. Gifting art is also picking up slowly, including corporations that want to give something unique and that has added value.

WWW.BRIANGRECH.COM

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SPEAKING VOLUMES

Architect

INTERRUPTED In his latest book, Prof. Richard England chronicles his “aborted embryos” – projects that never saw the light of day. As he mulls what might have been, he says he values his unrealised sacred architecture almost more than what has been turned into stone.

Ironically, these unfulfilled projects are more permanent.

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The message behind Hal Farrug was that the rock on which the Church has been founded must forever remain unchanged, but its historical reality has to change to reflect the current world situation.

THE FRIGHTENING THOUGHT THAT WHAT YOU DRAW MAY BECOME A BUILDING MAKES FOR REASONED LINES. Saul Steinberg.

PROF. RICHARD England’s latest book, Sanctuaries of the Soul, contains a section on L’Architettura Interrotta, which, as the title implies, covers those projects that remained on the drawing board either because they were rejected by the client, or the authorities, or because they were just conceptual.

The architect included them because they are essentially part of his work, and in a way, he values them more than those that actually materialised.

Ironically, they are more permanent.

In the words of Emlio Ambasz: “In reality some images or drawings have a greater impact than many buildings that are built.”

And in Prof. England’s view, “they remain static; they will never be changed, unlike built architecture, which is liable to be altered by the client, who assumes possession of the building immediately as you hand it over, and the architect no longer has a say…

“After months, days even, new doors and windows are opened up; new colours inserted. You somehow lose that matriarchal relationship with the building,” Prof. England says.

Describing the unfulfilled projects as “aborted embryos” makes even more sense, given his motheroffspring interpretation of the nature of the relationship between an architect and what he builds.

Prof. England’s idea of permanence becomes clearer when considering that of the 10 hotels he built in the 1960s, not one is still standing.

Having said that, he does not regret that they have been demolished. “I am more annoyed by changes a building may undergo when it is still attributed to me.”

In truth, Prof. England only regrets the demolition of Villa La Maltija, which he built for a spinster and a widow and which was featured extensively in magazines, including on the front cover of The Architectural Review, in the 1960s. As is always the case, “it was demolished for monetary purposes” and to make way for 15 maisonettes.

Among the buildings that are no more is the Chapel of St Andrew in Pembroke, which was replaced by a bigger church; and now the former Parliament is about to be gutted and turned into a conference hall for Malta’s upcoming EU presidency.

With Dom Mintoff as his client for Parliament, it was “a turbulent relationship”, Prof. England recalls.

He admits he “didn’t think it would go”, being historical in a sense and also because he felt it was suitable as is for a conference space.

“It was a box in a box; almost an installation. I was careful not to touch the palace walls that housed it.

After all, an architect is not only a designer of the future, but also a defender of the past. Especially when building in Valletta, architecture has to exercise good manners, which are very much lacking in today’s contemporary works.”

Sanctuaries of the Soul, published by Kite Group, includes projects like the Hal Farrug Church and Community Centre, which was refused by the Church authorities, but Prof. England maintains, still has hope of materialising; and the Missionary Society of St Paul Prayer Space, where the client had opted for another scheme “as one is entitled to do”.

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The unfulfilled Filfla chapel.

Sanctuaries of the Soul was launched in two versions, including a limited edition of 20 books, with hand-drawn and signed jackets by Richard England.

Santa Barbara tourist village, Comino.

Tignè Point project.

SPEAKING VOLUMES

Prof. England’s unfulfilled Filfla chapel was a project for the Millennium, based on the fact that the year 2000 was fundamentally a religious celebration and nothing to do with crashing computers.

The “iceberg of stone” – as he fondly refers to the island he has always been intrigued by – was the sacred altar for the Neolithic temples. “We deemed them primitive,” he adds, “but we used Filfla for target practice…”

The project would have involved digging down into the cliff face and cutting out a little window that would have overlooked the iconic altar that is Filfla.

The cross in the window, on the one hand resembling the crosshairs of a gunsight, was a dig at Filfla’s use as a target, and on the other, it symbolised ‘Christianising’ the pagan altar, which Prof. England deemed appropriate for the Millennium. A cross on the outside, on a larger scale, would have been visible from sea.

But the Church was reticent, Prof. England recalls, and it was left on the backburner.

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“In the case of churches and sacred spaces, it is a question of more is never enough, and something as simple as this is too poor… We are still living in a baroque-haunted, mnemonic period. It is so hard to break with the past…”

The conceptual underwater chapel of San Dimitri in Gozo was composed of a cross and timber seating for divers. It was based on the lovely legend – myth has always intrigued Prof. England, who claims that, today, the word has almost changed its meaning to signify a lie.

Beyond these sacred spaces that never took off are also major projects, such as a “low-key” development on Comino for Swiss clients, who dropped it for financial reasons; and a tourist village in Xlendi, which had permit problems. Today, a 14-storey building is about to take root in what was once a picturesque bay, Prof. England notes.

Then there was his version of Tigné Point – minimal high rise, not cooped up and practically cascading into the sea. The rest is history.

ON SHOW

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PHOTOS: MARIJA SCHRANZ

The magnificent model When Marija Schranz stumbles upon an exhibition in Venice of scale models by Frank Gehry’s architectural studio, she knows he has struck gold. As she retraces the master’s steps in the development of the Louis Vuitton Foundation building in Paris, she also gains invaluable insight into the inner workings of his brilliant mind.

THAT MALTA is no hotbed of contemporary art is certainly no secret. But when a 200-metre walk along one street in Venice – a city you visit to be immersed in architecture dating back to the 14th century – throws up not one, but two exhibitions dedicated to two of the world’s leading lights on architecture, you know you’ve struck gold.

The discovery of the first exhibition was even more serendipitous as it was unadvertised, down a narrow and gloomy calle – and one that would not have inspired the intrepid traveller to explore further, were it not for the sign [on another building] of the Venice Biennale.

Along the way, however, a different doorway beckoned as a name jumped out from a poster – that of Frank Gehry.

It turns out that the Louis Vuitton shop in Venice hosts an art space on its top floor, which can be accessed from a non-descript doorway around the corner. And there, free of charge and with barely anyone else in the space, one is able to take in the

amazing work Gehry underwent in his development of the Louis Vuitton Foundation building in Paris.

Indeed, what makes this exhibition all the more special is that, in a way, this is a visit into Gehry’s mind, his inner workings, the stages he took in, surely, one after another, towards the development of a one-in-a-million project.

WHAT MAKES THIS EXHIBITION ALL THE MORE SPECIAL IS THAT, IN A WAY, THIS IS A VISIT INTO GEHRY’S MIND, HIS INNER WORKINGS, THE STAGES HE TOOK IN, SURELY, ONE AFTER ANOTHER, TOWARDS THE DEVELOPMENT OF A ONE-IN-A-MILLION PROJECT In his own words: “I dream of designing a magnificent vessel for Paris that symbolises France’s profound cultural vocation.” That the exhibition takes place in a shop that is not a pit stop for the common person in the street somehow imbues it with even more wonder.

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ON SHOW

PHOTO: KIEV.VICTOR / SHUTTERSTOCK.COM

From scale model to magnificent real-life vessel, the Louis Vuitton Foundation building in Paris took shape and set sail.

IN ORDER TO CONFORM TO GEHRY’S DESIGN, THOSE INVOLVED IN THE CONSTRUCTION OF THE BUILDING HAD TO FIND SOLUTIONS TO NUMEROUS UNPRECEDENTED TECHNICAL CHALLENGES ALL THROUGH THE PROJECT, SUCH AS THE INVENTION OF GLASS THAT WAS CURVED TO THE NEAREST MILLIMETRE The exhibition itself presents a selection of scale models created during the unfolding project by the Gehry Partners Studio. They are organised by groups to retrace studies for various aspects of the building, from the project design, to interior spaces, to the glass sails that encase the outside.

It is a truly immersive experience like no other, with handwritten notes posted on particular exhibits as an up-close-and-personal reminder that this was once a dynamic piece, serving a very particular function.

The detail is, of course, impressive, and the modelling use of furniture, such as people, cars, and trees, offers not only a true sense of perspective, but also of the use of the building as created. This is Lego for grown-ups.

The building itself is situated in the heart of Greater Paris, the Bois de Boulogne. It aims to become part of the Île-de-France cultural landscape and epitomises the support for art, culture and heritage that the LVMH Group has been providing for the past 25 years.

The seeds for this development were planted in 2001, after Bernard Arnault, President of the Foundation and CEO of the Group, met Gehry following a visit to the Guggenheim Museum in Bilbao. Fast forward over a decade to October 27, 2014, when the Foundation officially opened its doors to the public.

Gehry’s initial sketch is splashed onto an entire wall at the exhibition. If you saw this in a street, you’d think it was senseless scribblings, but next to the models, you can see the actual building in the very abstract shape that the lines form.

This is perhaps when one realises one is truly in the presence of a master. From lines to a physical structure – and one of serious complexity – this not only takes vision, but deep, intimate knowledge of the art and craft that is architecture.

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Indeed, in order to conform to Gehry’s design, those involved in the construction of the building had to find solutions to numerous unprecedented technical challenges all through the project, such as the invention of glass that was curved to the nearest millimetre – certainly a job for can-do people.

Gehry has been described as a creator of dreams, and without a doubt, this building really is fantasy brought to life. It clearly recalls the fish, a symbol so dear to the architect, but it also resembles a ship, eager to set sail for pastures new.

“To reflect our constantly changing world, we wanted to create a building that would evolve according to the time and the light in order to give the impression of something ephemeral and continually changing,” Gehry explains.

The building itself is spread over 7,000 square metres of floor space of which 3,850 square metres are the museum. It houses 11 exhibition galleries and can seat up to 1,000 people in its auditorium.

“We wanted to present Paris with an extraordinary space for art and culture, and demonstrate daring and emotion by entrusting Frank Gehry with the construction of an iconic building for the 21st century,” Arnault enthuses.

They certainly did just that, as is evidenced by the sheer magic that is this exhibition of the models that led to this new architectural gem.

Oh, and in case you were wondering, the other exhibition was a retrospective on Iraqi-born British architect Zaha Hadid.

The exhibition runs at the Espace Louis Vuitton on Calle del Ridotto in Venice until February 26, 2017.

It is open every day of the week. For more information, call +39 041 884 4318.

CONSERVATION CORNER

Winning over the war-torn

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Conservator Roderick Abela from Recoop Ltd finds himself on the frontline as he fights to bring a 17th-century battle scene back to its former glory. It’s no surprise this large-format painting has made it onto the list of his top conservation works.

And here’s why.

THIS MONUMENTAL large-format battle scene, with cavalry and soldiers, dating back to the 17th century, is a visual narration of a part of history, with action, engagement, victors, fallen ones and looting taking place in one painting.

Measuring 195cm x 280cm, its outstanding quality suggests that it once embellished the walls of a high-end Italian palazzo, possibly in Rome. An old inscription on its frame attributes it to Il Borgognone, an alias for the artist Jacques Courtois [1621-1676], a master in the depiction of cavalry battle paintings of the Italian baroque.

THIS WORK CAN BE COMPARED TO WINE, HAVING THE SAME CHARACTERISTICS OF A STRONG BURGUNDY, WITH A BOLD DYNAMIC FEELING Following the Burgundian trail, this work can be compared to wine, having the same characteristics of a strong burgundy, with a bold dynamic feeling. Entertaining the viewer with a whirlpool of figures battling in the centre-left side of the painting and soldiers charging in the background, the master, like in an instant photo, portrayed a realistic representation of a battle scene moment.Â

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CONSERVATION CORNER

Clockwise from right: Infrared image; detail of gesso application during treatment; after cleaning; detail before cleaning.

The use of perspective and colour play separates the foreground action from the distant background: the bold and agitated foreground is in contrast with a mellower use of palette for the landscape, giving a subtler feeling to the background.

The painting forms part of a private collection and, as ultraviolet and infrared investigations revealed, it was restored at least twice.

A dark aged layer of varnish was present on top of the paint layer, hindering the viewer from enjoying the original colour palette. Several old re-touchings were noted, carried out in different periods on different old gesso layers. The painting had also been lined with an organic adhesive on a jute lining canvas, which was clearly detached in several areas.

An interesting fact noted in this painting was the accentuation of the weave structure showing through the paint layer. This could be a result of the past lining intervention, apart from several other factors.

A large-format painting automatically requires a substantial amount of time for conservation and restoration, especially when re-lining is required. The painting was well documented and examined prior to the hands-on interventions in order to design the best possible treatments for its preservation. Several detached areas within the paint layer were consolidated before the cleaning treatment started.

From beneath an aged and discoloured layer of yellow varnish, the true bright colours slowly emerged.

At this stage, and very patiently, all the old re-touching

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FROM BENEATH AN AGED AND DISCOLOURED LAYER OF YELLOW VARNISH, THE TRUE BRIGHT COLOURS SLOWLY EMERGED had to be cautiously removed, together with any old gesso covering the original paint layer.

The treatments then moved on to the structural side of the painting. Being large, it was decided, in consultation with the owner, to re-line it using an old recipe – the colla pasta adhesive. The old lining and any old glue residuals had to be removed. Apart from the new lining, new canvases were attached for added support, and once set, the painting was re-stretched onto its wooden frame.

From this stage onwards, the work focused mainly on the aesthetic aspect of the painting. Any missing paint and ground layers were infilled with gesso and levelled to match the adjacent layer. Most of these infills had to be textured, in keeping with the surrounding paint characteristics.

Pictorial integration was carried out with reversible varnish-based pigments and finalised with several thin layers of varnish until a homogeneous satin finish was obtained.

It was a joy to behold the end result and the drastic positive change achieved. This painting has definitely made it into the list of Recoop’s favourite jobs, and studies are still going on as regards the attribution and the painter’s technique.

IF WALLS COULD TALK

FORTIFICATIONS OF ART

n of uctio nstr reco ic h ap A gr

oel.

Man Fort

In the baroque age, bastioned fortresses were not only expected to function with mathematical precision in the onerous task of defence against an increasingly powerful offensive, but also to look exceptionally good in the process. The International Institute for Baroque Studies at the University of Malta explains how the Order’s baroque fortresses impressed their beholder for their sheer scale and purist expression, and how their designers married military efficiency with aesthetic appeal.

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in the innumerable drawings of ‘regular’ fortifications that appeared in so many fortification treatises of the baroque age. Bernini would surely have applauded!

In Malta, nowhere is this concern for martial beauty perhaps better illustrated than at Fort Manoel, a small, four-bastioned, squareplanned fort, built in 1723-1730 by Grand Master Antoine Manoel de Vilhena on the Isolotto, with the precise purpose of protecting the vulnerable north flank of Valletta from any potential attack.

The magnificent baroque gateway of Fort Manoel.

IN THE baroque age, there was little doubt in the minds of the Knights of St John and their military and urban planners about the importance of aesthetics in the design of their cities and fortifications.

There seems to have been no divided opinion among architects and military engineers about the dramatic effect of fortifications on the human eye, and many were those who sought to apply Vitruvius’ criteria of venustas [beauty] to these works of defence.

This was, after all, a unique time in the history of military architecture; when bastioned fortresses were not only expected to function with mathematical precision in the onerous task of defence by providing shelter against an increasingly powerful offensive arsenal of guns and armaments, but also to look exceptionally good in the process.

Indeed, the baroque fortress was expected to impress its beholder with the visual power of its sheer scale, spatial order and purist expression.

The Grand Masters of the Order of Malta, inspired by their architects and by the lofty ideals of the baroque age, in a bid to outshine the great European princes of their times, spared no effort in endowing their cities with works of defensive architecture that were beautiful to behold, evoking in the process power, prestige and military glory.

This very exciting fusion of the baroque ‘cult of beauty’ and pure geometry also happened at Coevorden in the Netherlands and at Neuf Brisach in France, as well as at Arad in southern Romania, built to mark the Habsburg recapture of this region from the Ottomans in the early 18th century.

This perfect fusion of Venus and Mars – a veritable bel composto of military architecture – also featured

IN SPITE OF ITS GUNS AND CANNON, FORT MANOEL WAS A VERITABLE BAROQUE WORK OF ART, SET LIKE A THEATRICAL STAGE, FACING ITS AUDIENCE IN VALLETTA. IT EVOKED THE BAROQUE MIND’S LOVE OF SPECTACLE So much so that in 1761, Brigadier Francois Charles, Comte de Bourlamaque, while heading a military mission to Malta with a team of French engineers, could not help but describe Fort Manoel as a “model de

fortification fait avec soin” [a model of fortification built with care].

What must have particularly impressed Bourlamaque about this work of fortification was not the planimetric layout of its defences, which followed a commonly prescribed formula for a simple fourbastioned square enclosure, but the manner in which the designers of Fort Manoel had been able to marry contemporary concerns for functionality and military efficiency with aesthetic appeal – the sense of dramatic orchestration, fuelled by the ideas of baroque mise-en-scène and the need to maximise vistas.

Rather than using the beautiful architecture to disarm an enemy’s anger, as had been optimistically suggested by Leon Battista Alberti in his treatise many centuries earlier, the visual power of Fort Manoel was unmistakably directed towards Valletta to the rear, in a clear attempt to impress the Grand Master’s subjects – the inhabitants of the city.

Truly, in spite of its guns and cannon, Fort Manoel was a veritable baroque work of art, set like a theatrical stage, facing its audience in Valletta. It evoked the baroque mind’s love of spectacle.

An important part of the artistic embellishment of baroque fortresses went into the architecture of their gateways, which, with their classicised features, evoked the triumphal arches of ancient Rome. Such gates had become, by the end of the 17th century, an important visual element, commonly employed to break up the bland shapes of bastioned ramparts.

The 18th-century Cabreo della Fondazione Manoel, kept in the National Library, describes the main gate of Fort Manoel as having an “architettura in pietra Zoncol” [zonqor, Maltese hardstone], adorned with a “busto di Bronzo” [a bronze bust of Grand Master Vilhena], “armi del Fondatore” [the coat-of-arms of the Grand Master], and an “inserizzione di marmo” [marble plaque with Latin inscription].

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A selection of plans of Hospitaller fortification housed at the National Library of Malta.

IF WALLS COULD TALK

It was but one of many such gateways, which were built in quick succession in the course of a few decades along the city walls of Mdina, Vittoriosa, Senglea, Floriana, Bormla, Cottonera, Ricasoli and Chambrai, many of these under the direct supervision of the Order’s talented architects Romano Carapecchia and Charles Francois de Mondion.

In a way, these 18th-century works of fortification would come to represent the apogee of the art of fortress building in the Maltese Islands. They are the product of a unique permutation of architecture, engineering, technology and art, successfully illustrating what Lewis Mumford terms “the dichotomy of the baroque”: on the one hand, its extravagant sensuous side manifested in the frivolity of its

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ornamentation and epic ostentation; and on the other, the methodical side expressed in the mathematical precision of its geometrically calculated plans and lines of fire.

The factors that helped shape this architecture were themselves the product of a great depth of thought, experimentation and originality of ideas.

One can catch a glimpse of the enduring residue from this age of learning, discovery and brilliance from the writings and drawings of the very same men who designed and built these works of fortification.

The National Library in Valletta houses an important collection of such architectural drawings from this period. These finely executed plans and elevations of the fortifications of the Knights of St John also bear

witness to high standards of planning and draughtsmanship in 18th-century Malta.

Recently brought together and edited by Prof. Denis De Lucca, Dr Stephen Spiteri and architect Hermann Bonnici into one volume, Lines of Defence – Fortification Drawings of the Baroque Age at the National Library of Malta, these beautiful drawings shed a unique light on the how the Order’s military engineers sought to unite architecture, art and urbanism in the design of their military projects.

Produced and published by the International Institute for Baroque Studies at the University of Malta and Malta Libraries, this largeformat, full-colour book stands out as a monument to the exceptional military architectural heritage of the baroque age.