Places (December 2017)

PLACES ISSUE 18 DECEMBER 2017

Design & Living

GROWING SMALL Stealing space One-bedroom abodes

Flipping things around ENTERTAINING AREAS ON UPPERMOST FLOORS

A FOCUS ON FLORA AND FAUNA THE DIMINISHING COUNTRYSIDE IS COMING HOME 2018 trending towards the environment THE DECORATIVE ELEMENT OF PLANTS

Cold total look OR A BALANCE BETWEEN OLD AND NEW

On display and speaking volumes What to see & where Art exhibitions and architecture books

THE BLUEPRINT

PLACES

Design & Living

ISSUE 18 DECEMBER 2017

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MY DESIGN

THE PROJECT 10 Twice as Big Playing with a petit Parisian apartment 20 The Perfect Canvas For cosy pastel colours and quirky touches 26 On the Seashore, Small and Serene A neutral palette to grow a place BUILDING A BUSINESS 32 A Treasure on Treasury Street City suites on sacred spaces LIVING DESIGN 38 The Origin of Design Seeking inspiration from cell structures HOME DÉCOR 42 TRENDS New Year, New Look Planting the seeds for 2018’s décor 45 TASTE Let There Be Life Recovering and reusing to recreate 46 ACCESSORIES Deck the Halls Maximising Christmas magic DESTINATION, HERITAGE & ENVIRONMENT 58 ART/CHITECTURE Exhibiting the environment, art and human architecture 62 ON SHOW Away in a Manger Crib creations 64 SPEAKING VOLUMES Wildlife and the City Flora, fauna and front doors on the bookshelves

ON THE COVER BMW CENTRAL BUILDING PHOTO: HELENE BINET See story on page 54

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HUMAN_CONSTRUCT PHOTO: ELISA VON BROCKDORFF See story on page 58

MY DESIGN

and so, the joke continues… although you’d have to have a warped sense of humour not to find it funny in that tragic kind of way. a while back, mY desiGn took an uncommon positive slant when talking about development on these islands. i had met with leading international architect ian ritchie, entrusted with the farsons business park project in war-zone mriehel, and, as i wrote back then, it was “a breath of fresh air – almost literally” in this dust-clogged, stifling country.

Places: desiGn & liVinG had carried an article on the praiseworthy project that would also pioneer an understanding of the value of iconic industrial heritage in a country where not even archaeological remains are safeguarded, let alone factories and manufacturing plants from the last century. the owners welcomed the fact that theirs was a grade 2 property, and would have protected the old brewhouse even if it weren’t listed, where others would perceive the scheduling as shackles and are doing their utmost, unhindered, to destroy and cover up any heritage that could halt more haphazard construction. take the shameful showroom project in mosta, for example, and other fresh scandals every day, but that is stuff for another scary story. i was left impressed and inspired by the vision, which, bizarrely enough, didn’t involve a dense and lofty building. it was also relieving to see that the sacred sight line between Valletta and mdina was being secured by people who could have gone high-rise where others around them had received the controversial green light. in the eyes of us, the great unwashed – those with the truly green credentials – this one was a no-brainer! it was a given; an example of how to ‘develop’, restoring the Get more of PLACES on original meaning to what has our social media channels become a diabolical word, FACEBOOK @placesmagazine synonymous with its antonym.

but no! fast-forward a few months and the authority responsible for planning in malta was suddenly concerned and felt it should abide by its ‘policies’ and turn down the proposed project. and the rest of us… well, we laugh…

We laugh at you not because it is funny, but because it is a farce; we laugh because we see right through the motives; we laugh because we know who pulls the strings; and we will one day have the last laugh. the authority on the matter may not be around to carry the can by then – it would have probably unknowingly given the go-ahead to bulldoze its own premises in the rush to issue blind permits. but i am making it a point from now to raise a child who is aware of the “horrible buildings that are going up in the place of trees, birds, grass, open spaces and countryside”; who is learning from now that her environment is going to the dogs and that cranes marring the skyline and heavy vehicles clogging the roads are not on. on our drives, she hears me complain and has started expressing her own observations about her ugly surroundings. and she – and others of her generation – will know who is responsible for all this destruction. meanwhile, once again, i find some solace in editing Places: desiGn & liVinG, where i get to momentarily bury my head in the sand and pick out the projects that somehow work, or at least leaf through country walks in what’s left of our natural spaces and take imaginary refuge between the lines in these ever-shrinking areas. it had to be our foreign contributor, all the way from hawaii, to map out a great sunday morning itinerary in malta to enjoy its “natural wonders” and “great outdoors”. When she proposed this to me, i questioned the “wonderful” part, thinking she had been away for too long. but i was curious, and through her pocket guidebook on malta’s wildlife, i now have somewhere real to escape to. the question is, for how long?

READ PLACES: DESIGN & LIVING ONLINE ON

december 3, 2017 | issue 18 | 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 © 2017. all rights reserved. reproduction in whole, or in part, without written permission of the publishers, is prohibited.

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TWICE AS BIG PHOTOS: GREG COX STYLING: SVEN ALBERDING

When architect Philippe Harden renovated his Parisian apartment, he had a unique opportunity to connect it with a separate room directly upstairs. Through the clever use of space and the opportunity to open up the living area, he’s made it seem twice as big as it is. Graham Wood goes up to see how it grew.

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THE PROJECT

ARCHITECT Phillipe Harden deliberately went looking for the most dilapidated apartment he could find in central Paris when he went hunting for a new home. As an architect, he was seeking an adventure – an opportunity to do something new and different. “I was looking for an apartment that had the most potential possible for renovation,” he says.

For him, the possibilities offered by a new home represented not just a chance to create a living space for himself, but also an opportunity to design something without the constraints of a client’s brief. But he wanted to work with old bones – a classic Parisian apartment with “parquet, moulures et cheminées”, as they say in Paris, or wooden floors, plaster mouldings and a fireplace.

Although he soon discovered that “it is not easy to find apartments in Paris that are in bad condition anymore”, he persisted until, eventually, he stumbled upon an unrenovated property in an early 20th-century building near the Gambetta metro station, just outside central Paris.

It was somewhat post-Haussmann in style, but too early to be Art Nouveau. “It has a charm,” says Philippe, pointing out its brick façade and arched windows. “It is kind of eclectic.”

The apartment itself had lovely views over a large public garden nearby and little Parisian balconies and, to Philippe’s delight, was in a very shabby state. “It was really hard to believe, because it was 2013, and there was no bathroom inside,” he says. “There was a sort of metal basin and a little shower in the toilet, and that was it.”

To make things really interesting, there were two rooms upstairs for sale at the same time.

“So, one apartment and two little rooms,” he says. Philippe had just inherited some money, and couldn’t think of anything better to invest it in. The possibility of joining the apartment with the rooms upstairs opened up the opportunity to reconfigure the rooms.

“That’s just the kind of game that architects like to play,” he says. “I decided to convert one of the rooms into a bedroom and to connect the two levels.” That involved introducing a staircase from the living room to the bedroom upstairs. He planned to renovate and rent out the second room.

Downstairs, Philippe opened up the living space. “When I saw the apartment for the first time, I immediately thought to myself that I could create one big living room, which would have two windows to make the most of the view,” he says. In these front rooms, his priority was to preserve the historical character of the building – its

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IN THESE FRONT ROOMS, HIS PRIORITY WAS TO PRESERVE THE HISTORICAL CHARACTER OF THE BUILDING – ITS “PARISIAN CONDITION” – SIMPLY ACCENTUATING ITS FEATURES WITH WHAT HE CALLS “NOBLE MATERIALS”: WOOD AND MARBLE. THE GRANDEUR AND SENSE OF SPACE THIS CREATES MAKES THE APARTMENT SEEM AS IF IT’S TWICE AS BIG

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“Parisian condition” – simply accentuating its features with what he calls “noble materials”: wood and marble. The grandeur and sense of space this creates makes the apartment seem as if it’s twice as big.

Philippe’s favourite game continued: he converted the old kitchen, which faced the courtyard, into a proper bathroom with a view of the trees from the bathtub, and installed a new central kitchen behind a glass and steel façade. He also tucked a guest room that doubles as an office behind it, also facing onto the courtyard, while in the bathroom, Philippe kept to the noble materials of the front rooms.

His architectural approach involved offsetting the “new” section, particularly the kitchen, against the front rooms, where the traditional features were preserved. While the living spaces are characterised by white walls, which show the mouldings and natural wood floors in the best possible light, the central part was treated in black to contrast with the living space and the more intimate rooms on the courtyard. The walls of the kitchen and study, looking onto the courtyard, are painted black.

“The treatment of this functional central space is more contemporary: no mouldings on the ceiling, black tinted plywood texture, glass and Carrara marble,” he adds.

Philippe is not a fan of what he calls a “total look”, preferring to accentuate the difference between old and new, and between functions.

With no additional client demands to consider, there was no need to compromise – Philippe chose the radical contrast between black and white.

This way, the difference between that which is preserved and that which is altered is easily legible, architecturally speaking. Also, Philippe adds, he finds a “balance between the old and the new” creates a richer, more varied environment.

He finds uniformity cold and impersonal.

In general, Philippe’s architectural approach is characterised not so much by what he calls “big complicated forms”, but more by a preoccupation with texture, proportion and detail.

He’s particularly fascinated with the areas where spaces and materials meet and connect.

Perhaps the most significant architectural connection that Philippe introduced was the staircase in the living room. In its design, he had to find a balance between being as spatially and visually unobtrusive as possible, and yet not uncomfortably narrow, or awkward to navigate.

An additional challenge was the fact that it was in a living area rather than a traditional circulation space.

Philippe’s solution was to integrate the staircase with a “functional wall”, which reads as a surface rather than an object. “I wanted a cabinet that

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PHILIPPE IS NOT A FAN OF WHAT HE CALLS A “TOTAL LOOK”, PREFERRING TO ACCENTUATE THE DIFFERENCE BETWEEN OLD AND NEW, AND BETWEEN FUNCTIONS

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PHILIPPE’S TASTE IN ART REFLECTS THIS APPROACH: A FONDNESS FOR TEXTURE AND ORGANIC SHAPES AND FORMS, WITH THE OCCASIONAL POP OF PRIMARY COLOUR. HIS CHOICE OF ART ARTICULATES HIS PREOCCUPATION WITH SYMMETRY, BALANCE AND CONTRAST – THE ORGANIC COMBINED WITH THE GEOMETRIC – RATHER THAN WITH REPRESENTATION, OR FORM

looked like it was a wall,” he explains. He did away with the balustrade, so the staircase becomes an almost graphic element of the architecture, and its light colour and corner design make only the least sacrifice in floor space upstairs necessary. A pop of primary yellow on the display shelf prevents monotony, and the dark bookshelf subtly draws attention to the prized fireplace.

It also allowed him to maintain the simplicity he was looking for, and hide the TV, books and his collection of hundreds of CDs behind the cabinets. At the same time, where space is at a premium, it makes good use of the tricky area beneath a staircase.

Much like the contrast between old and new in the apartment, which brings out the best in both, Philippe’s furnishings are an eclectic mix of luxurious and simple. The steel bookshelf was a simple mass-produced design that Phillipe has upgraded with beautiful wooden shelves he ordered to replace the originals – “so it’s a mix between things that exist and thing’s I’ve done”.

He designed some of the pieces himself, most notably the marble-topped dining room table, which he based on the design for a “basic farm table”. Philippe points out the way in which “the slim marble edges contrast with the large feet”.

Contemporary pieces, such as the Zanotta sofa, are combined with vintage and midcentury finds like the vintage blue Wim Rietveld Oase chair. The contemporary pieces are, he admits, largely inspired by mid-century designs, but he reprises his distaste for uniformity. “It’s a mixture of things,” he says. “I didn’t want too much of a mid-century total look.”

Philippe’s taste in art reflects this approach: a fondness for texture and organic shapes and forms, with the occasional pop of primary colour. His choice of art articulates his preoccupation with symmetry, balance and contrast – the organic combined with the geometric – rather than with representation, or form.

As an architectural expression of his ideas, Philippe’s apartment is subtle, but strong. But it is perhaps precisely because he had the opportunity to explore his philosophy, unfettered by the demands and tastes of clients, rather than in spite of it, that it is such an intimate, unpretentious and characterful home.

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PHOTOS: ELSA ALLEN

THE PERFECT CANVAS

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This one-bedroom townhouse in Gharghur was the perfect canvas, begging Daaa Haus senior interior designer and marketing manager Martina Fenech Adami for her creative intervention. The end result is a cosy pad, with soft pastel colours and quirky touches.

THIS PROJECT was particularly interesting as it started without an actual physical property.

The client was looking to purchase any kind of dwelling to be transformed into a beautiful home.

Therefore, essentially, the brief was to use an allocated budget to track down and purchase a house with inspiring attributes, and proceed to design it, right up to the finishing touches.

After a week of trolling the internet, making several appointments and running around the island from one site to another, desperately trying to track down an interesting find with a substantial budget, what was on the market, particularly in terms of new developments, turned out to be profoundly disappointing.

Most modern apartments consist of ill-lit, tight, crammed spaces, with no essence and quality to them whatsoever, says Martina. The mid-range market for new buildings was simply abysmal.

This particular old townhouse, on the other hand, was packed with interesting architectural detail; many pockets of outlets to natural lighting, which streamed through, bouncing off the rich Maltese limestone; open spaces and quaint nooks.

It was the perfect canvas, begging for creative intervention, and instantly inspired an exciting concept that would merge well with and simultaneously enhance the existing environment. The idea was to amalgamate several interesting elements, adding a number of modern finishes to contrast the old aesthetics of the building, with a touch of retro quirky pieces that would complement the existing ambiance. The project also involved the implementation of some interesting layout changes.

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The house is, in fact, set on three levels, with the ground and top floors used for social areas and the middle as the sleeping quarters. The layout was defined in this way because the top floor has access to an outdoor space that was converted into a terrace/roof garden. Therefore, the living area and the converted roof are on the same level, making for a great entertaining space, Martina explains.

The ground floor consists of a moderately sized entrance/greeting room, featuring a bespoke wall-to-wall modern take on a classical library and a cosy Wingback armchair sitting beside the large windows, which look into the internal courtyard that floods all corners with natural light.

At the back of the house is the shabby-chic-style kitchen, which includes many playful elements, such as the designer pink Smeg fridge, a coloured glass splashback that creates a lovely contrast against the rough Maltese limestone texture, and the courtyard that was converted into a quirky indoor/outdoor dining space.

One of the biggest challenges for Martina was re-working the layout, as the original consisted of the entrance room, which doubled as a living room, and no area for dining whatsoever.

After studying the spaces, the only solution was the introduction of an outdoor/indoor dining room by removing the kitchen sliding door access to the adjacent courtyard and adding a retractable ceiling to the space. Its walls were clad in wooden slats to add a bit of warmth, together with incorporated architectural lighting and a couple of Hans

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AT THE BACK OF THE HOUSE IS THE SHABBY-CHIC-STYLE KITCHEN, WHICH INCLUDES MANY PLAYFUL ELEMENTS, SUCH AS THE DESIGNER PINK SMEG FRIDGE, A COLOURED GLASS SPLASHBACK THAT CREATES A LOVELY CONTRAST AGAINST THE ROUGH MALTESE LIMESTONE TEXTURE, AND THE COURTYARD THAT WAS CONVERTED INTO A QUIRKY INDOOR/OUTDOOR DINING SPACE

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J Wegner Wishbone Chairs. paired with a simple white table.

“The second problem was the fact that on entering the house, you were in the living room – a layout that should always be avoided,” Martina adds. “The issue was resolved by converting the smaller cosy space on the top floor – usually used as the washroom – into the quaint living room and the roof space adjacent to it into an attractive terrace garden.”

This was achieved by enclosing the entire area with a large custom-designed gazebo structure, complete with sails for shading, slat walls for privacy and decorative festoon lighting for a playful evening lighting effect.

The preferred part of the house is the quirky and unconventional dining area, which breaks the rules of the standard look and feel of a room of the sort, while the roof and washroom are also a favourite after being transformed into an attractive social space.

Among the stand-out features are the Seletti Monkey Lamps adorning the stairwell.

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THE ISSUE WAS RESOLVED BY CONVERTING THE SMALLER COSY SPACE ON THE TOP FLOOR – USUALLY USED AS THE WASHROOM – INTO THE QUAINT LIVING ROOM AND THE ROOF SPACE ADJACENT TO IT INTO AN ATTRACTIVE TERRACE GARDEN

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ON THE SEASHORE, SMALL AND SERENE

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The neutral interiors of this small house on the water’s edge complement the bold colours of the traditional boats and the blues of the sea beyond, while also bringing out the best and the most of its size.

PHOTOS: ALAN CARVILLE

THE DESIGNER Greta Apap Bologna [Greta Design] THE TYPE OF PROPERTY Literally on the water’s edge, bang in the heart of Spinola Bay, St Julian’s, this small house is spread on three floors, covering approximately 130 square metres. The ground floor has an entrance hall, dining room and kitchen, as well as a guest toilet, while the master bedroom, a single bedroom and bathroom for both are located on the first floor, which has a separate laundry. On the second floor is a kitchenette, sitting/lounge area, with a desk, and a shower room. The property also enjoys a small roof garden/terrace, overlooking Spinola Bay. Despite being small, all the necessary mod coms have been incorporated, as well as a lift

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to facilitate going up and down the three floors. It is a total new build, and the design is contemporary, with everything bought brand new, specifically for it. Its location by the sea is tops and means the area is super peaceful; the traffic going by across the bay cannot be heard and the view is amazing.

blues, whites, yellows etc… and the changing blue tones of the sea – the plan was to go for a very neutral interior palette, which would complement the bright outdoors and not try to compete with it and overpower it. Therefore, various tones of taupe, grey, beige etc… were adhered to, together with natural wood.

THE BRIEF The owners wanted this to be a comfortable residence for rental purposes. Originally, they thought they would use it themselves in the summer months.

However, they soon realised it would be a better idea to rent it out instead. When works were still under way, the demand was already strong and interest to rent the property was immediate. The owners were after a totally contemporary interior, which would be, however, very warm and cosy at the same time.

THE LAYOUT This was extremely challenging, what with the property being so small and on so many floors. A second single bedroom, which is always useful for many reasons was, somehow, squeezed in, and every floor has a bathroom. As the main entertaining space, the sitting room is on the second floor, a kitchenette was created to be able to serve light food and drinks without having to go downstairs to the main kitchen. The idea to have a sitting room on the upper level was due to the fact that the views from here, on all three sides of the property, are by far the best and can best be enjoyed from here.

The kitchen and dining room are spacious and totally functional for a one- [and a half] bedroom property.

THE STARTING POINT because of the surroundings of this property – the bold colours, when looking through the many apertures on three sides, of the luzzus in reds,

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THE PROJECT THE CHALLENGES The owner wanted to install a lift, so, of course, this took up a lot of space per floor. But it is a massive luxury and makes entertaining on the roof a walk in the park now that it is complete.

KEY DESIGN ELEMENTS TO MAXIMISE THE SPACE The materials were kept simple and neutral, and also rather light, while the clever play of mirrored doors concealing the kitchenette on the second floor also helps to maximise the space.

THE COLOUR SCHEMES AND MATERIALS Apart from the very neutral palette to complement the bold colours outside and not fight them, the interior design of this property is characterised by a lot of play with contrasting textures. Different wallpapers were used in the two bedrooms and both of them have a great feel to them. Polished gres floors and soft contrasting fabrics work well together, and there is a strong emphasis on textures throughout.

A STAND-OUT FEATURE The stainless steel and solid wood staircase, which goes up the three floors. It’s risers are very low, making it very comfortable to walk up and down.

A FAVOURITE CORNER Sitting on the L-shaped sofa looking out at the boats in the bay is super relaxing. You forget the busy world outside, and there is no sound of traffic, horns hooting etc‌ The property is also very sheltered from the predominant wind, and in winter, the large apertures can be left open to enjoy the sun shining in onto the sofa.

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BUILDING A BUSINESS

A TREASURE ON TREASURY STREET The location of U Collection Suites, practically rubbing shoulders with the Bibliotheca, Piazza Regina, the Grand Master’s Palace and Piazza San Gorg, meant 16 Treasury Street, Valletta, was rich in history and heritage – hallowed ground to be treaded on with great caution and respect every step of the way. Its restoration and rehabilitation was in the hands of Perit Edward Micallef.

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THE HISTORY This building is a small corner house, on four floors, right in the heart of Valletta, adjacent to the Bibliotheca, and dating back to the 17th century. It is located in Treasury Street, where the Florentine Knight Giovanni Francesco Ricasoli resided from 1668 up to his demise in 1673. The building itself was previously owned by the Cotoner Foundation, set up by the Knights of the Order of St John to protect the prestigious Maltese heritage.

THE STARTING POINT “The first visit to the place was not very promising, much less encouraging,� says Perit Edward Micallef, entrusted with its

restoration and rehabilitation. The very small ground floor consisted only of the main entrance on Treasury Street, with a staircase rising to the floors above, each with a couple of rooms and very tight spaces throughout. The property had stopped being used as a residence for a number of years and was not fit for modern habitation.

In compensation for these initial negative impressions is the unique location, with external windows onto both Treasury Street and Piazza Regina. Moreover, the second floor has a double height piano nobile, with a timber balcony above the magnificent arches of Piazza Regina.

THE BRIEF The clients wanted to convert this place into exclusive, individualised suites for short lets. Though exciting, this proposition was quite challenging, both from the planning and the

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restoration aspects. The location, rubbing shoulders with the Bibliotheca, Piazza Regina, the Grand Master’s Palace and Piazza San Gorg, is pregnant with history and heritage.

“This is hallowed ground, and being continuously conscious of this fact, we could only tread with great caution and respect, every step of the way,” Edward says.

THE PLANNING Providing an element of comfort and luxury within the constraints of a heritage fabric, particularly when space is limited, presented an almost impossible task.

“We badly needed to find space for a lift and there was none!

Finally, we managed to move the stairs back by replacing the quarter landing with radial steps and literally scooping out the space for a three-person lift within the thick walls.

Originally, there was only one bathroom in the whole house

and the place required total re-planning and finishing. Since there were no internal yards, or service shafts, all water supply pipework, drains and mechanical installations had to be either chased in walls, or encased within gypsum boarding.

In the end, a single bedroom apartment and three individual suites of different sizes and layouts on each level were fitted in. Each of the four units has a shower/toilet, together with a kitchenette, with the largest being the piano nobile, where the double height came to very good use since a mezzanine level could be inserted over part of it. The terrace of the extended penthouse, complete with a jacuzzi, overlooks the two spectacular squares in Valletta, Piazza Regina and Piazza San Gorg. The terrace over the penthouse has panoramic views of Valletta, The Three Cities, Sliema and far-away Mdina!

THE RESTORATION Besides rehab planning, restoration was the most important and time-consuming aspect. This was especially so, considering the narrowness of Treasury Street.

Within the planning requisites, it was imperative to save and restore external and internal building elements wherever possible. Eye-sore accretions built on the fourth floor were also removed, dangerous roofs replaced and a room extended to allow a penthouse top suite.

Timber windows had to be examined, photographed and restored, or replaced as necessary.

Internal timber beams were also tested, treated, or replaced when found to be structurally unsound.

The external masonry wall on the elevation along Treasury Street required extensive restoration.

Following careful cleaning, removal of drainpipes and the layers of paint, the surface was inspected

THE TERRACE OF THE EXTENDED PENTHOUSE, COMPLETE WITH A JACUZZI, OVERLOOKS THE TWO SPECTACULAR SQUARES IN VALLETTA, PIAZZA REGINA AND PIAZZA SAN GORG

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Before the restoration works began…

GREAT CARE WAS TAKEN TO SOURCE AND CHOOSE TRADITIONAL MALTESE FURNITURE, BOTH ANTIQUE AND VINTAGE, OBJECTS D’ART, OLD CHANDELIERS AND OTHER LIGHT FITTINGS

and the eroded, dilapidated areas were marked and replaced with new infill masonry blocks.

FINISHES AND FURNITURE The brief was very specific with regards to the provision of individually designed suites.

Uniformity was only retained in the choice of the sanitary ware and tiles in the shower/toilets, while diversity was achieved

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through the marble feature walls and vanity tops.

Unfortunately, only one room had original floor tiles that were worth keeping, so parquet was opted for on two other floors and anthracite slate was introduced in the penthouse floor.

All soffits and most walls were painted white except for three feature walls in the piano nobile, the split-level suite and in the penthouse, where stucco

veneziano was applied.

The original masonry walls, primarily in the entrance and upper staircase, were carefully cleaned, exposed and restored.

Great care was taken to source and choose traditional Maltese furniture, both antique and vintage, objects d’art, old chandeliers and other light fittings.

These items, together with other old artefacts and selected curtain fabrics, went a long way in creating the individualised touch of each suite, which the clients had requested.

THE ORIGIN OF DESIGN

LIVING DESIGN

The installation, Abiogenesis, draws inspiration from the most basic form of human life – the cell structure of organisms – and utilises it to create a structural form. It’s a case of going back to the origin of life to design the future. Instead of thinking outside the box, the creators have looked within themselves.

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THINKING outside the box is a term often loosely used in design, but a quick glance at the typical building module, the rectangular block, which has shaped the somewhat monotonous environment around us, further emphasises the need for new forms of architecture.

Thinking outside the box could actually entail looking within. The human body has, in fact, been a source of inspiration for many architecture masters, who sought to explore these ideal proportions for beautiful and functional buildings.

Based on this notion, a group of students from the Faculty of the Built Environment at the University of Malta set out to create an innovative structure, taking inspiration from the most basic form of life, the cell structure.

Abiogenesis – the origin of life – was the theme of an installation that formed part of the collective exhibition, Human Matter, commissioned by the Malta Society of Art and curated by Elyse Tonna, Joe Philip Abela and Roderick Camilleri.

Extensive research into the ideal form drew the creators back to the concept of human cells as the basic building blocks for any living being. It was developed further through paper models and three-dimensional software to optimise the structure.

The final shape resembles a threepointed star that can be assembled from two flat planes and folded to create a sturdy, hollow, three-dimensional module, which could be mass-produced to create a slender yet unique form. The modules were cut from thin stainless-steel sheets, then folded using a press that was specifically built by the students.

Values of control, symmetry and balance were then applied to create a system of modules that link to each other through rigid connections, generating an array of components that form part of a complete geometry.

Various combinations were explored to connect one module to another and develop a structure that shows how the origin of life also shapes the future.

This project was conceived as part of a design workshop by Matthew Borg, Jasmine Azzopardi, George Fenech and Daniel Lupi, students in the Faculty of the Built Environment, under the guidance of Perit Sean Buttigieg, Perit William Bondin and Perit Francois Mangion.

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TRENDS

NEW YEAR, NEW LOOK

Colour my world

Antonella Riotto, interior architect from Fino Interior Design Studio, lists the trends for 2018, with the overriding theme significantly being the safeguarding of the environment as reflected in the colour green and the use of plants as decorative elements in the house.

THE PREDOMINANT design trends for 2018 significantly reflect a cultural impulse for people to support each other and protect the earth, thereby finding harmony in their personal lives, in their communities and society in general.

The focus is on vintage and retro styles, but much more sophisticated, chic, elegant and, altogether, more luxurious.

Colours and materials, however, make the transformation through a minimalistic approach. In fact, Scandinavian influences, high-tech styles, combined with retro-modern designs, produce stylish options for interior design throughout 2018, with metal furniture incorporated with natural woods, and soft upholstery fabrics adding luxury and durability to highly fashionable home furnishings.

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Green was the Pantone colour of 2017, and the coming year will witness this in all its subtle shades, further developing the ‘earth’ trend, with deep pine and yellowish greens helping change the way we colour and decorate our world and bringing peace into our lives and within our environment.

Additional colours of special value in 2018 include blues, particularly the darker hues, including the traditional navy and teal; plus violet and reds, especially darker shades such as scarlet.

The subtle use of colour around the home can again help transform any area, large or small, and thoughtfully integrated from room to room, can create modern interiors that feel comfortable, spacious, energetic and luxurious, depending on the mood you wish to create in each living space.

Metal mettle and cosy combos Highlights in satin gold add to the ambience of any living space and work well especially with copper and bronze decorative items, such as table lamps and larger pieces of lighting items, while metal coffee tables and metal framed objects, including pictures and mirrors, also make a statement.

These influences, together with geometrical and floral patterns, coupled with the utilisation of various materials – notably natural woods, velvet fabrics and shiny metals –

DECORATION IN THE FORM OF PLANTS, BOTH LIVING AND ARTIFICIAL, WILL INCREASE EVEN MORE NOT ONLY IN THEIR PRESENCE ON WALLPAPER, BUT ALSO IN OTHER AREAS AROUND THE HOUSE, INCLUDING AS AN INTEGRAL PART OF PRINTS ALL OVER THE HOME create textures that are not just aesthetically pleasing, but also emit a feeling of true comfort. These interesting combinations mould personalised, exclusive and totally individual surroundings and environments.

Additionally, larger surfaces, such as doors and wall panels, become much more light-reflective, adding much needed light to darker room areas, thereby creating a perceived feeling of space.

Nothing wrong in being a wallflower The reintroduction of wallpaper into any room is a trend that continues to increase during the year to come and is a must-have for 2018. Even the sanctuary of the bathroom responds well to the introduction of wallpaper, with many options being manufactured especially with this room in mind. It is now much easier to find wallpapers that are waterproof, breathable and mould resistant.

Wallpaper with oversize flowers as a design theme, as well as in many different guises, will also be more available, making it easier than ever to tailor your home to your individual tastes.

Decoration in the form of plants, both living and artificial, will increase even more not only in their presence on wallpaper, but also in other areas around the house, including as an integral part of prints all over the home.

Bringing the outdoors indoors can transform any room and once again demonstrates the overriding trend for 2018.

The glorious past The use of marble and marble effects for table tops, namely Calacatta and alabaster, will make a return and reverse their decline in recent years. Likewise, porcelain Cementine tiles made in Italy, which offer the charm and elegance of a vintage effect, will see a welcome return to the opulence of days gone by.

Geometric prints and carved designs, both for floors and walls, will also have a resurgence and continue the retro theme of returning to our glorious past. Blended together thoughtfully throughout any home, these trends for next year will help create sophistication, add luxury and quench our ever-increasing thirst for nostalgia.

Will you be applying any of the above ideas to your home?

Post your inspired interiors on Instagram with the hashtag #FINOColours to win a free consultation.

WWW.FINO.COM.MT

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Let there be life

TASTE

Reusing an item means it continues to be valuable, useful and productive; the life of the object is extended when put to new use. Petra Marie Cutajar from Light Design Solutions shines a spotlight on some examples of how recovered old pieces of material are reused to create different, original and unique lamps.

DESIGNING according to a logic of reducing materials means optimising the amount of both materials and energy in the development of the product. Such reductions have a double advantage, helping to both protect resources and decrease harmful emissions.

With some creativity and patience, old, unused stuff can be transformed into unique and interesting items of home dĂŠcor, including lighting fixtures and pieces of art.

The design of recycled objects starts with the analysis of the disassembled piece, taking into account the relationships between components and the physical mechanical laws that distinguish them. How the object works needs to be identified and then the creative process begins.

Here are some examples of how recovered old pieces of material are reused to create different original and unique lamps.

This lamp is made from an old carriage axle [which makes up the main part of the table lamp] and part of an old manual water pump that has been welded to the top part of the carriage axle. The screen is of hand-sewn parchment.

This lamp was made from recycled wood, while the pinch-pleat shade is made of a hand-woven fabric.

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TASTE

This lamp is made by recycling an old industrial funnel to which a gadget has been added. In the past, it was used to raise and lower the cauldron inside the fireplace, bringing it closer or further away from the fire.

An old fire extinguisher has been recovered to be turned into a lampshade. The detailed handmade shade is of natural jute.

This lamp is made of three pieces of recovered materials from a mechanic’s workshop. A car disk brake makes up the base of the lamp. The body is a car jack, while the shade is an old industrial funnel.

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ACCESSORIES

Christmas is for kids, so bring out the child in you when you get down to decorating.

PHOTOS: SEAN MALLIA | STYLING: IRENE ZARB ADAMI LOCATION: SHERRIES ESTATES

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Cushions; stools, from Form | rocking horses; candle; Christmas trees; angels; lantern, from HomeTrends | Mara wears clothes and shoes from Monsoon Children.

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ACCESSORIES

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Throw, from Form | make-up pouches, from Monsoon Home | trunk; diffuser; candle; mugs, from Sherries Estates | Julia wears clothes from Monsoon Children.

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ACCESSORIES

Wooden birds; throws; stationery holder; round cushion, from BoConcept | trees; reindeer; veg box; rectangular cushions, from Sherries Estates | frame, from HomeTrends | Jack and Zack wear clothes and shoes from Monsoon Children.

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Leaving a mark

PLACES PROMO

Zaha Hadid Architects’ soaring structures have left a mark on skylines and imaginations around the globe. With the development of the Mercury Towers project in St Julian’s, they are now set to leave a mark in Malta too.

MERCURY TOWERS is the brainchild of Joseph Portelli, managing director of J Portelli Projects, who always dreamt of developing a landmark project that would be unique on the island.

More than just an iconic landmark, Joseph envisioned a development that would raise the bar of luxury and contemporary urban living right in the heart of Malta’s premier entertainment district.

To make this dream a reality, Joseph called upon the Londonbased firm Zaha Hadid Architects [ZHA], which was immediately responsive to the opportunity of a project in Malta. Joseph has a fond recollection of his first meeting with Zaha Hadid herself. She was well briefed on Malta and intrigued by the rich architectural history and culture of the island.

“When we shared our vision for Mercury Towers, she was immediately positive and promised to develop an architectural concept to enable our vision,” he recalls. As it turned out, the Mercury Towers project is today one of the last to be signed off by the late legendary architect.

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ZHA is the international firm founded by Pritzker-laureate Zaha Hadid, who passed away in 2016. The practice engages in creating transformative, cultural, corporate, residential and other spaces that work in synchronicity with their surroundings.

ZHA has redefined architecture for the 21st century, with a repertoire that has captured imaginations across the globe, including cultural, corporate, academic, sporting and infrastructure projects across Asia, the Middle East, Europe and the Americas.

Receiving the highest honours from civic, professional and academic institutions worldwide, ZHA is one of the world’s most consistently inventive architectural studios – and has been for four decades. These 40 years of research are inscribed within every design.

ZHA’s architecture is defined by its democratic attitude, offering generous public spaces inside and out. The practice’s optically rich interiors are built essays in spatial composition. They invite exploration so that space becomes personal, owned by all visitors as they interact with each other and the surrounding architecture.

Mathematicians acknowledge the purity of ZHA’s formal geometries and fluid lines, but this architecture also engages the senses and captures the eye; creating unrivalled spatial experiences that are clearly organised and intuitive to navigate.

Employing advancements in design, material and construction technologies, ZHA is a global leader in the application of

HEYDAR ALIYEV CENTRE Designed to become the primary building for the nation’s cultural programmes, it breaks from the rigid and often monumental Soviet architecture that is so prevalent in Baku, aspiring instead to express the sensibilities of Azeri culture and the optimism of a nation that looks to the future. The design of the Heydar Aliyev Centre establishes a continuous, fluid relationship between its surrounding plaza and the building’s interior. The plaza, as the ground surface, accessible to all as part of Baku’s urban fabric, rises to envelope an equally public interior space and define a sequence of event spaces dedicated to the collective celebration of contemporary and traditional Azeri culture.

PHOTO: HUFTON+CROW

BMW CENTRAL BUILDING The Central Building for BMW constituted a radical reinterpretation of the traditional factory complex, transforming the building and the functions it contains into a more dynamic, engaging ‘nerve-centre’ – funnelling all movement around the manufacturing complex through a space that transcends conventional white collar/blue collar spatial divisions. The close integration of all workers and the mixing of functions avoid the traditional segregation into status groups that is no longer conducive for a modern workplace. PHOTOS: HELENE BINET

MAXXI, THE NATIONAL MUSEUM OF 21ST CENTURY ARTS The National Museum of 21st Century Arts is the first Italian national institution devoted to contemporary creativity. The walls and their intersections define interior and exterior spaces of the Maxxi. This system acts on all three levels of the building, the second of which is the more complex – with a wealth of connections with various bridges that link buildings and galleries. The visitor is invited to enter into a series of continuous spaces, rather than the compact volume of an isolated building. PHOTOS: HELENE BINET

Building Information Modelling [BIM] in the design, construction and operations of buildings to increase efficiencies as well as significantly reduce energy consumption and emissions.

Marrying innovative digital design methods with ecologically sound materials and sustainable construction practices, ZHA does not look at the disparate parts, but works to understand them as a whole; delivering practical solutions to the defining challenges of our era.

Each project by ZHA is the very specific assimilation of its unique context, local culture, programmatic requirements and intelligent engineering, enabling the architecture and surrounding urban fabric to seamlessly combine in both formal strategy and spatial experience.

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PLACES PROMO LONDON AQUATICS CENTRE FOR 2012 SUMMER OLYMPICS The architectural concept of the London Aquatic Centre is inspired by the fluid geometries of water in motion, creating spaces and a surrounding environment that reflect the riverside landscapes of the Olympic Park. An undulating roof sweeps up from the ground as a wave, enclosing the pools of the centre with a unifying gesture of fluidity, while also describing the volume of the swimming and diving pools. The roof structure is grounded at three points of the centre, ensuring 7,500 temporary spectator seats could be installed along either side of the pools in Olympic mode with no structural obstructions. PHOTO: HUFTON+CROW

PORT HOUSE The new Port House in Antwerp repurposes, renovates and extends a derelict fire station into a new headquarters for the port, bringing together its 500 staff, who previously worked in separate buildings around the city. The design is informed by detailed historical research and a thorough analysis of both the site and the existing building. With constant references to the Scheldt, the city of Antwerp and the dynamics of its port, married with the successful renovation and reuse of a redundant fire station integrating it as a fullyfledged part of its headquarters, the new Port House will serve the port well through its planned expansion over future generations. PHOTO: HUFTON+CROW

GUANGZHOU OPERA HOUSE The Guangzhou Opera House sits in perfect harmony with its riverside location at the heart of Guangzhou’s cultural development. The 1,800seat auditorium houses the latest acoustic technology. The design evolved from the concept of a natural landscape and the fascinating interplay between architecture and nature; engaging with the principles of erosion, geology and topography. The Guangzhou Opera House has been the catalyst for the development of cultural facilities in the city, including new museums, a library and archives. PHOTO: HUFTON+CROW

In over 50 award-winning projects around the world, ZHA’s architecture becomes more refined spatially, more efficient structurally, more polished materially, more advanced technologically, and generally more resolved, with each new design.

Their clients commission buildings, and ZHA meets the programmes, but it also reads between the lines to exceed each brief and consistently deliver the shared aspirations of a new generation.

Collaborating with visionary clients, communities and industry experts on more than 60 ongoing projects, ZHA’s hugely talented and dedicated teams of over 400 experienced professionals work with passion and commitment to honour Hadid’s legacy and create transformational projects on six continents.

The Maxxi: National Museum of 21st Century Art in Rome, BMW Central Building in Leipzig, the Aquatics Centre for the London 2012 Olympic Games, the Heydar Aliyev Centre and

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Guangzhou Opera House are excellent demonstrations of the practice’s quest for complex, dynamic space.

ZHA is currently working on a diversity of projects worldwide, including the new Beijing Airport Terminal Building in Daxing, China, the Sleuk Rith Institute in Phnom Penh, Cambodia, and 520 West 28th Street in New York. Its portfolio also includes cultural, corporate, academic, sporting and infrastructure projects across Asia, the Middle East, Europe and the Americas, in addition to national institutions such as the Central Bank of Iraq and the Grand Theatre de Rabat.

The firm continues to be a global leader in pioneering research and design investigation. Collaborations with artists, designers, engineers and clients that lead their industries have advanced the practice’s diversity and knowledge, while the implementation of state-of-the-art technologies has aided the realisation of fluid, dynamic and, therefore, complex architectural structures.

ART/CHITECTURE

PHoto: ELISa Von BroCKDorFF

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Blitz in St Lucia Street, Valletta, is hosting the first major solo exhibition by artist Kane Cali.

Human_ConStruCt is both research project and exhibition, delving into notions of identity. the works invite the viewer to take a step back and reflect on our identity as a social species, both in tangible human form and as a construction of ephemeral data.

In Human_Construct, Cali “[re]creates an experience where our current existence faces questionable truths, within a space littered with data aggregated through our parallel, virtual existence[s]”.

It is the culmination of two years’ research. through a very personal process, which has led to the development of his own visual language, Cali has created a body of work he describes as an ‘objective outcome’. the works at Blitz include busts cast in concrete and created through a process of digital scanning and printing. Ceramic objects are slip cast, while glass objects are created through lost wax casting. a series of prints is on high-quality archival paper, while marble and concrete relief works come from a collaboration with reuben Lautier, and the result of another collaboration with FabLab Valletta is a hologram – a work created purely from light.

Human_Construct is supported by malta arts Fund and is on until December 8.

Artworks at THE PICTURE HOUSE in Iklin this Christmas relate well to this time of year.

So Galerie director Joseph Gauci met Armen Vahramyan and Seyran Gasparyan in Yerevan in Armenia in 2001, where he bought collections from them for the first time.

In 2013 and 2014 respectively, it was decided to hold solo exhibitions for each artist. Both paint in oil, in the ancient forms.

In Armen’s works, the colour red and the importance of love prevail. In two of his paintings is the presence of the donkey, depicting a contemporary version of the Flight into A Gesù Bambino

by Antoine Paul Egypt of the holy family, while Mary was Camilleri made still pregnant. of kiln-fired terracotta.

Some symbols like the pomegranate, a fruit with 365 seeds, one for every day of the year, relate to longevity and love, and the rooster, another symbol present in several of the paintings, signifies faith and fertility.

In Seyran’s works are several aspects of the advent period, among which, an angel playing a violin, with a burst of colour emanating from his being, and in the other two works, both in a large format, the angel of the Lord is showering the earth with music and light, while the other depicts the visitation of Mary to her cousin Elisabeth.

These works by artist Paul Scerri express cultural, social and personal issues and are a therapeutic way to portray what lies within. The facial expressions of the figures in AN ACCIDENTAL FIND – showing at Iniala5 Gallery, Valletta, until December 16 – together with the objects and symbols embedded in them convey a subtle and spiritual meaning, a story, or an episode that enhanced, or scarred the artist’s perception of life. They visualise a metaphor of emotions devouring society, as well as human vulnerability and imperfections. For the artist, natural beauty is paying the price of human greed and it’s an endless questioning of what is correct, or socially correct.

Clockwise from top left: the visitation of Mary to her cousin Elisabeth by Seyran Gasparyan; a bas-relief of the Virgin Mary, cast in bronze with different patinas, by Andrew Diacono; a contemporary version of the Flight into Egypt of the holy family

by Armen Vahramyan.

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ON SHOW

Known for his mounted replicas of Maltese gates and creative cartography, Daniel John Bugeja, displays his latest crib, leaving Antoinette Sinnas mesmerised by these nativity scenes in the heart of our homes.

Away in a manger

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ARTIST Daniel John Bugeja has always displayed a passion for creating nativity scenes.

His are the highlight at the annual exhibition held in Valletta each year, which displays a collection of the most unique and creative cribs in the country.

Daniel developed a fondness for crib making from an early age. He is proud of inheriting his father Charles’ and grandfather Anglu’s creative genes and always wanted to follow in their footsteps. The first crib ever made in the family was by Anglu over 50 year ago, using straw, bits and pieces from an old kitchen and glue.

As a young boy, Daniel spent a significant amount of time watching his dad making cribs in their garage. “I used to watch him intently craft out such beautiful nativity scenes. Every single year, he created a new one, either for our home, or for my brother and I to take to school. They were wonderful,’’ he reminisces.

Among his several cribs, ranging from classical to traditional, is also a Neapolitan presepio, where the nativity takes place in broad daylight in the ruins of a Roman house. However, he prefers the Maltese architectural style: “I have a certain affinity with the landscape and architecture of Malta,” Daniel says.

“Every crib of mine speaks a different story even though they always convey the same message – the birth of Jesus Christ,” he says, adding that the visual focus is primarily on the Child Jesus, with Mary and Joseph, while the animals, shepherds and the Wise Men, if included, play secondary roles.

Daniel quips about having a magpie attitude to inspiration: “I seek it from anywhere and everywhere.

My inspiration may emerge from a picture in a book, or a glimpse of something I like while driving. I’m always on the lookout and never hesitate to stop and take pictures if anything catches my eye,” says Daniel. All these inspirational fragments later act like trigger points, which allow him to think about how his next crib could come together.

Being the President of the Notarial Council, Daniel has quite a jam-packed schedule, but he always manages to squeeze out time for research.

That is the starting point, followed by trying to shape his ideas first on a drawing board before implementing them.

However, it is not the first time a project has changed trajectory and he simply goes with the flow, watching how his work evolves. And he owes this to divine inspiration as he always starts off a project with a little prayer.

The crib Daniel built this year was fuelled by his own imagination, combining three separate elements: the exterior is inspired by an abandoned townhouse in Qrendi; the interior is a combination of an old house located in Zurrieq and architectural elements from Palazzo Armeria in

the same town; and the gate is based on the entrance of Casa Leone in Hamrun.

It is adorned by blue antique tiles, while the faux stone walls are made from none other than sheets of polystyrene, sandwiched together with glue, which Daniel sands down to form the desired shape. The colour palette he uses for the entire scene is based on the characteristics of the rocks of the local landscape.

Daniel always pays a lot of attention – and without a doubt money – to choosing perfect figurines that are to scale and match the crib, while even the hint of foliage, the ivy and the tufts of grass blend, giving the crib a realistic feel.

Where it all started from The crib tradition began in the 13th century by a humble friar. St Francis of Assisi, founder of the Franciscan order, created the first ever nativity scene in the year 1223. He wanted to arouse devotion in the Italian village of Greccio and celebrate Christmas with the greatest possible solemnity in memory of the birth of the Child Jesus. From then on, the setting up of cribs during Christmas became a worldwide tradition.

Deck the halls Displaying a traditional nativity scene in our living rooms and halls doesn’t necessarily have to jar with our modern surroundings even though we are trying to blend two different architectural styles, millennia apart: effectively, a building from the first century AD in a home of the 21st century.

An element of harmony can always be achieved in more ways than one: Start off by selecting a spot in your home for the crib, be it a table beside your Christmas tree, thereby creating a delicate island, or open shelving.

If your crib has multiple levels, place the manger in the centre and the other buildings around it.

Enhance the rustic, organic nature of the textures and shades of a nativity crib with an abundance of fairy lights, which can make it look mystical and all the more blessed. You could even cover them with sheers to mimic snow – the lights shine through the fabric, giving your nativity crib an inviting look.

Try placing scented candles in the immediate surroundings. Go for festive fragrances like spiced white cocoa, cinnamon, Christmas cookie, or pine, creating quite a seasonal spark the moment you light them up.

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WILDLIFE AND THE CITY

PLACES opens doors on Malta’s wildlife through some of the latest publications on the bookshelves. Take a wall on the wild side, through the city and the countryside, to discover what’s left of Valletta’s stunning portals and that the island is actually a good spot for flora and fauna – even in the capital!

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Malta’s Top 10 – A Guide to the Island’s Wildlife malta is a wonderful place for wildlife. from the wild refuges of rdum talmadonna and majjistral nature park, to the White Wagtail roosts in the heart of valletta, you’re always within range of a wildlife spectacle – if you know where to look.

With the natural world facing unprecedented challenges on the islands, it’s more important than ever to escape into the great outdoors. once you’ve enjoyed a natural place, you’ll be better able to make an informed protest when it’s threatened by development, greed, or plain carelessness. and there’s another benefit – finding a bold-hued flower, or listening to the melodious song of a blue rock thrush can lift your entire mood. numerous studies have shown that connecting with nature is good for our mental health. that was the inspiration behind a new book, Malta’s Top 10 – A Guide to the Island’s Wildlife. Written by a team of local and international authors, this pocket guide will get you out of your armchair and into the countryside to find mother nature’s secrets. the authors also hope that it will inspire people to look after some of the habitats and species that are sometimes taken for granted. “malta has some of the most wonderful wildlife in the world and we wanted to inspire children and adults alike to go out and find it. the book will show people that nature is everywhere if you know where to look,” says co-author helen raine. it will let you in on some of the quirks of the species you see every day, such as spanish sparrows; and you can also use it to track down more unusual species, such as the algerian hedgehog, sea daffodil, or the maltese salt tree. the chapters on sea creatures and fish give you the lowdown on what you can see under the waves, and there’s information on the best places to take a woodland walk, or a stroll along the cliffs. the book is perfect if you’re looking for inspiration for a day out in the country and want to know more about the plants and animals you’re seeing. to whet your appetite, here’s a wildlife itinerary based on the weird and

wonderful creatures highlighted in the book. get away from the traffic, unplug, feel the wind in your face and tick off some new wildlife sightings this winter.

With the natural World facing unprecedented challenges on the islands, it’s more important than ever to escape into the great outdoors. once you’ve enjoyed a natural place, you’ll be better able to make an informed protest When it’s threatened by development, greed, or plain carelessness

Wild december day Where better to start than the birdlife malta għadira nature reserve, which opens at 10am. it’s one of malta’s premier wetlands and the enclosed bird hide is a great place to relax and watch the winter sun on the water, while the staff helps you to identify shorebirds as they rest and feed on the sandy, reed-fringed islets. you might see black-necked grebes [they lose the black in the winter, just to fox you], or native waterbirds like the moorhen, with its bright red frontal shield [compare them with the coots, which have white frontal shields instead]. look out for Water rails lurking in the reeds – these cryptic birds are hard to spot, but rewarding to find. you’ll be surprised at how addictive birdwatching is when you start trying

to search for all the species that call għadira their home. you might also be offered the opportunity to take a short tour through the reserve. the trees and shrubs are almost all native, giving you the chance to glimpse species such as the aromatic ‘demigod’s food’, or the african tamarisk, which has evolved an ingenious way of tolerating saline conditions – it gets rid of excess salt by dropping salt-laden leaves. you might also see the colour-changing mediterranean chameleon with its 360° eyes. these fascinating creatures aren’t native – it’s thought that the jesuits introduced them from africa around 1850 – but they are interesting nonetheless, featuring an amazing spring-loaded tongue, which can shoot out at incredibly high speeds to catch their prey. after the reserve, have a picnic on għadira beach if the weather is fine, or head to one of the restaurants in mellieħa. keep an eye open for collared doves, which only started breeding in malta in 2003 at the santa marija estate and experienced a rapid population increase in the years when the spring hunting season was closed. your next stop is foresta 2000, malta’s millennial project, which – spearheaded by birdlife malta – saw the planting of thousands of native trees by locals and ngos. take time to wander through this mediterranean woodland, under the growing canopy of holm oak, carob and aleppo pine trees. early almond trees might be blooming with delicate pink and white blossoms, even before the leaves appear – the tree is mentioned frequently in the bible because of the importance of the nuts it produces, although wild ones are usually bitter. the cape sorrel starts flowering now too – these lemon-yellow flowers are invasive, but also rather pretty. towards the end of the month and into january, start looking for early hoary rock roses [they are bright magenta with a yolk yellow centre], and don’t miss the carpets of french narcissus, in every conceivable shade of yellow. this reserve attracts lots of butterflies – look out for the small White and painted lady in winter. you might also see the smooth, wood-coloured top of a pine boletus

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mushroom emerging from the ground under the pine trees. Stop to listen and you’ll hear wintering birds, such as Blackcaps, Robins, Stonechats and Chiffchaff [the latter two known as Bucaqq tax-xitwa and Vjolin tax-xitwa for obvious reasons].

Your final destination is the nearby wild and windy Rdum tal-Madonna. This cliff area is glorious for a walk at any time of year and has escaped much of the ravages of development. You might see a Moorish Gecko – they are generally nocturnal, but in winter, they’ll brave the light for a chance of some winter sun.

You’ll spot them by their conical tubercles, which look a bit like warts, brownish body and flat head. Look out too for Mediterranean Thyme – you’ll catch the scent of it on the breeze.

Slug’s Bay, to the south of the peninsula, is a good place to go snorkelling. The rocks might hide Mediterranean Moray eels, but don’t touch any that you may find. They have a pharyngeal jaw, which shoots bony hooks forward to catch their prey and drag food to the throat; you don’t want your finger to fall victim! Their smooth, unscaled skin is also covered with a slightly poisonous mucus, making bites all the more painful and liable to bleed. If you’re lucky, you might see a Loggerhead Turtle too, surfacing to breathe every few minutes – it’s a special moment to see one swim past, oblivious to onlookers.

MALTA’S TOP 10 – A GUIDE TO THE ISLAND’S WILDLIFE By Helen Raine, Jason Raine, andRé Raine and GeoffRey saliBa, made possiBle tHanks to a GRant fRom tHe national Book CounCil’s malta Book fund 2015, will Be in BookstoRes By mid-deCemBeR. www.toptenwildlife.Com

Portals of Valletta Doors and portals come in all forms and sizes, but there is one common denominator in that their main purpose is to create a physical barrier that can temporarily open or close a specific spatial realm.

In as much as the ornate portal of a baroque church welcomes its congregation, it also defines the threshold between the sacred realm within the church and the profane urban space beyond. The door of the residential townhouse or apartment

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single doorway and portal in Valletta, discerning, absorbing and analysing the merits of each.

“Valletta, over the past few decades, has undergone extensive restoration, not only of major churches, public buildings and fortifications by the authorities, but also of private dwellings, townhouses and apartment blocks. The past few years have witnessed the emergence of the so-called boutique hotels, where vacant townhouses and tenements have been transformed into accommodation for visitors. Although this did have the positive effect of rehabilitating and restoring previously vacant and, at times, even dilapidated properties, it has also led to great pressures, leading to ALTHOUGH THIS DID HAVE THE POSITIVE EFFECT OF REHABILITATING AND RESTORING PREVIOUSLY VACANT AND, AT TIMES, EVEN DILAPIDATED PROPERTIES, IT HAS ALSO LED TO GREAT PRESSURES, LEADING TO OVERDEVELOPMENT, SOMETIMES WITH NEGATIVE IMPACT ON THE CITY’S SKYLINE

block demarcates the boundaries of what is public and private.

Doors and portals within the city define spatial realms and compartments, and regulate accessibility within urban space. Open doors usher you within, a welcoming act of inclusivity, while closed doors retain their aura of exclusion and secrecy.

Although doors are fundamentally inanimate objects they are construed to relate beyond their mere physical existence. As the eminent Finnish architect and theoretician Juhani Pallasmaa once mused: “The door handle is the handshake of the building.” portals of Valletta, published by Kite Group, celebrates the diversity of portals and doors in the capital. The book is a representative selection of doors and portals within their urban and social setting, ranging from the monumental portals of baroque churches and palaces, to the exquisitely-crafted doorways of townhouses and apartments and the mundane doors of the humblest dwellings in the city’s poorer neighbourhoods, as exemplified in the graffiti-splattered and rust-ridden metal door of some kerrejja at the lower end of the city. The door is an architectural metaphor for social and community diversity.

Architect and historian Conrad Thake and Charles Paul Azzopardi, awardwinning photographer, have joined forces and embarked on a personal journey of discovery, walking past every

overdevelopment, sometimes with negative impact on the city’s skyline,” says Prof. Thake.

“This book is ultimately intended to celebrate doors and their contribution to the city. It is a personal interpretation of the rich diversity of doors – a primary architectural element that relates to aesthetics, function and social considerations.

“Doors project an image that is representative of the building and whoever lives within it… On a philosophical level … doors are associated with an invitation to opportunities and an implied resilience not to succumb to failure, but to persist. For as the scientist, engineer and inventor Alexander Graham Bell stated: ‘Sometimes we stare so long at a door that is closing that we see too late the one that is open.’”

From a photographic point of view, this architectural fine art monochrome book is “an exploration and study of symmetry, symphony, patterns and reflections, looking at spaces we all encounter in everyday life – doors – but always take for granted…,” says Azzopardi.

The publication is, in fact, intended to be a creative and personal offering that exalts that singular architectural component of the city we are only too willing to enter and exit, without taking the time to reflect upon its presence.

PORTALS OF VALLETTA is aVailaBle fRom leadinG BookstoRes. www.kiteGRoup.Com.mt