Places – Design & Living (December 2018)

PLACES ISSUE 24 DECEMBER 2018

LONDON’S ROYAL PARKS GET MIZZI STUDIO TOUCH First of nine organic-inspired kiosks at Green Park

Matt textures and whispers of earthy colour FOR A SERENE CHRISTMAS SETTING

Design & Living

NEW YEAR, NEW LOOK TERRAZZO AND TERRACOTTA TRENDS FOR 2019

Fashion design fuses into soft furnishings Saz Mifsud’s linen collection comes home

THE BLUEPRINT

PLACES

PHOTO: SEAN MALLIA See story on page 12

Design & Living

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THE PROJECT 12 Stone, Metal & Light Intervening on a lived-in house 20 Silent Night Pared-down and serene Christmas setting BUILDING A BUSINESS 28 Local Landmarks in London Mizzi Studio kiosk at Royal Parks FORM & FASHION 32 Upholstery Art Saz Mifsud’s soft furnishing collection HOME DÉCOR 37 DOING IT UP: DO/DON’T The Year to Come Trends for 2019 39 TIPS Natural vs Artificial Two ways to light up the home 42 TASTE A lifetime in a Cookbook Recipes inspired by life and world travels

WORKSPACE 46 Conceiving a Creative Cluster Architecture practice’s next curve SPACES FOR THE SMALL 48 A Tiny Town Imagination at play for childcare centre DESTINATION, HERITAGE & ENVIRONMENT 54 GOING PLACES All About the Image Paris Photo through another lens 62 IF WALLS COULD TALK Making Memories Holiday itinerary of heritage sites 65 CONSERVATION CORNER Time Heals Turning back time for 18th-century clock 66 WHO. WHAT. WHEN. WHERE. WHY.

ON THE COVER PHOTOS: GREG COX STYLING: SHELLEY STREET FLORAL DESIGN: STORM ROSS See story on page 20

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eVeRy TIMe I visit a major city, I am drawn, at some point, away from the wide avenues, the concentration of buildings, the traffic, the cacophony of the crowds and the cobbled stones of the winding historical centres to the open spaces and lush greenery of their humongous parks.

While experiencing the fast-paced urban life, I always stumble upon a massive lung and lose myself in enchanted woods, on never-ending lawns, by a lake and in this ‘countryside’, where the inhabitants of that particular metropolis can unwind, exercise, walk their dogs, picnic, sunbathe and relax, far from the madding crowd.

On a recent trip to Rome, I was informed it was one of the greener cities of europe and a glance at a map shows considerable patches of green, surrounding historical villas – once the gardens and hunting grounds of royalty and now areas of recreation for members of the public, each with their own schedules and particular use of these spaces.

These parks are part and parcel of city life, offering another dimension to it and rendering it all the more bearable.

Once in these pockets of nature, any chaos is completely forgotten, cleaner air is breathed, life slows down, and leisure takes

root. Their beneficial effects on quality of life cannot be underestimated.

Or can they? In Malta, any mention of green areas is tantamount to a joke and can only provoke a sarcastic ‘yeah, right’ reaction. It’s a card that is played by most developers, trying to appease potential conflict from the eco-friendly front, but in most cases, we are left with slivers of emptiness between buildings that are only rising higher, where even a ray of light has problems penetrating.

Green areas are considered a waste of space in Malta – and certainly a waste of money in a country where the more you squeeze, the tighter the hold on the money.

One green dot in the capital city comes to mind, just outside the entrance, so I am not surprised that people converge to it to picnic and lie in the sun. Unfortunately, though, the end result is that this spot is being turned into a stain. so whichever way we look at it, we can’t seem to get it right… unless dustbins are installed and people are directed to use them, the area is cleaned up every evening, or it is banned from use.

In this issue, on the subject of green lungs, we are once again constrained to turn our gaze overseas. but at least, this time, with pride in the Maltese aspect of the story on page 28 that showcases the work of london-based architecture and design practice Mizzi studio, entrusted with the sensitive and respectful creation of a family of nine kiosks in london’s Royal Parks.

It is here, in this Grade I listed landscape, that the Maltese practice has been able to embody the ethos of The Royal Parks as a sustainability leader. Architect and designer Jonathan Mizzi, founder of Mizzi studio, tailored the design of each kiosk to the history and nuances of their respective site in a milestone project that is central to the studio’s commitment to innovative sustainable design for the public realm.

It’s a pity there are hardly any green areas to speak of here, where he could do the same.

December 2, 2018 | Issue 24 | 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 © 2018. All rights reserved. Reproduction in whole, or in part, without written permission of the publishers, is prohibited.

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STONE, METAL & LIGHT These three words summed up Atelier Maison’s presentation of this design project to their client.

Architects Paula Agius-Vadalà and Katja Cassar proceeded to make these elements work together, while the homeowners remained in their house of character, adding to the exciting challenge of intervening on an already inhabited space.

PHOTOS: SEAN MALLIA

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THE BRIEF: To design the entrance of an old house of character, a bar/drinks cabinet in the living room and to restyle the home office, where a desk was also created for the space.

Q: How does it work when you are asked to intervene on a space that already has its own design? Is this limiting, challenging in a positive and creative way, or is it actually easier because the direction is already set?

A: When we are asked to intervene on a space that already has its own design, there are cases where the space would still be a blank canvas. It would need that professional touch for it to look more finished; more polished.

Obviously, if the style is very clear, we would take inspiration from it and put our spin on it in the most respectful way possible, but at the same time adding a different dimension to the space.

With all our projects, we start with a positive outlook, no matter how many limiting aspects we face. More often than not, limiting factors push us to create the best design possible.

If the style is very clear, we would take inspiration from it and put our spin on it in the most respectful way possible, but at the same time adding a different dimension to the space DECEMBER 2018 PLACES

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With these interventions, the entrance became a more usable and organised space, while giving it the dramatic aesthetic it deserves Q: What sort of space were you working in and how did it inspire the design on the entrance, which is the first stop, but actually came later in the design order? Was it like writing the introduction after the story had been concluded and does that give you a better picture of where to start from and how?

A: The space was made up of stone walls, a combination of wooden floors and ceramic tiles, together with some contemporary pieces of furniture. The colour scheme and material palette were very neutral, so that left us flexible with adding touches of colour and different textures, while working with the existing scheme.

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The entrance was just an empty space, which was an extension of the kitchen, where, automatically, the client stored various items like shopping, jackets, bags and keys. It was a space that really needed some organisation and definitely deserved to become a welcoming area upon entering the house.

The story of the house was never even ‘concluded’; it hadn’t actually ended. So, we were appointed to sort of edit, round up and give it a proper ending.

In such scenarios, since the clients had been living there for so many years, they truly understood the workings of the spaces. So, we really

had to listen to them to achieve what they wanted while introducing interventions that would improve their everyday lives.

The clients wanted to close off the kitchen from the entrance, as there was an alternative access to it through the living room. But at the same time, loads of natural light flooded in through glass apertures between the kitchen and the internal courtyard.

So, we had to screen off the kitchen from the entrance while retaining the natural light spilling into it. We introduced a large door – which was made up of a blackened steel frame and translucent glass. The tops keeping the glass in place are a series

With these interventions, the entrance became a more usable and organised space, while giving it the dramatic aesthetic it deserves.

Q: What was the look and feel of the existing living room and how did it influence your drinks cabinet/bar creation? Did you choose to stand out, or to merge and blend?

A: When designing, we like to look at the project as a holistic space of different elements working together in sync. We looked at the existing materials and had to come up with a concept that would allow the spaces to flow and almost speak to each other using the same language.

In fact, when we presented the proposal to the client, we called the presentation ‘Stone, Metal and Light’ – and these were three elements we made work together.

We knew where we wanted the bar to be located, but since the room was surrounded by fair-faced walls, roofed with arches and finished with a dark wooden floor, we wanted to design something that was lifted off the ground on legs. So, we decided to design a marble bench that would be mounted on slender brass legs.

The bench acts like a pedestal, on which the bar sits within its designated space.

Rather than using boxy shapes, which may look a bit bulky, we gave the actual cabinet a shape reminiscent of a bay window. The inspiration came from a picture of a vintage dressing table with its side mirrors at an angle.

When we fitted in the pieces, they looked like they were meant to be in those spaces. And that is what we set out to achieve.

of Xs, introducing a pattern within the screen. The door was fixed within the existing archway and can be opened with a handle made out of a brass bar.

Upon entering, opposite the blackened steel door we clad the stone wall with light grey panelling, which was engraved with a chevron

pattern. A floating marble shelf was mounted onto the panelling, within which we made a round cut-out to make way for a brass bowl for keys. At the end of the panelling and shelf, there is a storage cupboard. Any exposed stone walls and the ceilings were painted in a deep blue.

Q: The home office was another area you worked on. How do you approach a restyling job i.e. essentially working with what you’ve got in a creative and innovative way?

And what does it say about the possibility of creating different looks and layouts with fundamentally the same tools?

A: Styling is a large part of our job too. We find that when you get used to living in a space, you may find it difficult to figure out how small changes can make a big difference.

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Sometimes, roaming around the house and picking up items that would normally be situated in another room entirely could also trigger off inspiration for an otherwise ‘boring’ space A set of fresh eyes is sometimes all you need. So, restyling a space and working with what you have can bring about a fresh look to a room you once felt uninspired by.

Styling is more personal. So, you need to understand how the space is going to work and the taste of the client. It is what makes the space more ‘home-y’.

Sometimes, roaming around the house and picking up items that would normally be situated in another room entirely could also trigger off inspiration for an otherwise ‘boring’ space.

There is a fine line between a room looking over decorated and looking well styled. It is important to be selective with the items you chose to place in a room. A lot of small items will make it look cluttered. It is all about quality, not quantity. Less is more…

Q: Talk us through the desk design; and the makeover of the old sideboard and what the thought process behind it was.

A: We wanted to design a long and sleek desk, which would be placed against a stone wall and illuminated with directional white porcelain wall lights. We designed a metal desk and incorporated a brass bar that runs below the desktop. We chose to use the same materials as the blackened steel door in the entrance, but also add a splash of colour. So, we introduced a glass top, sprayed in a blue hue.

The old sideboard was a piece that both the clients and we wanted to utilise. There was already a lot of wood going on with the existing finishes. We opted to paint it using black board paint. Like that, the finish was super matt black, and the children could also use it to draw on!

The matt black finish of the sideboard exceeded our expectations and turned out looking really contemporary.

Q: You also proposed lighting in the entrance, living space and home office. How important is that in the overall effect you wanted to achieve in these areas? What exactly did you propose and why?

A: Lighting can make or break a project. So, we opted for light fittings that would give the old setting of the house a more contemporary ambience.

In the entrance we used three lights: a soft recessed light concealed in the bulkhead; a white wall light mounted onto the chevron pattern; and a matt gold ceiling mounted spot.

All these lights can be used together, or individually, giving the client maximum flexibility depending on the use, feel and purpose.

Over the dining area, we introduced a set of five glass pendants, spaced out equally over the dining table. Custom-made metal brackets were produced to suspend the pendant lights from the arches above so as not to touch the ‘xorok’ above.

In the living area, wall lights were placed in the space between the arches, giving a soft glow to the old stone walls.

The home office was illuminated with a combination of wall lights.

Glow balls were positioned in the space between the arches, while directional task lighting was used to illuminate the desk.

Q: All works were carried out while the clients had already been living in the house for a number of years.

How did you go about this, adapting the spaces and works while they were living there? What was the most challenging aspect of this?

A: The clients were very open to changes, they knew what they wanted, and everyone was in agreement with the design. So, in that respect, everything moved forward quite smoothly.

We were lucky that the clients worked in a similar industry, so they could bring tradespeople who they already knew into their home. This was definitely a plus.

However, it is always a major challenge doing works in a house while the clients are living there. The greatest challenge was to stick to time frames. The pressure to complete the works is even greater, since the client would be seeing small changes every day, but would be anxious for the works to be finished. When certain tradespeople either don’t show up, or can’t turn up, the client feels it more, and so do we.

In any project, each party involved needs to be part of the team to achieve the best result possible in the shortest period of time. And this is even more so when working in a place where the family is still living on site.

Q: A project of the sort, where only parts of the interior design are being tackled, inevitably entails the juxtaposition of the old with the new.

How did you go about this?

A: The new was addressed in a very contemporary way, where we tried our best to design pieces that were timeless. Using a combination of timeless materials, soft lighting and

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geometric patterns all helped to contribute to this. The colour choices of light grey, black and rich, dark blue, together with the brass details and mirrored surfaces made all the new pieces complement what we found the first time we visited the project.

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Sometimes, an old setting would be crying out for something more contemporary for it to feel more up to date and relevant to today’s lifestyle. But what makes such a project a success would be a mix of open-mindedness on the part

of the clients, teamwork and a clear vision.

All the ‘limitations’ that were faced throughout the course of works resulted in a very successful interior design project for a muchloved family home.

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SILENT NIGHT Matt textures, layered tablescapes and whispers of earthy colour provided by nature make for a serene Christmas setting in this home. Mandy Allen discovers the complete absence of bright colours and lustrous textures synonymous with the festive season.

Ironically, this pared-down Christmas is the creation of a make-up artist – and her instinctive rejection of trends, mass consumerism and aspirational yearnings is evident.

PHOTOS: GREG COX STYLING: SHELLEY STREET FLORAL DESIGN: STORM ROSS

A BLEACHED-OUT palette, raw finishes and an aesthetic that borders on the monastic are the hallmarks of this captivating home in Cape Town’s central and historic Tamboerksloof neighbourhood.

What makes this sanctuary-like habitat even more remarkable – given the complete absence of bright

colours or lustrous textures – is that its owner, Algria Ferreira-Watling, is one of South Africa’s most in-demand make-up artists, whose portfolio of clients includes Charlize Theron.

It would be fair to assume that someone in the business of ‘painting faces’, as Algria refers to her artistry, would have a predilection for colour as well as materials and objects underpinned by a glamorous artifice.

But Algria has always had a rebel spirit, manifesting not only in her professional

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signature, typified by a look that is pared-down, fresh and innately edgy, but also in her instinctive rejection of trends, mass consumerism and aspirational yearnings.

Bare walls in bone and grey hues, original wooden features that have been sanded down and left unvarnished, a limited but meaningful selection of personal effects and decorative objects displayed in thoughtful vignettes as well as low-key

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luxuries in the form of candles that perfume the air with notes of amber and gently worn pure linen throws culminate in a whole that is effortlessly layered and emotionally affecting.

The source of Algria’s inspiration can be traced to her childhood: “I come from a poor background. We didn’t have material possessions, but there was always so much love,” she says.

“I work in an industry founded largely on traditional notions of

beauty and consumption, but I’ve never desired ‘things’. My dream was only ever to live with my family in a modest house that had a feeling of tranquillity. Why would I desire a palace when what I have is perfect?”

While Algria purposely keeps the house in a state of visual consistency throughout the year, Christmas brings with it the occasion to create a seasonal atmosphere for her husband Derek, son Dax and close friends and

family – a mood that is festive while staying true to her serene aesthetic.

No flashy store-bought trinkets or tinsel here, no pine or fir in the corner of the living room, and no table centrepieces composed of roses, poinsettias, or hydrangeas.

Instead, the customary tones and accoutrement are substituted by the muted greens and otherworldly forms of fynbos [indigenous shrub and heath] and woody herbs displayed

NO FLASHY STORE-BOUGHT TRINKETS OR TINSEL HERE, NO PINE OR FIR IN THE CORNER OF THE LIVING ROOM, AND NO TABLE CENTREPIECES COMPOSED OF ROSES, POINSETTIAS, OR HYDRANGEAS as free-form wreaths, floating in repurposed clear glass bottles holding elegant taper candles, and as aromatic flourishes on gifts that have been wrapped simply in white or brown Kraft paper and finished with twine.

Traces of shimmer – this is Christmas, after all – serve to highlight rather than overwhelm and bring to

mind the flash of a dragonfly wing: a fine dusting of edible copper glitter on a ‘naked’ cake; gold craft wire binding hand-made fynbos garlands left hanging from doorknobs; dried Protea flowers and seed pods from the blue gum tree, spray-painted in antique gold; and vintage King’s Pattern cutlery, polished only slightly so as to retain the charm of its mottled patina.

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glow. Fynbos, spray painted black, is an edgy interpretation of the idea.

Apply the same technique in creating the garlands using gold and copper craft wire.

Keep gift-wrapping simple and rustic. Crinkle brown Kraft paper and plain newsprint into tight balls and then spread out for use. You’ll be left with an organic, crushed linen look. Give each present its own unique treatment: experiment with white and brown twine and use fynbos – plain, or spray painted – as well as spray-painted seed pods as embellishment. Wrap the twine casually so as to have a more informal appearance.

And instead of a tree is an agave plant with its sculptural form, given a single coating of gold spray paint and ‘planted’ in a clear glass vase filled with beach sand.

“Things found in nature, objects that have had many lives already, the soft wrinkle in a piece of linen… this is a constant source of inspiration for me,” says Algria. “Christmas calls for luxury, but there’s no right or wrong interpretation of what that means.

Faded and evocative or full-on and festive, as long as what you see makes you happy.”

STYLE TIPS Fill clear white wine and cordial bottles with boiled or distilled water [to stop the water from clouding too soon] and place sprigs of fynbos, heather, or woody herbs inside. Use as holders for elegant taper candles on your tablescape, or wherever you want atmospheric lighting.

Source fynbos and create whimsical free-form wreaths and garlands.

Use gold and copper craft wire and black leather cord for contrast and a hint of shine.

Spray paint is an easy way to indulge your creativity. Coat found objects from nature, such as seed pods and dried flowers in antique gold and copper for an understated

Strings of fairy lights are a Christmas essential: left in vases, in the fireplace, draped over the mantle, around door frames, or hanging from the ceiling in the corner of a room.

Approach a monochromatic table setting like a fashion designer, focusing on layering and texture: think shades of chalk, grey, charcoal and bone; anchor the scheme with a beautiful linen tablecloth; set places with vintage silver-plated cutlery, rough-edged linen napkins tied with hemp string and handmade crockery [black adds drama]; arrange a mix-and-match assortment of upcycled glassware for sprigs of fynbos and candles; and add final flourish in the form of gold and copper spray-painted seed pods.

Serve your guests a deconstructed ‘naked’ cake: make two classic sponges [one large, one medium] and trim them into circular shapes.

Layer only the tops of each cake with buttercream frosting [hence the term ‘naked’] and sprinkle on a fine layer of edible glitter. Embellish with springs of fynbos, or woody herbs.

Wrap thick pillar candles of varying sizes with gold or copper craft wire for a personalised style flourish.

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LOCAL LANDMARKS IN LONDON

BUILDING A BUSINESS

The first of a family of nine kiosks designed by Maltese architecture practice, Mizzi Studio, opens in London’s Royal Parks, leaving a sustainable, sinuous and serpentine mark on the Grade I listed landscape.

PHOTOS: LUKE HAYES

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THE FIRST of a family of nine kiosks, designed by award-winning Maltese architecture and design practice Mizzi Studio on behalf of artisan brand Colicci for prominent locations in The Royal Parks in London, has opened at Ritz Corner, Green Park.

Eight more kiosks will open through the winter, culminating with a new landmark café, the Serpentine Café, in spring 2019.

The organic-inspired designs for the family of kiosks and new Serpentine Café respond sympathetically to the Grade I listed landscape and embody the ethos of The Royal Parks as a sustainability leader.

Mizzi Studio has, in fact, used sustainable materials and traditional craft techniques, together with state-of-the-art manufacturing methods, to create simple, functional forms that are both striking and elegant.

The design for the kiosks merges the latest digital manufacturing techniques with traditional craftsmanship. Entrusted with bringing Mizzi Studio’s design to life through his signature pioneering steam bending technique, Tom Raffield is the creator of the curvaceous oak cladding for eight of the kiosks.

mirror the ornate precious metals that adorn Sir Thomas Brock’s Queen Victoria Memorial, while the choice of timber cladding for the rest of the family of kiosks rests on the relationship with the park environment.

Mizzi Studio has used high-quality materials throughout the design, from sustainable British oak to oxidised copper, new copper, stainless steel and brass.

Its holistic approach to the design also takes into careful consideration the use of space, energy efficiency and practicalities such as waste disposal. A rear entrance leaves the sides of the kiosk available for subtle and efficient service features, including integrated bins and condiment holders.

“We are absolutely delighted to see the first kiosk open in Green Park. It is an honour to have been entrusted with such a highprofile project of this size and scale,” says Jonathan Mizzi, director of Mizzi Studio.

“The kiosks form an important part of The Royal Parks’ heritage by serving the public with refreshments and acting as local information points. The design challenge was to create a family of functional

EACH DESIGN VARIATION IS INFORMED BY THE ARCHITECTURAL AND ORGANIC ELEMENTS THAT THE KIOSK SHARES ITS SPACE WITH Together with Colicci, Mizzi Studio explored the parks’ heritage and has tailored the design of each kiosk and the Serpentine Café to the history and nuances of their respective site to create new visitor experiences and make a refreshment stop an integral part of a journey through the parks.

The nine kiosks will mark the entrances to Hyde Park and St James’s Park, as well as Green Park. They are conceived as a family of individual forms that are united in their design language, with a 360-degree sculptural canopy that swells out like a tree’s crown, creating a recognisable silhouette.

The organic-inspired volumes follow a continuous shape, with varying degrees of curvature and differing cladding profiles that provide contrasting textures to the surface. Each design variation is informed by the architectural and organic elements that the kiosk shares its space with.

The flagship Horse Shoe Bend kiosk in St James’s Park, in view of Buckingham Palace, will be clad in tubular brass and will

sculptures with a goal to continuously surprise and delight while further enhancing the visitor’s experience.

“This is an important milestone for Mizzi Studio and is central to our commitment to innovative sustainable design for the public realm,” he continues.

The Serpentine Café, opening in Hyde Park in spring 2019, is a new landmark café with views towards the Serpentine Lake and the Princess Diana Memorial Fountain.

Mizzi Studio has designed it to create an engaging experience, reflective of the neighbouring Serpentine Sackler Gallery

by Zaha Hadid Architects and the legacy of the Serpentine Pavilions.

The building’s form is defined by a sculptural brass roof. Its dramatic, undulating shape takes the curve of the Serpentine Lake as a point of departure and is evocative of the sweeping motion of a stingray’s flight, while the tactile quality of the underbelly of the canopy echoes the reptilian texture of a snake.

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BUILDING A BUSINESS

ITS HOLISTIC APPROACH TO THE DESIGN ALSO TAKES INTO CAREFUL CONSIDERATION THE USE OF SPACE, ENERGY EFFICIENCY AND PRACTICALITIES SUCH AS WASTE DISPOSAL

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COURTESY OF MIZZI STUDIO

Reaching its climactic point while hovering above the entrance, the canopy is suggestive of a stingray’s smile as it welcomes park visitors into the pavilion below.

Mizzi Studio has also drawn inspiration from Japanese architecture for the design of the Serpentine Café.

For the roof, the characteristics of a pagoda have been translated into a more fluid form, while the windows traditionally seen in Japanese tea houses have influenced the series of horizontal mullions that divide the glazing in the pavilion. The mullions create a semitransparent open space where the boundary between indoors and outdoors is blurred, enabling the building to coexist harmoniously with its environment.

The architecture and design practice, with studios in London and Malta, has worked across a diverse range of disciplines, scales and sectors, seeking out projects that have a positive social and cultural im-

An artist’s impression of The Serpentine Café, Hyde Park

ITS DRAMATIC, UNDULATING SHAPE TAKES THE CURVE OF THE SERPENTINE LAKE AS A POINT OF DEPARTURE AND IS EVOCATIVE OF THE SWEEPING MOTION OF A STINGRAY’S FLIGHT

pact. Through better design, it strives to add tangible value and enhance the physical world.

“We apply creative thinking and ingenuity to the needs of each project. Our approach fuses traditional craft with the latest digital manufacturing techniques, and parametric design with a careful consideration of human factors,” Mizzi highlights.

“Drawing inspiration from the natural world and science fiction, our work is distinguished by colour, texture and warmth, accentuated by kinetic and sensory technology, creating transformative and experiential results.”

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Upholstery Art

FORM & FASHION

Print artist and fashion designer Saz Mifsud has made a name for herself creating colourful fashion accessories in silk. Now, through a collaboration with Form, she’s venturing into the world of soft furnishings and linen with a collection that will beautify any home.

Iggy Fenech indulges in some pillow talk to find out more.

PHOTOS: MATTHEW MIRABELLI

IT’S BEEN five years since Saz Mifsud burst onto the scene with her scarf collection that featured vivid and eclectic nature-inspired patterns printed on silk chiffon and silk satin.

Since then, the young designer has built on her brand, regularly introducing new creations – including silk handbags and purses, headbands and silk bow ties for him.

Nevertheless, it’s her latest collaboration that is pushing her out of her comfort zone and getting interior designers talking.

“It’s been quite an intricate process,” Saz explains. She’s talking about her new collection of soft furnishings that includes upholstery fabrics in a blend of linen and cotton, which can be used for armchairs, sofas and footstools, as

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well as cotton sateen cushion covers, bed spreads and matching pillowcases.

“I worked very closely with the interior designer at Form – the lovely Sara Brincat – and together, we selected fabrics that would make sense for soft furnishings. In other words, upholstery fabrics that are durable and have passed abrasion testing, and fabrics for bedding and cushions that are soft and washable. Both textiles had to allow the patterns to shine through.

“Then, we looked at my designs from several collections, and we edited them to fit within the dimensions of each object. So, the floral and bird patterns were tailored to fit the size of an armchair and then made smaller for cushions, for example.”

The result is a collection of fabrics that feels more matte than Saz’s usual designs, but which turn any piece – whether modern or classic – into a frame for the designer’s unmistakable work. Indeed, even at the Form showroom, everything from the square cushions to the luxury bedspreads catch the eye immediately.

“Just like the silk used for my scarves, the new fabrics are digitally printed abroad,” Saz adds. “In fact, I feel like it’s all a continuation of the work I have done as I’ve always seen fashion and interiors as canvases… I love adorning my home with beautiful things that make me smile; and that’s what I wanted to give clients with this collection.”

Saz’s home collection was officially revealed just a few weeks ago, but the designer already has a fashion collection

I FEEL LIKE IT’S ALL A CONTINUATION OF THE WORK I HAVE DONE AS I’VE ALWAYS SEEN FASHION AND INTERIORS AS CANVASES… I LOVE ADORNING MY HOME WITH BEAUTIFUL THINGS THAT MAKE ME SMILE; AND THAT’S WHAT I WANTED TO GIVE CLIENTS WITH THIS COLLECTION ready to be launched as part of the celebrations for her label’s fifth anniversary. Yet, this time, on top of new designs for scarves, headbands and envelope clutch bags in pure silk, Saz will be introducing another completely new concept for her brand.

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FORM & FASHION

THEIR EXPERTISE WHEN IT COMES TO SOFT FURNISHINGS ALLOWED US TO ACHIEVE SUCH A COMPLETELY THOUGHT-OUT PRODUCT. INDEED, IT’S VERY EXCITING TO SEE THEIR CLIENTS LOOKING AT MY PRINTS, AND IMAGINING THEM IN THEIR HOMES “I’m so excited to launch a new collection of leather handbags,” she reveals. “Based on my round, silk handbags – I’ve always loved the circle for designs – the new bags are made to be more durable and to be easily taken from day to night. Having said that, they will still feature my designs printed directly onto the leather; a process that is taking place in New York.”

In the conversation about Saz’s patterns over her brand’s different eras, it is impossible not to delve into her beginnings when, as a young girl, she would experiment with colour. In fact, Saz is also an accomplished painter who’s had a number of solo exhibitions, namely one at Palazzo de Piro in Mdina and another at the Corinthia Palace Hotel & Spa in Attard.

It was rather unsurprising, therefore, to discover that she excelled at prints, colours and patterns during her university days at Central Saint Martins and the University for the Creative Arts in the UK. Yet, what makes Saz’s approach to pattern even more special is the idea that her work could be more than just an item for ‘the now’.

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“I don’t do ‘seasons’,” she says. “My collections are never defined by when they are made. I believe that all my creations should work together and that they should be timeless. A scarf can be a wonderful family heirloom and, in the same way my grandmother gave me her scarves a few years back, so will people who have bought my scarves and accessories be able to pass them on to their grandchildren in the future.”

And that is definitely something that could happen with Saz’s interiors collection: as statement pieces that can adorn any space no matter the décor, the high-quality upholstery fabric is something that can be cherished for generations to come.

“I’m very grateful that Form approached me to explore this world of interiors. Their expertise when it comes to soft furnishings allowed us to achieve such a completely thought-out product. Indeed, it’s very exciting to see their clients looking at my prints, and imagining them in their homes,” Saz concludes.

THE PRINTS, WHICH ARE EXCLUSIVELY AVAILABLE AT FORM IN MSIDA VALLEY, CAN BE USED WITH SELECTED ITEMS AT THE SHOWROOM, ADDING A GORGEOUS NEW LAYER TO THE DESIGNS ON OFFER. SAZ’S OTHER WORK CAN BE EXPLORED AT WWW.SAZMIFSUD.COM

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THE YEAR TO COME

DO IT YOURSELF: DO/DON’T

Fino interior designer Antonella Riotto lists the trends for 2019. From terracotta to terrazzo and earthy tones, sustainability is key. Follow her checklist for updates on the look of the moment.

SUSTAINABILITY is the key word for interior design in 2019 – an interest in the environment, which is being reflected in the style, materials and colours most on trend for next year.

Pantone still has to release the official 2019 colour palette, but the tones are expected to change compared to previous years, with turtledove, white and grey giving way to earth and pastel nuances borrowed from nature.

In general, the palette presented by the Pantone Institute for 2019 speaks of fusion, of joy, of mixing styles, cultures and lifestyles. It’s a burst of bold colours, not at all obvious – and sometimes not easy to pull off.

Next year, retro taste and vintage furnishings will mix with a more modern style, revisited in an eco-friendly way, where the main protagonists will be natural wood, marble and terracotta.

2019 will see the return of natural wood not only for furniture, but also for floors and walls, creating a warm and welcoming home.

In general, tiles will have smaller dimensions and terracotta will be revisited in a modern way, both in terms of shapes and finish. Unlike the 1980s, when this was one of the must-have finishes, the tiles will be opaque and used not only for floors and fireplaces, but also as wall coverings.

Another important material trending in 2019 will be metal, used for frames, mirrors, lamps and taps, especially with gold and brass finishes.

Metal is winning back popularity for furniture finishes

NEXT YEAR, RETRO TASTE AND VINTAGE FURNISHINGS WILL MIX WITH A MORE MODERN STYLE, REVISITED IN AN ECO-FRIENDLY WAY, WHERE THE MAIN PROTAGONISTS WILL BE NATURAL WOOD, MARBLE AND TERRACOTTA

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DO IT YOURSELF: DO/DON’T

and lacquered surfaces also in matt versions.

Shapes will be softer, with curvilinear profiles: sofas, chairs and armchairs will have fluffy upholstery and soft-touch fabrics to give the home an intimate, welcoming feeling and turn it into a private refuge from everyday stress.

Among the trends of 2019 is wallpaper that gives character to domestic environments; in particular, geometric patterns for more minimalist styles and illustrations of plants, flowers, birds and landscapes, ideal for a more contemporary environment.

WE’VE SEEN PLENTY OF GENIUS WAYS TO BRING THE MATERIAL INTO THE HOME WITH TERRAZZO COVERING EVERYTHING FROM FLOORING TO LAMPS TO EVEN SHOWER CURTAINS [IN PRINT, THAT IS] With the enduring popularity of mid-century modern design showing no signs of slowing down, it comes as no surprise that terrazzo surfaces and decorative extras made a big impact on design forecasts looking at 2019 interior design trends.

Originating in Italy over 500 years ago, the composite material consisting of chips of marble, quartz, granite and glass to evoke a playful, confetti-like, abstracted spirit set into cement was created as a way to reuse the scrapped rock – so it’s sustainable too.

Once the fragments are set, the surface is then polished to create a super-smooth finish. Traditionally sold as flooring, the material was popular in the 1970s and is now back replacing the marble trend of the last couple of years. It can be found in many traditional Maltese houses too.

We’ve seen plenty of genius ways to bring the material into the home with terrazzo covering everything from flooring to lamps to even shower curtains [in print, that is].

While geometric patterns almost never go out of style thanks to their symmetrical harmony, ethnic and tribal-inspired prints seem to come

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and go every 10 to 15 years as times and tastes change. But what makes them feel so right when considering 2019 interior design trends is the warmth, familiarity and offset pattern they can easily introduce to even the most minimal of rooms.

And though warm minimalism has had its moment for quite some time now, there’s something to be said about bringing more life into a room as a direct reaction to today’s

somewhat strict, limiting and straightforward approach to interior design.

Having said that, if a full-on, heavy-handed, ethnic-inspired look like this is not for you, think about small ways to bring in the moment with fresh linens, go-to decorative pillows and throws and miniature framed prints that you can easily switch out once the design scene moves on.

TIPS

NATURAL VS ARTIFICIAL Petra Cutajar from Light Design Solutions highlights the main advantages of both natural and artificial light for a well-lit space. The vision is to try and create outdoor light indoors, using a range of holistic active light solutions.

THE FACT that lighting plays a crucial role in our everyday actions and functions is common knowledge.

Light has a visual, emotional and biological effect on us and our environment. And we need all the light we can get to properly do our daily tasks.

Emotionally, light helps us to sense changes in architecture and materials, triggering internal responses. Inside our bodies, light stabilises our internal clock and balances out its efforts to activate and regenerate cells.

Unfortunately, we tend to overuse artificial light, especially in situations where natural light is available – or at least its levels could be increased. The truth is both have their own advantages in the creation of a well-lit space.

There are, of course, many benefits when it comes to natural light: it increases productivity and comfort, boosts our mood and motivation, and since it reminds us of the outdoors, it creates a calmer indoor environment, reducing stress.

Artificial light also has benefits: it gives us extra time for more work and to continue our tasks in the evening when there is no natural light; and it highlights a building’s features, both inside and out.

Varying luminance and colour set the mood, create rooms that suit their purpose and meet the needs of the people using them in an insightful way.

If you do not have as much natural light as you would like due to a lack of windows, there is now the possibility of using artificial skylights, where the panel is installed in the ceiling and the lighting technology gives out the cycle of the sun, portraying the features of a natural opening.

You can also boost brightness with artificial light that will enhance, rather than take over, any natural light coming into the home, giving attention to areas where light from windows does not reach such awkward corners, corridors, or alcoves.

With artificial light, natural light is replicated as much as possible.

However, it would never be a complete copy because the full CRI [colour rendering index] of the sun has not yet been reached, although we are very close. Today, LED companies have reached a CRI of up to 97 per cent.

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TASTE

A LIFETIME IN A COOKBOOK As Peter Apap Bologna earns another feather in his cap – this time that of cookbook author – he chats to Iggy Fenech about the people and places that inspired the recipes in Eating with Grandpa Apap: Around the world in fusion and confusion.

BACK IN my early teens, Peter and I used to get together to recite excerpts from Shakespeare’s The Merchant of Venice. As one of my first mentors, he imbued in me a love for literature – particularly as I discovered new authors and titles while I catalogued his extensive library full of first editions.

But there’s something else that I remember from those days: Peter, sat at a small, rustic table in his kitchen in Lija, prepping for lunch.

In my head, in fact, Peter, literature and food all go hand in hand, so I was delighted when the ex-merchant banker and ex-owner of the Melitensia Art Gallery announced he was compiling recipes for his first ever cookbook.

“This had long been lurking at the back of my mind,” he tells me as he hands me an early copy of his brand-new book, which is adorned with a specially-commissioned George Large painting that harks to the original poster for the 1956 film Around the World in 80 Days.

“I am in no way qualified to produce a professional cookery book, but with input from my daughters, Kate and Sarah, the concept took hold,” he continues. “Yet this is a sort of culinary diary, with narrative about food and events, including meals elsewhere, at other people’s homes, as well as restaurants.”

As I and many of Peter’s friends have pointed out to him, this feels like the perfect continuation to his autobiographical

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trilogy, Memories. In those three books, Peter looks back at growing up in Malta just after the war, going on road trips across Europe in his late teens, working in London and New York as a merchant banker, and much more.

“My main inspiration for cooking has always been my mother Amy, who was a brilliant cook,” he reminisces. “She often organised and cooked meals, sometimes for hundreds of people at charity events. Some of her recipes became legendary, namely her baked artichoke hearts and her aubergine timpana.”

The recipe for Amy’s artichoke hearts was a closeguarded secret. Indeed, in the book, Peter writes how “many hostesses tried to reproduce them” but failed, and how he only got his hands on the recipe through his sister-in-law Patricia, “who helped prepare them at the time”.

“For the first years of my life, food was scarce,” Peter continues as we take a trip down memory lane to post-World War II Malta when rationing was still enforced. “I ate whatever I was given then, but I think it was quite a natural process to become a foodie after that.”

THE RESULT IS A BOOK THAT NOT ONLY TAKES READERS ALL ACROSS THE GLOBE, BUT ALSO GIVES THEM SOME PRETTY EXCITING TAKES ON TRADITIONAL RECIPES, AS WELL AS HISTORICAL AND CULTURAL FACTS ABOUT THE INGREDIENTS AND DISHES Peter became more than just a foodie, however. Back in the 1960s, he was a [sleeping] partner of Nico’s, a restaurant in Valletta that has since become Da Pippo’s. While he had no say in the running of the restaurant per se, he did see the potential food had as a business venture back when there weren’t that many restaurants on the island… Also, he did have a rather rowdy bachelor party there in 1968.

A lot has changed since – he met his second wife Alaine, retired, moved house and become a grandfather – but one thing

THINGS that has remained constant is Peter’s obsession with collecting cookbooks and with trying out different foods wherever he goes. The result is a book that not only takes readers all across the globe, but also gives them some pretty exciting takes on traditional recipes, as well as historical and cultural facts about the ingredients and dishes.

“Over the years, I built up a collection of cookbooks covering the many varied cuisines of the world. I love Maltese food, but I’m also keen on Middle Eastern and Asian cooking – especially Lebanese and Moroccan, Thai and Japanese, and, of course, the whole range of European dishes. But I also became interested in the history and legend of these.”

Two fascinating histories Peter delves into are for chilli con carne [according to American historians “chilli did not originate in Mexico, but grew wild on bushes in Texas, and was most likely the chilipiquo variety,” he writes] and borscht [“a traditional dish of both Russia and Ukraine, though the exact genesis is impossible to discern. Its strongest associations are with Ukraine, where it is thought to have originated in the 14th century”].

“In Europe, I was inspired by the open-air markets in Provence, France [where his daughter, Kate, had a holiday home], with their tantalising displays of exotic spices and appetising food,” he continues. “In Alsace, where I stayed for some months in the 1960s, I grew to love choucroute [the French name for sauerkraut], which is essentially pickled cabbage with various ingredients, as well as the various sausages.

“I spent many years in England and America too.

Good English food is terrific, and so is the Indian food you find in practically every high street. In New York, I became addicted to Japanese food, especially sushi and sashimi. And, of course, there is the whole wonderful range of regional cooking of Italy: the word ‘bruschetta’ is sufficient to awaken my taste buds.

Then there is French onion soup, coq au vin, and so much more to enjoy from France!”

Cooking, for Peter, has always been therapeutic and relaxing, and the book seeks to make it so for the reader too. The layout of the 224-page book is simple, the methods straightforward, and the ingredients, though mentioned, are not enforced [you often get ‘eggs’ rather than, say, ‘four eggs’].

Meanwhile, the pretty pictures of ingredients spread over the black slate countertop and dishes laid on beautiful plates passed down through the family or bought over the years – all of which were taken on an iPhone by Peter himself – make Eating with Grandpa Apap feel like a recipe book passed down from parent to child rather than a cookbook.

And that is what Peter wanted to do: create a cookbook that allowed readers to discover something new, experiment, and learn things he’s been taught over these past 77 years. And it seems to have worked, as he’s already prepping for a follow-up cookbook called Eating with Grandpa Apap – Around Asia in more fusion and confusion.

EATING WITH GRANDPA APAP: AROUND THE WORLD IN FUSION

RECIPES

Mexican Scrambled Eggs – a delicious supper INGREDIENTS 4 eggs; spring onions; pickled jalapeños; tomato; grated cheese; butter; salt & pepper.

METHOD Finely chop the spring onions, jalapeños and tomato.

Fry in butter for a few minutes. Mix in the beaten eggs and scramble to taste.

Creamy is better than dry – but chacun à son gout [each to his own].

THE HEAT IS ON

Quail Tagine – a perfect Christmas recipe INGREDIENTS 4 quails; onion; garlic; carrot; peperoni; dried apricots; raisins; whole olives; chicken stock; sumac; za’atar; salt & pepper.

METHOD Place all the ingredients in the tagine pot, sprinkle seasoning, drizzle some oil, and a tiny amount of chicken stock, as a lot of liquid is produced in the cooking.

Allow to cook on a very low heat – I use a heat dispersal pad – until the birds are tender, and the legs ready to come off.

The Portable Gas Stove is the perfect centrepiece for your lounge or dining room.

With its modern gloss stove and coal-effect design, it has the stylish good looks to complement your décor. On a chilly day, the electronic ignition system takes seconds to activate, giving you a real flame for instant heat and a cosy glow, the gas cylinder is stored within the unit itself. And for double the peace of mind, your heater is fitted with a flame cut-off and atmosphere air sensor safety devices. It is available in various colours from HomeTrends in San Ġwann and Żebbuġ [2144 5654].

AND CONFUSION IS dISTRIBUTEd BY BdL BOOK dISTRIBUTORS LTd ANd IS ALSO AvAILABLE FROM THE SALESIAN PRESS AT €25.

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WORKSPACE

CONCEIVING A CREATIVE CLUSTER

AP Valletta marks the next curve of the architecture and design practice that has been the main influencer of contemporary architecture in Malta in the past 27 years.

ARCHITECTURE Project has been renamed AP Valletta, following an intense rebranding exercise that reflects the narrative of the practice, inextricably linked to the city – even physically.

Based in Sappers Street, the 17th-century building is currently being transformed into ‘four sappers’, a creative cluster, which brings architecture and design, food and digital fabrication together, while new projects in the fields of PropTech and education are in the pipeline.

A distinctive feature of creative enterprises is that they thrive best in each other’s company, and in places that have a strong local identity. The concept is, therefore, to enable creative enterprises to become drivers for urban regeneration and innovation within the context of Valletta as a creative city.

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Currently, AP Valletta, fablabvalletta and the Mediterranean Culinary Academy form part of this growing community. They collaborate and share innovative ideas, make new products, engage in education and research, organise exhibitions and events.

The latest example of this co-working activity is, in fact, Ro-Botanicals, an experiment on alternative foodrelated technologies, presented to the public during Science in the City.

The rebranding exercise from Architecture Project to AP Valletta has led to a more representative identity and marks the ‘next curve’ for the practice that has been the main influencer of contemporary architecture in Malta in the past 27 years.

Architecture Project was founded in 1991 as a manifesto in the modernist tradition, addressing the urgent

need for a project to give new energy to Maltese architecture. At that moment in time, though, modernism was on its last legs and the isolation of the island started to become a thing of the past.

As a result, while AP began to contribute to the awareness of architecture, the context of the original mission was transformed irreversibly. AP embraced it as part of the very essence of the then fledgling practice.

“Change generates evolution, and it is the only thing that keeps everything alive,” says one of AP Valletta’s executive directors, Konrad Buhagiar.

A common thread of this evolution is the strong link of the practice with Valletta. It has renewed and developed the city’s very fabric though a series of projects like the award-winning Barrakka Lift, the regeneration of City Gate and the new Parliament in collaboration with Renzo Piano Building Workshop, the ongoing new museum at St John’s Co-Cathedral and the restoration of St Paul’s Anglican Cathedral, as well as research projects such as Novelletta, presented at the London

Festival of Architecture and at La Galerie d’Architecture in Paris.

The practice is now ISO 9001 certified. It is consolidating its reputation as an international research-based practice and is currently finalising negotiations for the preparation of a masterplan for a mixed-use development in Indonesia, which will explore how contemporary urban design and architecture can combine new technologies, sustainable and sensitive landscape design into a new expression of the region’s culture.

The practice has also appointed a new non-executive [and non-architect] chairman, Reinhold Karner [pictured above], an international business advisor experienced in building sustainable entrepreneurial success.

With 40 years of experience as an entrepreneur, mentor and management consultant, Karner says that “to be sustainably successful is a great art, a perpetual challenge, which follows its own rules and realities”.

WWW.APVALLETTA.EU

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SPACES FOR THE SMALL

A tiny town The brief behind the design of this childcare centre in Mosta by studjurban was to create a village setting for a community-based feel. Take a trip through the ‘streets’ of this stimulating space, where imagination and knowledge can be nurtured through interior design.

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ONE OF the latest interior projects of architecural and urban design studio studjurban deals with the development of a childcare centre, Lil’ Ville, in Mosta, a much-needed service when considering the locality’s high population density and today’s socio-cultural realities in terms of family structure and working patterns.

Designed for children aged zero to three, vibrancy, colour and textures are rampant within this space to nourish creativity, imagination and knowledge.

The cornerstone of this project is the way the separate rooms are designed. The brief was to create a village setting, so that a communitybased tradition could be instilled in the children. The inclusion of certain emblematic structures within society is deemed to help young minds acquire adequate know-how.

Certain areas are, therefore, devoted to different institutions: the

reception and administration area becomes a post office; the first-aid area becomes a pharmacy; the sleeping quarters become a hotel; the central open space, or creativity zone, is denoted as an art gallery and a theatre in the round that may be used for quieter activities and small shows.

All these zones are colour coded, with bright visuals throughout to allow the children to build a connection. The colours are further delineated on the ground and culminate in a central ‘bus stop’.

Throughout, customised elements and furniture have been designed to complement the space, while always keeping the children’s safety, high hygiene levels and elemental durability in mind as key aspects of the design.

Choosing the materials for the design vision and to ensure safety and hygiene was a critical stage.

This project had to be treated no different from the environment of a clinic or a hospital, with continuous surfaces that wrap upwards from the

ALL THESE ZONES ARE COLOUR CODED, WITH BRIGHT VISUALS THROUGHOUT TO ALLOW THE CHILDREN TO BUILD A CONNECTION A green area, abutting the art gallery, helps instil a degree of sensitivity to nature, as well as a sense of responsibility as several projects revolve around the maintenance of this planted patch.

flooring to the wall. It was important to reduce the amount of joints [and, therefore, the possibility of trapping dirt] with the flooring and wall coverings.

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“We also had to try and reduce the possibility of children impacting with the wall and floor through non-slip surfaces, and we had to ensure the presence of soft and cushioned areas and rounded edges to minimise injury as much as possible,” explains architect Antoine Zammit from studjurban.

Another important criterion was the ability to clean surfaces easily and retain a constant high level of hygiene throughout the day. Ensuring that the chosen surfaces did not reduce in quality through the cleaning itself, in terms of wearing away or discolouring, was also vital.

Marrying the practical necessities of a childcare centre with the somewhat fantastical and whimsical village design theme also has to be taken into account.

“They key to good design is the ability to marry a strong concept with

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IF ARCHITECTS ARE UNABLE TO PRODUCE GOOD WORKING DRAWINGS, THEY RISK HAVING THE ORIGINAL DESIGN VISION COMPROMISED BY A POTENTIAL MANUFACTURER, WHO COULD POSSIBLY SIMPLY OPT FOR THE MOST ECONOMICAL SOLUTION practicality,” Zammit points out. “Ultimately, an idea needs to be translated on the ground, and therefore, needs to be functional, easy to manufacture and to maintain in the long term.

“We worked out each and every bespoke detail, and produced carpentry working drawings, following which we met up with the carpenters engaged for this project and refined these details.

This was a critical stage. If architects are unable to produce good working drawings, they risk having the original design vision compromised by a potential manufacturer, who could

possibly simply opt for the most economical solution.

“To remain in control of the design intent, it is important to be able to envisage the working details, which naturally may be refined and tweaked with the involvement of more specific experts, but without unduly affecting the overall design as originally intended,” says Zammit.

The village design theme was the starting point. Then came the translation of each area into practice.

The letter boxes became the children’s lockers; the market stalls doubled up

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SPACES FOR THE SMALL

THROUGHOUT ITS DEVELOPMENT, I WATCHED MY SON GROW AND WOULD OFTEN FIND MYSELF OBSERVING HIM TO SEE WHAT OBJECTS HE ENGAGES WITH AND HOW HE DEALS WITH HIS SURROUNDINGS as additional seating spaces; different timber elements, symbolising the different village spaces, became potential surfaces, storage areas, or formal and informal seats...

“We really wanted these elements to be ‘living’ entities that could double up as other functions,” Zammit adds.

This project was an interesting challenge for the studjurban design team on a number of levels: its very specific nature; the high standards that were set both by the client and statutory requirements; and the need to be kids again and imagine what would excite them.

“The latter is an increasingly difficult task nowadays given the impact that technology is having on children.

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We established from day one that this would be a technology-free environment as we wished for children to be stimulated by the everyday, so that they could learn to be aware of their surroundings and not discard it as ‘mundane’ or ‘not flashy enough’,” Zammit continues.

“I find that technology is having this effect on children, who are not stimulated enough by the environment as it is not as fast-paced as the constant imagery they are bombarded with when playing digital games or watching videos,” he points out.

“We did not want to create a fairy land. We wanted a down-to-earth environment, a realistic scenery and, most importantly, we wanted the

children to be able to feel they are part of a community.”

After all, a childcare centre is where the first social skills are taught and put into practice. It needs to be fostered by a safe environment that is equally vibrant and exciting.

“On a personal level, my wife had just given birth to our first son when we started working on this project. Throughout its development, I watched my son grow and would often find myself observing him [I still do] to see what objects he engages with and how he deals with his surroundings.

“I also saw what could be a hazard, although unintended. I must say that these observations provided an important learning curve that I sought to apply to this project, which has, in turn, made me even more aware as a father.”

GOING PLACES

All about the image Photographer Brian Grech attended Paris Photo at the Grand Palais in Paris last month.

This is his view of the spectacular presentations at the ultimate international fair dedicated to the photographic medium.

THE INTERNATIONAL image-based art fair, an unmissable opportunity to discover and unveil today’s incredible, vast and varied photographic scene, included 199 exhibitors from 38 countries across five sectors, with a special focus on female photographers this year.

Paris Photo offers a complete overview of the medium’s development from its early days to the most current experimental expressions, brought together by 168 galleries and 31 editors representing 30 countries.

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The leading rendez-vous for artists, influential institutions, private collectors and discerning amateurs, the 22nd edition of Paris Photo attracted almost 70,000 visitors this year, while more than 300 artists attended to sign books and take part in the rich programme of talks.

Divided into five sectors, these included the main gallery, books, films, Prismes, dedicated to serial works, large formats and installations, and Curiosa, the new thematic sector, focused this year

on the body, gender and eroticism in photography, beyond the stereotyped male-centred vision.

The deconstruction of the male gaze was challenged in artworks by avant-garde feminists.

The female gaze was also at the heart of another new initiative this year through Paris Photo’s collaboration with France’s Ministry of Culture to honour women artists through a specific itinerary – Elles x Paris Photo, curated by Fannie Escoulen and highlighting 100 works across the fair.

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Felix Dobbert

Rica Cerbarano

GOING PLACES

Frida Orupabo

« Alejandro Cartagena

« « 56

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«

Escoulen traced the history of photography through a women’s perspective, selecting art works that date from the beginning of photography to 1970s feminists and to the discovery of a new promising generation.

Commenting on this year’s edition, director Florence Bourgeois and artistic director Christophe Wiesner said: “There was an energy and vitality this year that was quite remarkable.

The galleries from across all the different sectors chose to bring their highest quality works to Paris Photo and presented these in spectacularly curated booths.

“The whole ecosystem of art dedicated to the photographic medium, including highly influential private and public collectors, artists and editors, came together and the encounter with the galleries’ outstanding presentations created an effervescent atmosphere from the very early hours of the fair, leading to robust sales throughout the five days.”

GOING PLACES

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« BED Hotel Montecristo – the new kid on

» BAR & BREAKFAST A coffee shop at the Petit Palais, right opposite Paris Photo – a good pit-stop point you can pop over to for some quiet time and to rest your eyes from the stimulating sights of the fair.

BE THERE An exhibition, Caravaggio’s Roman Period: His friends and enemies, is on until January 28 at the Jacquemart-André Museum in Paris; while the 23rd edition of Paris Photo will be held at Grand Palais from November 7 to 10, 2019.

«

Outside the fair

the block for a rest and a recharge before taking in more.

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IF WALLS COULD TALK

MAKING MEMORIES Din l-Art Ħelwa’s president Maria Grazia Cassar and council member Cathy Farrugia map out an itinerary of sites and activities that families and friends can embark on over the holidays.

Malta may feel restricted due to its size, but with a bit of imagination and the suggestions of the heritage and environment organisation, a whole new world can be opened up. photos: marIa grazIa cassar, tessa mercIeca, mattIas palmIer

one would think that living on a small island in the middle of the mediterranean would become pretty restrictive after a while. we beg to differ! with a bit of creativity, there is always something interesting to do during our leisure time. there is no denying that for a short break, most of us opt to leave our shores, but sometimes, work commitments, as well as other ties, restrict the frequency of this, and even so, it is also important to enjoy our country of residence. believe it or not, considering their miniscule size, the maltese Islands offer an incredible array of activities, whether they are cultural, religious, or simply for entertainment, and we are generally actually spoilt for choice. when it comes to organising activities with family and friends, we often fall into some sort of routine. many go for a drive in the countryside, or head off to gozo; others put on their hiking boots and go trekking, while hobbyists rush to invest time in their favourite pastime. organising family events and those with friends can get a bit tricky, especially when various members of the group prefer to do different things. so, why not look to Din l-Art Ħelwa for inspiration to add a fresh element to these activities, whether they are a special occasion, or just something to do in your free time.

READY MADE AND READY TO GO each year, dlĦ’s calendar of events is jam-packed with interesting things to do. from art exhibitions and open days at various sites, or classical music concerts at the chapel of bir miftuħ and spring fairs at the msida bastion

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a walk along the clay paths on a windy day, and yet, she was so excited to talk about what she saw. It really doesn’t take much to fire a child’s imagination and nothing beats a place of heritage with an incredible story behind it. one precious childhood memory is watching sunset at dwejra while enjoying a packed supper. the favourite spot was close to the azure window. remembering the past and the stories told of how there was a ‘spare’ arch just around the corner somehow softened the blow of losing

St Agatha Tower, Mellieħa Chapel of Bir Miftuħ, Gudja

historic garden, fund-raising black-tie dinners, auction sales and book fairs, there really is something ‘ready-made’ for everyone. dlĦ’s offices in Valletta are regularly used for public lectures on an array of subjects related to cultural heritage.

It really doesn’t take much to fIre a chIld’s ImagInatIon and nothIng beats a place of herItage wIth an IncredIble story behInd It A PERSONAL ENCOUNTER WITH OUR CULTURAL HERITAGE a little knowledge goes a long way when it comes to finding out more about our country. nothing beats personal experience to get up close and personal with our surroundings.

I once asked a four-year-old why her hair was in such a mess and her reply was: “we’ve been on a big adventure!” this was simply a trip to the beach and

this archaeological gem. [we recently went off to ‘find’ this spare arch at wied il-mielaħ!] why not create your own special memories? how about driving up to the red tower to watch sunset from there? hikers might consider starting from the red tower and walking around that area with its stunning views of gozo and comino before heading back.

Before planning a boat trip, an idea would be to print out a map of Malta and Gozo and mark all the coastal fortifications along the route. Many of them have been renovated by DLĦ.

Children enjoy hearing stories of how pirates used to attack Gozo and how these attacks only subsided once and for all after the building of St Mary’s Tower in Comino 400 years ago.

For those who enjoy walking, a trip to this tower is highly recommended.

[Just keep in mind that it is only open from May until October.] The Comino and Qala Batteries are quite easy to spot from the sea. Can you imagine what it was like having to guard these fortifications on a cold winter’s night with a wild storm raging all around?

The Wignacourt Tower in St Paul’s Bay has its own little museum, which helps visitors understand what it was like to be on duty in it. Before the road was built, this stood high above the shoreline and access was from an impressive flight of stairs and a drawbridge. Adults and children alike enjoy sketching – and an imposing tower overlooking the coast certainly offers a great deal of inspiration for budding artists.

Delimara Lighthouse

Wignacourt Tower, St Paul’s Bay COURTESY OF STANLEY FARRUGIA RANDON

Torri Mamo, St Thomas Bay

A WEEKEND AWAY FROM IT ALL To date, the only property in the DLĦ portfolio that offers accommodation is the Delimara Lighthouse. In the recent renovations, the lighthouse master’s dwellings have been converted into two comfortable flats with modern amenities. The original hand-crafted lighting lens is still in place.

Located on the tip of the Delimara promontory, overlooking the bay, this lighthouse offers an opportunity to spend some quality time away from the hustle and bustle of daily life. The beach is just a short walk away.

A TOUCH OF FLAIR FOR PLANNED EVENTS A unique venue greatly helps you create a memorable occasion, whether it is a personal celebration, or a corporate get-together. Most, but not all, of DLĦ properties are available for wedding ceremonies and small gatherings.

For example, Torri Mamo in St Thomas Bay has recently become a popular choice for baptisms, confirmations, or children’s parties.

Both its interior and the surrounding grounds provide a unique location.

Private events and small concerts are regularly held in the Chapel of Bir

Miftuħ, with its gardens used for small receptions. The Msida Bastion Historic Garden lends itself perfectly for small corporate workshops, or literature and poetry readings. This is particularly fitting as it is the final resting place of renowned Maltese writer and philosopher Mikiel Anton Vassalli.

DLĦ’s restoration projects have converted properties into enjoyable places to visit. In some cases, these were totally neglected and abandoned, and the Msida Bastion Historic Garden is one such example.

During restoration works, volunteers painstakingly pieced together thousands of broken tombstones like a huge jigsaw and cleared away years of rubbish to create a wonderful garden.

These properties are generally very picturesque and enjoy some of the islands’ most stunning views.

CREATING INDIVIDUALISED EVENTS Nothing is more enjoyable than a tailormade event… Why not create a treasure hunt, or a quiz around our cultural heritage? A quick internet search will provide you with all the information you need, but here are just two examples involving DLĦ properties and projects.

For a treasure hunt round Valletta, the participants could meet at one particular location and then proceed to answer questions about the Wignacourt Fountain, the Great Siege Monument, the Queen Victoria Monument, Manoel Theatre and the De Vilhena Statue. The event can be drawn to a close at Our Lady of Victories Church.

Besides built heritage, it is also important to learn about local personalities and traditions. The Maglio Gardens, or il-Mall, as it is known to all, is just one example where this is possible.

Grand Master Lascaris built this garden as a recreational area for the knights. In fact, its name is derived from a popular game of the time, palamaglio, and an activity can easily be created to reflect traditional games from days gone by.

Right along the length of this garden are some monuments by some well-renowned sculptors, such as Antonio Sciortino and Vincent Apap.

These were restored in collaboration with DLĦ sponsors and commemorate important local personalities, all with their own story to tell.

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IF WALLS COULD TALK

THE MONUMENTS IN IL-MALL GARDEN

MARQUIS GIUSEPPE SCICLUNA [1856-1907] Banker and philanthropist Renowned for his various charitable works.

SIR UGO MIFSUD [1889-1942] Politician One of Malta’s Prime Ministers.

In 1942, he suffered a massive heart attack while defending his countrymen in court and died a few days later.

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SIR HANNIBAL SCICLUNA [1880-1981] Historian and philanthropist Renowned for his written works on St John’s Co-Cathedral.

MARQUIS VINCENZO BUGEJA [1820-1890] Politician and philanthropist Renowned for his charitable works. The Conservatorio Vincenzo Bugeja provides residential accommodation to this very day.

DR ALOISIO PISANI [1806-1865] Physician Renowned for his good work during a cholera epidemic, among other things.

SIR LUIGI PREZIOSI [1888-1965] Ophthalmologist and politician Renowned for his groundbreaking work in the treatment of trachoma and glaucoma.

SIR ADRIAN DINGLI [1817-1900] Chief Justice Various streets, squares and schools are named after this personality.

DR FILIPPO SCEBERRAS [1850-1928] Politician Renowned for his work to bring about self-government for Malta under British rule in 1921. He was so overcome by this milestone achievement that he fainted at the end of the ceremony.

GIOVANNI DI NICOLO PAPPAFFY [1792-1886] Entrepreneur and philanthropist Renowned for his generosity in bequeathing funds to assist emigration from Malta.

COMING UP SOON DLĦ is continuously handling projects of restoration to open more of Malta’s built heritage to the public and to safeguard it for future generations. This is thanks to the work of around 150 volunteers, who dedicate over 24,000 hours per annum to these properties.

Whenever you see its flag flying high above the towers, that is the sign that the property is open. Feel free to just drop in as over 87,000 visitors do every year!

Time heals

CONSERVATION CORNER

Conservator Connie Formosa from Recoop Ltd describes the history of this 18th-century clock and how it was restored to its original and sophisticated splendour.

This impRessive antique clock, dating back to the first half of the 18th century, landed at the Recoop laboratory in a very sorry state. it is a French Boulle and ormolu two train bracket clock, signed André hory – among the finest clock makers in paris, active between 17001750 – on a repoussé [engraved] dial with Roman cartouche enamel numerals. it is referred to as a bracket clock because, originally, it had to be mounted on a small shelf or bracket on the wall to allow room for the hanging weights. The style later became fashionable and elaborate.

This old clock is made of tortoise shell and brass inlay [marquetry], also known as Boulle work, a term that is derived from the famous French cabinet maker André-Charles Boulle [1642-1732].

Boulle lived in paris and was the finest cabinet maker, furniture jeweller and leading artist in the field of marquetry of his time, working at the court of Louis Xiv of France, the sun King.

Later, his name went on to become the term used for the marquetry work of fine brass, pewter, tortoise shell and ebony inlay, together with fine trimmings and sculptures of gilt bronze [ormolu] applied to all kinds of cabinets, boxes, clocks and furniture.

The Boulle work of this clock is of extremely fine quality on the front and the inside of the case, while the sides are good, but less refined. This could lead to the conclusion that a master cabinet maker made its more visible parts and maybe an apprentice would have made the sides.

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CONSERVATION CORNER

WHO. WHAT. WHEN. WHERE. WHY.

THIS CLOCK’S CASING HAD MISSING AND LOOSE PIECES AND IT WAS TARNISHED AND DIRTY. THERE WERE ALSO SIGNS OF SEVERAL PREVIOUS INTERVENTIONS, WHICH IS VERY COMMON FOR BOULLE WORK

ARCHITECTURE COMES TO LIFE

The ormolu mountings are acanthus leaves and scrolls with a fan design on the glazed front door and a large flower finial on the top of the clock.

This clock’s casing had missing and loose pieces and it was tarnished and dirty. There were also signs of several previous interventions, which is very common for Boulle work; and the fine inlay was glued onto a wooden background with animal glue, which, with time, would have deteriorated. The brass inlay would also have been polished and snagged on the cloths used and thus pulled loose.

To restore this work of art, it had to be carefully dismantled. The loose and detached brass and tortoise shell inlay was carefully cleaned, reapplied and in a few places replenished. The ormolu was also cleaned, giving it back its beautiful lustre.

The clock movement or mechanism was given to a professional clockmaker for servicing before it was finally carefully reassembled, revealing its superb appearance.

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The second of the Architecture Alive series of design talks by world-renowned architects was addressed by multi-award-winning Richard Murphy at the Gran Salon of the National Museum of Archaeology in Valletta, where he kept his audience engaged and stimulated during his presentation.

The event is being hosted every two to three months by local architectural and urban design firm studjurban and the Planning Authority, with the support of the Kamra tal-Periti, Places: Design & Living magazine and Marsovin.

Director of Richard Murphy Architects Limited in Edinburgh, which he founded in 1991, Murphy is an authority on the works of the great 20th-century Venetian architect Carlo Scarpa. The winner of 21 RIBA [Royal Institute of British Architects] awards, Murphy was also voted Scottish Architect of the Year and his home won the RIBA/Channel 4 House of the Year Award.

Next up on February 23 is Richard England. Tickets will be available from www.ticketline.com.mt at €15, with reduced rates for students at €7. www.ARCHITECTuRE-ALIVE.CoM