Places – Design & Living (December 2019)

PLACES ISSUE 31 DECEMBER 2019

Design & Living

The books to read

GIVE AN OLD ITEM A NEW HOME THIS CHRISTMAS A PENCHANT FOR RECYCLED PIECES AGAINST THE CULTURE OF DISCARDING THINGS

THE EXHIBITIONS TO SEE THE TALKS TO HEAR

Indulgent and artistic WHEN CHOCOLATE IS A LIFESTYLE

SIMPLE FESTIVE DÉCOR

THE ALL-NATURAL SCANDINAVIAN WAY

THE BLUEPRINT

PLACES

Design & Living

ISSUE 31 DECEMBER 2019

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MY DESIGN

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THE PROJECT Enduring Sophistication Shaping the personality of a hotel space

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PROJECT PEOPLE Easy Like Sunday Morning When chocolate is a way of life, art, design and detail

HOME DÉCOR 20 TASTE Christmas, the Scandinavian Way Festive decoration that engages all the senses 25 DOING IT UP: DO/DON’T The Paris Project That feel of French elegance 28 TRENDS In With the Old Give unwanted items a new home this Christmas 34 LIVING DESIGN The Road to the New Malta Bus A seven-year journey to the rebirth of a cultural icon DESTINATION, HERITAGE & ENVIRONMENT 38 CONSERVATION CORNER By the Devil with the Brush Giuseppe Calì at the Mosta Rotunda 43 ON SHOW People, People Everywhere An exhibition about humanity with all its flaws…

47 SPEAKING VOLUMES Over the Threshold Discover Malta’s doorways, gateways and portals 49 ART/CHITECTURE When Structures are as Beautiful as Nature Architecture as a vocation

ON THE COVER OUR LADY OF THE ROSARY DETAIL See story on page 38

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PHOTO: CHRIS SANT FOURNIER See story on page 28

MY DESIGN

I’M TRYING to write this on a Tuesday…

Amid breaking news about arrests and resignations I have called for and expected – but never thought would happen – for the last two years.

Printing deadlines are looming, but I am hooked to my phone.

And now the whole country is sinking into a literal black hole.

A power cut has removed my connections to the outside world, which I need more than ever today.

And the added pressure of a draining computer battery is aggravating my inability to pen an editorial.

My feelings are in disarray. So much so that they are causing a mental block.

In all my years of writing, I have never had so much to say that I can’t say anything at all.

It’s all so bittersweet. There is barely any satisfaction in the fact that what some of us always knew has come to light.

There is mostly anger. The strongest it has been every day since October 2017, and even before then.

What now? And what has all this got to do with this magazine, you may say?

But at this point, what is there to say if not about this country’s heroine; the best investigative journalist it has ever seen; who dug up dirt on a web of crooks and corruption; who was assassinated for this; who was right; and who, even in death, is Invicta!

December 1, 2019 | Issue 31 | PLACES is a bi-monthly magazine | EXECUTIVE EDITOR Fiona Galea Debono | PUBLISHER Allied Newspapers Ltd | PRODUCTION Allied Newspapers Ltd | PRINTING Progress Press Ltd | DESIGN Manuel Schembri | ADVERTISING SALES Veronica Grech Sant [2276 4333; veronica.grechsant@timesofmalta.com]

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

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THE PROJECT

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Enduring sophistication Renowned for its technical prowess and elegant interiors, RPW Design has been entrusted with combining beautiful interiors and functionality at the Malta Marriott Hotel & Spa, which is opening in the coming weeks.

Elizabeth Lane, a partner at the leading international interior design consultancy, says shaping the personality of a hotel space starts by understanding the culture of its setting and then building on that through all the details. Her goal: to make the difficult possible for clients.

What was the brief?

Our brief was to rebrand the hotel from Le Meridien to Marriott by utilising the best of what was there and improving the rest.

How did you set about combining the beautiful interiors with functionality at the Malta Marriott Hotel & Spa? As a practice, RPW Design specialises in hospitality design, so functionality is always at the forefront of our minds when we start the design process. It is our job to marry beautiful design that is intuitive for the guests to experience, yet functional for operations, so we underpin the already exceptional service that the Malta Marriott team delivers. What was the concept behind the design? After thoroughly researching the beautiful area of Balluta Bay, where the hotel is situated, and analysing the

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THE PROJECT

Elizabeth Lane

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requirements of the owners, as they embark on a new era as a Marriott Modern hotel, we wanted to acknowledge elements of traditional Maltese craft in a modern way.

Throughout the corridors and bedrooms, there are subtle references to lace in the carpet and curtains; locally made pressed cement tiles used as artwork and handblown glass incorporated into the light fittings.

The original Villa garden – where the hotel is now situated – inspired RPW’s public areas by carrying natural elements into the property; the use of soft curves to move guests through the spaces using joinery elements like the bar and the wine display in the Great Room; and the use of warm tones and natural materials found throughout the floors.

What were the challenges you encountered?

Refurbishing an existing property is often more challenging than starting with a clean slate. At the Malta Marriott, we had both existing and new, so it was important to make sure that the two blended and worked together harmoniously.

REFURBISHING AN EXISTING PROPERTY IS OFTEN MORE CHALLENGING THAN STARTING WITH A CLEAN SLATE. AT THE MALTA MARRIOTT, WE HAD BOTH EXISTING AND NEW, SO IT WAS IMPORTANT TO MAKE SURE THAT THE TWO BLENDED AND WORKED TOGETHER HARMONIOUSLY

How do you start shaping the personality of a hotel space?

By understanding the culture of the hotel’s setting and then building on that through all the details.

How is handling the design of a hotel different from other projects? And what are the particular requirements?

The difference lies in remembering that there are a variety of clients with differing needs: the guests, the owner and the brand.

Where did you look to for inspiration?

We delved into the history of St Julian’s Bay, researched the heritage of the buildings in the area, and also looked into the local crafts and expertise to be able to design a site-specific product.

What materials did you look out for to weave in the heritage of Balluta Bay and the traditional crafts of Malta throughout the design in a contemporary way?

The traditional Maltese glasswork in all its bright colours; and a warm timber finish that is reminiscent of the timber exposed to sun and sea wind; while traditional materials, such as cane, raffia and lace link back to the heritage of the island.

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THE PROJECT

WE LOOKED AT THE LOCAL SURROUNDINGS, THE COLOURFUL BALCONIES AND DOORS ON THE TRADITIONAL BUILDINGS, THE WARM STONE AND THE SHADES OF THE SEA What look and feel were you seeking?

We wanted a warm, welcoming design that guests would feel comfortable in whether there for leisure or business.

What inspired the colour scheme?

We looked at the local surroundings, the colourful balconies and doors on the traditional buildings, the warm stone and the shades of the sea.

Do you have a ‘trademark’ that you impose on your projects?

No, not really, as every project is unique, and every client has different

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needs. More than a trademark, we always follow RPW’s motto when designing a hotel: Passionately Committed – Enduring Sophistication.

What is today’s traveller after?

A unique experience with full immersion into the sophisticated elements of local communities. And of course, superb food experiences that combine international cuisines with local delicatessen.

What three words best describe your project?

Local, authentic and sophisticated.

How would you describe your experience working on this project in Malta?

Fantastic, rewarding and challenging.

It was a full immersion into the generous and exquisite Maltese hospitality from a knowledgeable and passionate client team.

What do you love most about what you do?

To be recognised for our taste, sophistication and making the difficult possible for our clients, alongside the opportunity to work in the beautiful environments where five-star hotels are located.

PROJECT PEOPLE

EASY LIKE SUNDAY MORNING Anna Marie Galea sits down to more than just a slice of heaven at Sunday in Scotland in Valletta’s St Lucy Street; she goes beyond the exquisite chocolate creations to meet the artist behind them, and finds that design is a fundamental ingredient in these delicacies.

PHOTOS: MARK ZAMMIT CORDINA

PAINTED the brightest of blues, with a beautifully welcoming interior, Sunday in Scotland is like a cashmere scarf on a cold, windy day.

Ever since it opened a year ago, I’ve often found myself wandering inside it’s gleaming interiors, drawn in by the jewel-like cakes in the window and hot chocolate drinks that slide down your throat like velvety blankets.

However, today, I’m not just here to indulge and satiate my glutinous heart and, instead, I get to meet the man behind it all, Amer Wahoud.

Interestingly, Amer didn’t originally know anything about Malta when he decided to come over: “I was searching for Malta on the map and I remember I kept on zooming in to see it properly.

This curiosity triggered me to visit the island. The first time I came over was about six or seven years ago. It was before the Triton Fountain was moved to be cleaned. I think I must have come back six or seven times after that, and I ended up renting a flat.

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DETAILS ARE SO, SO IMPORTANT TO ME AND I FEEL THIS IS REFLECTED IN THE WAY THE SHOP LOOKS AND THE LOCATION I CHOSE

Amer Wahoud in his home.

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THE WONDERFUL THING ABOUT SUNDAYS IS THAT YOU CAN DO NOTHING, EAT ANYTHING YOU WANT AND DRINK FROM THE MORNING COMPLETELY GUILT-FREE. IT’S A DAY OF SELF-INDULGENCE, AND FOR ME, IT HAS ALWAYS BEEN AN IMPORTANT DAY TO MAKE DECISIONS “I fell in love with Valletta; I simply adore the narrow alleyways, so full of character, and the old architecture of the capital, and that was, ultimately, why I opened the chocolate shop and a huge factory here as well.”

Questioning why he would open a chocolate shop, or indeed, found an entire chocolate factory in a country that enjoys such high temperatures for most of the year, Amer laughs in his easy way and states: “I had been to Malta a few times before I decided, so I knew what I was getting myself into. However, truth be told, I’m a risk-taker and have always considered myself to be a forward thinker. I wanted to open a chocolate factory in Malta because this is where I felt the most comfortable living. So why not?

“I am originally from Beirut and I felt a connection to Malta and the Maltese, which reminded me of home.

I like to think of it as the Phoenician connection. Details are so, so important to me and I feel this is reflected in the way the shop looks and the location I chose.

I chose this street because it is artistic and full of positive vibes. This street is not for everyone; it is not corporate. I made sure to curate with the other entrepreneurs to open the right concept in the same street. I am surrounded by lovely boutiques. Everything at Sunday in Scotland has been custom-made for us and the results are satisfying.”

Although Amer takes pride in the appearance of his shop, this is far from a vanity project for him and, in fact, he strongly feels like it is his mission to educate the public: “The market is a difficult one and I think that took me a little by surprise. For me, it has never been about making any old cakes and sweets. We don’t mass produce any of our products. Our eclairs are made with real tonka beans; we focus on making quality items at decent, logical prices.”

So, what is the significance of Sunday in Scotland’s name? “Sunday in Scotland is a lifestyle; an authentic experience. I have always had this dream of creating a chocolate and sweet shop, and one Sunday, while I was living in Scotland, I decided to finally take up this venture.

“The wonderful thing about Sundays is that you can do nothing, eat anything you want and drink

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from the morning completely guilt-free. It’s a day of self-indulgence, and for me, it has always been an important day to make decisions. I’ve spent so many of my Sundays dreaming of having a chocolate factory.

“The name is daring – it describes the character of the shop! Even our tagline shows how our chocolate is to be enjoyed as it reads: ‘Exquisite chocolate made for idle hands.’ Which hands are more ideal than those on a Sunday?”

Although Amer constantly speaks about the luxuriousness of the Sunday in Scotland brand, that does not mean he has not kept in mind sustainability and eco-friendliness: “We are always eating chocolate, but we never think about where it comes from and who farms it. I wanted to help cocoa growers and aid in giving a sustainable life to farmers. In the shop itself, we are very eco-friendly, and our packaging is all recyclable. Our boxes are all slim and small and we try not to waste; if you come back to the shop with an empty box, we will fill it for you for cheaper. We care about the future of the planet.”

It is while we are on the subject of future that I pose the question I’ve wanted to ask from the very beginning: Will there be more Sunday in Scotland shops for me to look forward to? “I started in Malta and I would love to expand, but not in a corporate way. I want to make sure that our quality is always controlled.

We are not just a team here, but we are a family, and everyone is welcome into our home.”

TASTE

CHRISTMAS, THE SCANDINAVIAN WAY Emma Mercieca Cristiano from BoConcept Malta serves up some ideas on how we can fill our Christmas holidays with memorable and fulfilling experiences, embracing the simple and natural Scandinavian way of life, which is reflected in festive décor and present wrapping… and engages all the senses.

Christmas the Scandinavian way is much more than twinkling lights and shimmering stars, which certainly do create a great atmosphere. In Nordic countries, however, things are kept simple even at Christmas, and because it is ingrained in Scandinavian culture, the emphasis is more on engaging all the senses, living each moment and sharing beautiful memories with loved ones.

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This could be anything that gives you pleasure and puts a smile on your face and warmth in your soul, from longer, lazier mornings in bed to cooking up a treat for your nearest and dearest.

Here are some tips for beautiful, natural Nordic décor, but also ideas of how we can fill our holidays with memorable and fulfilling experiences, embracing the Scandinavian way of life.

Enjoy wrapping gifts in a simple, natural way. Apart from being better for the environment, taking the time to wrap gifts using natural materials not only looks great, but also imparts the idea to the receiver that you’ve given the gift more thought, so it’s a win-win. There’s no glittery and sparkly paper for Scandinavians; just plain brown

paper packages mixed in with a bit of simple black and white. For the finishing touch, twine, string, or velvet ribbon is the way to go, and if you want to go extra fancy, add some pretty paper labels and little pieces of foliage or dried flowers.

Make time for “fika”. This is an important one for Swedes especially.

A literal translation for “fika” would be “coffee/tea and cake”, but it is much more than that; it’s a state of mind, an attitude. It means making time for friends and colleagues, sharing a coffee or tea and a little something to eat; it’s almost like a self-care ritual. What you do is not really important; it’s all about slowing down your body and mind, and more often than not, it includes candlelight!

There’s something invigorating about the crisp winter air, and nothing beats soaking up the winter sun outside in your garden, or terrace, or taking a jog by the sea.

Although in Nordic countries the days are short and cold, everyone from the very young to the old, goes outside for a leisurely walk or a brisk jog. It lifts the spirits and clears the mind. And once you’re out, don’t DECEMBER 2019 PLACES

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Entertain friends at home.

Scandinavians love being at home, and why not? We invest so much into turning our personal space into a warm, inviting retreat that it becomes natural to seek refuge at home, enjoy our surroundings and create memories here. If any of your guests wish to spend the night, having a functional footstool that turns into an overnight bed comes in handy.

That’s also Scandinavian – everything has a purpose!

WE INVEST SO MUCH INTO TURNING OUR PERSONAL SPACE INTO A WARM, INVITING RETREAT THAT IT BECOMES NATURAL TO SEEK REFUGE AT HOME, ENJOY OUR SURROUNDINGS AND CREATE MEMORIES HERE

forget to bring home some pinecones, evergreens and winter foliage to put in your vases and use in your table centrepieces – Scandinavian homes smell like forests and wood-burning!

The process of preparing homemade seasonal treats is therapeutic in itself, and if kids are involved, it’s a great way of instilling family traditions and spending quality time during

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Christmas holidays. They will remember these memories forever, and that is exactly what Christmas is all about. In Nordic countries, winter and Christmas are also very much about engaging all the senses. In Scandinavia, everywhere you go you can inhale the smell of the forest, wood burning, or the sweet smell of Christmas baking, and scents of citrus and cinnamon from the mulled wine simmering on the stove.

THERE IS AN ELEMENT OF DO-ITYOURSELF TO THE DÉCOR, WHETHER IT IS A SIMPLE WREATH MADE OF FRESH FOLIAGE, SOME TWIGS OR BRANCHES PLACED IN A VASE, OR SOME FAIRY LIGHTS DRAPED OVER YOUR FURNITURE

Create natural centrepieces and table settings. When you look through pictures of Scandinavian interiors at Christmas, one thing always stands out – there is an element of do-it-yourself to the décor, whether it is a simple wreath made of fresh foliage, some twigs or branches placed in a vase, or some fairy lights draped over your furniture. If you want to take it up a notch, you could try your hands at creating a dramatic and an eye-catching dried flower floating centrepiece on your dining table for an element of surprise. On the table itself, you can go for smaller fresh foliage and colourful berries. Don’t forget the candlelight!

Now that you’ve been inspired to do Christmas the Scandinavian way, the team at BoConcept invites you to share your own Scandi-inspired seasonal moments throughout December on Instagram using #BoConceptSharing for a chance to win vouchers to be used in-store. A seasonal moment could be a festive dinner party perhaps, or your stylishly decorated Christmas tree, or coffee and a novel in your ‘hideaway’ armchair.

Essentially, it’s about anything that encapsulates the season for you. For more info, visit boconcept.com.mt

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DOING IT UP: DO/DON’T

THE PARIS PROJECT Mathilde M. lists seven touches to give your home a Parisian feel…

PARIS IS one of the most beautiful cities in the world, with its architecture, museums, bridges, cathedrals, sidewalk cafés, luxurious boulevards and its fine cuisine. Living there must be a dream… but you can make it a sort of reality by creating a Parisian-inspired home and achieve that feel of French elegance through the addition of a few simple touches to your interior design.

Here are seven ideas to help you with your project:

1

Make your rooms stand out by adding an oversized gilded mirror.

The bigger, the better! It is a trend in Parisian homes to have a mirror

sitting or hung on top of a marble fireplace in the living or dining area.

Of course, the theme must be continued, and the mantelpiece decorated with French-inspired ornaments such as big and bulky candle holders, sculptures and candelabra.

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The bathroom is a space where a French theme would fit perfectly. It is important that natural materials are used for the floor and walls, as well as light pastel colours, unless you opt for a classic themed wallpaper to create a cosy feature wall. Adding a free-standing classic bath, preferably with antique gold

painted legs and matching old style faucets would make the room stand out, while if there is enough space, you can also add a small baroquestyle dresser, or a large oversized mirror against the walls. A wooden or crystal chandelier would complete the room by giving it that touch of class.

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A chic Parisian home is all about creating interesting patterns, shapely pieces and a subdued palette. So, keep away from using bold and bright colours. If you want to add some vibrancy to your space, a classic wall painting would do the trick perfectly.

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DOING IT UP: DO/DON’T

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There are no specific rules when adding that Parisian touch to your space and you can experiment as the ideas flow. Mixing modern and traditional styles by adding a modern rug, an unusual lamp, or some modern art prints can inject a bit of playfulness in your room and make it more interesting.

A TOUCH OF GOLD IS ALSO CUSTOMARY AS GLAMOUR IS A MAJOR PLAYER IN PARISIAN INTERIORS

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White molded walls are a typical signature of French culture, a tradition that started way back in the 14th century in French churches, got refined by time and started to inhabit the residences of the nobility of France in the 17th century.

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A touch of gold is also customary as glamour is a major player in Parisian interiors, and that little bit can often be the key to achieving the objective. It doesn’t need to be a focal point. Adding just a few touches, such as table legs painted in antique gold, installing gold handles or knobs to your windows and doors, or just hanging a gilded frame over a fireplace can equally have a major effect on the whole room.

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A French-themed space is not complete unless a few obligatory essentials are included. Large antique rugs, vintage wooden or crystal chandeliers, floral wallpaper or wallpaper that mimics classical architecture, distinctive armchairs, throws, cushions and sculptures are just a few of these.

The best Parisian interiors are a mix of periods and styles, so don’t be afraid to mix and not match. After all, the fun of decorating a space is to venture on a varied journey; then choose what fits your lifestyle for that truly personalised French-inspired space.

Mathilde M.’s French-inspired products are available exclusively through Finesse – Home, Beauty & Giftware. You can view a selection of French home décor and furniture at the showroom in Msida Valley Road, Birkirkara. Call on 2149 0220, send an e-mail to info@finesse.com.mt; or visit finesse.com.mt for more information.

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TRENDS

PHOTOS: CHRIS SANT FOURNIER

IN WITH

THE OLD

Retro ware takes centre stage in Vanessa Conneely’s stall, The Blind Hedgehog. Here, Iggy Fenech chats to the entrepreneur to discover the idea behind this sustainable venture.

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BIRGU’S streets are chock-ablock with history and you quickly get a sense of that as you venture off the main piazza and into the city’s many winding paths. Yet as you head onto Triq it-Tramuntana, it’s a relatively new establishment that is sure to capture your eye and imagination: Find the Door.

Located in an old bakery that dates back to the time of the Knights, the cooperative inside it brings together 11 artisans, artists and collectors to create an environment that is bursting with colour, ingenuity

and beauty. Today, however, I am here to speak to one in particular: Vanessa Conneely, who co-founded the co-op and runs the retro stall, The Blind Hedgehog.

“Climate change has always been a big part of what I do,” she tells me as I take a seat on one of her rattan two-seaters. “I’ve been a vegetarian since the age of 11, and I’ve tried to shine a light on the matter through all my previous roles.”

Vanessa, who now also forms part of the team at Allied Newspapers, worked as a TV and print reporter in

Ireland, with CBC in Canada, Al Jazeera in Qatar, and as a TV producer in Turkey, before moving here in March 2018. It wasn’t until this May, however, that she and her business partner, Catherine Alegren, decided to form the cooperative.

VANESSA’S STALL SEEKS TO GIVE OLD, UNWANTED ITEMS A NEW HOME

The aim of Find the Door was – and still is – to bring locals and tourists beautiful Maltese products, a range of locally-sourced and -made souvenirs and goods. Vanessa’s stall, however, goes a step further as it seeks to give old, unwanted items a new home.

“I source about 20 per cent of my products from Facebook pages, with the other 80 per cent coming from charity shops because I want the money to be clean. Some may think it’s unfair that I make a profit off this, but I believe in a circular economy:

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TRENDS

A LITTLE MINDFULNESS WHEN IT COMES TO OUR POSSESSIONS AND SHOPPING COULD GO A LONG WAY

charities are making money, I am making a small profit, and the end consumer is getting a curated selection and, if they purchase, a beautiful item to adorn their home with.”

The prices at Vanessa’s stall are, indeed, reasonable, with things starting at around €5 and rarely reaching €100.

The selection is wide and includes brass candleholders, 1970s crockery, ceramic pots and upcycled cushions dressed in covers fashioned out of old dresses and shirts, among many other beautiful things.

“The truth is that, in Malta, not everyone feels comfortable walking into charity shops. I love them, however. Indeed, I’d be shopping for items anyway and only have so much room in my house.”

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Of course, the main driver for Vanessa’s venture is much more intricate than simply re-selling. She hopes that by showing people a sample of the beautiful things that other people would have disposed of, she will make them realise how a little mindfulness when it comes to our possessions and shopping could go a long way.

“Buying new items should come with a series of questions: Do you know where they’ve come from?

Do you know if another person on the other side of the world got paid fairly to make them? What is this new item replacing in your life? Do you need it? And how is it affecting the environment?”

Vanessa is particularly adamant about the last point, with all her

products coming solely from local sources. Indeed, she neither imports nor exports her products, and explains how a German customer, who asked her to ship a number of her rattan chairs to his home country, simply got no for an answer.

“It’s useless to talk about climate change and then throw it all away for financial gain,” she says.

This love for recycled items comes from her time in Turkey, where cobblers, rugmakers and upholsterers line the streets and where secondhand culture thrives.

“While living there, I saw a city of 20 million people reuse and sell items – and there’s no stigma attached to it!

In the West, meanwhile, we have a culture of throwing things away…

Even the idea of repairing things has vanished over the past few decades!

“I think that’s what is wrong with society on the whole these days; we don’t appreciate what we have.

I simply don’t want to be a part of that anymore and I’m hoping others will follow suit by giving a new home to the items I choose to display in my stall.”

Together with Vanessa, the other 10 stalls that include a silk scarf maker, jewellery designers, 3D printing artists, and a tiny library where people can pick any books for free, now want to take all this further by not simply selling their wares, but also helping people create their own – more often than not with things they would already have at home.

“Starting in January, we’ve got workshops every Wednesday in a variety of subjects like sewing, jewellery-making, macramé and painting. People will be able to come here, pour themselves a glass of wine and join us in creating whatever it is we have on that week!”

This passion for giving old things a new home and endorsing local is, indeed, wonderful, particularly at this time of year when so many of us buy carloads of presents. From my end, I know I’m sorted!

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LIVING DESIGN

THE ROAD TO THE NEW MALTA BUS Jonathan Mizzi, director of London- and Malta-based design studio, Mizzi Studio, recounts his seven-year journey to bring a cherished cultural icon back to the imagination of the Maltese public.

IT WAS seven years ago when I first conceived the idea that had the power to reawaken a nationwide obsession. I was stuck in a place where many thoughts have undoubtedly crystallised before this one – traffic.

But it wasn’t just the tedious passing of time that had encouraged my imagination to land on a concept that would ultimately align all of my passions into one selfmotivated project; it was the fact that I was stuck behind a non-descript blue, bendy, Boris Johnson bus, dismayed by the inheritance of ugliness that our roads had succumbed to, and mournful that one of Malta’s greatest icons of design had been lost forever. It was a strange kind of eureka moment – a mix of stabbing nostalgia, partnered with an intense swell of motivation.

A few weeks earlier, back in London, I had paid a visit to the V&A’s newly opened exhibition, Heatherwick Studio: Designing the Extraordinary, where a full-scale model of a newly imagined London Routemaster bus had been dissected in half and put on display as one of Heatherwick’s landmark design contributions to the city and, indeed, entire nation.

It wasn’t just an admiration for the design, or for the designer’s re-telling of a classic design story, that had intense impact; more significantly, it was the realisation that London as a city had placed serious stock on the notion of cultural tradition. It had understood the value of heritage, the value of celebrating design as identity.

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The classic London Routemaster had once represented the UK’s supremacy in industrial design, and Thomas Heatherwick’s new iteration had now entered the scene to augment that pioneering legacy. Malta categorically needed its own moment; its own defiant reminder that we were a nation who cherished beautiful things. We needed a new Malta bus.

My parents were the first to hear about my great realisation. My mother, having championed cultural heritage throughout my childhood, was resolutely encouraging of the idea. My father, who had instilled in me a love of automotive design from infancy, was supportive, but sceptical that I could ever find enough practical appetite to get an idea like this off the ground.

I moved forward.

The next people I told were my team – a collective of multidisciplinary designers who held the same optimistic sense of wonder that I consider characteristic of my personal ethos. They bought into the idea enthusiastically, although nobody told me until recently that they thought I was delusional! Nevertheless, all were game for trying.

Designing a new bus for Malta transformed from a seedling of an idea to an active project within the studio.

It kept evolving for the next seven years.

The first step in the process was understanding how to transpose the design successes of the classic Malta bus onto a modern-day chassis. We needed to

understand the ins and outs of what made the original fleet so special. We undertook a long and laborious process of looking at every historic bus model, starting from the 1940s all the way to the 1980s – every curve, grill, texture and contour was documented through sketching and a collection of archival imagery.

Eventually, we were able to extrapolate a winning design essence and map it onto our own version. The bones of the new Malta bus finally emerged – a machine that married functionality with style, culminating in an expansive front vision panel and split posterior windscreen that echoed the lines of a Maltese cross.

The initial design for the bus came straight from my gut and was fortified by the team’s extensive research.

It never drastically changed, but merely went through years of evolution and refinement. The new Malta bus took its stylistic cues from its beloved ancestors, pulling in the flair of Art Deco accents, gritty chrome detailing and anthropomorphic features, and translating them into sophisticated, contemporary design.

We took design challenges in our stride – as a studio we take on multidisciplinary work, designing projects of all scale, scope and intention to equal levels of detail – so we remained nimble and undeterred by technical or aesthetic obstacles. The greatest challenge went beyond the drawing board and into uncharted territories of launching, promoting and securing practical support for the eventual realisation of a new Malta bus.

As a team, we knew we needed to captivate people from beyond the design industry in order to gather meaningful backing. We needed to convert what could have easily been seen as a vanity project into an endeavour that felt crucial for the islands. So, we quickly understood that we had to build a narrative around the design; to create a vision that was built on that same sense of nostalgia and longing that I’d felt so deeply on that contemplative day sat in traffic. We decided we would build a model, launch an exhibition, and develop a feature film that told the story of a dream reborn. We just needed the money to do it.

THE BONES OF THE NEW MALTA BUS FINALLY EMERGED – A MACHINE THAT MARRIED FUNCTIONALITY WITH STYLE, CULMINATING IN AN EXPANSIVE FRONT VISION PANEL AND SPLIT POSTERIOR WINDSCREEN THAT ECHOED THE LINES OF A MALTESE CROSS Our team’s greatest challenge came a few years into our project, when the world of transport had graduated from hybrid-powered vehicles to electromobility. We accordingly had to amend our design to compensate for the large batteries the machines would need to power them sustainably on Malta’s roads.

The hardest days of the Malta Bus Reborn project followed this realisation, when alongside all our design work, our efforts in engaging professional 3D-model makers, film producers and media experts, we had to professionally pitch our concept and lock in funding to make it all happen.

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LIVING DESIGN

Visualisations by Stargate Studios

Receiving a Malta Arts Council grant was the first vital win for us – it meant that, if nothing else, our idea to hold an exhibition introducing the bus to the public could happen. Over the next few months and a series of highpressure meetings, we emerged out of a – at times deeply dispiriting – pitch process with the support of Heritage Malta, Malta Public Transport, Mizzi Organisation, Transport Malta, Eden Leisure Group, Gadgets, Lovin Malta and Stargate Studios. We took a deep breath in and realised this was no longer a concept – it was finally becoming a reality.

Building the model and scripting the project’s feature film was a truly exciting phase within the bus’s evolution.

It allowed us to live out what we always dreamt this project could bring – working collaboratively with diverse creative thinkers and makers to visualise one aspirational design solution.

At this stage, we were able to capitalise on our studio’s legacy in digital design and craft, and my own background in digital set design, visual effects and animation. We worked closely with both our 3D modelmakers and Stargate Studios to create productions that were complementary – a 1:6 scale model that would allow audiences to familiarise themselves with the new bus on a granular level; and a six-minute long video that would enable them to envision the new bus in full glory driving along the islands’ roads.

As preparation for the launch of the Malta Bus Reborn exhibition propelled forward, conversations with important supporters continued to evolve. Perhaps the most poignant moment came when the Transport Minister, Ian Borg, pledged to throw his support behind the project, promising to not only back the exhibition but to meaningfully interrogate the viability of producing a new, fullscale fleet of Mizzi Studio buses and bringing them onto Malta’s roads. I remember thinking back to my 29-year-old self, struggling to convince my father that – yes – this project would one day have legs. Now, it did.

It’s my distinct belief that Malta’s industrial heritage is just as important as its architectural heritage – this project is about celebrating that. The classic buses that served our roads form part of an infrastructural network that spanned our whole nation. Before our island’s radical expansion of private car dependence, buses were the lifeblood that fuelled our connectivity across every arterial

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Jonathan Mizzi PHOTO: JOSHUA MILLAIS

road. They also served us with such beauty and were driven and decorated with such pride that they have left an indelible imprint on our nation’s collective memory.

Each bus was unique, personalised by their owners with names of loved ones, or with social, cultural and religious references – people remember the ‘Ave Marija’ bus, the ‘Elvis Presley’ bus, the ‘Marilyn Monroe’ bus. They remember their glass and chrome faces, puppy dog headlamps, delicate tberfil, their colour, their joy. The decommission of Malta’s old fleet was understandable – our ancestral machines were very old, they’d ran their course, they were hurting the environment, providing no disabled access or adequate cooling systems. But their spirit knew no expiry date.

The road to envisioning and designing a new bus for Malta has been a long, and at times deeply testing one.

It’s the longest, most expansive and resource-consuming project my studio has ever undertaken, and there were times when I questioned whether I had been fair to insist on seeing this self-driven trajectory through.

But when our team got its first glimpse of the Maltese public’s reaction to the design, we knew it had all been worth it. Hundreds of thousands of views and shares on social media; polls showing upwards of 89 per cent of locals supporting bringing the bus to Malta’s roads; a slew of both local and international press; and comments so encouraging and uplifting that we finally understood just how deep a hole the erasure of the old Malta bus had left.

Our new bus looks to usher back to the forefront the significance of Malta’s historic fleet, enshrining its cultural impact within the living pages of contemporary public transport history. We have worked over seven years to design new, environment-driven priorities into the evolving narrative of the Malta bus, while envisioning a model that recycles and renews the most beloved features of the original 20th-century vehicles.

We believe the realisation of the new bus can fundamentally change the way Malta looks and works. And that’s not just because one bus would alleviate 1,000 square metres of private automobiles off our roads, but because it would also support our enduring affection for tradition, craft, mechanical excellence, and the value of identity-shaping design. There is simply no price you can put on our heritage.

CONSERVATION CORNER

During cleaning

Detail of cracks

BY THE DEVIL WITH THE BRUSH

Our Lady of the Rosary

In the final article of a three-part series, conservator Roderick Abela from ReCoop focuses on seven paintings on canvas by one prominent artist, Giuseppe Calì, who left a mark in Maltese art history in the late 19th and early 20th century, and whose workshop was so busy that he was nicknamed ‘The Devil with the Brush’.

OF THE 14 canvas paintings from the Basilica of the Assumption of Our Lady in Mosta, which have undergone restoration in a project partly financed through the European Regional Development Fund [ERDF], seven are by Giuseppe Calì [18461930], and of these, only two are dated: Our Lady of the Rosary, 1870, and St Catherine of Siena in front of Pope Gregory XI, 1878. The others

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include St Dominic Preaching, The Vision of St Monica, The Death of St Augustine, The Annunciation and The Visitation.

Working on this set of paintings, a progression in the artist’s technique was noticed. He moved from a very meticulous approach, building the painting in thin glazes in his early works, to a freer manner, leaving several brushwork visible in later times.

The oldest one is Our Lady of the Rosary, measuring 317cm x 183cm. It is signed and dated ‘Calì, 1870’. He was around 24 years old when he finished the work and it is also said that this was his first commission for a church.

His technique here is very meticulous and detailed. The paint layer is built in thin glazes and finely blended.

Obviously, he wanted to impress.

Calì carefully sectioned the painting in a balanced manner, placing the Virgin Mary, holding the Christ Child on her lap, with angels, on top; and just beneath, he placed St Dominic and St Catherine of Siena, both wearing Dominican vests, with their arms open.

An ultraviolet image of St Dominic Preaching before restoration

The Visitation

They are receiving the rosary from the Virgin and Infant Jesus respectively.

Two other paintings that show the same meticulous style are St Dominic Preaching, measuring 151cm x 315cm, and The Visitation, measuring 109cm x 147.5cm. The panting of St Dominic Preaching describes the passage in the life of the saint in which he is reciting

the rosary, while converting the heretic Albigensians. Calì’s signature is present at the lower right side of the painting.

The painting of The Visitation describes the moment Mary, pregnant with Jesus, visits her cousin Elizabeth, pregnant with St John the Baptist. This painting is also signed G. Calì on the right side.

In these three paintings, besides being detailed, Calì seems to have preferred mixing more varnish to the colours, which made the cleaning process more painstaking.

St Catherine of Siena, The Vision of St Monica, The Death of St Augustine and The Annunciation can be related to a more mature and confident Calì.

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CONSERVATION CORNER

St Catherine of Siena

We can see much freer brushwork, thick impastos, with still well-blended colours and balanced compositions.

Their dimensions are very similar to the painting of St Dominic Preaching.

The painting of St Catherine of Siena measures 151cm x 317cm. It represents the visit the saint paid to Pope Gregory XI, together with Blessed Raymond of Capua, urging him to return to Rome. It has a wellbalanced composition, placing the female saint at the fulcrum of the painting. Calì has here inscribed Musta 1878, showing he was 32 years old when painting it.

the freest brushwork of all the paintings. This can lead to the assumption that, most probably, it is the latest one. Calì’s signature is found at the bottom right side.

The Annunciation is almost the same size as The Visitation, measuring 110cm x 151cm. Again, Calì managed to create a striking composition with the angel Gabriel coming down from the skies towards the Virgin Mary, portrayed kneeling with arms wide open. Interestingly, here Calì signed in disguise within a bundle of hay.

Painted by the same artist, within a ‘limited’ period of time and exhibited

SEVERAL PAINTINGS HAD HOLES AND TEARS PRESENT, ALONG WITH A LAYER OF DUST THAT WAS DEPOSITED AND GOT EMBEDDED IN THE TEXTURE OF THE PAINT The Vision of St Monica measures 151cm x 318cm. The poses of the angel and the saint are extraordinarily dynamic and the impastos are quite thick. Here, no signature or inscription is present, but the technique of Calì is evident.

The Death of St Augustine measures 151cm x 306.5cm and has

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in the same church environment, their state of conservation was very similar and so were the conservation treatments carried out.

The paintings went through the same scrutiny, consisting of examinations in diffused, raking and ultraviolet lighting and infrared imaging.

These exposed several interesting

During retouching

The Vision of St Monica The Annunciation

details like the use of speciďŹ c textures according to particular sections of the paintings and other marks relating to pentimenti. Several cracks, mainly ageing ones, were present, especially in those with a thick paint layer.

Several paintings had holes and tears present, along with a layer of dust that was deposited and got embedded in the texture of the paint.

All had an aged layer of varnish and retouchings, while Our Lady of the Rosary, being a side altar painting, had several wax drippings on the surface.

They were all dismantled from their respective auxiliary wooden supports and cleaned from any dust, paint

The Death of St Augustine

drippings and patches present at the back. The paint layer was consolidated and the tears were joined and mended using linen threads.

Strips of linen canvas were subsequently added to the perimeter, attached at the back by means of a heat-activated synthetic adhesive. This process permitted better stretching back onto their original auxiliary support, which had been cleaned and reinforced beforehand.

After the re-stretching treatment, the painstaking cleaning process commenced, removing the thick varnish layers and all the overpaintings present.

Special attention had to be given to

those where varnish was mixed within the preparation of the pigments.

New gesso was applied where necessary, levelled and textured to match the surrounding layer. Losses were retouched with reversible varnish-based pigments and an ultraviolet absorbent varnish was applied, saturating and protecting the overall surface.

One cannot possibly render justice to these paintings by words alone.

A visit to the Mosta Rotunda is highly recommended in order to appreciate these and other works of art displayed within the church on permanent exhibition.

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ON SHOW

PEOPLE, PEOPLE EVERYWHERE

Eight of Malta’s most renowned artists and sculptors will once again populate the same exhibition space in the second edition of Xebgħa Nies collective with their unique, often whimsical, take on humanity with all its flaws and glory. Exhibition curator Caroline Miggiani tells Adriana Bishop how the artists wanted to spark “an inward laugh”.

WHAT HAPPENS when a motley collection of artists and sculptors get together to exhibit their works under the same roof? How do you tame the babel of multiple conversations that are sparked off by such a disparate, yet at the same time complementary, jumble of artistic expressions?

Following on from the success of the first edition of Xebgħa Nies back in 2014, the same group of artists and sculptors [with a couple of new faces] return to present their reflections on humanity and life’s idiosyncrasies with an exhibition featuring over 50 works in which the human figure takes centre stage.

Bound by a long friendship and a shared predilection for painting or sculpting the human figure in all its wonderful and varied forms, the eight artists provoke, inspire, tease and treat us to a commentary about the men and women who appear in their art as a mirror to life in general, with the odd twist, while eliciting an “inward laugh” or, at the very least, a gasp.

Despite exhibiting under one umbrella title, the artists actually resisted working around a theme.

“They don’t do that,” pointed out Caroline Miggiani, who has been entrusted with the task of curating this year’s collective. “But, interestingly enough, I picked up on two common threads across their work. First of all, they are very aware of what is going on environmentally around us and there are five or six works that address that.

“Then there is also a vague undercurrent on the theme of freedom or lack thereof. These two concepts tie the exhibition together but in a loose way. While being seemingly very diverse, the works are linked together.

“The artists are all painting or sculpting life, what they observe and what really strikes them. They are all struck by how fragile we are and what it means to be human in a modern environment. For them, it was

important to spark that inward laugh and to create a link with the viewer through that element,” she adds.

Caroline started working on Xebgħa Nies 2 back in August last year, adopting a “very democratic way” of organising the artists’ myriad requests and opinions by ensuring that all decisions were taken collectively via that most modern reincarnation of democracy, the WhatsApp group chat.

Francesca Balzan, Gossips, fired clay, 2019.

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ON SHOW Saviour Baldacchino, Guarding the Throne, oil on canvas, 2019.

Satire is another common thread running through most of the works, from Saviour Baldacchino’s corpulent woman sitting on the toilet doing her business while her dog faithfully keeps a watchful eye [Guarding the Throne] to Debbie Caruana Dingli’s The Life Class in which two male art students seemingly get more than they bargained for when a horde of naked men and women of all shapes and sizes crowd into a studio all vying to be painted. Who said artists only paint the perfect body, if such a thing even exists?

The artists’ friendship between them extends to how they view their art in relation to each other’s work.

Caroline revealed that Andrew Diacono asked for his work to be displayed alongside that of Debbie Caruana Dingli with whom he has exhibited in the past. It is now up to Caroline to sort out the “headache” of arranging the works in the vast halls of Palazzo de la Salle in Valletta, the seat of the Malta Society of Arts.

As she pointed out, the palazzo has “a lot of apertures” that are

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Debbie Caruana Dingli, The Life Class, oil on canvas, 2019.

Andrew Diacono, Man on a Tightrope, acrylic, 2019.

Caroline. “We don’t like being criticised; we don’t take criticism too generously,” she concedes.

“These works instill a reflection on life around us. When you can identify with the subject in front of you, it removes art’s aloofness and makes it a bit more accessible.”

And social media is also helping break down some of that aloofness, which often makes art exhibitions seem elitist or intimidating to the

WHEN YOU CAN IDENTIFY WITH THE SUBJECT IN FRONT OF YOU, IT REMOVES ART’S ALOOFNESS AND MAKES IT A BIT MORE ACCESSIBLE compounding her planning challenges, not to mention some questionable frescos. In fact, Francesca Balzan makes it a point to comment on the exhibition space itself with her sculpture Art Historians in which two elderly men, represented by just their very detailed clay heads, look up at the offending ceiling with pursed lips in utter disgust. But fear not, this is no slur on the eminence of the Malta Society of Arts. It was, in fact, created with the Society’s knowledge and consent.

Oh, we find it so hard to laugh at ourselves, don’t we, I remark to

uninitiated. “Facebook has really broken down the barriers,” explains Caroline. “All the artists have their own Facebook page with their own followers. When we created an event page for the exhibition, we were all surprised that the page received so many likes within the first few hours, and within two days, it had reached 1,500. That is making art more accessible. People can relate to art as soon as it is posted online. The theme of the exhibition and the artists themselves broaden the appeal.”

The exhibition’s sub-title, The Human Clay, is a direct reference to the creation of man from clay as

Kenneth Zammit Tabona, The Music Lesson, watercolour, 2019.

alluded to in religious texts and now backed by scientific research, which indicates that life on earth may have originated from the pure minerals found in clay.

In her opening notes to the exhibition’s catalogue, Caroline quotes W. H. Auden from his 1937 Letter to Lord Byron in which he states: “To me Art’s subject is the human clay” – an apt reference reflecting the ethos of the artists, especially considering that three of them, Balzan, Diacaono and Paul Scerri all work with clay.

Balzan’s talking heads clay sculptures take on a life of their own with their intricate detail. Two of her works were inspired by post-war economic migration, which saw thousands of Maltese leave the island in search of a better life – a topical theme even today. In Malta Boys, the clay heads were modelled on passport application photos of 14 men who emigrated from Malta.

They are laid out on a chessboard, like pawns in the lottery of life. “No one knew what life had in store for them; what fortunes lay ahead,” remarks Caroline. “It makes us think about migration and what makes people leave their home.”

Kenneth Zammit Tabona also looks back at the past, but in a very different way, using his trademark “lyrical and opulent” watercolours to highlight a certain kind of lifestyle richly furnished with chinoiserie,

Steve Bonello, The Tree Hugger, pen & ink, 2019.

Paul Scerri, Stigmata, clay with coloured glazes, 2019.

Marisa Attard, Ma Belle, acrylic and collage, 2019.

heavy drapes and gilt mirrors and populated by elegantly dressed women and suave gentlemen. Music and theatre are the key ingredients of the mis en scene in his paintings because of course “all the world’s a stage and all the men and women merely players”, as the Bard famously pointed out.

Marisa Attard’s humorous, quirky characters are bound to elicit a smile, if not an outright giggle. Her charming paintings are packed full of micro-details that belie a second or even third glance, revealing a more serious undercurrent with references to local socio-political events.

Also instigating social comment are Steve Bonello’s works. The veteran cartoonist and environmental activist uses his cartoons as “universal commentaries of human life”. When working as an artist, his drawings in coloured inks allow him to be “freer to explore his own creativity”.

Another committed environmentalist, Scerri feels strongly about the destruction of Malta’s natural beauty and is also sensitive to the island’s problem with overcrowding, which is highlighted in Gray Throng, where a group of people squeezed together are jostling and vying for space on top of a small marble block.

Of course, this is all open to interpretation. “The artists just want to take us there and leave us to think for ourselves,” points out Caroline.

Xebgħa Nies 2 – The Human Clay is open from December 5 to 19 at the Malta Society of Arts, Republic Street, Valletta. The exhibition will be closed on December 13, and a gallery talk will be held on December 7 at 10am. The exhibition is being organised with the support of APS Bank Ltd.

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SPEAKING VOLUMES

Over the threshold

PLACES: DESIGN & LIVING opens up to a wide cross section of Malta’s doorways, gateways and portals from the humblest to the most architecturally significant to the whimsical.

Magisterial Palace, Mdina

Residences in South Street, Valletta

A DOORWAY can tell a story about people, places and culture and can be viewed as a concentration of architectural drama. It gives an idea of what we can expect to find inside and can also present an opportunity or an obstacle to the person who wishes to pass through it.

Our island certainly has no shortage of interesting doors and intriguing architecture, and Prof.

Conrad Thake, architect, urban planner, architectural historian and senior lecturer in the department of History of Art at the University of Malta, has captured this in his latest publication Doorways of Malta.

The book is a companion volume to Portals of Valletta and explores the various styles of doorways, gateways and portals from the humblest to the most architecturally significant to the

Monte di Redenzione Gate, Mistra

SINCE ANTIQUITY, DOORS COMBINED WITH THRESHOLDS HAVE BEEN A CRITICAL ARCHITECTURAL ELEMENT IN THE COMPOSITION AND ORGANISATION OF SPACE AND THE WAY IT IS EXPERIENCED whimsical; from the Megalithic Temples of Ħaġar Qim and Mnajdra to the monumental structures of the Order of the Knights of St John and the colonial period through to contemporary times.

“Since antiquity, doors combined with thresholds have been a critical architectural element in the composition and organisation of space and the way it is experienced,” says Prof. Thake.

In his book, he covers a wide cross section from modest domestic dwellings to those that are unique – such as the portal of the entrance

pavilion of the Ottoman Muslim Cemetery in Marsa or the entrance loggia to the Alhambra in Rudolph Street, Sliema – both of which were, incidentally, realised in an Orientalist style. Others are simply intriguing – such as the Casino Notabile pavilion in Rabat, or the entrance porch to the Weslyan Methodist Church in Floriana.

In other instances, secular and sacred architectural representations make political statements. This was a tactic employed by the Romans and later adopted by the Order of St John, with good examples being

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SPEAKING VOLUMES

IDEAS & MORE GOOD DESIGN CAN MAKE THE WORLD A BETTER PLACE DAAA Haus celebrated 10 years of innovative projects and design as a lifestyle with a gala party at the Cugó Gran Macina Grand Harbour Hotel, a flagship project of the studio. The multidisciplinary architecture and interior design firm, with offices in Malta, Milan, Ragusa and soon in India, is committed to making the world a better place through good design – a belief that has been guiding DAAA Haus for a decade.

Alhambra, Sliema

Archbishop’s private altar, Bishop’s Palace, Mdina

the baroque style gateways on the Margherita and Cottonera lines, where a bronze bust of the Grand Master was incorporated into the design, with inscriptions making reference to his achievements!

During British rule, there were attempts to emulate the legacy of the knights by building imposing gateways, the most notable being Victoria Gate in Valletta.

While religious and public buildings were often elaborately constructed, on a domestic level within traditional towns and villages, doorways were often made from materials at hand and took on a more modest appearance in keeping with their owners’ aspirations. Security and protection from the elements would usually have been the prime considerations – although

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in the case of private stately residences, they could still be quite elaborate.

Informative and visually captivating, Doorways of Malta effectively takes the reader on a journey and is intended as a celebration of local doorways of all shapes and sizes.

Photographed in black and white

by Dr Charles Paul Azzopardi, thousands of images were taken and a vigorous selection process followed, with those best demonstrating the nuances of light and shade chosen.

The publication not only demonstrates the symbolic importance of gateways and portals, but also leads to a greater appreciation of their historical context for a greater understanding of our rich architectural heritage.

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ART/CHITECTURE

When structures are as beautiful as nature...

Pensive and philosophical in his speech, it is little wonder that world-renowned architect Claudio Silvestrin once compared being an architect to a priest: it is imperative for both that you have a vocation. Anna Marie Galea sits with him right before his talk at studjurban’s Architecture Alive series and learns more about his definition of architecture and the importance of having a mission.

“IN TODAY’S world, people would have us believe that everything is subjective,” Claudio Silvestrin states thoughtfully. “However, when there is the sea in front of you, a beautiful mountain, an indescribable sunset, that is when you feel that wonderful sensation of emotion…

“When you are removed from everyday activity and in front of the wonder of life and you get that overwhelming feeling, that is what I want people to feel when seeing my designs. That is the definition of architecture for me: when structures are as beautiful as nature.”

Of course, this would be the ideal scenario; reality is very different: “Architecture today is a bit of everything patched together. Beauty has become insignificant although there is nothing more important. Contractors try to get 10 flats out of a space that can only comfortably take four, and this is the reality not only of Malta but everywhere.

“Thankfully, this is starting to change very, very, very slowly. Beauty is not a subjective concept and that is the beauty of it. When I visited the Hypogeum just now, it was so wonderful that I felt like I was floating.

I felt the magic and the mystery of the structure’s walls. When something is so very powerful, you have no choice but to stay silent in front of it in awe. What is that if not architecture?”

Claudio Silvestrin Architects was established in 1989 with offices in London and, since 2006, in Milan as well. The work of the practice encompasses resorts for private residence, art galleries and museums, restaurants, luxury retail stores and furniture design.

Rather than indulging in the spectacular and hyperornate, Silvestrin’s projects are understated affairs, serene and meditative. His most recent is a fashion mall of 40,000 square metres in Turin. Author of several publications, the award-winning architect’s clients include Giorgio Armani, Calvin Klein, Illy Coffee, Princi and Rainer Becker of Zuma.

Silvestrin spends much of his time travelling from one place to another [he arrived in Malta fresh from a meeting with internationally acclaimed hip hop artist and producer Kanye West], and says he would never design anything unless he has first visited the site.

“There is nothing better than feeling the vibrations of a site. You can feel the earth beneath your feet, or touch it with your hands. You need to get a sense of a space to be able to honour it in the right way and you can’t do that just from looking at photos.”

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ART/CHITECTURE

EVERYONE IS INDIVIDUALLY RESPONSIBLE FOR CREATING OR HELPING TO CREATE BEAUTIFUL STRUCTURES. ALONE, THE ARCHITECT IS WEAK AND CAN’T GO AGAINST A TIDE OF PEOPLE WHO ARE AGAINST HIS WAY OF THINKING

Torino Outlet Village, Settimo Torinese, 2017

Kanye West Loft, New York, 2007

Neuendorf Villa, Majorca, 1991

So, is he ever overwhelmed by a space? “I feel like I was born to do this. I don’t sit down and think about things; I have intuition and I think very fast. This is not something you can learn at school.

“I feel that architecture is now moving into two different and opposing directions: On the one hand, there is this consciousness and openness to something that goes beyond what is fashionable and beyond a particular time; and on the other hand, there is the conservative direction that is scared of openness and not open to mystery. This latter way of thinking doesn’t open you up to something bigger than yourself. It’s basically an openness to magic versus an ‘unopenness’ to magic.”

Someone who is definitely open to the magic is one of Claudio’s favourite clients and friends, American rapper and entrepreneur Kanye: “I have known him for 15 years and, simply put, he is a genius. I have always been lucky to work with inspiring people as they evolve through you and you evolve through them.

“When he first became famous, there was a short period of time when Kanye tried to work with other architects, but now, we are back to working together again. I was really touched when he told me: ‘You are you; that is why I come to you.’

“Working with him has always been such a powerful experience because he offers a high level of challenge.

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PHOTO: RAMON PORTELLI

Cannon Lane House, London, 2016

Now, we are working together on something in Wyoming. The land there is so, so unspoiled. There are buffalo ranches everywhere and wide, open spaces.

“I started doing some research for the project and I found out that, originally, the land was inhabited by American Indian tribes. Around 150 years ago, one of the chiefs of those tribes said that people came to the land, saw the beauty of it and when they decided to stay, they destroyed this beauty. We are doing something architectural to preserve this beauty. It’s important that you at least have a target or a mission.”

Silvestrin does not only stress the importance of having a mission, but also speaks about the problem with many people not having one: “When there is a lot of rubbish around, people simply get used to it. Of course, one shouldn’t simply blame the architect for this as he is just a cog in a bigger wheel.

“Everyone is individually responsible for creating or helping to create beautiful structures. Alone, the architect is weak and can’t go against a tide of people who are against his way of thinking. Everyone around him too must be on the same page; we should all be on the same page.”

The next talk in the Architecture Alive series, organised by studjurban, is scheduled for February 26, 2020, and is featuring Prof. Harriet Harriss, Dean of the Pratt School of Architecture in New York.