Places - Design & Living (February 2017) by Times of Malta

PLACES ISSUE 14 FEBRUARY 2017

Design & Living

SURFER DUDE INFLUENCES ON INTERIORS Laid-back layouts

A sculptural copper canopy COME FOR A COFFEE IN THIS LONDON COCOON

If walls could talk RURAL VILLAGES REVISITED

GREENERY IS THE COLOUR OF THE YEAR

Let it grow on you

A little nest in the sky Living light in a humble home

THE BLUEPRINT PHOTO: DARREN AGIUS See story on page 18

PLACES

Design & Living

ISSUE 14 FEBRUARY 2017

MY DESIGN

THE PROJECT 12 The Calming Effect Reflecting a character and lifestyle BUILDING A BUSINESS 18 In the Hood Hip hospitality 24 Coffee in a copper cocoon Westfield project for Mizzi Studio HOME DÉCOR 28 DOING IT UP: DO/DON’T Get the Green Light Go for the colour of the year 32 ACCESSORIES Down to a T[ree] Bright, vivid and earthy tones 34 Having Fun with Foliage Playing with a whole palette 36 TRENDS Serene Spaces Sounding out good acoustics 38 The Stuff that Sofas are Made of What makes a seat so prestigious LIVING DESIGN 42 I Live Here Mobile, light and baggage-free move SPEAKING VOLUMES 47 Reading Between the Lines Illustrating poems with geometric patterns DESTINATION, HERITAGE & ENVIRONMENT 50 IF WALLS COULD TALK When in Qrendi Walking tours round rural villages 54 CONSERVATION CORNER In Full Bloom No ordinary bouquet of flowers in a vase 57 GOING PLACES Good Hope Architecture Capturing the eclectic styles of Cape Town

ON THE COVER PHOTO: JONATHAN MIZZI See story on page 24

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MY DESIGN

VILLAGE cores are no longer sacred; what should be untouchable is being threatened to be torn down, ripping apart their character and charm to turn them into soulless urban environments. Heritage is being dumped for heaps of uniform, drab housing and cranes are towering over squares and steeples as construction sites encroach on cowering communities that have been cowed into silence. When I shifted to village life, away from the turmoil of dust and development, you could hear a pin drop here. I always said every day was like being on holiday in Gozo. Today, I wonder if Gozo is that benchmark of tranquility anymore. And while my village is still clinging onto its status of serenity, I am saddened by the fact that the cranes have conquered this little part of the world too. At least three mega projects are under way and the digging and building have relentlessly pursued us here. Motivated by this state of affairs, PLACES: DESIGN & LIVING is taking readers on walking tours of rural villages. Yes, we live in Malta and we’ve been there before. But have we taken them for granted? Have we really noted their history and the stories in the stonework? Do we know about the long-standing traditions that make them so unique?

Discovering and unravelling their colourful, curious layers not only brings them to life, but could increase our appreciation and push towards their preservation. So, in the first issue of 2017, we set off from Qrendi and learn about its hidden secrets, moving on to other areas of the island that seem to have a guillotine hanging over their heads, despite half-baked attempts to salvage them. The other day, someone told me I should be more “positive” in my editorials. I may have mentioned this before, but bear with me, because it struck a [negative] chord. It was just a passing comment, said without much thought. But it served to strengthen my resolve to highlight, in my own small and insignificant way, what a mess we are in. The person who pushed this button doesn’t live here so may not be au courant with the consistent damage our environment is sustaining. Having said that, when you return after an absence, it should slap you even harder in the face than it does when it creeps up on you like a slow-moving cancer. Every day, newspapers bring to the fore the disasters that have been given the green light: yesterday, it was a construction magnate’s permit to devastate gardens in Balzan; today, it’s the fact that the number of planning permits approved outside development zones was higher last year than in the last decade; by the time we go to print, all this will be old news. And another piece of our history, our heritage and our environment would have been lost forever. In the first issue of 2017, we talk about the Pantone palette’s colour of the year: Ironically, it happens to be Greenery, and I suspect that, before we know it, we’ll be having to rely solely on our interior decoration to get a glimpse of this trend.

FEBRUARY 2017 PLACES

THE PROJECT

The

CALMING EFFECT 12

PLACES FEBRUARY 2017

PHOTOS: SEAN MALLIA

The interior design and styling of this Sliema penthouse is a reflection of its owner – a young businessman, with a relaxed lifestyle, who wanted his home to have a sense of casual elegance and calm, away from the working world. Key elements include the use of soft colours… but the odd pop of brightness and black found their rightful place too.

The designer Justine Lillie Helena Interior Designer & Stylist at Lillie Helena Design House.

The brief The client was looking for a place of solitude and calmness, without compromising on practicality and style. Due to the nature of his job, he works long hours and is often travelling, so his home needed to be transformed into a place of relaxation. He wanted something that fitted in well with the surrounding outside environment – mainly sun and sea – but still wanted to feel a sense of luxury and sophistication in the design concept.

The starting point Sometimes it is harder to work on a project when things are already in place

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THE PROJECT

I DEFINITELY WANTED TO INFUSE A SENSE OF CALM INTO THE PROPERTY, WITHOUT GOING TOO CONTEMPORARY AND LINEAR

in the property than to start from scratch. This means you need to move some items around, and bring your design to life while still keeping in tune with the pieces already in place. After seeing the penthouse apartment and speaking to the client, I felt I immediately knew the concept I was going to go for; it hit me straightaway. The owner likes to surf and keep healthy and fit, so it felt natural to use a soft colour palette. However, I also wanted to add some masculinity to it, and I did this through the use of black accents, such as the pendant lighting and ornaments.

The challenges The major challenge was working around the white leather sofa that was already in place. Not being able to choose such a fundamental piece of furniture can be quite difficult to work around. I managed to soften it up by using a throw and cushions and by bringing in some colour through the gorgeous blue rug. I also added wooden elements to the room to soften the space and warm up the coldness of the white leather.

PLACES FEBRUARY 2017

The overall concept, look and feel I definitely wanted to infuse a sense of calm into the property, without going too contemporary and linear. I still felt like I needed to keep my signature style by being a little whimsical and incorporating colour here and there. Not every room is similar in design: the open-plan living and dining has a relaxed theme, with serious notes brought about through the lighting pendants and contemporary wall lamps. I wanted to make sure it was soft, yet still had a sophisticated and elegant touch. The spare bedroom was where I could have a little more fun; we decided to give it some colour and depth as the dark furniture and white walls left it a little lifeless. By bringing in the mustard lamps, mint striped runners, a large cactus plant and stunning beach print, the room suddenly brightened up and felt much more welcoming and interesting. The main bedroom has a bit more of a masculine feel, again bringing in the dark elements through the pendant and bedside lamps. The red Moroccan-like rug lifts the whole space, while the gold cushions and Eames armchair add a sense of luxury.

LAYERING IS CRUCIAL WHEN IT COMES TO DESIGNING, SO WHEN YOU FINISH OFF THAT FINAL LAYER, THAT’S WHEN THE SPACE FEELS COMPLETE How it was achieved When it comes to designing, I usually mull a project over for a few days, picking up ideas throughout the day, storing inspirational photos in my phone and pretty much obsessing over it until, suddenly, it all comes together and I start building the design concept on mood boards. Once I get to this phase, it pretty much flows and ideas bring in new ideas, until finally, when I am happy with the pieces put together, I show it to my client. I was quite lucky here, as the property owner trusted me fully and gave me free rein. My favourite part is the styling at the end. That is when everything comes together, and thanks to BoConcept’s gorgeous accessories, the space was lifted with decorative ornaments. Layering is crucial when it comes to designing, so when you finish off that final layer, that’s when the space feels complete.

The key elements and colour schemes The key element of this property was the pendant lighting. I love different shapes and sizes, but I went mainly with black here for that masculine and impactful touch. I feel this is so much more than mere lighting and can become a focal point of a room if done correctly. I love using colour, and if left to my own devices, I could be a little risky, but seeing as we were going for a calming effect, sticking to soft colours, such as light blues, greys and neutrals, was almost instinctive. Having said that, I did add some colourful pieces here and there, such as the mustard bedside lamps in the spare bedroom and the yellow pendant in the dresser space. I also wanted to create a mood in the bedroom’s sofa area and I felt that going with a dark wall colour could look striking, especially when juxtaposed with a yellow Anglepoise desk lamp, or Muuto yellow

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THE PROJECT

I SOMETIMES FEEL WE ARE TOO SCARED OF COLOUR; WHEN USED PROPERLY, HOWEVER, IT CAN STILL LOOK ELEGANT AND FEEL RELAXING pendant. I love the combination and the contrasting drama it creates. I sometimes feel we are too scared of colour; when used properly, however, it can still look elegant and feel relaxing. The running theme Although each space is different, I would say the running theme is a sense of casual elegance throughout. The owner is young and relaxed, and I wanted to create a home for him that fitted his personality, not one that would be out of character.

The main feature There are so many areas of the property that I love, but I would have to say the long blue curtains in the living space are a main feature. They frame the room perfectly and just look so beautiful against the gorgeous sea view. They are definitely one of my favourite design decisions, especially when it comes to the colour palette. The favourite corner This would be the Eames armchair corner. I love the main bedroom for its Zen-like feeling, and the red rug completes it, giving it that pop of colour it needs.

BUILDING A BUSINESS

PHOTOS: DARREN AGIUS

From a convent to a casual California-inspired hostel in Balluta, this is Inhawi, a haven for the backpacker in the heart of where itâ&#x20AC;&#x2122;s happening.

in the HOOD 18

PLACES FEBRUARY 2017

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BUILDING A BUSINESS

The designers: DAAA Malta team, led by Stefania Mercieca and Keith Pillow. The brief: To renovate an old convent by the sea and turn it into a laid-back, casual, hip, international hostel. The look and feel: Inhawi is a casual, clean and laid-back beachside-inspired hostel, reminiscent of the vintage California surfer and skater culture, with hip and indie lifestyle influences; a West Coast, vibrant haven for the backpacker and casual traveller. The starting point: Originally, it was going to be named WAS, but that later changed to Inhawi, meaning neighbourhood. Once the brand identity and narrative was set, the rest followed. The layout was planned to maximise the number of beds, and then modular, robust, cost-effective furniture and design details were worked on. The conversion: Although the conversion of the building was not the responsibility of DAAA, the team visited the site regularlyÂ to be able to work around the original features. The restoration and the building of a new wing started last year and took three months, after which the finishes were carried out. The key elements: Poufs, hammocks, bunk beds, large prints, hip metal light fittings, iconic retro chairs are all elements that project that laid-back feel. Itâ&#x20AC;&#x2122;s a flip-flop, surfer, California, seaside style. The most important feature: The central courtyard breakfast/kitchen area, with a retractable awning. In summer, it becomes an open-air kitchen, with natural shade from the surrounding buildings. The pool area and gardens with hammocks add a unique touch.

PLACES FEBRUARY 2017

THE LAYOUT WAS PLANNED TO MAXIMISE THE NUMBER OF BEDS, AND THEN MODULAR, ROBUST, COST-EFFECTIVE FURNITURE AND DESIGN DETAILS WERE WORKED ON

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BUILDING A BUSINESS

COFFEE IN A COPPER

COCOON

PLACES FEBRUARY 2017

PHOTOS: GREG FONNE

One of London’s top shopping centres has a Maltese mark as Mizzi Studio was entrusted to design a café with a copper structure that mimics the mouth of an orchid and is described as a piece of public sculpture.

THE NEXT time you pop into Westfield Stratford City shopping centre in London, be sure to stop for a coffee at Colicci Café. You won’t be able to miss the “cutting-edge” kiosk located at the entrance. And while you’re at it, you can feel a surge of patriotic pride – coffee brand Colicci entrusted Mizzi Studio with the design. Due to the site’s prominent location, on axis with Queen Elizabeth’s Olympic Park, the kiosk acts as a welcoming attraction for Westfield, while luring visitors into the café. “The design challenge was coming up with an innovate solution to create a flowing three-dimensional sculptural roof clad in metal sheets, while keeping the sensitive fluid design that epitomises the brand and its identity,” says architect and product designer, Jonathan Mizzi, of Londonbased Mizzi Studio. He is the founder of the award-winning multidisciplinary architecture and product design practice, working across a range of sectors and disciplines. Mizzi evolved the 18thcentury classic copper sheathing technique into the digital age through Computer-Aided Design and Manufacturing in conjunction with the latest

FEBRUARY 2017 PLACES

BUILDING A BUSINESS

techniques in boat building utilising fibreglass manufacturing to create a bespoke smart design solution. A digital skin was first developed to later form the kiosk’s roof. Its pattern was created by dissecting the 3D surface to articulate the contours of the roof design, while simultaneously rationalising the tiling dimensions to an adequate size that would later enable a manual cladding process. The result was a bespoke jigsaw of 542 individual numbered pieces, which were unfolded and ‘nested’ into CAD files for fabrication out of CNC laser-cut copper sheets. The cladding employed traditional handcrafted techniques to shape the tiles over the roof’s fibreglass shell. The individual pieces were hand bent, hammered and fixed with pneumatic rivets – the entire structure is comprised of approximately 20,000. “The captivating ceiling has been shaped to lure visitors into an immersive copper cocoon, designed to mimic the mouth of an orchid flower. While enriching the customer experience, the sculptural canopy converges towards a tubular menu, drawing visitors to the coffee counter. More than a coffee kiosk, Colicci Westfield is a sculptural copper structure that celebrates the craftsmanship of its construction, with fingerprints and hammer marks revealing a deep, layered, earthy texture as the building is approached.

PLACES FEBRUARY 2017

The copper has been sealed with a matte clear lacquer, preserving its story, while retaining the rich lustre and glistening reflective property of the material. “The combination of its neofuturistic form and the innovative use of copper in architecture results in a functioning café that acts as piece of public sculpture,” Mizzi says.

THE RESULT WAS A BESPOKE JIGSAW OF 542 INDIVIDUAL NUMBERED PIECES, WHICH WERE UNFOLDED AND ‘NESTED’ INTO CAD FILES FOR FABRICATION OUT OF CNC LASER-CUT COPPER SHEETS

FEBRUARY 2017 PLACES

DOING IT UP: DO/DON’T

Get the

green light Antonella Riotto, interiors architect at Fino Interiors Design Studio, says bright, vivid, earth colours make up the palette for 2017, with Greenery being Pantone Colour Institute’s Colour of the Year. She believes it can encourage a move towards nature and the search for lasting quality products, which are at one with it.

PLACES FEBRUARY 2017

PANTONE, the renowned global authority on colours, graphics and professional standards for the design industry, recently announced the top 10 shades for 2017 – a mixture of earthiness, vividness and brightness, topped by the colour of 2017, Greenery. “Green is a very uncomplicated colour because it reflects the simplicity and the minimalist approach that is so close to nature. The best products are, in fact, the ones coming from nature. This Pantone colour can bring people closer to nature by pushing and encouraging them to go for quality that lasts. This is the same concept with which we sell all our products here,” says Antonella Riotto, interiors architect at Fino Interiors Design Studio. “I feel this slightly yellowish-green shade is so fresh and full of zest. It can be used as a symbol of ‘new beginnings’ as it evokes the first days of spring; when nature’s greens are revived, restored and renewed. This colour is perfect for every environment, both for furniture and for decorations, and it can also work amazingly for fashion items and accessories.” Besides Greenery, Pantone has listed another nine very special hues, including Niagara, Primrose Yellow,

Lapis Blue, Flame, Island Paradise, Pale Dogwood, Pink Yarrow, Kale and Hazelnut. Niagara [PANTONE 17-4123] is a classic denim light blue, ideal for making the atmosphere more relaxing. “It is a type of blue that is easy on the eyes and has great potential, especially if applied to cabinets, or for soft furnishing. I would recommend this colour for bedrooms because it is a colour that can adapt very easily,” Antonella advises.

I SEE THIS AS THE MOST ATTENTION-GRABBING AND LUXURIOUS SHADE ESPECIALLY AS SUMMER 2017 APPROACHES Primrose Yellow [PANTONE 13-0755] has a certain brightness, which, however, remains discreet. “This makes it the perfect colour for a living room, a children’s room, or to add a little dose of extra brightness to an already joyful atmosphere. “It contrasts beautifully with Lapis Blue [PANTONE 19-4045)], an intense shade of blue that can instantly inject energy into any room. For those who might opt for this chic hue, I would then recommend complementing it with a gold frame mirror, vintage gold-tone wall light fittings and marble objects,” Antonella suggests. On the totally different end of the spectrum is Flame [PANTONE 17-1462], a lively red-based orange. If applied intelligently, this interesting hue can work wonders on soft furnishings such as carpets, curtains, or cushions and even for wallpaper. Island Paradise [PANTONE 14-4620], as the name suggests, is another refreshing colour that Antonella would describe as a “cool aqua blue”. “What I like most about this hue is its potential for versatility, because while I see it working very well both in kitchens and in living areas, it can also give great personality to a bedroom and even a bathroom. I personally find it very

relaxing, elegant and timeless. And I see myself recommending this colour throughout 2017.” One of the colours that cannot go underestimated is Pale Dogwood [PANTONE 13-1404]. This is a peaceful pink shade, which gives off an innocent vibe, but if applied well, can communicate a very soothing effect, especially if matched with greys, browns and wood features. Pink Yarrow [PANTONE 17-2034] is another colour full of boldness and personality, says Antonella. “It is a strong shade of pink, close to magenta, with which you can make a statement. In fact, I see this as the most attention-grabbing and luxurious shade especially as summer 2017 approaches.” For those looking for a more subtle type of green, Kale [PANTONE 18-0107] would be the best option. It is a lush green, similar to Greenery, but slightly darker, and can be applied outdoors since it is most effective in both spring and autumn. This colour is also ideal as a complementary but neutral colour, supporting the other more vibrant colours. Last but not least, Hazelnut [PANTONE 141315] is the colour Antonella recommends to all those who are looking for a neutral beige tone that is lighter than the natural hazelnut. “It is warm and gentle, but royal and elegant at the same time, making it a perfect option for those looking to recreate an elegant and timeless environment,” she says. The 2017 Pantone palette is pretty varied and offers immense opportunity for versatility. With this new range of colours, Antonella is, in fact, really looking forward to seeing how people are going to recreate their very own environments to make a real difference to their homes. WILL YOU BE APPLYING ANY OF THE ABOVE COLOURS TO YOUR HOME? POST YOUR INSPIRED INTERIORS ON INSTAGRAM WITH THE HASHTAG #FINOCOLOURS TO WIN A FREE CONSULTATION. WWW.FINO.COM.MT

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ACCESSORIES

PLACES FEBRUARY 2017

DOWN TO A T[ree] PLACES follows the Pantone palette for 2017 to find that ‘Greenery’ is the colour of the year. If you don’t have the real thing, go for the paper or glass versions of the bright, vivid and earthy tones in vogue. PHOTOS: SEAN MALLIA | STYLING: IRENE ZARB ADAMI

Romo wallpaper, €189.33, Fino.

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ACCESSORIES

PLACES FEBRUARY 2017

Vase, €96; vase, €401; vase, €384, all Natuzzi @ Form | glass [set of six], €31.42, Fino.

HAVING FUN WITH FOLIAGE And playing around with Primrose Yellow, Lapis Blue and Greenery for the seasons in the sun.

Vase, €29, Debenhams | glass [set of six], €48.57, Fino | vase, €113, Natuzzi @ Form.

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TRENDS

SERENE SPACES

The importance of appropriate acoustics in a room cannot be underestimated, according to Peter Cutajar from Monter Ltd and Light Design Solutions, who makes a case for tranquil environments. And we’re not just talking panels here – sound absorbent lighting systems can deal with acoustic issues too, while doubling as design features. WEAK acoustics in a room lower its overall appeal, regardless of how visually striking it is. Be it a restaurant, an office, an auditorium, a boardroom, or a gym, poor acoustics are just not an option. Having said that, creating the proper acoustics is no mean feat. The walls and ceilings of these indoor spaces need to be well prepared and treated so that the right acoustics are retained.

PLACES FEBRUARY 2017

In this day and age, peaceful and tranquil environments are hard to come by and, therefore, very much sought after. The need for serene spaces is greater than ever – not least because appropriate interior acoustics enhance people’s output, their well– being and health. Consequently, addressing acoustic issues is by no means a poor use of resources. The price in terms of

productivity for having a space without the right acoustics can be high. Poor acoustics in today’s competitive environment can cost investors thousands of euro. A noisy workplace or restaurant can be both disturbing and annoying for employees and clients alike. Uncontrollable noise can lead to a decrease in employee productivity and can put patrons off returning.

Examples of subtle sound-proofing in Bahia restaurant in Lija.

For acoustics to work The appropriate designs and materials are required for the absorption and control of sound levels. Acoustic panels effectively absorb sound, and tests show they also significantly improve acoustics. They are an efficient way to reduce echoes and reverberation in public spaces. The perforated surface of the textile covers allows sound waves to travel into the core of the panel. And the three-dimensional section of the acoustic panels prevents the sound waves from bouncing straight back, avoiding unpleasant sound reflections and echoes.

A noisy workplace or restaurant can be both disturbing and annoying for employees and clients alike Panels can be mounted on walls and ceilings by hidden brackets, horizontally, vertically and diagonally, offering the flexibility to create both symmetrical and asymmetrical patterns.

Let there be lightâ&#x20AC;Ś and no sound Apart from panels, sound absorbent lighting systems are also available. A pendent light on a conference table can have sound absorbent material integrated in the light fitting. Hence, the light source is serving a dual function: it produces sufficient light in the room while serving as an acoustic module. Other ways of integrating sound absorbent material with lighting include using decorative wall lights as acoustic units and simultaneously creating a pattern on the walls, creating a 3D effect with light and shadows.

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PLACES PROMO

THE STUFF THAT SOFAS ARE MADE OF What makes a sofa prestigious… so much so that its value could actually appreciate over time, rather than wear away? What makes it a piece of art? A long-standing history, the legacy of tradition and research, skilled craftsmanship and collaboration with the most talented designers and architects all play a role. Have a seat… and see how it’s made.

PLACES FEBRUARY 2017

WHEN YOU sit back and take the time to understand what actually goes into the making of something, it all falls into place – the prestige, the price tag, the museum-piece feel and that desire to be the proud owner. This kind of status isn’t acquired overnight. It is normally the result of long-standing traditions that grow stronger as they move into the future, while embracing innovative techniques; it’s about skilled artisanship withstanding the test of time; and about striving to use only high-quality materials when you could probably settle for less. This is normally the story behind successful brands that are coveted by the discerning client – anyone who looks beyond surface aesthetics to what also lies beneath. Today as yesterday Founded in 1912, Poltrona Frau, available locally from Satariano Home in Pietà, is one of these stories. A leader in top-end Made in Italy furniture, specialising in leather, it has stayed true to its identity and values – one of the secrets of success. Its legacy is a deeply Italian tradition that remains open to the world;

evolving while remaining consistent with its own roots. Research has been part of the brand’s DNA since the outset. The drive to invent new forms, construction solutions and styles has led to the creation of timeless pieces from the Chester and Vanity Fair, designed by founder Renzo Frau, to Dezza by Gio Ponti and Titanio, a project by Pierluigi Cerri and winner of the company’s first Compasso d’Oro award, and to the recent collections by Jean-Marie Massaud and Roberto Lazzeroni. The Icons collection features historic and unique pieces, created by forgotten or little-known masters, which are brought back into the spotlight, giving them new life through a careful process of philological reconstruction and respectful modernisation. Collaboration is king So what has architecture got to do with armchairs? Joining forces with the likes of Richard Meier, Jean Nouvel, Sir Norman Foster and Renzo Piano is bound to be a win-win seat-uation. Among Poltrona Frau’s most prestigious projects are the European Parliament in Strasbourg by AS Architecture Studio, the Walt Disney Concert Hall in Los Angeles by Frank O. Gehry, and the auditorium inside the Jockey Club Innovation Tower in Hong Kong by Zaha Hadid. They are examples of what happens when project design, manual expertise and architectural rigour come together. Craftsmanship is key

A timeless piece: the Chester One was designed by founder Renzo Frau.

Artisanal skills handed down from one generation to the next and honed over time are what make the difference in today’s world. When something is handmade, rather than mass produced, it immediately catches our attention, and could be the determining factor in a world were choices are endless and there is so much of everything. Cultivated in the production units in Tolentino, each craftsman carries out his work through experience and expertise, using his hands and head to perfect every detail. The older upholsterer teaches the younger, passing on his knowledge. At the leather selection stage, the hands are already at work, feeling for grain, consistency and body, while the eyes inspect the perfection of the surfaces. In the cutting zone, the challenge is to maximise yield, excluding those areas of the coat where small imperfections have already been spotted. Manual expertise finds almost theatrical expression in the covering division, including

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PLACES PROMO

meticulous topstitching, pleating along the armrests and the sculpted effect of the padding, where the perfect dress is created for each piece of furniture. Leathership Leather has been the material of choice of the Tolentino-based company since the start, used to elegantly dress its iconic, historic and contemporary items of furniture â&#x20AC;&#x201C; even desks. Over a hundred years of knowledge have been used to make the most of the rich tactile and aesthetic potential of this material. Poltrona Frau has developed a privileged relationship with a restricted group of time-honoured Italian tanneries, with which it has developed original treatments that preserve the natural softness of the leather. The result is 21 different phases, more than double the amount normally used in the processing of leathers for furnishing. Only leathers that pass stringent mechanical tests, together with close assessments of texture and colour, are admitted to the production process. It is not surprising that the most prestigious car manufacturers, including Ferrari, Maserati, Alfa Romeo, Land Rover, Lancia, Audi and Porsche, also entrust the Tolentino-based company with the complex upholstery of their car interiors, often working on a co-design basis.

MANUAL EXPERTISE FINDS ALMOST THEATRICAL EXPRESSION IN THE COVERING DIVISION, INCLUDING METICULOUS TOPSTITCHING, PLEATING ALONG THE ARMRESTS AND THE SCULPTED EFFECT OF THE PADDING, WHERE THE PERFECT DRESS IS CREATED FOR EACH PIECE OF FURNITURE

SEEING A SOFA IN NUMBERS 105 years of history. Partnerships with more than 200 architects and designers from around the world.

340,000 square metres of processed leather, 22,000 kilos of horsehair and 1,100,000 kilos of beech wood used each year.

9 leather collections with 177 shades 20 hours of work for the diamond tufting on a two-seater Chester.

275 leather-covered tacks applied by hand to a Vanity Fair.

100 metres of artisan stitching for the Kennedee sofa by Jean-Marie Massaud.

7 square metres of leather cut, sewn and modelled for the Intervista armchair by Lella and Massimo Vignelli.

A journey into the history When you have a story like that behind you, itâ&#x20AC;&#x2122;s not surprising that you find an original way to tell it. The Poltrona Frau Museum, designed by Michele De Lucchi, lies inside the industrial buildings, going beyond the barriers of the standard museum concept. In the 1,400-square-metre venue, the public can discover archive documents, designs, prototypes, historic products and materials never before displayed.

Another icon, the Vanity Fair was also designed by founder Renzo Frau.

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LIVING DESIGN

I live HERE SHE CALLED it her “little nest in the sky” and curiosity was immediately aroused. Buildings that scrape the clouds have negative connotations these days, but we were talking about Valletta here, so the likelihood was that this one enjoyed the most stunning views – also in short supply – but wasn’t yet marring others. Battery Street is so overlooked – at least for most of us. It’s parallel to Ursula Street, which is the one we would normally traverse to get to the

PLACES FEBRUARY 2017

When Nicole Bearman relocated from the bottom of Valletta’s Republic Street to Battery Street, it took her one single trip in her car to move all her belongings. This is a story about living light, decluttering life, going back to the simplicity of student days and creating a humble home – a far cry from today’s somewhat stylised, stereotypical and precious interiors. With panoramic views of Grand Harbour, who cares if you don’t even have a TV and a sofa? PHOTOS: MARK ZAMMIT CORDINA

same destinations, and is also pedestrian, clinging onto a flight of steps. Even on a pleasant day, the wind howls through the narrow street, but so does the sun shine down… flooding Nicole Bearman’s third-floor apartment. For some, natural light is everything – and who cares if a bleak bulb is hanging off a wire in the middle of the bedroom. Who needs fancy lampshades and light fittings when the windows onto Battery Street wash her two rooms with warm

ever get to them from there, unless this was your address], and it is the understated equivalent of Barbara Bastions; the Cinderella of that side, you could say. It may not know it, but it’s got to be one of the top-end addresses of the capital, even in the literal sense of the word. Perched on the edge of Valletta, everything else is way below. So, depending on the side you’re on, you can safely say you have top-class views, and better still, they are destined to remain unobstructed, which is not to be sniffed at. Nicole lives on the ‘right’ side of the street; where the sight of Fort St Angelo in its full glory more than compensates for what to most would be the bare essentials inside the apartment. No amount of high-end furniture can match that view; no maze of vast halls and palatial, plush furnishings. With the fortifications, the Three Cities and Villa Bighi on her doorstep, offering tangible history at her fingertips, and the superyachts, for a touch of glamour and high life, who needs a TV, or even a sofa? Nicole doesn’t even have a living room – the space allocated for that is, as yet, bare and home to a Pilates ball. And while she does have a bed, she plans to sleep out on the roof terrace as soon as the weather improves. It is designed to be the al fresco living area in the warmer months. “I’m not the type of person to spend time on a sofa. At most, I could do with an armchair, or a chaise longue…” Until she gets her hands on one of these, she remains content with the luminosity in her sparsely furnished kitchen and bedroom, and intends to slowly add her

PERCHED ON THE EDGE OF VALLETTA, EVERYTHING ELSE IS WAY BELOW. SO, DEPENDING ON THE SIDE YOU’RE ON, YOU CAN SAFELY SAY YOU HAVE TOP-CLASS VIEWS, AND BETTER STILL, THEY ARE DESTINED TO REMAIN UNOBSTRUCTED sun… apart from looking over decrepit buildings and their old-world charm. No wonder Nicole subconsciously ‘sells’ her new nest with this brief note: “The morning sun is astonishing!” Battery Street is just a stone’s throw from the Upper Barrakka Gardens [although you’d rarely

touches as she continues to settle down and establish her roots in her motherland, her grandfather’s country of origin. An arts professional with over 20 years’ experience, Nicole left the Sydney rat race after working hard to keep up with the fast life. While

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LIVING DESIGN

she’s still not quite sure if she actually did leave it all behind – among other things, she’s Programme Director at Blitz and produced the Design Dialogues programme for Malta Design Week – things have toned down considerably. It was a holiday to Malta in 2012 that sealed the deal. She felt right at home and returned to the museum she was working for, which was offering voluntary redundancy, and said: “I’ll have one of those.” Nicole needed a change and a move from the all-consuming consumerism, which can be quite exhausting. “I was stagnated in a full-time job and a slave to a full-time salary to pay Sydney’s high rents.” She gave away most of her stuff to close friends in what was not a pain-free exercise. “I did find it hard to get rid of my things. Yes, it was a massive task because I was attached.” Then she proceeded to pack only items of sentimental value – mostly the work of fellow artists and artisans – to start a new life on the rock in the Med. in 2013. Nicole has an anecdote for every knick-knack in her apartment. She picks up a stack of what she explains are Perspex rings from the kitchen shelf. “My friend Mel makes them…” And Amber is the creator of a tiny basket, woven out of discarded bits of rope she found on an outing to Ghajn Tuffieha, while unframed art is waiting to be hung and turned into the subject of more stories. As things stand, Nicole is not weighed down by possessions. On the contrary, she wants to feel “mobile”, and if she decides to up and leave, she has nothing anchoring her to the rock. It may not be her plan, but having no baggage – almost literally – is a liberating feeling. Living in Australia meant one holiday a year that could run into thousands and last four full weeks, she explains, so the joy of being able to venture off for four days and get a good taste of wherever she is visiting in inestimable. At the same time, if she were to move to the other side of the world, it’s always important to have those “familiar objects, with their stories that are a constant reminder of your life”. While she likes the idea of travelling light, she can’t imagine starting afresh without a piece of her past.

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SHE’S MOVED FROM THE EAMES LOUNGE CHAIR AND OTTOMAN TO THE CHAIRS SHE PULLED OUT OF A SKIP; HER SHELVING IS MAKESHIFT TIMBER BOXES BY THE FORMER TENANT, WHO LEFT THEM BEHIND; AND SHE LOVES THE STYLE OF HER RICKETY KITCHEN TABLE, WHILE PLANNING TO MAKE IT MORE ROBUST When it comes to interiors, Nicole prefers to accumulate pieces gradually and see how her space evolves. Since we last spoke, she has installed a curtain, which she feels has added a new dimension, and it’s these little touches that will make the apartment her home. Nicole’s been there, done that with the fancy furniture, and is now living proof that bare and simple is not

“Valletta was my first love,” she says of her stint in a studio flat in the lower and rougher part of Republic Street, which she could handle because she had lived in “colourful” areas of big cities before. “I was moving to Valletta first, and then to Malta. Then I got to know the island and I love it all…” Valletta also features in the choice of the name We Live Here. Nicole is the director of this Vallettabased arts consultancy, with a focus on events, writing and relationships, working with cultural organisations, artists, producers and collectors. She says the name was inspired by a phrase she and her friend would utter in excitement at the fact that they actually live in Valletta. It stemmed from a sort of pinch-me-I-must-be-dreaming feeling that would hit them mostly in the early evening when the city enjoys that “gorgeous glow”. Yes, light is always in the picture: It was mostly the lack of it that drove her further up Valletta, as well as the lure of a car-free street and the consequent silence – apart from cannon fire from the Saluting Battery at noon.

synonymous with cold and empty. She’s moved from the Eames lounge chair and ottoman to the chairs she pulled out of a skip; her shelving is makeshift timber boxes by the former tenant, who left them behind; and she loves the style of her rickety kitchen table, while planning to make it more robust. It’s been a slow journey to rebuilding the feeling of being house proud. Nicole didn’t want to nest, having done her fair share of that in Sydney. But now she’s found her “nest in the sky” and there is nothing stifling about that. “It’s like I’m a student again,” says the 45-yearold, who holds degrees in Visual Arts and Museum Studies. She is spot on. After all, there’s a time in life for Valletta living. Once you’ve missed that window, it’s shut for good. Nicole got a second chance to open it wide and let in the light.

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READING BETWEEN THE LINES

SPEAKING VOLUMES

Christina Darmanin illustrated Richard England’s poetic oeuvre Orpheus: His Song and His Music with her characteristic detailed drawings and intricate geometric patterns. It was a natural process; the words and their fluidity created images in her mind and away with the mermaids and unicorns…

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SPEAKING VOLUMES

I love sharp, crisp, clean design; anything with lines and swirls is like the sugar to my tea 48

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Is this a style you developed specifically for the book or had you been working on it? It is natural; second nature to me. I have always been drawn to intricate floral and geometric patterns, so this has become ingrained in my detailed style. With time, it will develop… Inspiration is all around us; we can find it anywhere, if we just open our hearts to it and look deeper. It’s in observing the way the wind moves objects, analysing spaces, singing in the shower and catching the sun’s rays, looking at the tiny droplets on a beautiful petal in the early hours of the morning mist, translating high and low feelings in the rhythms and beats of some of our favourite songs, sounds, the sea, the birds, studying the textures and patterns all around us… I think it is all about curiosity; that is what makes us creative. It’s very intricate and tattoo-like. Is this your trademark? Yes, it has become a trademark. I love sharp, crisp, clean design; anything with lines and

swirls is like the sugar to my tea. I am obsessed with black and white images too and I love to work in black and white; it is timeless. I believe colour should be introduced much later, especially seeing that I am still learning about colour theories. I think the architectural drawings of my grandfather [Richard England] are amazing and have definitely influenced my work. How did the poems inspire you in particular? Did you do any research? Nannu Richard’s poetry is just incredible. He writes in a way that when you read his work, your hand gives birth to drawings. It’s just a chain reaction. The words and their fluidity naturally created images in my mind and away with the mermaids and unicorns… I was up all night drawing away. This was the case for all the drawings apart from the darker ones. For example, the three-headed dog, Ceberus, I found quite hard and struggled with, so a bit of research was necessary. I love challenges though, and I am so happy my nannu loved my work enough to ask me to draw the illustrations for his book. I am so touched – it’s awesome. Do you have a favourite poem and favourite illustration? Rainbow Coloured Stardust, Chariots of the Wind, The Ecstatic Dance are awesome, along with loads

more. My favourite illustration is Eurydice in dance – its magical and soulful. Do you plan to take this style further or transpose it to another medium? I will develop this style naturally as time goes by, especially finding inspiration in everything and everywhere. The key is to love what you do. I love to paint on glass and fabric. This is credit to my mother, who inspired me from when I was a little nugget. I plan to do a series of graphic designs based on animals and their characteristics, such as strength, fearfulness and being bold etc… and I will also design a collection of hand-painted and printed clothing once I have all the skill set in place. What else are you doing in the art world and where did it all start from? I am currently working full time to pay the rent and live in the city, London. It’s tough and hard work, but I like having a routine – work, design and fitness! I am finding time to work after work to get into surface pattern design, graphics and build a portfolio so I can work as a textile designer – coming soon! I believe if you want something badly enough, with drive discipline and hard work, you can have it. All you need is faith, trust and a little pixie dust… Tinkerbell.

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IF WALLS COULD TALK

WHEN IN Qrendi...

Cathy Farrugia’s first stop in a series of walking tours round rural villages is Qrendi – often overlooked, despite the fact that we may find ourselves close by due to the neighbouring airport and Wied iz-Zurrieq just down the road. Did you even know about the scars of bomb blasts, secret mazes and its insect museum? PHOTOS: CHRIS SANT FOURNIER

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LATITUDE: 35°50'04" N LONGITUDE: 14°27'29" E

Abela Spiteri Palace with its wooden muxrabija.

Across the Maltese Islands, an important landmark of localities is often their place of worship. Both St Paul’s Cathedral in Mdina and Gozo’s cathedral at the Citadel tower above the bastions. Yachts berthing at the Vittoriosa Waterfront do this under the watchful eye of St Lawrence’s Church, while Siggiewi’s parish church rises majestically above its surroundings. These religious buildings enjoy one thing in common – they are all attributed to the Maltese baroque architect, Lorenzo Gafà. Built in the shape of a Latin cross, with an elegant dome and two belfries, Qrendi’s parish church is another example of his work. Qrendi is one of those villages many of us drive by often enough, but rarely visit, even though it has so much to offer by way of cultural attractions from most eras of Malta’s history, country walks, religious festivities, plus loads of charm and character. So, let’s leave the busy roads that surround it and walk from the parish church to Santa Katerina’s Chapel and back, accompanied by Qrendi’s mayor, David Schembri. As with most things in life, knowledge adds colour and spice to anything, even a simple walk through a local village. The mayor has lived and breathed Qrendi his whole life and has many a story to tell.

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IF WALLS COULD TALK PAYING THE ULTIMATE PRICE Promotional material describes Qrendi as “a rural village where life follows the rhythm of nature and its community is often guided by the changing seasons”. On the church parvis, we immediately learn of an example of this community spirit. The church was, in fact, built through the incredible efforts and hard work of the Qrendin. The parish priest of the time, Don Domenico, was very keen to encourage everyone and even helped out with the building. On January 17, 1699, as he hauled a large stone up a long ladder, he tripped on the scaffolding and fell to his untimely death. On a happier note, the beautiful statue representing the Assumption of Our Lady, with her eyes cast heavenwards

and her arms extended in a beautiful pose, is an image that is often stumbled upon during a walk in Qrendi.

LIFE BEHIND CLOSED DOORS Down from the church is the Abela Spiteri Palace in Triq il-Kbira, with its beautiful façade, complete with wooden muxrabija, which takes us back to an important era in Maltese history – the Arab period, which probably commenced in around AD870. It is still possible to see traces of medieval Arabic architecture in certain towns and villages and the muxrabija is one such example. Members of the household could peer through the muxrabija without being seen from the outside.

On January 17, 1699, as he hauled a large stone up a long ladder, he tripped on the scaffolding and fell to his untimely death

VILLAGE LIFE The people from Qrendi have traditionally worked as farmers, fishermen and in the various limestone quarries around the village. Today, life in Qrendi reflects these traditions, yet it has kept up with the times. The Qrendin still enjoy their band clubs, their festi and their hobbies, and one individual is so passionate about insects that he opened a small insect museum in Misrah Santa Marija and regularly welcomes visitors there. Village life just wouldn’t be the same without the aroma wafting from the bakery doors every morning… or the fact that the mayor acknowledges everyone he meets, often using their laqam [nickname].

LIFE IN A FORTIFIED HOME During the 16th and 17th centuries, Qrendi had to endure the constant threat of attack from raiders who would land along the coast just a short distance away and pillage the surrounding area. Certain buildings were, therefore, constructed to withstand such attacks, and the Torri tal-Kavalier, with its octagonal tower, is one such example. From the turret, the defendants could hurl hot water and stones onto its attackers below. The tower used to house a captain of the Knights of St John, hence its name.

The insect museum.

Qrendi’s octagonal tower.

Most Qrendin are known by their nickname.

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the church is a whole complex of statues and shows the Madonna as a child, flanked by St Joachim and St Anne, while there are also statutes of other saints.

A bomb blast on a Qrendi house.

AN ATTEMPT TO OBLITERATE THE PAST An important milestone in Maltese history books dates back to when the Knights of St John were ousted by Napoleon’s troops in June 1798. Attempts were then made to obliterate any signs of the Knights, such as the removal of a crest from a village house… although the scars still remain above the date.

CLEVER IRRIGATION TRICKS The French occupation of the islands only lasted a few years and they were, in turn, ousted by British troops in 1800. During the first decade of British rule, the Civil Commissioner of Malta, Sir Alexander Ball, decreed that a number of experimental agricultural centres should be built across the island. Qrendi’s garden was particularly successful in its development of the new potato crop. This was the advent of the steam ship and cotton for sails was no longer required in such large quantities. Also, the British troops required proper sustenance and the potato was a very good solution. Qrendi’s rich, red soil is very good for the cultivation of potatoes and it remains an important crop to this day. Today, Sir Alexander Ball garden is a quiet oasis, which is well maintained by its gardeners. It is only open to the public by appointment.

BLAST FROM THE PAST A crater in the wall of one of the houses along the walk will make you stop in your tracks. This war damage dates back to

A HEALTHY LOCATION Various Knights of the Order held a residence in Qrendi due to its clean, country air, while the resident of Mgr De Piro’s Palace lived here to overcome his health problems. Today, as with other rural areas, Qrendi offers an opportunity to get away from the hustle and bustle of the busier towns to enjoy some spectacular scenery, unique cultural attractions and the hospitality of its residents.

Various Knights of the Order held a residence in Qrendi due to its clean, country air, while the resident of Mgr De Piro’s Palace lived here to overcome his health problems

Mayor David Schembri in the maze of Sir Alexander Ball garden, which was planted some 50 years ago.

World War II and the same can be found on the wall of the parish church. Qrendi was bombed heavily due to its proximity to the air force base, RAF Krendi, which was used in the Allied invasion of Sicily. Santa Katerina’s Windmill.

OLD AND NEW SHRINES One thing that is striking – apart from the bomb blasts – along this walk is the number of shrines that decorate the buildings, from the incredibly old ones, dating back to before Qrendi became a parish on February 15, 1618, to the more modern. The shrine on a building close to

ON THE OUTSKIRTS Just around the corner from Santa Katerina’s Chapel is Santa Katerina’s windmill and a stone quarry that is still very much in use today.

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CONSERVATION CORNER

Hidden beneath decades of old layers of varnish, the true bright colours slowly emerged to see the light

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IN FULL BLOOM PLACES UNVEILS WHAT, ACCORDING TO CONSERVATOR RODERICK ABELA FROM RECOOP LTD, IS ONE OF THE MOST REMARKABLE FLORAL STILL-LIFE PAINTINGS ON OUR ISLANDS. THIS IS NOT JUST A BOUQUET OF FLOWERS IN A VASE. THIS FLORAL still-life painting, measuring 135cm x 98cm, forms part of a private collection. It can be dated back to the 17th century, although such paintings were also very common during the 18th, and unfortunately, as expected with most of these works, it is not signed. It could be compared to the works of Italian artists such Mario Nuzzi [1613-1673], also known as “Mario de’ Fiori”, or to Flemish and Dutch artists like Justus van Huysum [1659-1716] and his son Jan [1682-1749]. On closer scrutiny, it emerges that this painting is not just the depiction of a bouquet of flowers in a vase. The composition, the details and the setting the artist placed the subject in must all be noted. This still-life is, in fact, positioned on a protruding, plinth-like slab, which forms on the ground in a landscape setting, with a dim background and a chiaroscuro effect. The flowers are meticulously painted with a splendid use of complementary colours and the vase is not just a plain one; it portrays a mythological scene in which Venus is punishing Eros. A substantially dark, aged layer of varnish was present on top of the paint layer, hindering the original colour palette as intended by the artist. As was revealed by ultraviolet and infrared investigations, the painting had already been restored once. This coincides with numerous old retouchings, present mainly around the border.

It had also been lined with an organic adhesive on a jute lining canvas, which was becoming loose in several areas, resulting in the formation of bulges, mainly visible in the lower part of the painting. As per procedure, the painting was well documented and examined prior to any hands-on interventions, and the best possible treatments for the ideal preservation were designed.

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CONSERVATION CORNER

Seeing that the painting was not in its optimal tension, it was decided to start with the lining process to rectify it. A layer of Japanese paper was applied on top to safeguard the paint layer, hindering any loss during further treatment. This film is purely superficial and totally reversible, causing no harm to the painting itself. The painting was dismantled from its old and deteriorated auxiliary wooden strainer, and the old lining canvas was carefully removed together with old glue residuals. In view of the medium-large size of the painting, it was decided to re-line it using a reversible thermoplastic synthetic adhesive. Once the new lining was applied, new canvasses for added support were included. A new auxiliary wooden stretcher was custom-made, replacing the old deteriorated one. The painting was subsequently re-stretched back onto the newly made stretcher frame, calibrating it to its optimal tension level.

The removal of the Japanese paper layer was followed by the most exciting treatment. This consisted of the careful cleaning of the dirt and varnish layers. Hidden beneath decades of old layers of varnish, the true bright colours slowly emerged

to see the light. At this stage, all the old retouching had to be cautiously and patiently removed, together with any old gesso covering the original paint layer. Once the cleaning treatment was concluded, the focus was directed towards the aesthetic part of the painting. Missing paint and ground layers were infilled and levelled with gesso, matching the adjacent original layer. Some of the gesso infills were textured, corresponding to the surrounding paint characteristics. Pictorial integration was carried out with reversible varnish-based pigments and finalised by several thin layers of varnish until a homogeneous satin finish was obtained. A richly carved and gilt decorative frame complemented the painting and was meticulously cleaned, revealing a bright gilt lustre. And once the treatments on both the vivid painting and frame were completed, the splendour of the combination of the two could be admired.

GOING PLACES

Good Hope Architecture Helen Raine takes us on a tour of the eclectic architectural styles in Cape Town, South Africa – a melting pot of skyscrapers, colonial buildings, Art Deco apartments, shanty town shacks, brutalist modern structures and Cape Dutch design. WHEN THE Dutch East India Company built the Castle of Good Hope in 1666, it could not have imagined the building boom it was initiating. That Castle is now the oldest building in South Africa, dwarfed by the eclectic city of today, where skyscrapers jostle in the centre, docks are loaded with colonial architecture, and everything in between is layered with Art Deco apartments, shanty town shacks and brutalist modern structures. Beyond the main city, Cape Dutch buildings litter the countryside.

There are a few Cape Dutch homes within Cape Town itself, but they begin to multiply as you head out into the surrounding wine lands and along the serpentine coastal road of the Garden Route. The whitewashed walls and tiny windows propel you back to the 1700s when farmers had to contend with elephants trampling their crops or lions stealing their livestock [sadly, humans ultimately won those battles, with the animals now relegated to large, fenced national parks]. The roofs were kept low to avoid the tax on two-storey houses, but dormer windows hint to the existence of a sneaky extra layer inside.

Going Dutch It’s the Cape Dutch architecture that is perhaps the most iconic. Dutch farmers created these gabled houses and roofed them using the materials available at the time – reeds, long used by African indigenous tribes to thatch their mud huts. The designs were originally inspired by architectural fashions in Holland, but in this far-flung African outpost, the houses developed a unique look of their own.

The Italians and the Brits The British also brought their architecture with them when they came to the Cape; a modern-day homesick Brit can still feel at home in the City Hall area, with its solid Victorian architecture, built in sandstone imported from the town of Bath. This Italian Renaissance-style building is where Nelson Mandela

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GOING PLACES

came to make his speech after he was released from Robben Island prison. The contrast between his stark cell and the mosaic floors, ornate clock and stained glass panels can’t have escaped the man who went on to bring peace to this troubled nation.

an impressive ziggurat [a rectangular, stepped tower] design and exceptionally long, prismoid windows. The friezes alone are worth seeing; one is the longest in the world, encompassing three sides of the building and illustrating the colonial history of the country.

Sailors, Soldiers and Slaves Slaves, sailors and soldiers built the Castle of Good Hope, a star fort, to protect the Dutch East Indian Company’s interests on the spice route, but for sailors, seeing it came to symbolise that they had survived the perilous sea voyage. Here too, imported stone recalled a life left far behind; the entrance is made of ijselstene, small yellow bricks from Holland. Today, it’s a museum filled with mementos of Cape history.

A Love of Heights In the 1930s, South Africa was booming thanks to a high demand for gold. Art Deco was the height of fashion and the Capetonians had the cash to pay for it; buildings went up all over the city. Art Deco lovers can get their fix at the Mutual Heights building; at the time, it was second only to the pyramids in terms of height on the continent. It has

Spotcheck Carmelo Delia

Cape Town Stadium The ultra-modern stadium offers a complete architectural contrast. Built for the 2010 World Cup and seating around 64,000 people, it is now used by Ajax Cape Town FC and also hosts concerts and other sporting events. The bowed frisbee shape of the building rises up from parkland against the impressive backdrop of Table Mountain and Lion’s Rock. Tefloncoated fiberglass reflects the colour of the sky and perhaps even the mood of the city, morphing from silver at first light, through blue at midday to earthy red at sunset. The German engineering behind the frame can be seen in the clear lines that appear when the lights are switched on at night.

Celebrate half a century with Carmelo Delia

On March 3, Carmelo Delia will be inaugurating the refurbishment of its shop as well as celebrating the 50th anniversary of Cucine Lube. This will mainly include the unveiling of the Oltre project, Clover project, Immagina project and new models from Creo Kitchen. This Gruppo Lube collection varies from medium to low budget and high end and includes modern, industrial, contemporary and classical kitchens. Visitors can also enjoy the introduction of internal doors from Anello Porte, while the new Loiudic&D sofa models will also be on display at the showroom in Valley Road. Carmelo Delia is renowned for its main and spare bedrooms, dining, living rooms and office furniture. It is also known for its specialised service in designing home and office projects. For further details, visit the showroom in Valley Road, Birkirkara, or call on 2147 2882.

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