PLACES ISSUE 16 JUNE 2017
Design & Living
AN APARTMENT FOR ALL From urban chic to the Maltese touch
Sprucing up for summer TIME TO TAKE YOUR LIVING OUTSIDE
Giving a space VIP status
A Renaissance restoration WHEN BRIGHT BRUSHWORK EMERGES FROM GLOOM
THE BLUEPRINT
PLACES
Design & Living
ISSUE 16 JUNE 2017
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PROJECT PEOPLE
MY DESIGN
54 Te fit-Tazza Redesigning an established
THE PROJECT 10
coffee shop
Urban Chic A young couple’s ideal home
22 More than a Hint of Maltese Detailed and bespoke design 32 To Let An apartment for all
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TRENDS is Easy
DESTINATION, HERITAGE & ENVIRONMENT
Inject that cool seasonal feeling
60 GOING PLACES Sky-high
Summertime… and the Livin’
45 THE GREAT OUTDOORS Living Life Outside
HOME DÉCOR 38 DOING IT UP: DO/DON’T
Al fresco furniture 46 ACCESSORIES
The new airport VIP lounge takes off 64 CONSERVATION CORNER Saving the Saviour of the World
Thinking Outside the House
The Mediterranean Touch
Malta’s most important
Moving the living room out
Art, fashion, sea and sand
Renaissance painting
ON THE COVER PHOTO: SEAN MALLIA See story on page 46
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Photo: Brian Grech
MY DESIGN
some time ago, but i remember it like yesterday, as i was finally sitting on the sofa after a good, long and productive day, i was told by the person beside me that he had an uneasy feeling; the feeling that someone had just died, but it hadn’t totally sunken in yet; that something tragically bad had happened, but it hadn’t been fully processed, or digested. i couldn’t understand at first and was about to ask for more information, fearing the worst. Who had died? malta, he said. “i’m watching malta die and i can’t accept that it’s happening. i can’t believe it and yet i know malta is dying.” We had been semi-watching a tV discussion programme on skyscrapers and facebook was, as usual, awash with posts on environmental disasters. charming old houses in Gozo
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villages were going down to build hotels, valleys and open spaces threatened with out-ofplace development, green lungs suffocating. it was, indeed, a choking feeling. today, i have been assured of the continuation and even more rampant rape, where there could have been a glimmer of hope in change. Whichever way the pendulum would have swung, the construction kings would have either been here to stay and stronger still, or they may have had to put up a fight to hold on to the territory that, like animals, they have literally pissed on to mark. the problem is that quality of life takes on almost opposing meanings, depending on which side of the fence you are on. our nation is divided on what constitutes happiness, peace of mind – serenity, if you will. for example, there are those who are content with a job they don’t deserve in exchange for their vote and those who merely want a clean environment for everyone and their children in exchange for theirs. But quality of life does not come from paying slightly less for the services you are using and abusing. Quality of life does not come with freebies that encourage laziness. Quality of life doesn’t come with getting away with murder because others in high positions have. Quality of life doesn’t come with shagging the system because if they did it, why shouldn’t we? Quality of life doesn’t come with bulldozing over others’ rights – and properties. Quality of life does not come with having a joke of an environment watchdog, which
June 11, 2017 | issue 16 | Places is a bi-monthly magazine | EXECUTIVE EDITOR fiona Galea debono | PUBLISHER allied newspapers ltd | PRODUCTION allied newspapers ltd | PRINTING Progress Press ltd | DESIGN manuel schembri | ADVERTISING SALES Veronica Grech sant [2559 4706; veronica.grechsant@timesofmalta.com]
is weak with the strong and strong with the weak. Quality of life does not come with shoddy work. Quality of life does not come with ingesting dust on a daily basis as long as you’re earning a short-lived buck. Quality of life does not come with being a prisoner in a shaking house, with sealed windows. Quality of life does not come with the torturous sound of drilling in your brain from morning until night. Quality of life does not come with copious amounts of money in the face of all the above. and still on the subject of quality – a key word in Places: desiGn & liVinG – i’m amazed that we actually come across and can feature a few homes and other projects that can qualify for this adjective, given what a poor understanding of it this country has. after all, who in their right mind would embark on any form of refurbishment, i ask – be it even a basic repainting job – to be practically held at gunpoint by the construction industry cowboys, only for the properties around them to start collapsing like dominos and destroy their quality of life. Yes, we have managed to dig up a couple of quality projects to feast your eyes on in this issue, which you can also enjoy on our newly launched Places: desiGn & liVinG facebook page. We know what heartache those involved in quality projects have gone through to get to where they are. may they not lose all that they have worked for with the stroke of a powerful dig in the hands of the power-hungry.
this publication is being distributed as part of © 2017. all rights reserved. reproduction in whole, or in part, without written permission of the publishers, is prohibited.
June 2017 PLACES
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URBAN CHIC
THE PROJECT
Husband and wife architectural team, Camilleri Burlo’ Architects, know exactly what it takes to design a young couple’s ideal home. Comfort, entertainment, luxury and the great outdoors all come into play.
PHOTOS: SEAN MALLIA
The designers: Husband and wife architects Kurt and Trinity Camilleri Burlo’ from Camilleri Burlo’ Architects & Designers The brief: A comfortable place for a young couple in their 30s, who love to entertain and dine outdoors. A
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three-bedroom apartment was transformed into a luxury twobedroom home, with a lot of storage and utility areas etc... The master bedroom is like a hotel suite, with a large office/library space in the front. It has a custom-built sliding door – one of our favourite features – which
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THE PROJECT
can be closed off when the owners have guests and access is needed to the front terrace adjacent to it. When opened, the space grows and it forms part of the master bedroom, which also hosts a super walk-in wardrobe and shoe closet, leading onto a large en-suite bathroom with a double shower. The starting point: This involved lots of gutting out and structural changes, as well as excavating an existing one-car garage to create a two-car space and office [cars and model cars are the client’s hobby]. This was also linked to the apartment via an internal staircase. The whole concept of the apartment
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THE PROJECT
was shifted, with the bedroom areas moving onto the front part, which also has a lovely terrace, while walls were dropped down to create a lovely open-plan kitchen/dining/living at the back, adjacent to the bigger yard.
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The challenges: Many! As in most of the projects we undertake... We love our job way too much and put our heart into what we do, so everything has to be perfect and, obviously, to achieve that level, we had many challenges, including
finding the right materials, making the structural changes, focusing on the level of finish, meeting deadlines etc‌ etc‌ The overall concept, look and feel: Urban yet chic, raw
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THE PROJECT
and unique, shabby and eclectic – these are all ways of describing this beautiful space. The key elements and colour schemes: Wood, exposed concrete, exposed steel beams.
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The main feature: The large open-plan kitchen/living/dining and outdoor space. The most practical/frivolous touch: The utility room, the connection to the garage and, of course, the master bedroom sliding door.
The most precious piece: I would say the lighting on the dining table. It’s a Flos lamp, and as pretty and versatile as they are, they don’t come with instructions, so my husband, Kurt, had to help the electrician to set it up as we required. It was also a lovely
THE PROJECT
feature and the best solution since the exposed steel beams pass through the centre of the dining table, where you usually hang a chandelier. The custom-made doors are also close to our heart. I love the way we mixed the steel door jambs with the oak doors – something original and striking.
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The preferred corner: I would say the large open-plan kitchen/living/yard. The husband definitely likes the kitchen area as he loves to cook [lucky wife!] and it is a very comfortable space, together with the outdoors. He also likes the fact that we created the internal connection to the
garage and his office. The wife likes her bedroom area, with her large walk-in closet, as well as her utility room, which is more like a living room than a place to do the laundry! There is also a yard adjacent to this, which has been done up nicely, with plants and decking.
The outdoor space: The couple bought this apartment because, apart from the fact that it would tick all the boxes once it was transformed, it had two yards. The backyard is large, while the one at the front is a floor higher than road level, meaning it offers privacy, while it is the
perfect breakfast area since it is adjacent to the master bedroom. We dropped down walls to be able to have the dining and living rooms adjacent to the backyard, extended into it and created an indoor/outdoor feeling. We used the same continuation of tiles and an
embedded aperture rail and we added a lot of glass to achieve the feeling of taking the indoors outside and vice versa. [www.camilleriburlo.com]
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THE PROJECT
PHOTOS: ALAN CARVILLE
More than a hint of Maltese The idea was to know the country you are in the moment you step into this unique apartment, so subtle and not-so-subtle design elements bring this property home.
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The designers: Interior architect Carlo Scagnelli from Milan and interior decorator Alison Satariano from Inside Out Design Finishes and Interior Outfitters. The brief: The owners have several apartments in various countries and didn’t want them to look the same. Each had to represent the country they are in. They wanted to know they were in Malta the minute they stepped into this. Hence, the Mdina Glass touches, the wrought-iron balcony onto the sunken kitchen, the traditional Maltese tiles, the limestone feel of the walls, the wallpaper featuring Maltesestyle doors, the stained-glass ceiling on the kitchen, depicting the Valletta skyline, the eye-like pattern on the linen fabric lining the breakfast bar and the lace on the back of the dining chairs. The whole apartment is a showcase of Maltese craftsmanship.
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THE PROJECT
THERE ISN’T ONE PAINTED PIECE OF WALL IN THE APARTMENT. EVERYTHING IS CLADDED, PANELLED AND WALLPAPERED
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The challenge: The detail was massive. There isn’t one painted piece of wall in the apartment. Everything is cladded, panelled and wallpapered. Even the curved wall opposite the main door, which opens onto a secret room, is covered in fabric. Every wardrobe door is cladded inside and out, with edging where the two wallpapers join. Absolutely nothing was bought off the shelf and even the handles were custom-made, not to mention the
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THE PROJECT
sofas, beds, armchairs and dining chairs. The way to overcome the challenges of such detailed bespoke design, where everything has to fall into place like a complex jigsaw puzzle, is to prepare detailed plans of implementation, with every single elevation measured and marked. And of course, daily site visits are a must. The bedrooms: Each one is characterised by custom-made headboards, which are quite a focal point. The long, rectangular, Chesterfield, buttoned headboards in ecru, textured satina on the single beds not only create height and a feeling of luxury, but they also add character to and detract
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358, Naxxar Road, B’Kara BKR 9040, Malta Tel: (+356) 21441328 | Fax: (+356) 21447188
www.bathroomdesign.com.mt www.facebook.com/bathroomdesignmalta
THE PROJECT
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attention from a room that only has a shaft window. The master bedroom has a backlit, double-panelled headboard in different fabrics in cobalt blue and a gold weave, while the more daring guest bedroom has a striking, bright, curvy and high headboard in floral embroidery.
Precious pieces: The marble on the floors and in the bathrooms was chosen by sheet, piece by individual piece, with specifications on how to cut it. The overall look & feel: It’s eclectic and unique, totally out of the ordinary – proof that you can do anything in
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THE PROJECT IDEAS & MORE
Geometric and pure design for authentic pleasure Authentic and modern design merge with the finest technology and functionality in this collection. Offering black, white oak and taupe colour options addressing any taste, Frame’s uniquely designed products create an unusual bathroom experience for its users. The Frame collection by Vitra is exclusively available from Vivo Bathrooms and Ceramics in Iklin. Call on 2093 2932; www.facebook.com/VivoBathrooms
Making the most of open spaces Malta, from the gilding of the edges of the shelving to the seamless flow between marble, Maltese tiles and wooden floors. The colours: Again, these were chosen to reflect a Maltese feel, with the blues of the sea and the beiges of the sand and stone coming into play. The main features and frivolous touches: The red shelving in the split-level open-plan kitchen/living/dining
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is a unique touch, with its gilded edges, while the L-shaped sofa in the sunken living room does not face the TV. The kitchen extractor is in the shape of a round bulb and changes colour. On a more practical level: Hidden and subtle storage is everywhere, making sure every nook and cranny is used and no space wasted, especially in the entrance hall. This was possible due to the fact that the furniture was custom-made.
Rather than simply distributing the furniture in different parts of the room, Frank Salt Home Interiors suggest some clever design ideas to create distinct spaces. For example, you could use different paint colours on the wall, a sectional sofa, open units as dividers, large carpets and even gypsum ceiling features. When faced with a situation where the kitchen has to be positioned at the entrance of the apartment for example, how about creating an open shelving unit to ‘hide’ the busy cooking area? Besides being useful, this lovely feature will make the kitchen far less conspicuous.
THE PROJECT
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TO LET PHOTOS: SEAN MALLIA
When doing up a space for rent, a different approach has to be adopted. For these four Gzira apartments, interior designer Carlo Schembri went for a more minimal and generic style that could easily be adapted to suit different lifestyles. But his mantra remains: good design is good business.
Designer: Carlo Schembri Design Team Brief: The client wanted good-quality, design-oriented apartments. Property location: A block of 10 units in Gzira. When doing up properties for rent, what considerations are made and how do these differ from designing permanent homes for clients? When you do up a unit aimed for letting, it is not like a permanent residence. In the latter case, you would know the clients and their lifestyle, while when you are designing for rental and you
don’t know the end user, you have to be more generic. We opted for a more minimal and generic approach in this case. Are specific materials used for wear and tear, for example, given that the properties will be used by a variety of people who are not the owners and may not be as careful? Yes, in fact, we opted for laminate materials because they do not stain and scratch; full-body grès tiles in large formats; simple floating soffits; wipeable paints; and a generic theme for the wall art. It’s about practicality and functionality, coupled with style.
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THE PROJECT
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How does one design a space that can appeal to a variety of tastes and styles? In a sense, you are working for several clients, which you have never met. True, and that’s why you see what really works and you try to put yourself in the shoes of whoever is renting it. What I do is I create a profile of a client that is a bit generic. For example, in these cases, I imagined a white-collar worker, or someone in a high position in the
gaming industry. The idea was that the apartments would serve as a sort of refuge, as well as an entertainment pad. Design wise, it has to be something that can be adapted, according to individual lifestyles, with minimal effort.
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THE PROJECT
The two-bedroom apartment, with gym and games room, is designed as a bachelor pad, targeting the single male, while the other more generic spaces are for a young couple, possibly with young kids. What colour schemes did you opt for? Neutrals and a grey palette.
What makes a property ‘rentable’ from a design point of view? There are a lot of similar properties on the market. In fact, there is too much of the same thing. We chose furniture that would be instantly recognisable by the potential end user, partnering with Lema and Porcelanosa among the main suppliers. Talk about the look and feel you set out to create in these apartments. What are the major differences between them?
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What are the challenges of a job of the sort, where creativity may be limited, as well as budgets? Clients will be doing this sort of thing to make money, so the budget is important. What was different from the usual this time is that these clients love good design and good quality, and they knew that if the market was saturated with similar properties, they were going to have to make sure these apartments would remain rented, following the concept that good design is good business. Were there any structural interventions involved, or did you work with what you had, and how does that affect the project? Intervention was minimal because the clients bought the property on plan and the layout was changed in time, before the builder started the works.
DOING IT UP: DO/DON’T
HOMEOWNERS HAVE STARTED TO PREFER MINIMALIST CONFIGURATIONS TO BUSY AND CROWDED BACKYARDS
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Thinking OUTSIDE The house Antonella Riotto, interiors architect at Fino interiors Design studio, shows what it takes to move the living area outdoors in 2017. here are a few design tips to make island living even more attractive this summer and to make you want to stay put.
FuRniTuRe can also define the atmosphere of an outdoor living space, and it’s up to us to create the best mix between an inviting and a comfortable setting to achieve the ideal arrangement for our home.
are being redesigned, while retaining the playful colours and organic textures of the materials. installing rustic pavers beneath your garden furniture arrangements also helps accentuate design details.
BOLD COLOURS The current style trend is all about colour experimentation and mixing different materials together. energising your home patio might be easier than it seems if vibrant tones are incorporated into cushions and base cloths. You can make accessories stand out also by choosing neutral backgrounds. But remember, too much colour can also be overwhelming at times. We strongly recommend turquoise for your sea-view terrace, accented with beige umbrellas and a wooden deck.
TAKE THE SEA HOME WITH YOU using natural elements, such as tropical plants and seashells to bring the beach into your backyard, has always been popular. using faded greens and striking blues helps create a nature-inspired look, which can be calming, subdued, or bold, depending on whether strong patterns and refreshing fabrics, which are more appropriate for large open spaces, are incorporated. Talenti, a new italian brand that is distributed in Malta by Fino, offers a wide range of outdoor furniture perfectly suited for a sea-view outdoor terrace.
GARDEN FURNITURE Remember the classic tea garden furniture? Well, it’s certainly back on trend in 2017. iron tables and chairs
TEXTURES AND SHADES Deep reds and oranges are also suitable for natural surfaces and materials such
as metal and plastic. Meanwhile, wooden finishes are used to create a peaceful space. Craftsmanship and reclaimed wood can help to achieve an authentic handmade style, giving a unique character to the design. iconic items such as the Pix collection and the Leaf chair will certainly delight even the most ambitious designer. SIMPLY ELEGANT When it comes to outdoor design, homeowners have started to prefer minimalist configurations to busy and crowded backyards. Contemporary structures showcase worn surface textures and wood grain finishes, creating an amazing combination and balance with pastel and washed-out effects. To further enhance the trend, use the Maltese traditional limestone as a background and the starting point of your new design. WWW.Fino.CoM.MT
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Summertime,
TRENDS
AND THE LIVIN’ IS EASY…
“Fish are jumpin’ and the cotton is high…” Sorry about that; we just got a little carried away with the cool summer feeling! From one season to the next, it’s important to shake things up a little bit. Not only does the start of the much-awaited sizzling summer bring with it an excuse to redesign, but it also allows us to keep in touch with the latest trends. Emma Mercieca Cristiano, from Brands International Ltd, shares some of her top tips on adding that touch of colourful pizzazz to life. Start by hanging up some art and add some artwork in pops of blues and bright yellows, bringing in seascape vibes, even if you’re nowhere near the beach. You can almost smell the sea breeze.
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Remember, storing your belongings, doesn’t need to be boring. And these gorgeous hand-woven baskets are a testament to this. Perhaps their beauty lies in their versatility, where you can even have a pretty plant to add that extra botanic element in your room. But perhaps you prefer a more bohemian look, and would rather opt for these seagrass baskets instead…
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You certainly can’t go wrong with simple accessories – whether it’s a vase in glass, white, terracotta, or oak, enjoy getting creative by filling them up with pebbles, single flowers in pretty hues, or even succulents. If you want to go for that botanical feel, include some greenery – not only do plants provide cleaner air, but they also add a refreshing burst of colour.
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TRENDS
WITH A DASH OF SIMPLE STYLING AND SOME KEY PIECES THAT ARE VERSATILE ENOUGH TO BE USED ALL YEAR ROUND, NOT ONLY WILL SUMMER MODE START KICKING IN, BUT YOU’LL ALSO SURELY FEEL LIKE YOU’RE TUNING IN TO THE INNER DECORATOR IN YOU
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Whatever you choose to do, be sure to surround yourself with natural materials – summer vibes are all about enjoying nature’s gifts to us. Think on the lines of rattan, wicker, linens and timber.
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And when all’s said and done, and the only thing you want to do is chill out and absorb the summer atmosphere, doze off to the gentle sway of an outdoor swing in the cool breeze
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We get that all that sorting and storing could prove to be tiring. So, why not step outside and get your daily dose of vitamin D? Eat [or drink] al fresco – even if you just have a little corner in a small garden, balcony, or terrace.
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Add a small table with a couple of chairs, and enjoy sipping a drink, accompanied by some nibbles in the fresh air. Sit back, relax and enjoy soaking up the sun… If you’re in love with the Scandi look, you can’t go wrong with outdoor dining and lounging furniture in crisp white and dark eucalyptus legs.
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Creating a summer vibe in your home doesn’t necessarily mean having any major overhauls. With a dash of simple styling and some key pieces that are versatile enough to be used all year round, not only will summer mode start kicking in, but you’ll also surely feel like you’re tuning in to the inner decorator in you.
TRADE FAIR OFFERS
THE GERMAN KITCHEN
Notabile Road, Mrieħel, Malta | T: (+356) 2546 4000 | E: info@oxfordhouse.com.mt
THE GREAT OUTDOORS
LIVING In keeping with our pursuit to live life to the full al fresco, Peter Cutajar from Monter Ltd lists the prerequisites for outdoor furniture to the make the grade. If people think you’ve just shifted your home into the garden, then you’re on the right design track. Spending time outdoors with people you care about adds precious memories to life. Outdoor furniture that is comfortable and cosy, while embodying classical elegance, promises many more such moments. In Malta, we have the advantage of weather that allows us to enjoy the outdoors in peace and appreciate the little things in life. A cup of coffee on our favourite lounge chair before we start the day can make all the difference in the world. Quality outdoor products can entice us to cultivate our own island of tranquillity. When creating more living space outdoors to be able to spend more time in the backyard, or on the terrace, go for furniture that is weatherproof and made for outside use, yet has an indoor look and feel. The trick is that it looks like indoor furniture, but is specifically designed to brave the elements. If people think you’ve just moved your interior furniture outdoors, this is proof that you have the right philosophy regarding design, quality and detail.
It’s important to go for the very best materials and uncompromising processing standards. Viteo, for example, works only with high-quality materials to create fine, long-lasting, outdoor furniture. Apart from high-grade marine stainless steel, these include Corian, which is predestined for outdoor use, being silky to the touch and temperature resistant, hard wearing, dirt repellent and easy to care for. This material, with its non-porous, fine surface, is available in select UV-resistant colours. As a certified Corian processor, Viteo can thermoform this innovative material, join parts seamlessly, and realise almost any design with passion. Apart from Corian tops, strong woods are also important. Iroko, teak, and larch are all especially tough and easy to maintain and are often chosen for demanding applications, which makes them ideal for outdoor use. When working with teak from sustainable plantations, it should be
ensured that the wood grows slowly and is constantly monitored, while brushed larch is another wood that works well and, in the case of Viteo, is procured directly from the Austrian province of Styria. As for the power of the iroko tree, some Africans actually believe it to be holy. Outdoor furniture should be prepared to withstand all kinds of weather, and Viteo has an in-house lab in which all weather conditions can be simulated to ensure that the products can be enjoyed for a long time. But don’t just go for furniture that is durable; look out for the best materials not only for surfaces, but also for every little hidden detail. The difference between yet another beautiful outdoor furniture piece and good design is, in fact, the detail. It makes a difference if everything is made by hand in the heart of Europe, and the finishing touches are also done by hand, with a fine eye for detail. Go for collections that are modular and easy to rearrange outdoors. No longer do you need to choose your furniture around your outdoor environment; rather, the furniture should adapt to your own surroundings. With a small-scale manufacturing philosophy such as Viteo’s, the company can react to special enquiries in a fast and timely manner. And architects love this!
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ACCESSORIES
THE MEDITERRANEAN TOUCH A fusion of art, fashion and furniture…
PHOTOS: SEAN MALLIA | STYLING: IRENE ZARB ADAMI
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Painting, Bel Designs | striped cushion, €93; crochet cushion, €103, both Natuzzi | dress and hat, stylist’s own.
Bel Designs
Painting; stool, both Bel Designs | round vase, €149, Natuzzi | X-shaped vase, €43.95, Fino | plate and candlestick, stylist’s own. JUNE 2017 PLACES
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ACCESSORIES
Painting, Bel Designs | bag, €105, Pippa Toledo.
Painting, Bel Designs | Bali triangle top, €51; Maui cross-over bottoms, €44, Isle&Aqua | cuff, €285; sunglasses, €49.95; earrings, €85, all Pippa Toledo.
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Accessories
Table, Bel Designs | round vase, €149, Natuzzi | X-shaped vase, €43.95, Fino | towel, €120, Pippa Toledo | dress and hat, stylist’s own.
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PLACES PROMO
Where land MEETS SEA The Shoreline is the latest landmark project for luxurious living and spectacular views on the north-eastern coast of Malta. a neW landmark is set to be created at SmartCity, Kalkara, consisting of modern and sophisticated living, with 411 shoreline residences, enjoying spectacular views, beautifully landscaped open spaces and an assortment of community amenities. The Shoreline is a balanced mix of differently sized and very well laid out units, overlying a 30-outlet shopping mall, comprising 18,000 square metres of net rentable space, with three further levels of underground parking. It is by far the largest and most significant development of its type in the south side of the island. The €145 million project is the brainchild of ricasoli Properties ltd, a privately-funded entity that has entrusted the architectural challenge to eM architects & Civil engineers.
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lead architect edwin Mintoff explains: “at The Shoreline, our main challenge is the need to achieve a balance between the maximisation of prime sellable residential space that gets to enjoy the sea, the unique laguna views, and the resulting building morphology. “We believe that we have managed to reach this balance by creating a building that does indeed have a large frontage facing the sea, but whose massing is placed entirely towards the back of the site, creating a large open space between itself and the public promenade along the foreshore,” he adds. The two arms of the building step towards the seafront, creating large terraces at both penthouse and upper levels, while the gentle curve of the entire façade serves to soften the impact of the 11-storey block.
the open space thus created becomes a vast residential garden at podium level that accommodates a health club and a large swimming pool. the bottom part of this podium opens onto a series of public spaces that surround the smartCity laguna, accommodating the top floor of the retail mall, ensuring an active frontage onto the laguna. the open space above, in turn, offers a unique opportunity to introduce the very important element of natural light into the two levels of retail mall below, further enhancing what should be one of the best mall environments in the mediterranean. the residential component will cater for the new residents expected at smartCity as a result of the various exciting, up-and-coming projects that have already been announced.
prestigious and exclusive landmark, complementing other major projects due to start imminently.” ricasoli properties ltd’s managing director steve Carter describes the wide-reaching scope and scale of the project as impressive. “this is why we have entrusted em architects with this project. since 1986, this firm has provided exceptional, professional, architectural and civil engineering services to a wide variety of clients in the public and private sectors. their experience has earned em a solid reputation as they have demonstrated their ability to handle large-scale projects with creativity, forethought, sound design principles and highly technical proficiency. an open international bid for a general contractor will be launched prior to the end of the year,” mr Carter says.
Continuous horizontal lines of sleek glass balustrades, punCtuated by streamlined white planters, tapering balCony profiles and finishes reminisCent of luxury yaCht design Contribute to this prestigious and exClusive landmark “the architectural design of the project focuses on creating beautiful, well-lit, liveable spaces, which merge into the large continuous balconies that inform the design of the seaward façades,” says perit mintoff. “Continuous horizontal lines of sleek glass balustrades, punctuated by streamlined white planters, tapering balcony profiles and finishes reminiscent of luxury yacht design contribute to this
the project is in a specially designated area [sda], which status allows both eu and non-eu nationals to purchase property at the shoreline with the same acquisition rights as maltese citizens and without the need to obtain an acquisition of immovable property [aip] permit. there are no limits, therefore, on the amount of properties a buyer can purchase and, once acquired, the owner can also lease the property.
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PROJECT PEOPLE
Te fit-tazza
Photographer and designer Sean Mallia has just completed his debut design project, together with architect Kyle Calleja. The redesign of a long-standing Mosta coffee shop, Xufi, focused on keeping a vintage touch and making sure the regulars continued to feel right at home. Everything is linear, industrial and cold, but wood elements and greenery add the warmth. PHOTOS: SEAN MALLIA
XUFI – CAFE’ & BISTRO used to be Olympic Bar and Restaurant and was known among locals as ‘tax-Xufi’. It was established in 1963 and rented to a family whose nickname is Xufi and who has been operating it since. Recently rebranded with a vintage touch, while looking fresh and contemporary, it is now transitioning into
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a bistro and cafe. Situated in the Mosta square, Xufi is known for its traditional te/kafe fit-tazza and hobz biz-zejt [aka hobza tax-xufi]. It opens at 4am and is mostly populated by workmen and hunters, who start their day early. Every day, they pass by for a quick coffee, a chat and to take their hobz biz-zejt.
Architect Kyle Calleja and photographer/designer Sean Mallia. PHOTO: LUCA TUFIGNO JUNE 2017 PLACES
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HAVING THIS CONTACT WITH SO MANY PROJECTS AND OBSERVING THEIR DIFFERENT ANGLES AND DETAILS HAS HELPED ME DEVELOP A GOOD SENSE OF COLOUR AND TASTE FOR A VARIETY OF STYLES
Later in the morning, the clientele changes somewhat, but everyone seems to be attracted to the humble atmosphere and decent food. For this reason, it was ensured that the new design did not interfere with the character of the place and it was also suggested to the clients that they should never drop the simple things that make people love it. The project was tackled on a holistic level. It is photographer Sean Mallia’s first design project, and together with architect Kyle Calleja, he redesigned the space, project managed the works and ensured all the detailing on the drawings was executed as indicated. The duo also worked on the rebranding and look of the logo and started an online presence of graphic design and photography. Menus and other graphic design requirements were also in their hands. “When we were at concept stage, we kept in mind two things – the improvement of the function and the aesthetics – while bearing in mind that this ‘institution’ should not lose its character,” says Sean. The new look has so far been applied to the first-floor extension, which was recently completed, while the design of the ground-floor area is still to be implemented and works are planned to resume in October. Here is what Sean has to say:
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As an ex-architecture student and professional photographer, this project was your interior design debut. What gave you the confidence to roll up your sleeves, move to the front of the lens, plunge into the design world from another angle and show a different side of your creativity? And why do you think you were entrusted the job at this early stage? Designing a restaurant, or a coffee shop, has always been what I wanted to start from due to my personal interest in them. At university, you get to design many different projects and that is how you get the fundamentals and the approach right. But when it comes to a project that will be implemented in real life and you get to project manage it yourself, you start to really understand how to turn a concept into reality, what it involves to make it happen and what compromises you have to make for it to be realistic and practical. I think I was entrusted this job because I was very insistent that I could do it well and because I knew the place enough to make sure the new design would be respectful of its valuable character. I am also very passionate about restaurants and food. Plus, my work partner, Kyle, is very good at solving functional and logistical problems and is also very good at 3D renders. His main focus is on making things more practical and efficient. Competition is very high in the design industry, so there is no time to waste; you need to start getting projects and gaining experience.
Upstairs… downstairs [renders].
You’ve been shooting interiors and architecture for a while now. How has all that you have seen and photographed over the years influenced and inspired you in your own design project? Working as a professional interiors photographer during my studies and now full time has definitely helped me sharpen my eye for the good things and the bad things I see locally and abroad. Having this contact with so many projects and observing their different angles and details has helped me develop a good sense of colour and taste for a variety of styles. What was the brief, how did you go about it and how much did you change it? The brief was simple: enhance the look of the place, make the seating more practical and redesign the bar area so that there is enough space for storage, display and a working area. The bar area is where the bread is prepared and displayed, so it was the focal point of the design and it had to be ergonomic enough to accommodate different simultaneous functions. What was the look and feel you wanted to achieve and how did you do this through the choice of materials, colours, fabrics, layout etc… The look was derived from the simplicity of the existing place and those who frequent it. For this reason, we
avoided as much as possible anything elaborate. We went with a simple design and kept it consistent throughout. Considering that the place is frequented by workmen early in the morning, we opted for raw elements such as steel, wood, concrete and greenery. This is also characteristic of the loft look, or Northern European industrial feel, which is very much on trend. However, we tried to apply it in a simple manner to be timeless. It was all about staying monochromatic and our obsession with linearity. The hexagon tiles are the highlight of the new space as they are inspired by their traditional Maltese counterparts. Their shape also makes them look more complex, so it was even more important to keep everything else as simple as possible. If you are going for a simple design, it is fine to introduce one complex-looking element. However, then you shouldn’t try and make it compete with anything else. So the bars of the L-shaped steel door had to be very thin and linear; the shelving, storage cabinet [waiter service station], tables and chairs all had to be very simple for the tiles to be the only things to stand out. The palette is mostly monochrome, but we also introduced some greenery in certain areas. This created a balance between warm and cold. The raw wood of the table tops and shelving also contributed to the balancing out of warm versus cold. You stuck to black and white and refused to plaster colour everywhere because you wanted the food to
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THE THING I LOOK FORWARD TO MOST IS GOING THERE WHEN IT’S OPEN AND SEEING OTHER PEOPLE ENJOYING THE SPACE… I WILL JUST SIT THERE WITH A SMILE AND SAY NOTHING. stand out. Do you think that the fact that you are a food photographer makes you appreciate all the more the actual dishes and maybe this is why you wanted the food to remain the focus? Food is another passion of mine, so yes, I wanted the actual food and the surface it is served on to stand out more than the walls, ceiling, or other elements that are of a less importance. Where there is food and life, there is warmth and colour; anything else can remain cold, and eventually, the two will balance out each other. What is the most important feature of the space? I think the tiles stand out the most, but I’d also like to think that every single element contributes to the overall look. If you remove or change one thing, the project might easily look incomplete, or it might not even work. The job of the designer is to make sure everything works together. The steel doors also play an important role because we went for a very thin structure rather than the usual thick aluminium profiles and this made the place look more elegant and light. The L-shaped door was actually a closed wall before. We decided to knock this down to make the space appear bigger and to let more natural light flood in from the stairwell. Everyone also seems to be obsessed with the Moss column. You can touch it and it feels like a living thing, but it is actually preserved grass and it is an interesting, subtle highlight, which adds to the green elements we wanted to introduce. What was the biggest headache? Convincing the client to keep trusting us and not change anything from the original design. The second biggest headache was going on site every day, making sure all the different workers followed the detailed drawings and did not take any short cuts. You also got involved in the branding, and in fact, the one-stop-shop approach has become the way forward. How important was it for you to see the project through from beginning to end and which was the most interesting part of your various roles, including interior design, photography, graphic design and project management? I think the most interesting part was seeing everything coming together in real life. It is easy to design something cool on paper, but then you have to also
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source the materials and products and make sure everything is executed in line with your vision and everything is brought together in a way that works. I think a project can really work when everything that has to do with design has been taken care of by the same person, or group of people, because it is much less probable that the concept would deviate from its original idea. You went into detail, including creating the prints for the frames. Why and what did you choose? As most designers like to do, I wanted to leave a bit of myself in the project. Since I photograph food and also architecture, I wanted to include some of my prints. They include the Mosta church and are all black and white in line with the concept. I wanted to show that food could even look good in black and white, but I also wanted to mute it from colour so people would give more attention to the real food being served on the table rather than a picture. Photographic prints fill the space well, in a subtle manner and without too much fuss, which is what we wanted. You could have also sourced the furniture, but you chose to have it custom-made by carpenters and steel workers, according to your detailed designs. Do you never take the easy way out? It’s not wrong to source readymade furniture, but since linearity was a fundamental aspect of our design, we wanted everything to be custom-made so that we could align everything together. Even though it’s early days and it is likely to evolve, how would you describe your design style? That’s very difficult to say. I guess I normally go with something raw and simple, while trying to do it elegantly. How do you feel when you go there for a coffee? It isn’t open yet, but I do go for a coffee and they let me take it upstairs although it’s still closed to the public. It is very satisfying to just sit down and enjoy the fruit of hard work, especially when it is your baby – and hopefully, the first one of many. I am actually working on two new restaurants right now. The thing I look forward to most is going there when it’s open and seeing other people enjoying the space… I will just sit there with a smile and say nothing.
GOING PLACES
The VVIP High-Altitude lounge.
The new Malta International Airport VIP lounge is bigger, better and offers stunning runway views. PLACES explores what sort of design details give a space star status. PHOTOS: ALAN CARVILLE
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AS PART of a comprehensive programme to upgrade facilities and services at the airport, MIA has opened an entirely new VIP lounge, offering passengers more space, improved food options and panoramic views of the runway. Located on the top floor of the terminal building, the sprawling 870-square-metre La Valette Lounge can now accommodate even more guests and features an open-air terrace, where travellers can work,
grab a bite to eat, or simply relax before boarding their flight. “The La Valette Lounge is an integral part of the package we offer at MIA, and the opening of a new lounge is another key milestone in our terminal reconfiguration project, which is taking the airport to a new level,” says MIA CEO Alan Borg. In 2016, over 100,000 travellers visited the lounge, which is open to members of MIA’s La Valette Club, business and first-class passengers
SKYHIGH and guests who require more comfort when they fly. This is what they can now enjoy… What design elements make a space, in this case the MIA lounge, take on VIP status? In designing a VIP space, it is a must to include a number of elements that a high-end customer would expect to find. It is also very important to bring in new and innovative features to distinguish the space you are designing
from similar spaces, especially in the case of an airport lounge. And what does VIP mean in terms of interior design? The key to achieving good interior design of high quality lies in the details, so much attention was paid to every corner of the lounge. Every aspect of the design needs to be seamlessly integrated into a final product that is both pleasing to the eye, as well as fully functional.
How does one marry luxury and comfort with durability and wearand-tear? The lounge has to be high-end, but at the same time, there is a lot of traffic from many different people… The choice of materials is absolutely essential to be able to strike a good balance between aesthetics and durability. Nowadays, materials are more readily available to the designer, greatly facilitating this marriage of quality with durability. The lounge’s washrooms, for example, are a clear case of a high-end space that is in constant demand. In designing them, special attention was given to creating a spacious, user-friendly area and to selecting materials that are easy to keep in pristine condition even after years of use. For instance, seamless Corian was chosen for the wash-hand basins, precisely because of qualities that make it more durable, hygienic and easier to clean. On the other hand, the soap, water and hand-drying mechanisms were neatly incorporated within the mirror, and an indirect lighting scheme was adopted for a more elegant and luxurious look. What is the overall look and feel and how did DeMicoli & Associates go about achieving this? The idea was to achieve a relaxed ambience, which reflects the Maltese lifestyle and is completely different from the feel exuded by the many other lounges that are found in airports worldwide. This was accomplished by installing low-level, soft lighting, allowing filtered, natural light to enter the space. Meanwhile, a touch of warmth and softness was added by introducing mahogany wall panelling and through a careful choice of fabrics. For the floor, dark colours were chosen, helping to direct the gaze of guests to the elaborate, diamond ceiling. Ferrari fabric, with lighting
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PHOTO: KRIS MICALLEF
GOING PLACES
passing through it, was used for the ceiling, creating interesting lines and contours. Carpets were used in areas where there are sofas for added comfort. Moreover, the lounge features a number of different seats and seating arrangements; from relaxing and sinuous loungers and soft, leather sofas to bar-like stools and high tables, guests’ diverse needs are covered. The VIP lounge will also be featuring snapshots of the Maltese Islands, as captured through the lens of awardwinning photographer David Burdeny. These photographs, together with a menu that features tasty, Maltese dishes and scents concocted by local aromatherapist Stephen Cordina, are expected to create a stronger sense of place through an experience that pleases the different senses. What about colour schemes, fabrics and materials used? A palette of earth tones was selected for the lounge – mostly various shades of brown. The hard floor is dark grey, while the carpet is a lighter grey, speckled with different colours. Some walls are covered with reddish mahogany, parquet-style slats of different widths that are irregularly installed, while other walls are covered with wallpaper. Some sections of the ceiling are draped with bronze-coloured Ferrari fabric, which becomes more opulent as the evening light is filtered through it, and others are covered with high-quality wallpaper, featuring different layouts and designs.
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What would you say is the most stand-out feature of the space? The VIP lounge has two stand-out features, the first being the ceiling, which is composed of diamond-shaped forms that are covered either with see-through, Ferrari fabric, or gypsum ceiling elements, covered with high-quality wallpaper. The diagonal lines that these diamonds produce form the plan of the lounge and they are also the source of all service and light fittings. The second stand-out feature is the external terrace, with a set of curved canopies that provide a shaded environment, mimicking the dark and light effect created under the foliage of trees. The aim is to increase the amount of greenery in this outside area for a more verdant and cooler effect.
And other features that complement these? The reception counter, which points outwards in the shape of a sinuous, black V and is suspended off the ground by an intricate set of stainless steel crossed supports, is another striking design detail. The lounge’s food island is designed to be within easy reach of both the kitchen area, as well as guests and the reception desk. And finally, the golden-coloured screens are certainly worth mentioning. They contribute to both the plush design, as well as to functionally separate different spaces, while enabling a visual link to be retained between them. What makes this lounge better than its predecessor in terms of interior design? Firstly, this lounge occupies a bigger area, providing more seating and hosting more guests. The location is another fantastic plus of this new lounge. Directly overlooking the airport’s bustling runway, its glass wall offers great views of takeoffs and landings. The lounge has also introduced a unique, shaded, outdoor terrace, where guests can relax before they catch their flight.
The back of the painting
X-ray
After cleaning Ultraviolet image
Before conservation
CONSERVATION CORNER
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Saving THE SAVIOUR OF THE WORLD This exceptional work of art is one of Malta’s most important Renaissance paintings and one of only three of its kind known to survive in public collections worldwide. Conservator Roderick Abela from Recoop Ltd details its restoration process and the joy of witnessing its original bright colours, sharp details and delicate, minute brushwork emerging from an old and gloomy work.
THIS EARLY 16th-century panel painting is a rarity, not only for its artistry, but also for the fact that the artist inscribed his name and the manufacturing year. A Renaissance predella, portraying the Salvator Mundi with 12 apostles and measuring 28 x 200.5cm, it is a painting on wood that once formed the lowest tier of a polyptych that had a total of nine panels.
Here, the artist depicts the figure of Christ at the centre as the Salvator Mundi [Saviour of the World], blessing with his right hand and holding an orb in his left. He is flanked by St Peter and St Paul and the other 10 apostles, each figure having an individualised posture. It is impossible to ignore the attention to detail with which each of the figures was executed, a feature that
IT IS IMPOSSIBLE TO IGNORE THE ATTENTION TO DETAIL WITH WHICH EACH OF THE FIGURES WAS EXECUTED, A FEATURE THAT IS REMINISCENT OF THE FLEMISH STYLE The inscription in Latin on the parapet wall just beneath the figure of Christ – “Magister Salvus de a[nton]i messanensis / me pinsit [1]510” – makes life easier when it comes to attributing this magnificent work to the author. The artist, Salvo d’Antonio, was a Renaissance painter who was active in Messina, Sicily. He was the nephew of the célèbre artist Antonello da Messina, one of the most remarkable of the Renaissance period, who highly influenced Italian painting, particularly Venetian.
is reminiscent of the Flemish style, and one that was introduced to Italy by his uncle, Antonello. Dr Charlene Vella, who studied this and other Renaissance works by the artist and his family for her PhD research, describes it as exceptional and one of Malta’s most important Renaissance paintings. It is one of only three works known to survive in public collections in the world. On close examination of the painting, it is clear that during its history of over 500 years, it suffered the effects
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THE CLEANING PROCESS WAS VERY LABORIOUS AND TIME-CONSUMING, BUT THE RESULTS ACHIEVED WERE MORE THAN WORTH THE PATIENCE The painting was extremely fragile and handling was kept to a minimum until it was well consolidated. An initial analysis was carried out by taking a series of pictures, documenting it in diffused lighting, infrared, ultraviolet and X-ray. Each of these investigations helped understand the materials used in the manufacturing of the work and the deterioration phenomena present. The most fascinating, as always, are the results obtained using the X-ray machine, which allows for the inside of the painting to be seen without any direct intrusive intervention. The nails, the tunnels insects bore through the wooden support, old interventions and the reflection of the lead-containing pigments were all useful data, and when combined with the other non-invasive analysis, gave a very good picture of the painting’s state of preservation. Subsequently, to study further the manufacturing technique, samples were taken from different areas in order to analyse the materials the artist used and how they were applied. The hands-on treatments started with the protection of the paint layer. Here, a layer of Japanese paper was applied on top, hindering any paint loss during further treatment. This film is purely superficial and totally reversible, causing no harm to the painting itself. The wooden support was then consolidated by multiple layers of a consolidant that was injected through the
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Detail of saint
Detail of cleaning tests
of time and, to a certain extent, neglect. Its whole history is not known, though Dr Vella says this was the predella of an altarpiece commissioned from Salvo for the nunnery of St Peter in Mdina. It is from the nunnery that it was taken to the Cathedral Museum, together with another painting of St Peter. Salvo’s Mdina polyptych was commissioned on February 20, 1505, in Messina by the Dominican Guglielmo de Chilia on behalf of the Benedictine nuns of St Peter’s Monastery in Mdina for their church dedicated to the Madonna della Misericordia. Salvo was to receive 22 and a half uncie, and had to complete the altarpiece within eight months. However, the surviving predella panel bears his signature and the date 1510. It is possible that Salvo delayed his work on this polyptych by a number of years, presumably because more important commissions had been received by his workshop.
Inscription detail
CONSERVATION CORNER
insect tunnels, giving the wood the necessary strength it needed to undergo further treatment. After the curing of the consolidant, the focus turned to the last of the structural interventions. Here, all the cracks were delicately levelled and repaired by means of wooden inserts inside the panel at the back. Once the lengthy consolidation and repairing process was terminated, a longer but more exciting procedure started. This consisted of the cleaning of the paint layer, reviving and exposing the original colours hidden beneath years of old dust and grime accumulation, plus various later interventions. Thanks to the samples taken, an adequate cleaning method could be formulated. Results showed that several synthetic layers of varnish were present on top, covering a very old layer of oxidised varnish amalgamated with grime. The cleaning process was very laborious and time-consuming, but the results achieved were more than worth the patience. Bright colours, sharp details and delicate, minute brushwork emerged, refreshing an old gloomy painting that turned into a feast for the eyes. Very little abrasions and losses were present. Deep lacunae were infilled with reversible gesso and subsequently retouched, giving an overall homogeneous finish. Such an intervention would not have been possible had it not been for the interest and dedicated work of both the management of the Mdina Cathedral Museum, who are currently renovating the entire museum, and the Department of History of Art at the University of Malta, which is conducting extensive research in mediaeval and renaissance works of art in Malta, as well as the help of a private sponsor, Yulia Vasina.