Places – Design & Living (June 2018)

PLACES ISSUE 21 JUNE 2018

The return to subtlety and simplicity IN A WORLD WHERE OSTENTATION DICTATES

“We are not bold and brash” Subdued elegance retained in palazzo refurbishment

BARELY BARE IN A GOZO HOLIDAY HOME OUT WITH THE RUSTIC AND RUDIMENTARY IN WITH THE LOW-KEY LUXURY

FASHION MEETS FORM The architecture in men’s suits

Scent City The structure and sculpture of perfume bottles

Design & Living

THE BLUEPRINT

PLACES

MADE TO MEASURE BY ERMENEGILDO ZEGNA See story on page 27

Design & Living

ISSUE 21 JUNE 2018

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MY DESIGN

THE PROJECT 12 The Right Balance of Bare Feeling at home in a Gozo getaway PROJECT PEOPLE 22 The Journey of a Plate Ceramic dinnerware design FASHION & FORM 27 Made to Measure Building a wardrobe 31

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ACCESSORIES Invisible Cities Architectural message in perfume bottles

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BUILDING A BUSINESS 42 Spruced Up and in the Same Spirit Subtle palazzo refurbishment 50 Working the Room From precarious property to hip hotel EXHIBITION, HERITAGE & ENVIRONMENT 56 ART/CHITECTURE The Woman of Steel Working warmth into metal 60 IF WALLS COULD TALK Achieving Unity How to do restoration 64 CONSERVATION CORNER Out of the Wilderness Take a painting back to its origins

ON THE COVER PHOTO: JONATHAN BORG See story on page 56

MY DESIGN

IN A country – and probably a world – where ostentation is a status symbol and the benchmark of supposed style and success; where wealth is the passport, even literally, to the tightest social circles and a magnet for popularity, no questions asked; where the more flash, flamboyant and mega rich, the more the appeal, the open doors and the hero worship, simplicity seems to have strayed and lost its way. so, the June issue of PlAces: DesIGN & lIVING attempts to steer us back to what really puts things on another level: the understated, subtle and unpretentious approach.

This is probably best exemplified in our interview with restoration architect and Din l-Art Ħelwa council member Joanna spiteri staines, who puts it quite plainly: “Glitz dates and is superficial.”

In her recommendation to invest in and rehabilitate historical properties, rather than nondescript modern apartments, her advice is that “good restoration is about subtlety and simplicity”.

And taking as an example one of her recent restoration projects [pictured], she admits there was no real requirement for an intervention of high impact in this particular palazzo – a decision that was also “a response to the visual noise and clutter experienced in our towns and villages today; to the cacophony that results from the fact that every single building is different from the next in a vain attempt at originality and self-expression”.

This was a question of preserving the tranquillity and harmony within the walls of the palazzo and its garden… because achieving harmony is all important.

Intervening in a historic building requires great sensitivity and humility; not heavy-handedness, which now so easily escapes the long arm of the law.

Just like an art restorer, she says, the specific interventions, if sensitively added, should be able to achieve unity for the whole canvas, while still reflecting the contemporary approach. That is the challenge. simplicity – a word that seems to have lost its positive connotations – is also evident in the holiday home in the village of Qala, Gozo, where rooms are left bare, avoiding anything busy in order to accentuate the architectural features, while finding that balance so it doesn’t feel barren and uninhabited at the same time.

The no-fuss approach is also visible in the refurbishment of

June 24, 2018 | Issue 21 | PlAces is a bi-monthly magazine | EXECUTIVE EDITOR Fiona Galea Debono | PUBLISHER Allied Newspapers ltd | PRODUCTION Allied Newspapers ltd | PRINTING Progress Press ltd | DESIGN Manuel schembri | ADVERTISING SALES Veronica Grech sant [2276 4333; veronica.grechsant@timesofmalta.com]

The Xara Palace in Mdina, where, despite the exquisite antiques and artworks, subtlety reigns supreme…

Because “that is who we are; we are not bold and brash, but classic and gentle; and we certainly did not want to change the atmosphere of subdued elegance”.

Fewer and fewer people are getting this, swept away by the type of money the island has never really seen before and tripping over themselves in the frenzy to be a part of and flaunt it.

As Belair Property managing director Ian casolani warns, when talking about the fact that development and restoration works in Valletta have, as yet, avoided the disjointed and haphazard approach that other areas of Malta have sadly succumbed to, this can always change…

“And if the authorities don’t monitor consistently and enforce across the board, then it will only be a matter of time before the typical amateur gets in and tries to do things the cheap way” – which doesn’t necessarily mean simple.

The June issue also directs design into the world of fashion and beauty, with a look at how men’s suits are structured in terms of architectural lines, construction and cuts; as well as a product shoot that looks beyond the perfume bottle as a mere flacon, but more as a form of building, or a sculpture.

Design is everywhere. It’s all about lines… simple lines; and this is one place where they can be blurred.

This publication is being distributed as part of © 2018. All rights reserved. Reproduction in whole, or in part, without written permission of the publishers, is prohibited.

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THE PROJECT

PHOTOS: BRIAN GRECH

THE RIGHT BALANCE OF BARE Project-managing the conversion of a farmhouse in Gozo from Malta proved to be a major hurdle, but the owners of this property did not give up, despite their sometimes futile evening visits to the neighbouring island to find works had not progressed. Today, they are happy they have a holiday home that is synonymous with relaxation and getting away to an as yet unspoilt island.

WHEN THE owners of this house were looking into purchasing property as an investment, they were mainly looking at Malta. But the moment they saw this farmhouse/house of character advertised on an estate agent’s website, they immediately recognised it was what they were after.

“We gave it a shot, and on walking into the first two rooms, I knew it was the best fit for our requirements. I could imagine how it would look once finished from the very day we bought it.”

Located in an Urban Conservation Area, in view of its history and the fact that it is found in a quaint, old alley in the village core of Qala, Gozo, the property opens onto 15 rooms and a footprint of about 375 square metres. It is built in traditional limestone and includes architectural features that add charm and character.

On entering is a spacious 300-year-old room, with limestone arches and thick walls, testimony to the typical architectural features and techniques applied in those times. This room has been left practically bare to emphasise its architectural importance.

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In the past, the entrance was used as an animal shed and, therefore, the property could be described as a farmhouse/house of character. Although not all of it is old, the remainder has been built in traditional limestone, using flagstones and wooden beams. Purchased in shell form, additions and modifications were made in line with the owners’ intended use.

Licensed as a holiday furnished premises, the aim was, therefore, to create a quality holiday home, which would provide guests with a sense of luxury, while remaining functional.

Overall, the owners wanted a country-house look that would bring out its characteristics. In fact, the main architectural features were left intact and merely restored, being the key elements of the property and offering that special Gozitan feel.

“We tried as much as possible to give the property a modern touch, without completely eradicating the character of the house. In this regard, we strived to reach a balance by restoring the old entrance hall, which is one of the main features, without introducing any major interventions to the space.

WE STRIVED TO REACH A BALANCE BY RESTORING THE OLD ENTRANCE HALL, WHICH IS ONE OF THE MAIN FEATURES, WITHOUT INTRODUCING ANY MAJOR INTERVENTIONS TO THE SPACE “On the other hand, our objective was also to create a country-like feel in the remaining parts of the house.

We wanted a level of finishing that was functional both in summer and in winter. And the indoor heated swimming pool adds a sense of luxury and relaxation to the home,” the owners explain.

Despite having a flair for interior design, they admit the place itself made it easy for them to decide on the type of finishing to go for. Fabrics were not their top priority since they did not want to overdo it with patterned curtains etc… In fact, they opted for plain, neutral and practical materials to avoid “overwhelming” the rooms.

As with most conversions, finishing the house off was quite though, and more so in this case, since the owners live in Malta. Unfortunately, it was not the first time they would go to Gozo on a wintery evening at around 8pm just to find out that no work had been carried out. In the end, it took about one-and-a-half years to get the house ready – way beyond their original six- to nine-month plan.

It’s not surprising that the biggest hurdle was to project-manage the property from Malta. Moreover, because of its characteristics and location, the use of heavy machinery was limited, making it harder to get the material on site.

Today, however, now the that house is ready, these limitations are no longer a disadvantage; they are actually the main appeal. Having a house in an alley allows

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you to get away from the everyday hustle and bustle, the owners say.

They were drawn to Gozo for a number of other reasons: the way of life is more laidback than in Malta; it is less busy; and has more greenery, making it the ideal location for pleasant walks, especially when the weather gets cooler.

The fact that the villages in Gozo are often surrounded by countryside makes it easier to have great views; and most villages do not yet have high buildings, making them less cluttered. In terms of the streetscape, being tucked away in an alley adds charm and character.

The location was very important to the owners because of its affect on the value of the investment, and “although Gozo is a small island, it is amazing to see the difference in prices and value between properties in different areas. There were certain places where, irrespective of the type of property on sale, we would not have considered buying�.

Gozo properties are usually holiday homes, so they are often left quite bare and would not necessarily be state of the art. In this one too, the owners tried not to overdo it with regard to furniture and decorations so that it would be easy to clean and maintain. But at the same time, they have struck the right balance so that the property does not look bare and uninhabited.

Other measures were also taken to ensure comfort in terms of climate control, humidity, flaking walls etc‌ All five bedrooms have air-conditioning, which can also be used for dehumidification, while the living area has a wood-burning modern stove and is the favourite spot in the house, overlooking the pool, especially in the winter months; the indoor pool area is temperature controlled and includes dehumidification too.

Luckily, the house does not have any particular issues with flaking walls; the authentic old room is being used as the main entrance hall and, therefore, any flaking does not have any impact on the rest of the re-built house. The property also has big apertures and plenty of air vents in each room to ensure good ventilation.

The most important and unique feature of the house is the indoor pool area. Although it is located in the basement, it still enjoys plenty of natural light from the big apertures. Uncommon in Gozo farmhouses,

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THE PROJECT

it’s the ideal amenity to enjoy the island in winter, with all its greenery, apart from adding overall value to the house.

Decorated in glass mosaic tiles, specifically designed for the property and based on chosen colour schemes, the indoor pool has a feature wall in Gozitan

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hardstone, which also has a functional role in that it protects the surrounding walls.

That same Gozitan hardstone, quarried from the village of Qala and used also in the construction of the new Parliament in Valletta, has even been used to finish the staircase.

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THE PROJECT

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Selecting the lighting was quite time-consuming.

The owners wanted to find the right light fittings that did not contrast with the ‘country’ look. On the other hand, they were not after any old-looking, cane, or wooden light fittings. In the end, they opted for fabric drum lighting for the bedrooms, plain, industrial-look metal uplighters in the kitchen and dining area and other modern and plain stainless-steel wall lights.

Lighting can be tricky in Gozo houses because the walls are rarely plastered, the owners maintain. The

idea was to avoid as much as possible having to cut thought them to carry out the wiring.

And finally, it seems the long-overdue move away from the ‘rustic’ look associated with Gozo farmhouses [and other properties], which has been repeated ad nauseam, has happened. The owners really hope so.

“Having said that, we do not think we have reinvented the wheel at all. The décor of the house very much reflects our character and the fact that we wanted to achieve a good result without ruining the characteristics of the property.”

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PROJECT PEOPLE

PHOTOS: MARK ZAMMIT CORDINA

The Journey of a Plate If food is art, then what it is served on is a canvas. Here, Iggy Fenech speaks to ceramic designer Sue Mifsud to find out what goes into the creation of her work, particularly her latest collection of dinnerware for Taro’s chefs and patrons.

FOR MOST of us, dinnerware is nothing more than a necessity that allows us to serve up food in portions. Yet the relationship between a dish and the dish it is served in goes much deeper than that: it is the marriage of a number of elements that whet our appetite.

PSYCHOLOGICALLY AND AESTHETICALLY, WHAT WE PUT OUR FOOD ON MATTERS So much so, that research conducted over the years has revealed that diners can perceive food to be sweeter if it is served off ‘lightly-coloured’ plates, and even that serving food in a smaller receptacle will make them feel like they’ve eaten more…

Psychologically and aesthetically, what we put our food on matters – and it’s with that in mind that ceramic designer Sue Mifsud creates her wide range of handmade off-the-shelf and bespoke dinnerware.

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Now, there are many things that inspire Sue, namely people, places, stories and even the news. Indeed, as she explains, if a client is covered in tattoos from head to toe and loves comics, then the work she’ll produce for him would be entirely different from the work she’d produce for someone who’s amusingly grumpy and swears with every sentence.

For that reason, when the executive chef and the sous-chef of Le Méridien St Julian’s Hotel & Spa contacted her to create a range of dinnerware for their new concept restaurant, Taro at The Villa, the first step was to discuss – in depth – the interior design, clientele and the menu. In the meantime, however, Sue was observing, listening and noting their choices.

“I started to produce samples of functional ware that I felt fit the brief, but which Taro’s team – young, professional, playful and full of energy as they are – would enjoy using,” she explains.

With the side plate being the first up for consideration, Sue’s mind shifted to balancing form, surface, texture, colour, weight, durability and the restaurant’s concept into the new design.

Sue Mifsud in her workshop.

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PROJECT PEOPLE

“Initial samples included various glaze colours and surface textures so that I could further establish the finish they desired,” she continues. “Other functional items were then added to their list, including the show plate, meat plate, fish plate, pasta bowl and desert plate, by which time I was confident enough to understand the character of the work they wanted, while the chefs had a clearer idea of what they could expect from me.”

it’s her character that allows her to understand the differences between creating something from her own vision, and creating something from her own vision that needs to serve as a canvas for someone else’s art.

In fact, when it comes to bespoke items, she likes to start a project with a very simple yet powerful exercise – a stroll around her studio with her clients, during which the latter can point out the pieces they like and the ones they don’t.

AFTER MONTHS OF DESIGN WORK AND PRODUCTION, THE RANGE HAS FINALLY BEEN UNVEILED, WITH THE VILLA’S POSITION ON THE WATER’S EDGE AND MALTA’S TRADITIONAL LANDSCAPES BEING PART OF THE STORY THEY TELL. AN EXAMPLE OF THIS IS THE CACTUS VEIN TEXTURE FOUND ON THE SIDE PLATES, WHICH HARKS TO RURAL, UNSPOILT LANDSCAPES AND FRESHLY-PICKED FRUIT Having inhabited the world of ceramics since 1993 – when she started attending evening classes by Anna Ciavola – Sue is by now an old hand at the trade; particularly when keeping in mind that she had her own fullyformed studio by 2003 and that, in 2011, she graduated from the Glasgow School of Art in Scotland with a First Class in Design, Ceramics.

Yet, while experience and education have given her the techniques required to fashion, fire and glaze clay,

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“Chefs of this standard are extremely creative and there is a no-nonsense decisiveness about them which I thrive on,” she says, “but I also have to keep in mind that these plates will ultimately serve as a blank canvas for the culinary creations that Taro at The Villa’s skilled chefs will be producing.”

After months of design work and production, the range has finally been unveiled, with The Villa’s position on the water’s edge and Malta’s traditional landscapes

being part of the story they tell. An example of this is the cactus vein texture found on the side plates, which harks to rural, unspoilt landscapes and freshly-picked fruit.

“All my work is thrown individually on the potter’s wheel, providing me with different working methods to factory-based items, which are normally slip cast, or made by jigger jolly,” Sue explains. “I have more freedom with form and surface treatment using the wheel, and since I don’t use moulds and I apply the glazes I produce myself by hand, no two pieces are exactly the same.

“Moreover, it’s important to me that the designs are also unique to the establishments that I’m creating them for and that they form part of their story. For example, the glaze colour was chosen to suit the interior – semimatte, warm and detailed – but was created to give one appearance when seen from afar and still hold a diner’s interest when examined up close.”

Having work designed and produced specifically for a restaurant also means that the dimensions, shape and colour of the ware are going to work better with the food that the establishment serves. This is done by drawing attention to the food and offering a greater appreciation of it. After all, the intention behind all this is to provide the best possible experience to patrons.

“Dimensions play an extremely important role in the presentation of food too,” Sue elucidates. “A plate’s mis-

sion is to frame and embellish the chefs’ creations, and designer plates offer endless ways in which size can be manipulated. Moreover, glaze colour can either distract from the food presentation or enhance it, and should the glaze have detail to it, it needs to be placed correctly so as not to interfere with plating.”

A lot of time, knowledge and experience goes into the making of this handmade, ceramic dinnerware, and this, as Sue points out herself, is why the price tag is obviously higher than when buying factory-produced dinner sets.

Yet neither Sue nor her clients dismiss the factoryproduced variety and many of the establishments Sue’s worked with serve in a mix of mass-produced and handmade plates.

“Ultimately, I think that if a restaurant cares about what it’s plating its food on, then it cares about its food,” Sue concludes.

The proof of all this pudding is, as the saying goes, in the eating, and you can experience the unique sound, feel and appearance of handmade ceramic dinnerware – complete with scrumptious food prepared by the talented chefs – at Taro at The Villa.

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MADE TO MEASURE

After a visit to Sarto to meet one of Ermenegildo Zegna’s made-to-measure managers, Anna Marie Galea talks about suits in terms of structure, construction and architecture.

The idea is to help men build new wardrobes based on lines, proportion and detail, as well as fitting their lifestyle and needs.

THERE are few luxury fashion houses with the kind of heritage that Ermenegildo Zegna has – and even fewer that specialise in menswear.

Completely self-produced, the fine merino wool they are renowned for is made in-house and they even own their own sheep farms in Australia.

Equally legendary is their made-tomeasure service, which sees master tailors flying in to branches that sell Ermenegildo Zegna all over the world to offer clients a unique service and help them structure new wardrobes based on their lifestyles and needs.

“We as human beings are not symmetrical. We are all beautifully imperfect: we dress our clients to help them make the most of their bodies, as well as for comfort. We want our clients to be able to move and breathe in their clothes.” This is the ethos of the service.

While many people immediately assume the service is available only for suits as soon as they hear the words ‘made to measure’, this is not the case: “It is important to start from the basics.

Nowadays, while a suit is still part of a

man’s wardrobe, times are changing and so is the attitude of the customer and market. We tailor everything from suits to coats to casual jackets to bombers and knitwear; the entire wardrobe has to fit properly and be constructed with Zegna’s characteristic flair.

“When it comes to casual luxury, many of our clients might opt for a luxurious, deconstructed jacket, and the polo shirt may take the place of the shirt; we make sure that everything is tailormade to suit one’s lifestyle and personalised according to one’s taste.”

Explaining how made to measure is dissimilar from bespoke, Zegna highlights that time is one of the main

WE AS HUMAN BEINGS ARE NOT SYMMETRICAL. WE ARE ALL BEAUTIFULLY IMPERFECT: WE DRESS OUR CLIENTS TO HELP THEM MAKE THE MOST OF THEIR BODIES, AS WELL AS FOR COMFORT. WE WANT THEM TO BE ABLE TO MOVE AND BREATHE IN THEIR CLOTHES differences between the two: “Made to measure is still an integrated process, but bespoke takes a minimum of three months to make and many people feel

that life is too fast to wait that long.

Made to measure items take around five weeks to be completed from the first trial to the end.

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FASHION & FORM

THE BASIS OF MADE TO MEASURE IS THAT EVERYTHING IS IN PROPORTION TO THE PERSON WEARING IT. THE ARCHITECTURE OF THE MADE-TOMEASURE ETHOS IS DEPENDENT ON THE RIGHT LENGTH OF TROUSER LEG; THE PERFECT LENGTH OF SLEEVE. EVERYTHING IN THE STRUCTURE OF THE OUTFIT NEEDS TO BE COMFORTABLE AND BREATHABLE

“The basis of made to measure is that everything is in proportion to the person wearing it. The architecture of the made-to-measure ethos is dependent on the right length of trouser leg; the perfect length of sleeve. Everything in the structure of the outfit needs to be comfortable and breathable.

“Zegna’s ultimate aim is for a man to live his life to its full potential and we are here to help him do just that.”

Of course, made to measure is not just about having beautifully fitting, sharp clothes that don’t constrain the wearer, but it is also about making something unique and personalised.

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“We are also here to help with the styling and detailing for all items: clients can choose everything from the materials they want, to the buttons, to the colour, thread and labels for their clothes.

“No detail is too small for us. These are the elements that make all the difference and give items the wow effect we’re after. It is our job to suggest and help our customers, but at the end of the day, we want them to be happy.”

As for the differences between the way men dressed before and now: “Suits were definitely more constructed, more rigid, but now

things have become more relaxed.

What garment a man chooses also reflects the climate and environment he lives in. Men who live in Malta tend to favour softer materials and lightly constructed suits because of the temperatures.

“Nowadays, men wear many hats and want suits they can wear at a board meeting and linen trousers they can wear on their boats without feeling constricted.

“We at Zegna are here to make sure that men are able to live the best version of their lives in clothes that are catered to their needs and desires from top to bottom.”

ACCESSORIES

INVISIBLE CITIES

Let’s forget about the contents for a while…

Here, the perfume bottle is viewed from its structural and sculptural perspective and as a thought-provoking inspiration for architecture to the point that fictitious cities have been built out of these everyday objects by simply changing the scale, while retaining the same proportions. A metropolis, Scent City, is formed as these flacons and their designs are translated into buildings. There’s another message in these bottles.

PerFuMeS CourTeSy oF CAMiLLeriPAriSMoDe, CHeMiMArT, FrANkS, TA’ XBieX PerFuMery AND VJ SALoMoNe MArkeTiNG.

CONCEPT, PHOTOS & STYLING: SeAN MALLiA

DOWNTOWN [Clockwise from bottom left] Acqua di Parma Blu Mediterraneo Fico di Amalfi 100ml, €112, camilleriparismode | Acqua di Parma Blu Mediterraneo Cedro di Taormina 100ml, €112, camilleriparismode | Acqua di Parma Blu Mediterraneo Mirto di Panarea 100ml, €112, camilleriparismode | Acqua di Parma vase, €67, camilleriparismode | Jean Paul Gaultier Le Male 125ml, €86.50, Ta’ Xbiex Perfumery | Tom Ford Neroli Portofino Acqua 50ml, €131.99, Franks | Tom Ford Mandarino Di Amalfi Acqua 50ml, €194, Franks | Tom Ford Mandarino Di Amalfi edp 50ml, €199, Franks.

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UTOPIA [Clockwise from bottom left] Viktor & Rolf Flowerbomb Nectar 90ml, €142.13, Chemimart | Jean Paul Gaultier Scandal 80ml, €100, Ta’ Xbiex Perfumery | Valentino Donna Acqua 100ml, €109, Ta’ Xbiex Perfumery | Mon Guerlain 100ml, €136.55, Franks | YSL Mon Paris 90ml, €108.64, Chemimart | Cartier La Panthère 75ml, €118, Chemimart | Gucci Bloom 100ml, €119, VJ Salomone Marketing.

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TOWN HALL [Clockwise from top left] Lancôme La Nuit Trésor à la Folie 50ml, €93.21, Chemimart | Jean Paul Gaultier Le Male Essence 125ml, €100, Ta’ Xbiex Perfumery | Jean Paul Gaultier Le Male Classique Essence 100ml, €122, Ta’ Xbiex Perfumery | Cartier La Panthère 75ml, €118, Chemimart.

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UNDERWORLD [From left] Column, €150, camilleriparismode | Dita Von Teese 75ml, €50, Ta’ Xbiex Perfumery | Cire Trudon Odalisque room spray 375ml, €250, camilleriparismode | skull [not for sale], Ta’ Xbiex Perfumery | Acqua di Parma edp 50ml, €97, camilleriparismode | obelisk, €107, camilleriparismode | Carolina Herrera Men Privé 100ml, €85.60, Ta’ Xbiex Perfumery | Valentino Noir Absolu 100ml, €101.50, Ta’ Xbiex Perfumery.

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GANGLAND

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ACCESSORIES

MEGALOPOLIS

RED-LIGHT DISTRICT Mon Guerlain 100ml, €136.55, Franks | Nina Ricci 80ml, €73, Ta’ Xbiex Perfumery | Dior J’adore 100ml, €124.25, Franks | Carolina Herrera Good Girl 80ml, €110, Ta’ Xbiex Perfumery | Jean Paul Gaultier Le Male 125ml, €86.50, Ta’ Xbiex Perfumery | Prada Candy Kiss 80ml, €101, Ta’ Xbiex Perfumery.

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NO-GO ZONE Guerlain Shalimar 100ml, €137.60, Franks | Jean Paul Gaultier Le Male Essence 125ml, €100, Ta’ Xbiex Perfumery | Carolina Herrera Good Girl Légère 80ml, €111 euros, Ta’ Xbiex Perfumery | Cartier La Panthère 75ml, €118, Chemimart | Carolina Herrera Good Girl 80ml, €110, Ta’ Xbiex Perfumery | Jean Paul Gaultier Le Male Classique Essence 100ml, €122, Ta’ Xbiex Perfumery | Lancôme La Nuit Trésor à la Folie 50ml, €93.21, Chemimart.

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METROPOLIS IN THE MED Dior J’adore 100ml, €124.25, Franks | Acqua di Parma Magnolia Nobile 100ml, €130, camilleriparismode | Cartier L'Envol 80ml, €95, Chemimart | Chanel N° 5 100ml, €131.95, Franks.

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SPRUCED UP AND IN THE SAME SPIRIT

BUILDING A BUSINESS

Keeping a hotel up to scratch is important if it wants to remain at the top of its game. The Xara Palace in Mdina recently underwent a refreshing refurbishment, while retaining its original atmosphere of subdued elegance. Director Nicola Paris talks us through this project of passion.

PHOTOS: BRIAN GRECH

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Dating back to the 17th century and transformed into a hotel in 2009, the Xara Palace in Mdina has been ‘updated’ throughout the years, but recently, it was felt the time had come for a “bigger change”. this year, it was decided to completely upgrade eight of the best rooms and suites, under the drive of managing director Justin Zammit tabona, who is usually the instigator of this kind of refurbishment, says his sister nicola Paris, a director at the hotel. as with all old properties, the palazzo needs constant tender love and care, she says, adding that the management and directors have been continuously tweaking the soft furnishings and amenities of the property and concentrating on different areas at different times and as the need arises. in fact, not so long ago, the de Mondion Restaurant was completely refurbished, creating a softer, warmer atmosphere, with a contemporary feel, achieved primarily through the colour on the walls and the beautiful fabric on the Louis XV chairs. this latest project was not only cosmetic, but also involved completely rewiring the rooms, changing the bathrooms and, where possible, introducing a separate shower from the bath. a key card system was also introduced throughout the hotel, the apertures upgraded to double glazing for a much more controlled environment in the rooms, and all the marble in the public areas was re-polished. it was a major task, which had to be completed within four weeks.

But thanks to the dedication, passion and hard work of the infinitely Xara team, led by Justin, all the suppliers and project managers at camilleriparismode, the Xara’s doors were open on time…

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“Yes, the changes involved the colour of the walls to create different moods; and yes, the soft furnishings were changed to give a more contemporary feel; but the idea was also to introduce more luxury to the rooms, achieved also by, for example, upgrading to branded cold foam mattresses and changing bathroom amenities to the French brand L’Occitane,” Nicola explains.

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Director Susan Zammit Tabona, Justin and Nicola’s mother, was very involved in the décor of the hotel when it opened 19 years ago, and continues to assist whenever it is refurbished, being the one with the eye for detail. Many of the antique pieces, including the beautiful church doors that are found on entering The Xara Palace and the unique organ balcony that forms part of the reception desk,

were specifically chosen for their location and to create a classical look that would not age.

“The trick has always been to use these beautiful antique pieces together with the soft furnishings and the mod cons to create a perfect space of beauty, practicality and of course luxury,” says Nicola.

A member of Relais & Chateaux, The Xara Palace was designed as a beautiful home, and each of its

A stAnd-Alone slipper bAth wAs introduced in the bedroom, in front of the window, looking out At the view. the result is “completely mAgicAl, simple And decAdent”, chAnging An everydAy experience into A luxury, memorAble moment 17 rooms are completely different, unlike most hotels, with bespoke antique furniture and art from both local and foreign artists on the walls. Each has its own distinct features, from duplex layouts to

private terraces and antique beams – and these have now been further enhanced and accentuated.

In one room, a suite with a panoramic view, which has always been a favourite, the idea was to

create something completely different – an experience like no other. A stand-alone slipper bath was introduced in the bedroom, in front of the window, looking out at the view. The result is “completely magical, simple and decadent”, changing an everyday experience into a luxury, memorable moment.

This was probably the boldest and most daring touch. “We had lots of discussions on this and we all

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had different opinions. I am glad we agreed, upon Justin’s insistence, that it would be beautiful and unique, because it surely is,” Nicola admits.

“It is also quite amazing how different colour schemes and various layouts completely change the mood of the rooms,” she continues. “We used both bold and soft colours, as well as a variety in the same room, to highlight different features.”

A number of the rooms have beautiful altar fronts as headboards.

So, bold colours were introduced

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IT IS ALSO QUITE AMAZING HOW DIFFERENT COLOUR SCHEMES AND VARIOUS LAYOUTS COMPLETELY CHANGE THE MOOD OF THE ROOMS behind these to highlight the bed and make it the focal point of the room. The colours chosen also gave the rooms a more contemporary feel to them, while the bathrooms we left simple, using white marble that allows the space to speak for itself.

Then of course, in a property like The Xara Palace, the interior

design is strongly influenced by the stunning architecture and surroundings within Mdina.

“We must respect and appreciate the surroundings of the Silent City and this definitely dictates the décor of the palace and the amenities.

There are things that can be done and things that definitely will not be done,” Nicola insists.

The architecture of the palazzo has always been respected; the unique features that have been part of it for centuries have been used and attention drawn to them by, for example, painting original beams and archways in different colours to accentuate their beauty.

Art also continues to play one of the most important parts in The Xara Palace. “The art of beauty can be seen all around the palace, the art of gastronomy can be tasted in the fine dining and the art of good living can

be experienced by the guests,” Nicola adds.

To sum up the end result of the refurbishment project, “primarily and in many ways, it is subtle because that is who we are; we are not bold and brash, but classic and gentle; and we certainly did not want to change the atmosphere of subdued elegance.

“At the same time, the end result is also different from the original style in a subtle kind of way; more focused on emphasising the luxury experience, once again subtly.”

The refurbishment of the rooms was driven by the desire to continue focusing on the luxury brand and delivering more unique experiences to guests.

“And yes, these cannot be achieved through the rooms alone; it is the whole experience, from the moment the guest walks through the door and is greeted,” Nicola adds.

The Xara Palace has become known for its attention to detail… achieved through “the passion” the team has for each other and for the guests.

“We call it the Xara spirit!”

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WORKING THE ROOM Ian Casolani dived deep into the conversion of a derelict and condemned kerreja in Valletta to emerge in a high-end boutique hotel that couldn’t be more distant from the building’s original state. The Belair Property managing director fully immersed himself into the project management of the property, pouring every drop of his perfectionism into it. And while he may be breathless, he has also surfaced satisfied with the end result and proud to have contributed sensitively to the capital’s regeneration.

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than I would have liked to when doing something like this. While converting the property, at the best of times, it was challenging managing my need for attention to detail, while trying not to compromise on timing and budgets. But all in all, I think this helped achieve a superb end result, albeit with a fair share of heartache.

You’re the managing director of Belair Property and development projects are part of your job, but in the case of this Valletta hotel, operated by 19 Rooms, you even single-handedly took on the role of project manager, down to the slightest detail. What made you get so involved?

Valletta was always a destination I believed in, and after years of actively selling property here and guiding clients on investments in the city, my passion for it grew steadily.

When I came across this property, we offered it, as we normally would, to our clients.

However, many weren’t seeing its potential right away, until a business partner of mine, Alan Bonnici, saw what I saw in it and was ready to go for it. Thankfully, he was happy to go in for it with me.

The idea was always to create a high-end hotel that we would then find the right operator to run, while allowing for the investment to pay for itself.

Being a long-term investment that we were both planning to hold on to, we wanted to ensure that we maximised its potential, while giving it the best level of finish possible. Given that contractors are so stretched, and good available project managers were hard to come by, I knew that if one of us wasn’t going to direct our focus and efforts onto it, we would never have got the project completed, especially to the level of finish we had in mind. So, before I knew it, I ended up project managing most of the conversion.

You admit to being very finicky and quite a perfectionist. How much did this quality help or hinder you in your role as project manager?

And would you ever do this again?

Yes, unfortunately, I tend to be very finicky and always end up going into more detail

What was the vision and concept for the hotel? And did that change along the course of its creation, or do you feel you stuck to and achieved exactly what you set out to?

The idea was always to create a hip, yet highend, city hotel, where we would blend the character with a modern and also industrial touch. This was also the desire of Kris Fenech Soler, his wife Krista and their team, who have leased the property and are running the hotel. Together with our interior architect and designer, Michael Trapani Galea, I think we pretty much achieved what we set out to and possibly more.

Where did you start off from? What was 87, St Christopher Street before you and your partner bought it?

The building was previously a completely derelict kerreja, where around 15 families once lived in multiple, or even single rooms in some cases. The condition of the property was so precarious that it was actually condemned, and initially, we could not even access most parts of the building.

What about the address? The lower part of Valletta, once a sort of no-go area, is starting to be regenerated. What do you think is its potential?

In reality, many parts of Valletta were once considered no-go areas, although the lower part was definitely more so. However, today, there are fantastic homes, restaurants and hotels all over the city. This is actually one of the greatest things about Valletta’s regeneration – you never know where you are going to stumble across the next quaint property, or business.

In fact, boutique hotels are literally mushrooming around Valletta. Don’t you think it’s overkill?

Yes, unfortunately, as happens with many things in Malta, when something seems to be doing well, you suddenly get everyone wanting to do it. However, I think the amount of boutique hotels already in operation, as well as those in the pipeline, will continue to add to the demand for Valletta, so long as they are done

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to the right detail and, more importantly, that the investors/operators have done their homework well and not built their model on fantasy rates and projections.

Ultimately, although they are literally mushrooming all over Valletta, most of these properties have a limited number of rooms. So, all in all, at most, they will add up to the equivalent of one large hotel, and I think that with the type of tourist Valletta has been attracting, most of them should be sustainable.

And how does this stand out from the rest? What is unique about it?

Besides the creative styling and different identity of each room, I think the unique touches throughout, as well as the overall experience being provided by Kris, Krista and their team, are what make 19 Rooms stand out from the rest. Another factor is that this quality and overall experience can still be offered at reasonable and attractive rates, whereas due to high purchase and conversion costs, a number of other upcoming hotels might not be in the same position.

How would you describe the end result in terms of the interior design; the property’s look and feel?

When looking at the end result, also enhanced by the touches and décor added on by the 19 Rooms team, I

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think the property has really acquired its own uniqueness and identity. The stone walls, raw steel cladding, large floor-to-ceiling glass, as well as the different styling in each guestroom all add to the warm, yet trendy feel throughout the building.

And how was this achieved in terms of chosen materials, colours, style and design?

On several occasions throughout the conversion, we felt we might have been overthinking the different materials, as well as the detailed design we were putting into various parts of the property, and I’d often hassle Michael and his design team on this matter. However, in reality, it was worth the hassle, as we managed to retain all the characteristic features, while adding the exposed concrete, the designer tiling, glass partitions and raw industrial touches in the courtyard, and it all came together quite beautifully.

What would you consider to be the hotel’s most distinct feature/s?

Most definitely the courtyard and lift structures, which are built entirely out of raw galvanised steel cladding and steel beams, complemented by floor-to-ceiling glass sheeting. Then there’s the cosy lounge/library, which we always intended to resemble a cigar room, with the feel of a manor house living room.

And what seemingly insurmountable hurdle are you proudest to have overcome?

The courtyard structure and lift shaft, with all the hotdipped galvanised steel and large glass sheeting, were most definitely our biggest nightmare and caused me far too many sleepless nights. On more than one occasion, I was ready to pull the plug and go for a simpler and more practical approach, but looking at it now, I cannot but feel immense satisfaction at the end result.

Valletta was once a dead town. What do you think about its renaissance? And where do you see it going from the property point of view?

Valletta is now a vibrant destination in itself, and the momentum it has gained, as well as the direction in which it is now heading, will not be reversed. One of the main factors that makes me confident about this is that, until now, most of the people investing in Valletta, be it for a bar, restaurant, shop, cafĂŠ, apartment, residence, or even a hotel, are doing it right.

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SHOULD THIS HAPPEN, THE BEAUTY OF VALLETTA – MORE SPECIFICALLY, THE FACT THAT IT IS PROBABLY THE ONLY LOCATION THAT IS COMING TOGETHER IN A TASTEFUL AND CONSISTENT MANNER – CAN DISAPPEAR OVERNIGHT, AND THEN IT WILL BECOME JUST ANOTHER COMPROMISED LOCATION

Most derelict palazzi, of which there are plenty, are being restored and injected with new life and use. But do you think developers are sufficiently sensitive and respectful also to the historical elements of these buildings and to Valletta as a whole, or do you suspect that lots of heritage is being lost along the way as the price to pay for the regeneration of the capital? Could this momentum ever backfire if investors, architects, designers and the authorities are not careful?

Unlike most other locations, where, unfortunately, everything is disjointed and haphazard, in Valletta, most investors/buyers/developers are engaging designers and advisors and are going the extra mile to do things properly; to respect and safeguard the historical elements and beauty of their buildings.

But of course, this can always change, and if the authorities don’t monitor consistently and don’t enforce across the board, then it will only be a matter of time before the typical amateur gets in and tries to do things the cheap way.

Should this happen, the beauty of Valletta – more specifically, the fact that it is probably the only location in Malta, which, in most cases, is coming together in a tasteful and consistent manner – can disappear overnight, and then it will become just another compromised location.

Hopefully, this will not be the case. Hopefully, if the authorities and professional advisors, be they architects or designers, insist on respecting this heritage, then Valletta might really continue to flourish into the gem it is and should be.

What was your own experience with your property?

In our case, although the property did not have many historical features, we still had to work around numerous challenges to safeguard the character and beauty of certain elements of the building.

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Construction work in Valletta is a logistical nightmare.

More so, when it comes to converting a residence into a hotel, complete with the necessary amenities and back-of-house requirements? What did you find was the biggest headache?

Undoubtedly, carrying out a construction project in Valletta is a nightmare no matter how much previous experience you may have. In some cases, simply just convincing a contractor to work in Valletta can be a challenge, let alone dealing with the daily deliveries, hauling, crane permits etc… etc…

In our case, the delivery of material to the higher floors was probably the hardest part since we avoided having permanent crane fixtures to work with.

Converting the existing residence into a hotel was actually not that bad since the building was in such a state of ruin. However, finding the nooks and crannies to fit in back-of-house requirements was another story… Nevertheless, you’d be surprised how resourceful you can be when facing certain limitations.

Now that it is over, after two-and-a-half years of toil and trouble, what do you expect guests at 19 Rooms to feel the minute they walk through that door, and how is this achieved through the property’s design?

After the thought and detail that we put into the whole conversion process, I would hope guests enjoy and appreciate the design as well as the comfort elements we insisted on. In particular, we put a lot of money into the beds and mattresses, and we’ve been told they are the real deal.

I’m sure they will also enjoy the overall experience offered by Kris, Krista and the dynamic team at 19 Rooms.

ART/CHITECTURE

The Woman of Steel Having completed her latest metal sculpture for an international client, Sharon Borg Cesareo shares her story about her wall art collection, Steelo, with Antoinette Sinnas.

PHOTOS: JONATHAN BORG

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SHARON BORG CESAREO’s artistic talent became apparent during her formative years. She drew enlargements of tiny pictures, which she found in magazines. It was the forerunner to her future as an artist.

“I always carried my colours and sketchbook wherever I went, be it on family holidays, or even to my grandmother’s house,” she recalls.

“I kept my art private initially, but one day, my parents decided to show my portfolio to a friend, artist Edwin Galea. Enamoured with what he saw, he urged me to enrol myself for lessons under the guidance of artist Matthew Cassar, who tutored me for eight years,” she continues. “Alongside this course, I began studying for my Diploma in Higher Education in Interior Design and went on to pursuing a career in this field.”

But Sharon didn’t confine herself to papers, boards and canvases, and experimented with painting on old pieces of furniture. Jetting off to a good start, she set up her first exhibition in 2007, and thereafter, numerous followed. Now, her work has reached far afield and can be found beyond Malta.

So, what exactly is Steelo? Using stainless steel, Sharon has discovered a novel way of combining contemporary art with modern-day technology, creating two-dimensional pieces.

Her key components are stainless steel and walnut. Slots are made in solid frames of wood, and brushed stainless steel panels, which have been intricately cut, are then inserted into them.

From geometric windows to freestanding pieces, the end product is organic and timeless. The warm walnut complements the bold, sleek, metal in a harmonious blend of materials.

Sharon doesn’t skimp on quality and has taken into consideration the somewhat saline Maltese climate, using a high-grade stainless steel that is non-corrosive.

“It’s funny how it all began. Steelo was created so unexpectedly,” she says. “About three years ago, a cousin of mine, who was getting married, asked me to paint something for him and his future wife as their wedding gift.”

At that point, Sharon was going through a rough pregnancy with her third child and was in no physical condition to do so. “I had to think out of the box; to create something that was uniquely mine and did not involve hours of standing,” she explains.

Flipping through Valletta skyline paintings she had done in the past, a wave of inspiration came over her.

Using a piece of humble metal, she designed her first ever Steelo, with outlines from one of her very own paintings.

The result went down well with her family, especially her mother Catherine, who still helps her enormously to this day and encouraged her to pursue this unique style of art.

Soon after she gave birth, Sharon delayed no further and went on to designing several other Maltese skylines and those of other cities. Her first set of Steelos were ready to hit the shelves and she began to gain ground, creating a niche market.

Her Steelos go with any home design, she maintains. They range from large and heavy statement compositions to smaller versions, and their abstract outlines are what make them unique and add that human touch, she maintains.

The entire process is long and tedious, and ranges between three to four weeks. Sharon uses tracing paper to sketch her designs and experiments with dimensions. She then transfers the images onto her computer and develops the design in 3D. It could completely stray from the original image, but as long as the key elements are included and the final product is close to what she aimed for, she couldn’t be happier. The process then continues with the intricate laser cutting, precise carpentry and meticulous mounting of the individual components together.

Moving from Pitt pens and paintbrushes to cropping and cutting, Sharon has developed wall art with new and different techniques, materials and perspectives. As a keen observer, she has also created a mental library, pulling out an idea and fusing it with another. The result is her Door Knocker collection, adding her own twist to the trade.

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I HAVE THIS ZEAL WITHIN ME TO HOLD ONTO OUR MALTESE CULTURE. WHO KNOWS… THERE MAY COME A DAY WHEN DOOR KNOCKERS WILL BECOME OBSOLETE, AND STEELOS ARE MY WAY OF PRESERVING OUR CULTURAL HERITAGE

“I have this zeal within me to hold onto our Maltese culture.

Who knows… there may come a day when door knockers will become obsolete, and Steelos are my way of preserving our cultural heritage,” she says.

“I can’t say my art brings home the bacon, but it offers me a light financial cushion; enough to drive me further to my next project,” confesses Sharon.

Juggling her life as an artist, an interior designer and a mother of three, her prime focus has always been her family and taking care of her kids – being a woman of steel.

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ACHIEVING UNITY

IF WALLS COULD TALK

Historical houses are going to become increasingly rare, very special and extremely valuable, restoration architect Joanna Spiteri Staines predicts.

And to anyone with the foresight to embark on a long-term investment of the sort, she advises to keep their rehabilitation simple. There is no need for heavy-handed interventions; the approach must be humble and restrained, but artistic and timeless.

Good restoration is about subtlety and harmony.

What is the restoration of buildings all about?

The craft of restoration in architecture addresses the needs of our historic properties and sites. The process starts with an assessment of the current condition of the property and is followed by the drawing up of an appropriate programme for the structure and the spaces, so they may be reutilised in the best way possible, allowing of course for the intended use and scope of the project brief. This is what is commonly termed ‘rehabilitation’.

The ‘restoration’ part of a project addresses the piecing together and renovation of the building’s fabric and components. It may involve an element of rebuilding, or require interventions of a contemporary nature. The approach adopted depends on the architect and the client. It is also a reflection of the attitude of society to its heritage and identity.

As an example, the people of Warsaw regarded the severity of World War II damage to the city as a loss of its character, but also a blow to their national identity. Portions of Warsaw were, therefore, rebuilt to recreate what existed before. On the other hand, the rebuilding of Southampton did not result in a facsimile of what existed before. The reasons for such a diverse approach are complex, but include how strongly people feel about their own identity and architectural hegemony.

Malta is currently experiencing a boom in construction; do you see the same in the restoration business?

Certainly, and these include the rehabilitation of the Auberge d’Italie as the Museum of Fine Arts, and several other restoration projects in Valletta. My colleagues and I are currently involved in the restoration of the modernist 1957 Huntingford-designed school in Victoria, Gozo, as

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Joanna Spiteri Staines

Neues Museum, Berlin, illustrating the intervention of a new staircase in the central hall.

the new Museum of Gozo. Only 10 years ago, parts of these modernist schools were mutilated, and in parts, completely demolished to make way for new additions.

At a national institutional level, there are a few significant rehabilitation projects in progress, or in the pipeline.

But in the commercial market, there is a different driving

it and study it, and attempt to achieve a result such that the viewer can fully appreciate the beauty of the original work.

This is called, in restoration philosophy terms, achieving unity. The specific interventions, if sensitively added, should be able to achieve unity for the whole canvas, while still reflecting the contemporary approach. That is the challenge.

Can you mention a good example of this?

Yes, I can share with you my enthusiasm for the very successful rehabilitation and restoration of the Neues Museum in Berlin, carried out by David Chipperfield and Julian Harrap. I’ve recently had the opportunity to visit it. The various design teams involved restored this 19th-century building with interventions that are both historically sensitive and entirely contemporary. Every detail is studied and implemented with a deep appreciation for the site, the building and its history. The contemporary materials used integrate seamlessly with the old; the proportion and harmony of the whole is astounding. I consider it one of the most inspiring buildings I have experienced.

Neues Museum, Berlin, illustrating the Egyptian court.

Can you give an example of a restoration project of your own?

We recently completed the restoration of a 19th/20thcentury residence in the centre of the island. It involved the restoration of the building fabric, parts of which were unsound, the complete overhaul of all the finishes, and the reorganisation of the interior and exterior spaces to reflect the contemporary standards of today.

EVERY DETAIL IS STUDIED AND IMPLEMENTED WITH A DEEP APPRECIATION FOR THE SITE, THE BUILDING AND ITS HISTORY. THE CONTEMPORARY MATERIALS USED INTEGRATE SEAMLESSLY WITH THE OLD; THE PROPORTION AND HARMONY OF THE WHOLE IS ASTOUNDING. I CONSIDER IT ONE OF THE MOST INSPIRING BUILDINGS I HAVE EXPERIENCED force; often speculation results in the loss of heritage. This is of concern to me, but also to many others, including of course the heritage and environment lobbies. Several developers and the authorities guiding them fail to realise the importance of preserving our historic buildings for the future of our architectural heritage, but also for economic growth and our social well-being. This is resulting in the destruction of several of our historic properties, including, for example, the recent cases of partial demolition at the St Ignatius Villa in St Julian’s, the demolition of a large portion of the Sea Malta building, and the mutilation of other significant historic properties such as Villa Mamo, also in St Julian’s. Such historic buildings are our primary tangible connections to our rich cultural and social history, visible for all to witness.

What approach do you adopt in restoring an old building?

Do you believe in extending with the same architectural idiom, or do you believe in contemporary interventions?

Intervening in a historic building requires great sensitivity and humility. Compare this to the work of an artist or art restorer. They would stand in front of a work of art, inspect

The property followed the traditional model of a house around a central courtyard with a garden beyond. However, at some point in time, the garden was truncated. The brief involved linking the house to the garden again. This necessitated the elimination of a poorly conceived vertical block, the opening of new windows, and the integration of a walkway linking the two separate wings of the U-shaped accommodation at first-floor level. The goal was to reconnect the house once again with its garden.

Did the project involve contemporary interventions?

And what was your approach with the choice of finishes?

At first, we wished to introduce a contemporary steel walkway overlooking the garden, but the client was hesitant, and while some of the finishes reflect a contemporary choice of materials, most of the architectural interventions involved rebuilding in the same traditional manner.

Initially, we were disappointed, but after several interesting conversations on the issue, it became clear that, in this case, the character of the property was such that we needed to focus our efforts on providing architectural unity.

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IF WALLS COULD TALK

RESTORATION IS NOT A CHEAP EXERCISE, NOR IS IT FOR THE FAINT-HEARTED. THE WORK IS CARRIED OUT BY MASTER BUILDERS AND MASTER CRAFTSMEN, IN WHICHEVER TRADE

The courtyard of the palazzo before works.

There was no real requirement for an intervention of high impact. It was also a response to the visual noise and clutter we now experience in our towns and villages. This cacophony results from every single building being different from the one beside it – at times a vain attempt at originality and self-expression. We believed, therefore, that the tranquillity and harmony within the walls of this house and its garden needed to be preserved.

Achieving harmony is important. Our interventions are subtle and may also be seen in the choice of materials in the rooms. Good restoration is about subtlety and simplicity.

It gives me great satisfaction that many of the original construction materials and finishes were restored. For example, we managed to pull up all the traditional cement tile floors, all of which are still very beautiful, and to re-lay them after installation of all the building services below ground, together with underfloor heating throughout the house. Roofs in stone slabs [xorok] and timber beams were also retained and restored, as were the traditional windows and doors, and the traditional wrought-iron work, which were all painstakingly refurbished.

We selected the right plasters and materials, capable of dealing with the humidity of the walls, and the overall result is a restored noble palazzo, which has a few contemporary insertions in just some of the rooms. It is a humble approach, but a timeless one.

How do you find clients respond to restoration?

Owners of historic properties, as a rule, buy them because they appreciate their value and the character of urban cores within which they are usually located. This is already a very important starting point; that the owner has consciously invested in our heritage.

Over the years, we have been very fortunate to have had opportunities to collaborate with wonderful personalities from all walks of life and to assist them in restoring their very beautiful buildings.

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The courtyard of the palazzo after works.

Restoration is not a cheap exercise, nor is it for the faint-hearted. The work is carried out by master builders and master craftsmen, in whichever trade. Just think about it: the restoration of a louvred shutter in this property involved the dismantling of each element, the stripping of paint from each piece, their repainting, and refitting. It really was a labour of love. A good result can only be achieved by having a team of people that appreciate the historical legacy of the building and the materials that constitute it.

What advice would you give to someone just about to invest in a future home?

Firstly, investing in historical buildings is investing in the long term. There are so many flats being built. Historic houses are going to become increasingly rare, very special, and extremely valuable. So, if the choice were between purchasing a modern apartment in a non-descript block, or investing in a historic property, I would certainly recommend the latter. Any traditional house, however small or average in design, will retain its value far better and for far longer, so long as one maintains the building.

Would you have any advice on the rehabilitation of a house? Any special pitfalls?

My advice would be to keep it simple. There is no need for heavy-handed interventions; the approach needs to be restrained, but artistic. The use of 3D renders encourages impact. However, glitz dates and is superficial. A historic building requires a sensitive approach that delivers beauty down to the tactile level.

At a more practical level, we should not underestimate the environmental advantages of old houses, their thick walls, and the careful orientation of windows away from the sun – simple decisions taken generations ago, which make traditional properties easier to keep cool in summer and warm in winter.

PHOTOs: Nick saNT MaNduca

The restored entrance of the palazzo.

However, three practical tips to consider are: installing insulation at roof level; not creating vast swathes of unshaded glazed apertures; and investing in a heating system. We tend not to invest in heating, and most homes in Malta and Gozo are cold and damp in winter. investing in the right building services for your home is also important to achieve the desired comfort levels.

What advice do you give to policymakers and construction groups out there to boost rehabilitation projects? i believe Malta and Gozo have an incredible history and identity. a major part of that is the historical architectural legacy in our towns and villages, which is, regrettably, in great danger. Far too many historic buildings are being demolished or mutilated, due to considerable pressure from speculators or planners, and pressure both on and from our politicians. Our policymakers are giving way to this relentless pressure.

This has resulted in simple terraced houses, perfectly adequate and even well designed, being brought down to be replaced with some very mediocre blocks of overpacked apartments.

Just to give you an example, isn’t the fate that awaits the Pietà Waterfront unfortunate? Parts of this area are as old as the Valletta waterfront in Floriana, and yet it has been allowed to be turned into an unhappy juxtaposition of new build complexes, with some incredibly beautiful and historically significant buildings.

Essentially, it is a result of insensitive planning, but it is also a reflection of the inability of both policymakers and developers to fully appreciate the potential of a viable future for this area, which is firmly rooted in the restoration of these historic buildings and not in their destruction.

The restored piano nobile of the palazzo.

i call on our planners and those investors with vision, imagination and an appreciation for the value in heritage to work towards the preservation and transformation of the Pietà Waterfront for the benefit of future generations.

We urgently need to address our inability to appreciate our heritage. if we carry on in this manner, we will have no historic cores left and no heritage for future generations. at an educational level, we need to instil in our young generation, as well as in our policymakers, a love for our country and its architectural identity.

We clearly need a champion for our heritage in the highest echelons of our administration. Florence in the 15th century had Lorenzo de Medici, who spearheaded a new era of great cultural and artistic grandeur. i hope we can have our own ‘Lorenzo’ to save our heritage and allow us to redirect our energies to investing in heritage, beauty and culture.

Joanna Spiteri Staines has 25 years’ experience in the field of restoration and rehabilitation. She is a director of Openworkstudio, an architectural design and restoration consultancy practice, as well as of Nidum, a collaborative architectural practice that targets rehabilitation and master planning on an urban scale locally and internationally. Joanna is also a council member of Din l-Art Ħelwa, providing guidance and assistance on environmental and heritage issues.

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CONSERVATION CORNER

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OUT OF THE WILDERNESS In his line of work, it is quite common to come across copies of paintings, but the following confounded conservator Roderick Abela from Recoop Ltd. The restoration and conservation co-operative soon got to the bottom of St Paul the Hermit in the Wilderness, nevertheless, and brought out its original splendour.

RECOOP’S task was to restore and conserve a painting hanging in the old church of St Venera, belonging to the Carmelite community, one of the oldest religious orders in Malta, preceding the Knights of the Order of St John.

It depicts a scene in the life of St Paul the Hermit and can be dated back to the late 17th/early 18th century.

Its provenance is unknown as is the painter who executed it. An interesting fact is that its size was reduced, indicating that it may have been commissioned for a different location. And a thick layer of varnish, which had darkened considerably over time, concealed its details substantially.

The Carmelites’ painting depicts St Paul the Hermit, also referred to as the First Hermit, sitting on the ground, surrounded by demonic creatures, with Christ appearing on a cloud, supported by two angels.

The curious fact is that this is almost entirely like another painting from 1597 by Annibale Carracci [1560-1609], currently exhibited at the National Gallery in London.

It depicts the exact same scene, but it features St Anthony the Abbot instead.

Carracci’s work is significantly smaller in size, measuring 50cm x 34cm as opposed to the Carmelites’ painting, measuring 180cm x 350cm.

Carracci’s is painted on copper plate whereas the St Venera version is painted on canvas.

St Anthony the Abbot lived in the third century AD, spending a period of his life wandering as a hermit in the Egyptian desert.

He gets tempted by creatures, who gather to lure him into sin. It is this scene that probably inspired the artist of the Carmelites’ painting, who practically reproduced the same subject and composition.

Carracci was a very talented artist, and together with his brother Agostino and cousin Ludovico, was an influencer of many contemporary and future artists.

The three were also highly skilled engravers, creating their own

JUNE 2018 PLACES

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CONSERVATION CORNER

IT WAS SAGGING DRASTICALLY, AND APART FROM THE AGED VARNISH LAYER, IT HAD A SUBSTANTIAL LAYER OF DUST AND SOOT DEPOSITED ON ITS SURFACE

Clockwise from top left: cleaning tests; tacking margins; and the painting after conservation.

engravings and copies of other master paintings. In this case, given the similarities, and the fact that one is an inversion of the other, it was most probably one of these prints that served as inspiration for the Carmelites’ painting.

Having examined the historical context of the painting, the actual conservation treatment and handson interventions could be initiated.

The painting was well documented, and its deterioration factors examined, leading to decisions on the best possible treatments for its preservation.

It was sagging drastically, and apart from the aged varnish layer, it had a substantial layer of dust and soot deposited on its surface. The top layers were still in a sound state, having both ground and paint well adhering to each other and to the canvas support, although several cracks were present, commonly found in old paintings. A perforation was also noted on the upper left side of the painting, where the paint was brittle around the punctured rim.

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Overpainting was mostly only present around the edges, where the tacking margins are found.

Ultraviolet light confirmed the presence of the varnish, and together with infrared, also helped in identifying overpainted areas.

Its canvas support was well oxidised, and the horizontal seam in the middle, joining the canvasses together, needed reinforcement.

The embrittled area around the hole had to be consolidated before the cleaning treatment could be started.

During the cleaning phase, a substantial amount of varnish was removed, resulting in an extreme change in colour. At this stage, very patiently, all the old retouching was removed, together with any old gesso covering the original paint layer.

After cleaning, the structural aspect of the painting was addressed. Due to its large dimensions and the fragility of the canvas, it was decided to line the painting using an old technique, namely the colla pasta adhesive.

This lining method included the attachment of two new linen canvasses to the original one for added support. Once cured, it was re-stretched onto a new tailormade wooden stretcher frame.

Once left to set and acclimatise, the restoration focused mainly on the aesthetic aspect of the painting.

Missing paint and ground layers were infilled with gesso and subsequently levelled, matching the adjacent layer. Most of these infills had to be textured, corresponding to the coarse ground and paint layer characterising the surrounding areas.

Pictorial integration was carried out with reversible varnish-based pigments and finalised with several thin layers of varnish until a homogeneous satin finish was obtained.

When comparing the final result to how it was prior to conservation, the change is considerable. Needless to say, the owners were more than positively surprised when they saw the substantial changes the cleaning brought about, as well as when they got to know where the influence of the subject derived from.