Places – Design & Living (June 2019) by Times of Malta

PLACES ISSUE 28 JUNE 2019

Design & Living

THE ANTIQUE MAP COLLECTOR CHARTING A PICTURE OF HOW MALTA WAS

THE HYGGE TREND MORE OF A WAY OF LIFE

ARTIST IMPRESSIONS

Prestigious designer bags become painter’s canvas Photos of female bodies fuse with the landscape

Luxury Middle Eastern property gets Mediterranean touch HAND-PAINTED TERRACOTTA TILES FROM MALTA TO DUBAI

THE BLUEPRINT

PLACES

Design & Living

ISSUE 28 JUNE 2019

MY DESIGN

THE PROJECT 10 A Living Experience Looking forward to coming home 20 The Mediterranean in the Middle East Local custom-made tiles land on Dubai luxury property WORKSPACE 28 More of a Lifestyle The green way forward 32 Peace in a Pod An ‘enteractive’ office 37 FORM & FASHION In the Bag Painter’s touch on prestigious designer items HOME DÉCOR 42 TASTE That Curious Little Word Hugging the cosy hygge concept 48 BUILDING A BUSINESS The Place to Be… Thirsting for a Valletta all-round entertainment joint DESTINATION, HERITAGE & ENVIRONMENT 56 IF WALLS COULD TALK It’s Malta But Not as You Know It Meeting the antique map collector 60 CONSERVATION CORNER In Good Order Restoring the St Augustine Church and Priory 65 ON SHOW Unapologetic Fashion photographer puts female body in the spotlight

ON THE COVER PHOTO: EMMA COLEIRO See story on page 20

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PHOTO: TRACES See story on page 65

MY DESIGN

THEY JUST don’t get it, do they? Or am I sounding awfully ungrateful? The other day, in a rush to pander to those other pesky needs, newspaper headlines reported/screamed out the promise to create “the largest ever open spaces project in a generation”. Yes, that’s how desperate we’ve become – the allocation of open space, that rare commodity, more valuable and harder to come by these days than a million-euro luxury apartment, is like manna in the wilderness, and we’re all supposed to start gushing and dribbling. I suppose as long as Dubai-style superlatives, including €20 million ﬁgures and 63-football-pitch comparisons, are used – oh sorry, we’re referencing London’s Hyde Park this time – we’ll be sure to get the environment ‘enemies’ on board and interested too, hitting two birds with one [unturned] stone. I guess the announcement was designed to curb the aggro of those vexatious, albeit quite voiceless, treehuggers. Let’s distract them with the planting of thousands of trees… while elsewhere, and not so surreptitiously, we uproot one-third of the amount in Hyde Park [for want of another big comparison]. Yes, throw the monkeys some peanuts and shut them up for a while. But the thing is this bunch of monkeys want more than a manmade cluster of trees to climb, mimicking the great outdoors and their real natural and wild environment, as one would do in a zoo. Seriously, when we talk about the state of the countryside and how we need to preserve it – or rather, restore it, somehow – is this what they think we’re on about? Cordoning off an area, where

all environment-loving creatures can converge, body to body, in the company of training dogs and happy campers, and gloat about the environmentfriendly measures, while just beyond, another digger is plucking out a tree? I can’t really take that sort of spin and start to smell a rat. And it soon transpired what this ground-breaking – or should I say ground-opening – project actually entailed. Before the suspenseful details emerged, the creation of the “largest open space” immediately struck me as a paradox in itself. It was baffling. How do you create an open space? As in, an open space is either already there, which means you haven’t created and opened up anything new; or you plan to pull down the latest major development, rehabilitate the land and offer it back to the people in an empty, green version? I rather suspected it would be the former, so I couldn’t comprehend how this already existing open space was supposed to appease anyone – barring those sheep-like people, who ﬂock to the same spot for a picnic that entails setting up a high-tech kitchen/living room and defeating the whole purpose of leaving the home and heading for the countryside. In truth, we were sold the idea that it was the latter… or somewhere in between. We were creating the largest open space… that was already there… but had been earmarked for development. Oh, I see… And the plot thickened, bringing it closer to the latter version: a disused, abusive factory was being demolished… As most disused, abusive developments should, maybe? Sounds more like a sine qua non to me. But we’re expected to applaud the un-laudable. I would be more inclined to leaving the ODZ areas intact, rather than shifting our attention to carry on the rampage elsewhere. Catching onto the somewhat alien idea of the appeal of the open space, we are told our quality of life should

improve. And that, moreover, and most magnanimously, we could have made millions off this land, but we didn’t! Because [uncomfortable throat clearing] we don’t care about money anymore. It has been appropriately described as a large “parcel” of land, so should I say thanks for the gift? Is this the “best” and the “biggest” we can do “in more than a generation”? In reality, the additional 200,000 square metres of land to Malta’s National Park – much as they may be – cannot be removed from their context. I think and write in images and what springs to mind is aimless prisoners in striped PJs in an enclosed jail courtyard, walking around in circles in what is an excuse for exercise, fresh air… and recreation. Instead, this recreational area is “for families to enjoy” – led by the nose as well. It has been described as “a large patch of developable land” – developable being the operative word to stress the kindness of the gesture – converted into a garden where people will be able to wind down. Personally, however, I don’t know if I can see myself ‘recreating’ here. It all depends on how wound up I get as I embark on the journey to arrive through the traffic-clogged surroundings. But hey, thanks for the peanuts. And excuse me while I choke in them and cough up some dust too, here, where we live. Meanwhile, somewhere in Ta’ Qali, my quality of life is set to improve. Until then, I’m not going to sit around, trying to explain to the powers that be what we mean by environmental concerns and what we mean when we cry about the state of our natural setting; what quality of life means. Saving the environment is not about half-measure, sporadic gardens, sprouting here and there. So, thanks for the zoo, but no thanks! Yes, the three wise monkeys may see no evil, hear no evil and speak no evil, dealing with impropriety with a blind eye. But this is not yet the planet of the apes.

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THE PROJECT

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A LIVING EXPERIENCE

The original compartmentalised layout of this 120-square-metre Ibragg apartment did not suit the client’s lifestyle and the interior was in desperate need of a facelift. Enter Forward Architects… fast forward… and the end result is very personal, a true representation of the owner, and something he can look forward to coming home to. PHOTOS: JEREMY DEBATTISTA STYLING: ENRIKA PIZZUTO

The state it was in before Forward Architects intervened: When approached by the client, the apartment had a typical 1970s interior, with separate rooms on either side of a central connecting corridor. The rectangular plan, with windows on three sides, guaranteed natural daylight throughout the day. The compartmentalised layout did not suit the client’s lifestyle or brief and the interior was in desperate need of a facelift. What people are looking for in their homes these days: People will always try to maximise use of their space at home and tailor it to the lifestyle they aspire to.

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THE PROJECT

The clients’ brief: The client was keen to create a large open-plan space for cooking, living, entertaining and dining. The brief was to give this main area priority of space and views, and to limit the size of the sleeping quarters. This led to the complete elimination of the central corridor to add this space to the main living area, which overlooks a mature garden and distant sea views. One bedroom was converted into an office space, partly screened off from the kitchen with custom plywood built-in furniture. The master bedroom and spare bedrooms were concealed behind bespoke ﬂush doors to draw the least attention possible to their presence. What makes this apartment stand out in terms of interior design, and in view of the excessive number of apartments being built and on the market: Generally speaking, apartments within a block are based on a standardised template. Therefore, unsurprisingly, many lack individuality and soul. When dealing with a private client, the idea is to work closely with them so that the architecture and interiors evolve as a reﬂection of themselves and their

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THE PROJECT

lifestyle. This is a collaborative process and involves close and regular communication. Once the client is fully understood, guidance is offered on the best way forward for them. In the case of this apartment in particular, the result is a very personal one, and a true representation of the client.

THE APARTMENT FORMS PART OF A BLOCK, AND THE AMOUNT OF ALTERATIONS REQUIRED WHERE SUBSTANTIAL ENOUGH TO REQUIRE STRUCTURAL THINKING OUTSIDE THE BOX The trademark Forward Architects touch: Forward Architects does not have a trademark style. The individual approach, understanding of the client’s brief and attention to detail could, in a sense, be considered the firm’s typical way of working, and something to take pride in. Indeed, this approach produces very different tailored results and it is sometimes hard to understand how they are products of the same firm. The most challenging aspect of the project: This was probably the structural solution. The apartment forms part of a block, and the amount of alterations required where substantial enough to require structural thinking outside the box. How working within the four blank walls of a modern space differs from tackling a property full of natural features to play around with: When a property is rich in natural or manmade features, one needs to be sensitive enough to recognise and incorporate them into the design, so that the final result is enhanced by them. The flip side to this is that those same features might also determine or condition the design. With four blank walls, one starts at zero and needs to be creative from the outset. On the one hand, there is nothing to latch the design onto, but on the other, one has full design freedom. The look and feel of the apartment and how this was achieved in terms of materials, colours, textures chosen and used: The apartment is personal, tranquil and rich in textures. Natural oak flooring was used throughout, except for the bathrooms, where a micro-cement flooring was introduced. All colours chosen are light, or earthy tones. The plywood bespoke shelving in the home office gives it a particular warmth and creates an intricate play of light as the south sun casts its

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THE PLYWOOD BESPOKE SHELVING IN THE HOME OFFICE GIVES IT A PARTICULAR WARMTH AND CREATES AN INTRICATE PLAY OF LIGHT AS THE SOUTH SUN CASTS ITS SHADOWS THROUGH THE WINDOW BLINDS ONTO THE NATURAL WOOD SURFACES OF THE ROOM

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THE PROJECT

shadows through the window blinds onto the natural wood surfaces of the room. A speckled granite was used for the kitchen surfaces and splashback, which contrasts well with the simple kitchen and bespoke steel breakfast counter, extending from the central island. Other materials include a warm blue wallpaper in the entrance hall and a rough grey plaster backdrop to the living room’s ﬁreplace wall. The end result: Apart from what it looks like, the true end result is the quality of the living experience that the space is designed to provide. One would need to put this question to the client, but the thinking is that it serves his lifestyle and gives him something to look forward to coming home to each day.

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THE PROJECT

PHOTOS: EMMA COLEIRO

THE MEDITERRANEAN IN THE MIDDLE EAST Approximately 10,000 custom-made, hand-painted tiles were produced by the specialist artisans of Mediterranean Ceramics to adorn a luxury estate in Dubai. This is the story of how the family business got to embellish a major property so far afield.

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The luxurious XXII Carat estate, located on the West Crescent on the Palm Jumeriah next to the Hotel One&Only, in Dubai, has a local touch, with Mediterranean Ceramics creating murals to cover each of the 22 villa and hotel façades. It took 10,000 tiles to embellish this gated community, spanning a private beachfront, and including a luxury hotel and seven-bedroom villas, ranging from 9,600 to 13,000 square feet. “This level of luxury has really put our company on the map as our artistic work embellishes one of the most expensive estates

on world-renowned land,” says Mediterranean Ceramics managing director David Grima. The 22 villas, in fact, offer residents a hotelinspired living facility with 24/7 concierge service, and vary in bejeweled theme from Emerald to Ruby and Sapphire. Each façade has different elements, including arches for the doors, patio doors, windows and side panelling, and each was based on customised workmanship by specialised artists to ﬁt the speciﬁc dimensions of the building structure, including the main entrance.

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THE PROJECT

The XXII Carat was a tender project, and ceramists from Italy, Portugal and Spain bid against Mediterranean Ceramics. “We got to know about the project and put an application forward. They entrusted it to us because we were continuously on the ball with replies, ideas, efficiency and quotes. We also have advanced technology for this sort of project,” David says. “The most crucial part of the project was that we had to be very precise and efficient in cutting the tiles before we could start painting them, as if we made an error of even one millimetre, that would have been a massive problem to put in place. So, we had to be very sure of what we were doing… We are proud to say we never had any faults in the design of fittings, or any numbering mismatches…”

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Brothers David and Brian established Mediterranean Ceramics in 2008 after working and managing manufacturing operations in the earthenware and ceramics industries for over 20 years. Tiles are not really their thing, you would think; Mediterranean Ceramics are more known for their resilient outdoor-living collection, embellishing gardens with their trademark volcanic and lava stone tables, seating and tableware, as well as creating plenty of other colourful handmade ceramic products. “We started this project proposing tiles made out of volcanic stone. However, the designer then insisted on them being built by hand, and not using stone coming from a quarry,” David explains.

TO BE HONEST, OUR STYLE WAS RIGHT ON TARGET AS THE ARCHITECTURE AND DESIGN WAS CREATED TO RESEMBLE AN ITALIAN STYLE AND OUR ‘MEDITERRANEAN’ CLASSIC RANGE ADAPTED PERFECTLY The tiles were made out of the popular terracotta, being first hand-built and fired at 1,000 degrees Celsius in an electricity-generated kiln, and then glazed in the glazing booth. Approximately 10,000 tiles were hand-painted, and each one numbered and lettered to follow the sequence of the elements. Plenty of layers of paint had to be applied to get the shading of the artwork before they were fired again at

1,000 degrees Celsius. The tiles are guaranteed to withstand any weather conditions – from minus to plus 100 degrees Celsuis. Each had to have four slots to be cladded, as glue in Dubai could eventually wear off. “I can confidently say that our production team and innovative machinery are definitely set up for this product range. And our design originality and product offering are so diverse that we are confident in expanding further, both stylistically and geographically,” David continues. Mediterranean Ceramics did not have carte blanche as the designers did not want industrial tiles; they had to be customised and handmade. But they did not have to make drastic changes to their characteristic Mediterranean style and designs either to suit the Middle Eastern architecture.

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THE PROJECT

“To be honest, our style was right on target as the architecture and design was created to resemble an Italian style and our ‘Mediterranean’ classic range adapted perfectly. “We adopted the Spanish majolica design, which was popularised in the 15th century and exported to Italy during the Italian Renaissance. We tweaked this design by adding animal motifs as the main centre of attraction. These include peacocks, horses and eagles; all facing outwards and pointing to different angles. Although Italian Renaissance was popular for religious drawings, this was one element in the design we kept away from, being in a non-Catholic country,” David says.

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So, where does Mediterranean Ceramics belong in a modern setting and a world that tends towards one-size-fits-all, clean and simple lines? “We fit in both worlds, classic and modern,” David maintains. “We have always moved with the times, however, with both of our daughters on board, we have been pushed to create a modern range of geometric designs and block colours as this is where the trends are heading. “Having said that, there will always be room for our classic designs as this is a style that will never go out of fashion, especially in the US.” The fact that Mediterranean Ceramics is spreading its product so far afield “means

WE WANT THEM TO LEARN THE FUNDAMENTALS AND ASSIST THEM WHERE NECESSARY TO RUN A SMOOTHER BUSINESS AND CONFIDENTLY DEVELOP NEW IDEAS FOR TOMORROW’S WORLD

everything to us, as a small, family-run business in the heart of the Mediterranean”, David admits. But the company is not new to complex logistical operations, and participates in flower and trade shows as far as the US, supplying massive, heavy pieces there too. But to cope with this project, an entirely new logistics system was built, which differed greatly from their formula for trade shows. “It is safe to say that this was a one-off project where they knew our capabilities and pushed them to the limit. Anything made out of ceramics, lava and volcanic stone fall under our area of competence, so we will definitely bid for another project of this magnitude, although we understand they are extremely rare,” David adds. Meanwhile, the company plans to continue travelling the globe, participating in flower shows

for branding purposes, and research for new designs and product development is ongoing. Mediterranean Ceramics, which opened its doors in 2010 and has since found its footing as a leading artisanal brand, keeps on growing and blossoming – not just on its plates! Now, the next step is seeing the new generation of leaders, Bettina and Jessica, take over. “We are teaching them our business practices and, of course, production intelligence as this is the foundation of our success. We want them to learn the fundamentals and assist them where necessary to run a smoother business and conﬁdently develop new ideas for tomorrow’s world.” mediterraneanceramics.com

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WORKSPACE

MORE OF A LIFESTYLE As Trident Park starts taking shape, the people behind the project – the Farsons and Trident Group chairman, Trident Group CEO and lead architect – talk about another way of doing things… the “sustainable/green” way. THE EX-FARSONS packaging halls along Mdina Road are currently a skeleton of their former selves and the iconic old Brewhouse is a mere shadow for now. The 250-metre-long colonnaded façade, with its art deco elements, is still standing, and the sky and light are now framed through this perforated screen. It is possibly a sign of things to come, with the green office campus that is in the making being based on an eco-friendly design, promising

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ample natural light, fresh air, gardens and inviting open spaces. Soon, new life will be breathed into this important industrial heritage building that has been listed and saved, and from these bare bones will ‘rise’ five storeys of “redefined” office space, which respects the scale of the built heritage of Malta, and where the focus is on creating a campus lifestyle. The project got off the ground last year and should be available for rent by the first quarter of 2021, offering over

15,000 square metres of internal office space, spread over seven free-standing, low-density, low-rise, recessed buildings, with terraces spanning 1,300 square metres and supported by the former Farsons Brewhouse, which is concurrently being rehabilitated by the Farsons Group into a mixed-use development of 7,000 square metres of industrial space. As Farsons and Trident Group chairman Louis Farrugia, Trident Group CEO Charles Xuereb and award-winning architect of international renown, Ian Ritchie, look down from the terrace of the Farsons corporate offices onto the vast expanse below, the foresight to have bought the surrounding land in Mrieħel in the 1980s is undisputable. “At today’s value, we would not have afforded it,” Mr Farrugia says, although what to do with it had not been immediately evident. It was a

THESE ARE BUILDINGS THAT ENHANCE CONNECTIVITY AND ‘TALK’ IN MORE WAYS THAN ONE; NON-HIERARCHICAL AND FUN

THIS IS NOT ABOUT A PRICE PER SQUARE METRE, BUT A PRICE FOR QUALITY OF LIFE

IAN RITCHIE

CHARLES XUEREB

journey that started 10 years ago, with the move of the brewery operation to the southern area of this footprint to accommodate modern machinery, freeing up the scheduled grade 2 property for a fresh start. Pondering each step has been an important part of the project, acknowledges Mr Farrugia. After the decision was taken to go down the road of developing office space, it took a good ﬁve years to get to where they are today. “The demand for offices grew and we plan to meet it – with a difference,” he says. “This is special… with the conversion of the old Brewhouse and the use of the old copper kettles being the star of the space.” The challenge was how to make a mega-investment of this sort feasible. The answer: sticking to core principles of sustainability, setting

standards, even in terms of quality of life, without fear of doing things differently; being a trailblazer in a world where everything traditional is being razed to the ground. Mr Farrugia is conﬁdent that should an economic downturn happen, this project is resilient enough to weather the pressure. “Our structure and proposition are sound, and we can withstand it… Right from the outset, our objective was to create something differentiated and truly special, which lives up and pays homage to the proud legacy of this building. It would have been a lot more cost-effective to have dropped the building and start afresh, so there is a signiﬁcant investment, risk and value in restoring and rehabilitating listed buildings.” Trident Park, with the likes of Ian Ritchie Architects behind it, is designed to minimise its carbon footprint by

WHEN THE PROJECT IS COMPLETE, WE HOPE ITS STANDARDS WILL POSITIVELY INFLUENCE OTHER DEVELOPMENTS LOUIS FARRUGIA

optimising natural lighting and ventilation. Its state-of-the-art cooling technology, including TABS [Thermally Activated Building Systems], circulates chilled water through the ceiling slab for comfort conditions, without the inconvenience of draughts from conventional air-conditioning systems. It promises cutting-edge building management technology to deliver exceptional energy-efficiency levels, and its sustainable design is aiming to achieve BREEAM Excellent certification and be the first local development to be certified with such a prestigious accolade, living up to its green principles. “When the project is complete, we hope its standards will positively influence other developments,” Mr Farrugia continues. Referring to the acute construction that Malta is undergoing, he says:

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Stripped to the bone and about to take on a life of its own, Trident Park and the Brewhouse should be completed by the ﬁrst quarter of 2021.

“We are working against these forces, but I believe we will win the support of the public and show to the powers that be that there is, indeed, another way.” The question is whether standards add value and whether the market appreciates them. His belief: “Yes, certainly!” It is also his ﬁrm belief that “in time – I don’t know exactly when – the market will again start valuing space”. Trident Park wants to lead by example and set the bar high in terms of both sustainable development and an unmatched experience for employees and visitors alike. With the project now under way, contracts awarded, and standards set, interest from potential tenants is already being entertained. Mr Xuereb is conﬁdent about the take-up so far; not only because the rental rates are competitive and more attractive than other overcrowded areas, but also because “this is not about a price per square metre, but a price for quality of life”. Other central and coastal areas hosting office buildings face several challenges, from density to traffic congestion, parking limitations to excessive rates. But Trident Park is offering a one-stop solution to business owners who can count on staff retention – a major issue these days – thanks to the evolution of the lifestyle aspect, with additional amenities, and the importance given to a dynamic work environment, Mr Xuereb says.

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A green business park, with a campus and community-like feel, means that almost 2,000 employees can walk across the site interacting in gardens, on walkways and stairs, while making use of a host of amenities, including a naturally-ventilated above-ground car park, a state-of-the-art gym, conference and childcare facility and eateries.

Ritchie points out. It’s rare that they won’t milk every square metre they have available – and puncture the sky if necessary. These are buildings that enhance connectivity and “talk” in more ways than one; non-hierarchical and fun; where people walk around and exchanges between them are encouraged through architectural design. Ritchie maintains, from personal experience, that ideas start blooming when different businesses, professions and people mix easily. “You can’t open the windows of skyscrapers, which need ACs and a lift,” he continues as he makes a strong case against high-rise buildings – “an unnatural model anywhere in the world, even in London”, which has been wrecked by towers that will be left empty in the end. They present a superﬁcial image, are not particularly comfortable places to work and live in, and are insensitive to scale and context as well as their physical, social and intellectual impact, Ritchie maintains. He is, in fact, in awe of the island’s history and tradition and that of the

THERE IS NO NEED TO BUILD AND CRAM IN EVERY SQUARE METRE AT THE EXPENSE OF A HIGH-QUALITY ENVIRONMENT All designed to create an attractive atmosphere through enhanced interaction, Trident Park will also propose collaboration on several possible alternative transport opportunities to tenants, further bolstering its environmental credentials. Trees, ﬂowers and plants are also an integral part of the space, and a horticulturalist has been engaged from the outset to include indigenous species. In fact, “the project was thinking of the landscape before the building”, with only 43 per cent of the area being developed and the remaining 57 per cent landscaped. Yes, Trident Park could have been spread over around 40,000 square metres, but for once, landscaped areas are truly going to be what they claim to be. Because the thinking is: “There is no need to build and cram in every square metre at the expense of a high-quality environment.” It is rare that owners want to protect their own buildings from development,

listed property – a heritage site in itself. Driven by the culture of ethics and moral obligations, the idea that a building can be reused, and the importance of scale and context, he says that ﬁnding the right client and project is a joy, provided that the design can evolve to be culturally sensitive enough. It was refreshing to engage with a client who appreciated the wider aspects of design and its role in both preserving the best from the past while pushing at the frontiers of contemporary architecture, Ritchie adds. “I don’t like wasting people’s money. You don’t have to spend a fortune…,” he says about the sustainable approach to the project. The bottom line is quality of life, and essential to this is the spatial and environmental quality outside and inside buildings. Perhaps this concern is no longer a priority and the loss is slowly deteriorating our built environment to such an extent that many people today don’t even realise it.

WORKSPACE

PEACE IN A POD Forward Architects’ proposal for this highenergy office environment looked to mitigate the problems present in the original space, which was visually busy and slightly overwhelming. Its central point of reference is now a place of rest and calm for the employees to unwind and refocus. PHOTOS DARREN AGIUS DESIGN TEAM MICHAEL PACE – LEAD PARTNER JUSTIN COPPINI – PROJECT LEAD ANA SPOVIERI PROJECT MANAGEMENT TEAM DPM

DURING THE ﬁrst meetings at Enteractive, which offers the service of player reactivation and customer support to iGaming operators, Forward Architects were introduced to an open space, ﬂooded with loud music to drown out the various conversations happening simultaneously. Desks, gadgets and personal belongings all contributed to a visually busy environment, which was slightly overwhelming for anyone not wearing a headset. These problems were to be addressed by the team at Forward when they were approached to design areas within Enteractive’s new office space – with all the undertones you would expect from a company in the iGaming industry, plus the added high-energy intensity of an entirely targetoriented workforce. The proposal for this environment looked to mitigate all the problems present in the original office. Low-level partitions, lined with soundabsorbing materials, were introduced to reduce

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DESKS, GADGETS AND PERSONAL BELONGINGS ALL CONTRIBUTED TO A VISUALLY BUSY ENVIRONMENT, WHICH WAS SLIGHTLY OVERWHELMING FOR ANYONE NOT WEARING A HEADSET

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THE ARCHITECTURAL LIGHTING AND DECORATIVE PENDANTS GIVE A WARM TONE TO THE INSIDE OF THE INSTALLATION the noise generated from the sales team; working islands of not more than 12 people were established in a back-to-back desk arrangement to give a sense of spatial ownership to the separate teams; desk clusters were offset from each other, creating breakout pockets for impromptu quick meetings between team members. This echoed the seating layout, which had previously separated the sales team into different markets. The existing soffit was also replaced with soundabsorbing tiles and the floor was covered in an industrial carpet to help absorb some of the noise. The interventions in the open plan all served as a clean backdrop to the focus at the centre of the space, which was affectionately given the working title of the POD. This is the product of a personal aspiration that Enteractive’s CEO, Mikael Hansson, had contemplated for a while. It is designed to include a number of features that were identified as lacking in the original setting and combines a fully functional bar, presentation and dining areas, and meeting spaces. The quality of the space had to differ completely in mood from the sales floor and offer a place of rest and calm for the employees to unwind and refocus.

The bespoke structure contains the different uses within a sweeping timber-lined shell. The high wall, which creates a solid barrier with the open-plan area, sweeps downwards towards the entrance, directing attention towards its centre. In plan, the shell outlines four upholstered booths, which serve as meeting spaces for the employees, and a fully equipped bar, with the dual purpose of food service station. Each area within the installation is defined by the space created through the fluid outline of the POD’s structure. The architectural lighting and decorative pendants give a warm tone to the inside of the installation. Deep shades of green and grey play off the company’s logo and give a more relaxed and subdued atmosphere to the interior of the installation. The ceiling was sprayed black, unifying the breakout space and emphasising the visual disconnection from the sales floor. The POD provides a central point of reference to the rest of the office space, existing as a sort of pavilion, or pop-up, achieving the overall effect of transporting the employee’s mindset out of the busy office atmosphere without leaving the premises.

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FASHION & FORM

IN THE

BAG Designer bags are becoming artist Alexia Coppini’s new canvas. She’s hand-painting iconic Louis Vuitton luggage and the Hermès Birkin for that personalised and extra original touch.

HOW DID it all start? Did someone ask you to paint on their precious handbag, or did you propose the idea? I’m eternally researching, experimenting and working on new ideas in my mind and at the studio to quench my thirst for all things ‘art’! Back in October, I was approached by an art collector to work on a small collection of designer luggage…

Either way, was it daunting to draw on something so costly that most people ﬁercely protect? Or were you sure of the outcome from the get-go? The proposal was extremely exciting and, yes, admittedly also quite daunting. The bags in question are worth thousands of euro, so I had to be sure that the painting applied to such pieces would turn out to be to the liking of the adventurous client. There seems to be a trend for artists to transpose their works onto new ‘canvases’ from cushions to clothes and other fabrics. How do you explain it, and does it devalue the art in any way? Commercially, there is much of this going on, most of which comes in the form of prints applied to home goods, clothing and accessories. Handpainted pieces obviously cost more and are commissioned by the more discerning traveller/ art collector.

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FASHION & FORM

When you start to paint on someone’s designer bag, do you know instinctively which part to cover and do you sketch it out ﬁrst as you would maybe when working on a painting? When I was approached with a Louis Vuitton rolling bag, better known as a wheelie bag, I was delighted as there was much space available for me to create the commissioned piece. The inspiration came from a painting from my Great Ocean collection, depicting a lighthouse. The original painting took much skill, time and energy, so reinterpreting this was like working backwards; working on a small canvas, taken from a very large painting. Do you use particular paints and is the process different since the material is different too? Painting on leather with no chance for error – or a change of heart – is what is most challenging. Acrylic paint is the medium used. The base colour of the bag is not white, unlike a clean canvas, so that has its challenges too. Colour is everything in a painting, so ensuring light, shade and movement are applied to best suit the shape of the bag, the overall result must blend in well with the surface. I wanted the painting to look classic, just like the Louis Vuitton logo, but at the same time, be eyecatching and attract attention wherever it goes. Do you think the bags have added value with a painting of yours on them? Painting on canvas has its value, its technique and, ultimately, it is chosen by a client to be hung indoors. Painting on bags is a huge bonus as the bags have an entirely different audience wherever they go, mainly outdoors, and in this case, on planes, trains and automobiles!

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PAINTING ON LEATHER WITH NO CHANCE FOR ERROR – OR A CHANGE OF HEART – IS WHAT IS MOST CHALLENGING Was it always going to be the seascapes that you are known for, or would you consider painting something else? I’ve painted seascapes on a number of designer bags, but I was also recently commissioned to paint on a black crocodile Hermès Birken bag, with a free hand to do whatever inspired me. This was by far my most challenging piece, seeing as the cost of the bag is almost as much as the cost of a

A HAND-PAINTED BAG IS ALL ABOUT SKILL, ORIGINALITY AND, OF COURSE, A LITTLE COURAGE FROM THE OWNER AND, ULTIMATELY, THE ARTIST COMMISSIONED TO WORK ON THE PIECE house! I decided on a simple ‘H’ in the infamous Hermès orange pantone. The client was thrilled, and I was as relieved. I’ve also painted my mermaid, Estella, on a light blue Hermès Birken bag, which delighted the young lady who owns it. Is the trend picking up, or are few people inclined to give their bags an added artistic touch? Do you see it becoming more popular? This trend is extremely popular in the US and artists are often invited to attend new collection launches and hand-paint pieces during the party. Shoes, belts and other accessories are also very popular pieces that clients commission artwork on.

Do you think the fact that customising is in – and that people like to go a step further with their own personalised items – is part of the interest? Truth be told, a Louis Vuitton, Fendi, Gucci, or any other designer bag is just that. Anybody can walk into a shop and purchase them. An original painting on such pieces, makes it just that; original. Everything is so easily accessible these days. A hand-painted bag is all about skill, originality and, of course, a little courage from the owner and, ultimately, the artist commissioned to work on the piece. Would you consider painting on some other odd object in future? I’ve painted murals, on internal doors, restored antique paintings on unique pieces of furniture, painted on clock faces, and now, bags. As I said, I have an insatiable thirst for all things creative, so I’m always open to suggestions… and the next new challenge is a small collection of acrylic clutch bags, depicting ﬂorals, which I’m so excited to present in September.

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TASTE

THAT CURIOUS LITTLE WORD Hygge’s not only a trend – it’s a way of life. Often described as cosiness, it’s so much more, says Emma Mercieca Cristiano from BoConcept Malta as she revisits the Scandinavian style and shares examples and tips.

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HYGGE IS the curious little word that has always been ingrained in Scandinavian life. With no direct translation, it’s often described as ‘cosiness’, but it’s so much more. Hygge is a state of mind; sharing and appreciating simple pleasures in our own intimate and cosy settings. It’s a lifestyle choice of comfort, pleasure and well-being that we can easily bring to our spaces.

Social interaction is at the heart of hygge-inspired dining – think long, leisurely meals that last all afternoon, or late into the night. Comfortable seating designs ensure everyone can settle in and thoroughly enjoy sharing food and quality time together. Wooden chairs bring a natural appeal, while blending an organic look with upholstery is important for texture and comfort. Leather upholstery adds a classic look to your dining room that’s both elegant and modern.

CREATING HYGGE IN THE DINING ROOM Intimate conversations, good food, wine and loved ones around the dining table characterise hygge at home. It’s about togetherness, sharing stories, laughter and fun times in comfort, while relaxing in a casual ambience and natural simplicity. Your dining table is a central focus of the room, making an immediate impression on guests. You’ll evoke the concept of hygge with simple, clean lines for a modern, streamlined appearance. Extendable tables are adaptable to your needs and allow you to set the mood depending on the number of guests – you can easily go from an intimate meal for two to more seats with a simple opening mechanism.

Functionality makes a space more comfortable and that promotes hygge.

Choosing colours such as calming blues and classic greys in soft velvets, felt, or leather creates a good base for building up other hygge elements around the room.

Leather upholstery on chairs and functional accessories such as trolleys create an elegant, homely feel. Ceramic tabletops and semi-upholstered seats create a modern, functional vibe that’s also warm and natural.

CREATING HYGGE IN THE LIVING ROOM Hygge encourages you to enjoy the simple joys of life, like curling up on the sofa for a movie, or cosy chats with loved ones. As the focal point of your living room, the sofa starts your hygge journey, expressing comfort and intimacy. Choosing soft, neutral colours like grey, brown and blue relaxes the mind. Stacked cushions in plush fabrics invite you to settle in for long, leisurely moments. Along with your sofa, armchairs denote social gatherings in the living

Armchairs and footstools are a good way of adding a splash of colour.

room. Think elegant, slim lines, ensconced in snug fabric with a matching footstool. Armchairs also allow you to add a splash of colour and texture with soft velvets or leather.

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Soft pendant or diffused lighting from a table lamp creates just enough light without being too stark. A spot that enjoys natural light makes a perfect place for a reading nook.

Personal mementoes are a statement of who you are, showcasing your love of life and reminding you of cherished memories. To avoid clutter, create displays that draw the eye to one area on shelving, or coffee tables with clean lines and organic shapes. Add books, photos, travel paraphernalia, historic treasures, or anything that expresses your personality and gives you a feeling of happiness. Other elements for accessorising might include soft ﬂoor rugs, feature paintings, mirrors and sculptures reminiscent of the little things in life that bring you joy.

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The right lighting scheme goes a long way towards a hygge atmosphere in your living room. A relaxing, harmonious feeling comes from indirect, low-level lighting, rather than one or two stark overhead lights. There are plenty of ways to create a warm glow, including investing in lights with dimmers. Table and ﬂoor lamps illuminate your living room from a variety of angles, while offering diffused light. The desired result with

soft lighting is comfortable, warming and welcoming, while maintaining practicality where needed. Make the most of natural light and dedicate areas to highlight it, like a reading nook near a window, overlooking the garden. If you don’t have a garden, bring visuals of greenery indoors, such as through wall prints, or small indoor plants. Décor might include vases with fresh ﬂowers and wooden items.

TRENDS

As the outdoor living trend grows, the lines between our inner rooms and outdoor spaces continue to blur. Creating hygge outdoors can be as simple as adding an array of soft luxe cushions to your lounge area, or working with accessories in materials not traditionally associated with the outdoors.

CREATING HYGGE OUTDOORS Combine nature with comfortable furniture, mood lighting and your nearest and dearest for a recipe that promotes happiness and well-being in every season. By bringing your indoor comfort outside, your garden or patio become a serene escape from busy life.

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Vibrant conversation under the sunâ&#x20AC;&#x2122;s rays induces a sense of joy, with plenty of laughter over casual, shared meals. To enhance comfort, a space for hygge incorporates outdoor furniture that invites people to recline, relax and focus purely on enjoyment. Sun loungers or two-seater outdoor sofas set the scene for soothing

solitude, while corner sofas easily accommodate the entire family, with a minimal design for a contemporary feel. For light lunches, or elaborate dinners al fresco, outdoor tables and chairs designed for space and seating comfort ensure all guests are catered for. www.boconcept.com.mt

BUILDING A BUSINESS

THE PLACE TO BE... A 1920s Prohibition-style bar and restaurant, mixed with art deco touches and steampunk, has opened in the capital, offering a concept that is inspired by the location and bringing the former Strait Street joint back to life. PHOTOS: ALAN CARVILLE

THE CONCEPT and inspiration behind the design of The Thirsty Lawyer bar and restaurant in Valletta’s Strait Street was, quite simply, to “encapsulate enjoyment versatility into a single location”. This, and utilising the space in hand to its maximum capability, were key to the layout. Incorporated into the design there had to be a stage in keeping with the original use of the location and to put on entertainment reminiscent of the Silver Horse’s past; a high-end concept eatery area; a lounge to relax and have a drink and nibbles; a luxury VIP room with auto door close; and two bars, where a range of drinks could be served from. “The concept was pretty much decided by the location and all the local attributes we wished to expand upon,” says owner George Adade.

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In terms of the most important design elements, as regards materials, textures and colour schemes, the idea was to keep as much of the original features, which was achieved to a degree. The original tiles in the

front bar area were preserved, offering a contrast between old and new, while upon entry, patrons have to step over a marble stone, engraved with the original name, Silver Horse.

“Hundreds, if not thousands, had crossed that point… If only walls could talk and tell us what went on,” George reminisces. The design concept also called for the creation of a warm, cosy and

welcoming feel to the place, while exuding quality and luxury, with attention to detail. A lot of acoustic wood panelling was used, as well as marble and signature pieces, plus the pièce de résistance,

a handmade and assembled steampunk clock. The original “A. McKay” sign was not even restored, but simply put in place as is, above the main entrance: “It had to remain original from the

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BUILDING A BUSINESS

day the venue closed to the day it reopened.” The underlying theme of The Thirsty Lawyer harks back to the 1920s/1930s, with a mix of Prohibition and art deco – again in keeping with Strait Street’s past. As for the importance of the décor in a bar and restaurant to entice patrons, George believes they are guided by what they see and that sets the initial tone. “We have been branded a ﬁne-dining restaurant, but we like to think of ourselves as a high-end concept eatery. After the initial view of the place, the menu and service have to match expectations, and this will then lead to the right vibe being created – “a bit like a domino effect”. There’s nowhere like The Thirsty Lawyer in Malta, he maintains, adding

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THE UNDERLYING THEME OF THE THIRSTY LAWYER HARKS BACK TO THE 1920S/1930S, WITH A MIX OF PROHIBITION AND ART DECO – AGAIN IN KEEPING WITH STRAIT STREET’S PAST that he wanted the establishment to stand out from the crowd. Every decision made – such as the quality of the materials and the furnishings, the adjustable mood lighting, the sound system and the fact that music can be speciﬁc to each area – was aimed at enhancing comfort and customer satisfaction. “And of course, it also goes beyond interior design. It is important that the food, drink and service match the quality of the interior.” So, what are patrons actually after on a night out? Does the library-like

lounge area encapsulate their possible need to feel comfortable and at home, or is it just a matter of providing privacy? Again, being in Valletta, what patrons are after is something different from other areas, George states. People come to the capital city for upmarket and better quality. This has been achieved through the fact that each area in The Thirsty Lawyer has a different feel to it, such as the Hemmingway cosy, homely, library area; Al Capone, a separated VIP space, which has its own tinted entrance for privacy; Greta Garbo, adorned by three

trumpet lights; Broadway, the seated dining area facing the stage, almost as if you were watching a show on Broadway; Chumleys Bar, adjacent to the Broadway area; and ﬁnally, The Garrison Bar at the front of the building, attending to the needs of patrons who want to just come in and sample the array of beverages on offer. George feels people want a night out rather than just a meal, and that is also the reason for retaining the stage and putting together a programme of events, including cabaret, comedy and live music. Lighting is major factor in what is prevalently a night scene, and especially in the absence of natural illumination. It was a critical factor that was taken very seriously and that they “had to get right”. Light Design

Solutions was called in to assist with the design and supply and they did an excellent job, according to George. “We got light where we need it and can adjust the scene to accommodate any mood. It is quite stunning and in keeping with the 1920s theme and décor,” he points out. All in all, it is hard to say what the most stunning feature in the space is and George often ﬁnds himself admiring many of the elements as a lot of detailing went into their deployment. But if he really had to choose, it would be between the steampunk clock and the backlit onyx marble in the Al Capone room – one manmade and the other natural, but both beautiful to look at. “A lot of thought went into the detail and every feature is beautiful

in its own right, but they have also been put together seamlessly to create the unique venue it is today,” George believes. Working in Valletta, within the constraints of a World Heritage site, is not easy at the best of times, but the team managed somehow. There were some mishaps along the way, but the contractors were very professional. All permits were obtained where needed and careful planning was put in place, especially where beams had to be inserted. On the whole, it was a pleasurable experience, according to George, and in the end, the features that were preserved add to the aesthetics. Strait Street is taking shape after years of neglect. But as a foreigner, George says he is not privy to

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BUILDING A BUSINESS

Valletta’s past, and although he has been told it was a ghost town not so long ago, he ﬁnds this hard to believe.

Being a capital city, it should be vibrant and the pinnacle of towns in Malta, he states.

IDEAS & MORE FEEL THE HEAT The Grandhall Maxim Five Burner plus back burner gas built-in BBQ can be purchased complete with island and side burner at €1,449. The Five Burner plus back burner gas built-in BBQ is also sold separately and can be inserted into any type of outdoor island at €850. It is available from HomeTrends, Industrial Estate, San Gwann, and in Mdina Road, Zebbug. Call on 2144 5654. www.hometrends.com.mt

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What is for sure is that the investment pouring into Valletta today is “amazing”, and Strait Street in particular is “testament to the conﬁdence investors have”. The street has been brought back to life with a host of establishments offering locals and tourists a range of experiences, George points out, and it’s well on its way to becoming the place to be. This is not the ﬁrst and last of the ‘Thirsty’ concept. So, will there be others, apart from barbers and lawyers? George reveals that a couple more projects, centred around The Thirsty idea, are in the pipeline in Malta, and London is also being eyed. This, however, is not a chain, but “a collection of concept eateries”. No two venues will be the same, or will even offer the same type of food, but all will be concept-based and will present customers with an experience around that idea. Each Thirsty outlet will be based on its location, and what best suits that place. Whatever, the case, it’s going to be fun – and it’s right back to the idea of “encapsulating enjoyment versatility”, where it all started from.

IF WALLS COULD TALK

IT’S MALTA,

but not as you know it PHOTOS: JONATHAN BORG

Iggy Fenech meets Claude Micallef Attard, one of Malta’s foremost antique map collectors, to discover the magic behind these fragile and priceless interpretations of the perimeter of our islands. FOR MANY of us, the map of the Maltese Islands is as familiar as the sight of our local village church. The elongated ﬁsh-like outline is something we learn about in school from our early years and one we automatically search for every time we see a map that includes the Mediterranean Sea. Yet the shape and the details we are so accustomed to haven’t always been there; they are the result of hundreds of maps that have been designed and redesigned over the centuries. This quickly becomes apparent when I meet Claude Micallef Attard, an avid collector and researcher of Melitensia maps, views and books, as well as the honorary treasurer and co-founder, along with Dr Albert Ganado, of the Malta Map Society. Indeed, as he shows me a few dozen maps from his collection, the ﬁrst thing that strikes me is how thwarted the shape of our islands used to be. Maps of the past, it turns out, weren’t always meant to serve the same purpose as they do now [i.e. that of getting someone from point A to point B]. For a start, present and past collide in them as certain scenes are played out.

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The Great Siege of 1565 is a recurring theme in many of the maps created in the decades that followed, and the carnage can be relived through the re-enactment taking place in the map: ships are drawn entering the Grand Harbour, knights are depicted defending the fortiﬁed cities, and the Ottomans are shown camping in Marsa. In one particular map, you can even see houses burning in the aftermath of the event. “In the past, maps also had a very commercial purpose; probably more so than they do today,” says Claude, who co-authored The Brocktorff Mapmakers in 2012 and whose advice on Melitensia maps is sought by the British Museum and Sotheby’s auctioneers. “Back in the 16th and 17th centuries, books had to offer something beyond the obvious and maps were a sure way of getting people interested. Maps of Malta also helped sell the island, ensuring people knew where we were and what we had done.” We inevitably go into the whole process of how they were created, and Claude explains that many of Europe’s top mapmakers would have had people on the ground

wherever they wanted to map next. Indeed, while the shapes of the Maltese Islands in some of the maps is not what we are accustomed to, they are relatively accurate, considering they were drawn by hand with very little technology to help. “Someone would have had to go to the highest points on the islands to draw the outline,” he explains. “The different areas were then compiled into a full map and the ﬁnal one would then be turned into a woodblock, a copper engraving, a steel engraving, or later, a lithograph. All of these would have created a black-and-white print, and the ones that are in colour would have had that added in by hand.”

“This tiny map of Malta is exceptionally rare,” he says as he picks up a medium-sized frame holding a tiny sheet of parchment, measuring five by five centimeters. “Only two are known to exist, with the second one being in Venice. The map is from a board game dating back to the mid-17th century, which was done by one of the most important engravers in Italy at the time, Anton Francesco Lucini. “The one in Venice is actually the complete sheet and, in it, we see that Malta is referred to as ‘the African island of the Knights Defenders of the Faith’. Lucini was a prominent figure, who had quite a few connections to Malta. In 1631, he copied the paintings at the Grandmaster’s

THESE ANTIQUE MAPS HELP US BUILD A PICTURE OF HOW MALTA WAS PERCEIVED IN THE PAST. THAT’S WHY, ON TOP OF BEING FINANCIALLY VALUABLE, THEY ARE ALSO HISTORICALLY, SOCIALLY AND ANTHROPOLOGICALLY PRICELESS Today, these antique maps help us build a picture of how Malta was perceived in the past. That’s why, on top of being ﬁnancially valuable, they are also historically, socially and anthropologically priceless. Hailing out of atlases and books, the maps range quite dramatically in size, but I’m surprised to ﬁnd out that Claude’s favourite is the smallest of the lot.

Palace in Valletta, which were done by Matteo Perez D’Aleccio, and created 16 plates that covered the events of the Great Siege.” Dotted around the many maps of Malta, I notice numerous views of the island. The scenes range from the quotidian life of the peasantry to rather grand ones showing public squares and ports around Malta. These,

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IF WALLS COULD TALK

FINDING THESE OLD MAPS AND VIEWS HELPS US SHED LIGHT ON THINGS WE DON’T KNOW ENOUGH ABOUT – FROM THE FASHIONS OF THE TIME TO NAMES OF PLACES I come to discover, were often ‘zoom-ins’ of the map, as is the case with Malta y Gozo, a book published in Spain in 1840 by Federico Lacroix, which starts with a map of Malta, moves on to smaller, more detailed maps of the ports, and ﬁnally goes to views of buildings, people and landmarks like Ġgantija. “The beauty of Melitensia is that, every other day, we ﬁnd material we had no idea existed in libraries, museums and universities all across Europe,” Claude gushes. “Finding these old maps and views helps us shed light on things we don’t know enough about – from the fashions of the time to names of places.” Indeed, for Claude, his work is not complete when he acquires a map he’s always coveted, or after having discovered a new one. His passion would never allow that; which is why, 20 years ago, he undertook the monumental task of cataloguing not just all his maps, views and books, but also all known maps of Malta dating from the 16th century up to the beginning of the 1900s. The information has to include author, title, engraver, cartographer and where the map is derived from, with all this information then used by historians and other enthusiasts to understand the maps at hand. As I make my way out of the interview and walk back through the corridors lined with relics of Malta’s cartographic history, it’s hard not to feel moved. The sum of knowledge from these fragile pieces of paper is vast. Thankfully, Claude, and many other collectors, help preserve them, ensuring that we can continue to study and appreciate them for years to come. For more information on antique maps, visit icquantum.com; or send an e-mail to claudemicallefattard@gmail.com. For more information on the Malta Map Society, visit maltamapsociety.mt

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CONSERVATION CORNER

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IN GOOD ORDER

The St Augustine Church and Priory of Valletta is a major and exciting project that Recoop started this year and will finish in 2022. It’s a project that is taking the restoration and conservation cooperative on a journey into the history of the old Augustinian Order, says conservator Connie Formosa. The Augustinians were originally hermits and had ﬁrst settled in Gozo. Later, they moved to the shrine of Our Lady of the Grotto in Mellieħa, and in 1429, the Hafsid Berbers from Tunisia, in an unsuccessful attempt to capture Malta, managed to depopulate the town, after which the Augustinians moved to Mdina, where they built their convent just outside the city walls. During the Ottoman attack of 1551, the citizens dismantled the convent and church so the assailants could not use the building to attack the city. After the invasion, however, the Augustinians did not get their land back, but later got permission from the Grand Master to take over St Mark’s Church in Rabat. Once the Great Siege was over, they began to rebuild the church, and architect Girolamo Cassar was commissioned for the job, which was one of his ﬁrst. He became resident engineer, was admitted into the Order in 1569, and took charge of the construction of Valletta after architect Francesco Laparelli left.

St Augustine in Valletta consists of a church, sacristy, oratory and priory. It occupies a whole block [insula] in the city, between Old Bakery, St John, Old Mint and St Mark streets. Forming part of the original plan of Valletta, it was built by Cassar, with works starting in 1571. Due to the damage it had suffered in an earthquake, it was then rebuilt by Giuseppe Bonici in 1765, and was completed in 1794. The current church replaced the earlier one, which was next to it and is facing the opposite direction. In fact, the remains of the earlier church can be seen in the underground spaces beneath the current Augustinian convent. It was elevated to parish church in 1968, and the Fondazzjoni Socio-Kulturali Ambjentali Augustina has secured funding for the restoration of the priory and church on Old Bakery Street and the improvement of accessibility for visitors. The ﬁrst phase of work saw the restoration and conservation of the main cupola, bringing

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CONSERVATION CORNER

BOTH THE STONEWORK AND THE APERTURES WILL BE GIVEN A NEW LEASE OF LIFE, WHILE MAKING SURE THE SIGNS LEFT BY THE HISTORY OF THE PLACE REMAIN LEGIBLE daylight to the centre of the Greek cross plan of the church. The second and main phase of works will see the introduction of a lift and stair tower. Located on the side of the courtyard, this will provide better access for the public to all areas of interest. The project will also include the conservation of the faรงade and exterior walls to the courtyard and the streets. Both the stonework and the apertures will be given a new lease of life, while making sure the signs left by the history of the place remain legible. These works will allow the foundation to improve access throughout the convent and upgrade the facility to further their mission to educate the community, conserve its heritage assets and promote research. Recoop, after recently completing the works on the cupola and its crowning lantern, have been given the privilege to further their

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involvement with the priory and the church and lead the main phase of works, which include the excavation around the archaeological remains of the old 16th-century church and the erection of a new steel and glass structure within the courtyard to shelter the new lift and stairs to all levels. This will also include a new atrium and connection bridge to the painting gallery. Other works include the conservation and alteration of the stonework on the level opening on Old Mint Street; repairs and cleaning of the stonework of the faรงades; and the restoration of all apertures onto the faรงades, as well as the balconies and the iron works. The project is lengthy and quite complex, and as with such big jobs, the co-operation of an interdisciplinary team of experts and competent people is of the essence.

ON SHOW

Where do you find inspiration? I find inspiration in various ways through strong women, beautiful places, imagery and literature. I’m also inspired by my past and the environment I’ve been brought up in i.e. a conservative, incredibly religious, politically charged Malta. You’ve taken photos for a variety of top international magazines, including Vogue Italia, Vogue Arabia, Harper’s Bazaar and GQ, with clients ranging from Vivienne Westwood to Louis Vuitton, Ted Baker and Kate Spade. Which was your favourite shoot? I have many favourites, but I think there a couple that are coming out in the near future that fit the bill. One is for Vogue Italia and another is for a client that, unfortunately, I cannot share with you at the moment. Who is the most inspiring person you’ve met so far? Prof. Richard England and my parents.

Unapologetic London-based fashion photographer and visual artist Stephanie Galea’s series of work, Traces, depicts female bodies set within a natural landscape. And almost like landscapes themselves, these bodies are incredibly detailed, almost compelling the viewer to trace the forms as the sense of sight stimulates the sense of touch. Anna Marie Galea finds that these images are an immersive celebration of the female body. What got you into photography? When did you know that this is what you wanted to do? My interest in photography actually started later in life after completing my degree in chemistry at the University of Malta. I suddenly felt like I did not want to pursue a career in science, and art was always in my life in one way or another – my mother is a painter and

I had always dabbled in different art forms as I grew up. While I ﬁgured out my next step, I enrolled in the foundation diploma in the Architecture Department in Malta and started taking photography seriously. I worked hard on my portfolio and applied to go to Central Saint Martins. I moved to London and I haven’t really looked back since.

When did you start thinking about Traces? How was the idea born? I think the idea was born about a year ago. My starting point was the blue series, which I shot in Malta last year; I had wanted to shoot the female form for quite a while. The inspiration came after developing the ﬁlm from the sitting and looking at the scanned previews – the images were so detailed I wanted to physically touch the pores of the skin and the lines on the body. That’s where the project Traces began and turned into a journey. How long did it take you to complete the series? It took me around a year from conception to completion.

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ON SHOW

Your photos in Traces are deeply personal yet anonymous at the same time. What effect did you want to achieve through this? I feel like this series is deeply personal as it allowed me to explore my own body by staying true to the women and their bodies, allowing any ‘imperfections’ to be visible. These images aren’t doctored in any way. All the images are faceless, so as to be able to project our own bodies, or those we have been connected to, onto these works.

viewpoint – a reﬂection of the lack of understanding of our own body as a result of the guilt we are made to feel about it; and ﬁnally, the yellow series is about freedom, with most of the paint drawn surrounding the bodies instead of directly on them, simultaneously elevating them.

THIS SERIES WAS CREATED THROUGH THE FEMALE GAZE, WHICH IS EMOTIONAL AND INTIMATE, NOT RAVENOUS AND SEXUAL The photos all have red, blue, or yellow lines. What do they mean? The paint colours are all primaries to reﬂect the rawness of the images and to simultaneously illustrate a theme: the blue series is about exploration, where the images are highly detailed, recognisable body crops, and where pores, scars and stretch marks are proudly visible; the red series is sensual, with a more abstract and slightly alien

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What would you like viewers to see when looking at Traces? Every piece in Traces is an immersive celebration of the female body. I wanted to distil the work and focus on the female form; to draw attention to bodies and frame them in a different way, literally and metaphorically. And ﬁnally, to make sure that the bodies are on show proudly and unapologetically, commanding all the attention. This

series was created through the female gaze, which is emotional and intimate, not ravenous and sexual. And through it, people are people; women are women. None of the women in these images are sexualised – it’s an exploration of oneself with one’s own body and that’s what these lines represent. The photographs are unapologetic and that is the message I would like to send across to every woman, especially in Malta. It is a real viewpoint of women and their body and their feelings towards it. Unfortunately, the relationship of a woman with herself is unnecessarily complicated – this is an attempt to simplify and uplift that relationship. What are your future plans? I think right now my focus is pursuing fashion photography abroad, but I also have a personal project set in Malta, which I’m working on and won’t be ready for a couple of years. Traces is on until June 14 at Valletta Contemporary.