Places - Design & Living (May 2016)

PLACES DESIGN & LIVING

PLACES ISSUE 9 MAY 2016

Design & Living

Curves concrete & connections An uplifting & playful penthouse Reflections on...

ISSUE 9 MAY 2016

UP YOUR STREET THE REVIVAL OF ST URSULA FROM ARTISTS’ DESIGNER STUDIOS TO UPMARKET BIJOU HOTELS

Antique mirrors restored Modern mirrors restyled

Life in one room LIGHT, AIR, ART & INSPIRATION

THE BLUEPRINT

PLACES

PHOTO: RECOOP See story on page 57

Design & Living

ISSUE 9 MAY 2016

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THE PROJECT 10 Space bunker snug Free-flowing, floating and fluid 17 Stepping it up Superior suites in St Ursula Street 23 Stairway to heaven Views to die for WORKSPACE 27 Coming clean & a cut above Seeing through the glass artist 34 Thinking outside the box A world in a room 40 Holistic and holy Redesigning a religious space THE GREAT OUTDOORS 45 Zoning out Embellishing exteriors HOME DECOR 49 DOING IT UP: DO/DON’T Curtain call Screens of style 50 ACCESSORIES Reflecting on…

Mirror images DESTINATION, HERITAGE & ENVIRONMENT 57 CONSERVATION CORNER Mirror, mirror on the wall Late Baroque at its best 59 GOING PLACES A diet of design In and out of the Milan Salone 62 PROPERTY POTENTIAL Old and New The Gozo farmhouse revived 65 ECO-FRIENDLY A greener home Be a waste champion ARTCHITECTURE 66 Vanishing Malta Capturing village cores

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ON THE COVER PHOTO: MICHAEL CALLEJA, STUDIO KONNECT See story on page 10

MY DESIGN

PHOTO: BRIAN GRECH

I’M MAKING a conscious – and major – effort to be positive [as it seems one should be] in this editorial of mine that usually touches on the environment and, therefore, has no choice but to whinge.

It’s hard not to take the opportunity to raise awareness about downright vulgar and disgusting permits to demolish an amazing heritage house below the Cittadella in Gozo and three adjacent art deco townhouses in Hughes Hallet Street, Sliema. But I promise I am trying my best to overlook these sacrilegious acts for now and dig deep for the positive side of the story.

[I may need a jackhammer, of course, but there are plenty of those around.]

I must say, I was aware that my rants may be getting monotonous, though I maintain they are never enough in the face of the disgrace we are experiencing everyday on an aesthetic and environmental front.

So before I get carried away – and fall asleep counting cranes instead of sheep – let me lead you instead to St Ursula Street in Valletta, which I feel is experiencing some sort of a silent regeneration that made my heart sing [how’s that for a positive note?] the last time I ambled along it. [Not exactly what you can say for Hughes Hallet Street in Sliema, for example.]

It happens to be right behind my office and I have travelled up and down it – maybe not all the way down – for decades… The streetscape is made up of a mix of typical townhouses, palazzos and period apartments, which I have generally ignored and taken in my stride.

It never really struck me until now, other than with sadness. After all, it was your typical capital city street, lined by lots of empty, degenerating properties, promising lots of potential, but stopping at that. Empty promises… [Oops! We’re veering off the positive, straight and narrow track again.]

Well, the other day, as I was making my way to a boutique hotel along the street, I realised there was more

May 8, 2016 | Issue 9 | PLACES is a bi-monthly magazine | EXECUTIVE EDITOR Fiona Galea Debono | PUBLISHER Allied Newspapers Ltd | PRODUCTION Allied Newspapers Ltd | PRINTING Progress Press Ltd | DESIGN Manuel Schembri | ADVERTISING SALES Veronica Grech Sant [2559 4706; veronica.grechsant@timesofmalta.com]

than one. Not only... Permits were hanging on many of the decrepit walls of gorgeous townhouses, promising their rehabilitation and upgrade, which would translate into a renaissance of the road. I was [positively] surprised.

This is one prestigious address, even luring in the artists and their designer workshops as I discovered when I found Kane Cali’s studio on the same street too. It’s not surprising he wanted this property at all costs.

But the extent of the upgrade of the buildings in St Ursula Street, and the injection of new life into them as residences, offices and hotels, is probably most evident from the rooftops. Go up to one and you have a bird’s-eye view not only of Malta’s most impressive panorama – Grand Harbour – but a peek at the many roof gardens, complete with sun loungers, decked flooring and other stylish comforts, along the road.

Finally, the Maltese are making use of their roofs other than to hang their [dirty] linen, aerials and other unsightly amenities… though you don’t need to be a rocket scientist to decide to capitalise on the view.

In every foreign city I visit, I look up to feast my eyes on the lush greenery at the top of palazzos and dream of having a terrace overlooking a square like the one I am gazing upon. It would beat a massive garden any day. Finally, I’m starting to see this here.

Needless to say, my stroll was inspiring and warranted a focus on St Ursula Street in this issue of PLACES. Follow me and step inside two of the bijou hotels along it, as well as an artist’s workshop…

Which then leads us to a series of workspaces with a difference also within this issue: from designing offices of a religious nature to creating a selfcontained unit in a room for artists on the Blitz in-house residency programme.

Now how’s that for a spot of positivity?

This publication is being distributed as part of © 2016. All rights reserved. Reproduction in whole, or in part, without written permission of the publishers, is prohibited.

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PLACES MAY 2016

PHOTOS: MICHAEL CALLEJA, STUDIO KONNECT

Free-flowing and floating are some of the words used to describe this penthouse apartment that plays with curves and concrete and connects wide open spaces. It’s ready for take-off.

Space bunker snug

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Architecture & interior design: Mizzi Studios in collaboration with CVC Architecture Location: Birkirkara, Malta Size: 150 square metres Description: Fifth-floor penthouse apartment

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Major asset: A wide open space, with beautiful views of the Birkirkara church, leading up to Mdina, and enjoying lovely sunsets behind the Silent City; peaceful, tranquil and calming.

Major challenge: The biggest challenge was making one whole large open-plan space feel all connected, while creating different functional zones, with their own respective energy, despite having no walls.

Look & feel: It has a neo-futuristic, warm, ‘Nasa’, space bunker feel – curvaceous, industrial and raw, yet at the same time, contrastingly clean and slick. It is uplifting, playful and cool.

THERE IS A FLUID DIALOGUE BETWEEN THEIR COMPOSITION WITHIN THE FLAT, EACH PIECE NATURALLY LEADING THE EYE TO ITS NEIGHBOURING PIECE, AND BACK AND FORTH IN A CIRCULAR MOTION

Distinct design elements & features: The penthouse has two main design features to it: the free-flowing island and the curved bulkhead, with its floating fireplace. There is a fluid dialogue between their composition within the flat, each piece naturally leading the eye to its neighbouring piece, and back and forth in a circular motion.

The island seamlessly morphs out of the concrete floor, exposing a white resin flooring underside that accentuates its ‘lift-off’, moving on to the warmly backlit curved bulkhead that leads down to its integrated floating fireplace.

The original pre-stressed concrete roof planks were left exposed to form the ceiling, which has hints of warm rust spotting through, creating an earthy, warm, deep and rich texture.

The living room floor is split in line with the end of the curved bulkhead, changing from micro concrete flooring to timber walnut, carpeted with luxurious cream rugs.

The general lighting uses white surfacemounted track lights, with industrial galvanised conduits.

Bespoke glossy white rounded console tables and an original Mizzi Awkward dining table complement the free-flowing fixed interiors.

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STEPPING IT UP Once the home of several families together, now it’s still home to several guests. But this boutique hotel in Valletta’s St Ursula Street, SU29, has gone from rags to riches.

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A UNIQUE COLLECTION OF EIGHT INDIVIDUALLY DESIGNED SUITES, ENRICHED WITH THE CHARACTER OF LOCAL CULTURE AND INSPIRED BY THE LIFESTYLE OF THE MODERN LUXURY TRAVELLER…

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Architecture: Wilfrid De Batista Interior design: Studio Moda Project Office – Commercial Interior Design Team The starting point: This St Ursula Street building, like many others in Valletta, was a kerrejja, and used to house several families.

After the last tenants moved out, it was left abandoned for several years.

The end result: When the decision was taken to renovate and bring the building back to life,

the brief was to create that something different.

The annex’s architecture speaks for itself. The idea was to distinguish between the existing and the new build.

The interiors were intended to be a design statement, so appropriate materials and furniture pieces were carefully chosen to suit the comfort and luxury needs of guests. The use of Calacatta and Nero Marquina marble for the floors and bathrooms, and the bespoke Carrara shower trays and sinks used throughout the property, gave it that rags-to-riches change.

These luxury materials where complemented

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AS THE PROPERTY IS SITUATED ON A STEPPED STREET, EACH AND EVERY CONTRACTOR AND SUPPLIER HAD TO DELIVER EVERYTHING BY HAND. IT WAS A JOB THAT REQUIRED A COLLECTIVE EFFORT AND GREAT STAMINA with microtopping cement applications, steel and glass features, along with strategically positioned designer furniture pieces.

Number of rooms and other amenities: SU29 is a unique collection of eight individually designed suites, enriched with the character of local culture and inspired by the lifestyle of the modern luxury traveller. Guests enjoy a hotel room that is much larger than usual, with each suite boasting an area of between 45 square metres and over 65 square metres for the Sky Villa.

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Major hurdle in development process: As the property is situated on a stepped street, each and every contractor and supplier had to deliver everything by hand. It was a job that required a collective effort and great stamina.

Proud architectural/design feats: The architecture of the new annex and the holistic interior design.

Property’s unique selling point: Luxurious materials, the ambience and its positioning on the steps of St Ursula Street.

THE PROJECT

Stairway to heaven

WHEN TASTEFUL INTERIORS HAVE THE ADDED BONUS OF STUNNING NATURAL EXTERIORS, YOU KNOW YOU’RE ON TO A WINNER. URSOLINO VALLETTA SETTLED ON A SPECTACULAR LOCATION AND CAPITALISED ON ITS PROMONTORY POTENTIAL. THERE are views… and then, there are views.

Enjoying a coffee overlooking Grand Harbour in its hazy, lazy morning glory, or sipping an aperitivo at twilight as the sky and sea, framing Fort St Angelo, change colour dramatically, are practically unparallelled panoramas.

But add to that the priceless sound of hymns, wafting through the air from the monastery opposite, as you eat your breakfast… and on a balmy summer evening, the giggles of the cloistered nuns as they play tombola on the rooftop… and a stay at the boutique hotel on St Ursula Street is justified on that basis alone.

But hold on! If you can momentarily peel your eyes away from what lies ahead, you come face to face with the architectural details of the church behind you. And although it seems the dome is crumbling and it remains unlit at night, it’s yet another breathtaking sight.

Of course, there is more to Ursolino Valletta than its heavenly topmost terrace. But yes, it was what sealed the deal in the competition with other Valletta properties, and it is the cherry on the cake of a conversion project of a townhouse, last inhabited by its

octogenarian owners, into a luxury guesthouse by CVC Architecture Studio.

82A St Ursula Street, Valletta, rises four floors and you are almost gripped by a sense of vertigo when you enter and look up the narrow, winding wedge between the railings of the stairway to heaven.

Naturally, a project of the sort was accompanied by the challenges associated with Valletta properties, as well as the conversion of a residence, with often haphazard layouts, into a hotel, involving a total revamp of services and major structural changes, while respecting original architectural elements.

Probably the most delicate and complex was raising the building at the rear, without touching the facade, according to the project team, Ian Critien, Andrea Vassallo Cesareo and Bianca Darmanin, who were involved from concept to completion and orchestrated a finetuned play on floor and ceiling levels to incorporate lightweight mezzanine structures.

The original, tired property, with its makeshift toilets cutting across the courtyard, is a far cry from what it is today – home to five deluxe rooms, a duplex suite and a superior triplex penthouse, with a private terrace that

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skims the Monastery of St Ursula and overlooks Grand Harbour.

Apart from the impressive staircase, which has retained its restored intricate, cast-iron railings, the various floors are also accessed by a lift, where the contemporary insertions come into play. Instead of the obvious glass shaft, it is concealed in a black steel grate that is a serene contrast with the traditional arches and stonework of the courtyard.

Touches of steel works infiltrate the interior design of the rooms, also in the hands of CVC Architecture, where the idea was to create a chic, upmarket feel, while retaining traditional elements and building fabrics, particularly in the ceilings and floors – the tiles in monochromatic tones custom-made with a contemporary twist.

A warm feeling was achieved via oak panelling throughout and the soft furnishings in neutral, earthy colours and a mustard that ties in with the gold of the Ursolino logo.

In the rooms, false ceilings, where strictly necessary, were also used to highlight the original flagstones, while furniture floats to enhance the size of the space. Mirrored skirting is cleverly used to feign a continuous flow of tiles, which appear to disappear under the furniture, again giving a sense of space.

Designer pieces include Tom Dixon stools and the iconic Anglepoise bedside table lamps. But most furniture was customised to maximise the space, while CVC Architecture also designed the accessories, including lighting in the common areas, with integrated signage.

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Any accretions were intended to be read as modern interventions and are not trying to imitate, the architects stress, pointing to exposed concrete ceilings and the concrete steps to the breakfast room, which are a modern interpretation of xorok.

Practical elements are afforded an aesthetic approach, with custom-designed steel ventilation grilles fitted in the common areas for the exchange of fresh air to fight the humidity issues that are part and parcel of old houses.

The hotel boasts its own art collection, and prior to opening, various artists were sourced to incorporate their Maltese landscapes on its walls.

In fact, back to the stairwell, it was whitewashed to create a blank canvas for artworks in a snaking vertical exhibition space, complete with exhibition lighting and rails. The architects explain their reasoning to return it to its original purity. “The only thing that is talking is its form” – and eventually, the art on the walls.

The young architecture studio was awarded a Din l-Art Ħelwa diploma for the rehabilitation and re-use of buildings for Ursolino Valletta. The NGO’s Prize for Architectural Heritage is presented annually for building projects that make an outstanding and significant contribution to architectural excellence in a Maltese context.

Until they got there, though, they had to contend with working in a road that is narrow, one way and a dead end. Blocking it was, in itself, another logistical headache. But the charm of St Ursula Street – and the prestigious address it is being regenerated into thanks to projects of the sort – was well worth it.

WORKSPACE The “clean artist”: Kane Cali.

PHOTOS: ALEXANDRA PACE

Coming clean & a cut above The space artists choose to work in and the cocoon they create around them for inspiration, output and even practical purposes says a lot about them. In Kane Cali’s St Ursula Street studio, high-tech glass-making equipment sits in a vaulted cellar and designer furniture is in clean contrast to the walls of the nun’s monastery it is embedded in. His is a fresh take on your typical messy artist image, driven by a realistic and clear understanding of how to make it happen in the unworldly, sometimes cloistered, world of art.

SITTING at an imposing, yet almost invisible, Glas Italia Don Cavalletto desk, Kane Cali admits, it’s not what you’d expect to find in an artist’s “s***hole”.

But he wants to redefine that picture. His is a clean and clear space… and mind. He has shunned the image of the dirty artist, with the bad habits and without the business plan. That is simply not sustainable.

“I shower regularly,” he jokes – and the environment he works in is testament to that. Here – in this artist’s atelier with the designer decor – you can lick the floor [though it wasn’t the case when he first set eyes on it].

There’s nothing too eccentric about Kane, who has uncharacteristically and harmoniously married the airy-fairy aspect of the art scene with a practical, down-to-earth and disciplined approach to his creativity.

Following a nine-year stint, living, studying and working in the UK, Kane was craving the “quality of life and light of the island”. London was proving to be more isolating than the fertile ground for artists it is often portrayed to be.

“Your environment can make you, or break you.

It influences your work. The UK and its fast-paced life didn’t give me that impetus…”

And the fact is that Kane’s chosen material – glass – does not allow for speed. “You cannot bake a cake in five seconds flat. It takes seven days for the thinnest piece of glass to cool down. It’s a slow process that needs its time and simply doesn’t work in a fast environment.”

He soon found what he was looking for in laidback Valletta – the location he wanted at all costs due to the “romance” associated with it, which has always stimulated him. And, as always with Kane, the more realistic aspect also comes into play – let’s face it, location is also important because it can draw in the right crowd.

It was a while before he managed to get his hands on what is basically one room with an underlying cellar and a mezzanine floor. And given its horrific original state, according to his description, one would have been hard-pressed to understand why he wanted it so badly.

Despite the constraints of its size, the project was quite a mission, and lots of thought went into it. Moreover, the space was practically uninhabitable. “You could have done a PhD on the mould alone,” Kane recalls, adding that he thought a jackhammer would be needed to remove it.

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“The wood was so rotten, it broke off in my hands like cork.

I was actually scared and couldn’t get myself to go downstairs for months… The humidity levels were so high that the workmen could not breathe and needed intervals every 30 minutes.”

But Kane’s vision and imagination are clearly not only confined to his art, and while the end result of his intervention is almost clinical and orderly, he did have to get deep down and dirty to gut it, filling skips of rubbish, and scraping off layers of filth.

This is not your classic cluttered and chaotic studio, where tools are strewn around and paint is splattered everywhere. The minute space on three levels cleverly incorporates an underground atelier, an office on entering and a living, reflection and relaxation area above.

Kane has split the property in the way he splits his day, creating a self-sufficient world that caters for his every need in the belief that it is important to have that mental/physical separation and transition from one state/space to the other.

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GLASS IS TRANSLUCENT AND, WITHOUT LIGHT, IT IS DEAD. YOU CAN’T SEE IT Let there be light Today, the elegant doorway leads on to a whitewashed room, where a feeling of lightness has been achieved despite the fact that the only source of illumination is, in fact, the main entrance.

The darkness was countered by white walls and attention to proper lighting. “It is intentionally bright – I can’t be falling asleep anytime soon,” says the artist who is raring to go.

Quality light is also vital for his medium. “Glass is translucent and, without light, it is dead. You can’t see it!

“You could say I work with light, really. The glass enters the scene as a filler and actually reveals itself through light. So I’m hypersensitive to its quality.”

Light is “personal”. And in Kane’s case, it was the lack of it that drew him back home. “It’s only something you can understand when you are fully deprived of it.”

Living in Malta is to Kane what photosynthesis is to plants. While his actual workspace is practically only illuminated naturally through the large doorway, with lots of glass, he gets his dose from “beyond”. He feels it moving down St Ursula Street, and at siesta time, it strikes.

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PHOTO: ESTER SEGARRA

The art in the craft.

Through the looking glass It is thanks to the use of glass pieces – which not only create a transparent feel that avoids cluttering the limited space, but are also in keeping with his art – that Kane has managed to make the most of the area.

The use of glass is intentional on various fronts: “I want anyone who enters to get an immediate feel that this place is about glass. Yes, it could have a cold effect; it can look clinical and evoke that lab feel, but after all, this space is home to experimentation too.”

Entry level A super slim computer, seemingly floating in thin air, but actually resting on a transparent table –

is again not what you’d expect to be greeted by on entering an artist’s studio.

But Kane acknowledges the admin aspect of his art cannot be ignored if he is to get anywhere. It’s at his desk that he answers e-mails and organises his thoughts, having achieved a balance between his love for the hands-on side of his work and his computer [3D character animation being part of his broad educational background].

The devil is in the detail of his office space.

The Glas Italia console table is grey to match the door and the beams; the water bottle on it is made of glass; and he even admits to changing his phone cover to a more neutral colour from the original red.

The playful Penta light has a porcelain glow to it.

It is made of perforated Corian, so when the light is

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High and low

off, the pattern can’t be seen. Philippe Starck Louis Ghost Chairs were the obvious choice in this context, and the showcase, the origins of which are not known, looks like it just stepped out of an old pharmacy, adding a retro touch to that lab feel.

The water and electricity unit is clad in mirror and camouflaged, while the double volume is home to a seemingly floating glass plinth, waiting to showcase the right artifact.

Down in the gut Downstairs calls for a total transformation. On goes the boiler suit, boots and visor as Kane descends into the bubbling belly of the workshop, where he has transformed the craft of casting glass into a fine art; where extreme temperatures are created as the glass is ground in a “cold working” process that requires a constant supply of water, and then blown in the “hot shop”.

The most complex intervention was carried out here to counter the humidity by raising the floor and installing an extraction fan. But the vaulted ceiling that emerged in its full glory once the room was eventually cleared out was worth the work required to get the space to the state it is in today.

Kane’s high-tech tools and materials are slowly finding their rightful place down here, glass being “so hungry for resources and requiring such a massive investment” that it is a gradual process.

The end result has almost got that museum/exhibition space feel, with workshop tables custom-made by himself and his ceramist friend George Muscat.

The mezzanine, an accretion of the 1950s, comes with a warning about banging your head on the low ceiling.

But it’s the top spot to take a break, equipped with a Space Alberta sofa bed, TV and Victorian butler’s tray, stocked with booze, where friends can gather for a night cap – “it always encourages conversation”.

Yes, you can play up here. But Kane is a disciplined artist.

“Only when you deserve it,” he points out. “Only when you have made use of your time and are exhausted…” That’s when he retires upstairs to recharge and regenerate that vibe to work.

Up here it’s about sitting… on the floor on a soft carpet, or on poufs… Don’t even think about standing tall.

The TV unit is Poliform, and the glass touches continue in the form of the balustrade and Glas Italia hollow plinths that serve as side tables.

The lights are made of – take a wild guess – glass, also because “I like the sound,” Kane says, tapping gently. “I’m constantly tapping my own work because I like the sound of it.”

And in between In a niche along the stairs is one of his paper busts – a new art form he is working on, whereby every layer is applied by hand, bringing in the human error each time and showing that good-looking individuals are essentially flawed.

The philosophy behind it is intriguing in itself. But that’s another story… The bust is a taste of things to come… And whatever he is about to create, it’s clear Kane is in a good place to pull it off.

Over the years, he has chopped and changed until he found himself, building a spectrum of skills in various materials and choosing his ‘happy’ medium.

Today, his background has allowed him to strike a harmonious balance between old and cutting-edge techniques, and everything has come together in his St Ursula Street workspace, which epitomises just that.

WWW.KANECALISTUDIO.COM

WORKSPACE

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PHOTOS: ALEXANDRA PACE

The Blitz residency unit, a self-contained, purpose-built apartment in one room, has welcomed its first artists. Claire Tolan tells PLACES how you can live, work and chill in 13 square metres.

All you really need is light… air… and inspiration.

THINKING INSIDE THE BOX Vital statistics In keeping with the spirit of collaboration of Blitz projects, the first phase of the self-contained apartment was designed and constructed by students from the Department of Architecture and Urban Design at the University of Malta.

As part of their studies, they designed and built the basic timber structure and prepared initial plans for the rest of the infrastructural works.

On a mission to complete the space and launch the residency programme, the Blitz team spent the following year raising funds to get it off the ground.

The second and final phase – to turn the space into a functional and neutral live/work area for the resident artists – was by Valentino Architects, who happen to have on their team one of the students who worked on the original design.

The residency unit is truly selfsufficient. The artists work, sleep, wash and eat in it. Contained within the space are a double bed, full bathroom, kitchenette, with a mini fridge and a hot plate, a wardrobe and other storage and a work area, most of which can be closed off and practically hidden away if necessary.

The project amounted to around €10,000, meaning that the infrastructural costs of a single room were practically equivalent to those of the whole apartment upstairs.

First-hand experience Have you ever been sent into an inexplicable tingling trance by someone’s unconscious nail-tapping, whispering, hair brushing, or what are known as “off sounds”?

Well, there’s a whole science – or art, if you will – surrounding

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what is officially known as Autonomous Sensory Meridian Response [ASMR], a physiological reaction to soft sounds in the form of a relaxing, pleasurable tingling in the scalp and spine.

So it’s not just some weird and random hypnotic sensation that strikes only you when you least expect it. These almost monotonous sounds that send you to sleep, ease anxiety, depression and insomnia are sought after by many and You Tube is fertile ground for recordings, which means the therapy is now at your fingertips – in more ways than one.

This is the focus of sound artist, Claire Tolan, who recently joined Blitz’s in-house residency programme and spent four weeks living/working in one room of the 400-year-old, four-floor Valletta townhouse, an independent contemporary art space, which supports experimental and radical arts practice in all its forms.

So was it claustrophobic, or conducive to creativity? Let’s face it, it must beat residencies in containers on ships, where the artist is cut off and confined in the widest open space possible.

At the end of her month-long stay, Claire had created an ASMR-styled role-playing game and put up an interactive sound performance [by her audience] at Blitz, so she must have been inspired to be productive.

Claire actually spent most of her time in this one room, but it does enjoy a large window onto a small courtyard, which was left open, letting in light and air.

“I’ve worked in spaces that are larger, but without any windows, and they feel considerably smaller,” she says, recalling her four-month stint in a studio apartment with no windows, which was next to a brewery, where the employees played loud dance music.

“I wouldn’t have spent so much time indoors. I would have escaped…

The main issues in a workspace are a lack of fresh air and noise, especially in my case where I’m recording and mixing sounds,” she points out.

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I’VE WORKED IN SPACES THAT ARE LARGER, BUT WITHOUT ANY WINDOWS, AND THEY FEEL CONSIDERABLY SMALLER

The whiteness was also a conscious decision, offering a blank canvas to the artists. At the end of the day, different artists have different requirements and some may work best in a dark and dull place, but given the size of the space, the idea was to keep it neutral for anyone to be able to take control over it. While natural materials and raw wood were the preference, the decision was to give it a lick of white paint and “open it up”. The only splash of colour is the orange tiles in the bathroom.

Beyond the four walls

White and light In fact, what probably brings the residency unit together is the window leading on to the courtyard… The glass was consciously left clear and not frosted even though privacy was reduced as a result – the room can be seen from the rest of the house, but this doesn’t create a sense of invasion.

Light is, after all, important – even if artificial. In fact, the unit is also equipped with soft adjustable track lighting. Energy efficiency cannot be overlooked either because, being a work and living space, residents spend lots of time in the apartment… and some even work through the night.

Claire flew in from a cold, grey and distracting Berlin, where she is based, and which is less quiet than was her temporary Malta home. “Silence and the time to think are important for my work” – two elements the residency unit can guarantee.

And beyond the four walls of the selfcontained apartment and the townhouse it is tucked away in, its location in Valletta has also proven to be inspiring to visiting artists.

The residency’s address in important.

Most artists don’t venture out of Valletta and form an identity of the whole island through its capital city… which is not representative of it, but remains fertile terrain that feeds the imagination.

The architecture seems to leave its mark on those who work with any medium, including sound. If you’re creating a fantasy world, which is what Claire did, Valletta can be inspiring and awe-inspiring.

She was influenced, in particular, by the layout of the city.

Claire admits things would not have been the same had she been in a different environment. She believes the space affected her output; what she could do and how much time she could spend doing it.

“Blitz [in St Lucy Street] itself is a beautiful space; old and welcoming. It’s a good environment. I found myself working all the time. It was quiet and calm. I’d pop out early and see extraordinary things, then quickly come back in.”

The Blitz residency programme was created to facilitate a long-term international artistic cultural exchange. It is defined by two activities – incoming residencies at Blitz and outgoing residencies with partner organisations abroad. Successful incoming residents are encouraged to experiment and research their project, culminating in a final production for presentation to the public. The programme is supported by Valletta 2018 Foundation for three years.

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PHOTOS: MICHAEL CALLEJA, STUDIO KONNECT

Holistic and holy

These offices are essentially of a religious nature.

So the architects entrusted with their refurbishment aimed at projecting a calm environment of reflection, while keeping the feel formal.

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ARCHITECTURE & DESIGN: Atelier Maison PROJECT BRIEF: Interior design and refurbishment of the offices of the headquarters of a religious institution.

The project involved a complete makeover of the executive floor. More storage and shelving was needed and it was important to retain the existing lounge area and give it a new lease of life.

Being a workspace of a spiritual nature, did you think this refurbishment project would be challenging and, at the same time, limiting?

We knew it was going to be a challenge, but we did not see it as limiting. We had to approach the project differently and think outside the box. It was important to understand the way the space is used by the clients, and also to respect their way of

thinking and beliefs. Working on an office space was refreshing.

What, in fact, was the biggest challenge given the nature of the project, your own style as architects and the type of jobs you’ve worked on?

One of the biggest challenges was how to address the long corridors and high ceiling. We are not exactly fans of corridors, and when we have the opportunity to redesign the architecture of a space, we avoid them at all costs.

Since we were working with an existing space, we went for a series of portal frames, which would act as light sources and, at the same time, break up the long corridor with repetition. Their installation on site – getting them in and actually placing them upright – was, in fact, quite a headache since they are 4m high.

WE HAD TO APPROACH THE PROJECT DIFFERENTLY AND THINK OUTSIDE THE BOX. IT WAS IMPORTANT TO UNDERSTAND THE WAY THE SPACE IS USED BY THE CLIENTS, AND ALSO TO RESPECT THEIR WAY OF THINKING AND BELIEFS

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WORKSPACE

To tackle the issue of the long corridors, we also added two glass partitions, with ‘window panes’, to define the lounge area in the middle of the corridor. The wire glass created definition and also gave the impression that the corridor continues beyond.

Mirroring the glass partitions helped to extend the ‘enclosed’ lounge area, making use of the corridor space, while creating the feeling that you need to walk further to see what is beyond.

And what was the biggest constraint?

The height, length and lack of natural light that reached the different spaces.

Did the clients give you carte blanche, or did they need much convincing?

We were lucky the clients liked the original concept and practically nothing was changed. They understood the proposal was based on a holistic approach, where the entire floor was tackled as a whole. They also helped to achieve the final look. The only thing that had to be ‘toned down’ was the panelling in the office. The original proposal had quite a ‘young’ design, which, we decided together with the client, would be more formal and mature.

What was the look and feel you set out to create? What particular considerations did you make, given the type of project? And what materials, colours and other design elements did you use to achieve your vision?

We wanted to create a calm space that was welcoming and felt fresh. The corridor did not get much light, and the original ceiling was a dark maroon, which made it look heavy. To reverse this feeling, a pale blue was used on both the ceiling and walls to highlight the proportions

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between the height and the width. The portal frames are a light warm gray.

A low beam, which crosses over the lounge area, formed a bold definition between the lounge and the corridor. It was painted the same pale blue to tone it down and avoid looking so heavy, as well as used as a shelf for pots. This beam ended up casting interesting shadows.

The natural wooden floor was a good element to define the different spaces. In the lounge area and office, the wood was stained a royal blue, which turned out to look good even though it was a first for us and the carpenter.

One of the walls in the office is clad in oak veneer panels and all the office

furniture was designed and custom-made using oak veneer and sprayed gray wood.

Since the office is overlooking a main road, a wave sheer curtain was used to surround the boardroom table and act as a sound absorber.

It is important that workspaces don’t look and feel clinical. That was the last thing we wanted. This wasn’t just any office, and that’s why we referred to it as a workspace.

How did the religious aspect come into play? How and where does it feature?

Just outside this space is a small meditation room designed by Richard England, which we were aware of and had to respect. Even though it is a completely different room, we could not ignore that the nature of the building is essentially spiritual. Having said that, we did not actually use any ‘religious’ elements in the space because it is a place of work after all. However, the overall feeling is tranquil.

The portal frames were designed to create a rhythm. These vertical elements, together with the colours chosen, lighting and glass, were all combined to achieve a calm and spiritual, yet formal, look.

In the lounge area, a coppercoloured light fitting emits a beam of light onto an armchair. This was intended as a reading area, but can also be interpreted as a space for reflection.

What aspect of the interior design are you most proud of and what would you consider to be the most important feature?

The portal frames are an architectural element that not only looks good, but also acts as a light source and helps make the corridor feel less long. The oak panelling in the office, instead of a paint job, makes the space feel a lot richer and warmer, while we also left our mark on the flooring by staining it – an experiment that turned out to be effective.

ONE OF THE BIGGEST CHALLENGES WAS HOW TO ADDRESS THE LONG CORRIDORS AND HIGH CEILING. WE ARE NOT EXACTLY FANS OF CORRIDORS, AND WHEN WE HAVE THE OPPORTUNITY TO REDESIGN THE ARCHITECTURE OF A SPACE, WE AVOID THEM AT ALL COSTS

How important do you think it is for a work environment to be updated and freshened up now and again? What kind of ambience do you feel your new interior design has created for those who are using the space?

This workspace hadn’t been renovated for about 35 years, so it was in need of a facelift. As regards updating work environments now and again, we haven’t even been in our office premises for two years and we have already moved things around because we felt we needed a change. You don’t necessarily need to carry out a fully-fledged makeover, but moving a few bits and pieces around can also work to freshen up a place – especially if you are on a tight budget.

We like to think that the kind of ambience we created here makes the end users feel calm and positive. At the same time, we tried to give the space a timeless feel; a canvas where the clients can add their own touch now and again.

More than anything, we wanted to create a space where the clients could enjoy their time at work.

It is important for the work environment to be pleasant. After all, that’s where most of us spend much of our day.

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THE GREAT OUTDOORS

ZONING OUT

sophisticated environment, but also improve the value of a property considerably. Investing in quality also helps in the long run to enjoy a space for much longer.

Think good quality, think practical, think multiple use, think maximum comfort, think long term… And you’ll create an outside space with a soul that is second to none.

PHOTOS: ALAN CARVILLE

THE MALTESE are fortunate enough to enjoy their external areas for around nine months of the year. So these are often considered extensions to their indoors.

Given the hot climate, high humidity levels, exposure to the natural elements and frequent use, it makes sense to choose quality materials, which not only help to create a sleek and

It is also important to plan the outdoor area in line with the interior, to be able to allocate a realistic budget and avoid having to opt for inferior finishes, which are likely to deteriorate, corrode, rust, or fade within a short span of time.

AVOID HAVING TO OPT FOR INFERIOR FINISHES, WHICH ARE LIKELY TO DETERIORATE, CORRODE, RUST, OR FADE WITHIN A SHORT SPAN OF TIME Other considerations include what the area is to be used for – be it entertainment, lounging, or dining – and whether child-friendly measures need to be integrated. Appropriate shading also plays a major role, with many different options available for different uses.

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THE GREAT OUTDOORS

For this project, appropriately named City Soul, the homeowners’ brief was a concoction of warm spaces, accentuated by their love for natural wood, retro and distinct one-off pieces, while retaining maximum practicality.

THE HIGH ARTIFICIAL TURF SOFTLY TICKLES BARE FEET, WHILE ALSO FORMING THE CANVAS TO THE BENCH AND THE LOUNGING CHAIRS This concept was seamlessly extended to the outdoor areas, where most of the entertaining usually happens, including also timber cladding on the main stairwell leading from the entrance to the outside space.

A sizeable deck was created, as well as a more intimate outdoor nook on the rooftop for relaxation.

The sleek and sophisticated result comes together through the use of high-quality materials and contemporary forms in shades of greys, blacks and blues.

The solid oak floorboards in the kitchen-living spaces smoothly transition into teak decking slats outdoors and finish off in the pool itself, forming one larger indooroutdoor entertainment space.

Decking, particularly hardwood such as teak, instantly provides a natural, authentic look and enhances the space dramatically. Custom benches in the same teak crop up from the ground and are decked with coordinating cushions to match the two armchairs in black powder-coated aluminium frames and light grey water- and UV-resistant fabric seats.

Blue outdoor poufs provide extra seating and create a cosy lounging area for both summer and shoulder months.

The stackable sun loungers are also in a black aluminium profile frame with industrial textured powder coating.

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The dark grey upholstered seat and back incorporate antibacterial as well as antifungal properties and protection from abrasion and stains.

For the dining area, a teak top was also chosen for the table, accompanied by chairs in grey wicker and matt black powder-coated frames with light blue canvas cushions. These are beautifully set off against the heavier teak top and chunky look of the dining table.

Maximum shade is provided both on the dining and lounging area on the deck through square side-pole umbrellas that tilt and rotate 360°, creating unlimited shade possibilities. The canvas shade is made of durable, UV-resistant fabric.

The roof was the ideal spot to create a laid-back lounging area. This required a different setup due to the fact that it is higher than most of the surrounding properties and enjoys distant views of the sea. The glittering lights of the cityscape enhance the dramatic yet romantic ambiance of this dimly-lit outdoor cocoon.

Dark bamboo decking forms a lookout bench, which transforms into the steps leading to the hidden sunken Jacuzzi, also clad in the same material, creating a coherent look throughout. The high artificial turf softly tickles bare feet, while also forming the canvas to the bench and the lounging chairs. The central firepit warms up those chillier evenings, along with a couple of glasses of Amarone!

Project Architecture & Design: X,Y,Z Architecture & Design Decking, stair and Jacuzzi cladding, fencing, outdoor furniture, artificial turf: Brands International Ltd

358, Naxxar Road, B’Kara BKR 9040, Malta Tel: (+356) 21441328 | Fax: (+356) 21447188

www.bathroomdesign.com.mt www.facebook.com/bathroomdesignmalta

DOING IT UP: DO/DON’T

CURTAIN CALL Curtains ensure privacy, filter the right amount of sunlight and add that essential finishing touch and colour. Interior architect Antonella Riotto from Fino Interiors Design Studio says they work wonders as sinuous partitions too.

CURTAINS can literally change the character of a room; they can refresh the atmosphere and balance the intensity of natural light. A room without curtains [except in a few odd cases] could appear neglected and empty.

Besides the aesthetic aspect, curtains protect privacy; they also hide unpleasant views and contribute to the thermal insulation of the environment.

And they can also be used as partitions, turning into architectural features in discreet and flexible spaces. Using curtains as partitions helps in open-plan layouts, creating the possibility of a secluded area for reading, study, or play, if necessary. After the space has been used, it can be returned it to its original layout with a simple pull.

FABRIC is an essential part of choosing curtains since the material dictates how well they function and hold up over time; colours, patterns and style help achieve the best option according to particular requirements.

It is advisable to select light fabrics and bright colours for dark environments and heavy fabrics combined with darker shades for large and airy rooms. By time, sunlight tends to fade fabrics, especially if the room gets a lot of light, so be smart and avoid bright colours as these tend to fade faster.

Nowadays, however, new materials have been tested to resist sunlight, meaning more versatility and choice.

Consider a heavier fabric in a room where you want more PRIVACY , or less natural light, such as a bedroom, or a sunny living area. In these cases, it is advisable to use double curtains: a light and thin fabric for sheers and a heavier and darker fabric on top. [You can also opt for blackout curtains to block the sunlight completely.]

Curtains vary according to the gathering and the track/rod selected, from three pleat headings to two pleat [pencil pleat, pinch pleat, cartridge, smocked, goblet pleat, etc...]; the wave heading, eyelets and tab tops. The pencil pleat heading and the wave are advisable in the case of a

bulkhead ceiling. And since these are hidden, basic tracks can be used.

Roller blinds, Roman blinds, Venetian blinds, vertical blinds and vision blinds are also popular for a simple and clean effect in the case of sliding doors, or if less fabric is preferred for a fuller view of the window or door.

A good combination is standard pleat heading curtains with Roman blinds, using a heavy material for the curtains and a lighter one for blinds, or the other way round.

Another interesting type of curtain features Japanese panels, which are similar to vertical blinds, but are made of bigger panels and slide on rails. They give a modern feel and any material can be used.

The way curtains are hung can make a difference to the final look. For the best result, the fabric should touch the ground [or the sill in case of a window]. In some instances, depending also on the material selected, the edge of the curtains [about 5cm or more] can be draped over the floor.

Without a bulkhead ceiling, a visible track or rod must be used, in which case, it is advisable to install this over the frame of the window, preferably just below the edge of the ceiling. It draws the eye upwards, stretching the space and making it look higher.

TRENDING

Combining modern decor with traditional elements is a popular trend, as is matching the sober style of natural materials, such as linen, wool, cotton and silk, with striking and sophisticated decorations.

This is the year of pastel colours, including blue serenity, rose quartz, buttercup, limpet shell, lilac grey, as well as some bright colours, namely peach orange, red fiesta and green flash, plus the timeless colours of the earth with all the nuances connected to them.

Patterns are also popular, especially those featuring geometric shapes, flowers, or natural subjects that can be combined with wallpaper.

WWW.FINO.COM.MT

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ACCESSORIES

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Reflecting on…

PHOTOS: SEAN MALLIA STYLING: IRENE ZARB ADAMI LOCATION: THE XARA LODGE

[From left] Magazine rack, €53.32, BoConcept | mirror, €139.99, Atrium | clock, €95, Atrium | mirror, €248, Form | mirror, €143.22, BoConcept.

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ACCESSORIES

Leather jacket, stylist’s own | [set of two] lanterns, €91, Vinci | typewriter, €30, Gigi’s Antiques and Collectables | hourglass, €70, Fabulous | shoe tree bookends, €190, Fabulous | clock, €22.42, Atrium | magnifying glass, €65, Fabulous | mirror, €160, Fabulous | cocktail shaker, €28, Vinci.

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ACCESSORIES

Coat, stylist’s own | mirror, €924.32, Fino | naval cap, stylist’s own | books, stylist’s own | brandy glass, €2.36; brass holder, €98, both Vinci | typewriter case [plus typewriter], €30, Gigi’s Antiques and Collectables | lamp, €132, Form.

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CONSERVATION CORNER

MIRROR, MIRROR ON THE WALL These Late Baroque mirrors are a reflection of the refined artisanship and exquisite taste in interior decoration of the 18th century. Conservator Roderick Abela from Recoop Ltd talks us through the restoration to their original splendour. The next time you stop to look at your reflection in a mirror of the sort, don’t think gaudy; take a moment to appreciate their intricate designs and delicate curves.

THE LATE Baroque style of these three mirrors is characterised by intricate designs and delicate curves so in fashion during the period and reflecting an interest in the Rococo manner.

Their manufacturing technique consists of finely carved wood, rendered in gold leaf.

In this case, the richness of the mirrors lies not only in the highly executed craftsmanship of the wooden decorations, but also in the mirrors per se, which are still the original ones.

Two of them have a decoration typical of the Venetian style, namely that of embellishing the mirror with an imprinted scene, or a figure.

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CONSERVATION CORNER

These mirrors were in dire need of restoration; several pieces had detached and others needed to be repaired. On the other hand, their gilt layer was still in a good condition, though they needed a good cleaning to remove a layer of grime that had deposited on their horizontal surfaces.

Luckily, the owners had preserved all the loose pieces and were very careful in their routine cleaning not to abrade and remove the original gilt layer.

The conservation and restoration treatment involved examining and documenting their condition, with special attention to any insect infestation, broken parts, or foreign materials that might have been added in a past intervention.

Following this, the hands-on treatment started on their wooden structure by patiently assembling all

LUCKILY, THE OWNERS HAD PRESERVED ALL THE LOOSE PIECES AND WERE VERY CAREFUL IN THEIR ROUTINE CLEANING NOT TO ABRADE AND REMOVE THE ORIGINAL GILT LAYER

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the loose parts into their original place and attaching them piece by piece so that the structure would be restored to its original state. Chipped areas were consolidated to strengthen the gesso layer present on top of the wood and beneath the gilt layer.

After meticulously cleaning the gilt layer and revealing the original gold lustre, re-gilding was performed on areas of harsh abrasions and missing gilding. This treatment was performed using the original gilding method, consisting of the application of gesso and layers of bolo, followed by the application of gold leaf and burnishing, where needed. These newly gilt areas were then aged to match the original surrounding.

The glass mirrors were still in a good condition.

They were gently removed from the framework to be slowly dusted and cleaned. The three mirrors were held in place by deteriorated wooden supports, which were not fitting their purpose and risked breaking and eventually damaging the mirrors. To avoid any risks, new wooden supports were custom made.

Like a puzzle, the intricate patterns were shaped back in place and hung up so these three fine antiques could enjoy the attention they deserve.

GOING PLACES

ON A DIET OF DESIGN MILAN DESIGN WEEK AS SEEN THROUGH THE EYES AND LENS OF SEAN MALLIA… AS A photographer and architecture student, Sean Mallia was intrigued by both the Salone del Mobile, “the big fair of the big furniture and interiors brands”, and the Fuorisalone, the more design- and concept-oriented part, consisting of design districts/clusters and satellite events around Milan.

Although it was his fourth time at the fair, he remains overwhelmed. Here are his highlights…

The Duomo di Milano and scenes from the Salone del Mobile.

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9 1. MAD Architects’ Invisible Border installation at Cortile d’Onore at the Università degli Studi di Milano; 2. Pedrali at Salone del Mobile; 3. The image that sets the mood of Salone del Mobile 2016 in the eyes of Sean Mallia; 4. Ko-tone Spiral Xylophone at XXI Triennale di Milano; 5. Pedrali at Salone del Mobile; 6. Forest of Light by architect Sou Fujimoto; 7. Rooms: Novel Living Concepts at Salone – Optical Installation by Alessandro Mendini; 8. MAD Architects’ Invisible Border installation; 9. XXI Triennale di Milano lobby; 10. Brilliant! The Futures of Contemporary Jewelry by Alba Cappellieri at XXI Triennale di Milano.

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11. The highlight of Sean’s trip: an exhibition by Nendo of 50 chair designs based on Manga comics at the Facoltà Teologica dell’Italia Settentrionale, Brera District; 12. Vitra pop-up store at the Fuorisalone; 13. Ventura District; 14. Ventura District; 15. Vitra pop-up store; 16. Vitra pop-up store; 17. MOOOI show in Zona Tortona; 18. Facoltà Teologica dell’Italia Settentrionale; 19. Vitra pop-up store.

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PROPERTY POTENTIAL

Old meets new Farmhouse renovations have changed over the years because buyers’ needs have changed too and everyone wants their modern amenities. Marie Grech, Gozo branch manager of Frank Salt Real Estate Ltd, says “quaint” was good back then, but now it is more about style and comfort.

YOU WILL not find the features and characteristics of the Gozo converted farmhouse anywhere else in the world. So its uniqueness is unparalleled. But in truth, this type of property is no novelty on the market, having witnessed its birth back in the 1980s.

However, the question is, over time, has it become tired and lost any of its appeal? And if not, why has the demand for this type of property remained strong?

Marie Grech, Gozo branch manager of Frank Salt Real Estate Ltd, maintains Gozo farmhouse are still sought after – as much as before.

What has changed, in her view, is the style and finishes. “Where before, it was all about the rustic, everything-

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goes look, now this is more stylish and sophisticated, with a touch of the modern.”

According to Marie, buyers are after modern comforts. External stairs, for example, which are a characteristic of the farmhouse, are considered pretty, but no longer practical.

Having said that, it doesn’t mean they are more after new properties to avoid the problems of the typical old exposed stone, humidity issues and other charming, but possibly impractical, features. After all, nowadays, treating humidity and preventing the stone from dusting are possible too.

“It is true that when it comes to restoring an old property, you have to work with what you have, rather than

with a blank canvas. However, the effect of mixing modern and old is stunning. You can still create a chic environment, and the end result is also much more interesting.”

But have Gozo farmhouses and villas actually bridged the gap between the rustic/raw and the modern in terms of interior design?

Let’s face it, the use of bare stone, wrought-iron beds and cottage-style, wooden furniture is still rampant.

Marie insists on the change in finishes over recent years, adding, on the other hand, that: “God forbid we remove all the traditional characteristics and the stonework because they would lose their charm.”

And while she is not keen on the unpainted pine doors and windows,

as well as any pine furniture in general, she believes the newly refurbished farmhouses are being finished with a modern touch, and soon, all the properties done up in the 1980s and 1990s will be due for refurbishment.

Marie has been in the business for 27 years, and in the beginning, she only dealt with British clients. Today, buyers are still mostly foreign, but they come from all over the world, from South Africa to Russia.

Location: Għarb

Location: Għarb

Location: Xagħra

THE EFFECT OF MIXING MODERN AND OLD IS STUNNING AND WORTH IT. YOU CAN STILL CREATE A CHIC ENVIRONMENT, AND THE END RESULT IS ALSO MUCH MORE INTERESTING Location: Għasri

Over the last 10 years, she has seen a large increase in European buyers, with some houses bought as holiday homes and many buying to take up permanent residency.

As for the locals, the Maltese buy these properties as holiday homes, while the Gozitans buy for investment and to rent.

Marie agrees some exceptional properties have the potential to be turned into boutique hotels, or venture into agritourism. Those that have already taken the plunge offer

unique accommodation and a true taste of the character of these houses to the holidaymaker.

Nowhere in Malta do you really find properties with such unobstructed country and sea views and stunning natural surroundings as you do in Gozo. Houses with a view are always sought after, but of course, they come with a price.

The alternative would be the old houses in the villages, which have their own characteristics, including lovely courtyards – havens for relaxation in their own right.

“The government schemes to encourage the purchase of property in village cores are very important and should remain,” Marie maintains.

“These properties, even the small ones, are vital to bring the villages back to life. All old properties have lots of potential, and if planned well, can be restored and converted to lovely homes.”

Gozo is growing in popularity, the demand is increasing every year and Marie predicts a boom. Watch this space.

Featured properties are available from Frank Salt Real Estate. WWW.FRANKSALT.COM.MT

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ECO-FRIENDLY

A greener home PLACES comes up with some tips to make our homes more sustainable and eco-friendly.

Be a waste champion!

WE ALL know about the vital importance of implementing the three rules of waste management – reduction, reuse and recycling – when managing our waste. And judging by the recyclable waste collected kerbside in the green/grey bags, as well as that deposited in bring-in and civic amenity sites, a growing number of people do, in fact, separate their waste.

However, so much more can be done to contribute in our individual ways to reducing waste that goes to landfill, while also saving on household bills.

We must understand that every little bit does, indeed, help and individual efforts to minimise waste go a long way to reducing what goes to landfill.

Here are some ideas to help make our homes more sustainable and eco-friendly. Bearing in mind the busy lives we lead, most of these tips are also time efficient in the long run.

They are just the tip of the iceberg and there are plenty more to be found on the recently launched website dontwastewaste.gov.mt Be brutal and take a close look at your belongings – donate or sell anything you don’t really need, like, or use any more. You will be surprised at the amount of things you can do without.

The same goes for your wardrobe.

Introduce a two-year rule: if you haven’t worn it in two years, chances are you never will, so pass it on to a charity, or sell it online. If you don’t manage either, some local councils even collect textiles.

Always use a reusable bag when shopping. The easiest way to remember to take your bag is to leave a number of them in your car so you will always have some at hand.

Continue to separate your recyclables. Make your recycling bin an attractive feature by using colourcoded wine crates, or small laundry bins, which will also act as a reminder to recycle.

Make good use of the waste disposal facilities available. The bulky refuse service through the local councils and the civic amenity sites will take household electronics

Cook the right portions and freeze those leftovers. Throwing away food is literally the same as throwing away money. Make sure you have freezer bags and food storage boxes handy.

Kill two birds with one stone and keep and reuse ice cream and butter containers. They are excellent to store and freeze food in.

Alternatively, save food jars to store small household items or other food products, instead of buying special containers.

One man’s trash is another man’s treasure, so organise garage sales, or go to a car boot sale to get rid of your unwanted items, rather than recycling them, and make some money too!

If you have a garden, do install a compost bin. This will instantly reduce the waste going into your rubbish bags. If you don’t have a garden, save your fruit, vegetable and food scraps anyway and hand them over to a grateful neighbour who does have a garden.

Support local farmers and, when possible, buy seasonal produce. You’ll use fewer plastic bags and support local produce.

BE BRUTAL AND TAKE A CLOSE LOOK AT YOUR BELONGINGS – DONATE OR SELL ANYTHING YOU DON’T REALLY NEED, LIKE, OR USE ANY MORE. YOU WILL BE SURPRISED AT THE AMOUNT OF THINGS YOU CAN DO WITHOUT and large waste for free.

Make a shopping list and a weekly meal plan and stick to it. That way, you will only buy what you need, saving on fridge space and reducing food waste.

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ARTCHITECTURE

VANISHING Malta IN THE latest photography publication, Vanishing Malta, by APS Bank, Anastasia Zhukova focuses on preserving the collective memory of the village core.

A foreigner based in Malta, the photographer feels a strong attraction to the “charms of the Maltese traditional way of life”, especially evident in the village cores of the older towns and villages.

“Nothing can beat the mystery and enchantment of stumbling across things for the first time. This definitely worked in my favour. The more I worked on this project, the more encumbered and fascinated I became in hunting trails of village life. It was wonderful how small ‘treasures’ unfolded before my eyes in the little narrow winding village streets.”

Zhukova’s images include wires haphazardly criss-crossing alleyways, rotting wood, rusting iron, or crumbling stonework. But beauty is subjective, and she is a firm believer that it can exist in decay.

“Most of the things I have captured are not normally considered photogenic subjects; recording them before they vanish is vital for me in order to retain such traditions in our collective memory.”

Vanishing Malta – Raising consciousness on safeguarding Malta’s legacy is the first instalment of a three-year project. The chosen theme for 2016 aims

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to ‘freeze’ in time characteristics that belong to the present and the past, interpret them through the eyes of five photographers, including also Lorraine Abela, Mark Pace, Martin Agius and Tomoko Goto, and project them to future viewers.

Apart from a collection of photos, it presents essay contributions by Sergio Muscat and Vincent Zammit, edited by Kevin Casha.

MOST OF THE THINGS I HAVE CAPTURED ARE NOT NORMALLY CONSIDERED PHOTOGENIC SUBJECTS; RECORDING THEM BEFORE THEY VANISH IS VITAL FOR ME IN ORDER TO RETAIN SUCH TRADITIONS IN OUR COLLECTIVE MEMORY The images depict Malta’s traditional trades, architectural structures, flora and fauna, which are proof of the nation’s rich history.

To complement the book launch, the photos are being displayed in an exhibition at APS Bank Centre in Swatar that runs until June 30.

Kevin Casha, who is also the exhibition curator, said “the project bears witness to the heritage we sometimes take for granted and that luckily surrounds us every day”.