Places - Design & Living (October 2016) by Times of Malta

PLACES DESIGN & LIVING

PLACES ISSUE 12 OCTOBER 2016

Design & Living

Modern living in a 17th-century villa RESPECTING AND UPDATING THE ORIGINAL FABRIC

MALTAâ&#x20AC;&#x2122;S CONTEMPORARY ARCHITECTURE

ISSUE 12 OCTOBER 2016

Anything to write home about?

ON THE TABLE Dining rooms on the drawing board Getting creative with crockery

Books, art and exhibitions INSPIRED BY STRUCTURAL DESIGN

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THE BLUEPRINT

Design & Living

ISSUE 12 OCTOBER 2016

MY DESIGN

THE PROJECT 12 Former Glory for Future Use Gutting and upgrading Villa Gourgion HOME DÉCOR 20 TASTE Metropolitan Chic vs Nordic Light Dining rooms design 25 ACCESSORIES Seems Like a Picnic Trending on the table 34 THE GREAT OUTDOORS Taking Centre Stage Flower arrangements to accompany food 39 DOING IT UP: DO/DON’T Seeing the Error of Your [Kitchen] Ways Five style sins in cooking area 40 TRENDS Down to the Last Detail A tale of three modern kitchens ON SHOW 44 LIVING DESIGN A Plan for Living Timeless furniture out of the woodwork 50 ART/CHITECTURE The Height of Excellence Quality local contemporary architecture 56 Drawings in Words The fascination of freehand HERITAGE & ENVIRONMENT 59 CONSERVATION CORNER Out of the Woods 19th-century cabinets conserved 60 IDEAS & MORE WORKSPACE 62 Sharing Space Employee interaction at the heart PROPERTY POTENTIAL 65 The Originals Buying a slice of history

ON THE COVER PHOTO: SEAN MALLIA See story on page 12

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DRAWING: RICHARD ENGLAND See story on page 56

MY DESIGN

PHOTO: Sean Mallia

WHen THe subject of upgrading bikes was casually broached in an unrelated interview some time ago, i immediately shifted my focus onto that. i was intrigued by the concept and the design element; how it all came about; the combination of fashion and style with health and fitness and a cleaner environment. as this magazine title suggests, the venture had all the ingredients for a good story and fitted squarely into Places: Design & Living. indeed, it was about design and living… But on a personal note and on a parallel track, my mind raced to my garage and the chopper i had as a kid. it had been stacked away under layers of dust for decades, and in the eyes of others, it was a piece of junk we had to get rid of. in mine, however, it was a piece of sentimental value – a frame of my past – i needed to justify keeping. i put off insistent proposals to sell it, or dump it, for years, with no alternative… other than delaying tactics. The chopper was a part of my childhood. it was probably the coolest thing i owned back then and i am still grateful to my parents for buying

it for me. in fact, it is probably one of the few childhood presents i ever received that i actually recall. not only was it cool to have a chopper a good 35 years ago, but this chopper was unique. i think i was given carte blanche – and went for black. For a little girl to have a dark, slick bike, with a disco-ball-like glittery logo was something else. it was rock chick material in my eyes; wicked, yet womanly. it wasn’t a boy’s bike, but it was tough enough. and with it came the freedom we can’t even imagine affording kids today – of letting loose like the wind and rolling further and further away from home, freewheeling down roads and dodging cars at a speed you can only appreciate as a carefree child. So as i flicked through the images of BeSpoke cycles’ ‘upcycled’ bicycles, which were being given a trendy facelift in italy, i knew this was what my rusting chopper was destined for. it would be revived – not thrown in a skip! its wheels would continue to turn – for the next generation. and in the interim, until those little legs grew long enough, it would have pride of place in my hallway as a piece of furniture. after all, is that not where bikes are stored by city dwellers, who cycle everywhere? So my chopper was excavated from the garage – and as i engaged in that operation, i was asked by workmen on the neighbouring construction site whether i was throwing it away, their veiled interest further reaffirming its value. and it was shipped off to italy… with no makeover mandate. This was probably the first time in my life i did not exercise the traits of a control freak and left the design and end result totally in the hands of the Daaa Haus team,

whose project this is. it’s not like me at all to go blind and i’m not one for surprises. But they do have a track record. and i figured, if the wheels of my chopper turned again, the rust was scraped off and it was resurrected to a clean and cosy spot in my new home, that would already be a start. My instinct to trust didn’t fail me, and the other day, i picked up my unrecognisable elegant cream chopper, with its smart leather accessories, which happen to blend perfectly with the colour scheme in my entrance hall. That day, i rode in circles round the church square and down the alleyway i live in. no, i didn’t venture too far afield before parking it in the safety of my house, overcome by thoughts of how times had changed, and how hard it would be to let that little girl i promised it to, ride with the same freedom i had in this trafficridden country, where children don’t play in the streets anymore. Meanwhile, until the day i would need to honour my promise arrives, i have an interesting piece of furniture in my hall, with a story to tell… as well as a practical function – hats are hanging off the handles and slippers are stuffed in its leather pouch. anyone who doesn’t know me would think i’m an ardent ecofriendly cyclist, who ditched her car for a bike and pedals to work every day. it’s an image i can live with. Those who do know me better simply suggested that i, at least, go grocery shopping from the village stores on my new-fangled bike. But i’ll pass on that too. My excuse: it doesn’t have a basket attached to the handlebars yet. and the truth is, if i did get hold of one, it would be the ideal dumping ground for the stuff you need to deposit immediately you enter the house.

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THE PROJECT

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FORMER GLORY FOR FUTURE USE No stone was left unturned in the meticulous restoration of this 300-year-old villa that has retained its original fabric, but been upgraded to comfortable modern-day living standards. It’s a praiseworthy preservation project in a country that is losing a piece of heritage almost every day. PHOTOS: SEAN MALLIA

THE AWARD-WINNING restoration of the Grade 1 listed 300-year-old Villa Gourgion in Lija by a team of dedicated experts has upgraded it to presentday living standards, while respecting and retaining its original fabric and only removing recent accretions that were not in keeping with its style. It was a five-year and intense labour of love, which saw owner Sandra Radmilli engage the services of conservation architect Marie Louise Caruana Galea and interior designer, project manager and history researcher all rolled into one, Carmel Spiteri, who dug deep to discover and revive the minute detail of the villa that belonged to her ancestors, the Depiro Gourgion family. Conservation and preservation were a priority and it soon became clear that every corner needed some intervention. Teams and experts from Recoop Ltd and

master stonemason Robert Lia were called in to carry out the specialist work. Today, the as yet unfurnished villa looks as good as new… so much so that you need to be talked through the works to really grasp how much was actually done behind the scenes. It is complete with all modern amenities, including a lift, however, all these interventions are reversible and do not impinge on the original fabric of the old building. The façade of this national monument, located just off the Lija square, is imposing and impressive, and its majestic doorway leads on to a Palladian architectural style; a typical cruciform layout, with four rooms in four corners. The semi-circular vault of the entrance hall and the other ceilings of the ground floor rooms are adorned in

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THE PROJECT

paintings that have been restored by Recoop under the supervision of Prof. Keith Sciberras and Paul Muscat. The 19th-century false ceilings conceal earlier, cruder murals – as opposed to the more ornate, arabesque style on show – that were hidden to follow the trends of the time, when false ceilings concealed the underlying arches to create flat rectangles in the centre, with curved sides. They are just one of the surprises that were unearthed during the course of the restoration process, which also included uncovering ancient graffiti behind modern accretions that were removed. The ceilings are also adorned with cameo medallions, similar to the ones of Villa Francia round the corner. Although less ornate and without a sculptural surround, they would have been produced from the same mould, probably by the same workshop, according to the interior design trends of the time as happens today, Spiteri explains. Villa Gourgion is, indeed, a melting pot of architectural styles that have been seamlessly and respectfully pieced together, making sure the various layers remain intact. The neoclassical fireplace from colonial times was dismantled and restored and is functional once again; while the hallway marble floor, based on that used in the late 1700s, and designed with the typical pattern of the period, replaced the out-of-place terrazzo flooring of the 1950s, which was eroded by humidity and chipped. It was one of the many authentic features that was hard to source, in this case due to the Italian marble quarries being exhausted. But obstacles were encountered even to find plain blue glass to replace the small squares with a hairline crack in the original Art Deco aperture leading to the garden. The search took two years of hunting high and low for the match. Then, of course, there were the more mundane jobs, which required painstaking intervention too. The eroded walls, for example, needed considerable and repeated attention, using the latest techniques. As you climb the stairs, more details of the restoration process unfold: the Rosso di Levanto risers were worn out due to humidity and a matching marble was sourced from a quarry in Italy, while the original Maltese tiles on the first floor were preserved and polished, and those in a bad state were subtly substituted – another detail in the hands of the stonemason’s workshop. On the first floor, the removal of a polystyrene soffit unveiled a high, intricate, wooden ceiling, which was oiled and exposed; while another false ceiling covered

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a whole mezzanine floor, which is now accessible via a spiral staircase, also leading up to the roof. Although in a state of disrepair, fortunately, many items that had been stripped, such as the original wooden doors and apertures, were found stored in the basement and were restored and replaced. “We went down to the nitty-gritty, restoring their locks, some having been broken, or their keys missing,” Spiteri points out. Even the pieces of the broken stone urns from the garden had been thrown into the basement, but the jigsaw puzzles have been carefully pieced together. The major project, in fact, kicked off from the overgrown garden, which incorporated orange groves and the landmark Lija Belvedere Tower until the early 1950s. Floor slabs were removed step by step, services passed and tiled over with the original ciangatura. The same water channels that were once part of a network that covered the whole of Lija were used in different configurations, creating a new water feature with the old fabric. Chopping the overgrowth bit by bit also unearthed vases, columns and busts and gave more prominence to the tea rooms at the back of the garden. Such was the state of the latter that two tall columns with amphorae were discovered behind a sprawling

VILLA GOURGION IS, INDEED, A MELTING POT OF ARCHITECTURAL STYLES THAT HAVE BEEN SEAMLESSLY AND RESPECTFULLY PIECED TOGETHER, MAKING SURE THE VARIOUS LAYERS REMAIN INTACT

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bougainvillea and were left in situ and exposed. Meanwhile, the lion-paw-like legs of troughs on the overlooking terrace were also restored, based on one single example that had remained intact; while the griffins, defenders of the property, were redesigned by Spiteri and remade, sticking as much as possible to the original. The pond had only three pots around it and these we copied, again by the master stonemasons. The conservation architect’s design and plans ensured that the end result is a symmetrical series of pathways, with four main parterres, and two on the sides, one used for the pool not to break up the pattern. It is detached from the pathways so they don’t lose their integrity.

IN THE END, I ALWAYS GAVE MORE WEIGHT TO THE HISTORICAL ASPECT. CERTAIN INTERVENTIONS WILL ALWAYS BE NO-GO AREAS IN MY BOOKS Elevated to avoid too much excavation, the pool’s surrounding border detail, with a pebble-filled canal, replicates that of the pathways, allowing the idyllic garden to retain its symmetry. Its position also offers a direct view of the façade of the Lija church. The charming tea rooms at what is now the bottom of the garden also underwent a detailed facelift, with the missing red panes blown specifically by Mdina Glass. And from the back of the garden, the tour leads to the villa’s belly, which offers deep insight into the lifestyle of the original owners. The basement is home to an impressive, almost industrial, kitchen, with as many as 15 burners, while other villas of the same typology and period, even palatial, had no more than four. Spiteri maintains that the entourage, who lived on the estate, was large, and the owners also entertained many guests… and frequently. The basement walls were literally weeping water, such were the humidity levels when the current owner started to rehabilitate it, having been completely sealed off to protect from blasts since World War II. It only saw the light – literally – three years ago when access points were finally unblocked.

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Other discoveries included impressive arches and several majestic monolithic tables of solid stone, quarried on site. It is now a large and ventilated space, which could take on several playful roles. Spiteri admits he faced internal conflict between his sometimes opposing roles as art historian and interior designer: “One side tells you to do something and the other tells you don’t you dare! In the end, I always gave more weight to the historical aspect. Certain interventions will always be no-go areas in my books.”

THE PROJECT

WITH SUCH A HISTORICAL TREASURE IN HAND, ONE SMALL MISTAKE FROM THE RESTORER/ARCHITECT’S END CAN ERASE AN ERA FOREVER

Talking about her biggest challenge at Villa Gourgion, Caruana Galea, who has carried out several prestigious projects, including the restoration of Fort St Elmo, Villa Bighi and Auberge D’Italie, compares it to “an autobiography, where with every page the reader turns, something new that formulates the story [history] of its life, is discovered. “Metaphorically, the pages are the various layers of building materials, such as the paintwork, graffiti, the murals under the false ceiling, the 300-year-old timber ceiling, which was covered under the 19th-century false ceiling – the list is endless and breathtaking.

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“So, with such a historical treasure in hand, one small mistake from the restorer/architect’s end can erase an era forever”. On the owner’s part, it was an intense job and a full-time commitment, but she is happy to be leaving something behind for posterity… at a time when Malta is losing a piece of heritage every day.

TRENDS

Metropolitan chic vs

NORDIC LIGHT This Autumn/Winter, two major trends are predominant in the interiors world on an international scale â&#x20AC;&#x201C; metropolitan city chic and the crisp Nordic lights of Scandinavian living. Emma Mercieca Cristiano from BoConcept shares some tips on how to achieve these two key looks in the dining area. Her aim is to bring a sense of authenticity and tranquillity into the home.

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PUT SIMPLY, if you’re in love with chic city living, you’ll love adopting a metropolitan mood in your home. It’s all about bringing together urban style and sophistication with international flair, reminiscent of the big cities, by opting for darker tones, accented by subtle touches of brass, copper, gold and lush greens and the rich, opulent texture of velvet. On the other hand, if you’ve got a love of whites, calming neutral tones in touchable textures, such as wool and felt, and natural materials, such as oak and marble, then the Nordic light mood is just right for you. Here’s how to go about getting your chosen look right. METROPOLITAN CHIC Metropolitan chic is about making statements through timeless style with a contemporary edge. Ensure long-lasting comfort and elegance by going for a dining chair with a striking look in semi or fully upholstered quilted velvet that is as lush as it is comfortable. In the dining area, especially, it is pointless having a beautiful dining set that does not serve its purpose fully. Combining function with style is key for modern, comfortable living. If you entertain often, a round or oval extendable table

A ROUND OR OVAL EXTENDABLE TABLE ACCOMMODATES MORE PEOPLE, FACILITATES CONVERSATION AND INTERACTION, AND INSTANTLY ADDS MORE SEATING SPACE WHEN YOU HAVE GUESTS OVER

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TRENDS

KEEP THINGS SIMPLE IN THE DINING AREA THROUGH CLEAN LINES, NEUTRAL COLOURS AND TOUCHABLE TEXTURES TO ACHIEVE A COMFORTABLE AND HOMELY INTERIOR

NORDIC LIGHT Nowadays, many dining and living rooms have merged into one, therefore, coordinating the Nordic theme with the living space achieves a coordinated area. accommodates more people, facilitates conversation and interaction, and instantly adds more seating space when you have guests over. Add a long sideboard with plenty of storage space for tableware right at hand.

Keep things simple in the dining area through clean lines, neutral colours and touchable textures to achieve a comfortable and homely interior. Bring the overall look to life through a striking but subtle accent colour on the sofa, such as jade green, finished off with oak legs matching the dining tableâ&#x20AC;&#x2122;s and chairâ&#x20AC;&#x2122;s.

Walnut has been a popular choice for a while, but now the whole look has been updated for a more sophisticated and elegant edge by coordinating and mixing it with matt blacks, and subtle hints of bronze, copper and charcoal greys on table legs, dining chairs, pendants and accessories. For those who love the look of glass, go for dark colours for a dramatic look.

Nordic-style rooms are flooded with natural light and neutral, calming tones of greys and oak, accented by touches of greenery, pastel tones and rose-toned copper. To further enhance the airiness and brightness of a room, nothing beats the simplicity of a clear glass dining table, and having the option of extending it when having additional guests is an added plus.

Bring the sophisticated look together by finishing off with functional everyday utensils and accessories in natural, hard-wearing materials. Think pestle and mortars, dishes, salt and pepper mills, kitchen roll holders and magnetic pot trivets in a mix of white and green marble, oak, glass and concrete.

Accentuate your crisp white interior with round, organic shapes, which appear very pure and simple, but give a soft touch of colour. Focus on natural materials, such as marble, terracotta, concrete, ceramics and metal in charcoal greys, soft mints, deep purples and dusky pinks, and play with different sized items to keep the look interesting.

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NORDIC-STYLE ROOMS ARE FLOODED WITH NATURAL LIGHT AND NEUTRAL, CALMING TONES OF GREYS AND OAK, ACCENTED BY TOUCHES OF GREENERY, PASTEL TONES AND ROSE-TONED COPPER

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SEEMS LIKE A PICNIC Get creative with your crockery and be playful with your plates in a fusion of formal and informal dining.

PHOTOS: Sean Mallia STYLING: iRene ZaRB aDaMi

[From bottom to top] Plate [set of four], €21, Form | bowl [set of four], €25, Form | teaspoon, €10.95, Form.

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ACCESSORIES

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ACCESSORIES [Clockwise from left] Bottle basket, €20.46, Form | cushion, €27, Debenhams | chocolates, €9, Debenhams | tray [on chair], €19, Debenhams.

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THE GREAT OUTDOORS

Taking centre stage

Floristry and flower design are an art, so there are no hard and fast rules when it comes to creating an arrangement, according to Debbie Cassar of Romano Cassar florists in Qormi. However, keeping it simple and delicate, natural and compact is the secret to a suitable floral centrepiece for your dining table… to stimulate the senses, cultivate the conversation and complement the food. PHOTOS: MATTHEW MIRABELLI

When creating a floral centrepiece for a dinner table, what should we take into account in terms of, maybe, size, type of flowers/plants? Are there any rules, or guidelines to start off with? Floristry and flower decorations are an art, so there are no hard and fast rules, although there are certain guidelines that should be followed to be sure a dining arrangement does not detract attention from the food, get in the way, take up too much space, or block the view of the person opposite. Be sure your arrangement looks good, proportion wise; keep the general theme in mind and never stray, or get carried away; avoid high items that can block the view of the person seated across the table; and keep it simple and delicate. How have the trends changed over the years for dining table arrangements and as regards people’s preferences? Styles do vary a lot, depending also on the individual, the season and the occasion, so we have to be sure to stock a wide range of home décor items, from small vases to large ornaments. Of course, there are those items that keep reappearing every four to five years, as with most other products. Would you say that flower arrangements are a thing of the past, and that, today, the trend is to plonk a bunch of fresh flowers in a vase, or have a permanent display of artificial flowers that don’t need maintenance and won’t die? Most houses today have a modern, contemporary style, so floral decorations should be in keeping with that. Plonking fresh flowers in a vase is, of course, quicker and easier, but it’s not easy to match the style and elegance of a modern arrangement. As for artificial flowers, while some wouldn’t want to walk into a room and see the same vase of flowers month after month, others do prefer to have something more permanent prepared. I must say that fine artificial flowers are not of a lesser value, or less attractive than their real counterparts. Nowadays, some actually have to be touched to realise they are not fresh. In fact, we also stock these to meet the high demand of artificial centrepieces.

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What are the current trends for flowers/plants in general and for dining tables? The current trend is to keep everything natural-looking and compact. How long should an arrangement last and what are the tricks for it to live as long as possible? A arrangement of fresh flowers should last approximately a good 10 to 12 days with appropriate care. We obviously have to keep in mind that we are dealing with perishables here, but the right attention and tricks of the trade help. These include making sure all the stems are in the water and adding flower food to this if you are using a vase. Do not forget to change the water regularly, and cutting off a bit of the stem also makes a difference. What is the most low-maintenance arrangement? For the most low-maintenance arrangements, use succulents and other plants, such as the vast range of multicoloured Calatheas, various colours of Kalanchoe, and maybe also other indoor plants that have variegated leaves so you won’t have to wait for them to produce a flower to be attractive. With Christmas lunches coming up, what would you recommend as a centrepiece? It’s a time to stick to traditions. I think nothing looks better than the traditional low centrepiece, with low candles and Christmassy flowers, such as top-quality velvety red roses, as well as a touch of faint golden accessories, berries, mistletoe, and other fillers. Now that the wedding season is over, what are customers looking for mainly? I wouldn’t say that the wedding season is entirely over as we are still busy. Having said this, in a couple of weeks’ times, our customers’ main focus will be diverted to the poinsettia, which we grow in their thousands in our own nursery and in which we invest long hours of work and dedication.

Put clusters of different flowers is six vases of the same size but different shapes, and sprinkle some foliage and petals in between.

Use four glass candlesticks and put a delicate garland of gypsophilia around the top of each.

PLONKING FRESH FLOWERS IN A VASE IS, OF COURSE, QUICKER AND EASIER, BUT IT’S NOT EASY TO MATCH THE STYLE AND ELEGANCE OF A MODERN ARRANGEMENT

Use three vases, all the same size, and put a cluster of roses in each.

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THE GREAT OUTDOORS

THERE IS NOTHING MORE GRATIFYING THAN WATCHING A CLOSED BUD OPEN INTO A COLOURFUL SCENTED BLOOM

Mix fresh fruit and flowers in an oval decorative centrepiece.

Do people mostly buy flowers only for occasions, or do you notice that many want them in their homes on a daily basis? If you had asked me this question a couple of years ago, I would have said that flowers were just bought mostly for particular occasions. Nowadays, however, with the many foreign influences around us and the idea of fresh flowers being seen frequently on TV, the Maltese have started to appreciate them in their kitchens and living rooms too. On a personal note, do you always have flowers in your own house and what would they be? Or do you overdose on them by day and see them as part of your working life only? Being passionate about my daily bread is a blessing, and being given the opportunity to express my artistic streak is an even bigger one. I am happy to say that I never ‘overdose’ on flowers. For me, there is nothing more gratifying than watching a closed bud open into

Place fresh plants in a contrasting grey ceramic centrepiece.

a colourful scented bloom. Yes, I do have fresh flowers in the rooms my family spends most time in – on my kitchen island and in my living area – on a daily basis.

Romano Cassar is one of Malta’s oldest companies in the flower business, dating back to the 1950s, when it began to grow small quantities of flowers to sell at local markets. Eventually, the founder began to export these flowers overseas, notably to Covent Garden in the UK, and has experienced major growth since its humble beginnings. Today, Romano Cassar grows and cultivates its own flowers in its nursery, ensuring the freshest and top-quality buds. It also imports from the best companies in Holland and distributes to others around Malta. It prides itself on a personal approach and attention to detail, whatever event it is catering for.

DOING IT UP: DO/DON’T

SEEING THE ERROR OF YOUR [KITCHEN] WAYS Interior architect Antonella Riotto from Fino Interiors Design Studio points her finger at five mistakes you shouldn’t make when designing the kitchen of your dreams… Follow her guidelines and you won’t need to eat humble pie. THE KITCHEN is and should be the heart of the home. Whether it is used by people who have a passion for cooking, or it becomes the place to socialise with friends and family, it should be designed correctly by a professional, while reflecting the personality of its owner. Layout, materials, sizes; they all matter when designing a kitchen. Here are five mistakes everyone should avoid to have both a practical and smart kitchen design: Not understanding the functionality of the space When designing a kitchen, you have to consider the following: pantry, storage, sink area, preparation area and cooking area. These five spaces are essential for those who enjoy cooking, and they need to be designed correctly. In order to have the right flow and atmosphere, the pantry, sink, preparation and cooking areas are always connected to each other, making the process of preparing meals the most efficient possible. Together, the sink, preparation and cooking areas form a narrow triangular workspace, be the kitchen linear, L-shaped, or U-shaped. Not enough storage space Any kitchen, whether big or small, needs large amounts of storage space for food, appliances and cooking utensils. All

these areas need to be taken into consideration… Consider extra-long top cupboards, which give a contemporary linear style to the kitchen, and install cabinets over tall units that align with top cupboards and give you extra top space. Finally, consider installing shelves across the back of lower cabinets, or next to them. This helps complete your design composition. Not enough working space Try to optimise the working space. Leave at least 60cm on each side between the sink and the hob. A breakfast table, or an island, are the best solutions for gaining extra working space, even though sometimes, it’s not possible to insert them into the layout. Avoid putting small appliances, or too many decorations, on the counter if you do not have enough space, and try to place the dining table next to the kitchen if you have a tight kitchen countertop. Inadequate lighting The kitchen is the area where you can’t afford to have poor lighting. It’s not only a matter of design and atmosphere, but also of safety when it comes to handling sharp knives and other kitchen tools. Moreover, the more light you have in a room, the better you showcase your designer items. Rooms generally need three types of lighting:

general lighting, task lighting and accent lighting. For your kitchen, evaluate the work areas and focus on providing each angle with the necessary lighting. Consider illuminating working areas from above. Pendant lights look beautiful over breakfast bars and kitchen islands. LED bars can be used for illuminating the under-cabinet area and to ensure that the counters have sufficient lighting for common kitchen tasks. Not consulting a professional Taking on a kitchen design project by yourself to save money is a common mistake. It actually causes people to waste more money, time and energy. A design consultant will guide you through the complicated process of choosing the right concept, design and budget for your new kitchen. There are many lessons you can draw from a simple appointment with a professional, who should try and understand your personality and what is best for you. Whether you prefer a modern or a traditional style, always consider the new trends. Thin countertops, inset handles, new technology and lighting all come together beautifully in today’s good kitchen design. WWW.FINO.COM.MT

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TASTE

DOWN TO THE LAST DETAIL ChillisChilli serves up three modern kitchens, with three common denominators: subtle detail, illusory simplicity and a seamless homogenous style. TODAY’S kitchens seem to be characterised by particular design details, including concealed handles and a minimalist feel. But Alan deBattista, managing director of ChillisChilli, producers of bespoke furniture and interiors, says there are no hard and fast rules, and a general lack of elaborateness does not translate into monotony, neither for the carpenter, nor for the client. “Constructing pieces that are defined as minimalist is in no way monotonous. It is sometimes more challenging to combine simplicity and practicality and provide the proverbial ‘less is more’ feel while achieving all that the item is required to accommodate.” As for the fact that concealed handles seem to be the order of the day, this is not to say that any other sort are a no-go. “They are simply a way of making a kitchen look sleek and modern, giving the minimalist look that is so popular nowadays. But really, there are no strict rules on the way handles should be designed,” Alan says. It’s almost like the idea is to disguise/camouflage the kitchen to look like any other room, and this sometimes stems from the fact that, nowadays, living spaces are relatively smaller, he points out. The popular open-plan design concept also plays a part, creating the need to incorporate kitchen, living and dining areas and occasionally even sleeping quarters in a single floor, and in some cases, even in one sizeable room. “It follows that the design will require that neither space takes over from the other. Hence the need to blend, and camouflage inevitably evolves,” Alan explains. Kitchens are deceptively simple these days, so is the use of real and rich materials/woods paramount? For Alan,

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while the quality of the original raw material will always have an effect on the finished product, it does not necessarily mean that the latter will be of a high standard. “To the trained eye, at the end of the day, it is the quality of the workmanship that shines through,” he continues.

IT IS SOMETIMES MORE CHALLENGING TO COMBINE SIMPLICITY AND PRACTICALITY AND PROVIDE THE PROVERBIAL ‘LESS IS MORE’ FEEL WHILE ACHIEVING ALL THAT THE ITEM IS REQUIRED TO ACCOMMODATE Asked whether he can envisage the day when kitchens will once again be a display of ornate and detailed carpentry, Alan says that, as with everything else, fashions come and go. “It is impossible to predict whether a trend will make a comeback. What is important in design is the proper use of the so-called classic lines, which will never go out of style. Whether modern, minimalist, or ornate, at the end of the day, the key to good design is good proportions, which are aesthetically pleasing, irrespective of age.”

Mosta kitchen: Architect Melissa Giordimina designed this space to contrast the rest of the farmhouse. Overall, the design is modern, with concealed handle detail throughout. Both the full-height and low sections are in oak veneer.

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Taâ&#x20AC;&#x2122; Xbiex kitchen: Architect and owner Alberto Miceli Farrugia designed this space to complement his rooftop entertainment area and went for a modern look that is characterised by concealed handles and solid American Walnut throughout. The worktops are also in solid wood, which requires a particular type of varnish that is more durable and somewhat scratch resistant.

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Sliema kitchen: The client redesigned this part of the property to modernise and change the configuration of the kitchen. To achieve this look and feel, concealed handles were used throughout. The doors of the full-height section are American Walnut veneer, contrasted and further modernised by spraying the low section and island black.

OCTOBER 2016 PLACES

LIVING DESIGN

A plan for living Thinking of scrapping your old G Plan furniture? Think again! G Plan: Made in Malta will make you realise just how iconic and timeless these pieces are through an exhibition at Blitz that bridges contemporary art with contemporary living. Kicking yourself yet for discarding that piece of furniture? THE STORY of a collaboration between two pioneering design companies – Gomme Industries, producer of G Plan in the UK, and Joinwell in Malta, the only other company licensed to manufacture these products – is being told in an exhibition at Blitz, aiming to bridge contemporary art with contemporary living. Presented in the context of a contemporary art organisation, the exhibition, curated by Alexandra Pace and Violet Kulewska, shines a spotlight on Malta’s industrial history and the development of post-war furniture manufacture.

PLACES OCTOBER 2016

Hatching a plan In 1953, Donald Gomme, a designer at E. Gomme Limited, decided to create a modern furniture collection for the entire house, which could be acquired piece by piece, as budget allowed. The G Plan brand was born. The term ‘G Plan’, the Gomme Plan – a plan for living – was coined by Doris Gundry of J. Walter Thompson advertising. In fact, the brand’s close relationship with advertising would completely change the way furniture was marketed in the UK. The distinctive brand was

dominant in the advertising campaigns in British magazines, and G Plan was the pioneer of furniture displays as complete rooms with matching accessories. The range was born at a perfect time; when consumers were ready to abandon the dark, heavy, utilitarian furniture of previous decades. G Plan meant attractive, modern, adventurous. It became known for its innovative designs and approach to filling a home. While customers could choose an entire bedroom or living room, G Plan was very modular, making it appealing to purchase single pieces and combine them with existing ones. Priced at mid-range, it appealed to the middle and upper classes. The Malta connection In the aftermath of World War II, Joinwell started winning contracts for the repair of war-damaged doors and apertures. Then, in the 1960s, the company struck a deal with E. Gomme Limited, becoming the only licensed manufacturer of G Plan furniture outside of the UK. In the 1960s, when it obtained the licence to produce G Plan products locally, Joinwell effectively kick-started Maltaâ&#x20AC;&#x2122;s industrial design and furniture manufacture industry.

G PLAN MEANT ATTRACTIVE, MODERN, ADVENTUROUS It moved swiftly into furniture manufacturing, and flourished, as G Plan pieces gained popularity among locals with an eye for something modern and different, while British expats also bought the brand because it made them feel somewhat at home. At this time, the local industry consisted mainly of small workshops and carpenters. Joinwell was one of a handful of larger companies and employed the biggest workforce of around 350 employees. At its peak, the G Plan production line engaged almost a third of that workforce in the production process, from

OCTOBER 2016 PLACES

LIVING DESIGN

G PLAN FURNITURE IS STILL FOUND IN MANY MALTESE HOMES TODAY, SOME FOR NOSTALGIA AND SOME FOR A MODERNIST, OR RETRO AESTHETIC SECOND-HAND

conversion and assembly to polishing. Raw materials were imported to supply the production line. Production took up to 12 weeks, and most items were made in batches of 10 to 20 pieces. Chairs were produced in the hundreds. At the height of demand, the waiting period was between three and six months, with four trucks delivering G Plan products daily to households across the island. Machinery in the Joinwell factory differed from the UK, so production processes needed to be adapted to suit the local plant. Whereas G Plan UK used semi-automatic machinery, the Maltese plant was manual and required more handwork. Timber chair frames were made according to blueprints and stocked in large quantities, foam and fabric cut against the templates provided, and the completed pieces delivered in the chosen finish. Items produced in the UK and Malta were identical, the only distinction being a line on the tag, in the latter case reading: Designed by E. Gomme Ltd / Made by Joinwell Ltd. Still going strong G Plan is synonymous with fine construction and detail, for example, dovetail joints in drawers on wooden runners. Drawer fronts were veneered vertically to ensure matching woodgrain when the drawers were split. This careful craftsmanship and quality have stood the test of time and made G Plan highly collectible. In fact, G Plan furniture is still found in many Maltese homes today, some for nostalgia and some for a modernist, or retro aesthetic second-hand. The precision remains impressive, and although the brand’s popularity between the 1960s and 1980s inspired many reproductions by skilled carpenters, the patented brass fittings and machine-pressed veneers of an original G Plan piece will always set it apart.

PLACES OCTOBER 2016

First-hand account on second-hand furniture One Joinwell employee, whose association with the company started 40 years ago, when the manufacture of G Plan was at its peak, recounts his story. “Forty years ago, I was sponsored by the company to attend a four-year course in furniture production and management at the Buckinghamshire College of Higher Education in High Wycombe. The college had strong ties with G Plan and other furniture manufacturers in the area. When I returned from my studies, it was my job to interpret the blueprints, which used to be sent over by Gomme, and release them for production. I got to know all the details of their construction and methods of assembly and had to adapt them to our setup. I will always remember being fascinated by the amount of furniture we used to deliver – four truckloads a day. I think people used to be more house-proud in those days. Couples used to aspire to fill their homes with quality furniture, unlike today, where giant televisions, the latest mobile and a fully equipped kitchen take priority. As times and tastes changed, and sales began to drop, with people opting for reproduction furniture, I started to

LIVING DESIGN Co-curator Alexandra Pace collected family photographs in domestic settings featuring G Plan furniture, which are being projected as a slide show in the Blitz galleries.

offer visitors an opportunity to understand the processes, functions and narratives within design.

THE FOCUS OF THE EXHIBITION IS HISTORICAL AND EDUCATIONAL, EMPLOYING A CONTEMPORARY CURATORIAL APPROACH, WHICH INCLUDES NEW MEDIA AND TECHNOLOGY AND A COMPREHENSIVE PUBLIC PROGRAMME collect the odd piece for myself. I used to collect the models I thought would remain iconic. Many years later, I was glad I did. It gave me a great sense of satisfaction to see that the majority of pieces in the exhibition are mine.” On display The exhibition features rare and iconic pieces, which highlight the timelessness, functionality and innovation of G Plan furniture, and tells its important story through the themes of design craftsmanship, process, manufacture, social history and culture. G Plan: Made in Malta presents selected examples of Joinwell productions, alongside technical drawings and photographs, sourced from archives and private collections, as well as oral histories. The focus of the exhibition is historical and educational, employing a contemporary curatorial approach, which includes new media and technology and a comprehensive public programme. It is working on creating a platform for the convergence of people, ideas and activity from across the local creative industry and education sectors, while the content aims to

PLACES OCTOBER 2016

Made in Blitz As with most of Blitz’s projects, G Plan: Made in Malta was born from conversation and collaboration, evident in the roles of its co-curators, says one half of them, Blitz director Alexandra Pace. She focussed on the social history, industrial development and nostalgia related to this iconic brand, while the other half, Violet Kulewska, brought her design expertise to the table, especially through the exhibition design. Alexandra’s favourite piece in the exhibition is the 1950s Librenza, which was innovative in its design as a room divider besides for its immediately obvious shelving and storage. “It is a multifunctional, but still elegant, piece that I remember growing up with at my parents’ house and now happily resides in my Valletta home.” As for how long she thinks the revival of G Plan is likely to last before we go off it again, Alexandra doesn’t think we will ever go back to ‘hating’ it. “In fact, I don’t think it is really ‘hate’ that people felt for it, but rather a reminder of a time of limited choice, where the Maltese could only purchase furniture products that were produced locally. “This was also the reason for choosing to name the exhibition G Plan: Made in Malta, because those three words at the end have been redefined over and over again from something that was inferior to a certain level of craftsmanship we are more aware of today.” G Plan: Made in Malta is on until November 11 at Blitz in Valletta.

ART/CHITECTURE

PLACES OCTOBER 2016

THE HEIGHT OF

excellence Life Sciences Park by TBA Periti PHOTOS: SEAN MALLIA

Contemporary architecture in Malta comes under the spotlight in a book by the same name by architect and architectural historian Prof. Conrad Thake. He tells PLACES that although much of what is being built would fail miserably on the basis of what constitutes good-quality architecture, and even though we are overwhelmed by a tsunami of speculative development, some architectural projects have made a positive contribution to the state of the built environment. Albeit a minority, we should sing their praises in the hope of raising awareness of the importance of excellence in architectural design.

In the current environment, riddled by overdevelopment, contemporary architecture is mostly criticised, with the general view being that we are constructing nothing but a series of ugly, nondescript boxes and nothing to write home about. Overall, what is your take on the quality of contemporary architecture in Malta? Does your book serve to highlight, in a way, how little of the iconic there is out there? Unfortunately, it is true the public has a negative perception of contemporary modern architecture. And you cannot blame them, particularly in view of the speculative and nondescript development around us and pressure to demolish and redevelop historic buildings. Construction and building cannot be equated with goodquality architecture. However, even though overwhelmed by this tsunami of speculative development, a number of architectural projects have made a positive contribution to the state of our built environment. Agreed, they are in a minority, but still, rather than ignoring them, we should sing their praises in the hope that we raise greater awareness and consciousness of the importance of excellence in architectural design. In my book, Contemporary Architecture in Malta, which showcases 15 projects that are

representative of a wide spectrum of building typologies, I tried to highlight some of the best efforts in recent years. Why did you decide to put this book together and were you spoilt for choice, or hard-pressed to come up with projects worth featuring? When I set out to write the book, I subjected myself to a number of self-imposed constraints. One was that all projects featured would have been completed during the past five years, and another was that not more than one project would be featured by one individual architect, or architectural firm. I had to be selective, but I also wanted to have a good variety of different types of projects, ranging from the residential to the commercial, infrastructural, landscaping and even offices. I had to make choices that are obviously subjective. The book is a sampling of what, in my opinion, are the better examples of architectural design, but it is by no means a complete survey of all projects worthy of praise. A good chunk – almost 100 of 370 pages – of Contemporary Architecture in Malta, a curated collection of projects, is dedicated to Renzo Piano’s City Gate. Does

OCTOBER 2016 PLACES

ART/CHITECTURE

City Gate Parliament Project by Renzo Piano Design Workshop PHOTOS: DANIEL CILIA

this further cement the idea that there is little by way of local works that actually make the grade? Well, certainly, Renzo Piano’s scheme for the Valletta entrance and Parliament is one of the largest and most high-profile urban projects to have been implemented in recent years. In my view, it also represents a quantum leap in quality not only in architectural terms, but even more so in terms of urban design and planning issues. The amount of coverage of this project had to reflect both its importance and complexity. Besides giving a detailed appraisal of the scheme itself, I also wrote at length on other ill-fated initiatives to reconstruct the former Opera House site. In many ways, the long saga of the Valletta entrance and the development of the old Opera House encapsulates the different attitudes towards modern architecture within the

FORMER PRIME MINISTER LAWRENCE GONZI WAS ESSENTIALLY THE PRIME MOVER TO GET THE PROJECT GOING AFTER SO MANY FALSE STARTS context of a historic city as is Valletta. People expressed their opinions quite strongly in the media, which, in itself, is positive and healthy. I would be far more preoccupied if the public were silently passive and unresponsive to architectural and urban matters. The extensive coverage of Piano’s scheme is a reflection of the importance, scale and complexity of this project and certainly should not be interpreted as implying that other local projects are not as worthy. I had to strive to achieve a balance, which is not easy. It also highlights who was actually behind this project and had the foresight to embark on it. Is the interview with former Prime Minister Lawrence Gonzi aimed at driving that point home and setting the record straight now that everyone seems to have digested and accepted the project? The interview with the former Prime Minister Lawrence Gonzi was revealing in that he was essentially the prime mover to get the project going after so many false starts. Through my questions, I tried to probe his decision-making process and what motivated him to make certain calls. Since the plans had mutated over previous schemes, I was keen to understand the synergy between the client, in this case the Maltese government, and the architect, Renzo Piano Building Workshop. Some of

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my questions were quite challenging, including querying the use of such a prominent building for the elected members of parliament and the controversy regarding the roofless open-air theatre. However, in spite of any shortcomings, or different views to specific aspects of the project, I personally think it has considerably enhanced Valletta’s image and also propelled it into a vibrant city that is relevant within the 21st century. A historic city should never become petrified into a museum and be allowed to stagnate in its past. Even Italy’s leading architectural historian Mario Pisani, in his introduction, makes a strong political comment when he refers to the parliament building as a “tangible representation of the quest for transparency … at a time when the trust between the people and those who govern seems to be in a crisis”. Do his thoughts further crystallise the concept that architecture should “improve quality of life” and goes beyond mere aesthetics and design? Prof. Mario Pisani has made similar statements even within the Italian context. Architecture should be for the people; it should never degenerate into a selfindulging exercise of power and influence. At the end of the day, our buildings and public spaces should contribute

Ggantija Interpretation Centre by Design & Technical Resources PHOTOS: THERESE DEBONO

Owners and developers have their own missions, which are often based on profit and not aesthetics. How much have we sacrificed the latter for the former? Sadly, it is still the case that maximum profitability rules the day. Many developers prefer seeking the services of architects who are able to maximise the profitability of their project even at the cost of aesthetics and architectural integrity. If it is any consolation, it is a phenomenon being experienced throughout the developed world, and many a time, the architect has been relegated to an accessory to the developer. There seems to be a lack of interest in preserving old buildings in this country, with very little appreciation for architectural styles of the past, let alone buildings of the

SADLY, IT IS STILL THE CASE THAT MAXIMUM PROFITABILITY RULES THE DAY… AT THE COST OF AESTHETICS AND ARCHITECTURAL INTEGRITY in a meaningful way to improving and enhancing the quality of everyday life. As Winston Churchill once stated in a speech delivered in the House of Commons: ‘We shape our buildings and afterwards they shape us.’ When it comes to private residences, to the untrained eye and in layman’s terms, it seems many architects are currently going for protruding, box-like features on façades, with more of the same rising from the ashes. How does this trend compare with contemporary architecture overseas? In general, are Maltese architects lagging behind and, if so, what is holding them back? I would say that, unfortunately, a lot of what is being built would fail miserably on the criteria of what constitutes good-quality architecture. The main problem is not that the majority of Maltese architects are lagging behind, but a result of the planning system, which operates in such a manner that architectural design is not given the importance it deserves and the so-called design process is often reduced to an exercise in compliance with a list of prescriptive tick-the-box regulations. For the sake of fairness, the blame cannot fall squarely on the planners; architects and developers should also be far more demanding in pursuing excellence in architectural design.

1970s, which are also worth preserving, but are going down like dominos. Could your book serve to help people understand the value of modern architecture, or is that a long shot? This book is intended more as a miniscule beacon of hope that modern architecture could have a positive value and be beneficial for contemporary society. Ultimately, good-quality buildings should be preserved and conserved irrespective of their age. It is important to preserve and conserve our buildings from the past, although we do have to be more discerning and not treat all historic buildings as being of equal importance. Having published it now, Contemporary Architecture in Malta could not include the high-rise buildings on the horizon. The way they are shaping up, would you imagine they would have made it into the book? I can only speculate about that. However, it is a fact that usually high-rise buildings have far more detractors than admirers. My favourite would be the Chrysler Building in New York City from the Art Deco era. But there are a lot of recent high-rise buildings that leave me cold. What is your view on the haphazard planning of these and their impact on the islands’ landscape and

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ART/CHITECTURE

character? Haphazard ‘planning’ and building can never be a good thing. Land on our small island is a very finite and precious resource. We certainly have to be far more sensitive and respectful of both our built and natural environment. It seems the idea of chronicling various architectural styles, pertaining to different periods, is becoming more and more urgent, given the track record of demolition. Is the preservation of this, at least on paper, one of your driving forces? It is important to have a good selection of buildings that are representative of different historical periods. Ultimately, that is one of the most visible and tangible forms of preserving our historical memory. However, when it comes to conservation and preservation, I sometimes question the will and commitment to do so. Often, we are all too willing to sacrifice it at the altar of mammon. Are you pessimistic about the reversal of the ‘uglification’ of Malta and do you believe in our future architects? The American architect Frank Lloyd Wright once stated, tongue in cheek, that: ‘A doctor can bury his mistakes, but an architect can

ALTHOUGH IT IS EASY TO BECOME PESSIMISTIC, I HAVE CONSIDERABLE FAITH IN THE CAPABILITIES OF SOME OF OUR YOUNG ARCHITECTS, WHO ASPIRE TO DO A BETTER JOB THAN ARCHITECTS OF MY GENERATION DID

Fl PH oat OT ing O W S: h DA ite VI by D PI Dan SA ie NI l S ce rri

only advise his clients to plant vines’ to cover his up. Buildings have a relatively long lifespan, and once constructed, remain around for several years. We have many blots on our landscape. There is no magical wand that will make them go away. Although it is easy to become pessimistic, I have considerable faith in the capabilities of some of our young architects, who aspire to do a better job than architects of my generation did.

PLACES OCTOBER 2016

ART/CHITECTURE

Drawings in words

Prof. Richard Englandâ&#x20AC;&#x2122;s exhibition of drawings displays images that will remain testament to a regretfully fast vanishing milieu in the name of monetary profit and greed. He jots down some notes on these works, outlining his images in words.

PLACES OCTOBER 2016

PROF. RICHARD England’s plea for architectural schools to insist on drawing tuition is based on the fact that, despite the availability of advanced technological tools, freehand drawing will always remain the most apposite vehicle for the translation of concepts into images. The bridge between mind and paper is always best crossed by the hand, he has always maintained. But recent computer graphic technologies have contributed to an unfortunate diminishing interest in freehand drawing… even though the intimacy and spontaneity of the quick hand-drawn sketch can never be matched by the dry technique of any high-tech sophisticated tool.

“not dissimilar to that of an intimate conversation between two close friends: When you draw, there is an innate reciprocity between eye, mind, hand and act. “My methodology utilises a monochromatic linear technique to convey my native island’s built heritage of sun-washed, honeyed stone, mantled over by dark, ashen shadows, thus considering myself a shadow seeker in order to emphasise the local blazing Middle Sea sunlight.” Prof. England remains an ardent follower of Pliny the Elder’s words – “not a day without a line” – trying to produce at least one drawing a day. He also remains fully cognisant of

After having chosen the subject, initial sketches are made on the spot, and from these, the final drawings are then produced in his studio. Too many a time, the final drawing lacks the freshness and spontaneity of the initial on-the-spot sketch, he maintains. Artists Prof. England has admired and who have influenced his drawing techniques include two of his mentors, Victor Pasmore and Basil Spence, Richard Demarco, “and of course, the greatest of all architectural draughtsmen, Giovanni Battista Piranesi. “In a way, I feel that delineating the Maltese Islands’ built-form history renders the artist a historic and heritage mnemonic cartographer;

THE INTIMACY AND SPONTANEITY OF THE QUICK HAND-DRAWN SKETCH CAN NEVER BE MATCHED BY THE DRY TECHNIQUE OF ANY HIGH-TECH SOPHISTICATED TOOL For the architect, artist, poet, writer and academic, drawing remains “a mirror of my spiritual anatomy”. Trained as an architect [in those days, all drawings were handmade] to produce hard line renders and orthogonal drawings, “it is difficult, at times, to free oneself from these disciplines and one has to almost go through a process of de-learning to liberate oneself from these restrictions”. It was Matisse who said that one has to “absorb the lessons of the masters and then, having done so, ‘to forget’ those lessons in order to arrive at a means of personal expression”, Prof. England quotes. He feels the relationship between what is drawn and the delineator is

Picasso’s words that “to draw you must sing”. He believes that “what you draw remains with you because what you delineate you must, first of all, fully absorb; drawing fixes in your conscience what you have seen. The process involves viewing, feeling and finally absorbing and understanding, then delineating, more than the totality of the subject, its spirit and essence”. Prof. England’s medium focuses on graphic linear runs with oil pastel shading to emphasise the shadows. “Always, I find that the blank sheet is seeded, pre-empting and ever inviting. The process involves a line dancing dervish-like on the virgin paper, not dissimilar to what Paul Klee defined as ‘taking a line for a walk’.”

the delineated images will, in future, remain as a testament of a regretfully now fast vanishing milieu in the name of monetary profit and greed.” For Prof. England: “Art is not in the eye of the beholder, but much more so in the heart of the artist; a heartfelt vocation, verified by Marc Chagell’s words: ‘If I work from the heart, everything works, if from the head, nothing.’ “Art remains a luring and demanding mistress, yet, I consider myself privileged to have sampled and tasted the delights of her rarefied world,” Prof. England concludes. Richard England’s exhibition of drawings, Melit et Gaul, is open until November 11 at Art..e Gallery in Victoria, Gozo.

“One uses one’s eyes and draws, so as to fix deep down in one’s experience what is seen. Once the impression has been recorded … it stays for good, entered, registered and inscribed.” Le Corbusier

OCTOBER 2016 PLACES

CONSERVATION CORNER

OUT OF THE WOODS Conservator Roderick Abela from Recoop Ltd gets his hands on a pair of early 19th-century corner cabinets, kept in storage for years and having had a somewhat unfortunate history of neglect. The end result of their restoration process is two highly decorative and strikingly elegant pieces, now safe in their rightful place, with their rightful use.

THIS FINE pair of quarter-section twodoor corner cabinets date back to the early 19th century and are probably of Italian origin. Both have a Carrara marble top, set within overlapping veneer. Their front is fabulously ornate with intricate marquetry design, having geometrical patterns, finely etched floral forms on the top horizontal border, classical figures on the central panels and heads on the side pillars. Each is constructed in a redwood carcass, veneered in mahogany, light teak, walnut, olive wood, orange wood and ebony. The structures rest on three legs each: two square tapering neoclassical style feet at the front, with brass features at the bottom and a square leg at the back.

A CRACK IS PRESENT ON ONE OF THE MARBLE TOPS AND SEVERAL STAINS, MAINLY OF WAX DEPOSITS, MADE IT OBVIOUS THAT BOTH HAD A MORE PRACTICAL FUNCTION, RATHER THAN BEING USED AS DECORATIVE ELEMENTS Both pieces had been kept in storage for years and it was easy to tell they had had a somewhat unfortunate history of neglect. A crack is present on one of the marble tops and several stains, mainly of wax deposits on top of the marble, made it obvious that both

OCTOBER 2016 PLACES

CONSERVATION CORNER

IDEAS & MORE

Get cosy this winter

THE AIM WAS TO PRESERVE THE HISTORICAL MANUFACTURING, WHILE WORKING MAINLY ON ITS STRUCTURE AND AESTHETIC had a more practical function, rather than being used as decorative elements. A substantial amount of dust was present on the overall surface, even though, surprisingly, the French polish finish was still in a good condition. The carcass had structural issues, the worst being the stability of the legs. In fact, one of the feet had almost 80 per cent of its wooden structure missing. Some of the veneering was also missing, while old retouchings, dents, scratches and insect flight holes were also present. Prior to the start of the works, the owner was briefed on the treatment proposed and it was agreed to retain and restore on the present French polish. The methodology and approach followed was a balance between function, aesthetics and the preservation of the historic finishes and surfaces. The aim was to preserve the historical manufacturing, while working

PLACES OCTOBER 2016

mainly on its structure and aesthetic. After the items were documented and the proper identification of the wood carried out as required, the structure was strengthened and the marquetry was redone, where deemed fit. Thin and delicate wood veneer of different kinds were cut into shape and pain-stakingly fitted in. These were stained and repolished for a neat and homogeneous finish. Old flight holes and scratches were infilled and the marble and brass elements cleaned and polished. Most of the old wax deposits were cleaned off, though since this particular marble is very porous, some had penetrated deeply into its structure, rendering it impossible to be completely removed. Nevertheless, the end result is striking and satisfactory. Both cabinets were reborn into highly decorative and elegant pieces that are sure to attract attention.

Get cosy this winter with a sofa from the new collection that has just arrived at Distinct Homes. The Gozo showroom and its Attard branch are launching their 2017 sofas collection with a new consignment of sofa beds and real leather sofas. Whether youâ&#x20AC;&#x2122;re looking for a functional piece of furniture to fill that one particular corner at home, after a budget but sturdy and comfortable sofa bed to host your guests, or that exclusive designer sofa to take centre stage in the house, the solution is Distinct Homes. A direct and exclusive importer of several types of Italian furniture of quality, it is located in Mdina Road, Attard, and Pope John Paul II Street, Victoria. www.distincthomes.com.mt

A step ahead with new privileges HSBC Bank Malta is offering HSBC Advance for free to eligible customers and is introducing a number of benefits to its proposition. All HSBC Advance customers will be upgraded to the Visa Platinum credit card while they will continue to benefit from free travel insurance, special offers on personal loans and mortgages, financial planning and international services. More details can be found on the dedicated website www.hsbc.com.mt/advance, or by calling on 2380 2380.

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

WORKSPACE

PLACES OCTOBER 2016

INTERIOR DESIGN VK Studio BRIEF An open-plan layout for an iGaming companyâ&#x20AC;&#x2122;s new offices, combining formal and informal working zones and interactive areas. PROPOSAL An atrium zone on each level, the main working areas in the heart of the office, to create a collaborative, but also individual-style, workspace, where employees work in a formal and informal way; customdesigned birch plywood panels in the open space working zone to aid concentration and create circulation. REASON To create a clean, vibrant and efficient working space, where employees share one open-plan area and where people, communication and stories take centre stage. KEY FEATURES Customised plywood furniture, including a series of freestanding plywood panels, with circular shaped cut-outs and polycarbonate sheets to create semi-transparent workspaces and room dividers. INNOVATIVE IDEAS Creating the Casino Cafe area, where employees and clients can interact, share ideas and also socialise. One side of the area has a small kitchenette, while the other a long meeting and working table.

SHARING space Violet Kulewska, interior architectural and furniture designer, incorporated an atrium area, cafe, chill-out zones, private meeting rooms and a large boardroom in a 400-square-metre office, driven by the idea of employee interaction and sharing space. PHOTOS: SEAN MALLIA

COLOUR SCHEME Inspired by Betit Groupâ&#x20AC;&#x2122;s gaming themes, the office interior is a combination of plywood partitions with fluorescent green detailing. OTHER TOUCHES A custom-made setting area, colourful textured carpet, company graphics and Scandinavianstyle decorative lighting.

OCTOBER 2016 PLACES

PROPERTY POTENTIAL

Imagine having a chill-out area with a Jacuzzi or indoor pool in a cellar or war-time shelter under your house… Don’t give up on what can seem impractical at first, but make the most of your home’s old, authentic and unique features, says Aaron Borg, Frank Salt Real Estate senior sales consultant. Buy yourself a slice of history.

The originals IT MAY seem that old and original features in houses of character are being overlooked and less appreciated and that the drive to preserve them has dwindled as the move towards more modern living accelerates. But luckily, it is not the case. While he admits that many clients are looking for something new, modern, compact and practical, with minimal maintenance costs, Aaron Borg, Frank Salt Real Estate senior sales consultant, maintains that the request for old houses, rich in character and features, is still going strong and the interest comes from all generations, locals and foreigners alike. On the contrary, Aaron insists, it seems old houses have retained their charm and appeal particularly because of the stark minimalism, uniform design and general lack of character and originality that surround us. Old, original features, such as kileb and xorok, fireplaces and traditional balconies, make a property

“exceptional”. Investing in a house that boasts these means buying a piece of history. “These properties are part of our cultural heritage and their value is destined to increase as time goes by,” Aaron maintains. “Yes, old features are high maintenance, and money needs to be injected into their restoration, but if executed properly, it is a one-time expense, which increases the value of the property at the end of the day,” he continues.

Owners of old homes with original features may be put off by problems related to humidity and, as a result, impracticality. But cellars, for example, are obviously excellent for wine and cheeses and, with a bit more imagination, can be converted into amazing chill-out areas, complete with Jacuzzi or indoor pool, and games room. Aaron has seen his fair share of original ideas to put old features to good use, including birth rooms being

THESE PROPERTIES ARE PART OF OUR CULTURAL HERITAGE AND THEIR VALUE IS DESTINED TO INCREASE AS TIME GOES BY And yes, it is no secret that they can shed heaps of dust, which isn’t too comfortable. But so many products and treatments are available to solve these problems; architects and turnkey contractors are up to speed with the latest technologies, so it just boils down to seeking expert advice.

turned into en-suite bathrooms, or walk-in wardrobes, almost as though they were always designed and destined for these purposes. But of course, not everyone can immediately see the beauty in old features, and some clients need guidance and vision. It can be hard

OCTOBER 2016 PLACES

PROPERTY POTENTIAL

to picture the full potential of an unconverted space, or the value of a decrepit, disintegrating feature, but “it is a learning curve and we can’t expect everyone to be an instant expert”. The next step after restoring an original feature would be bringing out its maximum potential, and the starting point is “good planning”, says Aaron. Lighting is an option that could enhance old elements, while

PLACES OCTOBER 2016

plastering some walls and painting them white – colour should be confined to artwork, soft furnishings and wooden apertures – also creates a pleasant contrast, allowing wooden beams, xorok and kileb to stand out. Although old features can be buried by some homeowners, those who restore them are by no means a dying breed. The demand remains strong, and this is evidenced by the

fact that workers – from restorers to turn-key contractors – are hard to come by at short notice because they are so busy. So hang on to your piece of the past. And do what it takes to bring it back to its former glory and secure its future. Featured properties are available from Frank Salt Real Estate. WWW.FRANKSALT.COM.MT

PLACES DESIGN & LIVING

PLACES ISSUE 12 OCTOBER 2016

Design & Living

Modern living in a 17th-century villa RESPECTING AND UPDATING THE ORIGINAL FABRIC

MALTAâ&#x20AC;&#x2122;S CONTEMPORARY ARCHITECTURE

ISSUE 12 OCTOBER 2016

Anything to write home about?

ON THE TABLE Dining rooms on the drawing board Getting creative with crockery

Books, art and exhibitions INSPIRED BY STRUCTURAL DESIGN