Architecture & Design Issue 05 July 2022

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ARCHITECTURE ISSUE NO. 05 | JULY 2022

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“STRIVING TO BE BETTER FOR FUTURE GENERATIONS”

O

ur complex urban environment is created by people for people. It goes without saying that modern communities emphasise the importance of design, colour and light.

In this edition we meet up with architect Katja Abela from Atelier Maison. We talk to her about the inspirations she has had along the years, the episodes in her life that left a mark on the way she views architecture, design and colour.

We got out of our way in designing in a way that pleases the eye, or even more importantly stands out from other edifices or interiors.This is all about the need to leave our mark as architects, creators, owners or individuals that live, work or utilise a space.

And of course her successful projects such as ‘The Sacred Auditorium.’ This is in fact the theme of this publication and the front page of this edition.

The human trait of creating pleasant environments to live in has been around for centuries. Our ancestors have also given much attention to form and have not always considered structures created to be solely for utilitarian use. Malta and Gozo offers neolithic temples to 16th century palazzi and churchs to attest to this.

We also focus on the Selmun Palace Hotel, a historical gem perched on a picturesque hill off Mellieħa. A project waiting to be seen to, that could benefit quality tourism in a pristine corner in the North of the island.

And one that would need some serious consideration for environmental and historical attention.

This and so much more in yet another celebration of architecture and design in Malta and beyond.

PUBLISHED BY MediaToday Co Ltd

DISTRIBUTION Free with the MaltaToday

DESIGN Philippa Zammit

PUBLISHER AND REGISTERED EDITOR Saviour Balzan

SALES COORDINATOR Adriana Farrugia afarrugia@mediatoday.com.mt +356 2138 2741

REGISTERED ADDRESS MediaToday Co Ltd Vjal ir-Riħan San Gwann, Malta

CONTACT Philippa Zammit pzammit@mediatoday.com.mt COVER IMAGE The Sacred Auditorium, Blata l-Bajda

by Alexandra Pace

Architecture & Design | 3

CONTENTS 12

06

INTERVIEW WITH ARCHITECT KATJA ABELA

INSTALLATION OF AN ENVIRONMENTAL CONTROL SYSTEM

18

INSTILLING PRIDE FOR THE PLACES WE LIVE IN

22

20

INTERVIEW WITH MINISTER OF PUBLIC WORKS AND PLANNING

26

INTERIOR DESIGN OF TATTOO PARLOUR

4 | Architecture & Design

16

LIGHTING FOR MUSEUMS AND GALLERIES

28

CULTURAL HERITAGE AS A DRIVER FOR SUSTAINABLE DEVELOPMENT

MOVING AWAY FROM TRADITION

27

22

20 12 08

Architecture & Design | 5

the archItect:

KATJA ABELA Interview by Philippa Zammit

6 | Architecture & Design

WHAT ARE YOUR EARLIEST MEMORIES OF ARCHITECTURE?

Taking me down memory lane. For sure my parents house - my father is an engineer and very hands on at home. My parents are always going on about how they made a lot of things themselves, including the terrazzo tiles of all the house. They used to make five tiles a day, after work, out of off cuts and small pieces of marble.

Maybe subconsciously this was the beginning of my love for natural materials/stone. I still remember observing all the small pieces of marble, the different veins and colours. I also remember helping my father in the basement fixing all the extra tiles that he collected over the years on the basement walls as a backdrop for his workshop.

As you can see I look up to my father a lot and was like the son that he never had. He paints and restores/ builds all sorts of steam engines, so his workshop was my little maze to explore colours, materials and different tools and machines.

On the other hand I used to spend my summers at my Nanna, who lives in an old town house. Used to love all the retro colours of oil painted walls, layers on top of layers of colours in different rooms of the house. On the weekends, we used to go with my nannu to his field, and that little room with the little green gradenza used as a kitchenette and wrought iron bed painted pink combined with broken Maltese tiles, was where I first fell in love with colours.

HOW WOULD YOU DESCRIBE YOUR WORK? Let’s say that for me my work makes me happy when we manage to give the client an experience of space, materials, light and texture. I think achieving a design which is timeless, which tells a story that in 20/ 30 yrs time would still be valid is very important for me. Working a lot with old dwellings and retro-fits taught me how to look at the past and instead of erasing it, trying to highlight the beauty of it’s existing architecture, respect it and interpret/ compliment it in a contemporary way.

I think if you look at my past work the use of volumes, colour, patterns and materials are very important tools to give the client the right experience of their space.

HOW DOES IT FEEL TO HAVE FOUNDED ATELIER MAISON, AN AWARD WINNING COMPANY, AT SUCH A YOUNG AGE?

When I think about it and considering the jungle of an industry that we work in, the satisfaction feels really good when you see a project that other people appreciate. Our work is a long term thing and to get a project to my satisfaction, which then I manage to get photographed, apply for an

“

I think striving to be better and to leave a better place for future generations should always be the target of a design architect. Mindset is everything in our work

”

award and manage to get an award, it’s a real big deal and means the world to me. I always aspired to have my own design office and to be able to actually do it and get projects to completion to an award winning level is an accomplished dream with much more to look forward to.

WHAT IS YOUR TAKE ON MODERN BUILDINGS AND HOW DO THEY FIT INTO THE TRADITIONAL MALTESE BUILDING STYLES? Not sure what you mean by modern buildings here.

If by modern buildings you’re referring to the copy and paste concrete jungle we’ve created over the last years - there isn’t much I can say apart from what a great opportunity we’ve wasted. However, if by modern buildings you mean the contemporary approach to architecture to fit within traditional Maltese building styles, I’d say of course it can. If you look at the most beautiful cities in Europe, it’s

normal to see modern buildings/ additions being built in the heart of cities.

I believe that development is not bad if done in the right way. Actually development is a way forward for a community to thrive and grow. If every architect and developer, had to keep in mind that by every building that they are proposing they are writing tomorrow’s history, our island would be in a much better architectural state than it is.

WHAT LED TO YOUR BIGGEST SUCCESS AS AN ARCHITECT? I think I can give most of the credit to the first few years of my career. The first two years were a very steep learning curve. At the time I was working in a very small office on a huge project. The architect who I worked for has a marble workshop, so the exposure to natural stones was a great opportunity to learn about different materials and detailing.

WHAT HAVE YOU BROUGHT TO ARCHITECTURE IN MALTA? Sound like a very grown up question.

Let’s put it this way - I’d like to believe that in my projects, I managed to give the client a sense of belonging and a space that gives the client something that they didn’t know that they needed through the interaction of spaces, material and colour.

The recent merge of Atelier Maison as part of A360, will hopefully give me a great opportunity to expand this vision to my team and some very exciting projects that we are working on.

CAN YOU TELL US MORE ABOUT THE MERGE OF ATELIER MAISON AS PART OF A360? WHAT MAKES THIS COLLABORATION SO EXCITING? These are extremely exciting times - not easy until we settle in but it’s amazing to be part of a really cool team. The intention of A360 was always to have an all round service to be able to complete a project to a professional standard.

At Atelier Maison we always focused on design and A360 were more focused on structural design, planning and project management.

Therefore, this collaboration/merge made perfect sense. Whilst still working and focusing on design, now we have the support of a really good team to complete a project and vice versa. This makes us able to take on a vast range of projects, from commercial to residential, from interior design to

Architecture & Design | 7

THE SACRED AUDITORIUM T h e c oICT n c eFaculty p t f o r Building t h e re n o v a t i o n o f t h i s s a c re d a u d i t o r i u m w a s b u i l t o n t h re e m a i n e l e m e n t s : t h e c e i l i n g , t h e m a r b l e b a s e a n d t h e c ro s s , a s w e l l a s t h e c o n n e c t i o n w i t h t h e c h a p e l b e h i n d . T h e e n t i re l o w e r l e v e l o f t h e a u d i t o r i u m i s c l a d i n o n e s a m e n a t u r a l m a t e r i a l – t r a v e r t i n e . T h e p ro c e s s o f t h e formation of the travertine symbolises the listeners in the a u d i t o r i u m w h o a re a b s o r b i n g t h e h o l y w o rd t h a t i s b e i n g re c e i v e d .

8 | Architecture & Design

Valletta Waterfront

Dock No 1 Photo by Patrice Peyre

architectural design.

CAN YOU COMMENT ON SOME OF YOUR RECENT PROJECTS? Apart from the sacred auditorium, I can think of a couple of projects that I’m very happy to be working on. We are currently working on a guest house in Bormla, for which the concept was very particular.

In this project we proposed an extension, which we detached from the existing fabric, creating a semioutdoor space between the old and the new. The front volume connects to another volume at the back of the house by a floating bridge.

Another project that we are working on is the renovation of a terraced house in Siggiewi. The terraced house had a few arches and the client wanted to get rid of them. Instead we convinced the client to keep them - and highlighted them. In the main entrance we created an arch within an arch. The landing in front of an existing arch was demolished and the arch was extended to the ground floor overlooking a double height.

WHICH ARE THE PROJECTS YOU ARE MOST PROUD OF AND WHICH ARE YOUR LEAST FAVOURITE? I think the success of a project is the effort of the three main participants - the architect - the client - the contractor. The least favourite projects are the ones where the client is not on board or not fully committed to the concept and idea behind the design. I’d like to call the initial concept as the bible of the project.

When this is forgotten, the project tends to start changing and deviating from the original concept. It doesn’t mean that things do not change during the implementation of a project. However, if the initial concept is not kept in mind, it is very easy to deviate completely and lose touch with the project.

In a project that we completed in the last few years - The Sacred Auditorium, the client understood the concept and made every effort to stick to it. The Sacred Auditorium was a renovation of an auditorium that is internally connected to the chapel of San Ġorg in Blata l-Bajda.

The auditorium is a very important space to the society, so the initial concept was personal and almost intimate to the members themselves. It needed to feel like their second home, where they all meet at least once a week as well as celebrating the most important events throughout the year. The use of materials in this project was very important to deliver the concept that we wanted to translate to the end user. The concept was based on three elements - the floor -

which we wanted to look as though it was carved out of stone, the ceiling - which forms a two way curve with copper suspended cylinders and the deep blue background defining the two elements.

The ceiling is made up of a numerous amount of small elements that form one large dynamic volume that appears to be hovering over the entire auditorium.

It symbolises the MUSEUM society that is made up of many different members of different ages and together form one community.

On the stage, the cut outs forming the pattern become more dense, which helps draw the audience to focus on the speaker, to reflect on the cross, to view the screen, or admire the chapel and relic of St. Ġeorge Preca.

WHAT CURRENT MALTA ARCHITECTURE PLEASES YOU AND WHAT HURTS? This is a difficult one.

I think our vernacular architecture is a reflection of how architecture can develop organically while respecting the existing. It developed as though every addition was meant to serve the previous. Say the typical farmhouse with a central yard, where the loggia developed to create a transition from internal spaces to semi-outdoor spaces to the outdoor space.

On the other hand, I do believe that we have a number of very good contemporary examples of architecture, such as Dar il-Ħanin Samaritan by Richard England - it is situated in a ultra urban area, but when you are in the garden, the architect manages to create a zen space.

As mentioned before, it hurts to think of all the current development, which with every building built without any concern to the end user is a lost opportunity to give the end user the deserved sense of belonging.

After all, it’s the architect’s responsibility to give the space the shape and form that it deserves.

WHO DO YOU ADMIRE AND WHY? Richard England - one of the most inspirational architects in Malta - I love his work for his timeless vision. By using volumes and colour he transforms a space into an experience that one can relate - his architecture gives the user a sense of belonging.

Similarly, Luis Barragan and Louis Kahn are two of my favourite architects. They both focus on the user’s experience with different tools. Luis Barragan, uses volumes and colours whilst Louis Kahn uses concrete and light.

Carlo Scarpa is on the other hand a celebration of

Architecture & Design | 9

Dar il-Hanin Samaritan meditaion garden.

Photo credit Daniel Cilia

“

Development is a way forward for a community to thrive and grow.

If every architect and developer had to keep in mind that with every building they are proposing, they are writing tomorrow’s history, our island would be in a much better architectural state than it is

detailing. Listening to a recent lecture about him, highlighted how his love for materials came out in his work and the way he used to detail his work.

Through his detailing he wanted to dig into his materials and reveal the build up to the end user.

place for future generations should always be the target of a design architect. Mindset is everything in our work. If one doesn’t focus on the right mindset it is very easy to lose your way and go with the flow or give up.

Andrea Marcante and Adelaide Testa are another two architects who fascinate me with their use of interiors to tell a story and their huge respect to existing fabric - in a particular project, they kept and worked around the wallpaper that was original to the house that they worked in.

Obviously, a constant look for inspiration is the best tool to stay in the right mindset.

….. and the list goes on. However, these are a few of the architects that I admire for the experience that they give to the end user - their designs are timeless and all strive to give the user a sense of belonging.

WHAT ADVICE WOULD YOU GIVE ASPIRING ARCHITECTS? I think striving to be better and to leave a better

WHERE DO YOU SEE YOURSELF IN THE NEXT FIVE YEARS? Growing organically, I think, is part of the excitement of this job. It’s difficult to know where projects will take you and what opportunities you come across.

However, with this merge, I can totally see room for more opportunities to be able to have projects where we can really focus on detailing. Detailing is key for the success of a project and with such a cool team I believe that we can surely work towards really good detailing in our projects.

”

10 | Architecture & Design

St Johns Co Cathedral: The new tapestry hall. Artist impression.

THE CEILING The ceiling is made up of a numerous amount of small elements that form one large dynamic volume that appears to be hovering over the entire auditorium.

The Barrakka Lift

Architecture & Design | 11

INSTALLATION OF AN ENVIRONMENTAL CONTROL SYSTEM FOR THE CONSERVATION OF THE GRAND MASTERS’ CRYPT AT ST. JOHN’S CO-CATHEDRAL In 2019, TBA Periti were awarded by Din l-Art Ħelwa Awards for Architectural Heritage, the Prix d’Honneur in Category C for the project “Installation of an Environmental control system for the Conservation of the Grand M a s t e r s ’ C r y p t a t S t J o h n ’s C o - C a t h e d r a l , V a l l e t t a ”

Words by Perit Gaston Camilleri

T

he primary objective of this ambitious and sensitive endeavour was to address the control of the internal micro-climatic environment within the Grand Masters’ Crypt at St. John’s Co-Cathedral in Valletta, so as to preserve this unique world-class artefact. The prevalent ambient conditions in this space resulted from the confinement and absence of controlled ventilation.

As expected, the challenge was not only technological, but, above all, it required a particular design solution, which had to be seamlessly integrated with the sensitive fabric of the Grand Masters’ Crypt, and the main altar in St. John’s Co-Cathedral overlying the Crypt and the spaces behind the Main Altar. Furthermore, the implementation phase required unprecedented care and attention to detail, so as to ensure that the ambitious technical proposal could, in effect, be implemented without, in any way, compromising such a historic and important building.

TBA Periti were responsible for the overall design and project execution bringing together various technical expertise so as to identify the best possible, and least intrusive design solution, whilst ensuring that the potential design ambient conditions, made possible by today’s technological advances in micro-climatic control, were achievable, fit for purpose and sustainable.

The Grand Masters’ Crypt is unique a subterranean

12 | Architecture & Design

The Grand Masters’ Crypt - sarcophagus de Valette Credit: St. John’s Co-Cathedral Foundation

chamber underlying the main altar at St John’s Co-Cathedral. It was constructed at the same time as the church, in the 16th century, and houses the remains of the first twelve Grand Masters who headed the Order of the Knights Hospitaller of St. John of Jerusalem, Rhodes and Malta between 1522 and 1623. The vault of the Crypt was frescoed in the late 1720s by Nicolò Nasoni, a Florentine artist who was also responsible for the illusionistic decorative ceiling of the corridors in the Grand Masters’ Palace in Valletta.

The Grand Masters’ Crypt is accessed from the Co-Cathedral via a straight staircase from the Chapel of the Anglo-Bavarian Langue. This is the only physical link between this underground chamber and the Co-Cathedral which permits access on foot. The other links consist of four oculi or vents located in the Crypt’s vaulted roof. These oculi originally emerged at Main Altar level. However, during the subsequent re-design of the Main Altar, they were blocked off.

The first stage of this conservation project, which predates this technical design intervention, comprised the actual restoration of the frescoes, which was carried out between 2008 and 2012. This painstaking and delicate work was carried out by the Courtauld Institute of the UK, which employs experts in fresco restoration and preservation. This phase also included the assessment of the natural environmental conditions of the Grand Masters’ Crypt, so as to understand the input required in order to achieve the target optimal temperature and humidity level, which do not naturally co-exist in nature. Hence, the necessity of an artificial means of control.

Following the restoration of the frescoes, the ambient temperature and relative humidity within the Crypt were controlled with standalone A/C units, a humidifier and a de-humidifier, all of which were controlled manually. Consequently, this special space was temporarily closed off to the public.

The Foundation of St. John’s Co-Cathedral together with TBA Periti and Galea Curmi Engineering proposed the installation of a more sophisticated automated environmental control system, which responded efficiently and effectively to the fluctuating weather conditions. Following numerous considerations and assessments of various available technologies and equipment, a possible technical solution was identified.

The only viable technological solution was deemed to be dependent on the re-utilisation of the strategically-located oculi in the ceiling of the Crypt, which were buried beneath the existing marble finish around the overlying Main Altar. This implied that these oculi had to be re-exposed and utilised as the inlets and outlets of the controlled and filtered air.

As expected, there were major technical problems, which had to be solved, and which TBA Periti, together with the staff of St. John’s Co-Cathedral meticulously studied. This exercise, included historic research, trial investigative works, and numerous meetings with the Superintendence of Cultural Heritage (SCH) in order to discuss the possible technical options. After about two years of discussions and research, a route for the ducts and the location for the technical equipment was finally defined, and there was enough information and confidence that, at least, two of the four existing oculi could be accessed (two oculi being the absolute minimum number of inlets required).

The identified route linked the North prison at roof level, which accommodates the custom-made technical equipment and the Main Altar itself. The equipment controls the ambient conditions via two 0.30m x 0.30m square section ducts (supply and returns), which eventually branch into the existing

“

The challenge was not only technological, but, above all, it required a particular design solution, which had to be seamlessly integrated with the sensitive fabric of the Grand Masters’ Crypt, and the Main Altar in St. John’s Co-Cathedral

”

Architecture & Design | 13

S C L I E N T - S P E C I F SI C

T: +356 2143 2333 E: info@vassallosteel.com www.vassallosteel.com 14 | Architecture & Design

F I N E

WS O R K M A N S H I P

four oculi situated beneath the existing marble tiling forming the Main Altar.

At times, this implied, incredibly complicated operations to direct the ducts without intervening on the historic fabric and finishes. The ducts run through existing alcoves, existing openings, beneath the timber choir stalls and eventually beneath the existing marble flooring. A detailed survey of the existing marble flooring was prepared. This allowed the exact route to be plotted, and the exact number of tiles, which had to be carefully-removed, to be clearly identified.

All the marble tiles were duly marked (numbered) and mapped (on drawings and photographs), thereby ensuring that they would be eventually correctly reinstated with their correct orientation. The ducting used beneath the Main Altar were custommade, and structurally-capable of withstanding the superimposed dead and live floor loading. The ducts were manufactured on site, to fit within the very restricted spaces, using polypropylene material so as to avoid corrosion of the ducting. Each length and section was made to measure.

The final technical design also included a viewing platform gallery and an access door leading into the Crypt. The door is a custom curved glass door enclosing the viewing platform gallery, which allows visitors to safely view the Crypt, since the time that it has been closed to public viewing over the past fifteen years, whilst also allowing access within the Crypt for special occasions as well as conservation and restoration works.

This restoration project was undertaken over five years, and was carried out in collaboration with Galea Curmi Engineering, Bill Weedman, Bajada New Energy Ltd., Agius Stone Works Ltd., MMCL and the very dedicated staff at St. John’s Co-Cathedral under the guidance of the Curator, Ms Cynthia de Giorgio, on behalf of the St. John Co-Cathedral Foundation.

Incidentally, the glass door design, which used the maximum clear door opening width available, was put to good use in December 2021, when the Crypt was chosen as the final resting place of Fra Matthew Festing.

When the marble tiles were being carefully removed, an older finish floor level (FFL), consisting of a ċangatura (soft stone) finish, was discovered.

Upon further investigation, more of the ċangatura finish was uncovered and eventually, towards the centre of the Main Altar, the original altar steps were uncovered, thus confirming the much smaller previous Main Altar of the Co-Cathedral. The historical significance of these findings has been duly reported by the Curator, Ms Cynthia de Giorgio, in various published papers.

Reinforced and strengthened duct inserted within the space available with underlying geotextile

Custom made ducts being manufactured on site to fit within the restricted spaces

Supply air being linked to one of the Oculai

Original altar steps integrated into the Main altar finish

Architecture & Design | 15

INSTILLING PRIDE FOR THE PLACES WE LIVE IN We all love to see more green spaces, modernised playing fields, upgraded sports facilities and better paved alleys in o u r t o w n s a n d v i l l a g e s . H e r e , P e r i t V i n c e n t C a s s a r , C h a i r p e r s o n o f t h e P A ’s D e v e l o p m e n t P l a n n i n g F u n d t a l k s a b o u t h o w the Fund, has evolved over the past five years and highlights how its funded urban improvement projects are leaving a significant and positive difference within our localities

F

rom as early as 2003, the Planning Authority (PA) has had various ongoing funding schemes aimed at supporting projects which may improve the quality of life in a neighbourhood.

However, in January 2017, the need was felt to consolidate and create a single fund which is more accessible and supportive of community improvement projects.

fees on proposed sports infrastructural projects but it is fully funding a number of important projects.”

The new €2.2million Siren’s state-of-the-art center in St. Paul’s Bay which is in its final stages of completion is serving to cater for the growing demand that exists in the northern region for aquatic sports facilities. A

new electric heat pump for the pool of the Neptunes Waterpolo Club is being installed. With this investment of €450,000, the club will now be able to significantly reduce its carbon footprint when having to heat the pool for 8 months of the year. The PA is also funding a two-storey extension to the clubhouse of a tennis court in the locality of Swieqi. The extension will provide

Perit Cassar says, “Infact with the conception of the Development Planning Fund (DPF) the financing of urban embellishment initiatives have flourished.

Keeping abreast with the needs of our localities over the past five years, the Authority has on numerous occasions updated the criteria and range of projects that may qualify for funding. Most notable were the amendments introduced at the end of last year whereby the PA provided more incentives for more quality green and blue infrastructure projects to be carried out in towns and villages.”

Over the past 5 years, the DPF has financed over 170 projects to the equivalent of €17.5 million. Although the nature of the projects are diverse, they all carry the same aim, that of improving the quality of life for residence. Thirty-four of the projects are being carried out by voluntary organisations. In recent months, some of the projects included: SPORTS Perit Cassar explains, “In the sports field, not only has the PA removed all development planning application

16 | Architecture & Design

Sirens Aquatic Center

Teatru Salezjani

King George V, Floriana

a number of sports organisations with much-needed office space, meeting rooms for training, seminars and lectures.

PERFORMING ARTS AND CULTURE When it comes to the Performing Arts and Culture, the Authority, through the DPF has pitched in €92,000 to help with the restoration and renovation of Teatru Salesjan in Sliema. Here, the Authority is funding the restoration of all apertures surrounding the building, maintenance works to façade including the two stone balconies and renovation of the ornamental metal works along the existing garden on the theatre’s side.

Perit Cassar explains, “the upgrading of the theatre will ensure that the place is elevated into a more professional space for practitioners and a more comfortable environment for audiences of different abilities, age groups and mobilities.”

In Attard, the Authority is partially funding the construction of a cultural and educational centre in Ġnien l-Istazzjon. This new building emulates the design of the original train station with adaptations to accommodate its new use as a centre for learning.

ADMINISTRATIVE OFFICES For local councils to administer and provide essential services at a superior level for their residents, they need modern and accessible facilities from where to operate.

For this reason, the Authority through the DPF financed

Adminstrative Offices, Marsaskala

over €1.1million in helping the Fgura and Marsascala local councils to build new modern administrative offices.

OPEN SPACES “Research shows that the quality of public spaces that residents live around has a direct impact on their lives and on the way they feel. For this reason, the PA has introduced more generous funding terms to incentivise the uptake of more Green and Blue Infrastructure in public areas.” continues Perit Cassar.

In recent months, a number of gardens were upgraded to ensure that they provide the public with a heartening experience. These projects, carried out by their respective local councils, include Ġnien Portomaso in St. Julians, King George V Garden in Floriana, Tal-Warda Public Garden, in Qrendi and one of Marsa’s green lungs, Ġnien il-Belvedere. Here works included the installation of new play and outdoor gym equipment, new benches and lighting, planting of trees and a new irrigation system.

Pjazza Madonna ta’ Fatima situated in the heart of Pieta’s housing estate too benefitted from the DPF and turned a ‘wasted’ space into an enjoyable area where neighbours can come together and foster social ties of a kind that have been disappearing in many urban areas.

In Naxxar, the fund is financing up to €120,000 to transform a derelict site in Triq il-Mitħna into an accessible and attractive open space with an outdoor gym.

SOCIAL AND COMMUNITY In Valletta, the DPF financed the restoration and regeneration of Santu Rocca and the Soup Kitchen project. The Casa Rocca project for which the PA funded €550,000 improve the social and community life of youth living in and around the areas of Valletta.

While the sum of €303,000 went towards the setting up of the Franciscan Soup Kitchen facility which started welcoming struggling persons who left the wayside of society to offer them some respite, a daily meal and other physical needs they may require.

ENERGY-EFFICIENCY The Authority also backed local projects which introduce energy efficient measures. Such projects included a new lighting system for St George’s Square and the surrounding old streets in Victoria and the lighting system of the Belvedere ta’ Qaċċa in Xaghra, Gozo. In Malta, the two projects include the installation of an eco-friendly boat hull wash for the fishing community in Birżebbuġia and the replacement of 72 decorative lantern lamps in Birgu. A total of €237,000 was granted for these four projects.

“As a committee, in recent months our aim has been to encourage more organisations to come forward with new ideas and proposals to implement urban greening projects in the urban core areas of our villages” concludes Perit Cassar. “Successful neighbourhoods are characterised by streets and open spaces that are clean, safe and attractive – areas that local people are proud of and want to spend their time in.”

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THE CONSTRUCTION INDUSTRY: INTERVIEW WITH MINISTER FOR PUBLIC WORKS AND PLANNING

We meet up with Stefan Zrinzo Azzopardi, Minister for Public Works and Planning, who shares his views on the current construction industry including his priorities, the plan to introduce a new skyline policy for high-rise developments and how he envisions the developments in the industry over the next few years

CAN YOU START BY SHARING YOUR PRIORITIES FOR THE CONSTRUCTION INDUSTRY AND ASSOCIATED GOVERNMENT PLANNING DEPARTMENTS DURING THIS LEGISLATURE? Firstly, I believe it important to emphasise the fact that Malta has enjoyed significant — and, crucially, robust — economic growth, largely due to the contributions of the construction industry. Of course, like any economic sector, there remains room for improvement, but the successes of the construction industry in Malta should not be underestimated.

Regarding improvements in this area of economic activity, it is my belief that these should focus on improving standards and continuing to promote good governance and adherence to the existing regulatory framework, aims clearly defined by the government in its recent electoral manifesto. The ability to change and adapt to new challenges is something vitally important for any government, and something I believe to have been consistently demonstrated throughout its time in office.

In the recent election, voters clearly showed their

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confidence in this government to introduce important reforms in the construction industry, including timelines for construction projects, enhanced building codes — with special attention paid to standards in excavation and demolition — and new guidelines for improved energy efficiency, including through increased utilising of renewable energy systems for new constructions.

While attempting to strike a sensible balance between economic and community needs, this government recognises the need for important discussions regarding Outside Development Zone (ODZ) buildings and Urban Conservation Areas (UCA). In particular, we are committed to making UCA zones permanent and unchanging features of our planning landscape — except for possible extension — and taking the key step of introducing buffer zones between UCA and standard zones. These measures, alongside our plans to introduce a new skyline policy for high-rise developments and increased focus on decarbonisation for new permits, reflect our commitment towards safeguarding our national heritage for future generations.

HOW DO YOU ENVISION THE DEVELOPMENTS IN THE CONSTRUCTION INDUSTRY OVER THE NEXT FIVE YEARS? Despite the impacts of the COVID-19 pandemic, Malta’s construction industry has demonstrated

considerable resilience and reliability during the last two years, as well as having contributed considerably to the country’s national gross domestic product (GDP). Due to the government’s successful handling of this emergency, we have managed to keep many key areas of economic activity viable and successful, in what is arguably a very challenging global environment at this time. The recent pandemic has had profound impacts on the socio-economic landscape, and we will continue to adapt to this changing situation as we work towards our goals of further developing this industry — in particular, by supporting those actors who demonstrate innovative and creative approaches towards both our communities and the environment.

It should be noted that Malta’s construction industry directly employs hundreds of workers, with thousands more employed indirectly. When considering this key driver of employment in our country, therefore, it is important to adopt a balanced approach with regard to regulatory and legislative decisions.

DO YOU BELIEVE THE CONSTRUCTION INDUSTRY’S PROVEN RESILIENCE DURING THE COVID-19 PANDEMIC IS SOMETHING THAT WILL CONTINUE INTO THE FUTURE? I do. Despite the challenges this industry faces, I do not see any reason as to why this resilience will not persist further into the future. However, I do believe

it important to highlight the need for operators to remain agile and adaptable — in particular, regarding the respect shown to local communities and the environment during construction and development projects, and to reflect the growing desire for clean, safe and peaceful open spaces.

It is also important to mention that considerable attention should be paid to adhering to on-site health and safety regulations, for the benefit of both workers and residents.

Despite a number of challenges facing the industry in the coming years, including changing European directives and the Energy Performance Building Directive — in association with RES, EED and other related directives — all of which necessitate increased capital cost, it’s my strong view that Malta’s construction sector will remain resilient and a key driver of economic growth. By facing these challenges head on and remaining vigilant of new and existing regulations, we will not only continue to support this vital industry, but offer a more just and balanced result for developers, investors and the general public.

THE PLANNING AND CONSTRUCTION SECTORS HAVE ATTRACTED SIGNIFICANT CRITICISM FROM ENVIRONMENTALISTS AND NGOS. DO YOU BELIEVE THERE IS A NEED FOR THE INDUSTRY TO BE MORE ACCOUNTABLE? I believe it is important for a clear road map to be set out, in order to support the construction sector’s necessary move away from traditional practises.

Unfortunately, while the majority of the industry is comprised of law-abiding and respectful actors, the irresponsible behaviour of a minority — those who have demonstrated a clear disregard for regulation — has brought the industry into disrepute.

However, it should be noted that there are many in this sector who are working hard to improve standards, and that even the industry’s own lobby is moving to enact auto-regulation of its members while taking clear action against those who do not abide by the prescribed regulatory framework.

I would also like to take this opportunity to say that this government recognises the need for environmentalists and NGOs. They are an important voice in the continuing dialogue to mediate the needs of both communities and industry, and act as a vital watchdog outside of direct governmental control.

We are committed to both enforcing standards and promoting increased awareness and education, while continuing to consult with all relevant stakeholders in pursuit of our future vision for the sector.

ARE THERE ANY TRENDS YOU BELIEVE THE INDUSTRY SHOULD ADOPT IN PURSUIT OF SUSTAINABILITY, AND HOW WILL YOU ACT TO ENSURE THESE ARE IMPLEMENTED?

DO YOU FORESEE ANY STRUCTURAL OR FUNCTIONAL CHANGES IN THE PLANNING AUTHORITY (PA) AND BUILDING AND CONSTRUCTION AUTHORITY (BCA)?

In my view, one of the key objectives should be to promote greater interest and uptake of vocational subjects in our education system.

This government recognises the need for change and is committed to acting in this regard, in particular through the planned introduction of a new set of National Building Codes — a framework that would work to consolidate regulatory and technical concerns, while based on a pragmatic approach that eschews acting in an overly-prescriptive manner.

The reality is that many vital skills in this regard have been lost over time, and, as such, have meant a certain degree of loss when considering skill-based and artistically-focused working practises. The skills and philosophies of Malta’s master craftsmen, in

“

I believe it is important for a clear road map to be set out, in order to support the construction sector’s necessary move away from traditional practises

”

particular their minimising of waste and prioritising of innovation, may — with a pro-active approach — be rekindled, and in the future, work to support greater employment within the green sector.

The key point here is innovation, and promoting a genuine appetite for taking on vocational skills amongst the population’s younger generation. In time, this will ensure a healthy influx of young professionals with new ideas, promoting sector-wide innovation and acting as a catalyst towards important new standards and a greater focus on environmentally-friendly industry practises.

In particular, there will be an increased demand for greater professionalism, not simply with regard to construction sites per se, but also in terms of greater standards of excellence amongst Malta’s valued contractors and other industry workers.

This will be achieved through enhanced skill requirements for construction personnel and the licensing of contractors, something vital for the qualitative leap this government is working towards.

In addition, there is a clear political commitment from the government to implement a long-term renovation strategy, that, in particular, provides for the decarbonisation of buildings from 2030–2050.

It should be noted that the government is currently working to decarbonise its own portfolio of properties, and, as such, expects the private sector to follow suit in this regard.

I can also state that the government is considering numerous proposals at the present time — including initiatives such as grants and other schemes — to support the aforementioned sector-wide aims for the future.

The BCA is currently in a review stage in reference to its so-called ‘Document F’ — concerning the conservation of fuel, energy and natural resources — and its ties to the Energy Performance Certificate Service of Malta (EPC).

The end result of this aims to, amongst others, introduce such measures as the planned Building Passport equivalent framework, which will provide each property with a ‘log book’ of works and alterations, as well as including an energy efficiency rating.

We also plan to provide for increased comfort within our buildings through the implementation of SMART technologies, and greater reliance on alternative green energy sources.

Lastly, our primary goal is to adopt a more modular approach in our building practises, seeking to prioritise durability, simplicity and efficiency.

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MAKING ART AN EXPERIENCE LIGHTING FOR MUSEUMS AND GALLERIES

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ollecting, conserving, researching and exhibiting are keystones of museum activities.

Each of these elements can be provided with suitable lighting thanks to the possibilities of high-quality LED lighting, without having to compromise the visual experience and the conservation of art.

Museum lighting needs to fulfil a variety of requirements: in every project designers are faced with the challenge of bringing together standard specifications, economic targets, constructional conditions and design aspects into a single concept.

The range of tasks far exceeds typical exhibition spaces, beginning outside with the access area, facades and outdoor exhibits and including the foyer, café and shop as well as the actual visit to the museum.

The journey begins the moment the visitor sees the exterior façade. From creating anticipation upon arrival to communicating drama or contemplation within the exhibition space, lighting plays an important role. It can be used to alter the mood of the exhibition space, to draw the eye to stunning artworks and sculptures and a subtle play of light and dark can be used to guide the visitors’ journey.

MAKING ART AN EXPERIENCE Light renders art perceivable for visitors. Spotlights with

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different light distributions are ideal for accentuating art.

CRISP EDGE ILLUMINATION Illuminating exhibits of different sizes by contour and zoom spot lights enable adjustable light distributions.

DISPLAYING ART FROM LARGE DISTANCES High lumen output luminaires are needed to illuminate sculptures and art from large distances in high rooms.

UNIFORMLY ILLUMINATING ART Wall washing with high uniformity is suitable for illuminating works of art. Uniformly illuminated vertical surfaces in exhibitions are suitable for the effective display of paintings and photography.

Only a few luminaires are needed for this purpose.

This is demonstrated by a direct comparison of lens technology and reflector technology on a wall with a length of 10m and identical illuminance and uniformity.

EFFICIENTLY AND PRECISELY ILLUMINATING ART Spotlights, floodlights and wall washers are flexible and efficient lighting tools for the effective presentation of art. The quality of lighting technology is not only important for the precise distribution of light and a qualitative art experience, but also for the long-term cost efficiency of the lighting installation.

Illuminating large-format works of art is efficiently

achieved with floodlights. Lenses enable precise light control. Linear exhibits for example can be illuminated with oval light distribution instead of three conventional spot light distributions. This reduces investment costs as well as installation and connection costs.

Spotlights effectively accent exhibits, emphasise individual objects and create hierarchies of perception.

Today we can find new lens technologies that guides the light of the LEDs precisely onto the target plane – without any spill light. Compared to luminaires with reflectors this enables highly efficient lighting solutions.

Traditional lamps, even with protective filters, can damage exhibits in museums very quickly. LED technology however, does not create IR and UV light and is therefore ideal for sensitive environments.

Colour temperature used to light up exhibits needs to also be taken into consideration since it will not only affect the colour appearance, but also the mood. A cooler white will make the exhibit appear crisper and modern, whereas a very warm colour temperature will make the space feel cosier. We can now find tunable LEDS on the market, meaning the same light fitting can change colour temperature and be dimmed while still maintaining superior light quality and beam control.

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MOVING AWAY FROM TRADITION A Residential Design Project by Interior Architect & Designer Martina Salomone

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rom the offset, the inspiration to tackle this residential design project was to move away from tradition. Whereby we are accustomed to leave exposed walls, after plastering and painting, Martina Salomone, interior architect and designer, opted to introduce bespoke spray painted wood panelling within the interiors of an apartment located in one of the most sought after villages in Malta, Lija. Thus incorporating invisible doors that conceal the sleeping quarters with the aim of improving acoustics as well as aesthetics.

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MAXIMISING THE POTENTIAL OF A GIVEN INTERIOR SPACE Engaging an interior architect and designer who is qualified by education and work experience helps to make the project more cost effective, unique and connected, as is seen in this apartment where the selected finishes, style and colour palette flow throughout the given interior space.

“

Understanding the lifestyle of a client or the purpose of the project guides Martina into designing bespoke furniture and design features, as well as in her selection of finishes that make an interior space unique

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This newly built apartment, which was originally planned by the architect as a three bedroom, had some structural alterations requested by the interior designer at the early stages of the project.

This was to accommodate for a larger living and dining. The actual site works involved the removal of an existing wall of the once planned third bedroom, to allow for a large open kitchen that overlooks the dining and living space. Further structural works involved the opening of a new doorway into the master bedroom in order to allow for a larger shower-ensuite.

DESIGN CONCEPTS AND FINISHES Following the latter alterations made, Martina opted

to retain the original door opening to the master bedroom to create a design feature which includes sustainable finishes of bespoke and custom-made vertical natural timber uprights that form part of the wood panelling mentioned above. This timber feature is replicated and installed at the entrance, screening the living room space as one enters the apartment.

To complement the finishes of this design feature, natural timber is introduced in the living and dining furniture, contrasting well with the grey and blue hues used on the joinery, panelled walls, textiles and soft furnishings, as well as in the kitchen design.

Natural timber laminate is included in the kitchen’s counter top, splash back and facades of the kitchen peninsula, again contrasting well with the grey laminate used for the kitchen’s low and floor to ceiling cabinets.

One of Martina’s preferred kitchen design layouts includes the hob on a kitchen island or peninsula, overlooking a dining or living room space, allowing one to socialise whilst cooking. Noted in this space is the upholstered yellow mustard counter stools which complement the yellow brass metal included in the dining area.

Carefully selected light fixtures create a statement within an interior space, such as is seen in the suspended Tala light fixture above the dining table. This light fitting is composed of a cluster of varied sized sustainable, mouth-blown and transparent LED filament light bulbs mounted on brass holders.

These light bulbs have elongated forms and droplet-like shapes which make them aesthetically striking and their light output superior. To complement this brass light fixture, a large round brass framed mirror hangs above a charcoal grey side board on top of which are brass ornaments.

Contrasting wall and ceilings finishes such as textured wallpaper in the sitting room and a bold blue wall paint in the dining, as well as different ceiling heights allow to differentiate these two interior spaces. Within the different heights, an LED strip light has been installed in a bulk head creating an ambience above the dining area.

Another wall cladding material widely used in this apartment is wallpaper, as is seen on all four walls of the two shower rooms, except of course within the shower. Selecting a wallpaper with gold geometrics as a feature wall in the master bedroom has influenced the choice of the bedside suspended brass light fixtures with white ovalshaped porcelain light bulbs that include an ecofriendly LED light filament and the bedside tables

with Bianco marble tops and brass leg supports.

To complement this colour palette, bright yellow mustard fabric has been used for the double bed headboard and curtains, contrasting well with the deep blue background of the wallpaper and surrounding white painted walls.

The second bedroom, which pertains a warm colour palette within its interior, includes a textured teal wall paint behind the double bed and brown and cream hues for the bedroom furniture and soft furnishings. A subtle detail that also emphasises, “moving away from tradition,” and symmetry are the selected bedside lamps, which both belong to the same style but differ in form: one being a table lamp placed on a round timber and black metal side table and the other being a floor lamp.

Good planning skills are required to ensure that a project progresses well. By drawing up a practical and functional floor plan layout Martina maximises the potential of the given interior space.

Understanding the lifestyle of a client or the purpose of the project guides Martina into designing bespoke furniture and design features, as well as in her selection of finishes that make an interior space unique. Contracting and working closely with good and skilful tradesmen and manufacturers presents amazing results, whilst exceeds the client’s expectations.

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MAKE IT GANGSTER: TATT O O PAR L O U R A woman driven by great passion and dedication in her field of work, Olivia – Ann Calleja is by profession both a lighting and interior designer who for the past 12 years has been established in designing a large variety of different projects both locally and overseas

T

his tattoo parlour brings an air that isn’t quickly forgotten. Heavily inspired by the Al Pacino hints borne in the brand name ‘Together Forever’, this venue boasts an intimidating, confident and classy interior.

The devil is in the details in this elaborate entrance, quite literally, with a gargoyle’s head carved into the corner of the dark wooden console standing against a leathery blood-red wall. Every aspect of this room was custom-made, locally, from the wall fabrics to the wooden ceiling detail and sofa cushions.

The antiques, however, were a treasured heirloom which found a suited home nestled in a similarly dark space.

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Further on is a frosted glass, led diamondpatterned sliding door typical of a gentlemen’s escape; offering privacy to clients and added atmosphere to onlookers.

The door and the contents of the tattoo-room were all made-to-measure, with special attention given to the drawing table and comfort of the client and artist.

The ornate crystal chandelier reflects off the black cushioned wall and embellished gold frame that hangs above comfortable, grand armchairs. Every element of this room, from the floor to the ceiling, was created with one word in mind – gangster.

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CULTURAL HERITAGE AS A DRIVER FOR SUSTAINABLE DEVELOPMENT We meet up with award winning interior designer Mario Cassar of Incorporated Designs to chat about everything design, in particular his MA thesis, where he gives us a sneak peak into a real-life case. He discusses how we can utilise our rich historical and cultural heritage to develop sustainable neighbourhoods through collaborative design

“Designers are generally sensible creatures, and if you ever spot any one of them staring, don’t try to guess what is going on in his or her mind.

Designers are often the catalysts for the needed change in all sorts of aspects; be it interior trends, architecture, urban spaces, fashion and other creative themes. Sometimes these creativityinstigated changes are acknowledged, in other times acknowledged in hindsight, and in some other cases, these changes face persistent resistance.” These were a couple of statements made by Mario Cassar of Incorporated Designs when we met at his studio to discuss everything about the design arena.

He explained how, from a very young age, he knew what he wanted to do in life. With a smile, he recalled how in primary school he looked at things differently to the ‘norm’. Design came naturally to

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him; in fact, he built a professional career and even owns his very own reputable studio. He explained how sports was never (and still is not) a strength of his, so while his friends were playing football, he did what he loved most; planning and building tents in the closest field to home.

Subject topics jumped sporadically from one to another; we discussed everything from what it is like to be a designer and the challenges of establishing a studio set up within the creative industry to the design of residences and public spaces as well as wine boutiques and theme-focused centres and hotels.

When bringing up hotel design, we also managed to grasp information about an exciting enquiry he researched as part of his design research MA thesis.

The subject underlies the aspect of design collaboration taken through an array of approaches.

An interesting point made was the fact that design must be looked at from a critical and an analytical approach by way of narrating a built-up to the outcome of that design itself.

One might not like a design; beautiful or ugly is the first judgement people make from the naked eye.

Even though people have the right to an opinion about a design, that same design might make true sense if the person behind it is allowed to explain what derived that design and what led to the final result. It is like telling a story, after all.

Cassar passionately gave detailed explanations about case-study scenarios providing practical and sustainable solutions. Cassar discusses the sustainable use of our rich historical and cultural heritage and how we can use it properly to develop sustainable neighbourhoods further through collaborative design.

One of the study pillars is dealing with providing additional open, intimate spaces within our village cores. It is the urban stitching concept whereby underutilised (in most cases Government-owned) properties can be converted into recreational spaces narrating a theme related to the village history. The added value to these kinds of projects lies in the way design critically revolves around the adaptation so that a futuristic space that relates to the place’s past is created.

Other explorations we have sat back on exploring is the use of roofs and the way we must adopt to intelligently allow for expanding the public outdoors through the dual use of any public buildings. We saw an excellent example in the Valletta Design Cluster.

Thumbs up for that. That is the way forward, and we have local designers who are competent in creating these futuristic requirements. “If I may prompt a

point, please allow me to make a small parenthesis; it is impressive how some metropolitan cities, such as central London, which is highly dense with built-up areas, are balanced with sporadic green cores. Go through Google maps, and you will understand my point. Our reality is that we cannot be London, but it is vital to seek the right sustainable solutions within our limitations for our circumstances; that is where the urban stitching concept fits in.”

We went on to discuss the disused Selmun Palace Hotel grounds and how they can possibly be redefined. Cassar recounted how this site is open to visit, look at and observe. He observed this site with a creative and patriotic twist. He finds no problem vouching for his patriotism and explains how he wants the best for Malta through what he loves practising; design.

There is little need to explain where Selmun Palace Hotel is located and it is definitely another prime example of our rich historical heritage. The site is unique, but sadly, there seems to be little interest in its potential. Cassar tries to instigate this interest himself.

“We cannot dig our heads in the sand without acknowledging the context of this hotel’s contribution towards our island’s socio-economic aspect. The then hotel chain had supported the country airline’s early days of survival. This also needs to be read in the context of our country’s early days of tourism accommodation evolvement during times when the islands felt like orphans after the fall of the British Empire.” Why are we saying all this? Because it would render it easy for us to jump to a conclusion, but after being aware of the hotel’s socio-economic contribution, we would appreciate thus taking measures within context.

Embracing both narratives of socio-economic and tourism evolvement laid firm grounds to embark on identifying the themes of the design proposal. These themes were further extrapolated within the site’s environmental aspects to ensure that all components diffuse within a sustainable and collaborative design solution for the place. Following research outcomes, the most appropriate utility was to provide stock for the high-end niche market seeking boutique accommodation within rural settings. This also aimed to limit the required built-up volumes in making up for economic viability.

“

There is little need to explain where Selmun Palace Hotel is located and it is definitely another prime example of our rich historical heritage. The site is unique, but sadly, there seems to be little interest in its potential

”

The site surroundings are a Natura 2000 degree and provide rich environmental influences and inspirations.

The presence of these environmental limitations offered opportunities as opposed to challenges.

Unique rural sporadic landscaping features were defined and introduced to the concept. These features

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EVERYTHIN G

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CU STOM

MADE

are further supported by inspirational design themes from the immediate surroundings. When a designer is developing a proposal and formulating a design, what people see as the simple rubble wall, the sheer drop of a cliff, the wooden sticks dividing the fields, the bee’s nest, and several other natural features remain no longer in that shape or form. The designer looks at all these features from an abstract eye and transposes them into defined, designed elements.

A remarkable key feature in the Selmun proposal was eliminating existing freestanding monolithic volumes that ‘compete’ with the historic building. Volumetric studies taken from the Northern and Western sides mimic the historical Palace, if not visually eliminate it.

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The site surroundings are a Natura 2000 degree and provide rich environmental influences and inspirations

“An original drawing dating back hundreds of years as a first trigger made me believe that any proposal must once again allow the Palace to stand tall on its own in a proud manner”, added Cassar. Any proposed accommodation buildings are designed in a submerged manner by utilising the existing surrounding stepped topographic levels.

Newly introduced accommodation starts flat from the Palace’s Mediterranean-themed landscaped grounds and cascade towards the lower levels of the site in a way that the sub-merged buildings embrace and connect rather than define a divisor. The effect of inserting the building within the grounds instead of creating masses is a humble and respectful approach toward the surrounding environment.

Another advantage is conserving energy requirements while providing ample natural lighting through purposely defined breaches. Finishes and design elements throughout the resort resemble environment-inspired definitions. These design features greet visitors from the resort’s reception through the communal walkways to the guest rooms.

The intensity of global tourism competition is a reality. We need to look at any design solution from a global lens. We are no longer an isolated country, but we need to define our solutions to be able to survive both locally and globally.

One appreciates this was just a brief explanation skimming through the project highlights. Asked if the people were in favour of the proposal, or rather faced with criticism, Cassar responded that this is similar to exposing a strong subject art piece in an exhibit. Some people might like it, others might not.

Some might judge it, while others might say what they would have done differently.

Notwithstanding that Cassar has ethically and loyally applied all the research’s academic and theoretical outcomes to the proposal, his goal would have been reached if he would have at least managed to trigger a discussion.

As an ending note and with direct reference to his project concept proposal, Mario remembers Albert Einstein’s motivational statement, “look deep into nature and then you will understand everything better.”

”

An aerial impression of the project concept showing the cascading sub-merged accommodation buildings

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