The archetype paper issue 5

the

paper

Introducing: Foundation 808

p. 13

Abandonment Issues p. 20

Issue No. 5 - September 2013 the new issue NEWSPAPER POST

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the

paper

Issue no. 5

The Archetype Paper The Archetype Paper is a quarterly magazine published

by Dark Dragon Media Ltd. about architecture, design, interiors, furniture & visual art.

Date September 2013 Editor Lisa Gwen Editorial Design by Dark Dragon Media Ltd. Photography Ritty Tacsum To subscribe to the paper please visit archetypepaper.com Cover Image St. Paul’s Anglican Church in Valletta as seen from The Fortress Builders Interpretation Centre, Photograph by Ritty Tacsum

archetypepaper.com

Summer makes me lethargic. Yet the sea is uniquely and unequivocally invigorating.

And there’s nothing quite like the sea. Early morning, or late evening swims are just about the only chillers that quench my thirst for cooler temperatures. Save the sporadic and mostwelcomed August showers, that is.

Although I haven’t embarked on any summer hols, playing local tourist always satisfies my incessant hunger for new places and spaces.

Travelling is, above all, a state of mind which one should be able to journey to, at will, irrespective of the distances covered. This issue, should provide readers with a few ideas for alternative outdoorsy activities – such as visiting a museum, that’s spanking new yet hidden within the walls of history; or journeying from one ‘city of the Knights’ to another, by elevator and then by ferry-boat; or simply absorbing the beauty of time and nature as each takes its course and eats away at man-made structures.

We’re theming up: this issue, the fifth since The Archetype was launched, being the new issue, for obvious reasons.

In this, and forthcoming issues, we’re introducing a number of feature series – such as creative conversations with individuals who make a living through art and culture; design and architecture projects: past, present and future; the visual scrutiny derelict and abandoned places that somehow persist in our landscapes yet hardly in our memories.

True, we’ve been absent a while, yet we haven’t been hibernating. Just looking, searching, exploring, discovering, conquering...

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without the prior permission of Dark Dragon Media Ltd.

Till the next adventure.

LG

Opinions expressed in The Archetype Paper are not necessarily those of the Editor. All care has been taken to ensure truth and accuracy, but the Editorial Board cannot be held responsible for errors or omissions in the articles, pictographs or illustrations.

The Archetype Paper was originally concieved by WERK Designs.

contents Barakka Lift 4 In Conversation 6 Introducing: Foundation 808 13 In Context 16 Abandonment Issues 20 Far from Manhattan 22 Love and Other Drugs 28 Biographies 30 www.darkdragonmedia.com

Projects Page

BARRAKKA

lift

This

recently

storey

completed

high

twenty

panoramic

commissioned

by

the

lift, Grand

Harbour Regeneration Corporation plc and designed by Architecture Project (AP), is located on the edge of Maltaâ&#x20AC;&#x2122;s historic fortified capital city of Valletta. Where once the 16th century fortified walls of the town served to keep enemy ships at bay, they are now under conservation order and provide an unbeatable new access for visitors and residents flocking here. Valletta is being given a new lease of life as the island prepares to host the presidency of the European Union in 2017 and the city having recently been named European Capital of Culture for 2018.

The

structure

enhance

is

designed

movement

of

to

large

numbers of visitors and residents between the Grand Harbour and Valletta, from the waterâ&#x20AC;&#x2122;s edge along the Valletta waterfront, over the

powerful

landward

enceinte

of fortifications and into the heart of the city, creating new links to the Upper Barrakka Gardens and the new City Gate.

It is bound to

leave a significant visual impact on this sensitive heritage site and leaves no room for compromises on the engineering level, where attachment to the historic walls was not possible and where the programme was extremely onerous.

The Barrakka Lift project therefore required a certain rigour to resolve the dichotomy between the strong historic nature of the site and the demands for better access placed upon it by cultural and economic considerations.

4

the archetype paper

Issue No. 5

Projects Page

Shifting

political

realities

have

and always

economic been

a

challenge for this World Heritage Site and the connection between harbour and city has transformed itself over the years in response to these unremitting changes. The 18th century saw the development of harbour infrastructure that gave rise to a thriving commercial hub outside the walls, separated from the residential heart of the city, while the British period transformed the port into a vital strategic naval and merchant base in the Mediterranean.

Today, a very different economic reality is once again dictating the transformation of this dynamic area of the town: the recent restoration of Baroque waterside warehouses into a thriving cruise ship terminal as

well

as

the

development

of

restaurants and cafes, prompted the re-activation of a lift that had been built to connect the harbour with the town in 1905 during Vallettaâ&#x20AC;&#x2122;s heyday as a trading port. The original lift structure was 60m tall and contained Images by Guillaume Dreyfuss, Alberto Favaro, Sean Mallia, Luis Rodriguez-LĂłpez.

More images available on www.architecture-project.com

two lift cabins each with a capacity of 12 passengers. The operation was closed down in 1973 and the structure abandoned and eventually dismantled by the 1980s. serves

two lifts apart, where a staircase could be

it hits the structure, emphasising its verticality.

the needs of thousands of visitors

threaded in between. Not only does this

The mesh masks the glazed lift carriages,

approaching

the

space accommodate mandatory safety

recalling the forms of the original cage lifts,

traditional arrival point at the foot of

requirements, but it also reduces the

whilst

the bastions. The heavy demands of

visual weight of the lift structure itself

passengers as they travel between the city of

accessibility to and mobility around

and accentuates the vertical proportions

Valletta and the Mediterranean Sea.

the town required a much larger

of the structure.

The

renewed

connection the

city

from

providing

shade

and

protection

to

The Barrakka Lift together with the New

footprint and a stronger vertical statement within the skyline of the

The geometric qualities of the plan

Brewhouse for Simonds Farsons Cisk have been

historic

therefore

echo the angular forms of the bastion

both shortlisted for awards at this yearâ&#x20AC;&#x2122;s World

inevitable. In order to resolve this,

walls, and the corrugated edges of the

Architecture Festival in Singapore (October 2-4,

a cavity was created by pulling the

aluminium skin help modulate light as

2013).

harbour

the archetype paper

were

Issue No. 5

5

In Conversation

in conversation 6

the archetype paper

Issue No. 5

In Conversation

Malta’s first museum of the 21st century is somewhat of a well-kept secret.

An austere, albeit heavily restored façade, punctuated by clean white apertures and the coat of arms of Grand Master de Verdalle, greets visitors and passers-by climbing up the steep Marsamxetto Hill. But just a little way around the corner, is a towering expanse of honey-coloured limestone bearing the name The Fortress Builders. Originally known as Biagio Steps, over the past four years, this 16th century warehouse was extensively restored and converted into a “museum-cum-interpretation centre”.

The €2.5m restoration project was awarded the prestigious Din l-Art Helwa Architectural Heritage Award last year, ahead of its inauguration to the public in February. A few months in, Charlene Calleja chats with architect Tabitha Dreyfuss about the many considerations behind rehabilitating a historic building and transforming it into a contemporary space suited to public demands and sensibilities.

What is The Fortress Builders all about?

a certain dynamic – allowing the visitors to

the

come up with their own version once their

Fund (Operational Programme I) by the

It is the tale of our fortifications; it is

experience is extended beyond the centre

Restoration Directorate within the Ministry

the

to the actual fortifications on site.

for Resources and Rural Affairs.

story behind them. In essence, it is an

One of the main differences with a museum

The Fortress Builders FIC was also granted

interpretation centre dedicated to all that

is precisely this extension of the visitor

part

constitutes fortifications on the Maltese

experience which goes beyond the centre,

under the same ERDF programme and

Islands.

but it is provoked by it. Visitors will also be

was undertaken by the same Restoration

able to take in the views of Marsamxetto

Directorate.

visitor’s

link

fortifications

between

stand

today

how

these

and

European

Regional

Development

the funding

by

the

European

Union

What makes this centre different from

Harbour together with its fortifications from

museums and what can one expect to find

the centre’s terrace on St Andrew’s demi-

The creation of the centre was therefore

there?

bastion. Another highlight is the restored

very significant in the overall project of

drop down drawbridge of Valletta’s original

fortifications restoration since it brought

City Gate located in the main entrance hall.

about the opportunity for the general public

The

centre

works

on

many

levels.

Predominantly, it hinges on an extensive

to consolidate their heritage experience.

exhibition with a chronological route as

Why was the Fortifications Interpretation

So, for example, the person in the street

well as themed areas such as construction

Centre created; what was the motivating

will see that the bastions of Valletta are

techniques and tools. Various media are

factor behind it?

being restored and some appreciation for

used here; models, information panels,

this will be stirred. But what the centre

virtual tours and animations. There are

The centre was conceived at a time when

aims to achieve is for this person to be

other

exhibition,

the country’s main fortifications in Valletta,

able to look at the restored bastioned

including an area devoted to children,

Birgu, Mdina and Cittadella started to

wall in Valletta and to experience more

a reference library and documentation

undergo major restoration works with a

than mere appreciation. We want them to

centre

These

co-funding rate of 85% through EU Funds

take in the whole story; the fortifications’

elements work together to give the centre

and 15% from National Funds under

context, their significance and value.

aspects

and

the archetype paper

a

besides

lecture

Issue No. 5

this

theatre.

7

In Conversation

“…the second floor was pretty much a blank canvas except for the façade”

8

the archetype paper

Issue No. 5

In Conversation

the archetype paper

Issue No. 5

9

In Conversation

Why was this building, the Biagio ex-

important changes led the building to work

lead out to Valletta’s signature skyline. The

examination hall chosen as Fortifications

in an assimilated manner and formulated a

choice of materials is predominantly stone,

Interpretation Centre, and what is the

visitor flow throughout the centre starting

timber and glass which work together to

history of this building?

in St Mark’s Street and concluding in Melita

generate a certain sense of order. The

Street above. In conjunction with these

spaces are rational ones that are clear and

The principal reasons for choosing this

works, a public lift was inserted into the

unambiguous; this generates a feel good

building were its location and its large

annexe to create a vertical link between

quality that many people can relate to.

internal spaces. The building is situated

the two streets. This works independently

adjacent to St Andrew’s bastion and on one

from the centre.

A lot of emphasis was put into detailing

of the direct routes into the city of Valletta, providing

direct

access

to

and this is what makes all the difference.

Valletta’s

Were there any difficulties in the adaptation

We gave importance to making this centre

ramparts. The building was originally a

and re-use of the historical building in

universally

warehouse, built by the Knights of St John

order to meet the requirements that the

the levels of our new annexe so as to

in the 16th century to store merchandise

centre imposed?

accommodate this need and we used

that was offloaded in Marsamxett harbour.

accessible:

we

positioned

ramps at ground floor where we had large

The building is special in that it is one of its

As with any project involving the re-use

changes in levels. We also wanted to pay

kind – very solidly built and bomb proof –

of a historical building, there needed to be

particular attention to the ecological design

all other warehouses that were built on the

a delicate balance between conservative

aspect of the building and did this through

Valletta perimeter date back to later on in

and flexible reuse. Although exclusive

the

the 17th and 18th centuries. Until recently,

conservation

complete

photovoltaic cells, rainwater collection and

the two large halls at first floor were being

retention of all that is original in a historical

reuse, and the restoration and reuse of

used as examination halls. The two halls at

building is not conducive to re-use, every

original passive ventilation systems.

ground floor were independent, serving as

proposed

stores, one occupied by Teatru Manoel and

considered within the context of the overall

the other by the Education Department.

project and measured against possible

The third floor was derelict and abandoned;

alternatives. This is what we call critical

it only had a partial façade due to damage

restoration and it plays a fundamental role

resulting from World War II bombings.

in any rehabilitation project.

So what did the work involve in the

What were the influencing factors on the

transformation of the centre?

design elements in the rehabilitation of

through

intervention

the

needed

to

introduction

of

power

generating

be

this building?

The project started with the rehabilitation of the historical building itself. Those

The building itself presented its own

spaces that were isolated – like the halls

opportunities which were important for us

at ground floor – were integrated into

to recognise. While the four halls at ground

the building through connections and the

and first floor were intact and therefore

incomplete second floor was rebuilt. The

mostly conserved, the second floor was

three levels that previously functioned

pretty much a blank canvas except for

independently

a

the façade. Therefore, at this level, we

was

roofed in a manner that allowed the space

designed to accommodate all the vertical

to be more open. Here we created visual

circulation, the back of house and the office

links between the different spaces and the

space that the centre would require. These

façade’s large dominating windows that

newly-built

10

were

annexe

linked block

through which

the archetype paper

Issue No. 5

In Conversation

“We want them [passers-by] to take in the whole story; the fortifications’ context, their significance and value.”

the archetype paper

Issue No. 5

11

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03/06/2013 15:49

Introducing: Foundation 808

Introducing: Foundation 808 Design is such a broad, all-encompassing word. And yet it’s so abstract.

The mind cannot really grasp a single

chairs or the suspended cloud-like, site-

and

image to incorporate all things design.

specific installation.

quickly vanish in the light of the spectacle.

‒ which results in a multi-layered blur of

MDW established standards and an image

It’s hard to imagine that a core team of

items, products, buildings and accessories.

with which to associate design in Malta.

three people can be responsible for a

But the event went a step further than that

multi-media, multi disciplinary event such

The resultant image is not unlike a multiple

‒ it gave its audiences an experience, as

as MDW. However, Chris Briffa, Justin

exposure photograph.

well as a taste of, and for design.

Schembri and Albert Delia are those three

Nonetheless, the picture starts to sharpen

It’s easy to look at the final event, at the

once focus is placed on any one tangible

finished product. As members of the public,

Ahead of the second edition, the trio have

premise. In this case, that premise is

we hungrily devour images and readily

founded 808 ‒ an organisation set on

Malta Design Week (MDW). For all those

absorb happenings; often, failing to pause,

establishing an intensive design portfolio

who attended and experienced the first

ponder or consider the conceptual / artistic

‒ which might have MDW as a point

edition in 2011, it will be hard to forget the

process that has lead to the implementation

of departure, yet their aspirations and

landscaped yard, the red Perdali folding

and realisation of a project. The laborious

ambitions are broader and far-reaching.

gruelling

months

of

organisation

Rather, it assimilates and fuses images

people.

From left - Justn Schembri, Chris Briffa & Albert Delia sitiing on Vitra chairs kindly provided by Vivendo Group for Idea Casa.

the archetype paper

Issue No. 5

13

Introducing: Foundation 808

The trio explain how the Foundation was

Justin Schembri

created as a platform from which all

treasurer

design-related endeavours could stem.

“808 will be our masthead and banner.

Besides the obvious role of keeping the

Formalising the group as a foundation with

books, I spend most of my time trying to

its own image, branding, and philosophy

see how we’re going to fund our future

will also help us deliver a more professional

activities. Each of us keeps an eye out for

product. This way we’ll be able to attract

formal funding opportunities. I generally

more like-minded individuals, giving us

prepare most of the paperwork involved,

the man power to achieve more on a host

with the help of Albert’s guidance, which

of different levels.”

is backed by his ample experience in this field. So far, I am pretty pleased with the

“The group’s main function will be to

way things are proceeding.

organise future editions of Malta Design Week in collaboration with people, groups

I’m also actively involved in coordinating

or organisations of the same mind-set.

event logistics. This generally involves

But Malta Design Week won’t be the

some managerial skills and a lot of

Foundation’s sole objective: our main

phone calls. A vision of the final product

goal shall be that of ‘popularising’ design

is essential throughout. This was my role

in

awareness-raising

in the first edition of Malta Design Week;

events with an island-wide and gradually,

I believe the 2011 event taught me a

international reach. There’s also the all-

lot. It was not without hitches, but I’m

important aspect of education; creating

better prepared for the future. However,

lecture-based events featuring local and

when things get messy, I don’t shy away

foreign speakers; student trips and setting

from the inevitable “manual labour’’ that

up small expos or exhibitions are all part of

inevitably comes part and parcel of event

our agenda. We want to have a year-long

organisation.

Malta

through

presence and believe we have an honest contribution to give.”

I believe each of us contributes equally to 808’s vision. Choices are made collectively

Chris Briffa

and everyone is kept in the loop. I think

president

our radically different characters make us a strong team; the future is bright.

An organisation promoting good design in Malta has long been on the agenda. This

Albert Delia

need was not only felt by architects and

general secretary

designers, but also by all those concerned with

the

quality

of

our

surrounding

environment.

In essence, I’m the one without any formal training in design in this group. I do however consider myself to be a cultural

Primarily, my role in the Foundation consists

consumer. You could say that I represent

of bringing together individuals, groups

those people out there who are not artists

and organisations ‒ from neighbouring

and/or designers themselves, but have an

cities and countries and beyond ‒ to our

appreciation for the discipline and want to

beautiful island, to share and celebrate

contribute to it.

good design.

My

in

808

mainly

consists

in

In the long-run, 808 could establish

fundraising and the strategic planning of

itself as an institution similar to the UK’s

the projects and activities we are trying to

Design Council, which not only promotes

put up. We design our initiatives together,

good

its

and I mostly take care of coordinating

potential to improve social, economic and

time frames and conceptual planning,

technological realities. This Foundation is a

so I’m mostly involved at the very initial

life-long project; one that has been set-up

stages of a project until it starts picking up

to take on and stimulate debate, influence

momentum.

design

but

also

harnesses

policies and build networks to promote the benefits of design for everyone.

14

role

Foundation 808 is supported by the Malta Arts Fund www.maltadesignweek.com

the archetype paper

Issue No. 5

the archetype paper

Issue No. 5

15

Multiplicity by Ritty Tacsum, for the Archetype Paper

An established name in the Maltese art

a great impact on Attard in his teenage

scene, Norbert Francis Attard is one of

years. Architecture was to become one

three artists who represented Malta in its

of the common threads throughout his

last participation in the Venice Art Biennale

life’s work whether in drawings, paintings,

in 1999. Now based in Gozo and Berlin,

lithographs or present-day installations.

we retrace Attard’s artistic journey from

He would also incur other influences,

his first studio in his parent’s house to his

especially those of Picasso, Mondrian and

present projects and future plans.

Giacometti. His own personal style would

CONTEXT

Case Study

IN

emerge in the mid 1970s; the years during “The first work I created was a plasticine

which he studied and eventually graduated

sculpture: a zoo depicting different animals”

in architecture.

Attard recalls. “My earliest influence was my uncle, Frank Portelli, one of a handful

Attard’s love for Gozo can be traced back to

programme in Kamiyama gave him the

of artists who introduced modern art to

this phase of his life. He recalls time spent

opportunity to create several installations

Malta”. Portelli’s paintings and home had

there with his grandmother and entire

including a permanent concrete public

family. “Gozo represented my south of

sculpture called ±1.618034. These works

France, therefore imitating the Modernist

subsequently led the artist to participate

artists who fled Paris to paint in warmer

in the Echigo Tsumari Triennale in 2006.

climates and were influenced by the Southern light”, Attard reveals. “I became

“I believe that all good works are spiritual”

aware of the importance of leaving one’s

he notes. “When I ventured into abstract

familiar surroundings to go to another

painting in 1988, I thought I had discovered

place and create work elsewhere. I also

the world”. But after 10 years of abstracts,

became aware of the meaning of context;

he admits having found himself in an artistic

a concept which was to remain important

cul-de-sac. In 1996, he inevitably turned

throughout my life.”

to installation art, sculpture, photography and video. “I wanted to express ideas and

In 1977, Attard began a series of lithographs,

concepts about real life situations and

silkscreens and etchings. Of these, the

soon discovered that I could not fulfill this

Kimono cycle would initiate his appreciation

with abstract painting” he says.

towards Japanese culture; an interest he

16

still holds strongly today. To Attard, the

1996 was the year of important decisions

Japanese mind is full of paradoxes: Only

for Attard, not only would he opt for a

Japan can make contradictions work he

complete change of direction in his art,

once said. “Japan has strong traditions

he would also terminate his architectural

but an equally firm relationship with

practice permanently.

Norbert Francis Attard,

commodity culture as it does with nature

photographed by Ibrahim Mahammed in front of his window installation for the Strait Street public convenience project.

– this understanding reflects my being”, he

This was the beginning of a fruitful and

states. Attard has visited Japan eight times

challenging period which would encompass

to date, in 2004, an artist-in-residency

several disciplines: photography, painting, the archetype paper

Issue No. 5

Case Study

±1.68034 - Permanent concrete sculpture with water. Kamiyama, Japan, 2004.

Shelter: Architecture of Death - Centro Cultural Solar do Barão, Curitiba, Brazil.

Curated by Ticio Escobar and Leonor Amarante. 5th Biennial VentoSul, Curitiba, Brazil, 2009.

Wittgenstein’s Ladder III - Wood, metallic spray, colour changing LED bulbs, LED strip lighting. Dresden Messe, Dresden, Germany, 2011.

“Only Japan can make contradictions work”

Boundaries of Infinity - Concrete sculpture in public park, curated by Phillip Van den Bossche, Beaufort 04, De Panne, Belgium, 2012.

the archetype paper

Issue No. 5

17

The Future of Light is LED

Classic

Curved

Triq il-Kappillan Mifsud, Hamrun HMR1855 Tel: (+356) 2124 1111 Fax: (+356) 2124 3706 Email: hydrolectric@hydrolectric.com.mt

Square

Opening Hours Mon to Frid: 7.30am - 5.00pm Saturday: 8.00am - 12.00pm Sundays: Closed

Mini

Case Study

“Gozo represented my South of France”

video, site-specific installations and of course, architecture. “Site-specific works compliment my architectural sensibilities” he replicates. “Context, once again became the operative word, and my architectural background

was

instrumental

in

the

creation and realisation of the works that followed.”

Participating in the Venice Biennale in 1999 was a rewarding experience in many ways for Attard. It injected energy and impetus to work harder and made him more ambitious to exhibit internationally and to be proud of representing his country.

Norbert Francis Attard, photographed by Julia Winckler in his Gozo studio.

“I definitely think Malta should invest in participating in the Venice Biennale, in Manifesta which takes place in a different European country every two years, and, even more importantly, establish its own Biennial or Triennial”, he stresses.

In the near future, Attard plans on opening up an art space in the Maltese capital. “Valletta Contemporary Arts (VCA) proposes to be an innovative project for the Maltese contemporary art scene”, he announces proudly. The space will be a hub for the exhibition of contemporary art but will also emphasise educational objectives

by

including

workshops,

seminars, lectures, recitals, performances, and related events. This ambitious project is slated for completion by the end of 2016 in order to be fully functional in time for 2017 and 2018 when Malta will hold the European Presidency and title of European Capital of Culture respectively.

Attard is presently developing a permanent interactive sculpture named Spirit of the Wolf for the grounds of Verdala Palace in Buskett, as well as a soon-to-be-published monograph spanning a chronology of all the works he has produced since 1997. Norbert Francis Attard’s ongoing endeavours can be followed on norbertattard.com FMS the archetype paper

Issue No. 5

You are the Staircase - Kee-Klamps system and LED lighting strips.

Science in the City Festival, Valletta, Malta, 2012.

19

Abandonment Issues

20

the archetype paper

Issue No. 5

Abandonment Issues

Abandonmentissues curated by Lisa

Gwen images by Ritty Tacsum

“It is not the beauty of a building you should look at; it’s the construction of the foundation that will stand the test of time.” the archetype paper

Issue No. 5

- David Allan Coe 21

Feature

FAR FROM MANHATTAN

22

the archetype paper

Issue No. 5

Feature

Words are rarely auto-descriptive. And that’s why we often attach very specific and highly personal images, experiences or even scents to each of the words stored in our mind bank.

Loft is one such word. It conjures images of a large, open plan space, having a distinct industrial feel. The image I hold is one of concrete surfaces, red-brick walls, large window panes, high ceilings and a steel staircase dividing the space in two.

Perhaps, this image is a direct consequence of having watched a few too many movies portraying the downtown Manhattan / Soho loft...

The very word intrigues me; it promises a space and an ambience which we are largely unaccustomed to in our houses of character or townhouses.

Yet a loft can also be an attic-like space ‒ one which hosts miscellaneous nick-nacks and assorted bric-a-brac, stashed away old toys, memorabilia, odd bits of furniture, magazines and other random bits: things which once might have meant the world to us, yet which are gradually relegated to a dark corner, only to be picked up again by some sentimental relative who has a penchant for antiques.

Whether big open spaces or treasure troves, lofts are decidedly special spaces. Which is why a recently-opened boutique by the very same name, has been attracting so much attention.

Loft (Naxxar) is a small, yet gorgeous space in which one can find a delicious and eclectic assortment of goodies that come in all shapes, colours and textures. In fact, I’d like to pause on the latter, because Loft is truly all about textures and textiles. All the different materials working together within the same space is highly attractive; one can’t help caressing the fabrics, or running their finger along the delectable designer furniture. Yet a space is only as gorgeous as the people with the vision to drive it forward. the archetype paper

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Feature

The business is run by a small and able

things; things with a history and character;

pieces from contemporary designers, even

team of like-minded individuals who have

things that have stood the test of time

local ones, and with our wide selection of

design wholly at heart. At the helm of the

because of quality, craftsmanship or good

customisable products, it is a studio where

team is designer and entrepreneur, Josette

design… These are qualities which we, at

clients, designers and architects can come

Schembri Vella, whose passion for spaces

Loft, strongly believe in.”

to find products that will help them create

and interiors stems from her upbringing in North America.

unique spaces.”

The idea of the loft “as a residential space, was originally popular amongst artists;

When Josette first dreamt of opening Loft

Her personal notion of a loft is a modern

this too is a reflection of the character that

she wanted to offer something different to

day living space, perhaps an old factory or

Loft wants to offer Malta.” Such a dwelling

the market. “Since I had been in Malta for

warehouse. She explains how the trend of

was considered odd to the average client,

over 10 years, I felt there was a need for

turning such derelict buildings into living

“perhaps our Loft may appear a little odd

something a little different for this island.

spaces was originally popular amongst

to most people too, but it is this out of the

My upbringing in North America had a

artists, as lofts offered large spaces at

norm character which we seek to keep

great influence… I guess the style of the

relatively low prices. The opposite became

alive. Loft is a place where you can find

boutique is an eclectic mix of my childhood

true once such spaces gained popularity.

that unique piece which complements your

memories and the constant stimuli I

The word loft can also refer to spaces such

style.”

encounter when travelling.”

as attics, storage spaces.

Josette

notes

how

lofts

have

been

“We also look for things with a story and

The name “Loft fit the shop’s profile to a

synonymous with art galleries or studio

a conscience; things that are made from

T for many reasons. Firstly, because in a

spaces. “In a way our space is also a

recycled materials or things which would

loft or attic, one can generally find unique

studio / art gallery as we try to showcase

have normally been thrown away. In fact

the archetype paper

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25

Feature

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the archetype paper

Issue No. 5

Feature

this is evident in our pallet wood floor. It

smaller brands have better quality, as they

is our mission to find items, objects and

are not mass produced and more attention

products which we feel are missing on the

is given to detail. This applies to all fields

island. We strive to offer exclusive items

however, even fashion.”

as our market is small and there is no need for us to make more of the same

The Loft team: Josette Schembri Vella,

available.”

Chris Fountain, Naomi Camilleri Mercieca, Shaun Fenech and Stella Mattia.

With so many furniture / soft furnishing stores on the island, it is imperative for any

LG

furniture or design business to distinguish itself on the market. Josette explains that “Loft is different to other stores on the island in that it does not try to source from mass marketed brands which aim to sell quantity. Loft wants to give consumers the possibility to create unique interiors that complement the users as well as the functions of the space. Loft represents a range of brands which hold traditional and authentic values, many of which boast handmade

craftsmanship

and

quality.

Our brands do not necessarily present a massive turnover, yet they are brands which are sought after by the discerning buyer in search of good quality and authenticity. Just one example is a fabric house which we represent ‒ Designs of the Time. This fabric company has a collection of linens which boast the Masters of Linen Quality trademark, which range from very light to heavy stone-washed linens which are highly suitable for upholstery.”

With all the luscious, luxury items and products

available

at

Loft,

one

can’t

help but wonder whether the market is rife with design-conscious and designhungry individuals. Josette feels that “on the whole, the Maltese are very house proud, but that does not necessarily make us design conscious. Having a piece of designer furniture in a space does not make the space well-designed. The more our community travels and is stimulated by innovative uses of materials, the more one becomes conscious of what makes good design ‒ whether this be a single item or a whole space. However, she also notes that “not all mass-marketed brands are of high quality and great design. The Maltese love brands, it is very evident in how we dress and what we drive. When it comes to interiors, however, in general the the archetype paper

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27

Window Displays by camilleriparismode

1

LOVE AND OTHER DRUGS

2

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1. C. Camilleri, Valletta. Façade, c. 1929 From the onset, the design team treated the windows as they would actual interiors, to let their clientele know just what they were capable of. No title was given to the window installations at this time however a team of 4 would come up with the concept and dress the window display. The same process is still adopted today.

2. camilleriparismode, Sliema: August 1993 Window display made by in-house team: curtains draped by cpm members of staff and blinds sewn by cpm seamstresses.

3. camilleriparismode, Sliema: August 1993 Poles, tie-backs and fabric window. The effect created through the use of the poles and cascading chairs was one of CPM’s earlier and more adventurous windows, beginning what is now a tradition of hanging things upside down at camilleriparismode.

4. C. Camilleri, Valletta: January 2013 Let there be love - Valentine’s Day. Custommade heart; metal skeletal frame and coloured ribbons.

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Love and Other Drugs

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5

7 4

5. camilleriparismode, Sliema: January 2012 Love your love â&#x20AC;&#x201C; Valentines-themed window. Custommade, upholstered heart. Fairy lights, a dash of flowers and a pinch of fabric.

6. C. Camilleri, Valletta: March 2013 Spring approaches - Onset of Spring in the City.

Flower arrangement composed of over 100 artificial flowers and leaves.

9. camilleriparismode, Sliema: November 2012 A mobile installation was created to welcome the onset of the Christmas period; this was done through the use of transparent sheets of plastic representing the weightlessness of icicles.

8. C. Camilleri, Valletta: September 2012 Fly-by summer - End of summer. Metal structure on which silk scarves were draped to make them look like butterflies.

9

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the archetype paper

7. camilleriparismode, Sliema: December 2012 Burst of paper & Frosted light â&#x20AC;&#x201C; Christmas-themed window. Newspaper flower arrangement in vase; plastic snowflakes and chandeliers. These different windows utilised reclaimed materials.

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A bit about me: The role of an editor is almost interchangeable with that of a curator. Both deal with space, its distribution, aesthetics, design, interpretation and experience. The one deals mostly with words and type, whilst the other with artworks and installations. Both ‘create’ images, visuals. Yet one can be a curator of words and an editor of spaces. That is what I strive to be.

Besides an innate passion related to all fields of visual art, I like playing local tourist. Exploring the sites off the beaten track and scrutinising the natural, the built as well as The Third Landscapes, through a camera lens.

LG

And the other me: Lisa Gwen holds a first degree in History of Art and a Masters in Cultural Heritage Management. She has been studying visual art for 15 years. During this time, she developed a penchant for writing. She is as a freelance curator and has been directly involved in the organisation of large-scale events such as the visual arts programme of the Malta Arts Festival (2010), the Valletta Photography Festival (2011), Malta Design Week (2011) and the multidisciplinary project Milkshake (2013). She currently holds the position of Visual Arts Executive at the Malta Council for Culture and the Arts.

FMS

Symmetry, soft cheese and the juxtaposition of absolutely disparate things enthral independent writer and curator Fabrizio Mifsud Soler, 27. Analogue photography, European cinema, vintage cars and Nordic design also easily fit his bill. ‘Art is about everything and nothing’ rings his motto, therefore when necessity dictates, his search for beauty might

graphies

lead him from a Van Dyck to a leafy green salad or from a patch of peeling paint to a flawless Alexander McQueen creation. Having recently returned to Malta from a 10-month stint in Vienna and Budapest, Mifsud Soler is looking forward to dig his teeth into all sorts of exciting projects and collaborations; as long as they’re fun that is.

Bio

CC

Charlene Calleja works at the Fortress Builders or Fortifications Interpretation Centre (FIC), which is part of the Restoration Directorate under the Ministry of Tourism. Prior to joining the Restoration Directorate, she read for a Masters in Museum Studies from the University of Leicester, specialising in on education within museums. She also holds a B.A. with Honours in History of Art from the University of Malta.

Ritty Tacsum is a self-taught independent photographer and multimedia artist with a keen and sensitive eye for the abnormal, absurd, weird and surreal. Since her 2011 debut exhibition at St James Cavalier Centre for Creativity, her work has been featured in many local and foreign books, magazines, blogs and trend portals.

Towards the end of the year, Ritty will be presenting an extensive analytical and introspective solo project in Valletta, titled Four Rooms.

She was also hand-picked and invited to participate in a collective RT

show titled Post Humanist Desire, at the Museum of Contemporary Art in Taipei, amongst leading international artists.

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Issue No. 5

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