FIRST June 2019

JUNE | JULY 2019

ESCAPE INTO SUMMER

STARRING ANTONI GAUDÍ, CHARLES & RON, GUSTAVE EIFFEL, DECIMUS BURTON, IVA POLANSKY, SALLYANNE MORGAN, JASON ZAMMIT, RUBEN ZAHRA, RICHARD GERES, FRATE INNOCENZO DA PETRALIA, RENZO PIANO, KEITH ABELA, LI ZIQI

ROSIE COLLECTION SWIMSUIT €55

MARKSANDSPENCERMALTA

VALLETTA | SLIEMA

Presents Rosie for Autograph Swim - Summer 2019 Supermodel Rosie Huntington-Whiteley introduces her Summer collection for Autograph, featuring vintage-inspired prints, bespoke hardware and contemporary silhouettes From large-scale florals to more delicate patterns, print is a key feature of the range, but minimalists are also catered for with elegant, clean-lined black swimwear brought to life with considered details.

Beach Cover Up €55

Plunge Swimsuit €60

Secret Slimming™ Swimsuit €55

“We’ve introduced statement beach dresses and various tropical floral prints for Summer” - Rosie

Secret Slimming™ Swimsuit €60

Bandeau Bikini Top €39

High Waisted Bikini Bottoms €25

GET SUMMER READY WITH

SWIMWEAR FROM

€8

.99

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Explore these linen trends and live a cooler Summer!

1 Bet on the total linen look - add print and it never fails!

2 Casual comfort with a stylish silhouette

3 Breezy and versatile you can wear day to day and on occasions

4 Shirt Dress €99 Floral Shirt €75 White Blouse €55 Cropped Trousers €59

SIZES 38 - 54

Accessorise with natural textures and pops of colour

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EDITORIAL

Early construction in this photo, taken in 1905, by Baldomer Gili i Roig. Museu d'Art Jaume Morera, Lleidam, Catalonia, Spain.

‘MY CLIENT IS NOT IN A HURRY’ his May Barcelona City Hall finally issued a work permit for architect Antoni Gaudí's iconic La Sagrada Familia Basilica, still unfinished 137 years after construction began. The current builders have been granted a license valid through 2026, which they think will give enough time to finish raising the church's central towers.

When completed this will make La Sagrada Familia the tallest religious structure in Europe at 172.5 metres tall.

In 1882, construction of Sagrada Familia began under architect Francisco de Paula del Villar, but Barcelona officials have maintained that there was no record showing a building permit, first requested in 1885, was ever granted or rejected. Under a new agreement negotiated with the foundation devoted to completing and preserving La Sagrada Familia the city will be paid 4.6 million euros in fees.

In 1883, when Villar resigned from the project, Gaudí took over as chief architect, radically transforming the project with his personal architectural style inspired by nature, combining Gothic and curvilinear Art Nouveau forms. After a series of difficult episodes where he experienced deaths of close family members and friends and his patron Eusebi Güell, and a severe economic crisis which paralysed work on the Sagrada Familia in 1915, Gaudí immersed himself into working exclusively on the church. On the subject of the extremely long construction period, Gaudí remarked: "My client is not in a hurry."

On 7th June 1926, while taking his daily walk to the Sant Felip Neri church for his habitual prayer and confession, Gaudí was struck by a tram. Due to his shabby clothes and lack of identity documents he did not receive proper assistance and by the time he was recognized at Santa Creu

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Antoni Gaudí

Hospital his condition had deteriorated too severely to benefit from further treatment. Gaudí died on 10th June 1926 at the age of 73 and was buried in the crypt of the Sagrada Familia. At the time of his death the basilica was still largely unfinished, and only one facade was complete – the Nativity facade. Gaudí chose this façade to embody the structure and decoration of the whole church. He was well aware that he would not finish the church and that he would need to set an artistic and architectural example for others to follow.

In 1936, during the course of the Spanish Civil War, Gaudí's workshop in the Sagrada Familia was assaulted, destroying a large number of documents, plans and models. Parts of the unfinished basilica were also destroyed. Ongoing construction work is based on reconstructed plans, and photos and publications of his original drawings.

The interior is intended to resemble a forest, with inclined columns like branching trees, creating a simple but sturdy structure.

Left: Sculpture of the choir of angel children above the Nativity facade.

ON THE COVER. Multicoloured dress in Tulle by Charles&Ron. Photographer Carlton Agius. Model Tiffany Pisani. Location West Hollywood LA. EDITORIAL CONTENT AND SALES MANAGER SEAN ELLUL SELLUL@INDEPENDENT.COM.MT ADVERTISING SUPPORT ILARIA MOUSU IALMOUSU@INDEPENDENT.COM.MT DESIGNER CONRAD BONDIN CBONDIN@INDEPENDENT.COM.MT PRODUCTION MANAGER ANDRE CAMILLERI ACAMILLERI@INDEPENDENT.COM.MT PUBLISHER STANDARD PUBLICATIONS, STANDARD HOUSE, BIRKIKARA HILL, ST JULIAN’S. TEL: 00356 2134 5888, WEB: WWW.INDEPENDENT.COM.MT FACEBOOK FIRSTMAGAZINE PRINTER PRINT-IT. FIRST IS PUBLISHED AS A COMPLIMENTARY MAGAZINE WITH THE MALTA INDEPENDENT ON SUNDAY AND IS NOT TO BE SOLD SEPARATELY 6

CONTENTS 11

INTERVIEW

65 questions with Ron Van Maarschalkerweerd Borg, half of Charles & Ron.

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FASHION

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More Charles & Ron. Spring/Summer 2019.

316km2.

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TRAVEL

Victorian Traveler Now. Step back in time.

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PARIS CALLING

Eiffel Tower and the 1889 World Fair.

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LONDON CALLING Beautiful Kew Gardens.

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BELLE ÉPOQUE

Life in the Age of Decay. Victorian Paris.

Abandon all romantic thoughts about horses.

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RED CARPET

Once upon a time in Cannes.

Tulle on the red carpet.

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BLACK FLOWY SLEEVELESS TOP, AND OFF WHITE CREAM JACKET FROM M&S. BLACK FORMAL PANTS WITH LACE DETAILED HEMS FROM PUNTO ROMA.

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EXHIBITION

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Flight & Other Stories – Irish artist Sallyanne Morgan at Lily Agius Gallery.

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FASHION

Summer in the city – go monochrome.

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INTERVIEW

Jason Zammit on 25 years of FIMBank.

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ARTS & CULTURE

What’s on at the Malta International Arts Festival 2019.

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Charles & Ron at LA Fashion Week in March. Photo by Nathalie Mitovski.

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CONTENTS

[JUN E | JULY I S SUE 2 01 9]

Sririta Jensen in Michael Cinco coral tulle layered gown at the Cannes Film Festival.

AP Photo/Petros Giannakouris.

Life in the Age of Decay. Those Victorians! Pierre-Auguste Renoir.

Leaving the Conservatory. Barnes Foundation, Philadelphia.

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ARCHITECTURE

51 Piano Virtuoso. Have a look inside Taschen’s new 688 book on Renzo Piano.

54 Renzo Piano’s Valletta City Gate Project – Angles and Precision.

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SUMMER BARBECUE

Posh twists on barbecue staples with Mediterranean Culinary Academy’s Keith Abela.

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INSPIRATION Valletta’s Ta’Ġieżu Crucifix restored.

Photo by Ian Noel Pace – Curia Communictions Office.

HEALTH & FITNESS

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Sunscreen explained.

How does sunscreen work?

What is SPF?

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Riding a Horse to Find Magnolia Liliflora Blossoms for my lovely fans.

It’s time you heard about Chinese food blogger Li Ziqi.

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Summer body workout.

Richard Geres gets you in shape.

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ENVIRONMENT

Marine plastic.

Do your part this summer.

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RESTORATION

The Curious Case of Valletta’s Ta’ Ġieżu Crucifix.

Turn up the heat! How does sunscreen work?

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INTERVIEW

65 QUESTIONS On the eve of their new menswear launch, and as they head into the chaotic wedding season, FIRST caught up with Ron Van Maarschalkerweerd Borg, one of the fashion design duo famously known as Charles & Ron, to find out what famous personality they would love to dress, the most unexpected thing about being a designer and what he's kept from childhood. Portrait photography by Carlton Agius. Runway and backstage by Nathalie Mitovski. hat is the first thing you did this morning? Picked up my mobile.

Morning or a night person? A night person.

Definitely. Messy or neat? Neat. Best 3 words to describe yourself? Introvert, creative, observer. Where did you grow up? In the Netherlands, in the south of Holland.

What is your favourite guilty pleasure? Sweets. Favourite coffee shop anywhere in the world? I used to love Nespresso on Madison Avenue, New York... but they closed, so I have to find a new one.

Favorite food? Maltese food. Least favourite food? I love eating in general, but anything with coconut. Favourite cocktail?

Cosmopolitan.

When did you start Charles & Ron? Charles & Ron started when we met basically, and it all happened very organically, we became Charles & Ron when Charles and Ron met, because that is when both our creative energies started to sort of emerge. This was in 1992? Yes. What’s the first fashion item you ever sold? We started under a different label called Beatrix. We opened our first studio in Charles’ bedroom and Charles was sort of still on his own; in fact before Beatrix we called it Atelier Carmel, not many people know this, but that changed really quickly (laughing). So I think that it was something that we made in those very early days.

Where was your first shop? Our first ‘actual’ shop was at Corinthia Palace in Attard, that was a ‘pop-up’ and we ended up staying there, and from there we developed the retail side of the business. What’s your favourite fabric to design with? It’s difficult to pick one, it depends on the mood and the style, but I would go for chiffon. I mean chiffon is a bit of a trademark for us and we’ve worked with it since the very early beginnings. What colour always pops up in your work? Red. Favourite colour to wear? Black (laughing).

What did you want to be growing up? I never really knew what I wanted to be, in fact I was studying things which had nothing to do with fashion – economy, marketing, and later on HR. I didn’t have a set vision of what I wanted to be. If you weren’t working in fashion what would you be doing? Working in fashion (laughing). If it wasn’t my own business I would probably still work in fashion, maybe as a visual merchandiser, or with another company.

What is the best thing about your job? Creating something from scratch, from an idea. That’s the part I love best. Once you see something on the runway, thinking back that it started from just a thought in your head and then it gets finalised – that’s the part I love most. Hardest thing about your job? Balancing everything.

Being creative, being commercial, the everyday pressure of running a business I think finding the right balance is difficult.

What is something new you would love to learn? I would love to get a bit more technical when it comes to design programs and things related to our job. I mean there’s a lot of development out there.

We’re still a little bit old school in the way we work, so I would love to enhance my skills. Do you sketch on paper or tablet? Both, but lately I’ve been switching to tablet.

Where does inspiration strike? It’s a constant process. Once we’re working on a collection it’s a process of initial ideas, and then more ideas come, and once you finish one you‘re already thinking

about the next one, so it’s ongoing. What mood do you have to be in to design? I need to be slightly relaxed and able to clear my mind from all the other stuff going on, which going forward is becoming more and more difficult.

What does fashion mean to you in 3 words? Fun, self-expression, and my life – that’s 4 words (laughing). What excites you about fashion? It’s something which is very creative. Again I can say that it’s something that people can express themselves with, but I think we shouldn’t take it too seriously, fashion is there to have fun with.

Favourite season to design? Summer. But, usually after I do a summer season I say winter (laughing again). But at the moment I’m looking forward to summer.

What’s one design trend you love? At the moment I’m liking sheer layers, layers that reveal something else underneath – and I think it’s a bit of a trend, and I like it. One design trend you wish would never come back? No, you can’t say that, because times change and people’s perception of what is beautiful and ugly changes as well over time. Sometimes things that we consider very ugly ▶

Charles (right) and Ron met in 1992 and almost instantly became ‘Charles & Ron’.

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INTERVIEW

Runway and backstage at LA Fashion Week, this March.

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◀ or outdated at some point in time will come back, and we’ll love them in a different way.

Most inspiring city? New York. Most inspiring person you’ve ever met? I would have to say it’s our friend Amin from India. Nothing to do with fashion, but he’s a very selfless person who takes care of a lot of people around him, he also takes care of street kids.

I admire him a lot for the selflessness of how he goes through life.

Dream personality you would love to dress? Beyoncé. We joke a lot about it because we have dressed a lot of people around Beyoncé... the other members of Destiny’s child... her hairdresser... her this... her that, but we haven’t gotten to Queen B yet. Who is your modeling icon?

Linda Evangelista. Best piece of advice you’ve ever received? Tough one, I don’t know. What’s one piece of advice you would give to a young designer starting out? Find your voice and your own point of view, whatever that may be. It’s important that you have a point of view, and not follow in other people’s footsteps, because it doesn’t make you stand out.

How do you react to criticism? I’m quite good with criticism, if it’s genuine and it can help us move forward I listen to it.

Most unexpected thing about being a designer? I think people don’t realise how much hard work goes on behind the scenes. I think a lot of people think that it’s all glamour, parties and runway shows, but that’s just like a fraction of what you see.

3 things you cannot live without? Charles, my mobile, and food.

What is one thing every woman should have in her wardrobe? I’m going to go for a cliché – a little black dress and maybe a Charles & Ron piece. What’s the biggest surprise you ever had? My parents

showing up behind the clothing rack when were preparing for a fashion show.

What are you most excited about at the moment? Our new menswear collection – we’re launching it as we speak this week, and we’re opening a new menswear store. How would you describe the new menswear collection? We created something which is quite sporty and young, but with the same ideas that we work with women’s wear, so there’s a lot of print and there’s a lot of colour.

So it’s sort of taking the same way we work with the women’s wear but obviously applying it to menswear.

How do you spend your down time when you’re not designing? We try and get away to Gozo whenever we can, because it‘s one of the few places I actually relax and know how to do nothing. What is your favourite country to visit and why? The US, I love the US. At the moment it’s my favourite. I love driving from one city to another... the culture, I like it. Best vacation you’ve ever taken? It would be our US road trip from LA, Palm Springs, Las Vegas.

What country have you always wanted to visit? Japan.

Favourite city outside Malta? Paris. What’s the best memory you have about this city? A holiday together with Charles a very long time ago, at the very beginning of our relationship. If you weren’t living in Malta where would you be? I’m not sure. Maybe LA? Maybe Spain?

What is one cause that you care deeply about? I mentioned Amin in India. We’ve helped some of the street kids over there and we’ve given an internship to one of the girls.

At the moment he’s working on a project where he employs street kids in a cafe and they’re having a lot of trouble; this is a cause we’re involved in and we’re trying to help as much as we can. Biggest pet peeve? People that think that they need to comment on everything and anything they see on social media – mostly in a negative way; I feel that if you don’t have anything nice to say just move on with your life.

What are you reading right now? I tried a book I brought from India, which is on the Hare Krishna religion, but it was a little bit too tough (starts laughing)... so I gave up. I’m not a very big reader. Favourite film that you’ve seen recently? I saw the Alexander McQueen documentary which I liked. Favourite film growing up? Grease. Favourite TV show right now? RuPaul’s Drag Race. Favourite recording artist? Barbara Streisand. What’s a song you’re loving right now? Brandy Carlisle, The Joke.

What’s the wildest thing you ever did in your life? I don’t know, we had some pretty wild party days, but for the rest I haven’t been that wild I guess. How do you like to unwind? At the moment I prefer a night at home, watching TV. Favourite thing to do with friends? Go out for a meal. If you could have dinner with anyone on the planet who would it be? Donald Trump comes to mind, not because I’m a fan, but I would really love to see what’s behind ‘it‘.

Is there anyone in history you would like to have met? Maybe Marilyn Monroe, she was always an intriguing figure when I was growing up, I found her very fascinating.

Something that you’ve kept from childhood? My teddybear, I don’t know where it is at the moment, but it‘s somewhere. Ok this is the final question – What question haven’t we asked you? Do you ever miss your home country.

Years at the Forefront of Global Trade

TRAVEL

Le Chateau d’Eau and Plaza, with the Palace of Electricity at the 1900 Paris Exposition, a world’s fair held in Paris from April to November 1900. Library of Congress Prints and Photographs Division Washington, D.C., USA. 14

TRAVEL

VICTORIAN TRAVELLER NOW Victorians lived in a time of fast paced growth. An industrial age with an unprecedented surge of building and engineering feats. They were impressed by science and progress. Think of iconic structures. London’s Royal Albert Hall was inaugurated by Queen Victoria herself in 1871, New York’s Brooklyn Bridge was completed in 1883, and Paris’ Eiffel Tower in 1889. Steam rail globally had made travel to far off destinations more accessible independently or with new package holidays. In 1869 the Suez Canal was completed opening up the Far East to easier, safer and cheaper travel. Seaside resorts on the Italian and French Rivieras were built. By 1888 George Eastman’s simple box camera – the ‘Kodak’ – was available. With its relatively low price it came pre-loaded with enough film for 100 exposures that gave circular images – perfect to take on a Victorian’s next break. According to the Guardian ‘by 1825, the opening up of the European and American continents to steam rail meant that travel was no longer the preserve of the extremely wealthy. The romantic ideal of the Grand Tour had permeated the public consciousness, and now for the first time, such travel was a possibility for the middle classes as well.’ Victorians established tourism as we know it - and also developed destinations and buildings we still enjoy today.

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PARIS CALLING

GUSTAVE!

n March 31st 1889 the Eiffel Tower was inaugurated and Gustave Eiffel climbed the tower’s 1,710 steps to place the French flag at its height.

But the history of France’s beloved monument was not smooth and gave rise to much dispute – and disgust – it was called a ‘factory chimney‘ and ‘monstrous‘. Many were against the building and its construction and voiced their concern in a letter entitled “Artists Against Mr. Eiffel’s Tower”. It was considered unacceptable to erect such a structure in the heart of Paris – it would be a threat against its aesthetic nature.

Intended only as a temporary structure to the entrance of the 1889 World’s Fair, Eiffel’s now iconic wrought-iron tower was built over the course of two years. Imagine the awe Victorian eyes must have felt when seeing the tower for the first time. It was the first building to reach 300m – around 80 storeys high – and remained the tallest man made structure until New York’s Chrysler Building was built in the 1930s – over 40 years later.

Design work on the project began in 1884 after a call for a competition for a grand centrepiece for the 1889 World’s Fair which coincided with the 100th year anniversary of the French Revolution. It needed to be a technological feat. Originally designed by Maurice Koechlin and Émile Nouguier, two young engineers working on Eiffel’s staff (for the Compagnie des Établissements Eiffel), out of the 107 proposals submitted, Eiffel’s entry was chosen. At the end of January 1887 construction work finally began. April 1888 saw the completion of the first stage; the second stage was finished by mid August that year. Within seven months the tower would be completed in

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its entirety by March 1889.

The tower proved to be an instant icon – becoming a symbol of French industrial power. During the 1889 World’s Fair alone, two million people visited the tower.

It proved to be equally popular ten years later during the 1900 Universal Exposition.

And then Eiffel had a problem. When the competition had been conceived licensing rights for the construction were meant to last for 20 years, followed by imminent destruction. Eiffel went to great lengths to avoid this, lobbying with various arguments and scientific experiments to prove the tower’s usefulness. In the end technology would save its fate when it was used as a radio antenna tower, initially for military and then for radiotelegraphy communications. It now remains one of the most recognizable structures in the world and the most visited paid monument globally, with more than 7 million visitors a year.

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PARIS CALLING

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Portrait. Eiffel in 1888, photographed

by Félix Nadar. Image source: Wikipedia. 1. Souvenir de l'Exposition Universelle, Paris, 1889. The main section, entitled "Champ de Mars," shows the main exposition area around the Eiffel Tower. Digital image courtesy of the Getty's Open Content Program. 2.

The Eiffel Tower: Piers Nearing The First Level. Louis-Émile Durandelle, January 7, 1888. Albumen silver print. The J. Paul Getty Museum, Los Angeles.

Digital image courtesy of the Getty's Open Content Program. 3.

Co#nstruction between the first and second levels. Louis-Émile Durandelle,

May 15, 1888. Albumen silver print.

The J. Paul Getty Museum, Los Angeles.

Digital image courtesy of the Getty's Open Content Program. 4. Construction to the top of the intermediate level.

Louis-Émile Durandelle, February 2, 1889. Albumen silver print. The J. Paul Getty Museum, Los Angeles. Digital image courtesy of the Getty's Open Content Program. 5. Eiffel Tower, 1890s.

Albumen silver print. Artist (unknown – French). Metropolitan Museum of Art, New York. 6. Blueprint of the Eiffel Tower by one of its main engineers, Maurice Koechlin (ca. 1884). Image source: Wikipedia.

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LONDON CALLING

KEW GARDENS A Victorian Love Affair with Glasshouses.

Photography courtesy of The Royal Botanic Gardens, Kew.

(This page) The Temperate House. Victorian architectural details: statues of the Roman Gods Flora and Silvanus, protectors of flowers and trees, at the main entrance © RBG Kew. (Left) The Palm House at sunset. Photo by Jeff Eden© RBG Kew. 18

LONDON CALLING

n the 18th century, thanks to a hefty 1696 ‘window tax’ and a 1746 ‘glass tax’, glasshouses in Britain were reserved for the very rich. Things changed with the 19th century’s Industrial Revolution – the cost of making glass dropped dramatically and glass and window taxes were abolished, and with new engineering developments the great Victorian glasshouse was born. It was at this time that two of Kew Gardens’ iconic glasshouses were built.

This year London’s Kew Gardens is celebrating its 260th anniversary. The mid 1800s saw two new grand glasshouses built at Kew. In 1844, Palm House, designed by Decimus Burton – one of the foremost English architects of the 19th century – was opened to house plant hunters’ collections. No one had ever built a glasshouse on this scale before and to do so Burton borrowed techniques from the ship building

industry, which may explain why the Palm House looks like the upturned hull of a ship.

Nearly twenty years later, Burton’s Temperate House – the world’s largest Victorian glasshouse – was opened in 1863. Restored in 2018, the building covers 4,880m2, has 15,000 panes of glass and 10,000 plants. Now home to 1,500 temperate plant species from five continents and 16 islands, including three species that are extinct in the wild and 70 species that are rare or threatened.

Besides these two Victorian built glasshouses, Kew has six other glasshouses onsite including The Princess of Wales Conservatory, Alpine House, Waterlily House, Tropical Nursery (behind the scenes), Melon Yard (behind the scenes) and the soon to be opened Arboretum Nursery. All are spectacular in their own way, but Palm House and Temperate House retain their Victorian sense of imagination and wonder – entering you embark on a round-the-world adventure.

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BELLE ÉPOQUE

Iva Polansky has authored several non-fiction books and dramatized biographies.

Her first novel Fame and Infamy is set in 1870s Paris. She runs the blog Victorian Paris, a repository of her research for the novel.

LIFE IN THE AGE OF DECAY

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Victorian Paris. Abandon all romantic thoughts about horses and think of horse manure.

Iva Polansky takes us back in time.

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t was a problem that was growing as the large cities grew even larger. Toward the end of the 19th century, the waste product of horse digestion covered the city streets in thick layers. For the city councils, it was a headache for which there was no soothing pill. Each day in Paris, 90,000 horses needed to be fed and their waste disposed of somehow. London and New York experienced an even worse calamity.

It was generally thought that the first international conference on urban planning would bring a solution. The year was 1898 and the symposium of one-week duration opened with great pomp in New York, the most dynamically growing city in the world. Attendees arrived from many of the world’s capitals. New York’s mayor led the opening speeches at the City Hall and journalists competed in speculation about what would be the outcome of the high-level conference. Horse manure was the main subject. But the meeting of the city planners ended quietly after three days of failure. No solution was found.

At the time of the conference, London could boast of the world’s first ever underground rail system but eleven thousand horse-driven taxis still carried people on the surface. The passenger transport used horsedrawn buses. A standard car, with twenty seats and a pair of horses, worked sixteen hours a day. The animals were not allowed to work for more than four hours, so at least eight horses were needed for one car. During hot weather, it was necessary to use fresh horses more often. The transport of heavy goods needed a stream of freight wagons pulled by four to twelve horses. The driving force of London was about 190,000 horses, each producing up to 23 kilos of waste per day. Each day, London’s four-legged population yielded about two million kilos of dung. Add to it the hectolitres of horse urine and you cannot be surprised that the turn of the century was called the Age of Decay. A New York newspaper of the time complains that the whole city “is covered with brownish smoking carpet that stinks to high heaven”. On hot days, it was preferable to live behind closed doors and windows.

Nobody wanted the manure. The farmers had enough of their own. The only people happy about the situation were real estate speculators, who purchased cheap parcels of land and converted them into dung depots. There, the heaps of manure reached up to 15 metres high which did not help the air quality in the cities.

As if that was not enough, there were horse carcasses, each weighing about 450 kilos. Many horses were left where they died by unscrupulous owners. Their bodies were a paradise for flies and various insects, as well as for rats. In New York, about 15,000 carcasses were removed every year from the streets.

Hygiene and cleanliness seemed to be unreachable goals as the conference ended on a gloomy note. The dire prognosis envisaged that, at the current rate of growth, in 1930 large cities streets would be buried under three meters of manure. No one could imagine cities without horses. And so, burdened with black thoughts of a bleak future, the participants left for home after only three days. However, as we know, cities eventually did not drown in horse manure. Automobiles and electric tramways saved us just in time.

Daytrips to the countryside around Paris became a popular form of leisure during the late nineteenth century and Renoir alludes to this kind of activity here. Pierre-Auguste Renoir.

On the Grass (Jeunes femmes assises dans l'herbe), c. 1873.

Oil in canvas, 59.7 x 73.5 cm.

Barnes Foundation, Philadelphia.

Before the introduction of modern waste management, the streets of Paris were teeming with garbage. 'Ragpickers' sifted through the urban detritus, scavenging for old fabric or other valuables that could be resold.

Pierre Bonnard. The Ragpickers (Les Chiffonniers), 1909. Oil on canvas, 45.1 x 59.1 cm. Barnes Foundation, Philadelphia.

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RED CARPET

Once upon a time in Cannes

TOTALLY TULLE AND FEATHERS

Cannes’ iconic Film Festival calls for daily gowns to grace the paparazzi-lined red carpet, delivering 12 days of stunning fashion. This year, tulle in a rainbow of colours was everywhere – here are our top 11 picks.

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4 he Cannes Film Festival, founded in 1946, is one of the world’s most prestigious invitation-only festivals held annually in May at the Palais des Festivals et des Congrès along the French Riviera. According to Vogue “in order to attend, one must adhere to the red carpet’s notoriously strict rules and regulations: The austere, old-fashioned dress code mandates that men wear tuxedos with bow ties and that women wear heels. Pablo Picasso was apparently the first to break the evening dress code, wearing a sheepskin cloak to a screening in 1953, while last year Kristen Stewart made headlines by kicking off her Christian Louboutin stilettos, walking up the steps with her heels dangling in her hands.”

Rules aside Cannes provides an endless stream of eye candy. This year tulle was everywhere – metres and metres of airy tulle in beautiful playful colours floated down the red carpet.

1. Actress Deepika Padukone in Giambattista Valli neon lime tulle gown with giant ruffle detailing, Emily London headwrap, and Lorraine Schwartz jewelry. Photo by Petros Giannakouris/AP. 2. Model Elsa Hosk in Alberta Ferretti feather gown with flowing train. Photo by Vianney Le Caer/Invision/AP. 3. Model Alina Baikova in Zuhair Murad aqua-blue short dress with a floor sweeping train and puffed floral tulle embroidery. Photo by Petros Giannakouris/AP. 4. Model Sririta Jensen in Michael Cinco coral tulle layered gown. Photo by Vianney Le Caer/Invision/AP. 5. Model Kendall Jenner in Giambattista Valli x H&M collection Barbie pink tiered high-low tulle gown upon arrival at the amfAR, Cinema Against AIDS. Photo by Joel C Ryan/Invision/AP. 6. Actress and Jury Member Elle Fanning in Dior silk organza blouse and an A-line black tulle skirt. Photo by Joel C Ryan/Invision/AP. 7. Model Fernanda Liz in Ali Karoui yellow fitted bodice with layers upon layers of tulle ruffles. Photo by Vianney Le Caer/Invision/AP. 8. Actress Priyanka Chopra in Georges Hobeika white layered tulle gown; diamond necklace and earrings by Chopard; and Nick Jonas. Photo by Arthur Mola/Invision/AP. 9. Model Sara Sampaio in Georges Hobeika burnt orange gown with voluminous tulle skirt and fitted bustier top. Photo by Petros Giannakouris/AP. 10. Model Bella Hadid in Dior white tiered tulle halter ball gown and Bulgari jewels. Photo by Joel C Ryan/Invision/AP. 11. Model Sririta Jensen in Michael Cinco purple tiered tulle ball gown and Avakian jewelry. Photo by Vianney Le Caer/Invision/AP. 23

FASHION

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FASHION

Spring/Summer 2019

CHARLES & RON 316km

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“A summer day in Malta or Gozo might take you from a village to a bar and later to a beautiful beach. We wanted this collection to truly capture the spirit of island life”, say Charles & Ron. “Small towns, villages and iconic spots like Glen Eagles Bar in the harbour of Gozo which really capture that spirit. Images of the bar, pictures from beautiful Xwejni Bay, traditional house facades and the idea of putting some iconic animals into the spotlight set us off on our design journey for Spring/Summer 2019.” Photography by Carlton Agius.

Model Tiffany Pisani. Location West Hollywood LA. 316 km2 might be small for a country but it is large enough for Charles & Ron to remain passionate and inspired over the years. This season is no exception with the designers staying true to their Mediterranean roots, drawing inspiration from Malta and Gozo’s towns and villages, were limestone buildings are often painted in a mishmash of pastel colours. This set the tone for the colour palette of the SS 2019 collection.

Sunburst orange, sunflower yellow, light sky blue, lilac and mint. All paired with the duo's staple shades of black and white.

Charles & Ron juxtaposed these urban colour inspirations with drawings of some of Malta’s most iconic animals; some endemic species like the wall lizard and the fresh water crab, and some just traditionally associated with the islands, like the Maltese falcon and the dolphin fish. Finding a balance between urban areas and nature is difficult anywhere, let alone in one of the smallest countries in the world, so a spotlight on some of these animals which risk extinction is important.

Silk, chiffon, soft tulle, light wash denim, and cotton knit is predominant for SS2019, while a new introduction includes embroidered denim fabric. The beaded gowns are all hand-made, and like all of the other graphic print designs, are designed in-house.

The collection is paired with large shopper style bags in matching prints; hand-made leather bags and belts are crafted using fine Italian leather. Shoes, boots and custom jewellery pieces are also all designed

by Charles & Ron.

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EXHIBITION

FLIGHT & OTHER STORIES Irish artist Sallyanne Morgan's exhibition at Lily Agius Gallery is an exploration of aspiration, disillusionment, faith and pessimism, says the artist.

FLIGHT II, Grey cement, blue pigment, silver feather, 60x20x40cm/ (Left) FLIGHT VII, Cast ferrous cement, gold leaf, brass, Cambodian hardwood, 75x27x12cm.

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FLIGHT III, Ferrous cement, copper nails, 90x40x20cm.

Irish artist Sallyanne Morgan (left) and gallerist Lily Agius (right).

allyanne Morgan began making the first of these works during a time of personal disappointment. Given the current culture of carefully curating an online self and the ever expanding selfimprovement industry she found a certain, almost heretical shame not only in acceptance of failure (unless expressed as a means toward a victorious end) but of questioning the “irrational devotion to a narrative of self-improvement” (Alain de Botton).

In an effort to work against this “Disneyesque” version of reality, Morgan started to wonder how various belief constructs, like religion; luck or hope itself, in conflict with feelings of pessimism, would look in the figurative form.

Symbols such as tattoos, feathers, nails and knives represent items of security or to illustrate frustrations of aspiration. In some of the work body parts are changed to flowers or enlarged, to animate internal beliefs.

The exhibition is sponsored by FIMBank, People & Skin, La Bottega Art Bistro, Fiorente, Daa:Logix, Artpaper and Logografix Express.

The collection is on display until 13th of July at Lily Agius Gallery, 54 Cathedral Street, Sliema.

For more information contact 9929 2488 or visit www.lilyagiusgallery.com.

EVENTS

T H E B I S A Z Z A S T R E E T C U LT U R E

A BISAZZA SUMMERS NIGHT

Bisazza Street is a pedestrianised shopping area in the heart Sliema that has been a popular destination for decades. The street leads directly to the Strand promenade which provides stunning views of Malta’s capital and Manoel Island, an ideal place to grab a coffee, drink or meal, after enjoying the variety of shops and brands this nostalgic street has to offer. No cars allowed means that Bisazza Street is a safe environment for both kids and adults.

isazza Street’s main retailers have come together to create The Bisazza Street Culture, a fresh concept which focuses on providing a wonderful shopping and leisure experience through live music, dance, street entertainment and decoration. For the first phase of The Bisazza Street Culture eight key events have been planned for 2019-2020. The first is A Bisazza Summers Night, on Wednesday 3rd July between 4 to 9pm, followed by Welcoming Autumn in October. The other 6 events will be on key calendar dates, such as Christmas, Valentine’s Day, Mother’s Day, Father’s Day and Easter. Mini activities will also take place between key events with food, markets, flower festivals and art exhibitions planned.

Check The Bisazza Street Culture Facebook and Instagram pages for updates and information. Email contact@guru.events if you have any queries or would like to participate as an artist, performer, vendor or in any other way.

FASHION

SUMMER IN THE CITY Go monochrome this summer with texture, pattern and a pop of colour.

PHOTOGRAPHS BY MATTHEW B SPITERI. FASHION STYLING JEANDOR FARRUGIA. HAIR NEVILLE ROMAN ZAMMIT. MAKEUP AMANDA GREAVES. MODEL STEPHANIE HODGKINS (MODELS M).

POLKA DOT WHITE SHIRT FROM PUNTO ROMA. BLACK PENCIL SKIRT FROM KAREN MILLEN. BLACK LACE BRA, PEARL NECKLACE AND PEARL BRACELET FROM M&S. WHITE CAT EYE SUNGLASSES, POLKA DOT SQUARE HAND BAG AND POLKA DOT MULES FROM CHARLES & KEITH. 28

FASHION

ALEXANDER WANG SPORTS BRA FROM KWADDRO. BLACK AND WHITE CHECKERED TRENCH COAT AND BLACK AND WHITE CHECKERED TROUSERS FROM KAREN MILLEN. METALLIC CRINKLE EFFECT BAG WITH CHAIN LINK HANDLE, METALLIC POINTED HEELS, FORMAL LONG THIN CHAIN NECKLACE, AND COLOURED PEARL HEADBAND FROM CHARLES & KEITH. 29

FASHION

WHITE BODY SUIT AND BLACK TRENCH COAT WRAPPED AROUND WAIST FROM KAREN MILLEN. BUCKLE LUCITE HEEL PUMPS AND GOLD FRAME OVAL SUNGLASSES FROM CHARLES & KEITH. 30

FASHION WHITE VEST SHIRT AND CONTRAST STITCHING SKIRT FROM KAREN MILLEN. LEATHER SLEEVELESS TOP FROM KWADDRO. GREEN HANDBAG WITH CONTRAST STITCHING AND CHAIN DETAIL, AND 90S SUNGLASSES IN LEOPARD PRINT FROM CHARLES & KEITH. EARRINGS MODEL’S OWN.

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FASHION

BLACK FLOWY SLEEVELESS TOP, AND OFF WHITE CREAM JACKET FROM M&S. BLACK FORMAL PANTS WITH LACE DETAILED HEMS FROM PUNTO ROMA. 32

BLACK FRONT LACED DRESS FROM KWADDRO. DOUBLE STUDDED SEMI-PRECIOUS STONE RING, PEARL DETAILED SILVER RING, PEARL DETAILED BANGLE, SILVER DOUBLE ENDED BANGLE, AND RED CHAIN DETAIL CLUTCH FROM CHARLES & KEITH.

FASHION

33

ANNIVERSARY

25 YEARS OF FIMBANK

As FIMBank enters its 25th year of business, Jason Zammit, Senior Vice President and Head of Marketing looks back at the Bank’s corporate social responsibility initiatives which have ranged from the philanthropic, to the environmental, as well as those focusing on Malta’s culture and heritage. By Dayna Clarke.

FIMBank CEO Murali Subramanian during one of the numerous philanthropic events and initiatives supported by the Bank and its employees.

Senior Vice President Jason Zammit during a ceramist’s exhibition launch at St James Cavalier.

IMBank is an international trade finance Bank headquartered in Malta. Set up in 1994, the Bank has established itself as a leading provider of trade finance, factoring and forfaiting solutions, by developing a customer-driven ethos focused on optimising clients’ business performance and growth.

Today, the Bank boasts a global presence in various important financial and trading centres and employs around four hundred people, two hundred of which are based at the Malta head office. This year, the Bank is celebrating its 25th anniversary since its foundation.

FIMBank sponsored the conservation work on all nine monuments located at Maglio Gardens in Floriana, a project coordinated by Din l-Art Ħelwa.

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A display of theatrical and period costumes during Malta Fashion Week. An event supported by FIMBank.

Over the past 25 years, the Bank has supported many local causes. Throughout the years, its CSR projects have ranged from the philanthropic, to the environmental, as well as those focusing on Malta’s culture and heritage.

In this respect, FIMBank has undertaken extensive CSR projects, promoting the use of the Maltese language across various media, sponsoring local artists and also restoring monuments of national importance in Malta. Forward-thinking companies embed corporate social responsibility at the core of their operations to create shared value for business and society and FIMBank remains committed to support on various fronts.

FIMBank teamed up with Public Broadcasting Services Ltd and artist Kelsey May Connor to produce 100 educational videos focused on Malta’s linguistic heritage in a series titled Kelma Kuljum.

ANNIVERSARY

One of the many sponsored art exhibitions, which was hosted at Palazzo Parisio in Naxxar. Exhibition artists included the established C.S. Lawrence, Paulene Attard, John Grima and John Martin Borg.

Among the best-remembered CSR projects remain the ‘Batterina’ awareness campaign in schools encouraging the organised collection of used batteries, the conservation projects relating to the Great Siege Monument in Valletta and the Maglio Gardens in Floriana, and more recently, the TV and social media campaigns aimed at raising awareness about Malta’s rich heritage and the uniqueness of the Maltese language.

Over the years, the Bank has also supported the work of various local artists and art galleries, the Teatru Manoel through the donation of a new harpsichord, as well as events such as the Malta Arts Festival.

FIMBank has been heavily involved in the promotion of the Maltese language. A major CSR initiative saw the Bank team up with Public Broadcasting Services Ltd (PBS) in the development and broadcasting of a series of 30-second video-spots, focusing on Malta’s linguistic heritage. The series of 100 educational videos, the production of which was also sponsored by the Bank, traces the meaning and origin of specific words in the Maltese language. The words selected for the series, which was entitled ‘Kelma Kuljum’ (or ‘A Word Everyday’), included both those used in everyday discourse, as well as others which have become less frequent.

FIMBank launched an initiative designed to help raise awareness about the island’s rich cultural heritage. The Maltese language is recognised as being an essential part of the Maltese DNA. Its uniqueness, derived from its eclectic mix of Semitic and Romance influences, is appreciated by linguists worldwide.

It is also a reflection of Malta’s long and chequered history and the island’s strategic location at the centre of the Mediterranean.

We were proud, thanks to this project, to be in a position to highlight the beauty of the Maltese language.

Following the success of this campaign, the organisation extended this project by launching the ‘X’jgħid il-Malti?’ campaign, with a series of fun video clips where viewers had a few seconds to figure out the meaning of a particular Maltese proverb. The visuals accompanying the voice-over in the clips included handmade crafts consistent with the selected proverb’s theme. The innovative, creative and engaging concept adopted

by FIMBank for ‘X’jgħid il-Malti?’, managed to communicate the meaning of such proverbs effectively, arousing the interest of both young and adult audiences.

Both these campaigns were very popular with Maltese TV viewers, and there was also significant feedback received after the spots were posted on Facebook and YouTube, where they were shared extensively by users. The clips produced, which remain available for viewing on YouTube, were also distributed in CD format to all primary and secondary students attending state schools in Malta.

Throughout the years, FIMBank has indeed been very active in supporting and promoting the work of local artists. As a Maltabased Bank, we are highly appreciative of the contribution of both Maltese artists, as well as the local art galleries which host their works. Our support of cultural initiatives is driven by our desire to promote artistic creativity in the local community.

Speranza, the prototype of a humanitarian shelter designed and developed by a group of University of Malta third-year students. Millions of people are affected by natural or man-made disasters every year which has led to an unprecedented need for temporary accommodation. This is without doubt a great challenge, which is why the Bank decided to support this initiative and provide the financial support to build Speranza. This was unveiled during Malta Design Week.

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PROMOTION

POPE JOAN This July, Teatru Malta, together with the Malta International Arts Festival, will be presenting the highly anticipated summer production POPE JOAN at the Mdina Ditch.

prodigy who chooses to defy all odds is born into a highly conservative male dominated world. She is defiant and determined, secretly learning to read behind her father’s back by disguising herself as a boy to further her learning at a monastery where she’s accepted as a male monk. Pope Joan tells the story of a woman who will stop at nothing to claim the freedom and power that is rightfully hers, and follows her journey to becoming, as legend has it, the first and only female pope to have ever lived.

Directed by German born Irene Christ, this show, which forms part of the highly anticipated summer festival, will mark her return to directing locally since 2008’s smash hit TATTOO, by Dea Loher.

Christ is no stranger to the local theatre scene and has been working as both an actress and director here and overseas for a number of years. This open air show has been in the works for months, with lead actress Maria Buckle rehearsing with the rest of the cast to bring you one of the most disputed stories ever told.

Based on the novel by Donna Woolfolk Cross, in a stage adaptation

by Susanne Felicitas Wolf, this premiere will mark the first time this production will be performed in English. The cast includes Antonella Axisa, Chris Galea, Faye Paris, Alan Paris, Mikhail Basmadjian, Alex Weenink, Michael Mangion, Joe Depasquale, Stephen Mintoff and Peter Galea, who all have main parts; along with the youngest actors, Ileana Sammut, Julian Zammit and Miguel Azzopardi. Costume and production design by Joachim Hamster Damm.

Pope Joan is made possible with the support of Festivals Malta, The Malta International Arts Festival and Arts Council Malta under the auspices of the Ministry of Justice, Culture and Local Government, the Restoration Directorate Rehabilitation Project, The Goethe Institute, The U.S Embassy, and The German Maltese Circle. Pope Joan, Mdina Ditch, 6, 7, 9, 10, 11, 12 July. Shows start at 8.30pm. Suitable for audiences over the age of 14. For tickets and more information visit kultura.mt.

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PENDANT LIGHTS. Check out Mdina Glass for stylish, handmade glass lighting solutions including pendant lights, lamps, made-toorder chandeliers and lanterns. Various shapes, colours and sizes available to suit any surrounding. See the options in-store or online at www.mdinaglass.com.mt. For more information tel: +356 2141 5786, email onlinesales@mdinaglass.com.mt or find Mdina Glass on Facebook.com/mdinaglass BOWLS. Summer is here. See the vast selection of stunning, handmade glassware

by Mdina Glass, ideal for outdoor living morning, noon and night. The ranges include pouring jugs, tumblers, bowls, oil and vinegar bottles, lanterns and much, much more in various colours, sizes and shapes. For more information tel: +356 2141 5786, email onlinesales@mdinaglass.com.mt or find Mdina Glass on Facebook.com/mdinaglass TOM’S. A wide selection of unique figurines and decorative objects by the renowned Tom’s Company, available at HENRI Luxury Gift Boutique. The idiosyncratic creations make for ideal, original gift ideas for him, for her, or just for yourself!

Outlets: PjazzaTigné and Mdina (next to Palazzo Falson). Tel: 2010 6306 or Facebook/henrimalta 7-IN-1 SHAMPOO FOR WOMEN. A thickening treatment shampoo designed specifcally for women. This multifunctional product makes hair care easy. It exfoliates deep within the pores to remove buildup and impurities, which can lead to an itchy scalp, oily hair or even hair thinning. The formula is specially designed for those with fine and thin hair textures to give a maximum thickening effect without weighing it down. For trade enquiries contact: Beauty Culture Group, Sta. Venera on 2144 0424 or 2744 0424. Email: info@beautysuppliesmalta.com Facebook/nanogenmalta

PROMOTION

HAVE YOU HEARD OF THE 2019 EUROPA STAMP COMPETITION? EUROPA is an annual joint issue of stamps organised by PostEurop with a common theme by postal administrations of member countries of the European Communities. Each year stamps from all over Europe are submitted. For this year's theme of 'National Birds' MaltaPost have submitted a stamp issue with the Blue Rock Thrush, known as ‘il-Merill’.

UROPA stamps, first issued in 1956, are special stamps issued by European postal administrations which bear the official EUROPA logo.

EUROPA stamps underline cooperation in the posts domain, taking into account promotion of philately. They also build awareness of the common roots, culture and history of Europe and its common goals. As such, EUROPA stamp issues are among the most collected and most popular stamps in the world.

In 1993 PostEurop became responsible for issuing EUROPA stamps. Each year, PostEurop's Stamps & Philately Working Group selects the EUROPA stamp theme and an annual competition of the 'Best Europa stamp'. In the 2002 themed competition 'The Circus' Malta's stamp won from among 58 participating entries. For this year's theme, ‘National Birds’, Maltapost have submitted a stamp issue with the Blue Rock Thrush, known as ‘il-Merill’, with photography by Joe Sultana, BirdLife Malta. Chosen as Malta's national bird in 1970, the male features a striking blue colour with darker wings and tail an appealing contrast to the less striking female with its brownishgrey colour.

To take part and vote in this competition, and for more information, go to posteurop.org/europa2019 The online competition ends 9th September 2019.

The Canon G7X Mark II is pure photography power in your pocket.

With a 1.0 type 20.1 Megapixel CMOS sensor, 4.2x optical zoom lens and large 7.5 cm tilt-up touch screen, it allows you to take perfect images at any time of day or night. Shoot and share stills and Full HD movies without fuss via Wi-Fi connection. Available from Avantech, St. Julian’s Road, San Gwann or online on www.avantech.com.mt Tel. 2148 8800 or facebook.com/Avantechmt/ 38

MADC ADDS GENDER TWIST TO SHAKESPEARE’S LAST PLAY MADC will stage The Tempest as its annual Shakespeare play at San Anton Gardens – but with a unique twist. In keeping with the play’s famed quote, ‘hell hath no fury like a woman scorned’, director Stephen Oliver has opted to cast a woman in the play’s lead role of Prospero, switching the character’s name to Prospera.

Photography by Jacob Sammut.

“As The Tempest is probably the last play that Shakespeare wrote unaided, it is tempting to see Prospera, in her command of the action onstage, as a representation of Shakespeare,” explains Oliver.

“The impressively orchestrated structure and originality of the play also suggests that Shakespeare may have intended the play as a sort of culmination of his art. This interpretation also fits well due to the final speech made by Prospera, which sounds rather like a formal farewell to the theatre.”

Oliver has also taken the gender swap idea further by making all the play’s island inhabitants female, while the shipwrecked characters are all male.

Performing in MADC’s The Tempest, against the backdrop of San Anton Gardens and on a set that includes a water pool, will be Kate De Cesare as Prospera, alongside Philip Leone-Ganado, Victor Debono, Julia Camilleri, Gabriela Mendez, Michela Farrugia, Matthew Ben Attard and Edward Thorpe.

MADC presents THE TEMPEST by William Shakespeare at San Anton Gardens, Attard on 29, 30 June and 2, 3, 4, 5, 6, 7, 8 July 2019, with all shows starting at 8.30pm. This production is suitable for general audiences and children aged six and over. Booking is now open, with tickets and more information available at www.madc.com.mt.

Avantech Building St Julian’s Road, San Gwann 21 488 800 | info@avantech.com.mt www.avantech.com.mt

INNOVATIVE, ACCESSIBLE, CUTTING-EDGE

ARTS & CULTURE

MALTA INTERNATIONAL ARTS FESTIVAL 2019 For 14 years, the Malta International Arts Festival (MIAF) has been the must-see event of the year, annually ringing in the summer months with a plethora of artistic and cultural evenings featuring local and international performers, says artistic director Ruben Zahra.

estivals Malta is producing MIAF 2019, which falls under the artistic direction of Ruben Zahra. Never one to stick to convention, Zahra is raising the bar with a number of innovative and accessible cutting-edge artistic performances that feature a strong interdisciplinary dimension and that will be accessible to a wide audience.

This is what we can expect.

Described as iconoclastic, avant-garde and brilliant (The Adelaide Review), Spanish flamenco dancer and choreographer Israel Galván’s wild reinvention of the genre has mesmerised audiences around the world.

FLA.CO.MEN highlights the most brilliant elements of his performances – the music that resonates throughout his shows and which is free of plots, scripts or theatre.

The idea of playing music underwater may seem a little alien to most. Yet Aquasonic does exactly that: a visually stunning underwater concert from Denmark. Five musicians and singers with custom-made instruments submerged in glass water tanks deliver a spellbinding performance; offering audiences a unique, haunting and, breathtaking experience.

The holographic puppet opera Toujours Et Près De Moi is a haunting work that tells a touching, fractured tale of absence and regret through moving music, startling images and visual wonder. Produced by Opera Erratica (UK), the performance is set against the backdrop of an intriguing mix of Renaissance madrigals and contemporary vocal music.

Belgian company Zonzo Compagnie’s repertoire consists of intriguing performances about the work of fascinating musicians and composers. Produced by Wouter Van Looy, the company is bringing Berberio to Malta.

This award-winning children’s performance introduces the musical language of Italian avantgarde composer Luciano Berio to young audiences.

This is a mere taster of what the festival has to offer, as although Zahra’s vision is evident across the entire MIAF 2019 programme, FLA.CO.MEN, Aquasonic, Toujours et Près De Moi and Berberio are all eclectic performances that truly underscore the innovative element that has been introduced to this year’s festival. Focusing on different artforms – dance, music, and puppetry to name but three – they are events that will undeniably pique audiences’ interest and enthusiasm.

AQUASONIC, a visually stunning underwater concert from Denmark. Photo

by Charlotta de Miranda.

Malta International Arts Festival’s artistic director Ruben Zahra.

Photo by Stephen Buhagiar

FLA.CO.MEN highlights Spanish flamenco dancer and choreographer Israel Galván’s most brilliant elements of his performances.

Photo by Luis Castilla.

Berberio, this award-winning children’s performance introduces the musical language of Italian avantgarde composer Luciano Berio to young audiences.

For more information about FLA.CO.MEN, Aquasonic, Toujours et Près De Moi, and Berberio; as well as to view the full programme of the Malta International Arts Festival 2019, please visit www.festivals.mt/miaf.

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HEALTH & FITNESS

SUNSCREEN EXPLAINED How does sunscreen work, what is SPF and can I still tan with it on? With summer hot on our heels, Terry Slevin explains. Photography by Ian Dooley.

ACCORDING TO THE WORLD HEALTH ORGANISATION ‘THE RISE IN THE INCIDENCE OF SKIN CANCERS OVER THE PAST DECADES IS STRONGLY RELATED TO INCREASINGLY POPULAR OUTDOOR ACTIVITIES AND RECREATIONAL EXPOSURE. OVEREXPOSURE TO SUNLIGHT IS WIDELY ACCEPTED AS THE UNDERLYING CAUSE FOR HARMFUL EFFECTS ON THE SKIN, EYE AND IMMUNE SYSTEM. EXPERTS BELIEVE THAT FOUR OUT OF FIVE CASES OF SKIN CANCER COULD BE PREVENTED, AS UV DAMAGE IS MOSTLY AVOIDABLE. THE SUN’S UV RAYS ARE THE STRONGEST BETWEEN 10 A.M. AND 4 P.M. TO THE EXTENT POSSIBLE, LIMIT EXPOSURE TO THE SUN DURING THESE HOURS. SEEK SHADE WHEN UV RAYS ARE THE MOST INTENSE, BUT KEEP IN MIND THAT SHADE STRUCTURES SUCH AS TREES, UMBRELLAS OR CANOPIES DO NOT OFFER COMPLETE SUN PROTECTION. REMEMBER THE SHADOW RULE: “WATCH YOUR SHADOW – SHORT SHADOW, SEEK SHADE!” SHADE, CLOTHING AND HATS PROVIDE THE BEST PROTECTION – APPLYING SUNSCREEN BECOMES NECESSARY ON THOSE PARTS OF THE BODY THAT REMAIN EXPOSED LIKE THE FACE AND HANDS. SUNSCREEN SHOULD NEVER BE USED TO PROLONG THE DURATION OF SUN EXPOSURE.’ 42

HEALTH & FITNESS

H

ow does sunscreen work? There are two main parts to all sunscreens. The active ingredient and the emulsion. The active ingredient does the sun protection work. These come in two categories: UV absorbers and UV reflectors. UV absorbers are chemicals that absorb UV radiation and convert it to a very low level of heat. So low most don’t notice it, but a small proportion of people do report sunscreens make them feel uncomfortably warm.

UV absorber chemicals are also called “organic” because they contain carbon atoms, a basis for all organic matter.

Some absorb the UVB part of the spectrum, which is known to cause sunburn and contribute to skin cancer risk.

Others absorb the UVA part of the spectrum. Recent research suggests the longer UVA wavelengths not only penetrate to deeper layers of the skin but contribute to skin cancer through compromising immune response to DNA damage.

For that reason, sunscreen labeled “broad spectrum” is recommended as it offers the best protection.

UV “reflectors” are mostly made up of oxides, like zinc oxide and titanium dioxide, that absorb and scatter UV radiation.

There is normally more than one and often up to six or more active ingredients in most sunscreens.

The emulsion – the lotion, milk, cream, oil, foam or gel – is what carries the active ingredient. It is usually made up of some combination of oil and water, plus other goodies. These are important as they preserve the product so it lasts on the shelf or in your cupboard. They also help with water resistance, influence how the sunscreen feels and smells, and how well it binds to the skin.

W

hat does SPF mean and how is it measured?

Sunscreen provides a screen, not a block.

Think of a fly-screen door: air gets through but flies don’t. In the same way, the sun lotion or potion of your choice allows some small amount of UV radiation onto your skin.

SPF stands for sun protection factor. It’s the measure of how much UV gets through the screen. The higher the number, the less UV passes through. An SPF of 30 allows onethirtieth or 3.3% of UV to reach your skin. This means it filters 96.7% of UV. With an SPF of 50, 98% is filtered and one-fiftieth or 2% gets through.

So while the difference between SPF 30 and SPF 50 sounds like a lot – it is a pretty modest (1.3%) - difference in protection.

Put another way, if your unprotected skin would take ten minutes to show signs of burning, then properly applying SPF 30 sunscreen would slow the rate of burning to the point where it would take 30 times longer, or 300 minutes in total.

SPF 15 would take 150 minutes, while SPF 50, 500 minutes.

But this is perfect world stuff. If you extend your stay in the sun for 500 minutes (over eight hours!) only relying on sunscreen, you will very likely still burn!

W

hen and how do I put it on? At a microscopic level, the skin is a series of peaks and troughs.

Layering on sunscreen around 20 minutes before going into the sun allows the product to flow into the troughs and bind properly to the skin.

Many sunscreens recommend reapplying every two hours.

But another way to look at it is like painting a wall of your house. The first coat gets a reasonable coverage, but a reapplication 20-30 minutes after being in the sun – after the first coat has “dried” – gets you much more reliable coverage.

And this will cover the bits you may have missed, or covered too thinly, on the first pass.

Also, use it generously. Most people use too little (between a quarter and three-quarters) of the amount of sunscreen necessary to achieve the sun protection claimed on the label.

A teaspoon per limb is a good rule of thumb. Add another teaspoon for your face, front and back. This comes to seven teaspoons (35ml) in all if you are at the beach in board shorts or a bikini.

Layer it on and spread it around. Reapply every two hours or more often if you are active (sweating, towelling off, skin making physical contact with anything that might rub it off), even if the bottle claims four-hour water resistance. And a good idea is to check if the lotion hasn’t passed its use-by date.

Use other things to protect your skin too. Hats, shade, clothing and even staying indoors at the highest UV periods.

The closer to solar noon, usually between midday and 12.30pm, the higher the UV. The World Health Organisation recommends protecting skin from the sun when the UV Index is 3 or above.

H

ow long can I stay in the sun with sunscreen on?

It’s wise to stay in the sun no longer than is necessary to do your planned activity. Staying out longer just because you have the sunscreen “suit of armour” (which it is not) is a bad idea.

Even following all the best advice, the normal daily activity – wiping water from your eyes, scratching an itch, cuddling the kids, brushing against a tree or your best buddy – will remove sunscreen and diminish its performance. And remember it is screening, not blocking the sun.

And will you still get a tan if you put on sunscreen properly? Well, no. If sunscreen is properly applied to do its job of reducing UV radiation exposure, it prevents the biological process of tanning.

Originally published on The Conversation. Terry Slevin is an Adjunct Professor, School of Psychology, Curtin University; Education and Research Director, Cancer Council WA; Chair, Occupational and Environmental Cancer Committee, Cancer Council Australia.

Sunscreen use not only reduces the risk of skin cancer and sunburn, it also reduces the ageing effect of the sun. But whenever summer rolls around, it’s easy to forget the basics – like, how should I apply sunscreen? How long should I wait after applying it to go in the sun, and how long can I stay in the sun with it on? And how does it work anyway?

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HEALTH & FITNESS

1 squat start

2 pushup start

2

3 lunge start

3

5 crunch start

5

6 bicycle crunch start

6

8 glute bridge start

8

1 squat finish SUMMER BODYWEIGHT WORKOUT

Get a tight, toned body in your back yard

If you’re eager to get in shape for summer, you can get your whole body toned, tight and fit with just a few simple movements that don’t require any fitness equipment whatsoever, says Richard Geres, MSc Nutritional Science.

You can do this workout in your sitting room, terrace, back yard, garden or at the beach. The workout is designed to work all major muscle groups of the body, with special emphasis on the legs, butt, shoulders, arms and abs.

The workout also engages your postural muscles of your upper back to combat long hours spent at the desk.

Do this workout 3 times per week and initially try to complete at least 2 rounds, working yourself up to 4-5 rounds as you get fitter. The challenge is to push yourself as hard as you can in each exercise to really feel the burn in the muscles you are targeting. Don’t stop before it burns! Here are the exercises:

1

Squat. Muscles targeted: legs and butt.

From an upright standing position with feet pointing forward, bend your knees and push your hips backwards, as if you are

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going to sit on a chair. Let your upper body lean forward without rounding your back.

Keep your heels on the floor at all times and make sure your knees point in the same direction as your feet. Repeat 20-50 times.

2

Push-up. Muscles targeted: shoulder, arms and chest. If you are strong enough to perform a full push-up, rest on your toes and your hands, keeping your body in a straight line. To make it easier you can rest on your knees instead, and do knee push-ups. Place your hands under your

shoulders, just wider than shoulder width, then lower your chest as close to the floor as possible. Push back up. Repeat 10-30 times.

3

Lunges. Muscles targeted: legs and butt. Stand upright, with feet together.

Now step forward with one foot, and bend both knees, so that the rear knee almost touches the floor. Keep your upper body upright, and avoid pushing your front knee further forward than your toes. Return to the start position and repeat with the other leg. Do 10-20 repetitions per leg.

HEALTH & FITNESS

2 pushup finish

2 knee pushup start

2 knee pushup finish

3 lunge finish

4 IYT position 1

4 IYT position 2

5 crunch finish

4 IYT position 3

4 IYT position 4

6 bicycle crunch finish

7 scissor crunch start

7. scissor crunch finish

8 glute bridge finish

9 prone hip extension start 9 prone hip extension finish

4

IYT. Muscles targeted: upper back and rear shoulders. Lie on the floor, facing down. Place arms out to the side, with thumbs pointing upwards. Raise your arms, hold for 1-2 seconds, then lower again. The bring your arms forward and raise them as high as you can, keeping the elbows straight.

Return to start and repeat for 8-20 repetitions in each direction.

5

Abdominal crunch. Muscles targeted: abdominals. Lie on your back. Bend one leg, and keep one leg straight, to maintain a neutral spine posture. Lift your shoulders off the floor and hold the top position for 4-5 seconds, maintaining a tight contraction in your abs. Avoid pulling on your head, and keep your eyes facing up. Try to complete 20-50 repetitions.

6

Bicycle crunch. Muscles targeted: abdominals. Lie on your back, lift both feet off the ground. Bring your shoulders up from the floor to contract your abdominals.

Rotate your shoulders slightly to the left, bringing your right elbow towards your left knee. The right leg straightens out. Now turn to the right and bring your left elbow towards your right knee. Straighten your left leg. This is one repetition. Keep the shoulders up all the time to maintain contraction in your abs.

Try to complete 10-30 repetitions.

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Scissor crunch. Muscles targeted: abs and hip flexors. Lie on your back. Lift both feet off the ground and raise your shoulders off the ground to engage your abs.

Now lower the left leg and raise the right leg.

Then change legs. This is one repetition.

Repeat for 10-30 repetitions.

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Glute bridge. Muscles targeted: butt and hamstrings. Lie on your back, with knees bent. Raise your butt off the floor and straighten your hips, until you feel your glutes (buttock muscles) contract. Hold the position for 1-2 seconds, then lower your butt. Ideally do not touch your butt to the floor. Repeat for 20-50 repetitions.

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Prone hip extension. Muscles targeted: glutes and hamstrings.

Position yourself on your elbows and knees.

Straighten the right leg and raise it as high as you can, without rotating your hips.

Contract your glutes and hold for 1-2 seconds. When lowering the leg, avoid touching your toes to the floor. Repeat for 20-50 reps on each leg.

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ENVIRONMENT

PLASTIC WASTE IN EUROPE According to the European Strategy for Plastic in a Circular Economy, it is estimated that Europe produces around 25 million tonnes of plastic waste every year. It has to be highlighted that the largest fraction of plastic waste generated in the EU is packaging material. It is also a reality that various activities throughout the day contribute to the generation of other different streams of plastic waste.

WHAT IS A SINGLE-USE PLASTIC PRODUCT? A SUP product is a product that is made wholly or partly from plastic and that is not conceived, designed or placed on the market to accomplish, within its life span, multiple trips or rotations by being returned to a producer for refill or re-used for the same purpose for which it was conceived.

Source: European Plastics Strategy

WHAT ARE MICROPLASTICS? They are synthetic, water-insoluble polymer items smaller than 5mm, which are considered to be of particular concern for the aquatic environment. Microplastics come from degradation of larger plastics (such as single-use plastic items) or from intentional addition in a number of products, as cosmetics, detergents, paints, etc.

Source: ECHA

WHAT IS SMART SHOPPING? It is an action, which implies understanding the environmental implications of our choices as shoppers when purchasing goods.

Considerations like the following can assist us to make informed decisions: purchase products that do not contain too much packaging; purchase reusable and recyclable products, such as those which may be refilled; purchase products made of recycled plastic; avoid purchasing disposable products; avoid the use of plastic carrier bags and make use of reusable shopping bags.

Source: Waste Management Plan for the Maltese Islands – A Resource Management Approach 2014-2020 At a national level, Malta has similar problems pertaining to plastic waste as the rest of Europe.

In Malta, plastic waste generation is increasing whereas recycling rates have remained quite stable. Recently, a number of initiatives have been launched to tackle the plastic waste problem. The reality is that generation of plastic waste has been steadily increasing throughout the years.

For further information refer to: SINGLE-USE PLASTIC PRODUCTS STRATEGY FOR MALTA – Public Consultation Document – 2020-2030 RETHINK PLASTIC or log onto the Environment & Resources Authority’s website era.org.mt

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4ocean founders Alex Schulze (left) and Andrew Cooper.

MARINE PLASTIC

DO YOUR PART THIS SUMMER

Have you heard of 4ocean? They are a global company that actively removes marine trash, helps create sustainable economies around the world and inspires individuals to work together for a cleaner marine environment. You might have seen their bracelets on Instagram, Facebook or YouTube – global cleanup operations are funded entirely through the sale of their bracelets and sustainability products, where every item purchased funds the removal of one pound of trash from the ocean. By creating jobs, utilizing the latest technology and raising awareness about the impact of marine plastic and trash, the company is building the first economy for marine plastic and creating a cleaner, more sustainable future. It’s an inspiring story, and although it has already taken off on a global scale, the way it started and it’s ethos can teach us all some lessons for taking care of plastic use and disposal at our beaches this summer. Photography courtesy of 4ocean. ocean weren’t always global. During summer of 2015, Andrew Cooper and Alex Schulze embarked on a surfing trip to Bali in search of big waves but, what they found were beaches covered in garbage instead. After paddling through a devastating amount of marine plastic and watching fishermen pull their boats through mounds of trash, they returned home with an urgent desire to clean the world’s oceans and marine environment. In that moment, 4ocean was born.

4ocean is now a global ocean cleanup company: recovering and recycling marine plastic, advocating for sustainable innovation and inspiring people around the world to reduce their consumption of single-use plastic. Their global cleanups are funded entirely through the sale of their products, where every item purchased funds the removal of at least one

pound of trash from the ocean. By creating jobs, utilizing the latest technology and raising awareness about the impact of trash in the ocean, they are building the first economy for marine plastic while creating a cleaner, more sustainable future.

They strive to educate individuals, corporations, and governments on the impact that plastic has on the ocean and marine life, hosting cleanups all over the world, both above and below the water, to raise awareness and change behavior.

By giving marine plastic a value, they are creating a new economy for the removal of trash – employees remove millions of pounds of marine trash every single year. On their marketing material 4ocean write ‘Become part of the solution to ocean plastic pollution.’

So the real question is – what are you going to do to reduce your share of single use plastic and marine plastic this summer?

SAVING OUR

MINISTRY FOR THE ENVIRONMENT, SUSTAINABLE DEVELOPMENT AND CLIMATE CHANGE

RESTORATION

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RESTORATION

The Curious Case of Valletta’s Ta’ Giezu Crucifix Valletta’s 17th century Miraculous Ta’ Ġieżu Crucifix at the Franciscan Church of St Mary of Jesus has recently been beautifully restored. Attributed to Frate Innocenzo da Petralia (1592-1648), legend has it that the artist woke up one morning and found the head of the statue complete, making it exceptional and unique. Photography by Ian Noel Pace – Curia Communictions Office. ust down the hill from St John’s Co-Cathedral and Croce Bonaci, and across from Demanuele Watch Makers and Sicilia Bar, the Franciscan Church of St Mary of Jesus, built in 1584, houses the curious 17th century Ta’ Ġieżu Crucifix.

The description on the side of the Crucifix reads: ‘The Miraculous Crucifix of Saint Mary of Jesus Church - a Masterpiece of Frate Innocenzo da Petralia Sottana – Palermo. This Crucifix, sculpted in wood, was solemnly placed for the veneration of the faithful around the year 1630.

The inhabitants of Valletta and the entire island were immediately attracted to it by a strong devotion, especially during times of calamity and danger. Pilgrims flocked to visit this Crucifix, which soon became renowned for its thaumaturgical powers. The popular piety of the Maltese did not linger to call it the “Miraculous” Crucifix.’

Today the Miraculous Crucifix still draws a steady stream of pilgrims from Malta and around the world. What makes the Crucifix so special? Fr Tony Briffa OFM, one of the Franciscan priests at Ta’ Ġieżu believes that the context of its fabrication is the key. This wasn’t mass produced in a workshop by lay workers, it was made by a Franciscan priest in the 17th century. ‘Who knows how much they would have fasted at the time, and prayed before making this.

If it was made by just ‘anyone’, it wouldn’t have been made in the same way that a religious would make it. A religious would have made it... more with the heart, praying and fasting so that their work would definitely be in the hands of the mercy and love of God – that’s it. There is a big devotion towards it – because it’s made in such a way that it brings you to your knees in awe, in front of it you can see the love of God towards us, despite all our shortcomings, despite the fact that we replace Him with other distractions in our life, but He keeps giving us the health and strength to come near Him, to forgive us always.’

The crucifix, which has been restored by the purposely set up Arts Conservation Consortium (ACC) in a project financed by Bank of Valletta falls under the responsibility of the Archconfraternity of the Miraculous Crucifix, a brotherhood with the sole aim to focus on the proliferation of the

devotion for this crucifix. Headed by historian Dr Christian Attard, the ACC performed extensive restoration works including a detoxifying treatment to eliminate any parasites, cleaning the whole Crucifix, as well as consolidating parts that were deteriorating.

According to Dr Attard, ‘very little is known about Frate Innocenzo. His history is documented in his works. It is said that he completed a total of 33 crucifixes, one for each year of Jesus Christ’s life and that the heads of each and every crucifix was found ready by the artist as if by miraculous intervention.’

‘Another legend states that Frate Innocenzo suffered from acute pain in one of his eyes, hence the thorn from the crown passing through the eye in the Ta’ Ġieżu Crucifix. What we do know is that it is one of the most beautiful crucifixes in Malta.’

CT Scans and X-Rays of the crucifix taken during the restoration process show that, although the head is separate from the body, a number of nails can be seen attaching the head to the body. ‘Angels do not use hammers and nails’, stated Fr Charles Vella, the ACC’s Chief Restorer, during a public symposium held at Ta’ Ġieżu Church which shared information about the restoration process.

‘The physical attributes of the Crucifix show a 6-foot man going through extreme suffering. The Crucifix is made from separate pieces of wood, which are then jointed and nailed together. The statue is so anatomically correct that it implies that Frate Innocenzo must have had some experience with dead bodies to create such perfection. The wood is not carved to absolute perfection as it was then covered with fine layers of gesso. Joints between the wood pieces are also covered in fine linen below gesso layers. The wounds and blood, made from ceralacca and vermilion give it a translucent effect that makes it hard to believe you are not looking at real blood.’

Despite all we know it doesn’t detract from the aura and experience of being in front of the Crucifix in person. Frate Innocenzo’s Crucifix is contemplative and at the same time gruesome. Mastered beautifully it is well worth a visit.

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BOOKS

PIANO, VIRTUOSO Chances are that you have probably walked past or been inside a Piano building without even realising. Renzo Piano’s most iconic projects include the Centre Georges Pompidou in Paris, the Shard in London, and the Whitney Museum of American Art in New York City. His work in Malta reconceived Valletta's entrance. Get lost in Taschen's monumental book covering the Italian maestro’s complete oeuvre from 1966 to today.

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BOOKS

p 604. Academy Museum of Motion Pictures, Los Angeles, California, United States. Copyright: © RPBW/© A.M.P.A.S./Images from L’Autre Image.

enzo Piano rose to international prominence in 1971, at the age of thirty-four, with his co-design of the Pompidou Center in Paris, described by The New York Times as a building that “turned the architecture world upside down.” At the time Piano and thirty-eight year old Richard Rogers, both relatively unknown, and with no experience in museums or other major structures, competed against 680 competition entries from firms in the United States and Europe.

Since then, he has continued to craft such iconic cultural spaces as the Modern Wing of the Art Institute of Chicago and, most recently, the Whitney Museum of American Art, an asymmetric nine-story structure in Manhattan’s Meatpacking District with both indoor and outdoor galleries. In London, the Piano touch has also transformed the skyline with the Shard, the tallest building in the European Union; while in Malta, his Valletta City Gate Project incorporated the City Gate structure, Parliament House which echoes the massive stone look of the city's walls, and the open-air theatre.

Left: The Shard, London, United Kingdom Right: Centre Georges Pompidou, Paris, France.

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At the age of 81, the Italian maestro retains all of his enthusiasm and kindness - and his recent roster is more impressive than ever. As he confided to the author, “I think at a certain age, one can discover that there is what the French call the ‘fil rouge,’ a kind of red thread that relates one building to another over time. In my case, I believe it is about lightness and the art of building.” From freshly built museums in Athens and Santander; ongoing works in Los Angeles, Moscow, Beirut, and Istanbul; to such humanitarian projects as the Emergency Children’s Surgery Center in Entebbe, Uganda, and the Children’s Hospice in Bologna, Italy, Piano’s career is a thrilling journey through the beauty and very essence of architecture.

This XXL-sized monograph, jam-packed with more than 200 new pages illustrated by photographs, sketches, and plans, spans Piano’s entire career to date and the many existences of his singular aesthetic.

Also available as an Art Edition accompanied by a print of a sketch

by Renzo Piano, signed by the artist and limited to 200 copies.

Piano. Complete Works 1966 – Today. Philip Jodidio. Published by Taschen. Hardcover with fold-out, 30.8 x 39 cm, 688 pages. €150.

Available July 2019.

Surfacing the most beautiful spaces Marble | Quartz | Engineered Stone | Granite | Patterned Tiles | Quartzite | Ceramic | Engineered Wood Halmann Vella Ltd, The Factory, Mosta Road, Lija. LJA 9016. Malta T: (+356) 21 433 636 E: info@halmannvella.com

www.halmannvella.com

ARCHITECTURE

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ARCHITECTURE

RENZO PIANO’S VALLETTA CITY GATE PROJECT

ANGLES AND PRECISION Photography by First Magazine, Frederick Muscat and Zoltan Tasi.

n September 2018 London’s Royal Academy of Arts opened the landmark exhibition Renzo Piano – The Art of Making Buildings. In a specially commissioned short film for the exhibition, Piano reflected on the influence that Genoa, his birthplace, had on his life and work. "One thing that I will never forget is my father taking me to the harbour on Sunday, normally after the mass. That was part of the ritual, the Sunday ritual: The mass, the harbour, and then lunch. And the harbour was, at that time, after the war, ‘45, ‘46, ‘47... it was a marvelous place, where you know, everything moves and the ships are like... like buildings in a town, except that they move around. That’s probably the reason why my buildings are always flying vessels."

And in fact, this quality can be seen in Valletta’s Parliament House. The building is made up of two heavy stone clad blocks that seem to float effortlessly on columns. The two heavy blocks almost look like the hulls of two ships side by side, interconnected with bridges reminiscent of gangways.

Piano’s City Gate project completely reconceived Valletta’s entrance. ▶

“MAKING BUILDINGS IS A CIVIC GESTURE AND SOCIAL RESPONSIBILITY. I BELIEVE PASSIONATELY THAT ARCHITECTURE IS ABOUT MAKING A PLACE FOR PEOPLE TO COME TOGETHER AND SHARE VALUES.”

RENZO PIANO 55

ARCHITECTURE

FABRICATION & EXTRACTION. The Valletta City Gate required the largest stone elements on the project. These elements had to be fabricated to the extreme tolerances required for the project to ensure that all the complex 3D monolithic elements, mainly L-pieces forming the corners, are lined up. The equipment had to be re-engineered so that the extreme monolithic elements could be fabricated.

FIXINGS. The extreme size, seismic engineering requirements for the stone elements and extreme precision needed to install the elements called for the development of specific fixings. These fixings were developed by the R&D department of Halmann Vella in collaboration with The University of Malta.

A series of tests and analysis was undertaken in order to develop the fixings required to lift the stone elements, with a maximum of 18 tons and then fix the stone elements to the required seismic parameters. The research established the allowable stress and safety factors for the fixings used on the project. INSTALLATION. Using the specially developed Halmann Vella fixings the stones were lifted and fixed in position. In addition, specially designed lifting rigs were developed in order to reduce the lifting stress within the stone prior to installation. The system performed and enabled the team to install the elements regardless of size, weight, and complexity of shape with a very high-efficiency rate. Photo by Frederick Muscat.

◀ The project included City Gate itself and the site just outside the entrance, including the transformation of the ditch, the design of an open-air theatre within the ruins of the Royal Opera House, and the construction of a new Parliament building.

Various key elements that had been in place for years were transformed. The bridge across the ditch became a bridge again, brought down to its original proportions, rather than the wide square it had evolved into over the years. City Gate, which had been remodeled and widened considerably over time – and which had lost all effect of entering a fortified city, was narrowed, with immense blocks of stone inserted on each side, separated from the original fortifications by powerful steel

blades. On either side, new flights of steps link St James’s Cavalier and St John’s Cavalier bastions to the entrance and Republic Street.

One key aspect of the Parliament building is that it was designed to be an environmentally responsible building. The facade is finished in stone blocks which have been sculpted to filter the heat, allow natural ventilation and also allow natural daylight inside. The building also incorporates a geothermal heat exchanger – 40 geothermal boreholes are sunk into rock 100m below sea-level. Additionally, the roof is covered with photovoltaic panels which generate 80% of the energy required to heat it in winter and 60% of what is needed to cool it in summer.

CITY GATE FLANK STAIRS. As part of the project, two new grand stairs were built with 1200 stone thread elements and flanked with stone walls with elements exceeding 12 tons in weight and dimensions of 3.5m x 2.2m x 1.8m. Qala Quarry in Gozo was identified to supply all the natural stone for the project. Prior to this, it was mainly used as an aggregate quarry. The technology and techniques developed on City Gate were adopted in this phase of the project. Photo by Zoltan Tasi.

Renzo Piano Building Works was commissioned by the Maltese Government to develop the City Gate Project, including the new entrance, parliament and the regeneration of the old opera house ruins into an open-air theatre. Parliament House is made up of two heavy stone clad blocks that seem to float effortlessly on columns. Photo by Frederick Muscat.

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ARCHITECTURE

RENZO PIANO’S VALLETTA CITY GATE PROJECT

PARLIAMENT HOUSE INTERIORS Photography courtesy of C. Fino + Sons Ltd. Brise-soleil is an architectural feature of a building that reduces heat gain by deflecting sunlight. Stone elements, cut precisely to fit into the fabric of Parliament House’s facade, contribute largely to the light penetration and heat control due to the consideration of the sun rays angle. Horizontal projections extend from the facade, preventing it from overheating during the summer. The result is reduced heat, with natural light streaming through.

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esigners, suppliers and photographers are often given access to a project at a unique stage – when it is complete and pristine, and when it has a concept-sketch-come-to-life feel. It’s a very brief period between completion and client-moving-in when finishes and textures can be appreciated and the flow of the layout understood. Piano’s Parliament is elegantly wrapped in precisely cut local stone inside and out. Modules of the original stone called brise-soleil are gracefully integrated into the fabric of the façades and contribute largely to the light penetration and heat control due to the consideration of the sun rays’ angle. While on the inside, the design takes a light and minimalist approach, thus creating an environment that is exclusive, welcoming and functional at the same time.

C. Fino + Sons Ltd. were entrusted with furnishing Parliament House’s interiors in a vibrant color scheme, providing all interior partitions, ceilings in both gypsum and metal structure, internal doors and seating for the 50 individual offices, 21 conference rooms and 800m2 RP glazed partition walls.

PARLIAMENT PROJECT

works entrusted to FINO:

Doors and Apertures

Soffit Ceilings

Fixed Furniture

Flooring

Acoustic Panels

Partitioning

Office Furniture

Fino Buildings, Notabile Road, Mriehel I www.fino.com.mt I info@fino.com.mt I T: 25493000

SUMMER BARBECUE Forget pale pink frozen sausages, bland ketchup and pre-packed lettuce leafs. Turn your next barbecue event into a gastronomic experience with some elevated twists on BBQ staples that will leave you looking like a pro. In just a few simple steps Mediterranean Culinary Academy's Keith Abela shows you how to make your own cheese filled sausages, smoky ketchup and a tangy grilled salad. Photography by Robert Pace.

BARBECUE GASTRONOMY Chicken, Pistachio & Gruyere Sausage

A homemade take on beloved cheese filled sausages which can easily be prepared without any special equipment. These sausages take around 15 minutes to make but will make quite an impression at your next summer barbecue. serves 4 300g chicken breast 160g fresh cream 30g bread crumbs 50g Gruyere 20g pistachios 5g fresh sage 10g chives 1tsp wholegrain mustard 1tsp salt 1tsp chopped parsley sausage skins as needed (available from most good butchers) 1. Chop the sage and chives finely and set aside. Chop the gruyere into small cubes and set aside.

2. Cut the chicken into cubes and place in a food processor. Chop until it forms a rough paste. Then add the cream, herbs and mustard and blend to a smooth paste. Add the salt and blend for another minute. Transfer mixture to a mixing bowl.

3. Add the chopped gruyere, bread crumbs and pistachios.

Using a rubber spatula mix the ingredients evenly. Transfer mixture to a piping bag and cut a hole at the tip. Slide the sausages skins onto the piping bag tip until there is only about 10 cm of excess skin at the end.

4. Pipe the mixture into the sausage skins with constant pressure. Close off each end of the sausage skins by tying a knot. To create smaller sausages simply twist the sausage at the preferred position.

5. Season the outside of the sausage with salt and grill for 10 minutes on each side on a low heat.

Smoky Ketchup

Try something different this summer and make your own ketchup. This recipe utilises the best of Maltese seasonal produce, using vine-ripe tomatoes and aromatics as well as other delicious ingredients such as smoked paprika and aged balsamic vinegar. This ketchup is the ultimate summer condiment. serves 4 500g beefsteak tomatoes 170g onion

3 sticks celery 50g sugar 40g balsamic vinegar 20g molasses 2g smoked paprika 5g salt 5g corn starch 5g water 2 tsp olive oil bay leaf 1. Place the sugar, balsamic vinegar and molasses in a pot over medium heat and reduce the contents by half.

2. Blend the onion, celery, bay leaf, tomatoes and the salt.

Pass the mixture through a sieve and add the strained liquid and olive oil to the pot. Boil down for 15 - 20 minutes while stirring occasionally.

3. Add the smoked paprika and whisk. Dilute the corn starch with the water and mix until the corn starch is diluted.

While the mixture is boiling add the corn starch slurry and whisk into the tomato mixture.

4. Once it reaches the desired consistency, switch off and let cool. Serve as needed.

Grilled Pumpkin & Orange Salad

This vibrant and balanced salad is not only easy to make and beautiful to look at, but also makes perfect use of a grill. The smoky grilled pumpkin pairs wonderfully with the sourness from the orange and the spice from the rucola, all brought together with a delicious Maltese honey vinaigrette. serves 2 200g pumpkin 2 oranges (1 per person) 1 sprig fennel fronds 2 sprigs of wild rucola 30g Parmigiano Reggiano salt as needed 2tbsp olive oil 1tbsp honey 1. Cut the pumpkin into 2 cm thick slices, season with salt and grill on a medium heat for about 8 minutes on each side.

2. Peel and segment the orange (removing the inner peel).

While segmenting try to keep the juice of the orange for the vinaigrette. Place the orange segments in a bowl, add the fennel fronds, wild rucola leaves and Parmesan shavings.

3. Add the salt, orange juice, honey and olive oil to a jar and shake vigorously until the mixture is emulsified.

4. When the pumpkin is cooked and has cooled slightly chop it into medium sized cubes and add them to the mixing bowl. Using a rubber spatula, mix the salad lightly until it is well incorporated. Taste and adjust with seasoning as needed.

If you’re interested in attending one of Mediterranean Culinary Academy's workshops covering BBQ and summer recipes visit www.mcamalta.com or email contact@mcamalta.com.

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SUMMER BARBECUE

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INSPIRATION

李子柒 LI ZIQI RIDING A HORSE TO FIND MAGNOLIA LILIFLORA BLOSSOMS FOR MY LOVELY FANS.

Recently at FIRST we came across Li Ziqi, a Chinese food blogger on YouTube; at the time of writing her YouTube channel has 4,708,862 subscribers. Based in rural Mianyang, in Southwest China’s Sichuan Province, she prepares food and handicrafts from basic ingredients and tools using traditional Chinese techniques. Li Ziqi's videos are beautifully filmed and inspiring, complete with English subtitles. The countryside is magical and literally transports you to another world and time. If you want a break this summer while at the beach enjoy watching these videos.

Images captured from李子柒 Li Ziqi’s YouTube video: Riding a Horse to Find Magnolia Liliflora Blossoms for my lovely fans.

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