Places - Design & Living (February 2016)

PLACES DESIGN & LIVING

PLACES ISSUE 8 FEBRUARY 2016

Design & Living

The sedentary position issue SIT BACK AND RELAX

THE WAY THEY LIVE INSIDE THE INTERIOR DECORATOR’S OWN HOME ISSUE 8 FEBRUARY 2016

Calculated eclectic to cordial industrial Each to his own

THE BLUEPRINT

PLACES

Design & Living

ISSUE 8 February 2016

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MY DESIGN

THE PROJECT 12 Feeling at Home inside the interior decorator’s world 22 Rough, Raw... and Refined Casual-cum-unconventional BUILDING A BUSINESS 28 Three’s a Good Crowd Fresh approach to stately style 34 New Luxury low-profile plushness HOME DECOR 40 ACCESSORIES Take a Seat Curvilinear and curvalicious 52 DOING IT UP: DO/DON’T The Chairperson Vital statistics for sitting 53 IDEAS & MORE 54 TRENDS Dandy Scandy Scandinavian interior affairs HERITAGE & ENVIRONMENT 58 CONSERVATION CORNER The Bookcase reviving a library; a labour of love 62 PROPERTY POTENTIAL A Matter of Character One-off homes on the market

ON THE COVER PHOTO: Sean Mallia, featuring Spun Chair by Magis, designed by Thomas Heatherwick, on loan from Grech&Vinciarchitecture&Design, €395, Core | Voido rocking Chair by Magis, designed by ron arad, €498, Core | plaid, €59, boConcept | Panton Junior Chair by Vitra, designed by Verner Panton, €151.04, Dex | Tip Ton Chair by Vitra, designed by edward barber and Jay Osgerby, €223.02, Dex. See story on page 40

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PHOTO: BRIAN GRECH See story on page 12

MY DESIGN in a bid to constantly improve their innermost spaces. Maybe our shabby surroundings are the reason why the Maltese can be considered so houseproud, and the shops that sell household goods are mushrooming and thriving, providing a form of relief in a weary scenario, weighed down by more tower cranes.

The other day, I visited a recently refurbished topclass project. But as I was taking in the interiors and feasting my senses on quality fabrics, soothing colours and the elegant ambience, I was taken aback by its appalling surroundings. Beyond the windows was nothing but one construction project clambering over the other and more cranes than I could count. Again, I was forced to focus internally and shut out the ‘war-torn’ outside world… or wonder what the point of such splendour was in the heart of such distracting devastation.

As a result of all this, I have a picture in my head of a bunch of hermits, hemmed into their wonderful homes, emerging apprehensively into their battered environment now and again only to buy another piece of furniture and stealthily retire.

But beyond the far-fetched images in my mind, some suspicion does indeed exist. I confess that every time I stumble upon a bunch of men in suits standing outside an old property in a village core, or by a rundown farmhouse in the countryside, I don’t necessarily think they are appreciating its historical value, or considering the area for a picnic. No, instead, I get immediate palpitations in the belief that they are rubbing their hands in glee, gold teeth glistening, dollar signs bursting out of their brains, as they hear the tingling sound of money at the thought of raping yet another piece of dwindling virgin land…

But there’s always the other side to the coin, and in this case, it’s the fabulous interiors of the Maltese and PHOTO: BRIAN GRECH

MAYBE it’s because our surroundings are getting uglier as we speak that the Maltese have such stunning homes; maybe it’s to avoid the chaos outside their front door that they need to look within; maybe it’s the catastrophic environment that drives them to pay almost obsessive attention to their interiors.

Maybe the only way they can fend off their frustration as they face the mess is by retreating into their shells and spending any energy on creating that ideal environment within the confines of their four walls.

And when I say four walls, I mean those and nothing beyond. Not even private gardens are safe anymore. Too many homeowners live in the fear that they could wake up one morning to find their outside spaces dwarfed and overlooked by looming blocks, devaluing a lifetime investment in a flash.

Too many green areas are being eaten into by the gaping mouths of construction magnates. And worse still, almost everyone else now seems to be reasoning that if they can’t beat them, they should just join them, so they grovel along to help themselves to the leftover morsels of greens too.

Nothing really feels safe and secure beyond our four walls, no matter where it is written that it should be protected.

That’s why we may be subconsciously barricading ourselves indoors, hanging plush curtains on our windows and blocking out the view we probably bought our properties for; a view we shouldn’t get too attached to as it is destined to be stolen away.

If I were looking for a house today, its surroundings – if I actually were to come across anything decent – would be the last asset that would clinch the deal.

Nowhere seems untouchable; nothing is sacred; not even a hard-to-come-by cliff-edge property. Even that could risk losing its 360-degree panorama to some land reclamation project.

So maybe that’s why the focus is internal; why Maltese homes are so pristine; why so many people go from one refurbishment project to another

February 28, 2016 | Issue 8 | PLACES is a bi-monthly magazine | EXECUTIVE EDITOR Fiona Galea Debono | PUBLISHER Allied Newspapers Ltd | PRODUCTION Allied Newspapers Ltd | PRINTING Progress Press Ltd | DESIGN Manuel Schembri | ADVERTISING SALES Veronica Grech Sant [2559 4706; veronica.grechsant@timesofmalta.com]

the joy and thrill that being houseproud can bring. These are captured in the Sedentary Position Issue of PLACES, which has started entering the homes of those who do up others’ for a living, to discover their own surroundings and the enthusiasm they pour into them after spending the day thinking of their clients’ projects.

As its subtitle implies, the February edition also has a strong focus on chairs, from the iconic and timeless to the miniatures and reinterpretations, spurred by photographer Sean Mallia’s own passion as he turns into artistic director and stylist and has a field day with the amazing range on offer.

It was only a few years ago that I discovered the true meaning and importance of a comfortable chair.

Sitting was no longer a means of resting and relaxing for someone whose spinal discs were slipping, but was associated with pain and discomfort. Slumping onto a sofa meant writhing and wriggling for a while… then giving up and going on the floor. One glance at a supposedly goodlooking chair and I knew it was all wrong for ergonomic reasons etc…

So find your favourite seat in your preferred spot in that corner of your world that no one can yet touch, and scroll through the 12-page shoot to pick the next chair that can continue embellishing your cherished inside space.

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

FEBRUARY 2016 PLACES

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THE PROJECT

Feeling at

HOME PLACES enters the homes of those whose job it is to do up others’; to see how they live, their own personal style, whether they resent refurbishement projects under their own roofs, or can’t get enough of change. Interior decorator Alison Satariano recently embarked on a threeweek turnaround of her whole house while her husband was abroad.

She lives and breathes her work, so for her, it’s just a way of life.

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PHOTOS: BRIAN GRECH

THE MALTESE have a saying that goes: the cobbler wears torn shoes. Does this apply to you and the design and decor of your own home?

I think this saying used to apply to me until I started to treat myself as a client. And this is the secret; I started to be as disciplined with doing things for my own environment as I am for others. I now do not allow myself to proceed to the next project in the house until the last one is completely finished.

Do you often redecorate your house, or has it been sitting on the backburner and the last thing you want to think about after a day’s work seeing how to revamp others’ homes?

I think there are two agendas: the little extras, like changing cushions, a lamp, or a coffee table that keep things updated.

I find that inspiration comes all the time to add something new and beautiful, so for me, the house is always an unfinished canvas for the small details. Then there is my five-year plan: I do one project at a time until it is completely finished as part of an overall five-year coordinated plan that actually never ends and allows me to budget large,

FEBRUARY 2016 PLACES

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THE PROJECT

expensive projects, mixed with small cheaper ones, depending on time, cash flow and convenience. I have to say I live and breathe my work, so I don’t actually think of it as a job, but as a way of life. I am always imagining new things to do and new ways to do them. Also it is the nature of decorating that trends and styles are constantly changing and evolving, so unless you are very passionate about it and treat it as your life rather than work, you will not keep up.

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How would you describe the style of your home?

I think it is very hard to put it simply… I don’t like to be restricted by one style and I like things to be practical, but beautiful. I’m concerned about ease of use as well as the aesthetics. I want my surroundings to feel cosy and homely, in spite of my workshops being downstairs and my office being in the spare room. Everything has to be highly organised down to my socks. I don’t like to waste time looking for things;

THERE IS SO MUCH MORE AVAILABLE TO US NOW. TAKE WALLPAPER, FOR EXAMPLE: 25 YEARS AGO, NOBODY WOULD HAVE CONSIDERED IT; TODAY, MORE THAN HALF THE WALLS IN MY HOUSE ARE COVERED IN IT AND IT ADDS A WHOLE NEW DIMENSION TO A ROOM

my house are covered in it and it adds a whole new dimension to a room.

everything has a home so it can be found even in the dark!

How has it changed from when you moved in?

Well, 25 years down the line means five fiveyear plans, so I would like to think it has evolved dramatically. Styles and taste, in general, have grown with our interest in the home. There is so much more available to us now. Take wallpaper, for example: 25 years ago, nobody would have considered it; today, more than half the walls in

What is the effect you want your home to have on you, your family and your guests?

I hope it makes everyone feel welcome, comfortable, cosy and ‘at home’.

How different is its style from what you propose to others on a daily basis as part of your job as an interior decorator? Or how hard is it to do something different, given that you are constantly churning out ideas, and picking your favourite colours and fabrics for others?

What I do in my home is not a copy paste of

FEBRUARY 2016 PLACES

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THE PROJECT

client and/or designer, so whatever is done reflects their tastes, lifestyle, needs and the style of house/apartment.

If someone who knew you well were to walk into your home, what do you think would make them realise it is definitely yours?

If they know me well… everything – from the perspex boxes to the colours of the cushions to the marble table in the kitchen. what I have been involved in elsewhere. Every house and every room is different, like their occupants, so no project should ever be the same. I try my best to become a chameleon; to get into the mind of the

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You’re surrounded by beautiful household objects and fabrics in your shop. How tempting is it to take things home before you sell them, and do you?

THE PROJECT

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THE WINDOW SEAT IN THE DINING ROOM – IT’S PERFECT TO SIT AND READ ON Or does the novelty wear off with the familiarity, so to speak?

Very tempting! Often, I don’t want to sell them. If I love something, I love it for life. Having said that, if I feel someone has a passion for something, I have more of an urge to give it than sell it. That is why I am part of a team where we all play equally important roles from the creative to the financial and the organisational.

And no, the novelty never wears off – the combinations for a home are endless and always exciting.

Do you seek out completely different things from what you sell?

Definitely not; I love everything we sell. Having said that, we cannot sell everything, so we work hand in hand with many other shops to combine and coordinate all successfully.

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THE PROJECT

What is that niggling, pending project that you just can’t get down to doing?

I would say I never get time to plant all the flowers I would like to in the garden. I even neglect the window boxes, which should be less time consuming.

But I think I will save that for when I’m older as I’m not so good at doing things in half measures.

What’s your favourite spot in the house?

Definitely the window seat in the dining room – it’s perfect to sit and read on.

Your most precious touch?

The things I constructed and made myself, such as the mirror in the dining room and the chesterfield circular ottoman in the sitting room.

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Something you can’t wait to change as your taste in that particular thing has changed considerably?

I don’t think there’s anything, although I would have loved a dressing room, but that would mean drastic structural changes so it’s not an option.

they need to be revamped. Perhaps next year... I will look forward to doing them with all the new ranges.

But I am also working on a coffee table for the living room – a mix of upholstery/glass/marble that I’m very excited about.

When is your home due for a makeover and does the thought scare you?

On the five-year plan, the next things are my children’s bedrooms; now that they have left home,

On a scale of one to 10, how house-proud are you?

Very! I love the house, so I would say 10. But I think that applies to the houses and projects I’m involved in as well as my own.

PLACES FEBRUARY 2016

THE PROJECT

THE STARTING POINT FOR THIS PROPERTY’S INDUSTRIAL LOOK STEMMED FROM THE ROUGH TEXTURE OF THE CONCRETE CEILING, BUT WAS ALSO STRONGLY INFLUENCED

BY THE HOMEOWNER’S DESIRE TO CREATE A CASUAL, FUNCTIONAL AND PRACTICAL SPACE, IDEAL FOR ENTERTAINING, WHILE ALSO ENJOYING UNCONVENTIONAL DESIGN AND FURNITURE ELEMENTS.

ROUGH, RAW...

AND REFINED PHOTOS: PETER M. MERCIECA

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ARCHITECTURE & INTERIOR DESIGN: MJMDA [Matthew James Mercieca Design Architects] FLOORING, CLADDING, KITCHEN & FURNITURE: Brands International Ltd & BoConcept STYLING: BoConcept

OVERALL LOOK AND FEEL This project has an industrial look, with a focus on rough, raw textures. The concrete ceiling was left exposed and the dark walls are juxtaposed against the clean lines of the crisp white central unit in the living area. This becomes the main focal point, also because it cleverly serves as a media unit on one side, housing the large TV screen in the main entertainment area, and a storage/utility area on the other.

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THE PROJECT

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INSPIRATION AND KEY PIECES The idea for the industrial look stemmed from the rough texture of the concrete ceiling and the homeowner’s desire to create a casual, highly functional and practical space, ideal for entertaining, but also enjoying unconventional design and furniture elements.

Achieving a well-thought-out, coordinated look remained the top priority, and all key pieces and spaces reflect the same feeling throughout, while serving the different functions in each of the rooms.

ACHIEVING A WELL-THOUGHT-OUT, COORDINATED LOOK REMAINED THE TOP PRIORITY, AND ALL KEY PIECES AND SPACES REFLECT THE SAME FEELING THROUGHOUT, WHILE SERVING THE DIFFERENT FUNCTIONS IN EACH OF THE ROOMS The KITCHEN enjoys a simple layout, inspired by a casual bar look, with the back-lit glass shelving cantilevered between the back panelling, and the industrial-grade extractor hood being the main focal points. The suspended column over the peninsula houses the appliances, while a concealed unit serves as extra storage space accessible from the front of the kitchen. A textured laminate was used for the cabinetry, while the top and backsplash in metal-look laminate brings in a cool element and completes the casual industrial look.

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THE PROJECT

THE ELEGANT DINING TABLE AND CHAIRS, WITH THEIR SOLID EUCALYPTUS LEGS AND CONTRASTING WHITE TOP, EXUDE AN AIR OF SOPHISTICATION WITHOUT BEING OVERLY DONE

The FLOORING used throughout is another key statement in this property and ties in with the whole look. The upcycling trend is reflected here, through the use of the eyecatching vinyl flooring, the design of which was also purposely chosen to mirror the timber texture of the concrete in the ceiling.

The same flooring was extended to the spare bedroom and also clads the walls vertically in this room, creating a sense of continuity and opening up the space further. The monochrome colour scheme in this room, while retaining a manly feel, is accented by touches of yellow and petrol blue in the soft furnishings, keeping things current and on trend. Space was maximised through functional pieces of furniture, such as a freestanding mirror, which doubles as a shoe/storage cabinet, and the wire stool, which doubles as a nightstand. The use of timber, and particularly hardwood decking on the outdoor terrace was an obvious choice for the homeowner, who specifically wanted to create a warm, inviting feel outdoors, as a direct extension

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of the entertainment area in the living room.

Moreover, the flexibility of hardwood makes it easy to have a continuous flow between the floor and the walls. The elegant dining table and chairs, with their solid eucalyptus legs and contrasting white top, exude an air of sophistication without being overly done.

The SOFA is another key piece that distinguishes the overall character of this property. The modularity of its cubic shape allowed for specific customisation, including a backless module and a chaise longue, as well as mixing and matching different fabrics and leathers, highlighting and reflecting certain tones in the floor. Put together, they create an unexpected, individual look that stands out, yet is perfectly harmonised.

BUILDING A BUSINESS

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THREE’S

A GOOD CROWD PHOTOS: SEAN MALLIA

Interior architecture and furniture designer VIOLET KULEWSKA plays on three – the number of good fortune – in her design of a Rabat restaurant by the same name.

THIS 17th-CENTURY Rabat palazzo was originally constructed for the aristocratic Theuma-Castelletti family, who built a residence consisting of several interconnected and high-vaulted rooms and arches in keeping with the stately architectural style of the period.

The function of these rooms has changed over the years: from housing nobility to being used as a school and shelter for children during World War II. It was also recently discovered that the building rests on the remains of an ancient Roman village and has a history of over 2,000 years.

Originally, the restaurant was to be named Three Arches, which actually form part of the existing interior. Eventually, it became Trois – being one of the three restaurants inside Palazzo Castelletti – and this number, therefore, has a symbolic meaning.

“I wanted to highlight this in different areas of the project, which consists of three arches, three

elements on the wooden partition, three round globe lights on the decorative arches and three hand-painted decorations on these arches. Three is also the number of good fortune,” says Violet Kulewska, responsible for the interior design project.

Trois restaurant is part of the historical building, so she wanted to work carefully with the existing space, aiming to combine old structural elements with

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BUILDING A BUSINESS

THE OLD NICHES, TYPICAL OF THIS KIND OF ARCHITECTURE, WERE TRANSFORMED INTO PRACTICAL DISPLAYS, WITH SHELVES PAINTED IN A LEMON-YELLOW COLOUR

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THE COMBINATION OF TURQUOISE AND LEMON-YELLOW IS ONE OF MY FAVOURITE MEDITERRANEAN COLOURS. BOTH THE SEA AND THE LIMESTONE ARE REFLECTED IN THIS INTERIOR SPACE

new contemporary details, creating a fusion between old and new.

The old niches, typical of this kind of architecture, were transformed into practical displays, with shelves painted in a lemon-yellow colour. Decorative elements like the turquoise pastel coloured timber partition wall and the blue arch were beautifully paired with these lemon-yellow details. “The combination of turquoise and lemonyellow is one of my favourite Mediterranean colours. Both the sea and the limestone are reflected in this interior space,� Violet says.

Another interior design element is the hand-painted arches, using basic brushstrokes.

Most of the items in Trois were custom-made, including the simple tables in black galvanised steel, while some existing pieces of furniture were also re-designed and the modern grey and black upholstered chairs complete the look.

Violet also managed to source beautiful old bentwood chairs, also known as bistro chairs, from the 1930s, the design of which is elegant and precisely crafted, presenting the perfect match for the classic-style diamond-patterned marble floor.

WWW.VIOLETKULEWSKA.COM

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BUILDING A BUSINESS

There’s a new class of lavishness taking shape out there… and if you don’t have an eye for what is genuinely and deeply deluxe, it can easily pass you by. New luxury is low-key extravagance, if such an oxymoron were allowed. For a taste and feel of this subtle swanky style, check out the refurbished Club InterContinental lounge and the hotel’s Presidential Suite.

luxury New

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PHOTOS: BRIAN GRECH

You may not have €5,000 a night to spare on a stay at InterContinental Malta’s Presidential Suite, so here’s a sneak peek of its lush interiors, spread over 150 square metres of what can be called the ultimate urban retreat.

Those who only equate luxury with in-your-face and over-the-top opulence may miss the low-profile plushness at first glance. But this is the epitome of new luxury: it’s cool, calm and collected. It doesn’t need to show off. You either get it, or you don’t… but ultimately, everybody does.

The €5,000 per night price tag may be justified by a variety of fine, bespoke amenities and comforts: from Bang & Olufsen entertainment services, whose contemporary design quirkiness is seen in a revolutionary combination of natural tones, strong lines and innovative technological brilliance; down to the finest Egyptian cotton linen; homemade chocolates and truffles; fresh tropical orchids; and sumptuous exotic fruit baskets…

THIS IS THE EPITOME OF NEW LUXURY: IT’S COOL, CALM AND COLLECTED. IT DOESN’T NEED TO SHOW OFF And of course, while it has nothing to do with interior design, the butler service, on hand at any time of the day or night to provide anything from a silver service dinner to personal shopping assistance, also plays its part in keeping up the overall level of luxury on offer.

At the end of the day, the relaunch of both the Presidential Suite and Club InterContinental on the hotel’s 15th floor was designed to herald “a new level of comfort and service that our guests have come to expect,” says Martin van Kan, Area General Manager Malta.

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BUILDING A BUSINESS

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THE LIGHT-FILLED OPEN AREA OFFERS A FEELING OF SPACE AND INTIMACY AT THE SAME TIME; WHILE THE CONCENTRATION OF STRAIGHT LINES AND SIMPLICITY IS THROWN INTO SHARP RELIEF BY THE HUGE HOLLOW GLOBED CHANDELIERS Deluxe environments can be intimidating; you may not dare to touch.

But new luxury is comfortable and welcoming; it’s serene and soothing. It feels like home, but it’s a big cut above…

And the balance between rich and down to earth is not that easy to achieve in terms of interior design.

In the slick and spacious suite and lounge, colours are predominantly neutral, with various tints of grey, emphasised in places by dark stained woods, cool marble, natural leathers and crisp glass, all of which create a calming and distinguished ambience. The furniture for both was specifically designed and arranged by none other than Minotti.

Club InterContinental is spread over 600 square metres and is an example of slick and contemporary décor, where blacks and dark blues meet and mingle, and masculinity, warmth and elegance combine to create a business environment that is not conducive to distraction and allows for dining, relaxing, networking and socialising.

The light-filled open area, with central lounge seating as well as clusters of chairs and coffee tables, offers a feeling of space and intimacy at the same time; while the concentration of straight lines and simplicity is thrown into sharp relief by the huge hollow globed chandeliers and striking greenery almost glows against the walls’ darker tones.

But the most dramatic contrast is probably thanks to the creativity of the chefs – through their collection of colours, shapes, tastes and flavours, which stand out against the relative sleek simplicity of the lounge.

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ACCESSORIES

Take a

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Vintage inspired 1. Armchair Peggy by Pols Potten, €895, Loft | 2. props, onepercent | 3. €1,303, Fino | 4. €290, Loft | 5. €189, Loft | 6. €1,650, Fino | 7. €1,220, Fino | 8. [starting from] €628, Core | 9. €530, Fino | 10. €661, Fino | 11. €61.84 each, Fino.

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From contemporary designs to vintage and miniatures, reproductions and reinterpretations of iconic chairs, SEAN MALLIA sources, styles and photographs the finest on the market, including the likes of Eames, Panton, Heatherwick and Starck and their Voido and Spun Chairs, to celebrate those who turned sitting into a work of art. From 1950s to now, between brands like Magis, Kartell and Vitra, these are the designs that have stood – and sat – the test of time, using anything from cowhide to polyethylene and bendable wood.

PHOTOS: SEAN MALLIA LOCATION: ZAFFARESE AUCTIONS, SAN GWANN

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Between the lines 1. Masters Chair by Kartell, designed by Philippe Starck, €205, onepercent | 2. €277, Core | 3. Eames Wire Chair, €361.08, Ideacasa | 4. [coat hanger] €329, BoConcept | 5. €1,241, Fino | 6. Singapore chair

by Pols Potten, €295, Loft | 7. €50, Loft.

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ACCESSORIES

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Don’t sit still 1. Panton Junior Chairs by Vitra, designed by Verner Panton, €151.04, Dex | 2. Voido Rocking Chair by Magis, designed by Ron Arad, €498, Studio Moda | 3. Spun Chair by Magis, designed by Thomas Heatherwick, on loan from Grech&VinciArchitecture&Design, €395, Core | 4. Voido Rocking Chair by Magis, designed by Ron Arad, €498, Core | 5. Tip Ton Chairs by Vitra, designed by Edward Barber and Jay Osgerby, €223.02, Dex.

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Antique vs contemporary 1. Limited-edition Masters Chair by Kartell, designed by Philippe Starck, €457, onepercent | 2. [nest of three tables], €319, BoConcept | 3. Mad Chair by Poliform, designed by Marcel Wanders, €793 [depending on fabric], onepercent | 4. €149, BoConcept | 5. €233, Fino | 6. €179, BoConcept | carpet; tea set; urns, all Zaffarese Auctions.

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Neutral but bold 1. €719, Fino | 2. €250, Ideacasa | 3. €1,160, Studio Moda | 4. €880, onepercent | 5. €158, Ideacasa | 6. Worm Chair model by Sean Mallia | 7. Embrace, €1,499.78, Dex | 8. Eames Armchair, €643.10, Dex | 9. €179, Loft | 10. €983, Fino | 11. €79, Loft | 12. €29, BoConcept | 13. €569, BoConcept | 14. €169, Loft | 15. €1,213, Fino | Vitra miniatures, Dex | whisky decanter, Zaffarese Auctions.

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Present meets future 1. €59, BoConcept | 2. €91, BoConcept | 3. €158, Fino | 4. Eames Armchair, €422.44, Ideacasa | 5. Koncord stools, designed by Karim Rashid, €252 each, Brands International Ltd | 6. €64, Loft | 7. €619, BoConcept | 8. Imola chair, designed by Henrik Pedersen, [starting from] €1,419, BoConcept | 9. Basel Chair by Vitra, designed by Jasper Morrison, €333.94, Ideacasa and Dex | 10. CH07 Shell Chair, designed by Hans J. Wegner, [starting from] €2,360, Core | 11. €229, BoConcept | showcase, Zaffarese Auctions.

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Chirpy & cheerful 1. €590, Fino | 2. €969, Fino | 3. €97, onepercent | 4. €526, Fino | 5. €52, Loft | 6. [starting from] €221.40, Studio Moda | 7. [starting from] €148, Studio Moda | 8. €590, Fino | 9. eames elephant, €208.86, Dex | 10. €97, onepercent | 11. [starting from] €89.40, Studio Moda | 12. €29 each, boConcept | 13. €42, boConcept.

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DOING IT UP: DO/DON’T

CHAIR person

The

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Thonet Vienna N. 14

Louis Ghost

Interior architect Antonella Riotto from Fino Interiors Design Studio tries and tests some of the hottest seats in the history of furniture; then boils it down to the vital statistics for any chair to work.

THE CHAIR is one of the most important furniture products in the field of design. A number of factors come into play to make it perfect; a combination of aesthetics and comfort, ergonomic features, dimensions and materials.

But in simple terms, a chair is comfortable if the width varies from 45cm to 55cm [minimum 40cm and maximum 60cm]; the depth can vary from 46cm to 60cm; a 45cm to 60cm backrest allows the user to get up easily; while from 75cm to 90cm, a good support for the back is ensured.

Every type of chair has different features, depending on where it is situated and its purpose. A stool bar, for instance, is comfortable if it has a footrest and the total height is correct. It is also recommended that the distance between the seat of the stool and the table top is between 25cm and 35cm.

This avoids discomfort once seated due to the fact that the table is either too close to the face, or the legs can’t fit below it.

And on it goes… An outdoor chair, for example, has to be made of weatherproof materials; while a chair for a studio flat, or small areas, should be folding, or stackable.

An office chair has to be designed keeping in mind health, comfort and well-being; it has to be ergonomic, with a good support for the back, and wheels to move easily, while it should be made of a breathable fabric [it is advisable to avoid leather].

One of the most well-known ergonomic office chairs ever made, an icon of modern design, is Aeron, designed for Herman Miller in 1992 by William Stumpf and Donald Chadwick.

This chair is exhibited in the permanent collection of MoMA [Museum of Modern Art] in New York. The fabric and foam are replaced by a breathable woven membrane for the seat and backrest.

Aeron distributes body weight evenly, eliminating pressure points and heat buildup. It lets you recline fluidly and can be adjusted by leaning forward to prevent the occurrence of lordosis, putting support where you need it most while seated – at the base of the spine – having a biomorphic shape. It’s certainly one of the most expensive office chairs, but it’s the real-life answer to anyone who sits at a desk for hours at a stretch.

It’s hard to choose the best chair ever created as there is a huge list and it mostly depends on personal taste, the

Aeron

IDEAS & MORE

features and the materials used, as well as the innovative impact on furniture history.

For example, the famous coffee house chair, Thonet Vienna N. 14, designed by Michael Thonet in 1859, is an icon and considered the first and most successful mass-produced product in the world to date, with some 50 million manufactured. This chair is still in production today and is considered to be the genesis of modern furniture. The basis of this chair was the new technique of bending solid wood, which Thonet developed and perfected during the 1850s.

Another timeless design item is the Panton Chair, a classic in the history of furniture.

It was designed by Verner Panton in 1960 and developed for serial production in 1967.

The Panton Chair was the

IT’S CERTAINLY ONE OF THE MOST EXPENSIVE OFFICE CHAIRS, BUT IT’S THE REAL-LIFE ANSWER TO ANYONE WHO SITS AT A DESK FOR HOURS AT A STRETCH first to be manufactured completely out of plastic in one single piece, and the comfort results from the combination of a cantilever structure with an anthropomorphic shape and a slightly flexible material.

Talking about contemporary design chairs, it’s impossible not to mention the innovation from 1990 to 2000 by one of the best known designers, Philippe Starck. Utilising polycarbonate, a plastic that can be broken down for recycling purposes, Starck developed eco-friendly, contemporary, plastic furniture with an exclusive style.

Maybe the most famous Starck chair is the Louis Ghost, a comfortable armchair made out of transparent and coloured polycarbonate in the Louis XV style. It is the quintessence of baroque, revisited in an amazing, modern and sophisticated way, combining a contemporary material with a classical style concept. Despite its evanescent and crystalline appearance, Louis Ghost is stable and durable, shock and weather resistant and can also be stacked. This article has great charm and considerable visual appeal and brings a touch of elegance and irony to any style of home, or public place.

Seamless surfaces Staron by Samsung is a 100 per cent solid seamless surface, which is practical, aesthetically beautiful and functional.

Staron is a non-porous material, so it resists bacteria, mould and moisture from penetrating the surface. Since the colour and pattern are uniform throughout the product, scratches, chips and stains can be sanded out and the surface renewed, reconditioned and restored to its original finish.

Call on 9944 6951 for a free quotation, or send an e-mail to jurgen@jtstrading.com. www.jtstrading.com

Lulu furniture, lighting and accessories Named after one of his muses, Francis Sultana’s latest collection of furniture, lighting and accessories nods to influences from Paris of the 1920s as well as North Africa both in its silhouettes and detailing such as fringing and grasses. Mixing the artisanal with his signature sense of elegance and luxury, Francis has created a collection of depth and style, with upholstery and cushions blending raffias and silks in contemporary tweeds. Bronze mimics tree barks, curves are juxtaposed with straight lines and colours range from a natural palette to bold splashes of peacock blues and greens, burnt orange and reds. Following a year of success, the London-based Gozitan has now moved from his Fulham Road showroom to St James’s. His new atelier is by appointment and is found in the same building as David Gill Gallery, of which Francis is also artistic director, overseeing its schedule of exhibitions of new and established designers and artists. Francis has been widely applauded for his stunning Pad restaurant and bar in the heart of Berkeley Square and was named one of Wallpaper’s Top 20 Interior Designers. www.francissultana.com

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TRENDS

THEIR MODESTY IS REFLECTED IN THE SIMPLICITY AND MINIMALISM OF NORDIC INTERIORS; AND THEIR LOVE FOR NATURE IS HIDDEN IN THE WOODEN ELEMENTS AND NATURE-INSPIRED ORNAMENTS

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DANDY SCANDY

Arne Jacobsen’s Egg Chair and Alvar Aalto’s Paimio Armchair.

SCANDINAVIAN DESIGN HAS INFILTRATED OUR HOMES AND IT FEELS RIGHT. HERE’S A GUIDE TO THE REGION’S INTERIOR AFFAIRS BY ALINA ANISIMOVA.

WHEN WE mention Scandinavian interiors, the first thing that springs to mind is usually Ikea. But there is much more to this style…

Scandinavian designers managed to create an interior style that fully reflects the ideology of their fellow natives. Their modesty is reflected in the simplicity and minimalism of Nordic interiors; and their

love for nature is hidden in the wooden elements and nature-inspired ornaments.

The trademark chic minimalist look and simple lines of Scandinavian interiors is inexpensive and easy to update. It builds on the open, cosy and comfortable spaces, and paradoxically, is the ideal winter antidote for the Northern European region that is frozen half the year, adding a special aesthetic pleasure to any room.

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TRENDS

Alvar Aalto

SCANDINAVIAN STYLE RELIES HEAVILY ON WHITE, WHICH IS USUALLY COMBINED WITH NEUTRAL COLOURS, SUCH AS BLACK, GREY, BEIGE AND LIGHT BLUE. OTHER PASTEL SHADES CAN EASILY BE INTEGRATED INTO A SCANDINAVIAN INTERIOR Nordic designers gained public attention long before the famous Egg Chair from the 1950s. They introduced the world to the concept of Scandinavian design during the New York World’s Fair, the famous exposition that first took place in 1939. The Finnish pavilions were created by modernist architect Alvar Aalto, one of the leading figures in Scandinavian design.

According to Aalto: “It is the task of the architect to give life a gentler structure.” And perhaps, this famous quote encapsulates the whole idea of Nordic design and architecture aesthetics. Home is a place of comfort, an open and airy space, which is meant to enhance the quality of life. And these principles keep Scandinavian design popular and relevant today as it seeps into our Mediterranean homes.

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Tips to transpose the feel from up north down south: The right colours Picking the colours is the first step.

Scandinavian style relies heavily on white, which is usually combined with neutral colours, such as black, grey, beige and light blue. Other pastel shades can easily be integrated into a Scandinavian interior. These colours do the trick, visually enhancing a room and making it lighter. But don’t be afraid to add some accents and brighten up a space using pops of red, mazarine blue, or grass green.

Lighting Maybe because their region is characterised by the darkest winter days and longest nights, Scandinavian designers tend to create open

YOU CAN BRIGHTEN A SPACE UP BY USING POPS OF, FOR EXAMPLE, GREEN, WHICH STANDS OUT AGAINST A BLACK AND WHITE INTERIOR. A LITTLE CACTUS, OR ANY MINI PLANT, LOOKS GREAT BY ITSELF, OR IN A COMPOSITION

Award-winning designer Birger Dahl was a pioneer of contemporary Scandinavian lighting and created the Dokka pendant lamp.

and airy spaces to allow light throughout. Big windows with no curtains are typical of Nordic interiors; they help to take advantage of the daylight. Consider placing several lighting options around, such as table lamps, floor lamps, torchières and candles, to illuminate a space and create a sense of cosiness. Iconic Scandinavian lighting designs include the PH Artichoke Lamp by Danish architect Poul Henningsen and the Dokka pendant by Norwegian designer Birger Dahl.

Materials Scandinavian design emphasises the use of natural materials, such as wood elements, ceramics, glass, metals, or natural fabrics, such as linen, cotton and wool. However, manufactured materials, including moulded plastics, are also used frequently for functionality.

Furniture Scandinavian design is essentially minimalist, so when it comes to furnishings, less is more.

Usually, it is quality furniture: simple and functional, yet elegant, while special attention is given to comfort. Arne Jacobsen’s Egg Chair and Alvar Aalto’s Paimio Armchair have become the landmarks of modernist design and are considered classics today.

Decoration Scandinavian design does not require much décor, but those pieces you pick have to be special. Frames of various sizes have become the traditional decorative elements of a Scandinavian interior, whether it’s a conceptual art piece, or a vintage shot of James Dean. You can brighten a space up by using pops of, for example, green, which stands out against a black and white interior. A little cactus, or any mini plant, looks great by itself, or in a composition. Small things in the right places, such as a collection of your favourite magazines on a coffee table, can make your interiors truly stunning. And don’t forget the candles, a must to make things Nordic and cosy.

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CONSERVATION CORNER

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The

book case Conservator Roderick Abela from ReCoop Ltd talks us through the restoration process of a majestic, 17th-century bookcase to help us appreciate its intrinsic value. He says he could easily spend hours admiring the beauty of this library’s handcrafted features, each differing from one another and all having their own character.

Description This fine library bookcase is an impressive piece of Italian furniture, dating back to the early 17th century and boasting a high level of carvings and craftsmanship. The structure is heavy, linear and architectural in design, with thick panel mouldings and detailing and its decorative parts partially gilt.

baroque period. It consists of a two-tiered structure, with panelled cupboards on the lower tier and book shelving on the recessed upper part.

The articulation has two wide panels at the centre, flanked pilasters and thinner panels on the outside. The upper shelf doors have wide wire meshed panels and the decorative details are typical of the late cinquecento.

THE STRUCTURE IS HEAVY, LINEAR AND ARCHITECTURAL IN DESIGN, WITH THICK PANEL MOULDINGS AND DETAILING Made from walnut wood, it was certainly produced for an Italian palazzo in the pre-

The entire structure stands on a shallow podium and is crowned by a cornice.

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CONSERVATION CORNER

TIME HAS SHOWN THAT INAPPROPRIATE TREATMENTS LEAD TO WORSE SCENARIOS THAN IF THE OBJECT WERE LEFT ALONE Intervention The library was recently purchased by a private client, who wanted to have it restored back to its original condition and refined splendour.

Conservation and restoration procedures were discussed and it was made clear that no unnecessary treatment would be carried out.

Time has shown that inappropriate treatments lead to worse scenarios than if the object were left alone.

There are guidelines and a code of ethics that every professional conservator should follow.

Conservation Because it consists of both wood and metal, its conservation process had to incorporate a treatment that benefitted each composite material.

The approach followed was a balance between function, aesthetics and the preservation of the historic finishes and surfaces, all having the

potential to reveal much about the history of the object.

Once cleaned, a gilt lustre emerged from beneath layers of embedded dust and dirt. The original French polish patina was preserved and regenerated, making the wooden finish look as vibrant as it is meant to be.

Its decorative features became more pronounced, offering the eye a pleasant journey of discovery of the craftsman’s various creations. One could easily spend hours admiring the beauty of the handcrafted features, each differing from one another and all having their own character.

Conclusion The end result is majestic – more than two metres in height and three metres wide of a solid – yet elegant – piece of furniture that would easily stand out in any environment.

PROPERTY POTENTIAL

A matter of

character Not interested in the one-sizefits-all home and looking for a property that is unique and can never be replicated? The house of character continues to fit the bill, according to Stanley Bonello, Fgura branch manager of Frank Salt Real Estate Ltd.

The stuff of fairy tales This palazzo with its own driveway, leading up to a five-storey tower, surrounded by extensive, mature gardens, a large pool area, open terraces and secluded courtyards, is set just outside Zurrieq. The 400-year-old property is built in thick limestone, with tall turrets, balustrade balconies and masonry features that hark back to the time of the Knights of the Order of St John. Set on 8,300 square metres of land, this rare example of 17th-century fortified architecture stands peacefully alone, surrounded by olive and citrus trees, Mediterranean pines and cacti. The nine bedrooms all look out onto unobstructed views, and the large reception rooms below open onto the gardens. Other features include stone fireplaces, curved winding staircases, vaulted ceilings, double-volume height in the main reception room, niches, wall recesses and stone floors.

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Are houses of character still in demand, or is today’s buyer looking for a newer, more modern house, and possibly an apartment?

Houses of character have retained their appeal, both converted and unconverted, especially because they are now the main alternative to a modern apartment/maisonette/ penthouse. Moreover, their character, as their name implies, is unique, and they offer interesting and new challenges to any buyer.

What are the pros of this sort of property? And can they outweigh the cons of living in an old house with maintenance and humidity issues among others?

The main pro is that every house of character is unique; none are identical anywhere on the island. So when you manage to get your hands on a property of the sort, you have acquired a home that is as original as it can get, with the possibility to further enhance it in line with your own ideas.

How would you rank their selling points, from historical relevance to being one of kind etc‌, in order of importance?

Their selling points vary. I would say the main appeal is their overall charm and the warm feeling they project. This is closely followed by the location, whether it is a quaint village core, or its outskirts; the outside space in the form of a courtyard, garden, or a roof terrace; and the unique character that each has.

What are the most common concerns/obstacles you face from clients considering a house of character and how do you counteract them?

The most common concern is the works needed to convert a house of character in line with the ideas of the prospective buyer. This applies to both unconverted and converted houses, and more so in the case of the latter, since the possibility of ripping out and remodelling an already finished project/conversion would need to be considered. The cost and feasibility of these works obviously need to be taken into account.

Do they tend to be more popular with foreigners than locals these days, especially because they are still so unique and original to the former, while this may be wearing off for the latter?

These houses still retain a very high appeal with both local and foreign buyers. If we take the foreigner, the main attraction lies in the prospect of owning a piece of history, with all its

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PROPERTY POTENTIAL

A loving family home This house of character in the heart of Zurrieq offers a comfortable layout and enjoys lots of natural light thanks to well-thought-out apertures throughout. Set in a quaint lane, it is complete with modern amenities, while respecting the original features of the house. The living room leads on to the outdoor area: a 200 square metre garden with a pool, surrounded by a large deck and BBQ area, ideal for al fresco entertainment. The farmhouse is converted to high standards, with finishes including double-glazing, insulation and air conditioning, plus a state-of-the art kitchen with industrial cooker.

character and charm, in a location that can never match anything they are accustomed to in their country of origin.

Do houses of character differ, according to their location? And if so, what are the particular traits of those in the southwest of Malta that are featured here?

There aren’t many differences when it comes to their features; however, there are considerable differences in the locations. In the southwest are some of the most authentic villages, which have retained the traditions, culture and lifestyle of the past. Here, the highest number of palazzos, once used as hunting lodges by the Knights of the Order of St John, together with the largest amount of farmhouses that may be over 700 years old, can be found. [The palazzo is similar to a town house, but on a much grander scale, with features that include large gardens, servants’ quarters, beautiful architectural details, sculptures and an elegant piano nobile.] The demand for houses of character is high and the supply is very low, and this especially in Qrendi, Safi, Mqabba and Kirkop as

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they are small villages with lots of charm. Qrendi and these other small villages are sought for the tranquility of the village life, while Zurrieq offers more amenities, such as banks, a post office, supermarkets, cafes, etc…

What are the pros and cons of buying a converted property, as opposed to unconverted, and do people generally prefer the latter to the former?

There is certainly a very big demand for properly converted houses of character; in fact, a well converted house normally sells very quickly. The biggest downside for a buyer remains the concern of embarking on a project that can involve many unexpected surprises as well as hidden costs, which could put a strain on finances and time frames.

How do you feel conversions of houses of character have changed over the years? Are you seeing more architectural, modern and innovative interventions mixed with the old and traditional features, for example? And what about their

PROPERTY POTENTIAL

One-of-a-kind property This converted house of character is situated just off the main square of Qrendi.

Old features, including treated wooden beams and xorok, have been retained, while a modern wood-burning fireplace heats up the entire house. The pool is surrounded by attractive decking, further enhancing this one-of-a-kind property.

interior design? How has this changed over the years, possibly moving away from an overused rustic look and feel?

Generally, there are two philosophies, which are reflected both in conversions and interior design.

There are those who fully maintain the character of the property, making only the necessary changes, particularly in terms of the introduction of modern amenities, but sticking to the original elements of the property as regards architecture and design. In the case of expansions, they would also try to extend the current features. Often, the interiors would be used to further enhance the authenticity of the residence.

Others, and this seems to be a preferred design trend, find a balance between the old and the new, injecting contemporary finishes and styles, using modern materials and including modern amenities, such as air conditioning, underfloor heating, mechanical skylights, en-suite bathrooms and walk-in wardrobes.

Apart from being motivated by design trends, certain elements of an unconverted property could be beyond repair and, therefore, a modern intervention is required. If this is done in style, the end result actually accentuates and enhances any remaining original features, giving the property an added dimension in terms of character.

It is always important to keep in mind that a house of character needs to retain its ‘character’. Investing in these properties means buying a unique wedge of architecture; this is not an apartment within a block, with straight walls and a fairly uniform layout. No conversion could ever bring a property back to its original state – and there is nothing wrong with that.

What is important is to respect its original character and merge this with the character and tastes of the owners, while building on its past.

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What is the future of this type of property and is the supply dwindling, or do you think there are still many undiscovered houses of character out there, waiting to be appreciated and renovated?

What is happening is that the supply of converted and semi-converted properties is running low, so people are shifting to unconverted properties, which tend to cost less, but require a more considerable investment to restore. There is also an ongoing, yet limited, supply of resale properties, these being fully converted and ready to move into [unless the new owners decide to carry out alterations].

If village cores and rural areas continue to be eroded by big developments, do you fear that this unique type of property could start to lose its value and its charm?

It is very unlikely for this to happen, given that such properties are well protected not only from development, but also as regards their restoration and any extension works carried out. The government has also introduced a number of incentives to encourage the take-up and conversion of these properties in Urban Conversation Areas.

What is the rental value of the house of character?

Its uniqueness, though the level of maintenance of these properties should always be kept in mind. Houses of character make an ideal rental investment and are perfect for holiday letting throughout the whole year.

What sort of lifestyle does a house of character lend itself to?

Fundamentally, the tranquillity they offer is key.

Featured properties are available from Frank Salt.

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PLACES DESIGN & LIVING

PLACES ISSUE 8 FEBRUARY 2016

Design & Living

The sedentary position issue SIT BACK AND RELAX

THE WAY THEY LIVE INSIDE THE INTERIOR DECORATOR’S OWN HOME ISSUE 8 FEBRUARY 2016

Calculated eclectic to cordial industrial Each to his own