archetype 2

the

paper

in this issue1. An extensive overview on Malta Design Week which took place in the first week of October. Conversations with the organisers and testimonials from selected creatives. 2. Interviews with Kane Calì, Austin Camilleri and the camilleriparismode team.3. An in depth look at designer lighting with a selection of some of the most desirable pieces available.

design architecture furniture arts interiors

w. ONEPERCENT.COM.MTT. 2546 5000

E. [email protected]. VALLEY ROAD,

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THE ARCHETYPE PAPER 4 THE ARCHETYPE PAPER 5

Dear reader,

Three months go by in a flash. And in those three months, The Archetype’s ‘theme’ has progressed fromchair to light design: from being lit, to lighting up.

Since the launch of this publication, much has happened on the local design scene, including the firstedition of Malta Design Week, in which Onepercent was both partner and active participant.

The week-long event set a precedent in the country, so The Archetype felt the need to pay tribute tothis admirable private initiative by dedicating it a fair amount of space. This was done primarily in thehopes that the MDW endeavour will bear fruit and can continue to grow and evolve into an annual orbiennial event which has good design, quality products and high standards at its core.

This issue also features Gozo-based ‘maker of images’ Austin Camilleri, brilliant young artist/designer Kane Calì and the dynamic team at camilleriparismode.

There is much to feast your eyes on... we hope you can savour it all.

The onepercent team

issue no. 2 The Archetype Paper

Date November 2011

Art direction by werkdesigns.com

interviews by Lisa Gwen

Editorial design by Matthew Attard Navarro

Portrait photogrpahy Alexandra Pace

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Subscribe in the ‘Archetype’ section

Also available fromonepercent, Valley Road, Msida, Malta

onepercent.com.mt

Cover image

Cloud[S]cape a site-specific installation designed and fabricated by Steve DeMicoli of dfab.Studio. Created for the Malta Design Week (October 1-8, 2011), the installation was set against a backdrop of Valletta’s Old University Buildings.

The Archetype is a quarterly newspaper

by onepercent ltd about architecture,

design,interiors, furniture & art.

paper

must havessection 1

LIGHTUP An assortment of the most covetable designer lighting

the

Bloom, designed by Brian Rasmussen. Diffuser in white metal or white / gold leaf. Fixture in white metal or gold leaf.

All of the featured lights can be found at onepercent


must havessection 1 must havessection 1

Top Ten, is characterised by an unmistakable design that, originated by the strong technical peculiarities, gives personality to a formal, clear and essential composition.

Limeiight, design by Brian Rasmussen. Diffuser in transparent or black / transparent

crystal glass. Fixture in polished stainless steel.


BAG, designed by Carlo Colombo. Lamps made of thermo-plastic expansion available in the glossy colours of white and black.

must havessection 1 section 1 GLO, also designed by Carlo Colombo. Lamps with chromed metal structure and borosilicate glass.

Outer shade transparent or iridescent, inner shade sandblasted.

THE ARCHETYPE PAPER 11

AT SO, designed by Carlos Julio Ramirez. Suspended luminaires for diffused lighting. Modular acrylic diffusers available in clear, white or black colours. Chromed metal frame.

must havessection 1 must havessection 1

fairy, the Fairy series of pendant lamps was designed by Roberto Pamio & Renato Toso for Leucos in Italy. Delicate little crystal glass spheres encase a light to create this wonderful and magical pendant lamp.



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TANTI INTERIORS SPECIALIZE IN INTERIOR DESIGN

Blow, designed by Pio + Tito Toso is a table standing luminaire for direct lighting. Frame in chromed metal with accents in brushed aluminium. Diffuser in crystal clear handblown glass. The light source can be adjusted from the outside through a magnet placed on top of the diffuser.


Under a tilted roof.* That’s where all the magic happens.

Camilleriparismode’s Rabat_Workshop is a Wonderland of sorts. Soft and occasionally bright colours punctuate walls and floors; a variety of seats, chairs and sofas implore visitors to sink into them (books aplenty, readily at hand); suspended wine glasses; floating squashy cushions; a rainbow locked in an armoire; a steely Great Dane staring fixedly at a butler’s mirror; and oh the fabrics... the rolls of materials, the colours, patterns, designs... This must be Wonderland.Then I must be Alice. I half expect the White Rabbit checking his pocket-watch to rush past. “I’m late, I’m late, for a very important date.”

No, time here stands still. These four floors are ‘stuck’ in a glorious bubble. The context and environment starts and ends with the walls, the glass and concrete.

Out the rabbit-hole and back to reality. This space could be a textile museum, one of the wings at the V&A. Were it not for the familiar tunes of Nouvelle Vague gently resounding and bouncing off the high walls, I’d be looking for captions and

interpretation panels. There are price tags instead. But those easily melt into the ambience.

Designed by Architecture Project, after three years of restructuring, this stunning building re-opened its doors as the newly-

designated flagship of camilleriparismode in January 2009. The building, previously a factory/workshop is now home to a veritable treasure trove, boasting some 40,000 fabric samples, among other delicacies and intricacies.

Camilleriparismode is a fourth and fifth generation family business. Founded in 1890, by Paolo Camilleri, the original firm was known as A La Ville de Lyon which specialised in fashion fabrics and garments. 40 years later, the name camilleriparismode was coined to reflect the rising prevalence

of Parisian trends on the island. It was not until the 1960s however, that the whole concept of interiors was brought into play.

Fast forward to the present day: camilleriparismode has become a thriving and successful business operating from three outlets in Malta, and having a representative in Gozo. Always buzzing with projects, one of their latest initiative is the development of the Design Consultation and Projects Studio. Paul Camilleri, Silvia Buriani, Monica Mello and Andreia Pavel are the dynamic team providing the necessary synergy to pull off some of the challenging and often ambitious projects they

are called in for.

Their office, on the workshop’s second floor, is a pale pink and grey space containing a mountain of (neatly stashed) books, samples, plans and swatches of material.

case studysection 2 case studysection 2

WORKSHOP WONDERLAND

The camilleriparism

ode Design C

onsultation and Projects Studio photographed by Alexandra Pace at the Rabat_w

orkshop.



Here’s where projects are born, crafted and realised. Here’s where old themes are interpreted and transposed into modern environments.

The team enthusiastically (and animatedly) talks about one of their latest projects – ID Café – a place which is situated in the heart of the Sliema commercial centre on The Strand. Previously somewhat of a small, dark hole, the project team’s brief was to make the space appear and feel larger than it actually was, create extensive storage space, while simultaneously increasing the number of table covers. With a relatively low budget, a compact space and tight times to work with, the team nonetheless managed to devise a Parisian-like airy café having an indoor and outdoor seating area that was craftily extended and merged thanks to a low bar/counter overlooking the street. The result? Well, the hand-painted solid wood panelled façades, the whites, the greys, the designer chairs... it’s signature camilleriparismode.

The Project Studio takes on takes on those complex projects requiring start-to-finish / hands-on assistance. Thanks to their extensive pool of knowledge, the studio’s services are used by several architects and designers. They tackle both commercial and domestic projects; which come in abundance. In fact, the ratio of the one to the other seems to be neatly divided down the middle – 50/50.

They explain how it often takes time for their clients to trust them fully. However their job is not limited to gaining the trustworthiness of the client, but rather extended to the

alteration of public perception. After all, most people seeking the team’s expertise are those in want of something totally different, which is generally unavailable on the island.

“People come to us because of our ‘mix’. We have no stereotypical style, although we do have a style. You can’t shift a design concept from a house to a showroom to a shop,” Silvia says matter-of-factly. Paul reinforces this notion: “A space is meant to be a mirror of the people living, working or visiting there. Designing a space can’t be a cut and paste job. There’s nothing formulaic about what we do.”

“It’s a matter of incorporating two visions – that of the client (generally his and hers) with ours. Yet, what he/she wants, what they need and what they can or can’t have is a different story,” Paul says. It’s all a very delicate balancing act; one which they seem to have truly mastered.

The client is always at the centre of concern. People from all walks of life visit the Rabat_workshop; each person is pampered and greeted with a genuine smile (if you’re lucky an excellent cup of coffee too). Those paying the workshop a visit are given special attention and the team is always ready to assist, advise and give clients a genuine opinion. This is only enhanced by the constant revamping of the display – every 4-6 weeks – while launches, presentations, exhibition openings are organised on a very regular basis, keeping the space constantly vibrant. ‘Tis no wonder that people keep coming back to seek their skill, vision and expertise.

The whole camilleriparismode company comprises as many as 36 people... each an expert in the field of textiles, fabrics and the creation of soft furnishings. Yet the Design Consultation and Projects Studio certainly seems to be at the heart of it all, injecting life, energy, colour and taste into every small or grand project assigned.

*Under a Tilted Roof was the title of a photographic exhibition, showcasing the work of Alexandra Pace, Anna Runefelt and Kurt Arrigo at camilleriparismode Rabat_workshop – a satellite event organised for Malta Design week.

LG




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THE ARCHETYPE PAPER 21THE ARCHETYPE PAPER 20

Beginnings. Playing videogames seems like a

remote place to start off a career in design.

But it doesn’t have to be.

A beginning is a beginning after all; as such it should

just point towards a direction; no need for it to be

contested or dissected. And if that initial path/point

of departure should lead to the expression and

creation of something delicate, intricate... exquisite

– then perhaps a healthy dose of games and 3D

visual stimulation is the right way to go.

Kane Calì’s journey just happened to start in front

of a computer screen, while playing Tekken, Gran

Turismo or Zelda. Picturing him avidly killing off

voluptuous, scarcely-clad women or alternatively

über-buff men is surreal, to say the least. Yet

inspiration manifests itself to each in a different way.

And when one’s heritage and ancestry includes

Giuseppe, Ramiro and Guido Calì and Maria Calì

Corleo, then manifest itself it would, inevitably.

Glass – his chosen or preferred medium might

be different to that of his predecessors – yet the

excellence with which his expression manifests

itself, is not.

Like many other young, somewhat dissatisfied

and disillusioned creatives, Kane was in search

of an alternative to the regimented and traditional

educational system in Malta, and so opted to

follow a course at MCAST. It was here that he

was introduced to stone carving, graphic design,

the decorative arts and a wide variety of different

materials and textures which he gradually got a feel

for and with which he could work and experiment.

Kane spent two years at MCAST, following The

Foundation Studies in Art and Design course,

leaving “before it got too serious”. Yet, it wasn’t

just the course he decided to leave; soon after

MCAST Kane enrolled at Middlesbrough’s Teesside

University, following a course in 3Dimensional

character animation in response to his “obsession”

with videogames.

Yet the unwholesome environment surrounding

Teesside University was not conducive to him

developing his raw talents. “I shaved my head, I

wore hoodies, and I always walked with my head

hung low... I tried being as inconspicuous as

possible,” is the way he describes himself trying to

cope with the ‘tough’ environment faced on a daily

basis.

He quickly started looking for better colleges and

universities, and before long he started a course in

3Dimensional Design, with a specialisation in glass,

at Farnham’s University for the Creative Arts (UCA).

It was in-between courses that Kane came to the

realisation that he no longer enjoyed sitting behind

a computer screen all day, but rather needed to

exercise his sense of touch and his need for texture.

And this is where he thrived.

Before deciding to specialise, Kane’s course

focused on ceramics, mass manufacture and mould

making, yet he was soon drawn towards the cold

yet simultaneously sensuous glass material. He

slowly began integrating traditional materials with

cutting-edge technologies, which culminated in a

project to be exhibited in the Final Degree Show,

titled Ripple Landscape. The project consisted of

seven glass pieces of various sizes made through

by laser cutting. He explains how his work is really

about the process, and one’s appreciation of it.

“The finished product has a story to tell... there’s

a power and potency in the making, which needs

and deserves to be respected...”

Kane describes the painstaking process by which

his seven-piece wonder was created: “As with

a lot of my work, I try to encompass the natural

world through science’s lens. Ripple Landscape is

a metaphor for the one binding element that holds

all things together, vibration. I wanted to capture

a moment in time through the embodiment of a

ripple and illustrate its fundamental importance to

the existence of all objects governed by the laws

of matter.”

Not only does Kane borrow science’s perspective

to aid in the creation processes, but also its

technology. “With the use of 3D modelling software

I primarily produce my ideas in a virtual medium in

which I am engaged in a method of manipulation

unlike anything I could experience with my own

hands. I find myself adding and cutting away from

my creations in a matter of minutes, giving me the

freedom to amend as I see fit.”

He feels that his computer has almost become

an extension of his sketchbook. “In order to bring

these virtual thoughts to life I use CNC machining

or rapid prototyping to recreate the idea into a

SHARDSKane Calì photographed by Alexandra Pace in her studio.




physical object. From this point on I use more

traditional methods such as mould making, glass

fusing /slumping and even investment casting.”

His Ripple Landscape project has already been

exhibited on several occasions, earning him the

New Designers 2010 CGS glass prize (runner

up). He was consequently awarded a two-year

membership with the Contemporary Applied Arts

(CAA) gallery, which offers a limited two placings

per year. Earlier this year, he also exhibited at the

Mall Galleries in London.

On successfully completing his course at the UCA,

Kane was awarded a Malta Arts Scholarship to

further pursue his studies with a post graduate

degree. His choice was a two-year Masters course

in ceramics and glass at the Royal College of Art,

with a specialisation in architectural glass, wall

panelling and dinnerware. Although the course

may have kicked off just last month, Kane has a

pretty good idea of what he wants to achieve... he

passionately explains a project concerning glass

in motion – a concept for which he will need the

engineering assistance and expertise provided by

the neighbouring Imperial College.

Besides oscillating between student and academic,

Kane has also been working on a number of

personal projects – his first solo exhibition in Malta

is due to open next month at Christine X Gallery –

and he is also collaborating with glass artist Colin

Webster at GlassZoo Ltd on the creation of glass

wall panelling for super yachts.

Kane’s most recent project was collaborating on the

proposal of a ‘sculpture’ devised for a competition

which would see the winning design adorning the

new Skyparks Business Centre in Luqa, due to be

inaugurated early next year.

Together with Vanessa Borg and Neil Pace O’Shea,

they presented a structure whose underlying

concept was based around the singularity of the

moment of liftoff when the Wright Brothers first took

to the skies. The abstract structure, comprising

two vertical conical forms, titled Sky Scape, will

measure 2.2 (H) x 2 (W) x 2.2 (L) metres.

The design of their structure was fabricated with the

use of 3D CAD software as well as CAD hardware

(laser cutting). The team chose to use this process

since the structure was meant to reflect present

times. It was thus materialised through a process of

manufacture that is said to be at the heart of what

is now being described as “the second industrial

revolution”.

LG


case studysection 2 case studysection 2Austin C

amilleri photographed in his studio by Alexandra Pace

THE MAKER OF IMAGES

Austin Camilleri is a deliciously complex man. Well,

not just a man technically, an artist – a maker of

images.

Yes... he is decidedly one of the very few whose art

towers and dominates; overriding his gender and

taking full possession of him. You see him, you see

his art. The two are intertwined; a relationship of

the most intimate kind.

This intimacy is plain to see in his work: Layers

upon layers of regurgitated emotion. Musings on

life. Random ramblings. A running commentary

on the state of affairs – serious, incisive, political,

satirical, sexual, pornographic, tongue-in-cheek –

every aspect is given its own measure. And each

measure throbs on the surface; sometimes below

it, but most often, this ‘beating heart’ is embedded,

pulsating between the folds of a work.

This notion is mirrored in Austin words: “When a

work is done it has a life of its own.” Perhaps it

is this ‘life’ which speaks, murmurs or vociferously

protests... We feel merely compelled to listen.

Artistically, there is no typical Austin... his career has

been punctuated by phases. I was first introduced

to his installation work, particularly to his babies,

through his sculptural piece (now forming part

of the national collection) Kuruna. Since then

however, I have experienced an array of different

Austins, including one in which he collaborated with

composer Ruben Pace to create a video installation

for the Malta Association of Contemporary Music

event, titled 3 Artists – 3 Composers, thereby

challenging the separation between media.

But how does one oscillate between painting,

installation or video? What dictates the mediums/

vessels through which art is expressed and

channelled?

He quotes: “As Julian Schnabel once said about his

Polaroids: ‘It’s not about the song, but the singer.

It’s the way you use the medium that counts.’ I

believe that the medium is just a vehicle – but we

need not only arrive, but try to arrive gracefully...”

“Holistically this always has to do with the research

(most of my work is primarily conceptual); the

medium exploited is just a tangent to it all. I

don’t feel I’m a sculptor, videographer, painter or

installation artist. I play with associations and create

tangible images. I hate labelling… how should we

refer or classify people like, Gerhard Richter, Mark

Wallinger, Tracey Emin, Martin Kippenberger, or

even going as far back as Michelangelo?”

Like some of his peers and contemporaries,

especially the members of the group StART, with

whom he has often exhibited and collaborated,

Austin has, throughout the years, shown his work in

a number of spaces. Among which are dilapidated

and derelict houses, warehouses, historic buildings,

public spaces, not to mention the many galleries...

often creating site- or space-specific work. But

how does this translate to a home?

“When a work is created particularly for a space,

with its story and limitations, it’s site-specific. It

feeds from its origins. But, as most good works

show us, they work on different levels when

eradicated from their original place.”

But how would this apply to 2D works such as

paintings – can painting be site-specific or does

the nature of this art form make it more malleable

– meaning that paintings are more easily/readily

transferable and consequently adapted to a

space?

“Some paintings ‘gain’ further meaning if located

in a particular venue or if they are made particularly


case studysection 2

for the site. However, as you rightly noted, 2D

works are easily relocated and can easily live in

places where they are allowed to breath or interact

with other objects/works. Having said that, I find

it difficult to see Claude Monet’s Waterlilies or Cy

Twombly’s Lepanto series working better if not at

the Tuileries and Munich’s Brandhorst Museum,

respectively.”

Austin is well known for re-using older works and

re-visiting themes/subjects. What compels you

to do so? Are there some demons which have

yet to be expelled, or do you feel there are some

subjects which deserve several interpretations to

be addressed in different times of one’s artistic

career?

“Edward Said makes a distinction between

‘sources’ and ‘beginnings’. I do not reinterpret my

older works. I use them as found objects. Either

as ground retaining their intrinsic character or as

icons/reminders (the same way I use a copy of

Velasquez or the image of Mickey Mouse). The

source always ‘is’, beginnings are always in the

process of ‘becoming’.”

What’s in store for Austin? Enigmatically, he

answers: “I need to be surprised… I need to find

new ways.”

There’s no doubt in my mind that he will...

LG

Austin Camilleri will be presenting a series

of intimate drawings and works on paper

produced in tandem to his mammoth paintings.

Titled Camilleri – on paper, the exhibition will

take place between December 9 and January

6, 2012 at Art.. è gallery, Victoria, Gozo.

camilleriparismode rabat work_shop54, st catherine street, rabat tel: 20 10 20 30

www.camilleriparismode.com [email protected]

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Malta Design week specialsection 3

FIRSTEDITIONSNot books but design weeks.

October marked Malta’s first Design Week. Across the globe, countries like Beijing, Moscow, Vienna, Istanbul, Barcelona, Venice and Holland collectively celebrated design... this year, Malta was on that list.

First editions have a thing of prestige. Perhaps beginnings always do, at least for those experiencing, living, and even, creating those beginnings. And when that is somehow augmented by a collective sense of craving (on a national scale) – the need for visual eye candy; the need of an identity which projects and reflects more than heritage or language – well, that’s where a design week comes in.

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Malta Design week specialsection 3 Malta Design week specialsection 3

MDW went beyond the public’s expectations. To be frank, it’s probably because the public had none. There was nothing before: A tabula rasa environment... where showcased design was concerned. Apart from a few fabulous showrooms, stores and outlets, there are few places to soak in anything design. MDW filled that lacuna. At least for a few, precious days.

The opening of design week was set to coincide with Notte Bianca and World Architecture Day – October 1. The former, an anticipated date on the cultural agenda which generally sees some 50,000 visitors flocking to Valletta, was an excellent ‘excuse’ to launch the project, introduce it and make it available to a wider variety of audiences.

Between 6.30 p.m. on October 1 and 2.30 a.m. on October 2, thousands of people walked through the halls and corridors of the Old University Building in Valletta – the main venue hosting MDW. Previously, and most recently the headquarters of Heritage Malta, the national agency for museums, conservation practice and cultural heritage, the building was a cold and lifeless space begging for some vision and, well... some TLC.

The space was transformed. Literally. The high-ceilinged rooms and the airy corridors were allocated to an individual or team – University students, the Institute of art and design students, architecture firms and independent designers shared the space which was injected with life and purpose.

Yet the biggest and most radical transformation was surely seen (and felt) in the Valletta University’s courtyard. The ample outdoor space had, for many years, been relegated to a car park. What were the changes: Turf was laid down, white pebbles created textured accents, large square pots provided ‘partitions’ to the various hang-out areas, Pedrali provided tables and chairs in white, blue and green which dotted the space only completed by teh bar and outdoor kitchen (and sumptuous cuisine provided by ID Cafe), indie and chillout music bouncing off the walls... The Old University became an outdoor lounge bar for a week, people couldn’t get enough of the place, which felt so foreign but which was situated in the very heart of the capital. It was special, there’s no other way of putting it.

The gorgeous outdoors apart, the wide-ranging events programme was what attracted so many visitors in the seven days of talks and lectures which featured some of the foremost international promoters and creators of good design. Such as: Gilian Schrofer (Netherlands); Charles Knevitt (UK); Shelley F. Martin (US); Ralph de Lange (Netherlands); Gaspar Gonzalez (Spain), Nicolas Roope (UK), Giulio Patrizi (IT) and others.

But MDW was always about creating a common platform – a single yet unique design scenario. So, as inherently important as it was to have valid international participants headline the event, MDW was likewise concerned with showcasing up and coming, as well as established Maltese talent. Local participants included: camilleriparismode,

the Society of Architecture and Civil Engineering Students (SACES), The University of Malta’s Foundation in Design Studies students, Lily Agius Gallery, FLOW showroom, Richard England, Duncan Bone and others still.

Although the main events comprising MDW were held in the capital city, a number of satellite events were then held in galleries, furniture and design stores, run-down buildings, artists’ and artisans’ studios and showrooms. Especially successful events were those held at the newly-launched FLOW multi-brand bathroom showroom by S&S in Lija, or the OPEN exhibition, hich utilised a beautiful abandoned building immediately outside the Marsa Open Centre.

Where do we go from here? Besides establishing Malta as a hub for Mediterranean creativity, MDW could give a vital contribution towards developing relationships between manufacturing businesses and designers, while placing local design and designers in closer contact with the realities of the international market. Through collaboration and healthy cross-fertilisation, MDW could and will hopefully develop into a biennial or annual event.

“Why then the world’s mine oyster/Which I with sword will open...” (Shakespeare, Merry Wives of Windsor).


MO

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ska & Adrian Abela

THE ARCHETYPE PAPER 35THE ARCHETYPE PAPER 34

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A few words from MDw project coordinator, Chris Briffa

Some 300 people, in different capacities, exhibited or participated in Malta Design Week.

The strong points of the event were decidedly the different people from different backgrounds – educational, academic, industrial – who all came together on one and the same platform. Which is what we wanted to do... and in doing that we managed to create a vessel for communication.

MDW had quite a few immediate and direct benefits, such as a student from the University’s Foundation course who was approached to have the prototype of his dynamic canoe design built; or the 3D printer collaborating with University

to assist the Foundation course; or even Steve DeMicoli receiving a request for the purchase of his cloud[S]cape installation.

Pedrali also felt they had never received so much exposure locally; they were really happy the event was of such a high standard. So much so, they intend using the images taken during MDW for marketing and promotional campaigns.

Halmann commented: “This is the beginning of something great for Malta.” I think this reaction sums up what we wanted to achieve.

Yet MDW also came with a few disappointments... the biggest being the lack of attendance by authorities; only one MP visited the event throughout its duration. I feel the event needed more support. It is not enough for there to be a the structure in place for people to apply and create such events and receive the financial support necessary to back it up, there needs to be more awareness from authorities who should be disseminating and promoting such events...

However, I do want to thank University for providing us with such a great venue. The event showed the extent of what can be done with a space such as that, especially the outdoor yard. It could become a melting pot; a space where people can meet, talk, exchange. A social/communication structure, which has a certain academic perspective as its base. People used the yard at MDW to design, discuss; workshops extended outside... it doesn’t have to stop with MDW.

Aspiring people in the design industry and students loved MDW... the lectures/talks very quite inspirational. The event created a bridge. What a lot of people don’t realise is that design is a language which everyone understands. Background or no background, design, especially good design is a common language. MDW tried to put this level of communication in people’s frame of mind. Those who visited MDW were confronted with a huge repertoire of design disciplines; it was impossible for people not to take something back with them.

What about the future? If there has to be another MDW it might not be in Valletta. Having the event in the capital did help and augment attendance, as did the inclusion within the Notte Bianca programme. The fact of the matter is that one needs to create a commercial reality... not only for those attending the event, but also for the people of the locality to benefit from it.

MDW is about education, being knowledgeable about a subject, but from first-hand experience; you need to see touch, smell, eat – the experience consisted of not only by seeing, but living it. Now that the seeds have been sown, people will realise that it can grow, beyond a local initiative. If people show a serious interest in this event, it can become another puller for cultural tourism which Malta really needs – we can’t survive only on history, sun and sea. Culture and education on the creative business side can be very profitable in the long run.

MCAST Institute of Art and Design exhibition

MCAST Institute of Art and Design exhibition RED BLUE SHELf – Furniture by Chris Briffa Architects

MCAST Institute of Art and Design exhibition

CONJUGAL – Exhibition of architecture and interior work, curated by MJMDA and Alexandra Manche

SULLUZZU – Conceptual Installation by Julian Mallia

CONJUGAL – Exhibition of architecture and interior work, curated by MJMDA and Alexandra Manche



Participant’s testimonials.

Gaspar Gonzales (ES)

Talking about Malta Design Week, all one needs to mention is Chris Briffa and the organisation team, and the incredible event that was carried out, in line with other larger, more important, older or more famous...

As a participant, I can only be thankful for this opportunity. Being able to talk about my work with other professionals, students and artists, both locally and internationally is something that will help me to develop my work in the future. And certainly also that of the other participants...

MDW has certain characteristics like people, its strong, historical past, blending of cultures, etc... that can help make this celebration something unique and special, differentiating it from many others that seem too similiar to each other. I hope MDW happens again, and of course, to go back...

Giulio Patrizi (iT)

Malta Design Week? What to say? Excellent location in the heart of the city of Valletta, transformed into a welcoming, pleasant place. Beautiful rooms with good design show. Several projects presented: product design, fashion, architecture and photography. The programme of events was broad ranging conferences with different subjects. The Malta Design Week in its first edition is already a good start.

Thanks to the beautiful place, Malta Design Week can offer design and entertainment tourism: sea, history and design at the same time. That’s the right way for me.

Sue Mifsud (obo Ceramika Maltija)

Malta Design Week oozed professionalism, from the behind the scenes organisation to its overall presentation to the public. There was clearly a predetermined vision for its outcome and a high standard set for its delivery. We participated as an exhibitor at the main venue and as a satellite event, with two lectures given by Scottish artist/designer Bill Brown.

We benefitted from inclusion in the event by the awareness created of our products and recognition of our work’s design aspect, the event also assisted in establishing Ceramika Maltija as a place of creative learning through the excellent marketing and advertising campaign carried out by the MDW team.

Richard England (MT)

Malta Design Week was without doubt one of the most high quality design and architectural showcase events ever produced locally. The whole experience, including the refurbishing of the premises, the creative exhibits, events and the overall atmosphere, provided a most stimulating, innovative and imaginative design platform.

The organisers of this event deserve admiration, encouragement and praise and one hopes it will become an annual event.

Charles Knevitt (UK)

The inaugural MDW was a brilliant success and deserves to become an annual event. For the first time all those involved in the creative and design sectors came together to converse and show their work.

The courtyard of the old University building was transformed into a convivial setting for meeting, discussion and socialising, and was imaginatively furnished and lit. The international programme of speakers and events was ambitious and helped to deliver an outstanding and thought-provoking educational and cultural ‘fix’. The organisers and backers are to be congratulated.

What was inside the first edition

Exhibitions at the Old University Building, Merchants’ Street, Valletta:

PROCESS – Exhibition by the Foundation in Design Studies, curated by Anton GrechMCAST Institute of Art and Design exhibitionCONJUGAL – Exhibition of architecture and interior work, curated by MJMDA and Alexandra MancheMOSHOW – Exhibition by Violet Kulewska & Adrian AbelaSTAND BEHIND THE YELLOW LINE – Audio/Visual exhibition by Malcolm BonelloIF THIS IS A MAN – Illustration and graphics by Christiane Stelberg24/7 – Interactive installation by Boryana Chaneva and Alberto FavaroIN-SIGHT – CONTEMPORARY JEWELLERY REVEALED by Nadege CassarCITYWISE – Launch of CityWise city guide by Projects in Motion Ltd.SIMILARITIES – Exhibition by Alexia MediciA THESIS FOR THE BUILT ENVIRONMENT – An exhibition of BE&A (Hons) Thesis Projects from the University of Malta 2011cloud[S]cape – Installation by Steve DeMicoliDISTORTION – Textile printing exhibition by Carla GrimaSULLUZZU – Conceptual Installation by Julian MalliaRED BLUE SHELF – Furniture by Chris Briffa ArchitectsKINEMASTIK short films and other moving picturesROLLING OUT THE RED CARPET – Installation by JPAHOT LIPS – Setting up of lecture room by camilleriparismodeONEPERCENT – An exhibition of award-winning designer furniture and lighting piecesFIZZARMONIKA – Installation by Halmann VellaBEAUTY OBSESSIONS – A Photographic Interpretation by Brian GrechLACESCRAFFITTO – Exhibition by Ceramika Maltija

workshops

CONCERNING HOSPITALITY: turning traditional Maltese heritage into a charming global guesthouse – Workshop by Gilian Schrofer (NL)INTERVENTION IN THE CITY – Workshop by Ralph De Lange (NL)POETHICAL – Workshop by Giulio Patrizi (IT)EXPERIENCE SCENE – Workshop by Gaspar GonzalezDESIGN IT, LIGHT IT UP! – Workshop by Boryana Chaneva (BG) and Gergana Ivanova (BG)GIVE IT SOME LOVE... – Workshop by Alexia Medici (MT)ANOTHER VALLETTA – Workshop by Alexia Medici (MT)VALLETTA: LIFESTYLE DESIGN – Workshop by Wendy Jo Attard (MT), Paul Gauci (MT) and Antoine Zammit (MT)LIGHT AND CREATIVITY – Workshop by Alexia de Medici (MT)EXPERIENCE SCENE – Workshop by Gaspar Gonzalez (ES)

Satellite events

GROWTH – Exhibition by SACES 59, St Dominic Street, ValettaRIPPLE LANSDCAPE – Exhibition by Kane Calì at St James Cavalier, Castille Place, VallettaLILY AGIUS GALLERY: COLLECTIVE EXHIBITION – SCIENCE AND SOCIETY – Exhibition at Cathedral Mansions, 54, Cathedral Street, Sliema, MaltaOPEN – Exhibtion by SACES/GetUp StandUp at Old Trade School, Xatt il-Mollijiet, Albert Town, MarsaTHE CERAMIC ISLAND – Lecture by Bill Brown (UK) at Ceramika Maltija, 30 St Anthony Street, AttardTHE WAITING ROOM – A CONVERSATION WITH BILL BROWN ABOUT IDENTITY, DESIGN AND CREATIVE POSSIBILITES – Lecture by Bill Brown (UK) at Ceramika Maltija, 30 St Anthony Street, AttardFULU – Concept sofa exhibition by Mary Ann Attard at Splendid, 74, Strada Stretta, VallettaUNDER A TILTED ROOF – Exhibition by photographers Alexandra Pace, Anna Runefelt and Kurt Arrigo at camilleriparismode, rabat work_shop, 54, St Catherine Street, RabatISOLA – A new kitchen island proposal targeted for a stand alone open plan units by Carlo and Stephania Schembri at 134, Archbishop Street, VallettaFLOW – Showroom Launch at FLOW, Mosta Road, Lija

Lectures

POETHICAL – Lecture by Giulio Patrizi (IT)MIXACADEMY – Lecture by Ralph de Lange (NL)JACK OF ALL TRADES – Lecture by Duncan Bone (MT)THE DIFFERENCE BETWEEN A LIGHT BULB MOMENT AND A LIGHT BULB – Lecture by Nicolas Roope (DK) WINDOW AND IN-STORE DETAILS FOR RETAIL – Lecture by Gergana Ivanova (BG)EDUCATION OF AN ARCHITECT:THE ENVIRONMENT OF A QUESTION – Lecture by Shelley Martin (USA)LE CORBUSIER KNEW MY FATHER – Lecture by Charles Knevitt (UK)COOKING – Lecture by Jamie Mc Tavish (AU)TEMPTATION – Lecture by Gilian Schrofer (NL)HISTORY OF MODERN FASHION DESIGN – Lecture by Carina CamilleriFORMULA NEW LJUBLJANA – Lecture by Jurij Sadar (SI)MANIKATA AND THE MAKING OF SACRED SPACES – Lecture by Richard England (MT), followed by SANTORINI – Book Launch by Richard England (MT)THE FIRST STEPS – Lecture by Gaspar Gonzalez (ES)WHAT OBJECTS WOULD SAY – Lecture by Odoardo Fioravanti (IT)

Malta Design Week was financially supported by the Malta Arts fund, the Good Causes fund and Bank of Valletta; and co-ordinated by architect Chris Briffa, Prof Alex Torpiano, Anton Grech, Stephen Vella, Matthew James Mercieca, Justin Schembri, Liliana Vella, Matthew Casha and Lisa Gwen.


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