archetype issue 3
DESCRIPTION
Archetype Magazine onepercentTRANSCRIPT
the
paper
in issue three1. A selection of the most beautiful mirrors available on the market. 2. Interview with UK-based designer Alexander White on his iconic designs. 3. Interview with street artist / illustrator Daniela Attard. 4. Interview with interior designer Mark Pace.
design architecture furniture arts interiors
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THE ARCHETYPE PAPER 6
The Archetype Paper is growing. And with it our vision.
It is therefore apt for us to have chosen the mirror as theme for this issue. Which is very Snow White of us, admittedly. But let’s face it, we’re all a little narcissistic. Nevertheless, mirrors project more than a mere image of self, they reflect space, they give the illusion of depth, even grandeur perhaps, yet they also spread light, increasing its magnitude and potence.
From gazing at to being gazed upon, in the third issue, we decided to feature illustrator/street artist Daniela Attard, interior designer Mark Pace and as of this issue, we’ll also be showcasing foreign individuals who have somehow caught our eye, as well as fairs and events. Although Malta’s bursting at the seams with local talent and professionalism in the arts, design and architecture fields, it’s important to look beyond our shores, at the wider international context. And that’s where Alexander White comes in; he’s a young up and coming designer based in the UK to whom we’ve given our nod of approval.
This will probably be the last issue in this ‘format’. In the next edition, we’re spicing things up a bit: we’ll be bringing in more contributors and we’ll be introducing onepercent projects, a very new and exciting enterprise for the company. So, look out for the May issue, and make sure to tell us what you think when the new website’s up and running. We look forward to hearing from you.
LG
issue no. 3 The Archetype Paper
Date February 2012
Art direction by werkdesigns.com
Editor Lisa Gwen
Editorial design by Matthew Attard Navarro
Portrait photogrpahy Alexandra Pace, Esther Segarra
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Cover image
The Sturm und Drang a truly magnificent mirror from Glas Italia available in two sizes from onepercent.
The Archetype is a quarterly newspaper
by onepercent ltd about architecture,
design,interiors, furniture & art.
paper
the
THE ARCHETYPE PAPER 7
must havessection 1
MIRRORM I R R O R
A selection of beautiful mirrors
The Sturm und Drang is a truly magnificent mirror with a Murano glass frame, achieved through a complex and refined hand-made production process, making each piece unique and unrepeatable.
The frame is composed of various elements which are fixed to a wall hanging structure upon which a 5mm thick chamfered mirror is then applied. The Sturm und Drang which translates as Storm
and Stress mirror from Glas Italia is available in two sizes.
All featured mirrors are available at onepercent
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must havessection 1
The fiction mirror from Glas Italia is available in two sizes and is made up of extra light glass with degrading shaded silvering which is hung on the wall with a chromium-plated metal cylinder. The small mirror can have a degrading shade upwards or downwards.
THE ARCHETYPE PAPER 9
must havessection 1
If nature and floral interior design rather tickle your fancy then you could be interested in new collection of decorative mirrors by Porada, which have been presented at the Salone Internazionale del Mobile 2009, in Milan. This collection is designed by Tarcisio
Colzany and named frasca and Lotus. Mirrors from this collection are presented in two original shapes: tree branch and lotus flower.
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While most of us can appreciate the added convenience of a conventional three-way mirror, few would choose this ubiquitous dressing room piece for their homes. The Bellavista mirror (2004) by Carlo Marelli and Massimo Molteni is an exception, designed for even the most intimate of living spaces, including bedrooms, lounge areas and entryways. With three hinged panels, the wall-mounted Bellavista can close for com-plete concealment behind solid ash wood doors. When open, these doors can be adjusted to provide reflections from multiple angles.
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section 1
The Porada Megalux mirror from Italy is produced in two square-shaped sizes and two rectangle-shaped sizes. It is made entirely from carved mirrored glass featuring several
panes and framed in an octagon.
must haves
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The Venezia mirror features a delightful floral patterned frame encompassing the whole of the mirror. It brings a delicate and graceful feel to most spaces.
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Porada Sensu mirror: This fan shaped wall mirror with 7 panels (fixed together), turns 360 degrees due to the wall fixing. Designed by T Colzani, it comes in clear mirror and brushed steel.
must havessection 1
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Libra is a tall rectangular mirrored wall storage cabinet. By means of clever design, the cabinet opens to reveal inte-grated inner compartment lockers in Canaletto walnut or wengé stained behind the 2 mirrored doors that rotate outward on hinges for easy access.
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Profile is a tall rectangular wall mirror with a mirrored shelf concealing a pair of side opening drawers with fronts in stained or laquered oak finishes.
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The Rokoko mirror is shaped like a frame. It is cut with a water jet and features a transparent extralight glass. It comes in four sizes.
must havessection 1
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Life Pyramid mirror from Glas Italia is a three-dimensional mirror in a pyramid shape, truncated with a lit angled corner coloured in red or white. The light, produced by a halogen lamp placed inside the mirror, can remain at a set level or alternatively, thanks to an electronic dimmer, can cyclically switch on or switch off in a gradual and continuous way. Life Mirror comes with two shapes for the angled corner and with a choice of red or white lighting.
must havessection 1
THE ARCHETYPE PAPER 18
Lips parted. White dress tickling and bil lowing
around her thighs. Iconic soft blonde curls.
And a New York subway grate.
Marilyn Monroe’s unique stance in the 1955
fi lm The Seven Year Itch is firmly implanted
into American popular culture of the 20th
century. Yet her powers to seduce and allure
have lived on, way beyond her short l ife, and
right into the 21st century.
She was a l iving muse 60, 70 years ago.
She is a muse today.
Young designer Alexander W. White is
one such individual who could not remain
impartial or immune to the bodacious
blonde’s timesless and undying charms, and
his Monroe Chair is testimony to as much.
But how exactly does a sex symbol translate
into a chair? “I tend to start my design with
a fairly simple idea that I draw, sketch and
play around with until it convinces me that
it’s is worth developing. When I’m convinced,
I then tend to make a rough model to have a
3D version of it, so that I can further visualise
its potential.”
“I then use CAD (when appropriate) for
refinement and detail ing. I might also take
pictures of the model, then open them up in
Photoshop or i l lustrator to then push forward
the artistic nature of my work, where I might
add colour, l ines etc.”
“In the case of the Monroe Chair, I decided
on the final shape of the one component
involved using CAD but it was only once I
had made all the components and fed them
onto the central axis that I could make final
decisions for comfort and aesthetics.”
He explains that the Monroe Chair is
an attempt to drastically simplify the
manufacturing process involved in making
an armchair. It exploits the potential of CNC
technologies, cutting out identical replicas
in order to create a functional piece of
furniture made from a great number of the
same component.
Each component is fed onto a metal pole
that runs through the width of the chair,
then rotated and fixed in place in order to
achieve the desired effect. The back leg
gradually morphs into the backrest and the
armrest into the front leg, creating a distinct
aesthetic entirely defined by the simplicity
of the manufacturing process.
Alexander describes his work as conceptual,
driven by ideas, rather than aesthetics... so
where does his work ethic or philosophy
stem from?
“The aesthetics of my work are derived from
an idea (for instance the aesthetics of the
Monroe Chair derive from it being made from
a great number of the same component).”
“Nowadays, due to my eco-conscious
education and the fact that there is already
far too much junk in the world, I f ind it almost
impossible to justify making something that
is purely of aesthetical beauty.”
“The way things look is very important, because
we need to love and look after the things we
own, but for me objects should have more
depth, more dimensions. My goal is to seduce
people on several levels, aesthetically,
functionally and conceptually.”
“For instance, I couldn’t make something
that is purely aesthetically appealing but
has no function, just l ike I couldn’t make
anything functional that has no conceptual
value.”
“I l ike to think that my work challenges
people’s conception of what furniture can
be. Why do we automatically assume that
a table has four legs and a rectangular or
oval top? People’s interaction with my work
is also important to me; a chair is a tool for
the human body and is made to be sat on
not just look at from behind a glass box.”
Besides the Monroe Chair, the Delta Knot
coffee table is another of Alexander’s
signature designs.
“The Delta-Knot was developed as a result of
an exploration into the relationship between
construction process and aesthetics.
Looking into how to produce unusual
furniture using as l itt le time and energy as
possible.”
“The dry joint at the heart of the coffee table
is based on a brain-teaser puzzle, chosen for
its simplicity to manufacture and intriguing
elegance. Its construction uses no glue or
screws. The tabletop is a logical response
to its base, complementing its aesthetic
whilst offering maximum stabil ity.”
“The gold leaf on the table top and its base
is only placed on areas where the end grain
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THE PERSISTENCE
OF ICONS
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Alexander White photographed by Ester Segarra on The M
onroe Chair.
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The Delta Knot coffee table
Aerial view of The Delta Knot coffee table.
Close up view of ‘The Knot’.
Side view of the Delta Knot coffee table.
THE ARCHETYPE PAPER 23
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A NEW ADDRESSFOR DESIGN & STYLE
www.halmannvella.com
THE ARCHETYPE PAPER 24
was showing — where the various shapes
composing the piece have been cut, l ike
the truncated corners of the triangular
table top — signifying that the whole table
is completely made of gold but veneered
in wood… somehow making it look like my
intension was to try to hide the real value of
the table.”
But where does Alexander’s urge for
‘making’ stem from? What ‘triggers’ from
his past have lead him down this particular
road?
“I guess it all started as a kid when I was
living in rural France with very l itt le else to do
than to roam the neighbouring countryside
hil ls using my imagination to conjure up
exciting scenarios to play in.”
“My parents did not like the idea of toy weapons
or videogames as forms of entertainment... so
I made myself bows and arrows and all sorts
of elaborate wooden guns so that what I was
imagining could become a little more real.
Soon enough, I was spending more time in my
dad’s workshop making these toys, than I did
playing with them.”
“My childhood revolved around making things
to entertain myself; once I had the weapons,
the next step in turning my completely natural
surrounding into a giant play area was to build
dens and tree houses.”
“Creating became an essential part of what I
considered being fun.” Alexander also mentions
his quest to ‘save the world’ through design.
How does he intend doing this, or what is he
already doing to put this into practice?
“My generation is a lot more concerned with
the growing threats that are unfolding before
our eyes... I grew up among environmental
headlines such as, CFC green gases, GM foods,
climate change, peak oil, their origins and
consequences. James Lovelock’s Gaia Theory
combined with more recent environmental
disasters.”
“When I was at university (University College
of Falmouth), we were discouraged to make
tables and chairs as there were already too
many perfectly good designs out there and our
skills and talent could be put towards greater
things.”
“At the time I was designing schemes
that would encourage commuters to use
their bikes more often than their cars
and information sharing websites that
encourage users to share their home energy
consumption in order to collectively improve
on their consumption behaviour at home.”
“My intentions are no longer to try and ‘save
the world’, it got to the stage where I could
no longer endure the depressing nature
of the research I was doing and besides
I wasn’t cut out for that kind office work
anyway.”
“I wanted to go back to the things that
once got me exited, while incorporating the
things that I had learnt about sustainable
design into my current work, this is when I
approached Fred Baier.”
“To date I have designed things with minimum
machining for maximum elegance. I’ve also
approached companies to see what waste
they produce and how it can be cleverly
reintroduced into their manufacturing
processes.”
With such a variety of mediums, materials
and technologies available, which does he
possess a penchant for and which does he
long to experiment with?
“The workshop I’m currently using is mainly
geared up for woodwork, but I wil l use any
material appropriate for the job. Wood tends
to be a favourite as it is really enjoyable to
work with (look, feel, smell) and challenging,
unlike metal, plastic or glass that when set,
doesn’t move.”
“It also contains a element of the natural,
that is out of the makers control. A nice
piece of wooden furniture is as much a
result of the craftsmanship as it is about the
chosen wood for the piece.”
“Sheet materials are also often thrown into
the mix (where wood can’t be used or there
is no need for it); they are extremely reliable
and easy to use.”
“Personally, I long to explore modern
processes further (l ike the range of CNC
machinery) more than I do a particular
material, that I have never used before, I
l ike to think that we have only just started
exploring the new possibil it ies made
available by modern technologies.”
Alexander is currently working on the
design of a public bench for a children’s
play area. He wil l be producing a design
using minimum materials whilst achieving
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maximum strength, exploring the idea of
triangulation to produce an elegant looking
piece of public furniture. The subframe will
be made from welded, powder coated, metal
tubing with bolted wooden slats for the seat
and back rest.
Alexander also intends to push his puzzle
idea (used for the Delta Knot) in the design
of a desk almost entirely made from
interconnected puzzles, thereby creating
one giant puzzle of a piece.
Further collaborations are also to be
expected with Fred Baier, together with
finishing the identity and signage for South
Hil l Park in Bracknell and creating an arts
trail for Ruthin Arts Centre in Wales.
LG
The Monroe Chair 3/4 view.
The Monroe Chair side view.
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Daniela Attard photographed by Alexandra Pace in front of one of her w
orks at SK8 Park.
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username_iella
Monsters. The cute(ish) kind.
Skeletal, winged, scaled, horned, hoofed and/
or clawed? Humanoid, animalistic, biomorphic,
metamorphosed; take your pick. Each a minion;
a member of Daniela Attard’s army; her troupe
of fire-breathing, alien-looking, airborne-apparent
creatures.
I want one. They’re the endearing kind of creatures
you dream of having as imaginary friends at age 5,
6 or 7. Or if you’re like me and refuse to ignore (or
altogether kill off) your inner child, at age 29 too.
The stuff of dreams. Those dreams reading like
a page out of Maurice Sendak’s Where the Wild
Things Are. Yet for the time being, I must push aside
thoughts of an aggravating Peter Pan syndrome.
If an artist possesses the technique and ability
to master a medium, reality is relatively easy to
reproduce. What’s not easy is representing a
dream, fantasy, a personal and entirely conjured
world of unknowns on paper... or on a wall or other
surface expanse.
Daniela, better and more affectionately known
as Iella, is one such special person who has the
incredible ability to create worlds populated by
monsters and creatures, the kind that simply lack
the ability to speak, roar... maybe squeak and
squawk, or produce any other inane noise which
fabled creatures are supposedly and ordinarily
associated with.
Her roots and beginnings trace back to her tweens.
She recalls creating pet monsters on the website
Neopets when she was a mere 11-year-old. “It’s
what started me off drawing.” Coupled with her
childhood dreams of becoming a paleontologist
and a healthy obsession with dinosaurs greatly
contributed to the foundations of her art. Nowadays
however, her influences are broader, more selective.
She mentions Gorillaz illustrator Jamie Hewlett, the
famed Alien creator H.R. Giger, Japanese Manga
artist Hayao Miyazaki and animation producers
Studio Ghibli.
Incorporating such diverse influences, which she
has successfully transcended into a very personal
style around which she has built her artistic
persona, Iella is quickly establishing herself as
a professional illustrator and street artist – of the
legal, non-vandalising kind.
Her artistic journey however, hasn’t exactly been
linear. Although she graduated in History of Art
just a few months back, her University baptism
came in the form of a BSc in Medical Lab Science.
Nevertheless, her passion for art and drawing was
always there, lurking in the shadows, but there was
nothing for her to latch onto at first, not even in
secondary school, a problem encountered by most
creatives striving to create a niche locally. So Iella
endeavoured to take up Art at Advanced Level – on
her own steam – and consequently attended the
Malta Government School of Art for three years.
At University however, her sketching and painting
was relegated to doodling in the margins of her
lecture notes. Making sure she sat at the back of
the class, she could at least somewhat cultivate
and nurture the many concepts and creations
struggling for release and materialisation. Three
years ago however, Iella finally found a mentor in
painter Eman Grima while attending life classes
at the Malta Society of Arts Manufactures and
Commerce. “The life classes have been my art
education.”
Now that she’s graduated, Iella has decided to
follow the foundation course at MCAST, where she
has taken graphic design to help her in the area
concerning typography. To some this might sound
like a bit of back flip. Yet hers is an informed choice
as she’s decided to take a year out while awaiting
confirmation of acceptance in the Universities
of Camberwell or Kingston to read for an MA in
Illustration.
She holds illustration very much to heart and over
the past few years she has been actively involved
in Malta’s Comic Con – an international convention
launched in 2009. Together with a bunch of “comic
book freaks” Iella has been involved in the creation
of a comic titled Pilot, which was launched during
last year’s Comic Con, which was financially
supported by the Malta Arts Fund. The comic was
well received, and enough money has already been
raised to fund the making of the second issue.
One of Iella’s most recent projects includes
collaborating with a group of artists on a public mural
in San Gwann, in an attempt at Putting Colour into
the Streets while simultaneously introducing the
concept of street art to a wider audience. It was the
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“BECAuSE OF THE PHYSICAl ATTRIBuTES OF THE SPRAY CAN, BIggER IS AlwAYS BETTER”
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first time she worked on such a big project. With
it she describes the problems encountered when
dealing with perspective on such a large scale,
the themes/subjects which had to be toned down
to suit all audiences as well as the convergence
of the individual artists’ personal styles. Iella also
explains the use of aerosols, and how the medium
is particularly apt when creating improvised works
which do not require a huge amount of detail.
Recently, Iella was also asked to participate in one
of Malta Design Week’s satellite events, namely the
FLOW project, in which she was assigned one of 13
bathroom spaces which amalgamated the concept
of art and high-end design. Her work covered the
walls of the box-like space in the form of wind-
swept figures on a deep red ground, proving that
mural painting is a more than viable alternative to
tiling or wallpaper.
She also discusses the context in which she is
trying to make a name for herself, explaining that
the Maltese public’s perception of street art is
virtually non-existent unless they happen to be
well-travelled. In Malta, graffiti, strenciling and
street art is largely concentrated in the Sk8 Park
area, outside the University — the place where Iella
created her first outsider artworks. Other than that,
audiences don’t have much of an opportunity to
experience and interact with outsider art on a daily
basis.
Iella is but one of a small community comprising
some 15-20 practising street artists in Malta, most
of whom have taken to using derelict or abandoned
houses as personal canvases. A straight-faced Iella
explains how most street artists in Malta are very
ethical and show a strong sense of responsibility
and respect for public and private properties/
buildings. It was rather the visiting foreign artists
who tag (a term used to describe an ‘artist’s’ use of
initials or symbols) walls and/or other surfaces.
Paradoxically however, outsider art is increasingly
moving inside, with several prestigious galleries
abroad showcasing this art genre which has
become highly sought after by art collectors. Street
art, more often than not, is seen as a powerful
social comment, a true reflection of a country’s
history, politics and context. It is no longer regarded
as an act of vandalism but as an art form in its own
right.
One need only mention Jean Michel Basquiat in
relation to mural, graffiti or street art. Basquiat’s
work moved from street walls straight into
exhibition spaces, as has Bansky’s for that matter.
This newfound attitude towards street art and
outsider artists resulted in graffiti artists being
commissioned to decorate facades and exteriors
of buildings, or even its interiors. One such case
in point is David Choe, whose work decorates
the walls of Facebook’s first offices in Palo Alto,
California and who has again been commissioned
to create works for their new offices.
Yet does street art lose its meaning inside, in the
‘confines’ of a residential or commercial space,
rather than a public one? Iella certainly thinks
so. “Technically yes, as the piece of work is only
available for viewing by the commissioners or
clients. In a way it is like looking at a wild animal
in a zoo.” Nevertheless, this does not mean or
imply that the subject under scrutiny cannot be
appreciated by those experiencing it, but rather
that its visibility is limited.
Size is another important factor where street art
is concerned. Iella describes why the nature of
medium makes bigger, better. “Because of the
physical attributes of the spray can, bigger is
always better. Ideally a minimum of a two-metre-
wide wall is an ideal ‘canvas’.”
I’ve often wondered whether professional and
successful street art is wholly dependant on history,
context and space. In Iella’s case, she sometimes
does site-specific work and also pre-plans using
sketches, especially on collaborative projects, “but
generally I just improvise”. Yet history and space
play an imprtant role in her work “particularly since
it’s easy to look up historical sources (especially
from the internet)...”; as a result however, she’s not
as inspired by local contexts.
But why does Iella do what she does? And more
importantly, where might it take her? “I like the
element of mystery, detachment. I like the idea of
exhibiting my work, but remaining anonymous at
the same time.” That’s why I go by the name Iella.
It’s the idea of a username coming into play, of
letting your work represent you online; keeping one
life distinct from the other.”
“I’m not interested in the commercial aspect of
art. However, I would like to work in the art field. I
used to organise a sketch group at the Sk8 Park,
so I guess what I can really see myself doing is
teaching, or perhaps working as a children’s book
illustrator.”
LG
MARK PACE
THE CuRATOR
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Custom-made. That’s what I call a sexy word,
simply because of the sense of luxury it exudes.
It’s become all too easy to shop online or browse
through a carefully-pieced glossy mag; pinpointing
and highlighting all the items of furniture which
most suit one’s tastes; establishing which colours,
textures, fabrics work best together.
Rooms in houses, buildings and offices are spaces
which need to be curated, just like those in a
gallery or museum. Just because the user’s needs
differ from those of the average spectator, does
not imply a slackening of attention to detail. Rather
the contrary. A museum/gallery has one chief
mission, to showcase artworks (sometimes the
architecture) and impart a significant experience
unto its audience. Houses, or offices, are far more
complex, seeing as the function of the space is
generally multi-purpose, catering for every need
and at times also for a few whims.
So why do so many insist on piecing a space
together as though it were a collage or puzzle?
Quoting Michelangelo, “Every block of stone has
a statue inside it and it is the task of the sculptor
to discover it.” I do not mean to take his words
literally, but rather to make a point. Just like a block
of marble or a tree trunk, empty spaces have a
voice, which needs to be heard and taken into
account. The space needs to dictate the purpose,
the function, the design...
So why the lengthy intro? Naturally, there is method
to my madness. I consider Mark Pace to be a kind
of a star. The kind possessing an unparalleled sense
of taste and quality. He is a curator of spaces... in
the guise of a self-made interior designer.
His projects almost speak for themselves.
Thankfully. Because Mark is not a man of many
words. Although his reputation in the design field
runs far and wide – preceding him in fact – he is
the humble type, hiding behind a warm, charming
smile, a frequent downward gaze and a hearty
laugh.
He says matter-of-factly, “I can’t explain my work.”
Those are his opening words.
This begs a question. So how do you go about
your projects if you can’t explain what it is that you
do? “I have clients who trust me.” This, I reckon, is
probably the result of his work ethic and philosophy
which takes into full account the respect for a
building, its history, context and proportions.
Yet Mark didn’t study to become the interior
designer he is today. Actually, at first, Mark did
anything but design, “I was a ‘hopper’, jumping
from one job to another”. Looking back, at his most
creative, he was the art director of an ad agency.
So when did he get the spark? It happened while
he was living in Holland for a couple of years.
Walking along the canals, looking at the facades
and consequently at the white interiors, he thought,
“I can do this in Malta”.
He purchased his first property, a place in Zebbug,
in his mid-twenties. From the beginning he knew
he wanted to mix the old with the modern and
contemporary. Abroad, that was the mix being
adopted.
Zebbug aside, Mark is a self-declared “Valletta
freak”.
“I believed it would become what it is today...
I predicted what would happen,” he says in
reference to the interest being shown for property
in the capital city. Mark purchased his Valletta
apartment in South Street, prior to the boom, “It
was an incredible space with incredible views.”
Almost contemporarily, Mark purchased a place
in Birkirkara, which slowly evolved into the family
home he shares with his wife and kids.
It was round about the time he invested in these
properties that he decided to take the plunge to
become a freelance interior designer, collaborating
with architect Godwin Vella.
One of Mark’s first projects was the design of the
GFI offices in San Gwann. Since his career as an
interior designer took off however, the balance
between residential vs commercial projects has
been pretty even. Although methinks that were he
to choose, he would probably confess to having
a penchant for projects of a residential nature, or
perhaps projects focused in or around Valletta. In
fact, what he does confess to is a preference for
designing extensions for old houses.
Browsing through copious photos of projects
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Project Townsquare by interior designer Mark Pace
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Mark Pace photographed by Alexandra Pace at his hom
e in Birkirkara
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completed, or in the process of, there are common
elements which stand out and which reveal quite a
distinct style. Line and angularity take precedence.
Closely followed by the use of various materials
seamlessly juxtaposed or overlayed. His holistic
approach to space is extremely appealing. In his
‘hands’ spaces are allowed to breathe. “I look
for proportions... individual elements should not
dominate a space”.
Mark is quite selective with projects: “I ask a lot
of questions before taking on a job. I need clients
to understand that I am no contractor or project
manager.” He stresses, “Good design cannot
come with deadlines. Design changes and evolves
along the way. I require time to get the best out of
a concept.”
He actually prefers being on site rather than the
office, that way there is time for him to analyse his
surroundings and get a feel for the space, allowing
it to speak to him.
Mark also shares some of his concerns and triumphs: “I
achieve great satisfaction when viewing the final product,
although I don’t necessarily get to witness the completion
of some of my best projects. The most rewarding part of
my job is getting commissions from clients who would
have seen previous projects. It’s a nod of approval.”
Despite the amount of time and dedication he puts into
any one project, Mark is not ‘maternal’ about his work.
But on second thoughts he says: “Coming to think of it
however... I do get somewhat maternal, but only when I
sell a property in Valletta.”
Before parting ways, he shares a couple of tips: “Restore
what you have, tackle the practical issues, like structural
alterations which need to be addressed from the start.
And indulge a little... include some custom-made and
bespoke furniture into your designs, there’s nothing worse
than a home looking like a showroom.”
Mark Pace currently works with Rueben Lautier, with
whom he founded the Pace*Lautier Design Workshop.
LG
THE ARCHETYPE PAPER 37
THE ARCHETYPE PAPER 38
Active TradingYour portfolio is not just monitored to assess risk but actively managed. Active management of your portfolio consists of frequent purchase and reselling of financial assets by your Portfolio Manager to take advantage of price changes and aim for growth.
Adapting to changeAs your financial requirements change over time, so may your financial personality. During our regular meetings we will reassess your specific financial targets in order to realign and rebalance your portfolio with your desired plans.
TransparencyOur comprehensive reporting system will ensure that you know exactly how your money is being managed while giving you the benefit of maximum transparency.
If you prefer to delegate completely the responsibility of monitoring your portfolio closely to a trusted professional, you should consider Discretionary Portfolio Management. A designated Portfolio Manager will take the time required to develop a deep understanding of your personal ambitions and preferences - be it financial security, to provide for the future of your children, early retirement or the desire to fulfil long-held ambitions. Although you will be providing a mandate to the Portfolio Manager to manage your portfolio in line with the agreed investment objectives and risk profile, you will be kept informed of any investment transactions executed under your portfolio.
A strategy customised to your needsOnce we have taken an accurate profile of your unique financial personality and appetite for risk, we will draw upon the collective wisdom of our dedicated research team and propose the portfolio strategy that aims to optimise your wealth while matching it to your investment profile – be it one of acceptable risk or a highly cautious one.
Balancing risk and rewardAs soon as your portfolio is set up, we will set a performance benchmark against international indices. We will hand pick best-of-breed investment instruments and then monitor performance, with the aim of achieving a balance between risk and reward.
Dedicating our time and expertise towards maximising your wealth
Gain freedom from the complicated management that your wealth requires. Discretionary Portfolio Management takes care of the complex challenge of deciding ‘when’ and ‘where’ to place your money.
Discretionary Portfolio Management
Trustee Services
Investment Advisory Service
Successful investment in financial markets requires time and expertise. Discretionary Portfolio Management allows you to delegate completely the responsibility of monitoring your portfolio closely,to a trusted professional.
letting the experts growyour wealth
BO
V 2
4987
BOV PERSONALWEALTH MANAGEMENT 2275 7575 I bov.com
Issued by Bank of Valletta p.l.c.58, Zachary StreetValletta VLT 1130 - Malta
Bank of Valletta p.l.c. is licensed to conduct investment services business and to provide trustee services by the Malta Financial Services Authority.
BOV A3 discretionery 345X240 DPS.indd 1 1/26/12 4:01:26 PM
Active TradingYour portfolio is not just monitored to assess risk but actively managed. Active management of your portfolio consists of frequent purchase and reselling of financial assets by your Portfolio Manager to take advantage of price changes and aim for growth.
Adapting to changeAs your financial requirements change over time, so may your financial personality. During our regular meetings we will reassess your specific financial targets in order to realign and rebalance your portfolio with your desired plans.
TransparencyOur comprehensive reporting system will ensure that you know exactly how your money is being managed while giving you the benefit of maximum transparency.
If you prefer to delegate completely the responsibility of monitoring your portfolio closely to a trusted professional, you should consider Discretionary Portfolio Management. A designated Portfolio Manager will take the time required to develop a deep understanding of your personal ambitions and preferences - be it financial security, to provide for the future of your children, early retirement or the desire to fulfil long-held ambitions. Although you will be providing a mandate to the Portfolio Manager to manage your portfolio in line with the agreed investment objectives and risk profile, you will be kept informed of any investment transactions executed under your portfolio.
A strategy customised to your needsOnce we have taken an accurate profile of your unique financial personality and appetite for risk, we will draw upon the collective wisdom of our dedicated research team and propose the portfolio strategy that aims to optimise your wealth while matching it to your investment profile – be it one of acceptable risk or a highly cautious one.
Balancing risk and rewardAs soon as your portfolio is set up, we will set a performance benchmark against international indices. We will hand pick best-of-breed investment instruments and then monitor performance, with the aim of achieving a balance between risk and reward.
Dedicating our time and expertise towards maximising your wealth
Gain freedom from the complicated management that your wealth requires. Discretionary Portfolio Management takes care of the complex challenge of deciding ‘when’ and ‘where’ to place your money.
Discretionary Portfolio Management
Trustee Services
Investment Advisory Service
Successful investment in financial markets requires time and expertise. Discretionary Portfolio Management allows you to delegate completely the responsibility of monitoring your portfolio closely,to a trusted professional.
letting the experts growyour wealth
BO
V 2
4987
BOV PERSONALWEALTH MANAGEMENT 2275 7575 I bov.com
Issued by Bank of Valletta p.l.c.58, Zachary StreetValletta VLT 1130 - Malta
Bank of Valletta p.l.c. is licensed to conduct investment services business and to provide trustee services by the Malta Financial Services Authority.
BOV A3 discretionery 345X240 DPS.indd 1 1/26/12 4:01:26 PM