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First Maltese Inġinier Elected to the European Federation for National Engineering Associations Executive Board. Inġiniera Malta is honoured with the election of Inġ. Michelle Cortis to the Executive Board of the European Federation for National Engineering Associations (FEANI) as a member from the Southern Region. Inġ. Cortis has been elected with an overwhelming majority of 85% of eligible votes at the FEANI General Assembly held online on Friday 07th October. This positive result follows her co-option into the Executive Board, which position needed to be confirmed via the election held during the FEANI General Assembly attended by 31 countries. As Malta’s representative at FEANI, Inġiniera Malta is pleased to note that Inġ. Michelle Cortis is the First Maltese Inġinier to be elected to the FEANI Executive Board, for which she will serve for three years. Malta has been actively represented on FEANI through the Chamber of Engineers (CoE) since 1981 yet it has never been represented at an Executive Board level. This election opens up a new chapter in the international relations of the engineering profession in Malta. Inginiera in Malta congratulates Mr Alain Jouanjus, from the French National Member, Ingénieurs et Scientifiques de France, who has been elected as Treasurer on the FEANI Executive Board, and also thanks Dr José A. Goicolea from the Spanish National Member, Comite Nacional Espanol de la FEANI, who participated in the election with Inġ. Cortis. Inġ. Michelle Cortis, who is Chairperson of Inġiniera Malta and International Affairs Secretary on the CoE Executive Council, stated the following upon reacting to the result: “It was humbling to see such a level of trust from our European colleagues. This encouraging result was possible only because of the support of both the Chamber of Engineers and Kamra tal- Periti – especially Malcolm, Robert, Andre and Jeanette. Through this role, Malta will continue to effectively contribute to the international engineering community from our country's perspective.” The President of the CoE Inġ. Malcolm Zammit expressed his utmost satisfaction with this result and said; “The past few years as an active council member were sufficient to show me the strong relationship which the CoE had built throughout the years with our international engineering counterparts, especially through FEANI. With the formation of Inġiniera Malta, I was certain that such relationships would only be fostered. Therefore, it came as a clear expression of trust when my colleague Michelle was proposed for co-option to the Board. Her historic election is an honour for the engineering profession and for our country. I am deeply satisfied with this development and humbled that as CoE President I had the opportunity to nominate the first Maltese Inġinier to the FEANI Executive Board. I look forward to an even brighter future for the profession.” Perit Andre Pizzuto, President of Kamra tal-Periti, also remarked on this milestone during the first year of Inġiniera Malta and stated that: “The Kamra tal-Periti supports Inġ. In her post on the FEANI executive board, Michelle Cortis said that as part of Inġiniera Malta, we will ensure that the voices of engineers in Malta will be represented in Europe.” Inġiniera Malta expresses its continued support for Inġ. Michelle Cortis looks forward to the fulfilment of its mission with the additional driver of being represented on the FEANI Executive Board. This election to the FEANI Executive Board is expected to mutually benefit the engineering profession in Malta and the European engineering community. Inġiniera Malta is a joint committee between the Chamber of Engineers and the Kamra tal-Periti and is the National Member of Malta within FEANI, Fédération Européenne d’Associations Nationales d’Ingénieurs.

Carlo Schembri, designer and artistic director, has been twice honoured in his prolific career spanning 25 years, by the commissioning of the design of the platforms and backdrops for 2 iconic stages of the visits to Malta of 2 Popes, HH Pope Benedict XVI in 2010 and HH Pope Francis in April 2022. The commissioning of the papal platform for Pope Francis’ visit originated 2 years ago, but was postponed due to the pandemic; things have changed since, not least Pope Francis’ health, which had deteriorated; thus, the brief had to be adapted to reflect and accommodate these changes. Schembri’s approach to the design of the platforms is very personal. He likes to look at what he designs, placing himself at the heart of it, he looks at it. Schembri wanted the Pope not to be detached from the faithful, the public. “I tried to place Him at eye level as much as possible, so that people would not have to look up to see Him, like a superstar on a stage, detached from His “audience” at the bottom of the stage, but to participate together with Him in the celebration of the Mass”. He also had to consider the people who would be on the platform, the Church hierarchy and others. Schembri also took into account, the elements of the day, the time of day, the sun, the wind, the possibility of rain, the size of the crowd and all relevant logistics in general. Pope Benedict’s visit in 2010 should be viewed in a different context. There was less awareness about the use of recycled materials, for example, it was still more of a “buzzword”; though, “I did use recycled wood - durable recycled cardboard, called OSB. But when this April, Pope Francis showed His firm intention to visit the Hal Far Peace lab meeting with the migrant and refugee community hosted there, a stronger message needed to be delivered. “I was given artistic licence and I felt that it was more appropriate to apply this at Hal Far rather than at Floriana”. He decided to create an installation in plastic, representing the sea waves with the installation of plastic bottles, "because our sea has more plastic than fish", and using the vibrant colours of our beautiful mediterranean sea - blue, turquoise, green, but he draws attention to the loss of migrants' lives by the "orange blobs" on top which is representative of what he refers to as “salva uomo”, life - saving jackets or rings?... but they are empty, “denouncing the strong message of loss of life!” This embodied the objective of Pope Francis’ visit, specifically to send us a message of compassion. The description of the design of the platform for the Papal Mass and Angelus at the Granaries, Floriana, belies Carlo Schembri’s artistic raison d'être. He is both spiritual and minimalistic in his chosen hues of grey, white to Lenten purple, reflecting the Church Liturgy of the Lenten period; one could go on drawing parallels to his own description of his art and design styles, merging well-being (health and safety considerations for an ailing, ageing Pope; the practicality of the underground sacristy; a sensitivity towards the playful way that natural sunlight is featured together with comfort, including a little touch of tech-savvy awareness to allow those present that special successful selfie memento. Indeed, Schembri reiterates that all the “theatrical” applications on the platform at Floriana were indeed biblical, including the flora used, all to reflect the “spirit of the objective”, which is the celebration of Mass. Carlo Schembri demonstrated flair in the design of a special Chair of State for the occasion, (two in fact); this brings together his design and art in both the Spiritual and the Statal aspects of the Papal visit. Carlo underscores that he does everything himself and on a voluntary basis. Statal chairs were first commissioned in 2010, for the Visit of Pope Benedict XVI, by then President George Abela. Pope Benedict’s visit commemorated the 1,950th anniversary of the visit of St Paul to Malta in AD60, so the brief focused on this connotation. The chairs were used at the Pope’s arrival ceremony at the airport. With Pope Francis’ visit, President George Vella’s brief was to replace these chairs which had been used for several State visits during the last decade. The last time they were used was by HRH Queen Elizabeth II and Prince Philip in 2O15 during the Commonwealth Heads of Governments Meeting. It was decided that these chairs would be preserved at the Museum. This time the 2 new Statal chairs are more generic in design; the Papal and Malta coat of arms are custom-made. After the Pope’s visit, the papal coat of arms would be removed and framed; this would allow the new Statal chair to be reused for other Statal occasions. Schembri has stated that "Spirituality is a big part of (my) life"; in approaching these special commissions, with their diverse meanings and messages, he emphasises that this is not so much reflected in the practising of religion, but more so, in being in touch with oneself spiritually, “listening to yourself to help you understand and of course, listening to others, and, he emphases, “you should, of course, listen to your brief”.

On 23 June, Dino Fino Home + Contract announced the launch of ARCLINEA kitchens exclusively represented in Malta. RUUMS.eu was invited to this presentation. The event was presented by Dino Fino and architect Rune Bo Jakobsen, an artist exhibiting some of his work in the showroom. ARCLINEA kitchens are Italian statement kitchens with a mix of different contrasting materials available. These kitchens make optimal use of the available space available with clever hacks and space-saving or usage solutions, a sliding cover over the sink becomes an additional work surface, a glass display cabinet doubles up as an extractable work surface with hidden electrical sockets. Various additional solutions serve up to keep your kitchen tidy and organised. A foot rest on the island (as seen in the showroom model) makes for good leg and back support too, admittedly the first time I have seen a new kitchen mode locally with this feature. Small details, but details that add up for a comfortable and practical kitchen in terms of usage and organisation. ARCLINEA kitchens are aesthetically appealing to today's lifestyle with clean modern lines, and minimalist style, and if adapted to the design they can also evoke an industrial look thanks to the steel options available, one can go from vintage stainless steel to PVD bronze stainless steel and more. ARCLINEA kitchens have the creative influence of designer Antonio Citterio who states, “from the start, I wanted to apply design to shapes as well as to the concept of space not solely dedicated to the preparation of food and to the dining table but also to the conduction of other living functions”. Upon viewing and feeling the furniture you immediately become absorbed in the quality this brand provides, and how beautifully it integrates into open spaces, not remaining merely ‘the kitchen area’, but amalgamating into the interiors as a whole. The model on display at Dino Fino Home + Contract uses Bronze Stainless Steel base cabinets, contrasted with a heavy statement Calacatta countertop, and tall cabinets in an NTF Fossil Oak finish with a touch of glass. Although not too contrasting as a choice of finishes in terms of the Oak and Bronze, the final look is a soft and subtle combination. The showroom model's wow factor would be the extractor hood, which is made from the same Bronze Stainless steel as the base cabinets, not too common to find or see locally. Stainless steel comes with its own maintenance, and if you have a busy household then steel may not be the option for you, purely due to the fingerprint marks that are well known to be visible with usage, same as glass, there is a compromise one must do, function vs practicality vs aesthetics. Don't be disheartened by the showroom model’s Stainless Steel finish, which depicts ARCLINEA’s glory, a staff member of the Dino Fino Home + Contract showroom or your interior designer will guide you towards the right model and finishes for you.

Professional Interior Design points to the importance of education and experience to ensure that, in designing any site, any corner in a residence or business establishment, for example, functionality and comfort are inbuilt. Sara J Stoinska, Founder, Interior Designer and Stylist at InteriorsBy.SJS Sara J Stoinska is an eclectic interior designer and stylist who is relatively new to the local scene. In fact, InteriorsBy.SJS is a new “business” on the island with an interesting, growing portfolio of residential and commercial projects, executed by Sara and her team of talented people with different backgrounds and skills but sharing the same goal. Sara describes herself as one who tries to see beauty in everything. She enjoys travelling, culture, and art, practices dancing, and admiring photography and videography. She describes herself as a “Deep thinker. Food lover. Always ready for a challenge”! The creation of something special is what drives her the most. Sara, a Polish and English language native speaker, has always had a passion for interior design. As a child, she would flip through magazines and catalogues, dreaming of creating something enjoyable to look at. At the time, she was not even aware that there was the possibility of working in Interior Design, “And I am glad there is, of course!”.  She believes that growing up in a family that is artistically and. musically talented, has helped her too. Sara, who recently obtained the UK National Design Academy Diploma in Professional Interior Design points to the importance of education and experience to ensure that, in designing any site, any corner in a residence or business establishment, for example, functionality and comfort are inbuilt. In addition, today there is wide access to dedicated media platforms that keep one abreast of current trends, such as palettes of colours and other parameters to ensure that a design is also aesthetically pleasing. But, what inspires Sara in initiating and completing a design? “Vision and happy souls”, she declares without hesitation. Her inspiration begins with literally anything. She is a deep thinker, and enjoys listening and finding beauty in everything; these three qualities when combined together definitely keep her inspired and motivated. She approaches each project as if it were her own, therefore she ensures that she gets to know her clients just a little bit more than on a business level and listens to their vision. This is what keeps her going until the end. The goal of InteriorsBy.SJS is to transform a virtual concept into reality. A common denominator in Sara’s projects is to go by "The less, the better", Because she loves spaces that are designed in a minimal and clean style. Of course, she tries to adapt to each clients vision rather than impose her personal taste, but she confesses that she never misses an opportunity to use a clean white wall, neutral tones with one to two maximum accent colours, meaningful painting, plant, wood and gold brass accents in her designs. In Sara’s opinion, a few of the challenges presented to interior designers from delivery to project completion are selling ideas and introducing them to clients, managing the time, setting boundaries and satisfying clients expectations all along. Agreeing that complex projects require management across teams of professionals in various related sectors that contribute to the built environment, Sara considers that good and constant communication between designer and team is a major challenge to smooth operation in this context. “ It is the golden key here!” Of course , the whole team should work towards the same goal, understand each other and tackle issues that may occur along the way, as all this would ensure smooth operation of each project, whether it is large or small. Sara is adamant about the use of eco-sustainable materials in the actuation of her designs. She reiterates that Green Design does not only have economic benefits but also environmental and in health. In fact it is proven, that eco-sustainable materials contribute to human health, happiness and overall better quality of life. She is also confident that more eco-friendly products will continue to be available locally over time. In reflecting on the state of the built environment in Malta, she ruefully says, “I have managed to take couple of photos without a crane in the background so that's a good thing" On a more serious note, Sara has nothing against the new construction drive happening on the Island, but she would love to see buildings that are simply not “ squeezed blocks of apartments which seem to appear unfinished”. Referring to the green open spaces, she adds that “nothing beats nature, which is unfortunately slowly being taken away from us”.  In reflecting on the future of the profession of interior design, Sara is confident that it is growing! Nowadays, people are keener to seek the services of an interior designer because they are more aware of the profession and have realised the importance of living and working in comfortable, welcoming and aesthetically beautiful surroundings. “Perhaps the pandemic spearheaded it”!

The beautiful and unique aspects of the Maltese tile were the main reason Thomas embarked on his fascinating project. Each tile is made by hand, one by one. The Maltese tile is making a comeback! And it’s thanks to, in no small part, people like Thomas Camilleri, who founded his project—aptly named Lazarus Tiles—during a home renovation. Learning about the history of the Maltese tile inspired Thomas to start looking around for discarded tiles around the Maltese islands. After restoring them, he mounts them onto frames and transforms them into remarkable works of art. His mission: is to “bring Maltese tiles back to life” to be enjoyed in this innovative manner. Ruums spoke to Thomas to learn more about Lazarus Tiles. The beautiful and unique aspects of the Maltese tile were the main reason Thomas embarked on his fascinating project. Each tile is made by hand, one by one. They can withstand the test of time—many for over a century of hard wear and tear. And yet, so many of them are, sadly, discarded during renovation and construction projects. “I was working on the renovation of a 19th-century Ħamrun maisonette,” Thomas told us. “It had beautiful tiles in some rooms. However, other rooms had plain, broken tiles which needed replacing. Rather than buying new ones, I salvaged tiles from other properties to use for these rooms.” “During my search, I encountered many beautiful tiles, but I couldn’t use a number of them. Some weren’t the right colour; others were not enough in quantity. I was saddened by the fact that they would probably end up in a landfill. So, Lazarus Tiles was my way of turning these hard-working, iconic representations of our vernacular architecture into wall art. In this way, I managed to save as many as I wished.” What makes the Maltese tile so different from other tiles? Maltese tiles are encaustic tiles. Unlike a ceramic tile where the pattern is part of the glaze, the colour of a Maltese tile is an entire layer. This is why giving old tiles an abrasive polish (‘togħrku’ in Maltese) brings out the vibrancy of the original colour. Our iconic tiles originated along the southern Mediterranean, from Istanbul all the way to southern Spain. They were also adopted by the English, which is how they probably ended up in Malta. Victorian hallways used to be adorned with these tiles in the most beautiful geometric patterns. They are, nowadays, highly prized as original features within British homes. So, how does Thomas find and rescue these beautiful tiles? Through exposure on his social media pages, Thomas has developed somewhat of a reputation when it comes to architectural salvage. “Whenever friends or family see a skip outside a construction site with anything interesting inside, they’ll call me.” Thomas mused. “My friend Gaby called me a few weeks ago and told me about a skip full of Maltese tiles outside a house on Norfolk Street in Sliema. I was there in a flash, rifling through the contents of the dumpster like a stray cat. This search yielded some beauty. I managed to restore quite a few, and they are now available from Lazarus Tiles.” The process of restoration for Maltese tiles is as unique as they are. Although one can polish these tiles, there is nothing that gives them a hard-wearing patina like years of usage. The gentle, constant rubbing of footsteps seals off these tiles and creates a protective layer that is not achievable through any chemical process. So, when preparing these tiles for mounting, the cement is first chiselled off the back of the tile. The tile is then washed in warm water. The next step is to remove any cement or stains on the front. This is done by gentle scraping to avoid removing the entire patina. The tile then goes through a wax process that brings out the colour without sealing the tile off. This allows it to breathe, as well as ensures it will not stain over time. Thomas believes the Maltese tile is no longer a thing of the past. Luckily, there are several wonderful people out there who have helped create awareness through their work. People are definitely more appreciative of Maltese tiles today. While there was a long period when they fell out of fashion and many were lost, they are now firmly back—and as popular as ever. While many new tiles are being made, there are also plenty which is being restored within old homes. This is ideal because there are manufacturing methods, such as marbling, which have been lost through the ages. This makes these original tiles practically priceless. We finally asked Thomas what he loved most about his venture. “It’s hard work,” he admitted, “but I love it, because every week introduces me to new patterns and colours I had never seen before. I also love Maltese architecture. So, when I am saving these tiles, I get to explore old houses full of history and loaded with memories. I find it all so fascinating.” “The stories that clients approach me with are also a wonderful part of the job. Sometimes, the tiles I mount are brought to me as commissions. The reasons behind these orders are often very precise and quite poignant.” Thomas’s work is an excellent representation of high esteem for our local heritage. By saving and restoring these tiles, he is helping to revive a tradition which has existed for hundreds of years. The tiles he rescues may no longer perform their primary function. However, his work ensures they are still adorning the walls of many houses with the iconic patterns and colours that we all know and love. Visit and experience the creative spirit of Lazarus Tiles.

In discussing the significance of the engineer’s role in the construction industry today, Malcolm explains that the engineer plays a key role in the construction industry in Malta which is a multidisciplinary industry involving various professions and stakeholders. Malcolm Zammit is the President of the Chamber of Engineers (CoE). At 30 years old, he is the youngest ever in a generation of Inginiera that have led this vibrant, forward-looking professional organisation. At 30 years old, he is the youngest ever in a generation of Inginiera that have led this vibrant, forward looking professional organisation. Malcolm is himself a warranted mechanical engineer; he feels the extensive responsibility that he has towards engineers and the profession, describing his mandate to lead this 43-year-old organisation, which continues to spearhead issues in favour of the profession, as ingrained in the “drawing of bridges between the younger generations of the profession including the students, and to continue sustaining the existing networks between the various generations which enrich the profession”. As we are on the threshold of this second decade of the Millenium, Malcolm considers the CoE as being an even more forward-looking organisation, and with his role as President, he is seeking to bring forward renewal of the CoE and the profession, project a more accurate public image of the profession, and improve relations with members. The engineering profession has extensive potential and the CoE has an obligation to develop that potential into opportunities and growth. But, what is the raison d’etre of the CoE? Malcolm is very incisive in his description of the core nature of the CoE, as the national professional organisation which caters for the interests of Maltese Engineers and the Engineering Profession. The CoE was purposely founded to represent the interests of Engineers and advance the engineering profession in Malta. “This purpose is pursued on a daily basis so that the Chamber continues to be recognised as an essential, dynamic and professional engineering organisation which contributes significantly to the advancement of our society.” The Chamber seeks to serve as the natural home for engineers, providing for an idea exchange forum. The Chamber also promotes the code of ethics and fosters collegiality between members of the profession. Malcolm continues to explain the versatility of the Engineering profession. Indeed, one tends to find engineers in different roles across the board of academic and applied research and innovation, and in various services and industries. Malcolm explains that the common factor, in an engineer’s academic and professional formation, that enables this professional versatility, lies in the fact that engineers hone some of the most versatile skill sets, due to the fact that the practice of engineering is applied across an extensively varied number of economic sectors in society. Therefore, the academic training and formation of an engineer should provide a toolbox which is useful in multiple scenarios. In considering the Bachelor of Engineering (B.Eng.) degrees offered nationally, we find that the course programme covers a breadth of subjects in engineering into which one may delve into further depths at later stages of studying (e.g. postgraduate studies). Key skills of systematic thinking, problem solving, data analysis, research methods and engineering fundamentals are a necessary part of the engineer’s profile which find use in many sectors and real-world applications. Malcolm speaks with palpable pride of the CoE’s longstanding Malta Engineering Excellence Awards (MEEAs) which are a successful, major annual event in the calendar of the Chamber, the profession and other relevant stakeholders. The MEEAs have been running for just more than 20 years and originated due to the need to recognise engineering efforts for the benefit of society. These awards recognise both individuals and organisations for their engineering contributions to our society. Essentially, the awards serve as a medium to channel the efforts being carried out in the industry and project them towards the general public as a way to increase awareness of engineering and the role it plays within society. In discussing the significance of the engineer’s role in the construction industry today, Malcolm explains that the engineer plays a key role in the construction industry in Malta which is a multidisciplinary industry involving various professions and stakeholders. The engineer in a construction project is responsible for a number of aspects such as building services design, commissioning and maintenance, building energy and performance certification, fire, lighting, ventilation and acoustics. This list is not exhaustive and simply indicates the breadth of activities which the engineer performs. The present and future trends of the industry are expected to make the engineer’s role an even more significant one. Buildings are becoming more complex and high-rise buildings are becoming more common in Malta. These projects are becoming more critical and need engineers to consider the mechanical and electrical aspects of the building at the very early stages of the building design. Thus, the CoE and industry stakeholders need to continue their activity to improve the standards in building and construction through the professional services of an engineer throughout the project. But, what are the challenges and opportunities presented to the Engineering Profession in the delivery of completed projects? Malcolm explains that any project, in any kind of sector, is expected to have its own set of challenges. The engineering profession can make a difference in such projects since engineers are, first and foremost, solution-oriented. In view of these challenges, the engineer needs to self-regulate one’s own professional activity, notwithstanding any pressures which may be experienced throughout the project, and continue promoting standards of practice in Malta, ethics and compliance within a project. In terms of opportunities, engineers can continue to distinguish themselves professionally, and continue to promote cross-profession collaboration within such projects, given that, they are fully aware that a system is designed to function thanks to multiple elements. “drawing of bridges between the younger generations of the profession including the students, and to continue sustaining the existing networks between the various generations which enrich the profession”. Furthermore, engineers should remain driven to work for the benefit of society and they should see that projects are designed and delivered while keeping in mind the various spheres of sustainability. Our discussion also focused on the recent increasing spate of occupational accidents, particularly on construction sites, several of which are regrettably fatal. Malcolm pointed to the active advocacy of the CoE in favour of occupational health and safety; indeed the engineering profession warrant is tied to the safeguard of public health and safety and so are other professional warrants. In this regard, the CoE has issued timely calls to authorities as required and has also issued statements in collaboration with other organisations. The CoE has also given direct feedback to the Government of Malta, regarding the need to ensure that an engineer is involved in the development process from the inception of the project to secure the highest professional standards. The CoE will continue working to address anomalies in the occupational health and safety subsidiary legislation with regard to what constitutes a competent person, as the CoE feels that it is engineers who should be engaged for certification of any type of working equipment including that used in the construction industry. This multifaceted problem requires re-thinking for an effective and long-term solution. In this regard, the CoE has always supported calls for reform in the building and construction sector of Malta to ensure accountability and safety at all stages of a construction project. Safety issues can certainly be avoided if the players in the industry work ethically and in line with regulations. It is in such spirit that more regulations are required for this sector, and such regulations need to be enforced. Malcolm opines that the built environment in Malta has changed drastically during the past years in view of a strong wave of construction projects in the building and construction sector and which is not expected to slow down anytime soon. There seems to be a clear focus on economics and stock the aspects of the built environment, but the built environment is so much more than financial reward. We need the re-think the ways we approach construction so that our built environment in Malta becomes one which balances the implications on the environment, people and the economy. We certainly do not need to scrape the bottom to start taking action and action will need to be taken over a number of years. A vision for the existing building stock and the future of buildings needs to be delivered by the country’s administration. Reflecting on the future of the Engineering profession from the national and European perspective Malcolm is adamant that the Engineering Profession will continue to be a catalyst for innovation, which innovation knows no boundaries or geographical territories. In this regard, engineering will remain an influential profession in Malta and across Europe. The challenges in Malta and Europe are somewhat similar, which is, that not enough young people are being attracted towards engineering, indeed all STEM subjects and studies, in general (STEM – Science, Technology, Engineering and Mathematics) and as such, the continent is risking a vacuum of important professionals for a sustainable future. Any future-looking society needs engineers to not only address today’s problems but think about solutions for tomorrow’s problems. On the advantage of the CoE’s endorsement of the RUUMS platform for the association and its members, Malcolm, in referring to the RUUMS proposal as a comprehensive gateway for professionals working in the building and construction industry, positions engineers as key players in this industry. The CoE expects that RUUMS will be giving more visibility to such engineers while supporting the CoE in the education of the public. Members of the CoE have another opportunity for networking and exposure to career opportunities in the construction industry in Malta. “This initiative which is in its early days offers an opportunity for further growth.”

Sabah Bardhan is no stranger to art. The first thing she ever painted at the tender age of five was a sunflower at a summer camp art class. Her father is an artist who taught her finer techniques as a child. Together, they painted random objects around the house, determining how to get the proportions, lighting, and colours right. Today, her skills extend to restoring pieces of furniture by adorning them with colourful, hand-painted designs. Based in Dubai, Sabah spoke to Ruums to tell us all about her incredible enterprise, JustRestore. Who is Sabah Bardhan? Sabah has never actually been to art school. When she had to decide between Art or Accounting as optional subjects, she chose Art, even though she was the only student in the class. That was the only formal art education she received. She experimented with different subjects, paint mediums, canvas, and paper through the years. She also held a successful exhibition of her work, which was a very rewarding experience. A couple of years ago, she decided she wanted to try something new. “I had a lack of focus and direction career-wise,” Sabah admitted. “but I knew that if there was one thing I was passionate about, it was art and painting. I wanted to change my canvas to something more challenging.” Sabah found some wooden stools lying around at home. They were screaming for a makeover, so she decided to paint them. She then posted them on social media with no actual intention of selling them—and they sold within days! “That was a eureka moment for me.” she smiled. “I started painting all the old tables and chairs around my home. After a lot of trial and error, I knew what worked and what didn’t in terms of products, techniques, and durability. Only then was I confident enough to take up commissions. That was how JustRestore was born on the 17th of January, 2019.” Sabah works with furniture made from any material. There is no material she will turn down when it comes to furniture, be it solid wood, medium-density fibreboard (MDF), glass, metal, or laminate. “Most of my work is commission-based,” Sabah told us. “My clients ask me to up-cycle furniture they’re attached to. Other pieces have significant functional value to them, but they just look outdated. “At times, I deal with furniture straight from the showroom! My clients prefer to buy the furniture item that fits in terms of size or shape, and then have me revamp it to suit the décor. I also restore a number of beautiful vintage pieces. Some of these are almost 150 years old and have been handed down for generations. Being trusted to work on these pieces is meaningful, considering the many memories attached.” “When I do get some time to work on my own ideas, I source suitable pieces from second-hand furniture platforms or just look around my home for furniture that can make the cut!” So where does Sabah get her inspiration? For her personal projects, Sabah seeks ideas from her travel experiences when she worked as a flight attendant. Reviewing her photos of places, scenery, and restaurants—among others—help immensely with colour combinations, textures, and so on. Sometimes, just a walk in the park with her kids leads to the discovery of a beautiful feather that lends inspiration. Other times, random ideas crop up in her mind, and she then quickly sketches them to see if they make any sense. Her clients also contribute. Often, they send her a photo of something they’ve seen, which they wish her to recreate on their furniture with her personal twist. Other clients merely hand over their furniture and ask her to go crazy with it! “Such fun!” Sabah smiled. “What almost always happens,” she continued, “is that I will ask my client to send me a photo or video of their décor, so I can familiarise myself with their tastes and suggest colour schemes. We then reach common ground based on what they like and what I consider suitable for the type of furniture I am restoring.” “It is such a rewarding process,” Sabah reflected, “starting from discussing the idea, to seeing the furniture in its ‘before’ state, and then watching it transform slowly right under my nose. Of course, client satisfaction is the biggest compliment. And what tops that is when they come back to me months later with more furniture to revamp!”Sabah’s work contributes to the reduction in the number of items going to landfills. She feels there is a sudden shift in people’s thinking when it comes to furniture restoration in the U.A.E. There was a time when people did not hesitate to buy new furniture. However, people are now much more aware of the options available. Some of Sabah’s clients have furniture that is made out of good-quality, strong, solid wood—a rarity nowadays. Such furniture is passed down from generation to generation or even moves with the family from home to home. Sabah described the paint she uses. “Annie Sloan Chalk Paint is free from VOCs (volatile organic compounds), odour-free, and produces no fumes. It is suitable for children’s toys too! It is water-based so that makes it eco-friendly as well.” “I’m aware and thrilled that, in a small way, I am part of the sustainability movement.” “I have painted approximately 200 pieces of furniture. It is extremely satisfying to know that, out of these, at least 60% would have ended up in landfills. I never hesitate to convince my clients when they are in two minds about restoration versus buying a new piece. And when they opt for the former, I go all out to ensure they don’t regret that decision.” We asked Sabah to describe some of her favourite pieces and the process of restoring them. Her enthusiasm was infectious. “Every piece of furniture teaches me something new. I do get attached to a lot of the pieces I work on, especially when I’ve spent hours with them, painting intricate artwork. It’s hard to see them go back home on the day of delivery, but I still feel immense satisfaction.” “A couple of the pieces I have painted will always hold a special place in my heart. One was a buffet which I was asked to restore into a replica of fibreglass, a factory-manufactured piece, with hundreds of vertical, multi-coloured lines. This makeover took me almost six to seven weeks to complete, clocking up to eight hours a day. I remember having sleepless nights, hoping it would work out. Some mornings, I would wake up with a start and go fix a line that bothered me because it wasn’t perfect. I called this my Striped Masterpiece. “It was very well received from people all around the world. I used to wake up to lovely messages from art lovers appreciating my work. I was also a finalist in the Zibra Golden Brush Awards with this same piece. I painted it early on in my career as a furniture artist, which is why it will always be a favourite. It crushed all the self-doubt I felt when I was starting out.” Sabah went on to describe other cherished items. “I am attached to the ones on which I painted Japanese cranes—they are such graceful and beautiful birds. I also painted a buffet with Koi fish for an interior design firm. The concept was to have a sepia tone, with a corner painted in a way as if ink had dripped into the water. The colourful Koi swim out of it and turn monochrome. It was almost surreal to bring this to life, and I thoroughly enjoyed every moment of it. It was a story unfolding with every brush stroke. Sabah had some sound advice for personal restoration projects. “Furniture makeovers are the most fun and rewarding DIY projects you can take up. You will turn your décor around in a matter of a few hours—and it doesn’t cost a kidney either!” “A lot of times I receive messages from people, saying they are not confident enough to start work on a piece. I say, you’ll never know till you do it! The best way to start, in my opinion, is to choose a small piece of furniture. Be it a small side table or an old chair—or it could even be your flower pots! Try looking into your store room or grab a piece that is not very important to you.” “Most paints available today don’t need any prep work.” Sabah continued. “A brush and a pot of paint are all you need to get started. If you’re feeling adventurous and creative, grab hold of some tiny brushes and create patterns, or use Frog Tape to make geometric designs. The possibilities are endless. And oh—don’t forget to seal all your hard work with lacquer or clear furniture wax for durability. Best of luck!” View more of Sabah Bardhan’s astounding work on her Instagram page, JustRestore.

Nicole and the Disinji team are inspired by the project’s unique characteristics – the programme, history of the site, location and orientation, and the client’s brief and stylistic preferences. Nicole Turner Galea is an interior designer and co-founder of Disinji Design Studio. She explains her passion for interior design as having stemmed from her fond interests in the arts. She reminisces that, from a very young age, she was always drawing and painting. It was always her ambition “ to transform the effect that the arts have through the designing of artistic interiors." Nicole considers that academic and professional formation is important in the practice and art of design. She underscores the importance of the ability to understand the principles and fundamentals of design and construction, design theories and the history of design. “This is vital,” says Nicole. As is learning various trade tools and media whilst gaining knowledge of the laws and regulations of the industry. She considers her personal experience of having had the opportunity to study in various workshops such as wood, metal, and textiles, and a wide range of units on sustainability, furniture design, and project management enhanced further her knowledge and skills. On the other hand, gaining experience in the real design world and coming into contact with various professionals and suppliers strengthen her knowledge. The problem-solving situations that designers encounter during the delivery of the project can only be achieved through practice and lessons learnt in the practical world. Nicole’s journey into the world of interior design was marked, during her studies, by the opportunity to work as a personal assistant to (interior Designer) Vera Sant Fournier. During her one-year experience at Vera Sant Fournier Interior Design Studio, Nicole had first-hand experience of the real-life of an interior designer. The duties, responsibilities, and workflow- enabled her to grow both personally and professionally. Today, she is a co-founder at Disinji - An. interior design studio which is co-founded with another interior designer and an architect. This young dynamic works effectively – merging their knowledge and undertaking different roles that enhance the design process. Nicole and the Disinji team are inspired by the project’s unique characteristics - the programme, history of the site, location and orientation, the client’s brief and stylistic preferences. The exploitation of these unique characteristics lays down the basis for a client-oriented design strategy. “Adapting our design strategy to fit the client’s stylistic preferences is always a struggle, however, we have learnt that stepping out of your comfort zone has proven to result in a more profound proposal,” Further to the unique characteristics of the client and site, it is also imperative to adopt the right choice of materials and the correct use of geometry. The common denominator in all the Disinji projects is a rigorous design process. Asking the right questions, research and obtaining the correct information for the design brief enables the Disinji team to design a functional and aesthetically pleasing environment. Nicole ruefully indicates that one of the recurring challenges to the completion and delivery of a project is the delays brought out by unforeseen circumstances. These delays are usually the result of latent defects that are not observed upon initial site inspections. It is only after stripping the site of existing finishes that one can understand the true nature of the space. It is at this point that certain surprises come to light. Another problem that is faced is the balance between the aesthetics and the clients’ requirements. The challenge is to filter the client’s needs and expectations when designing the space holistically, and integrating all the functional elements without compromising the vision for the space. When a complex project comes in, the very first step as a studio is to bring everyone on site for a meeting. Communication is very important and making sure that everyone knows their role in the project enables a smoother operation. Issuing daily reports, a list of works, Gantt charts and having a good project management workflow are ways to reduce arising problems throughout the project and ensure smooth operation. At Disinji, sustainability lies at the core design principle. Unfortunately, sustainable products are more expensive than their traditional options. Every project is a new challenge to promote sustainable products. “We will keep striving to implement sustainable products for the projects to come”. Unfortunately, local sustainable products are not as popular, therefore international shipping of such products must be done” Due to the current pandemic situation and the negative impact of this on the process of logistics, importation, in general, has become far more expensive. Therefore, integrating sustainable products has become a harder task. As an interior designer, Nicole reiterates her passion for the creation of innovative internal experiences. The state of the built environment gives her and her colleagues at Disinji an opportunity to shock and amuse, as people move from the outside to the interior of a building. Nicole thinks that interior designers have no control over the state of the external built environment, however “it is our daily goal to design aesthetically pleasing and sustainable interiors”. Nicole attests that the Disinji studio team is very excited about the future of interior design in Malta. With every project the studio is commissioned with, they are always learning and growing as a company. Gathering knowledge on advancements in design, ranging from technologies, fittings and materials enables them to design endless solutions. Having sustainability so close to the workflow, the more competition there is in the sustainable product market, the easier it would be to integrate and purchase such products and materials. “We are very keen to push towards a more professional approach to the enhancement of the world of creativity”.

RE-STONE is a technology that was developed to reconstruct Maltese limestone and ultimately re-use and reduce the same construction waste, but things do not quite end there. Re-Stone’s Public engagement presentation occurred today at Esplora. Ruums.eu was in attendance. Hon. Keith Azzopardi Tanti, Parliamentary Secretary for Youth, Research, and Innovation, spoke at the event. Prof. Spiridione Buhagiar, Associate Professor in the Faculty of the Built Environment, and architect Franco Montesin directed the project, which stretched ten years of study and research, a further Thirteen student dissertations and a partnership with Halmann Vella, bridges the gap between academia and business. Mr Clayton Cutajar, Esplora Director, Malta Council for Science and Technology, Prof. Spiridione Buhagiar, Project Coordinator, University of Malta Department of Civil and Structural Engineering, Perit Hugh Vella, Chief Commercial Officer Contracts, HalMann Vella were among the speakers. The Q&A session was moderated by Ms Sarah Gosh Roy, Science Communicator, Esplora, and further included Mr Andras Havasi, Corporate Research and Knowledge Transfer, the University of Malta together with Mr Stephen Borg, R&I Programmes Executive, Malta Council for Science and Technology. RE-STONE is a technology that was developed to reconstruct Maltese limestone and ultimately re-use and reduce the same construction waste, but things do not quite end there. RE-STONE is a method that has been created to convert Maltese Globigerina limestone construction waste (mostly limestone building blocks or excavated limestone material) into a viable and sustainable construction and decorative material. Re-Stone can also include concrete construction waste. Prof. Spirdione states, “Is this material being discarded a new resource?” Currently, there is no solution for recycling building waste limestone and concrete that provides such significant benefits. The recycled material outperforms the original material in terms of strength, water resistance, and weathering. This blend may provide a solution to the construction sector’s issues, as Globigerina limestone is becoming increasingly scarce, and the construction industry generates the majority of the island’s waste. That’s the motivating factor behind the ReStone project, which aims to commercialise and render this material globally. The procedure entails acquiring waste limestone, building blocks, or excavation debris, crushing the waste, and then further processing the waste aggregate into an appropriately graded powder. After that, the powder is turned into a workable paste that may be moulded with binders. The finer the powder, the more durable the final product. The resulting reconstituted stone material is a firm, dense limestone that can be cut, moulded, sculptured, and finished in the same way as the original limestone state while also having “twice the strength of a concrete block.” The colour of the regenerated Globigerina is similar, if not identical, to the original. When mixed with concrete, the recycled Globigerina has grey tones. A percentage of construction waste can be converted into revenue-generating recycled building materials using this method. ‘Construction and demolition debris constitute one of the heaviest and most voluminous waste streams created in the EU,’ according to the European Commission. It accounts for between a quarter to a third of all waste created in the EU.’ Concrete and masonry make up 40-80% of the total. By 2020, the European Commission has set a goal for 70 per cent of waste materials to be recycled. Given the usage of waste as raw material, the resulting products are expected to perform well in public-sector projects or those pursuing LEED certification. Building materials such as building blocks, bricks, cladding, tiles, and ornamental elements can all be made using this method. Because the procedure moulds the finished goods, specialised products containing water repellents, fire retardants, colour, fungicides, reinforcing, and other additives can be created. The same material could be recycled up to four times, and at some stages of testing, the recycled material outperformed the original in terms of strength. “ We are interested in the durability and strength of the material” A patent application was filed in 2015, and it was eventually granted. To commercially manufacture the product, a new €5 million industrial facility is being designed and built. A-Collective, a small architecture practice directed by Patricia Grech and Steven Risiott, took part in the Venice Biennale in 2021 with the project named, AKKA. The material of choice for the installation was Re-Stone. In October of 2021, a ‘test’ room was built near the Ta Qali Crafts Village utilising recycled limestone blocks made from crushed recycled quarry waste. This structure is being observed to see how it responds as time passes, exposed to the elements. At this point, the research being conducted on this building is primarily based on aesthetics, but further assessments (VOC) and value research are being conducted. The production of Re-Stone includes the utilisation of renewable energy and water reuse. The material will also help with project green credits. The project won second place in the Malta Intellectual Property Awards in 2020. We’re excited for Re-Stone to hit the market soon; reaction from government agencies and construction businesses has been good, and the product’s ability to be moulded opens up a world of aesthetic possibilities for interior and exterior solutions.

Ritianne Scerri is a certified interior designer, “with an eye for design and a curious soul”. In November 2019, she took the step to go solo and founded RIA Studio – a “full-service creative agency”. Ritianne is fascinated by how different spaces can be created using diverse materials, colours and objects. She capitalised on her inclination to the arts and crafts from a very young age, selecting and enjoying art and technical drawing as subjects at secondary school and later, at MCAST, Interior Design was her natural preferred choice. It was here where Ritianne had first-hand experience, in various workshops which offered her the opportunity to experiment with and broaden her knowledge about materials. She emphasises the importance of academic and professional formation in the practice and art of Interior Design. She underscores that in general, it is always very important to obtain a good, solid academic background in any sphere of practice, not least, Interior Design. This opens up a world of knowledge and understanding on various topics and this combination sets the base for the professional working world. In 2010, Ritianne graduated from the UCA, Farnham, UK. Since then, she has worked in interiors for various local companies, including architecture studios and retail companies. In December 2019, she took the plunge to venture on her own, founding RIA Studio. While still running solo, she is looking forward to the day when a small team is formed. In initiating and completing a design, Ritianne finds inspiration both from the site itself, and the surrounding outer spaces, especially the natural ambience. By combining both, and being mindful of what the client envisions, new ideas take shape. Though there is no definite common denominator to her projects, she tends to prefer cool colours, such as teal and green. Indeed these might be a recurring feature in her project portfolio. Ritianne finds that works on site are usually the most challenging aspect for project completion and delivery. This is because it depends on the different professionals and technical persons working on-site and their timelines which may be affected by, at times, unwarranted delays. Ritianne tries to instil eco-sustainability in her clients’ choices of materials and resources and she is encouraged to note that, with time, “clients are beginning to be more conscious of the necessity of a sustainable approach in interior design”. Ritianne is always ready to include clients’ objects or furniture in the design, by reusing and giving them a new life, sometimes, by “just changing a few knobs or painting the item in a new colour”. Locally, she believes that we are just “scraping the surface “ and she is looking forward to seeing more products that play a better role in this field. “We need more awareness too!” says Ritianne. In sharing her thoughts with RUUMS on the present state of the built environment in Malta, Ritianne thinks that we have two extremes, with some professionals producing some really interesting projects, but, on the other hand, we can see a growing number of buildings regrettably, just being transformed into larger versions, “without any real attention to design or creativity”. Looking to the future of the interior design profession, Ritianne thinks that we have seen a great positive shift in the last ten years, especially locally. People are more aware that interior design professional services are valuable, even at an early stage of a project. She believes that the profession will continue to look to the future, whilst striving to achieve better outcomes.

Here at RUUMS.eu, we hope that the Art Nouveau treasures and all forms of artistic expression in Ukraine are preserved and that peace via art, architecture, and design is spread there and everywhere. As Russia’s invasion of Ukraine continues to devastate the country, many people throughout the world have resorted to finding ways to oppose this unparalleled affront to peace and indiscriminate eradication of all things living, useful, and beautiful by determined warmongers. Several pages on Facebook dedicate postings to the love of Art Nouveau Design, Architecture, and much more during the last week of February 2022, following the notorious “D-Day” of the invasion, and into March. These entries focused on the splendour of Art Nouveau architecture in Ukraine’s cities, which were now under constant enemy fire. The first thing that caught our eye was a photograph of the Hotel Bristol (Odessa) and the Church of Saint Andrew in Kyiv. A true balm for the eyes, heart, and soul! We can only hope that these treasures will still be standing at the end of the fight, which we hope will be soon. For those unfamiliar with Art Nouveau, it is a naturalistic style defined by sinuous, sculptural, organic shapes, arches, flowing lines, and sensual decoration. Stylised renditions of foliage, flowers, vines, insects, animals and other natural components are common motifs. Intricate mosaic work, tinted and curved glass, and ornamental wrought iron are some of the other artistic aspects found on the inside and outside of structures. Travellers will have noticed Riga’s magnificent Art Nouveau architecture; indeed, one-third of the architecture in this Latvian city is Art Nouveau, making it Europe’s largest concentration of Art Nouveau architecture. The Art Nouveau interiors of Hôtel Tassel in Brussels, Belgium, designed by Victor Horta On Albert Street, some of the most eye-catching and decorative specimens constructed by architect Mikhail Eisenstein may be found. However, in the early 1890s, architect and designer Victor Horta created what many believe to be the first Art Nouveau structure, the beautiful Hôtel Tassel in this Belgian city, which is now a UNESCO World Heritage Site. Hector Guimard, a famous Art Nouveau architect and designer, completed 50 buildings between 1890 and 1930, but he is most remembered for the curved glass and wrought iron canopies that marked the entrances to Paris Métro. While these landmarks are prized today, much of his work was demolished by the 1960s, as Art Nouveau had unfortunately fallen “out of vogue.” Those that have been retained remain some of the city’s most photographed and admired landmarks, their Art Nouveau curves unmistakably a part of Paris’ design. Nonetheless, one of the city’s most striking building facades may be seen at 31 rue Campagne-Première in Montparnasse, designed by French architect André-Louis Arfvidson and incorporating sandstone tile work by ceramicist Alexandre Bigot. This 1911 Art Nouveau structure was originally the home and studio of world-renowned painters, including Man Ray, the most prominent contributor to the Dada and Surrealist movements. Readers of RUUMS.eu who have visited dynamic Barcelona are likely to have noticed the most amazing and beloved structures in this Spanish city, which were designed by Catalan architect Antoni Gaud (1852–1926), whose work carried Art Nouveau to extraordinary and surreal heights. The 1898 Secession Building in Vienna is a classic example of the Secession style, a variation of Art Nouveau Austria; built by architect Joseph Maria Olbrich, it includes Gustav Klimt’s well-known Beethoven Frieze, one of the artists most associated with Art Nouveau. Mucha was recognised as the “King of Art Nouveau” when he first created Sara Bernhardt. Art Nouveau in Glasgow will take you to the Four. Scottish architect Charles Rennie Mackintosh (1868-1928), one of the FOUR, contributed to the masterpiece Glasgow School of Art, which was influenced by British Art Nouveau style and blended with a Scottish flair, within a concentration of activity in the Scottish city. Here at RUUMS.eu, we hope that the Art Nouveau treasures and all forms of artistic expression in Ukraine are preserved and that peace via art, architecture, and design is spread there and everywhere.

In fact, “Ventilaturi” is the telltale name of a relatively new venture created after real-life experiences by a couple who actually struggled and failed to find stylish vent covers when refurbishing their house. They ended up custom making their (vent) covers, whilst instantly recognising that the Maltese market is lacking stylish, modern vent covers that complement the rest of the interiors. They wanted to revamp what is probably one of the most neglected corners in Maltese homes. The local climate, whether in the hot summer months or in the cold winter ones, both seasons marked by varying humidity levels, underscores the importance of installing vents; however, until recently, vent covers were only functional, with little or no style. The Saids wanted to change this. Ventilaturi’s names of their creations reflect the variety in style: modern, floral, eclectic, Victorian and more, to try and satisfy everyone’s tastes. From time to time, they introduce new patterns for more variety and thus a better choice. The names are usually inspired by what they perceive in a particular design. An example is Ventilaturi‘s heritage model in which they portray the traditional Maltese wrought iron artisan’s work. Various materials are used in the production of Ventilaturi’s air vents, both for exterior and interior cover, mindful of the varied climatic conditions of Malta’s interiors. Different materials are also used to complement the variety in interior decor. For example, Ventilaturi’s wooden vent covers complement the beautiful houses of character or townhouses, whereas their white ABS vents are more minimalistic and go better with a modern style. On the other hand, the aluminium or galvanised steel vents are also suitable for outside as they are weather resistant. In this day and age of concern for climatic changes, it is important to point out that though Ventilaturi’s air vents are made to last, if clients wish to replace them, perhaps with different designs or materials, all the discarded materials used are recyclable, and clients are encouraged to dispose of them in the proper way. At present, Ventulaturi is working on more vent cover designs and they are also working on a different product which they hope is welcomed with the same warmth the vent covers were. They invite us to “stay tuned”! In reflection on the present and future of Maltese tradition in conservation and new construction of residential and business, Ventilaturi believes that one needs to find the right balance between the preservation of our traditions and the comfort and style of modern materials and finishes. This is being promoted by the development of their vent covers. Unfortunately, some new buildings are eliminating the vents, eliminating also the benefits of natural air circulation they provide to our homes. “Instead of eliminating vents, let’s dress them up with beautiful covers!” conclude these enthusiastic and creative designers.