Auxetic materials boast of a number of unique behavioural properties that conform to a negative Poisson’s ratio, which have resulted in their recent application to many fields and at various scales. However, research has largely revolved around small-scale applications in high-tech fields; biomedical devices, such as prosthetic implants and stents, blast-proof textiles and smart fabrics are just a few examples. This dissertation looks towards geometry, design and engineering to build an understanding of the formal and structural potential of auxetic cellular solids on an architectural scale. The capacity of auxetic structures to generate synclastic curvature when an out-of-plane bending moment is applied has been recognised by architects and engineers as a fundamental property, presenting innovative solutions to designing organic geometries of high topological expression using planar elements. The natural tendency of auxetic structures to form dome-shaped surfaces suggests developments in structural systems which are defined by complex curved shapes, namely gridshells and bending-acting structures.

A binary approach of producing physical scaled models and generating computer simulations using Finite Element Analysis is adopted to investigate the fundamental geometrical parameters affecting the mechanical behaviour of an auxetic pattern. Together, the approaches will seek to establish relationships between these physical parameters and the topological character of the auxetic structure during loading, in an attempt to justify potential applications of the sinusoidal pattern in architecture.

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The proposed project, ‘The Sea Maiden’ is a Commercial and Leisure Centre (Hub) located at the gates of the Mgarr Harbour in Gozo. This project, combined with a new permanent super yacht marina, will create an extension to the existing harbour, offering both locals and maritime travellers a huge array of local products, services and leisure facilities. This would provide a stepping stone for a sustainable niche touristic industry to be introduced to Gozo.

This proposal is rather innovative as the centre stretches outwards into the sea, unlimited by extents of land boundaries, promoting all aspects related to both commercial and leisure activities whilst endorsing the Gozitan identity and characteristics to the international community.

The yacht marina would provide hundreds of berthing spaces specifically reserved for visitors, with ample spaces for large yachts to superyachts to berth. These will enable visitors to resupply ‘at sea’, whilst serving also as a self-catering resort. Such projects will offer all amenities including sanitary facilities, spas, pool and fitness areas; along with a provision of a 24/7 security, serving as a resort at sea.

This centre will provide attractions for all the needs of both the traveller and the local, of different age groups; offering game rooms and pool areas, lavish gardens, restaurants and takeaways, fine dining and living areas, night clubs, bars and a casino. This could become a key attraction for the younger Gozitan generation.

Whole sways of the hub such as the gardens and upper floors; will be dedicated to the public where the locals can also enjoy time along with some of the best views of the Gozo-Malta straits. These public areas will serve as a common meeting point for the local and the traveller, becoming a centre of social interaction.

The extension of the existing harbour along with any future development of the Malta-Gozo tunnel link, will keep the harbour area bustling with tourists, whilst freeing/opening up more space for future developments. It also removes the necessity for more yacht marinas spread all along the Gozitan coastline, thus protecting it.

Being a semi floating structure it reduces the environmental impacts on the sea scape of the location, and being a concrete structure, it also exhibits lower maintenance needs and a longer lifetime use. Thus the project will enable the local economy to flourish in a sustainable way, whilst exhibiting the Gozo as an identity to the international community.

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Is not the architectural culture we inherit, a symptom of the circumstances it was born, and
allowed to grow, in?

The interest of this dissertation will be to understand the numbness to the real that dominates contemporary aesthetics and environments. This, in an effort to draw parallels between architectural realities and critical theory – using literature, illustrated by architectural case studies and artefacts of popular culture. It focuses on the built, the planned, the proposed, and the promoted.

Numbness to the real is being defined within this dissertation as an inertia of truth. It stems from a conscious awareness of a trauma, that therefore has ruptured the symbolic that was being experienced before the event, however culminating in a refusal to witness the real that it has been brought to. We live at a time where ‘the Heart of Europe’ is a current development
marketed in Dubai, at the heart of ‘The World’ island, promoted as ‘the impossible made reality’. Simultaneously, a new hotel in the St George’s Bay area within Paceville is compared to the French Riviera and Christian von Borries illustrates magnificently how there is a “Dubai plugin in all of us”, via his digital work. With politicians like Malta’s Muscat admitting
their aspirations for intense, and rather rapid, ‘dubaification’, such statements read as very important expressions of the generation that is creating these environments. These aspirations and dreams are common and real, and the aesthetics and architecture they imply are violent in their numbness to the real.

The dissertation is an investigation of crises of truth within the postmodern condition, and simultaneously an exploration of trauma. Within the current local context, traumatic events are unfolding as this dissertation is progressing, and reference is being made to them to understand the implications this could be having. The research is directly interested in the
idea that the personal is political, and investigates the overlap between socio-economic and political realities.

Keywords: real, trauma, numbness, socio-political, popular culture.

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This Thesis project investigates chance and order in architectural production by focusing on chance as a method for design. In investigating the question ‘what is chance?’ a particular definition stood out. Bergson defines chance as the interaction between intended order – how we organise or give structure – and an automatic order – what results naturally. In relation to this, often in Architecture, as Julienne Hanson puts it, intended order is the mechanism by which we recognise the Architectural mind at work.

Two main questions are therefore posed: Are there other ways the Architectural mind can be seen at work? Can chance be used as an active tool in architectural design and production? The aim was to engage in an exercise of chance by formulating a design method that is guided by it.

First off,  the design method focused on devising a system that allows for incremental design, allowing for chance in its development. By designing fragments that could be used for incrementally developing the built fabric, this could be a possibility. Then a thought arose. What if the fragments themselves were a result of chance, and to devise them I used an exercise than embodied this? For this reason, the design method was developed to incorporate fragments from around the island of Gozo. Gozo was used as the data minefield for the fragments themselves, sourcing pieces as an exercise of chance. In putting them together, it was another exercise of chance, but also a structuring order that was needed to create building assemblies into habitable spaces.

In the end, chance gave rise to the tools to create this design method that allows for chance growth, but it could only exist in conjunction to what Bergson defines as intended order. It’s perhaps not about distinguishing between one and the other, but appreciating a strong interaction of both.

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• converting the square into a free urban central meeting point for social, cultural and entertainment activities and events,
• restoring the Triton Fountain to its original appearance and function as the focal point of the square,
• reviving the historical backdrop of the square, in particular the bastions and ditch, while preserving the archaeological findings,
• rendering the square as a pedestrian area accessible for all from the Biskuttin to City Gate,
• facilitating the operational requirements in and around the square for buses, taxis, cabs and other service providers in an organised and safe way.

The proposed layout was influenced by the existing axis and historical structures present in the area. The approximate main axis links Biskuttin Garden, Kristu Re Monument, Triton Fountain and City Gate entrance.
Holm Oak trees are a vital element within the design as they provide a covered walkway where a comfortable climate is maintained throughout the year. Large hardstone stairs, which envelop Triton Fountain, are framed by the adjacent tree lines. Twenty underground reservoirs, purposely built to harvest rain water, provide a sustainable supply of water for irrigation purposes.
The paving material used for this project is mainly local hardstone and the design of the paving blocks reflects the underground forms of the former St. Magdalene’s Ravelin and outworks. The paving, lighting and street furniture are all designed to frame City Gate and its imposing fortifications.
The Triton Fountain restoration was achieved after detailed research on how the fountain appeared in its early years, where the historic fabric of the Triton Fountain was identified and conserved through a faithful restoration of the visible elements of this monument.
The restoration of the sculptural group included the consolidation of the triton figures, the repair of the badly-warped basin, and the installation of a structural reinforcement within the tritons to withstand the weight of the upper basin and allow the removal of the central supporting sculpted feature added in 1986. The sculptural
group was given its original patina hue. The restoration of the travertine included cleaning by specialised techniques, plastic repair, and consolidation of loose parts.
The most visible and pleasing aspect of the fountain are the water features, which give dimensional balance to the structure and add life to an otherwise static monument. The project reproduced the original display of the three water jets and the works included a water treatment system to render the water safe for the people close to the fountain, without adversely affecting the travertine and the bronzes. Another visible feature that required re-designing and modernisation was the architectural lighting of the fountain.
The whole operation of the fountain is controlled by an underground plant room that connects to the fountain through a new underground tunnel.
The scope of the project was successfully achieved as demonstrated by the events organised and the positive comments from the public and stakeholders.

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The palazzo, a structurally stable build, was converted into a hotel consisting of 25 spacious, unique suites. The design adopts a mix-and-match approach of finishes, objects and fittings that are at times unrelated but always complementary in the emotions that they provoke; from the contemplative to the celebratory.

The suites comprise six collections, each one provoking different emotion and a unique experience. Some are inspired by youth; rich in texture, colour and architectural motifs, while others are suggestive of Valletta’s secret gardens with feminine undertones and adorned with dark floral walls. The calm atmosphere of the Palazzo’s courtyard provides the setting for yet another set of suites, each with its own private spa facilities that include an indoor terrace and a sauna. The East-facing suites delivers an innovative twist on traditional flooring and plastering techniques with added textures to add a hint of romanticism to the contemporary feel.  The suites located on the piano nobile, reflect Valletta’s architectural grandeur with the double height making these rooms whimsical and unusual. And finally, the executive suite brings together a dedicated private working lounge with interconnected sleeping quarters using palatial solid wood flooring; a modern-day interpretation of the traditional.

The courtyard is a secluded peaceful place of rest, where the city switches off and the hotel welcomes the visitor. The colour is white; other than that of the sky overhead, a perfect reset button to start or end the day.

The hotel interior includes a mix of artisan skills, such as composite marble flooring, intricate wood paneling and hand-crafted brass inlays which resonate into the public spaces. This is further enriched with a top layer of geometrical textiles and modern patterns. Similar attention to craftsmanship and design detail formed the basis to furniture selection and design, whether custom made or proprietary.

The design aims were twofold:

Firstly, to remove any accretions and alterations that had been implemented over the years, to expose and celebrate the original architecture of the building. The courtyard, for example, which had been reduced in size, was restored to its original three arch symmetry, and a full span mezzanine built within the piano nobile was removed to re-expose its original double height.

Secondly, to provoke emotions. This sets the basis for most design decisions and has been achieved at all levels, from the calm introspective space of the courtyard, to the soothing tactility of the suites that include private spa facilities, to the overwhelming romanticism of the suites inspired by youth.

At the outset, the hotel was designed on plan, paying full attention its day-to-day operations.  Functionally, every detail was meticulously mapped out to ensure a seamless interface between the back and front of house whilst respecting all heritage, safety and sanitary concerns.

On a visual note, the spaces are contemporary without falling victim to design trend. The mix of ‘styles’ are not an end in themselves but a timeless means to a more important goal: visitor experience.

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Archi+ is an architecture studio focused on delivering projects that will stand the test of time. By creating an environment that drives the most talented architects to flourish, Archi+ teams up with its clients to deliver iconic work. Putting honest and open dialogue first, the team puts its never-ending quest for innovation to work for a handful of selected clients.

Co-founders Adrian Mangion and Warren Falzon have witnessed Archi+ grow from a team of three architects to a firm that’s 35-strong and growing. Their initial plan for Archi + was to set up an environment that champions creativity and this remains true today. The projects are guided by a simple philosophy of assuring good design principles, high quality and attention to detail.

The vibrant design team is led by Partner and Head of Design Anthea Huber, whose remarkable energy oozes through the team daily. This team is the creative engine of Archi+, where most innovative ideas come to life. This group depends on the efficiency of the surrounding departments that ensure the ideas born on paper can become a reality. Anthea’s team builds on empathy to design innovative solutions. Making beautiful spaces is the everyday goal of the team and the best part about this is that every day is different as each project comes with a fresh set of challenges and exciting ideas.

Adrian Mangion drives the Planning and Valuations team. Requiring expertise in building regulations and planning policies, the team ensures an efficient and smooth application process. With projects ranging from small domestic designs to major residential and commercial projects, the team manages planning from end-to-end, liaising with authorities and managing planning permits, with direct input from the design and structures teams. The team also puts years of property valuation experience to work for our clients across all stages of their developments.

The structures team at Archi+ is led by the energetic Lino Micallef. Lino quickly immerses himself into the most complex of projects, applying his positive energy from the start. This energy extends to his team who share the same passion for structural engineering. The team combines their experience with the desire to improve every project by innovative engineering. This is often necessary to ensure translation of beautiful design from our screens into living structures.

No projects can come to life without the project managers, and their team lead Warren Falzon. Realising the growth of projects drives Warren, who finds creating things from scratch a highly motivating factor. This department is directly hands-on and technical so the challenges here are unique, allowing Warren and his team to flex their problem-solving skills. We see evidence of their work around the island, including proud moments like the work carried out on the Valletta Parliament Building, where the project management team supervised finishing works.

The combined end result is one that we are always proud to present, and our portfolio collects work which combines all the innovation crafted here at Archi+.

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Inspired by traditional Bahraini courtyard houses with wind towers oriented to catch prevailing winds, this seafront guesthouse funnels the NW breeze into its captivating yard and around its volumes.

Designed to immerse its guests into a transcendent experience, away from the generic local context while providing refuge from the unremitting demands of modern living, the building sits on reclaimed land and a hundred piles; its spartan composition of travertine, concrete, wood and glass sewn seamlessly together in a story of bespoke details and balanced proportions.

The brief called for a five-bedroom guesthouse and entertainment facilities, taking full advantage of the site’s spectacular views while safeguarding the privacy of celebrity guests and diplomats.

Spacious lounge, dining and pool areas together with spa, gym and event facilities were required to host individuals, groups and special events such as formal occasions and live concerts. The result is a seamless and theatrical amalgamation of all the above; a sequence of spaces overlooking both sea and inspiring outdoor spaces, large enough to comfortably accommodate small to medium sized groups in a remarkable and unforgettable setting.

A four-year collaboration between local architect Jalal Al Najjar and Chris Briffa Architects , the project went through many design challenges. Structural limitations of building on a man-made island on sea level, together with extreme local weather conditions were constant trials during the design process. Orienting all rooms towards the sea meant plenty of ventilation from prevailing NW winds, but also extreme exposure to wind-driven sand and salts. High level of detailing together with the appropriate choice of materials in the external shell and its apertures accompanied all building stages.

Natural ventilation and lighting were carefully studied to infiltrate throughout; from the semi-outdoor lounge and pool house, to the hanging guest rooms, sky lit bathrooms and underground spa.

Hospitality perks include a 33m-long solid travertine breakfast bar which doubles up as guest kitchen, extends to the outside for BBQ grills and descends into the pool to serve bathing patrons. Behind it, an equally long serrated wall of teak and glass offering shelving, storage, lighting and hidden services; craftily camouflaging the structural-spine of the cantilever counterweight, allowing natural light to filter through its floor to ceiling windows.

Beyond the sleek and dramatic exterior entrance of the Reef Guesthouse, lies a calm and captivating haven that never fails to inspire the awe of its visitors. Its magic lies in its perfectly calibrated proportions, the interaction of its simple lines and shadow play, and the harmonious marriage of beauty and utility.

The simplicity of Reef Guesthouse belies the complex design process required to incorporate the client’s many demands of the space, as well as to house the extensive back-of-house facilities needed to service this sanctuary of hospitality. The meticulous attention to detail is apparent in every corner of the build, and the sober selection of materials brings it all together in a true poetry of form and function.

Images Aldo Amoretti

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A workplace is a cloud, a space where we are required to enter into a state of focus and often collaboration; a space where we need to be led and motivated.  An office building should guide the visitor and worker into its arms and inspire before being capable to instill focus and collaboration. A group of people collaborate to create a sum that is greater than the individuals, so the space they work in should inspire greatness. The work of architecture realised has been designed integrally and stems from a client brief, integrating structure with architecture & interiors as well as building services and environmental efficiency in a dexterous swipe.  Strung between two large planes to the left and right of the site a grid was conceived to optimize each aspect of the building. The grid is literally stretched between the two opposing walls to create spaces and volumes that inspire the greatness and confidence required.

At the heart of this latticework lies a functional sculpture that has its seeds in the pharaoh hound, a symbol synonymous for the owners to the nature of the business. This metaphor has been interpreted and developed in actual terms into agile forms and volumes that illuminate, seat, secure, receive, direct, transport and moreover inspire at the core of the entrance void.  They are ever present and powerful but subtle. Traversing the grid users find their way to their functional workspaces. And as they sit there, they can gaze at the exterior for a reminder of the natural world whence they came, but also look for the symbolic psychological part of where they want to go. For this purpose, we turn the two bounding planes into surfaces for inspiration: art, nature, light, leadership.  All is available around them. As it comes time to oscillate between work and rest, the reversal of focus is possible in relaxation by moving down or to the back of the building. And traversing the grid in reverse accompanies this psychological change to relax, before its time to spring into action creating a sustainable beneficial loop.

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Program: Apartment Block
Location: Balzan, MALTA
Status: Completed June 2018
Structural Design: Perit Ivan Muscat
Photography: Alex Attard, Julian Vassallo
Text: Ann Dingli

Replacing a dilapidated single-storey dwelling on a historic thoroughfare through two of Malta’s most beloved villages, Threeplusone demonstrates a novel and context-driven approach to fulfilling formulaic planning parameters. Conceived as a place for comfortable, contemporary living, this building prioritises light, space and functionality whilst giving back stylistically to its inherited street-scape.

Threeplusone resists development box-ticking solutions and instead returns to the notion of working in harmony with contextual drivers – specifically, the untiring light and temperature of the Mediterranean, as well as the characteristics of the building’s immediate urban surroundings. As such, the existence of a Modernist corner house across the road from the site became a constant point of reference, prompting a design that – albeit larger in scale – echoes the elegance of massing, volume and proportion of its architectural companion. Aside from giving the building its contemporary identity, Threeplusone’s facade radiates thermal efficiency, being rendered entirely in a silicato finish that reflects the beating rays of sun and recalls the tradition of bleach-white coastal architecture. It is stripped of decoration save for its large openable sliding apertures and deeply recessed terraces that linearly punctuate the upper levels. The spacious terraces provide coveted shaded outdoor space and allow light to cascade into the south-facing living areas at the front of the building. The apertures once again work in dialogue with the corner house across the street, framing direct views of its distinct facade. The fenestration on Threeplusone’s lower two floors, as well as the design for concealed shading devices on the building’s corner glass, are also a direct influence from the neighbouring house.

Inside, the building works both to maximise usable space and achieve continuity between indoor and outdoor areas. With the living spaces being pulled in the direction of the terraces, bedrooms and utility rooms fan out toward a rear corner courtyard that draws in natural light and facilitates ventilation. Each floor plan reflects the prevailing needs of present-day, urbane homeowners – every apartment includes a spacious entrance hall, washroom and concealed drying terrace, whilst all bedrooms benefit from their own adjoining bathroom.

Built using thermablock and reinforced concrete, the building’s distinct curved projections work in concert with the articulation of the street, bending subtly and seemingly instinctively as they curl along the corner site. The projections serve to maximise the size of the living spaces inside, whilst also providing valuable shading to the building’s lower levels. At street level, the perimeter of the building is lined with trees, elevating the street’s visual qualities and lending a sense of privacy to the office space tucked within the semi-basement level below. This level emerges – in part – as a ‘ground floor’ due to the sloping nature of the street.

Threeplusone prioritises rationality, simplicity of form, and understated luxury. It is a modest manifesto that communicates a new design language driven by sensitivity, elegance, and utility. Its intention is to humbly introduce an exemplar approach to designing small-scale residential architecture in a Maltese context – an advocate for architecture that is considerate yet unmistakably confident.

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