Architecture & Design

Architecture & Design | 11 Can you tell us about your journey into architecture? It was actually science fiction that first sparked my interest in architecture—specifically the worlds and environments in Star Wars. I was completely captivated by the architectural design of the spaceships and cities—these immersive, imaginative landscapes that felt so real, yet so otherworldly. The way George Lucas's universe blended the ancient with the futuristic had a magnetic pull on me, planting a seed in my mind about how architecture could transport people into different realities. That fascination evolved into something more tangible when I did work experience with the Architecture Project in Valletta at 18. I got to see creativity coming to life through model- making, computer-aided design, and sketching alongside some very talented young architects. It was a super exciting and energetic atmosphere to be around, and it emboldened my decision to pursue architecture as an undergraduate. That experience gave me a general direction into design—while also knowing that film and science fiction were always a potential to still explore. Your career began at architectural giants like Foster + Partners, but you eventually took the leap to establish Mizzi Studio. What motivated you to start your own practice? Yes I was actually recruited by a senior partner at Foster + Partners during my external RIBA exam, which felt pretty surreal. Fosters was an extreme experience in every sense— from deadlines to projects, it was a crash course in high- intensity, high quality architecture. The 2008 global financial crash changed everything; 400 of us were made redundant overnight. It felt like a slap in the face but I was fortunate to secure an internship at Cinimod Studio, where I discovered interactive design through media facades and kinetic installations, and worked on the Snog Frozen Yoghurt stores. A few years later, through a chance meeting with the Colicci family who invited me personally to a competition to design The Pheasantry Welcome Centre at Bushy Park—which we won! This led to establishing Mizzi Studio. I didn't have a master plan for my own practice; I simply seized the opportunity and ran with it. I was young, maybe too young to start a practice, but when a train like that arrives, you jump on and don't look back! Looking back at the early days of your career, how did those challenges shape the direction of your work today? When I began my undergraduate studies in architecture, I felt free—driven by curiosity and imagination. But my first real job felt the opposite: rigid, boxy and creatively stifling. It pushed me to study Digital set Design at USC Film School and then a diploma in VFX and animation to escape into the limitless worlds of science fiction, however, I eventually came to the realisation that I didn't just want to create digital art behind a screen all my life—I wanted to make fantasy a reality. My experiences working with Jason Bruges Studio and Cinimod Studio, allowed me to blend my passions for media and architecture together—4th Dimensional interactive spaces blending digital storytelling with physical form. It was thrilling, but something was still missing. It wasn't until The Pheasantry Welcome Centre, a commission that was surrounded by and worked with nature, that I realised just how emotionally starved I had been. Contextual design felt intuitive—rooted in place and shaped by the landscape. It taught me that while technology can spark imagination, the natural world holds the answers to what truly matters. When I opened Mizzi Studio, that experience became our driving force. Our first mission statement read:"Mizzi Studio exists to make fantasy a reality, driven by a passion for nature and science fiction." Since then, the practice has matured. We've grown up—and we've made some fantastical things a reality which I am really proud of. Now, we are turning that mission towards tackling the most urgent challenges of our time—such as the climate crisis—while walking a more profound path through community, culture, and climate. We aim to channel imagination into solutions that don't just reimagine the future but regenerate it with a positive spirit. What inspired you to focus on nature-inspired and sustainable design as the core philosophy of Mizzi Studio? My journey toward nature-inspired design was shaped by two opposing experiences: the joy of designing with nature at The Royal Parks and the heartbreak of seeing what happens when we don't. Returning to Malta was deeply unsettling, overdevelopment had erased its character. My roots taught me to protect what matters and I felt compelled to act. Witnessing Malta's decline pushed me to propose the Malta Bus Reborn—a vision for cleaner transport and greener cities—which I later shared alongside our Tree Cycle Canopy Line in an integrated Regenerative Multi-Modal Plan in my TEDx talk, Designing Humanity Out of a Climate Crisis. That vision—blending beauty, sustainability, and togetherness—is at the heart of my practice. It's why I'm so proud that Malta Bus Reborn became a finalist for the New European Bauhaus Awards in 2024— recognised for helping regain a sense of belonging. However, sustainability is no longer enough. We are beyond reducing harm—we must give back more than we take. That's why we are no longer just a sustainable practice—we are a regenerative studio. Our mission is to design spaces that restore ecosystems, reconnect and help heal our relationship with the natural world. Growing up between Malta and the UK, how did these contrasting environments shape your perspective on architecture? Growing up between Malta and the UK gave me a deep appreciation for heritage and place. My mother was president of Din l-Art Ħelwa, Malta's National Trust, and my grandfather founded the organisation. From an early age, they instilled in me the importance of safeguarding our natural and built heritage. Witnessing the rapid urbanisation and congestion in Malta — a small, finite island — was deeply unsettling. It made me even more aware of the delicate balance between development and preservation. In London, I was equally inspired by the city's ability to honour its architectural heritage while evolving with bold, contemporary interventions. One moment that stands out was seeing the old and new London double-decker buses side by side on Exhibition Road. I remember thinking, this is how heritage can evolve. London preserved its bus identity while modernizing the design. In Malta, we had even more beautiful, iconic buses, but they disappeared overnight. That was the spark behind Malta Bus Reborn — the realization that we could revive our identity and culture while moving forward " We are turning our mission towards tackling the most urgent challenges of our time—such as the climate crisis—while walking a more profound path through community, culture, and climate. We aim to channel imagination into solutions that don't just reimagine the future but regenerate it with a positive spirit.

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