Architecture & Design

Architecture & Design | 13 Can you tell us about your journey into architecture? Was there a specific moment or project that sparked your passion for design? Growing up in Malta in the 1970s and 80s was a very different experience to today. Life was simpler, but there was an authenticity in the materials, the textures, and the light. Malta had a raw quality that made one feel there was space to create. Even as a child, I would imagine how buildings could look, how they might relate to the context and the climate. I always knew I wanted to be an architect — to mould the spaces around me and enhance the environment we live in, both on a micro and a macro scale. You co-founded Openworkstudio in 2016. What was your vision when launching the studio, and how has it evolved over the years? We started as a close-knit group of friends with a shared vision: to produce bespoke, high-quality architecture that responds both to its environment and to contemporary technologies. At its core, the studio was born from a simple desire — we all wanted to be good, creative architects. That remains our guiding principle today. Looking back at the early days of your career, how did those challenges shape the direction of your work today? I had the privilege of beginning my career at a time when Malta was rapidly changing; joining the EU, and beginning to place greater value on its historical buildings. Working on projects like Pinto Stores, the Malta Stock Exchange, and other heritage sites allowed me to engage directly with Malta's historical fabric. That experience confirmed my passion for working with brownfield sites and reinvigorating old buildings, breathing new life into them while preserving their essence. Congratulations on being named the first female recipient of the President Award at the MASP Awards. What does this recognition mean to you personally and professionally? Architecture can often feel like an uphill struggle, especially as a woman in the field. Even after 30 years, there are moments when I walk onto a site and my professional advice is overlooked while male colleagues are taken seriously. This is a shared reality for many women in the industry, and unless you experience it, it's hard to truly grasp. Things are slowly changing, and I hope to be part of that shift. For me, this recognition is not just personal; it's about showing that women can be just as creative, capable leaders, and inspirational as men. You follow in the footsteps of renowned figures like Richard England and Conrad Thake. How do you see your work contributing to Malta's architectural narrative alongside theirs? I feel deeply humbled to follow in the footsteps of such giants. My greatest contribution has been my work with historic buildings and my advocacy for protecting Malta's heritage and the context of its townscapes. Richard England's Mediterranean architecture has shaped many of us, while Conrad Thake has elevated the value of historical narratives in architecture. We each contribute differently, but at the heart of it all lies a respect for heritage. How does Openworkstudio integrate multidisciplinary collaboration into its workflow to deliver such detailed and context-sensitive designs? Openworkstudio is built on a broad base of expertise. We provide general architectural services, but always with an emphasis on environmental sensitivity. Our work spans master planning, landscaping, which is urgently needed in Malta, bespoke interior design, and, of course, restoration of historic buildings and sites. This multidisciplinary approach ensures our designs remain thoughtful and responsive. Many of your projects focus on cultural interventions and historic buildings. What draws you to work in these spaces, and what challenges do they present? History is layered into the very fabric of these sites — you can feel the hands that carved a corbel centuries ago, or the generations who shaped a place. That's always fascinated me. If I weren't an architect, I would be a historian. Intervening in buildings that are one, two, or even five centuries old is both a privilege and a challenge. Introducing modern services and creating contemporary spaces within a historic framework demands great sensitivity. It's never repetitive, never dull, always exciting. You've played a key role in founding platforms like NIDUM. How important is mentorship and collaboration in your field, and how do you foster it among emerging designers? Large cultural projects bring together a diverse range of professionals, often from across Europe. We've had incredible collaborators from Malta, Italy, Spain, and France. Today, networking beyond our shores is easier than ever, and it opens doors to finding the right partners for each project. Mentorship and collaboration are essential, architecture thrives on shared knowledge and collective creativity. As design director of the Gozo Museum project under NIDUM, how did you balance innovation with heritage in such a culturally sensitive space? From the very first site visit, I knew light had to be central. Standing in the sunken courtyard of the former school, I imagined spaces where sunlight could penetrate and define the architecture. The orientation of the site mirrors that of Ġgantija, so we used this as inspiration. The result, which we've called the Sundial, is a contemporary intervention that allows winter sun to illuminate the interior while shielding it in summer, echoing the logic of Ġgantija itself. It's about light, shadow, and the creation of interstitial spaces around the historic fabric. Malta's architectural landscape is steeped in history " Architecture can often feel like an uphill struggle, especially as a woman in the field. Even after 30 years, there are moments when I walk onto a site and my professional advice is overlooked while male colleagues are taken seriously. This is a shared reality for many women in the industry, and unless you experience it, it's hard to truly grasp.

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