Some refer to the Venice Biennale as the pinnacle of the international art world. Last year, feathers were flurried by the Maltese delegation and their representation of Maltese identity. This year, the works question a specific part of the Maltese narrative.
‘We are working around the theme of MALETH,’ says Dr Trevor Borg, artist, curator, and University of Malta lecturer. Maleth refers to the ancient word for Malta. ‘It is also called HAVEN and SAFE PORT.’ These were all terms used in reference to Malta over the centuries. But is our island really that? This is the question being tackled by Borg and his colleagues.
Immigration has been a critical issue in recent years, creating an inflammatory divide in Malta. Borg is using the first immigrants, the animals that travelled to Malta during the ice age, to make his point. ‘They travelled here because of the heat our island provided and the food that came with it. But as the ice in the North started to melt, sea level rose and they were unable to return.’
What is the relation between an (apparent) safe haven and a heterotopia? Here, heterotopia refers to Michel Foucault‘s notion of the ‘other place’. Heterotopias are described as ‘worlds within worlds’, connecting different places. They are places that constitute multiple layers of meaning, that accumulate time, that can be both real and unreal.
To represent this visually, Borg is going to create an archaeological find with hundreds of objects from history. Animal remains will feature, as will unusual artefacts and other strange finds. Borg was inspired by Ghar Dalam and used it as a starting point, but this work is not about history. ‘My work begins at the cave. But I will then leave the cave behind and delve into a distant world that never was! The work responds to fabricated histories, museological conventions, historical interpretations, and hypothetical authenticity. It is based on pseudo-archaeological objects and imaginary narratives,’ he explains.
Collaborating on this work, bringing the artefacts to life is Dr Ing. Emmanuel Francalanza (Faculty of Engineering). The process began at the National History museum in Mdina. ‘Together we selected and scanned a number of animal bones from their archives,’ Francalanza says. This included femurs, teeth, and skulls among others. ‘I then supported Trevor in reconstructing the 3D model and preparing it for printing.’
For Francalanza, this was a chance to apply engineering technologies in new ways, to allow artists to express themselves. But not just. ‘At the same time, this opportunity provides us engineers and scientists with an avenue to explore concepts and even utilise thinking patterns which are not traditionally associated with our disciplines. It helps us be more creative and open to innovative practices.’
Working together, Borg and Francalanza are blurring the lines between what is real and what is fake. By recreating the original artefacts in such a way that a viewer cannot determine whether what is being seen is authentic, the project is poignant commentary for the post-truth era we are living in.
Form follows function. This is the maxim that rules modernist architecture and industrial design: the shape of an object or building is determined by its use or purpose. Around 10 years ago, contemporary artist and architect Norbert Francis Attard embarked on a project that would see the two merge together in a perfect marriage.
Attard envisaged a space within Valletta’s walls that would serve as a focal point for anyone wanting to experience the world of contemporary art. He wanted a place where established and emerging artists could come together to trigger dialogue with the community and its visitors.
A few years and several permits later, three warehouses were purchased and transformed. Carefully-designed excavations and beautifully-proportioned internal apertures created triple-height spaces, interrupted only by lightweight steel stairs and floors, or glass railings. The result is a sublime canvas ready to bring art to life and inspire others.
Note: Valletta Contemporary (VC) is open from Tuesday to Friday and admission is free of charge. VC recently published its first book, Valletta Contemporary 001, which includes a compilation of VC’s 2018 exhibition program alongside all show catalogs.
Valletta should be a unique experience, open to all. This is Valletta 2018’s key vision for the bustling capital. A group of people focused on making this a reality is theValletta Design Clusterteam. Located at the Old Abattoir site in Valletta, the initiative is going to create a community space for cultural and creative practice. Words by Caldon Mercieca.
According to Anna Wicher from the PDR International Centre for Design and Research, design is ‘an approach to problem-solving that can be applied across the private and public sectors to drive innovation in products, services, society and even policy-making by putting people first.’ This people-centred approach to design is not just a theoretical framework, but a concrete method that engages people in a co-creative process.
By bringing together people active in the cultural and social spheres, we want to have a concrete and meaningful impact on Malta’s diverse communities. We aim to provide support for students, start-ups, and creative enterprises and give social groups the necessary tools to empower those with different interests who nonetheless share the common purpose of using creativity for the social good. We also want to provide a new networking space for everyone. From students, to cultural and creative professionals, to residents, budding businesses and civil society groups, everyone will be welcomed at the Valletta Design Cluster.
This philosophy of openness and diversity is one that has permeated every aspect of the project from the very beginning. Over the past three years, we have consulted with residents, students, schools, higher education institutions, artists, makers, and creatives to build the vision for the space. A range of public and independent organisations are also contributing to the project, providing both expertise and generous support.
Work in progress at the Valetta Design Cluster
Thanks to the support from the European Regional Development Fund, the physical space for the Cluster as well as the urban public spaces around it are currently undergoing serious regeneration. Once finished, the Cluster will have a range of facilities, which were decided on following consultation with potential users. It will include a makerspace, coworking spaces, studios, a food-space, several meeting rooms and conference facilities, an exhibition space, and a public roof garden. All of these facilities have benefitted from input contributed by various potential users, by residents, and by organisations that have been interacting regularly with the team working on the Valletta Design Cluster.
We believe that a community can only truly reach its potential when it opens itself up to collaborations which share a common goal. This does not mean turning a blind eye to the challenges faced by the community on a daily basis, or to the ever-evolving scenario that surrounds it, but rather cultivating a readiness to learn, an aptitude to develop networks built on trust, and a capacity to address problems with a practical, positive, can-do attitude.
One valuable experience we are developing with our community stakeholders is Design4DCity. This annual initiative, which the Valletta Design Cluster team started back in 2016, sees creatives, residents, and local authorities joining forces to rework and improve a public space. We worked with the Valletta community in 2016, and continued with the Birżebbuġa community in 2017. In 2018 we plan to work again in Birżebbuġa as well as in Siġġiewi, and will involve children and young people in our public space projects. Such initiatives are providing very important insights into the application of collaborative, co-creative approaches involving multiple stakeholders.
But the work of the Valletta Design Cluster is not restricted to the restoration or transformation of space. For the past three years, we have collaborated with the Malta Robotics Olympiad, teaming up with artistic curators and student organisations from the University of Malta (UM) to design and construct the pavilion for Valletta 2018. By the end of the project, participants had constructed a fully-recyclable 300 square meter pavilion and presented it to the public. This year we also supported SACES, the architecture students’ association at the UM, through a number of design and construction workshops. Branching out, we have done work with a number of creatives from various backgrounds in projects involving video-capture, artifact-curation, narrative development linked to cultural identities, and flexible use of available space through appropriately constructed spatial modules.
Several workshops have also been held where project stakeholders were fully involved in training sessions, with the aim of building skills in user-centred design, applied to specific contexts. This meant interacting with students, researchers, creatives, residents, and organisations in developing what the Cluster can offer. One tool used in this process is the construction of a user persona, where the characteristics, interests and concerns of the user are gathered through interaction with potential users of a service. Students from a number of faculties have also provided their input in this process through dedicated workshops at the UM.
They also stressed that the Cluster needed to serve as a catalyst for networking and for strengthening entrepreneurial skills for people working in the creative sector.
All of this has become possible thanks to continuous collaboration and international networks which have contributed their resources to our projects. To assist us in this, the Valletta 2018 Foundation has joined Design4Innovation, an Interreg Europe project bringing together eight European countries all working towards using design to benefit society.
While we have been on the receiving end of a lot of support, translating our philosophy of openness into practice involved an element of risk. During a series of tours that we organised on site for potential users of the Cluster, we had to be open to various views and perspectives about what the Cluster could be. Participants highlighted issues related to accessibility and affordability as key concerns. They also stressed that the Cluster needed to serve as a catalyst for networking and for strengthening entrepreneurial skills for people working in the creative sector. In some cases, we had to revisit some of our plans and open new discussions with the architects to made adjustments. On other occasions, we called people in again to discuss their ideas further and see how we could integrate their suggestions into our vision.
Although we speak of cultural and creative industries, we should realise that the average number of people working in any single company is two. Indeed, 40% of designers in Malta are actually freelancers. The challenge for the Valletta Design Cluster here is to ensure flexibility and adaptability both in the physical infrastructure as well as the management of the Cluster. In this way, we can make the facility relevant for our users’ current needs, as well as cater to future ones.
The next stage in understanding our community of potential users better is to work together on the creation of a Design Action Plan. The Design Action Plan will highlight concrete actions to be undertaken by the Cluster during the first three years of its operation. It will serve as the main reference tool to structure the Valletta Design Cluster’s interaction with its community of users, practitioners, enterprises, and beneficiaries. Based on this open process, the Valletta Design Cluster aims at establishing itself as a new community-driven platform for cultural and creative practice in Malta.
The University of Malta is a second home to thousands of students, academics, researchers, and staff. The question is: Is the Msida campus being used to its fullest potential to welcome and serve all these people? Following the M.Arch program at the Faculty for the Built Environment, a group of students turned their critical gaze towards the spaces in and around the Msida campus to answer this question.
There is no special formula for producing a design strategy. It is equal parts critical thinking and creativity. However, there is a key truth that helps frame things for designers: create the space as though you are using it yourself. In this case, the students were already users. As a result, they designed solutions for campus spaces wearing not only a ‘student hat’ but a ‘design, user and evaluator’ hat. They thought of planning tools, SMART objectives, space, and evaluation standards. They also considered the ‘eight dimensions of product quality management: performance, features, reliability, conformance, durability, serviceability, aesthetics, and perceived quality.
The designs show how spaces should reflect the way people really want to use them.
In the end, student Alison Galea brought life back into the light well inside the Faculty for the Built Environment, turning it into a student hangout area with a lounge and relaxation room. Jessica Galea re-visited the outdoor space at the science lecture theatre to make way for some creative outdoor furniture and futuristic shapes intended for breaks between lectures. Brandon Saliba re-thought the Quad ditch, introducing new seating with versatile materials and better-managed spaces, perhaps encouraging others to soak in the summer sun during the end of semester time, preempting the much-needed summer break.
The designs show how spaces should reflect the way people really want to use them. Once designers place themselves as users in the centre of the project and build solutions around those needs, the gap between design for its own sake and design used to make change begins to close.
While speech development starts early in life, the course of acquiring and processing language in a bilingual country like Malta is challenging. Engineers and language experts at the University of Malta have teamed up to build a toy that will help children overcome that hurdle. Words by Emanuel Balzan.
Toys and play are critical in children’s lives. It is through play that children learn how to interact with their environment and other people while developing their cognitive, speech, language, and physical skills.
The way children play reveals many things including whether or not they are hitting particular development milestones. Play is also used by professionals who intervene when those skills are not acquired. Speech and language pathologists (SLP) use toys to tailor tasks based on their objectives for the child, determined following their assessment. For this reason, toys are vital tools.
With technology moving at the rate it is, electronic components are easier and cheaper to access. As a result, a lot of smart, educational toys are now available on the market. However, Dr Ing. Philip Farrugia (Department of Industrial and Manufacturing Engineering, Faculty of Engineering, UM) honed in on a gap in the market—a smart toy that supports English and Maltese.
Front left to right: Dr Ing. Owen Casha, Loridana Buttigieg, Emanuel Balzan, Dr Ing. Philip Farrugia, Prof. Helen Grech, Anthony Demanuele, Prof. Simon Fabri. Missing from the photo: Dr Daniela Gatt and James Attard.
To make this happen, Farrugia recruited a team of researchers from the university. Engineers Prof. Simon Fabri and Dr Owen Casha joined the effort. Researchers Prof. Helen Grech and Dr Daniela Gatt brought their expertise in speech and language acquisition and disorders. The team was finally complete when game development company Flying Squirrel Games stepped into the picture.
Getting down to business
The SPEECHIE project is divided into three stages. During the first phase, we sought to understand the process of speech and language acquisition, assessment, and therapy. We involved users through workshops that allowed us to observe children’s play and their toy preferences. We also conducted focus groups with parents to identify what they most wanted from toys. During these sessions, one parent noted how ‘there are not any [educational] toys in Maltese our little ones can play and interact with.’ Others agreed with this observation. Parents also raised concerns about children’s attraction to tablets and smartphones, noting how they interfered with social interaction. On the tail end of this discussion, one parent quickly added that ‘the toy must have something to make it feel like a toy and not a gadget.’
With further questioning, we also came to realise that different parents have different criteria when deciding to buy a toy. One parent told us that before buying a toy for her daughter, she would ‘try to see for how long she will play with it and what the toy will give her in return.’ Another parent, concerned about toys’ safety, checks for the CE mark (Conformité Européene) prior to purchasing the toy, saying that he associates the mark with better quality. However, he also confessed that ‘in the hands of children, nothing remains of quality. Give them something which is unbreakable and they will manage to break it in one way or another.’
Since our toy is intended for use in speech therapy, we went ahead and organised more focus groups with SLPs. Outlining the role of toys in their clinics, SLPs said ‘[they] are normally used as a reward. If you know that this child likes blocks, then you use them to motivate the child.’ Toys are also used as part of the language tasks SLPs give. ‘We use objects to put a grammatical structure in a sentence. Many times you find something that represents a noun, a verb, an object and then put them together’ to model the appropriate sentence construction. This prolific use of toys, however, brings with it a very practical problem. One SLP explained how challenging things can get on a day-to-day basis due to the lack of multipurpose toys. ‘We are always carrying toys… we are always carrying things around with us. Even our cars… it is like I have ten kids,’ she said.
To address this issue, SLPs emphasised how useful it would be to have a flexible toy with multiple functions. One that does not bore children and which they can use to target different speech and language therapy goals. They also drew our attention to a prevalent but damaging mentality that they are trying to address. ‘Unfortunately, the majority of Maltese parents have a mentality that the more money they spend and the more therapy sessions for their children, the sooner the problem is alleviated, but in reality this is not true. The work needs to continue at home on a daily basis. It is not solely our responsibility,’ the SLP said. Much like when we practice daily to learn to play an instrument, speech and language therapy works the same way.
Sharon Borg, an experienced occupational therapist from the government’sAccess to Communication and Technology Unit, said that the toy we had in mind could provide a simple way for parents to engage with their children and work at home on related exercises. Borg’s colleague, Ms May Agius, also noted the need for the toy to offer ‘surprises’, saying that ‘anticipation and elements of surprise draw kids and keep them engaged.’
Here we have only touched the surface of all the ideas brought forth. However, by considering the children’s, therapists’, and parents’ needs early in the engineering design process, we should be able to reduce the number of design iterations we have in future.
Reaching out
Design is key. Based on the feedback from the focus groups, we have now started working on the hardware and the software. But the journey is not straightforward. One issue we needed to deal with was the lack of compatibility between the 3D modelling software Flying Squirrel Games used and the technology used by the UM. From an academic point of view, because of the innovative nature of the toy we are making, we needed flexibility, so we modified Flying Squirrel’s virtual model to add different mechanisms which involve moving parts. These alterations now allow us to create support to fix electronic components within the device and ensure that no moving part is impeded by another part. As a result, assembly is much easier.
Emanual Balzan and Dr Ing. Philip Farrugia
We have also made the decision to build SPEECHIE software using modular blocks. This will enable us to switch parts and functions around so we can widen the idea of who might enjoy our product. The toy will not only be of use to children with speech and language impairments, but also to others. This approach was inspired by a meeting with behavioural economist Dr Marie Briguglio who warned us that labelling the toy could be stigmatising. She explained that it should not become ‘an isolated toy which kind of becomes a label: because I have this toy, that means I have speech impairment.’
Despite the aversion some parents felt towards technological devices, as said during focus groups, Borg also encouraged us not to shy away from using them. She said children with autism responded very well to technology, and therapists will make the best choice for the child to improve their skills. To hit a sweet spot in between these views, we are incorporating functions that will allow for a kinesthetic learning experience that involves physical activities rather than passive consumption of instructions. We want to mix different modes of play to encourage effective learning. We do not want kids to sit and watch their toy, but to move around, dance, and sing with other children.
With all of these choices under our belt, we now have a working prototype. But the SPEECHIE toy is not yet complete. In fact, the coming months will see us working on the mechanisms and the interfacing of electronics.
Towards the end of the year, we will start putting the toy into preschoolers’ hands to determine its effectiveness and efficiency in regard to speech and language therapy. To do this, we will compare the progress of children who use SPEECHIE with those who only use traditional SLP methods.
What we hope is that this toy will encourage parent-and-child interaction through play. We want to enable more frequent use of both Maltese and English and allow children to be safely exposed to technology and to a fantastic learning experience—all while having a ball.
Note: We are excited to share these insights about SPEECHIE with the public, and if you would be interested in joining on this journey by participating in the evaluations, get in touch here: speechie-web@um.edu.mt
Today we can say ‘there is an app for everything.’ Android and iOS boast over 3.5 million and 2.2 million apps on their platforms respectively, each of them fulfilling a role, be it social, utilities, entertainment, gaming, productivity, commerce, and much more.
As users continuously feed personal and work-related information into their smartphones, from calendar entries to sign-ins at favourite restaurants, apps are becoming more personalised, learning more about their behaviour.
So what role does usability play in the digital world? The term usability is part of a broader term referred to as ‘user experience’. Usability assesses how easy it is for people to use interfaces. Developers are expected to create apps that people need, but they need to keep in mind that if that app is difficult to manoeuvre, their target audience will stop using it. From users’ perspective, too many apps these days are failing to add enough value, seeing adoption drop off quickly.
At the workplace, employees are expected to learn and use software applications. A lot of these are now available through mobile devices that need to be connected. However, studies conducted in different scenarios such as airport environments and healthcare show that people are struggling to adopt technology.
However, studies conducted in different scenarios such as airport environments and healthcare show that people are struggling to adopt technology.
Most people access apps related to public services on their smartphones and tablets so that they can submit e-forms and conduct work of that sort. Unlike with leisure apps and games, the choice in this field is limited to the apps provided by the public entities themselves. As a result, users or employees of companies become frustrated when apps are not designed effectively.
More usability experts are needed to improve the way apps are designed. Well-designed apps empower people, seeing them become more confident with technology they are unfamiliar with. Better apps contribute to addressing challenges people face when they can’t keep up with the swift advances of the digital world. The use of digital tools that are easy to learn and easy to remember allow users to create, understand, and communicate while continually developing their digital skills. Usability not only boosts digital literacy, it also bridges the gap between tech-savvy users and those we risk leaving behind.
In Japan, candle-lit lanterns are released into rivers in Toro nagashi to guide the spirits of ancestors back to the other world. The lanterns exude beautiful, orange light as they float downstream. At times they group together, creating what look like small, glowing platforms. This very image was what inspired the floating platform Dr Rebecca Dalli Gonzi is building, together with her colleagues Dr Joseph Falzon, Prof. Tonio Sant, and NAS Limited. The project is being consulted with Prof. Claire DeMarco and ALTERN Limited.
By bringing together the sea, the arts, architecture, and engineering, they are giving rise to a lightweight platform that sits on the water’s surface, providing a unique space for artistic performances, installations, and exhibitions. The lanterns’ rectangular shapes are being replaced with hexagons—a more efficient fit. Holding everything together are mounts or magnetic currents, depending on research results. The modular approach allows adjustability in shape and size, potentially seeing the platform expand beyond its current three meters, while making it easy to disassemble, respecting the environment it inhabits.
The team hopes that the platform, or lantern as it is affectionately referred to, will provide artists and practitioners with a new approach to their art that will bring joy, while also inspiring creative thinking in the construction industry.
As part of his Ph.D. at the Faculty of Media and Knowledge Sciences, Department of Digital Arts (University of Malta), Matthew Galea has developed an interactive sound art piece entitled (Re)diffusion.
With consumer demand reaching new highs, automation in industry is essential. Dr Ing. Emmanuel Francalanza writes about his contribution to streamlining the complex factory design process for contemporary engineers.
From smartphones, to smartwatches, smart cars to smart houses, intelligent technology is inescapable. Busier people have made efficiency a valuable currency and thus the ‘Internet of Things’ (IoT), and its plethora of connected devices, has become a necessary part of everyday life. The application of this model goes way beyond the regular consumer, however. Continue reading
Design group MaltaType, made up of Dingli, Matt Demarco, and Katerina Karamallaki, have set up the exhibition to engender awareness of good design through historical study
Valletta is being transformed into Malta’s vibrant cultural hub. With this welcome upheaval, however, the need to preserve the unique urban façades of the capital city’s old establishments has become critical.
Malta-based design group MaltaType is organising an exhibition on their study of shop sign production, as well as the typology and aesthetic of Valletta’s Strait Street signs, using them to create stylised prints of various shops.
The eponymously named exhibition will preserve the artefacts of Valletta’s modern history through a series of prints showing signs, shop fronts, and typography. The installation will lead from one room to the next, expanding on different aspects that constitute the process of designing and producing some of Valletta’s most iconic signs.
This project does not aim to emphasise reverting to past styles or practice, but to engender awareness of good design through historical study.
The exhibition is not intended to be a static event. Talks will focus on the history of design and the analysis of the aesthetic of the capital’s commercial establishments. Workshops will also take place, centring on the printing techniques used in the project. A main feature will be the launch of a newly-designed font created by MaltaType specifically for this event.
Preserving and studying past knowledge is key to generating innovative techniques. This project does not aim to emphasise reverting to past styles or practice, but to engender awareness of good design through historical study. Design is a rather young research topic in Malta, and a comprehensive study of local design is sorely needed as a baseline to build upon. The MaltaType exhibition is one such keystone.
MaltaType will run from 25 May until the following Sunday at Splendid in Strait Street, Valletta. The project is part of the annual artistic programme of the Strada Stretta Concept, a Valletta 2018 Foundation project. The artistic director is lecturer Dr Giuseppe Schembri Bonaci (University of Malta), and the exhibition is curated by Nikki Petroni, while the MaltaType designers are Ed Dingli, Matt Demarco, and Katerina Karamallaki. For more information: www.maltatype.com
With further questioning, we also came to realise that different parents have different criteria when deciding to buy a toy. One parent told us that before buying a toy for her daughter, she would ‘try to see for how long she will play with it and what the toy will give her in return.’ Another parent, concerned about toys’ safety, checks for the
MaltaType will run from 25 May until the following Sunday at Splendid in Strait Street, Valletta. The project is part of the annual artistic programme of the Strada Stretta Concept, a Valletta 2018 Foundation project. The artistic director is lecturer Dr Giuseppe Schembri Bonaci (University of Malta), and the exhibition is curated by Nikki Petroni, while the MaltaType designers are Ed Dingli, Matt Demarco, and Katerina Karamallaki. For more information: