interview

Drawing on the past and future

Development in Malta has often been described as corrupt and anarchic, leading to the permanent loss of some green areas for good. Who better to ask about this and other issues than an architect? Miriam Dunn finds that Richard England has some interesting, if unorthodox, views on this and many other topics

Compare a photo taken of the Sliema front10 years ago to how it looks today and we all know the changes that will be in evidence - gone are the beautiful old houses, replaced by block after block of flats. It is just one example of the development throughout our islands that has ensured architecture forming part of Maltese history and heritage has gone forever.
When I knew I was going to be interviewing the renowned architect Richard England, one of the primary issues I wanted to ask him about was this massacre of precious buildings.

Should it have been prevented, has the Planning Authority proved to be ineffective, why don’t people have a pride in their heritage?

He doesn’t mince his words when answering me.

"Unfortunately we live in an age where we know the price of everything and the value of nothing," is his reply. "We’re only interested in pounds and cents, there’s no longer a love of the past.

"We’ve really screwed the island and I’m unsure as to whether future generations will forgive us."

Prof. England describes what has been allowed to happen as "ludicrous", warning that it was the beauty of the island that was its major asset.

"Even Gozo, which was better protected and caught up in something of a timewarp before, has suffered," he says. "When I went over there four years ago to take some photographs for a book, I estimated that 70% of the views I remember from the past were gone."

I ask Prof. England whether he has faith in the Planning Authority, when it comes to ensuring development is controlled.

His answer is loaded.

"I think the concept of the PA is a good one, but I’m not sure if the authority has improved the standard of architecture," he answers.

"The problems we have with the set-up of such an organisation relate to the size of our society. People knowing people and power-games being played.

"There are also problems relating to bureaucracy – the PA seems to make a big hoo-ha out of some small guy’s back wall, but the big guys still get away with things."

Without wanting to sink the conversation into the depths of doom and gloom, I cannot help asking Prof. England whether we have now gone too far. Is it too late for us to pull back and save Malta from a life sentence of concrete jungle eyesores?

His answer is straight – only if areas are earmarked ‘no building’ zones.

"There must be no compromise," he stresses.

The professor also highlights the concept of re-using old buildings, which, he admits, is hampered by the much-publicised problems with the rent laws.

"If you want to salvage a building you’ve got to give it a use," he explains. "Valletta’s half empty, so are Senglea and Vittoriosa. The re-use of properties will help stop the malady of over-development spreading."

And what about the mistakes that have been made, which Prof. England admits are plentiful? Are we doomed to live with them?

He answers me with a question of his own.

"Do we have the guts to restore land, where this should be done, or put up smaller, better designs?" he asks. "In Spain, for example, the authorities are buying hotels and demolishing them.

"The problem is that we have a lot of mistakes and being a small island they are very visible."

On the subject of mistakes or lessons to be learned, it is impossible not to bring up the desecration of the Mnajdra temples.

While deploring the action, Prof. England highlights the importance of making people aware of the valuable place the temples have in Maltese and international history, although he points out that it was clear they were not being adequately protected or preserved.

"I think it’s a question of education because people won’t care about something they’re not aware of," he answers. "Having said that, I still think the authorities have a lot to answer for."

As we step back into the past, Prof. England recalls the aspects of his childhood that triggered his interest in architecture.

"Although it was my father’s profession, he never tried to force me into it, in fact he tried to encourage me to become a doctor," he says.

"But I was always very interested in drawing. I was fascinated by the fact that you could take something which was physical and put it on to a piece of paper."

Later his discovery of and curiosity with modern art also played an important part in his choice of career.

"For example, I was fascinated with Victor Passmore years before he came to Malta," he says. "So when I got into university my interest in painting gradually pushed me towards architecture."

Prof. England admits that he always had a leaning towards primitive architecture.

"I was interested in the idea of how the towns grew around the farmhouses, the logic behind it," he says. "I still have a great interest in the neolithic temples – the reasons these people came to Malta – they were an extraordinary civilisation."

After university, Prof. England had the opportunity to go over to Milan and work for 18 months in the studio of the top Italian architect-designer, Gio Ponti.

"He was considered among the top five in the world at the time, so I jumped at the opportunity," he explains. "At the time, Milan was the European centre for architecture, so it was a real experience.

"And working in an ambience where people were coming from all over the world gave me a great insight into what was happening. I still think I probably learned more in those 18 months than at any other time."

When he returned to Malta, Prof. England intended to go to England for a year, but, he explains, it was the beginning of the boom in the mid-1960s and his father gave him his first project to work on - the Manikata church.

He started in controversial style.

"My ideas were very different," he admits, with a smile. "I was thinking pre-Vatican, pre-Ecumenical council, no pulpit, for example.

"These ideas were very much ahead of their time and the archbishop was not particularly flexible.

"Luckily there were some people on the commission who supported the scheme and we got it done, but the persuading needed took time!"

Recalling some anecdotes of the time, he recounts how the archbishop came to see how the project was going.

"There was a rubble wall at the back of the church which we had done purposefully," he says. "The archbishop looked at it, prompting us to tell him that we planned to plaster it, even though that wasn’t our intention.

"Then he came three weeks later for the inauguration and saw the wall exactly as it was!

"He said nothing at the time, but later, he turned to us and said: ‘I realise it’s very difficult to find plasterers in Malta at present, isn’t it?’ !"

Prof. England adds that Manikata, which took 12 years to do, taught him many things, especially since it was such a hands-on project.

"I was working with people who were doing the building, yet couldn’t read plans, so it was really about putting things together from a practical point," he says.

Countless other projects followed in this booming era, especially hotels, the first of which was the Paradise Bay hotel.

Prof. England describes the 1960’s as a "wonderful era", in which a number of personalities emerged who played an important role in shaping the direction of that decade, and more.

"There was something in the air," he explains. "Independence suddenly made people curious and aware of our cultural identity and our roots.

"A group of people emerged - I like to think I was among them - that was interested in helping Malta carve out its future identity in various areas.

"There was Charles Camilleri searching out musical roots, Francis Ebejer doing the same in literature, while I was trying to develop a style of architecture that was not Maltese in the nationalistic sense, but rather regionalistic - appropriate to the place and the time.

And then, there was Peter Serracino Inglott who I think was the mentor of our generation, alongside the sudden influx of creative minds from abroad - Desmond Morris, Victor Passmore and Nigel Dennis, among others.

"I’m not sure whether we yet realise the cultural revolution that happened at this time."

Turning to new projects, Prof. England is animated about his hopes for the Royal Opera House, although he admits it seems to be stalled at present.

"The project was approved by Cabinet a long time ago and a tender was issued to prospective developers, I believe we’re waiting for the funding," he admits.

He believes the restoration of the Royal Opera House will help give the nation’s capital a great boost.

"Yes, Valletta has many problems, such as vacant dwellings, the fact that it is an office more than a residential city," he says. "But the opera house could help by giving it a symbol of reawakening."

Citing St James Cavalier and also the Millennium Chapel as projects that have a special place in his mind, he highlights the importance of being forward-looking.

"If you ask me which project is uppermost in my mind, I will answer ‘the next one’," he says. "It sounds hackneyed, but that’s what keeps you going."

Prof. England is certainly keeping busy and diversifying his talents as well – something else he believes in.

"I’m working on a book of 100 drawings I’ve done of places in Italy, which has been great fun and I’ve just finished doing an exhibition for Gabriel Caruana," he says. "I’m also working on some jewellery designs, which has been an interesting experience, as well."

While he has been entrusted with designing some of the island’s best-known buildings, Prof. England has also received his share of criticism over the years.

Does he find it difficult to take criticism, I ask him.

"If it’s constructive then no, but when you realise there are ulterior motives behind the comments, then that’s different," he replies.

"I always say that Malta’s made up of currents – some cross currents, yes, but mostly undercurrents.

"When the criticism I am faced with stems from those undercurrents, then it’s annoying. Other than that, I listen."