In conversation with architect Joeaby Vassallo

Can you tell us about your journey into architecture? What inspired you to pursue this field?

I’ve been dreaming and creating for as long as I can remember. My first creative love was actually graphic design, particularly brand identity, which still holds a special place for me. As a teenager, I dabbled in web design during the boom of the early 2000s, which felt like a natural extension of my interests.

When it came to choosing a university path, architecture felt like the right bridge between creative expression and a solid, respected profession. My father worked in the construction industry, and his influence undoubtedly guided that decision. In hindsight, it was a pragmatic choice, but one that still allowed space for imagination and design thinking to grow.

How did I+A come to be? What motivated you to start the firm in 2018?

I+A began as a collaborative effort between five like-minded nonconformists. We found common ground working on a broad range of projects, from basic Perit services to public artworks like Vibrance at City Gate, Valletta. After a year of working together, it became clear that we needed to formalise our collaboration under a single studio. This gave us the structure to focus on our individual strengths while supporting one another and the practice as a whole.

How do the five of you complement each other’s skills and expertise in managing projects?

We’re five people with different strengths, and not all of us are Periti. Our setup isn’t focused on a single discipline, but is intentionally structured around our individual capabilities.

Christian Camilleri is as comfortable programming a robotic arm as he is leading our 3D visualisation direction. He’s pragmatic and solution-driven. Dimitri Calleja is our go-to expert in steel and fabrication, he knows the material inside out. François Mangion leads design across the studio’s projects, keeping the creative direction consistent. William Bondin handles development planning and construction, steering projects through regulation and compliance.

As for myself, in addition to managing the studio’s administrative functions, I’ve stepped away from the conventional role of the Perit and contribute through parallel projects that link architecture with culture, communication, and strategy.

What are your thoughts on the current state of architecture in Malta? How do you envision its future?

Malta is in a prolonged state of shock when it comes to its architectural identity. For centuries, our built environment changed very little. Then, in less than a hundred years, we suddenly found ourselves with both the opportunity and the pressure to build, fuelled by investment and population growth.

We haven’t yet managed to define what kind of architecture proudly represents our nation today. We continue to identify with buildings from another era, simply because we’ve never agreed on a language that reflects our present-day needs and values. Until that happens, we’ll remain caught in a tug of war between romantic nostalgia and profit-driven development.

What are the unique challenges and opportunities you face working in Malta’s unique architectural landscape?

Working on Malta’s older buildings is always a privilege. There’s something satisfying about seeing a forgotten structure come back to life, transformed into something beautiful, functional, and genuinely desirable. It’s a unique opportunity we have on the islands, especially considering the value these places hold once complete.

The challenges, on the other hand, mostly result from the way planning and construction laws are written and enforced. The system often feels inconsistent and amateurish, making it difficult to navigate compliance and align all stakeholders. Add to that the rising costs caused by constantly shifting regulations, and you end up with a landscape that demands as much patience and stamina as it does creativity.

How would you describe your design philosophy?

My design philosophy is certainly eccentric, rooted in historic references, patina, and a love for bold colours, patterns, and natural elements. I’m a perfectionist, and yet I dislike perfection. I find it insincere. When we design things that must align too precisely or be kept untouched by life, I’m often left disappointed. That kind of perfection quickly becomes imperfect.

So instead, I focus on putting together details and materials in a way that age well, designs that allow entropy to enhance their appeal rather than diminish it. I look for solutions that can be maintained, not ones that expire. To me, that’s a very Mediterranean way of thinking: grounded, soulful, and honest.

Can you tell us about some of the most memorable projects you’ve worked on? And how did they influence you approach to design? What made your projects special?

The most memorable projects are always the ones least burdened by regulation, lead by creativity, rather than compliance. Vibrance stands out as one of the most important. It was our first large-scale project, which we both designed and built, and it played a key role in the formation of I+A. It showed us what was possible when we worked freely and ambitiously.

Then came Sema and N(h)ar, two projects that arrived at a critical moment, right when the 2020 pandemic hit. Almost all our commissioned work was cancelled, and we suddenly had nothing but uncertainty ahead. Instead of stopping, we focused on these proposals, developed them remotely, and poured everything into them. Both were eventually selected and built by the end of the year. They carried us through, creatively and professionally.

These kinds of projects define I+A. While my personal design philosophy leans towards imperfection and patina, I+A is rooted in technology, parametric design, computational processes, digital fabrication, and precision engineering. This contrast keeps things dynamic. Projects like these are especially rewarding because the process tightens the team, and the results speak for themselves.

Can you tell us how the idea for Weavature first came about? What sparked the initial concept, and how did it evolve into a collaborative project?

Weavature has been a collaboration with the Malta Crafts Foundation and Antoine Vella of Weaving Malta from the very beginning. We had been discussing how traditional Maltese weaving could be reimagined into an object designed for contemporary life, something that could extend the craft’s relevance beyond its heritage context.

When it comes to objects, we always aim to design for enjoyment and use, so creating a leisure seating piece felt natural. Our proposal was to use weaving not just as a decorative layer, but as a structural element, one that could hold the user’s weight, supported by a more rigid frame. That’s where Christian Bezzina of Medina Steels came in. He’s a master steel craftsman who immediately understood what we were aiming for. Together, we developed and submitted the project for Premju Ġieħ l-Artiġjanat Malti 2023.

Winning the first prize for Inspiring Artisanship and Innovation through Collaboration at Premju Ġieħ l-Artiġjanat Malti 2023 must have been a proud moment. What does this recognition mean to you and your team?

The award was a form of support; it believed in us before the project was even built. It’s a grant from the Malta Crafts Foundation that backs an idea still in development, which is rare and meaningful in itself. It also gave us the chance to build strong relationships with two highly capable craftspeople, and to prove the value of our “design by making” approach.

They weren’t just the makers, they were part of the design process from the very beginning. That’s why the final outcome reached the level of quality it did. We can proudly say the piece was not only designed, but also entirely made in Malta.

Congratulations on being appointed Artistic Directors of Premju Emanuele Luigi Galizia 2025. What does this role mean to you personally and to the studio?

Premju Emanuele Luigi Galizia 2025 marks the fourth edition of these prestigious awards, organised by Kamra tal-Periti. They carry particular weight in our profession because they come from within—one of the few moments where we’re recognised by fellow Periti, by those who truly understand the complexity, pressure, and craft involved. That’s what makes it meaningful.

It’s also the first time the artistic direction has been entrusted to someone outside the KTP Council, which makes it an immense responsibility. It’s not just about celebrating building projects, it’s about honouring Emanuele Luigi Galizia, the profession, and our peers with the respect and relevance they deserve.

I’ll feel proud once it’s all over and done, and, more importantly, if Periti feel it represented and honoured them properly.

How did this opportunity come about? And what does the role entail?

During my year on Council, I was involved in a number of initiatives, including aspects of the 2024 edition of the awards. Since I didn’t contest for Council again this year, and given that the Council felt it was time to approach the awards differently, it seems the transition made sense—to move the responsibility from an internal matter to something that could be led by Periti outside the Council itself.

The role mainly involves setting the tone and direction for this year’s edition—shaping the vision, selecting the venue, branding, and other key elements. As artistic directors, we’re guiding the spirit of the event and ensuring it reflects both the profession and the times we’re in.

Who are your biggest influences and inspirations in the field of architecture?

I tend to look around me—especially at nature, and at past solutions that have worked. Of course, it always depends on the typology of the design in question, but I believe architecture should respond to its place. When designing spaces, I’m more interested in understanding the location and learning from how certain approaches have either succeeded or failed over time.

Through that lens, the Mediterranean is my main source of influence and inspiration. Its climate, materials, and rhythms of life all carry a kind of wisdom. I’m drawn to spaces that are honest,  that express a strong cultural identity, and that feel grounded in their context rather than imposed on it.

What trends in architecture and design excite you the most right now?

I’m not really one to follow trends—if anything, I tend to be cautious of them. Good design should respond to context, not to what’s popular in the moment. That said, I do take interest in shifts that feel more like corrections than trends.

What I find most promising is the renewed focus on care, care for craft, context, and sustainability. What excites me is that we’re now pursuing this not by looking backward, but by using contemporary tools, digital fabrication, new materials, and innovative processes, to carry traditional thinking forward. That, to me, is where the real potential lies: in creating work that is culturally grounded, yet future-facing.

What advice would you give aspiring architects and designers looking to make an impact?

If you want to make an impact, don’t just innovate through design, develop an entrepreneurial spirit. Think beyond form and detailing, and consider how your ideas can be made commercially sustainable.

Too often, we see projects that are profitable but lack soul, or ones with brilliant design thinking that never get built because they’re disconnected from practical realities. The real value lies in bridging that gap, bringing strong ideas into the world in a way that lasts, that can be built, funded, and lived with.

What are your future aspirations for I+A?

I+A is steadily shifting from a traditional architecture studio into a broader lifestyle design practice. We now support clients from property purchase through to conversions, interiors, and the design of architectural artefacts.

Architecture takes time. Interiors move faster, but they often come with less control; budgets, tradespeople, and shifting expectations all play a role. With artefacts, we control the full process, design, production, and quality.

That’s where we see our growth. We want to continue strengthening our design services while building a focused architectural artefacts arm—one that gives us full control and allows us to deliver work locally and internationally.