In conversation with architect Joe Galea

Can you walk us through your journey into architecture? What first inspired you to pursue this profession?

Although none of my family or relatives were architects, I was brought up seeing furniture fabricated in our cane factories, and from a young age I saw how you could make a living from being creative. Most of my time was spent in nature, building camps, and I often found myself taking the role as self designated ‘architect’ from an early age. This gave me a sensitivity to building and place, especially when seeing campsites being taken over by blocks of apartments. It was there that I realised that development is the most expensive side of architecture.

I studied at the University of Malta, where I based my thesis on frugal architecture. I then furthered my studies with a master’s degree in self-sufficient buildings at the Institute of Advanced Architecture of Catalonia in Barcelona, with tutors Enric Ruiz-Geli and Vicente Guallart. At IAAC we learned innovation in architecture, where architects build their own tools to develop smart systems.

Later, I worked with Manja van de Worp on advanced geometry at Nous Consultants, contributing to the private house of architect Lily Jencks. I then joined Architecture Project Valletta, working on projects such as the GO Technical Centre, House in St Ursula street where I obtained my warrant. During this time, I also co founded FabLab Valletta. After which I set up my own design studio which later merged to become Draw studio.

Draw Studio was co-founded with your cousin Sara, coming from different areas of design. How does this partnership influence the way you approach projects?

My approach to design has always been multidisciplinary. Sara and I joined forces to create a platform that offers a broader service to clients, beyond architecture and product design. Sara specialises in FF&E, which focuses on the furniture, fixtures, and equipment that complete a space; from loose furniture and lighting to fabrics, finishes, and detailing.

This area of design is often treated as a separate layer from architecture, but our partnership allows us to integrate it from the beginning. As a result, we are able to take on projects of any scale and develop them fully, carrying each project through to completion, down to the final choice of cutlery and fabric.

Photo credit: DZ photography

How would you describe your overall architectural philosophy, and how has it evolved throughout your career?

I wouldn’t describe my work as belonging to a single architectural philosophy. It has evolved through different influences over time; from Louis Kahn’s material honesty and Buckminster Fuller’s understanding of form as energy, to Vicente Guallart and Enric Ruiz-Geli’s data-driven and performance-based approach to design.

I have also drawn inspiration from Antoni Gaudí’s ability to translate natural systems into buildable structures, Neri Oxman’s research into material optimisation through design, and more recently, the simplicity and precision of Vincent Van Duysen’s detailing.

Could you share some of the most memorable or significant projects you’ve worked on? What did these experiences teach you or reveal about your approach to design?

These projects marked my first opportunity to apply the advanced computational and parametric design knowledge I developed abroad. I contributed to the award-winning Ruins Studio in Scotland, engineering its complex organic interior geometry through parametric modelling and digital fabrication, and later worked on the GO Technical Centre with AP Valletta, where we developed a performance-driven, low-carbon façade strategy based on solar radiation analysis and a parametric grid derived from photovoltaic dimensions; the project received a Special Commendation at the 2024 MASP Awards.

Photo credit: Brian Grech

Photo credit: Brian Grech

At DRAW, we continued pushing our design philosophy across multiple typologies, from the House for a Young Family; which won two MASP Awards ; to a new wing for Verdala International School and a boutique hotel in the Grand Harbour area. Two completely different projects where we pushed agendas in sustainability while learning how to deal with complex situations as an office.

Could you describe your design process from concept to execution? Are there any guiding principles, tools, or rituals you rely on?

As an architect, I see my role as a creative orchestrator of information. A project is only as strong as the depth and quality of the data gathered at the outset.

I begin by synthesising planning regulations, client aspirations, constraints, budget, and timelines, while identifying something unique to the site; environmental, spatial, historical, or material. It’s often in the intersection of these parameters that the concept emerges.

Rather than imposing a fixed aesthetic, I let conditions generate the logic of the project. Environmental performance, orientation, structure, and materiality become active design drivers.

Technically, I move between 2D, 3D, BIM, and parametric tools like Grasshopper, using them not as stylistic devices but as ways to integrate measurable constraints into form.

From concept to execution, the goal is clarity; architecture that feels inevitable, shaped precisely by its site, context, and client. This is where I find being in Malta exciting as an architect as every project is unique and can have unique solutions without having to be invasive .

With your background in digital fabrication and data-driven architecture, how do you see emerging technologies reshaping architecture in Malta?

Emerging technologies are already influencing architecture in Malta; from digital planning tools and LiDAR data to the growing accessibility of AI. These tools are changing how we gather information, analyze sites, and develop projects.

What particularly interests me is digital fabrication, we have been experimenting with Cnc cutting but recently also working in industrial 3D printing. Additive manufacturing,  offers a more optimised and material-efficient way of constructing.

For Malta, this could mean reduced waste, smarter use of local or recyclable materials, and more performance-driven design. The real opportunity isn’t technology as spectacle, but as a way to build more efficiently, sustainably, and intelligently.

Can you walk us through a project where technology or digital tools allowed you to push boundaries in design?

The project we won two awards for is a simple example of how you can use digital tools to push boundaries locally. We used 3D modelling to build the maximum volume allowed by planning regulations and treated those constraints as design drivers.

We then applied solar radiation analysis to the massing, which proved to the client that covering the farmhouse courtyard would reduce performance. Instead, we elevated it to enable stack ventilation and positioned energy collection above.

This improved natural light, ventilation, and long-term efficiency; while reducing costs. The final design translated these digital studies into simple details that local fabricators could build.

Sustainability is increasingly crucial in architecture. How do you incorporate environmental responsibility into both large-scale architecture and smaller-scale design work?

Sustainability starts with mindset. Whenever possible, I prioritize restoring, renovating, or retrofitting existing buildings; permanence is the first step toward environmental responsibility.

When new interventions are required, we focus on enhancing performance through green roofs, lightweight systems, shading devices, and smart technologies.

For example, at Verdala International School, we created a green roof play area and introduced lightweight walkways that act as shading for the curtain walls; improving thermal comfort while adding usable space.

At every scale, the aim is simple: build responsibly, extend life cycles, and enhance the environment rather than deplete it.

How do you balance historical preservation and contemporary design when working on restorative projects in Malta?

Preservation is not just about restoring what exists, but about respecting context; materiality, proportions, rhythm, and scale.

At the same time, contemporary design can coexist with heritage when introduced with sensitivity. Contrast, when carefully handled, can clarify the dialogue between old and new.

In projects like the house for Lily Jenks, we kept certain elements conservative and context-driven, while allowing other parts to be more experimental; creating a balanced relationship between preservation and innovation.

What are your thoughts on the current state of architecture in Malta, and how do you envision its evolution in the coming years?

I remember when the commission for Malta’s Parliament was awarded directly to Renzo Piano. Many local architects felt overlooked. However, I believe projects like the Parliament House demonstrate the value of strong design leadership. They raise expectations, shift public perception, and inspire younger architects to pursue higher standards.

Today, Malta stands at a crossroads. There is undeniable development pressure, but also growing awareness around sustainability, heritage, and quality of life. I believe the next evolution of Maltese architecture must move beyond speed and speculation, and toward performance, contextual sensitivity, and long-term value.

With better integration of digital tools, environmental thinking, and stronger design culture, Malta has the potential to produce more architecture that is both locally rooted and internationally relevant.

Who have been your greatest influences or sources of inspiration, whether architects, designers, mentors, or even experiences outside the field?

While I’ve been influenced by architects who share similar references and values, my greatest source of inspiration is nature.

Nature is where I reset, think clearly, and regain perspective. Its logic efficiency, adaptation, layering, and resilience; constantly informs how I approach design.

Over the past five years, open water swimming has become an important part of that process. It has helped me overcome significant physical and mental challenges, strengthening focus and discipline. Being immersed in the sea offers clarity; a reminder of scale, rhythm, and endurance; qualities that I try to bring back into my architectural work.

What advice would you give to aspiring architects and designers who want to make a meaningful impact in the industry?

Travel, observe, and stay curious. Some of your most important lessons will happen outside the studio. Find mentors whose work inspires you and learn how they think, not just what they design. Architecture can lead you in many directions, follow the problems that genuinely excite you. Meaningful impact comes from aligning your skills with what you care about.

Looking ahead, what are your aspirations for the future, both personally and for Draw Studio as a firm?

Looking ahead, I see Draw Studio continuing to evolve as a creative platform rather than a practice defined by scale or typology. We don’t limit ourselves to a specific project type; whether interior, product, material experimentation, or master planning, each carries equal value.

What matters most to us is quality; in thinking, in process, and in the final product.

As a firm, our ambition is to remain lean and intentional, taking on projects that allow for depth, experimentation, and precision, rather than pursuing growth defined purely by scale.