A layered renovation in Gwardamangia

When architect Jonathan Mizzi set about transforming a two-story traditional dwelling in the Maltese town of Gwardamangia into a home for his family, he applied his practice’s principles of combining innovative thinking with a deep respect for craft.

Named Dar Gwardamangia for Dar, the Maltese word for house and the historic Maltese neighbourhood where the building is situated, the location has ties to both Malta’s rich heritage and recent British history. Its neighbour is the Villa Gwardamangia where Queen Elizabeth stayed over a seven-year period from 1946 when the Duke of Edinburgh was stationed there. The practice has form when it comes to designing in close proximity to sites of historical importance having produced a family of nine beautifully curved café kiosks in London’s Royal Parks.

Born in Malta, it was important to Mizzi to honour and preserve the traditional Maltese character of the house when so much of the local architecture is under threat. The house was in need of extensive renovation but retaining authenticity was key. Special care was taken to restore the façade of the building with plaster on the first few courses cut back to reveal the original local limestone beneath. The antiporta – an inner door just inside the main entrance of Maltese homes - is a key design feature of the renovation in homage to the local tradition of taking time to sit together outside to enjoy moments of conversation and observation. Mizzi’s antiporta has proved popular with neighbouring children who gather to play while waiting for the school van.

To create more space for his growing family, the architect’s thoughtful transformation included extending the house at the rear to improve flow and the addition of a third floor with a set-back roof. A redesigned courtyard connects to nature and provides a space of both contemplation and play.

The practice takes inspiration from nature and their work is recognised for sinuous shapes and harmonious, flowing spaces. This design ethos is evident throughout the house. The upper floor balcony uses capsule-shaped cutouts inspired by Arabic motifs, acting as a railing and referencing the arched windows and oak doors with their gunmetal handles. A white mesh staircase allows light to flood down through the house while keeping the space airy and open. All apertures are fitted with insect nets, giving natural ventilation and a courtyard-like cooling effect.

The practice is known for a love of craft and materiality, and this is evident in the use of carefully chosen materials that flow through the house. Verde Alpi terrazzo forms new entrance steps and guides the visitor through the interior space where it is also visible on kitchen countertops and in the bathrooms. The terrazzo really comes into its own with the unique casting of the material into a courtyard swimming pool acting as a centrepiece to the renovation.

 

Light plays an important part in the design of the house. The antiporta’s fluted glass panels allow light to spill into the entryway while a circular skylight fills the house with light and shadows. Strategically placed mirrors throughout reflect light back into the interior spaces. The black-framed crittall conservatory door opens fully to bring light and air into the house, blurring the division between exterior and interior space. Clever use of glass on the edge of the pool allows for a careful eye to be kept on the children as they swim, filling the house with light and laughter.

The practice, and Mizzi’s family, have a deep connection to Bali where they lived while Mizzi taught at the prestigious Green School. The tranquillity the family experienced in Bali can be seen in the design of the house and through a collection of carefully curated furniture handmade in the village of Mas in Bali. A particularly cherished piece is carved from an old mahogany tree found by Mizzi and transformed into a coffee table. Black Javanese Bamboo panels from Bali and Tadelakt, a traditional Moroccan plaster, add to the texture and warmth visible in the house’s interior.

The objects in the house show both a love of Malta and a keen design eye; from the Villa Bologna pottery made in Attard, Malta to artwork by Maltese artists. The house looks back to Malta’s rich architectural heritage and at the same time recognises that its architect and owner is connected to a wider, global movement to work respectfully with the world around us.