Archetype Issue 3

the

paper

in issue three1. A selection of the most beautiful mirrors available on the market. 2. Interview with UK-based designer Alexander White on his iconic designs. 3. Interview with street artist / illustrator Daniela Attard. 4. Interview with interior designer Mark Pace.

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THE ARCHETYPE PAPER 6

The Archetype Paper is growing. And with it our vision.

It is therefore apt for us to have chosen the mirror as theme for this issue. Which is very Snow White of us, admittedly. But let’s face it, we’re all a little narcissistic. Nevertheless, mirrors project more than a mere image of self, they reflect space, they give the illusion of depth, even grandeur perhaps, yet they also spread light, increasing its magnitude and potence.

From gazing at to being gazed upon, in the third issue, we decided to feature illustrator/street artist Daniela Attard, interior designer Mark Pace and as of this issue, we’ll also be showcasing foreign individuals who have somehow caught our eye, as well as fairs and events. Although Malta’s bursting at the seams with local talent and professionalism in the arts, design and architecture fields, it’s important to look beyond our shores, at the wider international context. And that’s where Alexander White comes in; he’s a young up and coming designer based in the UK to whom we’ve given our nod of approval.

This will probably be the last issue in this ‘format’. In the next edition, we’re spicing things up a bit: we’ll be bringing in more contributors and we’ll be introducing onepercent projects, a very new and exciting enterprise for the company. So, look out for the May issue, and make sure to tell us what you think when the new website’s up and running. We look forward to hearing from you.

LG

issue no. 3 The Archetype Paper

Date February 2012

Art direction by werkdesigns.com

Editor Lisa Gwen

Editorial design by Matthew Attard Navarro

Portrait photogrpahy Alexandra Pace, Esther Segarra

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Subscribe in the ‘Archetype’ section

Also available fromonepercent, Valley Road, Msida, Malta

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Cover image

The Sturm und Drang a truly magnificent mirror from Glas Italia available in two sizes from onepercent.

The Archetype is a quarterly newspaper

by onepercent ltd about architecture,

design,interiors, furniture & art.

paper

the


must havessection 1

MIRRORM I R R O R

A selection of beautiful mirrors

The Sturm und Drang is a truly magnificent mirror with a Murano glass frame, achieved through a complex and refined hand-made production process, making each piece unique and unrepeatable.

The frame is composed of various elements which are fixed to a wall hanging structure upon which a 5mm thick chamfered mirror is then applied. The Sturm und Drang which translates as Storm

and Stress mirror from Glas Italia is available in two sizes.

All featured mirrors are available at onepercent


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The fiction mirror from Glas Italia is available in two sizes and is made up of extra light glass with degrading shaded silvering which is hung on the wall with a chromium-plated metal cylinder. The small mirror can have a degrading shade upwards or downwards.


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If nature and floral interior design rather tickle your fancy then you could be interested in new collection of decorative mirrors by Porada, which have been presented at the Salone Internazionale del Mobile 2009, in Milan. This collection is designed by Tarcisio

Colzany and named frasca and Lotus. Mirrors from this collection are presented in two original shapes: tree branch and lotus flower.


While most of us can appreciate the added convenience of a conventional three-way mirror, few would choose this ubiquitous dressing room piece for their homes. The Bellavista mirror (2004) by Carlo Marelli and Massimo Molteni is an exception, designed for even the most intimate of living spaces, including bedrooms, lounge areas and entryways. With three hinged panels, the wall-mounted Bellavista can close for com-plete concealment behind solid ash wood doors. When open, these doors can be adjusted to provide reflections from multiple angles.

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The Porada Megalux mirror from Italy is produced in two square-shaped sizes and two rectangle-shaped sizes. It is made entirely from carved mirrored glass featuring several

panes and framed in an octagon.

must haves

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The Venezia mirror features a delightful floral patterned frame encompassing the whole of the mirror. It brings a delicate and graceful feel to most spaces.


Porada Sensu mirror: This fan shaped wall mirror with 7 panels (fixed together), turns 360 degrees due to the wall fixing. Designed by T Colzani, it comes in clear mirror and brushed steel.

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Libra is a tall rectangular mirrored wall storage cabinet. By means of clever design, the cabinet opens to reveal inte-grated inner compartment lockers in Canaletto walnut or wengé stained behind the 2 mirrored doors that rotate outward on hinges for easy access.

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Profile is a tall rectangular wall mirror with a mirrored shelf concealing a pair of side opening drawers with fronts in stained or laquered oak finishes.

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The Rokoko mirror is shaped like a frame. It is cut with a water jet and features a transparent extralight glass. It comes in four sizes.

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Life Pyramid mirror from Glas Italia is a three-dimensional mirror in a pyramid shape, truncated with a lit angled corner coloured in red or white. The light, produced by a halogen lamp placed inside the mirror, can remain at a set level or alternatively, thanks to an electronic dimmer, can cyclically switch on or switch off in a gradual and continuous way. Life Mirror comes with two shapes for the angled corner and with a choice of red or white lighting.

must havessection 1


Lips parted. White dress tickling and bil lowing

around her thighs. Iconic soft blonde curls.

And a New York subway grate.

Marilyn Monroe’s unique stance in the 1955

fi lm The Seven Year Itch is firmly implanted

into American popular culture of the 20th

century. Yet her powers to seduce and allure

have lived on, way beyond her short l ife, and

right into the 21st century.

She was a l iving muse 60, 70 years ago.

She is a muse today.

Young designer Alexander W. White is

one such individual who could not remain

impartial or immune to the bodacious

blonde’s timesless and undying charms, and

his Monroe Chair is testimony to as much.

But how exactly does a sex symbol translate

into a chair? “I tend to start my design with

a fairly simple idea that I draw, sketch and

play around with until it convinces me that

it’s is worth developing. When I’m convinced,

I then tend to make a rough model to have a

3D version of it, so that I can further visualise

its potential.”

“I then use CAD (when appropriate) for

refinement and detail ing. I might also take

pictures of the model, then open them up in

Photoshop or i l lustrator to then push forward

the artistic nature of my work, where I might

add colour, l ines etc.”

“In the case of the Monroe Chair, I decided

on the final shape of the one component

involved using CAD but it was only once I

had made all the components and fed them

onto the central axis that I could make final

decisions for comfort and aesthetics.”

He explains that the Monroe Chair is

an attempt to drastically simplify the

manufacturing process involved in making

an armchair. It exploits the potential of CNC

technologies, cutting out identical replicas

in order to create a functional piece of

furniture made from a great number of the

same component.

Each component is fed onto a metal pole

that runs through the width of the chair,

then rotated and fixed in place in order to

achieve the desired effect. The back leg

gradually morphs into the backrest and the

armrest into the front leg, creating a distinct

aesthetic entirely defined by the simplicity

of the manufacturing process.

Alexander describes his work as conceptual,

driven by ideas, rather than aesthetics... so

where does his work ethic or philosophy

stem from?

“The aesthetics of my work are derived from

an idea (for instance the aesthetics of the

Monroe Chair derive from it being made from

a great number of the same component).”

“Nowadays, due to my eco-conscious

education and the fact that there is already

far too much junk in the world, I f ind it almost

impossible to justify making something that

is purely of aesthetical beauty.”

“The way things look is very important, because

we need to love and look after the things we

own, but for me objects should have more

depth, more dimensions. My goal is to seduce

people on several levels, aesthetically,

functionally and conceptually.”

“For instance, I couldn’t make something

that is purely aesthetically appealing but

has no function, just l ike I couldn’t make

anything functional that has no conceptual

value.”

“I l ike to think that my work challenges

people’s conception of what furniture can

be. Why do we automatically assume that

a table has four legs and a rectangular or

oval top? People’s interaction with my work

is also important to me; a chair is a tool for

the human body and is made to be sat on

not just look at from behind a glass box.”

Besides the Monroe Chair, the Delta Knot

coffee table is another of Alexander’s

signature designs.

“The Delta-Knot was developed as a result of

an exploration into the relationship between

construction process and aesthetics.

Looking into how to produce unusual

furniture using as l itt le time and energy as

possible.”

“The dry joint at the heart of the coffee table

is based on a brain-teaser puzzle, chosen for

its simplicity to manufacture and intriguing

elegance. Its construction uses no glue or

screws. The tabletop is a logical response

to its base, complementing its aesthetic

whilst offering maximum stabil ity.”

“The gold leaf on the table top and its base

is only placed on areas where the end grain

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THE PERSISTENCE

OF ICONS


Alexander White photographed by Ester Segarra on The M

onroe Chair.


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The Delta Knot coffee table

Aerial view of The Delta Knot coffee table.

Close up view of ‘The Knot’.

Side view of the Delta Knot coffee table.


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was showing — where the various shapes

composing the piece have been cut, l ike

the truncated corners of the triangular

table top — signifying that the whole table

is completely made of gold but veneered

in wood… somehow making it look like my

intension was to try to hide the real value of

the table.”

But where does Alexander’s urge for

‘making’ stem from? What ‘triggers’ from

his past have lead him down this particular

road?

“I guess it all started as a kid when I was

living in rural France with very l itt le else to do

than to roam the neighbouring countryside

hil ls using my imagination to conjure up

exciting scenarios to play in.”

“My parents did not like the idea of toy weapons

or videogames as forms of entertainment... so

I made myself bows and arrows and all sorts

of elaborate wooden guns so that what I was

imagining could become a little more real.

Soon enough, I was spending more time in my

dad’s workshop making these toys, than I did

playing with them.”

“My childhood revolved around making things

to entertain myself; once I had the weapons,

the next step in turning my completely natural

surrounding into a giant play area was to build

dens and tree houses.”

“Creating became an essential part of what I

considered being fun.” Alexander also mentions

his quest to ‘save the world’ through design.

How does he intend doing this, or what is he

already doing to put this into practice?

“My generation is a lot more concerned with

the growing threats that are unfolding before

our eyes... I grew up among environmental

headlines such as, CFC green gases, GM foods,

climate change, peak oil, their origins and

consequences. James Lovelock’s Gaia Theory

combined with more recent environmental

disasters.”

“When I was at university (University College

of Falmouth), we were discouraged to make

tables and chairs as there were already too

many perfectly good designs out there and our

skills and talent could be put towards greater

things.”

“At the time I was designing schemes

that would encourage commuters to use

their bikes more often than their cars

and information sharing websites that

encourage users to share their home energy

consumption in order to collectively improve

on their consumption behaviour at home.”

“My intentions are no longer to try and ‘save

the world’, it got to the stage where I could

no longer endure the depressing nature

of the research I was doing and besides

I wasn’t cut out for that kind office work

anyway.”

“I wanted to go back to the things that

once got me exited, while incorporating the

things that I had learnt about sustainable

design into my current work, this is when I

approached Fred Baier.”

“To date I have designed things with minimum

machining for maximum elegance. I’ve also

approached companies to see what waste

they produce and how it can be cleverly

reintroduced into their manufacturing

processes.”

With such a variety of mediums, materials

and technologies available, which does he

possess a penchant for and which does he

long to experiment with?

“The workshop I’m currently using is mainly

geared up for woodwork, but I wil l use any

material appropriate for the job. Wood tends

to be a favourite as it is really enjoyable to

work with (look, feel, smell) and challenging,

unlike metal, plastic or glass that when set,

doesn’t move.”

“It also contains a element of the natural,

that is out of the makers control. A nice

piece of wooden furniture is as much a

result of the craftsmanship as it is about the

chosen wood for the piece.”

“Sheet materials are also often thrown into

the mix (where wood can’t be used or there

is no need for it); they are extremely reliable

and easy to use.”

“Personally, I long to explore modern

processes further (l ike the range of CNC

machinery) more than I do a particular

material, that I have never used before, I

l ike to think that we have only just started

exploring the new possibil it ies made

available by modern technologies.”

Alexander is currently working on the

design of a public bench for a children’s

play area. He wil l be producing a design

using minimum materials whilst achieving

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maximum strength, exploring the idea of

triangulation to produce an elegant looking

piece of public furniture. The subframe will

be made from welded, powder coated, metal

tubing with bolted wooden slats for the seat

and back rest.

Alexander also intends to push his puzzle

idea (used for the Delta Knot) in the design

of a desk almost entirely made from

interconnected puzzles, thereby creating

one giant puzzle of a piece.

Further collaborations are also to be

expected with Fred Baier, together with

finishing the identity and signage for South

Hil l Park in Bracknell and creating an arts

trail for Ruthin Arts Centre in Wales.

LG

The Monroe Chair 3/4 view.

The Monroe Chair side view.


Daniela Attard photographed by Alexandra Pace in front of one of her w

orks at SK8 Park.

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username_iella

Monsters. The cute(ish) kind.

Skeletal, winged, scaled, horned, hoofed and/

or clawed? Humanoid, animalistic, biomorphic,

metamorphosed; take your pick. Each a minion;

a member of Daniela Attard’s army; her troupe

of fire-breathing, alien-looking, airborne-apparent

creatures.

I want one. They’re the endearing kind of creatures

you dream of having as imaginary friends at age 5,

6 or 7. Or if you’re like me and refuse to ignore (or

altogether kill off) your inner child, at age 29 too.

The stuff of dreams. Those dreams reading like

a page out of Maurice Sendak’s Where the Wild

Things Are. Yet for the time being, I must push aside

thoughts of an aggravating Peter Pan syndrome.

If an artist possesses the technique and ability

to master a medium, reality is relatively easy to

reproduce. What’s not easy is representing a

dream, fantasy, a personal and entirely conjured

world of unknowns on paper... or on a wall or other

surface expanse.

Daniela, better and more affectionately known

as Iella, is one such special person who has the

incredible ability to create worlds populated by

monsters and creatures, the kind that simply lack

the ability to speak, roar... maybe squeak and

squawk, or produce any other inane noise which

fabled creatures are supposedly and ordinarily

associated with.

Her roots and beginnings trace back to her tweens.

She recalls creating pet monsters on the website

Neopets when she was a mere 11-year-old. “It’s

what started me off drawing.” Coupled with her

childhood dreams of becoming a paleontologist

and a healthy obsession with dinosaurs greatly

contributed to the foundations of her art. Nowadays

however, her influences are broader, more selective.

She mentions Gorillaz illustrator Jamie Hewlett, the

famed Alien creator H.R. Giger, Japanese Manga

artist Hayao Miyazaki and animation producers

Studio Ghibli.

Incorporating such diverse influences, which she

has successfully transcended into a very personal

style around which she has built her artistic

persona, Iella is quickly establishing herself as

a professional illustrator and street artist – of the

legal, non-vandalising kind.

Her artistic journey however, hasn’t exactly been

linear. Although she graduated in History of Art

just a few months back, her University baptism

came in the form of a BSc in Medical Lab Science.

Nevertheless, her passion for art and drawing was

always there, lurking in the shadows, but there was

nothing for her to latch onto at first, not even in

secondary school, a problem encountered by most

creatives striving to create a niche locally. So Iella

endeavoured to take up Art at Advanced Level – on

her own steam – and consequently attended the

Malta Government School of Art for three years.

At University however, her sketching and painting

was relegated to doodling in the margins of her

lecture notes. Making sure she sat at the back of

the class, she could at least somewhat cultivate

and nurture the many concepts and creations

struggling for release and materialisation. Three

years ago however, Iella finally found a mentor in

painter Eman Grima while attending life classes

at the Malta Society of Arts Manufactures and

Commerce. “The life classes have been my art

education.”

Now that she’s graduated, Iella has decided to

follow the foundation course at MCAST, where she

has taken graphic design to help her in the area

concerning typography. To some this might sound

like a bit of back flip. Yet hers is an informed choice

as she’s decided to take a year out while awaiting

confirmation of acceptance in the Universities

of Camberwell or Kingston to read for an MA in

Illustration.

She holds illustration very much to heart and over

the past few years she has been actively involved

in Malta’s Comic Con – an international convention

launched in 2009. Together with a bunch of “comic

book freaks” Iella has been involved in the creation

of a comic titled Pilot, which was launched during

last year’s Comic Con, which was financially

supported by the Malta Arts Fund. The comic was

well received, and enough money has already been

raised to fund the making of the second issue.

One of Iella’s most recent projects includes

collaborating with a group of artists on a public mural

in San Gwann, in an attempt at Putting Colour into

the Streets while simultaneously introducing the

concept of street art to a wider audience. It was the

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“BECAuSE OF THE PHYSICAl ATTRIBuTES OF THE SPRAY CAN, BIggER IS AlwAYS BETTER”

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first time she worked on such a big project. With

it she describes the problems encountered when

dealing with perspective on such a large scale,

the themes/subjects which had to be toned down

to suit all audiences as well as the convergence

of the individual artists’ personal styles. Iella also

explains the use of aerosols, and how the medium

is particularly apt when creating improvised works

which do not require a huge amount of detail.

Recently, Iella was also asked to participate in one

of Malta Design Week’s satellite events, namely the

FLOW project, in which she was assigned one of 13

bathroom spaces which amalgamated the concept

of art and high-end design. Her work covered the

walls of the box-like space in the form of wind-

swept figures on a deep red ground, proving that

mural painting is a more than viable alternative to

tiling or wallpaper.

She also discusses the context in which she is

trying to make a name for herself, explaining that

the Maltese public’s perception of street art is

virtually non-existent unless they happen to be

well-travelled. In Malta, graffiti, strenciling and

street art is largely concentrated in the Sk8 Park

area, outside the University — the place where Iella

created her first outsider artworks. Other than that,

audiences don’t have much of an opportunity to

experience and interact with outsider art on a daily

basis.

Iella is but one of a small community comprising

some 15-20 practising street artists in Malta, most

of whom have taken to using derelict or abandoned

houses as personal canvases. A straight-faced Iella

explains how most street artists in Malta are very

ethical and show a strong sense of responsibility

and respect for public and private properties/

buildings. It was rather the visiting foreign artists

who tag (a term used to describe an ‘artist’s’ use of

initials or symbols) walls and/or other surfaces.

Paradoxically however, outsider art is increasingly

moving inside, with several prestigious galleries

abroad showcasing this art genre which has

become highly sought after by art collectors. Street

art, more often than not, is seen as a powerful

social comment, a true reflection of a country’s

history, politics and context. It is no longer regarded

as an act of vandalism but as an art form in its own

right.

One need only mention Jean Michel Basquiat in

relation to mural, graffiti or street art. Basquiat’s

work moved from street walls straight into

exhibition spaces, as has Bansky’s for that matter.

This newfound attitude towards street art and

outsider artists resulted in graffiti artists being

commissioned to decorate facades and exteriors

of buildings, or even its interiors. One such case

in point is David Choe, whose work decorates

the walls of Facebook’s first offices in Palo Alto,

California and who has again been commissioned

to create works for their new offices.

Yet does street art lose its meaning inside, in the

‘confines’ of a residential or commercial space,

rather than a public one? Iella certainly thinks

so. “Technically yes, as the piece of work is only

available for viewing by the commissioners or

clients. In a way it is like looking at a wild animal

in a zoo.” Nevertheless, this does not mean or

imply that the subject under scrutiny cannot be

appreciated by those experiencing it, but rather

that its visibility is limited.

Size is another important factor where street art

is concerned. Iella describes why the nature of

medium makes bigger, better. “Because of the

physical attributes of the spray can, bigger is

always better. Ideally a minimum of a two-metre-

wide wall is an ideal ‘canvas’.”

I’ve often wondered whether professional and

successful street art is wholly dependant on history,

context and space. In Iella’s case, she sometimes

does site-specific work and also pre-plans using

sketches, especially on collaborative projects, “but

generally I just improvise”. Yet history and space

play an imprtant role in her work “particularly since

it’s easy to look up historical sources (especially

from the internet)...”; as a result however, she’s not

as inspired by local contexts.

But why does Iella do what she does? And more

importantly, where might it take her? “I like the

element of mystery, detachment. I like the idea of

exhibiting my work, but remaining anonymous at

the same time.” That’s why I go by the name Iella.

It’s the idea of a username coming into play, of

letting your work represent you online; keeping one

life distinct from the other.”

“I’m not interested in the commercial aspect of

art. However, I would like to work in the art field. I

used to organise a sketch group at the Sk8 Park,

so I guess what I can really see myself doing is

teaching, or perhaps working as a children’s book

illustrator.”

LG

MARK PACE

THE CuRATOR

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Custom-made. That’s what I call a sexy word,

simply because of the sense of luxury it exudes.

It’s become all too easy to shop online or browse

through a carefully-pieced glossy mag; pinpointing

and highlighting all the items of furniture which

most suit one’s tastes; establishing which colours,

textures, fabrics work best together.

Rooms in houses, buildings and offices are spaces

which need to be curated, just like those in a

gallery or museum. Just because the user’s needs

differ from those of the average spectator, does

not imply a slackening of attention to detail. Rather

the contrary. A museum/gallery has one chief

mission, to showcase artworks (sometimes the

architecture) and impart a significant experience

unto its audience. Houses, or offices, are far more

complex, seeing as the function of the space is

generally multi-purpose, catering for every need

and at times also for a few whims.

So why do so many insist on piecing a space

together as though it were a collage or puzzle?

Quoting Michelangelo, “Every block of stone has

a statue inside it and it is the task of the sculptor

to discover it.” I do not mean to take his words

literally, but rather to make a point. Just like a block

of marble or a tree trunk, empty spaces have a

voice, which needs to be heard and taken into

account. The space needs to dictate the purpose,

the function, the design...

So why the lengthy intro? Naturally, there is method

to my madness. I consider Mark Pace to be a kind

of a star. The kind possessing an unparalleled sense

of taste and quality. He is a curator of spaces... in

the guise of a self-made interior designer.

His projects almost speak for themselves.

Thankfully. Because Mark is not a man of many

words. Although his reputation in the design field

runs far and wide – preceding him in fact – he is

the humble type, hiding behind a warm, charming

smile, a frequent downward gaze and a hearty

laugh.

He says matter-of-factly, “I can’t explain my work.”

Those are his opening words.

This begs a question. So how do you go about

your projects if you can’t explain what it is that you

do? “I have clients who trust me.” This, I reckon, is

probably the result of his work ethic and philosophy

which takes into full account the respect for a

building, its history, context and proportions.

Yet Mark didn’t study to become the interior

designer he is today. Actually, at first, Mark did

anything but design, “I was a ‘hopper’, jumping

from one job to another”. Looking back, at his most

creative, he was the art director of an ad agency.

So when did he get the spark? It happened while

he was living in Holland for a couple of years.

Walking along the canals, looking at the facades

and consequently at the white interiors, he thought,

“I can do this in Malta”.

He purchased his first property, a place in Zebbug,

in his mid-twenties. From the beginning he knew

he wanted to mix the old with the modern and

contemporary. Abroad, that was the mix being

adopted.

Zebbug aside, Mark is a self-declared “Valletta

freak”.

“I believed it would become what it is today...

I predicted what would happen,” he says in

reference to the interest being shown for property

in the capital city. Mark purchased his Valletta

apartment in South Street, prior to the boom, “It

was an incredible space with incredible views.”

Almost contemporarily, Mark purchased a place

in Birkirkara, which slowly evolved into the family

home he shares with his wife and kids.

It was round about the time he invested in these

properties that he decided to take the plunge to

become a freelance interior designer, collaborating

with architect Godwin Vella.

One of Mark’s first projects was the design of the

GFI offices in San Gwann. Since his career as an

interior designer took off however, the balance

between residential vs commercial projects has

been pretty even. Although methinks that were he

to choose, he would probably confess to having

a penchant for projects of a residential nature, or

perhaps projects focused in or around Valletta. In

fact, what he does confess to is a preference for

designing extensions for old houses.

Browsing through copious photos of projects

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Project Townsquare by interior designer Mark Pace

THE ARCHETYPE PAPER 34THE ARCHETYPE PAPER 34

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Mark Pace photographed by Alexandra Pace at his hom

e in Birkirkara


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completed, or in the process of, there are common

elements which stand out and which reveal quite a

distinct style. Line and angularity take precedence.

Closely followed by the use of various materials

seamlessly juxtaposed or overlayed. His holistic

approach to space is extremely appealing. In his

‘hands’ spaces are allowed to breathe. “I look

for proportions... individual elements should not

dominate a space”.

Mark is quite selective with projects: “I ask a lot

of questions before taking on a job. I need clients

to understand that I am no contractor or project

manager.” He stresses, “Good design cannot

come with deadlines. Design changes and evolves

along the way. I require time to get the best out of

a concept.”

He actually prefers being on site rather than the

office, that way there is time for him to analyse his

surroundings and get a feel for the space, allowing

it to speak to him.

Mark also shares some of his concerns and triumphs: “I

achieve great satisfaction when viewing the final product,

although I don’t necessarily get to witness the completion

of some of my best projects. The most rewarding part of

my job is getting commissions from clients who would

have seen previous projects. It’s a nod of approval.”

Despite the amount of time and dedication he puts into

any one project, Mark is not ‘maternal’ about his work.

But on second thoughts he says: “Coming to think of it

however... I do get somewhat maternal, but only when I

sell a property in Valletta.”

Before parting ways, he shares a couple of tips: “Restore

what you have, tackle the practical issues, like structural

alterations which need to be addressed from the start.

And indulge a little... include some custom-made and

bespoke furniture into your designs, there’s nothing worse

than a home looking like a showroom.”

Mark Pace currently works with Rueben Lautier, with

whom he founded the Pace*Lautier Design Workshop.

LG


Active TradingYour portfolio is not just monitored to assess risk but actively managed. Active management of your portfolio consists of frequent purchase and reselling of financial assets by your Portfolio Manager to take advantage of price changes and aim for growth.

Adapting to changeAs your financial requirements change over time, so may your financial personality. During our regular meetings we will reassess your specific financial targets in order to realign and rebalance your portfolio with your desired plans.

TransparencyOur comprehensive reporting system will ensure that you know exactly how your money is being managed while giving you the benefit of maximum transparency.

If you prefer to delegate completely the responsibility of monitoring your portfolio closely to a trusted professional, you should consider Discretionary Portfolio Management. A designated Portfolio Manager will take the time required to develop a deep understanding of your personal ambitions and preferences - be it financial security, to provide for the future of your children, early retirement or the desire to fulfil long-held ambitions. Although you will be providing a mandate to the Portfolio Manager to manage your portfolio in line with the agreed investment objectives and risk profile, you will be kept informed of any investment transactions executed under your portfolio.

A strategy customised to your needsOnce we have taken an accurate profile of your unique financial personality and appetite for risk, we will draw upon the collective wisdom of our dedicated research team and propose the portfolio strategy that aims to optimise your wealth while matching it to your investment profile – be it one of acceptable risk or a highly cautious one.

Balancing risk and rewardAs soon as your portfolio is set up, we will set a performance benchmark against international indices. We will hand pick best-of-breed investment instruments and then monitor performance, with the aim of achieving a balance between risk and reward.

Dedicating our time and expertise towards maximising your wealth

Gain freedom from the complicated management that your wealth requires. Discretionary Portfolio Management takes care of the complex challenge of deciding ‘when’ and ‘where’ to place your money.

Discretionary Portfolio Management

Trustee Services

Investment Advisory Service

Successful investment in financial markets requires time and expertise. Discretionary Portfolio Management allows you to delegate completely the responsibility of monitoring your portfolio closely,to a trusted professional.

letting the experts growyour wealth

BO

V 2

4987

BOV PERSONALWEALTH MANAGEMENT 2275 7575 I bov.com

Issued by Bank of Valletta p.l.c.58, Zachary StreetValletta VLT 1130 - Malta

Bank of Valletta p.l.c. is licensed to conduct investment services business and to provide trustee services by the Malta Financial Services Authority.

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Archetype Issue 3

Documents

Transcript of Archetype Issue 3