OAR@UM Collection:https://www.um.edu.mt/library/oar/handle/123456789/81052024-03-29T13:42:41Z2024-03-29T13:42:41ZArchitecture, politics and memory in post-WWII EuropeThake, Conradhttps://www.um.edu.mt/library/oar/handle/123456789/1203472024-03-27T13:13:12Z2024-01-01T00:00:00ZTitle: Architecture, politics and memory in post-WWII Europe
Authors: Thake, Conrad
Abstract: All architecture has a political dimension, in a sense it expresses a set of
values and is never a neutral medium. The late American artist and architect,
Lebbeus Woods (1940-2012) stated that 'architecture is a political act
by nature. It has to do with the relationships between people and how they
decide to change their conditions of living' (Jacobson, 2015). At a higher
institutional level, architecture becomes a process by which a building and
urban context can be redefined and transformed as a representation of the
powers that be. Architectural history is replete with various instances where
the ruling political class has resorted to patronise public architecture and appropriated
it as a medium to convey potent visual signals that resonate their
ideologies. [excerpt]2024-01-01T00:00:00ZIsabelle Borg : an artist who happened to be a WomanPace, AbigailVella, Charlenehttps://www.um.edu.mt/library/oar/handle/123456789/1203162024-03-27T10:11:10Z2024-01-01T00:00:00ZTitle: Isabelle Borg : an artist who happened to be a Woman
Authors: Pace, Abigail; Vella, Charlene
Abstract: Isabelle Borg was born in London on 7 September 1959 to a Maltese father, Aldo,
who was an electronic engineer, and an Italian mother, Renata, a culinary artist. The
Borg family settled in Malta in 1973 when Isabelle was 14 years old, but Isabelle
returned to London in 1979 and started working in advertising and graphic design at
KPHS Advertising and the Decca Record Company in London until February 1980.
This is where she met her lifelong partner, the photographer Graham Cooper. She
received her fine arts degree from the Camberwell School of Art in London where
she studied for four years between 1982 and 1986. She then settled back in Malta,
setting up home in Floriana in 1988, where she also had her studio. She graduated
with an MA in Art History from the University of Malta in 1994 and she was employed
as a full-time Assistant Lecturer in Fine Art and History of Art at Junior College, the
following year. She maintained close ties with the University of Malta and had lifelong
friends in the Department of Art History. She died aged 51 in 2010 after having been
diagnosed with pulmonary fibrosis in 2007.2024-01-01T00:00:00ZA historical appraisal of the architecture and urban form of FlorianaThake, Conradhttps://www.um.edu.mt/library/oar/handle/123456789/1202722024-03-25T15:02:16Z2023-01-01T00:00:00ZTitle: A historical appraisal of the architecture and urban form of Floriana
Authors: Thake, Conrad
Abstract: The origins of Floriana (1635–1722)
The genesis of Floriana is directly related to the
consolidation and reinforcement of the military
defences of Valletta. The assembly of a large Ottoman
fleet in 1633 had fuelled speculation that the Turks were
planning an imminent assault on Malta. In May 1635,
Pope Urban VIII (1623–1644) had consented to send the
military engineer Pietro Paolo Floriani (1585–1638) to Malta
to advise the Order of St John on the improvement of the
military defences of the island. Floriani arrived in Malta on
1 September 1635, and immediately set-out to inspect and
report on the state of the fortifications. [excerpt]2023-01-01T00:00:00ZAn analytical investigation into two of Antonello da Messina’s nephews’ workshop practices : insights into Antonio de Saliba and Salvo d’Antonio’s paintings on MaltaVella, Charlenehttps://www.um.edu.mt/library/oar/handle/123456789/1202282024-03-25T06:55:59Z2024-01-01T00:00:00ZTitle: An analytical investigation into two of Antonello da Messina’s nephews’ workshop practices : insights into Antonio de Saliba and Salvo d’Antonio’s paintings on Malta
Authors: Vella, Charlene
Abstract: This paper analyses the results of scientific
investigations as well as what emerged following the
eventual conservation and restoration of several Renaissance
panels that formed part of four different altarpieces
for various churches on Malta. The investigations
were carried out at laboratories in Malta beginning in
2010 and are still ongoing. While two of these altarpieces
are documented as being commissioned from two of
Antonello da Messina’s nephews – Antonio de Saliba and
Salvo d’Antonio – the two others are not documented.
The study brings to the fore an analysis of the two artists’
workshop methods, one of whom had also worked with
Giovanni Bellini in Venice.2024-01-01T00:00:00Z