https://www.um.edu.mt/library/oar/handle/123456789/697 Mon, 20 Jul 2026 14:21:29 GMT 2026-07-20T14:21:29Z https://www.um.edu.mt/library/oar/handle/123456789/148132 Title: Frank Portelli (1922–2004) : interior design for the hospitality industry in Malta : change and modernity Abstract: This dissertation examines the interior design practice of Frank Portelli, with a specific focus on his work for hotels and restaurants in Malta during the 1960s. It explores how Portelli achieved a synthesis between modern design principles and local cultural identity at a moment when Malta was redefining itself socially, politically, and visually following independence. Through these interiors, Portelli articulated a vision of modern Malta that was both outward looking and culturally grounded. His designs did not merely function as decorative settings, but as environments that embodied the aspirations of a society learning to experience modernity through designed space. Despite Portelli’s recognised status within Maltese art history, scholarly attention has largely prioritised his artistic production over his design work. Among the existing literature, Elizabeth Borg’s dissertation remains the most comprehensive study of Portelli’s career. Her research offers an in depth examination of his modernist style and situates him within the broader trajectory of twentieth century Maltese art. Importantly, Borg presents Portelli as a multidisciplinary figure, acknowledging his roles as painter, stage designer, and interior designer. However, interior design occupies only a limited portion of her study, as her focus necessarily centres on artistic production. As a result, Portelli’s interiors are discussed as secondary or supportive elements rather than as a central field of enquiry. This imbalance reflects a broader gap within Maltese cultural historiography. To date, interior design has rarely been addressed as a discipline in its own right or as a meaningful component of the country’s cultural history. While painting, sculpture, architecture, and decorative arts have received sustained scholarly attention, interiors conceived as complete and intentional environments have largely been excluded. Consequently, the evolution of spatial design in Malta remains poorly documented, despite its significant role in shaping aesthetic experience and social behaviour. One factor contributing to this lack of scholarship is the inherently ephemeral nature of interiors. Unlike architecture or painting, interiors are subject to continual modification. They are renovated, adapted, or entirely removed in response to changing tastes and functional requirements. In Malta, this process has been particularly pronounced. Few interiors from the 1960s survive intact, and Portelli’s projects are no exception. In many cases, only fragments or archival traces remain. This transience has discouraged sustained academic engagement, as physical evidence is often lost before it can be systematically studied. This situation is further compounded by a general underappreciation of interiors within Maltese heritage discourse. While the exteriors of historic buildings are frequently protected and celebrated, interiors are often perceived as temporary and replaceable. Once a space is considered outdated, it is typically the first element to be altered or erased. Such attitudes reflect a wider misunderstanding of design as superficial rather than as a significant form of cultural expression. The neglect of Portelli’s interiors therefore mirrors a broader tendency to undervalue designed space as a bearer of historical and artistic meaning. In response to these omissions, this dissertation positions Portelli’s interior design practice at the centre of the discussion. Rather than treating design as a minor aspect of his career, the study examines his interiors for the hospitality sector as a primary field of creative production. Through this focus, Portelli is reconsidered not only as a modern artist, but as Malta’s first professional interior designer, a figure whose work marked the emergence of design as a recognised creative profession on the island. By foregrounding interiors, the dissertation expands the understanding of Maltese modernism to include the spaces in which modern life was experienced, not merely represented. The study also addresses a broader gap in education and awareness regarding design history in Malta. While art and architecture are firmly established within academic discourse, interior design has rarely been approached with the same critical rigour. By analysing Portelli’s interiors as holistic works that integrate spatial organisation, materiality, symbolism, and narrative, this research argues for the disciplinary and cultural value of interior design. It proposes that interiors should be studied with the same historical sensitivity as paintings or buildings, as they encapsulate social aspirations, cultural identity, and material conditions of their time. The first chapter provides the historical foundation necessary to understand Portelli’s significance. It establishes the conservatism of Maltese interiors prior to his emergence and demonstrates how rare it was to encounter interiors driven by conceptual thinking rather than ornamentation. The chapter shows that Portelli introduced a vision in which space, material, light, and furniture were conceived as a cohesive unit, recognising interior design as a cultural medium capable of shaping behaviour and atmosphere. The second chapter examines his work for hotels, a context in which his ideas reached maturity. These projects, including the Meadowbank, the Plevna, and the Cote d’Or, reveal that Portelli conceived hospitality interiors as cultural ambassadors. Hotels introduced tourists to Malta and exposed Maltese citizens to modern leisure culture. Portelli therefore designed these interiors with a strong awareness of producing environments characterised by clarity of form, precise lighting and furniture that expressed a strong identity. The research also demonstrates that his hotel designs anticipated international trends towards immersive, experiential interiors. The third chapter focuses on bars, cafés, and restaurants. These spaces allowed Portelli to experiment more freely with atmosphere, narrative, and motif. The chapter argues that he understood entertainment venues as social theatres. His designs for places such as the Coleiro Wine Tavern and Dragut Bar and Restaurant reveal a clear understanding of how spatial arrangement, lighting, and sculptural elements influence social behaviour. The discovery of sketches featuring Flos lighting models in the early 1960s provides early evidence of his engagement with international design discourse long before such products were accessible on the island. The Dragonara, analysed in the fourth chapter, marks the culmination of Portelli’s capabilities and the project through which he fully realised his philosophy of immersive design. The chapter argues that this was not only a major commission but a cultural milestone in Malta’s post-independence identity formation. Through modern furniture and murals depicting Maltese folklore, Portelli produced interiors that projected an image of a modern yet culturally anchored Malta. This project also gave him the confidence to open Studio Portelli, a significant moment in Maltese design history, establishing the first full time practice dedicated exclusively to interior design on the island. The fifth chapter uncovers the processes behind Portelli’s work. Through interviews, archival material, and surviving drawings, this chapter reveals the working methods and collaborative processes that defined his practice. His coordination with craftsmen and draughtsmen demonstrates that his impact extended beyond conceptual design into the production of modern Maltese material culture. The chapter clarifies that Portelli demonstrated a strong understanding of architectural design principles, despite not holding architectural qualifications. Taken together, these findings require a revision of how Portelli is positioned within Maltese art and design history. Scholarship has traditionally framed him primarily as a modern artist, with his interior design work treated as a subsidiary aspect of his career. While Elizabeth Borg’s thesis remains the closest precedent, this study demonstrates that Portelli’s design practice must be understood as a central component of his creative identity rather than as a peripheral activity. This repositioning has important disciplinary implications. By examining Portelli’s interiors as a sustained and independent field of practice, the dissertation demonstrates that he should be recognised as Malta’s first formally established interior designer and as the figure who contributed to the professionalisation of the discipline on the island. Through his engagement with international design developments, Portelli combined artistic, craft-based, and architectural approaches within his practice, reflecting the multidisciplinary character of his work. Beyond questions of professional status, the research argues that Portelli’s work occupies an important position within Maltese modern design. By introducing modern ideas and adapting them to local contexts, his hospitality and entertainment interiors represent some of the earliest examples of modern interior design within Malta’s hospitality sector, exploring atmosphere, narrative, and spatial experience in ways that were still relatively uncommon in Malta at the time. Although nearly all these interiors have been altered or lost, their historical significance underscores the urgency of recognising designed space as an essential component of Malta’s modern heritage. The findings of this dissertation were made possible through a methodology that combines archival research, oral histories, site visits, photographic analysis, and design interpretation. Archival documents provide evidence of Portelli’s design intentions, including technical drawings, material specifications, and correspondence. Oral histories with Henri Portelli, Reno Psaila, and Alfred Mizzi offer insight into studio practice and collaboration. Site visits and photographic evidence allow for the reconstruction of interiors that no longer survive in their original form. Methodologically, the dissertation is grounded in archival research and visual analysis. Each project is examined through surviving documentation and situated within its social and cultural context. Formal analysis considers composition, materials, furniture, lighting, and spatial organisation, while conceptual analysis addresses symbolism, narrative intent, and expressions of identity. Through this approach, Portelli’s interiors are understood as complete experiential environments rather than isolated design elements. The research also adopts a comparative perspective, positioning Portelli’s work in dialogue with contemporary international design movements. While remaining focused on Malta, the study acknowledges Portelli’s awareness of broader European developments through his exposure to international exhibitions such as the Biennale and the Triennale. By examining how these influences were adapted rather than directly replicated, the dissertation highlights Portelli’s ability to translate modern ideas into a design language responsive to local cultural expectations. The aims of this dissertation are therefore threefold. First, it seeks to document and reconstruct Frank Portelli’s interiors for the hospitality industry during the 1960s through archival material. Second, it analyses how these interiors reflected and contributed to Malta’s post-independence modernisation, functioning as sites of cultural expression and social transformation. Third, it repositions Portelli within Maltese art and design history, recognising him not only as a modern artist but as a pioneering interior designer whose work bridged art, design, and lived experience. Description: M.A.(Melit.) Thu, 01 Jan 2026 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/148132 2026-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/148131 Title: Exploring sustainable methods as fine arts practice, inspired by Maltese coastal nature Abstract: This research investigates how sustainable practices can be meaningfully integrated into contemporary fine art. It examines sustainability not only as a response to ecological crisis, but as a framework that reshapes artistic processes, materials, and methods of production. The study is grounded in a practice-based methodology that combines site-responsive research, material experimentation, and digitally mediated processes. The research is supported by visual documentation, including diagrams and digital renderings that map the development of the exhibition’s curatorial layout. These materials function as reflective tools, tracing the evolution of spatial decisions in relation to material sustainability, site specificity, and audience engagement. The practical component of the research was developed through walking-based engagement with Malta’s coastal landscape, including the collection of raw materials and the production of natural pigments. These practices are examined in relation to their historical context and contemporary ecological implications. In parallel, the research critically explores digital practices such as photography, image generation, and three-dimensional visualisation, addressing the environmental and ethical tensions associated with technologically mediated artmaking. The study situates these practices within a broader theoretical and historical discourse on sustainability in fine art, drawing on the work of environmentally engaged artists and critical scholarship. By comparing material-based and digital approaches, the research questions how contemporary artists might negotiate responsibility, awareness, and experimentation within their practice. Rather than proposing a definitive model of sustainability, this research presents a reflective and situated investigation that highlights the possibilities and limitations of sustainable approaches in contemporary fine art. It contributes to ongoing discussions on how artistic practice can engage critically with ecological concerns while remaining materially and conceptually responsive. Description: M.A.(Melit.) Thu, 01 Jan 2026 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/148131 2026-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/148130 Title: Archaeology and the technological revolution : an interdisciplinary fine art investigation of contemporary water infrastructures within the context of the Maltese Islands Abstract: This research emerged from sustained engagement with domestic water systems, the infrastructures that quietly enable everyday routines. My initial encounters were not dramatic but rather mundane, through exposing pipes, discovering improvised repairs and observing water vessels being adapted through use. These encounters prompted a growing awareness of how such systems operate largely unnoticed. Over time, these observations become the point of entry into a wider investigation of water infrastructures as material, temporal and archaeological phenomena. I have long been interested in how materials obtain meaning through use, maintenance and neglect. In this research project, water systems became a lens through which contemporary technologies are investigated as they become ever more embedded within domestic landscapes. The domestic setting revealed itself as a site where wider concerns intersect with everyday acts of repair, adaptation and care. Throughout the research, my practice evolved through iterative making, fieldwork, documentation, and installation. Methods such as digital photogrammetry, material experimentation, and site observation were not employed as illustrative tools, but as ways of thinking through the work. Making becomes a form of inquiry, allowing questions to emerge from the material process itself rather than being imposed in advance. In this sense, the practice also operates through a form of speculative archaeology, where contemporary infrastructures and material traces are approached as fragments open to reinterpretation, excavation, and future projection. Rather than reconstructing fixed histories, the work speculates on how present-day objects, systems, and environmental conditions may later be understood, remembered, or fossilised within the context of the Anthropocene. In relation to this, the artworks produced are not conceived as final outcomes, but as provisional artefacts within an ongoing investigation. They register moments of attention, pauses in a longer trajectory of research that remains openended. This dissertation is grounded in an understanding of practice-as-research, where artistic production functions as a mode of knowledge generation. Rather than separating theory from practice, the project treats them as mutually informing processes. Materials, installations, and visual strategies operate alongside critical texts to explore how infrastructures can be read archaeologically, even whilst they remain operational. The notion of technofossils is particularly significant, offering a way to think about contemporary materials as future residues embedded within human, technological, and ecological histories. The interdisciplinary nature of this research reflects my interest in working across the boundaries of fine art and archaeology. While the dissertation draws from theoretical frameworks related to the Anthropocene, infrastructure, and material culture, it does not attempt to provide a comprehensive survey of these fields. Instead, it engages selectively and critically with texts that resonate with the concerns of the practice, using them to extend and complicate the questions raised through making. The written component should therefore be read as a companion to the artworks and installations, offering context and reflection rather than definitive explanation. It is important to note that this dissertation does not aim to arrive at fixed conclusions or singular arguments. Much like the installations themselves, it maps a field of relations, tracing connections between domestic water systems, technological histories, and speculative futures. The emphasis remains on process, accumulation, and unresolved inquiry. By foregrounding fragments, repetitions, and provisional structures, both the practice and the writing resist closure, reflecting an understanding of research as an ongoing and adaptive process. Ultimately, this project positions fine art as a method of thinking through complex systems that are often difficult to grasp through conventional analytical frameworks alone. By engaging materially and spatially with water infrastructures, the research seeks to make visible the temporal and ecological dimensions embedded within everyday technologies. This preface serves as an entry point into that investigation, situating the work within my own practice while acknowledging that it remains part of a longer trajectory of research that will continue to evolve beyond the scope of this dissertation. Description: M.A.(Melit.) Thu, 01 Jan 2026 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/148130 2026-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/148119 Title: Experimental study of the charcoal taphonomy of Pistacia lentiscus (Mastic tree) Abstract: Wood charcoal is one of the most abundant botanicals which are uncovered during excavations globally. Their potential research value is wide, with a number of ways they can be studied. One such avenue of study is charcoal taphonomy, which seeks to understand how different phases of the chaîne opératoire of fuel and fire management alter the charcoal in ways which can be used to interpret back those steps. At the site of Latnija in Malta, the charcoal record is dominated by the Mediterranean shrub, Pistacia lentiscus, with profuse signs of taphonomic markers related to combustion and postdepositional processes. This thesis seeks to reconstruct the firing conditions which produce these markers, through the experimental burning of Pistacia lentiscus under conditions typical of Mesolithic hearths. This includes controlling for calibre, wood state, position in wood anatomy, firing temperature, firing atmosphere, cooling method, and number of firings. In total 300 controlled laboratory samples, 217 uncontrolled outdoor fired samples, and 10 archaeological samples were processed for this study. Laboratory samples were processed in groups of five, testing sixty different combinations of variables. Samples were photographed under a HIROX in their transverse section, and their alterations were classified, measured by height and area, and calculated for the number of cracks and percentage of area cracked in samples. The data generated did find meaningful ways to detect differences in firing temperature, firing atmosphere, cooling method, and relative position in wood anatomy. It showed further promise that discriminating between certain states and calibres may also be possible, but requires more testing. These differences proved true not just for laboratory samples, but also when applied to the uncontrolled and archaeological samples, showing utility for archaeological application. Description: M.A.(Melit.) Thu, 01 Jan 2026 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/148119 2026-01-01T00:00:00Z