| Daniel Azzopardi and Gabija Kazlauskiene took us for a tour of the Spazju Kreattiv building in the morning. We taught our workshop there for Opening Doors Association the night before but had only accessed a ground floor studio to use through a side entrance so we hadn't viewed it in its entirety. The building is atop the highest hill in the city and sandwiched between Parliament, the Stock Exchange and other official, "important" structures. It was the first permanent structure created in the newly established city Valletta in response to the Ottoman great siege of 1565, repelled by Grand Master Jean Patriot de La Valette of the Knights of St. John. |
The site of Valletta was chosen for military purposes as the former capital (and until then only) city of Mdina had proven to be unsound geographically for defense. The building, and its twin sited to defend the port from the other side of the water, is at the highest point, an incredibly thick-walled silo with the rooftop positioning above attackers being the primary focus.
| As is true with other ancient buildings in Valletta, it was re-purposed throughout the centuries. The British constructed two very large cisterns for the collection and storage of vital water in this arid climate. It served as barracks during WWII (Malta was the most bombarded nation during the war) It housed the national press. The configuration of Spazju Kreattiv was completed in 2001. The exterior retains its historic surface while the interior is almost completely contemporary with a few reminders throughout of the historic building. There is a sense of roundness in both the walls and the ceilings of the spaces. The original intent of the building - to keep people out - provide a paradox for an organization inviting the community in to share in the Arts. There are several creative spaces (hence their name "creative space"): a theater-in-the-round placed within a former cistern, a recital hall, a cinema theater, two large exhibition spaces, a smaller exhibition space, and several studios for classes and creative work by artists. With one very notable exception, all the spaces of SK strive towards architectural tabula rasa, providing artists with empty spaces to realize their own visions. The second cistern is a large rotunda designed by an architect who imparted his very specific aesthetic to the space; even installing a full-sized, mummified palm tree. |
This large space feels more like the architect's installation than a space for others to create with their own voice. Over the designer's objections, metal pillars were repainted from their original green to a more neutral color in order to make the signature of the space a bit less imposing for artists who wish to install there.
During the tour Daniel shared some of the realities of funding they encounter. It seems that, though the specifics are slightly different, this is a common concern that Maltese creatives share with U.S. creatives.
During the tour Daniel shared some of the realities of funding they encounter. It seems that, though the specifics are slightly different, this is a common concern that Maltese creatives share with U.S. creatives.