Issue link: https://www.balharbourdigital.com/i/1525926
alletta is a city of fortresses. Perched on an easily defended promontory, the honey-stoned, honeycomb- like old town has been attacked—and defended—for centuries. It's a legacy of Malta's location, which made it a sought-after strategic prize for any land-grabbing power (most recently Great Britain, from which the country gained independence in 1964). In recent times, of course, most of those thick-walled bastions have grown obsolete; so solidly constructed, they became places that had outlived their original purpose. But this fall, one of those defensive bulwarks will be reborn with a new purpose: The old Ospizio—a 17th-century fortress—will re-emerge as the site of Malta International Contemporary Art Space (MICAS). The sprawling new complex will add 15,000 square feet of exhibition space to the city, equal parts statement and showcase. It's part of an ambitious mission consuming a group of well-connected local Maltese to make their country a must-see stop on the contemporary art circuit. MICAS is a monumental project, in every sense. Florence-based Ipostudio, the architecture firm that won the commission, was tasked with engineering a building that would not leave a footprint on the historic old Ospizio, yet still integrate artfully with the stonework: it's built, as so much of Malta has been for centuries, of that gorgeous, lion-colored limestone that almost shimmers in the sun. Clambering through the framework during construction feels like navigating a vast steel spiderweb, anchored by those fortifications yet somehow floating above them. The team didn't just graft onto the existing structure, either: In order to span the main atrium, it also restored the Arco Barbara, a centuries-old skewed arch named for Maltese architect Giovanni Barbara, which was badly damaged in World War II. One unexpected bonus was unearthed during construction: Roman ruins, a reminder that Malta has been a spot of interest for millennia. Again, rather than haul the oversized limestone bricks away, the architectural plan instead repurposed them as a featured element in one gallery. Phyllis Muscat, the project's formidable chair, stands proudly amid the construction, bright orange hard hat jauntily askew. "It's not only the building that's quite special, but the hybrid model," she explains, of the 90,000-square-foot site's planned use. "We will have a space for contemporary exhibitions, with a mix of cutting-edge and academic work, but also a permanent sculpture garden and an educational program." Artists residences and an architecture and design annex will follow at a later date. This fall's debut show will spotlight Joana Vasconcelos, the Portuguese artist known for her exuberant, often knitted sculptures and large-scale installations. An exploration of how the late colorist Milton Avery influenced other painters, including Mark Rothko, as well as a solo show by American contemporary painter Reggie Burrows Hodges, will follow. "In the next two years, we hope there will be a huge positive change, not just Valletta's honey-stoned old town is a shimmering web of buildings— many of which have stood for centuries. The famously hued Maltese limestone adapts with climate and changes over time. V