the paper issue 1 1. An original model or type after which other similar things are patterned; a prototype. 2. An ideal example of a type; quintessence: an archetype of the successful entrepreneur. 3. In Jungian psychology, an inherited pattern of thought or symbolic imagery derived from the past collective experience and present in the individual unconscious.
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the
paper
issue 11. An original model or type after which other similar things are patterned; a prototype.2. An ideal example of a type; quintessence: an archetype of the successful entrepreneur.3. In Jungian psychology, an inherited pattern of thought or symbolic imagery derived from the past collective experience and present in the individual unconscious.
Now is the time to invest in designer furniture25% Summer savings on the following brands Antonello Italia, Md house, Alberta & GeD Cucine
Welcome to the first issue of The Archetype Paper. This quarterly publication is aimed at keeping the design-conscious consumer up to date with personalities, trends and new products on the local and international design scene.
We know that there is a myriad of publications on the market targeting the home and interiors segment, but the ultimate aim of The Archetype Paper is to be different from every perspective. It is not distributed nationwide but mailed to select families and individuals. We are proud that it is a self-funded project and one which is not aimed at making profit.
Our special thanks go to the people who contributed to the idea and have worked hard towards its realisation.
We hope you will enjoy viewing and reading our work and that you will have the pleasure to keep receiving our newspaper, whilst also inviting you to actively contribute towards it by introducing your ideas on www.onepercent.com.mt
The onepercent team
issue no. 1 The Archetype Paper
Date August 2011
Art direction by werkdesigns.com
interviews by Lisa Gwen
Editorial design by Matthew Attard Navarro
Portrait photogrpahy Alexandra Pace
To subscribe to the paper please do the following Log on onepercent.com.mt
Subscribe in the ‘Archetype’ section
Also available fromonepercent, Valley Road, Msida, Malta
onepercent.com.mt
The Archetype is a quarterly newspaper by
onepercent ltd about design, interiors,
furniture & art.
paper
the
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Snake is a sign; an armchair with an
absolutely exclusive and recognisable design, born
thanks to the creative fantasy of Roberto
Lazzeroni. A piece of furniture which can easily match with different kinds
of atmospheres, always keeping its distinctive
mark and its strong personality.
must havessection 1
HAVE A SEAT A SELECTION OF
DESIGNER CHAIRS
Snake is available from onepercent at a retail price ranging from €1200 to €1920; footrest ranging from €545 to €980.
S N A K EAvailable in leather & eco pelle
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Gaston, gentlemanly name, elegant features... Gaston, the latest Poliform armchair born of the collaboration with Vincent Van Duysen evokes an exclusive style. Available with covering in leather or fabric to interpret a large range of stylistic definition.
Gaston is available from onepercent at a retail price ranging from €1,350 to €1,810.
GASTONThe seat is available in fabric & leather
The frame is available in white or black gloss lacquer
must havessection 1
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Venus, a project ispired by the fascination of the modernity. Venus chair, design by Marcel Wanders, is a precise choice that expresses a sence of absolute purity.
Venus is available from onepercent at a retail price ranging from €800 to €945.
V E N U S
Structure is in embossed plastic availble in black & white
Swivel base in metal, black or white
Seat available in leather
must havessection 1
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Grace, the chair as aesthetic element always in line with the most current trends of living. A declaration of style confirmed by Grace chair by Emmanuel Gallina.
Grace is available from onepercent at a retail price ranging from €640 to €940.
G R A C E
Available in leather & fabric
With structure in walnut canaletto or spessart oak
Also available without arms
must havessection 1
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Camilla, a new interpretation of the deep seating armchair, between formal references and essential design. Very thick cushions underline the idea of top comfort and of cosiness.
Camilla is available from onepercent at a retail price ranging from €970 to €1585.
CAMILLACushions available in
fabric & leather
Structure available in dark oak, or walnut canaletto
must havessection 1
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Structure in solid cherry
Back cushion available in fabric & leather
Grace is available from onepercent at a retail price ranging from €880 to €1240.
D O R I Smust havessection 1
Doris, mixes a traditional design with a twist. In sturdy solid cherry Doris provides comfort and brilliant design by Porada.
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A L B A
Alba is available from onepercent at a retail price ranging from €1570 to €1845.
must havessection 1
Frame in solid ash or walnut
Removable seat in fabric
Alba, mixes contemporary design with comfortable seating which fits nicely both in a formal and casual settng.
case studysection 2
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Noel, floor m
anager at onepercent sits on a VENU
S chair from PO
LIFOR
M, Anthony sits on a G
ASTON
armchair from
POLIFO
RM
. Photographed by Alexandra Pace
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“What’s in a name?” Plenty.
When in doubt, just call on the Montagues and the Capulets.
Shakespeare understood the importance of a name, the weight it carried. So how is it any different today? Simple. It’s not.
Names, symbols, brands, logos... associations? How about digits, numbers, percentages? How about a simple 1%?
Funny how, until recently, that number/symbol combination wouldn’t have triggered much in terms of visuals in my mind’s eye. But that changed a while
back when onepercent opened its doors – unlocking an unprecedented sense of style and taste in relation to furniture design.
So who is the man behind the brand? How and why was onepercent conceived and what vision was this shining enterprise given?
Anthony Sammut can be described as an exacting and calculated man. Having focused his attention and energies in the furniture industry for the past 16 years, onepercent was a labour of love.
Yet it is also a concept that underwent a natural growth and evolution – a concept
which, upon realisation, is now growing steadily.
Anthony nevertheless explains how people are often puzzled by the very
name of the store; failing to grasp the association with a furniture outlet. So where does the onepercent actually feature or come in? “In all honesty, it is our marketshare target. We are happy with having that percentage of the local market and we do not seek to grow further than that. “Simultaneously, we were well-aware that with our onepercent strategy we would be able to attain our goal in a relatively short expanse of time.” In fact, they have almost reached their target, even though the store has only been open some 18 months.”
“So now we are seeking
to redefine ourselves, our market and our territory, in such a way that as of next season we will be selling high quality products for the home and the living environment which all adhere and complement a design-conscious lifestyle.”
Meanwhile, “I feel that our vision is all that we have acheived and all that we have managed to realise... with the only difference that we are doing things so well that people automatically assume that the store is too expensive.”
So who was onepercent created for? It was created as an outlet which sells
case studysection 2
WHAT’S IN A NAME?
14
furniture the way it should be sold – focused on style and focused on the people.
Anthony explains that there was a niche market which needed tapping into. Others before him have attempted to go down this road, perhaps using the wrong business model. So onepercent was created to fill this void, to fulfill a purpose – an empty space.
Yet he stresses that onepercent was conceived to cater for those who have a specific lifestyle rather than those who were financially well-off.
He narrates how “a number
of customers enter the store supposedly just to browse, because they are scared of asking for prices. But are then pleasantly surprised when prices are eventually quoted”.
Nevertheless, the store doesn’t cater for everyone: “our focus is the design conscious...”
Over the past 18 months, the store has also attracted a surprising number of foreign customers, who were likely and originally drawn to onepercent because of high-end brands like Poliform, among other labels.
Anthony once again stresses
how the store’s concept was not focused around attracting a sole elite client-base. “It was created for all those design conscious individuals out there, even for that person seeking that one special piece.”
Perhaps the Maltese have not yet tapped into their inner-designer or brand-conscious selves. “It would be a pleasure for us if everyone understood what Poliform stands for: The past two years have involved many visits to the Poliform base and structure in Milan – there, guests truly have the opportunity of appreciating what Poliform means in terms of lifestyle; which
means creating the perfect fit to suit the particular tastes of each and every particular customer.”
During the years working in the furniture business, Anthony has never come across another product that parallels the quality of the “impeccable” Poliform: “It is the only high end segment producer that creates furniture for the whole house that can be matched in the same finish, wood, materials, colours... Throughout my career I’ve seen pretty much everything; red carpet galas, champagne parties, freebies, you name it... But we thought, is this really the way to sell furniture? We felt, and still feel, that our enterprise should be people-focused.”
“The secret is our team and our strategy. The onepercent marketshare allows us to dedicate a lot of time to a few customers, and not the other way around. I think our customer relationship and management truly reflect the price tag the product carries. onepercent hasn’t disappointed a single consumer since the day we opened our doors.”
This has earned them a reputation for being one of the best.
Onepercent’s investments, strengths and energies, truly lie in their human resources, which, coupled with a strong product, brand and label creates an unbeatable formula.
Now is the time to invest in designer furniture25% Summer savings on the following brands Antonello Italia, Md house, Alberta & GeD Cucine
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photo studysection 3
DAVID PISANI
UNTAMED BEAST
Photography can be a strange beast to tame.
Especially when Ansel Adams calls the shots: “There are no rules for good
photographs, there are only
good photographs”.
The world fancies itself as a photographer. Everyone’s snap happy; image-catching devices at the fingertips of all: with many striving to capture that perfect postcard picture and with others being simply and happily content in reproducing or plagiarising another’s shots and frames.
A few however, do seek to move away from the confines of cliché, idealism or traditional aesthetic. And that’s where David Pisani comes in.
He is photographer of quiet scenes and ‘scapes; of places, non-places; and spaces ripe with memory, sentiment.
Perhaps he is best known
for his 18-year-long project titled Vanishing Valletta – documenting Malta’s capital city – or for the series he was commissioned by Emirates Airline to create an architectural photo essay on Dubai, titled the Future City. Yet David’s Black & White or monochromatic fine art photographs are lyrically appealing; they are infused with a deeply nostalgic tinge making these images all the more poignant and personal – for both the photographer and the viewer. And that is where he succeeds so effortlessly.
“Not everybody trusts
paintings but people believe
photographs.” Ansel Adams
David’s photographs are very distinct, not only because they seem devoid of any popular imagery or commercial colour but because the human element has been altogether done away with – unless it is the sole subject under scrutiny. Yet man’s indirect ‘contribution’ is omnipresent
in his work – whether in land- or seascape.
“I guess the reason why there are no people in my work is because I’m such a shy person, so I prefer to be alone when I work, and consequently I seek out times of day and situations when there’s nobody about,” he explains.
“Having said that, I feel that by eliminating people and the specific typologies of individual characters I can speak about the human condition as a whole. As for my monochromatic palette I started with film-based Black & White silver prints 20 years ago, and I’m still doing the same thing.
“Colour is too often related to commercial work and the little colour work I have done for my own artistic exploration has been done using a very subdued palette indeed. I guess I’m just trying to get as far away from the ‘postcard’ as possible.” Most of David’s work seems
to have been created in the form of a series… one image evolving into another. Flowing yet developing. So what is the reason behind the repetition of theme/subject? Is it a causal or a coincidental occurrence?
“I never premeditate my work, it starts with one image and often it stops there, sometimes I carry on a bit longer – exploring various possibilities in the subject, and sometimes, as in the case of Valletta I end up shooting for 18 years. It’s not planned. I just feel my way around until I think it is right to stop.”
Another strong element permeating David’s work is mood and atmosphere; so is this a projection of himself and his state of mind, or does context dictate and set the tone? “I would say that my images have a distinct contemplative calm about them, and yes I’m rather taciturn and contemplative (much to my wife’s despair!) and I’m very calm… some of
this inevitably seeps through into my work.”
Photography is decidedly a fine art, but on the scale of fine art practices, it ranks towards the lower end, at least on the local market, with few people viewing photographic works as an investment. Yet photography still necessitates a concept and a painstaking process. So, is this a myth which can be destroyed, or is it an aspect inherent of the genre?
“If you are speaking about the local scene then you’re right about photography being on the lower end of the scale. At International art auctions it’s a completely different matter. We have seen exponential price increases for photographic works of art and from an investment point of view some photographic works have outperformed any other medium.
“Fine art photography is a painstaking medium, good
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DAVID PISANI
UNTAMED BEAST
photo studysection 3
Dav
id P
isan
i pho
togr
aphe
d in
his
stu
dio
by A
lexa
ndra
Pac
e
32
prints are rare to come by and prints can only be made and authenticated as long as the photographer is still alive and practicing. They are individually printed and cannot be mass-produced, like digital images. Digital imaging has actually helped increase the value of fine art prints by emphasising the fine art photographer’s uniqueness over the mass produced digital print and therefore prices continue to rise.”
“The negative is comparable
to the composer’s score and
the print to its performance.
Each performance differs in
subtle ways.” Ansel Adams.
Man-altered coastlines, skyscraper cities, vanishing capitals... David’s projects have always captured much more than the mere confines of the frames they adorn.
“I don’t select a project; I’d almost say that it selects me. I was recently shooting around City Gate in Valletta and in particular the demolition of the gate and I knew that these were going to mark the end of my Vanishing Valletta project.”
In fact, David has been engrossed in a project titled TRANSIT over the past few months. Described as an urban art study on the social and urban changes of Valletta’s City Gate, it is a multi-layered collaborative project aimed at understanding and mapping the changes in human behaviour caused by the process of alteration of one of Malta’s landmark and historical sites.
“I don’t know what I’ll do next, which is part of the fun, my only wish is to be doing what I do for a very long time to come.”
“We must remember that a
photograph can hold just as
much as we put into it, and
no one has ever approached
the full possibilities of the
medium.” Ansel Adams
LG
Bridge Wharfe, Marsa , June 2009 – hand printed Chlorobromide Silver Gelatin Print – archival.
photo studysection 3
33
Malta Ship Building, June 2009 – hand printed Chlorobromide Silver Gelatin Print – archival.
photo studysection 3
34
Malta Drydocks, March 2009 – hand printed Chlorobromide Silver Gelatin Print – archival.
photo studysection 3
MARBLE GRANITE TERRAZZO COMPOSITE STONE HARD STONE QUARTZITEShowroom: The Factory, Mosta Road, Lija LJA 9016 - MaltaTel: +356 21 433636 F ax: +356 21 412499 E-mail: [email protected] www.halmannvella.com
A NEW ADDRESSFOR DESIGN & STYLE
36
Sea Malta Building, January 2009 – hand printed Chlorobromide Silver Gelatin Print – archival.