The Mediterranean dry-stone wall, a place of encounter
The project begins with the dry-stone wall, a construction system common across the Mediterranean. Found in contexts ranging from the Cyclades to the rural landscapes of Malta, these walls are built without mortar, relying instead on the careful placement of stone and the equilibrium between elements.
Their construction reflects a direct relationship with the site: materials are sourced locally, and the wall emerges as an extension of the ground. Beyond their functional role—defining boundaries, retaining soil—they embody a shared building logic based on economy of means, manual knowledge, and incremental assembly.
For the Malta Biennale 2026, the project takes as a reference the Maltese dry-stone wall, known as ħitan tas-sejjieħ, and reconsiders its spatial role.
The installation is located in the main courtyard at the entry of the Old Armoury in Valletta, a space defined by heavy stone construction, historical stratification, and a sequence of thresholds between interior and exterior. Positioned at this point of arrival, the intervention operates both as an object within the courtyard and as a spatial device that reorganizes how the space is occupied and perceived.
Rather than maintaining its linear configuration as a boundary element, the wall is reconfigured into a circular form. This transformation shifts its function from separation to enclosure. The circle defines a continuous perimeter that frames a central space, accommodating gathering, discussion, and collective use.
Within this perimeter, a series of wooden elements is introduced to support occupation. A continuous wooden top is positioned along the inner edge of the wall, establishing a horizontal datum that contrasts with the irregularity of the stone surface. The timber surface operates as a table—an interface for writing, eating, displaying, and informal exchange.
Complementing this element, a set of simple wooden stools is distributed within the enclosure. Their construction follows the same logic of reduction: solid timber components, minimal joints, and a direct expression of material. Lightweight and movable, they allow for multiple configurations and encourage flexible use of the space.
The intervention operates through minimal means: the same constructive principles—dry assembly, repetition of units, and reliance on balance—are maintained, while the geometry is altered. The addition of timber elements introduces a second material register—precise, planar, and tactile—establishing a dialogue between the roughness of stone and the smooth continuity of wood.
By converting a linear boundary into a circular enclosure and situating it at a point of entry and transition, the project proposes a reinterpretation of a familiar typology, suggesting an alternative role for architecture as a structure that supports proximity, use, and shared presence.
