Valletta's Regeneration with Renzo Piano

Interesting when presenting his plans, Piano dubbed Valletta as ‘the Manhattan of the 16th Century’, a rather radical concept but certainly quite true in a sense as in those days, Valletta was certainly alive and abuzz with activity in all quarters. His concept for the entrance of City Gate practically does away with the gate but as the entrance narrows dramatically, one definitely has the feeling that he is entering a fortified city, something which Valletta did seem to lose when the massive 1960’s City Gate was constructed.

With Parliament now moving to the former Freedom Square, the area will definitely be much more ‘full’ than it used to be. One may agree or disagree with the concept of the building on stilts so to speak but what really comes out here is the striking originality of Piano’s plans. The building will also serve to house an arts centre and will also include other ancillaries such as shops and restaurants which will offer a unique shade of difference to dining in the capital. Set beneath the shadow of the imposing St James Cavalier, this is surely going to be another Piano masterpiece in every sense of the word.

The Opera House development is slightly more controversial with the concept going back to retain the ruins which, according to Piano have become an intrinsic part of the city’s history and in a sense, part of its wartime heritage. His idea of an open air theatre may also be controversial but one really cannot argue with the sheer brilliance of the whole concept which should definitely see a renewed cultural focus in the area. For me, this is the real highlight of the Piano plans.
The area beneath the bridge which actually crosses over to Valletta will also be beautifully cleaned up and regenerated providing a sort of garden like atmosphere which will certainly transform what has been a quite neglected and dilapidated location. All in all, with the Piano plans, Valletta will regain a large part of its dignity and will truly be a ‘city built by gentlemen for gentlemen’.

by Sean Cassar