The Bachelorette Pad
Concept.
The property occupies a narrow plot that expands incrementally in volume with each successive floor. At basement level, the footprint is at its most constrained, flanked by neighboring basements on either side. During demolition works, it was revealed that the left party wall concealed a substantial build- up of soil and redundant pipework. These were non- structural, yet had been contributing to persistent damp issues within the house. On the ground floor, the building widens: two rooms
extend into the width of the neighboring property on the right, while a projecting shaft precariously overhangs the neighbour’s backyard.
At first floor, another room pushes beyond the original line of the site, further encroaching on the adjacent property. By second floor, the irregular boundary conditions are fully expressed; the volume is consolidated by absorbing part of the neighbour’s space, and the roofs of the house are pressed tightly between two party walls, one rising two storeys and the other a single storey. From the uppermost roof, this dense spatial layering suddenly gives way to openness: a striking panoramic view of the Grand Harbour
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Building.
Building my own home was messy, beautiful, and brutally personal. The photos show the ground floor reconfigured, the staircase and arches revealed, and the future bedroom with its large, unfinished openings — spaces that felt both full of promise and unbearably raw. Wearing both hats, architect and client, was isolating; I remember breaking down in that very room over the electrical snags, convinced I would never finish. Someone close to me reminded me I would manage, but ultimately the responsibility was mine alone — my project, my finances, my risk, all while I was still finding my feet as a young practice with little cash flow. Those moments of doubt are etched into the fabric of the house, and with them a reminder that architecture is not just built from stone and concrete, but also from the lives and emotions that pass through it.
Final.
