Art has an extraordinary power to transport us, often evoking profound reflection on life and mortality. This was vividly illustrated in a recent visit to a Maltese quarry, where the sight of a dead sparrow at the bottom of its depths unexpectedly underscored a collective dialogue about death and commemoration. Here, amidst towering stone walls, one cannot help but contemplate not only the nature of mortality but also a new vision for memorialisation—an agenda that champions a more egalitarian and beautiful approach.

This contemplative journey introduces URNA, a significant semi-spherical memorial structure that represents Malta’s innovative contribution to the upcoming 2025 London Design Biennale. Scheduled to unfold from June 5 to 29 at Somerset House, the project seeks to redefine how we remember the deceased. URNA’s design is informed by Malta's cultural heritage, particularly its unique limestone, which forms the very fabric of the island.

Central to URNA's concept is a vision of death that moves beyond individualism. By employing vast, sculptural modules crafted from reconstituted limestone dust, URNA aims to house the cremated ashes of 128 individuals layered together, rejecting the traditional, solitary urn approach. “It’s about positioning yourself in a timeline that spans hundreds of years,” stated Anthony Bonnici, one of the project's architects, linking the notion of memorials to an evolving community narrative.

As cremation becomes more accepted in Malta—historically a less familiar practice—the URNA proposal invites individuals and families to imagine their place in a lineage that emphasizes connection over isolation. It stands as a poignant reminder of the interconnectedness inherent in mortality. In Bonnici’s words, “The human lifespan becomes geological,” seamlessly intertwining personal histories with the enduring nature of Maltese landscapes.

The URNA initiative is championed by a diverse team, including curator and architect Andrew Borg Wirth, with support from the Arts Council Malta. The collaboration focuses on establishing URNA as not merely a monument but a living entity—something that evolves over time, much like the quarry itself. “It becomes something that develops. You don't have to keep returning,” Bonnici noted, highlighting a deliberate shift from the maintenance of traditional graves to a more organic ongoing process of remembrance and growth.

Beyond the physical installation, the project encompasses a film by Stephanie Sant, which captures speculative rituals around death, showcasing how the quarry can transform into a lively performance space. Complemented by a photo essay from Anne Immelé that delves into funerary traditions, URNA aims to foster a richer cultural narrative around death. Notably, student contributions are also featured; these global perspectives seek to envision URNA through various cultural lenses, showing the project's potential as a template for future memorialisation practices.

The ambition behind URNA aligns with the Biennale's theme of 'Surface Reflections,' encouraging dialogues about the nature of existence and how design can facilitate new understandings of life and death. It signifies a future where the act of remembering becomes a communal pursuit, one that dissipates the sense of ego in favour of a collective identity.

Ultimately, as URNA evolves, it posits that personal legacies can dissolve into a universal story, where individual identities contribute to a collective spirit. “Time stops here; you're disconnected from the outside world,” Borg Wirth reflected during the project’s conception. Such sentiments capture the essence of URNA: a beautifully radical reinterpretation of memorialisation, urging us to consider how we shape our legacies against the backdrop of both human and geological time.

As Malta readies itself for this significant cultural exchange at the London Design Biennale, URNA stands as a testament to the power of design—an invitation to engage deeply with our connections to one another, the land, and the profound mysteries of existence itself.

📌 Reference Map:

Source: Noah Wire Services