Designing Legacy: Ray de Micoli on 40 Years with Tumas Group

The architect behind Malta's most iconic buildings talks about trust, bold thinking, and the spirit that turned sketches into skylines. From a small office building to LEED-certified business districts, Ray De Micoli has spent over four decades at the heart of Malta's architectural transformation. At the centre of that journey lies a powerful creative relationship with the Tumas Group—one that began with a simple hotel sketch and evolved into an era-defining collaboration. MONEY sat down with Ray to explore the stories behind the buildings, the evolution of Malta's urban fabric, and the philosophy that continues to shape his vision.

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Let's start at the beginning. How did your relationship with Tumas Group first take shape?

It was 1982. The economy was sluggish, and like many families, ours had to make difficult decisions—we had just sold our beloved home in Old College Street. Around that time, my sister Mary Rose arranged a meeting with Thomas Fenech, who was interested in building a small hotel. I met him in Qormi, took down the brief, and returned with a complete set of plans and a façade the next day. He was astonished by the speed. I didn't leave with one job—I went with several. That moment was pivotal. It wasn't just the start of a project but the beginning of a collaboration with the Fenech family that's still going strong over 40 years later.

"That day changed everything. It marked the start of a relationship with Tumas Group that has spanned over four decades."

First concept sketch of Portomaso in November 1994

Your early projects, like the Dolmen Hotel and Mosta Technopark, were high-pressure, high-reward jobs. What do you take away from those years?

The Dolmen Hotel was a trial by fire. Tumas Group had just bought the hotel in 1984, and we were asked to add two floors and remodel the public areas. The timeline? Deliver by March 1985. We closed our Valletta office and relocated the team to the site. We worked through summer, rain, and everything in between. We had to make unorthodox decisions, solve issues on the fly, and keep the project moving without compromising on quality, but we made it. That job instilled a deep belief in our capabilities and shaped our DNA. We learned that pressure could catalyse creativity and that trust from the client is everything.

Hilton Hotel - Hotel South West Elevation - Drawing copy

Hilton Hotel - Hotel Bar Marina Basin 2 - Drawing copy

Hilton Hotel - Illustrative Master Plan - Drawing copy

Portomaso Marina

You've contributed to some of Malta's most ambitious developments—Portomaso, Hilton, The Quad. What did it take to bring these to life?

"That job instilled a deep belief in our capabilities. We learned that pressure could be a catalyst for creativity."

Portomaso was a game-changer. The Hilton project began by placing buildings where the sea could reach its edges—like the Three Cities or Venice. That concept of the water weaving into the urban experience was magical to us. I remember the night it all clicked. It was a stormy night at the office; I was sketching ideas when I proposed putting a marina in the middle of the project. Suddenly, the whole vision came alive—residences, hotels, retail, leisure—all integrated. George Fenech was fearless. There were protests, risks, and political hurdles, but he always focused on the opportunity, not the obstacle. That belief system fuelled everything.

Laguna wing

The Quad and Spinola Park show a clear shift towards sustainable and community-oriented design. How has your approach evolved?

The world is changing, and architecture must respond. With The Quad, we focused on sustainability—LEED Platinum certification, lighter structures, green spaces, and a people-first urban design. The rhythm of the building was key: different tower heights, bridges, shaded areas, terraces—it had to feel dynamic and liveable.

The Quad

Spinola Park took that further. Before designing a single line, the client engaged the local community. We introduced public lifts to help elderly residents navigate the area, and the architecture was terraced and sympathetic to the valley and the landmark church nearby. Design isn't just about what a building looks like—it's about how it fits into people's lives.

You mention trust quite often. How meaningful is the client-architect relationship in projects of this scale?

It's everything. Without mutual trust, the process breaks down. With Tumas Group, I had the freedom to challenge conventions. They didn't micromanage—they believed in talent and gave it space to grow. George and later Ray Fenech saw architecture not just as buildings but as part of a broader vision. Take the Tipico Building. Ray had the foresight to turn a simple space near Portomaso Café into a vertical landmark. We had to build through layers of existing structure and skewer foundations into the bedrock. The technical challenges were enormous. But again, the support was there. That kind of belief lifts the entire team.

"Innovation doesn't always mean tech. Sometimes, it's about rethinking how we experience space."

You also touched on innovation—both technical and conceptual. Can you share an example that made you feel particularly ahead of time?

The Laguna apartments came from an unusual place—a sailing trip. I was under the cockpit of a catamaran, watching the water move beneath, and thought, "Why not bring that feeling into a residential project?" So, I designed apartments with swimming pools that extended beneath the buildings, with glass floors to view the water.

A couple of weeks later, George Fenech asked me to design something "low" that wouldn't obstruct the views of existing residences. The timing was uncanny. Laguna became one of Malta's most successful real estate offerings because it wasn't just a luxury but a new experience.

"Design isn't just about what a building looks like—it's about how it fits into people's lives."

Across your career, what project felt the most personal?

That would be Ghar Harruba in San Gwann. Just beneath the Mensija chapel was a site full of carob trees. Developers planned to remove the trees and carve the land into plots. My partner, Dr. Philip Bianchi, and I stepped in. We promised each other we would preserve every tree. My wife Angela and our three children moved in 1993. It felt like we were on holiday—peaceful, green, and full of life. There's even a cave on the property where we once hosted a charity concert for 250 people. It was about more than architecture—creating a home with value.

What excites you about the future—for yourself and Tumas Group?

Ideas still energise me. There's always another challenge, another piece of the puzzle to solve. As for Tumas Group, their role will become even more critical as Malta evolves. They have the resources, vision, and courage to take on projects others might shy away from. The future is about sustainable cities, smart materials, and inclusive design. But above all, it's about people. If we remember that, the rest will follow.

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