Crafted by designer  Matilda Sundén Ringnér , this carafe take a sunny side approach to a pour.  Deemed the “Rainman”, the carafe features a spout that has been replaced by eight small holes that allow wine to fall like rain drops into a glass.  Multipurpose and functional it can also keep large cubes of ice or lemons from your pour for any libation.  Produced by Skruf Glasbruk,, it is available online.

Images from Deskstore

Striking in beauty, Vallure Vodka’s golden bottle will have you stop in your tracks to ask “What is that?”  Vallure purports to be have “perfect taste” which no doubt comes from its German heritage from which it hails.

The founders of  Vallure opted to encase the premium spirit in bottles of 24-karat gold. Working with Germany’s top artisans who used methods of fine jewelery to forge its unique bottles, it is confirmed by its founder “while the stamp makes every bottle a collector’s item, wheat crops differ year to year and some bottles will hold greater value.” This special attention to the both the spirit and the bottle further continues in the exterior packaging, where every bottle bottle is accompanied by a two-part, black shell and embedded red velvet interior. Vallure is a showstopper inside and out.

Only available in the US for later part of last year,  the vodka itself features high level multi-distillation, followed by a genuine triple-gold-filtering process. The Vallure distillery is over a hundred years old and its proven formula was provided for the Czar family of Russia. Vallure uses the highest grade of German winter wheat and is produced from a unique, age-old recipe.  Available in fine restaurants and of course the hottest clubs like Marquee, TAO and  in Las Vegas, for those who like the party at home it is also available from fine spirits boutique Mel & Rose which thankfully ships nationwide.  Europe bound?   Karstadt and Kaufhof in Germany are your stops for bringing this golden beverage to your private bar.

Images via Vallure

An interesting study in cinematography gives a delightful fun view of food created by the sibling team of Matthew and Erik Huber.

These painted glass Pantone Christmas ornaments are made in Italy by the design collective Seletti,  and designed by Studio Badini Createam & Selab Studio. A fun decorative approach to the holiday spirit, these uniquely colorful ornaments bring in the spirit the way only the Pantone Universe can. Happy Holidays!

Photos via Cooper Hewitt

 As the story goes, Humbert & Poyet  was founded by uniting the two visions of architects Emil Humbert and Christophe Poyet who shared a passion for luxury and superior design. The  Monégasque firm is already making waves creating a new horizon in modern luxury with their recent work, namely for Alexis Mabille, Pantone, and Beef Bar.  In this exclusive interview, Humbert & Poyet talk about their inspirations, the future of architecture and their signature style.

 Where is architecture today and where is it going ?

Today architecture is multi-style, the movements are very modern but the tendencies are to come back to the past.  It is exactly the spirit for the two cities we live in :

-        Paris is just amazing  for its urbanism, its contrast between the past and the present. We think that European capitals  are dedicated to being city museums, blocked by the importance of the  preservation of the inheritance.

-        On the other hand, Monaco has a unique situation with 100% of the territory urbanized. Everything is mixed, from old villas from the golden age of the Riviera to massive condos from the 70s/80s/90s. And now with the new projects over the sea, these experiment with new architectural solutions and aesthetics.

How would you describe your signature style?

Our signature style is intemporal, it is a mix between modernity and traditional. But we are very careful of the clients’ taste which takes a big place in our conception. Our projects could be described as luxurious, classical with a twist, sober and elegant.

We must have different approaches based on whether it is for a private or public space. For private buildings, we use vintage furniture, like  Jean Prouvé, Serge Mouille  and Corbusier using something more cozy and cocooning the space. And for public buildings, the architect relies more on  3D interpretation to bridge the gap between the client and his aspirations.

For us client’s participation is clearly important : by the words and the body language of the client we can understand what he wants, and what we will express by the lines, the volumes and the materials.

Are you concerned about environmental and social sustainability in your buildings? If so, what role does green building play into your work?

Of course we are seriously concerned about environmental and social sustainability. We use in our projects trees which have the SFC label which guaranties good forest management.

More than of the idea of the social sustainability we want to register our buildings in their environment and use local materials.  For us, it is definitely not an obligation but a style of work, a way of thinking and an amazing opportunity to discover new  horizons.

For the Beefbar in Monaco the lights are made in an European alabaster.  For Mexico, we used an onyx which came from locals quarries.

Environmental and social sustainability are not a ‘diktat’ in our work, but more an ethic, something  that pushes us to try new materials, work systems… It helps  and sometimes forces us to push our boundaries. That is a good thing !

Many of your fans would say that you design your buildings with a strong focus on both user experience and an element of modernity and luxury that carries emotion to its occupants is this correct? Can you tell us more about this?

Yes this is completely true ! We use rare, noble and precious materials. The idea is to give the apartment the feeling that it has no age, no period’s reference, just a mix between old, vintage and modern like all steps in the life.

Then emotions come because we put into it the spirit of our clients. It is really when the space lives that it brings emotion.

We do not have defined rules, for example for the apartment in the Marais we decided to create a “kitchen-entry”, in others words, for us the kitchen is the heart of the apartment, the piece of the apartment which leave the most, where people go in first or where when you take your “tea time “with your family or drink a coffee with friends.

Or moreover, for Alexis Mabille’s shop we put a “clostra” for distinct the street and the shop. Like that clients are cut of the street’s world and are  attracted into in Alexis Mabille’s world.

Either for public or private space, we  trust user experience to improve the location : for the Marais the owner was traveling a lot and he wanted a calm welcoming pied à terre. So we designed the apartment like an hotel suite. And for Mabille, we use the claustra, a style element we like, to both separate the windows to the shop, and present the products. We are very instinctive for that.

What is your ultimate goal when it comes to your work? What do you want to be remembered for?

We want to be remembered for the passion we put into our creation, our work and for our signature style. But in another side, we want the client to forget us, well, to  forget that we worked here because he has completely appropriated  the apartment or the shop/restaurant and consider it his own.

Who inspires you?

First is the client, his personality, then all we have seen, like all the exhibitions, and the travels we made. We are constantly absorbing images, feelings, ambiances…

We are instinctive, thus first we have a vision then all we have seen, visited, come during the process of the creation.

We also lean toward predilection with materials like trees and marble when they are used in the principle of the “alliage.”  We work a lot with materials and love to be sublimed by them. Sometime the material itself gives us an idea of what we could do with it.

It’s the contrast between the shades and the materials and the capacity to capture the lights which reveal the beauty of the material.

You work with a lot commercial spaces namely retail spaces, hotels and restaurants, tell us more your approach to such space and how it differs from some of your residential work?

Working for an apartment or a restaurant it’s at the same time completely different and similar.

-        Similar because the approach stays the same : we study the mood of the building, then how our design can recreate this atmosphere. Thus, we do a brainstorming in which we create the concept and define the guidelines.

-        Also different, because we have to consider many useful elements like for Alexis Mabille’s shop  : the spirit of the brand. Or for the restaurant Avenue 31, we have to consider the useful elements such as the kitchens, the principal area and the washroom.

A public building differs from a private building in its heart :  a public building like must be a statement. We can use strong, bold stylistic idea. We have to say something. We have to catch the attention. We are more free, they are more impregnate of our brand. They are like our communications medium.. However, clearly  an apartment is more cocooning, more about the owner, his furniture, his spirit. You don’t want to live in a restaurant or shop style apartment. At least not our clients !

How do you create thoughtful, meaningful architecture, and balance the commercial interests of your clients?

The trust and the experience.

We respect our clients and their character. We really want our clients to recognize themselves in it. So we are careful in the conception to preserve the client’s personality. Also we need to talk, we exchange a lot, all the times during the project. Our interdependence is vital. We stay connected, we look at everything around us and study all the possibilities that we can integrate in our work and which could be appreciate.

Also our experience allow us to propose some audacious propositions to our clients… And the trust relationships we are building with them helps to get them where we would like the project to go regarding the spirit of the place. We have to say you have two kind of clients : the ones that trust you and give you a white page, and the one that already thoughts of everything and you are here to create his vision. Both are very interesting.

An important thing is that we are a duo. We can already exchange and stimulate ourselves. In fact, the client has two architects for the price of one !

Do your designs require the use of modern technology to make such dynamic structures?

We mix between modern and vintage, we use privileged rare, precious and noble materials. For the vintage furniture from very high quality is principally issued from the 50’S (Serge Mouille).

We don’t do industrial work but sometimes, (it depends on our project) we have to.

We do not think in terms of industrial or craftsmanship. It depends of the project, the client taste and budget. We just try to get the best to create a unique décor. And until now we have been lucky enough to work with great suppliers that at the same time understand perfectly what we want, how to realize it, and even sometimes gives us ideas !

What are your favorite buildings?

Emil Humbert’s favorite buildings is Brion’s cemetery, San Vito Carlo Scarpa for the meticulous work and the details of the work, the expression of the alternation of chromatic shades and the juxtaposition of the tactile properties.

For Christophe Poyet is the Maison de Verre in Paris, a real revolution about the idea of the façade in the Art Deco’s period.

Stunning editorial work from the debut issue of Tirade Magazine, this  essay captures the game of shadows and light at la Pyramide.  Exemplified by “Let them Eat Cake,” the magazine draws a unique perspective in creative collaborations art, fashion and photography.   View the rest of the editorial and  preview whole issue here

Photo: via Tirade Magazine Photography by Haze &  Fashion Editor/Styled by Laurent Richer

The beauty of interactive architecture is in its innovation.  The Spine installation is on exhibition on  November 15th and December 15th 2012 at Godsbanen in Aarhus, Denmark,  is no exception with its use of light and motion.  On display during the Media Architecture Biennale 2012. Created as  collaboration between the creative minds at  Kollision CAVI , Mads Wahlberg , Henrik Munch and TEKNE Produktion.  They describe Spine as:

an interactive installation based on twenty glowing cubes and an atmospheric sound composition. Each cube is moved precisely in fluid motions by two computer-controlled motors. The movements of the cubes as well as the sound composition react to nearby visitors by working together as one coherent expression in dialogue with the surroundings – a fifty meter long spine floating in space continually displaying new movements, light scenes and sounds. Spine is moody: sometimes shy and avoidant at other times more curious and almost aggressive.

Enjoy this preview of the exhibition and the many moods of Spine.

Who knew that a ottoman with feline details could be so elegant? The designers at Fendi Casa that’s who.  Taking from the signature hardware found on many of their accessories, the “cat pouf” is covered in leather,  stitched “whiskers”, with  stained wengé base.  Straight from their holiday collection, this luxurious piece is sure to make a statement in any interior, cat friendly or not.

Photos: Fendi Casa

It is hard to not to get mesmerized the both the science and beauty that is molecular gastronomy. You can begin by being taken its notable practitioners, Ferran Adria, Michel Bras, José Andrés and their other compatriots by both the simultaneous complexity and simplicity of their dishes.  When attempting on these techniques yourself, it is an even deeper fascination you experience.

Each corner gives way to a surprise in discovery and innovation in technique and fun with your own science lab. In taking on the exploration with the Cuisine R-evolution, it was interesting to see how  this dish took many turns before it evolved into its final form. Composing your dishes with the technique seem to be the best wavelength when approaching your final product.  The two main techniques used here are:

Emulsification and Foam

Foam adds the light alternative to adding accents and flavors to your dish in the alternative of a liquid sauce.  Using soy lecithin allows you to create flavor clouds without fat or water that won’t blend or bleed on your plate. It is important to know that soy lecithin works best with cold liquids so keep that in mind when blending your foam.

Gelification

You may be familiar with the technique behind with your childhood JELL-O where heat, liquid and gelatin equal fun tasty treat.  The science behind the gelatin in molecular gastronomy is similar making liquids into solids but the additives used allow for heat resistance to the finished products.  This grown up approach allows you to control with precision, the rigidity, heat and how you want the gel to melt on the plate or not at all.

It is important that you organize your workspace when working with molecular gastronomy, each element has its own preparation and finishing—so keep your work area clean and organized so that you’re ready for your final plating.

This dish was inspired from the colorful plating and crisp tastes of Marc Fosh where the molecular gastronomy elements make an appearance but do not detract or distract from the flavor of meal.  Enjoy this seared salmon using winter based flavors with squash which add a interesting take on a traditional classic

Prep time: 60 mins

Cook time: 30-90 mins

Total time: 90 -150 mins

Serves: 4

Ingredients

•  2 Salmon Filets
• 3 ounces of pureed butternut squash
• 1 bunch of parsley
• Sprig of parsley, rosemary and basil
• ½ of bread crumbs
• 2 tablespoons of olive oil
• 3 ounces of tomato sauce
• 1 fennel bulb
• 1 lemon
• 2 tablets of vitamin c

Instructions

Tomato and Butternut Squash Gels

1. Pour tomato sauce into sauce pan and bring to a boil pour into bowl or vessel safe for hand mixer and pour in the agar-agar and mix until the mixture is completely blended.
2. Pour Tomato sauce mixture into a silicon mold.  Set aside and place into fridge to bring to allow gel to set.
3. Bring diced butternut squash to a boil, and prepare puree by placing softened cubed into  hand blender, season with garlic powder, salt and pepper and strain over seve.
4. Add1  agar-agar packet to butternut squash liquid and mix until completely blended. Pour liquid into mold and place into fridge for 30 minutes for setting.
5. Once gels are set, remove from mold gently and cut into cube shapes and set aside until plating.

Parsley Sauce 

1. Bring water to boil and place the parsley bunch for 3-4 minutes or until the color turns bright green.
2. Remove parsley from water and place into a bowl of ice water to blanch and keep the bright color.
3. Chop parsley into coarse pieces and add to hand mixer with oil.  Add vitamin c tablet to keep parsley from oxidizing.  Blend until a pulp.
4. Strain mixture and set aside and until ready to use.

Fennel Lemon Espuma

1. Take fennel bulb and cut the stalk and cut bulb into diced pieces
2. Add the cut fennel to hand chopper and pulse into a pulp and pour mixture into a sieve extract liquid add lemon juice and set aside to fridge
3. add 1/3 of cold water to one packet of soy lecithin and pulse while adding chilled fennel liquid slowly to mixture and continue to blend until there is foam
4. Set emulsified liquid aside an liquid will rest at bottom of  bottom of mixing bowl while the foam stays on the top.  Set mixture aside until ready to plate.  Take spoon and slowly remove foam and place on top salmon when ready to serve

Herb Crusted Salmon

1. Take salmon filets and cut each filet in half to create 4 pieces of slim salmon
2. Season the salmon with pepper and salt to taste heat olive oil a large non-stick frying pan. Cook the salmon filets skin side down for about 2-3 minutes, and repeat on other side. Remove from the pan. You do not want to fully cook the salmon to allow for heat from the crust to brown.
3. For the crust, place all of the ingredients into the a shopper or pulse several times until you are left with a nice, green crust. If you do not have a hand mixer or chopper accessory, use a mortar and pestle
4. Place the filets on a parchment paper baking sheet and spread a spoonful of the crust over each steak. Bake uncovered in the oven at 325 F for about 5 minutes to crisp up the crust

For plating center the salmon on plate, and add gels and lastly parsley sauce as you please.

Photos: PLATFORM et cie