N° 02 YEAR 2012
New Collection M_26 “travel notes”
Lipstick in the cauldron aesthetic science and the magic of fire
Over the Top a choice of “depth”
the birth of a new handle
new spaces for communicating
Real life experiences
that warmth that comes from the North
Not only white traveling along the streets of color
The bearable lightness of the organic
Our new website www.mesons.it
Customer service +39 0434 614972 email@example.com www.mesons.it
Beauty to live. Every day. Vela
We at Meson’s take a deep look into ourselves and into the cooking world through a feminine perspective. We do not claim to have found a perfect formula (as if it ever existed) that will lead us in the right direction, but we hope to achieve this by inquiring and listening.
Meson’s goes feminine without turning pink Regardless of the fact that habitual analysts tell us that the society in which we live has gone completely beyond roles and functions in the domestic realm, we still like to think of the kitchen as a woman’s domain in which a man’s presence is tolerated and sometimes even welcomed. Risking being ostracized by those
who confuse modern reality and rights with the sacrifice of one’s identity, we want to reflect on the fact that kitchens are quickly becoming more technological, tougher… more masculine. We are not suggesting that we take a step backwards in terms of integrity nor technical research. We simply want to deepen (if necessary, turning a critical eye on ourselves) the attitude with which we have approached kitchen design in recent years. We begin to ask ourselves and our customers if our vision for an aesthetic and functional product has gone too far from the expectations and demands of our consumers. In this issue, we at Meson’s take a deep look into ourselves and into the cooking world through a feminine perspective. We do not claim to have found a perfect formula (as if it ever existed) that will lead us in the right direction, but we hope to achieve this by inquiringand listening. Stefano Basso firstname.lastname@example.org
NEW COLLECTION M_26
that warmth that comes from the North
LIPSTICK IN THE CAULDRON
the birth of a new handle
new spaces for communicating
NOt ONLY WHITE
traveling along the streets of color
a choice of “depth”
Managing Director: Stefano Basso Artistic Director: Regìa Editor-in-chief: Valentina Olivieri Art Director: Regìa Editor: Meson’s Cucine srl Secretary: email@example.com Exclusive distribution through authorized Meson’s retailers
THE PSYCHOLOGY OF EVERY DAY THINGS tips for irrational shopping
aesthetic science and the magic of fire
OVER THE TOP
REAL LIFE EXPERIENCES
THE BEARABLE LIGHTNESS OF THE ORGANIC
WHEN BUSINESS MEANS WOMAN
DETAILS THAT MAKE THE DIFFERENCE
new design tricks
our culinary section
New collection “travel notes” The faces, the gestures, the expectations and the rituals backstage of the new collection M_26. This is a behind-the-scenes look at a project that has kept us busy and inspired us for eight intense weeks.
The stage on which M_26 makes its debut is Stefano’s photo studio, while the scenography has been entrusted to the able and graceful hands of Carla. The whole team has given their all without holding back to push the new Meson’s collection on to the scene.
The product is the beginning of the project A MATURE COLLECTION
M_26 prefers quality materials like glossy or opaque lacquer, wood and stone, and distinguishes itself from other kitchen lines by the generous thickness of its 26 mm frontals. It is the first collection whose containers, in
addition to featuring larger capacity due to their different dimensions, are assembled using updated components like slow closure hinges, reinforced legs, bottom hinged frames, etc. The wide spectrum of enamel colors boasts different paths that unravel through cold shades and gradation techniques, from arctic white and black, to then pass on to softer tones, spread between white and bronze, without forgetting the brightness of short but intense trips in the twists and turns of reds, greens, blues and yellow. Those who prefer wood can move freely between the six shades of oak with horizontal grain (chalk, cotton, ash, gray, brown and coal) or be daring with the vertical grain in marble (a very delicate processing that provides for the combination of the various faces of wood, following the grain of the trunk from which it was carved) of the heat treated oak, bleached elm and walnut. The collection M_26 provides five opening systems that lend their names to the different models: M_26 Maniglia, M_26 Gola, M_26 Presa, M_26 Vela ed M_26 Profili
the MESONâ€™S team
Some believe that objects have a soul and that they can interact with the people that use them or those that simply admire them. More likely, the objects contain the passion, the efforts, the emotions and the abilities of those that imagined, designed, constructed, photographed and even printed them. This transfer of value and emotion from the people to the product happens thanks to the commitment of the team that followed one another in various stages with a great sense of collaboration and respect for the abilities of their colleagues.
Domenico and Roberto installed the six M_26 kitchens with the same care for detail as they would have used in their own homes. But it would have been reductive to think of our manual collaborators only as mere, though precise, executors. They tested, proposed and improved the products as only manual experience allows. In a few days they entered in the spirit of the project M_26, dedicating their work to satisfying the customer who would eventually have one of our new kitchens in their house.
TO REALIZE A FINELY EXECUTED PROJECT YOU NEED EXPERT HANDS
But it would have been reductive to think of our manual collaborators only as mere, though precise, executors.
BACKSTAGE_ going forward
They tested, proposed and improved the products as only manual experience allows. In a few days they entered in the spirit of the project M_26, dedicating their work to satisfying the customer who would eventually have one of our new kitchens in their house.
Kitchens, in order to be wholly appreciated, need to be seen in the context that gives them the most value… a little like the clothes that come to life thanks to the models that wear them on the runway. The different homes, spaces, lights, materials and everything that contributes to the contextualization of the M_26 kitchens are designed thinking of the people that, in our imagination, would be our customers. We have imagined them in the houses in which they live but also in the houses where they would want to live. We have tried to represent their tastes and ambitions and chosen the flooring on which they would sit to play with their own children or grandchildren. We have seen them on padded couches in white leather with a glass of rum in their hands after a long but rewarding day at work. Interior design is just this: furnishing with the goal of improving the life of the person living in that space.
THE BEAUTIFUL SUR ROUND INGS FOR THE COLLECTION Carla, our set designer and stylist, took great care of the interior design of our sets in the collection M_26, interpreting the briefing of the Meson’s supplier to perfection.
A few centimeters make the difference and nothing is left to chance.
OBJECTS AND SUBJECTS Domestic or for show? House or showroom? How should we dress up the kitchens in the collection? Should we do it in such a way that the person who looks at them has the sensation that they are in their own home or should we decorate them minimally with only the essentials?
With our stylist we asked ourselves these questions and more until we found the right balance between purity of images, sometimes cold and dreamlike, usually destined to catalogues, and the clutter of objects in our everyday life. As it often happens, beauty is subjective and imperfect… fruit of past experiences and precarious equilibrium in constant evolution. Far from the claim to have found it, our stylist tried to maintain this precious balance with grace and persistence. Beside design icons of the last 50 years, many vintage objects or modern art collections as well as normal equipment and kitchenware have been used. We have recreated quality environments that are intentionally “tangible” and realistic, without surrendering to the temptation to show off. It is our belief that tastefulness should be free from the economic value of the products, knowing well, however, that sometimes the love for something makes us forget our budget. M_26 is, therefore, sprinkled with some precious objects but never to take the focus off the kitchen itself.
… the right balance between purity of images, sometimes cold and dreamlike, usually destined to catalogues, and the clutter of objects in our everyday life.
THE FINAL shot An image becomes emotion only when the wisdom and ability of the photographer is behind the lens.
MESON’S M_26 Vela wants to be a womanly kitchen, characterized by sleek lines, sinuous and refined.
vela The Vela manufacturing process on the frontal allows the same functionality as a traditional handle to be maintained without adding other elements to the frontal. M_26 Vela wants to be a womanly kitchen,
characterized by sleek lines, sinuous and refined. The laterally built-in handles, if symmetrically positioned, give life to a soft, unique interior.
Just a few minutes before the shot and everything is almost ready… one last glance at the briefing, a cigarette, a satisfied look… click, the shutter snaps.
vela Couch, cushions, blanket, stacked books and open newspapers are the fresh traces of a frequent passing, of a constant presence that clutters and gives color. M_26 Vela glossy white, from a timeless, elegant design, is inserted in a domestic context completely different from what you would find in a museum: a space in which you can easily find the traces of those who inhabit it.
Couch, cushions, blanket, stacked books and open newspapers are the fresh traces of a frequent passing, of a constant presence...
In order to better represent, it is necessary to investigate, to meet and experience objects. Carla and Stefano did not hold back.
Mesonâ€™s Marketing manager
marketing manager / mesonâ€™s technician / photographer
step bystep 10:32
graphic designer / stylist
The opening of the containers by the grip-recess is by now considered classic, preferred by many because it allows a formal purity to be maintained without having to sacrifice practicality. The horizontal line on the bases and the vertical lines on the columns are realized in the same finish as the front, thus giving the kitchen a uniform and monolithic look.
gola the mesonâ€™s team / photographer
graphic designers / stylist
The contribution of many people with different experiences and abilities has been
precious and often essential. The insight and expertise of each one has facilitated and improved our decisions.
The particular frontal silhouette of the countertop amplifies a space that is destined to be opened.
maniglia Opening the containers with the handles privileges ergonomic functionality and ease of use, identifying at the
same time a hallmark of project M_26. The range of handles takes into consideration every need.
Small breaks and appetite bring us to reflect on the work done and push us to find new ideas to improve it…
Open container with colored interior and white frontal edges in hue with the adjacent containers.
presa Precise manufacturing details on the upper side of the frontal and of the countertop create the right space for an easy grip. The result is an almost “floating” lightness of
High ceilings and precious vertical-rising frames lend a sacred feeling to the space. The kitchen thus becomes an altar, sober and minimal, on which we celebrate our daily ritual of dining.
the countertop and the horizontality of the project lines. The home represented is noble and rich with memories.
The kitchen thus becomes an altar, sober and minimal, on which we celebrate our daily ritual of dining.
Care and love for details make beauty more accessible and our daily existence more authentic.
MESON’S The metal edging strengthens, sustains and covers the vertical edges of the frontal…
profili The metal edging strengthens, sustains and covers the vertical edges of the frontal as well as the upper edge, thus conferring sturdiness and technicality to the project. A reduction in thickness on the upper portion of the frontal creates the necessary space to open the drawer. Set alongside the violet porphyry in glazed and polished finish, the walnut confers a natural sensation to the kitchen of great impact, welcoming and alluring.
Merleau-Ponty said in 1945,
“Space is the body’s hold on the world.” In April of 2012, however, at the Salone del Mobile Eurocucina, aesthetic science and technology’s hold on the world had moved: from the operating room to the kitchen!
The vital energy of every woman does not coincide with the world of her senses. The space in which every female body has a strong hold, determined, solid, passed on in the night by stories of today’s women to tomorrow’s generation, is that of magic.
Lipstick in the cauldron aesthetic science and the magic of fire
In the space in which every woman has ended up nurturing and serving to become, in centuries, the master of everything, the woman’s body is still limited by what her five senses provide her. Her eyes are used to check the light on the boiling water. Her hearing is used to catch the sound of the oven that has just reached the right temperature. She uses her mouth to taste if the pasta is overcooked regardless of the suggested cooking time from an Internet recipe. She uses her sense of smell to verify that the convection oven hasn’t burned everything despite the directions. Finally, she uses her touch to see if the microwave oven’s defrost setting hasn’t left the food still frozen in the middle. Her sixth sense, intuition, well, we don’t even need to talk about that. That is used to weigh food without a scale that never seems to work anyway: beautiful design, precise technology, but never shows the same weight as another one just like it. Like a clock put in at least 4 corners of the most post-modern kitchens, none of them ever show the same time. It is probably for this very reason that women are always late. But aesthetics are there. They’re right there. Soft lines, graceful and sinuous. Because kitchen manufacturers hold close the reclamation of “their” femininity just like the best cosmetic surgeons love to clarify that they don’t cut curves, they create them. Similarly, the women that live in this fictitious world will feel more beautiful and attractive. And the best chefs, that in stereotypes typically live in the stories of business dinners, don’t feel threatened. They know how to cook for real without curves. In the meantime, their assistants cut food and clean plates, just like every woman does when her partner decides to “cook” because he insists “Don’t worry, I’ll make dinner tonight.” And then you know the woman will end up cleaning and putting everything away anyway. But the vital energy of every woman does not coincide with the world of her senses. The area in which every female body has a strong hold, determined, solid, passed on in the night by stories of today’s women to tomorrow’s generation, is that of magic: the magic of fire. The magic around which women gathered in the caves, the old women in the cold winter nights, the witches in the darkness of the Sabbath. Beautiful, ugly, charming, mothers, managers, house makers, laborers, shopkeepers, teachers… all of them the same when they are together. All of them are comadres as Clarissa Pinkola Estés writes in “La danza delle grandi madri”: dance of the great mothers, one to another.
In the kitchen, in this refuge far from everything, “every time two women meet, they tell each other things that really matter.” True friends, the “comadres,” don’t drink coffee in the living room but in the kitchen after having kicked off their high heels and opened up the first three buttons of their tight skirts. They laugh and they cry. They cut and sew listening to stories and people much like our great grandmothers with their old Singer sewing machines in the kitchen. They do this all on beautiful seats that, despite few changes in recent times, continue to be uncomfortable, hard and not very welcoming.
In the kitchen, in this refuge far from everything, “every time two women meet, they tell each other things that really matter.”
Above: Cynthia Petrangeli
Even women who work outside of the house open up their organizers in the kitchen. And it’s here that they pass long nights finishing work, despite everything else there is to do, on tables that open up in length but never depth. These simple things like secret drawers or simple nightstands transform just for them. Inside the drawers of these tables, they can make a computer, a grocery list, poems written in private, makeup that often gets lost in the cabinets of the bathroom disappear, and then they make everything reappear to set the table with mugs and glasses and cookies for breakfast the next day. It is from the kitchen that women dash out the door with their car keys already in hand, shoes under their arms and lipstick. Oh, that essential lipstick that typically goes in the refrigerator instead of the butter during the summer because you need to protect it from melting. We store the lipstick and leave the butter outside, not because butter makes you fat, but because we need to keep that feminine magic. And the mirror is always there, in the entrance, for almost the last three centuries. In the kitchen it’s not even an option. If women love soft curves in the kitchen, welcoming and reassuring, it’s because they need to feel the presence of a safe haven like a warm embrace that every day life forgets to give them. If women love straight lines, strong and essential, it’s because they need to conquer their wild side, possessive and primitive, that contemporary superstructures forget to respect.
A WOMAN DOES NOT WANT TO OWN A BEAUTIFUL KITCHEN, SHE WANTS TO INHABIT IT LIKE HER BODY INHABITS THE WORLD: WITH ALL HER BEING. It is not necessary to interpret how a woman wants her kitchen. Asking her is much simpler. Maybe the kitchen will be the winner. CynthiaPetrangeli firstname.lastname@example.org
A choice of “depth” Very often when we are making our way towards purchasing a new kitchen, because of information overload, we tend not to look deeper into a very important subject: the countertop. The English word “top”, which literally means “above,”
however, doesn’t do justice to the real value of this component compared to the corresponding Italian meaning “piano di lavoro” or work surface. This horizontal surface is, in fact, the most used space in the kitchen. Although it almost never provides any mechanisms or movements, recent technology has substantially revolutionized the range and performance of this surface. We rest and drag kitchenware and household appliances on the countertop. We want to be able to cut and rest wet or hot containers on this surface, clean without worrying about ruining the surface and so on. The following does not attempt to form absolute rules when choosing countertops but merely offers simple suggestions on the behalf ofwho, for years, has based their profession on such topics.
What are the variables to consider in order to make an informed decision when choosing the countertop? Let’s try to make a simple list.
THICKNESS from 12 mm to... A shallow depth should not in any way influence the performance of the countertop if the underlying containers are equipped with enough resistance to avoid
damage from a potential bend or dent in the working surface. The theme, therefore, is principally aesthetic. The most common depths are historically 30mm and 40mm, but the choice depends also on the character that the kitchen is supposed to reflect: a shallower depth makes the composition of the kitchen lighter and more minimal whereas a more profound depth helps lend a stronger and durable aspect to the kitchen.
Thickness and Materials
MATERIALS LAMINATE, MARBLE, GRANITE, STONE, AGGLOMERATE, ACRYLIC, STEEL, ETC. THIS IS THE REAL FIELD ON WHICH THE GAME IS PLAYED! LETâ€™S CLARIFY:
This is obtained by the vacuum compression of crushed quartz or marble mixed with approximately 7-8% structural polyester resin, a material with high resistance to abrasion, bending and impact. Agglomerated quartz embodies the qualities of resistance and aesthetic versatility.It is resistant to liquids normally found in the kitchen, grease for example, and is available in a wide variety of colors. Each slab can measure up to 3 meters x 120 cm with a depth of up to 8 cm. The countertop can be in stone or marble and, according to the type of agglomerate chosen, can be glossy, opaque, completely smooth, with specks on the inside of the material or lightly grainy so as to resemble stone. Being much less porous than marble, it does not absorb liquids, is stain resistant, acid proof, and resistant to solvents and limestone residue.
Haifa Stoccolma Oslo Istanbul
Aisi 304 Stainless Steel
High Pressure Laminate
(High Pressure Laminate)
Marble, granite or stone These are natural materials, extracted from quarries in blocks, which are then reduced in slabs in mills. The slabs are then processed in specialized laboratories. Given that these are natural materials, their appearance still isn’t even. However, you should not consider this a defect. The true issue to consider is their porosity, or better, the presence of tiny natural crevices that could give way to absorption of liquids and permanent staining. For this reason, kitchen surfaces in marble, stone or granite are shaped and steeped in special waterproof substances. In some cases, these treatments should be repeated cyclically. Finally, the surface may be worked with different finishing processes that modify its appearance in accordance with the customer’s wishes: the most common are polishing, glazing, sanding and brushing.
The thickness of just 1 mm, is supported by water-repellent chipboard that can reach a length of 4300 mm. The sheets of steel are folded on the four sides, roughly 30 mm, in order to prevent water from slipping in-between. This material lends itself to the creation of countertops of varying depths. To clean steel surfaces, we advise you not to use strong cleaning products that could potentially damage the composition, ultimately staining it or oxidizing it beyond repair. In general, washing with soap and water is sufficient being sure to rinse abundantly and dry with a towel. Drying the surface is particularly important if you live in an area with hard water that may leave limestone deposits. Another thing to be conscious of is not to leave hot pots and pans or other kitchenware that could damage the finish.
Gaya Grey Detroit Wien
Acrylic Composed of 70% natural stone dust (derived from bauxite), 25% high quality acrylic resin and 5% natural pigments, acrylic is a Solid Surface material of the latest generation. It is warmed to an elevated temperature in two phases via an advanced tempering technique. This second level of thermal processing makes LG HI-MACS® different from other Solid Surface materials, generating a more resistant and compact compound in which potential defects can
be perfectly eliminated. The best structure has direct effects on the quality of the material, which is tested against stains, UV rays and the majority of acids and solvents. Although it can suffer damages, the material can be repaired. Not being porous, it is considered particularly more hygienic. It does not absorb odors and is non-toxic. For cleaning and maintenance all you need is detergent and water. Possible stains and burn marks can be removed using an abrasive sponge.
In the most common version, the laminate is composed of: a protective external layer called overlay (usually steeped in melamine resin), a sheet with a decorative print or solid color (also steeped in melamine resin) and back composed by one or more layers of phenolic resin paper called kraft. The kraft paper has a brownish color with shifts from black to cream, typical of raw paper, according to the request of the customer. There are even laminates with homogenous kraft paper in a solid color on the surface commonly called unicolor.
Marble, granite or stone
Flush appliances This deals with a particular installment of the stove or cooktop with the countertop. Along the perimeter of the sink opening and countertop a lowered portion is milled in order to offset the depth of the appliance or cooktop. This technique allows the position of the sink and the cooktop to be flush with the countertop. It is a very aesthetically refined solution that needs an accurate positioning and efficient sealing.
Categories of Built-in units
BUILT-IN KITCHEN SINK AND COOKTOP: UNDERMOUNT KITCHEN SINK, FLUSH AND SUSPENDED APPLIANCES
Undermount kitchen sink The kitchen sink is fixed underneath the countertop on which you can still see the borders of the opening. Aesthetically, the kitchen sink tends to disappear in order to emphasize the countertop. Additionally, the cleaning is facilitated by the absence of additional obstacles or edges on the surface of the countertop.
Suspended appliances This is a typical and quick type of installment. The sink or cooktop is supported on the border of the opening of the countertop and then fixed from underneath with special clasps. This particular installment, therefore, highlights the appliance over the countertop.
OVERSIZE Oversize is revolutionising the hob. This highly innovative product, with its professional design, offers real added value: more space when cooking and improved ergonomics. A result of Franke’s aesthetic and technological research, Oversize is actually a standard built-in hob with wider spacing between flames, achieved by the knobs being set forward at the front of the appliance; this means five large pans can be used at the same time (two measuring Ø 26 cm and three measuring Ø 24 cm). Featuring functional Franke-patented technology, Oversize offers more cooking space than traditional 75 cm models. Oversize is equipped with five ultra-efficient burners guaranteeing professional performance, including two double crowns and one triple crown, and has six knobs: the 3800 W triple crown is controlled by two different knobs, depending on requirements (one ignites the full-strength flame and the other the inner flame only, with the burner used as an auxiliary element). Raised and set apart from the flames, the Oversize knobs are shielded from heat, thus always cool to the touch and will not cause burns. Oversize: professional performance for people who love cooking. The innovative design of Oversize features raised knobs shielded from heat.
Spacing between flames is wider than in any other standard built-in hob, allowing five large pans to be used at the same time.
THE BIRTH of a NEW HANDLE
vela In many contemporary kitchen collections it is easy to come across particular features of a handle built in to the thickness of the frontal. The diffusion of this opening system is primarily due to its more formal elegance. This elegance is guaranteed by the possibility of eliminating external handles even if the detractor of the integrated handle proposes issues like difficult cleaning and insufficient grip for leverage during opening. Mesonâ€™s is no exception. In the K System collection, we propose the K_10 model, which has always been one of our most popular models.
“WE NEED A FEMININE FRONTAL: ELEGANT, SOFT, EASY TO CLEAN AND WITH A PLEASANT GRIP.”
During the last Salone del Mobile - Eurocucina (April 2012), as I passed through the stands, contemplating the sensations, common trends and new innovations I encountered, I came to the realization that the majority of manufacturers are continually more focused on exhibiting designs and newly engineered technologies that lack softness and chase after efficiency completely lacking in emotion. In one word: manly.
Looking around, it wasn’t hard to understand the reason. Except for the girls responsible for the hospitality booth, the expo was filled with striped suits, white shirts with embroidered initials and a few striped ties. Thus it became evident that a possible new direction for us could be to return to a more feminine kitchen in terms of beauty and a gentle and sinuous efficiency. The thousands of steps that brought me back to our stand did nothing other than strengthen this intuition. I couldn’t wait to share my ideas at dinner with my colleagues, even if it was just to give them the chance to prove me wrong.
This idea actually proved to be of interest, and the discussion went on until late hours of the night with the promise of putting our designers to work immediately on this new direction. I remember the briefing very well: “We need a feminine frontal: elegant, soft, easy to clean and with a pleasant grip.”This experience told me that something important was about to begin. It was going to be something new and “beautiful”, of the type of beauty that would become like a tool to make daily life more pleasant.
The first drawings and interpretations arrived with an unexpected quickness in confirmation of the enthusiasm that accompanied this new voyage towards magic. In the laboratory, the engineers working on the prototypes were getting restless to get started. Even the prototype development is always a moment like no other, a type of birth, full of anticipation, and a search to find a product that resembles the ideas of those realizing the project. A few days, thousands of trials, and finally a phone call later, and we were summoned. We were about five or six people seated in a semicircle around three bases lined up with the new frontal: some of us viewed and handled the prototypes… I was content just looking. I had the impression that if I touched the prototype, I would have risked ruining, scratching or making it worse.
“EACH ONE OF US SAID HIS OR HER PIECE AS IF TO CONFIRM THAT WE WERE THE ONES CONTRIBUTING TO THE UNEXPECTED BIRTH OF SUCH A BEAUTIFUL NEW MODEL” Nods of consent mixed with technical considerations and analysis of the production costs. Each one of us said his or her piece as if to confirm that we were the ones contributing to the unexpected birth of such a beautiful model. In just a few hours, one of the kitchens in the showroom was equipped with the new frontal. The first viewings by agents and retailers gave us good hopes. A mix of surprise and admiration was the general feedback of the first showing. Then, inevitably, came the brainstorming phase for the name of our new model, as is the case after every newborn. We exchanged ideas for a long time, but none of the proposals seemed adequate until the wisdom and experience of one of our colleagues brought us to a unanimous decision: and thus M_26 VELA was born.
Comment Like Repin
We need to change this culture and redefine our work as focused on the customer and not on the product.
Communication is horizontal. Brand and consumer are seated at the same table exchanging ideas, opinions, questions and needs. Repin
blog shooting the new M_26 collection
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Let’s go back about ten years. In order to communicate well, businesses needed to face high starting costs. The obstacle to starting was the cost of necessary technologies. Today the Internet offers any business the possibility
of communicating to the world in an indispensable way. With the fast spread of social networks and the mobility of the last three or four years, new conditions have appeared that see the consumer for the first time with stronger tools than those available to company offices. The situation has not only changed, it has been completely turned upside down. Here, however, we quickly find a knot to untie. Many are in the race to gain fans and friend that has made us forget the greatest challenge that brands have ahead. We need to change this culture and redefine our work as focused on the customer and not on the product. To limit ourselves to seeing only our own product means that we haven’t realized the potential of the web. The Internet opens up a conversation, a dialogue between the producer and those who need the product. And this is how we at Meson’s have begun our own road to better communication with our customer. In order to change our culture, we need an idea. To put an idea into action, we need tools. Social networks are tools, rather, let’s call them “platforms,” that drive dialogue. The Meson’s site opens with our blog: content that is constantly being updated and evolving. The canal, Facebook, enables consumers an instantaneous conversation. Twitter is even faster: no more than 140 characters to report all updates and news, inspirations and the world that revolves around the brand Meson’s. Pinterest is the beauty in images, a waterfall of photos that helps give another dimension to the brand.What does all of this change? Perspective. Communication is horizontal. Brand and consumer are seated at the same table exchanging ideas, opinions, questions and needs.
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Meson’s understands. Take a better look to believe: http://mesons.it/ https://www.facebook.com/MesonsCucine https://twitter.com/MesonsCucine http://pinterest.com/mesons/
Meson’s online new spaces for communicating
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EXPERIENCES That warmth that comes from the North by Valentina Olivieri email@example.com
The Real Life Experiences of this issue brings us to Holland or, more precisely, Baarn in the province of Utrecht where Mike and Monica built the house of their dreams: a cozy, modern Nordic home filled with that familiar warmth that one needs as autumn comes knocking on the door.
It is a house with two souls: the outside has a classic style with great care for details while the inside is modern and welcoming just as we wanted it. The house has a ground floor and two upper levels on which there are the bedrooms, bathrooms and a study. Since we love enjoying the house and dedicating time to ourselves, we wanted to create a small oasis with swimming pool, sauna and gym in the underground floor.
Above: The Van Eck Family
54 year-old boss of a company that supplies medical and pharmaceutical tools to organizations in the field all over the world and Monica, 42 year-old who works with Mike and is the mother of their two children and two children from her previous marriage to Mike. Everything in this typical Dutch village, like one you would find in a postcard, is situated on the banks of the Eem River and transformed from a small rural town to a modern, avant-garde city, attracting many well-to-do families from Amsterdam that settled there building grand villas after the construction of the railway line Amsterdam-Amersfoort in 1874. It is here that Mike and Monica bought a piece of land surrounded by old chestnut trees and brought their home to life.
Mike, how would you describe your house?
And in the kitchen? How much time do you spend there normally? When we are at home we are almost always in the kitchen. We are always there for meals, coffee breaks, or to work at the computer… it’s here that the children get creative or tell us about their day at school… it’s here that we have a nice glass of wine in the good company of friends. It’s really a fundamental part of our family’s life… that and it faces the garden, which gives it just that extra touch of beauty and tranquility! So you were looking for a particular type of kitchen: what had the greatest influence in your decision? Exactly, we believe that the kitchen is the beating heart of our home. We were looking for a modern kitchen but also with warmth that combined design, intimacy and functionality. However, we didn’t know where to begin… luckily the staff of Springers, our retailer, guided us perfectly in this decision. Monica, is it true that you have known Thomas, the owner, for many years? Since nursery school, we grew up in the same town! We’ve never lost touch over the years, and when the time came to furnish our home, we thought immediately of him. Thomas managed to link all of the rooms of the house combining colors and ambiances in a coherent way. He brought home samples for us and encouraged us to think outside of the box, choosing unique and unusual materials. And in the end, which Meson’s kitchen did you choose? We were instantly struck by the K_GocciaVetro with sleek opening. We composed it with white etched glass and burnt oak, burnt oak for the frontals, and a stainless steel countertop with burners built in to the surface. The appliances are by Miele, and we installed two wine refrigerators by Gaggenau. And what part do you like best? We are very enthusiastic about the result and every decision we made. Meson’s offered everything weneeded, and we got exactly the kitchen we were looking for: the atmosphere is warm with a modern touchand a little bit of design here and there…we think of it as sophisticated!
We are very enthusiastic about the result and every decision we made. Meson’s offered everything we needed, and we got exactly the kitchen we were looking for…
A completely modern family, the Van Ecks are composed of Mike,
The psychology of everyday Things* Tips for irrational shopping If you never want to feel embarrassed again when faced with a beautiful design object that you don’t know how to use, finally someone explains that the problem is not you, but the designer. The title of this section is a tribute to Donald A. Norman, who wrote The Psychology of Everyday Things in the mid - 90’s and has helped many people getting rid of this nightmare. Each object can be relatively useful or useless, a design object, however, to be called such, must always be functional.
by Cristina Romanello firstname.lastname@example.org
When I was little, I used to think that being a woman meant being part of the “weaker sex.” Or at least that’s what everyone else told me. I never really liked the adjective “weak” considering that all the women around me when I was a small girl were everything but weak: my mother, my grandmother, the older women in town, the nuns from our local parish, our neighbor and mother of ten children. Even if I still didn’t know what it meant to give birth at that age, it seemed like a miracle that one body could create ten more. This world of weakness, tears, worries and recommendations, of good little girls, sweet things, and good manners did not seem to reflect reality to me.And so, for many years, I rejected everything that mirrored in any way this weak, sappy stereotype. I insisted on never crying in public, not asking for flowers, and hating
the color pink, frills, poetry and girly things. Fortunately, time not only makes fruits mature but also people, and the moment finally arrived when I could appreciate femininity in all of its aspects. Even in the home. And so my feminine spirit bloomed in the very sense of the word. I actually wanted to buy a floral material for the kitchen curtains, selecting the colors, combinations and rods with care. I chose linen because I loved the freshness it evoked and the fact that I would never have to worry about ironing it (linen seems more lively when it’s wrinkled). I had the desire to buy fresh flowers, smell their sweet scents and admire their beauty after waking up in the morning to prepare breakfast in the kitchen. Then, little by little, as I got used to expressing my true feminine nature, everything became possible. Even at photo shoots women of average and natural beauty began to replace anorexic women and fake women from advertisement campaigns where the frigid images of empty spaces became the scenes of everyday life. It was then that a bit of life crept into the rooms of where I lived and designed. Femininity has the strange gift of bewitching things and rendering them more mysterious, more harmonic and more poetic. A table does not necessarily need to be
decorated with fancy objects and fabrics in order to be beautiful because “beauty” is not something that people control. “Beauty is in the eye of the beholder,” not in the contents of one’s wallet. This way, small tricks become big details that many people can notice. My experience has taught me that everything should be judged and analyzed for its ability to be a good object. It should also be judged for its ability to coexist harmoniously with the other objects. Objects, just like people, relate to that which surrounds them, and they must live in harmony in order to better express themselves. Often when I venture out to the markets and small vintage shops people ask me what I find beautiful about certain objects. I respond: “right here and now, nothing really! But I have an idea of the perfect place to put it. Everything has its own place in my imagination.” There is a space for a family heirloom, for a bold wedding gift, for a drawing done with love by one of my little ones. A house can hold all of this, and it’s important that everything has its own spot. Better yet, it’s important to find the right spot for everything. I remember a scene from the movie Ghost, shot in the 90’s with Demi Moore and Patrick Swayze, which really struck me. The couple was moving into a stunning attic apartment.
In the scene there was this old armchair, like one you would find in your grandparents’ home, which was carried up to the last floor by a crane through the window. It was that type of armchair that cradled you with its super soft cushions, an armchair that normally isn’t nice enough to survive a move. Demi Moore’s character says to her boyfriend: “This armchair can’t stay here. It doesn’t go with anything,” and he responds, “It goes with me!”
Sometimes, we, as professionals, push ourselves to find perfection and harmony in homes and in the spaces surrounding us, forgetting reality. When I had the joy of reclaiming my femininity, little by little, I became less picky, more tolerant and less touchy. I gave up perfection when it came to home décor to make room for a human touch. For example, the pleasure in used things or the sweet smell of coffee that winds up the staircase when I haven’t turned on the fan above the stove. This smell should emanate throughout the house because the fan should suck away bad smells, not the intoxicatingly good smells like coffee. I made room for my children’s drawings to be framed and hung, as if they were masterpieces, next to engravings and beautiful photos in black and white. I also humorously used the famous Alessi juicer designed by Philippe Starck as a back massager. It’s a beautiful piece, but if you ask my opinion, it works better as a juicer. Harmony is deep within us, not necessarily outside. Creative ideas pop up spontaneously from a healthy mind just like it does for children. A home is a mirror of who inhabits it. There is a fun saying that many architects and interior designers
use when they are trying to understand the family dynamics linked to home purchases. Ironically, it says that women choose and men pay. I, beyond this game of roles, think that the most important thing is that each one of the two feels represented in their own home. To those of you who want to experience the warm welcome of a flower left in the kitchen in the morning, I advise that you take a long, slender, clear vase and place a rose and water in it. You can strip it of all of its petals to fully enjoy its shape and color. Choose an aromatic rose, though, because “a rose without a scent is like a woman without love.”
Traveling along the streets of color
Yellow ochre with dark blue-green or turquoise with reddish-purple?Eggplant with antique blue or mandarin orange with clay? Should we paint the walls or select colored furnishings? Will we quickly get tired of a colored kitchen? And what if we painted a wall dove-grey? It’s
difficult to make decisions when it comes to colors. Colors are just like clothes or food. We perceive them in different ways in different moments of our lives. For this very reason we are afraid of using color in our house. We are afraid to tire of it just like a hairstyle, a demanding job or a bold painting. Sometimes we need a symphony, sometimes silence. Other times we might need heat or coolness. Colors are emotions, and because of this we never perceive them in a static way.Therefore, the simplest solution is white. White is like a clean slate, the perfect blank sheet.It’s like an ellipsis…White waits for something to happen because it, by itself, is abstract, dreamlike, metaphysical, spiritual.White waits for the painter’s inspiration that, with ample and deliberate gestures, imprints emotions on the canvas.Or it waits for the delicateness and equilibrium of one simple action, tone on tone.Colors can shout or whisper, enabling us to express what would otherwise remain unexpressed.
WE NEED TO HAVE THE COURAGE TO DARE. WE SHOULD NOT BE AFRAID OF WHAT WE FEEL. WE SHOULD ADMIRE OUR EMOTIONS AND TRANSLATE THEM INTO WORDS, SCENTS, COLORS, IDEAS AND SHAPES. If we fear tiring quickly of a color used on the house, on furnishings, on a wall or on a couch, maybe it is because we haven’t listened enough to our desires. It may seem paradoxical, but sometimes we choose the wrong thing because we are afraid of making a mistake.
Let’s get bold, there’s nothing to fear!In the Italian language, color is defined: “a term in physics to express both the physiological sensation one experiences under light of diverse quality and composition and the light itself, mono or polychromatic.” Color, therefore, is none other than light: in case you should get bored, just turn on the switch. http://www.pictaculous.com http://www.colourlovers.com http://kuler.adobe.com
And so, just as we prepare ourselves before choosing a destination, an itinerary or trip, we’ve thought up a color guide like the pocket maps we buy before departing.
THIS GUIDE IS NONE OTHER THAN A SERIES OF VARYING ROUTES ALTHOUGH ALL EQUALLY INTENSE. We’ve been through the cold, efficient and technologically Before choosing your Meson’s kitchen, take some time to journey through the colors of the world. Then bring the colors that make you feel good back home with you to your new kitchen.
Enjoy your trip … with Meson’s.
advanced scenery of whites and ever fuller and darker greys: … we’ve crossed the hot and rough lands and the earthy tones they inspire … we’ve been seduced by passionate reds … to then walk barefoot on cool beds of grass
... and finally collapse,
exhausted on our backs to admire the sky … cradled by the warming arms
of the sun.
In some cases we haven’t developed enough confidence with colors. Maybe this is because the teacher corrected us if we colored a person’s skin purple, hair blue, or a dog green when we were young. All these mistakes, all the wrong colors. One mistake after another we developed small frustrations regarding color and a sense of security towards the simple or standard choices.But now we have grown up, and now is the moment to make the right decisions.Today we can find cues of all sorts to get inspired by. There are color matches studied to perfection for every style of life, for every social type, for every age, taste, sea, mountain, lake, hill, second house or studio flat. There is something for all tastes, and often, you can run into it in interesting places that evoke the mood of colors simply by looking at a famous work of art or any other type of image. This way, your house could have the delicate colors of a still life by Carrà or a Venetian scene by Tintoretto, the chaotic color combinations of Matisse or the warm colors of Gauguin, or even the primary colors of Mondrian and Mirò up to the pastels of Guccione.
THE BEARABLE LIGHTNESS OF ORGANIC by Alessio Sciurpa
It was June 6, 1984 when Italo Calvino was invited to Harvard University to hold the Charles Eliot Norton Poetry Lectures, a cycle of six conferences, better known as the “American Lessons.” The first of these conferences was dedicated to lightness: “After having written fiction for the last forty years, having explored various paths and completed different experiments, it is now time for me to look for an overall definition of my work. I would propose the following: my work has been, for the
most part, a weight reduction.” Reflecting back on the concept of lightness by Calvino made me think of the discussion created around a recent article in the Guardian on the virtue of organic products. In the article, a study by the Stanford University was quoted that had weighed the results of 240 previous research projects analyzing the quality of organic fruits, vegetables, grains, meat, eggs and milk and comparing them with normal food products. The vitamin content and the risk of contamination by bacteria were nearly identical. Today, especially in urban regions, the best food choice and the best
way to obtain these foods is at the heart of every debate. Other evidence brought to light by research is that typical food products have over a 30% risk of being contaminated by pesticides. Additionally, poultry and pork products have a 33% risk of containing antibiotic resistant bacteria. The definitive conclusion of this research was that organic food products were not, in fact, more nutritional than normal food products. Such results have solicited different comments between readers who maintain that the research missed the main point. “The most important thing about organic farming is not just the benefits
Communication strategist, storyteller and journalist, expert in communication for sustainability.
for our health but the reduced environmental impact.” Others said, “The advantage to organic foods has always been the absence of toxic substances like the remains of pesticides or fertilizers, not the presence of more vitamins or nutrients.” We need to consider many values like lightness and simplicity when it comes to food (whether it be organic or not), which is the paradigm of health and well-being. Even when it comes to planning and choosing the materials that we use, in all of our consumer choices… even in that magical space dedicated to food: our kitchen.
woman If we had to attribute a personality to a company like Le Tamerici, we would surely envision Woman. Not only because the person who started this company twenty years ago is a woman, but also because in each one of the sectors of the company we find a woman managing.
Ideas and advice that have one secret ingredient in common: the right pinch of “sweet imagination.” This is the same imagination that one rediscovers in any Le Tamerici product.
The style of Le Tamerici is feminine in color and taste: a stubborn woman, conqueror, traditional and, why not, bubbly.In the Le Temerici house the leading lady is Paola Calciolari, founder of the company from Mantova. In twenty years of business she has discovered how to create marmalades, preserves and high quality pickled candied fruit in a spicy syrup (mostarde). These sensual matches, capable of rousing even the most refined palates, were conceived in a large country house. In addition to hosting the production of these goods, this house also hosts a very popular cooking school.
The school offers basic cooking roots to many women, often grandmothers, mothers or aunts. And who better than these women knows how to prepare a healthy snack for our little ones? It’s enough just to think of the traditional snack of bread, butter and marmalade. Or you can close your eyes and go back about ten years when “snacks” still had not arrived at our tables, and you will better understand the meaning of this magic. Le Tamerici has, therefore, a very special relationship with our little gourmands, and we would like to propose in the upcoming issues of Meson’s News an article dedicated just to them. Ideas and advice that have one secret ingredient in common: the right pinch of “sweet imagination.” This is the same imagination that you rediscover in any Le Tamerici product. Here the culinary tradition meets research and experimentation in a microcosm dedicated to the passion for the land and food culture in all of its expressions. A place where every ingredient is selected and labored fresh, honoring particular times and methodologies that allow us to preserve colors and scents without adding preservatives, additives, thickening agents or antioxidants.
Details that make the difference New design tricks 1) For all of the 120 cm wide bases and cabinets, Meson’s has evelopedan anti-bending rod applied to the shelves that allows you to hang as many things as you need without dismounting the structure. 2) All bases are equipped with a pair of rigid aluminum chains, hung between the two sides. Additionally, in the event that the countertop’s depth is less than 2 cm, aluminum cross beams will be hung that link the front chain to the back one so that the countertop won’t bend. During the installation of the kitchen, the cross beams can be moved along the chains as needed. This system provides Meson’s basesbetter durability. 3) For all vasistas and shelf-like wall cupboards, Meson’s mounts Blum Aventos devices that guarantee better door control and padded closure. Such devices enable you to avoid mounting the bases to the structure and the hinges of the door, freeing the internal space from the encumbrance of these unpleasant looking elements.
Among the professionals of the field, the theory “all quality you do not see is a cost” has become prevalent in recent years. Bringing this theory to the extreme, products
should appear solid and efficient. But in reality one should not worry if they really are or not and much less if their performance lasts.
Those who plan and, above all, those who produce Meson’s deny this cynicism disguised as convenience! 2.
At the same time, however, we realize how complex it is for the consumer to perceive the differences between a mediocre product and an excellent one. Therefore in this column we will attempt to highlight some features for which it’s worth it to buy a top-quality kitchen… a Meson’s kitchen. Michele Celotto
WITH MIXTURE OF CHERRY TOMATOES, CAPERS, ANCHOVIES AND BASIL
In past years we have witnessed a widespread reevaluation of food as a communicative force, above all in virtue of its indisputable social and collective power. Without contradicting
My Way is: Roberto Abbadati, a one of a kind chef and atypical interpreter of the food world along with Thomas Colombo, mixologist by necessity but above all for passion, AlessiaRubagotti, a fashion designer who has always been drawn to the world of art and is a lover of beauty. Roberto Abbadati / Chef www.robertoabbadati.it Thomas Colombo / Mixologist www.thomascolombo.com Alessia Rubagotti / Fashion Designer www.lali.it
Album Menamenamò The musical group Menamenamò, lead by Luigi Mengoli, is actually one of the most representative bands of music from Salento. They have been collaborating for more than twenty years in an ethno musical journey that has brought to life a collection of more than two hundred songs in the dialect of Salento. We highly suggest that you indulge your ears in the soft melodies of ‘Quantu me paribeddhru de luntanu’ and other songs from Menamenamò’s live double album as you taste these recipes in your bare feet. www.menamenamo.it
Burrata and WHISKED FRISELLE
Our culinary section
this idea, my travel companions and I would like to pause on this “reflective” aspect of food in this issue. Considering the fact that almost all of the cells in our body regenerate themselves close to every three months, it is totally obvious that we are what we eat, and the act of cooking is actually an act of love towards ourselves. With this in mind, Roberto & Co. wanted to pay homage to the people dedicated to this daily sacred ritual, giving them a “gift” of emotions/sensations composed of: a tasty recipe that is both healthy and ecologically sustainable, a delightful cocktail to be sipped whilst rinsing, cutting and cooking, a soothing and inspiring soundtrack, and last, but not least, a stimulating illustration composed of pictures and words. And so we wish to all… happy cooking!
PREPARATION Season the cherry tomatoes with the onions, celery, anchovies, capers, basil, olive oil and a pinch of salt (just a little because the capers and anchovies are already very intense). Leave the mixture to rest in a bowl for about 15 minutes. Dip the friselle in tepid water, then assemble them on a plate and splash with a bit of vinegar and olive oil. Allow the friselle time to rest and expand. Drain the water from the burrata cheeses and place them on a dishcloth or paper towel and allow them to reach room temperature if they have been previously stored in the fridge. In another dish begin to crumble the friselle, season them with the tomato mixture juice and smash everything with a whisk in order to obtain a crumby, moist but not soupy mixture. Using a small bowl and the mashed friselle, make four small bowl forms and put them on a plate, flattening them a bit. Place the tomato mixture with capers and anchovies on top of the friselle bowls, and finally, place the burrata cheeses on top. Finish the dish off with a splash of olive oil and a sprig of basil for decoration.
Even though the shape and milky content of the burrata recall motherhood, the presence of savory ingredients (anchovies and capers), aromatic ingredients (celery and basil) and fresh tomato (round, juicy and intensely colored) contrast the sensual energy of the dish Thus, ultimately expressing the complex charm of a southern Italian woman inculinary terms: provocative, hot-tempered and undoubtedly impulsive but at the same time protective, sweet and maternal. Prepare this dish with your significant other during a hot summer night when you are at home by yourselves while listening to this delightful soundtrack (see album). Leave the windows open and let yourselves get carried away by the soft breeze (possibly by the sea) of a starry night.
INGREDIENTS (4 servings) 4 cow milk burratine (southern Italian soft cheese filled with butter) or, if you prefer a stronger taste, buffalo milk burratine 4 frisellepugliesi (a donut-shaped hard bread produced in Puglia) 1kg tomatoes (mini San Marzano, Perino o Datterino varieties), washed and cut in halves or quarters 1 small red onion, pealed and cut into fine pieces 1 tablespoon of salted capers, sprinkled with extra salt, not rinsed 4 salted anchovy slices, rinsed, with the bones removed, and finely cut 1 celery heart, washed and cut 1 dozen basil leaves separated by hand Extra virgin olive oil from Puglia Good quality red vinegar Mediterranean salt
SPEAKING of women… Beautiful and captivating in their entirety, the women from the south smell sweetly of flowers and spices, of the forest and the seashore. A unique adjective that cannot be used to describe any other type of woman was coined for them and for them alone. Something that goes even beyond the most common sense of fascination: southern women are sensual. This sums up their femininity much more.The concept of beauty is, in fact, very subjective. Beauty is ultimately defined as that which attracts and makes something or someone subject to its power. Often even a small detail that defies the classical rules of “beauty” can be of great fascination, superior personality and character. And women from the south are particularly beautiful. Tall, short, slender or wide, each one has been kissed by Eros, each one protected by Venus. This is because southern women are fashioned by the same tellurian energies of Etna and Vesuvius, of the fire that smolders under the ashes. This is because they have the same generosity and strength of the fertile soils from which they sprouted like splendid, luscious roses.This is because they know how to enjoy the fruits of their land with a healthy and abundant appetite. This is because they are, each one in their own home, genuine Queens of the Hearth, in all seriousness, commitment, sacrifice and satisfaction linked to this noble role. Women from the south are strong and well trained in the defense of their own territory like lionesses. They triumph over pain and death. Their hands create and recreate, caress and slap. The true women from the south devote themselves and are absolutely beautiful in their dignified pride and their defense of an ideal that always ends in love: love for their land, for their partner, for their children, for their home, for the saints, for humanity, for their family pet and for their own table to set. Warm greetings from the hot southern sun that consoles and protects, which is life.
To make this richly fragrant cocktail from the south, more particularly from the Mediterranean coast, we advise using a Fiano grape based white wine or a Cilento Bianco, Sannio Fiano or Contessa Entellina Fiano wine if you happen to be even more south.
Ingredients Photo by Andrea Pancino
Women, whether from the south or the north, have their own particular character. Each woman has been formed from the water, the land, the fire and wind, the flavors and the spirit of her region. These are women of a classical beauty that are molded and fashioned by the northern winds. Women from the south are formed by the hot North African winds, lava and soil, salt and sun.
Women from the south
50 ml dry white wine 25 ml Limoncello 2 teaspoons of red grapefruit marmalade 3 small leaves of basil + an additional small sprig for decoration 2-3 licorice shavings from Calabria for decoration 1 swirl of grapefruit rind for decoration Crushed ice cubes for the shaker or to serve
(by Alda Merini)
Women from the south, Tender like the shadows, radiant like beautiful flowers Women from the south, that have the presence of ochre The hands of a question, They know how to be quiet and present, You, sweet Penelope Intertwine a purple veil. I saw you from the window Clinging and light Like thick ivy, You are a woman from the south. Change in knowledge, Widow in your work Tender like a crystal Lover of what is true. Women from the south burn of passion for their husbands pearls that fall melted into the womb of jealousy Women from the south whose light steps count the thick leaves they are of November and secret they resemble strange desires that take the deceased in hand to a merciful priest.
Pour the wine, limoncello, marmalade, basil leaves and 4-6 ice cubes in the shaker and close it well. Shake vigorously for a few seconds and pour the filtered mixture into a low tumbler or a wine glass. Cover with a bit of crushed ice and decorate with basil sprig, licorice shavings and grapefruit swirl.
NotE This drink is to be served and drunk (other than in good company) with a bent straw, preferably yellow or green for extra effect. If you have the chance, serve this drink to your friends on the beach or seaside during a late summer afternoon. Don’t forget to add a little umbrella. This is essential for keeping the drink from warming up too quickly and maintaining the drink at just the right temperature.
Each one of us translates, transforms and adds value to the world around us. The importance of experience lies in bringing life back to everything that would be meaningless without memory. On the other hand, beauty is in the eye of the beholder.