Recreating Long-Lost Liqueurs at Waterpocket Distillery

Delving into history for unique and botanical-rich spirits

Within the field of archeology, one of the most distressing concepts is the unfathomable amount of lost history. While traces of physical entities such as the Irish Crown Jewels, Roanoke Colony, and Amelia Earhart’s airplane may resurface in the future, an extraordinary number of intangible concepts have disappeared forever—namely languages, cultures and cuisines. Therefore, countless organizations and private businesses race to preserve the legacy of these cultural treasures, and one prominent entity is Waterpocket Distillery, founded in 2017 by Julia and Alan Scott and located just outside of Salt Lake City, Utah.

Courtesy of Waterpocket Distillery

Since founding the distillery, the Scotts have been working tirelessly to resurrect long-forgotten European liqueurs, recreating and releasing these bygone spirits through their Long Lost line. Julia’s doctorate in biochemistry and Alan’s background in home-brewing have made the pair uniquely qualified for such an endeavor, and years spent living in Central Europe have allowed the couple to amass a collection of rare botanicals and historic recipes. “When the time came to open the distillery, like many others, we first looked to gin. So when we turned to research the fundamentals of botanical spirits… we found a rich set of resources from 19th-century France, Germany and Italy,” Alan tells us.

by Mitch Meyer

While these antiquated recipes may have been recovered, the cultural intricacies that birthed them have largely ceased to exist. The distillery’s fragrant all-botanical liqueur, Oread, stems from a collection of recipes crafted centuries ago. The inspiration for this spirit can be traced back to Danzig, a prominent city on the northern shores of the Polish-Lithuanian Commonwealth. Between the 17th and 19th centuries, the settlement was a rich melting pot of European cultures, with prominent German, Polish, Baltic, Dutch, and Scottish populations inhabiting the city. Among them were a faction of Mennonite priests, and it was this particular group that crafted a wide array of botanical-rich spirits. While Goldwasser has survived, many of its cohorts have been lost to the ages.

Courtesy of Waterpocket Distillery

Recreating such obscure products may seem like a monumental task, but the Scotts are well-prepared. Equipped with 80+ different botanicals, the Waterpocket property is as much a laboratory as it is a distillery. At the moment, there are over 40 of these botanicals represented in the Long Lost product line—a collection that includes the aforementioned Oread, as well as Eau De Mélisse (a spirit first crafted by Carmelite worshippers centuries ago), and Minthe (a 19th-century dessert liqueur from Milan). Considering the pair’s expertise within the fields of history and biochemistry, it’s likely that this laundry list of botanicals will see a sharp increase over the next few years.

While the products are masterfully crafted, it can sometimes be a bit difficult to convince casual drinkers to sample an 18th-century botanical-heavy liqueur invented by Mennonites. “Historical botanical spirits are a niche of niche market. They require explanation, a tasting, and some education to contextualize them for most customers. They often sit in the miscellaneous section of the liquor store (in other words, in the wilderness). Regardless of our passions, we do other projects to keep the lights on,” Alan says. Fortunately for Waterpocket, the Long Lost line has begun to catch on across the local Salt Lake City bar scene, with a wide array of bars incorporating the spirits into their cocktails.

It takes true devotion to parse through historic documents, calculate the ideal ratio of ingredients, and get the final product to catch on within the public eye, but the Scotts are truly determined to make this work. “The basic concept of widening the flavor base of American botanical spirits beyond juniper and juniper-complementary botanicals is a worthwhile longterm project,” Alan tells us. “Those are valid colors in the wider rainbow, so to speak… with appeal to human tastebuds and noses. It will eventually grow in popularity and I think we’ll find ourselves in a place like craft beer, where it’s hard to imagine going back to only pilsner or light lagers.”

Hero image courtesy of Mitch Meyer

This air sealed work pod was designed to let employees return to office post quarantine

We all have a new work-from-home routine that everyone has had to adapt to overnight. Now some companies can afford to let employees continue working from home till a vaccine is made but there are many others who are open and functioning with bare minimum staff because their work is not digital. Just like working from home brought to light issues we didn’t have, working in the office during or after pandemic will have its own set of new issues and that is what designers are aiming to solve with concepts with Qworkntine.

The non-essential companies have to open up at some point to keep the economy (and our income) running. Qworkntine is an air-tight pod system that wants to make working in offices safe while we figure out long-term solutions. It protects the employees and can make it easy to monitor how many employees are in per square meter of the space – it also makes contact tracing convenient in larger offices. Its hexagonal shape lets companies arrange it in any format to suit their physical office – it is like assembling a beehive to keep all the bees healthy and happy! It can be customized to fit right-angled corners and can be elongated as per the needs.

This conceptual work pod features an automatic handle-free acrylic door that is controlled by facial recognition. It also includes ventilation fans and air purifiers to keep a continuous flow of air that is safe to breathe. The designer envisions the Qworkntine pod to be made from hygienic, non-porous materials that will be easy to clean and disinfect. The skylight makes it better for those who may not enjoy tight spaces. Winner of the DNA Paris Design Awards in the Responsible Design category, this design highlights that for the sake of our health (and wealth), we may have to adapt to new work environments. Instead of cubicles, we might have pods and that is basically the same size as having an apartment in Manhattan – say hi to the new home of ‘work-from-home’!

Designer: Moahmed Radwan

Exclusive tour of AI exhibition Hyper Human with designer Monica Förster for VDF x Stockholm Design Week

VDF x Stockholm Design Week

As part of VDF’s partnership with Stockholm Design Week, designer Monica Förster takes us on a tour of the exhibition Hyper Human at the Museum of Science and Technology in Stockholm.

AI, genetic engineering and eternal life: the exhibition at The Swedish National Museum of Science and Technology in Stockholm explores the relationship between humans and technology – in the past, present and future.

Hyper Human exhibition
Monica Förster created the spatial design for the Hyper Human exhibition

This exclusive tour of the exhibition’s design is led by designer Förster, founder of Monica Förster Design Studio, which is based at Södermalm in Stockholm.

Förster created the spatial design of Hyper Human, working with BAS Interesting Times Gang to explore how AI works when creating new forms.

Monica Förster
The designer speaks of her artistic approach to the project in this tour

In her tour, Förster explained the experimental and artistic approach needed to let an AI choose how to design different objects.

With sustainability in mind, the designers also let the AI determine how to minimise material usage when designing an object.

The objects created by the AI, which were 3D printed, had organic structures and patterns. This surprised Förster.

“I imagined when we started to work with the AI that it would be something that would be much more geometric,” Förster said. “But it looks like it’s part of a tree, it looks like something very organic.”

Hyper Human exhibition
The exhibition let the AI decide how to minimise material usage when creating the objects

Hyper Human also includes exhibits on the way technology is changing how we operate and how it is being used to help within our  everyday lives and in more extreme situations.

The exhibition is on at The Swedish National Museum of Science and Technology in northern Djurgården in Stockholm, but due to the coronavirus crisis it can currently only be viewed online.

About Stockholm Design Week

Together with Stockholm Furniture & Light Fair, Stockholm Design Week has established itself as the most important week of the year for Scandinavian Design. The week is held annually in February and is a meeting point for buyers, architects, designers, press and influencers from all over the world.

Stockholm Design Week takes place in a variety of venues across the city, from galleries and showrooms to dinner parties, after fair meetings, opening cocktails, museums and cultural institutions. The upcoming edition, Summer Design Week, will be held on 17-23 August 2020. The next Stockholm Design Week will take place on February 8-14, 2021

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Seize the Awkward’s new ad is helping young people talk about mental health

Launched in 2018, Seize the Awkward was founded to help tackle the unease many young people feel about discussing mental health. A collaborative campaign between Ad Council and mental health charities JED and the American Foundation for Suicide Prevention, it is best known for its high profile partnerships with the likes of musician Billie Eilish.

To mark Mental Health Awareness Month, the initiative’s new campaign focuses on the life experiences many young people are missing out on at the moment amid the pandemic – from going to prom to flying the coop – and the mental health challenges they may be facing as a result.

Recent research by Ad Council shows that compared to older adults, young people report feeling more negative emotions such as isolation and depression in relation to Covid-19.

Created pro bono by Droga5, the campaign takes the form of a music video, along with digital, social, radio and broadcast assets, which aim to give young people the inspiration, language and tools to check in with their friends.

Directed by Kristian Mercado Figueroa, the high energy video combines colourful imagery, illustration and animation to show the many ways that we can carry on conversations while we’re physically apart from each other, whether that be via a call, text, emoji or GIF.

Rapper Akinyemi lends his vocals to the video, which also features a whole host of other cameos from famous faces including singer Meghan Trainor and TikTok star Addison Rae.

To make it easy for young people to reach out to each other, 36 artists from across the world have created over 70 GIF and sticker-shaped conversation starters that anyone can easily send to a friend they’re worried about.

“We all want to check in on our friends’ mental health but sometimes it can feel a bit awkward. That’s why for the next chapter of Seize the Awkward, we created Whatever Gets You Talking to help break the ice – from a music video to GIFs, illustrations and partnerships with social platforms,” said Kevin Brady, executive creative director at Droga5. “It’s such an important conversation and we’re humbled to help as many of them happen as possible.”

Credits:
Agency: Droga5
Executive Creative Director: Kevin Brady
Creative Directors: Oriel Davis-Lyons, Rachel Frederick
Senior Copywriters: Mietta McFarlane, Daniel Litzow
Senior Art Director: Luke Chard
Executive Design Director: Rich Greco
Motion Design Lead: Mike Gaynor
Production Company: Nice Shoes
Director: Kristian Mercado Figueroa

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How will coronavirus change events?

With the pandemic making large gatherings impossible, brands, festivals and cultural institutions have been planning online alternatives. We explore how creatives and organisers are responding to the crisis, and whether it could inspire new kinds of digital experiences

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Live Life Give Life’s new ad shows the human side of organ donation

Despite the huge medical advances that have been made in organ transplantation over the years, the personal side of organ donation is still rife with myth and misinformation.

According to research by charity Live Life Give Life, 80% of us still don’t share our donation choices with our families, and 43% of bereaved families refuse to allow their loved ones to be considered a donor after their death.

As new legislation comes in which switches organ donation in the UK to an opt-out system, where you’re automatically an organ donor unless you or your family say no, Live Life Give Life is launching a new campaign to open up more candid conversations around end-of-life decisions.

The charity approached animator Daniel Stankler to bring the ad to life, with a brief to focus on the scale of the impact organ donation can make. “The producer had a clear message he wanted to convey – that we wanted to look at not just the individual life, but the many loves and connections that we save when we save an individual life,” he says.

Traditional forms of stoytelling such as myths, legends, folklore have always influenced Stankler’s work, and this project was no exception. “I love old fairytale illustrations, Eastern European illustration, Soviet era graphic design, the Moomins artwork, early Disney concept artwork. A lot of these illustrations were quite dark, which I think is where I got my taste for weirdness from,” he says.

“In Let Love Live On, I came up with the idea of an almost fairytale sci-fi world, where everyone goes about visiting their loved ones on heart-shaped jetpacks. So it’s quite literally that when the heart breaks, that connection is lost.”

The heartwarming film, which has been selected as one of Vimeo’s Staff Picks, is filled with Stankler’s trademark bright colours, harsh contrasts and unusual compositions.

“I was given the Live Life Give Life brand colours as a springboard right at the very beginning of the project, but they changed quite a lot during the course of the project as I wanted to emphasise the sci-fi elements of the film. I was actually slightly worried the client wouldn’t like the finished version of the palette as it did deviate quite far, so I offered to change it back … but they loved it,” he says.

While the charity could have easily gone down the route of shock tactics or stats-heavy visuals, the ad is a refreshing use of animation which brings the subject of organ donation to life, and hopefully makes people take a second to think about their own views on it. “I really hope this film raises awareness of the issue, so that you have the knowledge to make your own choices,” says Stankler.

Credits:
Direction and Animation: Daniel Stankler
Creative Direction: Roydon Turner
Production: Awesonova
Sound: Zing Audio

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Kingston Lafferty Design plays with scale inside Dublin restaurant Cinnamon

Cinnamon restaurant by Kingston Lafferty Design

Oversized lollipop-like lamps and a “dollhouse-effect” entryway feature inside this restaurant in Dublin, Ireland, which Kingston Lafferty Design has completed with whimsical interiors.

Cinnamon is situated in the city’s lively Ballsbridge neighbourhood and takes over an empty retail unit.

Cinnamon restaurant by Kingston Lafferty Design

Kingston Lafferty Design set about transforming the characterless space into a “celebration of playfulness and humour”, drawing upon the aesthetic of surrealist artworks and the bright, psychedelic interiors fashioned by Danish designer Verner Panton in the late 1960s.

“We wanted to create an imaginary and dreamlike world, where shapes appear to float within and nothing is quite what it seems,” the studio’s founder, Roisin Lafferty, told Dezeen.

Cinnamon restaurant by Kingston Lafferty Design

Cinnamon’s kitchen has been set at mezzanine level towards the rear of the plan, leaving a dramatic double-height dining area at the restaurant’s entrance.

With its ceiling measuring four metres in height, the studio hopes the scale of the space will create a “dollhouse effect” that makes visitors feel “miniature”.

Cinnamon restaurant by Kingston Lafferty Design

This is enhanced by a number of large-scale furnishings. One side of the space is dominated by a chunky service counter where takeaway orders are made – its curved base is clad with mint-green tiles, while the surfacetop is crafted from emerald-coloured marble.

Behind lies a couple of towering arched niches where pastel-hued ornaments are displayed.

Cinnamon restaurant by Kingston Lafferty Design

The other side of the room features a huge seating banquette upholstered in teal-blue leather.

It backs onto a wall that’s mounted with rows of large, round disks which the studio likens to oversized buttons. Some of them have been upholstered in suede-like blue fabric, while others are clad with shiny mirror.

The circular form is echoed in the patterned lino that’s been inlaid in parts of the floor and the restaurant’s bulbous white lamps, which are intended to recall giant lollipops.

Cinnamon restaurant by Kingston Lafferty Design

A communal table surrounded by deep-red dining chairs has been slotted up against a central partition covered with diamond-shaped glazed tiles.

Beyond this lies a series of more intimate seating areas, tucked beneath the mezzanine-level kitchen.

Cinnamon restaurant by Kingston Lafferty Design

This includes a cosy booth that’s been inset into a peripheral wall. Its lower half is lined with crimson velvet, while the upper half boasts wallpaper printed with pink flowers and palm fronds.

A big concertina lampshade dangles directly above.

Cinnamon restaurant by Kingston Lafferty Design

Blue-painted and mirrored panels have then been arranged in a sunburst shape across the rear wall of the room, forming a bold backdrop for another long purple seating banquette.

Each of the accompanying tables has twisted legs that resemble the poles of a fairground carousel ride.

Cinnamon restaurant by Kingston Lafferty Design

Kingston Lafferty Design was established by Roisin Lafferty in 2010. The studio’s Cinnamon project isn’t the only fanciful eatery.

Others include the Unlocked restaurant designed by Renesa, which takes cues from video games, and the Lolly-Laputan cafe by Wutopia Lab, which has interiors based on a child’s drawing of a fairyland.

Photography is by Ruth Maria Murphy.


Project credits:

Designer: Kingston Lafferty Design
Contractor: T&I Fit-outs

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Pentagram creates an uplifting brand identity for the Mental Health Coalition

Pentagram partner Paula Scher has teamed up with social activist and fashion designer Kenneth Cole on his new collaborative initiative, the Mental Health Coalition. The Coalition’s mission is to destigmatise mental health conditions, and address the ongoing public health crisis around mental health in the US, which has been compounded due to the Covid-19 pandemic.

“Cole wanted to take away the stigma of mental health conditions,” Scher tells CR on why she took on the project. “He equated it to the stigma that surrounded AIDS. I thought he was right and it was a great cause.” Scher’s identity centres around an icon that represents the idea of a ‘square peg in a round hole’, a common symbol of not belonging, and a feeling that manifests itself in various ways for millions of people globally.

Pentagram’s identity for the Mental Health Coalition

 “Cole’s hope was that everyone sometimes has emotional issues and that everyone needs to be able to feel like it’s OK to feel that way and to talk about it and get help if they need it,” Scher explains. “I equated that feeling of not being emotionally stable to feeling like a square peg in a round hole. I wanted to create a symbol and system that could be universally recognised and take away the sanitarium aspect of mental health.”

The icon illustrates that there is no ‘normal’ when it comes to mental health and that everyone fits despite how it might feel. Set in the typeface Druk by Commercial Type, the chunky black letterforms are set against a rainbow of colours, which has been applied to business cards, stationery, the website and a set of posters which feature powerful phrases.

The simple mark is also applied to the branding Pentagram has created for a digital storytelling platform that forms part of the Coalition titled, How Are You, Really? The platform aims to be a space for those seeking help and guidance around mental health, while also encouraging individuals to share their experiences and stories, and to start conversations about their issues. Here visitors will also find the voices of celebrities, influencers and advocates discussing mental health in an “open, authentic and provocative way”. 

The Druk typeface is used again here to signal its connection to the Coalition. Likewise a bright but slightly more varied colour palette has been applied to represent the broad spectrum of mental health conditions, while also capturing a sense of optimism and hope. 

“I like the way that Pentagram captured the How Are You, Really? identity, as distinct from but still cohesive with the Mental Health Coalition,” says Cole. “The platform’s identity is appropriately muted and calm, as it will be a hub for often serious discussion, but it is also interwoven with pops of colour and fun to lighten the mood and increase engagement.”

For Scher, she felt it was her and her team’s responsibility to create an engaging but safe space. “I think the graphics have to be powerful and accessible, not timid or sedate, and allow people to feel like it’s OK to come into the site and participate,” she says.

Cole adds: “We wanted to create a platform where our users feel safe to connect and be vulnerable. Pentagram understood our vision from the start and ultimately created an engaging and welcoming aesthetic for How Are You, Really? which we know will encourage users to share authentically – helping us toward our goal of destigmatisation.”

According to the World Health Organization, one in four people will experience a mental health condition at some point in their lives, and with the impact of lockdown being felt by many, it seems more important than ever that initiatives like this exist and offer support.

The Mental Health Coalition’s platform How Are You, Really? is set to launch this month for Mental Health Awareness Month and will be accompanied by the #howareyoureallychallenge on social media, which will ask people to share how they are feeling and then nominate friends to do the same. 

pentagram.com; thementalhealthcoalition.org

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"Good design triggers curiosity for a better future" says Dezeen Awards judge Daan Roosegaarde

Daan Roosegaarde is a Dezeen Awards 2020 judge

With less than two weeks left to enter Dezeen Awards 2020, we asked our judges what they hope to see from this year’s entrants. Dutch artist Daan Roosegaarde says he is looking for something radical.

“Good design triggers curiosity for a better future,” says Roosegaarde. “So I will be looking for radical statements and the talent to make them reality.”

Amsterdam-based Studio Roosegaarde won the lighting design of the year award as well as the design project of the year award with their project Windvogel at the first ever Dezeen Awards in 2018.

This year, Roosegaarde has joined our star-studded panel of 75 industry professionals alongside Norman Foster, Paola Antonelli, Patrik Schumacher and Alexandra Daisy Ginsberg.

“I read Dezeen when I was studying arts, it was part of my life,” said Roosegaarde, who founded his own studio in 2007. To now be an active part, winning a Dezeen Award and now judging is a great way to be connected with the community.”

Studio Roosegaarde was founded in 2007 and aims to design “landscapes of the future” by building smart sustainable prototypes for the cities of tomorrow. Their work has been exhibited globally, including at the Tate Modern, Amsterdam’s Stedelijk Museum and the Tokyo National Museum.

Roosegaarde is a visiting university professor and also discusses his concepts at international conferences, including the World Economic Forum, where he was named a young global leader.

Enter Dezeen Awards now

Entries close at 23:59 on Tuesday 2 June. Enter your project or studio today so you don’t miss the deadline. If you enter a studio category, you can save 50 per cent by entering 50STUDIO in the discount field at the payment stage.

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Designing public hand-washing stations "more useful" in combating coronavirus, say commenters

Weston Williamson + Partners envisions the social-distancing office

Readers are debating Weston Williamson + Partners’ plans for a social-distancing workplace and sharing their thoughts on other top stories in this week’s comments update.

Transparent screens around desks, hands-free doors and a barista feature in Weston Williamson + Partners plans for a social-distancing office following the coronavirus lockdown.

“The pre-pandemic rules and regulations worked just fine”

But Dezeen commenters aren’t sure the measures are necessary. “The pre-pandemic rules and regulations worked just fine,” said Steve Hassler. “Unless we expect to live in a permanent pandemic state our energy would be better spent designing temporary solutions that could be stored, implemented, removed, and then stored again.”

Tony Briggs agreed: “Regular washing of hands is more than sufficient and has been so for most of the modern era. Designing hand-washing stations in public places would seem more useful.”

“I think it’s worth trying to consider these things,” continued Dan. “But if someone in this office has coronavirus these measures are unlikely to protect their coworkers – the prolonged time spent in an enclosed environment will hugely increase the chances of it spreading.”

Jacopo was confused: “So offices will have a transparent plastic divider but some governments are encouraging groups of people to carpool? ‘Sit together in traffic for hours but once you get to the office please stay away and eat alone!'”

Should offices be re-designed for social distancing? Join the discussion ›

Julius Raymund Advincula makes “provocative” font from cleverly positioned body parts

Julius Raymund Advincula’s typeface made from body parts is “horrifyingly fascinating”

Graphic designer Julius Raymund Advincula has used time in lockdown to create the Body Type typeface which is formed of folded skin and limbs. Readers aren’t convinced.

“Lockdown boredom,” said Squire. “The Black Death brought us the early Renaissance – Covid-19 has brought us squished up body part typeface.”

“Is it available in a shaved, non-sweaty version?” asked Steve Hassler.

“Horrifyingly fascinating,” concluded I Bike NYC.

Are commenters being harsh? Join the discussion ›

ME Dubai hotel at the Opus by ZHA
ME Dubai hotel at the Opus by ZHA

“If hotels were theatre” the ME Dubai hotel at the Opus “would win”

Readers think that the newly opened ME Dubai hotel at the Opus by Zaha Hadid Architects is over the top.

“I would be a bit worried that I was losing my mind if I went into that hotel,” said Apsco Radiales.

“If hotels are theatre, this wins,” added Patrick Kennedy.

“Futuristic tacky,” concluded Love Your Hair Hope You Win.

What do you think of the hotel’s interior? Join the discussion ›

Museum de Lakenhal by Happel Cornelisse Verhoeven and Julian Harrap Architects
Museum de Lakenhal by Happel Cornelisse Verhoeven and Julian Harrap Architects

Museum de Lakenhal “a striking cathedral to culture” after redesign

Happel Cornelisse Verhoeven and Julian Harrap Architects’ renovation of the 375-year-old Museum de Lakenhal in Leiden, the Netherlands, has delighted commenters.

“First that lovely fire station now this,” said JZ. “HCV are firing on all cylinders. Can’t get enough of the thoughtful brick weavings.”

JB agreed: “The scale of that new facade is confronting, but it’s still bloody marvellous.”

“A striking cathedral to culture,” added Jon.

Do you think Museum de Lakenhal is “bloody marvellous? Join the discussion ›

Read more Dezeen comments

Dezeen is the world’s most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page.

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