Currently showing posts tagged rituals

  • The Perfect Glass of Water with Lilibet Wasser | A Recipe

    Hydra-practitioner, writer and ‘water painter,' Lilibet Wasser, has examined and studied water as a healing power and art form for most of her life. In her latest endeavor— a cookbook, Splash of Wonder: How Water Transforms Food, Wasser reveals how cooking with the right water can harmoniously balance the flavor, aroma, weight and tone of a meal. 

    “Water is Earth’s most fundamental resource, paramount to all living things,” she says. "While abundant in Western societies from municipal sources, the filtration and arduous treating of public waters quells its pure authenticity.” Wasser recognizes that many bottled waters offer ‘boutique’ taste experiences, but unnecessary mineral infusions can add needless weight and heavy, sometimes, bitter tastes. “Not to mention the sustainability concern encompassing the bottles themselves,” she cautions. Of an approximated 58 billion bottles used annually, only 28 percent are recycled by processing centers.

    "Water is life. Life is water. It never stays still, much like the human mind.”

    Wasser prefers to source water herself and has spent nearly three decades traveling the globe to taste, survey and record her findings. “I continue to be inspired by the undying passion for an element that not only mystifies, but surprises me.” She describes, “Cooking with natural spring water that has a higher ratio of total dissolved solids, like water from Mulshi spring, located in the remote Sahyadri mountains in India, will make flavors stronger—bolder. I use this when cooking meats and heartier foods to add subtle complexities and distinguished nuances to the taste.” 

    Wasser insists upon using lighter, sweeter water—tantamount to a white wine—for vegetarian and seafood meals. “Water with a lower mineral content is perfect for crisp summer vegetables and fish because it hydrates well and penetrates food, adding a depth which is fresh and bright.”

    She gleefully recounts the surprise turn of events that created a true classic in her repertoire, Duck on Japanese Rice with Fresh Danish Green Peas in Wasabi Water Reduction, “It wasn’t until I discovered the young rainwater of Bhutanthat is low in minerals and free of nitrates which neutralize the gaminess of waterfowlthat I was charmed with this dish. It almost didn’t make it into the book, though now it’s one of my signatures,” she laughs, much to the blessing of my late uncle, I assure you!” 

    Indeed, Wasser’s devotedness to water sprung as a young child where she spent idyllic summers divining water from the challenging terrain of her late uncle's Muscovy Duck farm in the Bavarian village of Billerbeck. “It was there that I made water my lifelong passion,” she recounts. “Having the duck recipe in my book—in a sense—is an ode to my uncle.” 

    Splash of Wonder commences with recipes created during the days spent on her uncle’s farm, where she cultivated her now-acclaimed method for the perfect glass of water. “I knew deep in my psyche that a perfect glass of water existed. I was relentless in my pursuit— and now I can share this knowledge to enrich the palettes of the cognoscenti. Water is life. Life is water. It never stays still, much like the human mind.”


    "Drop by drop is the water pot filled. Likewise, the wise man, gathering it little by little, fills himself with good."
         ― T H E  B U D D H A 



    Lilibet Wasser’s Perfect Glass of Water 

    Ingredients | 1 ½ cups sourced spring, or young rain water, from a pure, biodiverse, verdant region 
    1. Using a glass funnel, carefully pour 1 ½ cups spring or rain water over oval stones (from a remote, unadulterated mountain stream) into a borosilicate glass vessel. 
    2. Strain the water into a second glass vessel through an organic, unbleached, natural fiber cheesecloth. 
    3. Let the water rest for 2 minutes, uncovered.
    4. Swirl the water several times and cover with a sheet of parchment paper, then with a piece of foil.
    5. Place the covered flask in a windowsill with ample sunlight (preferably an East facing bay window).
    6. Allow bright sunlight to filter through the glass for at least (but no more than) 30 minutes.
    7. Afterward, swirl the water several more times and place the vessel into a hand-dug, rock-lined cave with a maximum temperature of 64°F (17.8°C) and allow it to cool for at least 48 hours.
    8. Serve in a clear-glass mason jar or favorite clear-glass drinking vessel.
    9. Sip water and allow 12-15 seconds in between tastes to think about its life sustaining element.
    Serves 1
  • Evening in Repose: The Elegance of Soft Lighting

    A forceful gale bellows outside my residence. The children and house staff have retired to their quarters. I am settled on the sofa in the drawing room, illuminated by an individual candle flame, reading Immanuel Kant’s, Critique of Pure Reason. Kant’s provocative ideation and what I consider to be elegant lighting, shape an impeccable mise-en-scéne for a transcendent evening. Hence, I have decided to take this occasion to share with you my inspiration and criterion for impressive lighting. You too may benefit from luxurious light in your home. 


    "There are two kinds of light - the glow that illuminates and the glare that obscures."
         ― J A M E S  T H U R B E R, Author.


    Architectural Lighting Designer, Evelyn M.E. Pirs, obtained her Master of Fine Arts from Goldsmiths College in London. With 17 years in composing dynamic visual environments inspired by recollections of the sun dappled battlefields of the First Defenestration of Prague, Pirs has designed lighting for Lord and Lady Astor’s château —including their canine, Bromley's, three chamber loft, and Prince Pierre Casiraghi’s quaint 45,000 square-foot ski chalet, along with his private implanted rainforest. Her latest venture is shaping the lighting at London’s exclusive club, 5 Hertford Street, to evoke a sense of faith in one’s latent dreams. 

    Evelyn M.E. Pirs wearing a beloved headpiece worn by Edwardian actor, Guillame Simone, in his play, Le Lapin L'Entrecôte, 1906.

    “How must the light feel?” Pirs asks when considering a room. Her thesis-turned-book, Mastering the Sun: Harnessing Rays Into All Matters of Space, is the uncontested authority in lighting design. Her advice in moulding relaxing environments seems simple, yet powerful. “It’s imperative to utilize warm color temperature light sources which mimic the glow of candle light or the setting sun over the timbers of the hinterlands,” Pirs says. “Never accept color temperatures that exceed a dimmable halogen of 2700 Kelvin. It’s important that the light source and its enclosure cast a soft, diffuse light from a low level local source, such as a Marianne Brandt table lamp. If you can see any objects adjacent to your nearest position, the lighting is too bright.”

    Pirs deems over-lighting the home as brutal and vulgar. “Many a time, when walking into severely lit spaces, my first thought is, ‘Where are my sunglasses?’” She continues, “Most people don’t comprehend the grace of soft lighting. Everyone appears better in a rosy glow, even those of your friends who are less-fortunate looking. But it's not all about looks," Pirs maintains. “When reading for instance, your mind is able to focus more on the words if you lightly squint. Reading should always be done only by the light of the setting sun, or by a single candle, carefully inserted into a proper mid century teak, stone or Victorian brass candle holder.” 

    "A word to the wise," Pirs says, warning against the trend in LED lighting, “If LEDs are not of superb quality, it is likely they will not render colors properly. And no one wants to see their Rothko under unacceptable lighting!”
    “One must snuff the light of the candle in a single calming breath, as the French did in the days of Gaul.”
    Pirs respects tradition when it comes to illumination. She recounts that light should be treated with admiration and reverence. She cites renowned Edwardian thespian, Guillame Simone, who remarked after performing his gripping monologue, Objects Not Removed: “One must snuff the light of the candle in a single calming breath, as the French did in the days of Gaul.” Pirs notes, “Guillame understood that there is life in fire and light. He felt that his ceremonious treatment of flame prevented him from contracting the maladies of his age, although he eventually succumbed to tuberculosis in 1912.”

  • Restore | Finding Balance Post Holiday

    Assuredly as I write this, the fuss and flurry of the holidays has come to a close. Thence it is time once again to restore our dwellings to their anterior state, cleared away of the ornamentations, seasonal botanics, and other festive detritus scattered about. Suitably so, this is an exemplary time to initiate a ‘Pre Spring cleansing' of sorts —  to rid the home of needless objects that add clutter and create imbalance. This practice of decluttering, in its native form, is the basis of the minimalist movement that began in post WWII Western art and naturally influenced design and architecture. Reducing my home to only the necessary elements is a ritual that I perform each quarter as I have grown increasingly sensitive to objects in my adulthood. If an object is mass-produced and serves no needful function, it must be promptly removed by my maidservant. This protocol should extend into all areas of the home, including the vestibule, study, cook’s room, powder rooms and children’s quarters. 


    “Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.” 

         ― A N T O I N E   D E   S A I N T - E X U P E R Y , 1900, French writer, poet, aristocrat and journalist.


    In my discussion with design enthusiast, Birgit Maeve Piersön, she examines which objects in the home ought to be removed, and which are admissible to stay. 

    “Maintain a curator’s judgement,” says Piersön. “Survey the expanse of your entire dwelling and discard of all non-functional objects that are mass-produced, made of plastics or obstruct the view of valuable art pieces.” She adds, “No less than three, but no more than five non-functional objects are acceptable in each room, and it’s imperative that these objects are handcrafted only in the following materials: ribbed artisanal glass, raw brass, and other earthen materials such as clay, petrified wood, stone, or Italian white marble.” 

    “Only keep objects that maintain the natural color palette of your home,” Piersön says, pausing before reminding me that, “evergreen is the ‘new neutral.’” She continues, “Unrefined and hand-dyed textiles and fabrics, gathered from exotic regions, can be framed as artwork or sewn together by your chambermaid to create a tapestry of your journeys. They may also be fashioned into throw cushions that rotate seasonally.” 

    Piersön still minds the aphorism of her great aunt, Brijanna, who only allowed furnishings of a refined strictness into her Paris pied-à-terre. Piersön states that Brijanna believed that “no seat be wider than the width of one’s posterior, and not to be discouraged when those rumps and bottoms might be clinging to some extra earl grey chocolate cake with honey lavender glaze.” 

    “A decluttering of one’s home must be met in tandem with the decluttering of the human vessel.”

    Minimalist author, Beckford Phillipès, states in her essay, Expunging the Unnecessary: A Theoretical Analysis on the Order of the Home, that one must also rid the self of superfluous foods in the cook space. Phillipès advises that, “the pantry should remain bare, save for fourty-seven leaves of loose Chamomile tea, and one burlap satchel of each of the following: unpolished brown rice, locally foraged mushrooms, wild onion and three cloves of hand-dug garlic.” 

    “Naturally,” Phillipès concludes, “a decluttering of one’s home must be met in tandem with the decluttering of the human vessel.”