Nonalcoholic Drinks Go Their Own Way

Born in Mexica, Ridgewood, Queens-based sculptor Raul de Lara Is aware of the irony of his choice of medium: wood. The most rooted materials is a contrast with the precarity of his upbringing – he came to Texas with his parents at 12 o’clock and stays here under Daca.

A careful carver that often uses traditional American and Mexican techniques, the Lara, 33, banal household articles again – snow kicks, chairs and kicks, as well as the Monstera Deliciosa factory, a South -Mexican resident who has become an American cliché in the home plant – as comments about work and immigration.

His series “Tille Tools” evokes the exhaustion of invisible workers: a broom slouches against a wall; The shaft of a pitchfork hangs on a hook like a thrown garment. For “Soft Chair” (2022) a live-edge plate of Siberian elm has been formed in what seems to be a soft upholstered chair; “The Wait” (2021) and “The Wait (Again)” (2022) are round-back rockers covered with spikes that simulate Cactus sticks. (In 2023, Hermès gave a version of the chairs on behalf of the fluctuating horse of a child, resting with one of his lush saddles in front of the window of his Aspen, Colo., Winkel.)

The artist, who graduated from the University of Texas in Austin and has an MFA of Virginia Commonwealth University, likes to involve wood from places in his past: Texas; Chicago; Provincetown, Mass., Where he had a fellowship in the Fine Arts Work Center; And Mexico. Just like Martin Puryear and Wendell Castle, which he counts under his influences, the Lara-Wiens Second Solo Museum Exhibition works on 12 September on contemporary Austin opens with oven-dried wood (he prefers oak, walnut and ash), but also sometimes reveals green wood, whose interne mysteries. “With wood,” he says, “you can see the passage of time on his skin. No other material shows your time.” – Petala IronCloud

For non -alcoholic makers of wine and spirits, creating complex flavors has always been the primary challenge. “You try to imitate that alcoholic bite,” says Jens Christophersen, 45, the founder of Brooklyn Van Less than 0.5%A non -alcoholic consultancy and importer. Vintners often start removing alcohol from high-poem drinks with the help of vacuum distillation or enzymes and then add water or grape juice to re-balance the taste-a complicated process with mixed results. Now, however, a growing number of makers have a different strategy, instead instead instead to the green, woody, often scrapes of wild ingredients to give their products a lead. The Norwegian company VillbryggFor example, mainly uses advanced plants in melanges as an eng-the name is Norwegian for “meadow”-including vanilla-scented meadow-sweet leaves and flowers, as well as looikhijze, black tea-like fire blossoms and foliage. Including multiple parts of a single plant, “supplies different layers of taste, which create structure,” says the co-owner Vanessa Krogh, 34. The label based on Minneapolis Dry humor Takes a similar approach with its pippi blend, pushes white pine needles and branches into water and then mixes the infusion with yield, rice vinegar and salt. “The needles are clear and citrus -like, and the juice [from the twigs] Adds depth and nuance, ”says Peder Schweigert, 42, one of the co-founders of the brand. The label based in Copenhagen Muri Also uses evergreens, foraging Douglas Fir -shoots of forests in the city for his Sherbet Daydream. The best-selling mix, which passes clouds, has dried Woodruff, a Grant Cover Herb that “offers a somewhat marzepe taste,” said the founder Murray Paterson, 45. “I really believe that the future of non-Alc does not copy or make the alcoholic versions of existing drinks,” he says. “We have to make something new.” – Ella Riley-Adams

Mosaic, an early form of decorative art, came to Anatolia in the form of floors with smooth multicolored stones around the eighth century BC. A few hundred years later, the Romans realized that mosaics could rise walls in delicate outbursts made of small pieces of glass called Tesserae (the term is Latin for “cubes” or “dice”). But it was the Byzantines that perfected the use of gold and silver leaves in mosaics from the fourth century AD, almost everything with brilliant mirrored shards. Buccellati, the jeweler based on age-old Milan who is known for scoring and etching precious metals in a tulle-like web, celebrates the vessel in this latest incarnation of his Eternelle ring. In 18-carat yellow and white gold, set with 10 Carré-cut rubes, 20 faceted tsavites and more than 200 round brilliant diamonds, it is a luminous tribute to the wild embellishment of Byzantine style. Buccellati Mosaico Eternelle Ring, price on request, buccellati.com. – Nancy Hass

Photo -Assistant: Pietro Dipace

A large but intimate hotel in Milan

One of the largest new hotels in Milan, the nine -storey Maison Senato, designed by the architect Massimiliano Locatelli, only offers a handful of rooms. Open earlier this month in a post-war building on the northern edge of Milan’s Fashion Boutique-Heavy Quadrilatero della Moda, consists of five 1,800 square base, two-bedroom Full-Fleur apartments and a two-storey, 3,600 square foot penthouse with a penthouse on roof feet. De meubels zijn van opmerkelijke Italiaanse ontwerpers: Gabriella Crespi’s Bamboe-faillchairs, Gae Aulenti’s ballonvormige lampen en verschillende stukken uit Locatelli’s eigen lijn van Locatelli, waaronder solide gegoten waterzuiveringsstoelen, met veer gevestigde sofa’s en wolsnoer verstrikt in zachte wasjes van de kleur van de kleur 17e-eeuwse water. An underground floor has a spa and a gym, and close to the lobby is a cafe with only guests, as well as a spacious patio hidden from the neighbors covered by Laters with English ivy and jasmine. “The idea was to create the feeling that you are entering a room that has been here for a long time,” says Locatelli, 58, “as if a local Milan opened their own space for you.” Of around $ 4,200 per night; maisonenato.com. – Laura May Todd

The life of Casey McCafferty has followed a Picaresk process, so it is not surprising that the furniture and objects of the 35-year-old are enormously imaginative. Despite the development of an early interest in sculpture – he began to make peculiar car solid speech housings from fiber optics – the resident of States Island studied at the university. In the mid -1920s, the lives of the banker became tired, he stopped doing woodworking for architects in Los Angeles and experimented on the side with the anthropomorphic documents that are now his signature. Nowadays he works and lives in Fair Lawn, NJ, so that he lets his subconscious mind lead him while he cuts. On this coffin, abstract facial characteristics and geometric shapes seem to come dreamy from the wavy cherry surface. “I let it place myself,” he says about the piece. “For me that has always been the best way to tackle things.” Gaeta cabinet low, $ 24,000, casey-cafferty.com. – Nancy Hass

Photo assistant: Timothy Mulcare. Set Designer’s Assistant: Checka Lapierre

Calling bags on the runway