#modern farmhouse the netherlands

[hometoursandotherstuff]

Thanks to Ingek73 for sending this beautiful and unusual 2008 farmhouse in the Netherlands. It has 4 floors, 4bds, 2ba, 3.5ba, €1.589m / $1.735M. It is described as "an authentic country house with American allure."

This home is loaded with very high end finishes. An open entrance foyer has a lovely chandelier with a lampshade and a slate floor.

A lovely living room with a modern fireplace is cozier under a mezzanine. Isn't the fireplace unusual?

View of the living room from the mezzanine.

Next to the living room and double barn doors to the kitchen is a dining room.

What a great cabinet that takes up the entire wall.

The spacious kitchen has modern oak cabinetry.

Check out the stone sink.

And, look at the smart home system panel.

Beautiful tiles in one of the powder rooms.

The mezzanine is large and you can see the stairs going up to the other levels.

Desk handily tucked in by this staircase.

Large bedroom with an interesting beamed ceiling.

This is actually a tanning room.

One of the spacious full baths.

This bedroom at the top of the silo is fantastic, isn't it? Look at the lighting effects.

Lovely family room with a fireplace is completely accessible to the pool as well as having a great view of it.

Stairs to the lower level has an oar as a railing.

The stairs come down to this chic family room.

How classy is this glass doored sauna?

Unique shower room. Look at the bucket.

The wine cellar is a take on an ancient European cellar.

The patio and pool behind the house.

The barn is so cute. It could really be a flex space.

The barn has plenty of room for equipment.

Look at the garage. Very classy.

Cute vintage farm equipment decorates the property.

One of 2 ponds on the property.

[transparenttriumphcollective]

“Meeting Modern Needs with Timeless Quality: The Evolution of ATAG Products”

In today's fast-paced world, where trends come and go like the changing seasons, one name stands tall in the kitchen appliance industry: ATAG. Known for their dedication to quality and innovation, ATAG has been a staple in kitchens across Europe for decades. Let's dive into how this brand has evolved over time to meet modern needs while maintaining its commitment to timeless craftsmanship.

A Legacy of Excellence

ATAG was founded in 1948 in the Netherlands, where it quickly gained a reputation for producing high-quality cooking appliances. From ovens to hobs, every product is crafted with precision. ATAG’s philosophy revolves around creating kitchen products that stand the test of time. This isn’t just about longevity; it’s about delivering satisfaction in each meal prepared.

What sets ATAG apart is their focus on user experience. They don’t just make appliances; they create solutions for everyday cooking challenges. With features designed to make cooking easier and more enjoyable, ATAG products bridge the gap between traditional values and modern practicality.

Innovation Meets Tradition

Over the years, ATAG has embraced advancements in technology while staying true to its roots. Today’s consumers are looking for efficiency without compromising quality. In fact, research by the European Kitchen Appliance Association indicates that nearly 70% of consumers prioritize energy-efficient appliances that also offer versatility and ease of use.

ATAG responds with products like their advanced induction hobs and multifunctional ovens. These aren’t just gadgets; they’re tools that allow users to explore their culinary talents fully. Imagine being able to prepare a gourmet meal at home with the same level of sophistication you’d find in a restaurant!

Smart Features for Smart Kitchens

As homes become smarter, so do kitchen appliances. ATAG has incorporated smart technology into many of its products. Imagine controlling your oven or hob from your smartphone! It’s like having a sous-chef at your fingertips.

These smart features not only enhance convenience but also help reduce energy consumption—an important consideration for today’s environmentally conscious consumers. By integrating technology into their designs, ATAG ensures that their products remain relevant in an increasingly tech-savvy society.

Design That Speaks Volumes

When you think about kitchen appliances, aesthetics often take a backseat to functionality. Not with ATAG! Each check this out product is designed with heating boiler an eye for elegance and style, making them focal points in any kitchen setup.

Their sleek lines and modern finishes complement any décor theme—from minimalist to rustic farmhouses. It’s all about blending form with function so that homeowners can take pride in both their cooking capabilities and the visual appeal of their kitchens.

Customer-Centric Approach

ATAG understands that customer feedback plays a crucial role in shaping product development. Listening to what users want helps them stay ahead of the curve, adapting offerings based on real-life experiences and needs.

This customer-centric approach fosters loyalty among users who appreciate manufacturers who truly listen. When customers feel valued, they’re more likely to recommend products—creating a community around shared heating boiler experiences in culinary arts.

FAQs About ATAG Products

1. What types of appl

[psatalk]

Moving muesli from magical to mainstream

When I was much younger, muesli was just a very expensive breakfast cereal. Although generally associated with wealthier friends and colleagues, ‘Swiss Familia’ was also a shortcut to being well-fed. Whenever one was in a supermarket that carried it, one was tempted to buy it. The back-to-nature crowd, of course mixed up their concoction of oats, nuts, raisins, berries and desiccated or dehydrated fruit themselves. At one time, there was a shop in Manali that sold homemade

Kellogg

 that we would bring back to the big city. One of the first branded muesli products packed in a box and distributed to special food stores across the country emanated from a farmhouse in Bengaluru. If I recall correctly, it was promoted by a former Bollywood actress.

For much of its history, muesli has not only been seen as a wonder food but also as a cure for just about anything. Around 1900, Swiss physician Dr Bircher-Benner, known as the first modern advocate of this whole-food nutrient-rich mixture, thought that most illnesses affected by gut health, immunities and cardiovascular functions, could be alleviated if not cured by exercise and a more nutritious diet. He was a forerunner of the currently widespread profession of functional doctors, who cure everything from blood pressure to high sugar and obesity with a combination of exercise and a holistic diet.

The first mass-produced muesli was introduced in 1959 by Swiss company Somalon, (now known as bio-familia). It used the Bircher-Benner recipe and was soon exported to Germany, Austria, England, the Netherlands and the US. In the 1970s, the company introduced ‘crunchy muesli’, similar to today’s granolas with added sugar and oils – specifically in response to American taste preferences for sugary convenience foods.

Needless to say, muesli has caught on, with many local and global brands offering it as a breakfast convenience food and even as a desi alternative to processed, sugar-coated cereals that come in various shapes and colors. Conventional breakfast cereals that have caught on, particularly amongst the Indian urban upper middle class, have generally faced a tough battle against the traditional favourites of poha, parathas, idlis, dosas, uttappams and even the humble roadside bread pakora.

At first, there was resistance to conventional processed cereals because of the exorbitant price of global brands in fancy packaging, but local alternatives soon emerged in simple flexible pouches. With prosperity, and the increasing obsession with fitness, weight loss and better nutrition, the magical muesli came into the markets as a branded, healthier and more expensive convenience breakfast option. As supermarkets and hypermarkets arrive and proliferate, an explosion of muesli options have arrived and are reaching the kirana store shelves.

The muesli mania amongst food brands and start-ups has become competitive. Organized brands are attempting to bring the prices of this holistic and special mixture within the economic reach and taste preferences of a country that is full of traditional and more fascinating options but which require a working kitchen and considerable effort. Apart from the change in lifestyles that demand instant and convenient but more nutritious solutions, the cultural impetus for organic, vegetarian and coarse grains such as ragi has further fueled this category.

In an up-market hypermarket in Delhi, one can find at least 10 brands and more than 20 varieties of muesli – from chocolate-coated, to added sugar-free to sugar-less. The next steps are visible – to maintain the convenience while offering this special holistic in variations that range from with and without a particular ingredient to address allergens and sugarless varieties that address concerns such as rapidly growing diabetes.

As the muesli category catches on, and the flavors and options multiply, packaging has assumed a more important role. The need to project the new variants and special ingredients on the shelf increases as does the need for coming up with more price-competitive and sustainable packs in a choice of sizes, formats and price points.

Thus one now sees the plain plastic jars with labels and boxes with plastic bags replaced by attractively printed pouches with barrier properties as muesli becomes a mainstream staple of the holistic diet. However, to retain its mystique as a natural and holistic nutrient-rich fitness product, the plastic packaging will have to be recyclable and perhaps also reclosable in a way to keep out moisture. Nevertheless, the high value of the product and its premium positioning, allows food companies to use it as an example of organic high nutrition with convenience delivered in the new sustainable packaging to come.

[karinesauzedde]

Piet Mondrian (Néerlandais, 1872-1944) Ferme près de Duivendrechtvers 1916 Huile sur toile, 85,5 x 108,5 cm Kunstmuseum Den Haag, Pays-Bas #pietmondrian #ferme #farm #farmhouse #Netherlands #huilesurtoile #oiloncanvas #figurativeart #figurativepainting #figurative #house #trees #treesofinstagram #treescape #reflection #arts #art #artstagram #artsofinstagram #artsoninstagram #artofinstagram #artoninstagram #modern #modernart #modernartist @piet.mondrian_ @piet_mondriaan_ @kunstmuseum.nl @mondriaanhuis @mondrian_generator @piet_mondrian_ https://www.instagram.com/p/CRhQ7ZBLLDe/?utm_medium=tumblr

[abhigmi]

Europe Wooden Decking Market Revenue to Surpass USD 5.5 Billion by 2027

Europe wooden decking market forecast is expected to register a considerable pace, as these components are a fairly common sight in European luxury homes. Deck décor is a crucial aspect defining the aesthetics of yards, fences, flooring, and exteriors. The natural appearance, pleasant smell, easy maintenance, high durability, and availability of an array of woods is driving demand for wooden decks in outdoor spaces.

With the COVID-19 pandemic restricting outdoor activities, designers, outdoor furniture makers, enthusiasts, and homeowners alike have been planning to make the most of outdoor spaces such as patios, porches, backyards, balconies, terraces, gardens, and swimming pools. When it comes to outdoor deck ideas, no other material adds to the beauty of an outdoor space as wood. Being a natural material, considerable aesthetic value is attached to this traditional alternative.

Get sample copy of this research report @ https://www.graphicalresearch.com/request/1748/sample

With timeless décor trends such as the rustic outdoor décor ideas gaining traction amongst Europeans, consumers are more willing to spend on tropical timber and timber products. The Netherlands, Germany, Belgium, and France are amongst the leading importers of timber, powering Europe wooden decking industry forecast. At the same time, the availability of cheaper wood materials such as softwoods has been encouraging rustic outdoor décor ideas amongst consumers.

Pressure-treated wood has been commanding considerable attention from deck designers and homeowners. The segment is likely to represent around 45% of the total Europe wooden decking market.  This is because of the superior weather resistance and enhanced durability of this type of wooden deck. The production of pressure treated wood involves injection of preservative chemicals through a vacuum-sealed pressurized tank. This treatment is essential in making the wood rot resistant and boosting its life to around forty years.

In the current pandemic scenario, the residential sector is likely to surpass the commercial and non-residential sectors in terms of revenue generation. During 2020, the residential sector claimed over 70% of the overall Europe wooden decking market share, powered by the growing urbanization extending several metropolitan cities in the region. The European construction sector is of significant strategic value to the region, as it represents over 9% of the total gross domestic product (GDP).

Although 2020 bore witness to heavy losses and a decline of over 11% of Europe wooden decking market due to the COVID-19 pandemic, several new green structures might emerge across the region as mass vaccination can potentially stabilize the economy. New construction projects have been incorporating wooden decks in English cottages, French chateaus, Swiss chalets, and modern farmhouses, adding to Europe wooden decking market size.

Request for customization @ https://www.graphicalresearch.com/request/1748/customize-this-report

Metsa Group, Koppers Inc., Top Timber SL, Alfresco Floors Ltd., The Millboard Company Ltd., Buyrite Enterprises Ltd., EasyDeck, Thermory AS, and Iperwood SRL are some leading wooden deck companies in Europe.

Table of Contents (ToC) of the report:

Chapter 1   Methodology & Scope

1.1    Research methodology

1.2    Market estimation & forecast parameters

1.3    List of data sources

1.3.1    Primary

1.3.2    Secondary

Chapter 2   Executive Summary

2.1    Europe Wooden Decking market snapshot

Chapter 3   Europe Wooden Decking Industry Insights

3.1    Industry coverage

3.2    Industry size and forecast, 2017 – 2027

3.3    Industry ecosystem analysis

3.3.1    Vendor matrix

3.4    Future trends

3.4.1    Innovation landscape

3.5    Raw material analysis

3.6    Regulatory norms & directives

3.7    Drivers & restraints

3.7.1    Drivers

3.7.2    Restraints

3.8    Application growth mapping

3.9    Industry analysis: Porter’s

3.10    Competitive benchmarking

3.10.1    Strategy dashboard

3.11    PEST analysis

Browse complete Table of Contents (ToC) of this research report @ https://www.graphicalresearch.com/table-of-content/1748/europe-wooden-decking-market

About Graphical Research:

Graphical Research is a business research firm that provides industry insights, market forecast and strategic inputs through granular research reports and advisory services. We publish targeted research reports with an aim to address varied customer needs, from market penetration and entry strategies to portfolio management and strategic outlook. We understand that business requirements are unique: our syndicate reports are designed to ensure relevance for industry participants across the value chain. We also provide custom reports that are tailored to the exact needs of the customer, with dedicated analyst support across the purchase lifecycle.

Contact Us:

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Corporate Sales,

Graphical Research

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[aluoka]

Monoprints give some kind of necessary state when everything around you ceases to worry and you understand that any touch is a necessity, just like the weather, these products are made in a free flow, what comes to mind and instantly recorded without thinking about the aesthetics of technique

Another artist whom I just adore, his latter's works are full of beauty, harmony and contentment, but if you pay attention to his first works, they are amused with such painful features of his woman, they are almost horrible monsters, and the artist raised a serious issue of our society. Nevertheless, I am in a different situation for me, and I need to look for others, I cannot continue the same abstract technique in our world, because the world has changed, and I have to find other ways of showing the problem because the abstract has turned into a rather insignificant subject and further not to say anything to the spectator, the viewer perceives it as a matter of the interior or decorator design beauty in the house Through the abstract became much difficult to transfer my emotions and feelings and therefore I try to achieve something new

«Willem de Kooning was a renowned American-Dutch painter that helped form the Abstract Expressionist movement. His gestural works—which were loosely based on figures, landscapes, and still lifes—helped establish a distinctly American style of painting. Perhaps De Kooning’s most famous series were his Woman paintings, inspired in part by Pablo Picasso’s work, they featured a wholly original approach to deconstructing the figure. “I don't paint with ideas of art in mind. I see something that excites me. It becomes my content,” the artist once explained. Born on April 24, 1904 in Rotterdam, Netherlands, De Kooning went on to study art in his hometown before traveling to the United States as a stowaway in 1926. He first lived in Hoboken, NJ, where he worked as a house painter and carpenter before settling in New York in 1927. In New York, he made a living as a commercial artist for window displays and fashion ads. A major turning point in his career was meeting Arshile Gorky, whose influence and friendship helped solidify De Kooning’s maturation as an artist in the 1930s. The artist’s wife Elaine de Kooning went on to become a notable painter in her own right. By the mid-1950s, De Kooning had moved away from the figure with works like Interchange (1955), which more closely resembled a landscape. Though the artist had fallen from the spotlight by the late 1960s, he continued to create distinctive works, living out on a farmhouse in Long Island. De Kooning died on March 19, 1997 in East Hampton, NY. Today, his works are held in the collections of The Museum of Modern Art in New York, the Art Institute of Chicago, the Tate Gallery in London, and the Kunstmuseum Basel, among others.»

http://www.artnet.com/artists/willem-de-kooning/

[architectnews]

French Houses: Residential Buildings in France

French Houses, Residential Buildings France, Homes Images, Architecture Project Photos, Designers

French Houses: France Properties

New Residential Buildings in France, Europe – Contemporary Properties

post updated 2 Jan 2021 with new properties & info

New French Houses

Contemporary Residential Architecture in France

29 Oct 2020 100% wooden house, Château de la Bourdaisière, Montlouis-sur-Loire Design: LOCAL and Suphasidh Studio photo : Atelier Vincent Hecht 100% wooden house Montlouis-sur-Loire LOCAL and Suphasidh Studio build a prototype of a 100% wooden house in the park of the Bourdaisière Castle.

2 Aug 2020 House H2, Corsica House H2 on Corsica

25 June 2020 Luxury Villa in Nice Sean Connery South-of-France Villa, Nice

31 May 2020 MON House, Montpellier, south of France Design: (ma!ca) architecture photo : Ivan Mathie MON House and Brick Extension Montpellier This new French property with its large north-facing garden, had very little natural light and the living space on the ground floor was segmented into too many sections with low ceilings. Load-bearing walls and partitions have been removed in order to create a homogeneous and airy place.

26 May 2020 Around the Net House, Courdimanche, Val-d’Oise department, Île-de-France, northern France Design: Martins | Afonso atelier de design photo : Mickaël Martins Afonso Around the Net House in Courdimanche In this fascinating residential property, space is used but has yet to be lived in. The design captures sensations and sequences.

14 May 2020 BON Farmhouse, Saint-Clément-de-Rivière, Hérault department, Occitanie region, South of France Design: (ma!ca) architecture photo : Mickaël Martins Afonso BON Farmhouse in Saint-Clément-de-Rivière This large French farmhouse proeprty is sited on a vast plot on the outskirts of a village. The residence had recently undergone a clumsy renovation, which deformed the classic farmhouse archetype and the owners did not feel at home.

28 Apr 2020 Contemporary House in Castries, Hérault department, South France Design: (ma!ca) architecture photo © Julien Kerdraon TRA House in Castries, South France In the historic centre of a well-preserved village, opposite the church, a wine barn and its adjoining house were to be restructured in order to create an intimate and special living environment.

1 Apr 2020 Mayflower Apartment Building in Nantes

New French Houses 2018 – 2019

30 Sep 2019 Le Pine Villa, Saint-Tropez, French Riviera, Provence-Alpes-Côte d’Azur, southeastern France Architects: SAOTA photo : Adam Letch Modern Villa in St Tropez This modern French villa is a family summer house in Saint Tropez, a contemporary interpretation of traditional Mediterranean Riviera architecture.

10 Sep 2018 Dortoir Familial Ramatuelle House, Ramatuelle, Var department, Provence-Alpes-Côte d’Azur region, southeastern France Design: NADAAA, Architects image courtesy of architects office New Var Property For centuries, the enclosed courtyard has been overlaid on various geographic settings—each time transformed according to the climate, rituals, and construction practices of the place. A vehicle to capture the outdoors within the building, the courtyard is defined by its interiority.

26 Mar 2018 Glass House on the Cap d’Antibes, Provence-Alpes-Côte d’Azur region, southeastern France Architects: David Price Design photograph : Hervé Hôte House on the Cap d’Antibes, French Riviera British designer David Price, who works out of offices in Provence and on the Côte d’Azur, together with his Anglo-French-American team, has completed a show-stopping ‘Glass House’ for a British client on the Cap d’Antibes.

9 Jan 2018 St Tropez Villa, Saint-Tropez, Var department, Provence-Alpes-Côte d’Azur region, southeastern France Architects: SAOTA photograph : Adam Letch St Tropez Villa Situated just above the beach of Plage de Pampelonne and a stone’s throw from Le Club 55 – the embodiment of the St Tropez lifestyle – the location called for seamless indoor-outdoor living.

New French Houses 2015 – 2017

17 Dec 2017 GOM House, Gignac, Hérault département, Occitanie region, southern France Design: (ma!ca) architecture photograph : Julien Kerdraon GOM House in Montpellier The villa was built in the 90’s. Its floor plan presents very particular proportions: a 15 metres long entrance hall which leads inside the house and a linear perspective view opening up to the garden.

25 Nov 2017 Off Grid Villa in Camargue, The Camargue, South of France Architect: Blueroom, The Netherlands image © Blueroom Off Grid Villa Camargue The team researched the design potential for building a patio villa on a 1.000 m2 site, in a region in the south east of France. The Client requested a striking, contemporary design that blends into its natural context.

27 Jun 2017 Chalet Whymper, Chamonix-Mont-Blanc, eastern France Design: Chevallier Architectes photograph : Solène Renaud Chalet Whymper in Chamonix-Mont-Blanc Chevallier Architectes took on this project when it was close to being abandoned. There were many constraints, but the architecture team studied the file and proposed solutions that would make it possible to successfully complete the construction, including optimization of the space.

7 Jun 2017 The Fishermen’s House, Bonifacio, Corse-du-Sud department, Corsica Design: Buzzo Spinelli Architecture photograph : Serge Demailly The Fishermen’s House in Bonifacio The original commission aimed for a fishermen facility made of 20 workshops. But after in-depth analysis of the site, its history, and the municipality needs; Buzzo Spinelli Architecture proposed to enhance the program by adding a sales area and an urban space.

15 May 2017 SPE House, Spéracèdes, French Riviera – Var department in the Provence-Alpes-Côte d’Azur region, southeastern France Design: ELLENA MEHL Architects photo © Hervé ELLENA New House in Spéracèdes Built on the side of a hill, the landscape follows horizontal lines, formed by terraced gardens and stone walls also called “restanques” in the south of France.

9 May 2017 Quiet House in Gignac

10 Feb 2017 House H2 on Corsica

5 Jan 2017 Dag Cottage in Chamonix-Mont-Blanc

18 Mar 2016 Villa M1 in Hyères les Palmiers

17 Feb 2016 House RT 2012 in Riec-sur-Bélon

11 Feb 2016 XS Extension of a house in Saint-Didier-au-Mont-d’Or, commune in the Metropolis of Lyon, Auvergne-Rhône-Alpes region, eastern France Design: PlayTime / AA – Playtime Agence d’Architecture photograph © Studio Erick Saillet House in Saint-Didier-au-Mont-d’Or On paper the equation is simple: a 45 m2 extension to a house to accommodate a comfortable kitchen and living area. In practice, the challenge was much more complicated. How to extend a large 19th century house without betraying its character or resorting to imitation or superficial stylistic effects, whilst keeping the right distance?

12 Jan 2016 Chalet Soleya in Les Houches, Coupeau, Les Houches, Haute-Savoie department, Rhône-Alpes region, south-eastern France Design: Chevallier Architectes photo from architect Chalet Soleya in Les Houches This project started with a mountain guide’s home. Because the house was originally self-built, it had a unique soul.

6 Jan 2016 Bioclimatic House in the Gulf of Morbihan, Baden, Brittany, North West France Design: Patrice Bideau photograph : Armel Istin Bioclimatic House in the Gulf of Morbihan

More Contemporary French Houses online soon

French Homes – visit our archive page for previous posts on contemporary French properties

Location: France, Europe

New Buildings in France

French Architectural Projects

French Architecture Design – chronological list

French Architecture News

French Architect studios – design firm listings

French Housing

New Houses

French Architecture

French Buildings

Comments / photos for the Contemporary French Residential Buildings page welcome

Website: France

The post French Houses: Residential Buildings in France appeared first on e-architect.

[agilenano]

Agilenano - News: Best Decorative Storage Boxes Michaels

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[jeremystrele]

How To Do ‘Country Style’ With A Contemporary Edge

How To Do ‘Country Style’ With A Contemporary Edge

Interiors

Lauren Li

The incredible country kitchen at Wombat Barn in Daylesford. Photo – Eve Wilson. Styling – Annie Portelli.

The ‘country’ look is familiar, warm and above all, it’s comfortable. After all, regional and rural homes are often spaces that invite us to slow down, embrace a change of pace, and reconnect with what’s really important.

But country style needn’t be old fashioned. Today, we’re embracing a cool, clean, more refined version of country living. We’ve pulled together an edit of carefully curated spaces, designed for contemporary rural life. They are bright and inviting, often with an element of the unexpected.

I’m inclined to think that the current popularity of contemporary country interiors represents a craving for familiarity and authenticity. There’s a real emphasis on ‘honest’ materials, such as solid timber surfaces and real stone benchtops, and evidence of time-honoured craftsmanship. Imperfections are totally okay in these spaces – in fact, they’re to be embraced.

EVERYTHING is on display in the home of Kara Rosenlund and Timothy O in Brisbane! Photo – Eve Wilson. Styling – Lucy Feagins.

By keeping the kitchen all white, the gorgeous objects collected by vintage queen Lynda Gardener are the hero. Photo – Marnie Hawson.

An open shelf made of marble elevates humble kitchen objects in the Palm Beach Home by Alexander and Co. Photo – Felix Forest.

This isn’t a ‘display kitchen’ – it’s a kitchen to cook up a storm in. Treasured vintage kitchen pieces and handmade ceramics are on display, giving this space soul and personality. Photo – Beth Kirby.

Kitchens On Show

Unlike minimalist contemporary kitchens that aim to hide everything ‘kitcheney’ behind cupboard doors, country kitchens are about having everything on show. At the same time, the contemporary country kitchen is a little more refined than traditional ‘Hamptons’ style.

These kitchens are designed to be used and loved. Here, the very ‘things’ a kitchen needs to be functional are displayed. We see open shelves with functional ceramic pieces on show, and under bench storage open, with pots and pans within easy reach.

Even the appliances are often on show, rather than integrated, with large free-standing ovens taking centre stage, often with an equally large feature rangehood.

Amazing texture in Emma Lane’s home, with rendered walls, buttery leather chairs and a divine fluffy rug! Photo – Caitlin Mills. Styling – Annie Portelli.

Natural textures combine for a harmonious room; shearing upholstered armchairs sit on a vintage silk rug with wood floors and an antique wood buffet. Project by Amber Interiors. Photo– Tessa Neustadt.

The rough, rustic timber in this kitchen is balanced with elegant marble and fresh white walls. Byron Bay Abode, The Lodge. Photo – Jessie Prince.

Beautiful contemporary textures, with a hint of rustic glam in the kitchen at The Barn at Ross Farm. Photo – Eve Wilson.

Texture, Naturally

In the contemporary country home, finishes are designed to develop a beautifully worn patina over time; think soft buttery leathers, characterful dining table tops and hand-scraped timber floors. These finishes tell stories, they have history and are beautiful just as they are. We’re not looking for that ‘fresh out of the box’ feel, instead, we want an ‘already lived-in’ look.

Look for ways to combine texture, rather than applying colour; a vintage silk rug laid over tumbled limestone; a plump linen sofa with a chunky undyed wool blanket.

They key to pulling off this modern country look, as opposed to an overstuffed country style, is balancing rustic finishes with clean, crisp details. So – blending rustic timber with sleek marble in the kitchen, or offsetting textured surfaces with white walls.

Whatever you do, aim for comfort. A space should never feel so perfect and precious that you can’t make yourself comfortable.

The wonderfully eclectic home of stylist Lynda Gardener. Photo – Eve Wilson.

Lynda ‘Queen of Vintage’ Gardener always hits the mark without looking too fussy. This space is layered with Armadillo rugs and a sofa piled with cushions. Photo – Marnie Hawson.

Who wouldn’t love to rummage through the vintage ‘out-takes’ of Lynda Gardeners collection? This artwork is perfection on this dado height painted wall, combined with the Major Minor bedlinen. Photo – Marnie Hawson.

The home of Melissa Harris nails the ‘contemporary country’ look (in Melbourne’s Eastern suburbs!). Green Pendant lights by Freedom, recycled elm timber table from Provincial Home Living, leather chairs from West Elm, and vintage chair with linen seat from Hunted Antiques. Vintage church pew from Violets with Patina stall at The Vintage Shed. Photo – Caitlin Mills. Styling – Annie Portelli.

Vintage Is Key

Incorporating antique pieces instantly gives a space soul, and is key to contemporary country style. We’re looking for a rustic console table at the entry, a sweet side table with turned legs, or a dining table that bears the marks of many dinners past. We’re looking at simple shaker-style or farmhouse pieces that can be picked up from antique dealers, or if you’re lucky enough, an op shop. The odd mid-century piece works well to tighten up the look, but steer clear of anything post-1970s. Look for worn leather armchairs, armoires and milking stools, and avoid chrome, acrylics and bright colours.

I can hardly think of another person that incorporates vintage pieces into interiors better than Lynda Gardener. This isn’t a passing trend, rather, vintage style is at the core of Lynda’s design aesthetic, and remains as relevant as ever.

A contemporary wall lamp elevates an otherwise pared back space at The Dairy on Ross Farm. Photo – Eve Wilson.

What a way to make an entrance! This house in Malibu by Amber Lewis is exactly why she leads the way with this look. It has the elements we know true to ‘country style’; the hand-scraped wood floors, vintage floor rug and antique pieces, but when combined with the Lindsey Adelman light, this space takes on a whole new feeling. Project by Amber Interiors. Photo– Tessa Neustadt.

An innovative way to incorporate modern lighting. Photo – Jessie Prince.

The mountain house in LA designed by Emily Henderson (in collaboration with the loyal readers of her blog) aimed for ‘rustic-modern-Scandinavian-contemporary-minimalist-kitchen.’ vibes, in her words. The striking light fitting by Katy Skelton does a lot of the heavy lifting here! Photo – Sara Ligorria-Tramp.

These simple pendant lights add to the clean lines in this kitchen by Adelaide-based Enoki Design. Photo – Jenah Piwanski.

Lighting Is Lit

Another major factor in creating a cool modern country style (and avoiding out-dated ‘grandma’ vibes), is lighting. Lighting needs to be contemporary to elevate this look, and tighten up the room.

Choose lighting that presents a contemporary contrast to the textured materials and vintage furniture in your space. It’s best to avoid traditional, ‘old world’ style lighting. Look for the unexpected; metallic fittings give an elegant feel to a room, and an asymmetrical form makes the space feel dynamic.

Living area featuring sofa from Scout House, chairs, stool and rugs from markets and auctions, rope light from the Netherlands. Photo – Eve Wilson for The Design Files. Styling – Annie Portelli.

This loft bedroom is the definition of contemporary comfort. I just want to lie on that bed and roll off onto that lush rug! Project by Emily Henderson. Photo – courtesy of Emily Henderson.

This has got to be the dreamiest, cosiest bedroom EVER! Jersey Ice Cream Co has created a room that is humble and at the same time luxurious. Photo – Nicole Franzen.

A Word on Comfort

Creating true comfort in our homes seems obvious, but comfort can be overlooked, as there are so many other requirements we’re considering.

When creating a contemporary country look, comfort is at the core. Bring it on, with plush sofas and banquette seating, fluffy or textured rugs underfoot, *extra* cushions wherever you can squish them, and, in the bedroom, a grand (perhaps four-poster!?) bed!

Not only do we want to feel comfortable, we also want comfort on the eye. That’s why these spaces are harmonious, the colours are natural and tonal, not contrasty or jarring – everything just makes sense.

[cheesywhiskers]

Naarden, Netherlands, and surrounding countryside

I was staying in Amsterdam, and it was A Lot. So over the weekend, I took some public transit road trips. This one was to Naarden, solely because it looked cool on the map.

The trip out took a long time, because I was depending on paper maps and made some bad choices. The bus portions of trip were delightful, though, cruising through flat farmland, sunlight slanting through the trees, fat sheep grazing. The perfect antidote to city burnout.

I arrived in the more modern part of Naarden, and walked a couple miles to the fortified old city center. It was a nice little town, in what I've decided is the model for all nice little Dutch towns: kebab shop, plenty of trees and pedestrians, modestly sized buildings, a mix of new and old. Just before I crossed the bridge over into old town, I encountered a large fenced enclosure containing two emu and several small, unidentified ungulates. There was a little sign saying not to feed the animals, but it was otherwise completely isolated from anything that might give it context: no signage, no farmhouse or other buildings nearby. One each emu and ungulate came over to visit with me, but they weren't talking.

It's hard, from ground level, to see the star shape of the fortifications, but they rise impressively above the wide moat. The one-lane road in had an open gate and empty guardbooth, so it's still defensible.

The tiny old town inside the fortifications was tiny, and old. It's very much still a residential area, with perfectly maintained buildings, plenty of street parking, a small school, a home furnishings shop, and a few cafés and pubs. And a huge, imposing church in the center of course. I only saw one other little group of friends that looked to be tourists, everyone else seemed like they were just hanging out in their own neighborhood, on a Sunday afternoon. Buildings were low, mostly painted in traditional dark, high-gloss colors. In addition to brass doorknockers, many had little, sculpted metal shutter holders. 

Of the two museums Google maps showed, one was closed for renovations, and the other I couldn't find, so I only got to absorb the culture I could find on the sidewalks. The best thing I found, really in all of the Netherlands, was an odd shop (de Oude Markt). It looked as if it had existed since the last rebuilding of the city in the 1600s, perhaps under the same proprietor. He was very old, spoke not a word of English, and fit perfectly among the crowded wares. The ceiling was entirely hung with pots and kettles. Shelves held maps, carvings, glassware. Picture frames, both with and without contents, hung in clusters from the wall. Nothing made sense and it was perfect. Overcome with joy, I bought a coffee carafe shaped like a gourd, with little sculpted vines around the stem at top.

[inexpensiveprogress]

Oliver Hill’s other houses.

When I think of the houses designed by Oliver Hill I imagine either the architectural wedding cake houses of the Essex coastline or Agatha Christie’s Poirot where many of Hill’s houses where used for external shots for the TV series.

 Oliver Hill - Design for a home in Finton, Essex.

Hill was born in 1887 and would have observed the fashion of Arts and Crafts. The early houses he designed are almost post-arts and crafts, they look like country houses people lived in, not William Morris fantasy castles. They are softer and less regimented. He soon became known as an architect for the rich, designing country houses.

Cour House

 Cour House, Carradale, Kintyre, Argyll

Above is Cour House, Kintyre.  Built between 1921-2, it is a large house in three wings. The walls are whinstone rubble walls. There is a Library to the East of the Hall and a long rear wing to the West.

Fox Steep

 Fox Steep, Highfield Lane, Holly Cross, nr Wargrave, Reading, 1925

In 1922, the Site was purchased by Mr & Mrs Donald van den Bergh, who were looking for a place to build a weekend retreat. Donald was the son of the  Industrialist Henry van den Bergh, born in Oss in the Netherlands, moved to London in 1870 to work in the family margarine business. This merged with Lever Brothers to become Unilever in 1929.

The Fox Streep site was named ‘the Foxes’ at the time of purchase and was apparently being used as a small Inn. The Van den Bergh’s appointed Oliver Hill as architect to create a cottage orné with all the conveniences of a small-scale country house. Gertrude Jekyll was consulted for advice on the layout of the gardens and Albert van de Velde completed the interior decoration. 

 Oliver Hills plans for Fox Streep, c1922 

The house was originally supplied with both gas and electric, with the facilities for storing gas and plant for generating electricity situated in the external garage buildings to the north. A chauffeur’s flat was built next to the garage and above the garage there was an indoor playroom, known as the ‘sunshine room’ and quoit court to provide a space for activity for the van den Burgh’s daughter, particularly at times with poor weather.

The van den Burgh’s permitted the house could be used for refugees during the second world war, after which the family sold the property. †

Cock Rock

 Cock Rock, Croyde, North Devon, 1925 - Front of the property

Designed by Oliver Hill and built c1925. The house burnt down in 1943, leaving a few remnants around a tall stone chimney and a separate thatched pump house. A new house was built in 1953, also designed by Oliver Hill and slightly SW of the first one. Here the images are of the 1925 property. I love how the house is in three parts with the dramatic chimneys. The house is thatched and with so many chimneys it might have also been the reason of its downfall in 1953.

Part of the charm Hill has with many of these designs is understanding the architectural vernacular of the area. Before house design was more industrialised areas did have a tone and style of housing of their own. The Fox Steep house has cleft wood panelling. Here the Devonshire house has white painted walls and a slightly irregular shape roofline. 

 Cock Rock, Croyde, North Devon, 1925 - Front door

 Cock Rock, Croyde, North Devon, 1925 - rear of the property

 Cock Rock, Croyde, North Devon, 1925 - To the side

The last house in my list (below) is a good example of how the eye can be fooled. At a first glance this house looks like it has been standing for hundreds of years but in fact it was built from scratch in 1925. It is the most beautiful of all the early designs by Hill I have seen. Traditional but with much more light coming into the building. It reminds me in some ways of the modernism that Frank Lloyd Wright was also trying to subvert from traditional architecture.

Prinsted Farmhouse

 Prinsted Farmhouse, Sussex, 1924

This house was recently built for an invalided officer who is working a small farm in West Sussex. The picturesque traditional manner in which it has been built was with oak timbering and brick nogging above. The found floor is laid with white elm boards, and the doors are simply constructed of elm cross boarding. Elm was also used for the staircase. The floor contains the living room, workroom, office, and kitchen.

Dr. Lindley Scott has filled the charming house, designed by Mr. Oliver Hill, with choice furnishings; and the garden is a miracle considering the confined space. This consists in a long strip following the old course of the Westbourne River ‡

† Fox Steep House - Wokingham Borough Council ‡ The Smaller House - Architectural Press, 1924

[hometoursandotherstuff]

Thanks to Ingek73 for sending this delightful 1947 brick farmhouse in the Netherlands. 6bds, 4ba, €1,200,000 / $1.317M.

Large entry with a space to hang outer clothing.

Guest powder room on the first level.

In a farmhouse the kitchen is truly the center of the home. This one has been modernized with lovely Shaker cabinetry.

The kitchen extends to include a laundry area.

Spacious open dining/living room combo with a sunny living room.

Very nice home office.

Large main floor primary bedroom has nice windows, lots of room, and plenty storage.

This area is like a small room.

Very large en-suite bath.

Stairs to the 2nd level.

Bedroom with an en-suite at the top of the stairs.

Plus the other bedrooms.

And a beautiful family area with a library.

Outside is a patio with a pool.

Cute pond.

2 car garage and 4,665 m² / 1.1 acre of land.

Such a pretty location, too. I often wonder what makes people decide to sell a beautiful, well-established home like this.

[justinearthibonnie]

Book Mountain

Book Mountain is another incredible modern library in Spijkenisse, Netherlands designed by MVRDV in 2012. MVRDV was founded in 1993 by Winy Maas, Jacob van Rijs and Nathalie de Vries. 

“Book Mountain is a monument to the power and pleasure of reading. Its visibility and inviting presence is significant in a community with a 10 percent illiteracy rate. Located in the centre of Spijkenisse, the 9.300m2 library takes pride of place on the market square, facing the historic village church from which it appears as a vast mountain of books – Spijkenisse’s Book Mountain. In addition to the library, the building houses an environmental education centre, a chess club, an auditorium, meeting rooms, commercial offices and retail space. The pitched roof references traditional Dutch farmhouses, a reminder of the town’s agricultural heritage erased by 40 years of expansion.”

“The library’s bookshelves, made from recycled flowerpots, are another nod to Spijkenisse’s agricultural past. The shelves are sustainable, affordable and even fireproof. They provide a functional background for the books by forming banisters, parapets, information desk and bar. They constitute another element in the building’s palette of recycled materials: brick, wood and glass. Sophisticated heating and cooling systems further distinguish the library as a benchmark for sustainable design.”

https://www.mvrdv.nl/projects/126/book-mountain

- Bonnie

[caveartfair]

5 Places That Inspired Vincent van Gogh’s Art

Farmhouse in Provence, 1888. Vincent van Gogh National Gallery of Art, Washington D.C.

Dutch painter Vincent van Gogh led a turbulent, restless life. From a young age, he moved incessantly, searching for both artistic inspiration and an environment that would calm his gnawing nerves. “It always seems to me that I’m a traveller who’s going somewhere and to a destination,” he wrote to his brother, Theo, in August 1888. By the time of the artist’s death in 1890, at age 37, he’d lived in over 15 different cities across Europe.

Each location deeply influenced the passionate, volatile painter’s life and work, and together, they provide the framework for a new biography, Living with Vincent van Gogh: The homes and landscapes that shaped the artist (2019), by scholar and curator Martin Bailey. Below, we highlight five places where Van Gogh embedded himself, unfurled his canvases, and developed his unique, feverish, and spellbinding paintings.

The Hague, the Netherlands

Vincent van Gogh, View of the Sea at Scheveningen, 1882. Image via Wikimedia Commons.

Vincent van Gogh, Sorrow, 1882. Image via Wikimedia Commons.

In 1869, at age 16, Van Gogh left his rural hometown of Zundert, the Netherlands, for the more cosmopolitan, seaside city of The Hague. There, he began his first apprenticeship at the Goupil gallery and was exposed to modern art (19th-century paintings by French, Italian, and Spanish artists) for the first time. At other exhibition spaces across the city, he fell in love with the bucolic, soft-hued landscapes of the Hague School of painters, especially Anton Mauve. A number sketches from this period survive, which reveal Van Gogh clumsily but resolutely experimenting with cityscapes and landscapes.

In December 1881, when the artist was in his late twenties, he returned to The Hague. (In between, he’d spent 12 years as an itinerant art dealer and burgeoning artist.) By this time, he’d committed fully to artmaking and began sketching urban life, with a focus on the city’s poor and downtrodden people. One of Van Gogh’s most striking, empathetic figurative works, Sorrow (1882), comes from this period. It depicts his muse and lover, a prostitute named Sien, as naked, pregnant, and clutching her body. During this stint in The Hague, Van Gogh also injected color into his palette for the first time, and began creating vibrant, thickly impastoed oil paintings. As Bailey points out, one of the artist’s finest early canvases, View of the Sea at Scheveningen (1882), depicts the roiling, blue-grey ocean not far from his home. To this day, grains of sand are embedded in the painting’s surface, evidence that Van Gogh painted it en plein air on a windy day.

Nuenen, the Netherlands

Vincent van Gogh, Autumn Landscape, 1885. Image via Wikimedia Commons.

The Potato Eaters, 1885. Vincent van Gogh Van Gogh Museum

The Parsonage Garden at Nuenen in the Snow, 1885. Vincent van Gogh "Van Gogh and the Seasons" at National Gallery of Victoria

At age 30, in December 1883, Van Gogh followed his family to the Dutch pastoral village of Nuenen. While he had a fraught relationship with his parents, the painter established his own private studio space on their property—in the former laundry room—where he could work in peace. He also cemented a business arrangement with his brother, Theo, that provided him with financial stability and calmed his nerves; Theo, who was an art dealer, would send Van Gogh a regular allowance in exchange for any paintings he produced.

In this stable and mostly calm environment, Van Gogh made strides in his work. He spent concentrated time perfecting his oil technique. Landscapes from 1884, which depict the surrounding countryside and the church where his father was a pastor, show the artist experimenting with modulation of color and the representation of glowing, autumnal light. Peasant life also provided endless artistic fodder for Van Gogh, and inspired what Bailey considers his first masterpiece: The Potato Eaters (1885). With a dusky palette, thick brushwork, and exaggerated figures, he depicted a lively peasant dinner table. He wanted the work to be gritty and honest, harnessing the “smells of bacon, smoke, potato-steam,” he explained. “These folk…have tilled the earth themselves with these hands…so it speaks of MANUAL LABOUR and––that they have thus honestly earned their food.”

Autumn Landscape (1885), one of the last paintings Van Gogh created in Nuenen, flaunts his artistic growth during his two years in the town. The composition is more detailed than past landscapes, and his hues more luminous. “My palette is thawing,” he wrote to Theo around the time he completed the piece, “and the bleakness of the earliest beginnings has gone.”

Paris, France

Terrace in the Luxembourg Gardens, 1886. Vincent van Gogh Clark Art Institute

Vincent van Gogh, Self-Portrait with Felt Hat, 1887. Image via Wikimedia Commons.

Self-Portrait with Grey Felt Hat, 1887. Vincent van Gogh Van Gogh Museum

Van Gogh’s two-year stay in Paris, between February 1886 and February 1888, radically transformed his work. For the first time, he was introduced to Impressionism, whose loose, active brushwork and bright palette he incorporated into his own practice. “In Antwerp I did not even know what the Impressionists were,” he wrote to his friend and fellow artist Horace Livens. “Now I have seen them and though not being one of the club, yet I have much admired certain Impressionist pictures—Degas, nude figure—Claude Monet, landscape.”

Van Gogh had spent short periods of time in Paris before, in the 1870s, while working for the art gallery. Now, however, he was focused on advancing his painting technique. For a brief time, he studied under the then-famed painter Fernand Cormon, whose students included Henri de Toulouse-Lautrec and Émile Bernard. But Van Gogh’s true education came through the artists he rubbed elbows with. Toulouse-Lautrec and Bernard became his friends; he met Paul Gauguin; and, for a time, he lived down the street from Impressionist Auguste Renoir.

As Bailey points out, two self-portraits Van Gogh made just nine months apart reveal his swift progress. In Self-Portrait with black felt Hat (1887), he rendered himself with a dark palette and tight, traditional brushwork, whereas in Self-Portrait with gray felt Hat (1887)—forged less than a year later—the artist appears as a medley of pronounced, active strokes of brilliant blue, accented with hot orange and bright white. The canvas evidenced Neo-Impressionism’s grip on the artist, and the beginnings of his own unique and influential style.

Arles, France

The Sower, 1888. Vincent van Gogh Van Gogh Museum

The Harvest, 1888. Vincent van Gogh Van Gogh Museum

Sunflowers, 1888. Vincent van Gogh The National Gallery, London

Self-Portrait with Bandaged Ear, 1889. Vincent van Gogh The Courtauld Gallery, London

While Paris had proved artistically fruitful for Van Gogh, it also exposed him to pressures and unhealthy temptations. In Living with Vincent van Gogh, Bailey suggests that rising tensions between the artist and his brother, Theo, as well the high cost of living in Paris, likely instigated his move to Arles in February 1888. “I left Paris very, very upset, quite ill and almost an alcoholic through overdoing it,” Van Gogh later wrote.

Arles was a quaint, colorful city surrounded by the Provencal countryside’s fertile olive groves, orchards, vineyards, and wheat fields, along with bursts of sunflowers and a close proximity to the sea. This abundant landscape provided endless inspiration for Van Gogh, who completed around 200 paintings (more than three per week) during his 15-month stay in the area. Canvases like Harvest in Provence, The Sower, and The Red Vineyard at Arles (all 1888) show golden fields flecked with red and blue under radiant yellow skies. His palette became bolder and brighter in this environment.

“When the vegetation is fresh it’s a rich green the like of which we seldom see in the north,” he wrote several months after his arrival in Arles. “When it gets scorched and dusty it doesn’t become ugly, but then a landscape takes on tones of gold of every shade.”

Van Gogh settled into a home he affectionately referred to as the “Yellow House.” It, too, became the subject of several paintings, including depictions of its bright façade and the artist’s own bedroom, complete with a sun-yellow bedframe and blue walls covered in paintings. In the fall of 1888, it was also the site of domestic drama for Van Gogh, when he invited fellow artist Gauguin to stay with him there. But a mere nine weeks after his arrival, Gauguin left angrily. The row left Van Gogh emotionally and psychologically fragile, and not long after, he famously cut off most of his left ear. The episode resulted in several searing self-portraits, including Self-portrait with Bandaged Ear (1889), and set off a string of increasingly debilitating mental crises for the artist.

Saint-Paul-de-Mausole, Saint-Rémy-de-Provence, France

Starry Night, 1889. Vincent van Gogh The Museum of Modern Art, New York

Wheat Field with Cypresses, 1889. Vincent van Gogh The Metropolitan Museum of Art

After a series of mental breaks in Arles, Van Gogh voluntarily committed himself to Saint-Paul-de-Mausole, an asylum 20 miles north of Arles. Life inside the hospital was dim: “One continually hears shouts and terrible howls as though of the animals in a menagerie,” he wrote of the environment. But the surrounding landscape was stunningly beautiful, offering both emotional respite and artistic fodder. The window of Van Gogh’s room framed a scene he would paint almost 15 times: rolling fields swelling with olive trees and cypresses, bordered by the Les Alpilles mountains.

He was also allowed to take excursions to the surrounding fields and country towns, and it was likely one of these occasions that inspired his most famous painting: Starry Night (1889). The work shows a dark, turbulent sky intercepted by bright, shimmering stars and a glowing moon. As Bailey notes, the work is emblematic of Van Gogh’s tortured mental state while in the asylum, but also his resilience. Each time he recovered from a crisis, “he would return into the light, once again taking up his brush,” writes Bailey. “This vibrant painting stands as a powerful testament to the artist’s struggle to overcome the challenges of living and working in an asylum for the insane.”

Van Gogh painted through his suffering, but in the end, he couldn’t bear his increasingly tormented mind. A year later, in 1890, he took his own life in the small town of Auvers in northern France. But his paintings would live on—proof of one artist’s artistic genius and relentless commitment to his craft.

from Artsy News

[greatdrams]

Brooklyn, New York’s Craft Distilling Scene

let’s begin

Brooklyn is perhaps one of the trendiest places in the world, with people flocking there to soak up culture and history.

A big part of that history that was largely lost for many decades is the art of distilling. Now, many new distilleries are popping up all over Brooklyn in an effort to recapture that history and make some great whiskey.

History

Brooklyn, an area in New York that was originally founded by the Dutch and called Breukelen, was one of the first places in America to have a working distillery.

Back then, in the mid 1600s, the Dutch settlers who had moved there started to distil a type of Gin called Genever. This was a common drink back in the Netherlands, and is where we get Gin from today.

New York during this time was actually called New Amsterdam but things soon changed when the British took over.

And with the Brits came imports such as Rum and Whiskey. Whiskey was taken on in a big way in the new British colonies, and eventually the Americans who were there already, staged a rebellion, no known as the Whiskey Rebellion.

This was in protest of the high taxes that were being imposed and the rebellion eventually led to the taxes being repelled in 1802.

This is when Whiskey distilleries really began to flourish in Brooklyn.

Small Scale Production

In the early days of distilling in Brooklyn, it was mostly made up of farm distilleries. These small holdings where the 1800s equivalent of craft distilleries today.

They were particularly prevalent in Brooklyn, which, counter to the Brooklyn we know today, was mostly farmland.

Due to their small scale production, when the Whiskey tax was re-introduced in the mid 1800s, as a symptom of the costs of the Civil War, the majority of these distilleries ground to a halt. Coupled with Prohibition being introduced a few decades later, and there were no distilleries left in Brooklyn, or New York.

Reviving the tradition

In true New York spirit, the distilling scene in Brooklyn was not gone for too long. With the creation of Kings County Distillery in 2010, Whiskey making was brought back to Brooklyn.

Since then, many have followed suit and new craft and small scale Whiskey produces have popped up all over Brooklyn. Today there are around 7, where 10 years ago, there were none. This is a really interesting trend, and many of the producers, such as Van Brunt Stillhouse and Kings County Distillery, there is a very specific desire to see Whiskey once again being made in Brooklyn.

Van Brunt Stillhouse is actually named for Cornelius Van Brunt, one of the early Dutch founders of Breukelen, and they are on a mission to “reclaim” the area for distilleries.

Modern Audiences

There has been a massive increase in interest and consumption of Whiskey all over the world, and especially with craft distilleries. The craft movement has seen a huge uptake in popularity. People these days want to invest in something with a bit of character and a story behind it.

As such, many distilleries, especially in Brooklyn where many have appeared, are now talking to the consumers on a more personal level. Widow Jane, another Brooklyn based distillery, is very specific about where they source their ingredients, and very proud to be able to share this with their consumers.

They are able to connect with audiences in a more personalised way, by inviting consumers to get to know them and to feel like they understand a part of their journey. There is also a passion for great Whiskey at the heart of their story, which connects with customers looking for something a bit different.

The NYC Effect

New York in itself has long been held as a bastion of culture and emerging trends. It is no wonder that the rising popularity of craft Whiskey can be found at the heart of the City that Never Sleeps. With Whiskey itself becoming cooler and more interesting, it is really no wonder that a place like Brooklyn would become the epicentre of the movement.

Kings County, Van Brunt and Widow Jane are all within a few miles of each other, yet each os doing something different.

Van Brunt are reviving traditions that are long gone by creating a Whiskey that is more like the farmhouse style of the early 1800s.

Kings County brought distilling back to New York after a nearly 100 year absence, and Widow Jane know the providence of every ingredient and focus on how that makes them different, even creating their own strain of yeast that will be used for future distillations.

The draw of craft distillers is still rising, and with producers like this at the forefront of the movement, it will be exciting to see what else comes out of Brooklyn.

The post Brooklyn, New York’s Craft Distilling Scene appeared first on GreatDrams.

from GreatDrams https://ift.tt/33BO9PI Greg

[ahmaddavenport-blog]

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