[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-henge-h21-history-of-the-kitchen":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":413},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":408,"matched_pages":409,"match_count":410,"two_pages":411,"show_text":412},20861,"H21 History of the Kitchen","henge-h21-history-of-the-kitchen","\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F66\u002F3cce1ab10393109f7a80e5c3df299d-28ca2edb29.pdf","Henge",1525,"henge","15.0 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229,233,237,241,245,249,253,257,261,265,269,273,277,281,285,289,293,297,301,305,309,313,317,321,325,329,333,337,341,345,349,353,357,361,365,369,373,377,381,385,389,393,397,401,405],{"image":7,"text":15,"number":16},"1\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.2.png","1\n2\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.3.png","3\n2\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.4.png","5\n44\nDedicated to the Patience of all the Mothers of the World.\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.5.png","7\n6\nThroughout this research into the evolution of domesticity \nacross anthropology, social and cultural history, for my part, it has proved to be a \ntruly fascinating journey. I owe an immense debt of gratitude to Paolo Tormena, \nthe master of ceremonies of Henge, and Isabella Genovese, his partner and \nHenge architecture and interior design director, who granted me this commission. \nHenge is one of the world’s finest examples of a company that brings together \nimmense knowledge of natural and rare materials, alongside a fleet of highly skilled \ncraftsmen and cutting-edge technology, combined with respect for pure forms. \nThis alchemy creates timeless pieces that show a deftness and sleight of hand \nalongside the efficiency and precision of a finely tooled machine. This unparalleled \nposition manifests the brand as deeply expressive yet with an underlying humble \ncharacter. Taking pride in one’s home, a place for family to grow, and creating a \nstage in which to entertain is certainly one of the most personal and important \npillars of life. A machine to live in, and an environment subtly crafted by yourself. \nThe Henge Kitchen is an astute balance of functionality and aesthetics. Credit \nmust be given to the Henge Art Director and celebrated architect Massimo \nCastagna for the infinite attention to detail in every aspect of the design and \ntechnical aspects of production. His clarity and ability to translate Paolo Tormena’s \nall-encompassing brand vision into fully fledged Henge products cannot be \nunderestimated. From connecting with the innate qualities of natural materials and \ncombining this understanding with a highly sophisticated eye makes the Henge \nKitchen so much more than the sum of parts.\nThe Henge core creative team have formed a strategic \nalliance with nature itself. They seek out rare materials such as the Breccia \nMedicea dell'Acqua Santa, a marble of striking beauty with prominent and richly \ncoloured veins which communicates the story of the earth’s crust. Henge respects \nthe power of nature and acknowledges that we as humans are merely passing \nthrough life, whereas some objects will stand the test of time across generations. \nProgress was once seen as moving away from a primitive belief in magic or myths \nand to proven science and the programming of machine. It is now that we realise \nthat we are more fulfilled by a connection to the earth, a focus on well-being, ‘slow \ninteriors’ and an appreciation of the natural and handmade. The Henge Kitchen \nseeks to address this connection.\nINTRODUCTION\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.6.png","9\n8\n9\nThe initial glimmer of human life on earth came about at the very instant of the first chemical reaction. The course of our shared history, which seems \nso fundamental to our existence, could have in a flash of different combination of circumstances led to hugely different outcomes for humanity. One such event that radically \naltered the course of history was man’s capacity to dominate fire. This had two consequences. One is guiding humankind into a world of warmth, cooking for giving higher \nnutrition, and community gathering. The other was destruction. Aside from making human life much more comfortable, fire could also be employed as a weapon for eliminating \nobstacles, enemies’ possessions, or even other human beings. Fire was immediately irresistible to man, drawing us together, mesmeric with its mysterious power and primal \npull. Still today, we cannot resist gathering around a real fire, with the flicker of wood smoke under the nostrils, the snap and crackle of burning timber, and the glow of red hot \nembers. Before the tv screen, the centre focus of a sitting room was the hearth. Now our cheeks glow from the screens of our iPhones.\n1.\nFire can be a great danger to humans, yet it is essential to the advancement of \ncivilisation. The stone formations themselves are determined by its effervescent \ncharacter and place of origin.\nFIRE AND STONE\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.7.png","11\n10\n10\nIn western culture, Prometheus is the Titan god of fire who defied the gods by stealing fire and giving it to humanity which set man on his path to \ncivilization. For this bold action he was punished by Zeus and bound by to a rock where an eagle was sent to eat his liver (perceived then as the seat of human emotion). \nEach day his liver regenerated and he was doomed to suffer this ordeal for eternity. This human striving and the potential unintended consequences were celebrated \nduring the Romantic period, notably in Mary Shelley’s ‘Frankenstein.’ It is always enlightening to observe how our ancestors were already aware of one of the most \ncommon weakness of man, that of gluttony, symbolised by Prometheus cheating the universal balance.\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.8.png","13\n12\nEarly humans toiled all day foraging for enough basic nutrition from seeds, grass, weeds, plants, and fruits, but later progressed to seek out more \ncomplex flavours and meals to consume. Survival is perhaps the most fierce of human drives, and when true hunger or starvation kicks in, nothing else matters. From a bolt \nof lightning that accidentally burnt a tree, to the use of tinder and firestones, humans advanced quickly. Firestone creates sparks but are also used to contain fire in a fire pit. \nFire is the discovery that made humans human and made them excel over other living animals. This element was helpful in denoting and defending territory, but most of all it \ngave a new perspective to darkness. Illumination made the day longer and more work achievable.\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.9.png","15\n14\n14\nThe primatologist Robert Wrangham worked out that our brain consumes a fifth of all our energy. If humans were to hunt and gather this many calories \nthemselves, it would take at least nine hours of each day, and gorillas spend 80% of their time chewing vegetation. Humans as we moved through the millennia of civilization ate \na wider variety of food, from basic sustenance through to indulging in all types of epicurean delights. In Michael Pollan’s book ‘Catching Fire, How Cooking Made us Human,’ his \nobservation tracks the transformation of vegetables through heat in the cooking process which also acts as a steriliser to kill bacteria. The taming of fire through cooking has \nchanged everything about us, from the size of our teeth to the functioning of our brains, to our social organization. Fire further shaped the dynamics between sexes and division \nof labour divided the work of the household.\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.10.png","17\n16\nThe song ‘The Ring of Fire’ became one of Johnny Cash’s greatest hits (that was \nlater reinterpreted by Eric Burden and The Animals) which uses fire as a metaphor \nfor love, joy and passion. \nLove is a burning thing\nAnd it makes a fiery ring\nBound by wild desire\nI fell into a ring of fire\nI fell into a burning ring of fire\nI went down, down, down and the flames went higher\nAnd it burns, burns, burns\nThe ring of fire, the ring of fire\nI fell into a burning ring of fire\nI went down, down, down and the flames went higher\nAnd it burns, burns, burns\nThe ring of fire, the ring of fire\nThe taste of love is sweet\nWhen hearts like ours meet\nI fell for you like a child\nOh, but the fire went wild\nI fell into a burning ring of fire\nI went down, down, down and the flames went higher\nAnd it burns, burns, burns\nThe ring of fire, the ring of fire\nAnd it burns, burns, burns\nThe ring of fire, the ring of fire\nThe ring of fire, the ring of fire\n“RING OF FIRE”\n(originally by Anita Carter)\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.11.png","19\n18\nWe surmise that approximately one million years ago man discovered how to make fire, signifying one of the most important steps in human evolution. \nFrom cooking and heating to bombing and destruction, fire has many sides. At the beginning, the use of fire helped us to digest more easily and speeded up the intake of \ncalories required to feed our body and our brain. Food soon became cultural. Cooking developed into a refined art that was employed to make people fall in love, change \ndestinies or poison enemies. The roasting of meat was almost certainly discovered by chance, most likely after a large fire in which some animal's remains were later found \nburnt. Whether the aromas initially attracted our ancestors or whether we learnt this salivatory reaction at a later date, who can tell, but they found pleasure in the taste. \nCooking became more elaborate. When you start to play with different tastes and sources of pleasure, a beautiful symphony of emotions comes into play. Moving onwards from \nprimordial survival to a more elaborate and conscious consumption, food became the protagonist. From here onwards, the challenge lies in not overeating.\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.12.png","21\n20\nHours can be spent in fireside discussions reflecting on the meaning of life, spurred on by the magical flicker of dancing flames. Polly Wiessner, \nProfessor for Anthropology at the University of Utah, made some very insightful observations on the difference between daytime talks and firelit activities. \nDuring daylight hours, the discussions are more practical, but at night time conversations around the fire evoke the imagination, help people delve \ninto their memories, connect with others in their external network, able to heal any rifts of the day, and communicate on a cultural level to gain trust of others. Still today \nthe fireside is a place which centres your sense of being.\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.13.png","23\n22\nThe Henge Kitchen has marked a new chapter in the position of the kitchen in the home and re-set the social boundaries. It is still a place of industry, \nyet infinitely more elegant and finely orchestrated. The materials selected and carefully crafted are precious in themselves, but also carry the resonance of our forebears. \nWithout fire, humans would not have progressed. It is essential to modern man for creating warmth, cooking food, to forging tools. Today, our work at Henge is born from \nthis very early discovery but elevated from merely practical applications to crafting refined artisanal objects that evoke an emotional reaction and sense of wonder.\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.14.png","25\n24\nTyger! Tyger! Burning bright\nIn the forests of the night,\nWhat immortal hand or eye\nCould frame thy fearful symmetry?\nIn what distant deeps or skies\nBurnt the fire of thine eyes?\nOn what wings dare he aspire?\nWhat the hand, dare seize the fire?\nAnd what shoulder, & what art,\nCould twist the sinews of thy heart?\nAnd when thy heart began to beat,\nWhat dread hand? & what dread feet?\nWhat the hammer? What the chain?\nIn what furnace was thy brain?\nWhat the anvil? What dread grasp\nDare its deadly terrors clasp?\nWhen the stars threw down their spears,\nAnd water’d heaven with their tears,\nDid he smile his work to see?\nDid he who made the lamb make thee?\nTyger! Tyger! Burning bright\nIn the forests of the night,\nWhat immortal hand or eye\nDare frame thy fearful symmetry?\nTHE TYGER\nWilliam Blake (1757—1827)\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.15.png","27\n26\n26\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.16.png","29\n28\n29\n28\nA spiritual place, England’s Stonehenge, is a ring of monolithic stones which appears as if placed by a higher power. Both brutal in its stark form yet \nmystical and even more beguiling when you realise these hefty boulders were carried by the force of man without any mechanical machinery. We feel a connection to the earth’s \nraw materials, honed by hand, the beauty in the imperfections and appreciation of the stone’s intrinsic qualities.\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.17.png","31\n30\nHumans are forever drawn to the symmetry of nature, exemplified by the importance of the golden ratio in architecture. It is not just visually pleasing to the \neye, but makes us feel whole and connected to one another, to nature and the universe. For humankind what started as gathering together in a circle around the fire, morphed \ninto congregating in front of the hearth to now the centre and heart of the home, the Henge Kitchen.\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.18.png","33\n32\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.19.png","35\n34\n35\nThe Etruscans were fundamentally innovators. Highly sophisticated arbiters of taste they were keen collectors of Greek pottery, so much so that you \nfind more ancient pieces in Italy than in Greece itself. With sharp business minds, they soon worked out that it was more economical to relocate the artist or artisan to their \nown territory than to import vases. They began to stamp pottery with the name of the artist, and branding was born, quickly becoming an Etruscan leitmotif. The endeavours \nand vast territorial reach of the Romans is widely celebrated, yet here I share some insights on the Etruscans’ profound influence on Roman culture and history. \n2.\nThe influence of Etruscan recipes during the Roman Empire and later throughout the \nRenaissance period. \nTHE ETRUSCAN KITCHEN \n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.20.png","37\n36\nThe Romans may have conquered the Etruscans territorially and politically, however, I surmise that the long-lasting cultural legacy of the Etruscans \nhas left more impact. My theory is part based on the fact that the Etruscans taught the Romans how to be decadent. Still across the Etruscan territory there is magic in the \nair and feeling of their passion for life and landscape, spanning from Venetia to near Rome. As a civilisation their outlook was extremely modern. Sexes were viewed as equal \nand gender fluidity was accepted as part of a normal and happy functioning society. The main drives were how to live life to the full and to embrace sensual pleasures, from \ncelebrating communally with good food and fine wine, elaborate feasts with dancing, to adorning themselves with exquisite clothes and jewellery. All manner of finery was \nwoven into societal customs and the fabric of everyday life. Elegance emanated from every action, including the Tuscan landscape carefully planned and shaped by human \nhand, which we still enjoy to this day and is loved worldwide. \n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.21.png","39\n38\n39\n38\nIn my theory of what truly drives human behaviour, Etruscans are of central importance demonstrating that above all passion has a more powerful \neffect than many other motivators. The concept of ‘Panta Rei’ (that everything flows), was conceived by the philosopher Heraclitus (c. 535 BC) when the Etruscans were at \ntheir zenith. Up to the first century, Gaius Maecenas held an important role within the first Imperial court of Augustus, as de facto Cultural Director or Minister he led over all \ncultural affairs throughout society. Eminent Augustan poets Vergil and Horace provided a common framework for and accepted wisdom on contemporary moral philosophy \nand were commissioned and led by Maecenas. The name Maecenas is still widely used today to represent a patron of the arts. \n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.22.png","41\n40\n40\nOne of the fundamental pleasures of life, cultural expression and vehicles to impress is cooking and sharing food with family, friends and lovers, all \nproduced in the kitchen. What better way to impress than in the Henge kitchen? In Etruria, the master of ceremonies was in charge of selecting the highest quality food and \ncombination of elements, all precisely orchestrated, served whilst sensual dancers performed around the diners as entertainment. These moments that bring us together in \neating, conversation and pleasure should not be undervalued, as it this intimacy and times of shared joy that really count. Without this, we are left with an empty soul. \n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.23.png","43\n42\nEtruscan culture, style and indulgence is rooted within the land and air of Italy and in particular Tuscany, where beauty and pleasure is woven into \nevery aspect of life; from the planting, the raw materials, the vernacular architecture, the regional food and wine, to the piazza and \"passeggiata\". Bread from the Etruscan \nperiod was a building block to a meal and has carried through to our present day Tuscan cuisine. Some of their ancient eating habits have been recorded in Vergil’s \n‘Bucolics’ and ‘Georgics’ and Horace’s ‘Satires.’\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.24.png","45\n44\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.25.png","47\n46\nVergil’s and Horace’s texts are the most detailed descriptions found on the Etruscan lifestyle and how it influenced the Romans. Posodonio, the \nphilosopher and historian, noted that the Etruscans used to prepare a bountiful table twice daily. Seasoned and adventurous cooks, they employed a wide variety of \nforaged wild plants such as garlic and rocket and fragrant herbs such as thyme and rosemary to enrich flavours of the meal. Both wild animals and domesticated ones were \nroasted but also used to flavour broths and stews. Goat and sheep cheese was already an important ingredient for an added element of umami. However, it was the garum, \na fermented fish sauce, along with olive oil which were key to every meal. Garum originated in Phoenicia, and later through the spread of the Roman conquests became an \nindustry across the whole empire. \nTo research the Etruscan diet, without the existence of cookbooks, it is necessary to trace back through archeology, paleobotanic, archeological \nzoology, glottology and iconography. We can conjure up very detailed images from the burial accoutrements of the illustrious dead, found in tombs that have escaped \npillaging by collectors over the millenia. \n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.26.png","49\n48\nAs D.H. Lawrence wrote, the Etruscans carried themselves with an incredible lightness and elegance, avoiding the formalities of Greece. From \narchitectural form through to their customs, there is a simplicity and connection to nature that makes you fill your lungs, breathe deep, release yourself and feel truly \nfulfilled. Their tombs are a source of great insight, demonstrating their joy for life, vitality and acceptance of diversity. Women were seen as equals, which was celebrated \nduring feasts as they held as prominent a role as the men. Further evidence stems from burial chambers where every aspect of their lives were accounted for. The Romans \nchanged this, when a hierarchy of sexes was put in place with men governing women. \nAll meals started with a boiled egg, which symbolised the origins of mankind and beginning of all life on earth. The omphalos, an ancient religious \nstone artefact, appeared with a snake curled around it and signified genesis as perceived by the Greeks. This symbol later became the design of Capitol (Campidoglio) \nsquare in Rome by Michelangelo Buonarroti.\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.27.png","51\n50\nfor 6 persons\n1 litre of stock (chicken, meat or vegetarian)\n2\u002F3 onions, finely chopped\n6\u002F15 slices of unsalted white bread\nhalf a bulb of celery, finely chopped\ngrated pecorino cheese, aged for a deeper favour\n21 basil leaves\nsalt and pepper to taste\n2\u002F3 anchovies fillets\nIn this celebration of the Henge Kitchen and the history of food culture, I dedicate one recipe, that of Acqua Cotta, meaning literally ‘cooked water’. \nAn ironic Italian expression jokes ‘Did you discover hot water?’ Acqua cotta derives from country peasant cooking, but is still popular throughout Tuscany, across all \nsections of society.\nIn a pan on a low heat, gently heat the olive oil, add the \nonions, celery and basil, and the anchovy fillets which will disintegrate and melt \ninto the oil. Here, the anchovies are a substitute for the garum. Stir regularly to \navoid sticking. When the onions and celery are golden and begin to caramelise \nadd the stock and bring to the boil, then gently simmer for 15 minutes.\nWhile this is simmering, take some dry or day old bread and \ntoast under the grill. Place the toasted bread into the bottom of a generous wide bowl \nand liberally sprinkle the grated pecorino on top, then pour over the broth. \nAcqua Cotta \n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.28.png","53\n52\nWe deduce that the ancient pairings of ripe figs or sweet and succulent melon with prosciutto have originated from the Etruscan traditions, due to \nother indications of food combinations of that time. However, due to lack of literature of that period, there is still a certain cloud of mystery.\nThere are many clues of ancient tradition throughout oral history in Tuscan society from rural to aristocratic. Specific instructions on how to cook \nmeat with juniper wood or the use of spices as laurel, garlic and leek mark their development from the primordial to their most glorious period. Learning from the rich life that \nthey led, we see how our modern world has become restricted or guilt has been thrust upon us for simply embracing the pleasures in life. Modern societies have created \nlaws whether religious or political, with accepted codes of behaviour that inhibit us, thus we have lost the ability to unashamedly enjoy pure beauty and joy itself.\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.29.png","55\n54\n54\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.30.png","56\nIn Etruscan art, portraiture was honest and celebrating the joy of life, without the Greek habit of making faces symmetrical, or the Romans tendency to \nportray themselves with God-like qualities. Romans, masters in the art of status symbols, were the first in our Western society (a precursor to the iconography of the fascists) \nwhich has led to our modern obsession with imagery. The Mediterranean lifestyle has been admired, aspired to and emulated the world over, representing the good life and \nbeautiful people. Cereals, legumes, oil, olives, vegetables and wine formed the basis of the Etruscan diet, with meat, fish and cheese added as a small side addition or for special \noccasions. In Southern Italy, they enjoy a predominantly vegetable based diet, whereas in the north it is still more meat focused and encompassing raw meat specialities. \n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.31.png","59\n58\nThe use of marble in kitchen was first noted almost three thousand years ago. A very precious and rarefied marble, Breccia Medicea, is widely \nacknowledged to have been a cause of battles between the Etruscans and the Roman Empire and the Medici family at the beginning of Renaissance. Much to its beauty \nand special qualities, in churches the font is always formed specifically in breccia medicea, an appropriate godly material for holding the sacred water for the blessing. \nIn reverence and to enjoy this marble in all its glory, Henge is on the cusp of completing the acquisition of one of the last areas in the mountain of the Breccia Medicea \ndell'Acqua Santa quarry.\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.32.png","61\n60\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.33.png","62\n63\n62\nCaterina de Medici in 1547 alongside her husband Henry II of France arrived at court with her cooks, carpenter, tailors and all the skilled labour required for \nhabits acquired from her Tuscan upbringing. She exemplified how cooking could be employed for developing alliances and influencing politics. Despite her problematic political \nrole, as she ruthlessly fought with many people she is famed for her achievements. When her husband died at a young age and her three sons were all future kings, the matriarch \nruled from behind them in the ‘age of Caterina di Medici’. Hereby, she made many enemies in the French courts due to her hard-line policies and persecution. One such result \nwas the flight of the French Huguenots in order to escape death. Although unpopular politically, her lasting cultural legacy has underpinned much of the French social habits, and \nrepresents a barometer and milestone in cultural development. \n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.34.png","65\n64\nTo conclude I emphasise the importance of leading a cultured life which centres around embracing beauty and joy in one’s daily habits. The Henge \nKitchen vision for living demonstrates a healthy obsession with precious raw materials, devotion to highest quality craftsmanship, the dedication to perfection and the \nappreciation of beauty of imperfections. In doing so, the Henge Kitchen delivers a feeling of permanence and sense of history as told by the variation of coloured veins \nrunning throughout the marble. \n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.35.png","67\n66\n67\nEtruscan tradition influenced many aspects of the Imperial court, through to the Papal court. The idea of roasting birds stuffed layer within layer from \nlarge to small birds comes from that era and is still current today. In the highest religious symbolism, their influence is still felt, exemplified by the Bishop’s staff which emanates \nfrom the walking stick of Etruscan Fortunetellers. It is considered that feeding the body is important in order to fulfil the soul, and the staff represents a shepherd who gives \nspiritual guidance to his followers. In the Catholic church, the priest is the shepherd who guides the congregation (the sheep) to heaven. In breaking bread and multiplying wine \n‘this is my body which I break for you...’, food occupies a holy role, though to special Sunday lunches ‘Lord I’m not dignified enough to participate at your table’. Each Sunday’s \nblessing and holy communion: Take this bread I give to you; And as you do remember Me: This bread is My body broken just for you; Take it (take it); Eat it (eat it)\n3.\nA brief outline of social history in and around the kitchen.\nTHE KITCHEN AS CENTRE OF IDEA EXCHANGE AND \nCOMMUNICATIONS\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.36.png","69\n68\nDue to migrating populations after the fall of the Western Roman Empire, food habits began to change. As feet travelled so did their customs and \nfavourite food and cooking techniques. Bread became more popular in northern Europe as meat did in the south. Food did not always flow freely, as some populations \nsuffered famine due to wars and drought. The Byzantine Empire was the bridge to Arab culture, just as Sicily in southern Italy and Andalucia in southern Spain. We have \ndeduced that fragrant spices and sweetened vegetables and meats travelled up into Europe from the Arab world.\nChristianity created the structure of roles specifically organised around growing food and the diets of the population. For example, fasting over \nLent for Easter, and symbolism for eating certain foods on certain days of the week. Friday became a meat-free day, and decreed that special roasts of meat were to be \nabstained except for particular religious feasts. Traditions then developed for the masses to eat boiled meat, while the powerful elite favoured roasted food, with male \nprowess being associated with eating vast quantities of red meat.\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.37.png","71\n70\n70\nThe Middle Ages saw a strong change in cuisine and eating habits to different combinations of tastes such as savoury with sweet elements, sour \nor bitter. The ruling class had endless possibilities to make more and more elaborate meals with leagues of servants at hand, and new found ingredients to tantalise their \nguests whilst putting on a show of upmanship. Some instruction exists on how to prepare certain special dishes, recorded on rotulus, similar to a scroll of rolled parchment \non a rod written in Latin, or early French or Italian. \nThis information was mostly used by the head of the house to instruct the male servants. Etiquette was already distinct from Roman customs and \nseated guests would share a piece of bread or a wooden board on which the food would be placed and it was good manners to leave the better piece to the other. A woman \nwas not supposed to cut meat or divide, as the male in the couple would do this job. If two males were sitting next to one another they would divide everything equally.\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.38.png","73\n72\nFrom eating whilst languishing on a day bed with servants hand-feeding guests and even some massage to aid digestion, table manners and etiquette \nhave evolved in ever more intricate ways. Sitting at a table whilst eating and more formal habits evolved after the Romans and settled into the Middle Ages. Consuming \nfood is primarily a biological function, but as human habits became refined and the food system more advanced other elements came into play. Gathering food became \nmore organised and systemised. From foraging and hunting to growing domestically, cleaning and preparing from hunks of meat to finely slicing to mincing and grinding, \ncooking by fire to boiling and steaming, with all manner of grains prepared, and delicacies of fish and fine herbs. Cooking has become a cultural phenomenon that needs to \nbe well planned and orchestrated. Food became a mean of social relations. Margaret Vissers in her book The Rituals of Dinner: ‘The Origins, Evolution, Eccentricities and \nMeaning of Table Manners’ talks us through changing table etiquette through the centuries. We need to eat to survive, yet, we also need to feel a sense of belonging. From \nthis, we understand that most politics throughout time has taken place around the table or over food, the civilised side of diplomacy. This is exemplified by the custom of \nambassadors serving their typical national food to foreign dignitaries. \n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.39.png","75\n74\nTable manners have a long history and have evolved through the centuries denoting preparations before a meal. We have early documentation of exotic \nfood experiences being imported from far away countries. In Rome with the Pope as the spiritual leader of the Christian church (whom for pilgrims represented their very \nown royalty) and in his company guests benefited from sampling food that was not otherwise readily available. At that time, fish was viewed as a punishment in ancient Rome, \nas it was perceived as poor people’s food. It was however served in the Papal Court on Fridays. Some years later the perception of seafood changed and it was deemed \nluxurious and associated with a sophisticated lifestyle. \n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.40.png","77\n76\nDuring the Renaissance period, shared meals were more considered and elaborate, artists were employed in the design of concepts and \npresentations. At the Royal Court a master of ceremony would orchestrate every detail, with the kitchen itself a grand machine of industry and creativity, which however \nremained out of sight. A Pope, Emperor or King would dictate the timing of the meal. If the ruler had finished, or had become bored, he dismissed everybody who had to \nstop eating immediately and leave. Very advanced for her time, Caterina de Medici made a lasting impression at the French court through her refined tastes for elaborate \nand sophisticated cooking techniques. Her knowledge extended to the art of poisoning. The elaboration of cooking and dining proved to be a very effective tool in political \ncampaigning. Taste and smell became more refined and the preparation and culture around food marked a new era of modernity. \n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.41.png","79\n78\n78\nForks appeared in Italy in 1003 (making eating pasta easier) through the port of Venice, one of the most important trading routes with the Orient and \nthe Silk Road. After the fall of the Byzantine Empire, trading relations with the Ottoman newcomers were regulated. Venice became the conduit for Arab trade to the rest of \nEurope, and through that came a cultural understanding. It was the Byzantine Princess Maria Argyropoulaina in her marriage (to the son of the Doge Pietro II Orseolo,) who \nhad forks listed in her dowry. The utensil’s form, primarily led by function, was initially viewed unfavourably by some, worried about its resemblance to the forked tongue of \nthe devil or snake. This being so, the Vatican waited for the approval of the Pope to sanction its use. In fact, the Pope loved the convenience. The idea caught on very quickly \nin the city of Florence and Caterina commissioned a set of hand crafted forks made by the revered goldsmith Benvenuto Cellini. \n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.42.png","81\n80\nAt all levels of society, diet was changing as swiftly as the seasons. Jean de la Quintinye, named Director of Royal Fruit and Vegetable Gardens by \nKing Louis XIV, wrote ‘Instruction pour les Jardins Fuitiers et Potagers’ in 1690, a directory on how to tend gardens with an enormous variety of plants to supply all the year \nround fresh fruit and vegetables for the table. Aside from the changes in cuisine brought about by the trade in spices which spread through all levels of society, through this \ncommerce, there was also open communication and diplomacy between different courts. On searching for new routes to Asia, by chance America was discovered and many \n‘foods of the gods’ such as cocoa and tomatoes through to corn and potatoes. The news of exotic and exciting tastes on the continent spread quickly.\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.43.png","83\n82\nThe Ottoman invasions and sieges introduced coffee to the old world which quickly became fashionable. Coffee spread voraciously throughout the \ncities in the form of coffee houses, which became the unofficial headquarters for political speakers. Vienna is world renowned for its coffee shops and cafes, which are \ndeeply embedded in their culture. The merchants of Venice, with a keen eye for new opportunities, immediately recognised the value in these special beans which had the \npower to keep one awake. However, it was by chance that the first Coffee house in Vienna after the Ottoman siege in 1683 was opened, as the invaders left behind them a \nsubstantial quantity of coffee beans (part of their essential supplies).\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.44.png","85\n84\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.45.png","87\n86\nWaves of famine have made people move and emigrate. During the Crusades, many people’s cultures were torn apart and religious doctrine \nimposed with rules on what you could and couldn’t eat. The conquest of the spice routes brought about Colonialism, its new power structures, and the Opium Wars, the \nreverberations of which are still having an effect on our lives today, politically and culturally.\nAll over the world, distinct tastes, eating habits and food culture give us identity and sense of belonging. Wars can tear nations apart, but what brings \npeople together is food, irrespective of political beliefs. Many problems can be solved sharing food around the table. A modern day solution to crisis is The Great Oven \nproject which builds giant community ovens in war-torn places. It offers food relief but also brings peace and conviviality between different cultures. Delight in the senses is \na basic human trait. Food gives us common ground and from here conversations begin and problems are solved. \n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.46.png","89\n88\nDuring Victorian age in the United Kingdom as in other empires, the bourgeoise developed their own social codes of conduct and personal \nentertainment, in place of the courts dictating social behaviour. Empress Elisabeth of Austria was the world's most beautiful woman, but also the first known anorexic, \nalways preoccupied with the shape of her body and obsessed with her appearance. She hated to dine at court and had the odd habit of squeezing out meat juices for \nsustenance and consuming them whilst was working out in one of the first gyms at the Imperial Palace.\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.47.png","91\n90\nThe Industrial Revolution accelerated the speed in which society functioned. The exodus from the country to the city to work in factories, took \npeople away from farms and access to fresh food. On top of that long working hours and cramped living conditions, often without a kitchen, lead to very poor nutrition and \nconsiderable hardship and unhappiness. It was only after the first World War that things began to change. One constant has been the role of the mother and provider in the \nkitchen, the heart of a home. The kitchen represented a place for private conversations, problems shared around a table, and the warmth of food after a long day’s work. The \ncompass for family life, the mother and the kitchen can alleviate any woes or worries. The mere smell of baking bread wafting from the kitchen, or that of your favourite meal \ncan take you back to a time and a place and ground you. Human health is physical and mental. Healthy diets come not from just what you eat but how it is consumed. To be \nwhole, we feed the body and mind and nourish the soul. In the church of the home, the altar is the kitchen, and the master of ceremonies is the cook.\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.48.png","93\n92\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.49.png","95\n94\n95\nFrom the grand kitchens of the palaces to the intimacy of the domestic kitchens where mothers teach their children how to cook and how to feed the \nsoul, there is a long lineage of women concocting a very special type of alchemy. Historically, the formal kitchens were run and ruled upon by male chefs. Should the owner \nof the house be dissatisfied, or at very worst had any indigestion, all the blame fell on their head. \n4.\nDomestic economics rationalised by the modernist Margarete Schütte-Lihotzky\nTHE FRANKFURT KITCHEN\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.50.png","97\n96\nOutside of the domestic sphere, in the mid 1850s an inspiring chef Alexei Soyer (who despite cooking for the elite at London Gentleman’s clubs was \nso horrified by lack of nutrition for the poor) invented ‘soup kitchens’. From this, he headed to the Crimea War with the ‘Soyer field stove’ to revive the wounded soldiers, \nforming a close working relationship with Florence Nightingale. After first world war, the class system began to loosen and open up with the working men starting to find a \nvoice of their own. Women also began to have some autonomy outside the home. \n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.51.png","99\n98\nAt the turn of the century, Christine Frederick shared the new concept of ‘domestic science’, in 1912 writing ‘The New Housekeeping: Efficiency \nStudies in Home Management’ in the Ladies Home Journal magazine. Overhearing her husband’s conversation with a colleague about ‘scientific management’ to \nstandardise some tasks performed by workers in factories, she applied this thought to alleviate the drudgery of housework. Her work specifically focused on middle class \nwomen, not able to afford servants, who toiled day and night to keep the household running. \nFrederick applied industrial system that was reshaping business and politics at the time to the domestic sphere. The housewife suddenly had \nconsumer power by purchasing (and being sold to) the first ‘kitchen gadgets’, which lessened her workload.\nFIG. 1 \nBadly grouped kitchen equipment\nFIG. 2 \nEfficient grouping of kitchen equipment\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.52.png","101\n100\n",52,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.53.png","103\n102\nThe first Austrian female architect Margarete Schütte-Lihotzky was deeply impressed by the independence of American female thinkers. When asked \nto design the kitchen for social housing in Frankfurt in 1926, she developed her concept around scientific organisation for the domestic work space. Schütte-Lihotzky \ntransformed the kitchen into the housewife’s laboratory. She took on board spatial learnings from the design of railroad carriages, and adopted the colours green and blue  \nwhich naturally repel flies. The first ten thousand pieces were produced and installed.\n",53,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.54.png","105\n104\n",54,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.55.png","107\n106\nThe importance of her work was only recognised much later on, and possibly her impact never valued enough. Aside from her work into reducing \nhousework for women, another result of her research was the invention of the ‘cooking box’, a piece of equipment that cooked food slowly, a process that is popular today with \nthe sustainably minded cook. This technique has been used by ancient mountain farmers cooking in the embers of a fire, whilst also adopted by a modern conscious cook. \nIn later years, Margarete met her husband Wilhelm in Istanbul, where many artists and intellectuals were enjoying life in exile. Drawn back to Austria to \nbe involved in the Nazi resistance, on arrival she was immediately arrested and sentenced to death. Fortuitously, Wilhelm had previously acquired some writing paper from \nthe German Embassy (for graphic study) and used this to forge some letters that postponed the final sentence until the Russian Army liberated the territory.\n",55,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.56.png","109\n108\nI was lucky enough to meet her once, when at over one hundred years old, she was ever focused on change-making ideas. Aside from her prominent \nrevolutionary role and political activities, I will always be an admirer of her reasoning and dedication to creating a better life for many working mothers. In the complex reality \nof central Europe in the nineteenth, she demonstrated that modernism could solve practical problems, as well as aesthetical ones. \nGiving importance to the kitchen as a place not to be hidden out of sight, she paved the way for future strategists and designers to put the human at \nthe centre. In her first book ‘The Sensual Home,’ Ilse Crawford states ‘Food is not simply about eating, but about preparation, cooking, presentation and finally consuming \nand enjoying. Nourish body and soul. Sensual food is food that we enjoy for what it is and not for what it is turned into through design and domestic science.’ Cooking is like \nlove, it engages all the senses.\n",56,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.57.png","111\n110\n111\nEurope was slow in their approach to modernise the kitchen, much due to war and tradition. In the United States of America, the focus on the kitchen was \na new way to attract the interest of the whole household as well as to encourage a more informal way of living. In 1942 H. Creston Doner conceived the prototype ‘Tomorrow’s \nKitchen’ in which the cooking pans were integrated into the design of the oven, with the cooked dish transferred to the table for serving. In this concept, the fridge acted as \ndivider between the living and cooking areas. It was very well thought through and presented. Later in 1946 followed the ‘Unit Kitchen’ by J.J. Little, more of a central island, one \nside the washing area with sink and on the other the cooking zone. An important part of this was the positioning of the kitchen as a central living space. The company Frigidaire \ndeveloped the ‘Kitchen of Tomorrow’, a project of Alexander and Rowena Kostellow (1954) in which recipes as an electronic file were loaded onto a IBM card, and measures of \ningredients transported to the food mixer and then to the microwave. A now global giant, Whirlpool, proposed the ‘Miracle Kitchen’ in 1956 where the matriarch of the kitchen \norchestrates the whole family from the command station of the central island, signifying the post-war gratification in the era of consumption. \n5.\nWhat is the difference between a hamburger and spaghetti bolognese?\nTHE AMERICAN KITCHEN\n",57,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.58.png","113\n112\nFrom the States over the Atlantic, this influence travelled to Europe. Particularly in Italy, there was a strong impetus for industry to develop projects \nthat bolstered GDP but also fuelled social engagement. Added to this, Italy’s incredible creativity and artisanal skills gave birth to a different outcome. Comparing two \nrecipes but made more or less from the same ingredients illustrates interwoven influences but speaking distinct languages. \n",58,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.59.png","115\n114\nfor all shapes of pasta\nUsing a mezzaluna knife finely chop an onion, a medium \ncarrot and a few sticks of celery. Gently heat the olive oil in a generous size pan, then \nadd the chopped vegetables and slowly sauté until they start to caramelise. Then \nadd 600g of minced meat (1\u002F3 beef, 1\u002F3 veal, 1\u002F3 pork). While the meat is browning, \nadd one glass of red wine, a litre of passata (or plum tomatoes which will break down \nas cooking) and then cover with a lid. Cook on a low simmer for six hours, stirring \nfrom time to time, adding stock as needed to stop it from drying out. \nLet it rest overnight, as the next day, the flavours will develop \nand the consistency settle. Use with various shapes of pasta or with lasagna.\nRagù alla Bolognese\n",59,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.60.png","117\n116\nmakes 6 servings\n1 pound ground beef\n1\u002F2 cup chopped onion \n1\u002F4 cup breadcrumbs\n1\u002F4 cup water to soften the breadcrumbs\n1 teaspoon salt\npepper\n2\u002F3 anchovies fillets\nFry an onion until tender, but not brown. Combine the \ncooked onion, with the minced meat, breadcrumbs, water, salt, pepper and mix \nthoroughly, pounding together by hand. Using a 1\u002F2 cup measure, form into balls \nand then squash into thick patties between waxed paper using a rolling pin. \nChargrill or fry. You may like add Worcestershire sauce, hot sauce, barbecue \nsauce, chopped onion, green pepper. Try smoked salt for added flavor.\nHamburgers\n",60,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.61.png","119\n118\nThese two recipes show how two distinct cultures were shown in parallel at a certain point in history. The popularity of the ‘hamburger’ \ndemonstrated the need for fast food consumed outside the home and readily available to the masses. The bolognese sauce, the mamma’s version of feeding the hungry \ntroops of family around the kitchen table. After the second world war, American culture was deemed very glamorous and appealing to the global audience, and provoked a \nchange in how families used their kitchens. \n1 and 1\u002F2 teaspoons whole cloves\n1 tablespoon chopped onions \n1 and 1\u002F2 teaspoons broken stick cinnamon\n1\u002F4 teaspoon red pepper\n1 teaspoon celery seed\n1 cup sugar\n1 cup white vinegar\n4 teaspoon salt\n8 pounds ripe tomatoes (about 25 medium tomatoes)\nMakes 2 pints. Place the spices in the saucepan. Add the \nvinegar, cover, and bring to the boil. Remove from heat and let it stand while you \nprepare the tomato mixture. This procedure acts as a spice steep in vinegar, just \nlike tea which needs to diffuse. It is this separate spice brew that gives the ketchup \na rich red color. Peel the tomatoes. Place in a deep saucepan and break up. Add \nthe onion and red pepper. Measure the liquid quantity of volume. Then bring to the \nboil and cook 15 minutes, stirring occasionally. Liquidise the tomatoes and add \nsugar to taste. Bring to a boil and then simmer briskly. \nCook this down to half its original volume. It should take \n45-60 minutes. Strain the spices from the vinegar and discard and then add \nthe liquid directly into tomato mixture. Add salt to taste. Simmer down to your \npreferred consistency. Using sterilized and heated jars, fill, seal and label.\nThe Best Tomato Ketchup\n",61,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.62.png","121\n120\n121\nDuring the XIII Triennale in Milan in 1963 Joe Colombo presented the ‘Mini-Kitchen’ for Boffi, a cube on wheels (75x75x90cm) that resolved every \nkitchen need. On wheels, its top housed the hob and preparation area, with underneath a fridge and compartments for pots and pans and utensils and drawers for dry food \nstuffs. Not only a highly rationalised unit, the big change was the sociability of the cook. It was a kitchen that could be placed anywhere in the home and was definitely a \ntalking point rather than being tucked away out of sight and way from all the fun of the party. \n",62,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.63.png","123\n122\nLater in the sixties, discussion about cooking became more and more abstract as radical design began to relate to the modern city and all the problems \nof a city that never stops. A machine that prepares food is functional, rather than gratifying any higher emotional need. Massimo Morozzi worked out that the centre of the \nhouse was the table where you consume and what represented the ‘kitchen’ was marginal. A few years into the following decade, in 1972 the MOMA exhibition ‘New Italian \nLandscapes’, Ettore Sottsass created the unit ‘Furniture on Wheels’ so that the kitchen could interact with all the different parts of the house, the people and the society. \nAlessandro Mendini later went on to create the company Alessi, which brought back a playfulness to design. ‘Family follows Fiction’ is the name of an \napproach that encourages a designer to research and develop objects that recreate the joy felt by a child. In this vein, objects can be transformed into an instrument of play, \nand in doing so, brought about a new aesthetic to the kitchen environment, linking function and fun. The kitchen shook off its chains of restraint, and entered a new era of \ncelebration in domesticity.\n",63,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.64.png","124\n125\nI do not proclaim to be an expert in the subject of domesticity with all its nuances. These days, many people label themselves a domestic goddess, \nor claim to be a form of deity in the art of tidying. Who has the right to be a design critic? The domestic sphere is so very personal, and ultimately, we all want to live the \nmost enjoyable life possible and satisfy our individual desires. \n6.\nThe evolution of the Henge kitchen, a concept of timeless luxury where the ancient world \nmeets the future.\nTHE HENGE KITCHEN\n",64,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.65.png","127\n126\n",65,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.66.png","129\n128\nHow do we create the stage for our lives with the aim to fulfil our basic human needs and engage each of our emotional senses? Having looked through \nhistory and diverse cultures, from academic interpretations to literature, the Henge Kitchen manifests as the centre of social gathering in the home. It is a place vital to providing \nbasic food for newborns and growing children, a source for nourishment of body and soul, and healthy growth both physical and social. All these aspects shape our behaviour \nand our ability to appreciate the finer things in life. Yet, ultimately the home environment sets us up for long-term well-being and happiness.\n",66,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.67.png","131\n130\n131\nTo begin to plan a special occasion or celebratory meal, no matter who may be your preferred chef, you need to provide the right environment and \nequipment. The material of the kitchen worktop is key for functionality as well as aesthetics. For starters, considering durability and cleanliness, through to pleasure of \ntouch. A Henge marble surface is honed, smooth, sensual and characterful like skin. The Henge metals are rarefied whether forged bronze, the subtle sheen of the gold-\nplated kitchen more understated than ostentatious, or the silver panels of the boiserie seemingly like antique Venetian mirrors. Each is chosen and allowed to oxidise \nnaturally to develop further character and beauty over time. Never too bright, never dull, but simply celebrated for their innate qualities. The patina comes from the marks \nand memories of a good life. Materiality is the starting point for Henge and everything else follows, from selecting the finest craftsmanship to the design treatment. From \nsurface materials through to every hinge and fixing, all elements are treated with special care and attention to detail, and crafted with love.\n",67,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.68.png","133\n132\nIn this approach to materiality, one ‘bible’ is Jun’ichiro Tanizaki’s ‘In Praise of Shadows’, the seminal essay on Japanese aesthetics. Just as wabi-sabi \npresents the beauty in imperfection and subtleties of shadow, Henge seeks out honorable materials with their own special qualities and life. Metals that oxidise according \nto place, and over time will carry with them some subtle evidence of life lived, one connected to people and place and the earth itself. A muted palette offers a softer focus \nto life that is alluring and elevates beauty. Much like the Venetian area, from nature and landscape, architecture and artefacts, light does not glare but flatters, casting soft \nshadows and creating a distinct aesthetic and atmosphere. A fine example of this is William Turner’s ‘Venice with the salute’ painting, within the collection of the Tate.\n",68,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.69.png","135\n134\nThe Henge Kitchen is a working machine and central to the home. It is distinguished and proud, a fine setting to host cocktails and special dinner \nparties with a Michelin chef and black tie, while also humble and welcoming for informal family life. It draws people to the centre of home where great conversations, food \nand love can be shared. The permanence of stone and feeling of being connected to the earth’s crust itself gives us a healthy perspective on life. We are simply passing \nthrough in a long line of humans. In Italy, we are notable storytellers, and famous for our marble and the beauty of our land and rich cultural history. Whilst walking through \nthe ancient streets of Rome, locals and visitors are in awe of the inescapable feeling and evidence of the many generations of human life that have lived in the city. Henge’s \nbreccia medicea marble visually tells the story of the millennia that have formed its richly coloured veins. We venerate this material in our own church of life in the Henge \nkitchen, a place for food for the body and food for the soul.\n",69,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.70.png","137\n136\nWe feed those we love, we express ourselves by cooking, and we seek to impress by providing feasts and displays of food. Much influenced by \nGabriel Garcia Marquez, the grand author of Magical Realism (where the everyday can take on supernatural consequences), Laura Esquival’s ‘Como Agua Como Chocolate’ \nclosely connects food, love and family. In this story, the chef’s inner emotions have a physical effect on those that eat her food, whether cooking with sadness in her heart \nmakes the guests violently ill, or cooking with the rose petals given to her by her true love causes uncontrollable lust to all those that eat it. \n",70,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.71.png","139\n138\n138\n",71,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.72.png","140\n141\nEmotional intelligence has always existed, yet it is only recently that it has become a hot topic of conversation. Our ability to understand our own \nemotions, as much as those of others, is a way to guide behaviour on a path to greater happiness. One of the most important lessons in life is to be true to oneself. Henge \nfollows a fundamental belief in honest materials, not forcing or restricting its natural evolution, or masquerading as another. Materials are treated and respected to age well \nwith time, and crafted by the hand of highly skilled person. In Richard Sennett’s ‘The Craftsman’ enlightens us to the essence of craftsmanship and the desire to do a job \nwell. Using this approach as a template for living, he explores how we can enrich our lives and anchor ourselves in the world around us.\n",72,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.73.png","143\n142\nHenge’s output focuses as much attention to detail on the inner mechanics of the pieces, some hidden, some more obviously exposed, the whole considered \nin its entirety. The love for artisans is born from Henge’s vision for the life of the brand and keen aesthetic eyes. Henge exists to astound, and make the ordinary extraordinary. To \nrespect oneself is fundamental, as only then can you expect others to give you the value that you deserve. Allowing yourself to enjoy life without guilt encourages those around \nyou to feel the glow and benefit themselves. The Henge kitchen exists to nurture and fulfil the hierarchy of human needs. To live with handcrafted objects is perhaps the highest of \nluxuries. It is indulgent, it is of utmost desirability, and the materials and craftsmanship have permanence and resonance for many lifetimes to come. \n",73,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.74.png","145\n144\n",74,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.75.png","146\n147\nThe great monolith of Stonehenge is a feat of human achievement, as well as place of spiritual importance. Through immense physical effort to \ntransport materials and assemble it, which in today’s world of machine’s is quite astounding to the modern man, we wonder how and why? \nA place of myth, ritual and unity of people, now that still draws people to its altar. No matter what, it is a true masterpiece and one worth waiting for. \nWhen we reflect on life, we as humans are ritualistic, we need to be together and we need to find meaning. The Henge Kitchen is a grounding for domestic life, familial \nand celebratory. The craftsmanship is a labour of love that resonates. Love that is enduring and gives a lifetime of reward. Why do we exist? Why are we impatient for \neverything? Why do we love? Why do we need beauty? Why is something attractive? Why are we fearful?\n",75,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.76.png","149\n148\n",76,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.77.png","151\n150\n",77,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.78.png","153\n152\nCHAPTER FIVE\nSharing is a gesture of love. We love to talk about food and we love to talk about sex. There has always been a very strong connection between food \nand sex. One of our more recent obsessions has been ‘food porn’, and the Korean internet sensation of mukbang whereby millions tune into YouTube videos to watch others \neat. Is mukbang a sign that we have forgotten what food is all about, the coming together of people? In Japanese culture nyotaimori, which dates back to the Edo period with \npopularity in the Geisha houses, is the practice of serving food exquisitely displayed on top of a naked woman’s body. While this is not palatable in the #MeToo culture of today, \nit demonstrates human’s desire to link food with beauty, indulgence and sensuality. The house is your most sacred temple and the kitchen is your altar.\n",78,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.79.png","155\n154\n155\nThe last century has seen incredible changes to the food system, our relationship with food and perception of nourishment, aside from the importance \nplaced on the aesthetics of food. With it the industrialised food system has brought a vast array of fast food at our finger tips, only to encourage lone figures to devour \ninstant food whilst staring blankly at a screen and tapping away furiously at their keypads. Inadvertently, this is a form of self-punishment as a consequence of convenience. \nIn contrast, the rhythm of the day can be punctuated by meal times and the daily rituals of preparing and sharing food. Whether this is as simple as a cup of freshly ground \ncoffee brewed in a stovetop Bialetti and enjoyed from your favourite cup, or more elaborate meals, we create special moments in time. From searching through your well-\nthumbed cookery books for recipes, spending a day at the market to buy the freshest ingredients and the afternoon in preparation before you even get to preening yourself, \ndeciding the music to play and adjusting the lighting levels, all these elements affect how people interact, converse and ultimately feel in themselves. \n7.\nFrom fast food to the convenience of pills.\nFOOD OF THE FUTURE\n",79,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.80.png","157\n156\n156\nIt is possible to reduce your basic nutritional needs to a mineral and protein liquid blend for your breakfast drunk on the go, but is that really a way to \nstart the day? Self-care begins with the body, and the body affects the mind. To be truly fulfilled we must start with good food, grown and produced well, prepared with love \nand eaten with others. Ever since the invention of the process of canning tuna, pioneered by the Sicilian entrepreneur Vincenzo Florio Sr. in 1841 in Sicily, the conditions and \nthe preservation of food have evolved exponentially. These innovations have influenced how we eat when travelling, through to the twenty-first century where we are on the \ncusp of space tourism with rather more conceptual meals.  \n",80,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.81.png","159\n158\nThe Russian space program has included tinned food in their provisions, including puréed meat served from toothpaste tubes, as eaten by Yuri \nGagarin on Vostok 1 in 1961. NASA packed their space food in pouches and sealed containers which could be strapped onto trays to avoid food floating away with \nmicrogravity. This has all moved on from the early days of space travel, where the sole nourishment were thick tasteless liquids in tubes, bite sized cubes and freeze-dried \npowder. Food was basic and unpopular with the space crews, which pushed one astronaut to smuggle aboard a corned beef sandwich, causing much consternation at \nground control, all extremely concerned that the crumbs could damage air vents or be inhaled.  \n",81,{"image":338,"text":339,"number":340},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.82.png","161\n160\nThe project Gemini, and then Apollo, made the most significant developments in space diet. The domesticity of life in space was first truly considered, \nwhen the United States space station Skylab was launched by NASA in 1974, equipped with a workshop for life science and physical science experiments. A step up, 1975 saw \nthe Apollo-Suyuz Test Project provided facilities for communal crew dining. Marking the first collaborative multinational cosmic union of sorts (between USA, Russia, Japan, \nEurope and Canada), the ISS International Space Station was launched in the late 1990s. The station is however divided into two sections: the Russian Orbital Segment (ROS) \nis operated by Russia, while the United States Orbital Segment (USOS) is run by the United States as well as many other nations. One of its missions is to test the spacecraft \nsystems and equipment required for possible future long-duration missions to the Moon and Mars. China is the only country owning and operating their own space station. \n",82,{"image":342,"text":343,"number":344},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.83.png","163\n162\n",83,{"image":346,"text":347,"number":348},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.84.png","165\n164\nThe ESA, the European Space Agency, is dedicated to advances in space exploration, with food and water sources fundamental for future life in space. \nIt was the Interkosmos from Bulgaria that succeeded in improving the process of freeze drying. Since 2002, a cooperative effort between the Space Dynamics Laboratory at \nUtah State University and Russia’s Institute of Biomedical Problems, the LADA Greenhouse system has been employed in the ISS to grow plants (various salads, some green \nbeans with tomatoes grown under LED lights looking promising soon). On a more human level, on recent multinational missions, food has been a vehicle for intercultural \nexchange and a facilitator for communication. \n",84,{"image":350,"text":351,"number":352},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.85.png","166\n167\n166\nFood is one of the most important elements contributing to the well-being of human beings. Professors of Design and Architecture at the Politecnico \ndi Milano, Annalisa Dominoni and Benedetto Quaquaro from the design studio (a+b) Dominoni, Quaquaro, have embarked on a major research project Space4InspirAction. It \nis the first and unique Space Design Course (Master of Science) which is supported by the ESA. Adding to their learnings from designing for the International Space Station \n(ISS), it is a pivotal programme based upon the premise that space craft have to function like living organisms recycling everything while satisfying the nutritional, psychological, \nbehavioural needs of the crew. The challenge is to provide facilities in a confined space for all the crew to enjoy a communal meal. Space4InspirAction also is researching the \nphysiological changes to the human body under microgravity.\n",85,{"image":354,"text":355,"number":356},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.86.png","169\n168\nTechnology is developing rapidly and producing ever more sophisticated systems that can be employed to grow different typologies of stem cells, and \nthe Space4InspirAction project “Virgilio” which 3D prints food in forms determined by planets, comets and asteroids, as an amusement for space tourists. However, right \nnow, it is crucial to nourish astronauts as well as keep them stimulated, and to address their psychological needs. Other designs from the Space4InspirAction R+D include, \n“Bloom” food packaging that resembles a budding flower, which as heated gently unfurls to display inside an edible delicacy. It is certainly a more sensorial experience than \nsucking purée from a pouch. “Shake it” is a more interactive and playful yet functional object that when shaken heats the food ready for consumption. Not only for keeping \nastronauts entertained, these innovations can be transferred to other extreme conditions, such as arctic travel or relief situations. \n",86,{"image":358,"text":359,"number":360},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.87.png","171\n170\n171\nTwenty years on from the setting of Stanley Kubrick’s 1968 seminal film 2001: A Space Odyssey, we are still debating the meaning of this cinematic \nmasterpiece. Ahead of its time not only in subject matter, it was heralded for its pioneering treatment employing long periods of music instead of dialogue and realistic special \neffects as well as its themes of AI and possibility of extra-terrestrial life. As an alien black monolith lands amongst a tribe of prehistoric ape-men it sets off a chain of events, \nnotably the discovery of fire and how that aids the preparation of food. \n",87,{"image":362,"text":363,"number":364},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.88.png","173\nFrom the discovery by early man of cooking with fire, you can track history around our rich and complex culture of food, and its far-reaching socio-\npolitical consequences. We continue to be part of and follow this with great intrigue. It is this fascination and insatiable curiosity that drives us at Henge to continually delve \ninto the values surrounding cooking and sharing food. We strive for excellence in the connection between material and design, function and refinement, and our customers \nand their dreams. This challenge and delicate balance makes us feel alive and defines the Henge Kitchen.\n172\n",88,{"image":366,"text":367,"number":368},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.89.png","175\n174\n",89,{"image":370,"text":371,"number":372},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.90.png","177\n176\nINTRODUCTION\n→ Christopher Reed, Not at Home, The \nsuppression of Domesticity in Modern Art and \nArchitecture, London, Thames & Hudson, 1996\n→ Peter Ulrich, Transformation der Oekonomischer \nVernuft, Fortschrittsperspektiven der Modernen \nIndustriegesellschaft, Bern, Haupt, 1986 \n→ Gillo Dorfles, Nuovi Riti, Nuovi Miti, Milano, \nEinaudi, 2003\n→ Jean Baudrillar, Il Sistema degli Oggetti, Milano, \nBompiani, 1972\n \n1. FIRE AND STONE\n→ Richard Wrangham, The Goodness Paradox, \nThe Strange Relationship between Virtue and \nViolence in Human Evolution. Jan 29, Vintage \nBooks, 2019\n→ Richard Wrangham, Catching Fire, how Cooking \nMade Us Human. Basic Books 2009\n→ Michael Pollan, Cooked. A Natural History of \nTransformation. New York, Penguin, 2013\n→ Hans Peter Duerr, Alcheringa oder die Beginnende \nZeit, Studien zu Mythologie, Schamanismus und \nReligion, Frankfurt, Qumran, 1989\n→ Terence Mckenna, Il Cibo degli Dei, Alla Ricerca \ndel Vero Albero della Conoscenza, Milano, Piano B \nEdizione, 2016\n2. ETRUSCAN KITCHEN\n→ Hans-Peter von Peschke, Werner Feldmann, La \nCucina dell’Antica Roma, Milano, Guido Tommasi \nEditore, 2001\n→ Mario Torelli, Gli Etruschi, Catalogo della Mostra \nPalazzo Grassi, Venezia, Bompiani, 2000\n→ Gilda Bartolini, Filippo Delpino, Cristina Morigi \nGovi, Giuseppe Sassetelli, I Principi Etruschi, \nCatalogo Mostra Museo Civico Archeologico \nBologna, Marsilio, 2000\n→ D.H. Lawrence, Etruscan Places, Martin Secker, \nLondon, Martin Secker, 1932\n→ Catherine Salles, I Bassifondi dell’Antichità, \nProstitute, Ladri, Schiavi, Gladiatori: Dietro lo \nScenario Eroico del Mondo Classico, edit out Paris \n1982, Bur Biblioteca Univ. Rizzoli, 2001\n→ Clotilde Vesco, Cucina Etrusca, 2685 Anni dopo, \nFirenze, Vallecchi Editore, 1985\n→ Giovanni Righi Parenti, La Cucina degli Etruschi, \nSiena, Sugar Editore, 1964\n3. THE NUCLEAR FAMILY HOME\n→ Imma Forino, La Cucina, Storia Culturale di un \nLuogo Domestico, Torino, Einaudi, 2019\n→ Alberto Alessi, Alberto Gozzi, La Cucina Alessi, \nMünchen, Düsseldorf, Wien, New York, Econ 1994\n→ Massimo Montanari, La Fame e l’Abbondanza, \nStoria dell’alimentazione in Europa, Roma-Bari, \nLaterza, 1993\n→ Massimo Montanari, il Cibo Come Cultura, \nRoma-Bari, Laterza, 2004\n→ Margaret Visser, Storia delle Buone Maniere a \nTavola, Le Origini, l’Evoluzione e il Significato, Bra \n(CN) Slow Food, 2020\n→ Josef Cachee, Die K.u.K Hofkueche und Hoftafel, \nWien Muenchen Amalthea, 1987\n→ Richard Thompson Ford, Dress Codes, How the \nLaws of Fashion Made History, New York, Simon & \nSchuster, 2021\n4. FRANKFURT KITCHEN\n→ Marcel Bois, Bernadette Reinhold, Margarete \nSchuette-Lihotzky, Architektur. Politik. Geschlecht. \nNeue Perspektiven auf Leben und Werk, Basel, \nBirkhäuser, 2019 \n→ Cristina Morozzi, Cucine Made In Italy, Bellezza e \nDesign, Milano, Rizzoli, 2014\n5. AMERICAN KITCHEN\n→ Antony Giddens, Social Theory and Modern \nSociology, Stanford, Stanford University Press, 1987\n→ Laura Polinoro, Family Follows Fiction, Milano, \nLibreria Piani, 1993\n→ Andre Branzi, La Casa Calda, Esperienza \ndel Nuovo Design Italiano, Idea Books Edizioni, \nMilano 1984   \n→ \nChristopher \nReed, \nNot \nat \nHome, \nThe \nSuppression of Domesticity in Modern Art and \nArchitecture, London, Thames & Hudson, 1996\n6. HENGE KITCHEN \n→ Jun’ichiro Tanizaki, In Praise of Shadows, \ntranslation: Edward G. Seidenstricker, Thomas J. \nHarper, Leete’s Island Books, 1977\n→ Ilse Crawford, The Sensual Home, London, \nQuadrille Publishing, 1998\n→ Gianfranco Marrone, Semiotica del Gusto, \nLinguaggi della Cucina, del Cibo, della Tavola, \nMilano, Mimesis, 2016\n→ Richard Thompson Ford, Dress Codes, How the \nLaws of Fashion Made History, New York, Simon & \nSchuster, 2021 \n→ Michel Foucault, La Cura di Se, Storia della \nSessualità 3, Milano, Feltrinelli 1985\n→ Laura Esquiva, Como Agua Como Chocolate, \nDebolsillo, Penguin Random House Group, 2016\n→ Richard Sennett, The Craftsman, Penguin \nBooks, 2009\n7. FOOD OF THE FUTURE\n→ Annalisa Dominoni, Design of Supporting \nSystems for Life in Outer Space, Springer, 2021\n→ Gillo Dorfles, Nuovi Miti, Nuovi Miti, Torino, \nEinaudi, 1965\n→ James Hillman, Il Codice dell’Anima, Milano, \nAdelphi, 1997\n8.\nBIBLIOGRAPHY\n",90,{"image":374,"text":375,"number":376},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.91.png","179\n178\nP. 5 → Venus of Willendorf; c. 26,000 BC (the \nGravettian period); limestone with ocre coloring; \nNaturhistorisches Museum (Vienna, Austria). \n© Use of the photo under the terms of the GNU \nFree Documentation License, Version 1.2 or any \nlater version published (https:\u002F\u002Fen.wikipedia.org\u002F\nwiki\u002FGNU_Free_Documentation_Licens). Author: \nMatthias Kabel\nP. 13 → Photo by Ivana Cajina on Unsplash \n(unsplash.com)\nP. 9 → Photo by Alfred Kenneally on Unsplash \n(unsplash.com)\nP. 14 → Troglodytes gorilla, 1700-1880, Print, \nIconographia Zoologica, Special Collections \nUniversity of Amsterdam, UBA01 IZ19800175. © \nPublic Domain\nP. 10 → Prometheus Carrying Fire Painting by \nJan Cossiers, 1673, Museo Nacional del Prado. \n© Public Domain\nP. 18 → Photo by Patrick Hendry on Unsplash \n(unsplash.com)\nP. 21 → Photo by Bradley Dunn on Unsplash \n(unsplash.com)\nP. 12 → Stone age man discovers fire. From \nL'Homme Primitif, published 1870. Image ID \nJD98EJ on Alamy (alamy.com)\n9.\nPHOTO CREDITS\n",91,{"image":378,"text":379,"number":380},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.92.png","181\n180\nP. 27 → Alpi Apuane, Minucciano, Province of \nLucca, Italy, Marble Cave. Photo by Luca Anasta \non Unsplash (unsplash.com)\nP. 37 → Tarquinia (VT), Etruscan Necropolis of \nMonterozzi. Tomb of the Shields (4th century BC). \n© Domenico Ventura\nP. 38 → A bronze roman skillet with a handle, \n0001 - 1000, Hunt Museum. © Public Domain\nP. 29 → Engraving: \"Stone Henge, Wiltshire\" from \nPicturesque views in England and Wales, London: \n1838, by Joseph Mallord William Turner (1775-\n1851). Engraved by R. Wallis. Edited for color and \nbrightness\u002Fcontrast. Typ 805 38.8530, Houghton \nLibrary, Harvard University © Public Domain\nP. 39 → Pompeii, The Thermopolium of Regio V, \none of the snack bars at Pompeii, complete with an \nimage of a Nereid riding a sea-horse. © Luigi Spina \ncourtesy of Parco Archeologico di Pompei\nP. 35 → Tarquinia (VT), Etruscan Necropolis of \nMonterozzi. Tomb of the Shields (4th century BC). \n© Domenico Ventura\nP. 41 → Pompeii, The Thermopolium of Regio V, one \nof the snack bars at Pompeii, complete with exquisite \nscenes of still life, with depictions of animals which \nwere likely butchered and sold here. © Luigi Spina \ncourtesy of Parco Archeologico di Pompei\nP. 49 → View of the Campidoglio as re-designed \nby Michelangelo from the 'Speculum Romanae \nMagnificentiae', print, Etienne DuPérac (1525–\n1604). © Public Domain\n",92,{"image":382,"text":383,"number":384},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.93.png","183\n182\nP. 57 → A late Roman-Republican banquet scene in \na fresco from Herculaneum, Italy. © Public Domain\nP. 50 → Tarquinia (VT), Etruscan Necropolis of \nMonterozzi. Tomb of the Shields (4th century BC).\n© Domenico Ventura\nP. 59 → Paolo Veronese, The Wedding at Cana, 1563. \nThe use of the photo is allowed under the terms \nof the GNU Free Free Documentation License, \nVersion 1.2 or any later version published (https:\u002F\u002F\nen.wikipedia.org\u002Fwiki\u002FGNU_Free_Documentation_\nLicens) © Zenodot Verlagsgesellschaft mbH \nP. 53 → Paolo Veronese, Cena in Emmaus. Image \nID WGA24854 on Alamy (alamy.com)\nP. 63 → Catherine de' Medici, Governor of Siena \n(1593-1629), Justus Sustermans (1597–1681). \n© Public Domain\nP. \n54 \n→ \nBenvenuto \nCellini, \nSalt \nCellar, \nPartly enameled gold sculpture, 1540-1543, \nKunsthistorisches Museum, Vienna.\nP. 67 → The Last Supper after Leonardo \nexhibition, curated by Demetrio Paparoni, Yue \nMinjun special feature. © Courtesy of master \nYue Minjun, special thanks to Stephan Hamel, \nDemetrio Paparoni\nP. 69 → Bartolomeo Scappi, Opera di Bartolomeo \nScappi M. Dell'Arte del Cucinare..., Venetia, 1610. \n[Pl. 7]. Principal kitchen. © No known copyright \nrestrictions\n",93,{"image":386,"text":387,"number":388},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.94.png","185\n184\nP. 80 → Theodora. Detail from the 6th-century \nmosaic \"Empress Theodora and Her Court\" in the \nBasilica of San Vitale in Ravenna. © Public Domain\nP. 69 → Bartolomeo Scappi, Opera di Bartolomeo \nScappi M. Dell'Arte del Cucinare..., Venetia, 1610. \n[Pl. 26]. Serving room to the kitchen.  © No known \ncopyright restrictions\nP. 81 → Marble columns and arches of St Marks \nSquare, Venice. Image ID PC2014 on Alamy \n(alamy.com)\nP. 72 → Vette keuken, Pieter van der Heyden, after \nPieter Bruegel (I), 1563. © Creative Commons \nCC0 1.0 Universal Public Domain Dedication \n(\"CCO 1.0 Dedication\")\nP. 86 → Jean-Baptiste-Siméon Chardin, The \nSilver Goblet, 1768. Image ID EH4D4Y on Alamy \n(alamy.com)\nP. 75 → Cooks preparing food in an Italian \nkitchen 1500s. Hand-colored woodcut. Image ID \nC5MTBW on Alamy (alamy.com)\nP. 89 → Jean-Baptiste-Siméon Chardin, Still Life \nwith Eggs, Cheese, and a Pitcher, 1760. Image ID \nF70XM7 on Alamy (alamy.com)\nP. 90 → Ernst Ludwig Kirchner, Alpine Kitchen, \n1918. Image ID 2A12JE8 on Alamy (alamy.com)\n",94,{"image":390,"text":391,"number":392},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.95.png","187\n186\nP. 99 → Mrs Christine Frederick, \"Household \nengineering, scientific management in the \nhome\", Efficient kitchen plan, 1919. © Use of \nthe photo allowed nder the Creative Commons \nAttribution 4.0 International license. (https:\u002F\u002F\ncreativecommons.org\u002Flicenses\u002Fby\u002F4.0\u002F) Author: \nMrs Christine Frederick\nP. 99 → Mrs Christine Frederick, \"Household \nengineering, scientific management in the \nhome\", Inefficient kitchen plan 1919. © Use of \nthe photo allowed nder the Creative Commons \nAttribution 4.0 International license. (https:\u002F\u002F\ncreativecommons.org\u002Flicenses\u002Fby\u002F4.0\u002F) Author: \nMrs Christine Frederick\nP. 95 → Margarete Schütte-Lihotzky, zwei \nStandfotos aus dem Stummfilm zur \"Frankfurter \nKüche\", 1927 © Kunstsammlung und Archiv, \nUniversität für angewandte Kunst Wien, Inv.Nr. \n50\u002F25\u002FFW © Collection and Archive, University \nof Applied Arts Vienna, Inv.No. 50\u002F25\u002FFW\nP. 100 → The Frankfurt Kitchen, originally \ndesigned by Architect, Margarete Schütte-\nLihotzky, on display at the Moma in New York. © \nThis file is licensed under the Creative Commons \nAttribution-Share Alike 3.0 Unported license. \n(https:\u002F\u002Fcreativecommons.org\u002Flicenses\u002Fby-\nsa\u002F3.0\u002Fdeed.en) Author: Jonathan Savoie\nP. 96 → CRIMEAN WAR\u002FUKRAINE M. Soyer's \nCamp and Bivouac kitchen in the Crimea, 1855. \nIllustrated London News. Image ID FENXA5 on \nAlamy (alamy.com)\nP. 102 → Margarete Schütte-Lihotzky und \nWilhelm Schütte, 1928 © Kunstsammlung und \nArchiv, Universität für angewandte Kunst Wien, \nInv.Nr. F\u002F97 © Collection and Archive, University \nof Applied Arts Vienna, Inv.No. F\u002F97\nP. 97 → The Mission of Mercy: Florence \nNightingale receiving the Wounded at Scutari. \nPainting by Jerry Barrett (1824-1906). Image ID \n2GFNTM0 on Alamy (alamy.com)\nP. 103 → Margarete Schütte-Lihotzky, Austrian, \n1897-2000; \nFrankfurt \nKitchen; \n1926-1930; \nKitchen \ncabinetry \nand \nstove; \nDimensions \nvariable; Minneapolis Institute of Art; Gift of \nfunds from Regis Foundation 2004.195 © No \nKnown Copyright\n",95,{"image":394,"text":395,"number":396},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.96.png","189\n188\nP. 107 → Margarete Schütte-Lihotzky und Wilhelm \nSchütte in Istanbul, Türkei, 1939 © Kunstsammlung \nund Archiv, Universität für angewandte Kunst Wien, \nInv.Nr. F\u002F138 © Collection and Archive, University \nof Applied Arts Vienna, Inv.No. F\u002F138\nP. 133 → Approach to Venice, JMW Turner, 1844, \nNational Gallery of Art, Washington DC, USA, \nNorth America. Image ID M6CR2B on Alamy \n(alamy.com)\nP. 111 → 1950s housewife wearing checkered \ndress standing in kitchen stirring pot on stove \nlooking over shoulder. Image ID BR9H82 on \nAlamy (alamy.com)\nP. 155 → Tonno Florio © Use of the photo under \nthe terms of the GNU Free Documentation \nLicense, Version 1.2 or any later version published. \n(https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FGNU_Free_\nDocumentation_Licens). Author: Matthias Kabel\nP. 112 → 1950s homemaker wearing apron with \nthumbs proudly hooked on straps looking at \ncamera. Image ID BR9GMA on Alamy (alamy.com)\nP. 156 → Favignana, Italy, August 2020. In the \nformer Florio factory now a museum, the ancient \ntuna boxes. In this place the tuna were processed \nfor distribution. Image ID 2D9YC3G on Alamy \n(alamy.com)\nP. 113 → American Fifties Kitchen. Image ID \n2AFMD21 on Alamy (alamy.com)\nP. 159 → This interior view of the Apollo 11 Lunar \nModule shows Astronaut Edwin E. Aldrin, Jr., lunar \nmodule pilot, during the lunar landing mission. \nPhoto by NASA on Unsplash (unsplash.com)\n",96,{"image":398,"text":399,"number":400},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.97.png","191\n190\nP. 160 → Vacuum sealed dehydrated food used \nby NASA for their astronauts in space. The food \nis returned to its normal state when water is \nadded to the pouches. Image ID 2CCT8A4 on \nAlamy (alamy.com)\nP. 166 → In Space we can activate sensorial \nperception in different ways to contrast the lack of \nstimuli, as this food tools set able to stimulate the \nTaste Buds through different shape and textures. \nCredits: Annalisa Dominoni, Benedetto Quaquaro, \nSpace4InspirAction Course, Master of Science in \nIntegrated Product Design, Politecnico di Milano.\nPhotos: \nMatteo \nBergamini, \nLab \nImmagine, \nDipartimento di Design, Politecnico di Milano.\nP. 160 → Vacuum sealed dehydrated food used \nby NASA for their astronauts in space. The food \nis returned to its normal state when water is \nadded to the pouches. Image ID 2CCT8C6 on \nAlamy (alamy.com)\nP. 167 → In Space we can activate sensorial \nperception in different ways to contrast the lack of \nstimuli, as this food tools set able to stimulate the \nTaste Buds through different shape and textures. \nCredits: Annalisa Dominoni, Benedetto Quaquaro, \nSpace4InspirAction Course, Master of Science in \nIntegrated Product Design, Politecnico di Milano.\nPhotos: Matteo Bergamini, Lab Immagine, \nDipartimento di Design, Politecnico di Milano.\nP. 164 → 1965. James McDivitt, Ed White, \nExtravehicular \nActivity \n(EVA), \nGemini \n4 \n[Spacewalk]. Photo by The New York Public \nLibrary on Unsplash (unsplash.com)\nP. 168 → Inspired by the lotus the space food \nis inside the flower-shaped packaging Bloom \nthat opens its petals when heated. Credits: \nAnnalisa \nDominoni, \nBenedetto \nQuaquaro, \nSpace4InspirAction Course, Master of Science \nin Integrated Product Design, Politecnico di \nMilano. Photos: Matteo Bergamini, Lab Immagine, \nDipartimento di Design, Politecnico di Milano.\nP. 165 → Photo by NASA on Unsplash (unsplash.\ncom)\nP. 169 → Inspired by the lotus the space food \nis inside the flower-shaped packaging Bloom \nthat opens its petals when heated. Credits: \nAnnalisa \nDominoni, \nBenedetto \nQuaquaro, \nSpace4InspirAction Course, Master of Science \nin Integrated Product Design, Politecnico di \nMilano. Photos: Matteo Bergamini, Lab Immagine, \nDipartimento di Design, Politecnico di Milano.\n",97,{"image":402,"text":403,"number":404},"\u002Fmedia\u002Fimages\u002Fca\u002F0059ff722364fe3753693ff5a9fd8b-28ca2f5066.98.png","193\n192\nI want to extend thanks to everybody who helped in the development of this book. \nFor the flow of english language, Jess Tully, for art direction and graphic design, \nStudiogusto, and importantly to Nicola Paccagnella for always being there for me.\n— Stephan Hamel\nwww.henge07.com\nVia della Spiga 34\n20121 Milano (MI) — Italy\nT +39 0438 1710600\natelier@henge07.com\nOpen by appointment\nOffice and Factory\nVia G. 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