The cider press (my introduction to design and permaculture part 2)

One of the things I miss about England is sipping a cool pint of cider in a beer garden on a summer’s day. Not the Magner’s variety, mind you, but a local brew ‘that’ll put hairs on your chest’. In New Zealand, I found a few good ciders (Zeffer’s ‘Slack ma Girdle’; Peckham’s; and Paynter’s), but on the whole they are too sugary and similar; I prefer a bit more character, like a Cox apple rather than a Braeburn. I moaned to a few kiwi’s about it and they pretended to listen as they gulped their beers. Eventually, I decided to put my money where my mouth was and make my own.

I purchased the equipment, and after reading about the process, bought some apple syrup to make my first batch. This was definitely cheating, but I didn’t want to waste lots of delicious apple juice on my first attempt. I began by mixing the syrup and yeast with water and putting it in a large bucket (I left out the sweetener that came with the kit). With the change of season, my flat was starting to get cold, so I put the bucket in the corner of my bedroom and wrapped it in a blanket, hoping it would be warm enough to activate the yeast. After two weeks in the bedroom and three months in the bottle, the end result, ‘Sarah’s Slutty Cider’, was a passable brew, and had a bit more character than the shop varieties. My mates and I had lots of fun drinking it, but as I learned on my travels, a lot of fun can be had making cider too.

1451578_10151690788967186_1973012326_n

When I got to Cotna Eco-farm and retreat in England (the place where I also learned to scythe a meadow), it was the end of summer and the apple trees were laden with fruit. Dave (the owner of the farm) told me that some apples were for eating, and the windfalls and other varieties were for making cider. My eyes lit up – if we stayed at the farm until harvest I would get to make some cider with apples, not syrup!

I stayed for five weeks, so did get to make some cider, and, compared to when I’d made it in Wellington, it was a much more collaborative affair. There were a number of reasons for this: mashing up apples by hand is too tiring for one person; cider making is celebratory and a culmination of plenty of hard work on the land; it’s messy (i.e. lots of fun); and it’s traditional to drink cider from the previous year when you’ve finished.

69341_158596940828644_8014166_n

We all took turns at using a bucket and a wooden masher to make the apple pulp and then to squeeze out the juice from the pulp in the cider press. The apple juice went straight into demijohns with no other additives (natural yeast comes from the skins of apples). We put the demijohns into a cool, dark shed for at least three months, until they would be decanted into smaller bottles. As I found out from the first batch, it’s tempting to drink cider too early, but makers will tell you ‘if you make it in October, it will be alcohol by Christmas, palatable by Easter and drinkable by summer’.

howtomakebestcider-applebasher

DSC_0538

Dave hadn’t had time to decant the cider from the year before, so myself, Sarah (Dave’s partner), and Laura (my wonderful Catalonian friend), spent an unforgettable afternoon deciding which ciders were good enough to be bottled. The ones that made it into the bottles were deliciously crisp and flavourful, most of the ones that didn’t, had a hint of blue cheese or old socks. Cider making, like much of the processing required at harvest time, helped solidify our relationship as fellow workers and friends. In fact, at Cotna, less fun jobs like weeding or shoveling horseshit were enjoyable when we were all ‘in it together’ (literally ‘all in it together’, nothing like George Osborne’s version, in which he bankrupts the farm, uses wages to buy it back, makes us work longer hours for less pay, all the while sitting back sipping cider with his chums).

BeFunky Collage

The ethics and principles of permaculture encourage relationships of collaboration and sharing. For example, as Looby Macnamara writes in her excellent book ‘People and Permaculture’, the permaculture ethic of ‘peoplecare’ asks us to consider the welfare of people in our designs, and suggests that by reaching out and establishing links, we can help create a sense of purpose and belonging. While in our everyday lives we may get these feelings from aspects of work and leisure (such as drinking homemade cider with mates), all too often our ways of producing and consuming result in us feeling alone, or stressed by competition and the fear of inadequate performance.

As responsible designers, I believe we need to design for sociality, not individualism. We need to create things that are the antithesis of the selfie stick: objects, processes and services that encourage us to interact with one another. Although social media, such as Facebook, may claim to be one such product, we need to design things that go beyond commodified relationships and self branding. Making cider the ‘old-fashioned way’ is one such process; the primitive nature of the tools encouraged us to talk to one another and coordinate our actions. For example, if the pulp was too coarse, the chunks of apple were impossible to press, too fine and juicy and they all came shooting out due to the pressure.

This is not to suggest that permaculture projects produce a utopia of egalitarian social relations. I have volunteered at some places that were simply unbearable. Usually, there was a culture of competition, not collaboration and those ‘in charge’ (and it really felt like they were in charge) didn’t listen to other people’s opinions, or notice their abilities. These projects were not following the permaculture principle of ‘integration rather than segregation’. Integration means putting things (in this case, people) in the appropriate place. If this is done well, relationships can develop and support systems can grow. Successful permaculture projects acknowledge everyone’s talents and work together towards a common goal. In the case of making cider, for example, some people are better at growing apples, some are better at juicing, some are better at tasting (my particular skill set) and others at entertaining and keeping moral high.

And at the end of the harvest, everyone can have a go at drinking last year’s cider.

Inspiring façades and natural pigments to brighten your day

The use of colour in the West is often pretty lackluster, especially in the streets and on the façades of buildings. When visiting the Medinas of North Africa and ‘Calles’ of Mexico and Central America, this becomes even more apparent; the juxtaposition of shades and tones and the sheer brightness of the colours is enough to put a smile on anyone’s face. So much so, that wandering through the cities and towns feels like free colour therapy.

While bright colours can look different in cooler climates with cloudier skies, we can surely do better than the drab creams and pale blues/greys that we’re accustomed to. Even if painting a full façade seems a bit extreme, I guarantee that painting a garden wall, a side passage, or even an old shed, will cheer you and your neighbors up no end. Here’s some inspiration:

Chefchaouen, Morocco

2014-08-17 21.24.55

The Blue Pearl, as Chefchaouen is known, is one of the most dramatic architectural uses of colour in the world. Jewish refugees are said to have introduced the tradition in the 1930s, the blue representing the sky and heaven. Walking through the streets, you see all shades of blue: turquoise, aquamarine, cobalt, and indigo. The walls and pavements have a special luminescence due to the combination of natural pigments and lime wash. The use of these pigments also gives the colours softness, a quality that is not often found in synthetic mass-produced paint.

To create a little piece of Chefchaouen, you could either take a trip to Morocco and bring back a bag of natural pigment (about $15 per kilo, and a good excuse for a holiday), or find a supplier of natural paints. For example, Little Greene  is just about to release their new range, ‘Blue’, which includes 21 beautiful shades.

Campeche, Mexico

2014-10-16 00.49.28

The UNESCO heritage listed colonial town of Campeche in Mexico also provides wonderful inspiration. The perfectly restored historical center is awash with bright colours that match the sunny weather and hospitality of the people. Many of the houses are painted in earth-based colours, presumably a legacy of the Mayan use of Tezontle, a rich red clay used to clad buildings. In modern day Campeche, the rich reds, and yellow ochres are interspersed with an approved palate of pastel blues, greens, and pinks. No two houses of the same colour are found next to each other, giving each street its own character. While almost as bright as a city can get, the colours of colonial Mexico are not gaudy or fake. The pigments pack a punch, but they also have a chalky matt quality.

To create a bright Campeche-inspired wall, check out Pittsburgh Paints hacienda style colour palette, which includes 18 shades based on research of Mexican colonial buildings.

Leon, Nicaragua

2015-01-14 04.21.12

The third inspiration is the laid-back city of Leon, in Nicaragua. While not as polished or as bright as Chefchaouen or Campeche, Leon is a melting pot of Nicaraguan life and its crumbly streets contain some wonderful hues.

Less ordered and formal than many colonial cities, blues, greys, pinks and rusts are used to contrast walls, doors, and window frames. Façades are often in need of touch-up, with the flaky paint revealing past colour preferences and giving the city a shabby, lived-in feel.

Leon’s streets seem so ‘on trend’, it can be difficult to believe that what your seeing is actually a traditional colour palette. To recreate the look, Farrow and Ball’s key colour trends of 2015 ‘Pink Ground’ and ‘Breakfast Room Green’ are ideal, as is their decorating theme, ‘Dark and Dramatic’.

The scythe (my introduction to design and permaculture 1)

If you’d of told me a couple of years ago that I’d use a scythe to cut grass, chisel a channel for a water pipe in the hardest rock imaginable, and haul 10kg rocks up a hill, I would of said ‘don’t be bloody mental’, especially about the scythe. Anyone that knows me has probably noticed that I’m not the most co-ordinated person. I often bump into things and usually have a bruise somewhere on my body. I justify this by the fact that I have hyper-mobility syndrome, which apparently means I’m less aware of my limbs in space than most people. I’ve never been tested for this symptom of hyper-mobility though, so it could just be a convenient excuse for my ‘un-co’ self.

P10102602014-03-31 16.42.30

When I got to my first volunteer place, the wonderful Cotna Eco-farm and Retreat, I could see that the owner, Dave, noticed this in me. As he gave me the tour of the farm, I’d occasionally slip or bump into a branch that I hadn’t noticed. It’s so frustrating for me, but I imagine really funny to witness. There were no laughs from Dave though (at least none that I heard), and gradually throughout my stay he gave me tasks that involved more tools, starting with areas in which I was more confident, like gardening. Dave and Sarah (his partner) were such perceptive people. They were both trained as homeopaths, so perhaps it comes with the territory. By the end of my stay I felt a lot more assured in my practical skills, and had used an axe and a scythe. The experience of using the scythe in particular made me think about our contemporary relationship with designed objects, and how a permaculture approach can encourage a different experience of our bodies, the contexts in which we live, and the tools we use.

4957527592_e4a3c660f2_z

Dave is an advocate of the scythe because it doesn’t use any energy other than our own, it doesn’t impact on the soundscape of the countryside, and in small doses it can be great for stretching and exercising your back. Plus if you do it well, it does an awesome job of cutting meadows and it doesn’t throw shit up in your face like a strimmer. These advantages are all testament to its design, presumably perfected by small incremental changes over the centuries. The two handles are a comfortable length apart for most adults and the weight is balanced to cut cleanly through the grass without exerting too much effort. Of course this didn’t stop me from ramming the point of the blade into the ground to start with. Dave encouraged me to persevere though and within no time I got into a rhythm (see below for a wonderful video of Ernie explaining how to use the scythe). Dave also advised us to use the scythe in pairs for 10 minutes each and then have a few minutes break to sharpen the blade and have a drink. This approach kept the scythe in good condition and made the activity a lot less tiresome.

This is definitely not the quickest way of cutting a meadow, but as you’ll know if you’ve read my other posts, I’m pretty critical of efficiency being the aim of everything. In fact one of my biggest criticisms of the field of industrial design is that it tends to assume that faster and more efficient technologies are always better. Not only is this attitude a manifestation of the ideologies of capitalism and industrialisation, but ironically it often results in objects with more functions than we need, that take more time to work out how to use, and have more components that can go wrong. This is exemplified by the digital multi-function toaster, which, if I had one, would probably end up with me throwing my bread at the thing.

634593097034687500

My other critique of the field of design is the idea that the new and futuristic is always an improvement. Of course we need new ideas, but not innovation for innovation’s sake – the word has become an empty gesture used by wanky businessmen to describe unfathomable things, such as ‘innovative strategic management systems’. In fact, on Wikipedia, innovation is defined as ‘something original and more effective and, as a consequence, new, that “breaks into” the market or society’. Breaking into new markets… so that definition is not specific to capitalism then…

Instead of always trying to innovate, I think design needs to place more value on old objects like the scythe. By valuing the old, I don’t mean to take a Luddite view, or a nostalgic one (although I think there are positive aspects to both these attitudes that contemporary discourse frames as backwards or rose-tinted). I want to suggest that old technologies, whether successes or failures, can provide inspiration or even be reinstated as ways of dealing with the pending environmental crisis. While designers often use historical precedents to come up with ideas, we need to look further back and outside the confines of industrial capitalism to the ingenuities and knowledge of our ancestors. For example, in Nelson, New Zealand, chickens were used to switch on the first electric streetlights – when they went into the coop at dusk their body weight would activate the spring-loaded perch and connect the switch, and when the hens left at dawn the circuit would be disconnected and the lights would go out again. While we may not need this specific technology, this old solution points to the many potential sources of energy that surround us.

This respect for the past is found in permaculture design, an approach that I am becoming increasingly convinced by. The notion of permaculture emerged in Australia in the late 1970s and is originally associated with the work of David Holmgren and Bill Mollison. Holmgren defines permaculture design principles as: ‘[t]hinking tools, that when used together allow us to creatively re-design our environment and our behaviour in a world of less energy and resources.’

Holmgren defines twelve principles, which include observing and interacting with nature; producing no waste; valuing integration over segregation; using small and slow solutions; and embracing diversity. If Holmgren’s lists or diagrams are too much for you, you can also learn permaculture principles from the Formidable Vegetable Sound System.

The twelve principles of permaculture design are rooted by the three core ethics of earth care, people care and fair share. They can be used to think about aspects of life as diverse as agriculture, technology, community organisation and economics. This approach to the process of design is radically contextual and, if done right, it explores past practices, rituals and traditions. Adopting these ethics and principles is by no means an easy task, but the design of something as useful as the scythe didn’t come about in a day either. And yes, perhaps we have lost the practical knowledge to use some of our old tools, but it doesn’t take long to learn and people like Ernie can teach us. If I can do it, anyone can. Maybe instead of going to the gym we could scythe our local park one afternoon a week. It might be a bit of a challenge to get it past council health and safety though!

The death of a design hotel

x4st0h109xfd8jjl  cb9p1e6or7iku9ya copy

If you occasionally flick through glossy magazines or travel brochures (even the dog-eared versions in doctors waiting rooms) you’ll know that the images and descriptions of far-flung destinations are meant to take you away from the banality of the everyday. The architecturally designed buildings and carefully staged interiors are without washing up, wonky tables or baby sick. As readers, we are transported to a world of luxurious leisure, or in the case of The Guardian Weekend magazine, ethically minded austerity chic. Hip, boutique or design hotels give those with the appropriate income a chance to experience this world – a place where even if you make a mess someone else will clean it up, a place so well-designed that you feel like you’re living inside a work of art.

As much as anyone, and perhaps more than most, I’m seduced by quirky glamorous interiors. I justify this to myself by thinking that I’m gathering design tips, and I am, but I also like being in places where the aesthetics allow me to escape. So much so, that five years ago I visited Hotel Basico in Playa del Carmen, Mexico, (above) to have a couple of drinks and look around. Designed by Hector Galvan, Basico was contained within a modernist building, its design inspired by the 1950s style of Mexican oil-rigs, typography used by Mexican taxis companies, and Nana’s houses (www.coolhunter.com). In the rooms of the hotel exposed pipe work was fitted with fire hydrant style taps, baths were industrial size, beds were on large platforms, and curtains were made of rubber. Nana touches of bright plant pots and blankets softened the aesthetic. Each room was decorated with a black inner tube – I’m not really sure why – but it seemed to go with the look the Cool Hunter website described as inspired by ‘Mexico’s rustic petroleum industry’ and that they deemed as ‘construction-worker chic’.

16376_1971091663782088238164781823615717851423947n-hotel-basico 2ugckxm8l3wjnbf7

While these descriptions are hilarious and sum up everything that is wrong with design writing, it would be a great state of affairs if, due to more sustainable technologies, the petroleum industry was only useful for its industrial aesthetic. Maybe Basico and Cool Hunter were trying to activate change? Sadly it seems we are not there yet.

ezgf1mk2flwnn9vy hotel-basico-11

Anyway, on my first visit, Basico didn’t really live up to the photographs, but I did quite like ‘construction-worker chic’. The 1950’s modern aesthetic made it light and airy, and the use of industrial materials created a quirky environment. Basico also managed to be glamorous. As Alice T Friedman[i] has argued, mid-century modern architecture reflects a fascination with glamour through futuristic luxury, sleek lines and gleaming facades. So the glamour of Basico may have been created by its references to the 1950s, as well as its modernist architecture. Well, those things, and all the beautiful people sipping cocktails on the roof terrace.

6n40fgpgeyu3jsms image 6

A month ago I went back to Playa del Carmen and couldn’t believe my eyes. ‘Construction-worker chic’ was more like ‘in need of construction work’. The façade was grimy and the windows were dressed with the type of grubby blinds normally found in ageing office buildings and taxi ranks. The plants on the terraces were unkempt and a solid metal gate shut off the once attractive foyer. I was so surprised that I questioned my memory. I asked a waiter in the restaurant across the street if it used to be a hotel. He didn’t know, but asked his manager. Yes, it used to be Basico, but now it is ‘una discoteca. It opens at weekends’. I didn’t get a chance to go in, but it looked pretty grim.

image 3  image 1

Something about this experience was shocking. Maybe I’m getting old, but five years doesn’t seem that long for things to change so dramatically. Playa del Carmen hadn’t become less fashionable, in fact my friend told me it had become the destination of choice for Mexican hipsters. The death of this design hotel fascinated me. Not because I wanted to know why it had happened, but because it symbolised something that I think it is important for us to recognise: the failure of glamour. The dreams and experiences of the glamorous good life used by the design, tourism and promotion industries are fleeting (if ever experienced at all). Glamour is also always accompanied by failure, even if it is not visible to us. In this instance the spectacle of consumer society written about by Guy Debord[ii] really did ring true. I was a spectator who had been woken up after being drugged by spectacular images. Perhaps then, we would all be a little more reflective about the pleasures and pains that consumer culture provides if more attention was drawn to the unsettling nature of the failure of glamour.

[i] Friedman, A. T. (2010) American Glamour and Evolution of Modern Architecture.

[ii] Debord, G. (1967) The Society of Spectacle.

The luxury of time


I admit it. I have a history of starting diaries/blogs and never keeping them up. But now I’ve got something I didn’t feel I had before: time. I hope this admission isn’t going to put everyone off. I know most of you are probably reading this in between all the other jobs you need to get done, while I’m travelling around the world volunteering in beautiful sunny places. Lucky bitch, I hear you say. And yeah, I’m lucky. So while I’ve got a taste of the good life, I’ve decided to write down some of my reflections on design, culture and sustainability.

One of the first observations I’ve made while travelling was that our experience of time is what we make of it. I don’t mean this in an individualistic sense. I haven’t become some sort of time management consultant who waltzes into your office and explains how its possible to get 20% more stuff done if only you organized your life, or a total hippy who manages to reject all the societal pressures of the work ethic (although my hippy count is getting higher by the second, I now have two pairs of MC Hammer/poo pants). I mean that culturally we have very different ways of dealing with time and although it would be a challenge, we could collectively change our experience.

I wonder why people call them poo pants?

I wonder why people call them poo pants?

When I was researching for my PhD in the UK I met many people who felt that life was too fast paced and we didn’t have time for anything anymore, including caring for people. These feelings were part of what led them to make their homes into retro idylls. So they could come home, relax and get pleasure from making a drink from their art deco cocktail cabinet. I felt similarly, especially about work. I never had a job in the UK where I felt I had enough time to do things properly. Apparently this experience is common in the Western world. Dale Southerton[i], an academic at Manchester University, studied these feelings and compared them with people’s experience of time in the 1940s (using the Mass Observation Archive). Actually he found we have the same, or more, leisure time than we did then. The difference is that in the 1940s our time was managed by institutional events and constraints regarding domestic life, work, and consumption; we had clocking in and out, lunch breaks, restricted shopping hours and church on Sunday. We weren’t asked to manage our own time as we are today and we didn’t have the ‘presence bleed’[ii] (work impinging on the personal lives of employees, illustrated by the bed office) of a boss emailing on a Friday night and expecting a response by Monday morning. This individualization of the experience of time, as well as the blurring of time for work, time for care, and time for leisure, is why we feel so rushed.

Until now I’ve volunteered in England (Cornwall), France, Spain and Morocco and have sensed a different pace. In Cornwall the owners of the eco-retreat and organic farm we worked on had busy lives (the presence bleed of the UK affected them too), but I was given specific tasks. I learnt that there was nothing more enjoyable than having one job to do in a day. On a vineyard in France our work was punctuated with a long boozy lunch, and in Spain by the hot midday sun. In Morocco time is institutionalized by religion, by the five times daily call for prayer.

Focusing on one job, clocking in and out, and the management of our time by institutions, sounds like a factory system, and there can be nothing more alienating than that. However, I think there are positive aspects to these ideas, especially if no money is changing hands. For example, on a ‘snow day’ in London, when no one could get to work, the most amazingly creative creatures appeared in my local park. I remember marvelling at how productive, imaginative and collaborative people are if they have the luxury of time. This memory came back to me while sewing Berber tents in Morocco, the polar opposite in terms of location, but the luxury of time I experienced was similar. I had the freedom to find creative ways of fixing the tents. It made me think; we could all benefit from finding alternative means of collectively structuring our time. Long boozy lunch anyone?

Cross-stitch protection against the evil eye.

Cross-stitch protection against the evil eye (and the cold wind at night).

Berber stars

Berber stars to patch holes

[1] Dale Southerton (2009) ‘Temporal rhythms.’ In Time, Consumption and Everyday Life.

[2] See Melissa Gregg (2011) ‘Work’s Intimacy’ for the concept of ‘presence bleed’. A great book!