Text description provided by the architects. The married building owner couple who are fashion designers felt attracted to peculiar sensitivity that Yeonnam-dong has. They thought they could enjoy pleasurable lifestyle as there are restaurants where you can taste the dishes from around the world, and as cute small prop shops and workshops of designers are gathered around there. Above all, the fact that there is a park where they can enjoyably take a walk with their dog made them decide to have their new nest in “Yeonnam-dong” where they have never visited before.
They were pleasant customers who visited us as they felt the charm of the city rather than focusing on the value of real estate or the school district issue.
As we encountered this not so big or small land of just over 130m2, we tried not to discuss too much about architecture. We believed that it was our job to make the furniture and the paintings that the building owner had stand out and to faithfully materialize the space they wanted. It is not easy to build the required area and program satisfactorily in most of the construction work in the city. Nevertheless, when the desire takes over for an architect, sometimes houses with features of daily inconveniences that you need to endure are built.
We have decided to build this house with careful care and sincere consideration of what would be the best we could do for this married couple who have given this opportunity to young architects although they could have gone to a more proven architect with more prominence.
The elevation consists of an exposed concrete wall and carbonized ash wood. The shadows of the cherry trees standing face to face are as if they are painted with shadows on the canvas made of carbonized wood. On the other hand, in the indoor, a cherry tree looks like a picture through a large window through the living room.
The architecture outside and the cherry three inside become scenery to each other.
The couple, whose children have all moved out, wanted to have a studio style where the living room and the bedroom are in unity rather than making a separate bedroom. Because of this unique idea, we make a space that is one but is two by making a mezzanine where you can create a big patio in the living room to maximize the sense of space and place a bed.
It’s moving line through the powder room to the dress room and the bathroom is an interesting element, and the bathroom space where you can look at the sky through the small roof light window above the bathtub on a sunny day and take a lower body bath while listening to the sound of rain on a cloudy day is also attractive.
To the couple who said they wanted to have a terrace where they can hold a simply party by inviting some friends, I have suggested that it would be great if that space has a terrace and kitchen together even if that means you have to move thing up and down. Although it is not a large space, I wanted to have a place with outdoor café like feeling where inside and outside are mixed together when you open a window.
More than anything, first, I started out by consulted with them on contemplating where and how to place the fabulous furniture and painting that the couple had and proceeded with the project. In addition to the couch or table, we have consulted together even on speakers and pendants in advance and made decision in details and proceeded forward. The designer who was in charge of the project went out on-site every day even after the construction has started and checked all the elements one by one and made decisions. The collaboration work related to furniture production was also an impressive project. We designed the closet that fills a large mid-level wall over five meters and we needed to have many communications with the team that was building it.
The keyword 'communication' that we always emphasize does not work when only one side screams hard. The owners and architects, architects and builders, and builders and builders, when all these ensembles ‘communicate’ with one goal, I believe that project can always create a space with authenticity.
The young architects had done all they could and had given their best as they appreciated this opportunity that was given to them and the builders appreciated their passion and helped. Above all, the consideration of the owners who acknowledged and understood the various possibilities and values that architecture can provide has been the main driving force that lead this project to a good direction.
I hope this small architecture that was created in collaboration with young architects can be a momentum in making the city the couple love even more attractive.
I really enjoy beers brewed with local ingredients, but local grains and hops have never been at the top of that list. In both cases local usually doesn't mean fresher, higher quality, or more variety. Often the opposite is true, and for double the price. Conversely, locally grown fruits, vegetables, and herbs are naturally advantaged over their nonlocal competition. They are at their best immediately after harvest and include varieties not suitable for shipping. Buying fresh in these cases is often less than the shelf-stable versions (although that means more processing for the brewer).
For this batch of rye saison I opted for a blend of hops and grains from around the world, paired with freshly harvested juniper (Eastern Red Cedar) from my backyard. This was my second batch using trimmings from that tree, after the more traditional Summer Kveik earlier in the year. The other half of this batch went on to be a rye pale ale, dry-hopped with Galaxy and I didn't want juniper in that beer. To avoid splitting the boil I added the juniper as a tea, rather than directly to the mash or wort.
I wanted a more complex and substantial malt backbone to counter the aromatic hops and juniper, so pale malt and rye made sense. Big quality-of-life upgrade from my old Barley Crusher to my new Monster Mill 2Pro-SL. Not far from this saison brewed a few years ago, but with spelt flour replacing the wheat malt. Fermentation was carried out by my house saison culture.
It was also my first batch using the Genesis Fementer that Brewcraft USA sent for me to try out. It features a pre-santized bag to ferment the wort in. It made clean up easy, but I found the bag annoying to work with otherwise. It took some effort to get it fluffed up enough to get the tubing down into it for run-off. I also found it difficult to see where my auto-siphon was for racking. In the past all of my fermentors had either by clean (glass and plastic carboys) or had a wide opening to allow me to see down into the fermentor to know when to tilt or stop to avoid sucking up trub.
This batch also has my second video, a bit abbreviated compared to the first and with slightly better audio thanks to a new microphone!
Fresh Juniper Saison
Smell – Nice mixture of generic American-hop-fruitiness and saison yeast pepper. Mild Brett-pineapple, but still fresh. Juniper comes across more naturally piney, no big apricot as I’ve tasted in a few beers brewed with boil-addition Eastern Red Cedar. Maybe has to do with an interaction with the malt? Seasonal flavor-change?
Appearance – Nearly flawless saison; glowing gold with a luscious white head. Leaves rings of sticky lacing with each sip.
Taste – The hops and juniper meld beautifully, reinforcing each other. Slight maltiness in the finish, thanks to the rye malt. Juniper comes out most in the finish, especially towards the bottom of the glass. Woody, green, not like toasted oak (no vanilla or toasted nuts).
Mouthfeel – The extra proteins and beta glucans from the rye and spelt combine to provide some substance to the body. Carbonation is a little low, would have been fun bottled. At first it had sort of a resiny harshness to the finish, thankfully that has dropped out.
Drinkability & Notes – Weird, but not too weird. Surprisingly drinkable with a good balance of hops, herbs, and funk.
Changes for Next Time – Would like to try it with juniper in the mash/boil to see how it changes the expression.
Recipe Batch Size: 5.75 gal SRM: 3.6 IBU: 36.3 OG: 1.053 FG: 1.008 ABV: 5.9% Final pH: 4.12 Brewhouse Efficiency: 79% Boil Time: 60 mins
Hops ------- 1.50 oz Amarillo (Pellets, 6.00% AA) @ 30 min Whirlpool 1.50 oz Citra (Pellets, 9.00% AA) @ 30 min Whirlpool 1.50 oz Simcoe (Pellets, 10.00% AA) @ 30 min Whirlpool 0.50 oz Galaxy (Pellets, 11.00% AA) @ 30 min Whirlpool 2.00 oz El Dorado (Pellets, 15.00% AA) Dry Hop
Water ------- 7.00 g Calcium Chloride 5.00 g Gypsum (Calcium Sulfate) 1.50 tsp 88% Lactic Acid
Other ------- 1 Pint Juniper Tea: 1 gallon of Water 40 g Eastern Red Cedar @ 60 mins 40 g Eastern Red Cedar @ 30 mins 40 g Eastern Red Cedar @ 10 mins 40 g Eastern Red Cedar @ 0 mins
Yeast ------- Mad Fermentationist Saison Blend
Notes ------- All DC Filtered water for mash and sparge. Mash pH 5.29 at mash temp. Collected 6.75 gallons of 1.050 runnings. 1 gallon of distilled water added pre-boil reduced gravity to 1.045.
For the juniper infusion, brought a gallon of water to a boil with 40 g of Eastern Red Cedar. Boiled for 60 minutes with 40 additional grams at 30, 10, and flame-out. Allowed to chill naturally with the juniper still in there. Added 2 cups to the saison half (~25% of the resulting amber liquid).
Amarillo/Citra/Simcoe in the boil was all 2014. Galaxy was 2016.
Saison with my house culture, directly from fridge (honey saison).
Left both at 68F to ferment.
11/26/17 Dry hopped the saison with El Dorado. Still in primary. Warmed to mid-70s ambient.
12/7/17 Kegged the Saison and started force carbonation in kegerator.
Text description provided by the architects. On a down-sloping hillside parcel of land in San Francisco’s Noe Valley sits the Remember House, a four-story project that embraces vertical stacking and crisp materiality and was designed by Edmonds + Lee Architects for a tightly-knit family unit of three.
Four-story massing usually leads to a space that feels tight or repetitive, so the architects worked to make the vertical circulation both evocative and valuable, forgoing the pancake-style San Francisco house where everything is maximized in terms of square footage, and instead opening the house in section, maximizing a feeling of spaciousness and a sense of architectural adventure. That meant a small sacrifice in terms of physically usable space, but a huge gain in terms of enjoyable architecture. Double-height spaces and a staircase centered within the central spine of the house encourage the clients and their visitors to engage with each level.
On the interior, the architects started with the materiality first, working within the inherited geometry of the project, and from an all-white palette that began with the very first design choice, white Douglas fir floors from Dinesen, something the architects knew they were going to build the house around.
They started with white-on-white because of the clients’ general aesthetic focus—on white, spare, minimalism—and their enthusiasm for treating interiors the same way Edmonds + Lee do: like galleries or museums where the main visual interest pops from the decor, the art, and the furniture. “We were designing a neutral canvas onto which they project their own artifacts,” says architect Robert Edmonds. That neutral canvas became seamless, with spaces that flow from end to end, and with a continuity of materials that favor fluid transitions over the sharp disconnects so often found in modernist projects.
The sharpest moment is in the choice of exterior palette. Because the project was a renovation that required working within existing bones and an existing ground parcel, the street-side massing needed to remain consistent; there wasn’t much the architects could do with it. Offering a counterpoint to the interior’s spreading whiteness, and to the two neighboring houses, both of which are white, the architects chose to wrap the front in a dark cladding, differentiating the house from its neighbors and also from what it contains.
Edmonds + Lee also designed the interior furnishings, working with an ongoing notion of seamlessness all the way though the project. Working on a schematic level, the architects thought about materiality and space, (the big ideas of capital-A Architecture), but also furniture and interior design. Their aesthetic focus explored everything from the greatest mass to the smallest detail - which allowed for a precise and vibrant spatial, material, and architectural choreography, like the sliding doors, for which the architects introduced a large window frame to bring a sense of solidity, history, and heft, or those Douglas fir floorboards, two-inch thick pieces of wood that create what Edmonds sees as an incredibly haptic experience.
The Remember house was named by the clients to help them remember where they’d come from, and what they’d done to get here. To never forget that architecture, space, and design create the ultimate foundation from which to build a compelling and memorable life.
Ray Kroc was born in 1902 to a Czech immigrant family near Chicago. He was just an average guy for the first few decades of his life. His father had briefly held a fortune in real estate before losing everything and the younger Kroc was also a businessman and salesman, trying a little bit of everything while also playing in World War II-era local jazz bands. After World War II, he got a job as a salesman for a milkshake mixing company. He got to know the brothers Maurice and Richard McDonald in 1954. They had purchased eight of his mixers for their store in San Bernandino and through the process, he became very impressed with the efficiency of their operation. Always looking for the big chance, Kroc saw one. Believing that most hamburger joints were scuzzy roadside operations, he wanted to take the McDonald’s California model nationwide, but under his own control. So he convinced them to let him open one of their stores in Des Plaines, Illinois. He started franchising this model across the nation, but keeping himself in primary control by doing it one store at a time, instead of the regional model common at the time. This allowed him to maintain the industrialized quality he desired. He finally bought the entire company off the McDonald brothers in 1961. By this time, he had become a multi-millionaire with hundreds of stores and employees. And of course his company would become an icon of Cold War America, with thousands of stores overseas as well.
It’s easy to make fun of McDonald’s food. That’s because it is pretty bad. The Filet O’Fish is one of the worst sandwiches in contemporary America. The McRib is exciting if you like eating pure fat. The grey burgers are just sad. Of course the fries are very good and the breakfast food completely passable. By today’s standards, McDonald’s is pretty awful. But by 1950s standards, it really wasn’t. The modern food movement has created a myth that America somewhere turned away from the wonderful locally sourced, home-cooked food of the past. But by nearly every historical account, most American food was terrible, a combination of way too much meat and sickly sweet desserts. There is almost no question that the greatest period of American food is the present, with the combination of immigrant traditions, increased quality in restaurants, and actual locally sourced food. Even the bad industrialized food is largely standardized to at least a modicum of quality. It’s not as if a can of Campbell’s tomato soup or a box of Kraft mac and cheese is terrible. It’s just mediocre. It’s true that the food of the 50s and 60s was no great innovation in quality, even as it was in convenience. But compared to the automats of the previous era, the dirty diners, and the lack of fresh ingredients, even if grandma wanted to cook a complicated meal, there were very real limitations to how good it would likely turn out. When the poverty of most Americans have historically suffered is added to this, there is no real lost golden period of American food. It’s today.
Kroc’s politics were typical of the mid-century salesman in that he despised FDR, the New Deal, and anything that reeked of redistribution. To say the least, this did not change when he became a billionaire. In 1972, Senator Harrison Williams accused Kroc of donating a nearly unprecedented $250,000 to Nixon’s reelection campaign in order to convince him to veto a minimum wage bill.
Kroc stepped down from actively running McDonald’s in 1974 and then bought the San Diego Padres to keep it from moving to Washington. He did a great job of running a really bad franchise. He was willing to spend money on free agents, but of course Major League Baseball was colluding to kill free agency. When he openly pursued Gregg Nettles and Joe Morgan in 1979, commissioner Bowie Kuhn fined him $100,000 and he gave over operations of the team to his son-in-law, sick of dealing with MLB.
After Kroc died in 1984, his wife Joan Kroc took over the Padres. She wasn’t his first wife. In fact, he had divorced his wife of 39 years in 1961, just as he got rich. Classy. He then had a brief second marriage before marrying Joan, 26 years younger than he, in 1969. She was significantly more liberal on some issues than her husband. She was highly concerned with addiction issues and opened the first clinic for baseball players with addiction problems. She had no real interest in running the team and actually tried to donate it to the city of San Diego but MLB would not let her, as it refused to have publicly owned team. How could the owners fleece the public for new stadiums if such a horror took place? She finally sold it in 1990. She was the big player in the family opening the Ronald McDonald House foundation. She was also a passionate believer in nuclear disarmament and pursued this publicly during the Reagan years, leading to public attacks on her in the media by right-wing columnist Cal Thomas. She gave generously to help natural disaster victims and when she died in 2003, she gave a remarkable $225 million to NPR.
The Krocs are buried in El Camino Memorial Park, San Diego, California.
The story passed around at NPR was that she bequeathed that fortune to NPR, in part, because she loved This American Life. A show that, at the time had a very modest budget and received zero money from NPR.