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Pasta That’s Almost Too Pretty to Eat

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David Rivillo’s rainbow ravioli is equal parts art and science. The 45-year-old Venezuelan, who’s now based in Porto Alegre, Brazil, began making colourful patterned pasta in 2019 in homage to his favorite artist, Carlos Cruz-Diez, a Venezuelan known for his chromatic relief murals who died that 12 months on the age of 95. Putting his Ph.D. in chemistry to good use, Rivillo experimented with natural dyes (comparable to spirulina and paprika) to search out those that might maintain their hue even when dried or cooked and posted his work on Instagram. Now, Rivillo, who recently left his job as a nanotechnology researcher to pursue the project full time, sells his creations (from $40 for two.1 ounces, plus shipping). And he isn’t the one noodle maker twiddling with psychedelic designs. The Sydney, Australia-based artist Jennifer Tran, 39, makes candy-striped rigatoni and checkerboard tortellini, in addition to floral-print pasta sheets that look more like textiles than food. And in California, Fiona Afshar, 57, takes visual inspiration from her local farmers’ market and from her Malibu garden, adorning paccheri with yellow and purple blooms and ravioli with tiny images of lemons and limes. Employing highly pigmented ingredients like beet powder, activated charcoal and harissa, she sells multivariety gift boxes (from $95) through her website. The one problem with these Technicolor carbs? They’re almost too pretty to eat. Says Rivillo of his pasta: “People take a protracted time to get the courage to cook it.” @david_rivillo; @_papetal_; fionaspasta.com. — Ella Riley-Adams

Designers increasingly have fun Indigenous forms but often confine themselves to a single cultural inspiration. Prateek Jain and Gautam Seth, a pair of their 40s who founded Klove Studio 17 years ago in Recent Delhi, take a really different approach. Their Totems Over Time are created to softly illuminate not merely a room however the ways through which so many primordial civilizations employed surprisingly complementary motifs, regardless of how geographically or historically distant from each other they may need been. Each of the big symmetrical sculptures, fabricated from blown glass, metals and stones including onyx, is a mind-bending tour — from classical Rome and aboriginal India to Aztec and Native American lands. In Totem of Beauty, which is sort of 10 feet tall, jade-dipped laurels give approach to a 3rd eye, a pair of lit buffalo-like horns and arrows tipped with small glass globes. “Some people say it seems futuristic, as if it were sent from one other planet,” says Seth. “Which is proof to us that the symbols are truly everlasting.” Klove Studio Totem of Beauty, price on request, klovestudio.com. — Nancy Hass

The De Durgerdam, a 14-room inn housed in a newly restored Seventeenth-century constructing, sits five miles east of central Amsterdam within the historic fishing village of Durgerdam. Here, recent technology — solar panels, sustainable heating, a recirculating water system — is paired with bespoke furniture inspired by the encircling architecture, and there are nods to local folk traditions like sky blue-colored closet interiors, whose hue is believed to repel insects. The partitions of the restaurant, De Mark, which serves modern European comfort dishes — pan-fried local fish with sauerkraut, mussels, XO sauce and beurre blanc; a vegetarian tackle steak tartare made with slow-dried tomatoes — match the colours of the nearby IJmeer lake, which also inspired the arrangement of the blankets within the bedrooms: Velvet throws in quite a lot of jewel tones are tossed, relatively than neatly folded, atop the beds. Says Brecht Duijf of Buro Belén, who designed the interiors along along with her co-founder, Lenneke Langenhuijsen, “The wrinkles are just like the waves.” Rates from $250, dedurgerdam.com. — Gisela Williams

Hermès’s polymathic shoe and jewellery designer, Pierre Hardy, has been answerable for the brand’s haute joaillerie line because it was introduced in 2010, creating pieces defined by a supple, swooping sense of abstraction that evokes the work of Cy Twombly. These rose gold rings, a part of the Les Jeux de l’Ombre collection, reflect Hardy’s current fascination with the connection between light and dark. Large faceted gems in classic configurations appear to solid shadows realized in the shape of mirror-polished black jade, irregularly shaped like rain puddles. Hardy selected the stones — pinkish-brown and green tourmalines, an orangy imperial topaz — for his or her saturated luster; paired with diamonds, the colours burst from the ebony surface. “The paradox is that without light you might have no shadow,” he says. “And once you emerge from the shadow, every thing seems more alive.” Hermès Les Jeux de l’Ombre rings, price on request, (800) 441-4488. — Nancy Hass

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