tag:blogger.com,1999:blog-92035775870496121512024-03-13T18:03:59.208+08:00Michael C. Y. FeiMichael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.comBlogger217125tag:blogger.com,1999:blog-9203577587049612151.post-38397807856309361212023-06-05T18:03:00.001+08:002023-06-06T11:18:52.081+08:00Clover Bellavita by Jean-Francois PiègeJean-Francois Piège is a famous chef not only in his home country of France, but amongst the foodies in Taiwan. Piège was the mentor of the celebrity Taiwanese chef, Lanshu Chen, at the Hôtel de Crillon in Paris. He came to Taiwan twice in 2013 and 2018 as a guest chef at Chen’s restaurant, Le Moût, in Taichung. Piège has also been promoted by a Taiwanese journalist based in Paris. When rumors of Piège's arrival in Taipei started before the COVID pandemic, it was certainly exciting. And the fact that a space one-floor below L'Atelier de Joël Robuchon at <a href="https://www.bellavita.com.tw/cht/index.php" target="_blank">Bellavita</a> sat empty only added to the intrigue. However, the pandemic had seemed to stop everything.<div><br /></div><div>To my surprise, seemingly out of nowhere in mid-November, 2022, Piège arrived in Taipei to open the doors of his first restaurant outside of France, Clover Bellavita. This is Piège's fourth restaurant under the Clover brand. The name is an English word but is pronounced in the French way. Each Clover restaurant in France is based on a different concept. They are not fine dining but a bistro, a grill, and a vegetarian restaurant, places to diversify Piège's <a href="https://xn--jeanfranoispiege-jpb.com/" target="_blank">portfolio</a>. But what is Clover in Taiwan? While Piège hasn't officially declared his aspiration for Clover in Taipei, as he did when he opened his flagship fine dining restaurant in Paris in 2015, it is safe to say he and his investors are looking for a Michelin star.<div><br />Over the course of many months, I have been to <a href="https://www.facebook.com/CloverBellavita/" target="_blank">Clover Bellavita</a> four times for both lunch and dinner. Based on the food on the plate, the restaurant should easily get one Michelin star. I've tried many dishes on the winter and spring menus, and all of them are wonderful. In fact, the restaurant is only getting better with time. However, my sentiment runs contrary to some other diners.</div><div><br /></div>When Clover Bellavita first opened, it was panned by many diners with unfavorable comments and one-star reviews on Google Maps. While the worthiness of the comments on Google Maps is debatable, some of the negative sentiments have been corroborated by a few of my discerning friends.
<div><br /></div>But if one examines the disappointing reviews, many were made based on meals in the first few weeks of the restaurant's opening. While paying customers certainly have the right to express their unhappiness, the early days of a restaurant is not the best time to render a judgement. All restaurants simply need time to work out the kinks in the operation with real customers. This is similar to professional sports as practice is never the same as the actual game. Furthermore in this current time, restaurants are most likely to be understaffed in the beginning. The odds of a great experience at a newly opened restaurant are usually not good.</div><div><br /></div>Another problem with Clover Bellavita was due to expectation created by the marketing, which often touted Piège as a three-Michelin-star chef. Some people came to expect three-Michelin-star food and service, which the restaurant clearly was not intended to provide. Moreover, Piège is not a three-star chef.<div><br /></div><div>Piège might be the most acclaimed chef in France who doesn't yet have three stars. He has received many accolades, including two Michelin stars for his current fine dining restaurant in Paris, <a href="https://xn--jeanfranoispiege-jpb.com/le-grand-restaurant" target="_blank">Le Grand Restaurant</a>. Prior to striking out on his own, he worked for Alain Ducasse as the Chef de Cuisine at Plaza Athénée and garnered three Michelin stars. Two of his subsequent fine dining restaurants, at Hôtel de Crillon and at Hôtel Thoumieux, both received two Michelin stars. In 2011, his colleagues named him the Chef of the Year after a secret vote organized by Le Chef magazine. From 2010 to 2019, he was a member of the jury in the French version of Top Chef. He has published numerous cookbooks. Not only is he a media savvy chef, he is one of the most accomplished chefs of his generation.</div><div><br /></div>It is a mystery why the third Michelin star eludes Piège. There was the rumor of his feud with <a href="https://www.ducasse-paris.com/en" target="_blank">Alain Ducasse</a>, but that seems to be ancient history. Ducasse has published a book by Piège under his imprint in 2011. One possible explanation is that prior to opening his Le Grand Restaurant, he has never stayed in a place for more than 5 years. Michelin is probably loathe to give a chef three stars and see the chef leave for another restaurant shortly after. In comparison, this year's three-Michelin-star winner, <a href="https://www.alexandrecouillon.com/en/" target="_blank">Alexandre Couillon</a>, has been at his restaurant for 24 years; it took Couillon ten years to be elevated from two-star to three-star. Besides changing locales, Piège is also constantly changing his cuisine. He has adopted the motto: pour que rien ne change, il faut que tout change (for nothing to change, everything must change). Michelin probably prefers more stability and consistency. <div><br /></div><div>Since Clover Bellavita is not in Paris, Piège cannot be as hands on with the restaurant. To execute his vision and uphold his standard, he has asked Gildas Périn to be the Chef de Cuisine. Périn is young but highly experienced. He has worked for Piège in Paris before, and prior to opening Clover Bellavita worked in two restaurants in Taipei: STAY by Yannick Alléno and Orchid; he understands the tendencies of the local diners. Perin is also a very skillful chef. As his team gains more experience, I am confident the food will only get better. </div><div><br /></div>Unlike Piège’s restaurants in France, Clover Bellavita is not located on the street with a storefront. Rather the restaurant is on the 4th floor of Bellavita, the fanciest shopping mall in downtown Taipei. The interior of the restaurant befits the image and characteristics of the mall: fancy and spacious. The reception is a generously sized sunlit space with a beautiful red wall. Strangely, the red color doesn't relate to anything else in the restaurant. The tent-like ceiling of the reception is interesting, but doesn’t seem to go with the rest of the space either. The reception leads to a curved bar with white countertop and orange bar chairs. In the center of the shelves behind the bar sits a big espresso machine. The shelves behind the bar are mostly filled with wine bottles and glasses. This bar isn’t really set up for cocktail making and doesn’t seem to get much use from the guests.
<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIEe-7fCEl6u4rSYh9tmRjNaLd5t_FBgxBLGa7MjDpsmaqRKVws1P_cIOsT8aonYLg_nWECqj1LdoRTtGS44zvoLJinX8Jk6CZW_hyHgTWfFJezGwXT8d9kykvC-VJoQei69gJ80C7mPm8SVE89kuT-LEej2KQklL7uEbVG7M5y9x_QNaaX9SsgDPHAA/s1500/IMG_0005.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIEe-7fCEl6u4rSYh9tmRjNaLd5t_FBgxBLGa7MjDpsmaqRKVws1P_cIOsT8aonYLg_nWECqj1LdoRTtGS44zvoLJinX8Jk6CZW_hyHgTWfFJezGwXT8d9kykvC-VJoQei69gJ80C7mPm8SVE89kuT-LEej2KQklL7uEbVG7M5y9x_QNaaX9SsgDPHAA/w640-h480/IMG_0005.jpeg" width="578" /></a></div><br /><div>The bar forms one side of the main dining room. Two other sides of the room has large windows that allow ample natural light to come in, which is nice especially at lunch time. The space is structured spatially by two stone-clad circular columns, an off-centered circular step-down ceiling, and circular patterned flooring. The center of the space is a small table with a large floral piece that changes regularly; a very pleasant visual element that is probably costly to upkeep. Surrounding the center piece are tables with arm chairs and sofas that are nicely spaced apart. The chairs are comfortable but the sofa is a bit low in relation to the height of the table. The biggest eyesores are the electrical sockets for the floor lamps on the four corners. They are not flushed with floor nor under the sofa, thus are potential tripping hazards. There are a few floor-standing rattan screens in the space but they don't seem to relate to the furniture. While there doesn't seem to be a coherent idea about materials and colors, overall the space is still quite pleasant.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9w8Ti4-uUrKtB0nO0nFl61X1qEfi8E1KkAK1JvJJTLlmyAaFb6ImlE8Yi_uAlYVx1l_r6BJrOwdOknzopYLWj_qL4JFMEx3ZrfHc1wC8j5-pBJ9bTsbVnFvoJoFpQ6P4zbdpzq-vbVjgUQOC5dEy1NfHMeNV1Ayb7mFsjhXEgyigWpVGLUcJZHLDApA/s1500/IMG_0006.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9w8Ti4-uUrKtB0nO0nFl61X1qEfi8E1KkAK1JvJJTLlmyAaFb6ImlE8Yi_uAlYVx1l_r6BJrOwdOknzopYLWj_qL4JFMEx3ZrfHc1wC8j5-pBJ9bTsbVnFvoJoFpQ6P4zbdpzq-vbVjgUQOC5dEy1NfHMeNV1Ayb7mFsjhXEgyigWpVGLUcJZHLDApA/w640-h480/IMG_0006.jpeg" width="578" /></a></div><br /><div>Piège certainly cares about aesthetics of the table setting. The black tabletops in the main dining room are shiny and reflective. In lieu of tablecloth, there are several types of round placemats by <a href="https://www.chilewich.com/store/" target="_blank">Chilewich</a> in two different colors. The water glasses for the diners at the tables also come in different subtle colors. Every table has a small vase with flowers. I am also happy to see every table has a pair of salt and pepper mills. Some of the dinnerware is from the Ecume collection by <a href="https://www.bernardaud.com/" target="_blank">Bernardaud</a> and others are custom made; they are all very elegant. The silverware are also pretty and comfortable to use. The only thing I don’t like is the size of the napkin, which is too small for a fancy restaurant.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9dX592LFy21RgWAaOCQ_YkIWJ2Re-T9mdV1Cv-SH-s-j-Fztr7UjoKT4OhhqudypYKaX1HeGz2XLYeWzDfOR5qUTetaTwTkTrK1gPRtIAi4eeTXT6Eknbj3QS6JnGSfpL9nEKZ8bDfwtu117SCtUU8rcvMTPiSVNVutMFJXduYr6kCwVtbOKPZbUbsg/s1500/IMG_0252.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="844" data-original-width="1500" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9dX592LFy21RgWAaOCQ_YkIWJ2Re-T9mdV1Cv-SH-s-j-Fztr7UjoKT4OhhqudypYKaX1HeGz2XLYeWzDfOR5qUTetaTwTkTrK1gPRtIAi4eeTXT6Eknbj3QS6JnGSfpL9nEKZ8bDfwtu117SCtUU8rcvMTPiSVNVutMFJXduYr6kCwVtbOKPZbUbsg/w640-h360/IMG_0252.jpeg" width="578" /></a></div>The restaurant has three private dining rooms. The large one can seat around 16 diners and has a view of the pastry station of the kitchen. The two smaller rooms, both with windows, can each seat around 8 people and each has its own private bathroom. However, the bathrooms are raised instead of being flushed with the floor; they are not wheelchair accessible. This is similar to the bathroom for the main dining room. The owner of the restaurant probably couldn't access the floor beneath so the drain pipes have to run above the slab. This is most unfortunate as one has be quite careful exiting the restrooms, especially after a few drinks. Since the ceiling in the restaurant is high, one wonders if the designer should have simply elevated the whole restaurant or large parts of the dining room. <br /><div><br /></div>Clover Bellavita can seat up to 100 diners including the private rooms. In comparison, Piège’s fine dining flagship restaurant in Paris only serves 25 diners. Clover Bellavita is probably larger than necessary and it is not a haute cuisine restaurant. But it is certainly too fancy to be just a bistro. While Clover Bellavita has some dishes that are more bistro-like, they are all elevated in terms of presentation, number of components, and technique. For instance, the foie gras mousse is in the shape of a beautiful mandarin orange. The taste was wonderful, especially with a touch of acidity from the marmalade. The Pâté en croûte is well made with great ingredients and the presentation is elevated with the beautiful bouquet of vegetables on the side. The Steak au poivre is served with a tuile on top of the steak, and comes with a steak tartare on fried tendon topped with black pepper ice cream on the side.<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkKLRjEC4S13Z5F0naE9yAm0vg_cDQturoz5wSWxSa7OLJG6b81kG2rz-62ZDFf_iCF9D-FIXVesHAUdZd0HgzVnDqg0saG6WLSogqwBQdS3w8VB0aVf5CaQdreHjVrmVXn0sCTEpVNAgJeISHvNEZm0icyeMC7bSmbPzjKziz6PTUJiLNgwe5ZizHrg/s1500/IMG_0255.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkKLRjEC4S13Z5F0naE9yAm0vg_cDQturoz5wSWxSa7OLJG6b81kG2rz-62ZDFf_iCF9D-FIXVesHAUdZd0HgzVnDqg0saG6WLSogqwBQdS3w8VB0aVf5CaQdreHjVrmVXn0sCTEpVNAgJeISHvNEZm0icyeMC7bSmbPzjKziz6PTUJiLNgwe5ZizHrg/w640-h480/IMG_0255.jpeg" width="578" /></a></div><br /><div>The menu has a few large format dishes which I really appreciate. They bring the pleasure of sharing with friends at the table. These are especially nice to have when the weather is a bit colder because the food stays hot longer. One of the dishes is Poule au Pot, which is hearty and delicious. The diners are first served a foie gras caillette in broth, followed by a large pot of chicken and vegetables in broth. The chicken thighs and legs are very good. The breast meat is a bit tougher but that is to be expected. The vegetables are vibrant and cooked perfectly. The broth is simply wonderful. It is interesting to note that rice is not served on the side as Piège does in Paris. Instead a small portion of mashed potato with hazelnut is served on the side. The mashed potato is well made but it is problematic in relation to the chicken. Eating the whole chicken takes time. While the hot broth keeps the chicken parts warm, the mashed potato gets cold relatively quickly. Ideally the servers would bring out fresh servings of the mashed potato as one progresses with eating the chicken. My friends and I have also tried the Chou Farci (for four persons), a more refined version of a traditional French dish, and it is simply wonderful. Some fresh black truffle shaved table side only upped the luxuriousness. Having the large format dishes at Clover Bellavita is highly enjoyable. I wish more restaurants in Taipei would offer similar dishes. Why eat little dainty food of a tasting menu when you can have these glorious large dishes?</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiffN4laEAGi0XpV1AMwKCDIJp50D1QAdYXQpmqr7aWzooVmXtwgFaOZdTpTKHC-FULRtGGlhBT173O6ZSD5RXq5QU_rM-3H6KZZUE9I418bIQXdP8n5DPBJVIXtR-9VPteKiHIrN7E7WZ66EBtti14K16RWM-d4anSJkvHmkslfq-6DJeAHsQJeIlXw/s1500/IMG_0023.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1124" data-original-width="1500" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiffN4laEAGi0XpV1AMwKCDIJp50D1QAdYXQpmqr7aWzooVmXtwgFaOZdTpTKHC-FULRtGGlhBT173O6ZSD5RXq5QU_rM-3H6KZZUE9I418bIQXdP8n5DPBJVIXtR-9VPteKiHIrN7E7WZ66EBtti14K16RWM-d4anSJkvHmkslfq-6DJeAHsQJeIlXw/w640-h480/IMG_0023.jpeg" width="578" /></a></div><br /><div>Besides the variations and modernizations of French classics, Clover Bellavita has some dishes that show Piège's imagination and creativity. The mark of a good chef is the ability to create his or her own combinations of ingredients and flavors and generating emotions from the diners. One of my favorites is the squid carbonara, a play on the Italian Pasta Carbonara. Instead of pasta, Piège uses thin slices of squid. This dish only has a few ingredients, but the combination, technique, and playfulness created something really magical. Another dish I enjoyed is a sticky corn soup with smoked eel and foie gras. Again, a dish with interesting combinations of ingredients with great flavors. There is also the langoustine with consommé. The langoustine is cooked table side on a heated Parisian granite paver. The use of stone brings a certain flair but it is more than just a gimmick. The stone’s porosity absorbs the fat used for the cooking. While the stone stays hot, it also cooks the langoustine slowly. For Piège, the technique is a modern variation of doing a stew.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA1Pl3pn3SxN6VMpggZvUFACmDQv1CVwXpFNympcuQErXVMhmr2bTxJu-Nrew_Z5cP0ThxXywccEZIRJZFOq8k41pPZatF-Ml19OVf7b7-dy79Tj5yf5WF358Bo5vHEbyIpwMXF0gBTnd3zkQmAUuNsQk2P-dBpY9WaPTsaXMyHSrdIKC5X0gAR9MUqg/s1500/IMG_0020.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA1Pl3pn3SxN6VMpggZvUFACmDQv1CVwXpFNympcuQErXVMhmr2bTxJu-Nrew_Z5cP0ThxXywccEZIRJZFOq8k41pPZatF-Ml19OVf7b7-dy79Tj5yf5WF358Bo5vHEbyIpwMXF0gBTnd3zkQmAUuNsQk2P-dBpY9WaPTsaXMyHSrdIKC5X0gAR9MUqg/w640-h480/IMG_0020.jpeg" width="578" /></a></div><br /><div>There are five desserts on the menu at Clover Bellavita and the selections change periodically. I am particular fond of the Blanc à Manger, a truly wonderful creation that only has four ingredients: milk, egg, sugar, and vanilla. The dessert is a variation on Île Flottante. But instead of the meringue floating on the custard, Piège places the custard on the inside of a cylindrical meringue. The dessert looks so simple yet it is very technical. This is a signature dessert of Piège and is also served at his haute cuisine restaurant in Paris. The dessert connects Piège to his grandmother, who made an Île Flottante that formed Piege’s first memory of food. Île Flottante is a classic French dessert that everyone in France would know. To see Piège transforms the classic dessert into a very refined and new version is very exciting. The same can be said for another dessert on the menu, Raw Apple Tarte Tatin, which is a very interesting variation on the French classic Tarte Tatin. Recently, Clover Bellavita has been serving another classic, Crêpes Suzette with Grand Marnier and confit orange. I love the modern takes on these classics. The combination of ingredients are familiar but allows the diners to experience them anew. And they are delicious. Many classic French desserts are not to be found in restaurants in Taipei. So it is so wonderful to see references to them at Clover Bellavita. While Piège’s versions can certainly be enjoyed without the knowledge of the classics, the diners would probably appreciate the desserts a lot more if they do.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifB7S-Zjepi1Ihn4Bs3kS829tvR_YontaeBtv2Og6obWnQPakxrk9sVNLaunVFqW39JQ7mlQ885D2jRuewVknIbqWItW3hEzJz1-9cL-Rwv-6ERLkxTIg7eymcqXI-Mp41QjHFE8R2I8H-7taw9Mp8byPplWADe0u5lSiNQGJreDygShamDhZvRIOFIg/s1500/IMG_0026.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifB7S-Zjepi1Ihn4Bs3kS829tvR_YontaeBtv2Og6obWnQPakxrk9sVNLaunVFqW39JQ7mlQ885D2jRuewVknIbqWItW3hEzJz1-9cL-Rwv-6ERLkxTIg7eymcqXI-Mp41QjHFE8R2I8H-7taw9Mp8byPplWADe0u5lSiNQGJreDygShamDhZvRIOFIg/w640-h480/IMG_0026.jpeg" width="578" /></a></div><br /><div>Some of the desserts, such as the Blanc à Manger, are very simply plated and not large in portion. They seem to be more suited as an ensemble and for the tasting menu format. For the diners who order à la carte and enjoy eating desserts, one dessert doesn’t seem quite enough. I almost wish I could order a set of desserts like at Pierre Gagnaire. After the dessert, a trio of mignardises are served, which are a nice way to end the meal.</div><div><br /></div>The food at Clover Bellavita is consistently good. The main problem with Clover Bellavita is the service. On every one of my visits, there were problems with service. At a lunch with my family in the middle of January, no one took away the alcohol wipes after we used them; no one asked if we wanted more bread; no one, besides the Chef Périn, asked how was the lunch; no one asked if the sunlight was too bright and if the shades should be closed more; no one asked if we were still eating the soup with the chicken before taking the bowl away; no one asked if we wanted coffee or tea after the dessert; no one took away the salt and pepper mills before the desserts were served; no one asked if the alcohol in the chocolate petit four was okay for the kid; and no one paid attention to how our lunch was progressing. With the myriad of problems, the biggest one was the mignardises were brought to the table before I ordered the dessert. And instead of bringing three menus for the three of us to select the desserts, we shared one. The service at the end of the meal was just unprofessional. All this happened when the restaurant was not busy. I cannot imagine what happens when the restaurant is even half full.<div><br /></div><div>The front of house team at Clover Bellavita is not well trained. Their movements in the dining room don't come naturally. They are stiff and not relaxed. When the servers seem tense, the diners don't feel as comfortable. While I can understand why the servers are all masked up, it doesn't help with engaging with the diners. You don't feel anyone is smiling behind the masks. The service team is also afraid to make mistakes which makes them more prone to making mistakes. At one of my dinners, the sommelier dropped a bottle of wine on the floor; luckily the bottle stayed intact and no one was hurt, but the wine was gone. The servers and managers lack experience and some of them are simply too young. As such, they don't have the abilities to read the diners and the situation. For instance, at one of my dinners, the server should have considered providing the bread before serving the cheese course; instead the diners had to ask for it. Good service is not just about bringing the food to the right person. Robots can do that and some restaurants are already using them. Service is about anticipating the diners’ needs and caring for them. At Clover Bellavita, I didn’t feel I was under the care of anyone. </div><div><br /></div><div>A diner expects good service at Clover Bellavita because the prices are not cheap. A three-course lunch costs NT$2,580 plus 10% service charge or around US$92. A full tasting menu is NT$5,980 plus 10% service charge or around US$215. Wines are prominently displayed in glass cabinets around the perimeter of the restaurant. The wine markup is not unreasonable, but it is certainly not a bargain. One of the wonderful things about Clover Bellavita is the diner can order à la carte. Very few western restaurants at this high level in Taipei offer the option of à la carte because it is more demanding on the kitchen and less economical. Appetizers are around NT$900 and main courses are around NT$1,300. The prices at Clover Bellavita is comparable to Piège‘s restaurants in Paris, besides Le Grand Restaurant. For instance, the Poule au Pot in Paris is 48 Euros per person, roughly NT$1,600, while in Taipei the dish is NT$1,639 per person. While the Poule au Pot in Paris is served in a <a href="https://xn--jeanfranoispiege-jpb.com/la-poule-au-pot" target="_blank">bistro</a>, the prices at Clover Bellavita make the restaurant more of a destination dining in Taipei. </div><div><br /></div><div>Clover Bellavita is a wonderful addition to the restaurant scene in Taipei. It is very nice to finally have another great French restaurant in Taipei besides <a href="https://www.facebook.com/LatelierdeJoelRobuchonTaipei/" target="_blank">L'Atelier de Joël Robuchon</a>. In comparison to Robuchon, Clover Bellavita is actually more French. Robuchon has long adopted Asian ingredients and been influenced by Asian cuisine, especially Japanese. In contrast, Piège has said in the <a href="https://rmc.bfmtv.com/actualites/jean-francois-piege-dans-ma-cuisine-je-revendique-une-identite-francaise_AV-201602020274.html" target="_blank">past</a> that he is French, makes French food, and doesn’t use ingredients that don’t have a French identity such as Yuzu. Piège is more focused on modernizing French cuisine from within. </div><div><br /></div><div>I love having Piège‘s France in Taipei. We don’t really have anything remotely similar here. However, for a restaurant with an English name in an Asian city, one wonders how that will influence or change Piège‘s cooking in the future. What does it mean to use Taiwanese products to cook French food? Or for local servers to provide French service? The context for Piège‘s food in Taipei is completely different than in Paris. The typical diners in Taipei didn’t grow up with French food culture and are not as familiar with the classic dishes and the stories behind them. They won’t be able to connect with the food on an emotional level as Piège would have liked; there certainly won’t be any moment like the end of the movie <a href="https://en.wikipedia.org/wiki/Ratatouille_(film)" target="_blank">Ratatouille</a>. Nevertheless, Piège‘s food can certainly be enjoyed for their superb techniques, great flavors, and elegant presentations. Clover Bellavita is a great place to eat and It will be interesting to see how the restaurant develops as time goes on. </div>Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com54F, No. 28號, Songren Rd, Xinyi District, Taipei City, Taiwan 11025.0396219 121.567641-3.2706119361788453 86.411391 53.349855736178846 156.72389099999998tag:blogger.com,1999:blog-9203577587049612151.post-2171865827183901372022-02-03T20:16:00.010+08:002022-02-07T18:01:37.614+08:00Tasting Menu Only-Take it or Leave it“We only offer a tasting menu now”. The server at my neighborhood bistro informed me of the change when I tried to make a reservation for a family dinner. Half a year ago, restaurant Naked used to be a place where my family of three generations would gather for Sunday dinner. We would eat there around once every two months. Usually the six of us would order a few appetizers to share and then have different main courses individually, such as seafood pasta, lamb chops and beef Rossini. Occasionally we would end the meal with a couple of desserts. The food at the restaurant was simple, at times creative, and well made. The prices were not cheap but reasonable. Now, the restaurant only offers a five-course lunch tasting menu for NT$1,280 and a nine-course tasting menu for $1,980. The pricing is still sensible. But since the inception of the tasting menu-only format, I have not been back to the restaurant. <div><br /></div><div>The French restaurant <a href="https://www.chouchou.com.tw/" target="_blank">Chou Chou</a> in my neighborhood was billed as a modern brasserie when it opened in 2016. Operated by the Michelin-star chef Lam Ming Kin, the restaurant offered prix-fixe menus for lunch (three-course) and dinner (four-course). The food was excellent and moderately priced. Occasionally I would take my wife and two daughters to Chou Chou for a nice lunch on the weekend. My girls would always start with a French onion soup, follow by a steak, and end with a soufflé. My wife and I were more adventurous and chose a variety of different dishes for our visits. In late 2021 the restaurant closed temporarily to retool the concept. Two months later, Chou Chou reopened as a tasting menu-only restaurant. Currently, lunch is a six-course tasting menu priced at NT$2,880 and dinner is nine-course at NT$3,880. I have been back once to try the new format with a friend, but my family has not, and probably will not. </div><div><br /></div><div>There are many reasons for not going to Naked and Chou Chou anymore. The restaurants are no longer suited for my family. My kids and parents simply cannot and don’t want to eat that many courses for lunch or dinner. They like to choose the dishes they want to eat instead of being dictated to by the chef. I also don’t want to spend that much money every time I go. Furthermore, the tasting menus at the restaurants don’t change for the season, and I certainly don’t want to eat the same dishes every month; the restaurants are not for regulars. Perhaps the change to tasting menu-only is good for the chefs and their businesses, but not necessarily for the diners. </div><div><br /></div><div>In the February, 2013 issue of Vanity Fair, Corby Kummer wrote an <a href="https://www.vanityfair.com/culture/2013/02/top-chefs-totalitarian-restaurants">article</a> titled “Tyranny–It’s What’s for Dinner”. Kummer criticized the endless multi-course meals at some of the best restaurants in the U.S., where the diners have no say over what he or she would eat. Instead of caring for the diners, the restaurants demand total reverence to the chefs’ creations. Kummer attributed this phenomenon mainly to two chefs, Charlie Trotter and Thomas Keller. While Kummer came across as a jaded diner, I agreed with some of his points of view. However, Kummer was writing about a very small sampling of restaurants and they were some of the most expensive and prestigious restaurants in the world: French Laundry, Per Se, Eleven Madison, Alinea, Noma, and the now closed Charlie Trotter. </div><div><br /></div><div>Most of the diners in these restaurants are local residents with special occasions to celebrate or tourists. They want to experience the creations of the world’s most talented chefs, who have ambitions to change the future of food. Eating at these three-Michelin star restaurants is akin to going to the Museum of Modern Art to see the works by Jasper Johns and Richard Serra. And if a person has the financial means to be a regular, these chefs are happy to customize the menu. Keller actually changes his menu everyday at the French Laundry and Per Se. Regular customers at Charlie Trotter never got the same meal twice since Trotter made it a point never to repeat a dish. Therefore, when I read the article at that time, the idea of tyranny didn’t register strongly with me. </div><div><br /></div><div>Little did I know that eight years later the idea of tasting menu-only restaurant is not only ubiquitous among the above average Western and Japanese restaurants in Taipei, it is gaining traction among mid-range restaurants. While the chefs in Taipei are good and talented they are not in the same league as Grant Achatz, Daniel Humm, or René Redzepi. The main reason chefs in Taipei offer tasting menu-only is not to express their artistic and culinary ambitions, nor the diners’ wish to experience the chefs’ geniuses, rather it is economics. </div><div><br /></div><div>In contrast to à la carte, a single tasting menu for all the diners is easier for the restaurants to control cost. Together with a strict reservation policy such as charging a deposit when booking a seat, the restaurants know exactly how many of each dish needs to be made. There is less prep work and less waste. Besides the savings on food cost, the restaurants also save time and money on training the staff. In the current environment where good cooks are hard to find, one tasting menu means only a finite number of dishes needs to be mastered. Given that some of the dishes on the tasting menu are often cold, they can be made far in advance. And since the same dishes are served to everyone in the same sequence, it is easier for the kitchen to assemble the dishes during service. All these factors allow the chefs to better control the quality of the food. And unlike the French Laundry where the menu is slightly different everyday, the tasting menus in Taipei stay the same for months. The chef doesn’t have to go to the market every morning to see what’s fresh and then go back to the kitchen to develop new dishes à la minute. </div><div><br /></div><div>The tasting menu-only format is also easier for the front of house staff. Instead of setting the table for different dishes for each diners, everything is the same. The servers also just need to memorize a script to explain the dishes to the diners without any spontaneity. Maybe one day the restaurants just need robots to deliver the food from the kitchen to the table. The work of the sommelier for wine pairing is also simpler. There’s no need to open different bottles to pair with the different dishes of the diners at the same time. There is also no need to ask the diners what they like to drink. All the choices are made already and good for at least three months. And if a diner doesn’t like the pairing, that’s the diner’s problem. </div><div><br /></div><div>Tasting menu-only also guarantees a minimum amount of expenditures by the diners. The restaurants don’t need to be concerned if a table of four is only going to order two appetizers to share to start and skip the desserts at the end. Everyone is charged the same amount independent of the diner’s real desire. Since most restaurants in Taipei cannot rely on diners to spend money on wine, the tasting menu and wine pairing provide more stability with the revenue. </div><div><br /></div><div>Tasting menu is also easier for publicity purposes. The restaurant conjures up some concepts for the tasting menu which get regurgitated across the traditional and social media. The release of a new set of dishes becomes an event to be experienced by the diners. It is much harder to market if the restaurant just has a few new dishes a month or a different menu everyday. Going to these tasting menu-only restaurants and eating the chefs’ creations is now similar to going to fashion shows every season. If one hangs around with the so-called foodies in Taipei, one would hear questions such as, “Have you tried this season’s menu at RAW or Logy?” In a city where FOMO (fear of missing out) is prevalent and hipsters spend more money on experience for Instagram than goods, the tasting menus at the hard-to-book restaurants have become the new proxy for lifestyle. </div><div><br /></div><div>Another reason for the ubiquity of the tasting menu-only format is the Michelin Guide. There seems to be a conception that Michelin likes tasting menu. In 2019 when I was having lunch at Jean Georges in New York City, I was told the restaurant would soon change the format to tasting menu. One of the reasons was the restaurant hoped to regain its third Michelin star. I was disappointed to hear the news. At lunchtime, a diner used to be able to order à la carte with just a minimum of two dishes. The excellent food, great service, and flexibility with the menu made Jean Georges my favorite place to lunch in New York City.</div><div><br /></div><div>The Michelin Guide arrived in Taipei in 2018. The effect of the <a href="https://guide.michelin.com/tw/en/taipei-region/taipei/restaurants">Guide</a> on the dining scene is enormous. Now instead of cooking for the average diners, chefs are cooking for the Michelin Guide inspectors. Getting a Michelin star not only ensures an increase in business, it also puts the starred chef on the international circuit and press.
Currently in Taipei there are 29 starred restaurants in the Taipei 2022 Michelin Guide. 16 restaurants are tasting menu-only (<a href="https://longtail.com.tw/" target="_blank">Longtail</a> serves a different à la carte menu after 9pm). Of the other 13 restaurants with à la carte, nine are Chinese/Taiwanese restaurants and three are steakhouse/grill (Danny's Steakhouse, A Cut, Da Wan). Only one gourmet Western restaurant, L'Atelier de Joël Robuchon, offers both à la carte and tasting menus. </div><div><br /></div><div>Why do Chinese restaurants always have à la carte? Because the local diners don’t expect anything less. In fact, if I walk into a Chinese restaurant where there is just one tasting menu, I would think the chef has very limited skills and cannot manage a large brigade. A tasting menu is usually reserved for banquets (often lousy in quality) at weddings or mass gatherings. No self-respecting Chinese foodie will order a tasting menu at a Chinese restaurant. Ordering dishes involves consultation with the maitre d'hotel on what’s good for the day and the occasion. Ordering for the table is an art and shows the sophistication of the diner. </div><div><br /></div><div>One would think that since the Chinese food is shared while Western cuisine is not, that the tasting menu would be more prevalent in the West. In fact the European restaurants don’t just have tasting menus either. Look at the Italians. Many of the three-Michelin star restaurants in Italy, Osteria Francescana, La Pergola, Le Calandre, Enoteca Pinchiorri, all have à la carte in addition to tasting menus. Italy’s most famous chef Massimo Bottura can easily switch to a tasting menu-only format at his restaurant in Modena and people would still be flocking to his restaurant. </div><div><br /></div><div>Diners in Taipei spend more money with tasting menu at Western restaurants than at comparable Chinese restaurants. However, they are not getting a luxury product. Tasting menu is not bespoke, rather it is assembly line cuisine. The restaurant doesn’t really care what the diners want to eat. If the diners don’t like the dish, it is the diner’s problem, not the chef. </div><div><br /></div><div>When I first went to <a href="https://michaelfei.blogspot.com/2016/09/tairroir-how-do-you-say-pourquoi-in_18.html" target="_blank">Taïrroir</a>, it didn’t have any Michelin star. The restaurant is tasting menu-only and one of the dishes (the chef’s signature) has taro. I don’t like taro and when I asked if the chef could substitute the ingredient, the answer was no. The substitution of an ingredient was perhaps too troublesome for the kitchen. Or maybe the chef thought I wanted to mess up his masterpiece. Either way, clearly the chef didn’t care about the preference of the diner. The server didn’t offer an alternative dish either. Take it or leave it. I haven’t been back to Taïrroir ever since. Now with two Michelin stars the kitchen probably care even less about the customers. </div><div><br /></div><div>Eating a tasting menu in restaurants in Taipei reminds me of buying music on cassette tapes in the 80’s. Too often an artist (Bobby McFerrin) or group (A-Ha) would release one great song. But in order to get that song, one has to buy the entire album. Besides the one great hit, the rest of the album are full of lackluster songs. Skipping to the one great song on a tape machine is not as easy as on a CD player. Many tasting menus at restaurants are similar. Only a fraction of the dishes on the menu are really good, the rest are not fully thought out and are just there to pad the bill. While the music industry is moving away from the idea of an album and giving some of the purchasing power back to the consumer, the restaurant industry in Taipei seems to be just the opposite. </div><div><br /></div><div>Another problem with tasting menu in Taipei is many chefs simply have very limited skills and imaginations. They don’t have the discipline and creativity of someone like Thomas Keller. At Keller’s French Laundry and Per Se, no single ingredient is ever repeated throughout the meal. If the restaurant doesn’t allow me to choose a balanced meal, I expect the restaurant to give variety in dishes and not have repetition. A few months ago I had dinner at the Japanese restaurant, <a href="https://www.facebook.com/Watanabeshinsuke2020/" target="_blank">Watanabe</a>, and the chef served uni with three different courses. The chef could not make dish without uni. How about just make a shorter menu and charge less money? </div><div><br /></div><div>In general I like tasting menu when the kitchen is helmed by a highly skilled chef with a strong point of view about food and sequence. And sometimes the best thing to hear from a server is “the Chef would like to cook for you”. But very few restaurants in Taipei are at the level where I can simply trust the chef to make a great meal. </div><div><br /></div><div>Given the economics of the Western restaurants in Taipei, I know I cannot expect to see a menu like the one at the three Michelin-star Le Bernardin in New York City: a four course prix fixe dinner with multiple choices for each course, an eight-course chef’s tasting menu, and an eight-course vegetarian menu. Besides the formal dining room, Le Bernardin even offers a separate lounge menu. </div><div><br /></div><div>Perhaps we should look to the French chefs as the model. Many high end restaurants in France offer a very limited menu. But they almost always offer the diners a choice. At Alain Ducasse’s Louis XV in Monte Carlo the menu changes with the seasons and there are around five starters, seven main courses, cheeses, and five desserts. Diners can also select the Gourmet menu which has three dishes at half portions, cheeses, and desserts selected by the Chef. A similar format is at the hottest new restaurant in Paris, Jean Imbert at Plaza Athénée. On the menu of this media-savvy chef, there are five starters, six main courses, cheeses, and six desserts. If the diners wish to taste more dishes there is the option of Le Menu de Jean with three half portion dishes, cheese, and dessert. The dishes in the tasting menu consist of items in the à la carte, just in half portions. This way, the scope of work for the kitchen is limited while also giving the diners some options. </div><div><br /></div><div>During the Covid pandemic the three Michelin-star chef Yannick Alleno of Pavillon Ledoyen published a new book, "Tout doit changer!" (Everything must change), that serves as his manifesto for post-Covid haute cuisine. Instead of having a fixed menu he proposed to speak with diners a few days before the meal to discuss their preferences and budgets. Alleno said, “We can no longer impose a menu on the guests”. This is the exact opposite of the current trend of tasting-menu only at the restaurants in Taipei, where food comes off an assembly line with no regard for the diners’ desires. Alleno in Paris is moving towards a bespoke menu as the future of cuisine. Will Taipei follow?</div>Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com3tag:blogger.com,1999:blog-9203577587049612151.post-65083550420478008122021-02-18T14:02:00.000+08:002021-02-18T14:02:16.543+08:00Go to Town: Town by Bryan NagaoTown by Bryan Nagao opened in 2018 in Taipei, but I didn’t set foot in the <a href="https://www.towntaipei.com/" target="_blank">restaurant</a> until late last year. The main reason was when the restaurant first opened, I heard conflicting reviews of the restaurant from friends and family; the negative outnumbered the positive ones. As the buzz died down after a few months of the opening, friends gradually stopped mentioning about Town. And I kind of forgot about the restaurant. <div><br /></div><div>In the summer of last year a friend asked me to join him for dinner at a newly opened restaurant in Taipei. Unbeknownst to me, chef Nagao was in my dining party. When Nagao sat down my friend said to me, “You must know Bryan”. Actually I didn’t and never tried his food. But I enjoyed eating with Nagao and told him I would visit his restaurant. In November I ate at Town for the first time. A couple of months later I went again and tried a slightly different menu. In short, I enjoyed both of my dinners.</div><div><br /></div><div>Town is located on the third floor of a four-story building on Xinyi Road, diagonally across the street from the original Ding Tai Fung. The restaurant does not have an entrance directly off the street. But the signage on one of the doors of the storefront suggests there is one. The first time I was there I was confused as to how to enter the restaurant. To get to Town, one actually has to walk through the length of the ground floor cafe counter, pass the stairs going to the second floor, and look for a glass door on the left. The short corridor leads to a small elevator. The elevator door on the third floor opens to a transitional space that doesn’t engage the diners. The entire entry sequence is a bit awkward. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlMPp0ICY4a1sc6-6NKJInmoQ3vOYmhZbOXrFJABgYf4KcNo3uUS2ujJhvxnZg5Wu91HsEybkaLzprV9wXrPvdBH2dg1SNcySnN4bgveZsLjpE6B5gwcATIbiv7uXjn07y3fq3bG8oHuBK/s1200/IMG_2257.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlMPp0ICY4a1sc6-6NKJInmoQ3vOYmhZbOXrFJABgYf4KcNo3uUS2ujJhvxnZg5Wu91HsEybkaLzprV9wXrPvdBH2dg1SNcySnN4bgveZsLjpE6B5gwcATIbiv7uXjn07y3fq3bG8oHuBK/w640-h480/IMG_2257.JPEG" width="578" /></a></div><br /><div>The rest of the interior design is much better considered. Before getting to the receptionist stand, one walks past the open kitchen on the left. This is a nice feature. The guests get to meet chef Nagao at the green marble pass with the heat lamps and see how their food is made. As expected, the open kitchen is clean, bright and professional. The chef can welcome the guests before taking their seats in the dining hall, as if they are coming to his home. Nagao used to split his time between his restaurants in Hong Kong and Taipei. Since Town in Hong Kong closed in March 2019 and the pandemic hit in 2020, Nagao is spending all his time in Taipei. Therefore, when one walks into Town one is likely to see Nagao in the kitchen. </div><div><br /></div><div>The floor plan of the building consists of two structural bays of equal width. The public dining room occupies one bay and the two private rooms take up the other. Each bay has a balcony overlooking Xinyi Road. While I never see anyone on the balcony it is still nice to have floor to ceiling glass on one side of the room. The public dining room has a center aisle with seating on two sides. One side consists of three circular shaped green banquettes with round dark grey marble tables, while the other side has square tables and blue chairs set up for parties of four. The tables are nicely space. </div><div><br /></div><div>The various light fixtures in the public dining room are all in spherical glass shapes: wall mounted next to the square tables, table mounted in between the banquettes, and ceiling-hung above the receptionist stand. The three round tables each has an additional round metal lamp above them. The ceiling above the round tables even has circular alcoves that echo the shape of the banquette. The circular shapes are contrasted with the herringbone wood flooring. It is clear that a lot of thoughts were put into the design and the overall ambiance is quite pleasant. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq87UkBIwjIIuk5Czq8GWyWj1WJ4tWNeGshPcCPAzvjItPKRFEETEV03TUu06qt9YlGJyVKAofqVxBhQFVdm94fyXCyRhaq5A6dvOpGGoyqMLLQzBx0Bh-jYTlxuG1vHIn_qkltIpfmodT/s1200/IMG_2262.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="914" data-original-width="1200" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq87UkBIwjIIuk5Czq8GWyWj1WJ4tWNeGshPcCPAzvjItPKRFEETEV03TUu06qt9YlGJyVKAofqVxBhQFVdm94fyXCyRhaq5A6dvOpGGoyqMLLQzBx0Bh-jYTlxuG1vHIn_qkltIpfmodT/w640-h488/IMG_2262.JPEG" width="578" /></a></div><br /><div>For both of my dinners I was seated at the first round table. The marble table and the lamp above have a retro feel as they reminded me of the Tulip table by Eero Saarinen and Arco lamp by Achille Castiglioni produced in the middle of the twentieth century. The silverware were placed on one side on a metal ledge. The table setting was pleasant but the placement of the menu was a bit awkward. The menu was tucked slightly under the top of the napkin. The napkin is folded into a rectangle with a width that matches the menu. The alignment of the menu and the napkin was clearly intentional but didn’t enhance the visual appearance of either. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXlTIhsi5QlMofwKpestfPZP317cqiX6kxW3ivCKm3g15vKxEhbX2sZAjhASta-2fx9wNbkJJp5J4E7BwCPrj_N-kAYPHFK-HDlikjjDL3EZxy5KMBP38Azu6v7pIRCUlyoYWR6eqmS6IR/s1200/IMG_2260.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="899" data-original-width="1200" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXlTIhsi5QlMofwKpestfPZP317cqiX6kxW3ivCKm3g15vKxEhbX2sZAjhASta-2fx9wNbkJJp5J4E7BwCPrj_N-kAYPHFK-HDlikjjDL3EZxy5KMBP38Azu6v7pIRCUlyoYWR6eqmS6IR/w640-h480/IMG_2260.JPEG" width="578" /></a></div><br /><div>Town is open only for dinner and serves one menu for all the diners. The format is a tasting menu with nine courses plus amuse-bouches to start and mignardises to end. Four out of the nine courses have two different dishes for the diners to choose. The main savory course has three to four choices and carries different prices depending on the ingredients. As the season changes so does the menu. The menus at Town actually reminds me of the <a href="https://www.thomaskeller.com/new-york-new-york/per-se/todays-menus" target="_blank">menus</a> by Thomas Keller, which uses quotation marks pervasively. The menu refers and twists traditional flavors and technique. Any food lovers would be happy to read the menu that show the depth of Nagao’s knowledge and his ease of playing with the vocabularies of different cuisines. </div><div><br /></div><div>Dinner started with a couple of amuse-bouches. At my first dinner I was served a gougère and a waffle topped with foie gras mousse. The gougère was good but would be better if it was warmer; this is not easy as the puff is not large. The waffle was also good but a bit sweet. The flavor profile didn’t quite wake up the palette as I expected an amuse to do. In fact it dulled the appetite a bit. At my second dinner, the gougère appeared again, but the waffle was replaced by a crab tartlet topped with a sliced of black truffle. The crab was fresh and sweet and the truffle gave the flavor an earthiness. It was a delicious bite of food and made even better with a glass of champagne. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYPW9kHy8KSBIwTvbwpjDkImeP413w5fNPUcoDXPaDyMfDP16tVh8VjkrZE7HrEyb0ZU7q4NbylqdmUgaoleb255-03PBePe2L-2dZVywIPsJodyM5AusMoBOECq8HwjP3BqzhXzx4wX3H/s1200/IMG_2263.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYPW9kHy8KSBIwTvbwpjDkImeP413w5fNPUcoDXPaDyMfDP16tVh8VjkrZE7HrEyb0ZU7q4NbylqdmUgaoleb255-03PBePe2L-2dZVywIPsJodyM5AusMoBOECq8HwjP3BqzhXzx4wX3H/w640-h480/IMG_2263.JPEG" width="578" /></a></div><br /><div>After the amuse-bouches, a Parker House roll was brought to the table wrapped in paper. The bread was warm and served with smoked pistachio butter. I was happy to see an American bread. While the bread was nice, each diner got exactly one roll and no more. The bread plate was taken away after the bread was finished. The portion of the butter was generous and the flavor was interesting, but I wished there was more bread to spread it on. Perhaps Nagao is following the more recent trend at fine dining restaurants such as Per Se and Eleven Madison Park, where bread is listed on the menu, treated as a course, and each diner gets just one. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiGe3vO-Oizt8LAAejgD52KPjrjbSe2seZI8GvDt14zTiTMlfTaZZiRjQmUEDhjPko3PSKM2ehnxukLdal3sVVfIq-QfJdH-OsBvgTYLqEV1Rgp2IGp4IL9FCJ6BS2J3-V-P4RdxCtPbV7/s1200/IMG_2264.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiGe3vO-Oizt8LAAejgD52KPjrjbSe2seZI8GvDt14zTiTMlfTaZZiRjQmUEDhjPko3PSKM2ehnxukLdal3sVVfIq-QfJdH-OsBvgTYLqEV1Rgp2IGp4IL9FCJ6BS2J3-V-P4RdxCtPbV7/w640-h480/IMG_2264.JPEG" width="578" /></a></div><br /><div>Nagao didn’t seem to have a fixed format for the first course. At my first dinner it was a choice between lamb tartare or quail. At my second dinner it was scallop or red prawn. Some chefs set up their tasting menus with a first course that’s light, acidic, or with raw seafood, and then move into the heavier dishes. Nagao did not and instead produced dishes that were strong and full of flavors. For instance, the scallop I had was served with 36-month jamon from Cinco Jotas, chestnuts, and a soubise sauce. The dish was delicious and well made. The portion was small but just right; any bigger would be too heavy to start the dinner. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJYaLqWud-Y3ugJ3MKvhGwmh6HU8pGWVHHXE8vLmgcz2UUxiEWrRnIThHItGNsU22ayat0fTg41Afwc8T-g6BvqFMc5yb5m5jRYF8kgo-okV1coMUfieECUed0inJA00F5msJbqbVxOJwO/s1200/IMG_2266.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="899" data-original-width="1200" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJYaLqWud-Y3ugJ3MKvhGwmh6HU8pGWVHHXE8vLmgcz2UUxiEWrRnIThHItGNsU22ayat0fTg41Afwc8T-g6BvqFMc5yb5m5jRYF8kgo-okV1coMUfieECUed0inJA00F5msJbqbVxOJwO/w640-h480/IMG_2266.JPEG" width="578" /></a></div><br /><div><br /></div><div>The second course was a custard which Nagao produced different variations with different ingredients and sauces. The first one I had was with crab, oxtail marmalade, and onion jus. The second time it was with abalone, caviar and chicken jus. The custard is another good dish that was packed with flavors. The dish was also very beautiful especially with the blue bowl. The wooden spoon provided to eat the dish with was a nice break from the ubiquitous stainless tableware. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiYRGCrQ5J7JqzK25-VELlVKuirtPRG3yYM42nm0niTTC8HZ1qFlQYitZXooO8RgeXjI4jfTFvJ-dKL1_XOn0shUVo4vM16PwdBrVqH_PE7RWozbmxwHbfLuM05v6CHJgQeAeyr8oPn_uG/s1200/IMG_2268.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiYRGCrQ5J7JqzK25-VELlVKuirtPRG3yYM42nm0niTTC8HZ1qFlQYitZXooO8RgeXjI4jfTFvJ-dKL1_XOn0shUVo4vM16PwdBrVqH_PE7RWozbmxwHbfLuM05v6CHJgQeAeyr8oPn_uG/w640-h480/IMG_2268.JPEG" width="578" /></a></div><br /><div>However there was no pause on flavors. The third course that followed was a beef tripe and sweetbread with ragout. I like offal and I believe Nagao does as well. I enjoyed eating this dish. But I wouldn’t mind having some bread on the side to sop up the sauce. </div><div><br /></div><div>A soup was the fourth course. While I knew from the menu that it wasn’t something light such as a consommé or vegetable soup, I didn’t expect a full body bouillabaisse. At my two dinners, Nagao made the fish soup with different toppings; once with scallop and cauliflower, and the other with shirako and rouille. The soup was hearty and very flavorful. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc8t_jC33XFEUai4JLmG3Jq1Zf9tf7MvoGpB5t2jTk8OpBk0G1xVuCW_Tg6wh3NKUpRZe6dcXj3JoWM9IV2YXYQFrjKRHeUCyszRZWMUDR1_4Zbz-SxFidkZtom2KuPXRFjZrdaMeAvpnm/s1200/IMG_2272.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="899" data-original-width="1200" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc8t_jC33XFEUai4JLmG3Jq1Zf9tf7MvoGpB5t2jTk8OpBk0G1xVuCW_Tg6wh3NKUpRZe6dcXj3JoWM9IV2YXYQFrjKRHeUCyszRZWMUDR1_4Zbz-SxFidkZtom2KuPXRFjZrdaMeAvpnm/w640-h480/IMG_2272.JPEG" width="578" /></a></div><br /><div>The fifth course was a pasta. There were two choices and one of them was uni tagliatelle that carried a supplemental charge of NT$220. The uni was served whole and sat on a small bed of pasta with slivers of jamon Iberico. I really enjoyed this dish, however I wished there were more pasta. On my second dinner I had a small bite of my dining companion’s uni pasta and it was a bit too salty. The ingredients, uni, Iberico ham, and cured pork fat were all salty to begin with so they could easily make the dish over seasoned. My friend’s pasta was also not hot enough. Since the pasta and the uni were not tossed in a hot pan, the temperature of the dish was not easy to control. This dish was really delicious when it was executed well. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtn_7AThBtyaWbQ6ymY3-ytt6pUeTamM-4roivTZbOvaQlI7L9rP2ouMhYzjYtu8_W18al0PzinJ7IyShDOrHFiBg7EQWEZ7e0oY1TY4gVpHIav6Wo30Dz1bI1Ny4ZzkL7XwGR-0zi-taL/s1200/IMG_2071.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtn_7AThBtyaWbQ6ymY3-ytt6pUeTamM-4roivTZbOvaQlI7L9rP2ouMhYzjYtu8_W18al0PzinJ7IyShDOrHFiBg7EQWEZ7e0oY1TY4gVpHIav6Wo30Dz1bI1Ny4ZzkL7XwGR-0zi-taL/w640-h480/IMG_2071.JPEG" width="578" /></a></div><br /><div>For my second dinner I tried the ravioli with peas and black truffle. The dish tasted as good as it looked. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS7FFC3S3FgaGzyZCn6X3jYPvQEoIat3YdhxOo2QIdKWbcivyAwclyf8zfi0sa4rnIFbaUj2HyuCaKxQG2xBaD5Z8RnYnpWUMl8JL2WDahLsxqXX28-fIuLJV6qc1FA-WYTsvJ1xHxodUj/s1200/IMG_2273.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS7FFC3S3FgaGzyZCn6X3jYPvQEoIat3YdhxOo2QIdKWbcivyAwclyf8zfi0sa4rnIFbaUj2HyuCaKxQG2xBaD5Z8RnYnpWUMl8JL2WDahLsxqXX28-fIuLJV6qc1FA-WYTsvJ1xHxodUj/w640-h480/IMG_2273.JPEG" width="578" /></a></div><br /><div><br /></div><div>The sixth course was a seafood. At my first dinner I had an abalone with foie gras, house-made XO sauce, radish, and grapefruit. The dish was well executed and good but I wanted a bit more balance of flavors. </div><div><br /></div><div>The main savory dish was the seventh course. The portion for this dish was larger than the previous courses. There were three to four choices. The choice also determined the price of the entire dinner, ranging from around NT$2,480 to NT$2,880. Each of the main course also came with a side dish. I’ve tried three of the main courses and all of them were very good. At my first dinner I had the slow-cooked suckling pig, which was a reference to Kalua, the traditional cooking method in Hawaii. Since Nagao grew up in Hawaii, this could be considered a version of his hometown cooking. The pork was beautiful and reminded me of the <a href="https://en.wikipedia.org/wiki/Meat-Shaped_Stone#:~:text=The%20Meat%2DShaped%20Stone%20(Chinese,Palace%20Museum%20in%20Taipei%2C%20Taiwan.&text=It%20has%20also%20been%20chosen,in%20the%20museum's%20entire%20collection." target="_blank">Meat-Shaped Stone</a> at the National Palace Museum. The side dish was a pork fat rice that was very delicious and reminded me of the rice dishes in Cantonese cuisine. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaPUJ5ibImnkfWbeeyzf8nkDnFkfGyVATQSFb7PJh7R9QIhrU2y6a9hGOpjWm7owEbJx4r-7w48hM2iNllkoWHy6LBE9tP1wJLCazobpc151jF9Tj05XEPKPEKnTI4_c8fxz3sNebGoD4Q/s1199/IMG_2075.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="891" data-original-width="1199" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaPUJ5ibImnkfWbeeyzf8nkDnFkfGyVATQSFb7PJh7R9QIhrU2y6a9hGOpjWm7owEbJx4r-7w48hM2iNllkoWHy6LBE9tP1wJLCazobpc151jF9Tj05XEPKPEKnTI4_c8fxz3sNebGoD4Q/w640-h476/IMG_2075.JPEG" width="578" /></a></div><br /><div>At my second dinner I had the beef tongue with a side dish of beef cheek pie. It was another very nice dish that was well executed; just look at the sheen on all the sauces. However, the dish was almost a bit too much of a good thing. I wanted more contrast and balance to the high fat content of the beef tongue. I also ate half of my companion’s lobster with green Thai curry. My friend felt the lobster was under cooked, but I thought it was perfect. The flavor was interesting and very good. The side dish was a small lobster roll. All the main courses had many components and required a lot of work. They were well made and showed the range of Nagao’s cooking. Based on the main courses, it was hard to pin down Nagao’s style as he didn’t limit himself to any particular type of cuisines nor flavors. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAsKmik80fHXmfnGUmEOKeLTQkZy5EaAanix3op2KR9qbruJAov-JE9OJqMWSPU8NpT9w8cVBAfP3e9ltmH3K79B2cI0n3td9_rjBZaW8H_2Gko21wdJtSvKn2HpisEqsg4UhR3tMoXKh0/s1200/IMG_2275.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAsKmik80fHXmfnGUmEOKeLTQkZy5EaAanix3op2KR9qbruJAov-JE9OJqMWSPU8NpT9w8cVBAfP3e9ltmH3K79B2cI0n3td9_rjBZaW8H_2Gko21wdJtSvKn2HpisEqsg4UhR3tMoXKh0/w640-h480/IMG_2275.JPEG" width="578" /></a></div><br /><div>At both of my dinners I chose to have the wine pairing. There were two options and the prices were reasonable: 4 glasses for NT$1,280 or 6 glasses for NT$1,880. I enjoyed the conversations with the sommelier. She chose wines from a wide range of areas, including Alsace, Hungary, Austria, and Sicily; there was also sake from Japan. I agreed with her the wines from Alsace went well with Nagao’s food. I was happy to see her pour wines from Alsace and Austria because people in Taipei don’t drink enough from these regions; usually there’s too much focus on Bordeaux and Burgundy. </div><div><br /></div><div>The eighth course was a combination of a cheese course and pre-dessert. Similar to Thomas Keller, I suspect Nagao likes cheese and wants to serve it without bringing a whole cheese cart into the dining room. Instead of having a stand alone composed cheese course as Keller does at Per Se, Nagao combines the cheese with an ice cream or sorbet on top. This is an interesting idea that I don’t think I’ve encountered before. I had the Taleggio cheese and celery lemon sorbet and the Brie with black truffle ice cream. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGnK6oSkJKH2A9tN8o9IK1u0l01TGOG2lyaFIYGptkzTjY55bCBVEmwX4Hs69GtofCcBRaq0gQHSza9cdIwLjp9WRi2ffe_4FtIgrGRY9IZBE1QB1F7CQIGGun1QY2RmYqNAFYmGA4rpRR/s1200/IMG_2077.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="899" data-original-width="1200" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGnK6oSkJKH2A9tN8o9IK1u0l01TGOG2lyaFIYGptkzTjY55bCBVEmwX4Hs69GtofCcBRaq0gQHSza9cdIwLjp9WRi2ffe_4FtIgrGRY9IZBE1QB1F7CQIGGun1QY2RmYqNAFYmGA4rpRR/w640-h480/IMG_2077.JPEG" width="578" /></a></div><br /><div>The last course was the dessert and both times I had the chocolate mousse flavored with Longan and served with grape sorbet. The flavors were wonderful and I liked the combinations. But the hazelnut chip on top of the mousse was crisp at the first dinner and less so on the second. After the desserts there were two mignardises to accompany the coffee or tea. The mignardises were well made and a nice way to end the dinner. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW6WYEUZ-2Y9Z0tXS0WD6HIL0q-UC7vTn-iWowfeOFEned0dJG26d5Uf3VekXjB2ZOp3FceSNOE22ChY-321ZM86Q5XQ422sCz-zcNHWcF-aPu-W1knjRV16Kzh4GhR3CpPKymwFqrhlso/s1200/IMG_2078.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW6WYEUZ-2Y9Z0tXS0WD6HIL0q-UC7vTn-iWowfeOFEned0dJG26d5Uf3VekXjB2ZOp3FceSNOE22ChY-321ZM86Q5XQ422sCz-zcNHWcF-aPu-W1knjRV16Kzh4GhR3CpPKymwFqrhlso/w640-h360/IMG_2078.JPEG" width="578" /></a></div><br /><div>The service at my two dinners was very nice and the experience was very pleasant. The noise level at the restaurant was not high and I felt comfortable lingering at the restaurant. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje2DajTdzxZQX1y6lTMumorSuaT-Yk_CA40_OWM31oT5owC2D4QMZDCt6CEgimM7MyUZfm8ABmLOwL-8_Ayp1iGoo95HJ18UWbO6gNGVxNQPgOhSKhyiBUWzOVXHfh-GSX0gonzyDTnx7A/s1200/IMG_2279.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="899" data-original-width="1200" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje2DajTdzxZQX1y6lTMumorSuaT-Yk_CA40_OWM31oT5owC2D4QMZDCt6CEgimM7MyUZfm8ABmLOwL-8_Ayp1iGoo95HJ18UWbO6gNGVxNQPgOhSKhyiBUWzOVXHfh-GSX0gonzyDTnx7A/w640-h480/IMG_2279.JPEG" width="578" /></a></div><br /><div>One of the problems with Town is consistency. I had the uni pasta and the chocolate dessert at two separate dinners and the qualities ranged from great to so-so. Perhaps there were simply too many components in the dinner and the ambitions of Nagao were not matched by the capabilities of his staff. Nevertheless I have a hard time understanding why Town is not in the Michelin Guide Taipei. Everyone knows that Michelin places a great emphasis on consistency. While this may preclude Town from getting a star, but surely Town deserves a Plate recognition. </div><div><br /></div><div>Dining at Town begs the question, are there too much flavors? This is a question I never imagined I would ask in Taipei. The diners in Taipei have a tendency towards blandness, demanding chefs to use less salt and less sugar. As such, often times there are simply not enough flavors. Town is just the opposite. From the first course to the last, Nagao doesn’t let up with the packing of flavors. And since his flavor profile tends towards salty, sweet, umami, and less on acidity and bitter, there is the danger of palette fatigue. The flavors are big and direct but after several courses one craves for more contrast, balance, and subtleties. </div><div><br /></div><div>It is also possible that some of the palette fatigue is my own doing. Like a moth to flame, when I see dishes with tongue, sweetbread, foie gras, jamon, and uni on the menu, I will order them. The two menus I had were also for the winter time and it was the season for heavier and more hearty food. </div><div><br /></div><div>When one eats at Town one gets Nagao’s personalities on the plates. Did every dish work and deliver the wow effect? Not necessarily. Were all the flavors engineered and balanced precisely? Not all the time. But what’s wonderful about Nagao is his unique ideas and interesting combinations of flavors that one won’t find elsewhere in Taipei. He uses his experience from different parts of the world and put his own spin on the different cuisines. He understands the culinary traditions but is not bounded by them. Call it fusion or whatever term one likes, Nagao is doing his own food and it is a very good thing.</div>Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com0tag:blogger.com,1999:blog-9203577587049612151.post-11618004156936939252021-01-11T18:08:00.000+08:002021-01-11T18:08:14.210+08:00Mini MadeleinesThe dinners at Restaurant Daniel in New York City always end with some mini madeleines. Fresh out of the oven they are such a delight. While I may not remember some of the dishes I ate at Daniel, the mini madeleines are etched in my memory. These little cakes are pure delights. Even when I was full after eating all the courses, I could always still devour several mini madeleines. <div><br /></div><div>Since I cannot travel to New York City anytime soon I decide to make the mini madeleines myself at home. The recipe for the madeleines is in the book, Chef Daniel Boulud, published by Assouline in 2002. However I prefer to use the recipe by Dominique Ansel in his first book, Dominique Ansel: The Secret Recipes, published by Simon & Schuster in October 2014. The reasons are Ansel’s recipe is more detailed and the quantity of ingredients are given in grams instead of volumes (tablespoons and teaspoons). Furthermore Boulud’s recipe is probably not the one used at the restaurant. For instance, the recipe calls for the mixed batter to be rested for just one hour. Typically a batter with baking powder benefits from resting overnight. </div><div><br /></div><div><a href="https://www.dominiqueansel.com/" target="_blank">Ansel</a> was the pastry chef at Restaurant Daniel from 2006 to 2011. He once said, “I had eight items on the dessert menu when I was at Daniel, and do you know what people remember the most? The madeleines at the end of the meal. People couldn’t get enough of them. If there is one item that I have made over and over again, it is madeleines. Every night, every table, madeleines, madeleines, madeleines.” </div><div><br /></div><div>Ansel still serves the little cakes at his eponymous shops in New York City. He bakes them à la minute. In other words, the customers have to wait for around five minutes after the order is placed. Just like at Daniel, the madeleines are served hot and need to be eaten right away. The madeleines are time and temperature sensitive confections as the texture of the cakes will change after only a few minutes out of the oven.</div><div><br /></div><div>Madeleines are not hard to make and Ansel lists the recipe in the beginner’s section. The recipe doesn’t require any special equipment except for the madeleine mold. I bought the 20-mini madeleine nonstick mold from Williams Sonoma. The recipe doesn’t require a standing mixer, just some whisking by hand.
Ansel’s recipe is available on the <a href="https://www.masterclass.com/articles/how-to-make-classic-mini-madeleines-with-chef-dominique-ansel" target="_blank">MasterClass</a> website and he even demonstrates parts of the recipe in a short video. Ansel’s recipe is very easy to follow. I deviate from the recipes in a few places. The recipe calls for melting the butter, brown sugar, and honey in a medium pot over low heat. But sometimes I just use the microwave instead. Often times, I only use lemon zest instead of lemon and orange. After whisking the wet ingredients to the dry mixture, I don’t cover the bowl with a plastic wrap. Instead I prefer to just pour directly into a large uncut piping bag and place it in the refrigerator to rest overnight.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAriva8gH_qGlE8ViuGSgefT33vZDHCJH0GMA7QBTFadRiteBcabK_iOCbirEVVGMQim3eXqiE7wfrL-ZuSsHuDgXUcgrN-H7C4UmYHKTvR_LyjE7brGkWAWeD1cMulITtmCQt2tReFWWH/s2048/mini1.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="578" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAriva8gH_qGlE8ViuGSgefT33vZDHCJH0GMA7QBTFadRiteBcabK_iOCbirEVVGMQim3eXqiE7wfrL-ZuSsHuDgXUcgrN-H7C4UmYHKTvR_LyjE7brGkWAWeD1cMulITtmCQt2tReFWWH/w640-h640/mini1.JPEG" width="578" /></a></div><br /><div>On the next day or the following day (the batter keeps well for a few days), preheat the oven to 350°F with convection. This is the only annoying part of the recipe for a home baker. It actually takes a lot longer to preheat the oven than to actually bake the madeleines. When the oven is ready, pipe the batter into the molds, roughly three quarters full. The amount of batter required in each mold of the pan is the only part of the recipe that is not super precise and takes some practice. The madeleines take around 5 minutes to bake in total.
Once the pan is out of the oven, the best way to unmold the madeleines is to just bang the pan against the counter. Afterwards, dust powder sugar through a sieve on top and eat immediately. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyFPYBvH5E7VE3JbJeozqpKDzHfY9efZMCGA_MXAW0OqNrCs7iqHc_W4yZ5f14F-gSlZ_ImU006qYBrtSARB-spXO4ha5ZQPp6KL8kWmdZ6BWGH8i7EAKoYSmGDN7AjkmMszwsJ5gpfURC/s2048/mini2.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="578" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyFPYBvH5E7VE3JbJeozqpKDzHfY9efZMCGA_MXAW0OqNrCs7iqHc_W4yZ5f14F-gSlZ_ImU006qYBrtSARB-spXO4ha5ZQPp6KL8kWmdZ6BWGH8i7EAKoYSmGDN7AjkmMszwsJ5gpfURC/w640-h640/mini2.JPEG" width="578" /></a></div><br /><div>When I taste the mini madeleines, they bring back memories of my meals at <a href="https://www.danielnyc.com/" target="_blank">Restaurant Daniel</a> in New York City, Maison Boulud in Beijing, and Dominique Ansel Kitchen in New York City. It’s amazing how a little flour, sugar, egg, butter, baking powder, salt, lemon zest, and honey can create such magic.</div>Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com0tag:blogger.com,1999:blog-9203577587049612151.post-20339188288758401182020-06-30T18:19:00.001+08:002020-07-30T09:18:28.880+08:00It Is Not What It Is: RAW by André ChiangThe glass front door is still deceptively heavy. The transparency of the material belies the effort it takes to open the door and enter restaurant RAW. The disconnect between perception and reality does not end at the front door but continues throughout the experience of the meal. Eating at <a href="https://www.raw.com.tw/" target="_blank">RAW</a> is not what it seems to be.<br />
<br />
I haven't been back to RAW in five years. The main reason is it is simply too hard to make a reservation, arguably the most difficult in Taipei. Under the direction of Taiwanese celebrity chef André Chiang, the dining room at RAW is always full. Even the Covid-19 pandemic and the ban on foreign tourists in Taiwan have not slowed the business down. The other reason I haven’t returned is I am ambivalent about <a href="http://michaelfei.blogspot.com/2015/01/raw-stands-for-restaurant-andre-w.html" target="_blank">my previous dining experience</a>. I don’t feel the strong urge to dine at RAW again. Recently at the invitation of a friend I have finally returned to RAW to dine for the second time. <div><br /></div><div>RAW of 2020 is a different restaurant from five plus years ago when it first started. Now the restaurant has two Michelin stars instead of none. Does the restaurant provide a two-star dining experience? The price of the menu has almost doubled since the restaurant first started. Is a meal there now twice as good as my last visit? The answers to both questions are, in short, not really.</div><div><br /></div>
Stepping inside I see the interior hasn't changed much. The space is well maintained and everything still looks new. I still like the design except for the text by <a href="https://en.wikipedia.org/wiki/George_Calombaris" target="_blank">George Calombaris</a> on the concrete wall near the entry. The space at the front of the restaurant remains empty but recently has found a new purpose: for diners to sit down, fill out their travel histories, and have their temperatures checked. <div><br /></div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinfsX4U7fqV-Y1sA8Z4gi5YVPN2JPonuSOL_mEj4AaNyqzpzkAF4wZfZ0sbCDvHwSzteMemF0zUkIwmPNjuBjVlgbUbK7_Wwag_E05SIEgxE7SFg0L8I2g90hBYkykNfmG7XA3JAZHFP5H/s1200/IMG_0897.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinfsX4U7fqV-Y1sA8Z4gi5YVPN2JPonuSOL_mEj4AaNyqzpzkAF4wZfZ0sbCDvHwSzteMemF0zUkIwmPNjuBjVlgbUbK7_Wwag_E05SIEgxE7SFg0L8I2g90hBYkykNfmG7XA3JAZHFP5H/w625-h469/IMG_0897.JPEG" width="578" /></a></div><div><br /><div>While RAW still looks and feels the same as when it opened in late 2014, the circumstances have changed significantly. Five-plus years ago, Chiang was still cooking everyday and chasing Michelin stars at his eponymous fine dining restaurant in Singapore. RAW was just an outpost in his home country and designed to be a bistronomy. In 2016 Restaurant André received two Michelin stars in Singapore’s inaugural Michelin Guide. At that time, there were rumors that Chiang was originally slated to receive just one star. The rating was changed to two stars at the last minute due to the lobbying of the Singapore authorities. The story is unconfirmed but certainly intriguing.</div><div><br /></div>
In October of 2017, Chiang abruptly announced he was closing his flagship restaurant in Singapore and “returning” his Michelin stars. Moreover he was leaving Singapore and moving back to Taiwan. To signal his complete disinterest in the Michelin stars, Chiang even asked Michelin to exclude RAW from the upcoming 2018 Taipei guide. This request was strange given Chiang’s entire career and reputation were built on the associations with the Michelin Guide. His personal library in Singapore contained a collection of Michelin Guide of France spanning decades. Was Chiang really breaking up with Michelin?</div><div><br /></div>
Chiang knew how to play hard to get. To no one’s surprise, when Michelin launched the guide in Taipei, they ignored Chiang’s request and awarded RAW with one star. Thumbing his nose at Michelin didn’t have any negative effect; actually just the opposite. One year later in 2019, Michelin upgraded RAW to two stars and decided the restaurant is just as good as Restaurant André was in Singapore. <div><br /></div><div>In Singapore Chiang was working in the kitchen full-time and got two stars. In Taipei, he gets two stars even when he doesn’t even want any. Instead of being on his feet all day in Singapore, he just cooks for his mom and wife at his home in Yilan, an hour drive outside of Taipei. Chiang is a smart man and must be laughing all the way to the bank. He is the most famous Taiwanese chef in the world. Michelin in Taipei needs him. <div><br /></div><div>Moving from Singapore to Taiwan means RAW has become the main signature restaurant of Chiang. RAW is also a restaurant he almost never cooked in and still doesn’t. Since the restaurant’s opening, the person running the day-to-day operation has been his trusted Chef de Cuisine Alain Huang. Chiang simply designs the menu and Huang executes the dishes on his behalf. However, I am surprised at how little input Huang seems to have on the menu. After I finish my recent meal, I ask Huang about some of the decisions on the dishes, he seems to suggest they are all made by Chiang. </div><div><br /></div><div>There used to be only one menu at RAW, NT$1,800 for 8 courses and everyone ate the same dishes. The socialist nature of the restaurant is no longer present. Now there are three choices: NT$1,850, NT$2,680, and NT$3,500. The pricier menus come with more courses and fancier ingredients. Since a meal at the restaurant is so hard to come by, my friend and I opt for the most expensive menu. I want the whole experience. </div><div><br /></div><div>Prior to dining at RAW I have already saw the pictures of the dishes on many websites and publications. Just about all of them simply regurgitate the press release from the restaurant: how the new menu is all about the celebration of spring and the increasing awareness on sustainability. Chiang is a master of publicity and he knows the media in Taiwan love and crave access to him. The media in Taiwan are essentially his mouthpieces. They don’t question or review his food. </div></div><div><br /></div>The eleven-course spring menu starts with a nice and delicate green strawberry tart. However, the season for strawberry in Taiwan is not in spring but winter. Why start the spring menu with an unripe strawberry? The accompanying ice has a nice and subtle flavor but is too much in terms of portion. After the third bite I am bored and don’t want to finish it.<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXqYo0UD6RBcmvxOBUoGPLnewv2H6EZDc5ANbdEgcpBr2fsApfQ7cCottDI2XcSLgvFlbVfXVuTVLDDYsSqVSB2rawXWUGm2rzQxsmF-_AUvIkoUxY0FrOuYGXvbVMXWh51rqmjisGBdF3/s1200/IMG_0874.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXqYo0UD6RBcmvxOBUoGPLnewv2H6EZDc5ANbdEgcpBr2fsApfQ7cCottDI2XcSLgvFlbVfXVuTVLDDYsSqVSB2rawXWUGm2rzQxsmF-_AUvIkoUxY0FrOuYGXvbVMXWh51rqmjisGBdF3/w781-h586/IMG_0874.JPEG" width="578" /></a></div><div><br /></div><div>The second dish is very interesting, a salmon collagen with wasabi presented in a cocktail dish with chopsticks. It’s a pretty dish. A cup of fish soup is served on the side. The texture and flavors are very good. </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5yxnMUBWSts6vHSQQWp6cYWqVPNPhcFlMSWTgYTevUv4ZmEPXrVjXfH3-NE13KjRaUplKtykZYkLEWRbAGGkzCpkfHHA1az-ky0kSeHHmPjclXMJWJKSFVZHY4eGIkok3PhWaLLiurScs/s1200/IMG_0876.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5yxnMUBWSts6vHSQQWp6cYWqVPNPhcFlMSWTgYTevUv4ZmEPXrVjXfH3-NE13KjRaUplKtykZYkLEWRbAGGkzCpkfHHA1az-ky0kSeHHmPjclXMJWJKSFVZHY4eGIkok3PhWaLLiurScs/w625-h469/IMG_0876.JPEG" width="578" /></a></div><div><br /></div><div>The third course is an escabeche which is served in a small rectangular tin with a bread on the side. I only wish the restaurant would provide a bit more bread. Why not be a bit more generous? Escabeche is a dish that originated from Persia and is now commonly found in the Mediterranean coast of Spain. It is basically a way to preserve fish or meat in vinegar. Eating this dish reminds me of my trip to Barcelona. This is another nice dish with great flavors. However, I don’t know why escabeche represents spring or Taiwan. It feels like a dish that Chiang just wants to make.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieUtnKioI553s11CLNrvRyUKIZpIFH7S_6LvtI-3jxMVb7Ih_zUaQ-yvQP-ixZXbAdVXZOn8gQNnhqVLIcEkQOJF1t3V-FYZCxyguGvwyuqR5nc3RsHtt-UNRcY2-_osiGd9uDHac84gYz/s1200/IMG_0878.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieUtnKioI553s11CLNrvRyUKIZpIFH7S_6LvtI-3jxMVb7Ih_zUaQ-yvQP-ixZXbAdVXZOn8gQNnhqVLIcEkQOJF1t3V-FYZCxyguGvwyuqR5nc3RsHtt-UNRcY2-_osiGd9uDHac84gYz/w625-h469/IMG_0878.JPEG" width="578" /></a></div><div><br /></div><div>After we finish the course, a loaf of bread is brought to the table. Since we order the most expensive menu, the bread is included. The bread seems to be the same as the one on my first visit and remains quite nice. I still don’t know whether the bread is made in-house or not. </div><div><br /></div><div>The fourth course is a salad with various spring leaves, seaweed, and mackerel served on the side. I enjoy the dish. The vegetables are fresh and delicious and the dressing is very flavorful. I am ambivalent about whether I need the mackerels or not. They are served on an ice pack inside a styrofoam-like bento box. The presentation is unappetizing. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtKy9IWQin16JVsaQQ3SZ7ZTuYZpuK6U4Vq2mDSxsNaoSDcJponM-MNRfGk_cYY2sLMkymLbJCaS7XPgnDEOSXBbv-tw1rVM3xOmtPar4E0DlXrijnEZOkj2zkoN4we-PdFpy0n19tp5ZU/s1200/IMG_0881.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtKy9IWQin16JVsaQQ3SZ7ZTuYZpuK6U4Vq2mDSxsNaoSDcJponM-MNRfGk_cYY2sLMkymLbJCaS7XPgnDEOSXBbv-tw1rVM3xOmtPar4E0DlXrijnEZOkj2zkoN4we-PdFpy0n19tp5ZU/w625-h469/IMG_0881.JPEG" width="578" /></a></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYZ-1j4BlY0n5xjMP2kiHXJEkSyUemmTDF3bZNICTFX4eBjzKIWYckJeaOLe1lFdnVa1lsFUan3DrINop4DCAH0AMWdRS197lGtIV4ldOSGIXzlKzA-keiAMmyRF-higqF8AbdWU_QuoES/s1200/IMG_0882.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="914" data-original-width="1200" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYZ-1j4BlY0n5xjMP2kiHXJEkSyUemmTDF3bZNICTFX4eBjzKIWYckJeaOLe1lFdnVa1lsFUan3DrINop4DCAH0AMWdRS197lGtIV4ldOSGIXzlKzA-keiAMmyRF-higqF8AbdWU_QuoES/w625-h476/IMG_0882.JPEG" width="578" /></a></div><div><br /></div><div>The next course is a cold pasta inspired by the Italian Spaghetti alle Vongole. Chiang makes the kitchen braid the pasta and the vegetable for a great visual effect. I don’t understand the use of almond cream which clashes with the marinated cockles. The dish looks better than it tastes and is designed to be on Instagram. The temperature of the dish is also not appealing.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8KUUucVOGjbHsHdYQptxRPgBYyNQIEdjPbTcaCcMZGG0PMVKxKJN1cEiHWHX-wmhj00JqIdLZG09gxwkIi9-eRWygIY2jEzfaOKJDrFJgUNtttcY32ui4VSG_QTuQKEWQiB50x4IMEMUa/s1200/IMG_0884.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8KUUucVOGjbHsHdYQptxRPgBYyNQIEdjPbTcaCcMZGG0PMVKxKJN1cEiHWHX-wmhj00JqIdLZG09gxwkIi9-eRWygIY2jEzfaOKJDrFJgUNtttcY32ui4VSG_QTuQKEWQiB50x4IMEMUa/w625-h469/IMG_0884.JPEG" width="578" /></a></div><div><br /></div><div><br /></div> As if one dish of vegetables is not enough to celebrate spring, the kitchen brings out another dish of vegetables; this time lukewarm instead of cold. The vegetables are topped with a truffle cream sauce, which I don’t understand at all. If the menu is an ode to spring, why use an ingredient from winter? Putting aside the idea of representing spring, where does one get good truffle at the end of April? Not from France, Italy, nor Australia. The scent of the truffle seems artificial. Would a world famous two-Michelin star chef choose to use truffle oil for a dish? <div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVoDmPhYduOJ_YW3Nuf23LkYxIhqCX00jNN9ix_j3GwZFS6NSaa_MD9IOntfNptP6Lqh6TJbGXBXuA__oLLd5Z0lUWsx85fBtL6bMCKyKcfwacycUf97ft-UfNgh8ELA3LZ49ISjyZEB8r/s1200/IMG_0885.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVoDmPhYduOJ_YW3Nuf23LkYxIhqCX00jNN9ix_j3GwZFS6NSaa_MD9IOntfNptP6Lqh6TJbGXBXuA__oLLd5Z0lUWsx85fBtL6bMCKyKcfwacycUf97ft-UfNgh8ELA3LZ49ISjyZEB8r/w625-h469/IMG_0885.JPEG" width="578" /></a></div><div><br /><div>After six courses, I am hoping to finally get a dish that is hot. But my wish does not come true. RAW is a restaurant of cold and lukewarm food. You will never hear the phrase, “be careful the plate is hot” from the server. The only food that is hot to the touch is the bread. But bread should not be served hot as it disguises the quality. Also anyone who makes crusty bread knows that the bread needs to cool down for the crust to develop. If a diner is eating hot bread in the restaurant it is because the kitchen has reheated the bread. </div><div><br /></div><div>The last two savory courses are both done with fresh pork. I wish the restaurant would not repeat an ingredient for a tasting menu. I suppose we can’t expect restaurants to be like the French Laundry where ingredients don’t repeat over the course of a meal. Moreover, while fresh pork is a meat the Chinese like to eat, it is not an ingredient associated with spring. Before the ubiquity of refrigerators, pigs were slaughtered in the winter and mostly cured to preserve for later. If RAW is suppose to be all about being in tune with the seasons, why not serve lamb or chicken that is more representative of spring?
</div></div><div><br /></div>The first pork dish is essentially a meatball. Every component is well executed and the plating is beautiful and photogenic as always. However, by the time the dish arrives on my table it is not hot enough. This is a disappointment as it reduces the enjoyment of the food significantly. <div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6lzpHGxk75IztEJtn-KzVCZpwrSqUf6-PpzfaWwkSHD4I7Hni2Xf1UxovMLxFQJ8eTou37_yRQGJeh7kWDkUy9dv946_Mqdj-Qq3xaK0xpFoMTHBQB63Qro2ZigheZXNXnuflLFjVXZoz/s1200/IMG_0887.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6lzpHGxk75IztEJtn-KzVCZpwrSqUf6-PpzfaWwkSHD4I7Hni2Xf1UxovMLxFQJ8eTou37_yRQGJeh7kWDkUy9dv946_Mqdj-Qq3xaK0xpFoMTHBQB63Qro2ZigheZXNXnuflLFjVXZoz/w625-h469/IMG_0887.JPEG" width="578" /></a></div><div><br /></div><div>The second pork dish is a play on the three layers of pork belly. Instead of an outside skin, a thick layer of fat, and lower portion of pink meat, there is only a layer of pork made from the pigtail. The other layers are made with Chinese yam and mozzarella. The “crackling” on the top is made with peanut which isn’t as nice as a real pork skin and just sticks to my teeth. The sauce is made with peanuts. And there is a dollop of mediocre caviar which seems to be there just to pad the price of the menu. On the side is a “salami” made with fig. It is as if Chiang is just messing with us on purpose. He knows full well that spring is a season for cured pork but he purposely makes it with an inverted flower. Again, the “salami” is more interesting in concept and appearance than taste. This last savory course is the only dish of the meal that I fail to finish. I don’t like it at all. The server says this is a way to eat less meat. But how about making the dish delicious so I will finish the food instead of wasting it. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgATBoODLJ9qHhTqU1dKg83DYtuEn5HDMII4MgcVOYYFc-MjIsZP3DsZhea-zD3s78u_28jgT9uM26roY1ZHyjfZ9DZlTFU9VLbD0taNoGU7LCy1qMgEcg3C8EBbLZH9c5jWhD9YxRqGZZf/s1200/IMG_0891.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgATBoODLJ9qHhTqU1dKg83DYtuEn5HDMII4MgcVOYYFc-MjIsZP3DsZhea-zD3s78u_28jgT9uM26roY1ZHyjfZ9DZlTFU9VLbD0taNoGU7LCy1qMgEcg3C8EBbLZH9c5jWhD9YxRqGZZf/w625-h469/IMG_0891.JPEG" width="578" /></a></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj7tofZe__U7_4x_KbeM1XXBJQz5ErrP6mSncP2vCUoxaetvM3dJgM3PpmMrtDpp4r7JFy4fNsA-5HmpylcZDf850jXYvI3iGEiEXTudejzd1uw2y-0BmP5iTuAtE3wdlAA7Kg2Pz_lNqO/s1200/IMG_0890.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj7tofZe__U7_4x_KbeM1XXBJQz5ErrP6mSncP2vCUoxaetvM3dJgM3PpmMrtDpp4r7JFy4fNsA-5HmpylcZDf850jXYvI3iGEiEXTudejzd1uw2y-0BmP5iTuAtE3wdlAA7Kg2Pz_lNqO/w625-h469/IMG_0890.JPEG" width="578" /></a></div><div><br /></div><div>After the disappointment with the last savory course, the two desserts that followed can’t come fast enough. The first one is a study on tofu. The server brings over a large house-made tofu to the table, but that’s just a show piece presented to all the tables in the room. The second dessert is Chiang’s take on the traditional red “turtle” cake. The cake is delicious. Both desserts are excellent and I enjoy them very much. The last time I was at RAW, the dessert was a disappointment. This time the desserts are the highlights of the meal. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyzwytQG8yNFxPq951D4NnlUMYwgcMJGE51btqLlEFyqzIpqQ0BQxU6vqtAJBIdLUM3FVm5QF7odgXDM3RQAJ1EqAXWld9zHzNH50smk9qngy0N6vFYaO_HnAfRPTp9pPtEHJooMRED1mN/s1200/IMG_0894.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyzwytQG8yNFxPq951D4NnlUMYwgcMJGE51btqLlEFyqzIpqQ0BQxU6vqtAJBIdLUM3FVm5QF7odgXDM3RQAJ1EqAXWld9zHzNH50smk9qngy0N6vFYaO_HnAfRPTp9pPtEHJooMRED1mN/w625-h469/IMG_0894.JPEG" width="578" /></a></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAtg9oAtDeTGEoruFv9k7eXjzTq3stpPjQy698yD7DIHhge368W9uKb_jhyt2V6n3STkBmPJIKFdMrOtAnhVk3enUCngo6heseBU0Mc6YatoNLsDkClen5XCi5gTF_cIsBezOMnQPeRvmZ/s1200/IMG_0895.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAtg9oAtDeTGEoruFv9k7eXjzTq3stpPjQy698yD7DIHhge368W9uKb_jhyt2V6n3STkBmPJIKFdMrOtAnhVk3enUCngo6heseBU0Mc6YatoNLsDkClen5XCi5gTF_cIsBezOMnQPeRvmZ/w625-h469/IMG_0895.JPEG" width="578" /></a></div><div class="separator" style="clear: both; text-align: left;">While the food at RAW has some high and low points, the service is substandard. RAW should be glad that the Michelin Guide doesn’t consider service as part of the criteria for awarding stars. When one dines at a Michelin two-star restaurant, one expects a certain level of professionalism. For instance, the services at the two-star restaurants Jean Georges or Daniel in New York City are impeccable. The front of house staff are not only experienced but very knowledgeable. In contrast, the servers at RAW feel like they either just graduated from culinary school or they are interns. They cannot even set the cutlery properly on the table. They are not trained and simply memorized a script to repeat to the diners. They also have zero awareness of the diner’s needs.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikV8UrlG1VlGXzLQdkMUkaG_ff32Y8NMnYJreCfqXxHbGFKC5zgukmtBlYwYUQP8YljnuJJxj2vwXQ1hfQIZ1g4Xdk5FB6Z3mZeYRPIkDQbA0XUPry6x9BYJg5nLJJg9yR3F6JXYdEw69l/s1200/IMG_0889.JPEG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikV8UrlG1VlGXzLQdkMUkaG_ff32Y8NMnYJreCfqXxHbGFKC5zgukmtBlYwYUQP8YljnuJJxj2vwXQ1hfQIZ1g4Xdk5FB6Z3mZeYRPIkDQbA0XUPry6x9BYJg5nLJJg9yR3F6JXYdEw69l/w625-h469/IMG_0889.JPEG" width="578" /></a></div><div><br /></div><div>The servers are lackadaisical. My friend’s napkin falls on the floor, the server takes it away but doesn’t replace it. My sparkling water is refilled with flat. The drinking glass for the beer is removed before the bottle is emptied. The server asks to remove the bread before the main course. What’s the hurry? Does the dishwasher need to go home early? What if I want to sop up the sauce when the main course is served? The runner brings the food on a tray, but there is no server to deliver them to the table. This happens more than once. At the second time I ask the the runner to not wait for a server and just bring the food to the table. I hate to see the food idling and dying due to bad service. </div><div><br /></div><div>When the warm vegetable dish is brought to the table, I ask the server where does the truffle come from given we are at the end of April? She says she doesn’t know but would get back to me. A while later, she comes to our table to serve another dish and I ask her again about the origin. She only says the restaurant uses truffle from France, Australia and China. So I ask again where do you get the truffle in spring? Again, she says she would ask the kitchen. Towards the end of the meal, I ask the server for the third time and she still doesn’t know. I suppose this question is not part of a memorized script or it is some secret. Eventually the Chef de Cuisine comes to our table and says the truffles are not fresh but preserved in oil from the winter. He doesn’t explain why an ingredient associated with winter is required to prepare a menu for the spring. I am also tempted to ask don’t you have pre-shift meetings? Why don’t you train your staff to know where the food you are serving come from?</div><div><br /></div>The menu of RAW changes with the seasons. Every time the change takes place it is like a cultural event in Taipei. If you hang around with hipsters, you probably will hear the phrase, “Have you tried this season’s menu at RAW?” Eating at RAW is similar to attending a fashion show to see the latest trends. The clothes on the fashion runways are often times styled more for effect and the media instead of wearability and beauty. The primary concern of the cooking at RAW is also for concepts and publicity instead of deliciousness. Unfortunately the spring 2020 menu at RAW does not express a coherent set of ideas. The dishes don’t form a good story nor celebrate the season. The diners at RAW are just paying money to participate in Chiang’s whimsical experiments. <div><br /></div><div>Chiang has become the face of the Taiwanese food scene. Promoted by everyone, including himself, Chiang is the golden boy and can do no wrong. But eating at RAW, I cannot help but wonder if this is just like “The Emperor’s New Clothes” by Hans Christian Andersen. The only difference is Chiang is not just the emperor but he is also the weaver. He is one of the smartest chefs in the world. He seems to be knowingly parading nonsensical food to the public. Every season the people await his new creations, snatch up the reservations, and applaud after the meals. </div><div><br /></div><div>This doesn’t mean RAW is a restaurant to be avoided. If I am a tourist coming from abroad, I would certainly want to eat at RAW to see what all the fuss is about. While I don’t like every dish, I do appreciate the creativity. Experimentation always comes with the possibility of failure. If one doesn’t fail then perhaps one is not daring enough. RAW remains an interesting place to have a thought-provoking meal. RAW is just not a place to have a delicious meal that makes you want to come back the next day to eat it again.</div>Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com0No. 301號, Lequn 3rd Road, Zhongshan District, Taipei City, Taiwan 1049125.0828167 121.5594278-3.2274171361788468 86.4031778 53.393050536178848 156.71567779999998tag:blogger.com,1999:blog-9203577587049612151.post-53989371892972847082020-04-20T18:07:00.000+08:002020-04-20T18:07:08.898+08:00logy or -logyMulti-course no-choice menu, touting of Taiwanese ingredients cooked with Western techniques, open kitchen with a Taiwanese or Japanese chef in his (always a he) thirties with Michelin-star restaurant pedigree, small wine list, and no discernible pastry chef, these are all part of the formula of a Michelin-star restaurant in Taipei. In recent years, not only does this formula work with the Michelin inspectors, but it is also embraced by the diners (especially the young) in Taipei. The restaurants Impromptu by Paul Lee, Mume, RAW, Ryugin, and Tairroir all employ some parts or all of the formula to become very successful.<br />
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Restaurant <i><a href="https://logy.tw/" target="_blank">logy</a></i> opened in the middle of November 2018 and received a Michelin star in April 2019. This has to be one of the shortest time between opening and garnering a star in the history of the Michelin Guide. The restaurant is small with only 13 seats at the counter. Since the start of the restaurant it has been very difficult to reserve a seat. How many times did the Michelin inspectors actually eat at the restaurant. Did the Michelin Guide simply award the star because <i>logy</i> closely followed the formula?<br />
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The chef of <i>logy</i>, Ryogo Tahara was a sous chef at the two-Michelin-star restaurant Florilège in Tokyo before coming to Taipei. Prior to Tokyo, he worked at a few Michelin-star restaurants in Italy. Restaurant <i>logy</i> is actually Tahara’s first time as the head chef but he certainly has high expectations. When Michelin made the announcement, Tahara told the local newspaper that he was happy, but would preferred to have a second star (“<a href="https://news.ltn.com.tw/news/life/breakingnews/2754869" target="_blank">開心,但是再來一顆會更好</a>”). Who doesn't like more stars? I suppose a chef should be confident (or arrogant) about his ability. I am not an expert on <i>psychology</i>. But even the Chef of the Century Joël Robuchon had to earn his stars at Restaurant Jamin one at a time.<br />
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Given the formulaic nature of <i>logy</i>, I wasn’t very eager to go the restaurant. The <i>analogy</i> is watching romantic comedy movies. Before one heads to the cinema, one already knows what's going to happen: they get together, they breakup, and they get back together. With a romantic comedy, the experience is a topic of conversation with friends but doesn’t have a profound impact. Nevertheless, just as some romantic comedies are better than others, <i>logy</i> is one of the better formulaic restaurants. By chance my friends had reservations at the restaurant but couldn’t go, so I ended up eating at <i>logy</i> twice but a year apart: one for dinner in March 2019 and the other for lunch in March 2020. Over the course of a year the formula of <i>logy</i> did not change. Only the price of the meal has increased.<br />
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Restaurant <i>logy</i> is located in a small alley of Daan district in Taipei, and occupies the ground floor of a nondescript seven-story apartment building. The facade of the restaurant is a light grey textured concrete wall with a floor-height vertical inscription of its name. The wall is devoid of any windows and has only one opening on the left side. Tucked inside the opening and not visible from the street is the front door, which adds to the sense of anticipation. Once inside the feel is the opposite of the exterior: the color is black, and the space is dark, small, and little severe.<br />
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The interior is based on the <i>typology</i> of the open kitchen with counter seating. Different from the typical setup, the seating area is raised on a platform allowing the diners to sit on regular chairs rather than bar seats. However, the trade-off is the platform reduces the clear ceiling height and the space feels more cramped. Sitting on a platform also means the diners look down at the cooks in the kitchen. Together with the dark walls and the lack of daylight, the effect is a bit theatrical. But unfortunately, out of the 13 seats, three around the corner of the L-shaped counter has only a partial view of the action due to a large black column. For my lunch I was assigned the seat at the corner of the counter and stared at the column for over two hours. The restaurant makes no <i>apology</i>. And unlike at an old theater, partial view at <i>logy</i> doesn't come with a discounted price.<br />
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The interior design of <i>logy</i> is from the <i>genealogy</i> of the two-Michelin-star restaurant <a href="https://www.aoyama-florilege.jp/en/" target="_blank">Florilège</a> in Tokyo. However, in Tokyo there isn’t any obstruction of the view of the kitchen. The dining room in Tokyo also has daylight coming through the drapes, making the space more comfortable. The restaurant in Taipei is a weak replica of the restaurant in Tokyo.<br />
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The counter at <i>logy</i> is made out of concrete and is a bit wider than it needs to be. This makes the space smaller. The walkway behind my chair feels narrow and uncomfortable especially when someone walks pass me to go to the bathroom. The width of the counter also made the server more distant and lessened the intimacy. The chairs at the counter are comfortable but problematic. When one is sitting at a counter, one’s dining companion is on the side rather than the front. Therefore, the chairs at the counter should allow the diners to easily turn to the sides. This can be done with a swivel chair or a chair without armrests. The chairs at <i>logy</i> are simply too heavy and constrictive, prohibiting the diners from turning to each other for a conversation. Perhaps this is done on purpose so the diners can focus on the kitchen and the food rather than on each other.<br />
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Another time I sat in the dining alcove. While the space is more ideal for a large party (four to six persons), it is detached from the open kitchen. The space is a little too narrow for comfort. Whenever a server walked behind me, I felt I had to pull my chair inward to avoid contact. Since the table is made of wood instead of concrete, a grey fuzzy round placemat is used to protect the surface. However, it looks like a big mouse pad and doesn’t look clean. There has to be a more elegant and natural placemat that can be used.<br />
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The interior design does not pay much attention to <i>otology</i>. All the surfaces of the restaurant are hard without acoustics treatment. For instance the ceiling is a floating plane with down lights that doesn’t absorb but reflect the sound. For my second meal, the dining party of three adjacent to me was so loud that I felt like I was eating at a night market.<br />
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Before any food is served, the server explained the <i>terminology</i> of the name. It is not necessary nor useful. The diner is then handed a card in English explaining the concept of the restaurant. In case the diner doesn’t know the meaning of the suffix-logy, three are listed on the card: 1. [from Greek] the science or study of, 2. [from Latin] spoken or written discourse, and 3. [in Japanese] an alley. I like reading and understanding theories, but I don't really need the card. Being told that "logy [sans hyphen] is the word we have chosen to express Asia’s profound dynamism. The cuisine combines elements of our core concepts – nature, climate, people, religion and food culture – but defies categorization" didn't add to my enjoyment of the food nor the experience with my dining companion. Similar to viewing art at a museum, I don’t need to read the labels on the wall before seeing the art. Let me just enjoy the work. And even the labels in the art museum describe the work rather than some concept that has no specificity. I rather just see a menu.<br />
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The card is a bit pretentious but not necessarily precise about the concept; more time should have been spent on <i>etymology</i>. In a couple of instances, the restaurant confuses the suffix <i>-logy</i> with the word <i>logy</i>. A suffix is a morpheme added at the end of a word to form a derivative and <i>-logy</i> denotes a subject of study. On the other hand, the definition of the word <i>logy</i> is: dull and heavy in motion or thought; sluggish. While the restaurant wants to position itself as a “point of cultural connection”, eating at <i>logy</i> is not a cultural event. At times the meal doesn’t denote a type of discourse but rather just feels <i>logy</i>.<br />
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There’s only one set menu (besides the vegetarian set) for all the diners. The meal starts with an one-bite amuse-bouche. For my first meal it is a ball-shape amuse that makes an <i>analogy</i> to Lu Ruo Fan (Taiwanese braised pork rice). I don’t really like the amuse nor is it hot enough. My second meal starts with a square piece of squid, with celtuce and fermented radish powder served on a spoon. This is more successful, and I prefer the non-associative nature of the dish.<br />
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Second course is a horse mackerel. The first time the fish is hidden under a cookie, which I wish is more crisp or not there at all. The second time the mackerel is hidden under edible flower. The slices of fish is layered with horizontally with thin slices of wax apple and served on whey. At both meals the mackerel is excellent with nice texture and flavors. I don’t understand the idea of always hiding the mackerel at the bottom, but the combinations of the ingredients are interesting.<br />
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In my first meal at <i>logy</i> the third course is an eel with banana. The dish is interesting in words but a little dull and heavy in taste. In my second meal eel doesn’t make an appearance and is replaced by a dish of abalone, which is well cooked, light, yet flavorful.<br />
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The signature dish of the chef seems to be the steamed egg or chawanmushi, which has remained on the menu since the opening. Served in a dark bowl, the dish is not just an <i>oology</i>, but a layered construction of steamed egg, crab meat, and celery ice cream. A hot broth is pour tableside. This dish is an <i>ology</i> in contrast: temperature, textures, and flavors. Instead of resolving the differences, the chef accentuates them. This is a very successful dish and delightful to eat. However, I don’t want to eat this same dish every time I go to <i>logy</i>.<br />
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In my second meal the restaurants serves a pigeon leg. The plating is similar to the mackerel with the protein hidden under chips. I am not sure why there is such an interest in <i>topology</i>. The construction is not really architectural either. Nevertheless, the pigeon is cooked very well and delicious.<br />
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The dishes build up to the pièce de résistance: a large format roast. For my first meal, the main course is a roast chicken that is first presented without the thighs and the legs, which just looks sad. I feel like someone ate the rest of my chicken. I think the chef kept my favorite part of the chicken, sot-l'y-laisse, for himself. I understand the thighs and breast have different cooking times, but the chicken is presented before the fish course is served. In other words, there is plenty of time for the kitchen to carve, cook, and rest the chicken. I don’t understand the <i>methodology</i>.<br />
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For my second meal the roast is a piece of pork. As with the chicken, the meat is presented to us early in the meal. The server says the pig is specially raised listening to the music by Mozart. I don’t know if the server realizes that Mozart died from eating undercooked pork. I don’t know anything about <i>ethology</i>. Does Mozart’s music really help make the pork taste better? Why not the music by Georg Friederich Händel? Or is the breeder trying to exact revenge for Mozart? Maybe the chef wants us to know that he can cook the pork to the right temperature; not too hard with modern <i>technology</i>. Indeed the pork is roasted nicely and served with cabbage. However, instead of Taiwan, I felt like I was in Alsace.<br />
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Based on two visits to <i>logy</i>, I find the main courses are nice but dull. The preparation is almost a bit too straightforward. They don’t have much of a wow factor that one expects, and feel a bit like a home-cooked Thanksgiving roast. Furthermore, since the protein is presented in a large format at the beginning of the meal, there’s a disconnect by the time the diner eats it. The grandeur of the large roast is absent from the small portion on the plate.<br />
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The desserts at <i>logy</i> are a bit of a disappointment. The restaurant doesn’t seem to have a dedicated pastry chef. Given the size of the restaurant, it probably doesn’t make economic sense to hire a pastry chef. However, desserts are three of the total ten courses. Dessert is an opportunity to bring some magic to end the meal. But at <i>logy</i>, the desserts feel a bit like an afterthought or just dishes to pad the menu. For instance one of the desserts is a soy milk pudding, with rose jelly, and a strawberry consommé. This is served in the same dark bowl as the steamed egg. The chef really likes the idea of soft custard topped with a sauce, and has to have both savory and sweet versions. This dessert is pleasant, but not too technical nor interesting. With just eight courses, does a diner really need two bowls of soft custard?<br />
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I wish the <i>chronology</i> of desserts isn't three consecutive cold dishes. Since every diner eats the same dessert, the restaurant can plan for large format desserts or something warm: soufflé, crêpe, tarte tatin. Why not make some desserts à la minute?<br />
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The last dessert (more like a mignardise than a course) of my two meals one year apart is the same: fresh aiyu jelly, coconut, and cocoa juice. It is a refreshing end to the meal, but doesn’t feel special enough. I certainly don’t expect a year after my first meal I would be eating the same thing again. Aiyu is a jelly made from the gel of the seeds of the awkeotsang creeping fig found in Taiwan. The server makes a big deal about the jelly and even shows the fruit on the side in case the the diners haven’t see it before. This is all part of the formula with the idea of the foreign chef discovering and promoting Taiwanese ingredients. Maybe a tourist would find the fruit more interesting. I don’t need the superficial <i>pomology</i> which felt less educational and more patronizing.<br />
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I am not sure what is the <i>ideology</i> of <i>logy</i> besides using Taiwanese ingredients to create French-Japanese food. The cooking is precise but some of the dishes are not as flavorful as I imagined. The savory dishes beside the large format roast are the best parts of the meal. They offer some interesting combination of flavors and textures. The chef seems to be more adept and have more ideas with preparing seafood than meats.<br />
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When <i>logy</i> first opened the dinner was priced NT$3,500 plus 10% service charge. In my most recent meal, the price has risen to NT$3,750 plus 10% service charge. While there are more expensive restaurants in Taipei, the pricing is not cheap, especially considering the so called ten-course menu is really eight courses with an amuse-bouche and a mignardise. The portion of each dish is small and without many expensive ingredients. In comparison, a meal at the Michelin-one-star Impromptu by Paul Lee, with a similar menu format, is NT$2,580 plus 10% service charge. Is the experience at <i>logy</i> worth fifty percent more than at <a href="http://www.impromptu.com.tw/" target="_blank">Impromptu</a>? Not for me.<br />
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Restaurant <i>logy</i> is a place with a young chef and a younger staff, cooking for a young crowd. The restaurant is also well suited for tourists seeking a western dining experience with local ingredients. Furthermore, the restaurant is ideally positioned for social media with dishes that are sometimes more photogenic than delicious. Given the limited seating and the local's love for Japanese chefs, a reservation at <i>logy</i> will probably continue to be hard to come by for the foreseeable future. I am not in the demographics for logy and don’t need to go back soon.
Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com01F, No. 6, Lane 109, Section 1, Anhe Road, Da’an District, Taipei City, Taiwan 10625.0356392 121.5532077-0.48639530000000164 80.2446137 50.557673699999995 162.8618017tag:blogger.com,1999:blog-9203577587049612151.post-4331919781246356972019-12-03T20:48:00.000+08:002019-12-03T20:52:48.629+08:00Turban de Langoustines en Spaghetti In 1997 NBC ran an advertisement campaign with the slogan: If you haven’t seen it, it’s new to you. The goal of the commercial was to get viewers to watch the reruns of the fall TV shows in the following summer. This was the pre-streaming era when shows were not on demand. The campaign wasn’t successful but the slogan always stayed with me.<br />
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Instead of television, the tagline might be more applicable to food and restaurants. Just like everything in life, food and restaurants are subject to fashion. Marketeers and journalists are constantly promoting new things, which encourages the general public to chase after the latest trends. From fusion to molecular gastronomy to new Nordic, every few years bring a new must-eat creation or a must-travel-to restaurant.<br />
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As we seek to taste the latest creations from the celebrity chefs of the moment, we forget there are more dishes from the past that we never had before. For instance, many people of my age or younger never had the classic dishes such as, Poularde en Vessie, Coulibiac, Canard à la Presse, Chartreuse…etc. Instead of foraging, pouring liquid nitrogen, or eating insects, why not seek out the greatest hits of the culinary world?<br />
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One of the classics that have fascinated me for the past year is Turban de Langoustines en Spaghetti by Joël Robuchon. My interest in the Turban began shortly after Robuchon's passing last summer. In an interview Robuchon gave last year, he referred to a proverb that said, “when an old man dies, a library burns down”. Robuchon said, “I have seen so many good chefs — some famous, some not — who have gone and, with them, a part of knowledge and tradition is lost and nobody can take it back.”<br />
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With his words in my mind, I flipped through the pages of <i>Grand Livre de Cuisine de Joël Robuchon</i> to see how many dishes of his that I have never tried before. The Turban caught my eye because it is not only a dish from Robuchon’s first three-star restaurant, Jamin, but also one of the ten recipes in the <i>Best of Robuchon</i> book. The dish is also included in <i>Simply French</i>, the book on Robuchon by Patricia Wells. Besides the importance of the dish in Robuchon's repertoire, I am also attracted by the architectural shape of the dish, a torus sliced horizontally in half. Or perhaps I am just intrigued by the peculiar nature of the dish: a French chef using an Italian pasta for his signature creation. I tried to find the history of the dish, but I didn’t have much success. Ever since last summer I wondered whether one day I would be able to try the Turban.<br />
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Last October when Philippe Braun, one of Robuchon’s longest collaborators came to Taipei to visit, I asked him why doesn’t L’Atelier make the Turban or some of the other classics from the days of Jamin. Braun said the Turban is not for L’Atelier, where the dishes are meant to be a bit more casual and simple. The classic dishes such as the Turban are for the gastronomy restaurants such as the one in Macau, Tokyo, or Las Vegas; they take a lot more work to prepare. However when I looked online at the menus of the three gastronomy restaurants, I didn’t see the Turban either. The Chef de Cuisine of Taipei at the time, Olivier Jean, told me later that the Turban is not on any of the menus at Robuchon restaurants but only made during special dinners.<br />
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I didn’t know when the next special dinner would take place in Taipei, thus I thought I would try to make the Turban at home. After all I have the recipe in my collection of cookbooks. In the <i>Best of Robuchon</i>, there are even photos of each step of the preparation. My thinking was since I make architectural models at work, I ought to be able to assemble a half torus at home. By chance I have a few individual savarin molds at home. I bought them on sale a long time ago at JB Prince in New York. They are bigger than the ones Robuchon called for. But I figured the techniques are the same. Instead of a tasting menu portion I would just make a main course.<br />
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The first step of the recipe is to brush the insides of the savarin molds with soft butter and then place them in the fridge to firm up. In the meantime boil a pot of water to par cook the spaghetti for about six minutes. Afterwards rinse the pasta under cold water, drain, and set aside; cover the pasta with plastic wrap to prevent them from drying out. Then line the inside of the mold with a single strand of spaghetti starting at the bottom. The process of lining the mold is not easy with my large hands. I couldn’t quite lasso the spaghetti into the mold so I had to use my two hands to slowly layer and pack the spaghetti in. While it is harder than I imagined, it is definitely doable. Once the mold is completely lined with spaghetti, they go back into the fridge to be chilled.<br />
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As the molds are being chilled, I made the mousse. Instead of langoustine which is hard to source, I used shrimp. Simply brush the shrimp with soft butter and blend them with cream in a food processor. Once a mousse-like texture is achieved, brush the the mousse onto the chilled spaghetti in the mold. Then put the deveined and shelled shrimps in the mold. Cover the molds with a buttered aluminum foil and return the molds to the refrigerator again.<br />
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The recipe is tedious, but many of the steps can be done separately and beforehand. When it is time to serve the dish, simply take the molds out of the fridge and place them in a steamer and steam for around three minutes. Then quickly remove the aluminum foil and unmold onto a plate.
When the turban of spaghetti is unmolded it is quite a sight. I cannot help but marvel at the dish. I don’t know what inspired Robuchon to line a savarin mould with spaghetti strands. It’s just an incredible creation. I asked my two daughters to try the dish and they loved it. Will they remember the dish when they grow older, I don’t know. Unlike me who has met Robuchon, they are are even further removed from the dish. I hope they will learn to love the classics.<br />
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Last March the team of chefs from the Robuchon group, headed by Robuchon’s righthand man Eric Bouchenoire, came to Taipei for their annual visit. They prepared a special dinner honoring Robuchon’s legacy. One of the dishes Bouchenoire chose to make was the Turban of Spaghetti. I finally had a chance to eat the dish. He said good langoustine wasn’t available so the filling was made with scallop instead. Nevertheless the dish was everything that I expected and more. There’s a delicacy to the flavors behind the architectural construction of the dish. The sauce for the dish was delicious, full of umami, or as the Chinese would say, xian-wei. The slices of truffle elevated the dish to another level. It was perfect.<br />
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After the dinner, I showed Bouchenoire the picture of my attempt at making the Turban. He looked closely and said it was good but I used too much butter. I didn’t think there was ever the possibility of too much butter in French food. I did use a lot of butter because I was afraid the spaghetti wouldn’t unmold properly. Bouchenoire said too much butter may make the spaghetti less stable. I know the reality is even with enough practice I probably cannot make the Turban as well as the restaurant. And I can make two or four nice turbans at a time, it is hard for me to imagine making 50 of them perfectly under time pressure like at the restaurant.<br />
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Looking at and eating the Turban I could feel Robuchon’s presence. While he may be gone, he has passed on his knowledge to his numerous collaborators. However, it is not enough to just retain the knowledge. For Robuchon’s DNA to truly live on, the diners need to demand to eat the classic dishes at the restaurants. We need to realize that we always stand in a timeline where the past is farther away from us than the future. The future may be unclear, however, vast parts of the past are just as fuzzy. While it is interesting to be part of the experimentation of the present, a classic is actually an experiment in the past that worked and lasted. If you never had it, it's new to you.Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com1tag:blogger.com,1999:blog-9203577587049612151.post-87000762464769717772019-08-11T15:22:00.001+08:002019-08-11T15:22:18.939+08:00Dot Dot Dot“Can I propose something for the vitrines at the counter?”, I asked Chef Olivier Jean of L’Atelier de Joël Robuchon Taipei a couple of months ago. He accepted my offer but was probably a bit puzzled by my interest. While similar to the vitrines at a sushi bar, the ones at L’Atelier are not for displaying the day’s ingredients, but extending the decoration surrounding the open kitchen. Conceived and installed by the front-of-house staff, the contents of the vitrines change to reflect the seasons or the holidays. Whenever I dine at the counter of L’Atelier I see the vitrines and ask myself what would I do.<br />
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Since I’m an architect I want to do a more architectural installation. The theme of my proposal is dot dot dot. Using dots as a point of departure comes from the dishes at L’Atelier. Dots of sauces are frequently used as the finishing touches on a dish. The most famous example is the lobster gelée with caviar and cauliflower. At the top of the dish there is a ring of perfectly spaced tiny green dots. When the restaurant critic of the New York Times reviewed L’Atelier in the City, he wrote, “Not one dot of sauce, and there are many, is out of place.“<br />
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Besides the culinary nature of the dots, the theme makes a reference to ellipsis, a literary device to indicate an unfinished thought. Chef Robuchon passed away unexpectedly last summer, leaving many unfinished ideas on the future of food and restaurants. As such this installation is also conceived as a tribute to him.<br />
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There are six vitrines spread out along the length of the counter at L’Atelier. Each vitrine contains a variation on the theme of dot dot dot: cave, cityscape, constellation, park, ruin, and wave. All of them are based on circular geometry and abstraction. Architecture, nature, and ideas are reimagined as dot dot dot.<br />
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“Puis-je proposer quelque chose pour les vitrines au comptoir?”, Ai-je demandé au chef Olivier Jean de L’Atelier de Joël Robuchon Taipei il ya deux mois. Il a accepté mon offre mais était probablement un peu perplexe par mon intérêt. Semblables aux vitrines des bars à sushis, celles de L’Atelier ne servent pas à afficher les ingrédients de la journée, mais à prolonger la décoration entourant la cuisine ouverte. Conçu et installé par le personnel d'accueil, le contenu des vitrines change pour refléter les saisons ou les fêtes. Chaque fois que je dîne au comptoir de L’Atelier, je vois les vitrines et je me demande ce que je ferais.<br />
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Depuis que je suis un architecte, je veux faire une installation plus architecturale. Le thème de ma proposition est point point point. L’utilisation des points comme point de départ provient des plats de L’Atelier. Des points de sauce sont fréquemment utilisés pour la finition d'un plat. L'exemple le plus célèbre est la gelée de caviar à la crème de chou-fleur. Au surface du plat, il y a un anneau de minuscules points verts parfaitement espacés. Lorsque le critique de restaurant du New York Times a examiné L’Atelier dans sa ville, il a écrit: “Pas un point de sauce, et il y en a beaucoup, n’est à sa place.”<br />
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En dehors de la nature culinaire des points, le thème fait référence à des points de suspension, un dispositif littéraire indiquant une pensée inachevée. Chef Robuchon est décédé subitement l'été dernier, laissant de nombreuses idées inachevées sur l'avenir de l'alimentation et des restaurants. En tant que telle, cette installation est également conçue comme un hommage à lui.<br />
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Six vitrines sont réparties le long du comptoir de L’Atelier. Chaque vitrine contient une variation sur le thème de point point point: grotte, paysage urbain, constellation, parc, ruine et vague. Tous sont basés sur la géométrie circulaire et l'abstraction. L'architecture, la nature et les idées sont réinventés en tant que point point point.
Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com0tag:blogger.com,1999:blog-9203577587049612151.post-47730064746788033052019-04-28T20:24:00.003+08:002019-04-29T08:33:31.090+08:00Impromptu by Paul LeeAs I sit down at the counter of Impromptu by Paul Lee, a server places a small white card with a light grey mat underneath in front of me. On the card is a definition of the word impromptu: done without being planned or rehearsed. I don’t know what compels the restaurant to remind the guests about the meaning of the word. I find the emphasis on the idea of impromptu a bit strange. Impromptu is actually a misnomer because everything done at the restaurant is planned. After the server removes the white card, the grey mat is meant for the diners to put their mobile phones; nothing should be out of place. The restaurant is about control.<br />
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The person controlling everything is chef Paul Lee. Tall and handsome, he wouldn’t be out of place on the movie set of <i>Crazy Rich Asians</i>. Standing in the open kitchen he is dressed not in the standard white chef’s jacket but in a dress shirt, similar to the three-Michelin-star chef Alain Passard. Except Passard is usually in a white apron while Lee is in a blue apron that is for the commis in a French kitchen. Perhaps Lee is signaling that he is still learning.<br />
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While he may be humble, Lee is a very experienced chef. Born in Taiwan and studied at California’s Blue Ribbon Culinary School, Lee trained at Joël Robuchon's restaurants in Las Vegas with Tomonori Danzaki and in New York City with Xavier Boyer. He also worked at Martin Berasatagui’s Michelin-three-star restaurant in Spain. Prior to returning to Taipei, Lee was the executive chef at the fine dining restaurant Patina in downtown Los Angeles. Working with Joachim Splichal he changed the menu at Patina to an all tasting menu format. At age 37, Lee is one of the few chefs working in Taiwan with extensive experience in fine dining restaurants.<br />
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<a href="http://www.impromptu.com.tw/" target="_blank">Impromptu</a> only has one tasting menu. Every diner eats what Lee wants to cook. For anyone imagining Impromptu as a place where one can have a conversation with the chef, and he would create a special or new dish on the spot, one would be wrong. This is not like Pierre Gagnaire where he may improvise in the middle of dinner service. After all Lee trained at Robuchon and Robuchon didn’t believe in running specials. Robuchon believed that frequent menu changes meant one is trading perfection for variety. The menu at Impromptu doesn't change everyday and not even every month. Even when the menu changes after a month or two, it is not wholesale.<br />
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As Impromptu doesn't offer an à la carte option, it is not a restaurant that one can visit frequently, unless one wants to eat the same dishes over and over. Since the restaurant opened in late summer of 2018, I have been there twice. The visits were six months apart with different menus but in a similar format. I enjoyed both of my dinners.<br />
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The restaurant is located at the southeast corner of the shopping mall in the basement of Regent Hotel. From the corridor of the mall, a sliding door of translucent tinted glass opens into the restaurant. On the right is a small bar that doesn’t seem to be used much by the guests. On the left are tables with banquettes. In the middle of the space and in full view of the diners is the kitchen and counter seating.<br />
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The restaurant is small. There are 14 seats at the counter and about the same number of seats at the tables. There is also a private room in the back that can seat up to ten people. The ceiling is a bit lower than one would like but this is not the fault of the restaurant; the ceiling of the entire shopping mall is too low. One design flaw of the restaurant is the choice of the chairs for the counter. The seat is not wide and is made more restrictive by the armrests. Armrests for the chairs at the table are fine because the diners are usually talking across the table. The situation at the counter is different as one’s dining companion is on the side. The armrests make turning to the side to talk quite restrictive and uncomfortable. It would be nicer to have seats without armrests like at L'Atelier de Joël Robuchon. The alternative would be to have swivel chairs.<br />
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The size and setup of the restaurant seem like a Japanese kappo restaurant, but the overall feel is not. The color palette of the restaurant is quite neutral with off-white, taupe, and light and dark wood. While wood is used for the surfaces, the appearance is not natural but more synthetic. The ceiling is mostly exposed except for the area above the counter. The design reminds me a bit of the restaurant designs by the late David Collins, albeit with a lesser budget. The table setting is simple, with no charger plate nor placemat. There’s just a napkin folded in a square, a water glass, and a wine glass. Small vases with flowers dot the counter. The overall feel of the restaurant is quite pleasant.<br />
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Depending on the season, the tasting menu starts with one or more cold dishes. For my first dinner in the summer, there are three cold dishes in a row. The first course is hamachi, watermelon, aguachile. The second is scallop, sakura shrimp, whey, and cucumber. The third is ayu fish, guava, and Sichuan peppercorns. The touch of Sichuan peppercorns is very interesting and done with great precision - just the right amount of numbness in the flavor profile. If one of the criteria for being a good chef is coming up with his or her own combinations of ingredients, then Lee certainly hits the marks.<br />
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Lee calls his food new American cuisine and this sounds like a good term. He is trained in the French tradition but his food is multi-cultural. He uses many Asian ingredients such as shaoxing wine, fermented black bean, Chinese sausages, Sichuan peppercorn. He also takes ideas from all sorts of cuisines. In a single tasting menu, there is Chinese noodle, Italian truffle pizza, yakitori, Vietnamese sandwich, French blood sausage, and South American chimichurri sauce. Throughout the dinner the ingredients don't repeat and all the different ideas and tastes go very well together. I really appreciate and like Lee's global outlook, which is more interesting than the narrow focus on Taiwanese flavors of some restaurants in Taipei.<br />
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After the cold dishes, bread is served as one of the course. The bread is way too hot as I can barely hold the bread comfortably with my bare hands. Anyone who made bread knows bread should not be eaten straight out of the oven. One needs the bread to cool down a bit for the crust to develop. I assume the bread at Impromptu is baked earlier in the day and reheated during service. While having a hot bread seems satisfying it doesn’t allow one to get the full taste of the bread. In my first dinner, the bread and butter are served as a stand-alone course, and as such they are not special enough. I don't understand why this type of bread or why just one bread. In my second dinner the same bread and butter are served with the soup, which makes more sense. Nevertheless, the role of the bread in the set menu is a bit unclear. It seems the restaurant feels a meal should include bread, but without a baker, the bread program seems a bit half-hearted.<br />
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One savory course in the set menu provides the diner with a choice. To choose an alternate entails a supplement. At both of my meals I go with the supplemental charge but I wish I hadn't. For my first dinner, instead of Taiwanese pork, I added NT$550 (a quarter of the price of the entire menu) to have a thin slice of Japanese wagyu beef of unknown grade. It turns out to be the worst dish of both dinners. My dining companion orders the pork and is much better. In the second dinner I forego the truffle pizza and instead spend an extra NT$380 for lobster noodle with burnt scallion. While the lobster noodle is better than the wagyu sukiyaki, the noodle isn't that interesting.<br />
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The sequence of dishes build up to the main course, a large format protein dish that is shared by multiple diners. The first time I am there, the main course is roast goose. A cook presents the goose in the beginning of our dinner, prior to serving the amuse bouche. The large bird looks impressive, beautiful, and delicious looking.<br />
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However, by the time the goose is served, each guest only receives a very small portion - about the size of my two fingers. If the idea is to leave the diner wanting more, it certainly succeeded. The contrast of before and after is simply too jarring. Despite the size, the goose is very nice.<br />
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In my second dinner, the pièce de résistance is roast pork loin. Again the large pork loin is first presented whole to the guests.<br />
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The individual serving of the pork loin is bigger than the goose, but still a bit on the small side to my liking. The loin is nicely roasted and the boudin noir, eggplant, and kale on the side are all very nice. I just wish there is more of it.<br />
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A reinterpretation of bahn mi is served on the side. Instead of baguette the sandwich is with fried steamed bun. This is very delicious but again the portion is tiny - more like a finger food served at a cocktail party.<br />
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The set menu has two desserts. One of them is a fruit. For my first dinner I have the fig with aiyu and shiso, which recalls David Chang's comment about figs on a plate. The second time the fruit is strawberry with Sichuan peppercorn and lemon marigold. The fruit desserts provide some interesting flavor combination, but they are not technical.<br />
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At both of my dinners, six months apart, the main dessert is a white chocolate bread pudding with frozen foie gras. The dish reminds me a bit of the frozen foie gras at Momofuku Ko in New York City. At Impromptu, the foie is chilled quickly with liquid nitrogen in front of the diners. This must be a signature dessert of Lee since it stays on the menu. I enjoy the dessert, but I don't need to eat it twice in six months. Dessert at Impromptu is good but not elaborate and without much wow factor. I suppose the restaurant doesn't have a dedicated pastry chef.<br />
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After a petit four and a milk tea, Lee personally hands a menu to every guest and asks about their meal. Once service is over, Lee is more relaxed and happy to talk about his ideas. The menu comes in an envelope but is not printed à la minute. In one of my meals there is a glitch. Lee is not able to procure the sweetbread and serves a squid instead. However, the menu still says sweetbread. I wish Lee would really embrace the idea of impromptu to change and print the menu daily.<br />
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There’s a small wine list, totaling less than 30 bottles. The majority of the wines are between NT$2,000 and NT$4,000. The mark-ups of the wines are reasonable. For instance, a bottle of Billecart Salmon brut rose is on the list for NT$3,800. The same bottle is priced at NT$9,200 at Mandarin Oriental Taipei. The corkage fee is $750, less than other comparable restaurants. Wine or cocktail pairings are also available. The beverage program is friendly but, compared to the food, it is not as interesting.
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The price of the menu is NT$2,200. This number seems to be carefully considered. While it may not be deemed as cheap, it doesn’t feel expensive for the number of courses offered. However, besides the aforementioned small portions, the ingredients are not expensive. With just one menu, Lee can offer a better price and be sure the quality is consistent for a small number of people. The restaurant is not big, but it is not small like a restaurant in Tokyo where the chef and an assistant can do everything. Perhaps at this point the restaurant simply doesn't have the staff and capacity to change the menu everyday.<br />
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Operating a western restaurant in Taipei is difficult. The business and personnel aspects of the restaurant will always be challenging, yet I cannot help but think the cooking part is a bit too easy for Lee. Impromptu just has dinner service and many of the dishes are not highly technical. Lee has the experience and talent to operate a grand restaurant. Maybe Taipei may never have the market for real luxury. But wouldn't it be nice if Lee can open a restaurant where I can have the lièvre à la royale, my friend can have the turbot, and we can order another dish to share? After being opened for less than a year, Lee has already gained one Michelin star. I want to know what's next?<br />
<br />Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com0b1, No. 3號, Lane 39, Section 2, Zhongshan North Road, Zhongshan District, Taipei City, Taiwan 1049125.0541778 121.52424399999995-0.46785669999999868 80.215652999999946 50.5762123 162.83283499999996tag:blogger.com,1999:blog-9203577587049612151.post-14501750476864622372019-02-23T09:13:00.002+08:002019-02-23T09:13:42.590+08:0010-Year AnniversaryTen years is a long time. I find it hard to believe that I have been blogging for that long. While my output has decreased every year, I haven’t stopped.<br />
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I started blogging for three reasons. First, to let friends and family in New York City know what we were doing in Taipei; the inaugural blog post was about buying a television for my new home in Taipei. Second, to have a place to deposit ideas on design and architecture; I thought eventually I could develop some of them into articles to be published in a magazine. Third, to have an alternative to sharing the news on Facebook; I wanted more control over the graphic and format of the presentation of the information.<br />
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In the first few years, the blog contained various observations of Taipei, such as <a href="https://michaelfei.blogspot.com/2010/02/paper-and-plastic.html" target="_blank">Paper and Plastic</a> and <a href="https://michaelfei.blogspot.com/2009/08/information-overload.html" target="_blank">Information Overload</a>. Occasionally these observations were on food and restaurants, for instance the first of several blog posts on <a href="https://michaelfei.blogspot.com/2010/01/latelier-de-joel-robuchon-taipei.html" target="_blank">L’Atelier de Joël Robuchon Taipei</a>. There were articles on design such as the furniture by <a href="https://michaelfei.blogspot.com/2009/05/03-and.html" target="_blank">Maarten van Severen</a> and shirt by <a href="https://michaelfei.blogspot.com/2009/06/comme-at-21.html" target="_blank">Comme des Garçons</a>. There were also articles on my own architectural work including one of my favorites, <a href="https://michaelfei.blogspot.com/2010/10/repeat.html" target="_blank">Repeat</a>. There was a mixture of subjects in the blog. I was once asked what was the theme of my blog? I answered that it was about me.<br />
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As the years passed, the subjects of the blog gradually shifted toward food and restaurants and focused less on design and architecture. This is mostly due to two factors. First, articles on design and architecture are hard to write, partly because it is my profession; I cannot pretend to be a dilettante. I feel that any articles that I write need to be good enough to be published in a trade magazine or an academic journal. Second, articles on design and architecture simply don’t receive as much interest from the general public. Google provides some rudimentary data on the number of hits each blog post get, and it is clear that the articles on food far exceed any other subjects.<br />
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In my earlier blogs on restaurants I didn’t post any photographs. I was against taking photographs during my meals in the restaurants. My reluctance was partly technical as I wasn’t able to take good photographs with my early iPhones; I certainly didn’t want to carry a large camera to a restaurant. I figured if people really want to see the images of the dishes I described, they could always find them on the Internet anyway.<br />
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Eventually I changed my mind. Many friends wanted to see pictures of the food. The camera on the iPhone improved significantly and took better photographs in low-light conditions. I also found that people in the restaurant industry took just as many photographs at restaurants as anyone else. I used to think the chef would be bothered if I take pictures of the food. A few years back some restaurants, such as Momofuku Ko in New York City, even banned the guests from taking photos of the food. Now if I don’t take a picture of the food, I wonder if the chef might be unhappy or thinks there’s something wrong.<br />
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While occasionally I still write about design, architecture, and <a href="https://michaelfei.blogspot.com/2016/12/black-tie-only.html" target="_blank">fashion</a>, for better or worse, the blog has become essentially a food blog. As a food blogger I have decided on some directions. In world of Instagram, Twitter, and Facebook, where images and blurb dominate, I have opted for the long form. Behind every restaurant is a lot of hard work and a significant financial investment. Restaurants and their staff deserve a more nuanced and balanced judgment instead of a snap impression. As much as possible I try to visit a restaurant more than once before writing about it. Judging a restaurant based on a single visit is a bit unfair. Anyone can have a bad day at work. Furthermore, consistency is one of the most important quality at a restaurant, which requires more than one visit to determine.<br />
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I try to write criticism instead of just complaint. I try to find the sources of my dissatisfaction or pleasure. I try to be objective and put aside personal taste. I try to be factually correct about ingredients and prices. I try to put the food in context. I try to understand what the chef is looking to accomplish and to judge the results on his or her terms. I try to imbue each article with a theme, a thesis, or a main idea, so it is not just a documentation of a meal. I may not always succeed in all these attempts, but these are my aspirations.<br />
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I am never certain who really reads my blog since there is limited feedback; a critic can actually use some criticisms. In this fast digital age, I suspect few people will take the 15 minutes or so to read my articles. I am grateful to the people who enjoy reading my blog. I am not sure how much longer I will keep writing. Will there be another ten years of blogging? I don’t know. But as long as there are a few dedicated readers out there, I will continue.Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com4tag:blogger.com,1999:blog-9203577587049612151.post-49451583976097928832019-01-13T21:26:00.000+08:002019-08-21T10:24:20.523+08:00Bencotto with Iacopo Frassi: The Mind and the Heart of Italian Cooking and Eating"Because the French cook with their brains, it's intellectual. Look at the Italians, it's from the heart, isn't it? It's more emotional, and that's the difference between the two cuisines," <a href="https://www.laweekly.com/restaurants/q-and-a-with-marco-pierre-white-escoffier-television-packaged-soup-the-french-foreign-legion-2376681" target="_blank">remarked</a> the great British chef Marco Pierre White. The observation is an oversimplification of the two cuisines, but there certainly are differences; just consider the French cuisine's tendency to recreate natural forms versus Italian's indifference towards imitating nature. However, since France and Italy share a border, most of the cuisines in the two countries fall between the two extremes. In making the claim, perhaps White was merely reflecting on himself as having the best of both worlds. He was born by an Italian mother but professionally trained by the French; even his names Marco and Pierre are a combination of the two languages. White's claim triggers a question in my mind, is the best kind of chef a combination of opposite approaches? In other words, is good cooking ultimately about finding a balance between the mind and the heart?<br />
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The question kept surfacing on my mind when I ate the food prepared by chef Iacopo Frassi at Bencotto, the Italian restaurant at Mandarin Oriental Taipei. Frassi took over Bencotto as the Chef de Cuisine in the late summer of 2018. The main concept of Frassi's cuisine is declared on <a href="https://www.mandarinoriental.com/taipei/songshan/fine-dining/restaurants/italian-cuisine/bencotto" target="_blank">Bencotto's website</a>: "contemporary interpretation of timeless Italian culinary heritage". This statement seems to be a mind bender since the idea of timelessness is antithetical to modern re-interpretation. Nevertheless, Frassi is keen to creating new Italian cuisine by reworking the classics. This is a significant shift from the previous iterations of Bencotto, which touted itself as a place for "Home-cooked Italian Cuisine". There is a re-balance of the mind and the heart.<br />
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The previous chef of Bencotto, Loris Pistillo, has moved back to Seoul after less than two years in Taipei. Pistillo's cooking was simple and graceful. While Pistillo wasn't a traditionalist, he wasn't overtly trying to re-conceptualize Italian cuisine. The cooking felt from the heart. To emphasize the heart of Italian cooking, twice during his tenure, Pistillo even invited his mother Angela to make pasta at Bencotto. The pastas were delicious and everything one imagines Italian cuisine to be; truly the Italian nonna-style. As one ate the pasta, one didn't think about the need to re-invent Italian cuisine.<br />
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New ideas may be good and interesting, but they are not necessarily better or more delicious. Given that traditions in Italian cuisine are so strong, attempts to create new Italian dishes are extremely challenging. In contrast to Pistillo, Frassi is more of a risk taker and as such, the rewards might be bigger but so are the pitfalls. Notwithstanding, Frassi's food is more intriguing and poses more questions than answers for the minds of the diners.<br />
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Frassi is a young chef, not even 30 years old. He hails from Tuscany, Italy. Prior to coming to Taipei, he spent almost two years as the chef de cuisine at the Italian restaurant in the Four Seasons Hotel in Tianjin, China. The short stay in Asia hasn't impacted his cooking significantly yet. His cooking mainly reflects his training in Europe. It probably won't come as a surprise that Frassi not only trained with Italian chefs in Italy, but with a French chef. In his formative years, he was a chef de partie at Alain Ducasse's three-Michelin-star restaurant in London. The connection with France goes beyond Frassi himself. Frassi's masters in Italy also trained with French Michelin-star chefs: Antonio Guida with Pierre Gagnaire and Giuseppe Mancino with Alain Ducasse. While it is hard to quantify how much the French way of cooking and thinking have influenced Frassi, his cooking is different from a chef trained solely in the Italian traditions.<br />
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Since Frassi took over Bencotto, I have dined at the restaurant five times on various occasions: lunch with business associates, dinners with family and friends, dinner with a large group, with and without Frassi in the kitchen. I didn't like everything I ate. In fact my first time at the restaurant under his helm, I came away a little disappointed. I wondered to myself, did I order the wrong dishes? But in subsequent visits, I have increasingly come to like the food more. Perhaps I am starting to understand what the chef is trying to do.<br />
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Frassi proposed his first menu in October of 2018. Several dishes on the previous menu, more representative of traditional and simple Italian food, are no longer present; the salumi platter, mozzarella salad, pizza, panna cotta, have all disappeared. The new menu is more concise, and organized in the familiar four-course Italian cuisine of starter, pasta, main course and dessert. While many dishes on the menu sound familiar, such as Polpo e Patate, Astice alla Catalana, Diavola, Rossini, and Carbonara, they are not what they seem to be. Each of these classic dishes have been re-imagined.<br />
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Instead of the traditional Pollo alla Diavola seasoned with cayenne pepper, Frassi replaces the chicken with the more luxurious saddle of lamb. The meat is topped with a spicy pesto and a rustic Ndjua sauce. The Astice alla Catalana is enhanced by a corn sauce poured table side in addition to the lobster sauce in the middle. The combination of corn and lobster reminds me of the flavors in American cuisine. The presentation is quite elegant and is certainly not your average lobster tartare. These dishes show that Frassi has a tendency towards complexity by layering condiments with sauce or having two sauces in one dish. While I enjoyed these two dishes, some of Frassi's other twists of traditional dishes didn't work as well.<br />
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A dish that was more interesting in concept than in taste was the Ravioli alla Carbonara. The idea seems to be derived from the combination of two Italian classics: Spaghetti Carbonara and Tortellini en Brodo. Instead of coating the pasta on the outside with carbonara sauce, the egg mixture is encased inside. Instead of chicken stock, the soup is infused with pancetta. While there are only a few ingredients, the dish felt a bit much, mainly because of the combination of two types of sauces of different viscosities. The ravioli with a sauce inside is almost a bit like a soup dumpling. I don't think another soup is necessary on the outside.<br />
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For a ravioli dish I prefer Frassi's two-tone ravioli with shrimp and lemon. This dish is more complex than the Ravioli alla Carbonara, yet the taste has more clarity and is very nice.<br />
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Another dish that I understand in concept but not in taste is Baccala alla Rossini. As the name suggests the dish is inspired by the French classic Tournedos Rossini: filet mignon topped with seared foie gras and served with truffle and Madeira sauce. Instead of beef, Frassi reimagines the dish with black cod. Besides the classic ingredients, he adds the local spice Sebastan Plum Cordia (破布子), which the Taiwanese uses with steamed fish. Instead of crouton, the local vegetable under the dish provides a little crunch. The flavors are not balanced enough and taste is too sweet. Perhaps my palette is biased, but I don't like seafood with sweet sauce. While in the classic Rossini the filet is tender, the black cod is more tender, making the overall texture of the dish too soft. The use of local ingredients are nice, but they didn't really work for me. The dish seems too disconnected from Italy. My impression is Frassi thought too much about the concept of the dish and made it too complicated. Creativity and deliciousness don't aways go hand in hand.<br />
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I prefer the other fish dish on the menu, Dal Giappone alla Toscana, red garoupa with eggplant miso chutney, pickled vegetables, and Cacciucco sauce. While miso is not a traditional ingredient in Tuscany, the use of eggplant, pickled vegetable, and the Italian fish stew sauce certainly evokes Italy.<br />
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There are two risotto on the menu One is a reference to the ingredients of pizza while the other is with seafood. While both risotto are well executed, I prefer the one with seafood. The Risotto alla Pizzaiola looks fun and is a more interesting idea in terms of presentation. But at the same time, the effect is more forced and actually feels less Italian. Perhaps one of the reasons I like the seafood risotto better is the use of more luxurious ingredients of oyster, sea urchin and red shrimp; the dish is much more expensive. I also like the fact that the rice is served table side, and covered the seafood in a more natural and casual manner. It is as if the chef is saying the ingredients are good enough that he isn't worrying about the presentation.<br />
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One of Frassi's signature dishes on the menu is the Piccione Toscano. Just based on the appearance, one can tell this pigeon main course requires a lot of skills in the kitchen. While this is a multi-component dish that is complex, I like it. The pigeon is cooked very well and is very tasty. The only problem is with the small bites, the food doesn't stay hot enough.<br />
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Sometimes when Frassi doesn't overthink the dishes, the results are wonderful as in the main course Manzetta Tartufata, Australian Wagyu beef striploin with morel mushrooms, black truffle, and licorice mayonnaise. The beef is cooked well and the flavors are great.<br />
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Another spectacular dish at Bencotto is the pumpkin gnocchi with chestnut, cheese, and white truffle. The flavors of the seasonal ingredients go well together. And there is a simplicity and heartiness to the dish that make it deeply satisfying.<br />
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One problem I encountered over the many meals at Bencotto was the inconsistency in the the seasoning for the savory courses. A beef dish I had was a bit salty while the Osso Buco that accompanied the risotto was a bit under-seasoned. I suspect the reason is the chef hasn't been able to calibrate to the palette of the local diners. While I have a high tolerance for salt, most local diners do not. Many feedback from the local diners in the earlier months of the chef's tenure probably were about saltiness of the food. This issue happens to many foreign chefs when they first arrive in Taiwan, but will likely be resolved as time passes.<br />
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Desserts at Bencotto are more delicate now than before. I enjoyed a dish named Bianco Mangiare, or Eat White. The name doesn't reference another dish in Italian cuisine. As such I can simply enjoy the yogurt mousse, pine nuts, banana gelato, and crispy yuzu as the taste themselves. The white crisps are broken in pieces of different sizes and geometry that don't feel fussy, yet produce a sense of mystery that is nice.<br />
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In contrast, the dessert called Il Tiramisu is less interesting, and consists of a Mascarpone sphere with a quenelle of Italian espresso gelato, and pieces of sponge cake (perhaps made with the Albert Adrià microwave technique). The Tiramisu at Bencotto is technically more sophisticated than a classic Tiramisu, but not as satisfying to eat. The great thing about the classic Tiramisu is the sum is better than the parts. Together the mascarpone, sugar, egg, ladyfingers and cocoa powder create a bite of flavor that is magical. By separating the Tiramisu into distinctive parts, the presentation is elegant, but the taste is not better than the messy classic version. Once the components are separated, the Tiramsu loses its raison d'être. Bencotto’s version begs the question, at what point is the reference to the classic dish no longer valid or necessary?<br />
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In the four years that Bencotto has been in operation, many mid-range Italian restaurants have opened in Taipei: La Mole, Il Mercato, La Locanda, Botega del Vin, Cantina del Gio, Di Vino...etc. While the food and decor of these restaurants are not as posh as Bencotto, they are also not as expensive. In terms of value to the diners, the gap between them and Bencotto is not that far apart. This is perhaps one of the reasons that the management of Mandarin Oriental Taipei has decided to re-orient Bencotto as a fine dining restaurant. Another reason might be the arrival of the Michelin Guide in the spring of 2018. The hotel wants another star restaurant to bolster its standing as the best in Taipei. Bencotto already has the infrastructure for a fine dining restaurant: a fancy interior, a dedicated sommelier, and an experienced front of house team. The management of the hotel has also eliminated the buffet lunches on the weekend; I can finally go to Bencotto for lunch on the weekend again. The repositioning of Bencotto has already paid dividend as the restaurant was awarded one fork by Gambero Rosso in November of 2018.<br />
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A meal at Bencotto now starts with a trio of appetizing amuse-busches. This is followed by an excellent house-made bread served with a choice of three olive oils and two types of balsamic vinegars. Furthermore, when the bread and bread sticks are placed on the table, the server spritzes from a bottle made by Antonella Bondi to simulate the smell of freshly baked bread. The food fragrance is fun but a bit forced and gimmicky.<br />
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As with a Michelin-star restaurant, the meal ends with a trio of mignardises, which are all very good.<br />
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Elevating the food also means elevating the prices. The main courses at Bencotto used to average around NT$1,000. Now they are around NT$1,600 and with a pigeon dish exceeding NT$2,000 (around US$67). While not as expensive as the three-Michelin-star Italian restaurant in Hong Kong or at Frassi's mentor's restaurant in <a href="https://www.mandarinoriental.com/milan/la-scala/fine-dining" target="_blank">Milan</a>, some of the prices at Bencotto are not too far off from other Michelin-starred Italian restaurants. For instance, a main course of striped bass or halibut at the two-Michelin-star Marea in New York City costs around US$58 (including tax and tip) or NT$1,800. The main course of garoupa at Bencotto is NT$1,738 (including service charge). A four-course meal à la carte at Bencotto now can easily run over NT$4,300 inclusive of the 10% service charge (around US$140): with a appetizer at NT$980, pasta at NT$880, main course at NT$1580, and dessert at NT$480.<br />
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Instead of ordering a la carte, the better way in terms of cost may be to go with the set menu at lunch time. The three-course lunch of appetizer, main course, and dessert is NT$1,488. All the dishes in the à la carte menu can be selected and are just served at smaller portions. There are no supplemental charges. So for anyone looking for the best value, just order a foie gras terrine to start, followed by the pigeon as the main course, and chocolate cake as the dessert.<br />
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The service at Bencotto has improved from the last time I wrote about the restaurant. Part of the reason has to be members who have been there since the opening have gained more experience and grown with the job. The sommelier Alex Tsai has also been at Bencotto since the opening. He has always been very professional and seems more relaxed now. I enjoy talking to him about wines.<br />
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The wine list at Bencotto has expanded and even received an award from Wine Spectator magazine. However, the wines at Bencotto are still too expensive. For instance, some of the bottles at Bencotto are more expensive than the three-Michelin-star restaurant Per Se in New York City. Consider a bottle of Barolo Carobric 2001 by Paolo Scavino. At Bencotto the price is NT$12,500 (including service charge), and at Per Se the same bottle is around NT$11,000 (including service charge and tax). The Barolo Brunate 2009 by Vietti is NT$16,500 at Bencotto and NT$15,800 at Per Se. Per Se has one of the highest mark-ups for wines in New York City, and it is unthinkable for Bencotto to be more expensive.<br />
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The prices at Bencotto are crazier if one compares them to restaurants less fancy than Per Se. For example, a bottle of the non-vintage Billecart-Salmon Brut Rose is NT$10,120 at Bencotto and around NT$7,600 at the two-Michelin-star Italian restaurant Marea in New York City. A bottle of Barolo 2013 from Pio Cesare is NT$9,350 at Bencotto, but NT$4,950 at a fine dining French restaurant in Taipei.
The Pio Cesare Barolo 2013 can be purchased at icheers.tw, an online wine store in Taiwan for NT$2,635 (15% off the retail list price). Assuming Mandarin Oriental can buy the same bottle at wholesale price, the markup at Bencotto for the bottle is around 400%. Why do the prices at Bencotto have to be so high? I understand the need to mark-up wines at a restaurant, but at least do it at a reasonable rate that I can swallow.<br />
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The corkage fee at Bencotto is NT$1,000 per bottle. The corkage fee at Per Se is around NT$4,600 (US$150). If Bencotto’s prices for wines are more expensive than Per Se, why not charge the same for corkage? The restaurant is basically encouraging the local diners to bring their own wines. I am not a tuhao (土豪) nor do I like bringing wines to a restaurant with a sommelier. Therefore, I usually just order a wine by the glass with my meal at Bencotto. It's unfortunate the pricing at Bencotto discourages the diners to order and enjoy the wines by the bottles.<br />
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While the cuisine and service at Bencotto have evolved, the physical environment has changed very little since I wrote about the restaurant four years ago. The uncomfortable chairs at the tables surrounding the center piece in the backroom are still there. The awkwardly located sitting area remains unoccupied by guests. At least the flat screen TV showing Italian football is thankfully no longer present (hidden behind the cabinet doors). The wine tasting room near the back entrance is now set up as a semi-private dining room. Previously this room with a beautiful wall of wines behind glass was just be a space to be admired rather than used. While the interior of Bencotto is nice, there is room for adjustment. After four years in operation, it is clear that some of the intended purposes and functions in the original design didn't pan out. And since the service at Bencotto is changing with the food, for instance more carts are wheeled around the dining room, it is time to rethink the interior layout. This may require more time, after all physical environment is more difficult to change than the menu.<br />
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Bencotto is in a period of transition. The restaurant is changing for the better and moving in the right direction, but it is not there yet. Frassi is a young chef but someone with passion and technical prowess. He is still developing his style. The desire to go beyond the classics and to create new dishes is necessary. After all, what is a classic but an invention that worked? The road to making new classics are paved with failed experiments. Re-inventing Italian cuisine is especially difficult because many iconic Italian dishes are so delicious and entrenched in people's minds, that often times the new dishes feel too foreign or pale by comparison.<br />
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Italian cuisine always seems to project a sense of tradition and an authenticity that does not change. However, this is not entirely true. Many things in Italian cuisine that we deem as sacred are not historical but modern inventions. For instance, Spaghetti Carbonara is not a dish from the 19th century but rather an invention from the 1950's. The Tiramisu was first created in the 1960's. The Ciabatta bread that we often see in Italian restaurants all over the world was created in the 1980's. None of these things are in Pellegrino Artusi's iconic book on Italian cuisine, <i>Science in the Kitchen and the Art of Eating Well</i>, published in the late 19th century.<br />
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Whether old or new, Italian cuisine is about finding the balance between creativity and simplicity. The mind and the heart are not always compatible. Frassi's cooking right now seems more conceptual than visceral. Many of the dishes are too complicated with too many components. The techniques and capabilities of the cooks are impressive, but they don't necessarily increase the level of deliciousness. Some of the dishes make references to the classics, but I don't know if the connections are necessary. By framing the dishes via the classics, the diners' reactions are bounded; diners are asked to intellectualize the dish (connect the dots) rather than react from the heart. However, eating is not always a rational act but also an emotional one. At Bencotto, I find myself wanting to just enjoy the food without thinking about them too much. The restaurant doesn't quite allow me to do that yet, but it is a very interesting place to dine. I am curious to see how Bencotto will evolve.Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com0No. 158, DunHua N Rd, Songshan District, Taipei City, Taiwan 1054825.055801 121.54834900000003-0.4662335000000013 80.239758000000023 50.5778355 162.85694000000004tag:blogger.com,1999:blog-9203577587049612151.post-24571529011621211262018-09-08T21:40:00.005+08:002018-09-09T17:12:00.117+08:00Is Rosewood the Best Hotel in Beijing?Naming a hotel as the best is always a risky proposition. After all, I haven't been to every comparable hotel in Beijing. But using the phrase, "one of the best", is too non-committal. Recently, I stayed at the <a href="https://www.rosewoodhotels.com/en/beijing" target="_blank">Rosewood Hotel</a> in Beijing for a few nights, and I greatly enjoyed the experience. The location in the central business district is very convenient. The design of the hotel has an understated elegance that nicely combines Chinese and Western elements. The service is on point and not overbearing. While the hotel is not perfect, I believe it is the best in the capital of China.<br />
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The 282-room Rosewood Hotel occupies the first 23 floors of of a 52-story all-glass modernist tower, Jing Guang Centre. The tower was designed in the mid-1980's by the Tokyo-based <a href="https://www.nihonsekkei.co.jp/" target="_blank">Nihon Sekkei</a> and was the first skyscraper in Beijing. The tower is owned by the Hong Kong-based development group New World. In 2011 New World Group purchased the America-based <a href="https://www.rosewoodhotels.com/en/default" target="_blank">Rosewood Hotels and Resorts</a>. The hotel in Beijing is Rosewood Group's first property in Mainland China and opened in late 2014.<br />
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The hotel was designed by the Melbourne-based <a href="http://www.barstudio.com/" target="_blank">BAR Studio</a>. I am very impressed by all the components of the hotel, especially since the project is a renovation of an old building that surely came with many limitations. I actually visited this building more than ten years ago, well before Rosewood took over. I still remember the old design with the awkward stone base. Therefore, I am just amazed by the transformation. The design feels luxurious and doesn't scream for attention. In other words, the occupants still take the center stage. The various materials are well chosen and mixed harmoniously. The spaces and circulations are well proportioned and logical. There are a lot of attentions paid to the various details. As an architect I know this level of quality relies not only on the skills of the architect, but more importantly the strong support and care of the owner.<br />
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Rosewood Hotel is located at the northwest corner of the intersection of East Third Ring Road and Chaoyangmen Outer Street. Diagonally across from the hotel is the CCTV Headquarters designed by OMA. The vehicular entry to the hotel is on the Third Ring Road. A quick bend in the driveway leads to a forecourt that puts away the hustle and bustle of the City. The space is defined by the plantings on the perimeter and a shallow reflecting pool in the center with Chinese decorative motifs. While the overall feel is modern, the manipulation of the space reminds me of the strategies employed in traditional Chinese garden design. A blue <a href="https://www.tesla.com/modelx" target="_blank">Tesla Model X</a> is usually parked in the forecourt. The attention-grabbing electric car is an amenity for the hotel guests who have lounge access and provide rides within a three-kilometer radius.<br />
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The lobby of the hotel is a sunlit triple height space. Inside, the console table with flowers and books on top, the four-seat leather sofa with pillows, and the area rug, make the space feels more like the living room of a large apartment rather than the lobby of a fancy hotel.<br />
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On the right side of the lobby, behind the columns and the screen are the counters for check-in, porter, and concierge. On the left side of the lobby is Bistro B Lounge Bar, where an afternoon tea is served everyday. The space is nicely designed and very pleasant. The large glass facade allows abundant sunlight to filter in. Sitting inside, one also has a view of the entry garden and the Beijing skyline in the background. The counter in the back has a beautiful display of ice creams, macarons, and other pastries.<br />
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Behind the three-story mural of the lobby are the six elevators to access the guest rooms. On the typical floor of the fan-shape plan of the tower, there are 18 guest rooms of varying sizes ranging from 45 to 75 square meters. I stayed at the 15th floor in the corner Manor Suite. The room measures 65 square meters in plan and feels very large. There are exposures on two sides. The long expanse of glass facade on the curved south side provides a great view of the CCTV tower and the <a href="https://en.wikipedia.org/wiki/China_Zun" target="_blank">China Zun</a> designed by KPF. During evening rush hours, the car lights of the traffic jam on the Third Ring Road actually make for a beautiful tableaux.<br />
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The suite is a bit like a small loft with four areas for living, working, sleeping, and bathing. The room is elegant, comfortable, and warm. The overall color palette is beige, taupe, dark wood, and white. A large walk-in closet adjacent to the bathroom is to the right of the foyer. The living area is on the left side. The space can seat four people comfortably with two single-seat sofas and a double-seat sofa. The 50-inch TV on the credenza with soundbar is large enough for watching sports. The minibar is tucked into an alcove with Nespresso coffee machine and bottles of Voss water. The middle of the room is a round wood table with leather swivel chairs; a very comfortable place for in-room dining or work. Placed on the table when I walked in was a delicious pastry and a welcoming note from the manager of the hotel.<br />
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The bedroom can be separated from the living area with a large wooden sliding door. Next to the window is a built-in tufted leather lounge chair that is a great place to enjoy the view, read a book, or watch TV. A brown headboard frames a large and very comfortable bed with Frette sheets. The controls above the bedside tables are easy to use to control the lighting and the drapes. This was expected. But I was truly surprised when I saw the hotel placed monogrammed pillow cases on our bed. I've never experienced this level of personalization at a hotel.<br />
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The bathroom is very large and can be entered from both the foyer and the bedroom. The middle of the bathroom is a white marble counter with a large mirror that partly doubles as a TV screen. On the right side of the vanity is a separate room for the electronic toilet. On the opposite side is a large bathtub and a glassed enclosed walk-in shower with Lorenzo Villoresi toiletries in large hexagon-shape bottles. My only complaint is that for a large suite, the bathroom should have two sinks instead of just one.<br />
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Artworks and decorative objects are carefully selected and placed in the room. There are paintings on three of the walls in my suite. The shelves have Chinese acupuncture model, calligraphy brushes, and Chinese vases. Just outside the door to the room is another vase on a high pedestal. The mostly Chinese decorative objects provides a nice balance to the western-style furniture and light fixtures.<br />
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All the public spaces of the hotel are decorated with artworks. The installation is done in a tasteful manner in just the right amount. There is a nice mix of Chinese and Western art. I was happy to see artwork even in the fitness room.<br />
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The spa and the swimming pool are on the 6th floor of the hotel. I never go to a spa and didn't have time for a yoga class, so I cannot vouch for the service. However, the swimming pool is wonderful. The heated pool is 22 meters long. On the opposite side of the entrance, there are five cabana-like spaces. On the side of the pool is the jacuzzi. While the pool is indoor, the spaces feel like the outdoor since the roof is almost entirely in glass. The space is serene and detached from the rest of the city. The vertical green walls and the tropical-like planting make for a lush ambiance.<br />
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Staying at the Manor Suite comes with access to the Manor Club, Rosewood name for its executive lounge. The Club is on the 7th floor of the building and is open 24 hours a day. At over 800 square meters, it is one of the largest lounges I have ever encountered at a hotel. The Club is divided spatially into different parts. At the front are conference rooms for business meetings and a space with low sofas suited for casual meetings. The middle area is more for eating and drinking with an open kitchen, serving tables, and dining tables at different sizes and heights. At the back is a few cigar room-like spaces with leather couches, fireplaces and a red billiard table. One can easily imagine having a nightcap there or in my case, watching the World Cup matches.<br />
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The Club serves a breakfast buffet from 6:30 am. While the selection is not as large as the restaurant downstairs, it was more than sufficient for me. In addition to the buffet, I had an omelet cooked to order. I really enjoyed the relaxed atmosphere in the morning with daylight filtered through the window shades. A few good Viennoiseries, good coffee, and a paper New York Times in hand, I am a happy man. The service at the Club is very attentive and they are very good at remembering the guests. In my few days at the Club, the servers remember my preferences for juice and coffee in the morning.<br />
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Throughout the day, the Club serves a light meal. Everyday from 5:30pm to 8:00pm is cocktail hours. The ambiance of the room changes and even the servers' uniforms switch from beige to black. Three types of sparkling wines are available by the glass. There are a variety of canapes and a different cake everyday. The desserts at the Manor Club are always excellent.<br />
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The Manor Club is really an extension of the guest room. The large size of the Club ensures that atmosphere never feels crowded. The variety of furniture setup and spaces allows for different functional requirements at different times of the day to be met. While a stay at Rosewood Beijing would be very nice without access to the Club, it really enhances the experience, especially if one doesn't plan to venture outside of the hotel for the whole day.<br />
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Besides dining and camping out at the Manor Club, there are 4 restaurants in the hotel, Bistrot B for French Bistro cuisine, Red Bowl for Chinese hot pot, the House of Dynasties for Cantonese cuisine, and Country Kitchen for northern Chinese food.<br />
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In my short stay, I only tried Country Kitchen. Since I was in Beijing I wanted Northern Chinese food. My dinner was on a Saturday night and the restaurant was completely full. Just like the other spaces of the hotel, the restaurant is nicely designed with a mixture materials, granite, wood of different shades, metal screens, and terracotta. The lighting is a little on the dark side for a Chinese restaurant, but comfortable and intimate. Before getting to the tables, all the guests walk through the main corridor with open kitchens on either sides.<br />
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The wood tables are mostly in round shape with a lazy susan in the middle; this feel like a dining table at a large country home. However, the table setting with the custom design logo napkin, the copper-plated water jug, and the two-tone soup spoon, shows a lot of care has gone into the various details of the restaurant.<br />
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The food was pretty good. Many of the staples of Northern Chinese cuisine, such as dumplings and noodles were excellent. The only downside was the prices were on the high side. A bowl of the very good Zha Jiang Mian was RMB 75. For a traveler from New York City, the price is probably a bargain. But a similarly good bowl of Zha Jiang Mian at Da Dong can be had for just RMB18.<br />
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The stir-fried vegetables were simple, vibrant in color, and fresh. The grilled skewers of lamb were well-seasoned and perfectly cooked. The scallion pancakes were also very good. The only disappointing dish was actually the Peking Duck, a signature dish of the restaurant. The duck was carved table side with a task light. Some of the skins were served first and they were wonderful. But the rest of the duck was a bit dry and not as flavorful as I would like. The Duck at Country Kitchen is not significantly more expensive that the other restaurants in Beijing, but I prefer the Peking Duck at Da Dong. The service at the restaurant was pleasant, more so than most restaurants in the City, such as Da Dong, but there is still room for improvement.<br />
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The Chinese restaurant Country Kitchen is the only part of my stay at the Rosewood that I feel can be better. Overall, the guest room is really excellent and one would be hard pressed to find faults. I just have two minor criticisms. First, since I still prefer to read newspapers in physical form, I wish the hotel would deliver newspapers to my door in the morning. Second, while the "Do Not Disturb" sign is electric and turned on via a button, the "Please Make Up Room" is not. I still need to put a tag outside the door when I step outside. I would think an electronic system will improve the efficiency of the room-cleaning staff.<br />
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The hotel industry in Beijing is not only competitive but constantly growing and changing just like the city itself. I am sure every few years will bring newly-designed and fancier hotels. However, the design and the physical environment of Rosewood are excellent and will withstand the fashion and the trends. As the city of Beijing grows more sophisticated, I suspect the service and operation will actually get better. For the moment and the foreseeable future, Rosewood is the best hotel in the Beijing.<br />
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<br />Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com3China, Beijing, Fengtai, Chaoyangmen Outer St, 1号京广中心 邮政编码: 10002039.9203352 116.4607054000000514.398300699999997 75.152114400000045 65.4423697 157.76929640000006tag:blogger.com,1999:blog-9203577587049612151.post-61796583237951453482018-08-08T20:55:00.000+08:002018-08-17T12:18:41.850+08:00Rencontrer Monsieur RobuchonPour une personne intéressée par la nourriture, une rencontre avec Joël Robuchon était semblable à une rencontre entre le pape et un catholique. En 2013, j'ai eu la chance d'avoir une ”audience privée du pape”. Je ne me souviens pas de ce que j'ai dit à M. Robuchon dans mon français rudimentaire qui l'a fait sourire. Mais je me souviens encore qu'il m'a dit de manger le homard avant qu'il n'etait froid. Sa priorité a toujours été la qualité de la nourriture et le bonheur des clients.<br />
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Pendent que M. Robuchon soit extrêmement strict et exigeant avec son équipe, il était toujours très amical avec les clients. Depuis 2010, j'ai eu le privilège de le rencontrer lors de ses visites annuelles à l'Atelier de Taipei. Je chérirai ces rencontres pour toujours. Le monde a perdu le meilleur chef et une personne spéciale. Il me manquera.<br />
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Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com0tag:blogger.com,1999:blog-9203577587049612151.post-77368502306243611822018-06-05T23:38:00.000+08:002019-08-23T14:17:47.776+08:00Le Palais: The So Called Michelin Three-Star Restaurant<div class="separator" style="clear: both; text-align: center;">
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On a rainy night I arrive at the top floor of <a href="http://www.palaisdechinehotel.com/en/index.php" target="_blank">Palais de Chine Hotel</a> with an umbrella in tow to eat at <a href="http://www.palaisdechinehotel.com/en/restaurant-info.php?id=6" target="_blank">Le Palais</a>. The hostess for the restaurant stands in front of the long desk to greet me. Before leading me to the foyer, she asks if I want to stick my umbrella in the vessel with the red mat next to the entrance. I follow her request, but surely there’s a more elegant way to store umbrellas. As I walk into the main dining room, she cautions me about running into the vase blocking the center of the door. Perhaps the architect is trying to be Post-Modern by making the center as a solid rather than the classical void. Or maybe the vase is just a good prop for pictures. The placement of the vase makes the path too narrow and uncomfortable.<br />
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The hotel and restaurant may have Palais in their names, but it is really a misnomer as there isn't any grandeur. In France, the finest hotels are given the status of Palais. In Taipei, the Palais de Chine is a mid-range hotel inside a mediocre commercial development. Although the hotel is near Taipei Train Station, it is literally and figuratively on the other side of the tracks. Just getting to the hotel entrance on the ground floor from the subway station requires a convoluted path of traversing through the underground of Taipei Station, passing through the entire length of the shopping mall, exiting to the outside, and then stepping back inside.<br />
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Upon entering the hotel, I’m not greeted by a staff but by a horse statue in a small dark space. The dark lighting continues into the elevator lobby and to the restaurant. Perhaps the light level is meant to evoke the ambiance of a palace in Europe during the candle-lit era. But the effect is more eerie than elegant. There is little contrast in the lighting since all the spaces are dark. The overall feeling is of an owner trying to save on the electric bill. Or perhaps the hotel thinks everyday should be Earth Day.<br />
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Putting up with unpleasantness is part of the experience of dining at Le Palais. I wouldn't be at Le Palais if Michelin didn't anoint the restaurant as the only three-star in Taipei. When Michelin announced the rating this March, I was beyond surprised. When I was interviewed by <a href="https://topics.amcham.com.tw/2015/01/reserving-a-seat-at-the-worlds-fine-dining-table/" target="_blank">Topics Magazine</a> in late 2014, I said if Michelin comes to Taipei, they wouldn't find a three-star restaurant. I wonder to myself: have things changed that much in less than four years? Based on the chatters on the Internet, I am not alone in thinking Taipei would be like Bangkok and be without a three-star restaurant. Instead, Taipei is similar to Hong Kong, Singapore, and Shanghai, with one three-star restaurant for the inaugural edition. Moreover, the restaurant that <a href="https://guide.michelin.com/tw/en/taipei" target="_blank">Michelin</a> selected as the best in Taipei is one that I have never been to.<br />
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Prior to Michelin's arrival, I have heard good things about Le Palais from friends. But even they don't think the restaurant is worthy of three stars. I have to find out for myself. In a span of less than two months I go to Le Palais twice for dinner: first with a small group sitting in the main dining room, and another with a large group in a private room.<br />
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The interior of Le Palais is laid out like a traditional corporate office, with private rooms around the perimeter monopolizing the view to the exterior. While the public dining room inside has no views, the interior designer smartly devised a window behind each table, which provides an illusion of an exterior street. The ceiling of the restaurant is low. If the chef is any taller, his high toque will probably hit the beam. In the main dining room, the ceiling has a mirror finish which at least provides some sense of depth. While the private room has windows with views to the outside, the feeling is borderline oppressive due to the heavy-looking metal light fixture. The side chair in the private room is one of the most uncomfortable chairs I've ever sat on. The back has a vertical hole like the end of an massage table. But instead of a massage, the hole cuts into my backbone when I lean back. The settee in the main dining room is not comfortable either. The only comfortable chair seems to be the armchair with cane back in the main room.<br />
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The tables in the main dining room are all rectangular and set in alcoves. The restaurant doesn't use any tablecloth, instead sets the table with individual plastic placemats with a greenish tint. The Chinese painting and calligraphy on the placemat are matched by the tablewares. The overall impression is less of luxury but kitschy and of products purchased from a local museum store. The napkin is folded in an double star that looks outmoded rather than quaint. Instead of a decent sized hot hand towel common in high end restaurants in Asia, a tiny disposable towelette is hydrated with warm water in a small glass. This is just one step above the individual plastic wrap towelette handed out at all the cheap restaurants in Taipei. A single toothpick is also offered and is carefully aligned to the bottom edge of the placemat. One certainly doesn't use the toothpick to eat and it remains unnecessary until at least after a few bites of food. Over the course of the meal a diner may need more than one toothpick, why be so stingy? Why not offer the toothpicks in a box as other high-end restaurants do? At Le Palais the toothpick is an eye sore and accentuated the overall cheapness of the entire table setting.
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The service at Le Palais is wanting, certainly below the expectations I have of a Michelin three-star restaurant. While I don't expect the service to be perfect, Le Palais is so far off from perfect that it is almost laughable. At one of my meals, I ask for some tea while waiting for others to arrive but the tea never showed up. Then at our table for ten persons, the server pours nine glasses of wine, leaving my glass empty. We order a dish with Marble Goby fish and noodles, which comes in a large pot with table side service. After portioning out six large bowls, the server runs out of noodle and serves the other four guests with smaller bowls without noodle. Shortly after, when the wok-fried beef with Chinese kale is placed on the lazy susan, the server does not give us any individual plates to eat with. At the end of my other meal, the hostess accompanies us to the elevator. After we step inside the elevator she asks with a little panic, does one of us have an umbrella? I smile and show her the umbrella in my hand. I take the umbrella out of the vase and rip off the tag myself. The hostess completely forgets about the umbrella until the elevator doors are about to close.
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Anyone who has dined at three-Michelin-star restaurants in Europe or in the U.S. will be shocked at the standard of service at Le Palais. Fortunately, for Le Palais the stars of Michelin don't account for interior decor, table setting, and service; they are rated with fork-spoon. Michelin awarded Le Palais with just two black fork-spoon (out of a maximum of five), which is the lowest amongst all the Chinese three-star restaurants in the world. <br />
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Michelin has stated repeatedly that the stars are only awarded for the food on the plate. Besides the often repeated phrase of "worth a special journey," Michelin also defines three stars as "cooking elevated to an art form." Even with these definitions, what constitutes three-star food is still very vague. Michelin is very smart to maintain their cryptic ways allowing them to forego any accountability. Ultimately, Michelin is just a travel guide and the consumers can choose to agree or disagree with their judgment. If I live abroad, I wouldn't make a special journey to Taipei just to eat at Le Palais.<br />
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Dinner at Le Palais doesn't start with an amuse-bouche, but rather with a shot glass of vinegar with unknown origin. The vinegar looks like the same one that my neighborhood tonkatsu joint serves at the end of a grease laden meal. I don't enjoy drinking vinegar and leave mine untouched. Le Palais doesn't provide any mignardise to end the meal either. Most cheap Chinese restaurants in Taipei provide a complimentary fruit plate after the savory courses are finished. Even schlocky Chinese restaurants in the U.S. give a fortune cookie to their guests. Amuse bouche, mignardise, and bread (in a western restaurant), signal a sense of hospitality from the restaurant. While they are not itemized on the bill, the diner is paying for them indirectly similar to electricity and rent. When every bite of food is charged, the meal feels like a transaction. Why doesn’t the three-star restaurant want to project an illusion of generosity?<br />
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Unlike restaurants in Hong Kong, Le Palais serves dim sum at dinner. We order the shrimp dumplings and abalone shumai. Both are excellent. However, the server refuses to provide any condiment. In fancy Cantonese restaurants guests will be offered some soy sauce, vinegar and house made XO sauce. There's nothing at Le Palais, why be so miserly? At Le Palais vinegar is only for drinking rather than eaten with food. The server says we should enjoy the "original taste" or 原味. But can't the diner have a choice? I also try the turnip cakes and the "original taste" is bitter and not enjoyable at all. The idea of "original taste" is a bit disingenuous. If the chef is serious about the idea, why serve the turnip cake with slivers of frisée?<br />
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There are two signature dishes of duck at Le Palais: Flaming Duck 火焰片皮鴨 and Roast Baby Duck 先知鴨. Just about every table orders one of the two. The Flaming Duck is the more dramatic dish. A cook wheels a trolley with the duck affixed to a metal rod standing on an industrial-looking metal pan. This reminds me a bit of the American beer can roast chicken. The cook then flambés the duck table side. The server suggests we turn our camera to video mode to capture the moment. This cook must be the most Instagrammed cook in Taipei in the past months. Fire always makes for a good show, but unfortunately the food doesn't have the same wow factor. The duck is served three ways. The first is duck skin served in the traditional manner. This is good but the same cannot be said for the second serving: duck skin with romaine lettuce and fried mozzarella stick. The combination is awful. Is it inspired by California Pizza Kitchen? I cannot finish my portion. The server then brings over a plate of leftover duck meat with sauce on the side, this is just boring.<br />
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While the Roast Baby Duck is less pervalent on the Internet, the dish is the better of the two ducks. Chef Ken Chan 陳偉強 created this dish when he was still working at the My Humble House Restaurant at Le Meridien Hotel. Since Baby Duck in Chinese doesn't sound elegant, the owner of Le Meridien Hotel named the duck 先知鴨. The Chinese name is taken from a poem by one of China's most famous literay figures <a href="https://en.wikipedia.org/wiki/Su_Shi" target="_blank">Su Dongpo</a> (1037-1101). The poem was written in 1085 to compliment a painting by the monk Huichong, which depicted a scene during the spring time in the Jiangnan area of China. The first two verses are 竹外桃花三兩枝, 春江水暖鴨先知. Spring is arriving as peach blossom is starting to emerge; The temperature of the river is becoming warmer and the ducks are the first to know. With his words Su elevated the painting by adding another dimension to the drawings: the temperature of the river, which is very difficult to describe with paint brushes. The chef and the restaurant are very proud of the literary connection. Before the duck is served to the guest, the server has to recite or sing the poem. Regrettably, the view out to the windonw isn't peach blossom but an ugly concrete and metal metropolis. And the duck is not joyously peddling in water but dead and lying on a plate that is a little too small. Since the scene described in Su's poem is not present at all, why recite the poem? When I order a Tournedos Rossini or Pêche Melba in a French restaurant, I don't need an opera aria to be sung. I rather learn about the the cooking techniques behind the preparation of the duck. As the server recites the poem, I can't help but think, just make sure the duck is served hot. The taste of the breast meat is superb: well seasoned, juicy, and with crispy skin. The thigh and legs are good but not as flavorful.<br />
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The carcass of the roast baby duck is made into a second dish with a choice of porridge, soup, or wok-fried in typhoon shelter 避風塘 style with chili and garlic. We choose wok-fried and I regret the decision. The typhoon shelter style was invented by the boat people of Hong Kong. When a large storm is coming the boats retreat to the safe harbor. While waiting on the boat, they cook crab stir-fried with chili and garlic. Subsequently, this dish has migrated on shore and chefs have used the style to cook it with different fresh seafood.<br />
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Instead of fresh seafood, the chef of Le Palais chops up the leftover duck into small pieces of bones and tendons and stir-fries them in the typhoon shelter style. Unlike other fine dining restaurants where chefs elevate humble dishes for fine dining, the chef at Le Palais does the opposite and makes the dish even cheaper and less edible. The duck is not only twice-cooked but there is very little meat left to eat. The tendons are essentially not chewable. The meat from the neck can be gnawed on but it is more suited to be served at a beer house than at a three-star fine dining restaurant.<br />
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I understand the idea of not wasting food. For the roast duck of a larger size, the leftover carcass and bits of meat can make another dish. But after the baby duck is cut up, not much is left. Why not just let it go, or use it for a staff meal? When I eat the Poularde en Vessie at Paul Bocuse, they don't take the leftover chicken carcass and stir-fry another dish to serve to the guest. Three-star restaurants are about giving the finest pieces of ingredients to the guests. When I eat at a three-star sushi restaurant, the chef serves me the best pieces of fish from a large cut. The chef is not giving me every little scrap of the fish as another dish.<br />
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Some of the dishes Le Palais serves don't belong in a fine-dining restaurant. Chef Chan likes to boast about his creativity and it often means using cheap ingredients in novel ways. Besides the aforementioned duck carcass in typhoon shelter style, on television he demonstrates a dish by frying the junk food, dried squid strips. Another of his signature is stir-fried spicy pork tendon from the pig's eyebrow. Chan likes to tell people that these tendons used to be thrown away by the vendors because no one wants to buy them. Now he charges NT$780 for them. The wok-fried dishes at Le Palais are done with good techniques. The cooks at the wok station are definitely well-trained. But many of these dishes are more suited for late night bar food rather than cooking elevated to an art form. Le Palais should consider opening a bar room to serve these dishes. Follow the examples of some Michelin-starred restaurants in New York, where a separate bar room or salon is setup for cheaper and more experimental dishes.<br />
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As with the ducks there are also two types of char siu for order. I try both and I prefer the crispy sugar coated version. This is slice thinly and served with even thinner slices of lime. This is also cheaper. The more expensive version is almost double the price at NT$1,480. The pork is sliced thickly into only six pieces and served on a wood platter. I find the meat to be less flavorful and the untrimmed tendon inside that makes it harder to chew. The expensive version looks better in photo. Maybe I’m paying for the presentation.<br />
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At one of my dinners, the chef offers to make an off-the-menu dish of crab with meat pie. Meat pie is a Cantonese classic where the pork is usually paired with fermented rather than fresh ingredients. With fresh crab the chef seems to be trying to do something new, but it doesn’t really work. The fresh seafood doesn't have the concentrated flavors required to season the pork. The crab and the meat pie seem to be two separate things without much integration; simply not enough flavor. Furthermore, the idea of ugly-delicious hasn't caught on in Taipei, because this dish was just ugly.<br />
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If anyone fancies a crab dish, I suggest ordering the stir-fried crab with glutinous rice. This is delicious and packed with flavors.<br />
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Alternatively, order the wok-fried rice noodle with crab meat and egg 強哥炒米粉. This is probably my favorite dish of my two meals at Le Palais. Great flavor, light, pretty, and cooked perfectly. This dish is served near the end of the meal. Even with a full stomach I can still easily finish this dish.<br />
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The dessert menu has seven items and three of which are made à la minute with a waiting time of 20 to 30 minutes. I want to order Almond Milk but the server says they are out of it. This dessert is on the so called "Michelin Three-Star Set Menu”. How does the restaurant run out of this three-star dessert? Instead we have the Sesame Balls and Deep Fried Dough encrusted with cheese. Both are freshly made, served piping hot, and very good. These desserts are well executed, but they are essentially dim sum and street food rather than some imaginative creations. I wish chef Chan had channeled some of his creativity into the desserts. The meal at Le Palais doesn’t end on a high note. <br />
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I have written in a previous <a href="http://michaelfei.blogspot.com/2018/04/michelin-guide-taipei.html" target="_blank">blog entry</a> about my suspicion of Michelin’s inaugural guide for Taipei: by taking on the sponsorship from the Taiwan government, Michelin was obligated to find a three-star restaurant in Taipei. This is purely my conjecture as I have no proof. Ever since Michelin anointed Le Palais as three-star, the media has been filled with stories about how Le Palais accomplished the feat. But the more stories I read, the more suspicious I get about the three-star rating.<br />
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The General Manager of the hotel said a Michelin inspector came to Le Palais in September 2017. After his meal he toured the kitchen and spoke with the chefs. But at that time many of the dishes I had at my two dinners were not on the menu; they were added or modified in October and later. As Michelin was inspecting the restaurants in Taipei, Le Palais made many changes to its operation: buying better ingredients, not using frozen products, refining the presentations, and reducing the number of seats. The restaurant even closed for renovation for over a month, and reopened on the date of Michelin's announcement. Furthermore, the restaurant raised prices before Michelin's announcement, and anticipated a boost in business with a good rating. All the moves made by Le Palais seem to be guided with some inside knowledge of Michelin’s operations.<br />
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Two months after Michelin’s arrival, the local TV network TVBS ran an hour-long program on Le Palais. In the show, a manager of Le Palais claimed Michelin sent 150 inspectors to the restaurant before awarding the three-star. When the Hong Kong guide first launched, the then Director of Michelin Guide Jean-Luc Naret said the inspectors visited Lung Keen Heen in the Four Seasons Hotel 12 times before awarding the restaurant with three stars. Even if every visit was a table of ten, the number wouldn’t amount to 150. But somehow, when Michelin came to Taipei, they made 150 visits? It is very strange for Le Palais to make this claim. How would they know how many visits Michelin made? It is as if Le Palais knew many people question the three-star rating, and felt the need to justify the result by exaggerating Michelin's process. However, Le Palais' claim was so absurd that any rational person would conclude the restaurant was lying and something was afoot. <br />
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The media in Taiwan have glorified the two chefs of Le Palais and anointed them as heroes. Chef Ken Chan 陳偉強 and Matt Chen 陳泰榮 are both Cantonese. Chan started Le Palais in 2010 when the hotel opened. Chen on the other hand joined Le Palais in 2017, the year Michelin announced the launch of the Taipei guide. They are certainly experienced and considered to be two of the best chefs in Taipei. But throughout the media frenzy, the two chefs remain very humble about their achievement. At almost every interview, they said they felt lucky to receive three-star from Michelin. Michelin's rating seems to have exceeded their expectations.<br />
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In my mind Le Palais feels more like a two-star (worth a detour) restaurant than a three-star (worth a special journey). While the chefs are very creative, not all of the dishes taste good. Some of the dishes feel more like works in process rather than Michelin’s definition of three-star: cooking is elevated to an art form and destined to become classics. The dishes lack consistency in quality. The more classical dishes don't have the wow-factor. The food at Le Palais also lacks a central principle. The chefs need an editor to tighten the focus or reign in the ideas. Finally, many of the dishes still have room for refinement. The food at Le Palais doesn't seem to be the pinnacle of Chinese cooking yet.<br />
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While Michelin's stars only apply to food, the interior decor, service, and table setting, have a profound impact on our perception and enjoyment of the food. In this regard, Le Palais is far from being an elegant restaurant to dine at. Very little thoughts have gone into the various details that contribute to the overall feel of the restaurant. A three-star restaurant should strive for a higher standard. Moreover, Le Palais doesn’t feel generous nor hospitable. Nevertheless, the business at Le Palais is booming. After Michelin announced the rating, Le Palais said they received thousands of phone calls requesting reservation. Someone even booked a table for Chinese New Year Eve in 2019. At this point Le Palais probably doesn’t care about feedback from the average customers. I doubt the chefs will change their ways either. What do ordinary diners know about cuisine and service? After all Le Palais already have three stars from Michelin. Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com1No. 3號, Section 1, Chengde Road, Datong District, Taipei City, Taiwan 10325.0490706 121.5169601-0.47296389999999988 80.2083661 50.5711051 162.8255541tag:blogger.com,1999:blog-9203577587049612151.post-16742495939077800492018-04-06T08:20:00.000+08:002018-08-27T14:32:11.789+08:00Michelin Guide Taipei“Michelin is the only guide that counts," said Paul Bocuse. The great chef might be a little biased since he is French and his restaurant has been rated three stars continuously by Michelin for over 50 years. Since Michelin's inception in 1900, its supremacy has constantly been challenged by other restaurant guides: Gault and Millau, Zagat, Gambero Rosso, World's Best 50, La Liste, Dianping...etc. In cities around the world, local arbiters of tastes, such as the New York Times Restaurant Critic, may hold more sway with their local diners. While these different guides, crowd-sourced websites, and critics have all garnered enormous power, none of them have the same global influence and prestige as the Michelin Guide. The stars of Michelin is a global currency that doesn't require any translation.<br />
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The general public may debate the importance of the Michelin Guide, but chefs care deeply about their Michelin stars. Gordon Ramsay claimed to have cried when he lost his two Michelin stars in New York City. I didn't see the tears but I believe him. Last year, the Japanese sushi chef Mitsuhiro Araki wept openly at the Michelin ceremony in London. He had regained his three-star rating, but it felt like he found his lost child. When he hugged his wife and his lone assistant, they were all beside themselves; their hard work has been validated. It was an extremely moving scene. I didn't know a Japanese chef cared that much about the Michelin Guide.<br />
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The Michelin Guide is also the only guide that governments in Asia are willing to pay to come evaluate their restaurants. The Guides in Seoul, Hong Kong, Macau, Bangkok, and Singapore are all commissioned. The specific terms of each sponsorship are not known. The press in Korea reported that the Korean Tourism Organization pays Michelin around US$370,000 a year for four years to release a guide for Seoul. The press in Thailand claimed the Tourism Authority of Thailand pays Michelin close to US$1 million a year for five years to release a guide for Bangkok. The public may never know the real cost of the sponsorship as the deals with Michelin are kept secret. But clearly the governments in Asia see the benefit of commissioning the Guide to attract tourists and to market themselves to the world.<br />
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Despite the sponsorship, Michelin Guide is not a money-making business. The Financial Times once reported that the Guide loses US$20 to 30 million a year. This is a small amount for the Guide's parent company, which has net sales of over US$20 billion a year. However, the continuous losses mean, similar to other traditional publications, Michelin has not figured out a way to monetize its digital content to compensate for the decrease in sales of physical guidebooks. As such, Michelin likely will continue to rely on sponsorships to offset the cost of issuing the new Guides.<br />
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Ever since Michelin launched the Guide in Hong Kong and Macau in 2008 there had been rumors that the Guide would come to Taipei. Instead, Michelin went to Singapore, Shanghai, Seoul, and Bangkok. The persistent chatter in Taipei was the local government had been unwilling to pay for the Guide. Finally in late 2017 Michelin held a press conference to launch the Guide for Taipei, with sponsorship from the Tourism Bureau of Taiwan. The press in Taiwan reported the cost ranging from NT$50 to 80 million. While the money for Michelin is from the taxpayers, the exact price of the sponsorship is not made public. The government only says Michelin will be in Taipei for at least five years.<br />
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What did all the money buy? The inaugural <a href="https://guide.michelin.com/tw/en/taipei" target="_blank">Guide</a> for Taipei, published in March of 2018, recommended a total of 126 restaurants and 25 hotels. Of the 126 restaurants, 20 are starred (1 three-star, 2 two-star and 17 one-star). When the list was announced, many people were surprised, shocked, or incredulous. This was inevitable because Michelin's list will never match anyone's own list. I had my own knee jerk reaction to the result. But the reality is, like most residents of Taipei, I have not been to all of the starred restaurants. Even for some of the ones I have dined at before, the visits were not recent. For instance, I have been to RyuGin only once and it was three years ago. At that time I thought the restaurant was a solid one-star. Has the restaurant improved to two-star as shown in the Guide? I cannot say. Until I visit all the restaurants in a limited span of time, I cannot judge fairly whether the restaurants deserve the stars or not. Nevertheless, I still have some problems with the list produced by Michelin.<br />
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Michelin defines one-star as a very good restaurant in its category. When Michelin was rating just the restaurants in France, the categorization of restaurants was quite simple. But ever since Michelin ventured outside of Europe, the idea of a starred restaurant expanded and no longer means a fancy or formal place. Interior design, tableware, and service, which had previously been thought of as an integral part of the criteria for Michelin star, have been downplayed.<br />
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This gave rise to casual restaurants being ranked the same as fine dining restaurants. In the first New York City Guide in 2005, the gastropub Spotted Pig was awarded one star, the same rank as Babbo, at that time the best Italian restaurant in the City. For chef Mario Batali who partly owns both restaurants, this was inconceivable. He said at the time, “[Michelin is] blowing it. They can’t put the Spotted Pig on the same level as Babbo.” Little did Batali know, Michelin was about to greatly expand the range of the one-star restaurant.<br />
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When Michelin Guide arrived in Tokyo, not only can casual restaurants receive a star, but even yakitori, ramen, tonkatsu joints have garnered one star. They have the same number of star as Maison Paul Bocuse in Daikanyama, Tokyo, a restaurant with a battalion of cooks in the kitchen and tuxedo-clad waiters in the dining room. In Hong Kong, the dim sum specialist Tim Ho Wan became the cheapest Michelin-starred restaurant. This was superseded later in Singapore when Liao Fan Hong Kong Soya Sauce Chicken Rice and Noodle received a star; forget tableware, the place doesn't even have a dining room. The signature dish chicken with rice costs less than US$2.<br />
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The need to separate restaurants into categories is understandable and perhaps necessary. Similar to the Academy Awards for Motion Pictures, the Oscars are awarded in different categories. It is not necessary to compare a short documentary with a feature film. Both can be great and both can have an award. Similarly there is no point in comparing restaurants across categories. But if one cannot compare restaurants across categories, how does Michelin determine if a restaurant is worth one star or not? The criteria for the one-star restaurant is too wide and random for the public to understand. If we simply accept Michelin's idea that any type of food establishment (including hawker stalls) can get a star, then surely there are more one-star restaurants in Taipei than Michelin has found.<br />
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Of the 20 restaurants with stars: six are Japanese, seven are Western, and seven are Chinese. The number of starred Western and Chinese restaurants seem disproportionate to the restaurant scene in Taipei. Compared to other cities with Michelin guides, Taipei is not a city with a strong western food scene. Instead, Taipei has more varieties in Chinese food than others, including Hong Kong and Shanghai. The Chinese food culture is far more established than Western cuisine. Yet a visitor from abroad would not understand by looking at the list of starred restaurants in Taipei.<br />
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Michelin always seems to have a hard time judging Chinese restaurants. Part of the problem may be that the dining format of most Chinese restaurants simply don't suit the operation of Michelin inspectors. The majority of Chinese restaurants are not setup for single or two-person diners. Furthermore, most Chinese don't order tasting menus of little individual portions; most restaurants don't even offer a tasting menu. Instead, the typical Chinese diners share a variety of dishes that provide an overall balance and contrast of different ingredients, textures, and flavors.<br />
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Sometimes, I am simply puzzled by Michelin's choices for starred Chinese restaurants. This is especially pronounced for the starred Chinese restaurants outside of Greater China. For instance, currently there is only one Michelin-starred Chinese restaurant in New York City, <a href="http://www.cafechinanyc.com/" target="_blank">Café China</a>. The restaurant has maintained its one-star rating for several years. Last summer I purposely made a trip to try the restaurant. The food was a bit disappointing. There was very little refinement nor elegance. If Café China can earn one star, many restaurants in Taipei should certainly have one star as well.<br />
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The Director of Michelin Guide, Michael Ellis, says Taipei shouldn't feel there are too few starred restaurants (20), because the initial guide for Hong Kong only contains 22 starred restaurants. However, he fails to mention the discrepancy in the number of two-star restaurants. Hong Kong's first Guide contains seven two-star restaurants, while Taipei only has two: the Guest House and RyuGin. Close to one-third of the starred restaurants in Hong Kong has two stars. In contrast, the percentage in Taipei is just one-tenth. A comparison with the introductory Guide to Shanghai yields a similar discrepancy. Shanghai has a total of 26 starred restaurants, of which seven are awarded two stars. This is more than one-quarter of the total, also far more than Taipei.<br />
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The small number of restaurants in the two-star level is my biggest objection to the inaugural Michelin Guide for Taipei. Two restaurants in particular, <a href="https://www.mandarinoriental.com/taipei/songshan/fine-dining/restaurants/chinese-cuisine/ya-ge" target="_blank">Ya Ge</a> at the Mandarin Oriental Hotel and <a href="http://www.robuchon.com.tw/atelier/main.html" target="_blank">L'Atelier de Joël Robuchon</a> at Bellavita, deserve more than one star. They are both superior to the other restaurants in their categories.<br />
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Ya Ge and <a href="http://www.3coins.com.tw/" target="_blank">Three Coins</a> are in the same category as both restaurants serve Cantonese food. Michelin awards both with one star and this is simply misguided. The food at Ya Ge is more refined than at Three Coins. Even without considering service and decor, Ya Ge is a superior restaurant. Furthermore, Ya Ge is on par with the two-star Cantonese restaurants in Hong Kong that I have visited.<br />
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The same problem exists in the French Contemporary category, where La Cocotte by Fabien Vergé and L'Atelier de Joël Robuchon both have one star. La Cocotte is a very good restaurant. Vergé and his wife surely deserve the one star. They have toiled for years doing things their own ways, and it is heartwarming to see their efforts recognized. Nevertheless, L'Atelier de Joël Robuchon is clearly the better of the two, starting from the bread all the way to the dessert and the wine list. Moreover, L'Atelier in Taipei is comparable to its two-star sister restaurant in Shanghai. Many of the dishes, such as the Beef Rossini and Caviar with Crab and Lobster Jelly, are the same.<br />
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Before Michelin launched the Guide for Taipei, I didn't think there was a three-star restaurant. But Michelin found one at Le Palais in Palais de Chine Hotel. The conspiracy theorist inside of me thinks it was imperative for Michelin to find a three-star restaurant in Taipei. The reason is Shanghai's first Michelin Guide has a three-star restaurant. It would be inconceivable for the Tourism Bureau of Taiwan to spend millions on commissioning Michelin to come to Taipei, only to tell the local taxpayers that the restaurants in Taipei (Taiwan) is not as good as the ones in Shanghai (China). Nevertheless, it takes two to tango. Michelin's desire or need to find a three-star restaurant still required a credible candidate.</div>
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Le Palais seemed to be clued into Michelin's intention and actively changed the restaurant to fit the bill. Le Palais opened in 2010 and was not a remarkable place. In fact, even less than a year ago the restaurant was not at the three-star level. But as Michelin was ramping up the operations in Taipei, Le Palais remade itself, starting in 2017, with luring chef Matt Chen 陳泰榮 away from Le Meridien Hotel to join forces with chef Ken Chen 陳偉強. The quality of the ingredients improved significantly. The hotel opened up the purse string and allowed the chefs to buy better ingredients. As chef Ken Chen said in an interview, as long as the owner is willing to spend money on ingredients, he can make good dishes. As such the dishes have also changed. For instance, the Shrimp Dumplings now have lobster as part of its filling, and are no longer served with the inelegant plastic syringes of red vinegar plunged through its center. More costly ingredients also mean higher prices. The dumplings used to be NT$280 a few months ago, now it is NT$360. The price of the Char Siu used to be NT$680 and is now NT$1480 and smaller in portion. After receiving the three stars, Le Palais pledged that it would not raise prices. This was a bit disingenuous since the restaurant had already increased the prices before Michelin's announcement. It was as if Le Palais anticipated the recognition.<br />
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When the Hong Kong Guide first launched, the then Director of Michelin Guide Jean-Luc Naret said the inspectors visited Lung Keen Heen in the Four Seasons Hotel 12 times before awarding the restaurant with three stars; the first Chinese restaurant to ever garnered that distinction. Did the inspectors for Taipei make that many trips to Le Palais? The current Director did not say. I have my doubts because if the inspectors went to Le Palais six months ago, they probably wouldn't have found a three-star restaurant.<br />
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I have not been to the new and improved Le Palais. I cannot say whether I agree with Michelin or not. I simply find Michelin's process of awarding three stars to Le Palais to be too casual. In France, Michelin puts chefs through the ringer before awarding them with three stars. When Alain Ducasse completely revamped the restaurant at Hotel Plaza Athénée in Paris, he was first downgraded to two stars before gaining back three stars. When Joël Robuchon opened the gastronomy restaurant in Bordeaux with his trusted chef de cuisine Tomonori Danzaki, who earned three stars in Tokyo and Las Vegas, he was awarded only two stars. When Marc Veyrat, who at one point had six Michelin stars total, started his comeback at La Maison des Bois, he had to settle with two stars. These superstar multi-three-star chefs must be amazed to know that a restaurant in Taipei can simply remake itself in a span of a few months and become a three-star restaurant.<br />
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Michelin works in mysterious ways. It doesn't reveal its process nor criteria. We will never understand how the inspectors arrive at their choices. Did the Tourism Bureau of Taiwan provide Michelin with a list of restaurants to start or exert any influences on behalf of any restaurants? We simply don't know. Maybe one day we will find out on Wikileaks. While we may question whether Michelin is reliable or relevant, the benefit of the Guide is very tangible. The restaurants awarded with stars and Bib Gourmand have all seen increases in their revenues. Good luck trying to make a reservation in the near future at the new three-star Le Palais. Not only has business at the restaurants picked up, the stock prices of the parent companies of the restaurants have all seen a bounce. The only restaurant that didn't benefit was La Cocotte by Fabien Vergé. Despite the recognition, Vergé and his wife have decided to close La Cocotte; Michelin came too late for them. Notwithstanding, Vergé is and will always be referred to as a Michelin-starred chef wherever he goes.<br />
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At the Michelin Gala dinner that followed the announcement of the starred restaurants, the Director of Michelin said the launch of the Michelin Guide is a very special day for the chefs. I wholeheartedly agree with him. Michelin has put a bright spotlight on the chefs of all the restaurants. This is especially important for the chefs in the Chinese restaurants. Prior to Michelin's arrival, most of the diners don't know and perhaps don't care who is cooking their food in the kitchen. None of these Chinese chefs cook in an open kitchen and are almost never seen by the guests. Stories about the chefs need to be written. While Michelin may not make <a href="https://guide.michelin.com/tw/taipei/people/first-day-i-got-my-michelin-stars-Le-Palais/news" target="_blank">陳泰榮</a>, <a href="https://guide.michelin.com/tw/en/taipei/people/first-day-i-got-my-michelin-stars-Le-Palais/news" target="_blank">陳偉強</a>, <a href="https://guide.michelin.com/tw/taipei/people/first-day-i-got-my-michelin-stars-the-guest-house/news" target="_blank">林菊偉</a>, <a href="https://guide.michelin.com/tw/taipei/people/first-day-i-got-my-michelin-stars-tien-hsiang-lo/news" target="_blank">楊光宗</a>, <a href="https://guide.michelin.com/tw/taipei/people/Tse-Man-MICHELIN-Guide-Taipei-2018-Gala-Dinner/news" target="_blank">謝文</a>, and others into household names, they deserve more recognition than previously given. They are now part of the global network of chefs. I hope foreign, as well as local dinners, will seek them out. Instead of having Michelin-starred chefs come to Taipei to be guest chefs, perhaps we will soon see the Michelin-starred chefs of Taipei traveling abroad to showcase their talents and promote our food culture.<br />
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The arrival of the Michelin Guide to Taipei is a momentous event for the local food culture. For a city like Taipei that is without credible restaurant critics, sizable crowd-sourced websites, nor enough respect and appreciation for the people in the food industry, Michelin is a most welcomed addition. While Michelin will surely continue to confound us in the future, the Guide will drive the restaurants to improve and raise the public's awareness for restaurant professionals. If Taipei follows the pattern established by Michelin in other cities, the number of starred restaurants will only grow. And for the restaurants currently with one star or two stars, many will certainly look for ways to move up the rank. A few of them may even lose a star should the quality drops or if the chef leaves. The game of Michelin star has started and the Guide will be a positive force for the restaurant scene in Taipei.Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com0tag:blogger.com,1999:blog-9203577587049612151.post-28220513348766455472017-12-22T00:21:00.004+08:002018-03-06T17:22:59.078+08:00Eight Years at Seat No.17: L'Atelier de Joël Robuchon TaipeiEight years have passed since<a href="http://www.robuchon.com.tw/atelier/main.html" target="_blank"> L'Atelier de Joël Robuchon</a> opened in Taipei. I still remember vividly my <a href="http://michaelfei.blogspot.tw/2010/01/latelier-de-joel-robuchon-taipei.html" target="_blank">first dinner</a> at L'Atelier in December of 2009. My wife, Maria, and I were celebrating our wedding anniversary. We sat at the middle of the counter and ordered the tasting menu that started with oyster and ended with the sugar sphere. It was clear after the first dinner that L'Atelier was the best restaurant in Taipei, period. At that time it was the only restaurant that could be compared to other fine dining restaurants in major gastronomic cities in the world. In the past eight years, many new restaurants have opened (some have since closed) in Taipei. The overall standard in the city has risen, and L'Atelier has become better as well.<br />
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Since my first dinner at L'Atelier I have become a regular. Over the years I can see how the restaurant has steadily evolved. The owners have made additional investments into the restaurant to keep the appearance fresh: new placemats on the counter, fancier clocks on the walls, redesigned uniforms, and more artistic plates from <a href="https://www.bernardaud.com/en/us/artists/prune-nourry" target="_blank">Bernardaud</a> by Prune Nourry and JR. The menu has become more varied and flexible; the most noticeable change is the addition of a vegetarian tasting menu. There are numerous minor changes that all contribute to elevating the quality of the restaurant. But the main reason that L'Atelier in Taipei has improved is because of the continuity of its staff.<br />
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This is quite remarkable in an industry where the turnover of personnel is high. Consider the following: the best hotel in Taipei, <a href="https://www.mandarinoriental.com/taipei/songshan/luxury-hotel" target="_blank">Mandarin Oriental</a>, has been open for less than 4 years and has already gone through changes in staff on all levels, from General Manger to chefs and managers for the various restaurants; the hotel's Chinese restaurant <a href="https://www.mandarinoriental.com/taipei/songshan/fine-dining/restaurants/chinese-cuisine/ya-ge" target="_blank">Ya Ge</a> is on its third chef already. In contrast, the main personnel at L'Atelier: Chef de Cuisine, Sous Chef, Pastry Chef, Sommelier, General Manger, Operation Mangers and Captains have all been at their jobs longer than Mandarin Oriental Taipei has been in existence; some have been at L'Atelier since the opening eight years ago. The simple fact is by gaining experience on the job the staff has become better at doing their jobs.<br />
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At L'Atelier I almost always sit at seat 17 which is just to the left side of the center of the counter. From the seat I have a great view of the open kitchen and can see my meal being prepared, starting from the garde manger to the fish and meat stations. Only the pastry station on the left side is slightly obscured. I also get to peek at the dishes coming out from the kitchen for the other diners. Since I sit directly behind the pass of the kitchen, the Chef sometimes delivers the dishes personally and explains the cooking techniques to me, as if we are in a small Japanese restaurant.</div>
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For the past four years the Chef of L'Atelier de Joël Robuchon Taipei has been Olivier Jean. He is the fourth chef to take the rein at the restaurant and the one with the longest tenure. When Jean arrived in Taipei in 2013 he was the youngest chef in the Robuchon group. Now the chefs in Singapore and Las Vegas are even younger. Taipei is the first time Jean became a head chef. Although he wasn't as experienced as the previous chefs, he made up the difference with more energy and hard work. He has trained his cooks effectively to maintain a high level of standard. His efforts have paid off as Joël Robuchon asked him to assist in opening new L'Ateliers around the world. Last year Jean traveled to Montreal and this year to New York City to train the staff and transmit the Robuchon method.<br />
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While Jean is strict with his staff in Taipei, he also readily acknowledges the effort by his team, especially his right hand man, Frederic Jullien. He has also been cooking at Taipei for 4 straight years. Previously, Jullien was at Taillevent in Paris and steeped in the classics. He is a very skilled chef and after four years cooking in the Robuchon manner, will probably be promoted to head chef should an opening become available.<br />
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A friend once asked Jean what is Mr. Robuchon like? Jean replied succinctly, Mr. Robuchon wants everything to be perfect. While perfection seems like a state that can only be strived for rather than reached, Robuchon's dishes seem pretty perfect. For instance, at L'Atelier, one can order the Robuchon classic from the days of Jamin, Gelée de Caviar à la Crème de Chou-Feur.<br />
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The three-Michelin-star chef and former Robuchon apprentice Eric Ripert wrote in his autobiography <i>32 Yolks</i>: "I still remember the first time that Robuchon taught me how to make a lobster gelée, which we served carefully layered, caviar first, then the lobster gelée, then cauliflower cream, in a tall Japanese bowl lined with brilliant dots of chlorophyll that I had extracted through a complex process that began with puréeing herbs in the Robocoupe. When I first tasted it, I literally scratched my head and said, I have never seen or tasted a dish that good in my life." Thirty years later, after I saw and tasted the dish I had the same reaction as Ripert.<br />
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The same can be said for a more recent creation, Le Filet de Bœuf et Foie Gras en "Rossini". Instead of cooking the filet and foie gras separately in the manner of Marie-Antoine Carême, the two are bound in tubular form and cooked together by sous vide. The technique is ideally suited for the lean filet and retains the fat of the foie gras. The dish has superb ingredients, harmonious flavor, and perfect execution. Served on the side is Robuchon's signature La Purée de Pommes de Terre. Is there a more perfect side dish? What's remarkable about the potato and butter emulsion is the transformation of humble and simple ingredients via brilliant technique, making the dish simultaneously extravagant and soulful.<br />
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While Jean and Jullien faithfully execute Robuchon's dishes, there is still room for personal expression within the system. After all, the word Atelier means a workshop or an artist studio, a space to create things. Again to quote Ripert from his autobiography about his time at Jamin, cooking with Robuchon's righthand man, Philippe Braun (also known as the Californian surfer): "For so long, my time with Robuchon had been about executing the boss’s vision. But with Philippe, I began to see that you could still have a vision of your own. It was up to each of us to imbue the work with our own meaning and style."<i> </i>Often times, instead of choosing from the menu, I simply ask Jean to cook for me <i>omakase</i>.<br />
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Jean and Jullien know I love the classics and anything en croûte or with puff pastry. Over the years, they have made several off-the-menu dishes for me. I like to think the first Beef Wellington or Filet de Bœuf en Croûte Jean made in Taipei was for me and my mushroom-averse friend two and a half years ago; Jean replaced the typical duxselles with chestnut. In the past years Jean has made numerous Beef Wellington, especially for large parties. Now, Beef Wellington is also offered in the L'Ateliers in Shanghai and New York. Wellington is a classic but it is not necessarily easy to make. Often times Jean sears the beef and assemble the ingredients himself. Jean had also once made a Vol-au-Vents with Sweetbread, a recipe that dates back to the 18th century. When the weather gets a bit colder, Jean and Jullien will make a Pithivier or Tourte with duck and foie gras. I am enamored with traditional dishes especially ones that have been perfected. I am always reminded of a slogan used in an advertisement 20 years ago by the American television company, NBC: “If you haven’t seen it, it’s new to you.” There are so many historical dishes that people of my generation or younger have never enjoyed. Instead of chasing the latest trend such as eating ants on a plate, why not enjoy the classics?<br />
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Traversing in the aisle in between the counter and the kitchen pass is the sommelier Benoît Monier. He has been in Taipei for seven years and with the Robuchon group for over 20 years. Prior to Taipei, Monier spent years in Hong Kong and Tokyo. He is certainly familiar with customers of Asia, but Taipei is probably his biggest challenge. Taipei is an extremely tough city to sell wine in the restaurants. The L'Atelier in Taipei is probably the only restaurant in the Robuchon group where the table setting doesn't include a wine glass, at least until Robuchon opens a branch in an Arabian city. The problem with customers in Taipei is two-fold: one, most people didn't grow up drinking wine with food, thus don't see wine as integral part of the meal; two, instead of letting the sommelier help select a wine to pair with the meal, the customers like to bring their own wines.<br />
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French food is meant to be paired with wine. The Chinese has a saying, 畫龍點睛, which translates literally as to paint a dragon and dot in the eyes; add the touches that bring an artwork to life. Wine is like the final touch that elevates the food. Since Monier is trained as a cook before choosing to be a sommelier, he has a great sensitivity for wine and food pairing. Customers not having a conversation with Monier about wine really misses part of the joy of dining at L'Atelier.<br />
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Monier once remarked to me that anyone can recommend an expensive bottle of wine. It takes more skill to find a bottle that is reasonably priced, aged properly, and ideally suited to the food. I couldn't agree more. Once he asked me, do you know Romanée-Conti? I said, of course. He said, I am going to pour you a wine that's next to Romanée-Conti but at a fraction of the price; tell me how you like it. Another time he asked, do you know Petrus? Try a glass of wine from the vineyard (Vieux Chateau St-Andre) owned by Petrus' winemaker, Jean-Claude Berrouet. Sometimes he pours two different glasses of wines for me to try with the same dish, to show me that the expensive bottle doesn't necessarily work the best with a particular food.<br />
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In the early years, Monier always asked about my preference for wine. I invariably said I was happy to drink any wine he picked and for two reasons: I have no preference. I like most wines just like I eat everything; second, if I go to a friend's house for dinner, I am not picking out the wine. I will drink what my friend has selected. I suppose my only preference is to not have too many repeats. I trust Monier's judgement. But Monier has taught me to trust my palette, develop my own judgement, and to look beyond the famous vineyards. While in a blind tasting I still won't be able to distinguish the difference between Pinot Meunier from Pinot Noir, I have grown to appreciate wine, especially when taken with food.<br />
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The pastry station on the left side of the kitchen has been under the direction of chef Kazuhisa Takahashi since 2012. He took over the position from the opening pastry chef Kazutoshi Narita. While Narita's signature dessert, Sugar Ball, is still on the menu, Takahashi has now made more variations. Instead of a pure form, the shape has become more figurative, such as apple and pears. The imitation of nature fits within the longstanding tradition of French cuisine. These blown sugar creations never fail to impress and always elicit a wow from me. The contrasting texture of the sugar shell and the custard inside is just perfect.<br />
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In Ripert's autobiography, he wrote about Robuchon's observation of Japanese chefs after one of Robuchon's trip to Japan thirty years ago. Robuchon told Ripert and his colleagues: "You all suck! In Japan, the chefs are ten times better than you. They’re more humble than you. They are more skilled, more precise, more gifted. Better, better, best! They are better, and they are the best!" Thirty years later, the quote is still valid and Takahashi certainly seems to fit the description. The desserts at L'Atelier Taipei always seem to be flawless.<br />
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The dessert menu at L'Atelier changes frequently with new creations. But while Takahashi has one foot in the contemporary, another foot remains in the historical world. Some of classic dishes from the 19th century, such as Baba and Soufflé can usually be found on the menu. A perfectly executed Soufflé brings me a great deal of joy every time. What was good will aways be good.<br />
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For my wedding anniversary dinner in 2013 he made a pulled sugar flower to accompany a cake. The flower was so pretty that I took it home. Kept in a glass jar with silica gel, the flower has sat on my bookshelf, a version of the Enchanted Rose from Beauty and the Beast. Most of the time the memory of a meal only exists in the mind and in pictures, but with the rose I have a memento.<br />
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The ringmasters of L'Atelier Taipei are the General Manager, Vincent Hsu, and his deputy, Grendy Yang. They have been at their positions since the opening of the restaurant in 2009. They are the two most professional front-of-house restaurant personnels in Taipei. Unlike many restaurants in Taipei, Hsu and his team provide a level of service that is on par with fine dining restaurants in major cities in the world. Sometimes providing good service is the easy part, the challenge is how to handle adversities and problems that inevitably arise. On the rare occasion that I have a complaint, Hsu is always available to listen. He doesn't avoid criticism. And I appreciate that the restaurant has a person in charge that I can always turn to.<br />
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I always marvel at Robuchon's ability to have all the L'Atelier operating at a high level. Taipei was the seventh L'Atelier that Robuchon opened. There are now 12 L'Ateliers in the world, with two more to come in the next years. While other three-Michelin-star chefs, such as <a href="http://www.alain-ducasse.com/" target="_blank">Alain Ducasse</a> and <a href="https://www.thomaskeller.com/" target="_blank">Thomas Keller</a>, run their restaurants groups like fashion designer Giorgio Armani with different lines (Giorgio, Emporio Armani, Collezioni, and Exchange) at different price points for different clienteles, Robuchon doesn't operate cheaper and simpler restaurants such as a bistro. He only has one mode: three-Michelin-star. Although L'Atelier is casual in setting, the standard for the food and many dishes are the same as the formal restaurants.<br />
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While Robuchon's standard is the same for the L'Ateliers, according to the <a href="https://www.viamichelin.com/web/Restaurants" target="_blank">Michelin Guide</a>, the quality of the restaurants are different. Of all the L'Ateliers that are inspected by Michelin (some cities do not have a guide), the ratings range from from three-star in Hong Kong, to two-star in Tokyo, Paris, Shanghai, and Singapore to one-star in London and Bangkok. I haven't been to all the L'Ateliers and cannot dispute Michelin's ratings. Clearly there's a range.<br />
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In March 2018, the Michelin Guide will debut its Red Guide for Taipei. It will be interesting to see how Michelin rates Taipei's L'Atelier. The Michelin inspectors work in secrecy, but the criteria by which restaurants are judged are well published: quality of the products; mastery of flavor and cooking techniques; the personality of the chef in the cuisine; value for money; and consistency between visits. Of the five criteria, three are the same for all the L'Ateliers: the personality of the chef is all Robuchon; the techniques are the same; and the price across the various Atelier is about the same. The eight-course Menu Decouverte is 189 Euros (about NT$6,650) in Paris, 1,498 RMB (about NT$6,800) in Shanghai, 318 SGD (about NT$7,100) in Singapore, and NT$6,880 in Taipei. The two criteria that may be different between the L'Ateliers are the quality of the products and consistency.<br />
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Since Hong Kong is the only <a href="http://www.robuchon.hk/" target="_blank">L'Atelier</a> in the world with three stars, one can only assume the restaurant is consistent and uses the best ingredients. All the top restaurants in Hong Kong can get frequent and regular air shipments of the best ingredients from around the world. This is reflected in the prices as Hong Kong has the costliest Menu Decouverte of all the L'Ateliers at 2080 HKD (NT$8,000). Nevertheless the city has enough clientele who appreciate these ingredients and can support the restaurant.<br />
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Some of the quality of the products used in L'Atelier in Taipei cannot match the ones used in Hong Kong. The reason is not entirely monetary. Compared to Hong Kong, Taiwan has far more restrictions on the import of food. For a long time, it was illegal to import Jamón ibérico from Spain. Only in the past few months did the government allow Wagyu beef to be imported from Japan. Previously, the restaurants can only used Australian Wagyu. The L'Atelier in Taipei uses a number of local products. While some of them, such as pork, can be considered one of the best in the world, others cannot. For instance, the ducks from Yilan County are of a high quality, but they have a very different flavor from the famous ducks in Challans, France. The same can be said for the local chicken, which is not as good as the French chicken from Bresse. For the criteria of "quality of the products" Taipei probably will not score three stars.<br />
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In terms of the final criteria of "consistency between visits", I can say as a regular customer, I never had a bad meal at L'Atelier. My theory is the restaurant is unfailingly consistent because it has more capacity to meet the demand. The disheartening fact is the quality of the restaurant doesn't guarantee success. On most days L'Atelier is not completely full. Furthermore even when the restaurant is full it doesn't turn table. The irony is since the restaurant is not super busy, the staff can take very good care of the guests. Sometimes on a slow night, Chef Jean can even cook a few dishes himself, instead of just standing at the pass expediting, finishing, and inspecting the plates. The same be said for the front-of-house staff, often times one can see multiple servers looking over the guests.<br />
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Based on my own experience and analysis, I have my own idea about the number of stars L'Atelier Taipei should receive. But the Michelin Guide works in mysterious ways and we will just have to wait and see.<br />
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No matter how Michelin decides next year, the impact of L'Atelier can be felt through the entire restaurant industry in Taiwan. L'Atelier has not only set a new standard for Taipei but became a trailblazer, unleashing a number of Michelin-starred chefs, including three-star Yannick Alléno and <a href="http://www.nihonryori-ryugin.com.tw/en/restaurant.aspx" target="_blank">Seiji Yamamoto</a>, to setup restaurants in the city. L'Atelier also trained numerous local cooks and front-of-house staff. Many took what they learned from L'Atelier and went to other restaurants or opened their own places. Some cooks probably needed more time at L'Atelier before venturing out on their own. But overall, the western dining scene has benefited enormously from L'Atelier.<br />
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Eight years is not a short time. Operating a fine dining restaurant in Taipei remains as difficult as ever. In the past couple of years, Alléno's STAY has opened and closed already. Angelo Agliano, the former chef at L'Atelier in Taipei, has also closed his eponymous restaurant with aspirations for Michelin stars; Agliano has moved to Hong Kong. The French restaurant at Mandarin Oriental has abandoned all ambitions for fine dining and became a buffet restaurant. The market for fine dining in Taipei is shrinking and may get worse with the recent decrease in tourists and the dormant economy. While the overall environment may get darker in the near future, I am glad that L'Atelier remains a beacon of light and is shining brighter than ever. For me, dining at L'Atelier is a mini-staycation and a refuge from daily life. When December comes around, I will be at L'Atelier sitting at No. 17.Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com0110, Taiwan, Taipei City, Xinyi District, Songren Road, 28號5樓25.039609 121.56813999999997-0.48242550000000151 80.259545999999972 50.5616435 162.87673399999997tag:blogger.com,1999:blog-9203577587049612151.post-69712489777211524222017-12-07T21:36:00.001+08:002017-12-08T14:41:19.469+08:00The Fortune of My Blog According to I ChingIn recent months I took three introductory classes on <i>I Ching 易經</i>, sponsored by the Hong's Foundation for Education and Culture <a href="http://www.hfec.org.tw/" target="_blank">洪建全基金會</a>. The classes were taught by Professor Pei-Rong Fu 傅佩榮. Prior to his retirement from National Taiwan University, Fu was the Chair of the Department of Philosophy and had written numerous books on Chinese classics. <i>I Ching</i> is the oldest of the Chinese classics with ideas that underpin many aspects of Chinese thinking for millenia. As with most Chinese, I know bits and pieces of <i>I Ching</i> and read parts of the book when I was younger.<br />
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Since the three classes on <i>I Ching</i> were only one and half hour long each, Fu could only provide an overview of <i>I Ching</i>. Fu said learning the entire text of <i>I Ching</i> would require around 40 classes. Obviously, I only scratched the surface of <i>I Ching</i>, but I have developed a greater appreciation of the text.<br />
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In the last class, Fu demonstrated the traditional way of using 50 sticks to derive a Guà 卦 (hexagram). Afterwards we were asked to try the method ourselves to seek our fortune. First we wrote down the questions and then used the sticks to derive six numbers, writing them down from the bottom to the top. The six numbers I drew were, 8 6 6 9 7 7. Each number forms a line (Yáo 爻): odd number means an unbroken line (Yang 陽 ) and even number is a broken line (Yin 陰). The Guà 卦 I got was the 12th one named Pǐ 否. Since the numbers 6 and 9 denote change, I also received a corresponding Guà 卦 (之卦): 57th Guà 卦 named Xùn 巽.<br />
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Deriving the Guà 卦 and looking up the related texts in <i>I Ching</i> are not difficult. The interpretation of the texts in relation to the question posed requires deep knowledge. After writing out the Guà 卦, Fu said because 3 of the 6 numbers I drew denote change, my fortune would be based on the texts of both Guà 卦. Furthermore, the focus should be on the main texts of the Guà 卦 rather than the specific Yáo 爻 (line).<br />
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Fu asked what was my question. I said, Will my blog make any money?<br />
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Fu said with Pǐ Guà 否卦, you probably haven't made any money from your blog. I replied, I never made a single dollar. Even without knowledge of <i>I Ching</i>, one knows the character Pǐ 否 is not good. Fu explained, 否 Pǐ means stagnation. The lower trigram is earth, Kūn 坤, and the upper trigram is heaven, Qián 乾. Heaven and earth are at their usual place but the two are separate and not connected.<br />
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But all is not lost as we need to examine the corresponding Guà 卦. Xùn 巽 consists of two trigrams of wind 風. The texts for the Guà 卦 reads: 小亨,利有攸往,利見大人. Richard Wilhelm and Cary F. Baynes translated the Chinese text as: Success through what is small. It furthers one to have somewhere to go. It furthers one to see the great man. Fu explains, my blog may be able to have a small fortune since the wind is starting to blow. However, I will need help from an eminent person.<br />
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While Xùn Guà 巽卦 offers a glimmer of hope, it is still the corresponding hexagram rather than the main one I drew. In terms of the overall fortune Pǐ Guà 否卦 is weighted a bit more. In other words, my blog is unlikely to make any money.<br />
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Actually ever since I started blogging, I have never imagined the blog would make any money. I didn’t even think the blog would last this long. I am just happy that my blog has a cult following; “cult” sounds so much better than “small”. I’m grateful to know that somewhere in the world someone is interested in reading my thoughts. And that’s plenty rich for me.
Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com0tag:blogger.com,1999:blog-9203577587049612151.post-17179772722597732572017-10-15T21:47:00.001+08:002018-08-27T14:30:55.489+08:00T'ang Court in ShanghaiOn a 40-degree Celsius summer day I made my way to the Langham Hotel in Xintiandi in Shanghai. I didn’t come to stay at the hotel, nor to see the architecture designed by the New York-based firm KPF. The only reason I was there was to try T’ang Court, the only three Michelin-star Chinese restaurant in Mainland China.<br />
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T’ang Court was awarded the highest distinction in the inaugural edition of the Michelin Guide Shanghai in 2016. This year the three-star rating was reconfirmed. In 2016 the Director of the Michelin Guide Michael Ellis said of T'ang Court, "In the cozy atmosphere of this restaurant where only six tables are set, the talented and creative chef Justin Tan offers cuisine in which traditional Cantonese dishes rub shoulders with some very modern dishes. Some specialties really amazed the palates of our inspectors."<br />
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Shanghai is a city of over 24 million people with a long tradition of Jiangsu-Zhejiang (Jiang-Zhe) cuisine. However, for Michelin the best restaurant in Shanghai doesn't serve the local but Cantonese cuisine. It is as if a Chinese restaurant guide shows up in Paris and decides the best restaurant is an Italian restaurant that serves Roman food; the distance from Shanghai to Canton is roughly the same distance from Paris to Rome. Moreover T'ang Court isn't a unique restaurant and instead has the same name as its sister restaurant (also Michelin three-star) in the Langham Hotel in Hong Kong. Perhaps there isn't a Shanghainese restaurant in the city that deserves three Michelin stars, but is T'ang Court worth a special journey?<br />
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T'ang Court is on the fifth floor of the hotel. The elevator opens to a small but nicely decorated reception overlooking an outdoor terrace. The receptionist led us through a long curved corridor passing the private dining rooms on either side; my friends and I didn’t reserve a private dining room. At the end of the corridor is the main dining room which, as the Director of the Michelin Guide pointed out, only has six tables and a total capacity of 20 guests. The small number of tables belies the true size and nature of T'ang Court. The main part of the restaurant is actually the private rooms which seat a total of 90 guests.<br />
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I wished I had booked a private room. The small communal dining room felt like a leftover space. While the ceiling is high the size of the room is not large. The space felt like a large living room of a large apartment. On one side of the room is a floor-to-ceiling glass overlooking an outdoor terrace. On the other side is a wood panel wall with niches and awkwardly installed recessed speakers near the top of the wall. The tables are placed either next to the wall or the exterior glass with circulation in between.<br />
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Our table was comfortable but would have been better if it was a bit larger. The tablewares are elegant. The decorative rim of the charger plate seems to echo the pattern of the drapery along the window. The tables are set with wine glasses, which feel more western than Chinese. Instead of wine, I ordered a tea which was served in a small individual pot with a small cup. I quite appreciated the small cup as the tea can be sipped hot; very few Chinese restaurants give much thought to tea service.<br />
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My friend is a Hong Kong resident, and a connoisseur of Cantonese cuisine, hence he did the ordering. Like any self-respecting Chinese diner, he forwent the tasting menu, instead discussed the menu with our waiter to see what are the best dishes to order. We started with two amuse-bouches, which appeared simple. The taste is clean and you get the direct flavors of the ingredients. The characteristics of these snacks foreshadow the main dishes.<br />
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Our first dish was a wok-fried Wagyu beef with spring onions. I was a bit surprised the beef was served first. Nevertheless, both the quality of the beef and the execution were very good.<br />
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The sea cucumber was cooked nicely with just the right texture and was delicious. There's an austerity and simplicity with the presentation that is quite refreshing.<br />
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Next course was a soup with grouper and vegetables. Again, quality ingredients, well- made, and refined flavors.<br />
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Our last savory course was a crispy salted chicken.The skin was crispy and the meat was flavorful; just a delight.<br />
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For dessert, we ordered the signature swan-shape custard pastries, which were well made and delectable. However, the swan neck was unnecessary, as it didn't add much to taste of the pastry. I am not sure why the pastry was kitschy which was in direct contrast to the savory dishes.<br />
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Is T’ang Court a Michelin three-star restaurant? The short answer is yes. If the Michelin Guide awards a restaurant three stars then it is; the stars belong to Michelin. But is T’ang Court, as Michelin’s definition of three-star restaurant, worth a special journey? I would say no. For a visitor to Shanghai, especially a first timer, it would be more interesting and rewarding to dine at a Jiang-Zhe restaurant. Shanghai is the largest city in this region known as the fish and rice country. Besides the abundance of produce, seafood and the freshwater ingredients, this region is home to many of the famous Chinese products: Jinhua ham, Shaoxing wine, and Zhenjiang vinegar. Dining at T’ang Court doesn’t connect a visitor to the local land and flavors. T’ang Court is a very good restaurant — the service is pleasant and the food is well executed. I enjoyed my lunch. However, T’ang is not a destination restaurant, certainly not worth a plane ride.Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com0tag:blogger.com,1999:blog-9203577587049612151.post-3661056114618488652017-04-30T21:26:00.000+08:002017-06-03T17:54:32.067+08:00Sugar Pea"How did you know about this restaurant?" My friend asked as we were waiting to be seated at Sugar Pea. I jokingly replied, "You don't know chef Sandy Yoon, the 2014 <a href="http://www.internationalculinarycenter.com/news/grad-sandy-yoon-wins-best-chef-shanghai/" target="_blank">Best Chef</a> in Shanghai from That's Shanghai Magazine?" My friend looked at me with a sense of puzzlement. Frankly, I don't remember how I found out about chef Yoon and the restaurant. Perhaps it was during a conversation with chef Kin Ming Lam of <a href="https://www.chouchou.com.tw/" target="_blank">Chou Chou</a> and Achoi. Yoon and Lam both worked for 3-Michelin-star chef Jean Georges Vongerichten in Shanghai, where Yoon was the Chef de Cuisine at Mercato and Lam was the Executive Chef at the flagship Jean Georges. I don't know how Vongerichten lost both of them to Taipei, but his loss is my gain. I am very happy that they have set up shops in Taipei.<br />
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Chef Yoon opened the door to Sugar Pea in late 2016. Situated in a small alley behind Cathay General Hospital in the eastern district of Taipei, the restaurant is on the ground floor of a nondescript 7-story apartment building. The exterior of Sugar Pea consists of white siding and white window frames. The main door looks like an entrance on an old house with stiles, glass panels, bottom panels, and two sidelites. The design of the exterior reminds me of the white clapboard houses on the East Coast of the United States. The entrance is raised up slightly on a dark wood terrace with several potted plants.<br />
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The domestic feel of the restaurant continues on the inside. A tall dresser serves as the hostess stand. The floor is mostly in light colored wood planks. The walls are principally painted white or light grey with white baseboard. The ceiling coves are lined with white moulding.<br />
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The restaurant is not large. The open kitchen is located in the back in an L-shaped space: one deeper side for the hot stations and the other shallower side for the preparation of desserts and drinks. Both sides are clad with white tiles and white marble counters. While the kitchen is not fancy, it is quite pleasant with fruits, cakes, and dinnerware spread out on the counter. One can always see chef Yoon working behind the counter in a blue chef jacket and white apron; the reverse of the typical white jacket and blue apron.<br />
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The tables are in light wood veneer with white round base. The chairs are the classical-looking Windsor side chairs in light wood color, which again remind me of the houses on the east coast of United States. The dining area is not large and there are essentially three seating areas similar to different rooms in a house: solarium near the street, the library with views to the outside, and the kitchen. The three areas have different feel and they are a bit like first, business, and economy class on an airplane. The solarium is the most pleasant with views, daylight, and plantings, where most of the Instagram photos of the restaurants are taken. The library area is slightly removed from the exterior, but still has daylight and views; the objects and books on the built-in shelves provide the sense of being in someone's home. Unfortunately for me, for all of my three visits I sat in the economy class kitchen area which is mostly interiorized. While the kitchen is across the aisle, the view is reduced due to the height of the dining chairs and further obscured by the heat lamps above the counter. The feel of the three different areas are less of an issue at dinner but more pronounced at lunch.<br />
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While the quality of the space varies quite a bit, the food is consistently good. The snappy tagline on Sugar Pea's menu is "wholesome, seasonal, simple cuisine" and the food is precisely as advertised.<br />
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My first meal at Sugar Pea was a Sunday night dinner. The menu at Sugar Pea is not really structured for a standard three course meal that I prefer to have for dinner. Instead of a proper appetizer, there are three choices of crostini. I tried the crab and avocado toast, which was simply delicious. The crostini tasted fresh with a nice combination of different flavors and textures. Furthermore, there was a delicateness, perhaps one could even say feminine touch, that was refreshing.<br />
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The main course at Sugar Peas are salads or bowls with grains, vegetables and a protein. I tried the Chipotle chicken bowl. There were probably over 10 ingredients in the bowl, including red quinoa, black beans, corn, cherry tomato, and avocado. Every ingredient was well prepared and the color was very lively. I really enjoyed the bowl.<br />
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There are only two desserts on the menu, a crumb cake and some cookies with milk. Both desserts were simple but well made. While I didn't grow up in the U.S., I can imagine a child eating these desserts after school or on a leisurely weekend. They were very comforting.<br />
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Besides the two desserts, our waitress said we could also order the pancake with banana as a dessert. I know some people like to have breakfast items at all time of the day, I am not one of them. If there is a breakfast item that I would eat as dessert, it would not be the pancakes but the French Toast or Pain Perdu. I hope Sugar Pea would offer a Pain Perdu or the Spanish version Torrijas Castellanas.<br />
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I would try the pancakes on my second visit, a lunch on Sunday. Sugar Pea opens for lunch at 12pm, even on the weekend. I wish the restaurant would open at least an hour earlier so the meal feels more like brunch than lunch. I ordered the Pancake Sliders which is a sausage patty with cheese and fried egg sandwiched between two pancakes. The combination of sweet and salty hits the spot and is what I like about American breakfast. The salad on the side is fresh and dressed perfectly. The seemingly simple task of dressing a salad, which many restaurants in Taipei can't do properly, shows the care placed in the food by the kitchen.<br />
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Sugar Pea offers three cold pressed juices and two smoothies. Every time I dined at the restaurant I ordered one of them. The combination of the ingredients are always interesting. For example, the juice called Green Glow contains cucumber, celery, spinach, herbs, kiwi, and lemon. Another one mixes green apple, red beets, ginger, and lime. The price of the drinks are around NT$180 which is roughly half of the cost of the Pancake Sliders. Nevertheless I tried several of the drinks and I liked all of them.<br />
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On my third visit, a lunch on a weekday, I ordered Yoon's version of the Korean mixed rice dish, Bibimbap, for my main course. The beef was flavorful, the vegetables were fresh, the egg was runny, and the Korean chili sauce served on the side provided just the right amount of heat. It was a pleasure to eat. I long for Sugar Pea to have a hot soup on the menu, which I could have as an appetizer. Soup can be prepared ahead of time and shouldn't be too taxing on the staff. Instead I ordered the crab toast once more, which I liked very much and certainly didn't mind eating it again<br />
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I enjoyed dining at Sugar Pea. While the ambiance may be casual and homey, the food is precise and well- considered. The service is also professional and always provided with a smile. Nevertheless, I wish the restaurant's menu have more variations. Perhaps this is my quirk, but I prefer to eat certain items at certain time of the day and day of the week. I would like to see the lunch menu be slightly different from dinner. Since my kids are not fans of salad or cooked vegetables, it would be great if the menu would have a few children-friendly dishes such as pasta. I wonder if the menu will become more ambitious. Chef Vongerichten once <a href="https://twitter.com/jeangeorges/status/231477164258762752" target="_blank">tweeted</a> that Yoon "amazes me with her talent and creativity." In Shanghai Yoon was in charge of a high profile restaurant with over 180 seats. In comparison, Sugar Pea seems a bit too small and simple for Yoon's talent. Perhaps, she has bigger plans and they will take time. As of now Sugar Pea is only open 5 days a week and dinner service ends at 8:30pm. While Yoon seems to be limiting her output, I am happy with everything she has to offer; but I am hungry for more.Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com4106, Taiwan, Taipei City, Da’an District, 仁愛路四段300巷20弄16號1樓25.0362075 121.55350079999994-0.48582700000000045 80.244906799999939 50.558242 162.86209479999994tag:blogger.com,1999:blog-9203577587049612151.post-9122162467106189122017-03-01T21:04:00.001+08:002017-03-02T11:37:34.945+08:00Long Time No See: Xavier Boyer at Gaddi'sThe door to the small elevator gradually slid open. Stepping in, I thought to myself, did I take this same elevator more than thirty years ago? Was the carpet blue? Was the elevator always this slow?<br />
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When the elevator door opened again, I arrived at the the reception of <a href="http://hongkong.peninsula.com/en/fine-dining/gaddis-french-restaurant" target="_blank">Gaddi's</a> Restaurant at <a href="http://hongkong.peninsula.com/en/default" target="_blank">Peninsula Hotel</a> in Hong Kong. The last time I was here was in the mid-eighties – the first time I was in Hong Kong and the first time I was in a fine dining French restaurant. My parents told me that I was well-behaved throughout the long dinner. At that time, no one took pictures of the food. As I looked around the beautiful dining room from the waiting area, there was no madeleine moment like Proust. Frankly, I don't remember anything from that night.<br />
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Gaddi's is the granddaddy of fine dining restaurants in Hong Kong. Named after the then-general manager Leo Gaddi, the restaurant has been around for over sixty years. Since its inception Gaddi's was always one of the finest restaurants in Hong Kong. When I was there thirty some years ago, Gaddi's was head and shoulders above everyone else. At that time, there was no Michelin guide in the city, and neither were any high-end international hotel chains present; even the Mandarin Oriental group wasn't established (the hotel on Connaught Road was just called the Mandarin). However, in recent years while Gaddi's has maintained its prestige, the restaurant can no longer claim to be the best in town. The perception of Gaddi's was a slightly dated restaurant with an opulent but classical interior and traditional French cuisine. While not chasing the latest trends is a virtue, it also meant the restaurant has fallen off from the radar of the food journalists and diners. It also didn't help that the alleged dispute between the Michelin Guide and Peninsula Hotel seemed to have left Gaddi's without any Michelin stars. Hence, while I have been back in Hong Kong many times since my first visit, I wasn't that interested in dining at Gaddi's.<br />
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Last September I finally returned to Gaddi's because the restaurant has a new chef, Xavier Boyer, formerly the Chef de Cuisine at three Joël Robuchon restaurants around the world. I got to know Boyer when he spent a year at Taipei's <a href="http://www.robuchon.com.tw/" target="_blank">L'Atelier de Joël Robuchon</a>. While Boyer's stay was short, it was memorable. Sometimes when I was at L'Atelier he would design a <a href="http://michaelfei.blogspot.tw/2013/01/avec-xavier-boyer.html" target="_blank">special menu</a>. He was very creative and seemed to have enough leeway from the Robuchon group to invent new dishes. At my last meal in Taipei with Boyer, prior to his transfer to L'Atelier in London, I told him I will try to visit him there. Before I had a chance to travel to London, Boyer was back in Asia again.<br />
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For my dinner at Gaddi's, rather than be in the main dining room, I made a reservation for the chef's table inside the kitchen. From the reception area, a waiter took my friends and I through a narrow corridor that led to the kitchen. Boyer was standing next to the pass of the kitchen waiting for us. I was very happy to see him again after several years. Instead of the black chef jacket he wore at L'Atelier, Boyer is now in the traditional chef white. <br />
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Before we sat down, Boyer gave us a tour of the kitchen. Gaddi's kitchen is actually just one of the several kitchens in a large contiguous space. Next door are the kitchens for room service, pastry, and chocolates. At one point during the tour we took a peak inside of a pastry station where the staff was already busy designing the gingerbread house for Christmas. I genuinely enjoyed the tour as it gave me a sense of the large operation of a five-star hotel that is often hidden from the guests.<br />
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The chef's table is nestled in a small alcove of the kitchen across a corridor from the cook's work stations. The aesthetics and ambiance of the chef's table are completely different from the tables in the dining room. Instead of a large table with white tablecloth and wood legged upholstered chairs, the chef's table is a four-person rectangular metal table with white-cloth placemats and satin aluminum Emeco navy chairs. The floor under the table is not carpeted but the same tiles as the rest of the kitchen. Exposed pipes run across the tile walls and doors for maintenance. The chef's table is actually quite warm as the diners are inside a working kitchen.<br />
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The server started our dinner by placing a brioche on the table with three types of butter. I like the act of breaking bread with my fellow diners. A few moments later, other types of bread were offered from a basket. I was told later by the server that the brioche was a new offering by Boyer intended to replace some of the classic bread. However, some of the regular customers insisted on being served the classic bread and Boyer had to offer both. I began to realize while Boyer may have taken over the kitchen of Gaddi's and its food, he may need to be patient with the changes to the restaurant.<br />
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The dinner started with a trio of amuse bouches: delicate, beautiful, and well flavored.<br />
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The first course is Scottish Langoustine topped with caviar and served with beetroots on the classic Geddi's dinnerware: just a beautiful and delicious plate of food.<br />
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The hamachi tartare was marinated with a little lemon, molded in a ring, and topped with a herb salad. On the side is a mustard sorbet that provided a nice little zing to the flavors.<br />
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The third course was a scallop from Hokkaido, served with Colonnato lardo, a thin slice of cauliflower, cauliflower cream, and a bacon chip. I always love the combination of seafood with pork fat. This was also the first dish not served with the classic Gaddi's plate.<br />
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The fourth course was sautéed porcini in a porcini custard with Iberico ham and parsley sauce. The dish was earthy, hearty and the mushroom chips offered a nice contrasting texture. When Boyer brought over the dish, I told him the use of photograph under the glass bowl reminded me of some of the plates at L'Atelier. He smiled and said, one cannot forget where one comes from. Prior to joining Peninsula Hotel, Boyer worked with Robuchon for around 16 years.<br />
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The next course was a piece of foie gras seared perfectly. Plated on the other side are rhubarb and mango coulis, which balanced and complemented the fattiness of the foie.<br />
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The sixth course, using another plate, was a line-caught sea bass from Brittany. The skin was crispy and the interior was moist and well seasoned. The fish was served with the classic combination of artichokes and barigoule sauce. The cannelloni on the side came with a some black truffle. This was just a wonderful dish. When Boyer described the dish at the table side, I jokingly told him he no longer worked with with local seafood. Unlike when Boyer was in Taipei, where he used many local ingredients, in Hong Kong just about everything is imported. While Boyer lost some connections to the local land, he gained quality and consistency. Furthermore, Peninsula Hotel gives him the freedom to buy just about anything he wants from anywhere in the world.<br />
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In Taipei Boyer mostly used duck from Yilan County, on the northeastern coast of Taiwan. In Hong Kong, he sources the duck from Challans, the west coast of France. Unlike the duck in Taiwan, the product from France is more gamey in flavor. This is due to the different ways the ducks are killed: draining versus not draining the blood of the animal. The duck for my seventh course of the night, was paired with a turnip and fig and served with a Port-based sauce. The simplicity and clarity the dish was quite enjoyable.<br />
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For the last savory course, Boyer used a beef from Australia called <a href="http://www.rangersvalley.com.au/black-market/" target="_blank">Black Market</a>: a special Black Angus beef that's highly marbleized. As Boyer brought over the dish to our table, he said, everyone is using wagyu these days and it is a little boring. Maybe I am jaded, but I couldn't agree with him more. Boyer topped the fillet with black truffle coulis and served it with a parmesan sauce. The beef was simply superb.<br />
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After we finished the savory courses, Boyer asked if we would like some cheese as he had some really nice ones. By this time, I was already extremely full, but how could I resist? Few restaurants in Taipei have a selection of cheese. The server brought over two trays and I picked out a few.<br />
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After the cheese course we were served a chocolate dessert conceived by Peninsula Hotel's Executive Pasty Chef, Frank Haasnoot. Similar to Boyer, Haasnoot also spent some time in Taipei, working at Mandarin Oriental Hotel. The dessert consisted of chocolate Chantilly cream, caramelized hazelnuts with slices of lime, and milk chocolate ice cream. This dish reminded me a little bit of the mushroom dish earlier in the dinner: the idea of using one ingredient in several variations. For a chocolate lover like me, the dessert was fabulous.<br />
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As if we didn't have enough chocolate, the server brought out a beautiful box of bonbons made by Haasnoot's team as well.<br />
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As we sipped our teas and espresso, the server brought us more things to nibble. Before we finished our dinner, I remarked to my dining companions that, I don't care if Gaddi's doesn't have a Michelin star, no one in Hong Kong tonight is eating better than us.<br />
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Besides what was on the plate, the service throughout the dinner was exemplary. It was just the right balance of formality and friendliness. Throughout the night, the servers were not always in our views, yet whenever we needed something, they would somehow appear without missing a beat. At one point during the dinner, my napkin fell off to the floor. Seemingly from nowhere, a server magically appeared, picked up the napkin, and handed me another fresh one. The servers were very well trained: precise and professional yet not overbearing.<br />
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Gaddi's Restaurant and Peninsula Hotels are institutions in Hong Kong. Similar to the restaurants in the famous old hotels in Europe, such as Plaza Athénée and Le Meurice, Gaddi's is full of history and traditions. On the one hand, history is an invaluable asset (money cannot buy history) and provides the restaurant with a sense of prestige. On the other hand, history can also be a burden, as traditions, memories, and the inertia of status quo, often become an invisible resistance to change. Therefore, for a restaurant such as Gaddi's, moving forward will require a careful balance of the old and the new.<br />
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For a long time Gaddi's always served traditional French cuisine. Even now, you can still order the Canard à la Presse; Boyer said he just needs a three-day notice to procure the duck from France. While some of the old dishes remain, Boyer is slowing changing the menu and adding his personality to the food. Boyer is also using new tablewares to present his food. At the time of my meal he said he was only using the new plates at the chef's table and in the private dining room. In time as the customers, especially the older regulars, become accustomed to and comfortable with Boyer's new creations, the restaurant will not only taste but feel different. Institutions have a tendency to evolve slowly. But I have confidence that Gaddi's has the desire to change. After all, while Gaddi's seems to be old-fashioned, it was actually the first restaurant in Hong Kong to introduce the concept of chef's table in 2000. Boyer is a dazzling chef and it will be interesting to see how he will transform the restaurant. Based on my dinner, Gaddi's is already an exciting place to dine again.Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com3Salisbury Rd, Tsim Sha Tsui, Hong Kong22.2951024 114.17185369999993-3.2269320999999991 72.863259699999929 47.8171369 155.48044769999993tag:blogger.com,1999:blog-9203577587049612151.post-68927752133720675492017-02-12T21:34:00.001+08:002017-02-16T14:05:33.501+08:00Take Some More TeaInstead of water, meals at Chinese restaurants are usually accompanied by hot tea. However, I don't like the tea service at most Chinese restaurants. Tea, just like food, is about timing and temperature. A freshly brewed cup of tea is delicious. But often times the tea diners take at Chinese restaurant is unpleasant: lukewarm or steeped for too long.<br />
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At simple or inexpensive Chinese restaurants, tea is generally offered in one of two ways. One is for the server to walk around with a large teapot and pour the tea for guests at various tables. This is the way tea is served at places in Taipei such as Din Tai Fung. Since the tea is poured from a large pot, the tea is usually hot, especially in a busy restaurant. The downside is the diners do not have a choice of the tea. The diners may need to flag down the server to get refills, and depending on the level of service, the wait for the refill may be quite long.<br />
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The other method is to place a teapot at the table for the diners to pour themselves the tea. When the teapot requires a refill of hot water, one can either wave down a server or partially open the lid of the teapot. At a slightly fancier restaurant, the teapot at the table may sit on top of a candle lit teapot warmer. While some restaurants may offer the diners a choice of the tea, the diners cannot really control the steeping of the tea. After the first round of pour for the table, the tea is oversteeped and becomes bitter.<br />
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Neither of these two types of tea service is ideal. But since tea at simple or inexpensive Chinese restaurants are usually complimentary, it is unlikely the situation will change. The diners probably shouldn't be too demanding.<br />
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But at high-end Chinese restaurants, where tea is charged for (usually per person), the diners should expect a bit more care with the tea service. Unfortunately, most of the time, very little thought is given to tea by the restaurants.<br />
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In posh Chinese restaurants, the diners can choose the type of tea and the server will pour the tea for the guests with a dedicated pot. In an effort to show good service, the servers tend to refill the teacups at the table frequently without being asked. This is similar to the servers at fancy western restaurants who keep the guests' water glasses constantly topped off. The problem is tea is not similar to water because the temperature of the tea makes a big difference to the taste. Sometimes the server pours the tea but the diner is not ready to drink. By the time the diner wants to drink the tea, it is not longer at the right temperature. At some restaurants, the teacups are usually a bit too large. Most of the time, the diner cannot finish the entire cup of tea in a few sips. The unfinished tea in the cup soon loses temperature.<br />
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Upon seeing the half empty cups, the attentive servers, without asking, will top off the tea cup. The problem is adding hot tea to the cold tea merely makes the whole cup lukewarm. Furthermore, because the tea has been constantly steeping in the pot, placed at a serving station instead of the table, each successive refill makes the tea more bitter.<br />
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Unless one pours out the remaining tea every time before the server refills the cup, one is bound to be in this perpetual state of drinking oversteeped lukewarm tea throughout the course of the meal.<br />
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I believe there are solutions to this problem. First of all, I suggest high-end Chinese restaurants simply let the diners pour their own tea. The notion of self-service may seem counterintuitive at restaurants where the guests expect to be served. But since the server doesn't always grab the food with chopsticks from the share plates for every guests, why not treat tea like food? Also, it will allow the guests to decide how much tea they want to have for each pour and at least have the tea stay hot in the pot.<br />
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At the Michelin-one star Chinese restaurant, <a href="http://en.palacehoteltokyo.com/restaurant/amber-palace/" target="_blank">Amber Palace</a>, in Tokyo, they clearly thought about this issue. Instead of having one pot of tea, they provide two pots: one with just hot water and the other with just tea leaves. The pot with the hot water is kept warm with a small candle. The pot with the tea is clear so one can see the tea being steeped. The diners serve the tea themselves by pouring hot water into the pot with the tea leaves, steep, and then pour into the teacups. The diners have the freedom to decide how long to steep the tea and how much to drink, while keeping the tea hot.<br />
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Will other high-end Chinese restaurant follow suit or think of other ideas? I hope so. Tea is an integral part of Chinese cuisine and deserves more thought on how it is served.Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com2tag:blogger.com,1999:blog-9203577587049612151.post-41602009341178002532016-12-18T11:05:00.003+08:002016-12-29T09:53:58.691+08:00Black Tie Only<div class="separator" style="clear: both; text-align: center;">
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Of all the cities in the world that host an international film award and have formal social gatherings, Taipei probably has the least number of tuxedo per capita. The modern day dinner jacket or the American tuxedo has been in existence for over a hundred years, but it has never caught on with the men in Taipei. In Taipei, if the invitation to an event says "Black Tie Only" and you show up wearing a tuxedo, you might be the only black tie at the table.<br />
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I don't know why men in Taipei are so anti-formal. Perhaps one day a sociologist will be able to explain the rationale to me. Our society has deep cultural roots with many traditions, and cares greatly about giving respects to others. But we have thrown formality in clothing to the wayside. Most men simply don't care to dress appropriately for the occasion. It is not a question of style, but a complete lack of desire to make any effort.<br />
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Recently by chance, I watched the broadcast of the Golden Horse Awards. I was appalled by the clothing of the men who attended the award ceremony. Most of the men didn't show up in any kind of formal wear; they projected a sense of I don't give a damn about this award and I'd rather be elsewhere.<br />
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This year's show opened with a tribute to the director Edward Yang 楊德昌 and his movie, A Brighter Summer Day 牯嶺街少年殺人事件. An old image of the elegant young director dressed in a tuxedo was projected on the stage.<br />
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But the people, mostly men, who worked on the film twenty-five years ago paying tribute to the director were sloppily dressed. Of all the men on stage, there was only one black tie. A few men were in jeans and t-shirts and looked like they just dropped off their kids for a weekend play date and on their way to brunch. Golden Horse Awards invited jury members from abroad and is an opportunity for Taiwan to display its soft power, yet this is the image we project to the rest of the world?<br />
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The image also shows the discrepancy between men and women. Most women, not all, were dressed for the occasion. With the awards show in Taipei now following the format of the awards show in the U.S, women know they are the focus of attention. Many actresses sauntered down the red carpet in garbs sponsored by designers. Overall, none of the dresses had the wow factor, and I didn't like some of the outfits, such as the Vera Wang dress worn by Ariel Lin. However, while the dresses didn't dazzle, the women put in a lot of effort. Unfortunately the same cannot be said for the men.<br />
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The appearance, I don't think we can call it fashion nor style, of the men at this year's award ran the gamut. In accepting the Lifetime Achievement Award, screenwriter Chang Yung Hsiang went with the business suit and the power red tie. He even followed the the new U.S. President-elect Donald Trump's style by extending the tie way below the belt.<br />
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The three men who accepted the award for Best Visual Effect didn't really care about their own visual effects. Three men in three different color suits. They looked like they were accepting some awards at their local Rotary Club lunch gathering.<br />
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Best Art Direction went to Chao Shih Hao who accepted the award dressed in a red turtleneck, long hooded zipper jacket, and baggy jeans. Perhaps he thought he was accepting an award in Silicon Valley. Unless you are a billionaire and a founder of a global internet company, wear a tuxedo.<br />
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Many men showed up in suits but in an half-hearted manner. The last award of the night went to the director Zhang Dalei of Summer is Gone. Tieless with an open collar white shirt, the two adults looked like they just finished work at a funeral home. Of all the three people on stage, only the ten-year old took the Golden Horse Award seriously. Most people didn't see the broadcast and wouldn't remember the content of the winner's long-winded speech, but would probably see the image on the day after as it was transmitted throughout the Mandarin-speaking world. <br />
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Every half hour or so during the broadcast, I would come across a few men dressed in tuxedos. However, many of them were actors from Hong Kong or Korea, such as Michael Hui and Song Seung Heon. Visitors treated the Golden Horse with the respect it deserves while local participants didn't.<br />
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Tuxedo makes a man look good as it hides the faults and elevates his stature. While men's formal wear is not as interesting as women's ball gowns, there is still a large number of subtle variations that can express a wearer's personality and style. The best examples are the different dinner jackets worn by the actors playing James Bond. Just compare Sean Connery in Dr. No in 1962 and Daniel Craig in Casino Royale in 2006: midnight blue or black; grosgrain or silk; shawl collar or peak lapel; studded or concealed placket; pleated or plain front; diamond pointed bowtie or straight butterfly. The beauty of the tuxedo is that it never goes out of style.<br />
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When the Taiwanese director Ang Lee accepted his Academy Award he wore a tuxedo. Imagine if he had accepted the award wearing a pair of jeans and t-shirt, what kind of message about the people of Taiwan would that send to the world? As a resident of his home country I would be embarrassed.<br />
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Formal wear does not necessarily have to be a tuxedo. For people who are uncomfortable with wearing a tuxedo or fear of being accused of cultural appropriation, do what Jackie Chan did at this year's Academy Awards; go old school and wear a traditional long robe. The alternative is the Zhongshan suit. Both options are better than a tie-less suit.<br />
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The writer Feng Menglong (1574–1645) in the Ming dynasty wrote, 佛是金裝,人是衣裝, roughly translated as, Just as the Buddha needs gold paint, people need to wear clothes. In the west William Shakespeare (1564-1616) wrote in Hamlet, For the apparel oft proclaims the man. Both men made observation about the importance of clothing at around the same time. While the world of fashion has evolved and the society has become increasingly casual with clothing, the West still dresses for the occasion. Dressing up is not just about looking good but about showing respect to the host and the occasion. Regrettably the men in Taipei has mostly forgotten the importance of clothing. </div>
Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com3tag:blogger.com,1999:blog-9203577587049612151.post-35282611673370313262016-12-09T23:02:00.000+08:002017-06-03T17:55:42.906+08:00(Now)here: Amber at the Landmark Mandarin Oriental Amber at the Landmark Mandarin Oriental in Hong Kong is one of the best restaurants in the world.
The restaurant is a perennial player on the fashionable list of <a href="http://www.theworlds50best.com/" target="_blank">World's Best 50 Restaurants</a>. This year Amber is ranked number 20. The restaurant is also ranked number 4 on Asia's Best 50 Restaurants list. Since the inception of the Hong Kong and Macau Michelin Guide in 2008, Amber has consistently received two Michelin stars. Some of my friends in the restaurant industry speak highly of Amber and its chef Richard Ekkebus. There is also a prevalent sense among many food bloggers and the press that it may be only a matter of time before <a href="http://www.amberhongkong.com/" target="_blank">Amber</a> is elevated to three stars. Yet, every year Amber remains at the same place and this November is awarded two Michelin stars again. In <a href="https://www.timeout.com/hong-kong/blog/the-michelin-guide-hong-kong-and-macau-2017-has-been-announced-110916" target="_blank">reporting</a> on Michelin's announcement, Timeout Hong Kong posed the question:<br />
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<i>What does Richard Ekkebus have to do to get his third star? Michelin seems stubbornly insistent on keeping him locked at two stars. </i><br />
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Michelin works in mysterious and sometimes controversial ways. The Hong Kong Michelin guide has been accused by some people as being generous with its ratings: awarding stars to restaurants in Hong Kong that would not receive them if the restaurants are in France. If it is true that Michelin grades restaurants in Hong Kong on a curve, would Amber just be a one-star restaurant in France? In general, I tend to agree with Michelin's rating. I do not know Michelin's rationale for keeping Amber at two-star. Perhaps the reason is consistency, a criteria often cited by Michelin's director whenever he gives an interview on restaurants anywhere in the world. I don't know Michelin's thinking but I concur with their inspectors on Amber's two-star rating.<br />
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I have been to Amber twice. The first time in April of 2014 and recently in September of this year. Both of my dinners were very good but each time I came away feeling something was missing.<br />
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Amber is located on the 7th floor of the tony <a href="http://www.mandarinoriental.com/landmark/" target="_blank">Landmark Mandarin Oriental</a> hotel. The route from the street to the restaurant is a bit circuitous. The first impression of the hotel entrance off Queen's Road is actually the noise coming from the boisterous MO Bar on the left. A staircase in the middle, though not necessarily inviting, provides the only way up one floor to the hotel reception. Walking past the indifferent hotel receptionists, one turns left at the back of the lobby to find the elevators to go up to the restaurant. This has the effect of detaching from the hustle and bustle of the city and entering a separate world.<br />
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The interior of Amber is beautifully designed by the New York-based designer Adam Tihany. The shell of the interior is a harmonious combination of wood panels, beige banquettes, and brown carpet. Floral arrangements in tall vases dot the room, similar to three-star restaurants such as Le Cinq in Paris and Le Bernardin in New York City. The main feature of the room is the atmospheric ceiling which consists of 4,200 vertical suspended golden rods. This seems to be inspired by the Richard Lippold installation at the bar of the Four Seasons Restaurant in New York City. While there are windows in the restaurant, at dinner time the translucent shades are drawn providing only a vague sense of the outside environment. The ambiance is completely interiorized, however I actually prefer to have bit of the feel of Hong Kong in the restaurant.<br />
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At my first dinner, I was led to a table by a French waiter. After being seated, the restaurant manger, also French, came to the table to distribute the menu. The waitress asking me about bread sounded American. The service was professional and excellent, but I felt a slight sense of disorientation. Allowing myself a momentary suspension of disbelief, I could easily imagine myself not sitting in a restaurant in Hong Kong but in Singapore, New York, or any of the large international cities. Amber seems to have very little connection to its locale.<br />
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The food at Amber further dislodges the diners from Hong Kong. Given the size of Hong Kong, it is difficult to source products locally. Most of the fancy western restaurants in the city simply just use imported products. Since Hong Kong is an international hub, almost any product anywhere in the world can be ordered and delivered within 48 hours. At Amber, Ekkebus has the luxury of sourcing the best products in the world. He can charge high prices for the food and have the clientele who appreciates them.<br />
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For my dinner in April of 2014, most of the products used for the tasting menu were from France; fantastic handcrafted butter from Jean-Yves Bordier of Brittany on the west side of France; delicious oyster and abalone from the west coast of France; a beautiful stalk of asparagus from Jérôme Galis of Piolenc in the south of France; wonderful lamb from the Pyrenees on the southwest of France; amazing unpasteurized cheese from Bernard Antony of Vieux-Ferrette on the eastern border of France; and Valrhona chocolate from east-central of France for dessert.<br />
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The products are great and you would find them at the three-Michelin-star restaurants in France, such as the ones operated by Alain Ducasse. With Ducasse, these products are local and express the sense of place and the seasons. Eating the same products at a different climatic region 10,000 kilometers away seems to only magnify the detachment of place. The ingredients are seasonal for France but not necessarily for tropical East Asia. I am not a locavore, but I wish the food feels more Hong Kong than Paris.<br />
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In 2013 Ekkebus started a collaboration with VistaJet, a private jet charter company. While flying on the Bombardier Challenger 850 at the altitude of 39,000 feet, a passenger can enjoy Amber's signature sea urchin cauliflower mouse with caviar just as a diner does in Amber's dining room. The food is truly global and groundless.<br />
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For a western restaurant in Hong Kong to be connected to the local culture is not easy. But there are things a restaurant can do. For instance, at my recent dinner at Amber I ordered a tea after the dessert. The server recommended a Japanese Sencha which was served in a beautiful clear teapot. After seeping for a few minutes, the served poured a cup and it was wonderful. However, the server didn't pour out all the tea from the teapot. By the time he refilled my cup, the tea became bitter. A few moments later he asked if I wanted the teapot to be refiled, I declined as the tea was already undrinkable. Clearly, not much care was given to tea service. Restaurants in New York and Paris, such as <a href="http://ateranyc.com/" target="_blank">Atera</a> and Yam'Tcha, are miles away from the best tea producing countries, yet they make a great deal of effort in incorporating tea into the dining experience. The proprietors of Yam'Tcha travel to Hong Kong to buy tea. Yet at Amber, located where tea culture is prevalent, tea is simply an afterthought.<br />
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Placelessness is my own bias and not Michelin's concerns. After all Hong Kong's two other three-star restaurants, <a href="http://www.robuchon.hk/" target="_blank">L'Atelier de Joël Robuchon</a> and Otto e Mezzo Bombana, are not local in terms of chefs and ingredients. Michelin actually published five criteria by which they rate a restaurant: quality of the products, mastery of flavor and cooking techniques, the personality of the chef in his cuisine, value for money, and consistency between visits. As mentioned earlier, the products used at Amber are fantastic and the dishes are well executed. While it is hard to put a value for the money, the price Amber charges for the full tasting menu, expensive at HK$2,068, seems to be what the market calls for. The tasting menus at top tier restaurants in Hong Kong are about the same, with L'Atelier at HK$2,080 and Caprice at HK$1,999. As for consistency, I only ate at Amber twice in the span of two years, thus I am not able to judge. Of the five criteria, the only one that is problematic in my mind is the personality of the chef in his cuisine.<br />
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Unlike the food at Robuchon's Atelier or Otto e Mezzo, the dishes at Amber doesn't seem to be rooted. While the food at L'Atelier may be similar at every location in the world, the food feels deeply connected to Robuchon's essence. This is partly why one of Robuchon's signature dishes, mashed potato, is such an amazing food. There is a great deal of techniques involved yet it never loses a connection to the humble origin. Despite the refinement of the traditional food, there's a soul. The same can be said for the dishes by Umberto Bombana. When he slices the truffle tableside, you feel the unwavering connection of the chef and where he came from. With the food at Amber you don't really feel the core of Ekkebus.<br />
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When I ate at Amber recently, the French ingredients were mostly replaced by Japanese products. Some of the presentations and techniques used for the dishes also took on a Japanese feel. While the interior design remained the same, the food seemed completely different. I was taken a bit aback by the transformation.<br />
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The dinner started with five amuse bouches, each representing a sensation of taste: sweetness, sourness, saltiness, bitterness, and umami. The umami dish was very reminiscent of the food served in Japanese restaurant in Japan.<br />
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The first course was a Japanese oyster served with sake, followed by raw aji mackerel with tomato. Both dishes were very refreshing. The third dish was the replacement of the signature uni dish, which was no longer on the menu and donated to <a href="http://insitu.sfmoma.org/" target="_blank">In Situ</a> of San Francisco Museum of Modern Art. Instead of a mousse, the uni was served with ribbons of kohlrabi. The fourth dish was foie gras. One would think with this ingredient the meal would move away from Japan and back towards Europe. Instead, the foie gras was poached and served with daikon fondant and radish in a dashi broth. It was well executed and delicious. But if the foie gras was served in a lacquerware, it wouldn't be out of place in Kyoto's Kikunoi.<br />
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The main savory course was a predictable ingredient: Japanese wagyu beef. The strip loin from Miyazaki was of very high quality and the dish was very good. The sauce of horseraddish and pepper berry emulsion gave the dish a nice kick, which I quite enjoyed.<br />
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The dinner didn't really turn towards Europe until the cheese course. As with my previous visit the cheeses from <a href="http://www.fromagerieantony.fr/8/Our-Story/The-Antony-Story" target="_blank">Bernard Antony</a> were wonderful. However, the focus on Japan returned again with dessert. One of the two desserts was a pineapple poached in Junmai Daiginjo. By the end of the meal I felt I was at a restaurant in Japan and Amber had a guest chef instead of Ekkebus.<br />
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Ekkebus started his training in the Netherlands followed by stints at some of the best restaurants in Paris: Pierre Gagnaire, Alain Passard, and Guy Savoy. Afterwards he worked on two islands, Mauritius and Barbados, before arriving at Hong Kong. I wonder if Ekkebus is a modern day Flying Dutchman, who travels around the world and doesn't touch down. The food at Amber lacks a bit of soul. Sometimes Ekkebus seems to be chasing after new ingredients, wanting to be the first to incorporate them into dishes. Other times the food seems to be a reflection of his current interests and recent travels. Maybe he changes his food drastically as a response to the demand of his fickle clients. Ekkebus seems to be in the hunt for the here and now instead of building from a central core.<br />
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When Amber started in 2005, it was a modern European restaurant. By the time I first ate at Amber it had already changed into a modern French restaurant. With my recent dinner Ekkebus seemed to have transformed Amber into a Japanese restaurant. The standards are always high. But I wonder what will Amber morph into next year, Nordic, South American, or Chinese? A restaurant is like a person and will change as time goes by. Change is good and also necessary. But I want to know the essence of the person and understand what's driving the change. A person doesn't need to take on a new personality every year. I prefer iteration and evolution rather than reinvention.Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com115 Queen's Road Central, Central, Hong Kong22.2806101 114.15769550000005-3.2414243999999997 72.849101500000046 47.8026446 155.46628950000004tag:blogger.com,1999:blog-9203577587049612151.post-28087426652459942032016-09-18T09:38:00.000+08:002017-06-03T17:56:42.049+08:00Taïrroir: How do you say "Pourquoi" in Taiwanese?Above my head was a cloud of copper panels. At first glance the shimmering effects of the sheets of metal above my table at Taïrroir was quite impressive. But upon closer inspection, questions began to arise in my mind. Why was there a light fixture in the shape of four squares hanging below the ceiling? Why was the light fixture hung so haphazardly that it intersected with another type of light fixture? As the Chinese idiom says, why add feet to the drawing of a snake? Dining at the new restaurant Taïrroir was a frustrating experience. Every nice moment triggered a number of questions that undermined the intended pleasure.<br />
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<a href="http://www.tairroir.com/" target="_blank">Taïrroir</a> is the latest entrant to Taipei's difficult western fine-dining market. The restaurant is led by the Taiwanese chef, Kai Ho, who trained at the now-defunct <a href="https://www.guysavoy.com/" target="_blank">Guy Savoy</a> Restaurant in Singapore. Taïrroir aims to be a Michelin-star quality restaurant and I admire the restaurant's ambition. When my friend asked if I wanted to try the new restaurant three months after its opening, I eagerly agreed.<br />
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When I called to make the reservation I was told the restaurant doesn't allow shorts, tank tops and slippers. I wished the restaurant would require a jacket for men, but since this is Taipei the bar is set low to begin with. Nevertheless, I was happy to learn the existence of a dress code. I certainly didn't want to sit next to someone in a tank top as I once did at Mandarin Oriental Taipei. Two days before my dinner, the restaurant called to reconfirm the reservation and to remind me about the dress code.<br />
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Given the restaurant's emphasis on the appearance of its guests, one would think a certain degree of care would go into the restaurant's own look. But, this was not the case with my initial physical encounter with the restaurant. I arrived at the ground floor lobby of the building that houses Taïrroir only to find a space devoid of any interesting characteristics. One could have mistaken this to any small office building. The only indication and decoration in the lobby was the too-bright back-lit signs on the left wall. The elevator that took me to the sixth floor was also quite bare, not quite the equivalent of a tank top, but clearly very little money was spent on its interior.<br />
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When the elevator door opened I was greeted by a female server in a black dress. At first glance the dress seemed simple. But as the server turned around, the back of the dress featured two open slits along the shoulder blades and an exposed zipper down the center. The design was another example of over-complication. The same can be said for the outfit of the male server, a double-layer two-color vest, that just looked cheap. Instead of worrying about the guests' clothes, the restaurant should give more thought to its own appearance.<br />
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The front part of the restaurant consists of a curvilinear bar counter and a window on the left side with a nice view of the adjacent Marriott Hotel. Both things don't seem to get much use. I arrived quite a bit early before the time of my reservation and the appearance of my friend. However, I was not asked if I wanted to wait at the bar to have a drink first. Instead, I was led directly to my table. Why have the bar if the guests are not invited to use it? Since the tables in the dining rooms are placed far from the windows, the diners don't really have views of the outside.<br />
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The main dining space is small with two rows of tables split by a central isle. The grey upholstered chairs are comfortable and the table with white tablecloth is of a nice size. The table setting is sparse in a nice way with a pleasant small flower arrangement. But one wonders if the table setting can be even more minimal? The black rectangular block at the center of the table seemed mysterious and heavy, yet have no purpose other than as a placement for two small wet hand towels. The choice of the rustic Opinel butter knife doesn't quite go with the mirror finish of the fork and the cloche for the butter. The prominent Opinel label on the wood handle is distracting as if Opinel is a sponsor of the restaurant.<br />
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The views from the table across the room is wanting; On one side is a view of the stainless steel elevator doors that I came through. Even more disconcerting is the prominent fire hydrant next to the elevators. Why didn't the restaurant took more care in designing the foyer? The view to the back side is of the kitchen which is separated from the dining room by a floor-to-ceiling glass wall. Unfortunately, the view is partially blocked by a service cabinet that seemed like an afterthought, and render the large expense of glass slightly pointless. Why not just have a window into the kitchen, which would have framed the view better?<br />
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At dinner Taïrroir offers only two set menus priced at NT$3,000 and NT$4,200. Both menus have the same number of courses and share some of the dishes. The main difference seems to be the main savory course: duck for the cheaper menu and beef for the more expensive one. Since it was our first time at the restaurant, both of us opted for the cheaper set menu.<br />
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The dinner started with a trio of amuse bouches but they neither amused nor awaken the palate. The flavors were rather bland. It was not a good start. I wished the restaurant would focus its effort on making one good canapé instead of three boring ones.<br />
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The first course was a sponge gourd velouté with mushroom "pot stickers". The cup was topped with some foam, which obscured the beautiful green color underneath. The soup was delicious, smooth, and full of flavor. The mushroom tortellini topped with a cheese crisp next to to the soup were dry, lukewarm. and unnecessary. It felt like the chef was forcing the Chinese idea of soup and dumplings onto the diners.<br />
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The second course was a house-made gravlax with Avruga caviar. The word caviar on the menu ought to be in quotes, because Avruga "caviar" is not made with fish roe, but with herring water, salt, corn starch, lemon juice, citric acid, xanthan gum, sodium benzoate, and squid ink. Why does a chef who trained with the three-Michelin star chef wants to use such a cheap and synthetic ingredient? The little dollops of "caviar" didn't add much taste and seemed to be used only to provide some contrasting colors. The salmon was adequate but the sauce, made from charred scallion, was a bit too strong. The look of the sauce could only be described with the French word, déguelasse. I suspected the chef knew it and partially hid the sauce under a chip. The plating of the salmon felt strange as well. The slender filet was laid across the plate intersecting the rim of the circular plate. The raised edge of the rim made cutting the salmon a bit awkward.<br />
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The third course was a salad, a dish that looked better than it tasted. I didn't really enjoy the raw asparagus. The yellow and red watermelons didn't go with the vinaigrette. The different components simply didn't come together.<br />
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The fourth course was the chef's signature dish: 65°C Egg, Yilan “Ya shang”, Taro, Sakura Shrimp. I don't like taro and the the server said the chef could substitute with potato. I felt the lack of taro would alter the dish too much and asked if I could simply have another dish. The answer was a resounding no. Since the chef insisted, I dutifully said, "Oui Chef". When the dish arrived, mine didn't have diced potato as my friend's taro version came with diced taro. Was this my punishment for asking the chef to substitute an ingredient? The menu listed the temperature of the egg, which was strange. Given the menu doesn't say 55°C steak why list the temperature of the egg? It is as if the chef wants me to know that he has an immersion calculator and can cook the egg at a very precise temperature; I can do that at home as well. The temperature only elicits the question, why not cook the egg at another temperature, let's say 63.5°C as <a href="https://www.starchefs.com/events/studio/techniques/Joel_Robuchon/index.shtml" target="_blank">Joël Robuchon</a> likes to do? Despite the questions, I enjoyed eating the dish. The potato purée was smooth. The cured duck and the shrimp packed a lot of flavors.<br />
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The fifth course was Japanese Dorade. For a restaurant that wants to emphasize Taiwanese ingredients, one wonders why use a Japanese fish? Taiwan has an abundance of seafood. Nonetheless, the fish was cooked perfectly with a crispy skin and moist interior. The fillet was served with a carrot purée, which was also nicely made. However, since the previous course was a purée of root vegetable, why serve another purée of root vegetable? I wished the chef chose something else to pair with the fish.<br />
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The main savory course was a duck breast. After already eating some duck in the fourth course, I preferred another protein. I am always a little annoyed when ingredients repeat in a tasting menu. If the chef doesn't allow the diners to choose, then he should be more considerate with the use of the ingredients. At least the duck wasn't served with yet more purée of vegetables. The duck was well cooked with a texture firmer than I expected. The sauce was well made with a nice sheen, but I didn't really enjoy the taste with the chocolate undertone.<br />
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My friend doesn't eat dessert so she ordered an off the menu cheese course. I asked the server if the cheese course could replace the desserts. The answer as expected was no. I fail to understand the restaurant's inflexibility. I ended up eating two portions of desserts. The first sweet course was a guava sorbet with Hendrick's gelée, which was refreshing with just enough acidity.<br />
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The second dessert was listed on the menu as a Tearamisu. The reference to the Italian classic was meaningless. The dessert was more of a study of contrasting texture. The sponge cake was probably made in the Albert Adria <a href="http://luckypeach.com/recipes/microwave-sponge-cake/" target="_blank">manner</a> with a microwave. The tea flavor ice cream had a nice flavor. Overall I enjoyed the dessert. I only wish the color was more vibrant.<br />
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While I was eating the dessert, a single file of cooks paraded down the central isle of the dining room from the kitchen to the bar at the front of the restaurant. As I watched them lined up at the bar, they were taking turns swiping their cards through a machine. I realized that "office hour" was over and the cooks were carding out for the night. Afterwards they marched back to the kitchen in a single file. I wondered if this was intended to be like the end of a fashion show where all the models come out and the audience claps? But I haven't finished my dinner yet.<br />
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After the dessert, the server rolled over the cart of mignardises. The cart did not get replenished during the dinner service. In other words, it operated with the early bird gets the worm principle. Since my dinner reservation was on the late side, by the time the cart rolled to our table, there wasn't any canelé left. The server said each guest was allowed three choices from the cart. I wondered why was the restaurant so stingy? The shelf life of some of the items, such as the mini-madeleines is short, why not be more generous and offered them to the guests? Since my friend didn't want any, the server allowed me to pick more than three. The mignardises were fine. What was disappointing was the lack of selection for teas to accompany them. For a restaurant that emphasizes Taiwan, why was there so little consideration for teas? Even <a href="http://ny.eater.com/2014/12/3/7326909/eleven-madison-park-brushstroke-atera-tea-programs" target="_blank">restaurants</a> in New York City have better selection of teas.<br />
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I also expected Taïrroir to have a more decent wine list. Prior from leaving for the restaurant my friend called to ask if she should bring some wines from home. Out of my own principle and respect for the restaurant, I told her let's just drink the restaurant's wines. She grudgingly agreed. When we asked for the wine list after looking at the menu, we were handed a single A4-size sheet of paper. The wines listed barely filled half of the sheet. Worse, there was no wine by the glass on the list. My friend gave me the "I told you so" stare, which was probably accompanied by a tinge of schadenfreude. </div>
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After inquiring, the sommelier said they do have wine by the glass. She could bring the bottles to the table for us to choose. We started with a white wine and there were two bottles to choose from, both from older vintages. The server used Coravin to extract the wines, which was a bit messy when the liquid shot into the stemware. Notwithstanding, the wines were pleasant. Later in the dinner my friend asked the sommelier to recommend a red wine to accompany her cheese course. This time there was only one bottle to choose from: 2000 Château Pontet Canet. After a small taste, my friend was happy and asked for a glass to be poured. At least I was spared from more friendly death stare. While the wine was nice we were not informed of the price. We only found out the glass of wine cost NT$1,400 when we asked for the check at the end of the night. Since the bottle retails for around US$150 in the United States, the price charged by the restaurant was not a highway robbery. But not giving the customer any choice of bottles nor information on price left a bad taste in our mouths. </div>
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The name of the restaurant Taïrroir is an invented word that combines the French words, Taïwan and terroir. I like fusion, maybe because I am a combination of different countries myself. Fusion is wonderful when the best parts of the different cultures merge to generate something new. Unfortunately, that's not always the case. Instead of the best of both worlds, there's always the risk of getting the worst of both worlds. Instead of harmonizing the different elements to achieve something new, there's always the possibility of getting contradictions. Dining at Taïrroir makes me wonder whether I'm getting the former or the latter, perhaps it oscillates between the two. <br />
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All the dishes on the menu has a Chinese name that is a cheesy worldplay and not translatable to another language: jokey yet meaningless to anyone who doesn't speak Chinese. Is the idea merely to get a cheap laugh from the local diners? Assuming the restaurant has larger ambitions such as transmitting its ideas to foreigner diners, the names of the dishes seem downright silly.<br />
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The chef and his brigade seem very serious about their food, but are they merely cooking to impress themselves and other chefs or are they cooking for the customers' enjoyment? Each dish is a display of various techniques, many of which were done well. Yet, there's little flexibility in adapting the menu to the desire of the diners and scant consideration for the diner's interest in variations. The food is enthusiastic with multiple components for every dish, yet many of them seemed unnecessary. More isn't always better. For instance, instead of a large selection of banal mignardises, why not just make one good one, such as freshly baked mini-madeleines as Daniel Boulud does in his restaurants? I know the chef and his brigade work very hard, but instead of making the difficult look easy, the impression is just the opposite. Based on the effort that went into the interior design, the cost of the menu, and the pedigree of the chef, the restaurant appears to be a serious proposition. Yet, the wine service, the disregard for the ambiance, and the lack of generosity make the restaurant feels amateurish.<br />
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Taïrroir is a work in progress. The restaurant certainly has potential. Will the restaurant change and improve? In general chefs and restaurateurs can be quite stubborn. I hope Taïrroir will evolve, but I don't plan to spend more money to find out.</div>
Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com110491, Taiwan, Taipei City, Zhongshan District, Lequn 3rd Road, 299號6樓25.0828962 121.55930319999993-0.43913829999999976 80.250709199999932 50.6049307 162.86789719999993tag:blogger.com,1999:blog-9203577587049612151.post-74146699800621901112016-08-04T22:58:00.000+08:002016-08-18T18:02:01.720+08:00Ciao! Chef Angelo Aglianò: The Despair of Western Fine Dining in TaipeiAfter a little less than three years, chef Angelo Aglianò has decided to close his eponymous restaurant in Taipei permanently. I still remember when Aglianò gave me a tour of his kitchen just days before the opening; both of us were filled with such excitement and promise. Since then I have visited the <a href="http://michaelfei.blogspot.tw/2014/09/felice-anniversario-angelo-agliano.html" target="_blank">restaurant</a> regularly with friends and family. I never thought the last day of July this year would be the last day of service at the restaurant. Needless to say, I am deeply saddened by this turn of event since Aglianò's restaurant is one of my favorites in the city.<br />
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The closing of a restaurant is a fact of life. It has been said that in New York City, three out of five restaurants cease within three years of operation. Even the best chef in the world, Aglianò's mentor, Joël Robuchon, is not immune. In April of this year, Robuchon closed his restaurant in Bordeaux after only around 16 months. The quality of the food and service seemed impeccable, yet the restaurant lost money. There doesn't seem to be a market in Bordeaux for Robuchon's food and prices. Similarly, there doesn't seem to be a market in Taipei for Aglianò's restaurant.<br />
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Whenever a restaurant fails, one cannot help but ponder about the reasons. Did Aglianò charge too little or too much for the food? Did the restaurant do enough marketing? Did the investors incur more expenses by being open seven days a week? I won't pretend to know nor understand the commercial side of a restaurant. In the end, the restaurant didn't make enough money to sustain the operation. But it takes two to tango, and sometimes the closing of a restaurant says more about the clientele and the city it resides in than the business itself.<br />
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Western fine dining in Taipei, especially stand-alone restaurants not associated with hotels, is a difficult proposition for several reasons. First of all, for many people, western fine dining means fancy steakhouse. The popularity of steakhouse in Taipei always strikes me as strange. Unlike the U.S., we are a nation that grew up eating pork, poultry, and seafood. Whenever we host a banquet, as in a wedding, we have to ask the guests beforehand if they eat beef. Maybe because the expensive beef is mostly imported from the U.S. and Australia and is diametrically opposite of Chinese cuisine that it has become the hallmark of western fine dining.<br />
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Restaurateurs and hoteliers in Taipei are only too happy to meet the simple demand of the local diners. During the time that Aglianò was in operation, around a dozen steakhouses opened in Taipei including: Morton's, Alexander's, 168 Prime, Le Blanc, Just Grill, TK...etc. Steakhouses are easy and they make money. This is not just a phenomenon in Taipei, but in the U.S. as well. It is not a coincidence that both <a href="https://www.gordonramsayrestaurants.com/steak/" target="_blank">Gordon Ramsay</a> and <a href="http://www.jean-georges.com/restaurants/united-states/las-vegas/jean-georges-steakhouse/" target="_blank">Jean Georges Vongericten</a> did not open fine dining restaurants in Las Vegas but steakhouses. I once wondered out loud about the preponderance of steakhouse in Taipei and their viability to one of my friends. My friend retorted, do you know of any steakhouse in Taipei that went out of business? <br />
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I like steak but steakhouses are not interesting places to dine. The menus at steakhouses almost never change and have very little to do with locale and seasons. The chef doesn't need much imagination nor techniques. Furthermore, a meal at a steakhouse is expensive. A dinner at Morton's or <a href="http://alexanderssteakhouse.com.tw/" target="_blank">Alexander's</a> can easily be around NT$3,000 per person not including drinks. For approximately the same amount of money, one can have a seasonal five-course tasting menu at Aglianò: starter, pasta/risotto, seafood, meat, and dessert, plus amuse bouche, unlimited house made bread, mignardises, and coffee. One would think the choice between beef (delivered to the restaurant in a plastic bag drowning in its own blood) versus local and fresh ingredients is clear. However, the majority of the diners in Taipei think otherwise.<br />
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Most people in Taipei who dine out don't buy wine at the restaurant. They either don't drink or they bring their own bottles. The ingrained habit of bringing outside wine is partly due to the fact that most restaurants in Taipei (Chinese and western) don't have much of a wine list. This is similar to the situation with most Chinese restaurants in the U.S. Most Chinese people didn't grow up with drinking wine with their meals thus don't see the need.<br />
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The other reason for bringing wines to the restaurant is to save money by avoiding the restaurants' markups on wines. Unlike restaurants in New York City, where fine dining restaurant either don't allow outside wine (Daniel and Le Bernardin) or charge a very high corkage fee (US$150 per bottle at Per Se), restaurants in Taipei either don't charge corkage fee or charge too little. Hence, many diners have made a habit of bringing their own wines and haggling with the restaurants over corkage fees.<br />
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Bringing outside wine may not matter much to most restaurants in Taipei, but it is a big financial problem for fine dining restaurants like Aglianò, which operates like a fine dining restaurant in other international cities such as New York or Hong Kong. These restaurants rely on drinks to contribute a significant amount to the overall revenue, because the profit margin on food is simply too little. A fine dining restaurant in the US can count on drinks to be about 30% of the revenue, yet in Taipei the figure is around 8%.<br />
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Given the relatively small amount of revenue generated by wine it would make more business sense to cut cost by reducing the wine inventory and not having a sommelier. Yet since Aglianò opened, the restaurant always had a good wine list and a dedicated sommelier, in fact three successive ones: Kenny Lee, Alessandro Albanese, and Kimi Li. <span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">All three sommeliers at Aglianò were friendly and professional and their goal was always to make the customer happy. </span></div>
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When I was dining at Aglianò I always preferred to have the sommelier recommend a wine to me, whether to complement the food or to match the occasion. Since I know little about wine, I enjoy a surprise and the conversation with the sommelier. <span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">With countless wines in the world I rather learn something new about a region, varietal, or vineyard, than drink what I know. Unfortunately most diners in Taipei think differently and often times cannot get over the restaurants' need to have markups and corkage fee to cover wine storage, beautiful stemware, and professional service.
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The market in Taipei is small, therefore fine dining restaurants are competing for customers not just with each other but with other restaurants such as the buffets in high-end hotels. These buffets are not some cheap eats, but rather elaborate and fancy affairs. Just about every high-end hotel in Taipei, except for <a href="http://www.mandarinoriental.com/taipei/fine-dining/" target="_blank">Mandarin Oriental</a>, offers a buffet (a major source of revenue). The <a href="http://www.wtaipei.com/" target="_blank">W Hotel</a> in Taipei doesn't have a proper western restaurant, instead a place that just serves buffet. The popularity of the buffet in Taipei is a phenomenon unlike any other cities in the world that I've visited.<br />
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A lunch at the <a href="http://www.wtaipei.com/thekitchentable" target="_blank">Kitchen Table</a> at W Hotel Taipei on the weekend costs $1,680. In comparison a five-course lunch at Aglianò costs $1,380. Yet for many diners in Taipei the buffet represents the better choice because the buffet has a high cost-performance (C/P) ratio, which is really about how much food the money buys. Given the fixed cost of a buffet one can eat until as if one made money while the restaurant lost money.<br />
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I don't know when the local diners started to evaluate restaurants based on C/P ratio. W<span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">hile the term consists of letters from the alphabet, you will be hard pressed to find a diner in the U.S. that knows the term. I certainly never heard of the term being used to describe restaurants when I was living in New York. </span><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">While C/P sounds scientific it is pretty much meaningless because it doesn't really account for the quality of the product. Imagine an inedible plate of food that costs next to nothing, in theory the C/P ratio would be close to infinity. </span></div>
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Nevertheless, because of the potential volume of food, people in Taipei rather scoop mediocre food out of a lukewarm hotel pan than eat cook-to-order dishes at Aglianò. Besides the food, at a buffet there's practically no service yet there's the ubiquitous 10% service charge. Moreover the diners use the same set of utensils for the entire duration of the meal. In contrast, at Aglianò the servers will carefully lay down dish-specific silverware for each course. Furthermore, the different dishes at the table would always be laid down simultaneously, as one would expect at a fine dining restaurant. The service team, led by the General Manager York Liao, was always professional yet warm. However, most diners in Taipei rather spend money and walk around in the restaurant to find their own food. </div>
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Similar to his mentor Robuchon, Aglianò likes to cook with carefully sourced products and expensive ingredients. <span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">At the restaurant you will always find beautiful local seafood, poultry, and pork. </span><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">Depending on the season, there would be white asparagus, white truffle in the fall, and black truffle in the winter. Aglianò never compromised on ingredients and always </span><span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">strived to have the best. He insisted on using year-old Acquerello rice from Piedmont, Italy for his risotto. At first when Acquerello wasn't available in Taipei, he found a supplier to import the product. B</span><span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">efore it was completely legal to import jamon Iberico, Aglianò always had a whole leg sitting near the pass of the kitchen. He acquired the jamon from Joselito because it was the best. These products are expensive and Aglianò probably didn't have enough customers who appreciated or could afford them. Perhaps he should have just cooked with less expensive ingredients like at André Chiang's <a href="http://michaelfei.blogspot.tw/2015/01/raw-stands-for-restaurant-andre-w.html" target="_blank">RAW</a> across town, but then the restaurant wouldn't be fine dining anymore. </span></div>
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I always assumed Aglianò wanted his restaurant to be as good as <a href="http://www.robuchon.com.tw/" target="_blank">L'Atelier de Joël Robuchon</a>, where he worked prior. Besides the aforementioned ingredients used for the different dishes, just look at the number of staff in the open kitchen and the front of house; the beautiful kitchen had all the fancy equipment, including rotisserie, immersion circulator for sous vide cooking, and Pacojet for sorbet; and the glass enclosed cellar and the Riedel glassware for the wines. Any meal, even a simple three-course lunch (priced at NT$880 when the restaurant first opened) came with an amuse bouche, three types of bread, and four different kinds of cookies after the dessert. Aglianò aimed for the quality of a Michelin-starred restaurant similar to ones in international cities like New York, London, or Hong Kong. </div>
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Unfortunately, Taipei is not like these other cities. Aglianò will lament the fact that he couldn't continue to operate his restaurant in Taipei, a city he grew to love. Nevertheless he will find another investor in another city. The loss for me, as a resident of Taipei, a friend, and a diner is much greater. I am uncertain if the void can be filled. The closing of Aglianò restaurant is a stark reminder that while Taipei is a great city, it doesn't have enough of a market for fine dining western restaurant.
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<span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">Three years is too short, but I'm grateful that Aglianò restaurant was in Taipei. The restaurant was where I proudly took my guests from abroad for an experience on par with the best restaurants from their home countries; where I celebrated holidays and special occasions with friends and family; and where </span><span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">my daughter discovered the magic of truffle and fell in love with the risotto. I felt lucky to have dined at Aglianò and the memories will always stay with me. </span></div>
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Michael Feihttp://www.blogger.com/profile/10839811974271965728noreply@blogger.com3