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Ferran Adrià o životu nakon elBullija: 'Sad ćemo jesti znanje'

Ferran Adrià o životu nakon elBullija: 'Sad ćemo jesti znanje'


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"Pokušavamo stvoriti čitav jezik za kreativnost", rekla je Adrià za The New York Times

Bivši kuhar elBulli razmišlja "što je vino?" i koje projekte treba poduzeti u svojoj budućoj zakladi elBulli.

U podužem i iscrpljujućem profilu Ferrana Adriàa, uvijek naprednog kuhara koji je otvorio jedan od najlegendarnijih svjetskih restorana-u kojem je sa svojim timom stvorio otprilike 1846 novih jela-The New York Times pokušava objasniti što slijedi Adrià, ali ni on ni publikacija ne mogu sa sigurnošću reći.

To je cijena poslovanja s Adriàom, čiji se um neprestano kreće u mnogo različitih smjerova. Na Twitteru i u stvarnom životu kuhar postavlja pitanja poput "Što je vino?" i "Što je kikiriki?"

Od zatvaranja elBullija, Adrià je postao kreativni ambasador telekomunikacijske tvrtke Telefónica koja je bila domaćin njegove izložbe "Revizija kreativnog procesa". Od 2011. Adrià je također zadirkivao detalje o zakladi elBulli, nadolazećoj zakladi za gastronomske studije koja uključuje, možda, projekte poznate kao elBulli DNA i Bullipedia.

Jedan aspekt zaklade elBulli uključuje razvoj tražilice pod nazivom SeaUrching, a drugi ukazuje na stvaranje „digitalnog jezika kodiranog za upotrebu u hladnjacima ili drugim kuhinjskim aparatima“.

Cijeli profil Ferrana Adrià pogledajte na The New York Timesu. Iako možda nemate jasan osjećaj gdje ili kada se Adriàin sljedeći potez događa, vrijedi ga pročitati i uključuje redak „ovo je dijagram postojanja krastavca“.


Ferran Adrià

Karijera Ferrana Adriàa (1962., L'Hospitalet, Barcelona) nužno je povezana s karijerom elBullija, restorana kojem se pridružio 1983. godine, kada se pod upravom Juli Soler hvalio s dvije Michelinove zvjezdice. Restoran je dobio ime po buldogu kućnih ljubimaca u vlasništvu prvih vlasnika, Schillings iz Njemačke. U Cala Montjoi stigli su 1961., a 1975. preuzeli su Jean Louisa Neichela kao kuhara. Godinu dana kasnije dobili su svoju prvu Michelinovu zvjezdicu, koju je Neichel uzeo kao odskočnu dasku za otvaranje vlastitog poduzeća i nastavak karijere u gradu Barceloni.

Kasnih 1970 -ih, nekoliko mjeseci nakon što je Neichel otišao, Juli Soler posjetila je elBulli koja je trebala odrediti njegovu i njegovu budućnost. Želio je pobjeći od gradske vreve i na kraju je prihvatio ponudu koju su mu Schillings dali za upravljanje restoranom. Stvari na početku nisu išle dobro, jer je restoran 1981. izgubio zvijezdu. No tada se ukrcao chef Jean Paul Vinay i zajedno su ga osvojili. Godinu dana kasnije, druga zvijezda je nagrađena. I to je bila godina u kojoj je Ferran Adrià došao u kontakt s restoranom koji mu je trebao radikalno promijeniti život.

U to vrijeme Ferran je služio vojni rok na drugom mjestu na mediteranskoj obali, daleko od Rosesa. To je bila Cartagena, na jugoistočnom rubu Španjolske, gdje je njegovo kulinarsko iskustvo dovelo do njegovog upućivanja u admiralovu kuhinju, pružajući dnevne jelovnike za admirala i njegovu obitelj. Uskoro mu se kao šegrt pridružio još jedan mladi regrut. Zvao se Fermí Puig, kasnije kao kuhar restorana Drolma u Barceloni. Puig je razgovarao s Ferranom o elBulliju, fantastičnom objektu s dvije Michelinove zvjezdice na osamljenom mjestu na obali Gerone. I predložio je da je Ferran tamo otišao kao pripravnik tijekom mjesec dana odsustva iz vojske. Iskustvo je bilo odlučujuće. Prije nego što se vratio u Cartagenu, Ferran se od 1984. obvezao na mjesto osoblja u restoranu.

Adrià i Soler, zajedno u vodstvu

Drugi važan datum u povijesti elBullija bila je 1990., kada su Juli Soler i Ferran Adrià odlučili pokrenuti tvrtku koja će upravljati novim projektima koji potječu iz restorana. To je pokrenulo jedno od najkreativnijih i najopsežnijih razdoblja u svemiru elBulli. U prostorijama su održani razgovori koji su vodili do prvih kulinarskih i gastronomskih radionica za profesionalce. Godine 1995. osnovan je elBulli Catering s ciljem dopiranja do šire javnosti, a 1997. godine restoran je dobio svoju treću Michelinovu zvjezdicu. U to vrijeme u Španjolskoj su postojala još samo dva restorana s 3 zvjezdice, Arzak i El Racó de Can Fabes.

1998. krenuli su u novu, uspješnu avanturu nudeći umjesto tri sata kulinarskog užitka u restoranu 24-satni boravak u hotelu. Ovo je bila Hacienda de Benazuza u Sanlúcar la Mayor (Sevilla). Zatim su 2000. otvorili elBullitaller kako bi mogli odvojiti svoja dva istraživačka tima: jedan za inovacije za restoran, a drugi za osmišljavanje poslovnih projekata.

Medijska prisutnost Ferrana Adriàa, koja se nastavlja i danas njegovim sudjelovanjem u najvažnijim svjetskim gastronomskim događajima, počela je 1999. godine, kada je nedjeljni dodatak El País istaknuo ga je na naslovnici pod naslovom "El mejor cocinero del mundo" (Najbolji svjetski kuhar). Prve godine 21. stoljeća donijele su eksploziju izvještaja o fenomenu Adrià, koji se nisu odnosili samo na njegov rad i rad cijelog tima elBulli, već su i druge čelnike španjolskog kulinarskog pokreta doveli u središte pozornosti.

Do tada je napredak kuhara bio nezaustavljiv. Revolucionarni rad Ferranova tima doveo je do stvaranja 2002. znanstvenog odjela u elBullitalleru, a 2004. godine na zahtjev javnih i privatnih ustanova osnovana je Zaklada Alicia za suradnju s Ferranom u istraživanjima koja se odnose na hranu sa znanošću i gastronomijom s eksperimentalnog i društvenog gledišta.

Istraživanje, rame uz rame s umjetnošću?

Suradnja između ovog kuhara i akademskog svijeta nastavlja se i danas. 2005. Sveučilište Camilo José Cela u Madridu postavilo je katedru Ferran Adrià za gastronomsku kulturu i hranu, otvarajući put gastronomiji u svemiru visokog obrazovanja.

Adrià je i dalje jako tražen na međunarodnim kulinarskim događajima, poput onih održanih u New Yorku i Kaliforniji 2006. (španjolska desetka, odnosno Španjolska i Svjetski stol). Jedno od njegovih posljednjih postignuća bio je poziv koji je dobio kao umjetnik za sudjelovanje na Documenti u Kasselu 2007. To je izazvalo kontroverzu čim je objavljen poziv direktora izložbe Rogera Buergela. Mjesecima se nagađalo o tome kako se umjetnička i kuhinjska disciplina mogu približiti posjetiteljima na izložbi u Kasselu. Na kraju je, prema savjetu Marte Arzak, kćeri kuhara Arzaka i voditeljice nastavnih aktivnosti u Bilbaovom muzeju Guggenheim, donesena sljedeća odluka. Paviljon koji je trebao biti postavljen u Njemačkoj bit će premješten u elBulli. Svaki dan, tijekom tri mjeseca, dva gosta iz Documente mogla su jesti u restoranu Roses, čime su iz prve ruke stekli iskustvo Adriàine kuhinje.

Predstava se mora nastaviti

Krajem 2008. godine Sveučilište Harvard predložilo je da se sklopi sporazum o suradnji s Ferranom Adriàom i njegovim timom u elBulliju, koji će se nazvati Dijalozi između znanosti i kuhinje. Kuhar je sa zadovoljstvom prihvatio i uključio svoju Zakladu Alicia u projekt. Opet se akademski i kulinarski svijet okupljaju zajedno s Adriàom.

U travnju 2009. godine predstavljena je knjiga s Ferranom Adriàom i njegovim djelom. Iza su bili britanski umjetnik Richard Hamilton i španjolski stručnjak za suvremenu umjetnost Vicente Todolí Hrana za razmišljanje: Misao za hranu (Actar, 2009.), razmišljanje o kuhinji i umjetnosti proizašlo iz prisutnosti elBullija na Documenti 2007.

Skok u nepoznato

Madridfusión 2010. uvijek će se pamtiti kao godina u kojoj je Ferran službeno potvrdio promjenu fokusa na elBulli. Na prepunoj konferenciji za novinare najavio je da će se restoran zatvoriti tijekom 2012. i 2013. te da će prije ponovnog otvaranja biti izvršene brojne promjene. Tijekom ove dvije godine tim će analizirati sve elBullijevo znanje vezano za kuhanje, tehnike i stilove stečene tijekom 30-godišnje kreativne karijere, rad koji će se odraziti u temeljitoj i detaljnoj enciklopediji. Vježba će također postaviti ton elBullijevim aktivnostima u narednim godinama.

Na manifestaciji Madridfusión 2011. Ferran Adrià ponovno je bio zvijezda aktivnosti prvog dana. Želio je da ova gastronomska konferencija, koja je toliko doprinijela širenju španjolske vrhunske kuhinje u inozemstvu, bude podloga za detaljan opis njegova sljedećeg projekta nakon restorana elBulli: "Odlučili smo se za format temelja iz vrlo posebnog razloga: imali smo sreću provesti svoje živote radeći ono što volimo, kuhati i stvarati. Sada želimo nešto vratiti društvu, a dobar način za to je uspostaviti neprofitnu zakladu usmjerenu na promicanje rezanja -edge kuhinja i opskrba društva profesionalcima sposobnim raditi na čelu ", kako je katalonski kuhar strastveno sažeo stvari.

Sve što proizađe iz zaklade bit će svakodnevno objavljivano na web stranici, s namjerom pružanja pomoći i inspiracije pojedincima i tvrtkama koje zanimaju inovacije, razvoj i istraživanje. S ove strane, zaklada već ima dva sponzora, dvije španjolske tvrtke s kojima blisko surađuje: Tecnalia i Telefónica, koje će pružati svu tehničku i tehnološku podršku koja im je potrebna za provedbu projekata elBullifoundation.

Zbogom elBulli, Hello Foundation

U glavi Ferrana i Alberta Adrià uvijek ima mjesta za više projekata. U isto vrijeme kada su predstavljali svoju buduću zakladu, odlučili su otvoriti hotel u Barceloni pod nazivom Ulaznice, koji se sastoji od dva dobro definirana područja: koktel bara pod nazivom 41º i taverne koja poslužuje samo tapas, u rasponu od najtradicionalnijih do najtraženijih genijalan ili vrhunski, pod imenom La Vida Tapa. Ova ideja bila je zamisao Alberta Adrià, koji je želio da njegov brat Ferran radi zajedno s njim i ima ulogu u projektu.

30. srpnja 2011. Taj će datum uvijek pamtiti svi koji su imali priliku upoznati elBullija. Ferran Adrià i njegov tim od pedesetak mladih kuhara zauvijek su zatvorili vrata elBullija, ostavljajući za sobom strašno naslijeđe koje je zauvijek promijenilo svijet kuhanja i kuhinje.
 
Sanjati NYC s Joséom Andrésom
 

2017. godine glavni kuhar sa sjedištem u Španjolskoj, José Andrés, objavio je da je zaključio posao na ogromnom prostoru od 35.000 četvornih metara u 10 Hudson Yards, koji se nalazi odmah ispod High Linea (u 30. ulici i 10. aveniji), koji će se otvoriti krajem 2018. Dvorana s hranom bit će oblikovana po uzoru na Eataly, ali će nuditi više i sadržavat će španjolsku hranu, koja će se kretati od formalnih opcija do tapasa do vinskih barova. Labavo će se temeljiti na La Boqueriji, najpoznatijem barcelonskom tržištu.   Kuhar surađuje s Ferranom i Albertom Adriàom u stvaranju revolucionarnog mjesta koje će biti san ljubitelja španjolske hrane. Ovo je prvi projekt braće Adria u SAD -u, a Andrés 27.


Ferran Adrià: Nakon elBullija nema inovacija u hrani (ali još nije gotovo)

27-08-2018

Ferran Adri & agrave sa braćom i sestrama Luca i Martina Caruso, ma & icirctre i chef u Signumu, na otoku Salina. Katalonski kuhar proveo je tjedan dana na odmoru na Siciliji i okolici te se stavio na raspolaganje za dugi intervju

Ferran Adri & agrave upravo je proveo tjedan dana na Siciliji. Putovanje s prijateljima u Palermo i eolske otoke. Slučajno smo ga sreli u Signumu u Salini, dok je plivao u bazenu hotela u vlasništvu Caruso obitelj. & laquoHej, & rsquos njega! & raquo. Iskoristili smo priliku i s njim dugo popričali o trenutnom stanju u restoranskoj industriji i njegovim trenutačno važnim projektima.

Dobro jutro Adri & agrave, što radite na Siciliji?
Ovdje sam uglavnom na odmoru. I & rsquove je upravo proveo dva tjedna odmora na Mallorci i želio sam otkriti vaš otok i njegove delicije. Meni je to & rsquos prvi put. Baleari, Sicilija, Sardinija, Katalonija, Costa Brava s elBulli: oni & rsquore svi dio istog horizonta. Isti geografski i povijesni profili. Mediteranska kultura.

Jeste li uživali u kuhanju Martine Caruso & rsquos?
Hrana je bila vrlo dobra, Signum je fantastično mjesto. Ako ne radite avangardu, važno je ponuditi najbolje proizvode koje mjesto može ponuditi, a to se ovdje događa. Uživao sam u Salini, sažetku ovog otoka. Productos del mar.

Adria i Luca Caruso s Alfredo Olivieri, autor najbolje granite na otoku Salina

Govoreći o proizvodima, ljudi često kažu da, u usporedbi s prije 10 ili 15 godina, proizvodi danas prevladavaju u tehnici.
To je rsquos velika laž, laž, laž [ponavlja mentira 3 puta]. & lsquoTradicija se vratila, bla bla bla & rsquo. I & rsquom 56 i I & rsquove slušali smo ljude kako to redovito govore na različite načine od svoje 35. godine. Danas je, međutim, vrlo malo profesionalnih kuhara koji kuhaju tradicionalnu hranu, kao rijetko. Reci mi ime španjolskog kuhara koji voli praviti pravilno pripremljenu tradicionalnu hranu. Ne znam ništa. Etxebarri? Ne on sigurno. Nitko nikad nije napravio parrilla način na koji on to čini. A u Barceloni ćete osvojiti tradicionalni katalonski restoran.

Čak ni vaš Bodega 1900?
To je najtradicionalniji restoran moga brata Alberta, ali nije tradicionalni restoran. Služi fantastične proizvode u stalnoj evoluciji i hranu koja prije nekoliko desetljeća nije postojala na našim stolovima. Tradicija i avangarda: postoji mnogo zabune s ove dvije kategorije.

Što misliš?
Uzmi tjesteninu. Mislite li da je to kuhinja s proizvodima? Naravno da ne: to je sve osim jednostavne hrane. Što kažete na burratu ili mozzarellu? Sviđaju vam se, zar ne? No, oni kupuju vrlo složene proizvode, imaju vrlo malo zajedničkog s visokokvalitetnim kozicama koje se poslužuju sirove, ravno iz mora. Kad ljudi danas govore o povratku tradiciji, oni se zapravo nikada ne pozivaju na tradiciju. Kažu to samo zato što ne žele priznati da im nedostaje dovoljno ideja za inovacije.

Grupna fotografija u Prijava. Putujući Sicilijom, Adri & agrave vodi novinar Francesco Pensovecchio (drugi s desne strane), koji je izvijestio o putovanju Vinom na Siciliji. Stojeći pored Luca Caruso, njegova partnerica Natascia Santandrea, zaštitnica Tende Rossa u Cerbaiji (Firenca)

Sada je elBulli zatvoren, tko je danas sposoban za inovacije?
Koliko ja znam, nitko. U Cala Montjoi postavili smo mjerilo tako visoko da nitko ne zna i ne želi vidjeti što je dalje od toga [qu & eacute sijeno m & agraves all & agrave]. Danas postoje vrlo sposobni kuhari, ali oni su zadovoljni radeći ono što ja nazivam ljubaznom kreativnošću. Rade fantastičan posao, ali uvijek se nalaze ispod tog mjerila. Ipak, postoji velika potreba za postavljanjem granice još dalje. Raditi avangardu čak i ako to znači postati nepopularan, boriti se bez straha od ubijanja. & Rsquos je jako teško, znam.

Kako se može prijeći tu granicu?
Znam samo jedan način. Nadahnuće se rađa iz kulture, iz spoznaje o tome što postoji i kako se to mijenja. Čak se i unutar tradicionalne kuhinje stvari mijenjaju: ako jedem tjesteninu s dagnjama, u 9 puta od 10 dagnje će biti prepečene, i to loše. Znanje da biste ga trebali manje kuhati već je mala inovacija. Tradicija se mora razvijati siempre, siempre, siempre.

Je li situacija u odnosu na prošlost manje -više povoljna?
& Rsquos je mnogo povoljnije jer imamo pristup beskrajnim idejama i informacijama. Vidim da se ljudi žale da u Australiji možete pronaći hranu vrlo sličnu Peruu. Zapravo, hrana je nekoć bila mnogo homogenija jer je postojao samo jedan oblik kulinarske umjetnosti, francuska visoka kuhinja, koja je kolonizirala veći dio svijeta. Danas postoji mnogo više izvora, a oni su i pristupačniji: meksička, peruanska, japanska tradicija & hellip Velike kuhinje temeljene na emocijama. Znate li tko je prvi širio japansku kuhinju u Europi?

Plakat iz & quotelBulli, priča o snu & quot, dokumentarna serija dostupna od Amazon Prime od 2. srpnja. 12 epizoda snimljeno je tijekom 13 godina, a ne smije se propustiti prilika da se vrati povijest najutjecajnijeg restorana u posljednjih 30 godina

Jesu li 23 boda u poznatom manifest del Bulli još uvijek aktualno? Uzmite format izbornika za kušanje, čini se da & rsquos prolazi kroz krizu.
Oni su još uvijek aktualni, naravno, ali mi ih ažuriramo i obogaćujemo u knjizi koja će uskoro biti objavljena. Ono o kušanju jelovnika još je jedna velika laž koju iznose kritičari. Kažu da & rsquos više nije u trendu, da bismo trebali prijeći na & agrave la carte jelovnike. No, oni koji posjete određenu vrstu restorana većinu vremena naručuju degustacijski meni jer žele uživati ​​u gozbi. Jelovnici za kušanje uvijek su najbolji alat dostupan kuharu za stvaranje novog jezika. U elBulliju smo poslužili 45 jela u 2 sata, ponovio bih to.

Očekuje se skora objava svezaka Bullipedia.
30. studenog predstavit ćemo prvi kongres o kavi s Lavazza u Milanu. Istodobno će izaći sljedeći svezak Bullipedia [nakon prvog Bebidas volumen]. Ove će knjige biti o kavi, vinu i koktelima, prve u projektu od 35 knjiga, sveukupno, svaka sa 700 stranica. Pisanje prve dvije bilo je jednostavnije od treće jer ne postoji knjiga koja bi mogla sažeti rad najvećih barmena u novijoj povijesti. Svezak samo o vinu bit će 6, ukupno 4.500 stranica. Bullipedia zahtijeva ogromne istraživačke napore. Kasnili smo jer 2013., kada smo predstavljali projekt, nismo bili sigurni koji će rad zahtijevati. Radove bismo trebali završiti do 2022. godine.

Bebidas, prve knjige Bullipedia: svezak 1 Definici & oacuten, historia, tipos y composici & oacuten (dostupno na Bullistoreu) svezak 2 Productos elaborados con uso de bebidas, svezak 3 Uso en el restaurante gastronomico. U studenom će predstaviti knjige o vinu, kavi i koktelima u Milanu

Zašto debitirati s ove tri teme?
Jer kava, vino i kokteli jesu Bebidas, to jest izraz usluge, ključna komponenta ugostiteljske industrije, koja proživljava dramatičnu fazu. Većina najboljih kritičara hrane ovih dana ne govori o usluzi u blagovaonici. Kažu da je hrana bila odlična, ali ništa više ne spominju. Zato smo s Llu & igraves Garc & igravea, direktoricom u elBulliju, radili na knjizi koja će dati smjernice za uslugu blagovaonice i za sve one koji upravljaju različitim proizvodima i zadacima.

Ogroman posao.
Četvero ljudi iz tehničkog tima Lavazze i Sveučilišta u Pollenzu radilo je samo na kavi 15 mjeseci zaredom. Knjiga o Nikkeiju (japansko-peruanska tradicija) zahtijevala je rad dvije osobe dvije godine. Znate li koja je bila jedna od najtežih tema za analizu? Talijanska tradicionalna kuhinja, ogromna baština koja nikada nije katalogizirana i kategorizirana. Trebamo li staviti recepte? Pitali smo se. Koliko? A koje su 20 najvažnijih knjiga o talijanskoj hrani? Zasigurno, jedan je Massimo Montanari & rsquos & quotStoria dell & rsquoalimentazione & quot. A tko su temeljni talijanski kuhari vašeg vremena? Vidjet ćete.

Scena restorana izgubila je neke važne ljude u posljednjih nekoliko mjeseci.
Da, 3 među 25 najvažnijih ljudi na svjetskoj suvremenoj prehrambenoj sceni nakon Nouvelle Cuisine. Gualtiero Marchesi bio je a grande, grande, grande kuhar, najposvećenija osoba u definiranju talijanskog kulinarskog identiteta. Paul Bocuse, osnivač Nouvelle Cuisine, naučio nas je bitnoj ulozi marketinga. Jo & eumll Robuchon bio kuhar par excellence, nevjerojatan institucionalni profesionalac, opsjednut savršenstvom, što naravno ne postoji. Naš će zadatak biti detaljno ilustrirati njihov veliki doprinos. Veliki izazov s kojim se sada suočavamo nije avangarda, već znanje.


Španjolski kuhar Ferran Adrià ponovno će otvoriti slavni elBulli - ali nije poslužio hranu

Poznati kuhar Ferran Adrià sljedeće će godine ponovno otvoriti svoj svjetski poznati koncept elBulli, ali neće posluživati ​​hranu.

Prije zatvaranja 2011. godine, restoran Katalonija je pet puta bio na vrhu liste 50 najboljih restorana na svijetu i dobio tri Michelinove zvjezdice.

Danas je Adrià rekao da će ponovno otvoriti elBulli, ali će funkcionirati kao laboratorij i "muzej kulinarskih inovacija", a ne kao restoran - osam godina nakon zatvaranja.

“Misija‘ elBulli1846 ’je. stvoriti kvalitetno znanje o gastronomiji restorana i svemu što ga okružuje ”, rekao je 56-godišnji Katalonac Reutersu prije svog nastupa na gastronomskom kongresu Madrid Fusion.

Broj u novom imenu koncepta posveta je godini rođenja Augustea Escoffiera, kuhara iz 19. stoljeća nadaleko poznatog kao “kralj kuhara, kuhar kraljevima”, koji je bio pionir visoke kuhinje.

1/4 Je li ovo azijski El Bulli?

Je li ovo azijski El Bulli?

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Je li ovo azijski El Bulli?

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Je li ovo azijski El Bulli?

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Je li ovo azijski El Bulli?

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Tijekom godina elBulli je postao poznat po svojim avangardnim jelima od 30 sljedova koja su uključivala kulinarske užitke poput pjene od dima, espume od bijelog graha s ježevima i jaja od karameliziranih prepelica.

Preporučeno

U vrijeme zatvaranja restorana, Adrià je otkrio da je gubio pola milijuna eura godišnje, unatoč tome što su gosti plaćali 200 funti po osobi za jelo.

"Na toj razini doprinosa", rekao je o gubicima, "mislim da bismo radije vidjeli da novac ide na nešto veće što proširuje koncept i duh onoga što elBulli predstavlja."

ElBulli1846 planira se otvoriti u veljači 2020. na istom katalonskom mjestu kao i izvorni restoran.

Njegov paralelni muzej nudit će obilaske s vodičem samo uz prethodnu najavu.

"Bit će ljudi koji kažu da to neće uspjeti, ali su to govorili i sredinom 1990-ih", rekla je Adrià.


Ferran Adrià: evo kako će izgledati novi elBulli 1846

15-07-2017

Ferran Adri & agrave sa osobljem u Identit & agrave Expo 2015. godine: katalonski kuhar najavljuje ponovno otvaranje & rsquoll -a elBulli u Cala Montjoi 2018

1846: to nije godina nego broj. Označava ukupna jela u Cat & aacutelogo General de elBulli, mrežnom alatu putem kojeg je Ferran Adri & agrave kronološki katalogizirao pripreme koje su obilježile život kultnog katalonskog restorana od 1983. do 30. srpnja 2011., posljednji ručak.

Adri & agrave s Massimo Bottura na Identit & agrave New York 2010

Terry Giacomello i Ferran Adri & agrave na Identit & agrave Milano 2006 (foto snimio Sandra Salerno)

Ferran Adri & agrave i Stefano Baiocco

Povijesna fotografija, s mladom Davide Oldani, u sredini, između Ferran i Albert Adri & agrave. Nema sumnje u datum, on & rsquos napisan u donjem desnom kutu: 29. rujna 1999. Vidi također: Dobro jutro Ferrane, moje ime je Davide Oldani

Adri & agrave s Paolo Marchi 2006. godine

Loretta Fanella s Albert i Ferran Adri & agrave

Luca Lacalamita s Ferran Adri & agrave

Stara fotografija od Adri & agrave s Moreno Cedroni

Carlo Passera

novinar rođen 1974., dugi niz godina bavio se politikom, uglavnom i hranom u slobodno vrijeme. Danas čini upravo suprotno i to ga čini jako sretnim. Čim može, zaroni u putovanja i dobru hranu. Identit & agrave GoloseGlavni urednik

Dal Mondo

Recenzije, preporuke i trendovi sa četiri strane planeta, potpisani od strane svih autora Identit & agrave Golose

Carlo Passera

novinar rođen 1974., dugi niz godina bavio se politikom, uglavnom, i hranom u slobodno vrijeme. Danas čini upravo suprotno i to ga čini jako sretnim. Čim može, zaroni u putovanja i dobru hranu. Identit & agrave GoloseGlavni urednik


Ferran Adri & agrave: Ono što sam naučio

Možete li zamisliti ljudi koji jedu sliku & mdash ako bi mogli unijeti sliku u svoje tijelo? Vjerojatno je to umjetnikov san, a mi imamo priliku za to.

S početka Pitao sam se zašto i nastavljam se pitati.

Ako učite na Francuskom kulinarskom institutu ste u jako dobroj školi. Vjerojatno ćete naučiti mnogo toga. Ali možda previše, da bi se stvari promijenile. Ako je ovo tako dobro, zašto moram to mijenjati?

Da, istina je, u rajčicu smo umetnuli zračnu pumpu i raznijeli je. To je bila punki faza kroz koju smo prošli. Ljudi imaju tu sliku da smo pristojni i ozbiljni. No, normalno da smo prilično ludi.

Oh, to je lako. Ne razmišljajte o lubenici kao o lubenici. Zamislite to kao rajčicu. Od ove točke, dakle, kuhajte. Vrlo je mesnato voće. Očito, morate imati veliki komad. Pripremite svoju tunu i, umjesto riže, nadopunite je lubenicom.

Ljudi moraju razumjeti. Ako odu na predstavu na Broadway i zateknu sedamdeset ljudi koji rade, ali samo pedeset gledatelja, koliko bi koštala ulaznica? O tome govori El Bulli. Sedamdeset je glumaca koji igraju za samo pedesetak gledatelja. Je li cijena skupa? Relativno je. Koliko košta normalna večera u restoranu hotela s pet zvjezdica? Četiri stotine dolara. Isto je kao i El Bulli. Ali o tome možete razmišljati i ovako: Koliko bi koštalo pojesti nešto što nitko drugi ne jede?

Dva milijuna zahtjeva za rezervaciju a osam tisuća sjedala je glupo. Zamislite da ste se vozili taksijem i da je oko vašeg taksija dvadeset ljudi koji su pokušavali ući. Možete primiti samo četiri. Što bi ti napravio?

Jedan od razloga iza pretvaranja El Bullija u temelj stoji ovo: Moj je život postao oko toga da nekome dobijem stol.

Nisam ni sanjao biti kuhar, a to je temeljno.

Netko tko radi avangardna disciplina teško da je ikada sretna. Razlog je taj što njihova životna potraga ima neke veze s avangardom & mdash-om i teško da mogu tamo doći. Razlika u priči ovdje je što to nismo tražili.

Da, mogu vam reći zašto Bog nije htio da volim paprike. Potrebno je da postoji nešto što mi se ne sviđa.

Ako ih je bilo pedeset različitih proizvoda koji mi se nisu svidjeli, to bi bio problem.

Ima bilijuna različitih mogućnosti kombinacija u hrani. Gdje ćete početi? To je ono što mislimo o mentalnoj paleti.

Sol je jedini proizvod to mijenja kuhinju. Postoji velika razlika između hrane koja sadrži sol i hrane bez nje. Ako ne vjerujete u to, pitajte ljude koji ne mogu jesti sol.

Trebaš cijeli život samo da znam o rajčicama.

Za bavljenje kreativnošću na razini na kojoj to radimo. pet dana u tjednu, osam sati dnevno, ne radi. Posvećujem dvostruko više vremena od većine ljudi. Dakle, na istoj razini talenta, ja imam prednost.

Kad smo bolesni, jedna od posljednjih stvari u kojima možemo uživati ​​je hrana.

Rizik je učiniti nešto što bi 99 posto vremena bilo neuspješno.

Nismo to shvatili bili smo revolucionarni. Zbog uvažavanja drugih ljudi osvrnuli smo se i shvatili što smo učinili i koliko je to nevjerojatno.

Kad se vratiš iz dnevnog posla, intervjuirate li svoju ženu? Ne, nikad ne biste pomislili da to učinite. Mislite li da bih se nakon petnaest sati kuhanja vratio kući i nastavio biti kuhar?

Jedna osoba je kreativna reference neće nužno biti korisne za drugu osobu. Svaki trenutak, svaka osoba, svaka situacija drugačija je i važna. Oženjen sam i vrlo sretno oženjen, ali nemamo djece. Da imam djecu, ovaj bi intervju bio drugačiji. Ne znam kako bi bilo drugačije, ali znam da bi bilo drugačije.

Odlazio sam u krevet razmišljajući, Zašto se jednoj osobi to svidjelo, a drugoj nije? Jedan je mislio da je to previše, a drugi da nije dovoljno. Trebalo mi je petnaest godina da to shvatim. Svaka osoba je svijet. Bolje je ne pitati. U suprotnom ćete završiti kod psihoanalitičara.

Kad ljudi stignu u El Bulli, svi prolaze kroz kuhinju. To je način da se osjećaju kao kod kuće. Kad odlaze, jedino što me pita je jesu li bili sretni. Sve između, baš me briga.

Možeš vidjeti sada na internetu. Novo društvo zahtijeva da ljudi dijele svoje znanje. Traži od milijuna milijunaša da podijele svoj novac i kreativnih ljudi da podijele svoju kreativnost. Tko ne dijeli svoje bogatstvo, bilo da je riječ o znanju, novcu ili kreativnosti, bit će mrtav.


ElBulli: Što je Ferran Adri & agrave učinio sljedeće

Ferran Adrià drži vodenastu rajčicu poput rubina. Zatim ga baca u zrak, izvlači šestorku i puca da se dobije. Pow. U redu, zadnji dio se dogodio metaforički, ali shvaćate.

Najpoznatiji svjetski kuhar govori o hrani. On je upravitelj prstenova i klaun, sav odskočan i pun boce u plavim Nikeovima, mornarskim chinosima i majici od ugljena s dugim rukavima koja izgleda kao da je netko tupim škarama odsjekao pojas. Svaki put kad maše svojim dugim rukama u zraku (nešto što puno radi) vrh se podiže i otkriva muffin-top midriff. Čini se da ga nije briga. Španjolski kuhar koji je generaciju mijenjao hranu u restoranu ima velike stvari na umu.

"Je li ova rajčica prirodna?" pita, držeći primjerak vodenastog izgleda. "Ne. To nećete pronaći u prirodi. " Jedina prirodna rajčica nalazi se u Andima. “To je divlja rajčica i ne biste je pojeli. Tako da je najgora rajčica na svijetu "kako naziva svoj primjerak" ipak bolja od prirodne rajčice. Laž je da je prirodno bolje. "

Okrenuti im ideje na glavi je Adriàina stvar. Nalazimo se u sivoj konferencijskoj sali u Barceloni, skupini novinara, kuhara i vlasnika barova koje je ovamo dovela najstarija gradska pivovara Estrella Damm. "Trenutno gotovo ne radim ništa vezano za gastronomiju", kaže nam 52-godišnji katalonski kuhar. "Već četiri godine nisam bio ni na jednoj gastro konferenciji."

To nije umanjilo njegovu sposobnost govora. On crta krugove, puno krugova. Nečitljive riječi kaplju iz zelene oznake. Kasnije će netko skočiti na pozornicu i otkinuti plahtu kako bi uzeo komad suvenira Adrià. "Trebali bismo staviti rajčicu na eBay", promrmlja jedan mahač dok prolazimo podij.

Rajčica je u središtu novog projekta Ferrana Adriàa: dekonstrukcija ideje hrane, njezinog jezika, povijesti, antropologije i kulture. Restoran ElBulli pretvorio se u laboratorij elBulli, dom onome što naziva projektom Sapiens. "Želim znati rajčicu za stvaranje i želim znati rajčicu za obrazovanje", kaže. "Naš izazov je natjerati ljude da razmišljaju na drugačiji način." To su velike slike.

U jednom ga trenutku škotski kuhar pita za jedno od njegovih poznatih jela. Ali Adrià se neće vratiti svojoj kreativnosti iz prošlosti. "Jesi li oženjen?" pita kuhara. "Nekako." "Imate li djece?" "Ne." "Jeste li hrabri?" "Da." Zatim Adrià prelazi u način motivacijskog zvučnika. “Look at yourself in the mirror and ask: who do I want to be today?” he says, eyes glinting. “Consequences depend on what you do . . . There is no super bullet. Everyone has to find his own way.”

We are, he says at one point with a grin reminiscent of Gene Wilder’s Willy Wonka, “living in an imaginary reality”.

So far so cerebral but there’s another project and it’s less food geek and more party animal. He’s returning full circle this summer to a teenage season in Ibiza working as a chef at the hotel Club Cala Llenya. You can see a picture of him from 1981 in Colman Andrews’s book Reinventing Food: Ferran Adrià, The Man who Changed the way We Eat, (a must read for Adrià anoraks). Dressed in grimy chef’s whites he’s sporting what Andrews calls “a Catalan Afro.”

The brown curls have receded and greyed but in July Adrià’s Heart project, a collaboration with Cirque du Soleil, will be unleashed. “It’s the creative collision of art, food and music,” he says, “to completely change the concept of a restaurant, of a cabaret.” Over 3,000sq m, Heart will feature a casino, a “sound cleansing tunnel”, body painting, street food in the “hippy spirit” and gastronomy.

“There’ll be no Michelin stars, none of that, just fiesta, having fun, very informal,” Adrià says. Downstairs will be a workshop “a kind of restaurant, one of the hardest projects I’ve ever worked on. The tables are not very big. They are quite low. The chairs are all different so it doesn’t look like a restaurant.”

Here you might “travel the world in 80 oysters”, or eat caviar from a caviar spider, a high bowl on three spidery legs because caviar “at €900 a kilo is not expensive these days. Gambas [shrimp] are more expensive”. Waiters will put a small chair on your table as a prop to serve the nigiri, the jamón will be served on a golden ham. Other serving implements include a tapas box, a “surprise frog” and an oyster tongue.

Adrià is taking fun very seriously. There is no sense that he misses the old day job. “People came to elBulli wanting the most amazing day of their lives,” he says. That meant working under a lot of pressure. “ElBulli is the 2,500 cooks that worked there. Nowadays many are the most influential in the world.”

Restaurant food is not art, he says. “There’s no art because it’s handcraft. They [chefs] are handcrafters. They’re not an industry. They work with their hands.”

We head outside to a warehouse building in Carrer Mexic a short walk away. At the top of a steep ramp (there is no official door as it’s only open to employees) the elBulli lab is a surprisingly food-free zone. There are no kitchens, Pacojets or spherifiers. Instead door size slabs of styrofoam are arranged on stands with words and pictures pinned to them. Some form room dividers, as if ideas were furniture.

About a dozen people are working on laptops. It’s like a library or a start-up without the foosball table. Head of the lab, chef Eugeni de Diego shows us round.

To the outsider it all looks a bit bonkers. One styrofoam panel has tiny strips of paper with the Latin and Catalan names of plants, each strip cut from a printout and pinned in lines, a painstakingly physical act of display in the digital age. Wandering around feels like being inside someone’s head.

Hanging from the ceiling on string are Adrià’s many magazine covers in plastic bags. The Sapiens project is going to take 10 years and €20 million, de Diego explains. Its Bullipedia website, apps and collection will be a teaching resource for cooking schools. And the funding? It comes from firms like Telefónica, Dom Pérignon and other “business angels”.

The next morning we see the clattering and robotically-beating heart of one of those angels in the Estrella Damm factory near Barcelona airport. Spain’s oldest brewery was set up in 1876 when August K Damm came to Spain from Alsace with his wife Melanie. He added rice beer to a typical Alsace recipe for a warmer climate. It’s factories like this that fund think tanks like the elBulli lab to send its intricate handcrafted information into a world accustomed to a faster brain food diet.

Estrella Damm lager has now arrived in Ireland and Britain and Adrià’s Inedit beer, a blend he designed for Damm in 2009, is also available here. Ironically, for a man who has published 38 books, Inedit is Catalan for “unpublished”.


The Remarkable Ambition and Chaos of Ferran Adrià's ElBulli Lab

Here are some of the things Ferran Adrià's ElBulli Lab brings to mind, in no particular order: Willy Wonka, Willy Loman, Middlemarch , Veliki Lebowski , Ray Bradbury, Marat/Sade , Going Clear , Gulliver's Travels , community theater, and a third-grade classroom. Or at least, this is the list of words I compiled in my notebook over the course of my visit to the site of collaboration between Ferran Adrià's ElBulli Foundation and the new Dom Pérignon Lab in Barcelona.

In fairness, Adrià, intense and compact, had conceded in his rapid-fire Catalan remarks to my group of journalists and wine pros that one needed to spend a long time at the lab to begin to grasp what they were doing that those who observed proceedings for only a short time were generally baffled. We were all encouraged to come and hang out in the converted industrial space turned think tank where a team of more than 40 work full-time at decoding, researching, and mapping.

What can one say about Ferran Adrià that hasn’t been said before? The fifty-two-year-old legend, whose Michelin-beloved ElBulli revolutionized modern cuisine, is viewed variously as the finest chef in the world, a mad genius, the teacher of two generations of world-class protégés, an enigmatic philosopher, the emblem of modern Spain’s economic golden age, and an emperor sparsely clothed in a cloak of seaweed foam. What’s undisputed is that the father of avant-garde cooking (he has never identified his medium as “molecular”) has remarkable ambition: He quite literally wants to change the world.

Since Adrià shuttered ElBulli in 2011, he has lent his brand to collaborations with everyone from Spanish telecom company Telefónica to the theatrical producer Cirque du Soleil . He has been the subject of art exhibits and he has taught at Harvard. And then there is BulliPedia , the much-discussed culinary Key to All Mythologies that he has described as "a Western haute cuisine Wikipedia at the service of information but also creativity.”

Richard Geoffroy and Ferran Adrià.

The latest partnership is with Dom Pérignon . What may at first seem a counterintuitive match—the quintessential French luxury brand and the modernist Spanish chef—is in fact the fruit of Adrià’s longstanding friendship with Dom Pérignon’s innovative head oenologist, Richard Geoffroy . Geoffroy agrees that in some ways it’s surprising, but “if any chef in France could do it, we would.” As the official statement explains it, “ Dom Pérignon Decoding will be a three-year shared journey to understand and define what makes Dom Pérignon unique, and to determine from where its singularity arises, with the ambition to elevate the Dom Pérignon experience.”

The ElBulli Lab

The ElBulli Lab—a sunny loft space in downtown Barcelona—is the site of this exploration. Young people sit working intently at computers. There are bookshelves containing tomes on culinary history, Catalan cuisine, and art. There are installation-like tables of objects: plates, spoons, chopsticks. There are white boards everywhere, many containing what sort of look like elementary-school book reports. On closer inspection, these prove to be treatises on asparagus, trees, and lemons. There is a print-out of a chanterelle. “Mushroom cap,” reads one label. “Mushroom stem,” reads the other. There are maps and charts, lexicons, lists of words. Many of them. But it is hard to overstate exactly how lo-fi everything is the vibe is less Tony Stark than teachers' lounge. “Disciplines,” I wrote.

For the visitor, the lab is a profoundly disorienting experience even with a lightning-fast interpreter, one feels as though everyone is speaking a different language with tremendous gusto. First, there’s the lingo. “Sapience is a methodology to understand things, and we work and apply it to different projects,” says Adrià. “Our motto at ElBulli Foundation is feeding creativity, and the the motto of the ElBulli Lab is, ‘eating knowledge for feeding creativity.’

It’s hard, when seeing the certainty shining in everyone’s eyes and hearing the jargon roll off their tongues, not to think of a cult—especially when they innocently employ the word “auditing.” But by the end of the visit, you can’t help but believe their aims are lofty—even if obscure. And what isn’t a cult, when you get right down to it? Or so Sapience might say.

Tomayto, Tomahto, or a Collection of Molecules

If one leaves still confused, it is not for lack of of explanation on Adrià’s part. He discourses, passionately and at length, frequently breaking into a sort of Socratic dialogue with his audience. What, he asks, is a tomato? A food? A collection of molecules? “When you do research—because in order to eat knowledge, we need to do research—then you realize how complex it is. How is a tomato created? Do you remember the wild species of tomato? Until today, our plant cultivation started about 12,000 years ago, There were thousands of people recreating different types of tomatoes. It’s something that people never stop to think: Is a tomato created? I can buy a tomato, or I can work to create a tomato. Perfectly possible to create one, with a specialist, with the agriculture, or with a biologist, we can indeed create a new tomato.” What, then, is natural? What is anything, really? If a tomato falls in the forest, so to speak, and no one eats it, is it still a tomato?

Everyone nods intently. We transcribe furiously. Flashbulbs pop—or whatever the modern equivalent is. Everyone’s phone is on. “TOMATO?!” I write. “WHAT ARE WE?!”

What is wine? “Is wine a drink?” he demands, eliciting nervous responses from the group. Da? Ne? Everyone panics. “Wine is something that was created with a grape. Nobody knows what was exactly the first use of wine maybe to drink, but maybe to pray, or to cook. There was a moment in which wine was universalized as a drink.”

Like other collaborations, the Dom Pérignon project requires an elaborate mapping process. “It’s quite complex,” says Adrià.

Tiny Bubbles

“HOW CAN WE EXPERIENCE DOM PERIGNON?” reads one hand-lettered sign. A print-out of an enlarged image is captioned, “Two tiny bubbles going up on the surface of the glass. (The size of the smaller bubble is 0.5mm.)” A computer screen shows what looks like a beating heart in fact it is a real-time mapping of the tweeting of those words—CONTRAST, RARITY, PURITY—associated with Dom Pérignon’s DNA decoding. Those tweeting, we learn, are “the actors” in the process.

Geoffroy says that for him, “The technology is meant to make you freer, and more yourself. To go beyond. to be stronger on the knowledge, and then go beyond. In the end, I find it’s about being a stronger, smarter person. And it’s about the means to elevate oneself."

Feeding Creativity

The collaboration, he adds, is “a risk.” Whatever the project’s theoretical appeal, “it still had to make sense for the company.” August 2005, was an unusually hot and dry month September was unusually cool and rainy. (This is why CONTRAST is one of the project’s keywords. Well, one of the reasons.) Grey rot decimated the Pinot Noir crop. The harvest was very small—but the resulting grapes perfectly suited to making a small batch of Champagne. In that way, you can see why the two companies would want to make this—itself a quixotic philosophical venture, and one intimately tied up with the actual physical processes of wine-making—a test case for an out-there experiment. “And if it doesn’t work…” says Geoffroy with what can only be called a Gallic shrug.

What does “working” mean, exactly? Dom Pérignon Decoding is intended both to aid in understanding of the wine and to support ElBulli Foundation’s stated goal of feeding creativity and building a universal knowledge base. The Dom Pérignon findings will be part of the larger project. And ultimately, Adrià says, this body of knowledge will be both digital and print it can be used in schools. (The Foundation is already working with a number of colleges and elementary school programs.) Or in the words of the official statement, “the commitment is to give the generations to come the keys to surpass us.”

From what we saw, said commitment to the project is total, even if it’s not immediately clear to an outsider what that entails. What, I ask, are all the young people doing? “History, scholarship…” I am told, vaguely. But, what is their day like? I persist. “Research,” I am told. “At any given moment, there are many projects in motion.”

“It’s a very American impulse to need to assign a time-table to everything,” someone else in my group informs me. I am duly shamed.

Misija

“Starting from scratch,” I wrote in my notebook, looking at an image of an octopus. It’s as though this group of people has been given the mission to reconstruct all the world’s knowledge about food, Fahrenheit 451 -style. In the future, maybe no one will know what a mushroom cap is, or at least we can’t assume they will.

“It’s important to remember this is not a dogma,” says Adrià. “Because if we have several opinions, you can say so—that there are different possibilities. For example, for an anthropologist, when a chimp uses a stick, to eat the termite or whatever, that stick becomes a tool. But not for me. Because for me, tools are made by man. So we have two different views. And you can decide. And that is very important…When you say mayonnaise is a sauce: This is dogmatic!” On my tape, I hear us all murmur assenting noises. It is impossible to do full justice to the speed and passion of his interpreter’s work.

How Did Cooking Start?

Someone in the Q&A asked Adrià what he regarded as the ultimate utility of his project. It seemed a bold and almost offensive question, in the moment. “I know it’s shocking,” said Adrià. “How do you explain the techniques, for example? How often have you seen written somewhere that the cooking at ElBulli was really technological—and they didn’t say it in a nice way. They said it in a bad way. But it’s not right. The cuisine was not technological. Do you know some cooking which is not technological? I don’t. You know what the problem is? What is technology? And what difference is there between a technology and a technique? This is a very tough question I have been been asking to some Nobel prize-winners. Everything is technology. How did technology start? How did techniques start? Let us get deeper. How did human-kind start? Can you explain it to me? And how did cooking start? Nobody has these answers, and it’s really as serious as that. And I have been in all the important cooking schools of the world, and nobody knows the answer to this. A cell phone, for example, is a tool to which you can apply a technology. To do this technique—or a foam, for example—what is a technique? Here, make a phone call on my cell.” (He passed his phone to a woman in the front row.) “But you don’t have the password. You have the technology, but not the knowledge.” (He took it back.) “Therefore, the technique is the sum of processes to get to an end. And the technology is this set plus knowledge. And this all started 2.5 million years ago. With homo habilis. And this is what we’re doing here, really. We have historians, we have journalists…. Education plus innovation. Because in the future, this will be interlaid. It’s a very serious question. People say, what will be the use of it? For education.”

And, when all is said and done, it does translate into something solid—or at least viscous. ElBulli was a testament to that. In his deconstructions, Adrià played with ideas of perception and form in a way that now feels familiar, but was, at its inception, wholly new. Maybe you don’t want to think about the definition of a tomato like some epicurean, fiddling Nero in a gelatinous ivory tower while the world burns. But in the moment you eat a bite of “tomato biscuit” topped with olive-oil caviar, well, damned if you aren’t going to.

The decoding project “will be put into concrete expression in the event tonight,” as Geoffroy explained. Because that same evening, Dom Pérignon unveiled its 2005 vintage. Ferran Adrià donned his whites for the first time since the closing of ElBulli. And theory became practice.

“This Is Not a Dinner”

We were told that Adrià had planned every aspect of the evening’s event, surrealistically titled “This Is Not a Dinner.” (Apparently one group of Italian journalists had been worried about this. They requested a reservation somewhere they would require dinner. They were told that it was, in fact, actually a dinner.)

No one knew quite what to expect even Geoffroy described himself as “a guest.” The cortège of cars had been instructed to arrive simultaneously at Barcelona’s Palo Alto Market, a former factory dominated by a majestic smokestack. (This meant we all inadvertently ended up at the train station for a few minutes.) We alighted and were served bread sticks and water to cleanse our palates.

Then, one by one, our groups—I was in the “Harmony” group—were led into a large room. Each guest was positioned in front of a sort of lectern on which stood a bottle of Champagne and a notebook and pencil. At this point, corrugated scrims descended from the ceiling, effectively isolating the participants so that everyone’s first taste would be private. There was music that I can only call “Planetarium”-like. Like so many aspects of the experience, one started out feeling self-conscious, and then there was no point, so you stopped. We were standing alone in what felt like the cells of a honeycomb, with a bottle of Champagne. (And our phones, which were far from banned.)

Later, after notes and tastes and a suitable interval, the scrims rose again and we were led to tables of ten later still, more literal barriers would go up and we’d find ourselves in a group. By the end of the evening, everyone was standing around interacting—all part of Adrià’s master-plan for fostering different modes of experience.

The non-dinner was composed of a specific sequence of 29 snacks, each designed to pair with the bone-dry Champagne. Many of these whimsical (yet precision-engineered) bites—the virtual olive, the Parmesan ice-cream sandwich, the “tomato airbag” (a deconstruction of pan con tomate ), the mimetic peanut—were ElBulli classics. They were served on hand-hammered dishes (designed by Adrià) and accompanied by pointed directions as to how many bites, and sips, they required. The servers moved like a well-oiled machine, delivering their dicta—in English—in flawless unison.

The food passed at the end—the standing/mingling part—was heartier: riffs on blini, fried rabbit ears, air-dried “cow meat.” Some of these items, as of May, will appear on the “Ferran X Dom Pérignon Luxury Snacks menu,” at partner restaurants and chef accounts around the world, including Le Bernardin, Daniel, and the NoMad. Each will come with specific instructions for plating and service an uber-high-end franchise that demands total fidelity to the brand. Concrete indeed.

My group was but the first of the press rollout. For the next two days, Adrià and Geoffroy would guide groups around the lab, do Q&As individually and together, explain the collaboration, discuss sapience, present 29 course not-dinners. The prospect was exhausting to even think about—although after working the line for a lifetime (or for that matter, dealing with the vagaries of weather) presumably less daunting. And of course, when one is a true believer, proselytizing is the staff of life.

The Big Question

At the end of our Q&A with Adrià, in which we learned more about his philosophy, the duration of their friendship, the possible pub date of BulliPedia (unclear), I raised my hand and asked the chef whether Sapience, as a philosophy, didn’t make it hard to widen one’s focus enough to operate in the everyday world. Or as I put it, “How to go from thinking that way, all the time, to how to view the world more conventionally to get from day-to-day.” Back home, in my apartment, this is incomprehensible. But they treated the question with seriousness.

“This is the big question,” said Adrià. “This is a very good question. Because it’s disruptive. How can we say tomorrow that natural plants are not good? Disruptive. It is a shock. Because people claim that you need to eat natural yogurts. What does natural mean, when applied to yogurts? So it’s a very, very, very, very important thing. And the problem we have when we transfer it onto the conventional world is that people say, they are crazy!”

“We will need to change our mind-set. For youngsters, it’s not a problem. No problem whatsoever. If I talk to them, they already understand that a tomato can be many things, that a tomato can be natural or not-natural. Young people understand it: it can be wild, it can be cultivated. But we who are older have lived life in such a way that we need to change our mindset. But in an hour, it’s very hard to understand it. But if you come here, and spend some time. and when there’s a web site. Because we don’t have a web site. Because we cannot make mistakes in the explanation. Otherwise, it can be chaos.”

“CHAOS” I wrote in my notebook. “Mindset. Mladost. No website. Impossible to understand.” It made sense at the time.


Ferran Adria interview: The culinary wizard on life after el Bulli

Ferran Adria, widely credited as being one of the world's finest chefs, tells Harriet Alexander why the end of el Bulli is only the beginning.

For Ferran Adrià, the Španjolski chef who delights in turning things on their head, the end is just the beginning.

Imajući announced in January last year that he would close el Bulli, his famed restaurant near Barcelona which is widely acclaimed as one of the world's finest, last week in Madrid he was talking about its rebirth.

"Throughout the history of el Bulli, there have been many changes in its organisation or philosophy," he told the Madrid Fusion food festival – the same place where 12 months ago he dropped the bombshell of closing the restaurant in July.

"This is another one of those moments. There will be risk, and freedom, and creativity. But there won't be opening hours, or reservations, or routines."

Mr Adrià took to the stage in Madrid to unveil "el Bulli Foundation" - the latest development from the man described by the New York Times as the chef "who would have been the caterer of choice for the Mad Hatter".

The foundation will be the next phase for Mr Adrià, whose every pronouncement is seized upon by food writers and cultural observers worldwide.

He aims to put all of el Bulli's back catalogue - over 1,800 recipes - online, so that admirers can perhaps try to create sea anemone with rabbit brains in their own kitchens.

The news that el Bulli was to close created huge shock waves among foodies, but also generated a certain amount of bemusement by people who wondered what all the hype was about.

Those fortunate enough to secure a table at the three Michelin-starred restaurant – it is only open for six months of the year, and this year had three million people applying for a seat – rave about the mind-boggling concoctions, such as parmesan marshmallows, popcorn clouds or suckling pig tail. Other wonder why anyone would pay €230 (£200) for 30 tiny courses of foams, froths and fricassees.

Yet for the chef who has made a career out of creating culinary shock and awe, a further twist in the tale of el Bulli was perhaps to be expected.

"El Bulli was originally, fifty years ago, a beach bar on a crazy golf course," he told Sunday Telegraph.

"Then, in 1987, we decided to shut for six months of the year – which was revolutionary. In 1993, we did new food, and almost ruined ourselves financially. In 2001, when el Bulli was right at the top, we took the decision to close at midday, and then a year later we got rid of the menu.

"By last year, we felt we were beginning to repeat the same ideas. To maintain the same creative level, we needed different scenarios. There is a limit to how far you can push it."

And Mr Adrià, 48, was also reaching his own limits of endurance. The chef, born in L'Hospitalet, a working-class suburb of Barcelona, has admitted that coping with the immense pressure and long hours of running a restaurant was becoming too much.

Mr Adrià began work at el Bulli in 1984, becoming head chef three years later, aged 25. Since then he has been a permanent fixture at the restaurant – laughing at suggestions that, like at other world-renowned restaurants, he could keep the "head chef" title and delegate the day to day cooking to someone else.

"In el Bulli, the chef needs to be there," he said. "You need to see him. If not, it's not serious.

"When I announced in January last year that I was going to take a sabbatical, that I wanted simply time to think and decide on my new path, people went crazy – saying I was ruined, it was all over.

"I had decided a while ago to take a break. Otherwise, it's too much. I want to travel with my wife, to laugh.

"I'm not sad about closing the restaurant because we're going to do something really good. The world of hospitality is very, very hard and el Bulli had a great atmosphere, but we're very tired. I want more time to myself, more freedom. We want a Google-style environment, and liberty."

Earlier this month Mr Adrià opened a cocktail bar in Barcelona with his younger brother, Albert – who was one of the chefs at el Bulli – and the duo are opening an adjoining tapas bar in February.

"It's going to be great fun," said Mr Adrià. "The food is not traditional – it's new tapas, original and spontaneous. I'm not going to cook, but I'll be on the other side of the bar, sampling. Because el Bulli . " he pauses and shakes his head. "Never again."

He does look tired. Meeting Sunday Telegraph for lunch during the closed season, straight off a plane from Italy, his eyes are weary. Accompanied by his petite, elegant wife Isabel, who he met in Roses, the town of el Bulli, 20 years ago, he looks exhausted and sits quietly. When el Bulli is shut, he travels constantly – giving lectures, promoting his range of cookbooks and discussing his culinary philosophy.

The waiters in the London restaurant tip toe around him nervously, and the kitchen must have been terrified when Adrià proceeds to order simply the first three starters from the menu.

Yet when the conversation turns to creativity and – his favourite word – "vanguardia", innovation, his eyes light up, and he begins to gesticulate wildly with his hands.

"Innovation, being avant garde, is always polemic," he said. "Otherwise, then it's not innovative. People always say 'Ferran just does foam'. But I like to surprise."

Last week Mr Adrià surprised the culinary world once again, detailing his plans for "el Bulli Foundation". When the restaurant closes in its current form on July 30, it will begin its transformation into what he calls "a centre for culinary creativity".

The location will remain the same – at Cala Monjoi, near the Catalan town of Roses – but the building will be transformed into a sort of culinary laboratory. The car park, he told Sunday Telegraph, will become a swimming pool – a symbol of the new playfulness of the site.

From 2014 onwards, the plan is for teams of 15 people – mainly chefs, but also other creative people, engineers, journalists, and artists – to study alongside Mr Adrià and his team. From applications posted online, Mr Adrià and his colleagues will select "creatives" for their seasons of brainstorming, reviewing technical processes, and trying new ideas in the laboratory.

All of their work will be posted online, as a way of sharing their processes and cataloguing the 1,800 recipes that el Bulli has already developed.

As a creative force, he has been compared to Picasso and Dali. His biographer, Colman Andrews, an American food writer, said: "The thing you have to realise is that he never stops. While we are sitting here eating and talking, I guarantee that he has had ten other ideas."

He may be stepping down from the stove, but he is not calming his creative fizz. "That's what I like – obsession, passion. I'm going to create a centre for culinary magic."

And how does he feel about the comparisons with his fellow mercurial Spaniard, Pablo Picasso?

"I can't think about it too much. Otherwise I'd go mad. If I sit down and think too hard about everything that's happened to me – I'd go crazy. I have enough going on in my head already."


Ferran Adria’s life now on film

Ferran Adria — “the most influential chef in the world” — is a man on a mission.

Just not one that involves him having to run a restaurant.

The Catalan — whose elBulli restaurant was named the best on the planet a record five times — is out to prove that the wildly experimental dishes he pioneered there still cut the mustard.

In the seven years since he unexpectedly shut the legendary Costa Brava restaurant, with 3,000 people still on the waiting list for a table, simpler more earthy cooking has come into vogue.

But the father of molecular cuisine, who brought the world the idea of “mandarin air”, eating smoke, caramelised quails, trout egg tempura and any number of foams and emulsions, told AFP that he has not stood still.

“I have not stopped working” nor experimenting, he said, since he shuttered elBulli, which held the maximum three Michelin stars.

Back then Adria admitted that he was feeling a little jaded.

But as he explains in a new 15-part documentary series about his incredible rise from dishwasher to culinary superstar, elBulli: Story of a Dream, which begins on Amazon Prime Video on Monday, he has well and truly got his mojo back.

It is just that he doesn’t want to go back to cooking at the stove day and night.

Famous chefs don’t cook

“It makes no sense for me to open a restaurant,” he said. “Why would I do that?

“Almost all the greatest chefs in the world — with a few exceptions — no longer actually cook. They taste, direct and conceive,” he said.

Adria has, however, helped his brother Albert to open six establishments in Barcelona, of which one, Enigma, he described as a “baby elBulli”.

It came 95th in the latest 󈬢 Best” world restaurants list.

Instead he teaches at Harvard University, gives advice, and runs the elBulli foundation, funded by 12 million euros (Dh51.47 million) of private capital from the Spanish giants Telefonica and CaixaBank and the Italian coffee company Lavazza.

A natural enthusiast every bit as whimsical and surprising in the flesh as his cooking, Adria is more concerned about bringing on the next generation of master chefs.

He had a big hand in forming the trio of talents who have replaced him at the top of the global gastronomic tree: fellow Catalan Joan Roca (of El Celler de Can Roca in Girona), Italian Massimo Bottura (of Osteria Francescana in Modena) and the Dane Rene Redzepi of Noma fame.

“I’d say 95 per cent of the restaurants I have helped have been successful,” he added, acknowledging that he has worked with the Spanish chef Jose Andres of the Minibar in Washington DC, which has two Michelin stars.

‘Techno-emotional cooking’

Adria — who is still only 56 — is also working on a gastronomic innovation centre on the site of the old elBulli at Cala Montjoi, which is due to open five years behind schedule next year.

Rather than a molecular cuisine, he prefers to call his cooking “techno-emotional”.

“They say that I am out of fashion, that no one makes ‘espumas’ anymore [his light-as-air mousses]. But thousands of restaurants across the world now use siphons,” said the “alchemist” Čuvar once called “the most imaginative generator of haute cuisine on the planet.”

He said his mission at elBulli’s was to discover “the limits of the gastronomic experience”. In 17 years there he created 1,846 recipes, including a “crispy liquid”, a mousse of white beans and sea urchins and powdered foie gras.

Adria said he hopes the new Amazon series — based on a previous television series about his work — will help demolish some of the myths about elBulli, which sparked controversy because of its use of chemical additives.

“Salt is a lot worse for the health than any stabiliser,” he hit back.

Another of his new passions is a project he calls his Bullipedia, an enormous gastronomic encyclopedia for which the autodidact has plunged himself into studying 400 years of French cuisine.

“It is one of my big sources of inspiration” at the moment, with Chinese, Mexican, Peruvian and Japanese cooking.

While the British and American press like to see Adria as a symbol of the new hegemony of Spanish haute cuisine over the French, he said that he was a “child of French nouvelle cuisine”, citing Michel Guerard, the Troisgros clan, Paul Bocuse and Alain Chapel as his main influences.


Gledaj video: ADRIA Y ARZAK -- ENTRE COPAS