Jump to content
  • Welcome to the eG Forums, a service of the eGullet Society for Culinary Arts & Letters. The Society is a 501(c)3 not-for-profit organization dedicated to the advancement of the culinary arts. These advertising-free forums are provided free of charge through donations from Society members. Anyone may read the forums, but to post you must create a free account.

Sign in to follow this  
thebartrainer

Molecular Cocktails

Recommended Posts

Why not use an ISI Thermo Whip? All you would need is a strainer of the right size. Just dont fit a nozzle and keep it upright when you come to release the pressure using the product release handle. Insulated, pressure capable and perfect for the task. You could also carbonate further if required with their CO2 cylinders

Share this post


Link to post
Share on other sites
I've been thinking that a salt, sweet or sharp foam would be useful to float instead of coating the rim of a glass.  I can imagine a Margarita with a Salt foam float.

I've been researching and found some more interesting links

Robert Hess interviews Jamie Boudreau

Photomicrography of Cocktail crystal structures

Apple White Lady (Sous Vide)

no. 9 park is doing a really simple fernet foam that sits atop some chilled rye with a little simple to become a modernists toronto... (they name it after a neighborhood of which escapes me in toronto with lots of bars...)

i was skeptical for a split second but it was really tastey. better than anything i've ever had with fernet.... because of the shape of the common martini glass you never used up all the foam before the rye. it married with the booze as you sipped. best foam drink i've had so far....

the greatest technological breakthrough in cocktails is the measured drink.... its as significant as indoor lighting.... unfortunatley so many bars are working in the dark....


abstract expressionist beverage compounder

creator of acquired tastes

bostonapothecary.com

Share this post


Link to post
Share on other sites
I don't think you'd have an easy time getting ice cubes into the top of an ISI Thermo Whip.

Not sure about the thermo, but my 0.5l gourmet has a neck about 5cm wide so it should be plenty big enough to put ice inside.

The gourmet could be coated in a neoprene sleeve like the ones you get to keep beer cans cool to protect your hands from the dry ice

Share this post


Link to post
Share on other sites
the greatest technological breakthrough in cocktails is the measured drink.... its as significant as indoor lighting.... unfortunatley so many bars are working in the dark....

The "measured drink"? What does this mean, exactly? Using a jigger instead of free pouring? This is something the best bars in NYC have been doing for years.


--

Share this post


Link to post
Share on other sites
the greatest technological breakthrough in cocktails is the measured drink.... its as significant as indoor lighting.... unfortunatley so many bars are working in the dark....

The "measured drink"? What does this mean, exactly? Using a jigger instead of free pouring? This is something the best bars in NYC have been doing for years.

i mean the jigger.... it is not very common in boston....

boston is really wierd. consumer demand for a good drink outpases the supply. there is an old generation of bartenders that have really bad habits.... i keep seeing so many people interested in a good cocktail but going to wine because they know the bartender can't mess it up....

its kinda funny you think the bartenders would be setting the pace. it only takes a couple incredible bars spoiling their clientelle to make other places' drinks look really bad relative....


abstract expressionist beverage compounder

creator of acquired tastes

bostonapothecary.com

Share this post


Link to post
Share on other sites

A co-worker pointed out there's an interview with Eben Freeman in the December issue of Food and Wine Magazine.

One sort of interesting technique he talks about is for infusing the flavor of fats into alcohols.

Mix a liquid fat with alcohol, then chill, and filter out the fat.

He describes a brown butter infused dark rum he uses in a drink and discusses using bacon fat to flavor bourbon.

He also talks a bit about Kazuo Ueda's "Hard Shake" method of chilling cocktails.


---

Erik Ellestad

If the ocean was whiskey and I was a duck...

Bernal Heights, SF, CA

Share this post


Link to post
Share on other sites

Yah, "fat washing". It rocks.

Infuse with fat flavor of you choice, chill, strain, enjoy.


John Deragon

foodblog 1 / 2

--

I feel sorry for people that don't drink. When they wake up in the morning, that's as good as they're going to feel all day -- Dean Martin

Share this post


Link to post
Share on other sites
A co-worker pointed out there's an interview with Eben Freeman in the December issue of Food and Wine Magazine.

One sort of interesting technique he talks about is for infusing the flavor of fats into alcohols.

Mix a liquid fat with alcohol, then chill, and filter out the fat.

He describes a brown butter infused dark rum he uses in a drink and discusses using bacon fat to flavor bourbon.

He also talks a bit about Kazuo Ueda's "Hard Shake" method of chilling cocktails.

Bacon Bitters. I can see it now...


"Martinis should always be stirred, not shaken, so that the molecules lie sensuously one on top of the other." - W. Somerset Maugham

Share this post


Link to post
Share on other sites
Wow. Foie Gras infused Cognac (or Armagnac), anyone?

I have a seared foie infused burbon drink in the Vinos de Jerez Cocktail Competition at the end of the month. I'll be making enough for a 100 people as part of the competition for a sherry book launch party. If anyone is in NYC on Nov 29th and wants to attend just PM me.

Bacon Bitters.  I can see it now...

Stephan Berg of Bitter Truth Bitters and I were tossing this idea around. There might be something in the works...


Edited by donbert (log)

Share this post


Link to post
Share on other sites

Oh, hey, I found a link to the article on the Food & Wine Website:

Secrets of a Cocktail Master, By Nick Fauchald

Making Freeman a focal point of Tailor seems like an odd choice, given that the restaurant’s chef, Sam Mason, has a following many rock stars would envy. But the booth is the first indication that Tailor approaches cocktails from a new direction. The second is its menu: Freeman’s drinks are as subversive as the salty-sweet, kitchen-lab creations—mustard ice cream, candied olives—that made Mason famous at New York’s temple of molecular gastron­omy, WD-50. A glance at the ingredients on the Tailor cocktail menu confirms this: house-smoked cola, walnut-infused Cognac and dry-hopped gin among them.

There's also a piece about using fat washing for Jello Shots (really!) on the Food & Wine Blog:

Haute Jello Shots, By Kristin Donnelly, Food Editorial Assistant

I tried two different versions: cranberry-pomegranate shots with rye whisky, sweet vermouth and bitters, and maple-sweetened Fuji apple shots with bacon-infused bourbon. While I actually preferred the flavor of the tart, intense cranberry shot, the gelatin didn’t set well, so I need to work on the recipe for that one. The apple shot, however, was a huge hit, and I’m very happy to share the recipe here.

Edited by eje (log)

---

Erik Ellestad

If the ocean was whiskey and I was a duck...

Bernal Heights, SF, CA

Share this post


Link to post
Share on other sites
Bacon Bitters.  I can see it now...

Stephan Berg of Bitter Truth Bitters and I were tossing this idea around. There might be something in the works...

Oh God. Yes, please.

It just occurred to me that if someone uses Ted Breaux's Perique liqueur as a base, that'd be three vices (alcohol, fat, and tobacco) in one.


"Martinis should always be stirred, not shaken, so that the molecules lie sensuously one on top of the other." - W. Somerset Maugham

Share this post


Link to post
Share on other sites
Oh God.  Yes, please. 

It just occurred to me that if someone uses Ted Breaux's Perique liqueur as a base, that'd be three vices (alcohol, fat, and tobacco) in one.

I can think of a few other vices that are alcohol soluble... :laugh:

Share this post


Link to post
Share on other sites
Oh, hey, I found a link to the article on the Food & Wine Website:

Secrets of a Cocktail Master, By Nick Fauchald

Making Freeman a focal point of Tailor seems like an odd choice, given that the restaurant’s chef, Sam Mason, has a following many rock stars would envy. But the booth is the first indication that Tailor approaches cocktails from a new direction. The second is its menu: Freeman’s drinks are as subversive as the salty-sweet, kitchen-lab creations—mustard ice cream, candied olives—that made Mason famous at New York’s temple of molecular gastron­omy, WD-50. A glance at the ingredients on the Tailor cocktail menu confirms this: house-smoked cola, walnut-infused Cognac and dry-hopped gin among them.

There's also a piece about using fat washing for Jello Shots (really!) on the Food & Wine Blog:

Haute Jello Shots, By Kristin Donnelly, Food Editorial Assistant

I tried two different versions: cranberry-pomegranate shots with rye whisky, sweet vermouth and bitters, and maple-sweetened Fuji apple shots with bacon-infused bourbon. While I actually preferred the flavor of the tart, intense cranberry shot, the gelatin didn’t set well, so I need to work on the recipe for that one. The apple shot, however, was a huge hit, and I’m very happy to share the recipe here.

i dry hopped some rum a while ago. it can be intense and intimidating. but if you do one short infusion throw out the booze and then do your second real infusion you will lose your most over the top pharmacudical type bitter and reveal more of the floral character... all in all fun. rum kissed by hops makes a good floridita...

the bacon whiskey concept uses the "Enfleurage" technique... it is one method of making essential oils... dissolve something in a fat... (that smokey character is dissolved in your bacon) integrate it to an alcohol... the alchol pulls the stuff out of the fat... rack away the fat...

i had great salad dressings this season with walnut oil and aged sherry vineger... i wonder if that oil is a shortcut for nocino... i'd drink that walnut cognac with a spoonful of pear liqueur...


abstract expressionist beverage compounder

creator of acquired tastes

bostonapothecary.com

Share this post


Link to post
Share on other sites

Hi,

Last Saturday I was making espresso foam to top donut soup. I had about 8 oz of espresso and added about 1/4 tsp of soy lecithin and hit it with an immersion blender. While I did get foam, it was only about 1/2 inch and once you try to scoop it out, you end up with very little foam. I ended up adding at least 2 tablespoons and got only slightly improved results. I bet my problem is with technique and not the dosage of lecithin, since I added so much. Does anyone have any tips?

Thanks.

Share this post


Link to post
Share on other sites
Hi,

Last Saturday I was making espresso foam to top donut soup. I had about 8 oz of espresso and added about 1/4 tsp of soy lecithin and hit it with an immersion blender. While I did get foam, it was only about 1/2 inch and once you try to scoop it out, you end up with very little foam. I ended up adding at least 2 tablespoons and got only slightly improved results. I bet my problem is with technique and not the dosage of lecithin, since I added so much. Does anyone have any tips?

Thanks.

I found the best results by using a deep wide rimmed bowl that gives a lot of surface area. Skim the immersion blender just barely below the surface and you should get better results. Check out This Thread for a play on Minibar's Fizzy Mojito that I did with cranberry and vodka. I also have done the passion fruit whiskey sour and have had some good results.

Share this post


Link to post
Share on other sites

I was watching the molecular mixology episodes of The Cocktail Spirit the other day, specifically the one for 90 Years of Aviation, and became intrigued by the idea of using gelatin instead of sodium alginate to make "caviar." Has anyone tried this? Boudreau says you're looking for a "thick, sauce-like" texture in the gelatinized base; is that just a function of not chilling it completely, so that it doesn't set all the way, or is there some concentration at which gelatin thickens the base but doesn't cause it to gel firmly?

I hope that question makes sense. Fundamentally, what I'm wondering is whether you can store the base in the fridge indefinitely and form the caviar to order, or whether you have to make up the base right before you want to serve it. (Or, I guess, form the caviar all at once, keep them chilled, and spoon them into the glass to order.)

I'm hoping to be able to use this technique for a Kir Royal where the cassis caviar will rise and fall on the bubbles of the champagne.

Also, someone way upthread mentioned El Bulli's hot and cold gin fizz; it's worth noting that the recipe can be found here.


Matthew Kayahara

Kayahara.ca

@mtkayahara

Share this post


Link to post
Share on other sites
I was watching the molecular mixology episodes of The Cocktail Spirit the other day, specifically the one for 90 Years of Aviation, and became intrigued by the idea of using gelatin instead of sodium alginate to make "caviar." Has anyone tried this? Boudreau says you're looking for a "thick, sauce-like" texture in the gelatinized base; is that just a function of not chilling it completely, so that it doesn't set all the way, or is there some concentration at which gelatin thickens the base but doesn't cause it to gel firmly?

I hope that question makes sense. Fundamentally, what I'm wondering is whether you can store the base in the fridge indefinitely and form the caviar to order, or whether you have to make up the base right before you want to serve it. (Or, I guess, form the caviar all at once, keep them chilled, and spoon them into the glass to order.)

I'm hoping to be able to use this technique for a Kir Royal where the cassis caviar will rise and fall on the bubbles of the champagne.

Also, someone way upthread mentioned El Bulli's hot and cold gin fizz; it's worth noting that the recipe can be found here.

seems like something that would be fun to play with. i've used gelatin to thicken things with out creating a solid like my "tart pineapple-irish moss syrup"... i don't know if you could rival the effect of a egg yolk (nearly negligable membrane holding in explosive liquid flavor) which is what the alginate tries to approximate... with out creating the recipe it seems like it would only produce nice perfect spheres of jello. seems like he used the technique and understood the drink really well in relation to everyone around here advising that violette should only be a tiny accent unless the drink's name be changed to something french and raunchy...

i wonder if i could make some violette spheres... gently add them to a ramos-esque fizz and then serve it with a very thick bubble tea straw... the violette fizz sounded cool on paper but turned out kind of gross in practice. maybe it just needs the right medium... slurp it down and suck up some explosively flavorful spheres as you go...

i think i can get some nice straws like that from starbucks and have it all ready to go by tomarrow...


abstract expressionist beverage compounder

creator of acquired tastes

bostonapothecary.com

Share this post


Link to post
Share on other sites
i think i can get some nice straws like that from starbucks and have it all ready to go by tomarrow...

FWIW I saw bubble tea straws for next to nothing in our local Asian market the other day.

Let me know how it turns out!


Edited by mkayahara (log)

Matthew Kayahara

Kayahara.ca

@mtkayahara

Share this post


Link to post
Share on other sites

There is actually a recipe designed with a salmon sashimi as the garnish:

http://www.gildedfork.com/provocachic/2007...r-epiphany.html

For a little background on "Molecular Gastronomy" you can refer to this: http://www.worldwidewords.org/turnsofphrase/tp-mol4.htm and for a little more reading, you can refer to this article http://www.csmonitor.com/2004/0218/p11s02-lifo.html

In short, it is about looking at food preparation from a scientific angle. Somewhat similar to the "Food Scientist" approach of Harold McGee ("On Food And Cooking", "The Curious Cook") and Alton Brown ("Good Eats" on the Food Network), but perhaps taking things even a little further. One aspect of testing the boundaries, is what Heston Blumenthal does at his Fat Duck restaurant, and pairing foods together because "chemically" they have an affinity for one another, even though on the face of it they might not sound terribly appetizing. Caviar and White Chocolate apparently is one of the more noteable examples, although I have not yet tried this out myself.

So I read into this sort of two different methods of thinking. One is to question "traditional" methods and wonder what the scientific rationale is behind it, the other is to challenge convention, and discover new ways of doing things.

For example: Cocktails are traditionally served in a conical glass... is that really the best shape to use?

and: Would a garnish of a cube of medium-rare steak work better then an olive in a Martini?

(not that I have an answer to either of the above questions :-)

To return back to part of the initial question/observation and something like a Mint Julep...

Assuming that part of the intent with a Mint Julep is to impress a mint flavor to it... what is actually the best way to do this and get the best possible flavor result? Do you use just the mint leaves, muddling them hard into a little sugar syrup, and then add the ingredients... or do you use the mint, stems and all, and not muddle them at all, instead simply shaking everything together? Or perhaps there is a chemical compound in the mint that can't help but turn slightly bitter when combined with whiskey, and therefore the best way to get the mint "essence" without the bitterness is to festoon the top of the glass with a "veritable forest of sprigs"... That, would be Molecular Mixology.

While we are also on the topic of flavor combinations, I might take a moment to recommend "Culinary Artistry" by Andrew Dornenburg and Karen Page. Nothing really Mixology related about it, but I think it is a facinating look into cuisine, flavor pairings, and insights into how a number of renowned chefs "think" about the cuisine they create. Conceptually there is some cross-over into Mixology as well.

-Robert

Share this post


Link to post
Share on other sites

Hi,

may i ask, how do you dry hop rum? I'm curious about the process & techniques, if may be so kind as to share it.

Oh, hey, I found a link to the article on the Food & Wine Website:

Secrets of a Cocktail Master, By Nick Fauchald

Making Freeman a focal point of Tailor seems like an odd choice, given that the restaurant’s chef, Sam Mason, has a following many rock stars would envy. But the booth is the first indication that Tailor approaches cocktails from a new direction. The second is its menu: Freeman’s drinks are as subversive as the salty-sweet, kitchen-lab creations—mustard ice cream, candied olives—that made Mason famous at New York’s temple of molecular gastron­omy, WD-50. A glance at the ingredients on the Tailor cocktail menu confirms this: house-smoked cola, walnut-infused Cognac and dry-hopped gin among them.

There's also a piece about using fat washing for Jello Shots (really!) on the Food & Wine Blog:

Haute Jello Shots, By Kristin Donnelly, Food Editorial Assistant

I tried two different versions: cranberry-pomegranate shots with rye whisky, sweet vermouth and bitters, and maple-sweetened Fuji apple shots with bacon-infused bourbon. While I actually preferred the flavor of the tart, intense cranberry shot, the gelatin didn’t set well, so I need to work on the recipe for that one. The apple shot, however, was a huge hit, and I’m very happy to share the recipe here.

i dry hopped some rum a while ago. it can be intense and intimidating. but if you do one short infusion throw out the booze and then do your second real infusion you will lose your most over the top pharmacudical type bitter and reveal more of the floral character... all in all fun. rum kissed by hops makes a good floridita...

the bacon whiskey concept uses the "Enfleurage" technique... it is one method of making essential oils... dissolve something in a fat... (that smokey character is dissolved in your bacon) integrate it to an alcohol... the alchol pulls the stuff out of the fat... rack away the fat...

i had great salad dressings this season with walnut oil and aged sherry vineger... i wonder if that oil is a shortcut for nocino... i'd drink that walnut cognac with a spoonful of pear liqueur...

Share this post


Link to post
Share on other sites

hi,

just like to add an interesting idea of using simple gelatin and cold oil to make 'caviar/pearls' (http://www.smallscreennetwork.com/video/26/molecular_mixology_aviation/) or simply the age-old egg white to create a foam (http://www.smallscreennetwork.com/video/19/jamie_boudreau_molecular_mixology2/)

Some of the items needed for molecular mixology may not be easily available, and in the current trend of MM, some of these items are just being marketed at a unnecessary price range. The videos above are good reminders to look back at the main concepts behind and to find more 'friendly' alternatives.

I finally got around to mixing a drink out of el Bulli 1998-2002: a passionfruit whiskey sour:

gallery_25246_4203_32877.jpg

Unfortunately, even after 4 packets of gelatin, 4 nitrous oxide cartridges, one frozen hand (screw the top on the cream whipper before inserting the nitrous cartridge. duh.), and a quart of passionfruit juice, I didn't achieve a successful drink. The first problem was the quality of the passionfruit: the Ceres juice I used must be weak compared to whatever is used at el Bulli/minibar: the recipe calls for cutting the juice with water, which results in a very dilute cocktail base, without any sour component to speak of. Second problem was the foam: it was supposed to sit in the fridge for 2 hours, but after 30 minutes or so half the foam had collapsed and the rest had gelled into something the consistency of a marshmallow. The recipe calls for 1.5 sheets of gelatin, but I can only find packets of Knox. Neither 1, 1.5, or 2 packets seems to work, and at the high concentrations you can clearly taste the gelatin (yech!). Has anyone else experimented with foamed cocktails? Any advice?

thanks

Share this post


Link to post
Share on other sites

So I've got it in my head that I'd like to try a spherification of Green Chartreuse for my impending trip to New Orleans (I'm a member of the Completely Mystical Order of the Krewe of Chartreuse), but I'm wondering about the viability of doing this with an alcoholic substance. Would I go about it in the standard manner, is there some added factor I should account for or is it chemically impossible? I've only done this with fruit juice so far. I'd really love to present the Krewe founder I'm staying with down there with a container of Chartreuse "Caviar".

Sincerely,

Dante

Share this post


Link to post
Share on other sites
So I've got it in my head that I'd like to try a spherification of Green Chartreuse for my impending trip to New Orleans (I'm a member of the Completely Mystical Order of the Krewe of Chartreuse), but I'm wondering about the viability of doing this with an alcoholic substance.  Would I go about it in the standard manner, is there some added factor I should account for or is it chemically impossible?  I've only done this with fruit juice so far.  I'd really love to present the Krewe founder I'm staying with down there with a container of Chartreuse "Caviar".

Are you thinking of doing this with sodium alginate/calcium chloride, or gelatin and cold oil? In either case, I think this would be extremely tricky, especially with the high proof of Chartreuse. AFAIK, alcohol interferes with both gelatin and alginate, so the only real option would be a reverse spherfication using a sodium alginate bath and calcium chloride in the Chartreuse (see this post, for example).


Matthew Kayahara

Kayahara.ca

@mtkayahara

Share this post


Link to post
Share on other sites
Sign in to follow this  

  • Similar Content

    • By WackGet
      Recently I picked up a few different types of emulsifiers in bulk powder form when I saw them in passing at a catering wholesaler.
       
      Having never used powdered emulsifiers before in cooking or baking, I figured I'd find pretty comprehensive instructions for their use on the web - but I can't.
       
      I'm not a stranger to food science but nor am I a chemist. I understand that emulsifiers are at least sometimes prepared by pre-mixing them into a (heated?) liquid or fat and then using the resulting solution in the actual recipe, which may explain why a lot of commercial emulsifier mixtures are packages as tubes of gel or paste. I've also checked several industry-level textbooks about emulsifiers and while they are fantastic for in-depth explanations of the chemistry behind each emulsifier, they do not (as you might imagine) provide guidance on how a lowly baker or cook would actually use a powdered form.
       
      So does anyone know how to prepare and use a dry powdered form of any of the following in a real recipe?
       
      Specifically I am most interested in enhancing baked goods and adding stability to sauces, but would also like to know how to use them for other processes such as sausage-making too.
      E471 Mono- and diglycerides of fatty acids E481 Sodium stearoyl lactylate E482 Calcium stearoyl lactylate E472e DATEM (diacetyl tartaric acid ester of mono- and diglycerides)
        Thanks.
    • By mjbarnard
      I cooked two turkey breasts sous vide. This year had access to the Meater+ thermometer probe which I managed to vacuum seal in the bag without difficulty (it is small). Since it works wirelessly I was able to monitor and it records the internal temperatures at the thickest part of the breast.
      I thought the results were interesting. I cooked at 60C for 8 hours. I have always used https://www.chefsteps.com/activities/a-better-way-to-turkey-cook-that-bird-sous-vide-for-the-best-feast-ever which gives long cooking times at lower temperature. I have found that as according to this page https://www.seriouseats.com/recipes/2014/11/sous-vide-turkey-breast-crispy-skin-recipe-thanksgiving.html that 55C gives turkey which is just a little too pink for most tastes. Over the last few years have increased the temperature up to 59/60 and I find it perfect - very moist and tender, but pale not pink.
      See attached images. I changed my mind a couple of times and started at 58 then 60 then 59 again, so ignore the slight variations. The thing I found interesting was that the thickest part (of a large breast) reached 55C in around 1 hour 40 mins and target of 59 in 2 hours 30 mins. Now I appreciate that sous vide is a combination of temperature and time or duration, but the data make me think that around 4 hours would be sufficient, as per the seriouseats table. I have previously used the chefsteps 55-58 for their much longer advised times, up to 12 hours and the meat is still quite pink at the end, so I dont believe 55 for 12 hours would effectively be the same.
      From now on I will watching the internal temperatures with interest. This has always been the (relative) unkown for sous vide amateurs. 


    • By chefg
      I have to say designing the Alinea kitchen has been one of the most exciting experiences thus far in the opening of this restaurant. I have been fortunate to have been “raised” in some of the best kitchens in the country. When I arrived at the French Laundry in August 1996 the “new kitchen” had just been completed. Often times you would hear the man talk about the good old days of cooking on a residential range with only one refrigerator and warped out sauté pans with wiggly handles. When I started about 50% of the custom stainless steel was in place. The walls smooth with tile and carpet on the floors. I recall the feeling of anxiety when working for fear that I would dirty up the kitchen, not a common concern for most cooks in commercial kitchens.
      The French Laundry kitchen didn’t stop, it continued to evolve over the four years I was there. I vividly remember the addition of the custom fish/canapé stainless unit. Allowing the poissonier to keep his mise en place in beautiful 1/9 pan rails instead of the ice cube filled fish lugs. Each advancement in technology and ergonomics made the kitchen a more efficient and exacting machine.
      When I returned to the Laundry this past July for the 10th anniversary I was shocked that it had metomorphisized once again. The butcher room was now a sea of custom stainless steel low boys, the pot sink area was expanded, the walk-in moved, and an office added to the corner of the kitchen. The kitchen as I left it in June of 2001 was beautiful and extremely functional, of course it is even more so now. It is the relentless pursuit of detail and concise thought that allows the French Laundry kitchen to be one of the best for cooks to execute their craft…..16 hours a day.
      This was good motivation.
      When it came time to design my kitchen I drew on experiences at Trio, TFL and other kitchens I was familiar with to define the positives and negatives of those designs. We were faced with a 21x 44' rectangle. This space would not allow for my original kitchen design idea of four islands postioned throughout the kitchen, but ultimately gave way for the current design which I think is actually better than the original. But most the important aspect in shaping the final design was the cuisine. Due to the nature of food that we produce a typical layout with common equipment standards and dimensions do not work. Here is where the team drew on our experiences from Trio. By looking at the techniques we utilized we came to several conclusions.
      1. A conventional range was not our main heat source. We do need the flat tops and some open burners for applications such as braising and limited stock work. But our overall use of this piece of equipment is somewhat low. Given that we wanted four open burners and two flat tops with two ovens I began to source out a reliable unit. We settled on the Molteni G230.

      2. Upon analyzing our other heat source needs we decided to place a large focus on induction. By utilizing portable induction burners we are allowed the flexibility to give as much power as needed to a specific station in the kitchen. Obviously induction’s radiant heat is very low, and this allows us to keep the temperature in the kitchen reasonable, yet the power is quite high. 31,000 BTU's of highly controlable heat. But the main reason for choosing this flexible source of heat is the fact that each chef typically employed at least four different cooking applications on a given night. This huge flux in technique and the realization that the menu would change entirely in 8 weeks time meant that we had to design a kitchen that could evolve on a nightly basis. And last, we are very specific with temperatures; induction makes it easier for us to hold a liquid at a predetermined temperature for long periods of time without fluctuation. They operate between 85 and 500 degrees farenheit. We did a great deal of research on the different producers of induction and favored Cooktek. The fact that they are the only U.S manufacturer of commercial induction cooking equipment and located in Chicago made the decision easier. Their innovative approach to induction may prove to be even more exciting as we are already talking about new product development in the future.

      3. a. The complexity of the presentations and a la minute plate-ups of the food require a great deal of surface area devoted to plating. This was one of the most critical factors in determining the basic shape of the kitchen. The size of some of today's popular plates, the amount detail in each composition, coupled with the fact that producing tasting menus vs. ala carte means sometimes large waves of same dish pick ups made it necessary for us to have over 44' of linear plating surface.
      b. Virtually nothing goes vertical above the 36” counter top in the space. All food, plates, equipment, and dry good storage are contained by under counter units. There are a few exceptions such as the infrared salamanders, the three-door refrigerator, and the hood. This allows all the cooks a clear line of communication between each other and the front staff. It allows me an easy sight line to survey the entire kitchen’s progress with a quick glance.
      Given these two points it seemed obvious that we needed to combine the two and create custom pieces that would fulfill both needs. Large spans of plating surfaces with all food and equipment storage below. As you can see we ended up with two 22’ long units. Each function as a pass and under counter storage.
      The building is 21’ wide wall to wall. This allowed us just enough space to create two lines on each exterior wall with their passes forming a 60” corridor for the pick up of plates and finishing of dishes.
      4. We decided to add a station to the kitchen. At Trio we had five including:
      a. pastry
      b. cold garde manger
      c. hot garde manger
      d. fish
      e. meat
      Now that we had more space, and the ability to give each station multiple heat
      sources regardless of their location in the kitchen, we could spread the workload even further. We also realized it doesn’t make much sense to identify each station by classic French Bragade terms. A saucier did not solely cook meat with classic techniques and prepare various traditional stocks and sauces…in fact quite the opposite. This holds true with most of the stations, with the exception of pastry, but even they will have very unconventional techniques, menu placement and involvement in the kitchen systems. We will add a station that will be responsible for a large majority of the one-bite courses both sweet and savory.
      5.Given the size constraints of the building we realized a walk-in would not be possible in the kitchen. If we were to have one it would be in the basement. Having experienced this at Trio we decided to design the kitchen without a walk-in, making up for the space in various lowboy locations and a three-door reach-in. I experienced the walk-in less environment when I worked at Charlie Trotter’s. It is certainly different, but as with most things if done properly it provides a very efficient environment. It works best in situations where fresh products are brought in daily for that days use. And prevents ordering in large quantities. It also provides us with very specific units to house different items. We will utilize the 3-door refrigerator to store the majority of the vegetables and herbs along with some staple mise en place, and items that cannot be made in very small quantities like stocks. Raw meat will have it’s own lowboys as well as fish, dairy, and all frozen products.
      6. At Trio we found ourselves using the salamander a great deal. It is very useful for melting sugar, bringing on transparent qualities in things like fat and cheese, cooking items intensely on only one side, and it is a highly controllable non-direct heat source. Due to the air gap between the foodstuff and the heat elements the cook can control the degree of heat applied to the dish based on the technique he is using. It becomes a very versatile tool in the modern kitchen, so much so that we will install three Sodir infrared salamanders.

      Again, this is to insure that all the cooks have access to all of the techniques in the kitchen. As I said before it is important for our cooks to be able to sauté, simmer, poach, fry, grill, salamander, and freeze at the same time and sometimes for the same dish.
      We have a few unusual pieces of equipment in the kitchen; the most is probably a centrifuge. A few months ago Nick and I were driving home from a design meeting and ended up talking about signature dishes and menu repetition. Of course the black truffle explosion came up and he asked if I would have it on the menu at Alinea. I replied a firm no, but shortly thereafter said I would enjoy updating it. We threw around some tongue and cheek ideas like White Truffle Implosion, and Truffle Explosion 2005….I said it was a goal of mine to make a frozen ball with a liquid center….but then dismissed it as nearly impossible. Within a few minutes he said …”I got it…we need a centrifuge” His explanation was simple, place the desired liquid in a spherical mold and place on the centrifuge…place the whole thing in the freezer. Within days he had one in the test kitchen. I guess this is better suited for the kitchen lab topic that we will be starting in a few weeks…
      We are working on a upload of the kitchen blueprints. When those post I plan on going into more detail about certian aspects of the design. Doing so now would be pointless as the viewer does not have a reference point.
    • By ronnie_suburban
      It’s the first day of cooking in Alinea's Food Lab and the mood is relaxed. We’re in a residential kitchen but there’s nothing ordinary about it. Chef Grant, along with sous chefs John Peters and Curtis Duffy are setting up. The sight of the 3 steady pros, each in their chef’s whites, working away, does not match this domestic space. Nor does the intimidating display of industrial tools lined up on the counters. While the traditional elements are here in this suburban kitchen: oven, cooktop, sink, so too are the tools of modern restaurant cookery: pacojet, cryovac machine, paint stripping heat gun…wait, a paint stripping heat gun?
      In the physical realm, the Food Lab is a tangible space where the conventional and the unconventional are melded together in the quest for new culinary territory. With Alinea’s construction under way, the team must be resourceful. This meant that renting a space large enough to house both the office and the kitchen aspects of the food lab was out of the question.
      The decision was made to take over a large office space for the research and administrative aspects of Alinea and transform a residential kitchen into the Lab. Achatz and the team would work three days per week at the office researching all aspects of gastronomy and brainstorming new dishes, while managing the project as a whole. The remaining time would be spent in the kitchen executing the ideas formulated at the office. “At first I thought separating the two would be problematic,” says Grant “but in the end we are finding it very productive. It allows us to really focus on the tasks at hand, and also immerse ourselves in the environment conducive to each discipline.” The menus for opening night—containing as many as 50 never-before-served dishes--must be conceived, designed, tested and perfected. The Alinea team does not want to fly without a net on opening night.
      On a more abstract level, the Food Lab is simply the series of processes that continually loop in the minds of Chef Grant and his team. While there is no single conduit by which prospective menus--and the dishes which comprise them--arrive at Alinea, virtually all of them start in Chef Grant's imagination and eventually take form after brainstorming sessions between the Chef and his team. Menus are charted, based on the seasonality of their respective components, and the details of each dish are then laid out on paper, computer or both and brought to the kitchen for development. In this regard, the Food Lab provides something very special to the Chef and his team. “We consider the food lab a luxury,” says Grant. Once Alinea is open and the restaurant’s daily operations are consuming up to 16 hours of each day, time for such creative planning (aka play) will be scarce. Building a library of concepts, ideas and plans for future menus now will be extraordinarily valuable in the future. Otherwise, such planning sessions will have to take place in the 17th and 18th hours of future workdays, as they did when the Chef and his team were at Trio.
      Today, several projects are planned and the Chefs dig into their preparations as soon as their equipment setup is complete…
      Poached Broccoli Stem with wild Coho roe, crispy bread, grapefruit
      Stem cooked sous vide (butter, salt, granulated cane juice)
      Machine-sliced thin bread
      Dairyless grapefruit “pudding”
      Dried Crème Brulee
      Caramel orb shell made with bubble maker and heat gun
      Powdered interior made with dried butterfat, egg yolks, powdered sugar & vanilla
      PB&J
      Peeled grapes on the stem
      Peanut butter coating
      Wrap in brioche
      Broil
      Micro-grated, roasted peanuts
      Instant Tropical Pudding
      Freeze Dried Powders of coconut, pineapple, banana
      Young coconut water spiked with rum
      Muscovado Sugar
      Cilantro
      Candied Chili
      Jamaican Peppercorn
      Vanilla Bean
      The steps required to comprise each dish are, as one might imagine, intricate and numerous. For the Poached Broccoli Stem, Chef Grant begins by separating the broccoli stems from the florets. The stems are stripped of their fibrous exteriors and pared down until they are uniform in size. Grant comments on the use of the second hand part of the vegetable: “This dish started with the roe. Every year we receive the most amazing Brook Trout Roe from Steve Stallard, my friend and owner of Blis. Typically, we serve the eggs with an element of sweetness. I find it goes very well with the ultra fresh salinity of the week-old roe. This time around we wanted to take a savory approach so I began looking into complimenting flavors in the vegetal category. About the same time, our group had a discussion about secondary parts of vegetables and the stem of broccoli came up. I had a past experience with the stem and found it to be very reminiscent of cabbage. Knowing that cabbage and caviar are essentially a classic pairing, I felt confident that we could work the dish out. Now I'm struggling to decide if this is a broccoli dish or in fact a roe dish, I think they really battle for the top position and that helps makes the dish very complex."

      Chef Grant processing the broccoli

      The stems are placed in a polyethylene bag, along with butter, salt and granulated cane juice. The bag is sealed with a cryovac machine

      The sealed stems are placed in a 170 degree F water to cook, sous vide, until extremely tender; about three hours

      Broccoli stems after cooking
      The crisp bread element is fabricated via the use of an industrial deli slicer. Chef Grant then brushes the sectioned pieces of poached broccoli stem with eggwash, affixes them to the thin planks of brioche and places them in a fry pan with butter.

      Grant's mise...not your ordinary cutting board

      Poached Broccoli Stem and Crisp Bread cooking

      Ready for plating

      A bright green broccoli puree is made with a vita-prep blender. Here, Chef Grant "mohawks" it onto china given to him by Thomas Keller

      Smoked Coho roe has arrived via Fed-Ex, courtesy of Steve Stallard

      Chef Grant devises a plating scheme for the Poached Broccoli Stem while Curtis looks on

      Chef Grant ponders one potential plating of the dish. He called this incarnation 'predictable' and started over.

      Another plating idea. This version is garnished with broccoli petals and ultra-thin slices of connected grapefruit pulp cells. The yellow petals are stand-ins for what will ultimately be broccoli blossoms
      Grant is still displeased at the dish's appearance. "The dish tastes as I envisioned it....texturally complex, with the crispness of the bread, the soft elements of the floret puree and stem, and the pop of the eggs. The buttery richness from the bread gives the stem the flavor of the melted cabbage I loved at the [French] Laundry. And the hot and cold contrasts from the roe and broccoli …I like it…..I just don’t like the way it looks.” Another attempt and the group agrees, it is better but not “the one.” The use of the thinly sliced cross sections of peeled grapefruit energizes the group. In the next rendition, they make small packets with the ultra thinly-sliced grapefruit containing the roe...

      A third plating configuration for Poached Broccoli Stems; this one featuring the packets of roe wrapped in ultra thin sheets of grapefruit pulp cells
      At this point the team decides to move on and come back to it next week. After some conversation they decide that in the final dish, broccoli will appear in at least 5 forms: poached stems, floret puree, some raw form of the stem, the tiny individual sprouts of broccoli florets, and the blooms. Grant feels that Poached Broccoli Stem could be ready for service, although he still envisions some changes for the dish that will make it even more emblematic of his personal style. “Our dishes continue to evolve after they hit the menu. It is important for us to get to know them better before we can clearly see their weaknesses.”
      The thought for the dried crème brulee originated over a year ago when a regular customer jokingly asked for a crème brulee for dessert. “He said it as joke, I took it as a challenge,” says Grant. "Of course, we never intended to give him a regular crème brulee.” The team tried various techniques to create the powder-filled caramel bubble while at Trio to no avail. An acceptable filling for the Dried Crème Brulee has been developed by the Chef and his team but several different methods, attempted today, to create the orb from caramelized sugar have been less than 100% successful.

      Caramel blob awaiting formation. Chef Curtis kept this pliable by leaving it in a low oven throughout the day

      Chef Grant’s initial idea to use a metal bubble ring and heat gun (normally used for stripping paint) to form the bubbles does not work as hoped. Attempts to fashion them by hand also come up short.
      Says Grant, “At Trio we tried a hair-dryer. When Martin told me about these heat guns which get up to 900 degrees F, I thought we had it for sure. If it was easy everyone would do it I guess.” Eventually, Alinea partner Nick Kokonas garners the task’s best result by positioning a small, warm blob of sugar onto the end of a drinking straw and blowing into the other end. The results are promising. Curtis suggests using a sugar pump to inflate the orbs. That adjustment will be attempted on another day.
      “We intentionally position whimsical bite in the amuse slot, it tends to break the ice and make people laugh. It is a deliberate attempt to craft the experience by positioning the courses in a very pre-meditated order. A great deal of thought goes into the order of the courses, a misalignment may really take away from the meal as a whole.” For PB&J, the grapes are peeled while still on the vine and then dipped into unsweetened peanut butter. They are allowed to set–up, and then they are wrapped with a thin sheet of bread and lightly toasted. When the peeled grapes warm, they become so soft they mimic jelly. The composition is strangely unfamiliar in appearance but instantly reminiscent on the palate. PB&J is, according to Grant, virtually ready for service. There are a couple of aesthetic elements, which need minor tweaks but the Chef feels very good about today’s prototype.

      Chef John peels grapes while still on their stems

      Peeled grapes on their stems with peanut butter coating

      Chef Grant studies the completed PB&J in the Crucial Detail designed piece

      PB&J
      Often, creative impulses come by way of Alinea’s special purveyors. “Terra Spice’s support over the past couple of years has been unprecedented, and it has accelerated with the start of the food lab,” says Grant. “It is great to have relationships with people that think like we do, it can make the creative process so much easier. Often Phil, our contact at Terra, would come into the kitchen at Trio and encourage us to try and stump him on obscure ingredients. We always lost, but not from lack of trying. He even brought in two live chufa plants into the kitchen one day.” The relationship has developed and Terra team has really made an effort to not only search out products that the chefs ask for but also keep an eye out for new ingredients and innovations. In August, Phil brought by some samples of products that he thought the Alinea team might be interested in trying.

      Phil of Terra Spice showing the team some samples

      Coconut powder and other samples
      Grant recalls “the most surprising item to me was the dried coconut powder. When I put a spoonful in my mouth I could not believe the intense flavor and instant creamy texture, it was awesome.” That was the inspiration for what is now Instant Tropical Pudding. The guest is presented with a glass filled with dried ingredients. A member of the service team pours a measured amount of coconut water into the glass and instructs the guest to stir the pudding until a creamy consistency is formed.

      The rum-spiked coconut water being added to the powders
      At the end of the day, the Chefs assess their overall effort as having gone “fairly well.” It’s a mixed bag of results. Clearly, the fact that things have not gone perfectly on Day 1 has not dampened anyone’s spirits. The team has purposely attempted dishes of varying degrees of difficultly in order to maximize their productivity. Says Grant, “Making a bubble of caramel filled with powder…I have devoted the better part of fifteen years to this craft, I have trained with the best chefs alive. I have a good grasp of known technique. The lab's purpose is to create technique based on our vision. Sometimes we will succeed, and sometimes we will fail, but trying is what make us who we are." The team's measured evaluations of their day’s work reflect that philosophy.
      According to Chef Grant, “The purpose of the lab is to create the un-creatable. I know the level at which we can cook. I know the level of technique we already possess. What I am interested in is what we don't know...making a daydream reality.” With little more than 100 days on the calendar between now and Alinea’s opening, the Chef and his team will have their work cut out for them.
      =R=
      A special thanks to eGullet member yellow truffle, who contributed greatly to this piece
    • By ronnie_suburban
      Sometime this week, at an undisclosed location in the city of Chicago, Chef Grant Achatz begins the next leg of his journey to open his new restaurant, Alinea. Grant will christen the 'food lab' where the menu for Alinea will be developed. eGullet will be trailing Grant and his team throughout the process -- not just in the food lab but through every facet of the launch. Over the next six months, we will follow the Alinea team as they discover, develop, design and execute their plan. We'll document behind-the-scenes communications, forwarded directly to us by the Alinea team. We will be on the scene, bringing regular updates to the eGullet community. And Grant will join us in this special Alinea forum to discuss the process of opening Alinea. eGullet members will have the opportunity to ask Grant, and several other members of the Alinea team, questions about the development of the restaurant.
       
      A Perfect Pairing?
      By the time he was 12 years old, Grant Achatz knew that he would someday run his own restaurant. The story of Alinea is the story of Grant's personal development as a chef and a leader. Grant was brought up in a restaurant family. He bypassed a college education in favor of culinary school, after which he ascended rapidly to the position of sous chef for Thomas Keller at The French Laundry in Yountville, California. In 2001, Grant took the helm of Trio in Evanston, Illinois, which had previously turned out such noted chefs as Gale Gand, Rick Tramanto (Tru) and Shawn McClain (Spring, Green Zebra). In 2003 Grant won the James Beard Foundation's "Rising Star Chef" award, and other prestigious awards followed. By 2004, Grant was recognized as one of the most influential and unique voices on the international culinary scene.
       
      In January 2004, Grant met Nick Kokonas, a successful entrepreneur who was so obsessed with haute cuisine that he had traveled the world in search of it. After globe-trekking specifically to eat at such culinary meccas as Alfonso 1890, Taillevent, Arpège, Arzak, and the French Laundry, Nick was in near disbelief when he realized that the "best food in the world was 10 minutes from my house." Nick had not previously consideredbacking a restaurant, even though he has both relatives and friends in the industry. But in Grant, he saw an opportunity to help create something great.
       
      Through Grant's cuisine, a bond formed between the two men. So inspired was Nick by Grant's culinary ideas that he returned to Trio almost monthly. Finally, he challenged two of his friends, one from New York and the other from San Francisco, to fly to Chicago and experience Trio. He wanted to prove definitively to his skeptical, coastal buddies that Trio was the best and most important restaurant in the country, assuring them that "if the meal at Trio isn't the best meal you've ever had, I'll pay for your meals and your flights." Nick won his bet: his friends were blown away.
       
      Later that night, after service, Grant joined Nick and his guests at their table. The men chatted about a variety of topics and in the '14 wines' haze of the late evening, they discussed Blue Trout and Black Truffles: The Peregrinations of an Epicure, Joseph Wechsberg's gastronomic memoir. The next day, Grant emailed Nick to ask again about the title of the book they had discussed. Not only did Nick remind him, but, within a few days, sent Grant a copy of Wechsberg's book. A friendship was born.
      Shortly thereafter, Grant sentNick his business plan for Alinea, sending an email after evening service. By the following morning Nick had read it and replied with his own enthusiastic amendments. With a burgeoning friendship already in place, trust developing between the two men and proof they could work together crystallizing before their eyes, it became clear that they would become a team. Says Grant, "I think most people, in a lot of ways, look for themselves in other people in order to match with and I think to a large degree, the reason why we get along so well is that our personalities align very well."
       
      Nick felt the same way. "It's one of those situations where everything just lined up right. I had the interest, I'd started a number of different businesses and I felt like it would be an opportunity to work with someone who I'd get along with very well. I wouldn't want to build a restaurant just to build a restaurant and I doubt I'll ever develop some other restaurant. I think this is the right situation at the right time."
       
      Grant adds, "I think we're both very driven and passionate people. So for me, it was about finding someone I could trust, someone that I knew was going to think like me, be as motivated or more motivated than me. Those things were very, very important--and something I hadn't seen--or something I didn't believe in--that I saw in Nick." Nick continues, "I think a lot people come to a chef with their pre-existing vision of the restaurant they want to build. I didn't even want to build a restaurant before I saw his vision, so it wasn't like I was saying 'I'm building this restaurant and I want you to be my chef' -- it was more like 'I think you should build a restaurant, what can I do to help you build it?'" Grant would have the additional supportive backing he'd need and Nick would have another venture -- and one he solidly believed in -- in which to direct his business acumen.
       
      It's All About The Container
      Anyone who's eaten Grant's cuisine at Trio knows that he is intensely concerned with food and the optimal ways to prepare and serve it. His dishes innovate in flavor; they challenge, tease and delight the senses. But Grant is also driven to innovate in service and technique, constantly seeking new vehicles to deliver sensations to the diner. He works closely with a trusted collaborator, Martin Kastner of Crucial Detail in San Diego, CA to create original service pieces for many of his dishes. And as Grant has searched for additional ways to expand the continuity of the dining experience, it has become clear to him that it starts before the diner even gets to the restaurant's front door.
       
      According to Grant, "You can pull it back as far as you want. The experience is going to start before someone even picks up the phone to make a reservation to this restaurant. It's going to be about their perceptions; why are they picking up the phone to make a reservation? What did they see? What did they read? What's leading them up to that point? They call to make a reservation, that's another experience. The drive to get to this neighborhood is another experience. The minute they open their door and take one step out of their car, now they're surrounded by another experience."
       
      Advancing the functional elements of how food is served is an innate part of the cooking process for Grant, who seeks to render the traditional boundaries of dining obsolete. When asked what he will be able to accomplish at Alinea that he couldn't accomplish at Trio, Grant says, "the obvious is to create the container in which we create the experience. I think that's the very exciting thing for me that I've never been able to have a part in." For Grant, a restaurant's physical space represents the ultimate container and the ultimate personal challenge. The result should break new ground in the world of fine dining.   Grant and Nick are intense and competitive. In both their minds, "crafting a complete experience" is the primary focus of Alinea. According to Nick, "the whole idea is to produce an experience where the food lines up with the décor, which lines up with the flow through the restaurant and from the moment you get, literally, to the front door of the place and you walk in, your experience should mirror in some respects--and complement in others--the whole process you're going to go through when you start eating." Grant takes it a step further. "It's about having a central beacon from which everything else emanates and therefore, it's seamless. The whole experience is crafted on one finite point and if everything emanates from that point, then there's no chance that the experience can be interrupted."
       
      The search for Alinea's space further reflects not only their shared philosophy but also their separate intensities. Says Nick, "One of the things we felt really strongly about, and we both came to it, was that we wanted it to be a 'stand alone' building because if you're in something else you can't help but take on some of that identity. And it's really difficult to find the right size building in the right kind of location, with the right kind of construction that was suitable for the identity of Alinea."
      Nick and Grant drove down every street within a chosen geographical band, armed with a giant map and a set of green, yellow and red markers. Once they had found a set of acceptable streets, they asked a realtor to show them every space available on them.
       
      "Once we did find the building," says Grant, "whichever space we would have chosen, we would have analyzed and considered each different aspect to provoke a certain emotion, a very controlled emotion depending on how we wanted it arranged. But I also think that we wanted the neighborhood to feel a certain way, the street to feel a certain way. Is it like Michigan Avenue where I have people 4-deep, walking straight down the sidewalk, non-stop, all day and all night or is it more of a tranquil environment outside? All those things were spinning around and once you identify the golden egg, then you have to go find it."
      While they would probably never admit it, each innovation, each step they take together in building their venture serves as yet another a opportunity for the Alinea team to challenge the restaurant's competitors. Their attention to all the details provides countless opportunities to distinguish Alinea from other restaurants.
       
      Here the two men can share in the creation, combining their diverse skills and experiences into a unified and shared vision. Alinea will be their baby. They want it to be the best --not just the best food -- but the best everything. They even want the experience of calling for a reservation to be a memorable one.
       
      The Path From Here
      In that spirit, the Alinea food lab opens this week. Grant refuses to promote even one of his legendary creations to 'signature dish' status. Instead of populating Alinea's menu with previous favorites from Trio or 'trial' dishes that have been only roughly tested, Grant and his team will take six months to devise, develop and perfect the dishes and delivery modes that will appear on Alinea's opening menu. When the idea of maintaining a kitchen staff for six months before the restaurant's opening was presented to its investors, in spite of the additional expense, "it seemed like a no-brainer" according to Nick. Grant is an equity partner--a true chef/owner--in the venture and there is a solid consensus among all the backers about the priority of his vision.
      * * * * *
      In addition to being one of today's foremost chefs and culinary innovators, Grant Achatz is a long-time member of eGullet, and a lively, provocative contributor to our discussion forums. Read his March, 2003 eGullet Q&A here.
      Photos courtesy Alinea
       
      eGullet member, yellow_truffle, also contributed to this report
  • Recently Browsing   0 members

    No registered users viewing this page.

×
×
  • Create New...