One night in Giro Giro Kyoto

On my bike through Kyoto I passed this place called Giro Giro many times. I saw these young guys in White uniforms and ties looking rather curiously and gastronomically. I was very shy to go but really wanted to go and find out what they were doing.

One night late a friend came to join me on the new venture of opening a new restaurant in Barcelona and he was very hungry however it was so late past 12.

We passed this restaurant and they were all still serving customers and we went around to the entrance to be warmly welcomed into the world of Giro Giro.

The first night we had beautiful cloudy sake  and a little plate of a sakura seasonal Hassun.

IMG_0789 IMG_0792


Giro Giro is casual but full of people that love to enjoy and what is so special about Giro Giro is that the chefs enjoy with you every minute you are with them.

We loved this place so much that we reserved a table for the next day to taste the full experience and to try more beautiful sakes cloudy Ume shu and Yuzu Beers.

Thank you to all the team Giro Giro we love what you do and how you do!!!!

Rocking modern keiseki Giro Giro way and all the way ūüôā

What turned out to be a shy hesitation turned into a big sharing of passion for the cuisine and human contact in the free life. Giro Giro guys are so cool and sweet and if you go to kyoto or Paris be sure to go and visit them!

Goemon is the chef in charge below in the picture, he is young passionate and so talented surrounded by other very cool and talented chefs that have a human fun and happy hart to life.

Thank you for sharing together with us we will never forget this special night in Kyoto under the Sakura trees.

Screen Shot 2014-04-18 at 06.22.04


IMG_0798 IMG_1063IMG_1112 IMG_1064 IMG_1068IMG_1070 IMG_1069 IMG_1072 IMG_1076 IMG_1077 IMG_1079 IMG_1081 IMG_1083
IMG_1092 IMG_1093
IMG_1098 IMG_1103 IMG_1106 IMG_1108

IMG_1120 IMG_1129
IMG_1136 IMG_1137
IMG_1141 IMG_1144 IMG_1145 IMG_1148 IMG_1150 IMG_1153 IMG_0817



1: salt flank and squids steamed, beans (soramame) soup and plum sauce.

2: daurade sushi narazuke slice plum sauce, grilled salmon roll in cherry leaf white miso and mustard sauce,yuba green wasabi et soy sauce, octopus,yuba maki of asparagus with shrimp sauce, sweatfish, sweat omelet with japanese salsify ,oyster roll with rice paper,fried asparagus cooked with shrimp powder.

3: daurade fish soup ,grilled dorade soft-roe (laitance) ,shitake ,udo, yuzu, green oignon.

4: suhis,sesame rice ,boutargue,radish leaf, lump eggs,shizo leaf and strawberry.

5: grilled pork sauce fukinoto,daisy flower leaf sauce,salt, baked bamboo roots, udo marines with ponzu sauce.

6: fried aburame( fat greening) made with rice powder, colza flower, radish and grapefruit and black seaweed mash, white tofu sauce.

7:rice with sakura salt;grilled eel ,green peas,red miso soup, tsukemono>cabbage plum sauce,half dry bonita, pickles.

8:pancakes, coconut ice cream, cherry blossom jelly, passion fruit sauce, crispy chocolate.




Tapas: Spanish design for food exhibition



Spain’s culinary prowess is no secret. Both El Bulli & El Celler De Can Roca have claimed the prestigious number one spot in the World’s 50 best restaurants, with Mugaritz hot on their heels. Their ability to seamlessly combine flavour, spectacle & design without losing sight of their geographical roots, has helped raise awareness of Spain as a culinary melting pot. One that is simultaneously forward thinking and avant-garde whilst remaining wholesome and familiar.

Yet Spain‚Äôs food & cultural landscape goes much further than the fame of these big hitters. As a celebration of Spain‚Äôs contribution to contemporary food design, the Acci√≥n Cultural Espa√Īola (AC/E) have commissioned a roving exhibition showcasing over 200 objects that explore the relationship between food, design and science and how they‚Äôve influenced eating habits and the cultural landscape of Spain.

Tapas: Spanish design for food, has been divided into four sections- Kitchen, Table, Food &…

View original post 121 more words

Wakatsuki takehan sushi ART perfection and beauty

Screen Shot 2013-12-24 at 19.04.09Screen Shot 2013-12-24 at 15.52.39Edo-style sushi at Ebisu, Daikanyama

“I inherit a bamboo sushi restaurant and as the second generation.

Changed the shop name “Sushitake-han” revised, as “Sushitake-han Wakatsuki” from March 5, 2013, I was allowed to start anew.

From now on, feeling the wind of the times, to refine further work which I inherited from its predecessor, with the aim of the shop is that I will continue to devote myself to sushi road.”

Screen Shot 2013-12-24 at 16.31.34

This restaurant is an incredible find and I see this chef as very special and an incredible artist of EDO style sushi.

Yes artist, in the true sense that every single thing he does in the restaurant he actually creates himself. He created the decor of the restaurant, the plates, the menu design is written in his own hand he creates the flowers like a true Edomae Chef. Every single piece of food item he creates is a art piece and technically so well executed and all the flavour and textures are outstanding!!!

This is my top 1 address and the one to watch. I would ask all my chef friends to go to this restaurant!

I feel incredibly privileged to have visited this very talented and gifted chef.

Currently he holds no star but watch this space as he will be having many in the near future I believe!

I want to thank everyone at Wakasuki Takehan and Maki san for this very unique experience.


DSCF1488 DSCF1489 DSCF1491 DSCF1492 DSCF1494 DSCF1495 DSCF1497 DSCF1498 DSCF1503 DSCF1505 DSCF1506 DSCF1507 DSCF1508 DSCF1512 DSCF1514 DSCF1515 DSCF1519 DSCF1521 DSCF1523 DSCF1524 DSCF1525 DSCF1526 DSCF1527 DSCF1529 DSCF1530 DSCF1533 DSCF1536 DSCF1540 DSCF1541 DSCF1543DSCF1554 DSCF1553 DSCF1556 DSCF1558 DSCF1560 DSCF1572 DSCF1570 DSCF1568 DSCF1566 DSCF1565 DSCF1563 DSCF1574DSCF1579 DSCF1583 DSCF1584 DSCF1594 DSCF1601 DSCF1604DSCF1586 DSCF1608 DSCF1610 DSCF1611DSCF1614 DSCF1618 DSCF1623I (NI) want to thank everyone at Wakasuki takehan for this precious experience. Eating here is a real education and pleasure as there is so much to see and appreciate from the flowers to the plates to the perfection and execution of perfect Edomae style sushi in the 20th century. It is so important to see the new generation of Edomae chefs are still creating and practising so beautifully!!!

I want to apologise about my photography as it really does not make the experience justice, I will try to buy a better camera in future all pictures are from my i phone.

Arigato gozaimasu!!!!



DSCF5577 DSCF5580 DSCF5587 DSCF5591 DSCF5596 DSCF5605 DSCF5607 DSCF5608 DSCF5609 DSCF5612 DSCF5637 DSCF5660DSCF5641 DSCF5656 DSCF5663
Javier Olleros Culler de Pau ( 1 star Michelin ) focused more on the ground, resulting in a true delight for the senses.
Far from merely talking about your cooking and your recipes, never ceased Olleros tell us about your commitment to the product, its direct work with producers, always stressing that they were-the producers-  those who pushed for innovation , the discovery of new textures.
And to prove that their relationship with the producers was real, that it was not just talk, Javier Olleros imparted his workshop with Adelina Padin, one of the providers with which it is firmly attached.¬†Potters got infect your spirit, that essence that seeks to dignify abused trades, like the fisherman or farmer.¬†And no doubt that continuous contact with anyone who grows, raises or fishing,¬†¬†it is essential to develop dishes that have unique flavors and encourage us to continue to discover …
A touch of Eastern influence in the wines which accompanied the dishes, dashi in the case of Octopus with chives and dish Clams fine sea lettuce and pickled onions was escorted by mussel broth.
Surprising we proved the approach of its¬†turbot roesmoked in branch with lemon and almond bread¬†…
But Javier Olleros kitchen is without the slightest of doubts spectacular Padín Adelina intervention was-pun-exquisite.
 A beguiling got all this love for the land, that love the product, even half seriously, half-jokingly commented that homeopathy practiced with your plants.
With the illusion of producers and chefs like Olleros Adelina, we recognize that the future of Galician cuisine is more than promising …
In closing, I leave you a video in which you can enjoy live Adelina words.

Everything can be done with Joy, paly, laughter and movement

Screen Shot 2013-08-06 at 14.15.02

Everything is about relationships and communications.

How can a group of individuals from all different backgrounds, country’s,¬†different egos (usually in kitchens they can be quite big and self serving if not trained to thrive on positivity ) chefs coming with different knowledge and educational backgrounds and capacity, language differences, all with different capacity and levels of sensitivities and perceptions and human make up altogether come together – as one?

Screen Shot 2013-08-06 at 13.07.03

Many kitchens just completely ignore this and you are expected to conform to something that is very unclear and impersonal so no wonder the industry is experiencing so much turnover in staff a year.

Everyone wants to create something individual, personal specific unique etc however not many look at this aspect starting from trying to create a base with the people one works with.

Usually there is a head chef with his most closest assistance and then the rest so the foundation does not really reach far enough to sustain a healthy and thriving operation.

Humans are as sensitive as nature and everything in life is based on “responses”. A negative environment filters through to everyone and as easily if changed will filter into positive one by applying specific changes.

Nature and animals respond as a group to the environment. Yes they often have a leader however the movement is a shared sense and instinct and very important for survival.

I initially trained as an art student to then become a contemporary dancer working for different dance theatre companies for over 10 years and what you see here in this video from Mugaritz below, is very much the kind of work we used to do in order to build a sense of movement and connection as a group.

No matter how different one is from another one can engage in training through play to spark off from each other more positively. I mean to really be able to learn to take the other persons energy and use it to turn into something positive to feed back into your work leaving your ego out of the way.

One can always use every energy that is around and spark off from it creatively therefor establishing a positive flow in your work environment.

It is important that everyone in a restaurant is focused on to create a constant positive movement with positive flowing intuitive solutions.

That will also help to be more flexible and adapt to unforeseen situations.

No matter how much you have a fixed idea in your head and plan for a long time over and  over there is always an element of the unknown and therefor to flow throughout his is better then frustration and stagnating by perhaps getting aggressive about it.

Screen Shot 2013-08-06 at 13.07.30

As you do these practices in a group you will intuitively find creative solutions for everything and everyone will respond more responsively and creatively aiding the flow of everything.

Appreciating the individuality of each other and coming together in playfulness is the foundation of creation.

In a restaurant you are never working alone so your team is everything. I wish everyone would invest this time to create better foundations.

There is obviously more to be said about this approach and how this benefits a team. Chefs just work incredibly hard and this kind of work will loosen your spirit and you dance through the service with your established trust with others. I really recommend this work and approach!

You can not create playfulness, humour and emotions etc on the plate if everyone is suffering in a hostile, harsh  and negative environment!

Yes negative, many Michelin kitchens are based on constantly putting pressure and using negative affirmations  to a worker over and over. What does not kill you makes you stronger attitude. It goes as far as chefs taking pleasure in the other chef making mistakes and setting them up to do so. Giving people shit all day. You work 14-16 hours a day and go away every night feeling like a piece of shit no matter how hard you try to please everyone. In fact the more you do that the more you are taken advantage of. It is really sad and  really the result is only effecting the overall potential of the restaurant itself. I have unfortunately experienced this even in very famous 3 star michelin kitchens to.

Lets say this is one way but certainly not the only one so why not try another way.

Energy is only wasted in this way and if one can train to be more skilful and work on group flow and trust,  this is all energy Рthat then can be used to create a better result for the restaurant and what ever you want to create.

Andonin is a genius to have included this approach to his restaurant in Mugaritz.

Mugaritz latest collaboration with La Fura dels Baus. We want to share this experience, Work in Progress, because no one is better at making us learn through laughter than this experimental theatre company with whom we have already shared more than one gastronomic adventure (‚ÄúTitus Andronicus‚ÄĚ, 2010 and ‚ÄúMacaron de Caza‚ÄĚ, 2012).

Ceramics a wonder that connects us to miracle of nature and life itself

“Watch the wheel spin and the earth together in my hands will manifest a vessel that serves and nurtures me as well give me poetic senses of being in the now. ¬†Bring wonder and joy to those who can see and feel with gratitude ¬†wonder and appreciation”

Pottery can evoke a most zen like experiences and the silence and presence is deeply meditatieve. I often sit in the presence of such miraculous fine vessels and feel a sense of Sen-no Riyku.

Screen Shot 2013-07-22 at 12.01.51

“this wonderful Shino tea bowl from around 1600 is known as Furisode”

“Though many people drink tea, if you do not know the Way of Tea, tea will drink you up.”Ceramics hold much poetic presence and beauty and no wonder the Japanese culture holds such a high regard for this unique art form. Not only have we got such long historic relations with pottery.¬†


A great part of the history of pottery is prehistoric, part of past pre-literate cultures. Therefore, much of this history can only be found among the artefacts of archaeology. Because pottery is so durable, pottery and sherds from pottery survive from millennia at archaeological sites.

  • The oldest known pottery is from China and dates to 20,000 BC, at the height of the ice age, long before the beginnings of agriculture.

DSCF1393 DSCF1394 DSCF1395 DSCF1396 DSCF1397 DSCF1398 DSCF1399 DSCF1400 DSCF1401 DSCF1402 DSCF1403 DSCF1404 DSCF1405 DSCF1406 DSCF1407 DSCF1408 DSCF1409 DSCF1411 DSCF1412 DSCF1413 DSCF1414 DSCF1416 DSCF1417 DSCF1418 DSCF1419 DSCF1420 DSCF1421 DSCF1422

The Japanese ceramic tradition is arguably the finest in the world. With influences from China, Korea and the West, a talented lineage of artists and artisans, an adoring collecting public, and a food tradition that places utmost importance on tableware, it’s only natural.

In the late 16th century,¬†Toyotomi Hideyoshi, one of the most famous military leaders in Japan‚Äôs history, coveted ceramics so fiercely that he kidnapped Korean potters and brought them to Japan during what are now referred to as ‚ÄúThe Pottery Wars?‚ÄĚ These Korean potters were sent to the many fiefdoms to train Japanese potters, where their influence can be seen to this day. Korean pottery, especially humble ware made for daily use, was valued because it exemplified the Japanese aesthetic of ‚Äúwabi sabi‚ÄĚ.

Hideyoshi might have been a brave and brilliant military man, but in the world of tea, he was but a student. His tea master,¬†Sen-no Riyku, who originated¬†wabi¬†tea, commissioned¬†wabi sabi¬†tea bowls, mostly in the¬†raku¬†(unglazed, low fired) technique. These bowls, made by the Korean master potterChojiro, are so brilliant ‚Äď capturing the essence of ‚Äúthe way of tea‚ÄĚ so perfectly ‚Äď that potters through the centuries strive to come even close to their spirit.

Sen-no Riyku believed that the way of tea should be spread to the masses. Because of his influence over Hideyoshi, he had substantial power over the aesthetic lives of the powerful elite, and his ideas helped shaped the vision we know today as Japanese art ‚Äď and by extension ‚Äď its very culture.

In this atmosphere of enlightened creativity, innovation flourished. Tea master and potter Furuta Oribe created boldly misshapen forms freely painted with brown motifs and dipped in green glaze, founding the Oribe style that continues to be popular to this day. This period marked a turning point in Japanese ceramics, where local Japanese pottery was increasingly preferred over imported ware.

By the late 17th century, as the Japanese aesthetic renaissance was in full bloom, Ogata Kenzan, the most revered potter in Japan’s history, started his ceramic studio in Narutaki, outside of Kyoto. He soon moved his studio to central Kyoto, where he prospered. The brother of the famous Rimpa artistOgata Korin, he created Japanese versions of classic imported ceramics by adding freely painted decorative motifs and patterns from paintings, fans and lacquerware. Inspired by his brother’s paintings (in fact, Korin often designed his brother’s tea bowls) each piece is complete in itself, yet comes alive when food is placed artfully on it.

With the opening of Japan to the West and the ensuing Meiji era (1868-1915), Japanese ceramics, being handmade and imperfect, fell out of favor in a world that was rapidly modernizing. Some Japanese households a Western style, favoring tables and chairs to traditional dining. This led to a rise in Western ceramics such as china, which at first had to be imported.

In the meantime, potters throughout Japan who were producing everyday dishes had a hard time making a living, and many gave up and turned to farming and other careers. Japan’s rich ceramic tradition was in danger of vanishing.

In the 1920s, influenced by the Arts and Crafts movement in England and by the writings of William Morris,¬†Yanagi Soetsu, a collector of folk pottery and art, strove to reverse this trend. He and potters¬†Kawai Kanjiro¬†and¬†Hamada Shoji¬†formed the¬†Mingei¬†movement (a term that Soetsu invented-) which means ‚Äúart of the people‚ÄĚ. His book¬†The Unknown Craftsman, which celebrates humble, anonymous folk pottery, is considered a classic to this day.

Thanks to the Mingei movement, which was perfectly timed to coincide with a return of interest in Japanese aesthetics in the nationalistic Taisho era, Japanese pottery traditions were once again revived, and the public learned to appreciate folk pottery.

Japan now supports a healthy ceramics industry. Not only are potters of famous lineages selling enough to make a living; there are also independent young potters who have struck out on their own, driven only by their talent and creativity.

(Wikipedia and Savory Japan)