THE XEF HIDEKI MATSUHISA Born in Toyota (Japan) in 1972. He was educated at a young age the art of Japanese cuisine in the restaurant from his father. At 15 he moved to Tokyo to work in different restaurants.In 1997 came to Barcelona. In 2001, inaugurated its first restaurant, Shunka, along with his wife, his sister and brother. The name means “flavor of the season.” In 2008, inaugurated its new premises, Koy Shunka, a refined version of their previous one. The name means “intense aroma of season.”
THE RESTAURANT The restaurant Koy Shunka is the version of author, personal and refined Shunka. known restaurant for its quality and excellence, known meeting place for chefs. The space is elegant, understated and quiet. The decoration was created by the same chef Pedro Cortacans, with straight lines and natural materials. 370 m2 of space and simple minimalist, smelling Japanese air. A space where there is no telephone activity, the bar becomes the audience of a scenario that is the kitchen, where we can enjoy the rigorous and precise cuts the tuna, the meticulous work of dishing and synchronized work of the kitchen team. On the walls layers of materials that show textures, vertical and horizontal movements, a bamboo garden made with copper pipes to a depth of weathering steel. Materials that will evolve over time, pure wabi-sabi. A balanced space. Nature and precision, intensity of flavors and products selected.
C/ Copons, 7 08002 Barcelona 934 127 939
menú degustación (G)ASTRONOMICO - septiembre 2011 · Aperitivo · Caviar de Riofrío · Mar de Galicia · Fideos japoneses “somen” con espardenyes · Carpaccio de toro con trufa blanca de verano · Cigala a la piedra de sal de Himalaya · Nigiri de anguila de Delta de l´Ebre · Gambas de Palamós · Ternera japonesa "Wagyu" con múrgulas en cazuela japonesa · Sushi ( 3 piezas de nigiri ) · Postre · Precio: 108€ (IVA incluido)
KOYSHUNKA c/ Copons, 7 08002 Barcelona 934 127 939 www.koyshunka.com 5
PHILOSOPHY Hideki, inspired by the essence and Japanese, gives his point of view. Bringing Japan to Barcelona, â€‹â€‹to establish a line connecting east and west, the Mediterranean and Asia. Gastronomic pure, crisp, high technical skill and rigor. Hideki looking for nature in essence. This is demonstrated in the choice of materials of the restaurant or in the delicate dedication to get the best product. Provide support for these culinary gems, is one reason that drives your entire collection of dishes. The collection uses glass white, black or transparent, mainly. Hideki shows us some of their tools, a box and a traditional wooden mold to make sushi with straight lines, characterized by its precise lace. Not used glue or nails or metallic elements. The wood expands in contact with water and this force is dilator which holds together the parts. That magic is simple and functional explains his approach to things. That level of sophistication in essence humble, without artifice. The stations, as in the Haikus and eventually into Japanese culture, marked seasonal menus, which are invaded by the products of all times.
“The traditional Japanese food comes from the crossinf of people and nature.” Ferran Adrià
Traditional japanese tableware 9
THE DESIGN MAKERS
Esther and Xavi Luesma Vega (LuesmaVega) are responsible for 55 bcn, contemporary brand that offers exclusive supports for high cuisine, among the playful, poetic and creative processes generating functional with the cooks to make sense of the different collections of dishes for each restaurant and help communicate the chef’s gastronomic concept. Esther and Xavier are involved in the design and production of glass objects using the latest techniques. Started doing dishes for Bulli, by 2004, thanks to collaboration with the designer Luki Huber and the rest of the creative team of the restaurant. Currently creating collections and proposals for most important chefs in the world: Paco Perez, (restaurant hotel Mirror, Enoteca and Miramar), Albert Adrià (Tickets and 41 º), Albert Raurich ( Dos palillos Barcelona and Berlin), Dani Garcia (Calima) and the restaurants Sant Celoni, Diverxo and Mugaritz. 55bcn series are limited and can only be found in the studio workshop at El Poble Español. Esther and Xavi are fans of Koy Shunka restaurant, is one of the most recommended restaurants.
â€œThe Koy Shunka is the result of being able to find the right point of things.â€? Esther Luesma
Workshop and Showroom 13
THE COLLECTION Hideki already knew Ferran AdriĂ through the work they were doing Xavi and Esther, but it was not until 2010 they meet at Alimentaria and Hideki decides to make his own collection of dishes. The collection stems from the dialogue between them. Hideki saw pieces that inspire him and looks for a match with his recipes. Appears essential concepts: the search of a landscape, mountains, ocean and waves, the topography, the geography of flavour. Hideki wants a Japanese dinnerware but not look japanese. Thorough and delivered steped proposes ideas to incorporate the seasons of the restaurant. The essential features are the absence of decoration, used in Japanese ceramics, smooth surfaces, textures, clean black and white canvas to frame the product without interference. Looking chic while some informality (the Koy Shunka without tableclothes) proposes a vision a little more fun to the serious and sober Japanese culture. The glossy surface of the glass plays well in some recipes usually cold (sashimi), where chopsticks are used and need not be covered drag or cut with a knife. All parts are made using thermoforming technique, sometimes using molds and other contact points that allow you to express support the natural movement of the hot glass under gravity. Such models are made from metal wire lines with the intention of creating the universe of landscapes that need to Hideki. Some parts are subjected to processes of satin and subsequent firings to improve the flatness and obtain light curves which break the higher plane. Below is the collection of 20 dishes developed during the years 2010 to 2011 14
LANDSCAPE 1 It is the first piece of Hideki. Interestingly, the first piece made for the Bulli was designed by Luki Huber wrinkled, inspired by the paper napkins used. In this case the piece is much larger and the fruit comes a moment: Xavi proposed that part of the original modeling process that serve to shape the piece. The brothers Troisgrois, in the late 60’s, were the first to realize the presentation, a task which until then was made by the mètre in haute cuisine restaurants. Hideki goes a step further and participate in the creation of support presentation. This is the first landscape in the collection. Ripples close ups and other soft that will introduce the product in different heights, where it will be possible to eat the scenery.
â€œI wanted a lake in a mountain valley and sea beyond, the relationship between standing water, a rest and free moving.â€? Hideki.
Beef Tataki Japanese wagyu on Landscape I
Tiramisu. Coffee with green tea ice cream and cake on the big wave. 23
THE GREAT WAVE Part of the technique developed for the dish Drap, made for the Bulli in recent seasons as presentation plate . Hideki needs asymmetry, complexity and a more violent and high wave. Hideki see the profile of the plate in the waves, and seeks a new version of the painting The Great Wave at Kanagawa by Katsushika Hokusai, famous Japanese printing, ukiyo-e. 1830, made â€‹â€‹in silk. This paper printing was done during the more stable and long policy of Japan, and is widely known because it was used to wrap products that the country exported. Mount Fuji is a wave. Again the sea and mountains.
Katsushika Hokusai 27
CELL STRUCTURE Hideki found the piece in the shop one day visit. Luesma and Vega were investigating the conduct of drafts and reliefs using sandblasting and vinyl plotter cut with reserve. Where there is no sand vinyl eats glass and vice versa. Hideki saw one of the first pieces, inspired by a pseudo-skeleton of a leaf and held with a half sphere glass, half transparent, half white, which he evoked the shape of snow crystals. Hideki has the piece on top of a bowl of ice. The network supports the recipe and allows contact of food with ice in some places and not others, avoiding excessive cooling or freezing. Ideal for fresh foods, where the cold spot is essential.
ZEN GARDEN Hideki one piece with concavities needed to enable it to deposit small amounts of different sauces and meat taste them with strips of Kobe, for example. The concavities are designed based on five of the crystal forms of the previous piece, the cellular structure, divided into a rectangle. Appears another landscape, a Zen garden, but instead of islands there are with cavities. With a single mold with holes, the hot glass sheet is thermoformed falling on them. Five was chosen as the pronunciation of the number “four” has similarities with the word “death” in Japanese phonetics. And the asymmetry is part of the discourse of Hideki. The piece belongs to the end of winter. Is ground. That is why presenting meat, land animal. The black satin, the smooth and slightly curved surface represents the mountain at the end of winter, the land bare and visible.
BLOCK Support designed to serve caviar. A block of transparent optical glass and polished. A cube of side 10 cm weighs about 3.5 pounds is used to support about 5 to 10 grams of caviar. Caviar small, lightweight, black, round, support large, heavy, transparent and cubic. Appears naked simplicity, the essence of form. The weight of the volume to be served at the table is such that it requires two people and some effort made â€‹â€‹room service with content carefully, turning the presentation into a subtle performance. Reflection.
LANDSCAPE 2 The technique is the same as in the landscape 1. Now modeled by Esther, in a format with three elongated valleys. Again, the mountains and the sea as inspiration rolling. This time, the color (and of the few pieces that has it) is coloured pink, pale shades from salmon pink and white semi-transparent. A glass used in the art or in the windows Tiffany traditional techinique , the morfology allow to keep in contact as possible, the stackability of parts and easy storage. The water color in pink, is to represent intermediate stations, autumn or spring.It used to serve tempura, hot bowl of fresh produce.
ROCK WATER The Seafood grows on the rocks where the waves break. Waves erode the surface of the rocks. The water slide on the surface, comes and goes. The piece is the capture of that water on the rocks. Abstract capture. It is a transparent glass surface, the only smooth and shiny from the collection, with the back satin that produces the skin necessary to connote the piece in the restaurant. In the absence of white cloth, satin glass only later reveals the thickness (water) and the bottom surface, subtle textures (rock). Technology is the thread stall, this time forced into a structure that is based on three elements, three protruding rocks and build the three support legs of the piece. This is a summer dish, cool and refreshing.
SPAGHETTI EASTERN 2 Hideki makes a great spaghetti recipe and find the right support. The first option is a table with an elongated recess. But it is very stiff spaghetti (spaghetti eastern 1). And it poses a checkered hollow, a valley with edges that will make the spaghetti fluctuate. Using the technique of laying of wires, this time consisting of arcs transverse rigid printed different heights of the valley.
SPAGHETTI EASTERN 1 The dish was a prototype based on the elevated structure, such as a tablet, the traditional Japanese wooden trays. The deposit contains a horizontal surface created by thick like a noodle. Hideki was the rule, was not sufficiently convinced of the emplatat no vertical movement of the noodles.
ZENZAI When the guest arrives at the table of Koy Shunka is a nearly bare table. A large solid wooden board, some fine glasses and chopsticks by brand. The board will get the rest of items when necessary, the spoon, the appropriate glass of wine, the napkin. In other gourmet restaurants there is the type of plate presentation. It sometimes includes the name of the restaurant or a decorative feature. Following the philosophy that nothing is free, Hideki think of a presentation that will dish appetizers, composed of various snacks. The dish starts the process of the dining experience is the starting point of the trip. The surface is again mountains and sea, with lots of holes and waves. The piece is formed by a structure of 10 lines and three channels. The holes also accommodated from time to time some small cups, which will be used to contain wet sauces or snacks, in a cream or liquid. The piece is for an entire table, you can serve 2, 3 or 4 people. It is the only dish to share for every sequence of menu items, the rest are single. Itâ€™s a fun dish, which opens the door to conversation and appetite. Truly a welcome dish.
ZENZAI ORIGIN This part was made previously to the previous test was used. 5 holes that may contain small snacks and cups. But it was small, not quite communicate the welcome effect was not optimal so that several people could share.
MUNA Slate is an element widely used in modern cuisine. Interesting texture and black background. Also with some disadvantages, too flat, heavy, porous, and sometimes part peelable. Also used rocks or stones. In the melting of glass, one of the workshop techniques, the face of the glass which is in contact with the base of the furnace contains all the textures having the base. On this particular, if you generate the appropriate textures and melted glass, just need to reverse the piece and decide that this is the face of the plate. Textures can be achieved similar to exfoliated slate and stone, without the drawbacks of the stone. And you can settle for a bowl, a bowl, a tray with raised edges and a small table.
Navicol Caviar de navisco con gelatina de col
SATIN Support Tray Smooth flat, satin, with a small gesture to catch it. It looks like a tray corian but lighter and thinner (only 3mm) or perhaps plastic, but more noble and durable.Generates a set of reflections on the water surface as it is. The large tray is used in the restaurant and auxiliary support between the fish and cut dishing . Serves to place the salmon or the Bull just a few minutes before serving. This ensures the right temperature for optimal consumption and the attention of the chef to focus on the court and dishing. It is one of only two pieces that have the signing of Hideki vitrifiable decal printed. In signing the tray is brushed in bright white. You just see if anyone knows who is where. Another gesture that speaks of the philosophy of Hideki, nothing artificial, everything must have a personal narrative.
SATIN Single Tray It is the piece that can go to the diner. A small version of the piece that supports a tiny kitchen.
OROGRAPHIC REVERSIBLE TABLE An overhead support, a plate with legs, a table. In the same way as in the architecture of the temples suspended material rises spiritually. Continue the exercise of the mountains that allow the movement of product and valleys serve to contain subtle sauces. A piece of 3mm thermoformed can have meaning on both sides, it is truly a film deformed. Turn the piece becomes the hole mountain. The workshop is given back to the first test (a gesture habitual to discover a new reading of the form, because of the Yamuna, 2006) and shows a landscape with two vertical(legs). When Hideki sees it thinks that will support a skewer stick that will behigh. The first recipe that goes through your head is a red squid, perfect cut, mounted like a curtain on the stick and served with different sauces. For this dish it is necessary to tweak the template to be marked better deposits of the sauces. Hands up. To taste the dish is left to slide-mounted squid stick to one of the sauces and eaten with chopsticks. So different materials were evaluated for the stick: stainless steel, wood skewer usual and bamboo .. The material that best responds to the gesture is bamboo. The squid sticks just enough to be restrained yet comes off easily to fall gently.
FISH4FISH On the journey to the essence and simplicity, had to take into account the transmaterialization. Making the mold of a fish and play in solid glass. It was a prototype to serve sashimi. The bulk of the glass accumulates cold in the fridge to serve for submission to the table. The support is the plate, the product recipe.
VASE For Zenzai piece had to be developed to contain a few cups cream. They could also be used for other proposals. Must be supported on the plate Zenzai, among a group of three mountain peaks. Whereupon the rounded bottom is ideal, within limits of size. But both must be secured on the table, as the diner takes it to the hand and sometimes it returns to the plate. So I also needed a base point, a plan for support.
Tataki with meat and sauces Golf of 12 holes
Project 12 Gongs www.12.55bcn.com
JAPAN ISLAND The last pieces to Hideki correspond to the need to communicate symbolically with their customers. Hideki explains that sometimes a customer asks, after having served a certain dish, if that was typical of Japan. To answer the figurative use of the plate, representing the islands of Japan, conversely, as holes in the sea. Had to be synthesized as a silhouette, as Japan is composed of 4 major islands: Hokkaido, Honshu, Kyushu, Shikoku and over 3000 small islands,difficult to represent in a deformed sheet of 3mm. Now Hideki brings the dish to the customer and says, â€œauthentic Japanese dishâ€? Laughing with her wide smile.
JAPAN FLAG In the same way to keep sending the message
of authentic Japanese food,Hideki is proposing to interpret the countryâ€™s flag. And the ratios work, a base of 20x30 and a circle of about 12-13cm. The first option is composed of two parts, base and a red bowl. Then the bowl in another bowl hides the white base. And finally the red bowl will be integrated into the flag.
Last model from the japan flag with the oncorporated bol
* Greeting of chefs after a day of work, ”Thanks, now we rest for a while” books.55bcn.com Text and pictures by: Guillem Ferran y 55bcn Design: Guillem Ferran. Thanks to 55bcn Team: Javier, Ester, Sandra, Montse, Zacarie and Natalia
TALLER SHOWROOM Av. De Francesc Ferrer I Guàrdia, 13. POBLE ESPANYOL, B-113 08038 Barcelona. (+34)933278025 email@example.com
Published on Apr 9, 2012