A New Canteen Emerges In the Abandoned Warehouses of the Malmö Harbor
A raw warehouse interior and a beaten up metal sign that reads "Lunch" provide the industrial, no-frills backdrop to Saltimporten Canteen, the hottest midday meal spot on the New Nordic Cuisine circuit. Opening for just two hours a day in an inconspicuous garage in the docklands of Malmö, the lunch outlet has consistently attracted diners willing to make the pilgrimage over the 8km-long Öresund Bridge from nearby Copenhagen, attracted by simple, local fare like hearty stews served with fresh bread or oven-cooked salmon with ramps, spinach and romaine lettuce—always accompanied by a vegetarian option. Since leaving their acclaimed restaurant Trio in 2011 and rolling up the canteen's metal door, young chefs Ola Rudin and Sebastian Persson have fed the harbor neighborhood's budding creative scene, which in recent years has blossomed into a waterside cultural destination with art galleries like Loyal setting up shop in the same converted salt importing warehouse for which the canteen is named. Born and raised in the suburbs of southern Sweden, Rudin and Persson site the ingredients and cooking techniques of their home country as primary influences on their cuisine, and always cook with the seasons, so in the coming months visitors to Malmö's chic shipyards can look forward to digging into wild summer berries, herbs, and fish straight from the nearby North Sea.
The Danish Architect Provokes BIG Questions During the Venice Biennale Architectura 2012
Young starchitect Bjarke Ingels talks manifestation, midwifery and shamanism while riding down the Venice canals in this short by Kelly Loudenberg. Known for his impressive architectural endeavors like a state-of-the-art waste-to-energy power plant in Copenhagen that will be outfitted with an outdoor ski slope for use during Nordic winters, and the 8 House apartment complex just outside the Danish capital that allows residents to bike all the way up to their top floor apartments, Ingels is a vocal advocate for “hedonistic sustainability” and was recently profiled in The New Yorker. “Find a job you love and you won’t have to work another day in your life again,” advises the young creative. “If you let your desire guide you, if you take decisions with your heart and with a smile on your face, they are probably wiser decisions in the long run.” In Venice as a contributor to the Danish pavilion exploring future visions of Greenland, Ingels together with his firm BIG (Bjarke Ingels Group) proposed Air + Port, a mixed-use air and sea hub on the island of Angisunnguaq. Now based in New York, Ingels is currently working on his first American project, a residential building in Hell’s Kitchen called W57 that will occupy an entire block and add a distinct, sloped pyramid-shaped silhouette to the Manhattan skyline. Here the dynamic Dane considers alternate career paths, architectural envy, and kittens.
Your firm is called BIG—list a few things that always are better big?
Ideas, checks, balloons, brown eyes.
And a few that should always be small?
Carbon footprint, energy bills––well, any bill––kittens. Sometimes the most interesting is when you can combine both. Just ask Biggie Smalls.
Biking up a building to reach your apartment; skiing down a trash processing plant...what sporting activity is next to be included in one of your designs?
We started construction on a 588-meter-tall tower in Tianjin, China, that would be pretty amazing for base-jumping in a squirrel suit.
If you hadn’t become an architect, what would you have been?
Biggest source of architectural envy (i.e. monument you wish you’d built)?
The Sydney Opera House by Danish architect Jørn Utzon.
We hear you've got a thing for fast cars. If you designed your own car, what would it feature?
A Tesla with four seats and a convertible roof would be a pretty sweet deal—and automated driving when the traffic is too dense and static for human enjoyment.
Favorite music to work to?
The Knife, Giana Factory, The William Blakes.
Best place for a late-night bite after leaving the office?
[Arty TriBeCa barroom] Smith and Mills, NYC.
You’re adding a building to the New York skyline at the age of 38. What's one thing you want to do before you're 40?
Well, we just broke ground, and with a little luck I’ll actually finish it!
Three things the city of tomorrow should prioritize?
Biodiversity, cultural diversity and architectural diversity.
The Tattooed Master Chef Pays Tribute to the Humble Tuber
Far beyond mashing and frying, the manifold virtues of the potato are explored by the French chef Ludo Lefebvre in this short from filmmaker David Gelb. Often thought of as the godfather of pop-up dining thanks to the success of Ludobites, the LA-based gastronome’s dining experiment that was the hottest meal ticket in town during its various iterations between 2007-2011, Lefebvre initially made a name for himself on the California culinary circuit as the executive chef at two of Los Angeles’ best-regarded establishments, L’Orangerie and Bastide. The French transplant, a recent participant of the Le Grand Fooding Crush festival, has since gained recognition as a competitor on cult cooking shows, Top Chef Masters and Iron Chef America, and his latest venture, Trois Mec, is a collaboration with fellow chefs Vinny Dotolo and Jon Shook, the duo spearheading the meat-heavy joint, Animal. The boys’ new hotspot has been receiving rave reviews for its “casual fine dining” hits like fried salt-and-vinegar buckwheat amuse-bouches to mustard seed-crusted chicken wings, and the restaurant’s kitchen provided the setting for Lefebvre’s potato tasting as captured here by Gelb, the man behind 2011’s unexpected documentary hit, Jiro Dreams of Sushi. The food-happy director spoke to us about hunger, Instagram, and of course, potatoes.
How do you translate the experience of preparing and consuming food into film?
David Gelb: I tend to work with chefs who make amazing-looking food, so that is the bulk of the work. Beyond that, I think the best way is to use the camera to try to mimic the perspective of a hungry person, and then let the audience’s imagination do the rest. We generally keep the camera just above table level, which is what it might look like if you were leaning in and examining your food as it is placed in front of you. Shallow, selective focus helps guide the eye to the most delicious looking parts, which should glow or glisten indicating fatty acids and moisture. In the end, however, it’s really a matter of intuition.
Documenting gastronomic moments has become a global social phenomenon, with images of food proliferating on the likes of Instagram and Facebook. Where do you think this need for us to memorialize and showcase our meal choices comes from?
DG: I think it’s a similar impulse that makes people want to shoot and post pictures and video of concerts and sporting events. There is a certain satisfaction in taking a picture of a perfect morsel and kind of bragging to the world, “I ate that.”
You must have learned a lot about potatoes during filming. Have you tried any new tricks in your own kitchen?
DG: I want to try to make the potato pulp like Ludo does at home. However, I’m a lot better at eating food than making it.