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Stad New York verbied veranderinge aan die ikoniese Four Seasons -restaurant

Stad New York verbied veranderinge aan die ikoniese Four Seasons -restaurant


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Die Landmarks Preservation Commission het 'n maatreël afgekeur om die binnekant van die beroemde restaurant Park Avenue op te knap

Die New York City Landmarks Preservation Commission is bekend daarvoor dat hulle tand en spyker beveg om historiese geboue te red.

Na 'n lang stryd met die New York Landmarks Preservation Commission, lyk dit soos Aby Rosen, die verhuurder van die gemerkte Vier seisoene restaurantgebou aan Parklaan en 52straat in Manhattan, kan nie die beduidende veranderinge aan die ikoniese restaurant voorstel nie.

Laas jaar, het ons gerapporteer dat die onskatbare Picasso -tapisserie wat eens in die gang van die Four Seasons gehang het verwyder is. Hierdie verwydering roep die woede op van die hardnekkige kommissie, wat aangekondig het dat hy 'n tydelike beperkingsbevel teen Rosen sal volg om die kosbare kunswerke te beskerm. In Mei stel Rosen verdere 'klein veranderinge' aan die restaurant voor, wat geskreeu uit die historikus en argitekgemeenskappe veroorsaak het.

Die besluit om die veranderinge aan die idilliese Pool Room, met 'n bruisende marmerpoel as die ikoniese middelpunt van die restaurant, te verwerp, is beslis 'n terugslag vir Rosen. Hy was van plan om die vaste boonste skeiding binne die kamer beweegbaar te maak.

'Iemand moes opgestaan ​​het om te sê:' Ek wil meneer Rosen gelukwens, wat die finansiële wysheid het om iets groots in hierdie stad te red ',' Rosen aan The New York Times gesê. 'Ek gaan doen wat ek dink gedoen moet word. Ek spandeer 20 miljoen dollar om dit te herstel. ”


Wat om te verwag van Jo & eumll Robuchon & rsquos New Restaurant in New York

Die beroemde Franse sjef Jo ël Robuchon spog met die meeste Michelin-sterre ter wêreld ('n yslike 31) en is terug na 'n vyf jaar onderbreking van New York. Vir die wedergeboorte van sy tweede U.S. L & aposATELIER de Jo ël Robuchon, verander die sjef van Midtown na die Meatpacking District.

Midtown was 'n bietjie van 'n kragstasie met baie restaurante met 'n Michelin-ster, en baie van hulle is nog steeds daar, het Alex Gaudelet van Invest Hospitality gesê. “ Die eerste keer dat ek vir meneer Robuchon gesê het dat ons nie 'n L 𠆚TELIER in Midtown gaan doen nie, was sy vraag: Gaan my kliënte van Four Seasons na Meatpacking? ’ ”

'N Ontspannende spyskaartkonsep L 𠆚TELIER, 'n interaktiewe sushi-toonbank van Japan, 'n tapasstyl in Spanje en uitstekende Franse kookkuns, die konsep L 𠆚TELIER, wat in Frans beteken, vir die eerste keer in 2003 gedebuteer in Parys ’ Saint-Germain-des-Pr és omgewing voordat dit na die State by MGM Grand in Las Vegas en Four Seasons New York versprei het.

Na 'n tydperk van ses jaar in die stad, sluit Robuchon in 2012 sy tweesterige eetplek in New York af, ondanks die feit dat dit elke aand besig was. Die span het na 'n nuwe plek begin soek en hulle vinnig op 'n plek in Brookfield Place gevestig, maar sodra hulle met die getalle gespeel het, het hulle besef dat die ligging nie die beste was in terme van sake nie. Weereens deur die mark gesoek, Gaudelet, saam met wie hy gewerk het Top sjef ster Tom Colicchio by Craftsteak Las Vegas, het tydens die Art Basel met die sjef begin gesels terwyl hy in sy restaurant in Miami geëet het. Dit was toe Colicchio onthul het dat hy in New York sou afneem en dat sy plek vir vleisverpakking binnekort sou wees. Met sy vensters van vloer tot plafon, baksteenmure en staalkolomme, was die voormalige ruimte van Colicchio & Sons die perfekte pasmaat vir L 𠆚TELIER se handtekening met 34 sitplekke.

Die buurt is die tuiste van 'n groep groot restaurante soos Morimoto en Buddakan, maar om die 72-jarige Robuchon te oortuig om weg te skram van sommige van die meer tradisionele dele van die stad, het 'n bietjie werk geverg. Toe die span hom eers oor die straat na Chelsea Market stap, is hy egter onmiddellik verkoop. Hy beskryf dit as 'n wandeling deur 'n museum en was opgewonde oor die rykdom aan produkte en pluimvee.

Terwyl Robuchon sy eie manier van eet verskuif het om meer gesondheidsbewus te word en in die proses 60 pond te verloor en ook die aanbod in sy restaurante te hê. Geval: Een van die proe -spyskaarte by L 𠆚TELIER sal vegetariër wees, met geregte soos eiervrugkonfyt en selderywortel al dente tagliatelle. New York se kliënte is meer ontvanklik vir vegetariese items as in Frankryk, het Robuchon in 'n e-posverklaring gesê. Boonop is die toegang tot organiese groente van hoë gehalte hier baie wyer as op enige ander plek ter wêreld. ”

Robuchon het eers die vegetariese proe-spyskaart in Parys bekendgestel, waar dit slegs 2 persent van die verkope uitmaak, maar hy verwag beter sukses in New York, aangesien die stad meer gevorderd is in terme van dieetvereistes en versoeke soos glutenvry, suiwelvry en vegan is die norm. Aangesien hy organiese produkte makliker en wyd beskikbaar hier as in Frankryk kan vind, is die bestanddele wat hierdie spyskaart werklik sal laat skyn. Sy huidige obsessie: organiese ertjies uit Kalifornië.

Selfs vir ikoniese krammetjies soos die pomme pur ພ, of kapokaartappels, het Robuchon se span smaak 'n halfdosyn plaaslike botter getoets voordat hulle op die regte een beland het. Dieselfde geld vir sy gewilde kwartelgereg. Aangesien kwartels wat plaaslik verkry is, die helfte van die grootte in New York was as op ander plekke, moes hulle die voorbereiding vir hierdie gereg verander en besluit om te karameliseer en vrye kwartels met foie gras te vul.

Op die proe-spyskaart met nege gange “Le Menu D ຜouverte de Saison, sal diners 'n paar ander items wat deur New York beïnvloed word, soos gekruide eend op Long Island, sowel as kenmerkende geregte soos die beesvleis en foie gras-burger, sien met plaaslike bestanddele. Die Meatpacking L 𠆚TELIER bevat ook vyf soorte brood (sowel as 'n glutenvrye weergawe) wat daagliks tuis gebak word deur hoofbakker Tetsuya Yamaguchi, wat die afgelope 20 jaar by die sjefrestaurante oor die hele wêreld gewerk het .

Benewens die twee proe-spyskaarte, bied L 𠆚TELIER à la carte-tapas en Veuve Clicquot Champagne-byeenkomste aan, wat in twee privaat eetkamers met 10 sitplekke aangebied sal word. Die ingang LE BAR in die voorkamer, wat ooreenstem met die kroeg by H ôtel Metropole Monte-Carlo in Monaco, bied luukse draai aan Franse bistro-krammetjies soos croque-monsieur-toebroodjies. Die rustige kroeg bied ook 'n uitgebreide Champagne-spyskaart met dieselfde Veuve Clicquot-cocktails soos die Robuchon Spritz.

Terwyl die sjef restaurante oor die hele wêreld strategies gevestig het in prominente en opkomende kulinêre hoofstede van Macau tot Montreal, voel dit asof hy eers die verhaal in die Verenigde State begin. New York is die hoofstad van die wêreld, ” het hy gesê. Om in New York te wees, is een van die grootste professionele persone, jonk sowel as meer gevestig. Daar is baie energie en mededinging wat baie passie vir my werk bring. ”

L 𠆚TELIER de Jo ël Robuchon open 1 November.

85ste Laan 85, New York Stad, 212-488-8885


Woede voed

M ark Rothko is die oggend van 25 Februarie 1970 gevind, dood in 'n wyndonker see van sy eie bloed. Hy het baie diep in sy arms by die elmboog gesny, en die swembad wat van hom af op die vloer van sy ateljee gekom het, was 8ft x 6ft. Dit wil sê, dit was op die skaal van sy skilderye. Dit was, om die kunskritieke van die tyd te leen, 'n kleurveld.

New York het teen daardie tyd 'n klagstaat van 'n kilometer lank gehad oor die moord op kunstenaars, veral skilders van Rothko se generasie - die abstrakte ekspressioniste, die epiese en verwarrende, retoriese en stille, introspektiewe en skitterende beweging waarvan die intensiteit en oorspronklikheid Manhattan die hoofstad gemaak het van die modernisme in die middel van die 20ste eeu. Selfmoord het Arshile Gorky reeds in 1948 geneem. Jackson Pollock is dood in 'n moontlik selfmoordgedronge motorongeluk in 1956. Nog 'n twyfelagtige toevallige motorongeluk het die beeldhouer David Smith in 1965 gesien. Rothko lyk soos een van die oorlewendes en is selfs verraderlik gekarkeer as loopbaanman, 'n bietjie bedrogspul, wat die strengheid en ekstremisme van abstrakte ekspressionistiese skilderye tot iets weelderigs, kleurryk, dekoratief en winsgewend verander het - tot daardie oggend in 1970.

Rothko se dood het alles verander. Dit het die betekenis van sy werk verander, en elke ontmoeting met sy skildery het 'n vreeslike swaartekrag gegee. Dit het die vlugtige oog mislei en Rothko se motivering so oënskynlik op die oppervlak geplaas, so sigbaar in die publieke domein, dat dit dit moeilik gemaak het om ooit weer met enige subtiliteit aan hom te dink.

Sy dood verseker ook dat 'n raaisel in die kern van sy skildery nooit opgelos kan word nie. Want Rothko se kontrak met die samelewing is daardie dag in 1970 nie opgeskort nie, maar 'n dekade vroeër, in 1959. Dit was toe Rothko skielik en onverwags sy ooreenkoms verwerp het om 600 vierkante voet skilderye te verskaf vir die mees eksklusiewe kamer in die nuwe restaurant Four Seasons by die Seagram -gebou in New York - die mees gesogte openbare kommissie wat ooit aan 'n abstrakte ekspressionistiese skilder toegeken is, 'n uiters winsgewende en benydenswaardige kans om sy werk na nuwe hoogtes van ambisie te neem.

Jackson Pollock het die vryheid en grasie van sy gedruipte en geslinger skilderye bereik vir 'n paar jaar, toe hy pas getroud was en uit die bottel was, totdat hy op 'n dag weer begin drink en 'n spiraal van vernietiging was. Rothko se krisis oor die Seagram -muurskilderye was vergelykbaar. Dit was sy beste oomblik, en tog ook die einde van sy ongemaklike wapenstilstand met sukses, geluk en Amerika. Daarna het sy lewe en kuns ontrafel - die rampspoedige lewe, die kuns met 'n verskriklike skoonheid, wat al hoe meer openlik raak in die hantering van die dood.

Die raaisel van Rothko's Four Seasons -muurskilderye is veral dringend vir ons, die Britse kunspubliek, omdat ons per ongeluk as erfgename van Rothko beland het. Daar is nie baie bona fide meesterwerke van moderne skilderye in Brittanje nie. Veral ons het nie baie wonderlike skilderye van die abstrakte ekspressioniste nie - met 'n heerlike uitsondering. Aan die einde van die sestigerjare het Rothko nege van die skilderye wat hy vir die vier seisoene bedoel het, aan die Tate as 'n geskenk gegee - 'n prinslike gebaar ', soos Norman Reid, destydse direkteur van die Tate, aan hom gesê het. Dit verg baie onderhandelinge, Rothko dring aan op 'n permanente, eksklusiewe kamer vir sy skilderye en weerstaan ​​elke poging om hierdie somber muurskilderye met meer toeganklike voorbeelde van sy werk te meng.

Die Rothko -muurskilderye by Tate Modern is pragtig in hul onderdrukking, eroties in hul wreedheid. Dit is skilderye wat op die vel in 'n ooglid voorkom. Dit is wat u dink die laaste ligte kan wees, die laaste flikkering van kleur wat in 'n gedagte sluit. Of aan die einde van die wêreld. 'Apokaliptiese muurpapier' was 'n frase wat Rothko se soort skildery as belediging gegooi het. Dit is bloot 'n beskrywing dat die apokalips in hierdie skilderye leesbaar is, soos 'n patroon in muurpapier - abstrakte, aangename gruwel. En tog, in die laagligte, gryswandige kamer waar die Tate Modern -menigtes - omstrede - tussen twee deure filtreer asof die Rothko -kamer 'n gang is, lyk dit asof ons diep verward is oor die geskenk van Rothko, of ons dit verstaan dit of wil dit selfs hê.

Die skilderye het die oggend van Rothko se selfmoord in Londen aangekom. Dooie mans praat nie. Toe Rothko in 1970 oorlede is, was dit nie duidelik waarom hy die onwaarskynlike opdrag aanvaar het om 'n spoggerige restaurant op Parklaan, op die tussenverdieping van die mees gesaghebbende nuwe wolkekrabber van Manhattan, te versier nie. En hy het nooit bevredigend verduidelik waarom hy skielik en gewelddadig besluit het om sy skilderye terug te trek en die geld in 1959 terug te gee nie.

Die verhaal van die Four Seasons -muurskilderye is deur die magselite van Amerikaanse kuns geskryf. Dit is ongeluk vir Rothko en ongeluk vir die besoeker van Tate Modern, wat vandag in die Rothko -kamer sit en probeer om sin te maak van hierdie wonderlike, somber skilderye.

'N Mite is oor Rothko geskep. Hy is in kleure wat nie sy eie is nie, geverf as 'n godsdienstige kunstenaar, 'n vervaardiger van geestelike ikone van die heilige leemte. Dit behaag sy versamelaars - dit spreek tot 'n sekere soort eerbied vir kuns - en dit laat Rothko inpas by 'n tradisie van abstrakte skildery as 'n geestelike reis wat begin in die laat 19de eeu, deur Kandinsky en Mondriaan lei, en vermoedelik eindig in die Rothko Kapel, onderhou deur die Menil Foundation in Houston, Texas, wat na sy dood geopen is en waarheen die Seagram -muurskilderye 'n kruispunt is. Maar hierdie mistieke Rothko is ongenaakbaar. Hy is pompeus, grandiloquent en vra om op maat te sny. Vir baie besoekers aan Tate Modern - jy kan sien hoe hulle vinnig verby die beste kuns in die plek loop - Rothko is 'n geslote saak.

Ek wou die saak heropen, kyk na die getuienis oor Rothko se grootste reeks doeke, volg die leidrade van Manhattan tot Pompeii en Florence - die plekke waar Rothko self gesê het dat hy inspirasie en analogieë gevind het. As u die roete opspoor, volg Rothko se bloedrooi voetspore, wat u vind, is 'n tragedie, nie van die gees nie, maar van krag. Dit handel oor 'n kunstenaar wat sy sterkte teenoor die van Amerika op sy beste en korporatiefste stel. Die Seagram- of Four Seasons -muurskilderye, wat tot die beste Amerikaanse kuns behoort, is nie godsdienstige skilderye nie. Hulle is woedende meditasies oor die Amerikaanse ryk.

Daar is geen plek wat u meer evokatief, selfs nostalgies, in die middel van die 20ste eeu tot die hoogtepunt van Amerikaanse selfvertroue terugbring as die plein in Parklaan 375, Manhattan. Kyk na die middestad en 'n breë, diep blik op rykdom en argitektoniese mag maak oop tot by die MetLife (voorheen Pan Am) -gebou waarvan die muur uit die sierlike hulk van Grand Central Station styg, wat Parklaan blokkeer. Kyk boontoe en die uitsig word leeg, ryker. Hier, op hierdie wit en - op 'n Sondagoggend - leë plein, met sy netjiese poele en rustige resessie uit die straat, is die simboliese sentrale punt, die x wat die plek aandui, die locus classicus van Amerikaanse imperium.

As jy deur die koel hoë glasmuur van die atrium kyk, sien jy die veiligheidswagte wat by die hysskagte uithang - die ruimte daarin is perfek, dit is proporsioneel, oop en onberispelik. Kyk op en 'n stukkie duisternis dryf op die lug. U moet regs oor Parklaan terugbeweeg om die maat van Ludwig Mies van der Rohe se argitektoniese meesterstuk, die Seagram -gebou, te kry. Die kantoorblok van 525 voet, wat in 1954 in gebruik geneem is as die nuwe korporatiewe hoofkwartier van Seagram -distilleerders en wat in 1958 voltooi is, verskil baie van die vroeëre wolkekrabbers in New York met hul gargoyles, chrome torings en ligskipmaste. Dit verwerp gotiese fantasie vir 'n klassieke helderheid met die ysige glans van 'n vergelyking. Maer, gemeen en verwoestend sweef dit, 'n swart wag, bo -op smal pilare. Die duur materiaal daarvan - handgemaakte bronsbalke, travertynsteen, donkerglas - maak duidelik dat hierdie soberheid eerder 'n kwessie van estetiese keuse is as van ekonomiese noodsaaklikheid.

Die Seagram was 'n beslissende oomblik in die Amerikaanse korporatiewe argitektuur. Dit tref almal wat dit as definitief van New York op sy hoogste en magtigste beskou het. Voordat dit eers klaar was, het dit verskyn, sy vensters het in die aand in Manhattan verlig en oor die jazzklub in die film Sweet Smell Of Success van 1957. Die New York van die Seagram -gebou is die bose, glansryke, stampende jazzhoofstad van die film, 'n vreugdevolle melodrama waarin die despotiese rubriekskrywer JJ Hunsecker, gespeel met heerlike kwaadwilligheid deur Burt Lancaster, die stad van die nag regeer met die meegevoel van sy slaperige parasiet, publisiteitsagent Tony Curtis. In die film hou Hunsecker die hof oor cocktails en steaks om 21. Hy sou tuis gevoel het by die nuutste kuiermakelaar in New York, die Four Seasons.

'N Pawiljoen wat netjies uit die Seagram se grondvloer vou, skuil die restaurant agter elegante gordyne. Die Four Seasons is beplan as 'n integrale deel van die glorie van die Seagram deur die meesterbeplanners van die projek, Phyllis Lambert, dogter van Seagram se direkteur, en die argitek en kunspatrone Philip Johnson, en het poele, blare, ryk klip en metaal toebehore en 'n wonderlike kunsversameling om die klante te verseker dat dit nie 'n gewone restaurant is nie. Eet vandag daar en u kan u oë op Picasso se gordyn vestig vir die Ballets Russes-produksie van The Three-Cornered Hat. Daar is ook 'n Frank Stella -kamer. Maar geen Rothkos nie.

"Vier seisoene word in die dekor sowel as in die spyskaart as 'n spektakel beskou", het die New York Times in Augustus 1959 gesê. 'Dit is duur en weelderig, en dit is miskien die opwindendste restaurant wat in die afgelope twee dekades in New York geopen is.' Die resensie prys die 'deeglike tafelopleiding' en die kos, veral die vlamgeregte en die vars kruie, die ongewone in Amerika uit die vyftigerjare, die enigste fout vir die Times, is dat dit swig voor die nasionale aptyt vir 'bruto' porsies. Die mooiste van alles is die kunsversameling. "Die mure hang met 'n fortuin in skilderye en tapisserieë deur moderne genieë soos Picasso, Joan Miró en Jackson Pollock."

Pollock's Blue Poles het tydelik in die kleinste van die twee eetkamers gehang, totdat die spesiale doeke van die muurskaal van Mark Rothko spesiaal in gebruik geneem is, wat die kroon van die restaurant sou wees. Nie minder nie 'n kunswereldoeroe as Alfred Barr, direkteur van die Museum of Modern Art in New York, het meegedeel dat Rothko die man is wat kuns vir die Four Seasons verskaf.

Van al die New York -skilders wat aan die einde van die veertigerjare bekend geword het, was Rothko die mees verslaafde aan die stad. Toe hy die geld gehad het, het hy in Sixth Avenue, naby Radio City Music Hall, gewoon. Hy het ateljees oral in die stad gehad en dit gereeld verander - die muurskilderye van die Four Seasons is in 'n voormalige gimnasium op die Bowery geverf, wat hy met 'n valse muur en katrolstelsel ingerig het sodat hy kon eksperimenteer met hul argitektoniese uitleg.

Rothko was intens, eensaam, links, gewoond aan armoede en mislukking. Rothko - sy voornaam was Marcus Rothkowitz, gebore in 'n Joodse gesin in Dvinsk, Rusland, in 1903, emigreer saam met sy gesin na die Verenigde State toe hy tien was. Hy word 'n arm buitestaander in Portland, Oregon, maar was akademies briljant genoeg om in 1921 in Yale te kom - wat hy gehaat het. In 1923 het hy na New York gegaan om 'rond te dwaal, 'n bietjie te honger ly'. Sy New York was 'n stad met eetplekke, metrostasies, kunsklaskamers, besoeke aan die Metropolitan Museum. En nou, na 'n leeftyd wat hy hoofsaaklik as 'n onbekende, onsuksesvolle groot kunstenaar deurgebring het, is Mark Rothko $ 35,000 aangebied om 'n simbool van die rykdom van die elite van Manhattan op die hoogtepunt van die koue oorlog te versier.

Waarom het hy die kommissie aanvaar? Rekeninge oor wat aan Rothko gesê is en wat hy gedink het hy doen, verskil. Die kritikus Dore Ashton, 'n gereelde besoeker aan die ateljee van Rothko, het die indruk gehad dat Rothko glo dat sy panele in 'n raadsaal hang wat uit die kantine van 'n werknemer sigbaar sou wees, dat dit toeganklik sou wees vir gewone kantoorwerkers. As Rothko dit geglo het, was dit 'n fantasie. Phyllis Lambert en Philip Johnson ontken dat hy onder so 'n illusie kon verkeer - hulle sê dat hy heeltemal bewus was dat hy skilderye vir 'n duur restaurant gemaak het.

Rothko het wel geweet wat hy doen, en vir watter soort mense hy dit doen. Hy het sy muurskilderye van Four Seasons as gewelddadige, selfs terroriste kuns, as 'n woeste estetiese wraak beskou, en het die kans geniet om die hande te byt van diegene wat hom ryk gemaak het.

Dit is wat Rothko aan John Fischer gesê het, 'n mede -toeris waarmee hy in die vroeë somer van 1959 in die kroeg van 'n seevaart wat die Atlantiese Oseaan oorsteek, raakloop nadat hy etlike maande aan die skilderye gewerk het. Fischer was 'n redakteur van Harper's Magazine en hul gesprekke oor drankies is dus opgeteken - Fischer het in Julie 1970 Portrait Of The Artist As An Angry Man, 'n memoir van Rothko, in Harper's Magazine gepubliseer. Sommige bewaarders van Rothko se geheue verkies om te dink dat hy teenoor die joernalis gespeel het, dat hy nie bedoel wat hy gesê het nie, want wat hy gesê het, is so aansteeklik. Rothko het aan Fischer gesê dat hy die maaltye in die Four Seasons wou ontstel, beledig en martel, dat sy motivering heeltemal ondermynend was.

Fischer haal Rothko aan wat die kamer in daardie baie duur restaurant in die Seagram -gebou beskryf as ''n plek waar die rykste bastards in New York sal kom om te eet en te pronk'.

Rothko het Fischer in die minste nie wêreldlik gelyk nie, laat staan ​​nog geestelik oor sy bedoelings. 'Ek hoop om die eetlus van elke teef wat in die kamer eet, te verwoes,' het hy verheug met skilderye wat daai ryk bastards sal laat voel 'dat hulle vasgevang is in 'n kamer waar al die deure en vensters ingemessel is ".

Daar is so 'n plek. Dit is in Florence. Die deur na die klooster lei na 'n kamer wat hoër is as wat dit wyd is en deur vloerruimte verhong is deur 'n donkergrys trap wat soos 'n seekat in die kamer inloop. U voel teruggestoot na die kante van die kamer, waar u na die mure kyk en bewus word dat hierdie ruimte selfs meer onderdrukkend is as wat dit eers verskyn het. Die vensters, met hul massiewe stokke soos floreer in ou boeke, is verseël: dit is spasies in raamwerk wat die gedagtes laat lig, lug, die buitewêreld verwag, maar bied in plaas daarvan geen uitweg nie, in werklikheid vorentoe in die kamer, wat begin swaarder, kleiner te lyk. Die kolomme wat blykbaar sy gewig ondersteun, is te dik en bultend. Die gesnede bokskedels is 'n idee. Die voorportaal van Michelangelo van die Laurentiaanse biblioteek, voor die klooster van die Medici -kerk van San Lorenzo, is die voorkamer van die dood.

Die voorportaal is die mees gewaagde argitektoniese skepping van Michelangelo, en een van die mees verbysterende van al sy werke - en die modernste. Geskep in ongeveer 1524-6, is dit 'n baie vroeë voorbeeld van poëtiese uitdrukking in die argitektuur van 'n argitektuur wat doelbewus en onmiskenbaar gevorm is, nie vir funksie of selfs vir skouspelagtige effekte nie, maar om u gevoel van ruimte te verander, om u te laat verloor - om te ontstel en steur. Dit lei na die mal barok -argitektuur van Borromini in Rome, en verwag Daniel Libeskind. Michelangelo het dit eerste gedoen en hy het dit die diepste gedoen. Hy het 'n kamer geskep wat 'n nagmerrie is.

Rothko, wat al in 1950 in Italië was en die Laurentiaanse biblioteek van Michelangelo gesien het - wat hy tydens sy reis van 1959 weer sou besoek - het aan Fischer gesê dat hy beïnvloed is deur wat hy beskryf as die 'somber gewelf', hoe hy daaraan begin dink het dit toe hy die Seagram -muurskilderye verf. 'Nadat ek 'n geruime tyd aan die werk was, het ek besef dat ek baie onbewustelik beïnvloed is deur die mure van Michelangelo in die trap van die Medicean -biblioteek in Florence,' het Rothko gesê. 'Hy het presies die gevoel gekry waarna ek soek - hy laat die kykers voel dat hulle vasgevang is in 'n kamer waar al die deure en vensters ingemessel is, sodat hulle net hul koppe vir ewig teen die muur kan steek . "

In die middel van die Seagram -muurskildering Black On Maroon (1958), by Tate Modern, hang 'n swart vertikale raam soos die van 'n skildery of 'n venster. Dit is 'n opening wat ons moet kan binnedring soos die afgeslote vensters van die voorportaal van Michelangelo, dit behoort die verstand uit te laat. In plaas daarvan lei dit net terug na die maroenversperring. Dit is nie eers 'voor' die maroen waarop hulle op dieselfde vliegtuig is nie. Die muurskilderye van Rothko prikkel ons met argitektoniese verwysings, die idee van ruimte, vensters, deure en portale wat na die groot pers daarheen lei, maar daar is niks anders as tweedimensionele kleur op groot stukke doek nie.

Rothko se opmerkings aan Fischer is 'n openhartige openbaring van waaroor die Seagram -muurskilderye handel, en tog spreek besprekings van hierdie skilderye al te dikwels Rothko se belydenis asof dit triviaal is. Daarom moet u kyk na die argitektuur van Michelangelo. Daar is geen twyfel oor die toegang tot die Laurentiaanse biblioteek nie. Rothko se skilderye is vertalings van die afgeslote vensters van Michelangelo.

Dit lyk nie asof Rothko opgehou het om aan die muurskilderye te dink toe hy saam met sy vrou Mell, die jong dogter Kate en nou Fischer na Italië toer nie. Italië was in die vyftigerjare die plek by uitstek waar Amerika wat die wêreld verslaan het geld kom spandeer. Rothko was nie 'n ongewone Amerikaner nie - in sy smaak vir toerisme was hy tipies. En waar anders sou Amerika, op die hoogtepunt van die Amerikaanse eeu, die koue oorlog, sy weerspieëling vind, te midde van die ruïnes van die Romeinse Ryk? Skepe na Italië lê by Napels aan. Voordat hulle noord na Rome gereis het, en Florence en die Laurentiaanse biblioteek, het die Rothkos na Pompeii gegaan.

Rothko loop te midde van die stad van die dooies en tob oor sy werk. In die mees atmosferiese van die Pompeiiese huise, die Villa of the Mysteries, is hy getref deur die gebruik van verbasend diep kleure vir 'n dekoratiewe skema - swart en rooi. Rothko het aan Fischer gesê dat hy in die villa ''n diep verwantskap' tussen die Seagram -muurskilderye en die Romeinse muurskilderye ervaar het - '' dieselfde gevoel, dieselfde breë uitgestrekte donker kleur '.

Die Villa of the Mysteries is buite die stad en is meer aristokraties en privaat as die res van die Pompeiiese huise. Die kamers spreek van geheime - spesifiek die ondergrondse aanbidding van Dionysos, god van wyn en ekstase. Dit het sy naam gekry van 'n verstommende fresko wat 'n inwydingsritueel in die kultus van Dionysus uitbeeld wat die mure van 'n triclinium, 'n eetkamer, bedek.

Dit is 'n baie vreemde eetkamer. Net so vreemd en tegelyk so luuks en helse, soos die eetkamer wat Rothko in New York beplan het - 'n plek waar diners bedreig sou word deur sensuele, okkulte, klaustrofobiese skilderye.

Ek dink Rothko het met valse toevalligheid oor Pompeii gepraat. Dit is ondenkbaar dat die 'affiniteite' tussen sy nuutste werk en die Villa of the Mysteries hom toevallig getref het, of dat dit slegs met kleur te doen het. Rothko was baie vertroud met die Romeinse muurskilderye van Boscoreale in die Metropolitan Museum of Art, en hy bestudeer die Nietzsche se geboorte van die tragedie wat die Apolloniese en Dionysiese beginsels kontrasteer, deeglik. Hy wou hê dat sy kuns buite die rede Dionisies moes wees. Rothko se projek vir die Four Seasons was om 'n anti-argitektuur te skep wat die rasionele orde van Mies van der Rohe se gebou verag, wat die 'ryk bastards' gepynig het om 'n beskaafde middagete te geniet. Hy wou hê dat die dodelike ruimte in die Laurentiaanse biblioteek van Michelangelo hulle moes binnedring en hulle sou verlaat. Hy het van homself as 'n argitek gepraat - 'Ek het 'n plek geskep', het hy gesê toe hy na die muurskilderye in sy Bowery -ateljee kyk.

Dit is baie lekker om te gaan reis, het Frank Sinatra gesing, maar dit is soveel lekkerder om huis toe te kom. Terwyl Rothko in die somer van 1959 uit Europa terugvaar, berei die Four Seasons voor om oop te maak. Terug in New York het Rothko vir homself en Mell 'n tafel bespreek. Wat het hulle geëet, waaroor het hulle gepraat? Dit lyk nie asof dit 'n gelukkige maaltyd was nie. Hy het die aand 'n vriend gebel om te sê dat hy die geld terugstuur en sy skilderye terugtrek. 'Almal wat hierdie soort kos vir sulke pryse sal eet, sal nooit na 'n skildery van my kyk nie,' het hy aan sy ateljee -assistent gesê.

Rothko se ondersoek na sinistere omgewings tydens sy reis na Italië, dui daarop dat hy, soos hy gesê het, werklik opgetree het uit 'kwaadwilligheid' by die skildery van die Four Seasons -muurskilderye. Maar dit dui ook daarop aan dat hy wou bewys dat skildery mag kan uitoefen - dat hy sy brief as 'dekoratiewe' kunstenaar kan ondermyn en 'n soet restaurant kan omskep in 'n ruimte wat oorheers word deur sublieme kuns.

Rothko wou die idee van die modernisme herleef - dat kuns ons aannames kan verbreek. Sy Seagram -muurskilderye bly die mees uitdagende kuns in Tate Modern - omdat dit jou tyd, emosie, denke en toewyding vereis, net om hierdie dinge in jou gesig terug te gooi en die gedagtes te konfronteer met 'n muur, 'n terminale kamer.

Maar geen kunstenaar in New York in 1959 het die soort mag gehad nie. Terwyl hy te midde van die gons en oorvloed van die vier seisoene sit, het Rothko seker gevoel dat hy bedrieg is - dat die welgestelde eetgaste nie ontsteld sou raak nie. Die kuns kon niks verander nie. Dat sy skilderye tog net versiering sou wees.

U kan JJ Hunsecker by die tafel sien, met minagting na hom gekyk. Dit is so baie moeilik om 'n kunstenaar te wees, spot Hunsecker in Sweet Smell Of Success, in hierdie kruste van alle moontlike wêrelde

· Hierdie opstel vorm die basis van die laaste toespraak in Painting Bites Back, 'n kursus onder leiding van Jonathan Jones by Tate Modern, Londen SE1, wat op 9 Desember gehou sal word. Rothko se Seagram -muurskilderye word permanent in Tate Modern, in samewerking met BT, vertoon.


Die 7 restaurante wat New York verander het

Van Amerika se duisende restaurante het slegs 'n handjievol smaak ver buite hul eie mure verander. Minder het steeds nie net nuwe kosse en kookkuns bekendgestel nie, maar het ook ons ​​breër kultuur beïnvloed. Paul Freedman se ryk nuwe boek, "Ten Restaurants That Changed America" ​​(Liveright), maak hulle lewendig - en laat onbedoeld 'n uitdagende vraag ontstaan.

As jarelange restaurantkritikus en rubriekskrywer kon ek nie help om te wonder nie: wat was die restaurante in New York wat New York verander het?

Dit is waar dat vyf van Freedman se spelwisselaars in New York City was of was: Delmonico's ("Amerika se eerste restaurant" in die 19de eeu), Mamma Leone's ("wat 'n pionier was in die Italiaanse restaurant vir nie-Italianers"), Sylvia's, Le Pavillon en The Four Seasons. Maar behalwe vir die laaste, het hulle waarskynlik meer harte, gemoed en maag wes van die Hudsonrivier aangeraak as in die vyf stadsdele.

Die kulinêre bydraes van geliefde plekke soos Le Bernardin, Babbo, Jean-Georges, Restaurant Daniel en Momofuku Ko is bekend. Hier is nog sewe restaurante van die afgelope 30 jaar wat die Big Apple 'n ander plek gelaat het, hoewel dit nie alles volgens gastronomiese standaarde was nie.

Die Arepa Lady

The Arepa Lady in Queens J.C. Rice

'N Koswa in Jackson Heights, onder die verhooglyn 7, is nie 'n restaurant nie (hoewel daar nou 'n klein Arepa Lady -kafee in die omgewing is). Maar die mieliapas van María Piedad Cano het 'n meer blywende invloed op die eetstoneel van die stad gehad as 'n dosyn bekendstellings met bekende sjefs en ontwerpers.

Cano, a former lawyer and judge in her native Colombia (left), was “discovered” by food writer Jim Leff in 1993. His love for her “magical” corn cakes carried far beyond the pages of the freebie-weekly New York Press.

It introduced eaters who rarely ventured outside Manhattan to Queens neighborhoods’ wealth of globe-spanning cuisines. The Arepa Lady’s mouth-melting cakes ignited appreciation for street food in every borough. Her unpredictability — no one knew when her cart would appear on Roosevelt Avenue near 78th Street — fueled the craving for all edibles elusive and exotic, a fascination that’s a prime mover of today’s eating scene. Leff’s admiration for Cano and others he championed led him in 1997 to co-found Chowhound, the food blog that preceded all the others.

Union Square Cafe

1985-late 2016 when its lease was up reopening nearby at 101 E. 19th St. in November

Union Square Cafe Zandy Mangold

The contributions of Danny Meyer’s flagship transcend its groundbreaking (for the time) Modern-American menu. While local chefs were chasing seasonal ingredients from California and Chesapeake Bay, Union Square Cafe drew on a source closer to home: the Union Square Greenmarket down the block.

The restaurant’s instant popularity helped catalyze the rebirth of then-squalid Union Square Park. But an equally game-changing legacy was that it did away with old-style dress codes and made customers feel comfortable in a fine-dining environment. Men and women could leave their office garb behind for jeans and open-collar shirts. The service was almost aggressively casual.

Although the new approach was aimed at younger customers, older ones embraced it, too. For better or for worse, USC more than any other single restaurant buried “formal” dining for good.

Pastis

1999-2014, when the building was demolished

When Keith McNally inserted his artfully faux, “rustic” bistro into the Meatpacking District, the area still smelled like a giant pancreas left to rot on the pavement.

Little bistro Florent drew the late-night artsy set, but the nabe’s S&M clubs and meat-hook aura immortalized in Al Pacino’s grisly 1980 “Cruisin’ ” scared off all but the least squeamish.

Pastis changed all that. The one-two punch of a bright and affordable, provincial French menu and McNally’s genius for hype (i.e., “no reservations taken” — except for celebrities)drew the noshing millions. Although what’s now the High Line Park remained a derelict train trestle, the white-hot Pastis scene kick-started an influx of cutting-edge eateries just as meat wholesalers began moving out.

That in turn propelled the boom in real-estate values that eventually doomed Pastis itself (although it is now slated to reopen in different form nearby).

Die kruideniersware

1999-2015, when the weary owners wanted “to get some life back.”

The Grocery in Brooklyn Patrick Siggins

For years after large-scale, brownstone neighborhood gentrification first got under way, “Brooklyn dining” still mostly meant Peter Luger, the River Cafe and Coney Island clam joints. Then, in 2003, the Zagat Survey ranked this obscure, 30-seat bistro in Carroll Gardens as the city’s seventh-best restaurant.

How could a place that few outside the neighborhood had even heard of rank nearly as high as Manhattan’s greatest?

Thanks to Zagat’s goofy voting system, The Grocery might have earned its lofty score because of a handful of ballot-box stuffers. But it put modern “Brooklyn dining” on the media map — and the rest was history.

Grocery’s Zagat breakthrough led owners and chefs to roll the dice all over the borough. Soon came chef-driven Vinegar Hill House, Fette Sau, The Farm on Adderley and later, $250-a-head tasting dinners in Bushwick. The new eating scene drew hordes of hungry new residents and ultimately the coinage of “Brooklyn” as a global brand.

Hatsuhana

Hatsuhana in Midtown Manhattan. Facebook

New York had Japanese restaurants long before Hatsuhana opened its doors. They weren’t all bad. But most were simple neighborhood spots or Benihana-school, tourist-driven places where chefs merrily tossed shrimp in the air for no identifiable purpose.

Then, in April 1983, a four-star New York Times review of Hatsuhana by Mimi Sheraton brought the cuisine — especially sushi — in from the margins. Times reviews carried serious clout in those days, and for the first time, a Japanese restaurant in the heart of Midtown had shockingly earned the rare accolade normally associated with old-school French.

Hatsuhana’s elevation coincided with the great wave of Japanese investment in Manhattan that saw Tokyo-based companies buy Rockefeller Center and brought Japanese fashion to Madison Avenue. Everyone wanted a seat on the Rising Sun express, and the cheapest ticket was ultra-fresh raw fish in its myriad varieties.

Although Hatsuhana today is not what it was, its popularity inspired the high-end Japanese boom that brought forth elegant and pricey sushi shrines such as Sushi Yasuda (whose chef, Maomichi Yasuda, came from Hatsuhana), interpretive riffs such as Peruvian-Japanese Nobu and eventually three-Michelin-star Masa.

Ruby Foo’s

1999-2009, when the recession killed it

Ruby Foo’s in Times Square. Mapquest

Stephen Hanson’s uptown “Chinese” fantasy, which he bravely launched on the un-trendy Upper West Side, was the big box that spawned all of the city’s pan-Asian giants. The cavalcade included Ono, Japonais, Chinatown Brasserie, Kibo, Matsuri and Spice Market. It lives on in the form of ultra-humongous Tao and Hakkasan, the London-born giant that touched down here in the West 30s.

Although some copycats called themselves Japanese or Chinese, all merrily mixed-and-matched far-east cuisines in an enormous, colorfully fanciful, Las Vegas-inspired setting like the one designer David Rockwell introduced here at Ruby Foo’s. Its sprawling menu perfected the crazy-quilt, multi-category format copied by restaurants of every cuisine.

Red Rooster

310 Lenox Ave., opened 2011

Red Rooster in Harlem. David Rosenzweig

This is Exhibit No. 1 of how a visionary chef with a smart business model can bring change far beyond the kitchen.

Chef Marcus Samuelsson’s rollicking bistro — a jolly blend of Ethiopian, southern-American and Swedish influences, served in a colorful dining room behind a retro, horseshoe-shaped bar — made the biggest splash in uptown food since the Harlem Renaissance of the 1920s. But its larger legacy is the renaissance it inspired in the historic African-American neighborhood around Lenox Avenue and West 125th Street.

Emboldened by Red Rooster’s success, a dozen new cafes — Italian, Indian, French, Japanese and “crafted American soul” — have opened on Lenox since 2011. Local residents who were long denied modern dining options suddenly had choices. Downtown customers finally discovered the area’s charms. And a nearby lot that stood empty for decades sprouted a retail complex where Whole Foods will open in early 2017.


City of New York Forbids Changes to Iconic Four Seasons Restaurant - Recipes

I&rsquom writing this nearly 15 months after we closed our dining room, and I&rsquom so excited to share that we will be reopening Eleven Madison Park on June 10th.

The pandemic brought our industry to its knees. With our closure, we laid off most of our team, and truly didn&rsquot know if there was going to be an Eleven Madison Park.

We kept a small team employed, and with their remarkable effort, in collaboration with the nonprofit Rethink Food, we prepared close to a million meals for New Yorkers experiencing food insecurity. Through this work, I experienced the magic of food in a whole new way, and I also saw a different side of our city &ndash and today I love New York more than ever.

What began as an effort to keep our team employed while feeding people in need has become some of the most fulfilling work of my career. It is a chapter in my life that&rsquos been deeply moving, and for which I am very grateful.

It was clear to me that this work must become a cornerstone of our restaurant.

Therefore, we&rsquove evolved our business model. When we reopen Eleven Madison Park on June 10th, every dinner you purchase will allow us to provide five meals to food-insecure New Yorkers. This food is being delivered by Eleven Madison Truck, which is operated by our staff in partnership with Rethink Food. We&rsquove created a circular ecosystem where our guests, our team, and our suppliers all participate.

In the midst of last year, when we began to imagine what EMP would be like after the pandemic &ndash when we started to think about food in creative ways again &ndash we realized that not only has the world changed, but that we have changed as well. We have always operated with sensitivity to the impact we have on our surroundings, but it was becoming ever clearer that the current food system is simply not sustainable, in so many ways.

We use food to express ourselves as richly and authentically as our craft allows &ndash and our creativity has always been tied to a specific moment in time. In this way, the restaurant is a personal expression in dialogue with our guests.

It was clear that after everything we all experienced this past year, we couldn&rsquot open the same restaurant.

With that in mind, I&rsquom excited to share that we&rsquove made the decision to serve a plant-based menu in which we do not use any animal products &mdash every dish is made from vegetables, both from the earth and the sea, as well as fruits, legumes, fungi, grains, and so much more.

We&rsquove been working tirelessly to immerse ourselves in this cuisine. It&rsquos been an incredible journey, a time of so much learning. We are continuing to work with local farms that we have deep connections to, and with ingredients known to us, but we have found new ways to prepare them and to bring them to life.

I find myself most moved and inspired by dishes that center impeccably-prepared vegetables, and have naturally gravitated towards a more plant-based diet. This decision was inspired by the challenge to get to know our ingredients more deeply, and to push ourselves creatively. It wasn&rsquot clear from the onset where we would end up. We promised ourselves that we would only change direction if the experience would be as memorable as before.

We asked ourselves: What are the most delicious aspects of our dishes, and how could we achieve the same level of flavor and texture without meat?

It&rsquos crucial to us that no matter the ingredients, the dish must live up to some of my favorites of the past. It&rsquos a tremendous challenge to create something as satisfying as the lavender honey glazed duck, or the butter poached lobster, recipes that we perfected.

I&rsquom not going to lie, at times I&rsquom up in the middle of the night, thinking about the risk we&rsquore taking abandoning dishes that once defined us.

But then I return to the kitchen and see what we&rsquove created. We are obsessed with making the most flavorful vegetable broths and stocks. Our days are consumed by developing fully plant-based milks, butters and creams. We are exploring fermentation, and understand that time is one of the most precious ingredients. What at first felt limiting began to feel freeing, and we are only scratching the surface.

All this has given us the confidence to reinvent what fine dining can be. It makes us believe that this is a risk worth taking.

It is time to redefine luxury as an experience that serves a higher purpose and maintains a genuine connection to the community. A restaurant experience is about more than what&rsquos on the plate. We are thrilled to share the incredible possibilities of plant-based cuisine while deepening our connection to our homes: both our city and our planet.

I believe that the most exciting time in restaurants is to come. The essence of EMP is stronger than it ever has been. We can&rsquot wait to have you come and experience this new chapter of the restaurant. We look forward to sharing this journey with you.


Proposed Design Changes to the Four Seasons Prompt an Outcry

With its sleek elegance and white marble pool of bubbling water, the Four Seasons restaurant in the landmark Seagram Building has long been considered an architectural gem — not to mention a haunt for the likes of Henry A. Kissinger and Madonna.

Now the owner of the building, Aby J. Rosen of RFR Holding, has proposed making changes to the restaurant — designed by Ludwig Mies van der Rohe and Philip Johnson in 1958 — that have prompted strong objections from some architects and preservationists.

“It’s worrisome,” said Barry Bergdoll, a professor at Columbia University who specializes in 19th- and 20th-century architectural history. “Even just removing a single pane of glass interrupts the spatial modulation.”

In a statement, Mr. Rosen’s company described the plan, which will be reviewed by the Landmarks Preservation Commission this month, as an effort to “restore luster the space possessed upon opening.”

But the company, in apparent response to the criticism, has already scaled back part of the proposal it submitted to the landmarks panel, which is being done in consultation with a noted architect, Annabelle Selldorf.

The restaurant, on East 52nd Street in Manhattan, with its signature 20-foot-high floor-to-ceiling glass windows and rippling chain curtains, consists mainly of two large, square dining areas, the Grill Room and the Pool Room, connected by a travertine-lined corridor. Both sides of the restaurant, whose interior was declared a landmark in 1989, feature rich French walnut wall paneling. The pool is accented by trees at its four corners and surrounded by seating.

Mr. Rosen had originally proposed removing the glass wall in the vestibule between the two rooms and converting the wine cellar behind it into bathrooms. But after the strong reaction to the plan, RFR said it would find a different location for the bathrooms.

“Replacing the wine cellar area with bathrooms never made any sense,” said Peg Breen, president of the New York Landmarks Conservancy, “so we are glad that has been withdrawn.”

Mr. Rosen is sticking with plans to, among other things, remove the bronze and crackled-glass partition in the Grill Room between the bar and the dining area and, on the entry concourse level, to widen the existing lobby to make room for a new coat-check area.

“RFR is seeking to bring back the 52nd Street entry to reflect the original design intent of welcoming discreet seating areas with high-quality furniture and great art on the walls,” the company said in an email.

Beyond its architectural significance, the restaurant has long been a high-profile power center, its tables regularly filled by the rich and famous. Mr. Johnson, who died in 2005, was himself a regular and had lunch there daily at a special table in the corner of the Grill Room.

In 1989, the Four Seasons became the second restaurant whose interior was designated by the Landmarks Preservation Commission (the first was Gage and Tollner’s in Downtown Brooklyn).

Theodore Grunewald, a preservation advocate, said he had many memories of visiting the Four Seasons on special occasions with his family. “I’m concerned about losing the spirit of the Four Seasons,” he said. “It’s a place of great dignity and real elegance, and the renovations that are being proposed are going to make it a busier, louder, brighter kind of place.”

Mr. Rosen and his partner, Michael Fuchs, bought the Seagram Building in 2000. They are scheduled to present their plan for changes to the landmarks panel on May 19. In addition to the interior changes, RFR is proposing exterior changes, which must be approved by the Conservancy.

In 2007, Mr. Rosen agreed to relinquish control of the Seagram Building’s exterior to the Conservancy in exchange for a tax benefit awarded by the city as an incentive to protect landmarks.

“This is one of the great landmark buildings, and this is one of the great landmarked interiors in the country,” Ms. Breen said. “There should be some compelling reason to change anything, and there is no compelling reason.”

The Conservancy only controls changes to the building’s exterior. Its recommendations about the RFR plans for the restaurant’s interior are advisory, although both sets of proposed changes will be reviewed by the landmarks panel at the same time.

Mr. Rosen and the Conservancy recently clashed over the future of a large Picasso stage curtain that used to hang in the corridor it ultimately went to the New-York Historical Society, where it will go on display May 29.

For the building’s exterior, Mr. Rosen had proposed replacing canvas entry canopies — belonging to the Four Seasons, and to the Brasserie restaurant on East 53rd Street — with transparent versions.

The Conservancy objected to those changes. Now he has proposed using “like-kind materials” instead, which, Ms. Breen said, “the Conservancy will have to review.”

Mr. Rosen has maintained that his proposed alterations are small adjustments that will improve the restaurant’s functions without diminishing its aesthetic value. But some design experts insist that while such changes may seem imperceptible, they significantly compromise the architectural intent.

“You can’t just say, ‘Oh, that would look so much better wider,’ ” Mr. Bergdoll said. “It has to do with how a space is experienced.”

“That’s the problems with minimalism,” he added. “Everything is down to this incredible study of dimensions.”

Phyllis Lambert, 88 — a daughter of Samuel Bronfman, the founder of the Seagram Company, who died in 1971 and helped create the building — recently told The Wall Street Journal that the proposed changes were “pretty well unacceptable.” The Bronfman family retains a minority interest in the restaurant.

Mr. Rosen said in a statement that he is being cast unfairly as a developer who does not respect the restaurant’s original design.

“I consider the building to be one of the greatest masterpieces of Modernist architecture,” he said, “and consistently take steps to preserve and curate this landmark aesthetically, functionally and culturally.”


Iconic Four Seasons Restaurant Will Close After Short and Troubled $40M Revival

The iconic and problematic Four Seasons Restaurant will close Tuesday, the New York Times reports, less than a year after a $40 million rebuild in a new space.

The news comes after a troubled 10 months, when critics and the public called the restaurant out for still involving former partner Julian Niccolini, who pleaded guilty to sexual assault in 2016. Niccolini was finally forced to resign in December. Managing partner Alex von Bidder told the Tye that it’s “hard to measure” whether Niccolini’s scandals had a negative effect on business.

In the end, the investors made the decision to close, according to Von Bidder. “We were not doing enough business to satisfy them,” he told the Tye. The restaurant has over 40 investors who pulled together more than $40 million for the rebuild, according to the Wall Street Journal.

The Four Seasons Restaurant was once known as a power lunch destination, frequently hosting celebrities and dignitaries like Martha Stewart and Henry Kissinger. It opened in the historic Seagram Building in 1959, becoming beloved for its seasonal fare and eventually landmarked space.

In 2016, landlord Aby Rosen forced the Four Seasons out, and last August, the restaurant reopened at 42 East 49th St. It claimed at the time that phones were “ringing off the hook,” and Stewart said she couldn’t “wait” to go back, but its public reception was less warm.

Food critics Pete Wells, Hannah Goldfield, and Adam Platt focused their reviews more on Niccolini than the food from new chef Diego Garcia. Wells said in his one-star review that despite food that’s “better than it has been in years,” Niccolini had “done serious damage to his power to provide” a “sense of safety” while dining there.


A Little Old, a Little New for the Four Seasons Space

Ever since the news broke last year that the grand Midtown space housing the Four Seasons restaurant would be taken over by the three young men behind brassy places like Carbone and Dirty French, one question has loomed above all: Will they preserve the clubby, reliable comforts of the original or strike off in a bold new direction?

As envisioned by the chefs Mario Carbone and Rich Torrisi and their business partner, Jeff Zalaznick, the space on the ground floor of the Seagram Building will become a twinned tribute: The restaurant’s Grill Room will celebrate the virtues of looking back, and the Pool Room will harness the thrill of moving forward.

The current tenants, the restaurateurs Alex von Bidder and Julian Niccolini, will move out in July and hope to re-establish the Four Seasons in a new location. The Carbone-Torrisi crew expects its restaurant, as yet unnamed, to open toward the end of the year.

For the Grill Room, where the well heeled and connected have long held their power lunches, Mr. Carbone is plunging into a library of menus from the earliest phase of the restaurant, which opened in 1959, hoping to recreate many of the vintage dishes.

“I’m really just doing the first decade,” he said in an interview at Carbone. “I don’t know how much interest I have beyond that. I want to be playing in the J.F.K. wêreld. He’s my muse.”

Mr. Carbone and his two partners, whose restaurant company is called the Major Food Group, want the tone of the room to be masculine, meat-embracing and signified by the brisk confidence of the Kennedy years. Mr. Zalaznick described it as “a true American grill.”

A few steps away in the Pool Room, however, Mr. Torrisi will oversee a different vision: a shrine to newness. He said the room would have a more feminine feel, a menu revolving around vegetables and seafood, and service that would not shrink from tableside extravagance.

Image

“Nothing will reference what has happened in the past,” Mr. Torrisi said. “I want this to be the No. 1 room in New York and in America where you go to celebrate.”

He and the others said they would make no major design changes to the rooms the Seagram Building, a touchstone of modernist architecture, has a thicket of landmark protections that discourage them. The landlord, Aby J. Rosen, lost a battle last year to make changes to the restaurant’s interior.

“Basically, if it’s attached to the building and you can’t pick it up and move it, it’s landmarked,” Mr. Carbone said, adding, “We don’t feel handcuffed because you can’t change the greatest restaurant space ever built.”

Wat om hierdie naweek te kook

Sam Sifton het spyskaartvoorstelle vir die naweek. Daar is duisende idees vir wat om te kook, wat op u wag op die New York Times Cooking.

    • In hierdie stadige kookresep vir garnale in die vagevuur, ontwikkel die pittige rooipeper en tamatiesous sy diep geure oor ure.
    • Plaas 'n paar groen blatjang in die winkel in hierdie vinnige, stewige groen masala-hoender. kan lekker wees vir aandete, en 'n paar bloubessie -muffins vir ontbyt.
    • Vir nagereg, waatlemoen granita? Of 'n pondkoek met gebakte aarbeie en slagroom?
    • En vir Memorial Day self? U weet dat ons baie, baie resepte daarvoor het.

    What they mostly have in mind, they said, is a thorough cleaning of a space that has endured decades of wear and tear. They say they will tweak minor design elements like chairs and tableware, but haven’t settled on the details.

    Mr. Carbone and Mr. Torrisi, who first made a name for themselves as chefs at the tiny (and now closed) Torrisi Italian Specialties on Mulberry Street, said the stark bifurcation of the two rooms’ menus would reflect the differences in their personalities. Mr. Torrisi likes to wing it, coming up with new dishes by improvising with ingredients. Mr. Carbone prefers to stick to a traditional template.

    “I could never work the way he does,” Mr. Carbone said. “I personally like to handcuff myself to things. I won’t do it if it’s not on the menu.”

    To that end, Mr. Carbone has spent hours investigating reams of vintage Four Seasons menus on file at the New York Public Library. In them he has encountered some unfamiliar dishes that offer few clues about how they were made. Sometimes, in a search for details, he consults with Mimi Sheraton, the former New York Times restaurant critic, who has a deep memory of meals at the Four Seasons.

    The research has led far beyond New York. For years, the Four Seasons menu featured an appetizer simply called “coriander prosciutto.” Unsure what the dish entailed, the Major Food partners asked La Quercia, a company in Iowa that specializes in cured meats, to develop prosciutto involving coriander.

    Another menu curio: stroganoff with rare beef. “The ‘rare’ part of it gets us all going,” Mr. Zalaznick said.

    Mr. Carbone aims to honor the dish by creating a stroganoff that is familiar enough for people to recognize, yet also elicits the reaction “Wow, that’s the best version of that dish I’ve ever had,” he said.

    Old menus allude to something called “fancy cake,” a confection conjured up by Albert Kumin, the Four Seasons’ original, Swiss-born pastry chef. Mr. Kumin is now in his 90s and living in Vermont. So Mr. Carbone, Mr. Torrisi and Mr. Zalaznick plan a pilgrimage there to question him about the cake’s provenance.

    They are also making a research voyage to Switzerland because the restaurant’s first chef, Albert Stockli, came from there, and they want to commune with the roots of his cooking. “We’re going to Switzerland just to feel that,” Mr. Zalaznick said.

    They have hired a craftsman in Mexico City to construct huge, elaborate guéridons, or trolleys, that will be used in the Pool Room for the tableside presentation of certain seafood dishes.

    For a third space in the Seagram Building, which previously housed Brasserie, the team hopes to foster a loose, festive atmosphere. The partners have brought in Peter Marino, an esteemed architect known for regularly dressing like a leather-clad biker, to redesign everything in the room, including plates, chairs and server uniforms.

    One form of luxury they will not provide is a tasting menu. Although they drew raves for their New York-themed marathon of plates at Torrisi Italian Specialties, they have decided that tasting menus, often considered a necessity for projecting a chef’s ambition, are an impediment to pleasure.

    “We did it for a moment in time, and it was amazing,” Mr. Carbone said, “but it taught us a lot about what we never want to do again.”


    Four Seasons restaurant closes after 57 years, will open in new location next year

    The Four Seasons served its last supper Saturday night at the midtown spot that has been its home for over a half-century.

    The iconic restaurant, known as the birthplace of the New York City power lunch, is shutting its elegant doors after 57 years, with plans to re-emerge next year a few blocks away.

    Fittingly, the famed eatery did not go quietly.

    "We're just so busy right now," an employee told the Daily News shortly after 9 p.m.


    City of New York Forbids Changes to Iconic Four Seasons Restaurant - Recipes

    Tips on Tables - Robert W. Dana - April 1957

    Luchow’s Marking 75th Anniversary

    World-famed Luchow’s Restaurant, beloved of all ages, celebrates its 75th Anniversary at 110 E. -14th St. tomorrow through Sunday by featuring an eight-course dinner similar to those served in 1882, when August Luchow, a native of Hanover, bought a tiny German restaurant and beer parlor In which he had been a waiter.

    If one of Luchow’s original customers could return today he’d feel completely at home, even more so, perhaps, than he might have a few years ago. Luchow cartoonFor when Jan Mitchell bought the restaurant in 1950, after nearly 10 years of negotiations he restored a number of German dishes absent from the menu for a quarter of a century.

    Wienerschnitzel, saurbraten, pigs knuckles schlemmerschnitte and perfectly cooked game are just a few of the scores of dishes from which the customer can choose.

    And something else for which one can thank Mr. Mitchell is his restoration of the pre-prohibition week-long galas. The venison festival, goose feast, bock beer festival, May wine festival, and midsummer forest festival, complete with a German band, special menu and souvenirs. All of these are included this week.

    Thanks to the Care with which August Luchow handled and dispensed the Wurzburger and Pilsner beers he imported, the delectableness of his Rhine and Moselle wines and the excellentence of his food, Luchow’s was a roaring success by the turn of the century.

    At this time 14th St. was the heart of the musical theatrical, literary and political life of New York, with Tony Pastor’s of variety fame, Steinway LuchowHall the Academy of Music and Tammany Hall. E. H. Sothe,. and Julia Marlow, John Barrymore and Weber and Fields, 0. Henry and 0. 0. McIntyre and Thomas Wolfe and Edgar Lee Masters were regulars.Victor Herbert wrote some of his operettas at Luchow’s, and the table he occupied at lunch is still referred to as the Victor Herbert Corner. In 1914 at Luchow’s, Herbert called the meeting of fellow composers that led to the founding of the American Society of Composers, Authors and Publishers.

    In 1901 August Luchow was persuaded by Herbert to engage an ensemble to play at dinner and supper. The musicians concentrated on Strauss waltzes, excerpts from Wagner operas, Brahms and Victor Herbert. And so it is today with Julius Richter and his musicians.

    Jan Mitchell bought Luchow’s because its traditions, atmosphere and fine food reminded him of his childhood on his family’s estates in Swede. and Finland. He had learned the secrets of good food from the chef who had worked for Alfred Nobel, door of the Nobel prizes, and he had mastered the art of being a perfect host under the eye of his parents, who often, entertained more than 100 guests at a time for hunt parties.

    Luchow’s today consists of seven public dining rooms, with the bar and men’s grill occupying the original site. The main restaurant, fronts on 14th St. Behind it are the garden and cafe, originally an open-air beer garden. On the left is the New Room (opened in 1902) and on the right the Hunting Room, lined with the heads of animals shot by Lucbow. Beyond this is the Niebelungen Room, named for murals with scenes from Wagner’s Ring Cycle.

    The only physical change Mr. Mitchell made in the high-ceilinged, dark-paneled rooms that stretch back to 13th St. was to install air-conditioning. More than 200 beer steins, many of them collector’s pieces, line the walls, as we’ll as 60 oil paintings, including a Van Dyke, a Snydes, a Van Mienis and a Goya. The largest was purchased by Mr. Luchow at the St. Louis World’s Fair in 1904 and years later was discovered to be the work of Sweden’s greatest artist, Augusto Haagborg.

    Website visitor Roger Hall from Australia writes: Thank you for the wonderful review on Luchows. I remember well dining there as a young (16 year old) wide eyed Aussie in 1964 when I backpacked through New York and across the USA on $99 a Day Greyhound ticket.I also dined in Voisin (spell?), and The French Shack I think it was called. My host, a WW2 buddy of my Dad also took me to Four Seasons and to see “Fiddler On the Roof”.
    A most enjoyable trip down memory lane.



Kommentaar:

  1. Meziktilar

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  2. Motega

    You read this and think….

  3. Regenweald

    Senks. Interessante en oor die algemeen nuttige blog vir jou

  4. Slaed

    Na my mening is die tema nogal interessant. Gee saam met u, ons sal in PM kommunikeer.

  5. Grojora

    'N Pragtige pos, betekenisvol ...

  6. Cranstun

    Hier is 'n eksentrieke, ek is verbaas.



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