WEBVTT - Ab Rogers, Designer

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<v Speaker 1>Ruthie's Table four is now a book. Paul McCartney, Michael Caine,

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<v Speaker 1>Kamala Harris, David Beckham, Tina fey Elton John and many more.

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<v Speaker 1>It's full of stories, beautifully designed, and a celebration of

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<v Speaker 1>the way food connects us all. It's available now wherever

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<v Speaker 1>you buy your books. Ruthie's Table four brought to you

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<v Speaker 1>by Sky and Montclair. There was a time that I

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<v Speaker 1>think it was you that was had been going every

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<v Speaker 1>single day down to the harbor to try fish and

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<v Speaker 1>catch a fish. And every day we had this little

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<v Speaker 1>fishing rod, I think it was maybe it was true

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<v Speaker 1>with you, and would stand there for hours. And one

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<v Speaker 1>day we just thought we can't go on any longer.

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<v Speaker 1>So we bought a fish, a little fish in the

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<v Speaker 1>fishing market, and then you drove down underneath the fishing

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<v Speaker 1>and attached it to the fishing rod, and he pulled

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<v Speaker 1>it up swimming. So they hatched it to the rod

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<v Speaker 1>and he pulled it up. Of course, what he did

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<v Speaker 1>really cut onto is that it was a dead fish.

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<v Speaker 1>There are many many things I admire about abe Rogers.

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<v Speaker 1>He is the founder of Abe Rogers Architects, an international

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<v Speaker 1>practice where he breaks boundaries, creating beautiful buildings, challenging exhibitions,

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<v Speaker 1>and dynamic interiors. As a parent, he is patient, exuberant,

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<v Speaker 1>and as a stepson, well, he and I have been

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<v Speaker 1>side by side with many, many stories to tell. Today,

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<v Speaker 1>we're going to talk about Abe as a cook, the inventive, inspiring,

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<v Speaker 1>and brave way he brings ingredients together, creating some of

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<v Speaker 1>the most delicious food I've eaten in my life. I

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<v Speaker 1>think I know Abe very well. Today I'm going to

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<v Speaker 1>know him even better and we'll share with you what

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<v Speaker 1>he does, what he thinks, and what he makes. What

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<v Speaker 1>a privilege we're going to talk an't we we have known?

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<v Speaker 1>I don't think i've known apart from maybe I would rather.

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<v Speaker 1>I don't think i've known any person I've interviewed as

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<v Speaker 1>long as I've known you have.

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<v Speaker 2>I think I'm one of the apart from the only

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<v Speaker 2>people that have eaten your food all their all.

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<v Speaker 3>Their their lives.

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<v Speaker 2>And I think that's quite a privilege. And I even

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<v Speaker 2>make your food kind of before it was this, when

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<v Speaker 2>it was we were.

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<v Speaker 1>Making the other day, I went up to Ruse and

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<v Speaker 1>he said, I want you to cook something that used

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<v Speaker 1>to cook.

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<v Speaker 2>Yeah, So I was thinking about soufles is like bicycled

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<v Speaker 2>over here.

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<v Speaker 1>Yeah, he said, he said, let's make something that you

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<v Speaker 1>know you used to make, and so I said, soufle

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<v Speaker 1>And I used to make cheese, one cheese to and

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<v Speaker 1>one finish, and then.

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<v Speaker 2>I remember the whole theater, then looking through the oven

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<v Speaker 2>and then rising.

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<v Speaker 1>You remember the time we were skiing, Yeah, we were skiing.

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<v Speaker 1>You know how everybody makes you feel like souffles. You

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<v Speaker 1>can't open the oven door, nobody can make a noise,

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<v Speaker 1>you can't play music. And we were in a shallow

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<v Speaker 1>in some apartment house and some humor, and we made

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<v Speaker 1>a cheese to play and a spinach shoe flay, and

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<v Speaker 1>the oven kind of broke or something happened, and we

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<v Speaker 1>took both soufles out of the oven as they were rising,

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<v Speaker 1>went down the hall, turned on the other oven, which

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<v Speaker 1>was like a very low temperature, and put the soufles

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<v Speaker 1>in and slammed the door. And they were the best

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<v Speaker 1>soufles I've ever had. So is not always right, No,

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<v Speaker 1>exactly where the mythology of a tradition. We're going to

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<v Speaker 1>ask you to read a recipe that you've chosen. I

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<v Speaker 1>thought it was interesting that of all the recipes that

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<v Speaker 1>you've chosen, it's a dish that I absolutely adore with

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<v Speaker 1>a fish that I think worked so well in this recipe.

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<v Speaker 1>Why don't you read it first?

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<v Speaker 2>And why discuss going to say prior to reading this

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<v Speaker 2>is what when in the last years with that we'd

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<v Speaker 2>had these kind of emotional conversations and he was very

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<v Speaker 2>soft and he said, your super power is your fearlessness,

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<v Speaker 2>and that is you know, that's what. But actually the

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<v Speaker 2>one thing makes me fearful is reading out louds So

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<v Speaker 2>I walk endeavor to read, especially dyslexia. Yeah, and this

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<v Speaker 2>is very beautifully printed in LUNs writing for me. Acropats

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<v Speaker 2>is an extraordinary dish because a little bit like my mete,

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<v Speaker 2>the Spanish dish is kind of made by the fisherman

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<v Speaker 2>to be kind of eaten on the boat almost. And

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<v Speaker 2>so this idea of using the local seaweed and this

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<v Speaker 2>kind of strange curdle, a multiplication that comes with a

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<v Speaker 2>fish protein and the olive oil and the garlic the

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<v Speaker 2>coming together so for kind of crazy water acropats. So

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<v Speaker 2>we need three pielt garlics. We need four tablespoons of

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<v Speaker 2>chopped fresh flat parsley, two fresh or tinned plum tomatoes,

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<v Speaker 2>true crushed dried chilis. One whole red mullet. I mean,

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<v Speaker 2>I love the red mullet. I think it's exceptional. Fish

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<v Speaker 2>white wine optional, all necessary. I would say four scallops

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<v Speaker 2>of longesteed, two slices of sheap batter, bread, one lemon

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<v Speaker 2>hard in a pan large enough to hold the fish

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<v Speaker 2>in one layer. Five water with garlic, pastia, tomates, and chili.

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<v Speaker 2>Season weal and boil for five minutes. Add the mullet

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<v Speaker 2>and splash of wine and cover for six minutes. Then

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<v Speaker 2>carefully turn the fish over. Add the shell fish. Cook

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<v Speaker 2>for six more minutes. Carefully turn the fish over, cook

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<v Speaker 2>for further six minutes, seasoned, drizzle olive oil. Toast the bread,

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<v Speaker 2>rub garlic on one side, and place on a plate.

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<v Speaker 2>Add the fish, spooning over tomatoes and broth. Be on

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<v Speaker 2>a rocky boat.

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<v Speaker 1>And why did you choose this recipe?

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<v Speaker 2>Because I think it represents the simplicity of kind of

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<v Speaker 2>Italian food, of food that that you know, that that

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<v Speaker 2>you cook and bringing these ingredients together, and the idea

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<v Speaker 2>that it's cooked by the by the fishermen.

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<v Speaker 1>That's why it's called crazy water. Because the myth or

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<v Speaker 1>the reality that if you drink salt water of the sea,

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<v Speaker 1>you will become insane, you'll be crazy. And so the

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<v Speaker 1>aqua patza means pazza is you know, means crazy in Italian.

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<v Speaker 1>So I think I think it's a beautiful name for

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<v Speaker 1>a recipe and the mythology of it. As you tell

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<v Speaker 1>me more about aqua, parts of what do you when

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<v Speaker 1>you make it? What do you do well?

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<v Speaker 2>I mean for me, it's just coming together of these

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<v Speaker 2>different ingredients, and you have you know that you'll see

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<v Speaker 2>the shellfish and meeting with the red mullet, and they

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<v Speaker 2>can make.

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<v Speaker 1>It without like it without and I just like a mullet.

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<v Speaker 2>Just a mullet. Yeah, I mean clans I think you know,

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<v Speaker 2>I wouldn't nessary, but it's scallops. But I think it's

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<v Speaker 2>it's a celebration of pure ingredients, which all you're cooking

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<v Speaker 2>is a bat.

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<v Speaker 1>The other appeal of this dish for me is that

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<v Speaker 1>it's a whole fish. Yeah, I don't want to make

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<v Speaker 1>it with a filet. You would never make it with

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<v Speaker 1>a filet if.

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<v Speaker 2>I can avoid. I like to cook everything, whole everything

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<v Speaker 2>point I would only cook vegetables whole as well. I mean,

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<v Speaker 2>now I've kind of got more. But I quite like

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<v Speaker 2>going through these conceptual moments of kind of defining the

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<v Speaker 2>food by the.

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<v Speaker 3>Way you doing it.

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<v Speaker 2>Because then it's as it arrives and it cooks inside

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<v Speaker 2>it itself. And I try not to add water to things,

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<v Speaker 2>so I kind of like this idea of concentration and

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<v Speaker 2>trying to get the water from the vegetable, and if

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<v Speaker 2>it's not cut, then it sits inside and kind of

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<v Speaker 2>cooks in its own self.

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<v Speaker 1>And also when you see a fill it of sea

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<v Speaker 1>bass or a turbot, whatever you are very often putting

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<v Speaker 1>on the grill, it kind of shrinks and gets all

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<v Speaker 1>sort of angry and tight.

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<v Speaker 2>The juice kind of escapes, and you need the bones, and.

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<v Speaker 1>You need the bones. That's you know. I don't think

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<v Speaker 1>I ever ate a fill of a fish. When I

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<v Speaker 1>lived in Paris, we'd either get you know, sea bass

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<v Speaker 1>big enough for every everyone to share, and taking it

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<v Speaker 1>off the bone is part of the whole process, and.

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<v Speaker 2>Then the bone becomes the stock. And I had some

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<v Speaker 2>friends for dinner last night, did you cook? I cooked

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<v Speaker 2>a turbots, but I sput it on the wire frame

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<v Speaker 2>of the shelf and the vegetables underneath it. So the

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<v Speaker 2>kind of the enzymes drop and you do a kind

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<v Speaker 2>of salt and olive oil and vinegar massage into it

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<v Speaker 2>and releases the proteins. It's the kind of bass thing

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<v Speaker 2>and everything drops out. And I was cooking for Lynn

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<v Speaker 2>Harris to perfume, and it was very interesting to be

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<v Speaker 2>talking about food with someone who's just obsessed with the smell,

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<v Speaker 2>smell and the kind of whole taste and smell and

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<v Speaker 2>that inter.

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<v Speaker 1>I get that, you know, I always say that very

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<v Speaker 1>often you want to make something up because of what

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<v Speaker 1>it will taste like, but what it will smell like.

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<v Speaker 2>And how your house will smell when people enter the.

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<v Speaker 1>Ways. Yeah, sometimes you don't wantever you do one I

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<v Speaker 1>don't have. I don't have extraction in my house.

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<v Speaker 2>I think I learned that from you. I have.

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<v Speaker 1>Open window. Yeah, what are your early memories of the kitchen?

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<v Speaker 2>When I was bically him thinking about this conversation, I

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<v Speaker 2>realized that most of my early memories are about food,

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<v Speaker 2>and when I talked to that, his memories are very different.

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<v Speaker 2>I think it's very interesting early on what we take

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<v Speaker 2>from our memories and our past. So yeah, definitely. I

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<v Speaker 2>mean we were five that we'd all sit down together.

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<v Speaker 2>Chicken would kind of be devoured in minutes with such

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<v Speaker 2>a with five kids and two adults and two great danes,

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<v Speaker 2>and soon would make packed lunches for all of us

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<v Speaker 2>every morning and be at the kind of five making

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<v Speaker 2>homemade bread. I mean, it was quite in this kind

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<v Speaker 2>of conveyor belt and we go off my little plastic

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<v Speaker 2>bags with the sandwiches and the carrots. Where they eat

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<v Speaker 2>with you most nights every night, or my bedroom is

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<v Speaker 2>next to the kitchen because I was the youngest, and

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<v Speaker 2>so I'm going to go to bed as they were cooking.

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<v Speaker 2>I mean, lot of people would see that I was

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<v Speaker 2>in the cupboard in the basement, but it was. But

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<v Speaker 2>it was actually a real kind of generous things that

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<v Speaker 2>kept me very close. She was always in the kitchen.

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<v Speaker 2>But I grew up, you know, with this incredible privilege

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<v Speaker 2>of these I know, kind of five four amazing cooks.

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<v Speaker 2>You know, you're you know you cooking, and we'd go

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<v Speaker 2>every week to Bell Sized Grow And there was a

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<v Speaker 2>period when Dad was supposed to cook every Tuesday.

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<v Speaker 1>Do you remember that. I, you know, Richard who really.

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<v Speaker 2>Food was important respective.

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<v Speaker 1>Everything was about. He would literally go to bed at

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<v Speaker 1>night and think what we were going to eat the

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<v Speaker 1>next day, or he would, you know, after a meal,

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<v Speaker 1>talk about what he you know, had eaten that lunch.

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<v Speaker 1>There was a conversation about food. There was this.

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<v Speaker 2>Love of very natural food. He wanted he wanted the

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<v Speaker 2>livers and the kidneys, and he wanted in fact, and

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<v Speaker 2>he wanted you know, the substance.

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<v Speaker 1>Yeah. So going, so you had the Tuesdays whenever we

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<v Speaker 1>did one of the.

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<v Speaker 2>Tuesdays when he could and he couldn't cook. He didn't

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<v Speaker 2>know how to cook. He liked the idea, but he

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<v Speaker 2>you know, so I would cook with you.

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<v Speaker 1>So you were saying that your memories of your childhood

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<v Speaker 1>really centered around food. Yeah. Yeah.

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<v Speaker 2>And then of course Dada Dada who was who was

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<v Speaker 2>my grandmother? I think quite inspiration had totally who kind

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<v Speaker 2>of was the first Italian cook. I mean obviously the first,

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<v Speaker 2>but was kind of And you would go to her

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<v Speaker 2>house and she would skate around with cloths attached to

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<v Speaker 2>her feet and you know, she would slowly cook these

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<v Speaker 2>carrots and she's had.

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<v Speaker 1>The clothes on her feet now for cooking but cleaning. Yeah,

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<v Speaker 1>so we should tell everyone about data who was born

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<v Speaker 1>in Trieste.

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<v Speaker 2>Early century, women who survived the wars, who kind of

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<v Speaker 2>fled Italy in thirty nine, who kind of arrived in

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<v Speaker 2>England the beginning of the war at a moment kind

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<v Speaker 2>of great nationalism in a way.

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<v Speaker 1>And she had a very privileged childhood. So she was

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<v Speaker 1>brought up with I think cooks in the kitchen and

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<v Speaker 1>cleaners in the bedrooms, and a little private train that

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<v Speaker 1>took her to the top of her house.

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<v Speaker 3>And James, James Joyce.

0:11:22.200 --> 0:11:24.800
<v Speaker 1>That's always my question, who do you think Richard's mother

0:11:25.640 --> 0:11:28.160
<v Speaker 1>to speak English? And there was James Joyce who was

0:11:28.160 --> 0:11:29.400
<v Speaker 1>living in Triesta.

0:11:29.120 --> 0:11:31.400
<v Speaker 2>And I think when they had the flu in eighteen eighteen,

0:11:31.559 --> 0:11:34.199
<v Speaker 2>nineteen eighteen, she didn't need the house free, you know,

0:11:34.240 --> 0:11:36.760
<v Speaker 2>and people would bring the through to the kind of

0:11:36.760 --> 0:11:37.600
<v Speaker 2>doorstep of the house.

0:11:37.600 --> 0:11:39.520
<v Speaker 1>There were two things she wanted to have in London,

0:11:39.960 --> 0:11:43.760
<v Speaker 1>many things, probably, but coming from this privileged life to

0:11:43.800 --> 0:11:48.440
<v Speaker 1>a wartime Britain was one not being able to have

0:11:48.520 --> 0:11:51.360
<v Speaker 1>a view. Because she grew up in Florence where there

0:11:51.400 --> 0:11:53.040
<v Speaker 1>were the hills and she could walk up there and

0:11:53.080 --> 0:11:55.640
<v Speaker 1>see the view of a Florence. And so she said

0:11:55.640 --> 0:11:57.520
<v Speaker 1>to me once and she used to walk around London

0:11:57.559 --> 0:12:00.840
<v Speaker 1>all day trying to find a view. And the other

0:12:00.920 --> 0:12:04.200
<v Speaker 1>one was to have the kind of food that she'd

0:12:04.200 --> 0:12:08.200
<v Speaker 1>grown up with, the trisque. Her father, even though it

0:12:08.240 --> 0:12:13.599
<v Speaker 1>was wartime Britain and rationing, would send her candy chestnuts

0:12:13.640 --> 0:12:17.240
<v Speaker 1>and candied fruit. She often told me about getting these packages.

0:12:17.240 --> 0:12:18.760
<v Speaker 1>I don't know how he got them out of Italy

0:12:19.120 --> 0:12:21.880
<v Speaker 1>and to Britain, but for her having the candied fruit.

0:12:21.880 --> 0:12:25.600
<v Speaker 1>But you can imagine coming from parmesan cheese and olive

0:12:25.640 --> 0:12:30.200
<v Speaker 1>oil and anchovies and garlic to a country where there

0:12:30.320 --> 0:12:33.640
<v Speaker 1>was just a very, very different level of type of cooking.

0:12:33.920 --> 0:12:35.959
<v Speaker 2>But she had this amazing house that Dad had designed

0:12:36.000 --> 0:12:39.040
<v Speaker 2>her as kind of super experimental house, his first kind

0:12:39.080 --> 0:12:40.640
<v Speaker 2>of real vision of the future of his eye.

0:12:40.679 --> 0:12:42.280
<v Speaker 3>That wasn't until sixty eight, sixty eight.

0:12:42.360 --> 0:12:45.840
<v Speaker 2>Yeah, this kind of yellow box where she would cook

0:12:45.920 --> 0:12:49.800
<v Speaker 2>her childhood food and with this incredible generosity and precision

0:12:49.880 --> 0:12:53.120
<v Speaker 2>in how she would cook. And for me, I always

0:12:53.120 --> 0:12:55.400
<v Speaker 2>wouldly remember the carrots, and the carrots would take four

0:12:55.400 --> 0:12:57.840
<v Speaker 2>hours and she would kind of turn them over each

0:12:58.000 --> 0:13:01.000
<v Speaker 2>one individual. She almost knew them by name slice by

0:13:01.000 --> 0:13:02.599
<v Speaker 2>the end of the kind of carrot cooking, and he

0:13:02.600 --> 0:13:04.679
<v Speaker 2>would have this orange all of oil that had been

0:13:04.760 --> 0:13:07.559
<v Speaker 2>kind of touched by this very very slow cooking.

0:13:08.000 --> 0:13:13.240
<v Speaker 1>Italian vegetables are never undercooked. Everything in Italy is, you know,

0:13:13.679 --> 0:13:17.319
<v Speaker 1>the prety rules. Even though yeah you can have raw

0:13:17.400 --> 0:13:20.000
<v Speaker 1>you do. But I think that the whole the difference

0:13:20.000 --> 0:13:26.400
<v Speaker 1>between you know, a blanched vegetable and French cooking or

0:13:26.720 --> 0:13:29.560
<v Speaker 1>you know, other cooking, and then the Italians which just

0:13:29.679 --> 0:13:32.440
<v Speaker 1>cooked them for a very long time, they do it

0:13:32.480 --> 0:13:34.480
<v Speaker 1>because of the olive oil. I think they get away

0:13:34.520 --> 0:13:36.800
<v Speaker 1>with it. So tell me more about the influences in

0:13:36.840 --> 0:13:37.280
<v Speaker 1>your cooking.

0:13:39.120 --> 0:13:41.200
<v Speaker 2>And then so you know, I grew up, you know,

0:13:41.240 --> 0:13:44.400
<v Speaker 2>with Rose and her kids, we were all very much that.

0:13:44.320 --> 0:13:47.320
<v Speaker 1>Would be Rose Grades, my co founder of the River.

0:13:47.200 --> 0:13:51.240
<v Speaker 2>Capitol was you know who moved to Florence in when

0:13:51.280 --> 0:13:53.960
<v Speaker 2>I was like fourteen, twelve thirteen, and we would go

0:13:54.000 --> 0:13:56.120
<v Speaker 2>out there and all that they would do there was

0:13:56.240 --> 0:13:58.520
<v Speaker 2>cook and she kind of demanded everybody in the house

0:13:58.559 --> 0:14:00.520
<v Speaker 2>to be cooking. I don't know how you could make

0:14:00.559 --> 0:14:02.679
<v Speaker 2>it too much. I saur so collaborative, and she always

0:14:02.679 --> 0:14:04.640
<v Speaker 2>wanted to push and like you were saying in my introduction,

0:14:04.720 --> 0:14:06.920
<v Speaker 2>she always really wanted to push the baund and she

0:14:06.960 --> 0:14:08.360
<v Speaker 2>was going to use chili. She wants to make you

0:14:08.440 --> 0:14:10.880
<v Speaker 2>cry from the heat, you know. She kind of she

0:14:11.040 --> 0:14:13.520
<v Speaker 2>was she was experimental, not when she was hit in

0:14:13.600 --> 0:14:18.000
<v Speaker 2>those kind of periods and interesting things, so bohemian in

0:14:18.040 --> 0:14:19.840
<v Speaker 2>a way. Kind of going there as a teenager was

0:14:19.840 --> 0:14:23.080
<v Speaker 2>like anything could happen, and food was the absolute glue

0:14:23.240 --> 0:14:24.840
<v Speaker 2>that operated around that.

0:14:25.280 --> 0:14:28.440
<v Speaker 1>And she was taught to cook by daughter. She always

0:14:28.440 --> 0:14:31.520
<v Speaker 1>said that. You know, there were about five friends of

0:14:31.600 --> 0:14:38.320
<v Speaker 1>Richard who lived in South London, Wimbledon, she that area,

0:14:38.760 --> 0:14:40.760
<v Speaker 1>and they were friends of Richard, and then what they

0:14:40.800 --> 0:14:44.600
<v Speaker 1>really loved was being taught by Richard's mother daughter, your grandmother,

0:14:44.760 --> 0:14:46.920
<v Speaker 1>how to cook. And so there was and actually if

0:14:46.960 --> 0:14:50.920
<v Speaker 1>you went to Rose's house or sus or you know,

0:14:51.000 --> 0:14:54.600
<v Speaker 1>Georgie Walton's house or Wendy Foster's, there was you could

0:14:54.600 --> 0:14:58.120
<v Speaker 1>tell that they'd been taught by Dadda. There was a consistency.

0:14:57.560 --> 0:15:00.360
<v Speaker 2>Because her food was about approach to exactly me dishes.

0:15:00.360 --> 0:15:03.200
<v Speaker 2>But the way that you learned you could apply it

0:15:03.240 --> 0:15:05.320
<v Speaker 2>to anything. As you say, you talk about the vegetables,

0:15:05.680 --> 0:15:09.520
<v Speaker 2>or we talk about it, the salad, the ice creams,

0:15:09.520 --> 0:15:12.000
<v Speaker 2>you know, which extortedly we're all still trying to recreate

0:15:12.400 --> 0:15:14.720
<v Speaker 2>many years later, or the Christmas cake that you make

0:15:15.000 --> 0:15:17.160
<v Speaker 2>every year. But in a way, the really interesting thing

0:15:17.200 --> 0:15:19.120
<v Speaker 2>for me is this is the kind of creation is

0:15:19.200 --> 0:15:22.840
<v Speaker 2>quite humble food that you make so exquisitely. And something

0:15:22.880 --> 0:15:26.040
<v Speaker 2>I find fascinating in your cooking is the more noble

0:15:26.080 --> 0:15:28.560
<v Speaker 2>your guests, the more humble the food that you serve them.

0:15:28.560 --> 0:15:31.040
<v Speaker 2>So you have the American Ambassador for lunch and you

0:15:31.080 --> 0:15:34.400
<v Speaker 2>give them which is, you know, kind of the peasants food,

0:15:34.440 --> 0:15:37.200
<v Speaker 2>but you make it so perfectly, you know, I think,

0:15:37.680 --> 0:15:39.680
<v Speaker 2>and it changes all the time, whether you're using parmesan

0:15:39.760 --> 0:15:42.120
<v Speaker 2>or you're not using parmesan, that if tomates you're using

0:15:42.320 --> 0:15:44.840
<v Speaker 2>the time of years, but it's always, you know, it's

0:15:44.880 --> 0:15:49.040
<v Speaker 2>it's yeah. Eva Drittna says in design that three materials

0:15:49.080 --> 0:15:50.920
<v Speaker 2>make a palette, and I think, you know, that's quite

0:15:50.920 --> 0:15:52.880
<v Speaker 2>true in a lot of these dishes. I just ate

0:15:52.920 --> 0:15:56.200
<v Speaker 2>the targa with tomatoes outside, and that's two ingredients. Maybe

0:15:56.240 --> 0:15:58.640
<v Speaker 2>we add salt three, but it's just it's this kind

0:15:58.640 --> 0:16:01.080
<v Speaker 2>of poetry in your in your mouth, the kind of

0:16:01.080 --> 0:16:03.560
<v Speaker 2>fish to the field, which is fabulous.

0:16:03.600 --> 0:16:06.000
<v Speaker 1>And also when you have few ingredients, if you just

0:16:06.120 --> 0:16:10.080
<v Speaker 1>have two ingredients. They'd better be good. There's no masking them,

0:16:10.160 --> 0:16:15.000
<v Speaker 1>you know that. Butka has to be great a certain way.

0:16:15.640 --> 0:16:17.720
<v Speaker 3>A ribbon, Yeah, you like the ribbon.

0:16:17.800 --> 0:16:18.680
<v Speaker 1>I quite like it greater.

0:16:18.840 --> 0:16:20.040
<v Speaker 3>We'll go have a comparison.

0:16:20.080 --> 0:16:20.360
<v Speaker 2>Okay.

0:16:20.440 --> 0:16:22.600
<v Speaker 1>So you had Sue, you had you had me, you

0:16:22.720 --> 0:16:30.600
<v Speaker 1>had daughter, you had Cheer and then your cousin she's

0:16:30.680 --> 0:16:32.440
<v Speaker 1>married to the Cheerman.

0:16:32.320 --> 0:16:34.840
<v Speaker 2>Was married to Richard's first cousin. And she was this

0:16:35.000 --> 0:16:40.040
<v Speaker 2>kind of extraordinary, short, completely energetic cook who would spend

0:16:40.080 --> 0:16:42.800
<v Speaker 2>no money, but she would barter with the local farmers

0:16:42.920 --> 0:16:44.680
<v Speaker 2>and she would drive off in the morning for forty

0:16:44.760 --> 0:16:47.800
<v Speaker 2>minutes to get this very fresh paccarino they just had

0:16:47.960 --> 0:16:50.320
<v Speaker 2>just kind of been been set and she would drive

0:16:50.360 --> 0:16:52.480
<v Speaker 2>back across and you would have that, and she'd be

0:16:52.560 --> 0:16:55.000
<v Speaker 2>so excited to bring you this and this and this bread.

0:16:55.200 --> 0:16:57.320
<v Speaker 2>And she would have huge fights with the other chefs

0:16:57.320 --> 0:17:00.120
<v Speaker 2>in Florence because their food was being too comp lo

0:17:00.160 --> 0:17:01.800
<v Speaker 2>caterd and it well, you know, it was always trying

0:17:01.800 --> 0:17:04.320
<v Speaker 2>to be there was a real activist. I remember this

0:17:04.440 --> 0:17:08.600
<v Speaker 2>meal where she had given the farmers free ducks, and

0:17:08.640 --> 0:17:11.600
<v Speaker 2>she'd given them the and she specified their diet.

0:17:11.840 --> 0:17:14.560
<v Speaker 1>These three ducks, she gave them as us to be.

0:17:14.520 --> 0:17:17.720
<v Speaker 2>Fair, and then for six months they fed them and

0:17:18.320 --> 0:17:20.840
<v Speaker 2>grew them, and then she came and picked them up

0:17:20.840 --> 0:17:22.920
<v Speaker 2>and she did this whole meal devoted to the duck.

0:17:22.960 --> 0:17:26.120
<v Speaker 2>So you start with duck soup, then you have duck bravioli,

0:17:26.440 --> 0:17:29.160
<v Speaker 2>then you have rosed duck. So how you can take

0:17:29.200 --> 0:17:32.159
<v Speaker 2>one animal and it influenced the whole meal. And I

0:17:32.240 --> 0:17:35.200
<v Speaker 2>kind of love that linear story that starts to be

0:17:35.400 --> 0:17:37.840
<v Speaker 2>told and how we can use, you know, food to

0:17:37.880 --> 0:17:39.920
<v Speaker 2>really tell stories. And it almost has kind of conceptual

0:17:40.000 --> 0:17:43.000
<v Speaker 2>art in some ways that he's sow in these other narratives.

0:17:43.280 --> 0:17:45.399
<v Speaker 1>So there are five women in the sense that you

0:17:45.440 --> 0:17:47.720
<v Speaker 1>grew up with is you know the importance and no

0:17:47.840 --> 0:17:50.199
<v Speaker 1>wonder your memory is so strong a food. You know

0:17:50.280 --> 0:17:52.960
<v Speaker 1>that you had these very different views in the way

0:17:53.000 --> 0:17:57.280
<v Speaker 1>people cook, but a kind of quality and also a

0:17:57.320 --> 0:17:59.920
<v Speaker 1>sense of that food was a way of bringing a

0:18:00.040 --> 0:18:02.880
<v Speaker 1>we want together. Do you remember going to restaurants? Yeah?

0:18:02.960 --> 0:18:06.359
<v Speaker 2>I remember going to Chinese, going to mister choosing to

0:18:06.400 --> 0:18:09.639
<v Speaker 2>go to Chinese restaurants, Pizza Express, Yeah, a lot of

0:18:09.640 --> 0:18:12.840
<v Speaker 2>that definitely with you and Richard are going to restaurants

0:18:13.000 --> 0:18:16.200
<v Speaker 2>in Paris. Yeah, I also remember those holids days where

0:18:16.200 --> 0:18:18.160
<v Speaker 2>we would live in a boat house and you would

0:18:18.160 --> 0:18:20.680
<v Speaker 2>cook you know, sardine. I mean it was a very

0:18:20.920 --> 0:18:23.080
<v Speaker 2>it was. It was not a lavish exist.

0:18:22.840 --> 0:18:27.200
<v Speaker 1>That was of Coudie, wasn't it. We had the keys

0:18:27.240 --> 0:18:29.080
<v Speaker 1>to the house, we had a map to take us

0:18:29.119 --> 0:18:31.159
<v Speaker 1>to the house. We had three children, I was pregnant,

0:18:31.200 --> 0:18:35.240
<v Speaker 1>it was. And we stayed there for three weeks and

0:18:35.280 --> 0:18:37.720
<v Speaker 1>we never found the house where.

0:18:37.600 --> 0:18:38.800
<v Speaker 2>The houses never have found the house.

0:18:40.480 --> 0:18:42.359
<v Speaker 1>We stayed in this room which we thought we could

0:18:42.440 --> 0:18:44.480
<v Speaker 1>go to be one night and ended up being sort

0:18:44.520 --> 0:18:47.040
<v Speaker 1>of three weeks. But I think we did eat. You know,

0:18:47.119 --> 0:18:50.320
<v Speaker 1>we ate from the sea. We ate, and so I

0:18:50.320 --> 0:18:53.120
<v Speaker 1>think that probably part of your childhood and growing up.

0:18:54.200 --> 0:18:55.640
<v Speaker 2>I mean, which you couldn't cook, but he would gather.

0:18:55.720 --> 0:18:58.000
<v Speaker 2>We'd go to the sea urchins, we would get brickly pears,

0:18:58.640 --> 0:18:59.960
<v Speaker 2>we'd be covered in splinters.

0:19:00.080 --> 0:19:01.720
<v Speaker 1>Yeah, there was a time that I think it was

0:19:01.760 --> 0:19:04.760
<v Speaker 1>you that was had been going every single day down

0:19:04.800 --> 0:19:07.679
<v Speaker 1>to the harbor to try and fish and catch a fish.

0:19:07.760 --> 0:19:10.240
<v Speaker 1>And every day we had this little fishing rod. I

0:19:10.240 --> 0:19:12.800
<v Speaker 1>think it was maybe it was Rue you and would

0:19:12.840 --> 0:19:14.840
<v Speaker 1>stand there for hours and one day we just thought

0:19:14.840 --> 0:19:17.400
<v Speaker 1>we can't go on any longer. So we bought a fish,

0:19:18.080 --> 0:19:20.960
<v Speaker 1>a little fish in the fishing market, and then drove

0:19:21.600 --> 0:19:25.040
<v Speaker 1>down underneath the fishing and attached it to the fishing

0:19:25.119 --> 0:19:26.000
<v Speaker 1>rod and.

0:19:25.920 --> 0:19:26.600
<v Speaker 3>He pulled it up.

0:19:28.640 --> 0:19:29.400
<v Speaker 2>What's doing.

0:19:31.119 --> 0:19:34.359
<v Speaker 1>Swimming? So they attached it to the to the rod

0:19:34.680 --> 0:19:36.320
<v Speaker 1>and he pulled it up. Of course, what he did

0:19:37.000 --> 0:19:39.119
<v Speaker 1>really cut onto was that it was a dead fish,

0:19:39.520 --> 0:19:40.560
<v Speaker 1>and so then he was so.

0:19:42.160 --> 0:19:46.800
<v Speaker 3>Ses it was this big. It gut it and we brought.

0:19:46.600 --> 0:19:48.520
<v Speaker 1>It back, the fish back to the house, and then

0:19:48.520 --> 0:19:51.119
<v Speaker 1>by that time was so attached to it he wouldn't

0:19:51.200 --> 0:19:53.160
<v Speaker 1>let us cook it, and so he slept with.

0:19:53.119 --> 0:19:56.200
<v Speaker 2>It nights and we were all sleeping in one room.

0:19:56.280 --> 0:19:59.600
<v Speaker 2>So it started to really really smell and it dried

0:20:00.119 --> 0:20:02.360
<v Speaker 2>leave fish, and we had to persuade him to let

0:20:02.480 --> 0:20:03.879
<v Speaker 2>the fish go. And he's going to get back to

0:20:03.920 --> 0:20:06.159
<v Speaker 2>his mom. He wasn't well. His mom was going to

0:20:06.160 --> 0:20:09.200
<v Speaker 2>make him better. Maybe had to get the hospital we had,

0:20:10.440 --> 0:20:12.080
<v Speaker 2>and we launched it back into the sea, and this

0:20:12.200 --> 0:20:13.679
<v Speaker 2>Viga water is completely stiff.

0:20:13.760 --> 0:20:15.520
<v Speaker 1>I don't think you get away with that now, because

0:20:15.520 --> 0:20:21.800
<v Speaker 1>the whole idea of honesty and treating children as when

0:20:21.800 --> 0:20:24.960
<v Speaker 1>you go to a city and you think, what is

0:20:25.040 --> 0:20:27.399
<v Speaker 1>the culture of food, going to tell me about the

0:20:27.400 --> 0:20:29.480
<v Speaker 1>culture of the country.

0:20:29.160 --> 0:20:30.080
<v Speaker 3>The city, the market.

0:20:30.840 --> 0:20:32.040
<v Speaker 1>So what do you what do you look for?

0:20:32.080 --> 0:20:33.879
<v Speaker 2>And I look, I love the mark. We want to look.

0:20:33.920 --> 0:20:35.920
<v Speaker 2>But the locals are eating what the locals are doing,

0:20:35.960 --> 0:20:38.159
<v Speaker 2>And I think for me, Thailand is fascinating. You have

0:20:38.200 --> 0:20:39.720
<v Speaker 2>some of the best thing I've had in my life.

0:20:39.960 --> 0:20:43.679
<v Speaker 2>You have these fish which are barbecued, but in this

0:20:43.760 --> 0:20:45.679
<v Speaker 2>kind of salt and flower. You have fish that you

0:20:45.720 --> 0:20:48.280
<v Speaker 2>cannot recognize. I might get obsessed with fish particularly, they're

0:20:48.280 --> 0:20:50.320
<v Speaker 2>such strange creatures and we don't see them most of

0:20:50.320 --> 0:20:52.320
<v Speaker 2>the time because they're under the water. But then you

0:20:52.440 --> 0:20:55.200
<v Speaker 2>have you know, you have seventy seven different types of mangos.

0:20:55.200 --> 0:20:56.520
<v Speaker 2>If we don't about a mango as if it's the

0:20:56.560 --> 0:20:58.600
<v Speaker 2>one thing, or in the same way, I guess with apples,

0:20:58.840 --> 0:21:01.199
<v Speaker 2>you have all these different rice is you have. You know,

0:21:01.240 --> 0:21:04.120
<v Speaker 2>that's great kind of uh pioneers. We're trying to bring

0:21:04.160 --> 0:21:07.080
<v Speaker 2>back all the heritage growing that has kind of been

0:21:07.119 --> 0:21:10.159
<v Speaker 2>lost along along the way. And you know, when I

0:21:10.240 --> 0:21:12.280
<v Speaker 2>work in Thailand, we have you know, I eat it

0:21:12.400 --> 0:21:14.280
<v Speaker 2>in the canteen in the morning, and you eat this,

0:21:14.480 --> 0:21:18.720
<v Speaker 2>you know, it's all blood and guts because it's incredibly inexpensive,

0:21:18.760 --> 0:21:21.040
<v Speaker 2>but the taste is fantastic. And if you're getting up

0:21:21.040 --> 0:21:22.600
<v Speaker 2>at six in the morning to spend all day on

0:21:22.680 --> 0:21:24.960
<v Speaker 2>site working, you want this kind of high protein, this

0:21:25.080 --> 0:21:28.360
<v Speaker 2>high iron, this high kind of toxing thing. And it's it's, it's,

0:21:28.400 --> 0:21:29.640
<v Speaker 2>it's it's superb.

0:21:30.119 --> 0:21:33.720
<v Speaker 1>Your work is taken you to Japan, Thailand.

0:21:34.000 --> 0:21:35.520
<v Speaker 2>In Thailand we work with Wonder Fru, which is a

0:21:35.520 --> 0:21:38.159
<v Speaker 2>big festival and that has this they have it has

0:21:38.160 --> 0:21:40.399
<v Speaker 2>an amazing food culture inside it and the food culture

0:21:40.600 --> 0:21:42.680
<v Speaker 2>for the kind of workers which I find really interesting.

0:21:42.840 --> 0:21:44.719
<v Speaker 2>And how we treat our workers is so bolled. At

0:21:44.720 --> 0:21:47.360
<v Speaker 2>the canteen, you know, the Sophie around the canteen here,

0:21:47.400 --> 0:21:50.080
<v Speaker 2>which was which was fantastic. You started this as a

0:21:50.080 --> 0:21:52.399
<v Speaker 2>canteen itself at the beginning, which is really amazing and

0:21:52.400 --> 0:21:57.400
<v Speaker 2>such some kind of privileged the office team here, who's

0:21:57.560 --> 0:21:58.840
<v Speaker 2>the best canteen in London?

0:21:59.040 --> 0:22:03.000
<v Speaker 1>Yeah, judge, judge. You judge a society by the way

0:22:03.359 --> 0:22:06.639
<v Speaker 1>it feeds its Parker poor, the way they feeds hospitals.

0:22:06.640 --> 0:22:09.600
<v Speaker 1>And you've done a lot of work in hospitals, you know,

0:22:09.680 --> 0:22:15.960
<v Speaker 1>this is this brings back the immersion of you know, architecture, design, food, cooking.

0:22:15.920 --> 0:22:18.919
<v Speaker 2>Serving sociologists I think as designers, and I think you know,

0:22:18.960 --> 0:22:20.840
<v Speaker 2>the Dad was very much a kind of sociologists in

0:22:20.840 --> 0:22:23.880
<v Speaker 2>his way. His architecture, his cities were for humans. They

0:22:23.880 --> 0:22:27.600
<v Speaker 2>were the manifestation was was a building or a street,

0:22:27.840 --> 0:22:29.879
<v Speaker 2>but it was really coming from how can we improve

0:22:29.960 --> 0:22:33.320
<v Speaker 2>people's lives as as as the human and I think

0:22:33.359 --> 0:22:35.000
<v Speaker 2>that's what we're you know, and food is part of

0:22:35.000 --> 0:22:37.199
<v Speaker 2>that and which was really interesting trying to put the

0:22:37.200 --> 0:22:39.560
<v Speaker 2>restaurants in the street and how that would ignite and

0:22:39.560 --> 0:22:42.960
<v Speaker 2>bring people into the street and how you know Sparcelonia

0:22:43.040 --> 0:22:44.880
<v Speaker 2>did it better than London. What we could learn from

0:22:44.920 --> 0:22:46.720
<v Speaker 2>that and transforming into that.

0:22:46.680 --> 0:22:48.359
<v Speaker 1>Tell us about your work with hospitals.

0:22:49.080 --> 0:22:50.840
<v Speaker 2>I mean, I think, you know, having designed a lot

0:22:50.840 --> 0:22:54.080
<v Speaker 2>of very high end fashion shops and very high culture

0:22:54.160 --> 0:22:58.560
<v Speaker 2>museums and restaurants, et cetera. You know, we started working

0:22:58.600 --> 0:23:02.920
<v Speaker 2>in Maggie's designed the Maggie Center. Everyone with mag Maggie

0:23:03.320 --> 0:23:06.480
<v Speaker 2>is a cancer center which sits outside the hospitals, and

0:23:06.520 --> 0:23:09.880
<v Speaker 2>it's really designed for the patients to energize them. If

0:23:09.880 --> 0:23:13.000
<v Speaker 2>the hospital makes them impotent, Maggie's empowers them. And it's

0:23:13.160 --> 0:23:16.560
<v Speaker 2>you know, they're extraordinary architectural buildings that are designed around

0:23:16.720 --> 0:23:19.560
<v Speaker 2>the needs of the human. So it's very important about

0:23:19.560 --> 0:23:22.920
<v Speaker 2>the texture. If you have had chemotherapy, then you're very

0:23:23.600 --> 0:23:27.200
<v Speaker 2>affected by cold materials, so we tried everything you touch

0:23:27.320 --> 0:23:30.480
<v Speaker 2>is made of wood, Everything is handmade. It's really about

0:23:30.480 --> 0:23:33.560
<v Speaker 2>the psychadian rhythm, how light gets in the space, smoothing

0:23:33.600 --> 0:23:36.680
<v Speaker 2>off corners, so you really it's like it's a form

0:23:36.720 --> 0:23:39.399
<v Speaker 2>of church in a way. It becomes this anchor. You

0:23:39.560 --> 0:23:41.520
<v Speaker 2>walk out of the hospital in this car parck and

0:23:41.520 --> 0:23:43.639
<v Speaker 2>you come to this oasis. You know, we work for

0:23:43.640 --> 0:23:46.720
<v Speaker 2>an amazing landscape garden and Peter Udorff, who designed the

0:23:46.760 --> 0:23:49.480
<v Speaker 2>high Line, who created this incredible god. So you totally

0:23:49.560 --> 0:23:52.480
<v Speaker 2>forget one that you have cancer or not. You forget

0:23:52.520 --> 0:23:54.800
<v Speaker 2>you have cancer, but you forget the trauma that you're

0:23:54.840 --> 0:23:56.600
<v Speaker 2>in and you give you a moment and you really

0:23:56.640 --> 0:23:59.200
<v Speaker 2>see people in this space laughing, and it's not just

0:23:59.280 --> 0:24:01.800
<v Speaker 2>we're incredible architect We are good, but it's because the

0:24:01.840 --> 0:24:04.320
<v Speaker 2>brief is amazing and the whole network is amazing, and

0:24:04.359 --> 0:24:07.439
<v Speaker 2>the staff is amazing, and the architecture becomes part of

0:24:07.440 --> 0:24:10.240
<v Speaker 2>that support system. So we developed a theory which is

0:24:10.240 --> 0:24:13.480
<v Speaker 2>the third care, which is if the doctor and the

0:24:13.520 --> 0:24:15.760
<v Speaker 2>nurses the primary, the family and the friends the secondary,

0:24:15.760 --> 0:24:18.240
<v Speaker 2>how the building can really care for you. And part

0:24:18.280 --> 0:24:21.400
<v Speaker 2>of that kit goes into food. So Maggie's is designed

0:24:21.480 --> 0:24:24.919
<v Speaker 2>around this centralized kitchen where people come and cook, and

0:24:24.920 --> 0:24:28.160
<v Speaker 2>we'll come and cook at tomatoes, sauce. And when Maggie's finished,

0:24:28.640 --> 0:24:31.320
<v Speaker 2>they invited us to the donor's dinner. Maggie's is completely

0:24:31.359 --> 0:24:36.159
<v Speaker 2>paid for by donors fundraising. There's no government money, and

0:24:36.200 --> 0:24:39.119
<v Speaker 2>we felt very indebted to these people. They'd give us

0:24:39.160 --> 0:24:41.800
<v Speaker 2>this amazing opportunity to do this amazing thing. We created

0:24:41.800 --> 0:24:44.560
<v Speaker 2>this building, which took eight years, in many conversations with

0:24:44.600 --> 0:24:47.200
<v Speaker 2>the patients, the users, with the staff. So we said

0:24:47.280 --> 0:24:49.360
<v Speaker 2>we'd only come to the meal if we could cook it.

0:24:49.800 --> 0:24:51.880
<v Speaker 2>So we set up this meal. Our building is seven

0:24:51.920 --> 0:24:54.920
<v Speaker 2>shades of red, so we propose to do seven courses

0:24:54.920 --> 0:24:57.760
<v Speaker 2>of red foods with seven different red wines. And then

0:24:57.760 --> 0:25:03.320
<v Speaker 2>we had all these very generous donors there who would

0:25:03.320 --> 0:25:05.119
<v Speaker 2>come for kind of half an hour, and then they

0:25:05.160 --> 0:25:07.679
<v Speaker 2>stayed for four hours and actually getting in telling their

0:25:08.480 --> 0:25:10.679
<v Speaker 2>drivers to hold on and getting quite drunk. And this

0:25:10.760 --> 0:25:13.800
<v Speaker 2>whole thing became this really convirial experience, and it is

0:25:13.800 --> 0:25:16.320
<v Speaker 2>that power of food, you know, which goes back to

0:25:16.320 --> 0:25:19.639
<v Speaker 2>you serving humble food to noble to noble guests, that

0:25:19.720 --> 0:25:22.480
<v Speaker 2>brings people together and sets you at edge. And I

0:25:22.480 --> 0:25:25.240
<v Speaker 2>think there's a generosity in your cooking, which for me

0:25:25.280 --> 0:25:27.320
<v Speaker 2>I've really learned a lot about, which is, you know,

0:25:27.359 --> 0:25:30.159
<v Speaker 2>making everybody feel welcome around that table, to you know,

0:25:30.280 --> 0:25:32.760
<v Speaker 2>to joy in this in this generosity.

0:25:33.280 --> 0:25:37.439
<v Speaker 1>So the thing between food and design, food and architecture,

0:25:37.480 --> 0:25:40.480
<v Speaker 1>food the people, because you have a system in your office,

0:25:40.560 --> 0:25:43.359
<v Speaker 1>isn't it too where everybody takes a turn to cook?

0:25:43.720 --> 0:25:46.320
<v Speaker 2>Yeah, or more. Now I find myself cooking because I

0:25:46.400 --> 0:25:49.679
<v Speaker 2>find that they're you know, they're drawing, I'm sketching, and

0:25:49.720 --> 0:25:51.800
<v Speaker 2>I think as a kind of a love back to them,

0:25:51.840 --> 0:25:54.800
<v Speaker 2>it's nice for me to cook. And I will cook

0:25:54.840 --> 0:25:57.440
<v Speaker 2>and dictate letters at the same time, be dyslexic. Dictating

0:25:57.520 --> 0:25:59.680
<v Speaker 2>is a much faster way of getting a letter out.

0:25:59.840 --> 0:26:03.600
<v Speaker 2>You can do that kind of multi dimensional thing.

0:26:03.880 --> 0:26:08.480
<v Speaker 1>We've designed schools. As you were saying, Maggus centers, have

0:26:08.600 --> 0:26:14.000
<v Speaker 1>you a kind of interstinct of a feeling about restaurants, We.

0:26:13.960 --> 0:26:15.600
<v Speaker 2>Should start by saying, I think your restaurant is the

0:26:15.600 --> 0:26:17.960
<v Speaker 2>most beautiful restaurant in the world. And I have spent

0:26:18.000 --> 0:26:20.360
<v Speaker 2>a bit of time with Dad and kind of designing

0:26:20.600 --> 0:26:23.000
<v Speaker 2>and helping you have your life you are, and I

0:26:23.000 --> 0:26:26.119
<v Speaker 2>think Dad's clarity of vision on that, you know, this

0:26:26.200 --> 0:26:29.680
<v Speaker 2>notion of the reflection, the open kitchen, and the way

0:26:29.680 --> 0:26:32.879
<v Speaker 2>that it's scaled up over the years, and yet the

0:26:32.920 --> 0:26:35.880
<v Speaker 2>absolute DNA has never changed, and I find that really fascinating.

0:26:35.920 --> 0:26:38.640
<v Speaker 2>We might adding a few extra objects, but you've gone

0:26:38.680 --> 0:26:41.680
<v Speaker 2>from forty covers to hundred and twenty covers, you know,

0:26:41.800 --> 0:26:43.840
<v Speaker 2>I think, I mean, I had the great privilege to

0:26:43.880 --> 0:26:46.040
<v Speaker 2>work with Heston on a few projects, and we did

0:26:46.080 --> 0:26:50.320
<v Speaker 2>the Little Chef, transforming the kind of most grotty foodery

0:26:50.480 --> 0:26:54.960
<v Speaker 2>into this kind of super cool fast restaurant. We'd go

0:26:55.040 --> 0:26:56.560
<v Speaker 2>to the toilet and the toilet was saying to you

0:26:56.600 --> 0:26:59.520
<v Speaker 2>about eating food, and we were converting people that would

0:26:59.520 --> 0:27:01.800
<v Speaker 2>go to use toilet and not eat in the restaurants.

0:27:02.160 --> 0:27:04.800
<v Speaker 2>And then we designed the fact up for Heston, and

0:27:05.400 --> 0:27:08.080
<v Speaker 2>you know, in designing that that's fascinating because we took

0:27:08.080 --> 0:27:10.800
<v Speaker 2>this very high end restaurant and we lost covers. We

0:27:10.840 --> 0:27:14.199
<v Speaker 2>went from forty two to forty covers, and we you know,

0:27:14.240 --> 0:27:16.800
<v Speaker 2>I had staff that would go there and just stand

0:27:16.840 --> 0:27:19.720
<v Speaker 2>in the room and just watch the different services going on.

0:27:20.160 --> 0:27:22.960
<v Speaker 2>Because it's such a precise thing and each guest is

0:27:23.040 --> 0:27:25.520
<v Speaker 2>going to be there for four hours, we said there

0:27:25.520 --> 0:27:27.879
<v Speaker 2>should be no art to the artist, the food. We

0:27:27.920 --> 0:27:30.720
<v Speaker 2>need you focusing on the table. We made sure we

0:27:30.760 --> 0:27:35.159
<v Speaker 2>had perfect access between the kitchen for their staff to perform,

0:27:35.760 --> 0:27:38.480
<v Speaker 2>and then we made this chair. And this chair needed

0:27:38.520 --> 0:27:41.640
<v Speaker 2>to support you for four hours of dining and four

0:27:41.640 --> 0:27:43.280
<v Speaker 2>hours you need to keep your dive from open, so

0:27:43.280 --> 0:27:46.480
<v Speaker 2>you're going to eat thirteen courses. And this chair also

0:27:46.560 --> 0:27:48.720
<v Speaker 2>had to work for different sized people. So Yosky in

0:27:48.760 --> 0:27:51.840
<v Speaker 2>my office is Japanese and tiny, and the designer we

0:27:51.880 --> 0:27:54.280
<v Speaker 2>were working with is kind of very very large and stuck,

0:27:54.480 --> 0:27:56.960
<v Speaker 2>so we would test the chair on them, and it

0:27:57.000 --> 0:27:59.359
<v Speaker 2>was really about this kind of aductive design, you know,

0:28:00.000 --> 0:28:02.280
<v Speaker 2>it is all about the meal. We had this light

0:28:02.320 --> 0:28:04.920
<v Speaker 2>that would changed through from warm to cold and gover

0:28:04.920 --> 0:28:07.080
<v Speaker 2>a whole spectrum. So as we went through the twenty

0:28:07.119 --> 0:28:10.119
<v Speaker 2>four hour cycle in the fact ups thirteen courses, the

0:28:10.200 --> 0:28:13.199
<v Speaker 2>kind of light would change and focus on it, and

0:28:13.240 --> 0:28:16.280
<v Speaker 2>it was just about pulling the people together and the chairs,

0:28:16.320 --> 0:28:20.120
<v Speaker 2>you know, would sit there and you know differently when

0:28:20.160 --> 0:28:22.720
<v Speaker 2>we designed Pizza Express again, we'd spent three four days

0:28:22.760 --> 0:28:27.440
<v Speaker 2>working as pizzolas there and kind of looking at how

0:28:27.600 --> 0:28:30.760
<v Speaker 2>the system worked, and we really bought the chef into

0:28:30.800 --> 0:28:33.159
<v Speaker 2>the center of the space. And one of my proudest

0:28:33.200 --> 0:28:34.840
<v Speaker 2>things that we got him at ten percent pay rise,

0:28:34.840 --> 0:28:36.960
<v Speaker 2>because now the pizzola is not a guy at the

0:28:37.000 --> 0:28:39.440
<v Speaker 2>back of the rest was. He was much more a

0:28:39.440 --> 0:28:41.760
<v Speaker 2>performer and he needs to be more proud. And we

0:28:41.800 --> 0:28:45.160
<v Speaker 2>already dealt with the acoustics and the complexibility of the space.

0:28:45.240 --> 0:28:48.320
<v Speaker 2>We made it brighter and the whole transformation between you know,

0:28:48.760 --> 0:28:52.120
<v Speaker 2>bright daylight and coming cozy at night, you know, And

0:28:52.160 --> 0:28:55.080
<v Speaker 2>we we created these little boosts so you could have

0:28:55.160 --> 0:28:57.920
<v Speaker 2>your own party inside. And I know you know, I

0:28:57.960 --> 0:29:00.760
<v Speaker 2>love that you never play music, but people would go there.

0:29:00.800 --> 0:29:03.160
<v Speaker 2>They could have their own party on these boosts. Plus

0:29:03.240 --> 0:29:05.840
<v Speaker 2>I remember that I pod in and the next door

0:29:05.880 --> 0:29:09.800
<v Speaker 2>person wouldn't hear. Acoustics for me are really interesting how

0:29:09.800 --> 0:29:13.360
<v Speaker 2>we can play with acoustics with Kylo, with texture. We

0:29:13.400 --> 0:29:15.920
<v Speaker 2>want the murmur, yeah, maybe the murmur is too loud.

0:29:16.240 --> 0:29:17.840
<v Speaker 2>Want we don't want silence.

0:29:21.280 --> 0:29:24.800
<v Speaker 1>Did you ever think of doing one or the other?

0:29:25.040 --> 0:29:27.640
<v Speaker 1>You know that well, obviously would be a designer, an

0:29:27.720 --> 0:29:30.440
<v Speaker 1>architecture and cook. But did you ever think that actually,

0:29:31.400 --> 0:29:33.560
<v Speaker 1>maybe this would be something you'd want to do all

0:29:33.600 --> 0:29:34.040
<v Speaker 1>the time.

0:29:34.480 --> 0:29:36.240
<v Speaker 2>And I think as a passion it's quite nice a

0:29:36.240 --> 0:29:37.800
<v Speaker 2>lot to commercialize it. And I have to say, when

0:29:37.840 --> 0:29:40.000
<v Speaker 2>I've done kind of restaurant projects, I haven't I find

0:29:40.000 --> 0:29:43.239
<v Speaker 2>the transactional part complicated. I find it because I love

0:29:43.360 --> 0:29:45.960
<v Speaker 2>the kind of whole generosity. I love doing this, designing

0:29:46.000 --> 0:29:47.880
<v Speaker 2>these projects, and at the end of them saying to me, well,

0:29:47.920 --> 0:29:50.360
<v Speaker 2>you you know, we did a gallery in Lisbon. At

0:29:50.400 --> 0:29:54.400
<v Speaker 2>the end of it, and he asked us to to

0:29:55.680 --> 0:29:57.840
<v Speaker 2>do the opening of his of his his gallery, and

0:29:57.880 --> 0:30:00.960
<v Speaker 2>he's had like sixty people in a square. Sixty became seventy,

0:30:01.040 --> 0:30:03.360
<v Speaker 2>seventy became one hundred and fifty. So I say, okay,

0:30:03.360 --> 0:30:05.320
<v Speaker 2>well then you need to give me some labor that

0:30:05.360 --> 0:30:08.200
<v Speaker 2>I had his you know, his wife, SARU's an amazing

0:30:08.280 --> 0:30:14.880
<v Speaker 2>art historian, a brilliant glass artist and a steel artist.

0:30:14.920 --> 0:30:17.840
<v Speaker 2>And then my scientist friend and the five of us cooked,

0:30:17.840 --> 0:30:20.080
<v Speaker 2>and the scientist friend Ash who works with the mind,

0:30:20.720 --> 0:30:24.080
<v Speaker 2>and he's a neuro scientist and a neurologist, and he's

0:30:24.160 --> 0:30:28.800
<v Speaker 2>very precise, so he does the meringue. The artists are

0:30:28.880 --> 0:30:33.400
<v Speaker 2>very labor focused, so they can cut, cut, cut Chul

0:30:33.800 --> 0:30:36.080
<v Speaker 2>made mayonnaise with sixty eggs done by hand, not a

0:30:36.120 --> 0:30:39.520
<v Speaker 2>single one curd, you know, sixty eggs, sixty yolks of stirring.

0:30:40.080 --> 0:30:42.000
<v Speaker 2>And the menu was, you know, we started with a sparagust.

0:30:42.080 --> 0:30:44.400
<v Speaker 2>We wanted people to when they peed after the meal

0:30:44.440 --> 0:30:47.480
<v Speaker 2>to remember the the whole idea, the idea of the sparagust.

0:30:47.800 --> 0:30:51.600
<v Speaker 2>We then made this kind of very black stew of

0:30:51.680 --> 0:30:53.440
<v Speaker 2>cuttle fish with a little bit of rice in a

0:30:53.520 --> 0:30:56.200
<v Speaker 2>kind of Spanish style. And so you had these kind

0:30:56.200 --> 0:30:59.200
<v Speaker 2>of these very smart artists from Adagoo, which is the

0:30:59.240 --> 0:31:01.720
<v Speaker 2>gallery eating and they will get black drops on their

0:31:01.800 --> 0:31:03.560
<v Speaker 2>shirts and they're kind of the black and the white

0:31:03.600 --> 0:31:06.800
<v Speaker 2>and this, you know, and they're black lips that you get.

0:31:07.920 --> 0:31:09.640
<v Speaker 2>And then we did the kind of meringue and fruit

0:31:10.080 --> 0:31:12.160
<v Speaker 2>scenario which you're kind of performed and came with a

0:31:12.160 --> 0:31:14.800
<v Speaker 2>big knife and crashed. So, yeah, is that for me

0:31:15.200 --> 0:31:17.880
<v Speaker 2>more than comparing it to actors. It's kind of art

0:31:18.200 --> 0:31:20.000
<v Speaker 2>is that, you know, and it's it's like the design,

0:31:20.760 --> 0:31:22.840
<v Speaker 2>it's it's that same. But I think with food we

0:31:22.880 --> 0:31:26.480
<v Speaker 2>can we can handle everything. We can go to the supplier,

0:31:27.040 --> 0:31:29.240
<v Speaker 2>we can go to the to the you know, to

0:31:29.280 --> 0:31:32.160
<v Speaker 2>the kitchen. We can control everything. We're designed. We're sending

0:31:32.200 --> 0:31:34.120
<v Speaker 2>out drawings and we have to control everything, but we're

0:31:34.120 --> 0:31:38.280
<v Speaker 2>controlling it in a more remote way. It's less instinctive

0:31:38.360 --> 0:31:38.840
<v Speaker 2>in your.

0:31:38.720 --> 0:31:42.640
<v Speaker 1>Work of art. When you're designing Last Richard's buildings, Last,

0:31:42.840 --> 0:31:46.640
<v Speaker 1>do you feel that the impermanence of all that time

0:31:46.680 --> 0:31:48.760
<v Speaker 1>and all that you do to cook would make you

0:31:48.800 --> 0:31:50.640
<v Speaker 1>want to keep doing things that do last?

0:31:51.200 --> 0:31:53.360
<v Speaker 2>I love the emphemeral elements of design, and when we

0:31:53.440 --> 0:31:56.120
<v Speaker 2>do the festival we design, you know, we spend all

0:31:56.200 --> 0:31:58.880
<v Speaker 2>year kind of designing. It lasts for four days, and

0:31:58.920 --> 0:32:01.520
<v Speaker 2>the key to it is it kind of evaporates because

0:32:01.520 --> 0:32:03.800
<v Speaker 2>we don't want to lead chunks of steel knocking around.

0:32:03.800 --> 0:32:05.760
<v Speaker 2>We want to create structures which kind of the term

0:32:05.840 --> 0:32:07.920
<v Speaker 2>might's come along and they eat them and it disappears

0:32:08.120 --> 0:32:10.160
<v Speaker 2>and they we're talking about sustainability, which is such an

0:32:10.160 --> 0:32:12.800
<v Speaker 2>important part of cooking and our designing and our world

0:32:12.960 --> 0:32:15.960
<v Speaker 2>and our future, you know, Sodiope, Dad, In certain ways

0:32:15.960 --> 0:32:18.600
<v Speaker 2>we need to look about kind of reversible structures. So

0:32:18.640 --> 0:32:22.120
<v Speaker 2>I really enjoy the ephemeral nature of architecture. You know,

0:32:22.280 --> 0:32:24.560
<v Speaker 2>I really don't believe necessarily in permanence at the moment.

0:32:24.600 --> 0:32:26.760
<v Speaker 2>I don't know, you know, permits is such a big word.

0:32:26.800 --> 0:32:29.120
<v Speaker 2>I think we need to design with cathedral thinking. We

0:32:29.160 --> 0:32:31.680
<v Speaker 2>need to be designing long into the future. But we

0:32:31.760 --> 0:32:35.840
<v Speaker 2>need to be aware of our you know, of things

0:32:35.840 --> 0:32:39.360
<v Speaker 2>needing to disappear at certain points, and want you know,

0:32:39.360 --> 0:32:42.480
<v Speaker 2>how what is the future of this material? You know, concrete,

0:32:42.520 --> 0:32:44.840
<v Speaker 2>plaster bore, they never go anywhere they did. The world

0:32:45.000 --> 0:32:47.440
<v Speaker 2>ends up just full of old sheets of NDF and

0:32:47.480 --> 0:32:50.800
<v Speaker 2>plaster board and concrete. So we need to work with

0:32:50.880 --> 0:32:53.440
<v Speaker 2>the more sensitive materials that when it's life, you know,

0:32:53.560 --> 0:32:57.480
<v Speaker 2>like Stuco in Mexico or in America, we have to

0:32:57.600 --> 0:32:59.360
<v Speaker 2>keep it up, keep it continually. As soon as we

0:32:59.360 --> 0:33:01.920
<v Speaker 2>stop up keeping it, it returns to the earth. And

0:33:01.960 --> 0:33:04.240
<v Speaker 2>I really love that kind of that metaphor.

0:33:04.440 --> 0:33:06.920
<v Speaker 1>And what about when you had children? Did that change

0:33:07.000 --> 0:33:09.760
<v Speaker 1>some of your ideas of how you wanted to communicate

0:33:09.800 --> 0:33:11.000
<v Speaker 1>with your children through food?

0:33:11.280 --> 0:33:13.640
<v Speaker 2>And when I had Jay, it was covid and she

0:33:13.880 --> 0:33:15.440
<v Speaker 2>was like three, and I would sit on the floor

0:33:15.480 --> 0:33:17.360
<v Speaker 2>and cook with her, and she liked to eat everything,

0:33:17.640 --> 0:33:19.360
<v Speaker 2>you know, And now she eat lots of things she

0:33:19.440 --> 0:33:22.000
<v Speaker 2>won't eat, but she still really cooks with me, and

0:33:22.040 --> 0:33:24.360
<v Speaker 2>we would we'd make pasta with her. I would get

0:33:24.360 --> 0:33:27.040
<v Speaker 2>her to separate an egg and make a mayonnaise. She

0:33:27.120 --> 0:33:30.680
<v Speaker 2>can do that and stir around and kind of emulsify.

0:33:31.080 --> 0:33:35.360
<v Speaker 2>And I think there's something really enabling and empowering and

0:33:35.360 --> 0:33:37.560
<v Speaker 2>going back to the kind of this thing of getting

0:33:37.600 --> 0:33:39.480
<v Speaker 2>or found me to cook together, because as a kids,

0:33:39.520 --> 0:33:41.640
<v Speaker 2>you want a purpose, you want a job, and to

0:33:41.680 --> 0:33:45.640
<v Speaker 2>suddenly be responsible for cutting the eels or cutting the

0:33:46.240 --> 0:33:48.200
<v Speaker 2>counts or whatever it is, it makes you feel part

0:33:48.240 --> 0:33:50.200
<v Speaker 2>of this performance if you're going to go back to

0:33:50.560 --> 0:33:53.480
<v Speaker 2>the part of this creation of art. And I think

0:33:53.520 --> 0:33:56.880
<v Speaker 2>you know, I'm not the easiest of cooks, but I

0:33:56.920 --> 0:33:59.640
<v Speaker 2>love cooking with my kids. Now, Ella Lula, we'll go

0:33:59.720 --> 0:34:02.040
<v Speaker 2>to call More for two weeks and we'll do tell

0:34:02.120 --> 0:34:04.160
<v Speaker 2>us about that book. I mean, we'll wake up in

0:34:04.200 --> 0:34:06.440
<v Speaker 2>the morning and talk about what we're going to eat,

0:34:06.520 --> 0:34:09.200
<v Speaker 2>and we'll spend the day getting the food and driving around,

0:34:09.600 --> 0:34:11.640
<v Speaker 2>going off in the boat, barbecuing. It's something it will

0:34:11.680 --> 0:34:14.400
<v Speaker 2>make things as difficult as possible. And I think I

0:34:14.400 --> 0:34:16.640
<v Speaker 2>also learned that from ros Why make it easy when

0:34:16.640 --> 0:34:19.160
<v Speaker 2>you can make it more difficult because you know, it's

0:34:19.239 --> 0:34:23.560
<v Speaker 2>not about shortcutting corners, it's about you know, really devoting

0:34:23.560 --> 0:34:25.360
<v Speaker 2>the time. And I think that's also true of design.

0:34:25.400 --> 0:34:28.080
<v Speaker 2>And if a design I really believe that we need

0:34:28.120 --> 0:34:31.279
<v Speaker 2>to design more and build less. We need to think more,

0:34:31.320 --> 0:34:33.480
<v Speaker 2>we need to kind of go through the process of

0:34:33.480 --> 0:34:35.439
<v Speaker 2>the intellectual process of what it is that we're doing

0:34:35.480 --> 0:34:37.400
<v Speaker 2>and how we're going to do it. And it's that

0:34:37.480 --> 0:34:39.719
<v Speaker 2>kind of labor that I think is great results, be

0:34:39.760 --> 0:34:42.880
<v Speaker 2>it in food or in design.

0:34:43.000 --> 0:34:46.080
<v Speaker 1>We go to food for different different reasons. But if

0:34:46.120 --> 0:34:49.360
<v Speaker 1>you did need and as your stepmother, I hope you

0:34:49.360 --> 0:34:51.320
<v Speaker 1>don't need it very often. If you think about the

0:34:51.440 --> 0:34:55.480
<v Speaker 1>kind of food that if you need comfort, what in

0:34:55.600 --> 0:34:58.359
<v Speaker 1>all your life of food, of your memories or what

0:34:58.400 --> 0:35:00.640
<v Speaker 1>you're doing now, is there a food that you would

0:35:00.640 --> 0:35:01.880
<v Speaker 1>go to for comfort?

0:35:02.520 --> 0:35:06.759
<v Speaker 2>I mean, I think a piece of toast cold with

0:35:07.000 --> 0:35:10.799
<v Speaker 2>butter so it's concealed and cantabrin anchovies on top. You know,

0:35:10.920 --> 0:35:12.759
<v Speaker 2>you had this crunch and you have this salt and

0:35:12.800 --> 0:35:14.520
<v Speaker 2>you have the softness of the butter, and there's a

0:35:14.760 --> 0:35:17.719
<v Speaker 2>chemistry between that which I find phenomenon.

0:35:18.440 --> 0:35:25.359
<v Speaker 3>Should go have some? Yeah, thank you? Verus Ruthie's Table

0:35:25.400 --> 0:35:28.960
<v Speaker 3>four was produced by Alex Bell, Robbie Hamilton, and Zad Rogers,

0:35:29.160 --> 0:35:31.920
<v Speaker 3>with Andrew Sang and Bella Selina. This has been an

0:35:31.920 --> 0:35:33.640
<v Speaker 3>atomized production for iHeartMedia.