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29
Nov
12

 

INGREDIENTES:

 

* 2 Kg de Amoras Silvestres

* 1 Kg de açúcar

* Sumo de 1 limão

 

PREPARAÇÃO:

1. Retire as folhas das amoras e lave-as rapidamente em água corrente num passador fino (chinês).

2. Escora bem e esprema-as dentro de uma peneira para extrair todo o líquido. Deite-o numa caçarola com fundo espesso e junte o açúcar e o sumo do limão. Misture bem e, quando o açúcar derreter, retire, com uma escumadeira, a espuma que se forma à superfície.

3. Ferva em lume médio até a geleia atingir o ponto de espadana*. Deixe amornar e deite em tacinhas.

 

(*) Ponto de espadana é a designação dada a determinada forma de tratamento no açúcar na área da pastelaria. Este é aquecido ao ponto de quando se deixe cair forme uma espécie de espada ou lâmina.

O ponto é obtido após, aproximadamente 3 minutos de fervura. Deve sempre colocar a água ao lume, só depois acrescentar o açúcar, dissolvê-lo e não mexer mais a calda.

Este é o método caseiro de obter o ponto, os métodos profissionais requerem a utilização de um termómetro ou de um densímetro ou pesa-xaropes, que mede a densidade do caldo em graus Baumé (Be). Para o ponto de pasta a temperatura é de 117º, ou 40º Be.

 

 

Bom apetite!

 

publicado por Chef Michael Rocha às 18:36
28
Nov
12

Food needs to taste good. It also needs to look good.

 

Most humans recognize unity and good composition. This is why we are so sensitive to culinary presentations. We respond to stimuli and psychological perceptions influenced by our background, education, trends, etc…

 

In a restaurant kitchen, when they plate food, chefs influence that perception by effectively following a set of guidelines and bring harmony to the look of a culinary presentation. In other words, chefs engage diners.

 

While it took me 6 years of culinary school and 17 years of work experience to figure out some presentation conundrums, there are also a few easy chef tips that will dramatically improve your plate presentations. And lucky you, you just happened to visit the right page for that. Here they are. Don’t forget to leave a comment and let me know what you think.

 

  1. Use large, simple, white plates.
    Round, square, or rectangular; the choice is yours. But colored, funny shaped plates or bowls usually distract the eye from the star of the show: your food. Center your food and leave the rest clean; that’s the principle of ”white” or “negative” space. White space allows the elements to exist at all and is key to composition. It reinforces the elements of the presentation.
    In culinary arts, chefs use white space to strengthen their presentations in much the same way. By subtracting elements and increasing the amount of space, the featured elements of prepared food seem visually stronger. Crowded food looks horrible.

  2. Work with the right tools.
    Plating needs its own tools.

     

     

     

  3. Add color!
    Respect natural colors. Enhance color by cooking; don’t destroy it!
    Increase color saturation by cooking with the appropriate techniques.
    Small, high contrast elements usually have as much impact as larger, duller elements.

     

     

     

     

     

  4. Know that guy: Louis Camille Maillard.
    He’s the inventor of the “Maillard reaction”, which may very well be the quintessential phenomenom in the kitchen. Take the time to sear meats, fish or vegetables in order to make a nice crust.

     

     

     

     

     

  5. Free-form it!
    Free-form plating is in. Forget about height. Forget about structure. Make it looks like you’re taking a walk in the forest and you happen to stumble upon the ingredients naturally. I call that “organized randomness”. Free-form plating is meant to be more fluid, more natural.

     

      

     

  6. Keep it simple.
    Complicated presentations usually miss the point and distract from the wholesomeness of the food. Simplicity is hard to achieve. But trust me, there is beauty in it.

     

     

     

  7. Rule of odds.

    The rule of odds is used in many art disciplines, in particular painting, photography and advertising. It states that objects displayed in odd numbers seem to bring unity to a composition. The logic behind this rule is that by displaying, three, five, seven, etc… items instead of even numbers, there is always one item that looks framed by the surrounding ones, which looks harmonious. Even numbers tend to bring symmetry in the composition, which appears less natural.

    When slicing a grilled chicken breast to place atop a salad, for instance, it is best to make five slices instead of four or six. Likewise, when plating asparagus in combination with other vegetables, it is best to place three or five instead of four or six.

     

  8. Add freshness!
    Always choose the freshest products (It always shows).

     

     

     

     

     

  9. Create focus.
    Playing on the unusual color of ingredients creates a focal point. For instance, using green tomatoes, or yellow raspberries or blood orange brings creativity to the plate and engage the diner.

     

     

     

     

     

     

  10. Resting time.
    Meat needs to rest. A rule of thumb is to let it rest 1/2 of the cooking time. If you grill a tenderloin steak for 10 minutes, let it rest for 5 minutes. This will allow for the meat fibers to rehydrate from the inside out (since searing pushes the juices in), make it way more tender, and your steak won’t leak on the plate.

     

  11. Use clean plates.
    It sounds like an obvious one, but I see way too many fingerprints and towel streaks on the edge of plates. Not appetizing.
    You may want to prepare a little bowl filled with white vinegar, and a clean towel to clean the edge of the plate.  
  12. Fluff. Don’t squish.
    The best example to illustrate this is greens. When plating a salad of fresh greens, make sure you don’t squish it down against the plate. Work with your hands (use gloves) and give it height. Fluff it! Make it look light and airy and big; Not flat.

 

13. Visualize the end result.
It’s easier to get somewhere if you know where you’re going. Visualize your finished plate will help you with the process.

 

 

   14.       Use edible, relevant garnishes.
Enough rosemary sprigs stuck straight into the mashed potatoes!

 

 

15.  And pluuh-ease… stop that stupid 90′s trend of sprinkling chopped parsley on the rim of the plate, or drizzling sauce in a “Z” pattern. You’re showing your age.

 

publicado por Chef Michael Rocha às 00:17

This post is about the technique of cooking vegetables so they keep their natural, vibrant colors.

 

In culinary arts, the importance of color is easy to grasp. One must see a black & white photo of a dish and compare it with a nicely colored one to realize that color is essential to bring unity. And unity is what we’re shooting for.

 

The complexity of color

When I first got seriously interested in color for culinary purposes, I realized that the physics of color is extremely complex and far beyond the scope of this little tiny blog of mine. I’m no dummy, but I’m not a theoritical physicist either. I’m just a chef trying to understand how using color helps me and others plate my food. Check out the Wikipedia page about color; if you can understand it, you live in Florida, you work for Nasa, and they send you in orbit once in a while.

The way we perceive colors is complex. We see colors because the human brain perceives through the eye different stimulations from the spectrum of light associated with objects. Our eyes can distinguish millions of different colors. For that reason and others, composing a colorful culinary display is a challenge.
To make things even more complicated, color composition is utterly contextual. A physical color not only is subject to physical and psychological perception, but our perception is also influenced by environment and how colors interact with each other. In other words, a color does not have very much impact on its own, but at the contrary needs others to reinforce itself. For instance, the color of a carrot in your veggie plate may look more or less orange depending on where it sits next to. This point, of course, represent the greatest challenge for a chef dealing with attractive color composition.

I’ll stop right there; I already lost enough readers between the beginning of this post and this sentence. In reality, it’s a little less abstract.

Why is color so important to the food we eat anyway?

The dominance of color

In the wild, for instance, herbivorous primates select appropriate leaves by their color, because it is the best way to collect information about the environment. As humans, we are programmed to look at food items and their colors to determine what is edible, ripe or spoiled. Today, we are still very receptive to the color of our foods, and we remain sensitive to those closely connected to nature. Blue food, for instance, is naturally rare, so we do not respond to it as much as other colors. As a result, the color blue is considered an appetite suppressant. On the other hand, bright green, red or yellow colored vegetables, extremely abundant in nature, are colors that we easily recognize and therefore are naturally attracted to.

Some scientific studies have shown that color actually influences taste on diners. Research volunteers in one study could for instance taste imaginary differences between two identical food products, one of which had previously been darkened with food coloring and thus had a different color. The same volunteers also tasted no difference between identically-colored food items, even when one of these was sweetened enough to alter its taste. In other words, the color of food dominates its taste. This is why brightly colored foods seem to taste better than plain foods. (via Erick Schlosser’s Fast Food Nation)

Diners expect carrots to look bright orange, spinach bright green and salmon a deep pink/orange. Therefore, the techniques used to prepare or cook ingredients must take into consideration the intention for the finished product. Respecting colors means respecting cooking techniques.

Which brings me to my next point: Let’s concentrate, for instance, on what is arguably the best way to bring sparkling colors to your plate: Blanching vegetables.

From Wikipedia again:
“Blanching is a cooking term that describes a process of food preparation wherein the food substance, usually a vegetable or fruit, is plunged into boiling water, removed after a brief, timed interval, and finally plunged into iced water or placed under cold running water (shocked) to halt the cooking process.”

 

Blanching somehow saturates the natural, vibrant colors of vegetables. That way, you can convey a sense of freshness, seasonality and joviality to the plate. There are two very important points. First, you need to plunge vegetables in BOILING water. And second, you need to shock them in an ICE BATH. Cold; then hot. It’s that thermal shock that fixes the pigments in the vegetable. Green vegetables (chlorophylle) look greener. Orange or red vegetables (carotene) look more vibrant too.

 

 

I will add the following comment, though: For the purpose of blanching vegetables to enhance their color, “steaming” is actually good too, and I’d say even better than using boiling water. There is no lost of flavor/color in the water.

 

 

 

The timing for blanching vegetables is important. In restaurants, we often use the term “flash-steaming”. Because really, most vegetables benefit from being just in and out the steamer (or the boiling water) in no time. Beginners often are afraid of undercooking vegetables. But really, we can eat our veggies raw and they don’t taste that bad: carrots, radishes, peas, asparagus, peppers, all can be eaten raw. So beginners, please take the risk of undercooking your veggies.

Disrespecting the classic technique of blanching or steaming, for instance by falling short of using an ice bath, may turn green vegetables brown, resulting in a less appetizing result.

For instance, you will see on the left the difference between a set of vegetables (above) that have NOT been shocked in ice water, and a second set of vegetables (below) that have been. I know that at first, the difference is minimal. But you will notice that the radishes on the top, for instance, have a duller color than the more vibrant set at the bottom. Same with the asparagus and, less noticeably, the carrots.

 

Quick advices when using color for culinary presentation:

  • Always choose the freshest ingredients.
  • Keep the finished result in mind.
  • Choose cooking techniques that will enhance color, not dilute them.
  • Take the time to sear meats, fish or vegetables in order to make a nice crust.
  • Avoid dullness.
  • Increase color saturation by cooking with the appropriate techniques.
  • Small, high contrast elements have as much impact as larger, duller elements.
  • Large, white plates usually provide a high contrast to plated foods.
  • Think in terms of color palette.
  • Playing on the unusual color of ingredients creates a focal point. For instance, using green tomatoes, or yellow raspberries or blood orange brings creativity to the plate.

Examples of commonly-used colors:

  • The orange of saffron rice
  • The sparkling white of steamed halibut
  • The bright green of edamame beans.
  • The dark purple of balsamic reduction.
  • The saturated red of confite tomatoes.
  • The deep maroon of chocolate.

I won’t even start with the notion of contrast; this will be the topic of another post. But as a general rule, chefs will want to increase the contrast in their composition, in order to enhance appearance with vivid, saturated and colorful presentations, and contrast those colors with their support (plate, platter).

Common visually-appealing, high-contrast combinations include:

  • Brown and white:
    Chocolate cake and vanilla ice cream
    Chestnut and turnip
  • Red and white:
    Tomato and mozzarella salad
    Nigiri sushi (raw tuna atop oval-shaped rice)
  • Orange
    Fried, sunny side up egg
  • Green and white:
    Sea bass and spinach
  • White and blue:
    Panna cotta and blueberries
  • White and black:
    Rice and beans
  • Cream and brown:
    Flan (custard and caramel)

 

publicado por Chef Michael Rocha às 00:09
27
Nov
12

Today, I wanted to talk about the little kitchen tools that make a difference. Sure, there are many to list, but these 8 tools will get your plating skills well started.

 

Of course, you first need to be well-equipped in terms of kitchen knives, cutting board, plates, etc…

Apart from that, the number 1 tool in your kitchen MUST be the Cuisinart Hand Blender, not only for plating, but for your home cooking in general. Small price; essential tool. I go through 2 or 3 a year; that’s how much I use them. The Cuisinart hand blender is an essential tool for plating, by the way, because it can be used as a GREAT emulsifier, hence making your soups, sauces, dressing ultra-smooth and attractive.

 

Check out Cuisinart hand blenders on amazon.com

 

 

 

photo courtesy of finecooking.com

 

Next, we have a Silicone Baking Mat, also known as “Silpat”. A Silpat can be used for baking (nothing sticks to it, so you can bake your cookies, roasted vegetables, chicken, etc… on it with confidence. No oil, no butter, no nothing.), but it can also be used for caramel or chocolate decoration, which REALLY makes a basic dessert look professional. Interesting fact, when I started chef school back in 1986, a silicone mat was sooo new and trendy, and it costed about $100. Some 25 years later, prices are drastically reduced and you can get one of these for well under $20.

 

 

 

 

Check out silicone mats on amazon.com.

 

 

Boy do I love my Microplane Grater/Zester! The Microplane is a super-sharp (yet safe!), ultra-precise grater/zester that you can use in a wide variety of ways. Chocolate is easy and beautiful to grate. Zest citrus and the result is thin, tiny, beautiful bits of flavors. Grate Parmiggiano-Reggiano and you get the perfect sand-like cheese for your pasta. Works great for garlic and ginger too.
Mainly, though, I use my Microplane in association with the silpat to create thin Parmesan crisps that look like that:

 

photo courtesy of foodnetwork.com

 

 


 

 

 

 

Check out the Microplane Grater/Zester on amazon.com.

 

You will also need a food stacker. Even though professional chefs now tend to use less challenging, more natural ways of plating their food than, say, in the 90s, home chefs can use the food stacking technique to bring height, creativity and pizzaz to their plates.

 

photo courtesy of starchefs.com

 

A food stacker is a small, inexpensive ring of metal (chef tip: cut-out pvc pipes work very well too!) that you put on the plate before plating, and layer the different elements of your dish. When all elements are stacked, remove the ring and voila, the “tower” adds height, verticality and elegance to your plate.

 

Check out stacking rings on amazon.com.

 

For saucing, professional chefs have been using tiny spatulas to get the effect below (the mustard-colored effect at bottom right corner). A very trendy plating technique that looks very good.

 

photo courtesy of starchefs.com

 

 

 

Check out decorating spatulas on amazon.com.

 

 

Or a simple brush to get colorful “brush strokes” on a white plate:

 

photo courtesy of starchefs.com

 

Check out brushes on amazon.com.

 

A “garde-manger” kit, as it is called professionally, comes very handy when decorating fruits and vegetables. Great for carving, too. With this kit, and some practice, you can do stuff like this:

 

 photo courtesy of fotobank.ru

 

Check out garnishing sets on amazon.com.

 

Last but not least, little squeeze bottles are essential. They make very precise lines to give a sense of direction, dynamism to a presentation, or tiny dots of colorful essence to complement your dish.

 

photo courtesy of starchefs.com 

 

Or (check the four little red dots):

 

photo courtesy of starchefs.com

 

Check out squeeze bottles on amazon.com.

 

 

Oh, yes… you will also need a good old tablespoon; the must-have, ultimate plating tool.

publicado por Chef Michael Rocha às 21:51
A diner in a restaurant is sensitive to culinary presentations, very much like a viewer is sensitive to a piece of artwork. He or she responds to stimuli and psychological perceptions influenced by his or her background, education, trends, etc… Chefs can influence that perception by effectively following a set of guidelines and bring harmony to the look of a culinary presentation.

When plating food, one of the most important guidelines to pay attention to is the “support”, aka the plate. Visually, your plated food will NOT look the same on two different supports. Different colors, shapes, sizes, etc. create different degrees of interest. The overall quality of each plate and its correlation with the food it supports will define the unity of the culinary design, and its impact on the diner. Supports trick the eye and provide enhancement or deterioration of the food presentation.

 

What to look for?

 

As a general rule, your plated presentation will always look better if the food lays on a large, white support. There is a principle associated to this; it’s the principle of “negative” spacing.

 

Organizing space on a plate is as important as organizing your food on said plate. The graphic design industry often refers to “white” space or “negative” space. White space allows the elements to exist at all and is key to composition. It reinforces the elements of the presentation. For instance, imagine the inside pages of the white pages. They appear cluttered and crammed with names. Now, one can imagine one of these pages replaced by a white page, onto which only one name has been printed. Now all we can see is one name in the middle of a white page. Far from bringing emptiness, white space actually reinforces what needs to be emphasized, in this case the only name on the page. In culinary arts, chefs use white space to strengthen their presentations in much the same way. By subtracting elements and increasing the amount of space, the featured elements of prepared food seem visually stronger.

 

Salmon on a white rectangle plate

Salmon on a white rectangular plate

 

Take a look at the photo above. I used a large, white, rectangular plate and purposely placed the main ingredient (salmon) on the right hand side of the plate. By doing this, I left a large amount of “white space” (or “negative” space). “Negative” space in this case serve the purpose of enhancing the very nice color of the curry vinaigrette and the tomatoes. it also brings focus to the salmon.

A color or a decorated plate, on the other hand, takes away from the food you’re trying to showcase. Pay attention to the 2 following photos. Although it is the same dish, one of the 2 looks better than the other one. Which presentation looks best? The 2 square plates are the same dimensions. Only the color changes; one being purple, and the other white. While the purple plate (note the emphasis on plate) looks great, the food on it looks like something is missing. What’s missing, of course, is contrast. See the difference of contrast, color between the 2 sets of mini tomatoes? Do you notice how the herb garnish looks brighter and “healthier” on the white plate, and how the whole dish looks like it’s “coming out” of the plate as opposed to “getting lost” into it?..

Salmon on a small, square purple plate
Salmon on a small, square purple plate
Salmon on a white, square plate

Salmon on a white, square plate

 

One of the risks of missing the balance when composing a plated design is clutter. Clutter distracts from the main elements and makes it difficult to identify the subject and easy to miss the focus. To minimize this risk, chefs often use space to simplify their design. A recent trend also consists on taking a minimalist approach when composing. In fine dining, large, white plates are often chosen to emphasize white space and create bolder presentations. Of course, on the other hand, inexpert use of white space can make a plate appear incomplete.

  • colored plates may take away contrast, which is necessary to the overall visual appeal of the food.
  • decorated plates clutter the presentation and focus on food is lost among complicated plate designs.
  • Small plates do not leave enough “white space” and the food my appear cluttered.
  • Deep plates (soup plates, pasta dishes) can give the impression of limiting height, which is also necessary to balance and unity of a food presentation.
  • The design of the actual plate must be consistent with the theme of the food, as well as the expectation of your audience. For instance, it may be appropriate for a Mexican-themed dinner, to use handcrafted pottery plates to plate the food.

The image below shows the very same dish again, the salmon, plated on a large, white plate. Now we are much closer to a nice, clean, uncluttered restaurant-style presentation. First, the amount of “white space” is huge. This has the benefit to concentrate the food in the middle of the plate and brings focus to it. “White space” in this case also outlines the contrast of the curry vinaigrette and the sauteed baby tomatoes in a big, nice way. Finally, it brings unity to the presentation; Probably because the plate now acts as a large, uncluttered frame to this artistic food presentation.

salmon on a large, round, white plate
salmon on a large, round, white plate

Regardless, spacing must be appropriate and consistent with the theme, restaurant concept, number of courses on the menu, and the target audience. For instance, a BBQ buffet for a picnic does not benefit much from “spacing”, which is most often use in a fine dining setting. Buffets do not usually need spacing techniques because their strength relies on abundance, to which spacing may be detrimental.

In the photo below, the yellow/beige plate works well for the presentation, thanks mainly to the wise use of “negative spacing” (large plate; small food in center). But could it have worked better with a white plate of the same size?

 

food plated on large, yellow plate

food plated on large, yellow plate

 

In the next photo, a bright green, rustic plate is used to showcase a fish dish. This presentation also works well, probably due to the theme-consistent Carribean feel to it (banana leaf, funky colored plate, fish), as well as the striking contrast between the green of the plate and the white of the fish.

 

fish presented on a bright green plate

fish presented on a bright green plate

 

Another technique consists in mixing supports. It often adds value to presentations to plate food on unusual supports such as chinese soup spoons, shot glasses, scallop shells, etc...

 

appetizers plated in chinese soup spoons

appetizers plated in chinese soup spoons

 

Now, with supports (plates), there are also mistakes NOT to make. For instance, working with “cheap” plates is a mistake. Again, it takes away from the food by distracting the eye. Example in the following photo. First, the plate is too small, leaving no “negative” space to organize. Furthermore, the color rings kind of squeesh the food further and leave no leeway for uncluttered presentation. Finally, just like with a color plate, the somewhat faded color rings really take away from the food presentation. Yikes!

Salmon on a "cheap", colored plate
Salmon on a “cheap”, colored plate

Another common mistake is to use a plate that is totally inappropriate for the presentation. In the photo below, I used a deep, oval pasta dish. While this might serve other purposes and highlight other foods like… well… pasta, it kind of “buries” the fish into the plate, canceling the elegance of height, and cluttering the food in a very clumsy way.

 

Salmon on a deep, oval plate

Salmon on a deep, oval plate

 

LESSON FOR TODAY:

  1. Use large, white plates to plate your food.
  2. Introduce theme-related plates consistent with the theme.
  3. Work with “white spacing”.
  4. Mix supports.
  5. Avoid inappropriate supports.
publicado por Chef Michael Rocha às 21:42

Every culinary presentation starts with a creative process.

Here is a sketch by one of the masters of our craft: Grant Achatz of Alinea restaurant in Chicago. He is of course known for his avant-garde cuisine and whimsical presentations. To achieve stunning presentations like this one, chef Achatz starts with an idea, a concept, then brainstorms with his team of chefs, with a professional assigned to create the support (aka the plates), and goes to the drawing board.

 

 

The sketch then becomes a reality (see below).

 

 

What can I say? Rarely in the history of Gastronomy have we seen such a perfection in the creative process. He really pushed the envellope when it comes to dedicating brain cells to the creation of a dish.

But that should be our process too. Thinking things through. It doesn’t have to be that involved, but each plate coming out of our kitchens must be the result of some kind of carefully thought process.

Among the factors to take into consideration is our target audience. We want to be aware of what our customers are looking for. For instance, the food you see below may be more suitable to sophisticated urban diners in New York than early birds in Lisbon, Portugal.

 

 

 

The importance of FUNCTION is also a serious factor. Dishes must be functional; they must work for us. They must make sense. If we work for a fast casual restaurant for instance, it doesn’t make sense to create a dish that require 7 or 8 plating steps. 3 will be plenty.

Another example would be the purpose of garnish. Are garnishes necessary?.. If so, what
is acceptable to put on a plate?..

These are all good questions to ask during the creative process.

I remember when I started as a chef, I was more worried about the presentation of a dish than its flavor or functionality. It’s important to always remember that when it comes to plating food, that food must taste good, and it must be functional enough. Flavor and function must always overpower the presentation.

 

 

As a side note, I found out that most culinary students try to improve their plated food presentations by adding stuff. They try to add because they think that by adding something, anything, like an extravagant garnish for instance, their plate will always look better. They think it can only add to the presentation.

Unfortunately, the overall beauty of a food presentation most often relies on the specific beauty of each of its elements. No need to add anything. In other words, if you want to plate a chicken breast, some mashed potatoes and a few sauteed vegetables, you’d better FIRST pay attention to how the chicken breast, the mashed potatoes and the sauteed vegetables look individually, BEFORE you even pay attention to the overall presentation.

FUNCTION, then, is an important factor.

publicado por Chef Michael Rocha às 21:18
20
Nov
12

 

Crash killed Ivan Aranto Herrera Jorge, 34, and Carl Magnus Lindgren, 30

  • Taxi driver Wong Kim-Chung, 53, was also killed in crash at 11:40am today
  • £195pp restaurant in Berkshire called men 'uniquely talented young chefs'
  • Bus driver 'collapsed and lost control of vehicle as it careered down a hill'

Two chefs from Heston Blumenthal's Michelin-starred restaurant The Fat Duck were killed today in a major road accident in Hong Kong that also left their taxi driver dead and injured 56 other people.

The victims were named locally as British chef Ivan Aranto Herrera Jorge, 34, and Carl Magnus Lindgren, 30, of Sweden, who died after a bus driver collapsed and lost control of his vehicle.

Driver Wong Kim-Chung, 53, was also killed. The £195-per-person restaurant in Bray, Berkshire, said both men were senior members of staff and described them as 'uniquely talented young chefs'.

Smashed: Firefighters inspect thr taxi crushed during an accident with two double-decker buses in Hong Kong

Smashed: Firefighters inspect thr taxi crushed during an accident with two double-decker buses in Hong Kong

Rescue scene: Three people died and about 50 were injured in the crash in the eastern district of Shau Kei Wan

Rescue scene: Three people died and about 50 were injured in the crash in the eastern district of Shau Kei Wan

The men were said to have been in the city to open a new restaurant and were travelling in the taxi when the accident happened, after a bus careered down a hill and caused a three-vehicle pile-up.

The bus crashed into the taxi, which in turn hit another bus. The three men inside the taxi were trapped for more than an hour before being cut out, reported the South China Morning Post.

 

The accident happened at 11:40am local time today as a double-decker bus went down Chai Wan Road towards Shau Kei Wan. Ages of the injured people ranged from seven months to 90 years.

A bus passenger told the South China Morning Post that she heard the driver shout loudly, a bang and then saw ‘he had already collapsed, with his body tilting to one side’.

 

Tragic: The two men were reportedly in the city to open a new restaurant and were travelling in the taxi

Tragic: The two men were reportedly in the city to open a new restaurant and were travelling in the taxi

Wreckage: Firefighters are seen next to a taxi crushed during an accident with two buses in Hong Kong

Wreckage: Firefighters are seen next to a taxi crushed during an accident with two buses in Hong Kong

The woman stood up and shouted 'Does anyone know how to drive?’, but nobody was able to stop it before it hit the taxi and the other bus. She was thrown to the floor but survived the impact.

'Does anyone know how to drive?'

What female bus passenger shouted as vehicle careered down road

The three men were declared dead at Pamela Youde Nethersole Eastern Hospital. A further 18 people remained in hospital today.

A spokesman for the restaurant said: 'We can confirm two members of our team were tragically killed in a car accident. They were both senior members and great and dear friends.

'(They were) two uniquely talented young chefs that were loved by everyone who worked with them. They will be sadly and deeply missed.' Mr Blumenthal opened The Fat Duck restaurant in 1995.

 

publicado por Chef Michael Rocha às 19:18

| B iografia |

 

Julgo que é mais importante mencionar alguns factos importantes como surgiu este gosto pela cozinha, onde tem origem esta vontade de “ser alguém” no mundo da cozinha?

Comecei a cozinhar muito cedo com a ausência da minha mãe. Não quero mentir, não sou muito bom em datas, mas com sete ou oito anos já cozinhava alguma coisa e com 10 anos cozinhava a sério e com 15 anos já era um cozinheiro por necessidade.

Quando comecei a trabalhar nesta área, aliás, quiseram-me na Cozinha por mero acaso, o Cozinheiro para uma festa de Fim de Ano de uma Empresa de Eventos, despediu-se a ultima hora e quem acham que foram buscar. É mesmo, como eu digo na “hora certa no local certo”. Tentei durante estes anos todos ser cada vez melhor e aperfeiçoar-me. Tinha uma vocação natural, é o que me diziam, um dos meus grandes segredos do empenho e do suposto sucesso que tenho tido é nunca me ter desviado deste caminho de ser já um cozinheiro chefe como ter um Dom para tal e ponto final.

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últ. comentários
Uii! São mesmo deliciosos! Thanks!
Adoro estes petiscos!
Olá Susana, é sempre bom receber noticias tuas. Ob...
Ficou uma maravilha!
Olá Susana,Obrigado pela sua opinião e volte sempr...
Uma excelente ideia, a de usar os cookies na base....
Olá Susana,Ficaram deliciosos, mesmo! Faz-me lembr...
Ficaram tão gulosos...Bjs, Susanahttp://tertuliada...
Olá Susana,Uiii! Se é! Depois da-me o teu feedback...
Deve ser uma delicia, adorei.Bjs, Susanahttp://ter...