Tasting Kitchen (TK), Asia’s epicurean lifestyle media group, leads the way to the world’s best in food and drink, art and design, and luxury travel adventures.
SHANGHAI: Room H2, No 25, Lane 550 South Shaanxi Road, Shanghai • 上海市徐汇区陕西南路 550 弄嘉善老市 25 号 H2 室 HONG KONG: Units 1-2, 6/F., Oceanic Industrial Centre, 2 Lee Lok Street, Ap Lei Chau, Hong Kong • 香港鸭脷洲利乐街 2 号海湾工贸中心 6 楼 1 室
MACAU: Rua do Volong n2-a, Lazarus Verde, Rés-do-chão C, Macau • 澳门和隆街 2 号晶品艺楹地面 C 座
Mark Hammons
FOUNDER & PUBLISHER
创办与出版人 mark@tasting-kitchen.com
Joey Cheang
DEPUTY PUBLISHER
副出版人 joey@tasting-kitchen.com
Mamie Chen
Marilyn Burkley
Robert Burkley
SENIOR EDITORS
资深编辑
Zita Wan
Vivian Pun
Victoria Lei
ASSISTANT EDITORS
副编辑
Violien Ng
CHINESE EDITOR 中文编辑
David Hartung DIRECTOR OF PHOTOGRAPHY 摄影总监
J. Carl Kerkman, MFA
IMAGE EDITOR
图像编辑
Kate Nicholson
CONTRIBUTING EDITOR
ART AND DESIGN
特约编辑－艺术设计专栏
Joyce Kwok
Joe Cummings
Lorria Sahmet
Lucy Morgan
Ron Gluckman
Nissa Cornish
Leah Su
CONTRIBUTING WRITERS
特約作家
ON THE COVER
Photography by David Hartung
At Baan Botanica, designer Bill Bensley’s Bangkok home, Southeast Asian decorative arts from different traditions are blended in an arrangement of ceramic pieces, a bird from Chiang Mai and a pineapple, perched atop Balinese stone heads. 在设计师比尔 本斯利(Bill Bensley) 位于曼谷的居所 Baan Botanica 中，一件陶瓷作品展现了各种源自东南 亚传统的不同装饰艺术元素，巴厘岛石头头像上方为 菠萝和栖息的清迈特色鸟类。
Alicia Beebe
ART DIRECTOR 艺术总监
Richard Lee
SENIOR BUSINESS CONSULTANT
高级业务顾问
Phoebe Yeung
SENIOR ACCOUNT DIRECTOR
高级客戶总监
Fiona Lee
HEAD OF NEW MEDIA
新媒体总监
Elaine Wong CHIEF MARKETING OFFICER 营销总监 elaine@tasting-kitchen.com
John Ng WINE & SPIRITS DIRECTOR 葡萄酒及烈酒总监
Eleanor Hawkins
REGIONAL EVENTS DIRECTOR 区域活动策划总监
Jaakko Sorsa
OCEAN TABLE EXECUTIVE CHEF OCEAN TABLE 行政总厨 jaakko@tasting-kitchen.com
them bring profound knowledge and dedication to their chosen fields, from ancient Chinese bronzes to contemporary ink paintings. This expertise manifests beautifully in their recent collaboration with Ocean Table Executive Chef Jaakko Sorsa to craft an extraordinary dining experience that bridges the worlds of fine art and haute cuisine.
Turning to Thailand, we highlight the vibrant artistry of its culinary masters. Chef Supaksorn “Ice” Jongsiri of two-Michelin-star Sorn reimagines southern Thai cuisine, weaving heritage and innovation into each dish. At Potong, Chef Pichaya “Pam” Soontornyanakij crafts a bold exploration of Thai-Chinese gastronomy, blending personal narrative with inventive technique. Our celebration of Thai cuisine extends to Macau, where Chef Jan Ruangnukulkit brings uncompromising authenticity to Saffron at Banyan Tree, proving that true flavors know no borders. Our cover photo, reflecting the harmony between nature and design, was taken at Baan Botanica, the home of visionary designer Bill Bensley. In this issue, we feature an exclusive interview with him, along with features about two of his celebrated properties, 137 Pillars House Chiang Mai and InterContinental Khao Yai Resort. These stories highlight Bill’s passion for con servation, thoughtful design, and the transformative power of education.
Like monsoon rains that nourish Southeast Asia’s landscape, rich creativ ity flows through these pages – gathering force, transforming spaces, and ultimately refreshing our spirits. Each story reminds us that great art, like great food, requires not just technical mastery but also deep cultural understanding and genuine emotional investment.
光影桥梁
Blown Beauty
Glass artist and entrepreneur Eveline Ko transforms molten glass into luminous art, fusing Eastern heritage with Western techniques.
In the world of art, few mediums capture light and color as brilliantly as glass. Artist and entrepreneur Eveline Ko has embarked on a luminous journey, transitioning from a successful career in finance to a new life as a celebrated glass artist and the visionary founder of AEfolio. Born with art in her veins – her father was a painter skilled in both Eastern and Western traditions – Ko weaves her heritage into her passion for glassblowing, creating stunning works that transcend cultural boundaries. Tasting Kitchen (TK) founder Mark Hammons had the privilege of sitting down with Ko to delve into her artistic odyssey, the challenges she’s overcome, and her aspirations for AEfolio. §
Eveline, your transformation from a finance professional to a glass artist is captivating. How did this remarkable journey begin?
My story is one of returning to my roots. Growing up in Hong Kong, I was enveloped by art from an early age. My father was an accomplished artist who opened an art school, and I was his eager student. Art was more than a hobby – it was a part of my identity. However, my parents encouraged me to pursue a stable career. So, I studied accounting, moved to the US, and built a successful career in finance as a CPA
But it seems art remained close to your heart. Absolutely. After many years in the corporate world, I felt a longing to reconnect with that artistic spirit. Around seventeen years ago, while working in Shanghai, I stumbled upon a small glass shop. The pieces were modest, but there was something mesmerizing about them – the way they captured light, the fluidity of form. Yet I noticed the quality was lacking, and I thought, what if we could elevate this craft? It was as if the universe nudged me, reminding me of my true calling.
was more than a hobby – it was a part of my identity.
艺术不仅是我的兴趣，更是我身份认同的一部分。”
Eveline Ko
That sounds like a pivotal moment.
I approached the owner of the shop and expressed my interest not just in purchasing pieces, but in improving the craft itself. We had several conversations, and eventually, I invested in the factory. My goal was to bring in better technology, design principles, and materials – it was a mission to transform something ordinary into something extraordinary.
What were some of the challenges you faced?
One significant hurdle was the quality of the materials and equipment. The crucibles, for instance, couldn’t withstand the high temperatures needed for superior glassmaking. They would crack, leading to impurities in the glass that marred the beauty of the final product. It was disheartening, but I was determined to find a solution.
How did you go about it?
My quest led me to a company in the US that specialized in highquality crucibles. I reached out, and the owner, Peter VanderLaan, responded. He was also an accomplished glass artist with works in the Corning Museum of Glass. I thought fate had brought us together. I asked if he would teach me more about the chemistry of glass, the artistry involved. I attended his weeklong color class fifteen years ago in his New Mexico studio. We learned about glass color formulas as well as the fundamentals – how to set up and use equipment, the chemistry of color formula compatibility and their melts, circuitry for electrical furnaces to ensure a successful melt, and appreciating what makes for a good work of glass art.
And Mary Beth Bliss, Peter’s wife, continues to teach me so much about various glass fusing, melting, firing, annealing, cutting, and refining techniques for glass jewelry. These include working with rondels and dichroic glass – techniques that have become the hallmarks of Mareve jewelry. Her unique design aesthetic and approach are so inspirational and have helped influence my own style and ideas about glass jewelry.
When I returned to Shanghai, I began inviting other American glass masters to China to conduct workshops and share their expertise. It was a beautiful exchange of cultures and ideas.
“AEfolio was born from a desire to produce glass art that is both aesthetically captivating and deeply meaningful.
AEfolio 之所以诞生，是因为我们希望制作出既有 美学魅力，又有深刻意义的玻璃艺术”
A collaborative approach seems integral to your philosophy.
Glassblowing is a communal art, and creating complex pieces often requires a team working in harmony. When making a piece with multiple layers of color, timing is everything. Each artisan must add their layer swiftly before the glass cools, like a well-choreographed dance.
How did all of this culminate in the founding of AEfolio?
After years of learning, experimenting, and refining our craft, I felt it was time to create a brand that encapsulated this fusion of Eastern heritage and Western techniques. AEfolio was born from a desire to produce glass art that is both aesthetically captivating and deeply meaningful. AEfolio aims to reach a global audience, showcasing original designs and collaborating with international artists. It’s about building bridges through art.
What makes AEfolio’s pieces stand out in the global market?
We pride ourselves on quality, originality, and the uniqueness of each piece. We use high-grade glass formulas to achieve unparalleled clarity and vibrant colors. Every item is hand-blown by skilled artisans, making it truly one-of-a-kind.
How do you address the issue of imitation so prevalent in many creative industries?
By focusing on innovation and superior quality, we create pieces that are inherently challenging to copy. Moreover, each piece carries the imprint of the artisan’s hand – subtle nuances that can’t be duplicated.
You recently participated in Fine Art Asia. What were you hoping visitors would discover about your work?
The pieces highlighted the versatility of glass as a medium – its ability to capture light, convey emotion, and tell stories. It was an invitation to experience the magic of art on a new level.
Looking ahead, what are your aspirations for yourself and AEfolio?
The journey is ever-unfolding. We plan to continue pushing the boundaries of what’s possible with glass. My hope is that our work brings joy, inspires creativity, and connects people across cultures.
Design Miami.Paris 2024, recently concluded, showcased thirty exhibitors at L’hôtel de Maisons in a celebration of the vibrant intersection of historic and contemporary design.
AS THE CURTAIN FALLS on Design Miami.Paris 2024, the echoes of creativity remain. From October 16 to 20, the majestic L’hôtel de Maisons was transformed into a vibrant tapestry of artistry, history, and innovation. This year’s fair welcomed thirty distinguished exhibitors, each weaving a unique narrative into the fabric of contemporary and historic design.
The preview day on October 15 was prelude to a flurry of sales and stories, with Laffanour Galerie Downtown capturing the spotlight by selling a full-scale Jean Prouvé prefabricated house from 1946 for more than one million euros. Furnished with pieces by Charlotte Perriand, the architectural marvel of functionality and beauty created a provocative dialogue with the ornate surroundings of the mansion, inviting onlookers to contemplate the harmony between nature and human ingenuity.
Rick Owens’s Tomb Chairs commanded attention, their sculptural forms inviting contemplation. These pieces, along with Gaetano Pesce’s Palladio Cabinet and Flower Origami Table, challenged conventional boundaries, urging viewers to engage with design as a living entity.
Galerie Gastou, making its Paris debut alongside Galerie Desprez
今年设计展邀请三十位备受推崇的参展商，各 自在历史与当代设计交织中，绣绘艺术线索。 10 月 15 日的预览日，为接下来的销售热 潮揭幕。Laffanour Galerie Downtown 艺廊以 逾百万欧元成交了法国设计师 Jean Prouvé 于 1946 年设计的全尺寸预制房屋。这座兼具功 能与美学的建筑杰作，以简洁线条诠释现代主 义精神，与设计师 Charlotte Perriand 的家具 相得益彰，在华丽古宅中上演跨时代的对话， 引人深思人类智慧与自然和谐共生的真谛。 在绿意盎然的花园中，美国设计师 Rick Owens 的《Tomb Chair》( 墓穴椅）雕塑般
← Maxime Flatry ↑ Carnac House by Jean Prouvé for Laffanour Galerie Downtown
Bréhéret, presented a poignant collection of works by Jean Touret. Each minimalist design, meticulously crafted from wood and iron, speaks of simplicity and intention, creating a discourse with contemporary pieces by Agnès Debizet. Their collaboration was awarded Best Gallery Presentation, a testament to the fair’s commitment to juxtaposing traditional and avant-garde.
In a corner imbued with history, Galerie Mitterrand unveiled François-Xavier Lalanne’s Mobilier de salle à manger, a dining set that was named Best Historical Design Object. With its thick Carrara marble top resting gracefully on steel rings, the set, more than mere furniture, becomes a narrative of elegance.
The contemporary pulse of the fair was epitomized by Marc Newson’s Pod of Drawers, presented by Carpenters Workshop Gallery. Inspired by the eighteenth-century style of
↑ Mobilier de salle à manger by FranÇois-Xavier Lalanne for Galerie Mitterrand
1920s French cabinetmaker André Groult, the piece transcends traditional design, merging hand-beaten aluminum with a fluid fiberglass form to create a playful yet sophisticated silhouette.
Throughout the week, Design Miami.Paris became a salon of ideas, a forum where past influences met future aspirations in conversations delving deep into the essence of design. A discussion on Karl Lagerfeld illuminated his lifelong passion for aesthetics, revealing how his vision continues to resonate within the realms of fashion and design.
In looking ahead to the twentieth edition of Design Miami in December, the spirit of Paris lingers, a reminder that design is an evolving language that speaks to the collective human experience. Each piece exhibited at Design Miami.Paris 2024 was not merely an object but also a story, a dream entwining threads of imagination, nostalgia, and longing and inviting engagement, reflection, and appreciation of the beauty all around.
由澳洲设计师 Marc Newson 的《Pod of Drawers》 完美体现当代设计的脉动，此作品由 Carpenters Workshop Gallery 展出。灵感源自 1920 年代法国橱柜大 师 André Groult 的设计风格，但 Newson 超越传统，将 手工锤制铝材与玻璃纤维融合，创造出既有趣又精致的轮 廓，颂扬现代设计的无限可能。
Pod of Drawers, by Marc Newson for Carpenters Workshop Gallery
↑ Galerie Gastou and Galerie Desprez Bréhéret
Art in Flux 当代艺流展现
Fine Art Asia 2024, held from October 4 to 7 at the Hong Kong Convention and Exhibition Centre, showcased a dynamic blend of antique and contemporary artistry, attracting more than twenty-two thousand visitors. With innovative exhibitions and a focus on cross-collecting, the fair highlighted the revitalization of the regional art market and its commitment to cultural exchange. § 2024年典亚艺博于10月4日至7日在香港会议展览 中心盛大举行，艺博会汇聚了古今艺术之美，吸引了超过两万两千名艺术爱好者前来 参观。通过创新展览与跨界收藏的崭新视角，本届典亚艺博不仅展现了区域艺术市场 的蓬勃活力，更彰显了文化交流的深远意义。
UNDERSCORING THE ENTHUSIASM for fine art in a post-pandemic landscape, the nineteenth edition of Fine Art Asia saw a 30 percent increase in attendance, with the Private Preview on October 3 attracting more than five thousand VIP guests.
Renowned galleries like Rossi & Rossi and Carlton Rochell Asian Art showcased masterpieces from the Himalayas, Maria Kiang Chinese Art impressed with a massive Ming scholar’s rock, and Wui Po Kok Antique Co. merged traditional and contemporary narratives in its Ten Thousand Colours of the Ancient Bloom exhibition.
Kwai Fung Hin Art Gallery sold significant works like Untitled by French-Chinese artist Lalan. Offerings highlighting the intersection of traditional craftsmanship and modern aesthetics included bamboo installations by Tanabe Chikuunsai IV And TK Director of Photography David Hartung presented Nourished by Nature, his exhibition exploring the relationship between food and art.
The debut of the Collectible Design – Asia Edition Pavilion saw notable sales, including Zhu Xiaojie’s Butterfly Chairs and Korakot Aromdee’s Cloud of Happiness lamps.
“This year’s fair embodied our vision of creating a platform where diverse artistic expressions can thrive and inspire future generations,” commented Founder and Co-Chairman Andy Hei. TK recently spoke with Hei, Co-Chairman of Fine Art Asia Warren Cheng, and three other gallerists eager to share their passion for their chosen areas of art.
Rossi & Rossi 及 Carlton Rochell Asian Art 精选了喜马拉雅艺术珍品； Maria Kiang 中国艺术展出惊人的明代灵璧石山子摆件；汇宝阁古美术则以 「古华万彩」为题呈献特别展览，国际知名艺廊展示巧妙展示传统与当代艺 术如何相融。
画廊「季丰轩」成功售出传奇法籍华裔艺术家谢景兰（Lalan）的重要 巨作《无题》，如日本艺术家「四代田辺」竹云斎精湛的大型装置，传统工 艺与现代美学的交融，令人惊艳。 TK 摄影总监 David Hartung 的「源于大 自然的丰富滋养（Nourished by Nature）」摄影展，探索了食物与艺术的微 妙关系。首届策展展区「收藏设计 – 亚洲展亭」更是精彩纷呈，中国设计 师朱小杰的《蝶椅》和泰国设计师克拉克特 Korakot Aromdee 的设计吊灯 也备受瞩目，大热售出。
典亚艺博（Fine Art Asia）创办人及联席主席黑国强先生分享道：「今 年的典亚艺博充分展现了我们的愿景：构建一个多元艺术交流的平台，激 发未来世代的创造力。」TK 对黑国强先生、联合主席郑维扬及三位热情洋 溢的画廊总监进行了专访，深入探讨他们对艺术的热爱与不懈追求。
Five directors of Fine Art Asia share their enthusiasm about Hong Kong’s flourishing art scene
TK spoke with five gallerists who are eager to share their passion for chosen areas that include fine art of East and West, Asian antiquities, living Hong Kong artists, and Chinese ink art. At Fine Art Asia, visitors have a unique opportunity to see the art and hear the stories that fuel these passions, to learn and reflect, and perhaps to discover a new passion of their own.
Presenting the best of Asian art on the international stage, Andy Hei’s two major art fairs have broadened their scope. § 黑国强抛开 对于家族古董生意的犹疑，摇身成为亚洲艺 术在国际舞台上的重量级推手。
ANDY HEI, founder of Fine Art Asia and Ink Asia, two of the region’s most successful Asian art fairs, has been interested in antiques since childhood. His father, renowned art dealer Hei Honglu, had established a successful business, and, growing up, young Hei learned to appreciate beautiful things. Although he had never considered art dealing as a career, he began apprenticing with his father at age nineteen, often accompanying him on business trips to London and New York with his American counterpart, Robert H. Ellsworth. As time went on, he would take on more responsibility and eventually inherit the family business.
Inspired by the galleries and art fairs he had visited abroad, Hei opened his namesake gallery on Hollywood Road in 1999. As a stark departure from local antique and art sales operations at the time, he says, “it was more twenty-first century – a crossover, with white walls, enough lighting, some decorative not-for-sale pieces on the desk, and modern and contemporary Chinese paintings.”
His desire to both tap into what he saw as a burgeoning international interest in Chinese art and promote the industry at home led Hei to found Fine Art Asia in 2006 as a platform for Chinese and Western cultural exchange. Today it attracts the biggest names in art dealing and focuses on everything from Chinese antiques to metaverse art. In 2015, Hei went on to launch Ink Asia, a showcase for the best in contemporary ink painting.
“When we started the fair again last year, we discovered industry trends had changed,” Hei says of the post-pandemic climate. “There was a focus on maximum crossover, being open to all possibilities, and embracing everything.” Indeed, the 2024 edition, which ran from October 4 to 7 at the HK Convention & Exhibition Centre, emphasized this convergence. Exquisite antiques, art, and design as well as Japanese and Chinese crafts, ink art, and photography were all on show alongside workshops, talks, and academic events. “I’m not the kind of person who sits around for a couple of years doing nothing,” says Hei. “I seek out challenges – a new element to explore, something different – and then merge these into what we’ve always done.”
Warren Cheng郑维扬
Specializing in Chinese archaic art, from pottery and bronze vessels to sculptures and scholarly ceramic objects, Warren Cheng has recently focused on blending art and technology to present cultural works in a new light. § 郑 维扬专精于中国古艺术，从陶器、青铜器、雕塑及学 术陶瓷物品等，近年他专注于结合艺术与科技，以全 新的视角呈现古文化作品。
WHILE THE FUTURE HOLDS promise for contemporary Hong Kong artists, it is also – perhaps surprisingly – having an impact on the world of antiques and antiquities. Warren Cheng, director of Wui Po Kok Antique Co. Ltd., has been exploring how futuristic technologies can bring new dimensions and audiences to the Chinese archaic art in which his gallery specializes.
A third-generation antiquities dealer, Cheng brings a background in management consultancy to his role, which gives him the confidence to try new ideas. “Most Asian antiquities are quiet, not loud, and it can be difficult to get people’s attention. Their rarity and fragile nature also pose a challenge,” Cheng explains. “With technology, you can take something beautifully carved that fits in the palm of your hand and bring it to life – blow it up, make it an immersive experience, create derivative works to help people understand.”
Business background notwithstanding, Cheng relies on certain core values, including trust, to guide his business with integrity. “We look at the intrinsic value of each work, and to me that intrinsic value is beauty. If a work can survive the waves of appreciation and depreciation, and be here in front of you after hundreds of years, I will trust that my clients will equally understand its beauty.”
With an established reputation as a leading dealer to some of the world’s great museums, Fabio Rossi specializes in Indian and Himalayan art and early Chinese and Central Asian artworks and textiles. § Fabio Rossi 是很多世界著 名博物馆享有盛誉的主经销商，专营印度和喜马拉雅艺 术、早期中国及中亚区域的艺术品和纺织品。
A GALLERIST with art running through his veins from an early age, Fabio Rossi founded the gallery Rossi & Rossi together with his mother. From the very first time he traveled with her to Asia at the tender age of eleven, he knew he was embarking on a lifelong journey. “It was such an incredible adventure – it completely opened up my mind and inspired me,” he says. “You just realize that the world doesn’t stop in your hometown.”
Rossi has been on the move ever since, drawing on vast worldly experience to discover, buy, and sell art and, of course, to make connections with people. “Art is a people business. You must be interested and curious and open,” he says, echoing others’ views on the importance of relationships.
For Rossi, the art business is also extremely personal. “You have to have passion,” he says. “You don’t get into art for the money!” It’s not surprising, then, that he feels strongly about how buyers approach art as well. “Buying art should be an investment, not in your finances but in your own journey of discovery. It is a privilege and should be treated that way.”
Rossi suggests that aspiring collectors follow their intuition but also spend time learning about the art or artists they are drawn to. He believes that buying art is “like falling in love – yes, it’s important that you respond to it physically, but to make sure the love sustains, there must be a foundation of understanding as well.”
Holding degrees in sculpture and twentieth-century Chinese art history, Henry Au-Yeung regularly lectures on topics ranging from contemporary Chinese art and gallery studies to the commercial aspects of art. § 欧阳宪拥有雕 塑和二十世纪中国艺术史学位，经常就当代中国艺术、 画廊研究及艺术在商业方面等主题进行演讲。
GALLERIST HENRY AU-YEUNG is another example of a life’s journey informing a career path. After training diligently overseas as an artist and then teaching fine arts at CUHK in the 1990s, Au-Yeung was dismayed to discover that there were no local opportunities for graduating and emerging local artists to show or sell their work. He set about remedying that by opening Grotto Fine Art in 2001.
Today, his two galleries specialize in living Hong Kong artists, and he has a loyal community of buyers. “I do think it’s important to have authentic relationships and not just be an agent,” he says. “I also come from an artist background, not a business background. I can think like an artist, which I think adds to the collectors’ sense of trust.”
Although he is humble about it, Au-Yeung has played a major role in establishing the careers of many Hong Kong living artists. He has discovered many at the start of their careers and nurtured them, even fought for them, with the trust and support of loyal collectors over many years, including through recent turbulent times.
“Right now is an exciting time,” he says of the Hong Kong contemporary art scene. “The last few years have been emotional, and now coming out of the pandemic, we can see the impact in the art that is being produced – and it is so interesting.”
Frequently making appearances in the media and at academic forums and local and international art fairs, Angel Siu works to further the public’s understanding of Chinese ink art. § 萧安琪经常出 现在本地及国际艺术博览会、学术论坛和媒体报 导中，致力加深公众对中国水墨艺术的了解。
Angel Siu萧安琪
ANGEL SIU, director of Chelesa Art Co. Ltd., is generous in sharing her expertise. Pause at any of the captivating Chinese ink artworks in her gallery and she will open up about it, drawing on a deep well of knowledge, eyes bright with enthusiasm.
Siu’s passion is common among gallery owners in Hong Kong, where art collecting has been a pastime of the well-heeled since the nineteenth century, with many generations of families participating in the trade. Siu’s own gallery was founded by her father in 1978, and, like many in her business, she grew up surrounded by art, artists, collectors, and buyers. “I always knew this was what I would do, because it’s our family business. I think it’s very hard not to love art if you’ve grown up with it.”
Siu’s gallery is one of a very few in the region that focuses exclusively on Chinese ink art. With works ranging from the classical to the contemporary, both her Hong Kong and Shanghai spaces are skillfully curated repositories of an art form that is undeniably steeped in tradition. “Every ink artist, even if they’re contemporary, has to start with learning the skills and the tradition of brush and ink,” says Siu, adding, “It’s so important to honor our roots.”
Respecting tradition is also often part of the business side of art. “Something that started with my father and is still important today is complete transparency and trust. We do this by building long relationships with our artists and clients. It’s much more than just helping them find the right art piece.”
For Siu, these values that have been established since the gallery’s early days are core to the business.
美食艺赏飨宴
The Taste of Art
Ocean Table collaborates with five Hong Kong art gallery directors to craft an unparalleled epicurean experience.
SINCE ITS INCEPTION IN 2006, Fine Art Asia has established itself as the premier art fair in Asia, showcasing museum-quality pieces that span more than five millennia of cultural history. From ancient bronzes to cutting-edge contemporary works, the fair has consistently offered a comprehensive view of artistic evolution in Asia.
Founder Andy Hei, in response to the shifting postpandemic landscape, has noted a growing industry trend that focuses on “maximum crossover, being open to all possibilities, and embracing everything.” The 2024 edition of Fine Art Asia, which ran from October 4 to 7 at the HK Convention & Exhibition Centre, reflected this ethos by featuring an expansive range of collectible fine art from both Asia and the West, complemented by a series of workshops, talks, and academic events.
ARTWORK: Entering Samadhi, Ascending to the Supreme Hall, selected by Angel Siu of Chelesa Art Co. Ltd.
DISH: Fried tofu rubbed with roasted garlic, tender bamboo shoot, and edible tea leaves rest in a pool of intensely flavored tomato consommé.
Inspired by Venerable Master Yuezhen’s profound calligraphy, Entering Samadhi, Ascending to the Supreme Hall, this opening dish invites diners on a journey of contemplation through taste. Sorsa has crafted a vegetarian masterpiece that draws from the rich culinary heritage of Hangzhou to explore the essence of simplicity.
The tomato consommé and roasted garlic paste provide layers of umami that Sorsa poetically describes as “a meditative state of flavor,” drawing a parallel between the dish and the calligraphy. The clear consommé represents the clarity of mind achieved in deep meditation, and the tender bamboo shoot and edible tea leaves offer textural contrast and subtle flavor notes to encourage mindful dining.
In a bold extension of the fair’s vision, Hei and four esteemed Hong Kong art gallery directors have partnered with Ocean Table’s Executive Chef Jaakko Sorsa to create a dining experience that promises to bridge the worlds of fine art and haute cuisine.
The epicurean experience unfolds in five parts, each inspired by an artwork carefully chosen by one of the directors to embody the essence of their respective gallery. Sorsa, known for his culinary innovation, has taken on the challenge of translating these visual and historical narratives into flavors and textures that diners can experience with all their senses.
The resulting menu celebrates the diversity of artistic interpretation, from a dish of scallops inspired by a Ming dynasty zitan wood carving to a deconstructed dessert that reimagines a contemporary Hong Kong landscape.
为了展现博览会的视野，黑国强与四位备 受推崇的香港艺廊总监与 Ocean Table 行政主 厨 Jaakko Sorsa 联手合作，共同打造一场横跨 精致艺术与高级料理的餐饮体验。
这场美馔艺术飨宴精心策划为五个篇章， 每一道菜色均源自各位总监慧眼独具挑选的艺 术品，完美展现其艺廊的文化底蕴与精神内涵。 以创新料理闻名的 Jaakko 主厨欣然接下这项挑 战，将视觉与历史叙事转化为味觉与层次艺术， 让食客们充分调动五感，沉浸品味。
ARTWORK: Carved zitan wood cloud-shaped pillow, selected by Andy Hei of Andy Hei Ltd.
DISH: Pan-fried Brittany king scallops are topped with discs of dried, pressed caviar and finished with Yuan’s Royal Soy beurre blanc and Kristal Caviar.
Inspired by an exquisitely carved zitan wood cloud-shaped pillow from the Ming dynasty, Sorsa’s second dish serves as a testament to the sophisticated design and unparalleled craftsmanship of this artwork, made from zitan, a wood that was treasured as much as gold in ancient China. Sorsa has chosen ingredients of corresponding quality.
Pan-fried Brittany king scallops, prized for their firm meat and silky texture, rest in a cloud-like foam of beurre blanc. Yuan’s famous organic Royal Soy Sauce, produced in Hong Kong using traditional methods, adds a layer of depth to the sauce and provides a connection to local culinary heritage. Dark amber orbs of Kristal Caviar, reminiscent of precious stones, are also incorporated into the beurre blanc, adding a layer of luxury that pays homage to an imperial artifact.
The scallops are plated on a rare copper bowl from Inhesion Asia’s Ruyi Collection. Its fluid curves mirror the pillow’s cloud motif, and its warm hue complements the zitan wood’s rich brown, creating a visual link between plate and work of art.
ARTWORK: Buddha sculpture, selected by Fabio Rossi of Rossi & Rossi
DISH: Sicilian red prawn, adorned with edible gold and crispy manuka honey, rests atop a round of saffron barley risotto.
Inspired by a serene Buddha sculpture, Sorsa’s third dish, an exploration of Buddha’s journey to enlightenment, pays homage to the spiritual significance of the artwork while celebrating the rich culinary heritage of gallery director Fabio Rossi’s Italian homeland. A Sicilian red prawn, a jewel of Italian gastronomy, is vertically aligned on the plate, mirroring the dignified posture of the Buddha sculpture. Its bright red beautifully contrasts with the dish’s golden elements, creating a visual representation of the transition from earthly to divine.
In a nod to Buddha’s last worldly sustenance of barley and honey before transcendence, the foundation of the dish is a creamy saffron barley risotto. The golden radiance of the saffron infusing the dish, together with delicate flakes of edible gold, symbolize the brilliance of enlightenment. Scattered microgreens add a vibrant touch that represents rebirth and new growth – the cycle of life central to Buddhist philosophy. A piece of crispy manuka honey, cleverly placed in the prawn’s mouth, not only completes the reference to Buddha’s last meal but also adds a delightful contrast to the savory components.
ARTWORK: Sea Beasts and Grapes bronze mirror, selected by Warren Cheng of Wui Po Kok Antique Co. Ltd.
DISH: Lightly smoked pigeon de Racan rests atop a bed of spinach and is finished with Pione grapes, pomegranate seeds, marigold petals, and black truffle sauce.
Inspired by an exquisite Tang dynasty bronze mirror, Sorsa’s fourth dish is a culinary interpretation of ancient Chinese symbolism and mythology, reimagining the artwork’s rich motifs through the lens of haute cuisine. The centerpiece of this gastronomic creation is world-renowned pigeon de Racan, chosen by Sorsa to represent the legendary phoenix. In a witty reference to the phoenix’s auspicious rise from the ashes, the pigeon is lightly smoked. Scattered around the bird are vibrant marigold petals, their fiery orange symbolizing the flames from which the phoenix emerges. Complementing these savory elements are seasonal Pione grapes and pomegranate seeds, fruits that carry deep symbolism, representing the traditional Chinese wish for “more children and more happiness.”
ARTWORK: The Story of Luk Keng, selected by Henry Au-Yeung of Grotto Fine Art
DISH: Butterfly pea tea jelly, vanilla panna cotta, compressed longan, and white chocolate rocks are presented in a deconstructed, minimalist style.
艺术品：《鹿颈的故事》－嘉图现代艺术总 监欧阳宪精选
菜品：解构主义与极简风格呈现的蝶豆花 茶冻、香草奶冻、龙眼碎、白巧克力
Sorsa’s final course was inspired by a contemporary artwork by Shum Kwan Yi that drew inspiration from the grid-lined paper used by local students. In a whimsical journey through Luk Keng’s picturesque countryside reimagined as a delightful dessert, a blue circle of butterfly pea tea jelly represents the pools, green sponge the mountains, white chocolate the rocky outcrops, and panna cotta adorned with edible flowers portrays the local flora. With a playful approach eching the way one might explore Shum Kwan Yi’s artwork, diners are encouraged to interact with the dessert, mixing and matching elements as they see fit.
Jaakko 主厨的压轴甜点受沈君怡的当代艺术作品启发，该 作品巧妙地从本地学生常用的格子簿中汲取灵感。这道甜 点重新诠释了鹿颈乡村如诗如画的优美风光：蝶豆花茶冻 宛如清澈的水池、绿色海绵蛋糕象征连绵山峦，精心雕琢 的白巧克力象征岩石，增添了自然原野韵味；奶冻象征繁 茂的植物，增添生机。宾客在品尝甜点时，如同置身欧阳 宪先生精选的艺术中，可随心地混搭甜点的元素，享受一 场趣味盎然的味觉探索－回味对乡村美景与艺术。
龙舌兰瑰宝
The Art of Tequila
Clase Azul México combines the craftsmanship of expert distillation and aging with the exquisite artistry of hand-painted bottles.
Clase Azul México Mezcal San Luis Potosí features a handmade decanter cap of colored yarn appliqué.
Clase Azul México San Luis Potosí 龙舌兰酒的瓶盖采用手工制作的彩色纱线装饰。
IN THE REALM OF LUXURY SPIRITS, Clase Azul México emerges as a celebration of both cultural heritage and contemporary aesthetics. Founded in 1997 by Arturo Lomelí in Guadalajara, Jalisco, the distinguished brand elevates tequila from a drink to a form of artistic expression.
All Clase Azul México tequilas are made from 100 percent blue Weber agave, slow-roasted in traditional brick ovens for seventy-two hours before distillation. Most are then aged for a minimum of eight months in selected bourbon oak barrels to impart unique flavors that resonate with the spirit’s character. Each sip is crafted to encapsulate the essence of the agave plant and reflect the landscapes and traditions of Mexico.
The artistry of Clase Azul is further manifested in its stunning containers, ceramic bottles that are individually hand-painted by skilled artisans, each small batch often taking weeks to complete.
Clase Azul México’s five distinctive tequila expressions include Plata, a pristine, crystal-clear, unaged spirit with fresh and herbal fragrances, notes of lemon peel and green apple, and an enduring citrus finish. Reposado, aged eight months in American whiskey casks and bottled in decanters with feathered brushstrokes of cobalt blue, offers notes of agave nectar, candied orange peel, toasted wood, hazelnut, clove, vanilla, and chocolate in a spiced finish.
Gold, inspired by the incandescence of Mexican sunsets and featuring a ceramic base adorned with 24-karat gold hand-painted ribbons, combines Plata, a special reposado matured in French oak casks, and an extra añejo finished in Pedro Ximénez sherry casks.
Añejo’s harmonious character is the result of a journey of more than two years in American whiskey casks. Deep copper in color, it has a full body, an intense aroma and notes of orange marmalade, apple preserves, roasted hazelnuts, cardamom, and clove.
Crafted for connoisseurs, Ultra is a time-intensive, exquisitely complex tequila housed in a black decanter embellished with platinum, silver, and 24-karat gold. Its sublime character is the result of aging for five years, first in American whiskey casks and then separated into amontillado, oloroso, and Pedro Ximénez sherry casks before being recombined. Full-bodied, it offers notes of sherry, dried plum, raisin, ripe apricot, brown sugar, clove, cinnamon, cacao, and tobacco and an intense aroma of oak.
Clase Azul’s impact extends beyond its products. Master Distiller Viridiana Tinoco, who holds a master’s degree in tequila production, is among Mexico’s few female tequila distillers, and more than half of the company’s workforce is female, including 30 percent of its artisans from small communities. A notable initiative, “Mi Musa –Clase Azul México Women’s Empowerment Project,” was launched in 2023 in Japan with the aim of inspiring women by showcasing the achievements of female distillers, bartenders, and the artisans involved in creating Clase Azul México’s unique decanters.
Contemporary artist Jean-Michel Othoniel designs radiant new decanters for Hennessy’s renowned X.O Cognacs.
AT AN EXCLUSIVE LAUNCH EVENT HOSTED at Sands Resort Macao, Hennessy, the world’s premier Cognac brand, recently unveiled the Hennessy X.O Masterpiece and the Hennessy X.O Limited Edition, the two extraordinary products of its collaboration with acclaimed artist Jean-Michel Othoniel.
Over the years, Hennessy has partnered with some of the world’s greatest creative talents, including designer Tom Dixon, architect Frank Gehry, and fashion icon Kim Jones. In this, its latest collaboration, Hennessy merges the realms of fine art and luxury spirits in two X.O creations that feature remarkable decanters designed by Othoniel, who is widely recognized for his monumental sculptures and hand-blown glass artworks.
“I’ve had a long-standing relationship with Hennessy,” he says.
多年来，轩尼诗与诸多国际顶尖创意人才 合作，包括设计师 Tom Dixon、建筑大师 Frank Gehry，以及时尚界翘楚 Kim Jones。在本次最新跨 界合作中，轩尼诗完美融合精致艺术与顶级佳酿， 推出由欧托尼耶操刀酒瓶设计的两款 X.O 作品。这 位艺术家以其宏伟的雕塑作品与手工吹制玻璃艺术 闻名于世。
“Through mutual respect and shared vision, we’ve cultivated a bond that I’m proud to see manifested in this project, a collaboration that has enriched my creative universe. We’ve produced two distinct limited-edition carafes, each a testament to the power of reimagining familiar objects with new meaning and beauty.”
Inspired by Hennessy’s craftsmanship and heritage, Othoniel crafted the X.O Masterpiece decanter in faceted Baccarat crystal. Deftly balancing tradition and innovation, it embodies the artist’s signature fascination with light and reflection. Richly adorned with scintillating crystals, the decanter is protected like a precious stone in a case of hand-carved oak that evokes Hennessy’s legendary aging barrels.
The X.O Limited Edition design presents its decanter as a
vibrant ruby-red gem encased in a golden metal carapace, whose intricate angles and facets catch and reflect light. And in alignment with Hennessy’s sustainability commitments, a unique opening feature allows for bottle replacement or refilling.
“Working with esteemed artists, designers, and architects worldwide is an integral part of the Maison’s identity and history,” notes Hennessy CEO Laurent Boillot. “Our collaboration with Jean-Michel Othoniel elevates our X.O collection by infusing it with his masterful use of light, color, and crystal.”
Since its inception in 1870, Hennessy X.O, the first Extra Old Cognac, has exemplified the brand’s blending and aging expertise. Celebrated by connoisseurs for its complexity and depth of flavor, Hennessy X.O remains a symbol of timeless elegance. To showcase the release of the Hennessy X.O Masterpiece and the Hennessy X.O Limited Edition, now available at Sands Resort Macao, Hennessy partnered with Sands Lifestyle to host a series of wine and dine events throughout October at The Londoner Macao. Among these was the Hennessy Tasting Dinner, a VIP event featuring a bespoke menu created by two-Michelin-star The Huaiyang Garden. Dishes revealing the essence of Huaiyang cuisine were expertly paired with classic Hennessy Cognacs.
Visionary architect and interior designer Bill Bensley tells TK Publisher Mark Hammons how building extraordinary hotels opens doors for teaching and learning.
How do you choose your projects?
I get offered new projects almost daily. I like to go where I’m needed and where we can make a difference to a community. If a property is located somewhere I’ve never been before and there’s something I can learn, I’m on it like a rat up a drainpipe. I see projects as learning experiences – for myself and for my team. I’ve been to 106 countries now, but I’ve never built anything in Madagascar or the Congo, though we’re currently working on a beautiful conservation project there.
What matters most to you when designing a hotel?
The most important thing is the opportunity to teach people. If you can teach somebody something, they’re going to remember it, and they’ll remember you. When guests come to stay with us, we have a captive audience for maybe three or four days. If we can take that time to tell them about something very important – something dear to our hearts – they’ll carry that with them when they leave and, hopefully, they’ll take what they’ve learned and do some good in the world.
Your design approach often blends a property seamlessly into its environment, like a chameleon. How do you achieve that balance?
When we’re in a beautiful environment like Mustang in Nepal, it would be pompous of us to try to do something that’s a monument to ourselves. I want the architecture to blend into the surroundings, to feel as though it’s crept out of the soil. But inside, we can go wild – bring on Coco Chanel, you know? In all the things we do, I want the buildings to respect the architecture that’s around, to make it feel like it’s just another village that was built three hundred years ago.
Can you tell us about your conservation work with guests?
At Shinta Mani Wild, we have a ranger program that helps protect the Cardamom forests in Cambodia. Our guests can join the rangers on patrol and see firsthand the work they’re doing to prevent poachers and loggers from disrupting the ecosystem. What we’re trying to teach people is that wildlife is fragile. Once the rainforest is gone, desertification will begin. Most people don’t even know Cambodia has rainforests, let alone understand their crucial role in preventing desertification across Southeast Asia.
Your design studio has a unique approach to creative work. How do you structure your team?
I look for people who can draw. If I just see a portfolio of computer renderings, pretty much anyone can do that. Somebody who can draw, who knows how to use a pencil and paper, can also come up with really good ideas. Everyone in our company understands what landscape architecture is, what architecture is, and what interior design is. We don’t put anyone in boxes.
How does your background in landscape architecture influence this holistic approach?
Most of the projects that we accept are in places of great natural beauty. Being a landscape architect, I know how to respect and work with Mother Nature, and how to build something without overbuilding it. We might be discussing a knife, fork, and spoon design one minute and plant selection the next. It’s about designing the complete experience, as opposed to the traditional professions that segment the process.
You’ve been outspoken about sustainability in hospitality. How do you see the industry’s efforts in this area?
Honestly, with hospitality worldwide, we’ve gone through the hot word of sustainability for about ten years now, and everyone talks about it. Everyone has their sustainability part of their program, but for the most part, no one’s doing much. It’s all on paper – good concepts and ideas, but not much action. When you visit our properties, you can see real conservation work happening every day.
Your hospitality school in Cambodia has been transforming lives for years now. Tell us about that.
We’ve been running the school for seventeen years, delivering high-end hospitality education to local people. We just had a reunion with former students, and it was deeply moving. I remembered one boy who we found at about age seventeen, living off garbage from dumpsters. We gave him a place the first year the school opened. He’s about thirty-five now. He came 您的设计工作室在创意工作方面拥有独树一帜的方 法。请问您是如何组织并引领团队的？
A massive copper Buddha hand lends an aura of spiritual tranquility. 一尊巨大的铜制佛手散发出宁静祥和的灵性氛围。
up to me and hugged me and told me about his wonderful job managing a hotel in Singapore. I’ve never been in tears so many times in one night.
You’ve also become an artist during the pandemic. How does this connect to your humanitarian work?
I started painting during COVID -19, and now every penny from my art sales goes to the foundation to support our projects. I start out in the morning by painting, then go to the office. When I return, I paint more. Of course, some of the time we’re on the road, and more recently, my husband and I have been taking more time to travel and enjoy life. After all, you can work endlessly your whole life, but what’s the point if you can’t enjoy it?
What’s your dream for the future?
I’d like to get married in Thailand. That would be a big deal. We’ve been together for forty years, but to do it here and have a giant party – that would be really fun.
A self-taught chef wins plaudits and patrons for his unique take on southern Thai food.
BY JOE CUMMINGS
• PHOTOGRAPHY BY DAVID
HARTUNG
Ocean - Blue Crab, Phuket Lobster, Spotted Sea Conch
OF THAILAND’S FOUR REGIONAL CUISINES, those of the country’s central and northeastern regions tend to dominate the Thai restaurant scene, both at home and abroad. Southern Thai cuisine, with its incendiary fish-gut curries and gunpowder-searing dry mince, was until recently the redheaded stepchild that respectable Bangkok Thais turned their backs on. That changed in 2018 when Supaksorn “Ice” Jongsiri, a self-taught chef raised in the southern province of Nakhon Si Thammarat, together with his head chef, Yodkwan “Yod” U-Prumpruk, opened Sorn.
Renovating a century-old house in Sukhumvit Soi 26 and
creating a sophisticated tasting menu of reimagined southern classics, the partners managed to earn a Michelin star in 2019 and then went on to capture a second in 2020.
Chef Ice developed his passion for cooking by helping out his grandmother in the kitchen as a young boy and later while working in Thai restaurants in the Boston area, where he attended university. In the meantime, his grandmother had opened a southern Thai restaurant called Baan Ice – named for her grandson – in Nonthaburi, just north of Bangkok.
When he returned to Thailand and saw that she was getting 百年古宅，并以此为基础，设计出一份重新诠释南部 经典菜肴的精致菜单。开业不到一年，Sorn 便荣获 了 2019 年米其林一星餐厅的殊荣，并于 2020 年再 度摘得第二颗米其林星。
Cooking over traditional charcoal firepots assures that dishes are prepared at the right temperature, while adding a smoky fragrance. 在传统炭火锅上烹饪，确保菜肴在适宜的温度下准备，同时增添烟熏香气。
too old to run Baan Ice on her own, he quit his job and moved the restaurant to Thonglor so she could retire. When he decided to open his own place with a more ambitious vision, he first explored southern Thailand’s fourteen provinces, visiting classic old eateries, researching authentic southern ingredients, and cultivating relationships with farmers, fishers, and other food suppliers. He also took inspiration from fine-dining venues he visited in Spain and Japan over three years of concept development.
Even though Chef Ice never trained professionally in the culinary arts, his meticulous approach to researching dishes and sourcing ingredients, backed by international accolades and a loyal following, has made Sorn one of the hottest spots in town. “Pretty much everything comes from the south,” he says, “except for local eggs.” He is particularly proud of the beautifully marbled beef he gets from Phatthalung province.
One of Sorn’s most visually appealing dishes is khao yam, a colorful and crispy rice salad tossed with fresh herbs, fruit, dried shrimp, angle beans, pomelo, lime leaves, toasted coconut, and torch ginger and topped with a thick brown traditional fish sauce called budu that is fermented for up to two hundred days and blended with palm sugar and tamarind. “History and geography make the food,” says Ice. “We use only the best budu from Narathiwat and Pattani.
“We bring traditional Chinese culinary herbs in from Trang and the sweet small shrimp favored for khao man kaeng from the coast.”
The Sea Holds the Forest: Turmeric Rice , Southern Herbs, Budu Sauce
Coconut, Melinjo Leaves, and Scallop Oil 椰子、美玲椒叶和扇贝油
Several kinds of lowland rice from the south are served, including a unique variety planted in the eastern fresh waters of the Thale Sap, a huge inland sea. “Even the water we use to steam the rice comes from mineral wells in Ranong,” says the chef.
Getting ready for Sorn’s single dinner sitting takes most of the day. “We use only traditional southern Thai utensils – no blenders or other shortcuts,” says the chef. And timing, he believes, is everything in preparing an average of twenty-two dishes per tasting menu. “A curry paste can’t be made too far ahead of time, or it will lose fragrance.” Asked if he plans to open a second Sorn, Chef Ice is adamant, “Then it would become a business –I do this for love.”
Open views and landscaping transformed a 90-yearold Bangkok home into a sophisticated dining venue. 开放的视野和精致的园林景 观将一栋90年的曼谷老宅转 变为一个高雅的用餐场所。
A lovingly restored ancestral shophouse in Bangkok’s Chinatown offers an extravaganza of fine dining.
BY RON GLUCKMAN
• PHOTOGRAPHY BY DAVID
HARTUNG
Crab Roe, Brioche 蟹籽、布里欧面包
BURSTING ONTO BANGKOK’S lively culinary scene just three years ago, Potong is sold out months in advance, a tribute to not only the menu but also the site. Chef Pichaya “Pam” Soontornyanakij serves reimagined Thai-Chinese dishes in a one-hundred-twenty-year-old five-story shophouse built by her great-great-grandfather, Ngo Sae-Beng, who immigrated to Thailand with thousands of other Chinese in the late 1800s. By selling goods on the street, he managed to scrape and save to rent one store, then another, before buying a lot in Chinatown and building his dream shophouse. He named it Potong, which translates to “simple,” to reflect his humble origins.
Today, Potong’s extraordinary dining experiences have earned it seventeenth place on the list of Asia’s 50 Best Restaurants 2024 and Chef Pam the title of Asia’s Best Female Chef 2024. Her meals offer a flavor-filled expedition through the rich history of Thai-Chinese cuisine. Welcome drinks and creative twists on local snacks are served upon arrival at the ground floor, where guests marvel at giant glass fermentation jars and other relics from Potong’s past life as a pharmacy selling traditional Chinese medicines and herbal concoctions.
Diners digest exquisitely plated delicacies along with tidbits about Chef Pam’s family history and the unusual building. Staff point out
The very best meals are largely about the experience, not only in the seasoning but also in the stories.
最棒的用餐体验不仅在于食物的风味本 身，更在于其背后的故事与情感。
openings in the ceiling from which ingredients were roped down to workers mixing medicines. From smaller openings, her ancestor could survey the scene to ensure that everyone was keeping busy. “It’s like early CCTV,” she laughs.
Guests climb stairs to the aptly named Opium Den on the fourth and fifth floors, where Ngo would relax with friends, have a smoke, and then retire to the rooftop garden or gaze at the stars from his observatory. Today, the former retreat, with its gorgeous blend of old wooden furniture, is a bar offering chic modern mixology.
Nakhon Si Thammarat Shrimp, Pad Thai, Shrimp Shot 洛坤府鲜虾、泰式炒河粉、浓虾汤
After drinks, guests shuffle floor to floor on a three-hour tasting spree of dishes inspired by the food that Chef Pam grew up with. Everything is meticulously prepared and choreographed with contemporary elegance and lots of creative touches. Tiny tasting items are cleverly crafted. Her take on pad thai is reduced to a single prawn wrapped in a Thai flag but bursting with the zest of a full platter. And her small dish of noodle soup is superbly constructed to encapsulate a teeming bowl of noodles, with just the right dose of broth to reference the comforting cuisine of her childhood.
Chef Pam credits much of the menu, and her success, to those years she spent as a child learning the craft firsthand in the kitchen. “My mother was a traditional housewife – she stayed at home and cooked.” And she recalls shopping in the jumble of fresh-food markets that still flourish in Bangkok’s Chinatown.
But her homegrown success story also includes impeccable instruction. She attended New York’s Culinary Institute of America and trained under famed chef Jean-Georges Vongerichten. After returning to Bangkok and drawing notice for The Table restaurant and her private dining service, she remembered the old building her mother used to point out during shopping trips in Chinatown.
It had been rented for decades to vendors, but when she had her first look inside, she was smitten by its mesmerizing history and potential. “I knew I wanted to make this my restaurant.” The long renovation, vastly more expensive than anticipated, was followed
然而，她的成功故事中也包含了一流的专 业训练。她曾就读位于纽约州的美国厨艺学院 （The Culinary Institute of America），并在名厨
Layer of Potong, Coconut Mousse, Vanilla, White Chocolate, Coconut Cream Potong 层，椰子慕斯、 香草、白巧克力、椰子奶油
by COVID lockdowns. “People thought I was crazy to even think of bringing fine dining here,” she concedes.
However, Chef Pam was able to spin much of the allure she felt about the building to diners. Soon, her local take on Beijing duck was drawing global raves and jetsetting gourmands. Though she changes the menu every few months, some items, like the unbelievably juicy duck, remain as signatures.
The very best meals are largely about the experience, not only in the seasoning but also in the stories. At Potong, everything is miraculously married: the venerable building and antique furnishings, traditional flavors and modern cooking techniques. It’s all bound together by the irresistible authenticity of the place – and the passion of a greatgreat-granddaughter.
In an age of fusion food, Chef Jan Ruangnukulkit of Saffron at Banyan Tree from Galaxy Macau champions uncompromising authenticity.
•
BY MARK HAMMONS AND JOEY CHEANG
PHOTOGRAPHY BY DAVID HARTUNG
Executive Chef 行政总厨 Jan Ruangnukulkit
AMID THE GLITTERING SURROUNDINGS of Galaxy Macau’s Banyan Tree, Chef Suraja “Jan” Ruangnukulkit is staging nothing short of a quiet revolution at the hotel’s signature Thai restaurant, Saffron. There she presents Thai food exactly as it should be, unwavering in its faithfulness to the cuisine’s true flavors yet executed with rare finesse.
“I want every single dish to be Thai,” says Chef Jan, as she is known, her eyes gleaming with conviction. “Not fusion, not adapted. Just Thai.” It’s a brave stance in a city famous for its hybrid Macanese cuisine, where culinary commingling is practically a birthright.
Chef Jan’s journey to cooking with authenticity wasn’t, however, without its challenges. When she first arrived at Saffron, she faced the formidable task of sourcing genuine Thai ingredients in a market where compromise was the easier path. “The aromatic quality of Thai lemongrass is completely different,” she explains. “It’s stronger, sweeter. The Chinese variety is bitterer, less fragrant.” Such minute distinctions might seem trivial to some, but for Jan, they’re the building blocks of true Thai flavor.
Her credentials are impeccable. Before Macau, she worked at Nahm in Bangkok during its historic rise to Asia’s first entry on The World’s 50 Best Restaurants list. That experience shaped her philosophy: Thai cuisine can be elevated without being fundamentally altered.
At Saffron, Chef Jan has crafted fine dining that marries precision with Thai culinary soul. While the restaurant offers sophisticated amuse-bouches and carefully composed appetizers, main courses are served family-style, a deliberate choice that honors the communal spirit of Thai dining. “This is how Thai food should be enjoyed,” she insists. “Rice, salad, curry, soup –all sharing the table, all complementing each other.”
The restaurant’s approach to spice is equally exacting. Chef Jan maintains that, while heat levels may be adjusted, certain dishes must retain their essential fieriness to be properly appreciated. “Even if it’s less spicy, it’s still not close to medium spicy as usual,” she says with a gentle smile. “It’s part of the Thai cuisine journey.”
然而，Jan 在追求道地风味的历程上也面临了不少挑战。 初 到尚坊时，她不得不在这个容易妥协的市场中，设法寻找正宗的 泰式食材。她解释说：「泰国香茅拥有独一无二的香气，比任何地 方的都更浓郁、甜美。相较之下中国的品种则较为苦涩，香气也 较为淡雅。」这些细微的差异对其他人来说或许无关紧要，但对 Jan 而言，它们是建构正统泰式风味的基石。
论及资历，Jan 可说无可挑剔。在来澳门之前，她曾在曼谷 的 Nahm 餐厅工作，并亲眼见证了这家餐厅成为亚洲第一间荣登 「全球 50 最佳餐厅」榜单的历史时刻。这段经历也塑造了她的理 念：「泰式料理无需改变其本质，也能追逐更高境界。」
Jan 在尚坊打造的精致餐饮体验，完美融合了精准烹饪与独 特的「泰魂」。菜单上，既有精致的开胃小菜与前菜，但主菜却以 家庭式呈现，这是 Jan 经过深思熟虑的选择，旨在坚守泰国菜中 那份「共享」的集体文化精神。她说：「这才是享用泰式菜的正确 方式 – – 白饭、沙拉、咖喱、汤品齐备一桌，相互搭配映衬。」
餐厅对于辛香料的处理，同样一丝不苟。 Jan 认为，虽然辣 度可以调整，但有些菜肴必须保持「经典的辣度」，才能让人品尝 到泰国料理的本色精髓。她微笑着解释：「即使降低辣度，泰国菜 的中辣仍与一般中辣显著不同，这正是泰式料理体验的一部分。」
Southern Thai Curry Crab, Turmeric and Calamansi Lime 泰南风味咖喱蟹，姜黄，青金桔
Her dedication has created its own kind of magic. One evening, a Hong Kong family drove across the border specifically to dine at Saffron, having heard about it through friends. “They’d been to Thailand many times,” Chef Jan recalls, “and they said this was the first time they’d found those same flavors so close to home.”
Looking ahead to 2025, Chef Jan has ambitions that are even bolder. She speaks of sourcing ingredients from specific Thai regions, working with local farmers, and bringing even more of Thailand’s botanical diversity to Macau. There’s also a deeply personal aspect to her menu. Dishes like her mother’s mushroom recipe, a perfect embodiment of her Thai-Chinese heritage, showcase how cultural intersections can occur naturally, without forcing fusion.
In a world where “authentic” has become an overused culinary buzzword, Saffron under Chef Jan’s guidance offers something rare: a genuine experience of Thailand’s rich culinary heritage, interpreted with meticulous care and deep respect for tradition. Here, in the heart of Macau, true Thai flavors have found an eloquent ambassador.
正因为 Jan 的执着坚守，尚坊才拥有独一无 二的风采与魅力。某个晚上，一个香港家庭在朋 友的推荐下，专程开车来此用餐。Jan 回忆道： 「他们告诉我，尽管多次游历泰国，但这是他们 第一次在如此近的地方，品尝到那熟悉而亲切的 味道。」
在当今餐饮界，「地道」一词已被过度使用， 但尚坊在 Jan 主厨的引领下，创造了难得的体验： 她以细腻的烹调技艺和对传统的深刻敬意，生动 演绎了泰国丰富的烹饪传统。在澳门，地道的泰 式风味终于找到了最佳的代言人和传承者。
↑ Spicy Live Gillardeau Oyster with Caviar
↑ ↑ Grilled Lobster with Pad Thai Noodles
GALAXY MACAU™
东西美味：璀璨交汇
FLAVORS EAST AND WEST
Two of Galaxy Macau’s signature restaurants transform the cuisines of Italy and Japan into vibrant dining experiences.
OFFERING A DAZZLING PORTFOLIO of awardwinning culinary expressions that span the globe, Galaxy Macau has mastered everything it takes to create exceptional dining experiences, with options that range from regional Chinese favorites to an array of international cuisines.
BY LORRIA SAHMET
Expectations soar beyond the ordinary as skilled chefs of star-studded restaurants employ exacting techniques to elevate the natural flavors of the finest ingredients available. Exquisitely presented dishes arrive tableside in choreographed performances of culinary artistry enhanced by beautifully designed dining environments and heartfelt hospitality.
As part of “Galaxy Macau, Artisans of Flavor,” a pair of the resort’s acclaimed signature restaurants share the spotlight to express two time-honored culinary heritages with menus that lead guests on memorable journeys of flavor.
“A TEPPAN CHEF must have a strong sense of professionalism,” says Chef de Cuisine Fuminori Nakamura of Teppanyaki Shou, the popular destination at Galaxy Macau’s Raffles that specializes in omakase-style teppanyaki. “He takes care of the food and also the space between. And he does his utmost to ensure that customers have the best time.”
Teppanyaki cuisine is often accompanied by tableside theatrics, and it comes with little surprises that turn a meal into an adventure. It is sometimes referred to as a symbiotic dance between chef and guest. “It’s the experience of process and presentation,” says Teppanyaki Shou Sous Chef Daisuke Ushimura. “You have to use your five senses to bring out the potential of the ingredients.”
With five decades of experience between them, Nakamura and Ushimura are part of Teppanyaki Shou’s highly adept trio of chefs led by Executive Chef Norihisa Maeda, a master whose career spans thirty-five years.
Performed on what is a veritable stage set behind the searing-hot
teppan, a teppanyaki meal celebrates both the freshness of premium ingredients and the engaging artistry of the chef.
Using sought-after ingredients like premium black Wagyu Oda beef sourced exclusively from Kagoshima exemplifies teppanyaki’s long tradition of quality, hinted at in the restaurant’s name – “shou” means “pursuit of perfection.” This beautifully marbled meat, rendered to draw out its buttery-rich umami, is accompanied by simple condiments of Okinawa sea salt, Shizuoka fresh wasabi, Kyoto-style kinzanji miso, and homemade ponzu sauce.
Teppanyaki, then, is a considered lesson in balance, one in which the excitement of interactive dining meets the intimacy of savoring ingredients at their purest. As each dish is served, another kind of performance materializes, one of delightful aromatics, tantalizing flavors, and the enthusiastic exclamation of guests encountering an unexpectedly delicious bite.
“There are six essential elements that contribute to customers having a delicious meal and a special time,” says Maeda. “And one of the most important is conversation.”
FOR A DESTINATION as acclaimed as 81/2 Otto e Mezzo BOMBANA, which has held its Michelin star for nine consecutive years, it seems only natural to be captivated by the extraordinary culinary talents of the team.
But beyond the obvious appeal of authentic Italian cuisine creatively explored and elevated by the talented culinary team –undoubtedly the main draw for the restaurant’s many devoted patrons –lies the warm welcome of true Italian hospitality that envelopes guests in a comforting sense of familiarity, akin to coming home.
“This is a place to come for experiences,” says the team. “Each dish expresses the spirit of Italian tradition, but the focus is always on our guests. It’s not about ‘Michelin’ dining but about delivering Italian hospitality.”
The team’s culinary philosophy, “The Luxury of Simplicity,”
81/2 Otto e Mezzo BOMBANA 这家连续九年获得 米其林星级殊荣的顶级餐厅，之所以能吸引众 多忠实顾客，并不仅因为其令人耳目一新的正 宗意大利美食，而是在于其独特的意式待客之 道，让每一位宾客都感到亲切熟悉，如家一般 的温暖。
Spanish Red Tuna: Crudo, Mediterannean Flavors, Kaluga Caviar
General Manager and Chief Sommelier 总经理兼首席侍酒师 Marino Braccu, Executive Manager 行政经理 Nancy Wang
Pastry Chef Weekie Lee 甜点主厨 李咏雯
aligns with the approach of the renowned Umberto Bombana. And in harmony with his dedication to creating experiences, menus replace pretension with a focus on elegant, uncomplicated dishes made with simple ingredients carefully prepared to enhance their natural flavors. Perfect examples are Pasta with Sea Urchin and Sicilian Almond Oil as well as Cinnamon Rosemary Steamed Lobster with Lemon-Flavored Consommé.
The same philosophy is carried out in every aspect of the cuisine, including dessert. Pastry chef Weekie Lee’s thoughtful creations are meticulously crafted with an innovative approach that nevertheless remains true to tradition. “We keep an Italian spirit but with a twist on flavors,” says Lee. “And we respect time-honored family recipes while exploring contemporary cooking methods.”
Years of experience along with seasoned intuition have helped to shape 81/2 Otto e Mezzo BOMBANA into an intimate haven of genuine hospitality. Memorable moments are carefully crafted by a dedicated service team led by General Manager and Chief Sommelier Marino Braccu and Executive Manager Nancy Wang. “Our engagement with diners comes from the heart of our staff,” says Wang. “There’s no script, only our personalities.”
Adds Braccu, “We hope to transport guests away from their daily routines to a place of relaxation that reflects our message of quality – in the food, in the wine, in the music, in the overall dining experience.”
High above Shenzhen’s glittering skyline, Chef Alessio Durante brings his fresh, classic vision to one of China’s most acclaimed French restaurants.
BY MARK HAMMONS AND LEAH SU • PHOTOGRAPHY
BY
DAVID HARTUNG
IN A KITCHEN that seems to float among the clouds, Chef Alessio Durante is crafting what he calls “explosion moments” – those rare instances when a single bite of food transforms one’s understanding of what is possible on a plate. His eyes brighten as he describes one of his signature dishes at OPUS 388, Mandarin Oriental, Shenzhen’s elegant French restaurant perched 388 meters above the city: “When you mix everything together – the hot bone marrow, the cold meat, the briny caviar – it’s like a supernova in your mouth.”
The dish in question, a deceptively simple-looking preparation of bone marrow with Robbins Island tenderloin and Amur Beluga caviar, perfectly encapsulates Durante’s philosophy: traditional techniques applied with imagination to produce pure, powerful flavors that speak for themselves. No fancy flourishes, no unnecessary garnishes – just honest, robust taste. 在深圳璀璨夺目的天际线下，在那仿佛悬浮于云端之上的 厨房里，主厨 Alessio Durante 正精心打造着他口中的「美 妙瞬间－爆炸时刻」，一口美食便能颠覆人们对盘中佳肴的 固有认知。说起他在深圳文华东方酒店 OPUS 388 餐厅的招 牌菜时，他眼中闪烁着光芒。这家优雅的法国餐厅，坐落 于这座繁华都市的 388 公尺高空之上，Alessio 说道：「当 各种组合交融时 – 炽热的牛骨髓、冰凉的肉质、咸香的鱼 子酱 – 那一刻，仿佛口中绽放出了一颗璀璨的超新星。」
On a recent misty fall morning, Chef Alessio Durante traveled to Shanwei, a historic fishing hub one hundred twenty kilometers from Shenzhen, in search of inspiration. Wandering through the bustling seafood markets, his trained eye lingered over glistening mantis shrimp, plump local oysters, and freshly caught abalone. For Durante, who grew up by the Mediterranean, these discoveries – a convergence of his European heritage with the bounty of the South China Sea – sparked immediate culinary possibilities.
“With somewhat of an old-school spirit, I’m constantly trying new things,” he says. Such an avantgarde attitude is appropriate for a chef working in one of China’s most forward-looking cities, but Durante’s nuanced approach also involves a thoughtful return to fundamentals that feels remarkably fresh in an era of molecular gastronomy and Instagram-friendly plating.
The chef’s perspective aligns perfectly with the ethos of OPUS 388, known for blending French elegance with modern flair in its two distinct dining experiences. The lively Chef’s Table invites guests to experience the kitchen’s artistry firsthand, and the serene main dining room, ideal for intimate gatherings, offers sweeping vistas of the city below.
Durante’s path to Shenzhen is as intriguing as his culinary outlook. His formative years were spent at Da Claudio, a Michelin-starred restaurant in Liguria, Italy, where he started at fourteen and later returned as chef de cuisine for nine years. He has also worked in some of France’s most esteemed Michelin-starred kitchens, including three-Michelin-star Le Louis XVAlain Ducasse at the Hotel de Paris, and most recently served as senior sous chef at two-Michelin-star Alain Ducasse at Morpheus in Macau.
OPUS 388 以其两种独特用餐体验而闻名：充满活 力的厨师长餐桌让宾客近距离感受厨房艺术，而宁静优 雅的主餐厅则适合私密聚会，坐拥整座城市的壮阔景致。
Alessio 在深圳的职业生涯与他的烹饪视角同样引 人入胜。他的成长岁月在意大利利古里亚的米其林星级 餐厅 Da Claudio 的厨房里度过，自十四岁起，他便在 那里开始了自己的烹饪生涯。后来又以厨师长身份在此 工作了九年。此后，他还在多家法国米其林星级餐厅历 练，包括位于巴黎的三星米其林餐厅 Le Louis XV - Alain
Ducasse。上任则在澳门新濠天地摩珀斯酒店米其林二 星餐厅担任高级副主厨。
“This is our kitchen, our vision. Every dish tells a story of tradition, technique, and the pure flavors I grew up with.
这是我们的厨房，承载着我们的愿景。每一道菜都在诉 说着传统、技艺与我从小就熟悉的纯粹味道。”
Alessio Durante
鹅肝，渍红洋葱，咸可颂
Throughout every step of his career, Durante has insisted on the best available ingredients, and this relentless pursuit of quality, now with a fresh focus on local products, remains central to his approach at OPUS 388. “In Macau, you could get anything from anywhere in the world,” he says. “Here, it’s more challenging – but that makes it more interesting.” He’s already discovered exceptional pigeons from Guangdong and pristine seafood from Dalian, both finding a place in his carefully crafted menu.
“My Journey to China,” his debut tasting menu, reads like a love letter to his adopted home filtered through the lens of classic French cuisine. Each dish tells a story – a brandade macaron that reinterprets a French classic with Asian seafood, an oyster preparation that showcases the pure essence of the mollusk, a cannolo that bridges East and West.
Goose Foie Gras, Bittersweet Red Onion, Salty Croissant
Sea Urchin, Buttermilk
A Coral from the Sea – Olive
宝珊瑚 – 橄榄
OPUS 388 Main Dining Area
OPUS 388 餐厅用餐区域
But beyond merely trying to please, Durante is working to challenge and educate as part of his ongoing mission to introduce diners to the depth and complexity of French flavors. When guests encounter the concentrated taste of his game dishes or the richness of his bone marrow preparation, he sees it as an opportunity to share his passion for classic French food. “This is our kitchen, our vision,” he states with quiet confidence. “Every dish tells a story of tradition, technique, and the pure flavors I grew up with.” It’s not, he insists, about being different for difference’s sake but about sharing his deep respect for the cuisine and its power to create unforgettable moments.
As the setting sun casts long shadows across OPUS 388’s stylish dining room, Durante is already thinking about his next menu. He’s just returned from a sourcing trip to local seafood markets, his mind buzzing with ideas. “I come from the sea,” he says, his face lighting up as he describes the morning’s finds – mantis shrimp, squid, abalone, sea snails.
In these moments, one can see the fourteen-year-old apprentice who first fell in love with cooking in Liguria now transformed by decades of experience but still driven by the same passion for ingredients and flavor. Up here, closer to the sky than the street, Durante is crafting his own definition of modern French cuisine – a vision that honors tradition while embracing the future, one explosive flavor at a time.
At Kam Lai Heen, Chef Johnny Sin puts his imaginative spin on the classics of Chinese cuisine.
FOR SOME, tradition is to be honored in every detail, while for others, it is to be discarded for something entirely new. But for Chinese Executive Chef Johnny Sin of Kam Lai Heen at Artyzen Grand Lapa Macau, tradition serves as an endless source of inspiration. “Chinese cooking has a long history,” he says, “and through the generations, recipes have been changed and updated continually. In my interpretations, I like to add my own style.”
BY LORRIA SAHMET
It takes a seasoned master like Johnny to reach a true understanding of Chinese cooking, with its eight regional cuisines, each famed for its own complexity of flavors. It’s an accomplishment for which Johnny credits
← Chinese Executive Chef Johnny Sin 中餐行政总厨 冼濠锋 → Mandarin and Egg Yolk Custard Bun 陈皮桔子流沙包
the mentor he worked alongside for more than fifteen years. With this solid foundation, Johnny is bold in exploring nontraditional approaches to classic recipes, from unusual combinations of ingredients to ingenious presentations that arrive at the table like works of edible art.
His innovative contemporary creations, including Tea Smoked Crispy Fried Chicken with Caramelized Popcorn and Crispy-Fried Taro Dumplings with Foie Gras and Roasted Duck, are sensorial experiences that engage taste, smell, and sight. No longer slavish replicas of recipes frozen in time, they provoke thought and conversation. His adept use of rare ingredients and royal imperial techniques result in highly original dining adventures.
Johnny’s seasonal menus are like tapestries woven from the city’s rich multicultural fabric and reflecting Macau’s unique culinary landscape, with an emphasis on its Portuguese roots, a predilection for local ingredients, and influences from the distinct flavors of surrounding cities like Zhongshan and Zhuhai.
“I chose to pursue Chinese cuisine because I wanted to share my own culture,” he says, “and I keep discovering that there are so many ways you can interpret Chinese food.”
Mustard Leaves, Razor Clam, Tofu, Nespresso Professional
Coffee Oil
循环之味 生生不息
VIRTUOUS CIRCLES
Nespresso joins forces with two top Hong Kong chefs for the Taste of Circularity campaign, highlighting the brand’s ongoing efforts to reduce waste and find creative new purposes for first-use materials.
BY LUCY MORGAN •
PHOTOGRAPHY BY DAVID HARTUNG
“I buy many micro herbs and edible flowers locally, and I like to support producers who share my values.
我在本地采购许多微型香草和可食用花卉， 我喜欢支持与我价值观相同的生产商。”
Choi Ming-fai 蔡明辉
FOR THIRTY YEARS, Nespresso has been committed to making coffee a force for good, and with its certification as a B Corp in 2022, the company continues to make circularity a key pillar in its approach to sustainability. A many-faceted concept, circularity is all about finding win-win environmental solutions to issues of materials use. What was once considered “waste” is instead seen as a resource to be repurposed in new and ecologically beneficial ways.
In Hong Kong, one of Nespresso’s notable initiatives in advancing circularity is its RE:FARM experiential showcase at the Nespresso Airside boutique that demonstrates the full circular journey of coffee, from capsule to cup to dining table and back again. Coffee grounds extracted from recycled Nespresso capsules, for example, become fertilizer that nourishes organic crops while at the same time reducing waste.
Continuing in its dedication to unlocking the power of food to enhance the quality of life for everyone, today and for generations to come, Nespresso recently launched its Taste of Circularity campaign. Two Hong Kong chefs whose sustainability values align with Nespresso’s were invited to create original dishes that celebrate the flavors of Nespresso coffees and their journey from crop to craft.
Choi Ming-fai is head chef of Mora, Vicky Lau’s latest venture, with a focus on sustainability. Winner of the Michelin Guide Young Chef Award 2024, Choi takes pride in making his own soy milk and tofu from soybeans and then contributing the byproducts to local farms to be used as fertilizer. “I don’t like to see anything go to waste,” he says. His efforts have paid off. Mora not only holds a Michelin star for the excellence of its cuisine, but it was also awarded a Michelin Green Star in 2024 in recognition of its commitment to sustainable practices in the kitchen.
“I buy many micro herbs and edible flowers locally,” says Chef Choi. “And I like to support producers who share my values.” For the Nespresso collaboration, he used mustard leaves from Common Farms, a local indoor agri-tech farm in Yau Tong that makes use of fertilizer made from spent coffee grounds from recycled Nespresso capsules to grow a selection
在名厨刘韵棋创立的 Mora 餐厅，主厨蔡明辉以其专 注于可持续发展的料理风格闻名。荣获米其林指南 2024 年轻主厨大奖的蔡主厨会自制豆浆和豆腐，并将副产品提 供给当地农场作为肥料使用。他说：「我不喜欢看到任何 东西被浪费。」他的努力获得了丰厚的回报：Mora 不仅因 其卓越的美食获得米其林星级荣誉，更在 2024 年获颁米 其林绿星，以肯定 Mora 在厨房中对可持续实践的承诺。 蔡主厨说：「我在本地采购许多微型香草和可食 用花卉，我喜欢支持与我价值观相同的生产商。」在与 Nespresso 的合作中，他选用了来自位于油塘的本地室内 农业技术农场 Common Farms 的芥菜。Common Farms 利用 Nespresso 粉囊咖啡渣制成的堆肥种植有机作物，并 供应给多间香港顶级餐厅。
蔡主厨将这些蔬菜与甜美细嫩的蛏子以及带有温和 酸味的豆腐相结合。他说：「大豆制品作为我们料理传统 的艺术珍宝，其重要性常被低估，因此我渴望在精致料 理中彰显大豆制品的魅力应用。」这道料理以 Nespresso Professional Brazil Organic 咖啡制成的风味油调味。他介 绍：「咖啡风味油可以凝聚大豆、海鲜和微型绿叶的风味， 为这道复杂而富有层次的料理增添了完美的平衡。」
Choi Ming-fai
Grenaille, Coffee, Black Truffle
Grenaille土豆、
Joris Rousseau
“This dish highlights local ingredients, and the Nespresso coffee ties them all together.
这道料理以本地食材为亮点，而Nespresso的 咖啡风味让各种味道得以融合。”
Joris Rousseau
of organic crops that are sourced by some of Hong Kong’s leading restaurants.
Choi’s circularity-inspired dish teamed these greens with the sweet, delicate flesh of razor clam and the gentle acidity of tofu. “I think soya products are an art form representing our heritage, but sadly are a little underappreciated,” he says. “I wanted to highlight how soya products work in a fine dining context.” Dressing the plate was oil infused with Nespresso Professional Brazil Organic coffee. “The coffee oil helps to balance and unite the soya, seafood, and micro greens in this complex and layered dish.”
Another Hong Kong restaurant devoted to environmental responsibility is Feuille, which was awarded a Michelin Green Star in 2024. It offers the elevated French cuisine of Chef Joris Rousseau, who is committed to sourcing 85 percent of his ingredients locally, including from Common Farms. “We cherish our relationships with farmers,” he says. “They are community partners who share our passion.”
Proving that circularity can be exceedingly delicious is the dish Chef Rousseau created for his collaboration with Nespresso: Grenaille, Coffee, Black Truffle. It features Nespresso Professional Brazil Organic coffee, which he transformed into an aromatic oil for dressing kale, watercress, and potato. “I let it steep in the oil for eight hours, and then mixed truffle vinegar with it – it’s the perfect match. This coffee lends a beautiful fragrance – a little touch of fruit and a delicate sweetness, and it pairs really well with kale and truffle.” The dish also includes sabayon truffle emulsified with parsley and enhanced with coffee butter. The mild coffee flavor, with gentle toasted cereal notes and delicate sweetness, adds complexity to the dish without overpowering the other ingredients.
Also on Rousseau’s elegant plate was hyper-local watercress grown with fertilizer made from grounds from recycled Nespresso capsules. “This watercress is an excellent addition because it is perfectly peppery,” he says. “I really love to buy produce from local farms, and sometimes I go and pick it out myself – it’s so satisfying not to have to import too many ingredients from overseas. This dish highlights local ingredients, and the Nespresso coffee ties them all together.”
A creative young bartender brings new energy to Bangkok’s Aqua.
BY RON GLUCKMAN
PHOTOGRAPHY BY DAVID HARTUNG
AQUA, ANANTARA SIAM BANGKOK HOTEL’S “secret garden,” has for decades been the ultimate urban oasis in the bustling capital, a tropical sanctuary of orchids and palms surrounding a serene koi pond.
And then a colorful – and colorfully tattooed – mixologist from the Philippines landed at the newly revamped Aqua and began to stir things up by crafting zesty twists to cocktail classics and creating a buzzy atmosphere. “I’ve been pushing to make it lively,” says Ryan Germino. “This is a great place – the garden is the main attraction, but you need people to make it really special.”
Aqua 酒吧隐匿于曼谷 Anantara Siam Bangkok Hotel 酒店内 的一座「秘密花园」中，数十年来一直是这座喧嚣都市中的 一片静谧绿洲。窗外，热带花园郁郁葱葱，花园中央的鲤鱼 池畔环绕着娇艳的兰花和挺拔的棕榈树。
近日，Aqua 酒吧迎来了一位来自菲律宾的调酒师 Ryan Germino。他有趣活泼的个性，尤其是身上那鲜明多彩的刺青， 给人留下深刻的印象。在他的精心调制下，经典鸡尾酒焕然 一新，风味多变且饱满，为酒吧营造出热闹的氛围。在接受 采访时，Ryan 表示：「我一直致力于为 Aqua 增添更多活力。
这里是个很棒的地方，比如那令人难以抗拒的热带花园，但 还需要有人让它变得独具特色。」
←
Coco Pandan Quiri
→ Roselle Cosmo
After stints at the Sofitel and Hard Rock Cafe in Dubai and Buddha-Bar Beach Abu Dhabi, Germino landed in Bangkok two years ago and has been filling seats with his menu of classics that showcase local ingredients.
His Negroneo, inspired by the classic Negroni, features gin and Lillet Blanc, but the tang comes from not only grapefruit bitters but also grilled onion, Mancino Bianco, and onion brine saline solution.
“It’s darker, more complex,” he says. Germino’s personal fave, the Paloma, is a potent blend of tequila and mezcal with grapefruit flavors. He adds local coconut and a sprinkling
Ryan 曾在索菲特酒店、迪拜国际机场的 Hard Rock Cafe 以 及阿布扎比的海滨布达吧（Buddha-Bar Beach）工作。两
“I love creating cocktails. It’s all about making this a special scene.
我热爱调制鸡尾酒，这一切都是为了让这里的风景变得更独特。”
Ryan Germino
of salt and spice around the glass. It looks gorgeous and tastes even better.
Elevating Aqua from quiet rendezvous site to happening hotspot was only the first step. He has launched a guest program that brings celebrity mixologists from bars in Hong Kong and Singapore, as well as Mongolia, on a monthly basis. Next will be the pairing of signature cocktails with the cuisines of all of the hotel’s venues. That includes not only Guilty Bangkok’s scrumptious Peruvian fusion but even the all-day fare of Mocha and Muffins.
Germino has already crafted cocktails for afternoon tea in the lobby, and his Smoky Donut, a dessert cocktail he cooked up to taste like a Krispy Kreme, was a sellout. “I love creating cocktails,” he says. “It’s all about making this place a special scene.”
他还在调酒中使用当地的椰子，并在玻璃杯沿撒上盐和 香料，这样的搭配不仅令人眼前一亮，风味也绝佳。
Ryan 成功将 Aqua 从安静浪漫的约会地点转变为曼 谷城中热门的目的地，而这只是他的第一步。他还精心 策划了客席调酒师计划，每月邀请来自香港、新加坡以 及蒙古的调酒大师前来，为酒吧注入更多的活力和创意。 接下来，他还计划将招牌鸡尾酒与酒店中的各式美食进 行搭配，包括有 Guilty Bangkok 餐厅的秘鲁风味佳肴， 还有全天候咖啡馆 Mocha and Muffins 的美点相互映衬。
Ryan 已经为酒店的下午茶特调了鸡尾酒，他独创 的甜点鸡尾酒「烟熏甜甜圈（Smoky Donut）」口感酷 似 Krispy Kreme 甜甜圈，推出以来便大受欢迎。他表示： 「我热爱调制鸡尾酒，这一切都是为了让这里的风景变 得更独特。」
Elderflower Gimlet
越野上的精致佳肴
the wild edge of fine dining
In Vietnam’s rapidly evolving culinary landscape, one chef is venturing deep into the jungle to discover ingredients that even the locals have forgotten.
THE HONEY HUNTERS move like spirits through the dense Vietnamese jungle while Chef Sam Aisbett struggles to keep pace. They’re tracking wild bees, searching for precious honey that will find its way onto the plates at Akuna, Ho Chi Minh City’s newly-minted Michelin-star restaurant. The hunters light enormous cigars handrolled from jungle leaves to calm the bees before climbing into the canopy. For Aisbett, these expeditions represent everything that drew him to Vietnam: the raw adventure, the undiscovered ingredients, and the chance to pioneer something entirely new.
BY MARK HAMMONS
“Who gets to do that?” he asks, amazed by the experience. “What other chefs are doing that?” While most high-end restaurants in Asia’s major cities rely on established supply chains and familiar luxury ingredients, Aisbett is blazing new trails through the Vietnamese wilderness.
The honey-hunting expedition is just one of many adventures that have shaped Akuna’s unique menu. Aisbett has tracked down
↓ The kitchen at Akuna is a hub of experimentation.
Akuna的厨房是一个创 意实验的中心。
porcupine farmers, ventured out on fishing boats to understand the source of Vietnam’s legendary fish sauce, and discovered mysterious berries that taste inexplicably like olives. Each expedition adds another layer to what has become one of Southeast Asia’s most exciting culinary experiments.
“I’ve worked in all different countries,” Aisbett explains, “and I thought I knew everything. I thought I’d seen all the ingredients.” He shakes his head, mystified by Vietnam’s depth of undiscovered flavors.
“I come here, and there’s so much stuff I’ve never seen – berries, fruits, spices. Even the names, I can’t remember them all because they’re all Vietnamese names I’ve never heard before.”
This sense of discovery extends to his kitchen team, where Aisbett has had to unlearn the rigid hierarchies of his previous posts in Singapore and Sydney. His Vietnamese chefs, some as young as seventeen, have become his cultural guides, each bringing knowledge from
Sam 在新加坡与悉尼工作时所遵循的严苛等级 制度。他的越南厨师团队中，有的年仅 17 岁， 每个人都带来了来自该国不同地区的独特知识， 成为他探索当地文化的向导。「他们从不吝于发
← Sam Aisbett
different regions of the country. “They’re not shy to give their opinion,” he says with a laugh. “I remember when I was young, I would never tell the chef anything – you just shut your mouth and do your job.”
The results of this cultural exchange are evident in Akuna’s sophisticated marriage of technique and local ingredients. Take the restaurant’s signature tuna dish, where Aisbett has replaced his former reliance on Japanese white soy with Vietnam’s intense, artisanal fish sauce. “It’s very different to Thai fish sauce,” he explains. “The color is like a deep red – pure fish magic. It’s salty but not unpleasantly so –you taste the fish, it’s almost caramel-like.”
His most extraordinary discoveries have come from Vietnam’s northern regions, where he encountered sand worms that local cooks add to broths for depth and umami. These findings lead to weeks of experimentation in Akuna’s kitchen. “We’ll try it raw, ferment it, pickle
↓
“Here, it’s organized chaos. Somehow it works.”
“这里是有序的混沌，却莫 名其妙地运作得很好。”
→ Akuna’s culinary team comes from all regions of the country.
it,” Aisbett explains. “A lot of times it doesn’t work. But then I’ll be lying in bed and think, ‘If I do it with this...’”
The process isn’t always smooth. Ingredients arrive on motorcycles without refrigeration, leading to frantic improvisations. Communication with suppliers often involves multiple translations, leading to comic misunderstandings. But for Aisbett, these challenges are part of the appeal.
“In Singapore, everything was perfect, amazing,” he reflects. “Here, it’s organized chaos. Somehow it works.” He pauses. “Some days it’s an absolute disaster and I hate it and think ‘What the hell am I doing here?’ And then you have other days when you’re doing something and you think ‘This is so cool.’”
That sense of adventure has attracted attention – Akuna recently hosted Marriott executives, curious about their only fine-dining restaurant in Asia creating something so unique. As Ho Chi Minh City prepares for an influx of luxury hotels and international restaurants, Akuna has staked its claim as something different – a restaurant that doesn’t just serve Vietnam’s ingredients but actively participates in their discovery and preservation.
Next week, Aisbett and his team will head out to visit a fish sauce factory, hoping to join a fishing expedition. There will be more motorcycle rides across precarious wooden bridges, more jungle treks, and more discoveries. “I never planned this,” he admits. “I just came here on holiday, fell in love with it, and began this massive adventure.”
And somewhere in the Vietnamese jungle, the wild bees are making more of that precious honey, waiting for the next visit from the chef who has made it his mission to bring their flavors to the world.
进行数周实验。「我们会尝试生吃、发酵、腌制，」 Sam 详述道，「很多时候都会失败。我们有一些 无法成功的尝试。但每当我躺在床上辗转反侧， 总会思考，如果用这个来尝试 」
发现和实验的过程往往充满了曲折与未知。
有时，食材只能无奈地安置在摩托车后座上，因 缺乏冷藏设备的保护，只能任由冰块与时间肆意 地挥发，带来种种不可预测的变化。与供应商的 沟通，更是时常要跨越重重翻译的障碍，其间不 乏令人捧腹的误解与笑料。 然而，对于 Sam 而 言，这些挑战正是他不断前行的动力源泉。
At InterContinental Khao Yai, Chef Nirut Pochsalee serves standout French and Thai food in lovingly restored heritage railway cars.
“I’VE LEARNED A LOT from different countries and cuisines over my years traveling the world,” says Executive Chef Nirut Pochsalee of InterContinental Khao Yai. From his culinary beginnings on the island of Koh Samui to positions as chef in the Middle East and Latin America, Pochsalee has honed his palate and his skills as he explored flavors and techniques around the globe.
Now he has returned to northeast Thailand and settled at InterContinental Khao Yai, a luxurious retreat that is surrounded by lush tropical gardens and is close to a national park on the UNESCO World Heritage list. Pochsalee helms a roster of exciting dining destinations at this peaceful resort, conceived by renowned architect and designer Bill Bensley and offering a series of sensitively restored heritage railway carriages as guest suites and F&B venues.
WORDS AND PHOTOGRAPHY BY MARK HAMMONS AND ELISABETH RUANGKRITYA
Among InterContinental Khao Yai’s dining options is Somying’s Kitchen, offering authentic Thai cuisine, with all its complexity and depth of flavor. “Many of our guests are Thais,” says Pochsalee. “Some come here from Bangkok for weekends and holidays, and we have a lot of returning customers.” Pochsalee has formed a special appreciation for the ingredients in this part of Thailand. “I
use local anchovies in my papaya salad at Somying’s Kitchen,” he says. “I’ve noticed that they’re much more delicate here than in other regions. The texture is different to those in Bangkok or the east, and it is far less pungent.”
Diners seeking international cuisine may visit Poirot, a formal dining experience that draws inspiration from the iconic journey of the Orient Express. A select menu of exquisitely luxurious dishes focuses on fresh flavors. “I like to serve European classics at Poirot,” says Pochsalee, “and I use both local and international ingredients. Fruits grow well in this part of Thailand – mangoes, sweet corn, avocados, and grapes. We like to support local producers, and we also have a garden on-site where we grow herbs like lemongrass and galangal. I also have an excellent supplier who sources the absolute best global ingredients to make sure my cuisine is the best it can be.” His classic Beef Burgundy, for example, uses a top-quality Australian cut. “This meat is extremely tender,” he notes.
“It shows itself very well in the classic French sauce, served with mashed potatoes and vegetables.”
The intimate Tea Carriage is set aside for sumptuous afternoon repasts replete with sweet and savory treats infused with local cultural influences. And for some glamour, another carriage is styled as elegant Papillon bar, featuring classic French cocktails.
“At Papillon,” says Pochsalee, “we use a lot of local fruits like papaya in purees and juices to craft beautiful drinks – French inspired but with Thai ingredients.”
It’s not just the human guests that Pochsalee takes pleasure in delighting – furry family members are not only welcome at the resort but can also indulge in a special afternoon tea. “We have a lot of families with kids that visit us – along with their cats and dogs. I think what I like best about working here is that we really take care of the customers to make sure they feel at home.”
Award-winning architect and designer Bill Bensley brings his love of trains to the exquisite InterContinental Khao Yai resort with a series of beautifully converted passenger cars as accommodations. General Manager Sandy Liw tells TK how she and her staff ensure that guests always request a return ticket. § 获奖建筑师兼
设计师 Bill Bensley 将他对火车的深厚情感，巧妙融入考艾洲际度假村的设计之中，将一列列精心改造 的车厢转变为独特的住宿空间。度假村总经理 Sandy Liw 与TK分享了她跟团队如何让宾客的每一次旅 程都回味无穷。
What have you learned over your years working around the world in hospitality and how do you bring that knowledge to InterContinental Khao Yai?
Luxury hotels change over the years, so we need to evolve. And guests have changed their preferences over the years, especially since COVID. These days, it’s not marble bathrooms and big chandeliers they want — the new luxury is how the guests feel. They enjoy attentive service, so we ensure that everything is personalized, designed and tailor-made for them.
It can be as simple as the amenities in the room. We might provide them with their favorite magazine to read or blend a customized tea they can enjoy. What I have learned is that guests never remember what you say to them, or do for them, but they really remember how you make them feel.
I try to make them feel as comfortable as they can be without overdoing it. We want them to have a wonderful memory of their vacation and to want to come back.
What are the main challenges of running a hotel in the middle of nature, as opposed to one in a city?
It must be finding talent willing to live and work in a remote location. And then working with suppliers, as most are located in big cities. Sometimes you might need something urgently – like flowers, for example. And then, you need to travel all the way to the city to source it.
Actually, I am the only foreign one! The rest are from Thailand. More than 50 percent of our colleagues come from this region. I prefer to hire local talent, as they have their communities here. People from Bangkok might only stay a year and then want to go back to the city.
What do you appreciate most about working with Thai people?
They’re always smiling, very polite and very sincere in the way they interact with everyone. My colleagues help me to appreciate what is happening around me. They encourage me to enjoy nature and the beautiful flowers.
I also appreciate how everyone tries to do their best, to make the guests happy and comfortable.
What do guests who have never been to this region before enjoy most about their stay?
Most guests mention the beautiful architecture and imaginative design of the resort, as well as the surroundings and landscape and the staff and the food. Basically everything! Even the spa and massage, they enjoy that too.
There are a few wellness resorts around the region. What makes yours special?
It has to be our location. During the winter, the weather in Khao Yai is so beautiful, so cool. And it’s the sense of peace. As you leave Bangkok to come here, everything is so crowded. When you arrive here, it is so calm and relaxed. It’s a wonderful place to wind down.
“My colleagues help me to appreciate what is happening around me. They encourage me to enjoy nature and the beautiful flowers.
我的同事帮助我欣赏周围发生的事情， 他们鼓励我享受大自然和美丽的花朵。”
Sandy Liw
It’s a suitable place for families, couples, and adventurers, who can go to the nearby national park for trekking and birdwatching, or elephant spotting. For couples, this is the perfect romantic getaway. It’s really good for children, as there are lots of farms, where urban kids can learn about farm life, how to harvest carrots – no need for screen time here. The results show we have an extremely high return rate – some of our guests have been back four or five times, and we have only been open for fifteen months!
What is the demographic of your guests?
Seventy percent of our guests are Thai; the rest are international, with strong representation from both Singapore and America. Singaporeans really love Bangkok and will come over three or four times a year. Sometimes they want the combination of city and resort – Khao YaI is the perfect combination with a city break.
What are the must-do activities during a stay at InterContinental Khao Yai?
If our guests want something to do within the resort, they can take a stroll or bicycle ride around the lake, as it’s such a pleasant thing to do. If they are outside the resort, then it must be a visit to either the national park or the local winery.
What experience would you like guests to remember most?
I think I’d like them to remember the unique accommodations – staying in train carriages. And having a cocktail at Papillon and a meal in our restaurant. I feel like the train is going to take off at any time. It really is like dining in a romantic movie set.
What about pets? Are they welcome?
We are a pet-friendly hotel. Our restaurants have outdoor areas that welcome pets and we have a beautiful dog park – a fenced area where the furry kids can run around freely. And we can accommodate your pets’ dietary preferences with bespoke menus. Our chef recently created a special vegan menu for a canine visitor. We like to accommodate the needs of all our guests.
Any future developments we can look forward to?
We’re looking at building on our wellness offerings with more options for healthy eating and activities. We are also going to start operating a tram, which will move along a track from the car park to the tea carriage and heritage suites. This will be fun for our younger guests and make a wonderful Instagram moment.
In the cultural heart of northern Thailand, a historic residence turned luxury retreat offers an intimate glimpse into the art of Thai hospitality, where ancient traditions meet modern refinement.
AND PHOTOGRAPHY
WORDS
BY MARK HAMMONS AND ELISABETH RUANGKRITYA
THERE IS A MOMENT, just as one steps through the entrance of 137 Pillars Chiang Mai, when time seems to pause and recalibrate. Perhaps it’s how the afternoon light filters through the ancient rain trees or the way the colonial-era teak house stands in dignity against the tropical sky. Whatever the alchemy, the effect is immediate and profound – a sense of serenity that wraps around one like a silk shawl.
“I never cease to be amazed at everyone’s first impressions,” reflects General Manager Anne Arrowsmith. “There appears to be an instant connection, a sense of comfort and of being in caring hands.” This embrace is no accident, but rather the culmination of carefully cultivated hospitality principles that Arrowsmith has garnered over decades in luxury hotels across the globe, beginning with what she calls “a happy accident” – a position with Regent International Hotels that placed her alongside industry giants.
Her career path ever since has been guided by the golden rules of Four Seasons founder Isadore Sharp: “Always answer with a yes, do that little bit extra, and treat others as you yourself wish to be treated.” These precepts now echo through every corner of the hotel, where the art of hospitality is practiced with true devotion. The property’s exceptional service and attention to detail have been recognized recently with one Michelin Key, a prestigious new distinction that does for hotels what Michelin stars have long done for restaurants.
Orbiting around the original structure, the historic East Borneo Company headquarters dating back to the late 1800s, are the property’s thirty suites, each a study in understated elegance. But what truly gives life to the space is the dedicated staff of seventy. “Apart from me, the team are from the north, and thus there is a genuine provision of Lanna hospitality and pride in the region’s culture,” notes Arrowsmith. “They are remarkably generous and gentle and have an enviable ability to separate personal hardships and turn up every day to be joyful and attentive to our guests.”
This authenticity extends seamlessly into the culinary realm under Executive Chef Lakana Suakeaw, known affectionately as Chef Mam. “In Thai society, family and food share a deep, interconnected role that permeates through daily life and significant cultural events,” says Arrowsmith. “Thai people use food not only for sustenance but as a medium of respect, gratitude, and connection.”
The culinary philosophy manifests most beautifully in the khantoke experiences, traditional northern Thai dining ceremonies with dishes presented on intricately carved wooden trays. Each meal becomes a celebration of community and culture, with an array of delicacies reflecting the perfect balance of sweet, sour, spicy, and salty that defines Thai cuisine. “Our offerings change with the seasons,” says Chef Mam, “and my approach is to provide locally sourced, ethically grown ingredients so that flavors and freshness take center stage.”
The property has mastered the delicate art of being all things to all people without losing its soul in the process. Families find a warm welcome here, with interconnecting suites and air-conditioned terraces that can transform into sleeping quarters for little ones. “It’s hard to think of another culture that loves children as much as Thais,” says Arrowsmith. The staff orchestrates everything from Thai boxing lessons to cooking classes for young guests, and certified babysitters stand ready for parents seeking a romantic evening alone.
For younger gourmands, Chef Mam fashions special experiences. “There is no better way to engage and intrigue curious minds than a food tour through our local market, followed by a hands-on cooking class designed specifically with children’s food preferences in mind but delivered with Thai tastes and style,” she says. “Children learn the importance of making foods in an artful, decorative way that’s both fun and educational.”
Days here unfold like chapters in a well-crafted novel. “Chiang Mai,” says Arrowsmith, “has a wealth of cultural activities and fabulous nature for visitors to experience.” Mornings might begin with yoga on a private terrace, followed by guided explorations of old Chiang Mai’s folklore-rich lanes. “Our talented front-office team and butlers seek to understand
Marinated Snowfish with Roasted Potato Wedges, Grilled Vegetables, and Lemon Cream Sauce
“In Thai society, family and food share a deep, interconnected role that permeates through daily life and significant cultural events. Thai people use food not only for sustenance but as a medium of respect, gratitude, and connection.
guests’ specific interests and then craft itineraries that meet them. Activities may include soft adventure; culture and crafts like ceramics, silver, and silk; temples, history, and heritage; wellness and spas; or cooking classes and culinary journeys around town.”
Afternoons might find guests in the company of elephants at nearby sanctuaries, where, Arrowsmith notes, they witness “the wonderful work being done by a handful of inspirational individuals to protect and provide natural habitats for these magnificent, intelligent animals.” Others might choose to explore the ancient temples that dot the landscape or learn traditional crafts from local artisans, each experience carefully curated to provide authentic insights into northern Thai culture. The property’s intimate scale allows for deeply personalized experiences, whether it’s arranging a private meditation session with a local monk, organizing a bespoke pottery workshop, or setting up an impromptu Thai language lesson with the ever-obliging staff.
As twilight approaches, the venerable teak house takes on an almost luminous quality. Wraparound verandas become gathering spots where guests share stories of their day’s adventures, with the carefully preserved architecture serving as a backdrop to contemporary moments of connection. In the colonial-style bar, ceiling fans turn lazily overhead and cocktails are crafted with the same exacting attention that permeates every aspect of the 137 Pillars experience. The evening air fills with the gentle hum of cicadas as diners settle in for Chef Mam’s latest seasonal offerings, each dish a reflection of her commitment to both tradition and innovation.
The magic here lies not just in the impeccable service or the architectural distinction, but in something quite ineffable – the way the property seems to exist in perfect harmony with its surroundings, its history, and its cultural context.
When asked what she hopes guests take away from their stay, Arrowsmith responds, “Most importantly, how we made them feel. We hope they leave with wonderful memories and a desire to return.”
Sustainable wellness resort The Retreat has turned Koh Chang, Thailand, into a luxury destination.
WORDS AND PHOTOGRAPHY BY MARK HAMMONS AND ELISABETH RUANGKRITYA
Mate Teeraniti
“IT’S NOT REALLY A HOTEL,” says Mate Teeraniti of The Retreat Koh Chang. “It’s a second home for our guests. And it’s our passion project.”
Teeraniti and his family had been running The Chill Resort and Spa on the tiny island of Koh Chang for several years when a neighbor who owned a large piece of land came to them because he had financial difficulties and was worried his property would be repossessed. To help him out, Teeraniti and his family bought the tract, but after visiting it and seeing its potential, they decided to build their dream resort.
Located between Kai Bae beach and a small fishing village in Koh Chang, the site offers incredible views over the Gulf of Thailand.
“It was a case of if you build it, they will come,” he says. “The hospitality market in Koh Chang is quite weak. We saw a niche and were quite confident that if we’d do it well, if we’d do it even better than The Chill, people would definitely come for the property rather than the island.”
The Teeraniti family set about designing a sanctuary that would create jobs for local people and also be kind to the environment.
Many aspects of building were made easier because Teeraniti is a trained engineer and his family operates an engineering company. “On the physical side, without our background, everything would have been
hard. All the details of infrastructure, basically all the construction drawings we did in-house, as well as the electrical and mechanical systems and lighting design.”
The family’s engineering skills were tested further in building a water-supply reservoir that collects rainwater and mountain runoff. To maximize green energy, all the buildings have solar panels. A garden and farm supply ingredients for the kitchen, and the waste is converted into compost. A recycling area where locals can bring food waste and swap it for fertile compost is being built to help support the community.
The Retreat’s focus on sustainability comes at no cost to its appearance. Beautiful low-rise buildings, set among serene gardens, blend into the landscape. Regionally sourced stone and wood chosen by Teeraniti’s father have been transformed by local artisans into refined structures with subtle design details. By choice, The Retreat has only thirty-eight guest rooms. “In designing the grand plan,” says Teeraniti, “we wanted to maximize open public space. There must be privacy, and guests must never feel overcrowded.”
The family worked hard to achieve the simple elegance of the resort’s architecture, landscaping, and interior design. “The concept is partly inspired by our travels and also by our favorite architects,” says Teeraniti.
“We named it ‘Tropical Zen.’ The theme had to be tropical, of course, because of our geography, but we didn’t want that to be overdone, like some other six-star resorts. It needed a Zen element of minimalism and sophistication. We’re a wellness and mindfulness resort, and this design creates a feeling of tranquility.”
Building The Retreat coincided with the pandemic, which ironically worked in the family’s favor. People who had worked in the cities or abroad, including some highly skilled craftsmen, returned to the island, says Teeraniti.
“There are so many things we could have done differently, more professionally. We could have built faster and so on, but we were able to get all the details right, working and reworking for better quality. It’s been a great learning experience.
“When I was deciding what to study at university, I had to choose between art, architecture, and engineering. I realized that if I started with art as a profession, I might not enjoy it as much, so in the end I chose engineering. But now I get to enjoy doing all three here at The Retreat.”
