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THE ULTIMATE L IV ING
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OBSESSION: THE LURE OF THE SEA
GLOCALISATION: LOCAL DESIGNERS GO GLOBAL
GOURMET: SPANISH INFLUENCE
ART: AN ANCIENT ART RE-EMERGES
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SAVE LIVESFIRST
THE BEST THING FOR OUR AILING WORLD MIGHT BE TO STOP SPENDING MONEY ON
REDUCING CARBON EMISSIONS TO SAVE THE EARTH. STORY SUMANA RAJARETHNAM
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The latest research on climate change is
hardly news to cheer about. Researchers from
Oxford University have found that climate
change is not caused by short-term increases
in carbon emission, but by the total amount of
carbon we burn into the atmosphere. Burning
carbon in exchange for energy is something
mankind has been doing in a significant way
since the Industrial Revolution. And consider-
ing how long that has been, the implications
are severe: the world will have to stop emitting
carbon or risk environmental catastrophe.
We need only remember two numbers: one
trillion and two. If more than one trillion tonnes
of carbon are emitted, the world temperature
will rise by two degrees Celsius. Seems small
but that rise will cause global damage, according
to the Stern Report, the study commissioned by
the British government. The world has already
burnt through half a trillion tonnes of carbon.
At current consumption, the next half trillion
will be gone in a mere 40 years, something that
politicians get worked up about.
US President Barack Obama’s administration
proposes an aggressive programme to wean
America off carbon, progressively decreasing
emissions until levels are 30 per cent lower by
2050. That would put emissions levels in the US
the same as they were in 1905.
Let ’s just step back and take a look at
Amer ican l ife in 1905. There were 80,000
vehicles—none of them gas-guzzling SUVs—
compared to 250 million today. Ninety per cent
of the country had no electricity. Electronic
consumer goods, like f lat-screen TVs and PCs,
were unheard of. No one had air-conditioning.
The average American lived three decades less
then than he would today. Can you imagine
how diff icult it would be to achieve a zero
carbon world?
Other governments are tak ing similar
steps. The Rudd government in Australia had
a modest carbon reduction scheme that would
have cost businesses US$8 billion in 2010 to
2011, not counting the reduction in jobs and
decreased government revenue, although this
has recently been delayed. The UK wants to tax
companies that breach a threshold of energy
use starting next year. Tesco, a supermar-
ket chain, will have to pay over US$80 million
under this ruling.
For a decade now, there have been plans
for carbon trading, essentially taxing corpo-
rations that use over a certain amount of
carbon. Countries want to switch to alterna-
tive forms of power, and are making plans for
“green economy jobs.” These are new jobs that
will be created so that the world can move to
an energy system rid of carbon. While the
intention appears noble, the narrative doesn’t
seem to focus on the economic and social cost
of such an ambitious agenda. One study by
McKinsey puts the annual cost of an effort to
halve emissions, and build a new energy infra-
structure by 2030, up to a whopping US$463
billion. Given the lack of liquidity in the current
fi nancial situation, the question is: Is reducing
carbon emissions worth the money?
The short answer is no. There are other
things governments could do with their money
to save l ives. The Copenhagen Consensus
hosted a group of Nobel laureates to calcu-
late the relative cost of global initiatives. They
found the return to carbon mitigation policies
to be about 90 cents on the dollar. The fi rst two
years of the war on terror returned nine cents
on the dollar.
B u t B j o r n L o m b o r g , d i r e c t o r o f t h e
Copenhagen Consensus asks to look at the
f lipside: “Today, one billion people lack clean
drinking water, two billion people lack sanita-
tion and three billion people lack simple micro-
nutrients.” The Nobel laureates calculated the
benefi ts of focusing on these problems. Turns
out, US$60 million spent on providing simple
micronutrients to four-fi fths of children under
the age of two in sub-Saharan Africa would
bring US$1 billion in benefits. That’s a return
of $17 on the dollar. Spending US$1 billion on
combating tuberculosis would save one million
lives, and return $30 on every dollar spent.
Malaria will claim one million lives in poor
countries in 2009. Prevention of this disease is
relatively easy. You need more bed nets, better
medication and a lot of DDT spraying. An
outlay of US$500 million a year would save half
a million lives, most of them children under
the age of fi ve. These examples have common
traits—they are relatively cheap but high on
bang-for-your-buck value. And, they are but
a few examples of projects that save more
lives, with more certainty, compared to carbon
reduction.
Scientists are beginning to question the
validity of climate change policies as well. Not
because there is an argument as to whether
climate change is human-induced, but because
they question the validity of spending trillions
to achieve so litt le. Consider the scenario
painted by Phillip Stott, a professor from the
University College of London. At a lecture in
London, he remarked, “Think of the world from
inner Siberia, to Singapore and then to the Arab
states in the Sahara. The temperature change
that I have just described is from -20 degrees
Celsius to nearly 50 degrees Celsius, in which
humanity has learned to live. That’s a range of
70 degrees. To think that governments want to
spend billions to reduce the temperature by 2
or 3 degrees is sub-prime science, sub-prime
economics and most of all, sub-prime politics.”
Dr. Stott has a point. Climates are chaotic
and complex systems, and to think that we
can manipulate them to our will seems crazy.
For example, global warming might kill an
additional 400,000 people by the end of the
century. That is reported widely in the press.
What is not reported is the fact that 1.8 million
cold-related deaths might be averted by the
increase in temperature. That’s a net gain.
What’s more, the two- or three-degree reduc-
tion only dances around the margins of change.
The polit ical reality is that r ich govern-
ments cannot expect others l ike China or
India, to replace 3-cent coal with 15-cent wind
or 30-cent solar power. With their thirst for
energy, that seems more like a pipe dream.
Plenty of money should be spent on research
and development to f ind a way out of our
carbon-reliance. Governments have to find a
successor to the Kyoto Protocol by the end of
this year. Hopefully, they do the rational thing,
rather than the popular thing.
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ION DREAMING OF A PICTURE PERFECT HOME BY THE SEA? THE GOOD NEWS IS THERE IS NO
NEED TO TRAVEL HUNDREDS OF MILES TO GET A SLICE OF PARADISE.STORY DAVEN WU IMAGES SEVEN PALMS, ISTOCKPHOTO
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For many of us, the idea of paradise conjures
up images of the ocean — cool nights and
warm days, rose–hued sunsets against a pink
hor izon, and white washed beach houses
with the windows thrown wide open to catch
the breeze and the rhythmic melody of gentle
lapping waves.
From literature to celluloid, it is an irresist-
ible image that grips our imagination, speak-
ing to us of nostalgia, blossoming love, youth,
and emotional reconnection. In the iconic fl ick
Summer of ’42, a young boy falls in love for the
fi rst time by the sea with the luminous Jennifer
O’Neill. In Beaches, an ailing Barbara Hershey
returned to her home by the sea to say her fi nal
farewells. And who can forget the lush beach
scenes that set the f irst intense blushes of
romance between Barbra Streisand and Robert
Redford in The Way We Were.
Indeed, the allure of living by the sea is as
powerful today as it has been for centuries.
And it is why beach vacations where we fl ock to
water to rest, recharge and recline are a mark
of successful holidays.
Interior designer Albano Daminato is one
of the lucky few who enjoys the trappings of a
beach holiday, every day. His home, overlook-
ing the South China Sea, has been a deliber-
ate investment in a lifestyle that reaps great
personal rewards. “For me, there is a pure
energy force in being near a body of water,”
he says. He should know, having worked on
several AmanResorts. “Spiritually, a home by
the sea offers a feeling of peace and tranquillity.
It’s a place where you can return to recharge
and refresh.”
From the grand mansions of the Hamptons
to the villas clutched precariously to the cliffs
surrounding Cote d’Azur, the bragging rights
of a sea-fronted home have traditionally been
the province of the well-heeled. But in the new
millennium, the traditional concept of living by
the sea has morphed into one geared for a new,
mobile, business-savvy consumer who needs to
be plugged in 24/7 or who prefers to work from
home. Today’s consumer may want beachfront
action but is rarely willing to commit to the air
miles to get it.
This explains the allure of sunny spots like
Bondi Beach and Cape Cod, where access to sun,
sand and surf is knitted to physical proximity
to the stock market and offi ces.
“People need to escape the rat race,” says
Juan Luis Br iceño, the director of Studio
Butter-Briceño, a Helsinki-based architectural
fi rm. “This calls for a retreat within a peaceful
environment and there’s no better way to do so
than a beach home which is close to the city.”
Briceño adds that the idea of mobility, which
at one stage made it difficult to conceive of
life outside the city, has changed. So much so
that canny property developers are responding
to the demand and recruiting top-of-the-line
architects in the crusade.
Anchored 20km off Abu Dhabi and mere
minutes from downtown by helicopter, the
Nurai development by up-and-coming archi-
tect Dror Benshetr it blends pr ivate v il las
with soft sand and spa in an area that barely
stretches 1.5km.
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In the Asia-Pacif ic
r e g i o n , i n v e s t o r s
cont i nue t he i r love
af fa i r w ith Phuket ’s
g o o d i nt e r n at i o n a l
schools, golf courses,
hospitals and postcard
p e r f e c t s t r e t c h e s
o f p o w d e r y w h i t e
beaches. Last year, the
Royal Phuket Marina
launched two 10,000-sq
f t A q u a m i n i u m s ,
swanky Venice-inspired
residences with private
speedboat garages. Both were snapped up,
entirely off the back of a computer-generated
film, by Italian bankers at US$2m each at the
Hong Kong launch.
In Singapore, SC Global Developments is
working with Kerry Hill Architects, long time
collaborators of Aman Resorts, to unveil their
vision of beachfront living with the upcoming
project, Seven Palms. A bijou 41-villa develop-
ment perched on Sentosa Cove and overlook-
ing tranquil Tanjong Beach, Seven Palms is
positioned as Singapore’s only bona fi de beach-
front residence. And while other residential
properties on Sentosa are fronted by a rock-
lined coast with no direct access to the nearby
beaches, Seven Palms provides all the pleas-
ures of beachfront living while being less than
20 minutes from the CBD. This last point is
important. As Briceño points out, urban dwell-
ers are constrained by their built environment,
which by its nature, is conceived for the collec-
tive, rather than the individual. This means the
option of privacy tends to be confi ned to interior
space within walls. Seafront residences facili-
tate a more “natural” environment in which the
individual takes centre stage.
From an investment perspective, it’s true
that beachfront homes do not come cheap, but
it’s equally true that they rather effortlessly
maintain an allure that is recession proof. As
Daminato says, “From a real estate or urban
planning point of view, a water frontage means
that developments will not—short of land
reclamation—rise up in front of you to block
your view.”
Gabriel Cardon agrees. The French expat
is currently building a waterfront home on
Phuket. Beachfront investment, he says, makes
special sense in the current market “as the
property price will seldom depreciate. No one
can take away the view from you.”
And that, as the ad goes, is priceless.
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STEEPED IN HISTORY, DRENCHED IN THE WARS OF EMPIRES AND CARVED OUT OF LUXURIOUS
MATERIALS, ISLAMIC ART IS AS STUNNING AS ANY GENRE.STORY CRISPINA ROBERT IMAGES ASIAN CIVILIZATIONS MUSEUM, SINGAPORE AND LOS ANGELES COUNTY MUSEUM OF ART
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In November last year, amid explosive
fireworks and beautiful sounds from Yo Yo
Ma’s cello, the Museum of Islamic Art opened
in Doha, Qatar. By al l accounts, the I .M.
Pei-designed building was a signal to the world
that the oil-rich sheiks were keen on spending
their petrodollars on cultural pursuits that had
more to do with their rich history than that of
their Western counterparts.
The Doha museum, which houses anything
from manuscr ipts, text iles, ceramics and
paintings, has emerged as home to the world’s
most comprehensive collections of Islamic art,
according to the New York Times. Artworks
in the museum crisscross the fertile crescent
of the old Muslim empires—from Iran, Iraq,
Turkey, Central Asia, Egypt and Spain. The
significance of this grand opening was not
lost on art dealers and collectors—it not only
brought Islamic art into Western conscious-
ness but also to their wallets, heating up this
part of the market considerably.
WHAT IS ISLAMIC ART
Art has been said to be the mirror of culture,
and nowhere is this clearer than in Islamic
Art. For Muslims, because of the primacy of
their religion, much of early Islamic art avoids
portraits and pictures (of people, things and
animals), as these were considered idols, and
strictly prohibited. This is why early Islamic
art is rich in abstract motifs, geometric shapes,
patterns, colours, and calligraphy.
Annie Carone, curator at the Los Angeles
County Museum of Art (LACMA) explains the
particular fascination with calligraphy in
Islamic art. “Writing or calligraphy, because of
its association with the Qur’an, was and is the
highest form of Islamic art. And because of this,
(the museum) has a vitrine devoted to callig-
raphy and inscriptions in the early Islamic
period,’’ said Carone, in an email interview. The
LACMA is ranked as one of the top collectors of
Islamic art in the world, a collection it started
in 1973.
But Carone cautions against looking at
Islamic Art in purely relig ious terms. She
points out that many of the objects on display
at the LACMA are “simply spectacular in and
of themselves.’’ For instance, an 11th-century
gold bracelet from Egypt or Syria whose sheer
size and intricate workmanship “stop most
visitors in their tracks”. Another example is a
17th-century Turkish box inlaid with tortoise-
shell and mother-of-pearl, brilliantly illumi-
nated by museum lights.
These ancient communit ies had much
in common with our modern ones too, says
Carone. She offers the example of a small glazed
ceramic spouted vessel from 10th-century
Iran or Central Asia. On one side of this vessel,
the inscription reads ‘drink from it’ and on
the other side it says, ‘cheers!’ “Clearly this is
meant to be humourous. We too have mass-
produced coffee mugs with the words ‘cream’
and ‘sugar’ or cups with ‘cheers!’. How truly
rare that someone living in 21st century LA
has something in common with someone from
10th century Iran?’’ asks Carone.
This utilitarian aspect of Islamic art is also
stressed by Tan Huism, the senior curator of
the West Asia Gallery at Singapore’s Asian
Civilizations Museum (ACM). She too talks of
porcelain mugs or bowls that have interesting
inscriptions about being generous or eating in
moderation. “Even their scientifi c instruments
were beautifully made, and this is the main
feature of Islamic art—the sheer craftsman-
ship. Many of their art work have bright colours
and small pin pricks that refl ect light depend-
ing on how you look at it. They were all made
to be experienced by the user,’’ says Tan. While
there might be a limited collection in Singapore,
Islamic art has a profound (and profi table) inter-
est in the West.
EMBRACED IN THE WEST
While it might seem that there is an endur-
ing conf lict between the West and Muslim
nations, LACMA for one sees art as the way
in which both can better understand each
other. Another organisation with the same
belief was London’s Saatchi Gallery which
launched Unveiled: New Art from the Middle
East, an exhibition of contemporary art from
several Middle Eastern countries. It was billed a
runaway success when it ended its run in May
this year.
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ISLAMIC ART COLLECTIONS AROUND THE WORLD
The Los Angeles County Museum of Art
houses one of the most signif icant collec-
tions of Islamic art in the world. The collection
comprises more than 1,700 works, of which
some 150 examples are on view.
www.lacma.org
The Metropolitan Museum of Art, New York.
The Museum has an Islamic collection that is
now under renovation. Still, many important
pieces of its collection are available for view
throughout the museum.
www.metmuseum.org
The Museum of Islamic Art, Doha. Brand new
and already housing an impressive collection
of artworks dating back to the 7th century, the
Museum of Islamic Art is a must-see for those
interested in this genre.
www.mia.org.qa/english/index.html#home
Asian Civil izat ions Museum, West Asia
Gallery, Singapore. Visit Gallery 5 and 5A to see
skillful calligraphy of ancient Islamic Art.
www.acm.org.sg
Is lam ic A r t s Museum of Malay sia . In
December 1998, Malaysia became home to
Southeast Asia’s largest museum of Islamic
art. The Islamic Arts Museum Malaysia houses
more than 7,000 artefacts.
www.iamm.org.my
A not her keen col lec tor i s t he Br it i sh
Museum which, in 2006, launched an exhibi-
tion on artists of the modern Middle East. That
exhibit ion featured over 80 contemporary
artists from the heart of Islam. Many of these
works had political and social undertones and
a good portion of artists were women. Isabelle
Caussé, who helped curate the exhibition, told
the BBC that though many of the artists have
been deeply inf luenced by the politics of the
Middle East, the museum’s aim was simply to
show the world developments in modern art in
a huge region whose culture remains unfamil-
iar to most people outside its borders.
Auction houses Christie’s and Sotheby’s
have also jumped in to cash in. Both recorded
strong sales from their Middle East art shows.
One example is I ran ian sculptor Par v iz
Tanavoli whose bronze sculpture entit led
The Wall sold for a record US$2.8 at a Christie’s
Dubai sale in April last year. Another Iranian
artist whose calligraphic interpretations of
Arabic letters also sells for record prices—
Christie’s estimate was under $150,000 but his
current work He is Merciful went under the
hammer for $1.2 million. Some art collectors
have voiced concerns of speculation that drives
prices up, making it too costly for many inter-
ested buyers. But the fact seems undeniable:
Islamic art is proving to be profitable and the
range of artists is mushrooming.
For fans, Islamic art is a celebration of
sublime beauty and simplicity. But it can also
be an important bridge toward understanding
a religion that is often misunderstood. I.M.Pei,
in an interview at the grand opening of what
is believed to be his last project (he is 91)
said: “Islam was one religion I did not know.’’
He learned by journeying through the Middle
East—from Egypt to Iran—for months before
drawing up his plans for the Qatar museum. For
the rest of us, a glimpse into this ancient art
through a museum visit might yield the same
education.
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SPANISH FEVER IS SPREADING IN SINGAPORE
AND THAT IS GOOD NEWS FOR FOOD LOVERS.STORY NOELLE TAN
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Dish created at Diver XO
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The best part about living in a tiny country
is you don’t have to travel very far for a superb
meal. Whether it’s ‘prêt a manger’ hawker
fare or ‘haute couture’ molecular gastronomy,
you can get what you want with relative ease.
And the ever-expanding range of cuisines has
included Spanish food, in the form of tapas
bars and full-fl edged Spanish restaurants.
For two decades, Italian and French restau-
rants were the European options du jour, while
Spanish cuisine was absent on our gourmet
map save for a smattering of small eateries that
served a limited menu.
Editor and frequent traveller Anne Loh
bel ieves that this was the case because
Singaporeans travelled primarily to France and
Italy and enjoyed their food (after all pasta is
similar to noodles). “Haute French restaurants
in the beginning represented worldliness, class
and status,’’ she says. Comparatively, Spain is
an entirely new preposition but with recent
tourism campaigns by Spain, more restaurants
may open as Singaporeans fall in love with the
country and her food, offers Loh.
Ingredients mean everything
Spanish cuisine is vibrant and varied due
to the vast geographical differences of the
country, and draws inf luence from French,
Moorish and even Jewish culinary roots. The
base of numerous dishes comprises olive oil,
peppers, garlic and tomatoes, while depend-
ing on region, ingredients such as cured meats,
seafood and game take precedence. Meanwhile,
a glass or two of cava or sangria is always the
preferred accompaniment.
As a country that is still very much depend-
ent on importing our food, we tend to forget the
effort behind bringing the best of a country’s
produce to a diner’s plate. Spanish ingredients
in particular, until recently, were extremely
difficult to import. For instance, one of the
most prized produce of the country—jamón—
was banned from entering Singapore until 2008.
Restaurateurs and diners alike were delighted,
and now we can enjoy Ibérico and Serrano
hams—cured delights that are as quintes-
sential in Spanish cuisine as good wine and
conversation.
Still, cost remains a very real concern to
restaurant operators. Elaborates Ken Lim,
owner of Don Quijote, a cosy restaurant which
opened last year in Upper Bukit Timah: “We
try our very best to use Spanish ingredients.
However, there are circumstances where this
becomes either impractical or expensive.”
He cites bacalao—salt cod from Spain—as an
example. This ingredient has achieved luxury
status due to its scarcity and is diffi cult as well
as costly to obtain outside of Spain. At Don
Quijote, it is replaced by tuna in the Pemientos
de Piquillo Rellanos de Atun (tuna stuffed with
red piquillo peppers) and is a very popular dish
with diners.
Chef Edward Voon with his carrot,
coconut, caramel, citrus and coffee
creation.
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WHERE TO FIND GOOD SPANISH FOOD IN SINGAPORE:
The Tapas Tree
#01-08, Block D, Clarke Quay. ph: 6837 2938
Bodega Y Tapas
442 Orchard Road, #01-29 Orchard Hotel.
ph: 6735 3476
Dob Quijote
17 Lorong Kilat, #01-09. ph: 6465 1811
7AteNine
#01-10/12 Esplanade Mall. 8 Raffl es Avenue.
ph: 6338 0789
The Tower Club
9 Raffl es Place, Penthouse
(62nd to 64th fl oors), Republic Plaza Tower 1.
For membership enquiries, ph: 6725 7003
Madr id nat ive execut ive chef Rober to
Hernández Sevillano, who heads the kitchen
at Bodega Y Tapas, a lively tapas bar located on
Orchard Road that recently welcomed diners in
2008, shares that while it is a challenge to bring
in Spanish ingredients largely due to distance
and cost, it is def initely possible with the
efforts of several suppliers here. At the restau-
rant, “70 to 80 per cent” of ingredients used
are imported from Spain, including cheeses,
sausages, smoked and sweet paprika, ñora
and pippara (red and green peppers) as well
as of course, jamón. Regulars include Spanish
customers who enjoy the Escalopes de Pato al
Oporto (duck magret escalopes with red port
wine and dried fruits) and Pintxos de Brandada
(emulsion of cod on toasted bread and vinai-
grette). Both eateries also focus on an entirely
Spanish wine list to enhance the experience.
Slow but sure growth potential
Avid Singaporean traveller to Spain and
a fan of its cuisine, Carl Low, welcomes the
rising popularity of Spanish restaurants, but
notes: “Spanish dining is very much centred on
their local and regional produce and a ‘je ne
sais quoi’ chill-out ambience. Perhaps that’s
why the authentic experience is hard to repli-
cate overseas. In 2002, there was a really good
restaurant Sol helmed by a talented Spanish
chef, but sadly, it closed down as the niche
market then for authentic Spanish food was
probably too small to sustain its operations.
Hopefully as more people travel to Spain to
experience the ‘real deal’, they will grow to
appreciate an authentic concept when they
see one.”
Certainly, the rate of growth has not been
exponential with the number of Spanish restau-
rants here standing at less than 10. Perhaps our
diners are still testing the waters. Comments
Don Quijote’s Ken: “We’ve had several local
diners who had reservations about Spanish
food, say ing that it sounded ver y exot ic.
Instead they leave the restaurant very happy
and wondering why they thought it would be
‘far out’.” Now, these diners return regularly to
enjoy the Paella Don Quijote Special and the
Rabo de Toro (oxtail stew).
We could also benefit from more Spanish
culinary talents stepping onto our shores.
Currently, Bodega Y Tapas’ Roberto is the only
Spanish chef helming a Spanish restaurant
here. He cites several reasons, namely distance
and language as barriers to some. Perhaps that
could soon change. During the recent World
Gourmet Summit, Singapore welcomed David
Muñoz, a young and creative chef from one of
Madrid’s hottest restaurants, DiverXO, who
intrigued local diners with his brand of Spanish
cuisine blended with Chinese, Japanese,
Peruvian, Mexican and Moroccan touches.
Describing his cuisine as “food that travels
around the world with a lot of imagination”,
David feels that there is plenty of potential for
his style of cuisine to develop and would not
hesitate to open a restaurant here. On this trip,
he revealed his designs on our chilli crab and
divulged that he had an idea forming: adding
sherry wine reduction to the sauce and pairing
it with crab from Spain. How might that turn
out? Well, perhaps one needs to fi rst taste his
Spanish Tortilla Dim Sum—a saffron dumpling
filled with potatoes and onions cooked with
shao xing wine and topped with a soft quail’s
egg yolk—to have an idea!
Local talents l ike award-winning chef
Edward Voon are also breaking new ground
with his Spanish-inspired cuisine. Citing Paco
Roncero as one of his mentors and Ferran Adrià
as an inspiration, he is wowing diners at the
prestigious Tower Club with his creations.
Hopefully we will be saying ‘hola’ to many
more concepts, both authentic and innovative
very soon.
Clockwise from left:
Croquetas de Pollo at the Tapas
Tree; dishes created at Diver XO
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