Food is design. It is design when you compose plates, but it is amazing, even better and most delightful design when it's about the units.
Hrana je dizajn. Kada slažete tanjur to je onda dizajn, ali to je nevjerojatni, čak bolji i najuzbudljiviji dizajn kad se radi o elementima.
[Small thing.]
[Mala stvar.]
[Big idea.]
[Velika ideja.]
"Pasta" comes from Latin, and it means "paste." It's about putting together water and some powder, so that you can actually shape it. There are cultures in the world that use rice powder, others use soy powder. In Italy, we tend to use durum wheat.
"Pašta" dolazi iz latinskog i znači "lijepiti." Radi se o sastavljanju vode i nekog praha, tako da to zapravo možete oblikovati. Postoje kulture u svijetu koje koriste rižino brašno, druge koriste sojino brašno. U Italiji skloni smo upotrebi durum pšenice.
Pasta existed for centuries, but it really blossomed during the Renaissance. And it's only later on in the 17th century that it became more mass produced.
Tjestenina je postojala stoljećima, ali je stvarno procvjetala tijekom renesanse. I tek kasnije u 17. stoljeću počela se masovno proizvoditi.
Whenever you design an object of any kind, you think of how you want it to perform. So think about the same for pasta. Do you want it to be ribbed or you want it to be smooth? The ribbed ones absorb the sauce better. Do you want them to be round or do you want them to be square? They have a different feel on the palate. Everything is for a reason.
Svaki put kad dizajnirate bilo koji predmet, razmišljate o tome kako želite da djeluje. Dakle, na isti način mislite o tjestenini. Želite li da bude rebrasta ili želite da bude glatka? One rebraste bolje upijaju umak. Želite li da bude okrugla ili želite da bude kvadratična? Imaju drugačiji osjećaj na nepcu. Sve je s razlogom.
In the amazing taxonomy of the pasta species, there are many different ways to divide it, but one of the basic divisions is between fresh pasta and dry pasta. Dry pasta is always durum wheat flour and water. Fresh pasta could be either that or it could be flour and eggs. Just think of having a dough that you can shape in any way you want. I mean, really, wouldn't you go crazy?
U zadivljujućoj taksonomiji vrsta tjestenina, postoji mnogo različitih načina njene podjele, ali jedna od osnovnih podjela je između svježe tjestenine i suhe tjestenine. Suha tjestenina je uvijek durum pšenično brašno i voda. Svježa tjestenina može biti ili to ili može biti brašno i jaja. Samo zamislite da imate tijesto koje možete oblikovati na bilo koji način želite. Mislim, stvarno, zar ne biste poludjeli?
So fresh and dry, but then, there's also long and short. And then within those families, there's even more diversity. Let's talk about some really classical types of short pasta.
Dakle svježa i suha, ali onda, postoji i dugačka i kratka. I onda unutar tih porodica postoji još veća raznolikost. Razgovarajmo o nekim zaista klasičnim vrstama kratke tjestenine.
Penne -- we all know them, right? They are cut at a slanted angle, perfect to pick up some of the sauce.
Penne - svi ih znamo, zar ne? Rezane su pod kosim kutom, savršene za pokupiti nešto umaka.
"Farfalle" means "butterflies," or how do you call it here, bow ties, because they are, like, pinched in the middle.
"Farfalle" znači "leptiri," ili kako ih ovdje zovete, leptir mašne, jer to jesu, kao, stegnute u sredini.
"Orecchiette" means "little ears," and they're typical from Puglia, and they are delicious.
"Orecchiette" znači "male uši" i tipične su za Pugliu i izvrsne su.
And "conquilla," shells, and of course, they look like shells. They are ribbed, so they scoop up the sauce on the outside and they are smooth on the inside.
I "conquilla," školjke, i naravno, izgledaju kao školjke. Rebraste su pa ugrabe umak izvana i glatke su iznutra.
Pasta is definitely gorgeous, but the form also is about how it touches the palate, how it touches the tongue, so it's never just about giving it a shape. When you hone one object across centuries, standards become really, really high.
Tjestenina je definitivno prekrasna, ali kod oblika se radi o tome kako dodiruje nepce, kako dodiruje jezik pa se nikad ne radi samo o tome da joj dajete oblik. Kad stoljećima usavršavate jedan predmet, standardi postaju vrlo, vrlo visoki.
Many so-called great designers failed miserably, because they tried to impose a shape onto pasta. The great Philippe Starck tried mandala. Some parts of it, the walls, were very thick, and the others were thinner, so when you would boil the pasta, some of it would be completely mushy while part of it was too crunchy and uncooked. So really wrong, but they were not women from Bologna, they were not chefs from Naples, they were not centuries of families of grandmothers that were trying to improve on the thinness of the walls of the pasta.
Mnogi takozvani sjajni dizajneri neslavno su propali, jer su pokušali nametnuti oblik tjestenini. Veliki Philippe Starck pokušao je s mandalom. Neki njeni dijelovi, stijenke, bili su vrlo debeli, a drugi su bili tanji, pa kad biste kuhali tjesteninu, neki bi bili potpuno kašasti, dok bi dio bio prehrskav i neskuhan. Dakle, stvarno pogrešno, ali oni nisu bili žene iz Bologne, oni nisu bili kuhari iz Napulja, oni nisu bili stoljeća obiteljskih baka koje su htjele unaprijediti tankoću stijenki tjestenine.
There's no way to trace pasta back to one designer, one inventor, and that's the beauty of it. It belongs to the people. And if you think about it, this simple mixture of a carbohydrate and water becomes the scaffold for a whole culture to be built.
Nema načina da uđemo u trag jednom dizajneru, jednom izumitelju i u tome je njena ljepota. Pripada ljudima. I ako razmislite o tome, ova jednostavna smjesa ugljikohidrata i vode postaje temelj na kojem će se izgraditi čitava kultura.