James' World 2

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Step into an American preschool classroom today and you are likely to be bombarded with what we educators call a print-rich environment, every surface festooned with alphabet charts, bar graphs, word walls, instructional posters, classroom rules, calendars, schedules, and motivational platitudes—few of which a 4-year-old can “decode,” the contemporary word for what used to be known as reading.

Because so few adults can remember the pertinent details of their own preschool or kindergarten years, it can be hard to appreciate just how much the early-education landscape has been transformed over the past two decades. The changes are not restricted to the confusing pastiche on classroom walls. Pedagogy and curricula have changed too, most recently in response to the Common Core State Standards Initiative’s kindergarten guidelines. Much greater portions of the day are now spent on what’s called “seat work” (a term that probably doesn’t need any exposition) and a form of tightly scripted teaching known as direct instruction, formerly used mainly in the older grades, in which a teacher carefully controls the content and pacing of what a child is supposed to learn.

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Edmon de Haro

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An idyllic ease permeates California’s Carmel Valley. Wealthy people have built ranch-style houses into the mountains, giving them views of the Pacific on one side and pine and cypress forests on the other. It’s neither too hot nor too cold, and the fresh ocean air makes you feel calm inside. These conditions, which give big ideas room to grow, have attracted artists to the area, as well as retirees who want to meditate on the good life. But every now and then, the gentle rhythm of this place gets disturbed. Someone’s perfectly manicured existence goes in a turbulent, unexpected direction.

For some people, it’s a real estate shock. For others, it’s an earthquake or—God knows—a wildfire. For Randy Hunter, a local art dealer, that moment arrived in 2008. The financial crisis had come to paradise. Artists and galleries accustomed to a steadyish stream of wealthy collectors fell on hard times. Things got bad enough that Larry Fischer, the owner of a sculpture foundry, decided to auction off pieces he’d held on to for years to help make ends meet. Ahead of the auction, he invited Hunter to come see if there was anything he liked. He guided his friend through the gritty warehouse toward a collection of bronze sculptures he thought might be of particular interest.

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An early blueprint for the Discopter. Photo courtesy of the Weygers Foundation.

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My first restaurant, Momofuku Noodle Bar, had an open kitchen. This wasn’t by choice—I didn’t have enough money or space to put it farther away from the diners. But cooking in front of my customers changed the way I look at food. In the early years, around 2004, we were improvising new recipes every day, and I could instantly tell what was working and what wasn’t by watching people eat. A great dish hits you like a Whip-It: There’s momentary elation, a brief ripple of pure pleasure in the spacetime continuum. That’s what I was chasing, that split second when someone tastes something so delicious that their conversation suddenly derails and they blurt out something guttural like they stubbed their toe.

The Momofuku Pork Bun was our first dish that consistently got this kind of reaction. It was an 11th-hour addition, a slapped-together thing. I took some pork belly, topped it with hoisin sauce, scallions, and cucumbers, and put it inside some steamed bread. I was just making a version of my favorite Peking duck buns, with pork belly where the duck used to be. But people went crazy for them. Their faces melted. Word spread, and soon people were lining up for these buns.

That became my yardstick: I’d ask, “Is this dish good enough to come downtown and wait in line for? If not, it’s not what we’re after.” A chef can go years before getting another dish like that. We’ve been lucky: Hits have come at the least expected time and place. I’ve spent weeks on one dish that ultimately very few people would care about. And then I’ve spent 15 minutes on something that ends up flooring people like the pork bun.

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Chef David Chang runs Momofuku, which includes 13 restaurants, a bakery, two bars, and a culinary lab. | Chang wears a Michael Kors shirt; Levi’s jeans; Carrera watch by Tag Heuer. Knife by Wusthof. Joe Pugliese

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