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Blueprint for Success 成就蓝图

Paul Webber _Cover Story.png

Paul Webber

Owner of Webber Design
Structural Engineers

“My philosophy at Webber Design has deliberately been totally different. I am a perfectionist and to me our reputation is all about consistency in our delivery and that can’t happen if you are spread too thin.”

It has been said that “Children are the builders of a brave new world” and as a child Paul Webber loved playing with Meccano sets and carpentry kits, experimenting with building structures and understanding how they stand up. That childhood passion has stayed with Paul and today as the owner of Webber Design he is one of the faces changing Australia’s skyline.

Graduating in Brisbane in a depressed economy at a time when jobs were few and far between, Paul was handpicked by one of his lecturers and employed to work for a leading Brisbane Engineering Firm. “That was my start and appreciating just how fortunate I was at the time, I have never taken anything for granted in my career.”

It wasn’t long until Paul, still in his twenties, was promoted to an Associate Director before heading to Hong Kong to work for a large multinational multidisciplinary practice in Asia.

“I was responsible for a team of over 30 structural engineers most of whom were Chinese and it was there that I developed a massive respect for their engineering expertise and work ethic. We worked on some incredible projects, airports, railways and tall buildings in Thailand, Southern China, Hong Kong and Vietnam. I loved it all. The intensity, the long hours and the experience was something that you couldn’t get in Australia at that time.”

Paul returned to Australia and became a Principal of a large Brisbane Structural Engineering practice for 5 years before opening up and growing their Melbourne practice for a further 4 years. “That was an exciting time for me being a part of Melbourne’s rapidly growing property market.”

With his growing success in Melbourne Paul was headhunted and accepted the position of National Structural Director for another large Australian Engineering company, “The job became more a management and administrative role and to be honest I hated it. It was not what I enjoy doing. I have always loved being hands on dealing with architects right from the beginning, being creative, making good engineering designs come to fruition and having fun. That was my skill set and what I enjoyed doing and why people enjoyed working with me”

At a crossroad and armed with a new vision, Paul started his own Structural Engineering company Webber Design in 2007. He admits that, “Apart from the start up costs It was a little daunting at first, being an outsider from Brisbane and starting on my own in Melbourne, however right from day one clients, architects and developers gave me their work.”

Melbourne office with Principals Pek Soon Kwan and Paul Malady
Melbourne office with Principals Pek Soon Kwan and Paul Malady

“Webber Design work hard for our clients and our approach and focus on cost effective designs has paid off over time.”

“Most of the engineering companies that I had worked for had a philosophy to open offices everywhere and be big. I understand that approach however big isn’t always better. I also saw first hand many of the downsides including, at times, a too rapid a growth without sufficient quality staff or systems in place, a loss of control and poor design outcomes which ultimately impacts on the bottom line and reputation. Of more importance though was that the clients were not receiving the best outcomes or service on many occasions.”

“My philosophy at Webber Design has deliberately been totally different. I am a perfectionist and to me our reputation is all about consistency in our delivery and that can’t happen if you are spread too thin. I employ quality staff across every level of the business who are all well respected in the industry. We remain client and project focused and that has proven to be my formula for success.”

A very respected and successful engineering company in Melbourne, Webber Design is now making its mark in Sydney. “I am not here to grow quickly but rather my philosophy, as always, is to maintain a controlled growth, delivering consistent quality work and cutting-edge designs. Since we opened the office here two years ago we’ve secured over 30 projects including most recently a role on the tallest residential tower in Sydney, the 65 level Greenland Centre developed by Chinese developer Greenland. We are working in collaboration with Arup and the contractor Probuild to incorporate our alternative structural design.”

Over the course of ten years, Webber Design has delivered more than $20 billion worth of projects and is one of the largest privately owned structural engineering firms in Australia. “I’ve always had a strong work ethic which I inherited from my parents and have always put pressure on myself to strive for perfection. Webber Design work hard for our clients and our approach and focus on cost effective designs has paid off over time. On reflection and perhaps based on my experiences in Hong Kong we employ a very strong multicultural staff base with many Asian engineers. Interestingly our client base is currently around 80% Chinese with a lot of repeat business.”

It’s not all about business. In his spare time Paul collects art, unusual chess sets and has a share in a few racehorses one of which won three races in Singapore and another winning a race on Oaks Day last year. “I used to play golf but sadly with my 24/7 business demands, I rarely find the time.”

Paul Webber_.jpg

“I wouldn’t be the person. I am today without Deborah. I love everything about her. She is passionate, funny and a major asset to me in business and life. We are very close.”

More admirable is their commitment to charities. Paul and Deb are ambassadors for the St Vincent Hospital’s HIV fund in Sydney. Smiling he acknowledges “Most of my industry colleagues know that I am a soft touch when it comes to donating to a worthy cause. I believe it is important to give back when you have it to give.”

So what is next for Webber Design? “I am still as passionate today as when I first started my career. My focus as always is to keep mentoring my staff and building Webber Design as a brand that people respect and trust and continue to deliver great structural engineering outcomes for our clients and their projects.”

 

On site in Sydney
On site in Sydney

“我热爱由始至终与建筑师进行沟通交流,携手创作,让美好的工程设计得以实现而获得乐趣。那是我的技能专长,我做着喜欢的工作,也是人们喜爱与我共事的原因。”

孩童时期,Paul Webber的主要玩具是麦卡诺组合模型和木匠工具箱,并且尝试剖析物体的建筑结构和组合原理,那份童年激情Paul留存至今,也印证了“儿童是勇敢新世界的建造者。”的说法。今天,作为Webber Design的创始者,他是改变澳大利亚城市天际线风貌的人物之一。

在布里斯班学成毕业的Paul当时处在经济萧条的年代,工作机会稀少,但他被一名讲师精心选中,受聘到布里斯班一家领先的工程公司上班。“那是我的开始,感谢幸运之神眷顾,因此我的职业生涯不存在侥幸心理,只有全力以赴。”

20多岁的Paul不久晋升为副总监,过后被委派到香港,在亚洲开展大型多国多元学科专业的项目计划。“我负责一个由30多名结构工程师组成的团队,其中大部分是中国人,对于他们的工程专业知识和职业道德,我给予最高敬意。我们共同完成了一些令人难以置信的项目计划:包括机场、铁路和高层建筑工程,横跨泰国、中国南部,香港和越南,我热爱这一切。当时的工作强度,漫长的时间与经验累积都是无法在当时的澳大利亚体验到。”

重返澳大利亚后,Paul 成为布里斯班大型结构工程业务的负责人为期5年,接下来开启墨尔本长达4年快速拓展的实践业务。“这是令人激奋的时刻,我加入了墨尔本迅速增长的房地产市场战局。”

随着Paul在墨尔本取得的成功战绩,他被相中并接受了另一家大型澳大利亚工程公司的委任,作为全国结构工程总监的职位,由于新岗位偏向管理和行政业务范畴,并非他所愿意和向往的。“我热爱由始至终与建筑师进行沟通交流,携手创作,让美好的工程设计得以实现而获得乐趣。那是我的技能专长,我做着喜欢的工作,也是人们喜爱与我共事的原因。”

而伫立十字路口并怀揣新视野,Paul 终于在2007 年创立了自己的公司 Webber Design。他承认,“最初的起步成本环节让人有点不安,作为来自布里斯班的局外人,我把起点设置在墨尔本,可是开业伊始,客户、建筑师和开发商就把他们的业务托付给我。”

“我就业过的大多数工程公司都有在各地开设大型办事处据点的战略理念,我也深切了解大幅度扩张的做法并非是最恰当的,其中也看到许多致命伤,包括随着快速增长,结果缺乏足够的质量员工或到位的系统操作,由于失控形成设计缺陷,最终损害底线和名誉,关键的是在许多情况下,客户无法获得满意成果或优质服务。”

如今,Webber Design作为墨尔本相当权威且领先的工程公司,目标定位涉足悉尼。
“我并非快速增长,而是一如既往地保持自己的理念,实践具备持续性的质量工作和尖端设计。自两年前开设办事处以来,我们已获得参与30多个计划项目,包括最近在悉尼的住宅高楼,中国绿地集团开发的65层绿地中心,我们正在与奥雅纳(Arup)还有承包商Probuild合作,结合我们的替代结构设计。”

过去10年来,Webber Design已经成功交付价值逾200亿元的项目计划,也是澳大利亚最大的私营结构工程公司之一。“我继承了父母的强烈职业性特质,再加上极力追求完美的动力,我们为客户努力付出,其中聚焦在注重成本效益的设计方案显著有所回报。
反思下,由于依据在香港的工作经历,我们拥有了非常强大的多元文化员工基础与许多亚裔工程师。有趣的是,我们的客户群目前大约80%是中国人或华裔,有很多重复业务(回头客)。”

在人生旅途中,Paul的妻子DeborahGray始终陪伴身旁。“没有Deborah就不会造就今天的我。我爱她的一切,她是我工作和生活中的激情与乐趣,也是重要财富,我们亲密
无间。”

另外,工作并非他生活中的全部。在业余时间,保罗收集艺术品、别致的国际象棋棋套,共同拥有数匹赛马,其中一匹赛马在新加坡赢得三场比赛,另外的赛马也在去年的橡树日赛会获胜。“我之前有打高尔夫球,可惜被工作业务占去大部分时间,很难
抽空。”

至于更令人钦佩的是他们坚守投入慈善事业的承诺。Paul和Deborah是悉尼St Vincent’s医院的艾滋病基金会的大使。他微笑表示,大多数业内同事们都了解,如果提到捐赠有价值的事业时,他就会变得感性柔软,他相信最重要的是有能力做出回馈。

Webber Design的下一步将怎么走呢?“今天的我还是与初次开展职业生涯一样充满热情。我一直集中在继续引导我的工作团队,建设 Webber Design 成为人们尊重和信任的品牌,不断的为我们的客户及项目计划提供高质量的结构工程成果。”


by Billie Ooi-Ng Lean Gaik

Facing the Facts 直面真实

Song Ling

Song Ling

Artist


Among the members of ‘Chi She’, Song Ling left for Australia in 1988 after he graduated from the China National Academy of Fine Art in 1984.

When I first met Song Ling in his studio in Melbourne, he was very friendly and did not even look a bit to his age. Born in 1961, Song Ling was trained in traditional Chinese painting technique and in the mid 1980s, he and his few artists started a group called ‘Chi She’ (Pond Association) where he furthered his art studies in Hang Zhou. Initially the intention of this group was just a loose grouping where a few friends can have regular gathering to discuss art. However no one would have predicted that this group has become one of the most influential groupings in modern Chinese art known as the 85 New Wave.

Song Ling

The 85 New Wave movement was one of the most significant eras in the modern art history of China. This was however a period where young emerging artists started to look deeply into and openly questioned society issues mainly through work or arts. In just under two years, between 1985 and 1986, 79 self-organised art groups including more than 2,250 young artists around China held a total of 149 exhibitions. The movement continued to develop towards a more provocative and conceptual direction until 1989 when it reached its peak during the time of Chinese Avant-garde exhibition.

Among the members of ‘Chi She’, Song Ling left for Australia in 1988 after he graduated from the China National Academy of Fine Art in 1984. Most of his art exhibitions then were mainly organised outside of  China until in 2009, Linda Gallery of Beijing organised a show for him entitled Coming Home. It was not until these last three years that Song Ling started to participate aggressively in China. Some may claim that the artist is taking advantage of the economic boom in China but it is way beyond this reason: that Song Ling’s works are now accepted and appreciated.

Many of his artist friends who remained in China down are now famous. Song Ling’s contribution is still considered important as he provides yet another perspective through his work of a Chinese artist in the period where he left the country but still very much concern about to the well-being of the place where he was born and educated. Indirectly it is the perfect jigsaw to complete as the 85 New Wave movement where ideas and concepts are not only generated from the same root but bearing different fruits.

When Song Ling first started in Australia, his initial adaptation of his paintings were about the relationship between modern printing process and digital technology. Using hand-painted dots as the basis of his work, whilst playing with contrasting surface effects and texture, he was reinventing the presentation of patterns found in Chinese embroidery and folk art. Later in his series of work such as ‘Aesthetics of Violence’, ‘Beauty and the Beast’ and ‘The Face’, Song Ling started to question the way of life through his paintings. Song Ling was then said to have greatly influenced by surrealism and his works carried some slight shadow of Picasso.

The artist was recently selected to represent China in the Venice Biennale and the selected painting was an impressive 10-piece combined-work entitled ‘Copy of Emperor Huizong’s The Pond’s Edge in Late Autumn’.

There was a time where the artist concentrated on strong and sometimes extreme facial expressions depiction. Behind a beautiful face, it carries many both the smile of happiness and the scar of sorrow. It could have been the artist re-evaluating his choice of migrating to Australia and realising the fact that people here do have their own issues and problems.

The artist was recently selected to represent China in the Venice Biennale and the selected painting was an impressive 10-piece combined-work entitled ‘copy of Emperor Huizong’s The Pond’s Edge in Late Autumn’. This black and white piece is the perfect example of why his work is important to his peers in China. It Showcases his traditional Chinese painting technique with significant strokes of contemporary style.

Recently the artist is revisiting his early days in the ‘communism’ society but in a bigger context. Song Ling has always carried a consistent message of trying to ‘understand’ or ‘escape’ from a constraint and suffocating environment in his work.

Song Ling

The 85 New Wave movement was one of the most significant eras in the modern art history of China. This was however a period where young emerging artists started to look deeply into and openly questioned society issues mainly through work or arts. In just under two years, between 1985 and 1986, 79 self-organised art groups including more than 2,250 young artists around China held a total of 149 exhibitions. The movement continued to develop towards a more provocative and conceptual direction until 1989 when it reached its peak during the time of Chinese Avant-garde exhibition.

Among the members of ‘Chi She’, Song Ling left for Australia in 1988 after he graduated from the China National Academy of Fine Art in 1984. Most of his art exhibitions then were mainly organised outside of  China until in 2009, Linda Gallery of Beijing organised a show for him entitled Coming Home. It was not until these last three years that Song Ling started to participate aggressively in China. Some may claim that the artist is taking advantage of the economic boom in China but it is way beyond this reason: that Song Ling’s works are now accepted and appreciated.

Many of his artist friends who remained in China down are now famous. Song Ling’s contribution is still considered important as he provides yet another perspective through his work of a Chinese artist in the period where he left the country but still very much concern about to the well-being of the place where he was born and educated. Indirectly it is the perfect jigsaw to complete as the 85 New Wave movement where ideas and concepts are not only generated from the same root but bearing different fruits.

When Song Ling first started in Australia, his initial adaptation of his paintings were about the relationship between modern printing process and digital technology. Using hand-painted dots as the basis of his work, whilst playing with contrasting surface effects and texture, he was reinventing the presentation of patterns found in Chinese embroidery and folk art. Later in his series of work such as ‘Aesthetics of Violence’, ‘Beauty and the Beast’ and ‘The Face’, Song Ling started to question the way of life through his paintings. Song Ling was then said to have greatly influenced by surrealism and his works carried some slight shadow of Picasso.

There was a time where the artist concentrated on strong and sometimes extreme facial expressions depiction. Behind a beautiful face, it carries many both the smile of happiness and the scar of sorrow. It could have been the artist re-evaluating his choice of migrating to Australia and realising the fact that people here do have their own issues and problems.

The artist was recently selected to represent China in the Venice Biennale and the selected painting was an impressive 10-piece combined-work entitled ‘copy of Emperor Huizong’s The Pond’s Edge in Late Autumn’. This black and white piece is the perfect example of why his work is important to his peers in China. It Showcases his traditional Chinese painting technique with significant strokes of contemporary style.

Recently the artist is revisiting his early days in the ‘communism’ society but in a bigger context. Song Ling has always carried a consistent message of trying to ‘understand’ or ‘escape’ from a constraint and suffocating environment in his work.

Song Ling

第一次在墨尔本工作室里与宋陵见面,他有着不符实际年龄的亲切友好。生于1961年的他曾学习中国传统国画技法。上世纪80年代中期,当宋陵持续在杭州的艺术研究时,和几位艺术家创立名为“池社”的组织。最初,这个小组仅是怀揣着一些朋友定期聚在一起钻研艺术的松散目的。但没人能预想到,这个群体却成为中国现代艺术最具影响力的团体,被称为85新潮。

85新潮美术运动是中国现代艺术史上最重要的一个年代。这是年轻的新兴艺术家们主要透过创作或艺术,开始深入研究并公开质疑社会问题的时期,在1985年到1986年两年间,有79个自组织的艺术团体,包括中国各地超过2250名年轻艺术家,总共举办了149场展览。直至1989年,在中国前卫艺术展览达到高峰期时,这个运动才开始朝着更具挑衅性和概念化的方向延伸。

1984年毕业于中国国家美术学院的宋陵,在1988年也前往澳大利亚,当时他还是池社的成员。他的大部分艺术展览都在中国以外,直到2009年,北京的Linda Gallery为他举办了一场名为“回家”的展览。而在近3年来,宋陵才开始积极参与中国的艺术活动。可能有人会认为:这位艺术家是得益于中国爆炸性的经济增长,但这却偏离了宋陵被接受和欣赏的原因。他许多留在原处的艺术家朋友目前在中国非常出名,但宋陵的贡献仍是一样重要,作为一个离开生长土地的华裔艺术家,他透过作品提供了另一个不同视角,仍对于成长和教育的土地聚集关心。而间接地,这是一个完美的拼图,完成了85新潮运动,其中思想和概念是由相同的根源产生,但却结出迥异果实。

宋陵在澳大利亚开始创作时,他的最初画作是以研究现代印刷工艺和数字技术之间关系,利用手工绘制的圆点担任作品的基础,同时运用对比鲜明的表面效果和纹理,重新设计中国刺绣和民间艺术中所呈现的图案。后来在如“暴力美学”、“美女与野兽”、“脸”等一系列作品中,他开始透过绘画质疑人生。他深受超现实主义的影响,创作中也带有些许毕加索的影子。曾经有段时间,这名艺术家专注于强烈的、偶尔显得极端的面部表情,毕竟只凭封面是很难判断一本书的内容。因此,在一张美丽面孔背后,既有幸福的微笑,也有悲切的伤痕。可能是这位艺术家重新评估了他移居澳大利亚的选择,并意识到这里的人们确实有着本身的苦衷和
问题。

最近,宋陵被选为代表中国参加威尼斯双年展,参展的是令人印象深刻的10幅联合作品:“徽宗时代的池塘晚秋图”。这幅黑白作品是他与中国同行联袂且同等重量的完美例子,展示他的传统国画技术,在当代艺术中占据关键意义。

而这位艺术家目前正在重新审视他早年在“共产主义”社会中的生活,但是以更宏观的背景。宋陵一直在作品中专注传达一致的信息,即试图从一个极具约束性和令人窒息的环境中“理解”或“逃离”。他最新的野生动物系列探索了在人工混凝土丛林中感到窒息,且为生存而战的美丽和不幸的动物们。它们为存活而战斗,同时亦巧妙地抛出了未来这个世界将会变成怎样的疑问。

1984年毕业于中国国家美术学院的宋陵,在1988年也前往澳大利亚,当时他还是池社的成员。他的大部分艺术展览都在中国以外,直到2009年,北京的Linda Gallery为他举办了一场名为“回家”的展览。而在近3年来,宋陵才开始积极参与中国的艺术活动。可能有人会认为:这位艺术家是得益于中国爆炸性的经济增长,但这却偏离了宋陵被接受和欣赏的原因。他许多留在原处的艺术家朋友目前在中国非常出名,但宋陵的贡献仍是一样重要,作为一个离开生长土地的华裔艺术家,他透过作品提供了另一个不同视角,仍对于成长和教育的土地聚集关心。而间接地,这是一个完美的拼图,完成了85新潮运动,其中思想和概念是由相同的根源产生,但却结出迥异果实。

宋陵在澳大利亚开始创作时,他的最初画作是以研究现代印刷工艺和数字技术之间关系,利用手工绘制的圆点担任作品的基础,同时运用对比鲜明的表面效果和纹理,重新设计中国刺绣和民间艺术中所呈现的图案。后来在如“暴力美学”、“美女与野兽”、“脸”等一系列作品中,他开始透过绘画质疑人生。他深受超现实主义的影响,创作中也带有些许毕加索的影子。曾经有段时间,这名艺术家专注于强烈的、偶尔显得极端的面部表情,毕竟只凭封面是很难判断一本书的内容。因此,在一张美丽面孔背后,既有幸福的微笑,也有悲切的伤痕。可能是这位艺术家重新评估了他移居澳大利亚的选择,并意识到这里的人们确实有着本身的苦衷和
问题。

Song Ling.jpg

最近,宋陵被选为代表中国参加威尼斯双年展,参展的是令人印象深刻的10幅联合作品:“徽宗时代的池塘晚秋图”。这幅黑白作品是他与中国同行联袂且同等重量的完美例子,展示他的传统国画技术,在当代艺术中占据关键意义。

而这位艺术家目前正在重新审视他早年在“共产主义”社会中的生活,但是以更宏观的背景。宋陵一直在作品中专注传达一致的信息,即试图从一个极具约束性和令人窒息的环境中“理解”或“逃离”。他最新的野生动物系列探索了在人工混凝土丛林中感到窒息,且为生存而战的美丽和不幸的动物们。它们为存活而战斗,同时亦巧妙地抛出了未来这个世界将会变成怎样的疑问。


by CHT

Marching To A Different Beat 迈着迥异节拍行进

Anthony & Jason LuiAnthony & Jason Lui

Owner and General Manager of the Flower Drum Restaurant

万寿宫中餐馆经营者与总经理


“History aside we built a pretty strong and loyal customer base with our food and service. We pride ourselves in using the best ingredients and providing premium customer service. We like to look after our guests and make sure they enjoy our food every time they come in.”

Third generation restaurateur Jason Lui, with deep roots in traditional Cantonese cuisine, is the man at the helm of Melbourne’s elegant Flower Drum, a multi-award winning restaurant lined with exquisite Chinese art and plush carpets. However, aesthetics are not their only asset.

While his father, head chef Anthony Lui is the secret weapon of Flower Drum, the father and son team is formidable, carving a name for themselves, not only as one of the best Chinese restaurants but one of the best restaurants in Melbourne.

Originally set up by Gilbert Lau in 1975 along Little Bourke Street, Flower Drum moved to its current location at Market Lane in 1985. The culinary awards never stopped pouring in and the famed restaurant is usually booked months ahead.

Born in Hong Kong, Jason Lui left his hometown when he was only three. “I don’t remember much about Hong Kong. I’ve lived in Melbourne most of my life. Growing up in Bulleen I went to the usual Australian and Catholic schools, and eventually the university, to do a double degree in marketing and finance.”

The more acclaimed Anthony Lui became, the less Jason saw of his father. “I was living with a chef father who was very busy all the time. Mum passed away when I was quite young. My brother and I looked after each other, split the house chores between us, and did homework by ourselves. My father did the best he could and more, so I count myself very fortunate to be in this family,” he shares.

Anthony Lui took over Flower Drum in 2000. It was only natural that junior joined the ranks. “Back then Gilbert Lau was still around and was a very strong industry legend. I was lucky to be able to learn from him and my father. I started doing everything – busboy, front of house, kitchen hand, got my hands dirty so to speak.”

The double degree came in handy as well. “Everyday life here involves marketing and finance. It’s a good fit I suppose.”

In a successful restaurant, pressure is always part of the menu. Working with one’s father can double that tension but Jason sees the bright side.

There are, of course, generational differences. “My dad is always a steady hand about consistency, keeping things the same as much as possible. For me, change excites me, new things excite me. Sometimes it is difficult to find a balance.”

Anthony & Jason Lui

“It’s amazing getting to know him and the depth of his knowledge and skill. His work ethics are second to none, something I aspire to. The best part is to be able to see a lot more of him.”

The Flower Drum signature is emblazoned across this gastronomic haven. Jason recommend, “The iconic and traditional Peking duck wrapped in handmade pancakes and baked crab shells in creamy turmeric sauce. Noodles made from wild barramundi is another popular demand. Our guests love my father’s cooking style, which is quite delicate and clean.”

Hard work is paramount in the restaurant business. Jason Lui’s personal advice to newbies, “Work hard and don’t deviate too much from your original cuisine”. Not so different for his father’s words of wisdom, “Work and work hard. Do it and do it well.”

Jason Lui
Jason Lui

身为第三代餐厅经营者,Jason Lui深入扎根传统粤菜。他掌管着墨尔本优雅中餐馆“万寿宫”,这是一家屡获殊荣的餐厅,精致韵味十足的中式迎宾装潢设计。然而,美学不是他们唯一的资产。

他的父亲,餐馆主厨吕兆培(Anthony Lui)是万寿宫的秘密武器,父子军团队配合无间,彻底打响金字招牌,不仅是墨尔本最好的餐厅之一,也是极负盛名的中餐馆。

万寿宫原本是由刘华铿 (Gilbert Lau) 于1975年沿着Little Bourke Street创立,并于1985年搬迁至目前Market Lane的位置,所荣获的各种厨艺烹饪奖项更是从来没停过,这家餐馆的预订必须几个月前进行。

“除了本身的历史,透过食物和服务,我们建立了相当稳固忠实的客户群,我们也为使用最好的食材而自豪,当然包括优质的服务。而确保客人拥有最佳用餐体验,让他们每次光临皆对餐馆的食物和氛围享受不已。”

香港出生的Jason在3岁时离开了家乡。“香港的一切有点记忆模糊。因为我大部分时间定居在墨尔本。我在Bulleen区长大,如一般澳大利亚人就读天主教学校,完成大学营销和金融双学位。”

随着父亲名气渐渐上升,两父子相处的时间锐减。“我和一位厨师父亲住在一起,他一直很忙碌。我年少时母亲就去世了,我们兄弟互相照顾,分摊家务,还有做好自己的家庭作业。父亲已经尽全力做到最好,我非常庆幸身为这个家庭中一份子。”他分享。

由于父亲在2000年接管了万寿宫,年轻的他就顺理成章的加入行列。“当时刘华铿还在餐馆,他是行业中声名显赫的传奇人物,我很幸运能够从他和我父亲那里学习。我开始从打杂工做起,无论是跑前台大堂或去厨房帮手,双手弄得脏兮兮。”

当然,修读的双学位也起了作用。“餐馆的日常运作涉及市场营销和财务,这对我来说很合适。而作为一家的成功餐厅,其实更多的压力源自于菜单。和父亲拍档其实心情加倍紧张,但Jason只看到美好的一面。

 

Baked Crab Shell
Baked Crab Shell

“我更了解父亲,他的知识和技能深度是惊人的。他的职业道德可说是无人能及,是我追求的榜样,最重要的是能够看到更深层多面的他。”

至于存在的世代差异观念问题。“我父亲一直尽可能保持稳定或讲求一致性。可是,对我而言,新事物激励着我,我想寻求变化,有时比较难以找到平衡点。”

有关这个美食天堂的标志性菜肴。“我们的招牌菜是传统北京烤鸭包裹着手制薄煎饼和奶油姜黄酱烤蟹壳。而野生盲鰽(barramundi)鱼肉制成的面条是另一道受欢迎菜品。客人们喜爱我父亲的烹饪手法,细致而利落的风格。“

而餐厅经营中至关重要的就是辛勤工作。Jason对于新人的建议:“努力工作,不要过于偏离原味美食”。至于他父亲的智慧箴言并没有太大的区别:“工作和努力工作,去做而且要做好。”


by Billie Ooi-Ng Lean Gaik