Why CUT matters.
CUT Beverly Hills is a progressive steakhouse where Golden Triangle's luxury dining culture meets Wolfgang Puck's California culinary legacy, Richard Meier architecture and a global beef program conceived to expand the possibilities of the American steakhouse.
Set within Beverly Wilshire, Beverly Hills, A Four Seasons Hotel near Rodeo Drive and El Camino Drive, the restaurant occupies the Wilshire Boulevard edge of the Golden Triangle between Beverly Drive, the fashion houses extending north along Rodeo Drive and the commercial blocks reaching east toward Cañon Drive. Richard Meier enclosed the dining room within a transparent mesh layer set against curving French windows, using white surfaces, subtle curves and black Eames Aluminum Group chairs to establish a distinctly modern interior. Large-format artwork punctuates the restrained architecture, giving individual pieces visual prominence across the pale room. An open kitchen places the preparation of beef and seafood within direct view of the dining room, connecting Meier's architectural clarity with the work of the kitchen. The result is a steakhouse whose transparent architecture, modern furniture, art and visible cooking give Wolfgang Puck's beef program an unusually disciplined setting inside one of Beverly Hills' historic hotels.
What defines CUT.
CUT Beverly Hills is best known for Wolfgang Puck's decision to reconsider the traditional American steakhouse through the culinary precision and architectural ambition already associated with his fine-dining restaurants. Puck and longtime Spago executive chef Lee Hefter had discussed developing a steakhouse before Beverly Wilshire supplied a location close to Puck's Beverly Hills flagship. Architect Richard Meier, whose Los Angeles work included the Getty Center, joined the project through his friendship with Puck and designed a bright contemporary room that broke from the dark wood and club-like interiors historically associated with steak restaurants. CUT debuted in 2006 as the first restaurant under the name, establishing the Beverly Hills dining room as the origin of a concept subsequently extended to Singapore, London, New York, Washington, D.C., Bahrain and other international destinations. Esquire selected CUT as its Restaurant of the Year, and the restaurant earned a MICHELIN star after its first year of operation. MICHELIN returned to California with a statewide guide in 2019 and awarded CUT a star that year, followed by another star in 2021; the restaurant remains MICHELIN-recommended in 2026. Puck developed the concept around comparative tasting across cattle breeds and origins, bringing American beef into the same program as Australian and Japanese Wagyu. That international sourcing changed steak selection from a single cut-and-temperature decision into an examination of breed, provenance, marbling and aging. Executive chef Drew Rosenberg now leads the Beverly Hills kitchen, extending the original concept through California produce, American and Japanese fish and a beef program approaching its third decade.
Japanese Wagyu supplies the richest end of the beef spectrum through exceptionally dense intramuscular fat, requiring smaller portions and restrained cooking to preserve its soft texture and concentrated richness. American cuts develop a firmer chew and deeper roasted exterior, allowing diners to move between markedly different expressions of beef within the same meal. Dry aging intensifies selected cuts through controlled moisture loss and enzymatic change, concentrating flavor as the meat develops the nutty depth associated with extended maturation. The kitchen carries beef beyond the steak itself through Wagyu tallow French fries, using rendered fat to give the potatoes a direct culinary connection to the restaurant's principal ingredient. Steak tartare moves in another direction through harissa, yolk jam, smoked yogurt and puffed semolina crisps, combining raw beef with chile, smoke, richness and brittle texture. Seafood broadens the cooking through European Dover sole with Vermont butter and almondine sauce, alongside shellfish and fish selected from American and Japanese waters. CUT Beverly Hills builds its culinary character through these changes in breed, aging, fat, temperature and preparation, treating beef as a product with distinct geographic and physical properties across a menu that remains grounded in Puck's broader California approach.
How CUT fits.
CUT Beverly Hills works as the dinner anchor for an outing connecting Frank Lloyd Wright's late-career commercial architecture, Beverly Hills' Depression-era civic ambitions and a federal post office converted into a major performing-arts institution.
Begin at Anderton Court Shops, the 1952 Rodeo Drive commission that became Frank Lloyd Wright's only completed retail project in Southern California. Nina Anderton commissioned Wright to fit six boutiques onto a narrow commercial parcel, and he arranged them across three floors around a central light well with cantilevered ramps rising through the front and center of the building. An inverted-V façade increased usable floor area as the structure climbed, and the upper level incorporated a penthouse apartment with a separate studio above it. The commission compressed Wright's interest in geometric circulation into a building whose ramps turned movement between shops into its principal architectural feature. Continue to Beverly Hills City Hall, developed after a citizen committee presented a petition signed by 1,998 voters seeking a new civic center in 1930. Residents approved a $1.1 million bond issue, and architects Harry G. Koerner and William J. Gage received the commission with John C. Austin and Frederick M. Ashley serving as consultants. Herbert M. Baruch Corporation constructed the building, whose eight-story tower, blue-tiled dome, gilded cupola, arched openings and sculptural ornament gave Beverly Hills an elaborate Spanish Renaissance civic centerpiece during the Depression. The building formally opened in April 1932, at a moment when the young city was investing heavily in public architecture despite the national economic contraction. Conclude at Wallis Annenberg Center for the Performing Arts, where the former Beverly Hills Post Office preserves another major civic commission from the same decade. Ralph C. Flewelling developed the 1934 Italian Renaissance Revival building with Allison & Allison, and Charles Kassler painted eight fresco murals inside. Beverly Hills acquired the former post office in 1999, and architect Zoltan E. Pali subsequently integrated the restored building with the new 500-seat Bram Goldsmith Theater after the Annenberg Foundation committed a $25 million founding gift. The progression moves from Wright's compact experiment in vertical retail through Beverly Hills' lavish Depression-era City Hall and culminates in the architectural conversion of a 1934 federal building for theater, connecting three distinct chapters of design within the compact district surrounding CUT Beverly Hills.
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