Why you should experience Dadaï Thai Vietnamese Dim Sum in Tokyo, Japan.
Dadaï Thai Vietnamese Dim Sum is an expressive modern Asian restaurant where Jingumae's creative culture, Thai and Vietnamese cooking, dim sum and Yasumichi Morita's theatrical interior design converge beneath Miyashita Park.
Set along Meiji-dori near Cat Street and just steps from Shibuya Cast, the restaurant unfolds around an island bar beneath a painting rising more than four meters overhead before opening into a mirrored main dining room. Morita's design pairs that scale with Naritaka Sato's artwork, tropical planting and sculptural forms, giving the cooking an appropriately unconventional setting. Thai fish sauce, Vietnamese nuoc mam, Japanese seasonal produce and dim sum allow the kitchen to move across several Asian traditions without losing the sharper flavors of herbs, chile and fermentation. The result is a Jingumae restaurant where contemporary art, Morita's interior and Southeast Asian cooking share the same appetite for unexpected combinations.
What you should know about Dadaï Thai Vietnamese Dim Sum.
Dadaï Thai Vietnamese Dim Sum is best known for opening on August 4, 2020 as Huge's fourth Asian restaurant concept and taking its name from Dadaïsme, the European avant-garde movement that emerged during the early twentieth century. The opening placed the restaurant inside the newly rebuilt Miyashita Park, a 330-meter complex designed by Takenaka Corporation with Nikken Sekkei as project architect and completed during one of Shibuya's largest periods of physical change. Huge commissioned Yasumichi Morita of Glamorous to design Dadaï, giving the restaurant an author whose international work had already extended from Japan into Hong Kong, New York, London, Paris and Qatar. Morita organized the interior around a bar dominated by Naritaka Sato's painting measuring more than four meters, a work created through the unusual process of painting with high technical precision before deliberately obscuring portions of the image. The team nicknamed the female figure “Muse,” and Morita positioned mirrors so her image reappears from the main dining room. Dadaï opened with Thai and Vietnamese cooking joined by dim sum and Japanese seasonal produce, making the collision suggested by its Dadaist name part of both the food and the room.
Tom kha gai gives that approach a particularly concentrated form, combining coconut milk and sweet potato with lemongrass, makrut lime leaf, fish sauce, lime and ginger around Tamba black chicken prepared as both pieces of meat and mince. Dim sum shifts the progression into steamed dough and concentrated fillings through pork-and-shrimp shumai, crab-miso and sticky-rice shumai, and shrimp-and-celery dumplings. Clay-pot mapo tofu pushes farther across regional boundaries by pairing lamb with Roquefort, using the blue cheese to deepen the fermented richness and chile heat surrounding the meat. Puu pad pong curry then folds three kinds of crab into egg, before gai yang brings bone-in chicken toward the darker surface flavors of Thai roasting. Dadaï makes these departures coherent through fish sauce, herbs, spice and fermentation, allowing Thai, Vietnamese and Chinese forms to cross repeatedly.
How to fold Dadaï Thai Vietnamese Dim Sum into your trip.
Dadaï Thai Vietnamese Dim Sum works as the meal anchor for an afternoon moving north through Jingumae, connecting recent Shibuya architecture with a major private ukiyo-e collection and one family's international contemporary-art patronage.
Begin at Shibuya Cast, opened on April 28, 2017 on the former Miyashitacho Apartments site, where Nihon Sekkei helped shape a 16-story complex around a 1,000-square-meter plaza and the entrance to the former Shibuya River promenade. Continue to Ota Memorial Museum of Art, opened on January 13, 1980 after Seizo Ota V's family made his collection public, preserving 12,000 ukiyo-e works assembled despite part of his earlier holdings being lost during the Pacific War. Conclude at Watarium Art Museum, where Shizuko Watari transformed the international program she had developed through Galerie Watari from 1972 into a private museum opened in September 1990 inside Mario Botta's first museum building. The progression moves from twenty-first-century architecture through Ota's preservation of ukiyo-e into Watari and Botta's international contemporary-art project, placing Dadaï within Jingumae's unusually concentrated culture of design, collecting and artistic patronage.
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