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Travel 2022 CultureMagazine DigitalEdition-2

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36 culturecheesemag.com T R AV E L 202 2 C H E F ' S D I S H L oud, vibrant, and conspicuous, Miami is more known for multi- million-dollar restaurants than it is for hidden dining rooms or secret speakeasies. Influenced by both climate and cultures, it's also a place where everything from appetizers to desserts trend toward the tropical rather than the velvety and cheesy. At the year-old Kojin, located in the rapidly gentrifying Little River/El Portal neighborhood, chef-owners Pedro and Katherine Mederos defy those norms. A modest 10-seat restaurant located in the back of another restaurant, Hachidori Ramen Bar, Kojin was originally designed to be a sake den. Instead, Hachidori owner Guillermo Paniza started using it for storage while the pandemic raged and locals took advantage of the restaurant's outdoor seating. In June 2021, he reached out and offered the space to Pedro and Katherine, who had recently closed their four-month-old dumpling pop-up. With a wall of faux cherry blossoms and a neon kanpai sign already installed along with a bar and a table or two, Kojin was turnkey. All Pedro and Katherine had to do was move in—and figure out what they wanted to serve without having a full kitchen. You might think that the young couple, who had met at The Culinary Institute of America (CIA) at Greystone in St. Helena, California, would offer a variation on the classical French cuisine in which they were trained. Especially since they would have to use every inch of the bar, along with portable and makeshift appliances and burners at various prep stations. Instead, Pedro, who has a sense of humor so deadpan that his words almost evaporate like dry ice, says, "We created this to make it as difficult for ourselves as possible. So now we work 12–14-hour days." In other words, they went in a completely different direction: toward fare that the Miami-bred Pedro describes as "traditional Japanese with modern twists." Located behind another restaurant, Kojin has a speakeasy vibe

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