Nourishing the design ability through food

Hospitality & Society, 2013

This book explores how the existing design theories can be applied to the production of food and drinks, and how these theories are already applied without even recognising them. Different examples will be taken from some of the different branches of design such as graphic design, product design and fashion design. Then it will be shown how the ideas and theories used in these different areas of design are applied to the making of food.

With great pleasure, I had an opportunity to interview Eating Designer Marije Vogelzang, who has kindly shared with us many insights, personal thoughts, and experiences on Food Design and Eating Design.

This article presents an overview of where the Food Design discipline comes from, and the most promises trajectories it is taking. After a look at its history, highlighting how the term first came to be and the first efforts that defined the expansion of this discipline through practitioners and the media internationally, the article discusses what Food Design is and how it can be defined. Then, the article presents a literature review of the field with an overview of the topics that most have attracted the interest and efforts of researcher and practitioners: the concept of food and eating experiences and how Design relates to them, the use of food as an ingredient and a material to design with and some of the most discussed innovations brought to it, Design for agriculture and the emphasis on the role of Design in this first step of the food chain and its effects on all the others, and the role of Design in propositions that affect the food system and important topics like food sovereignty.

DRS 2012 Bangkok, 2012

This paper proposes and tests a design method for Eating Design, a sub-discipline of Food Design. The proposed design method focuses on the fact-finding phase of the design process and aims at generating data that can then be used by designers to create design ideas and final design solutions for eating events. The method aims at producing new meanings on aspects of the eating events, in order to be subsequently used to generate design solutions that present a radical change in meaning. The proposed method employs the use of a visual tool called Visual Explorer used mainly as a leadership tool, and therefore new in design research. In order to make the proposed method specific for generating data for the design of eating events, the Five Aspect Meal Model has been adopted as its structure. The method has been tested using two different samples: a users sample and an interpreters (experts) sample in order to compare the results. The method has produced dialogues which have been transcribed and analysed using thematic analysis. This allowed generating two different sets of themes representing the characteristics of people's ideal eating events. The two sets of themes have subsequently been tested in a workshop where designers used the given themes as the bases to create design ideas and design scenarios for an eating event. Results show that the themes were easy to use and understand and were indeed adequate for the generation of ideas and design scenarios for eating events. Some of the final design scenarios also seem promising in potentially being developed into design solutions presenting a radical change in meaning.

Design and Culture, 2020

A definition of design under everyday conditions often falls under the conventions of craft, placing emphasis on tangible objects resulting from personal design practices. Design also occurs as part of a routine process, found in sometimes banal, repetitive activities of everyday life. In order to understand how design operates as a productive practice in the everyday, this article looks at cooking as a type of design and, by extension, designers as cooks. As a “wild” practice of design – one that defies the division between production and consumption – this study on cooking articulates an alternative meaning of design that specifically looks at practices of engagement with ephemeral materiality in relation to design. This approach to design operates through processes of distributed agency rather than a traditional object-centered approach.

What is Food Design? And how can it help businesses? This paper first proposes a brief overview of possible definitions of Food Design, and then proposes a categorization of its sub-disciplines that highlight the different background disciplines that can be used to approach Food Design. After identifying what is Eating Design in particular, this paper gives a proposition for how Eating Design can help businesses. I argue here that Eating Design can help businesses by generating solutions that trigger people's emotions, through the consideration of all aspects of the eating situation. I present the literature that sustain the importance of designing for emotions, and then give an overview of different categorizations of the aspects that influence the eating experience concluding with the one I suggest food designers should use, the Five Aspects Meal Model. Finally I try and sustain my argument presenting three examples of eating situations designed considering all aspects influencing the eating experience, and therefore generating positive emotions in the customers.

CHI '12 Extended Abstracts on Human Factors in Computing Systems, 2012

Food and interaction design presents an interesting challenge to the HCI community in attending to the pervasive nature of food, the socio-cultural differences in food practices and a changing global foodscape. To design for meaningful and positive interactions it is essential to identify daily food practices and the opportunities for the design of technology to support such practices. This workshop brings together a community of researchers and practitioners in humanfood interaction to attend to the practical and theoretical difficulties in designing for human-food interactions in everyday life. Through a practical field study and workshop we explore themes of food experiences, health and wellbeing, sustainability and alternative food cultures.

2014

Industrial design is concerned with meeting social needs, providing users with products that improve their quality of life. The Industrial Design program at the University of Bio-Bio in Concepcion, Chile promotes this aim by offering a “User-centred design” (UCD) workshop for third-year students. The DCU workshop uses project-based learning, and employs a methodology that takes the user as its starting point, shifting the paradigm from “designing for” to “designing with” the user. In 2012, design students joined a collaborative project led by the non-governmental organization “Un Techo para Chile” (TECHO), benefitting low-income families living in state-housing projects in the Nonguen Valley. This initiative focused on developing practical solutions to residents’ needs by involving them in product design. Participation in both decision-making and co-creation provided a space of trust and confidence between design students and community members which emphasized the social responsibil...

Proceedings of International conference on Designing Food and Designing For Food, 2012

London Metropolitan University, 2012. Organised by Francesca Zampollo. FULL PAPERS: - Can The Food Stall Survive Saran Wrap? A Comparative Study of Supermarkets and Wet Markets in Hong Kong and New York City. Katharine Schub - The Ceramic Vessel as an Object of Identity. Kate Wilson - Food, Disability and Design. Gianni Renda, Blair Kuys - Formation, Evolution and Dissemination of a Food Practice: “Tomato Bottling”. Koray Gelmez - Unpacking the Pastoral Food Package: Myth Making in Graphic Design. Anna Kealey - “We just keep on getting wrong consumer research results” - A case study on new product development failure on convenience food sector. Toni Ryynänen, Annaleena Hakatie - Insight, ideation and implementation for easy open packaging. Birgitte Geert Jensen, Helle Antvorskov 99 Synaesthesia. Fabio Scotto di Clemente - Nourishment: a meeting of cooks. Inês Laranjeira, Adriano Rangel - ARCHITECTURAL MEALSCAPES. A paradigm for Interior Design for Food. Tenna Doktor Olsen Tvedebrink, Anna Marie Fisker, Poul Henning Kirkegaard - Applying intercultural markers obtained from cooking in the design process. Miguel Bruns Alonso, Oscar Tómico Plasencia, Johanna Kint - Culturally-specific Product Design for Serving Traditional Persian Breakfast to University Students. Reyhaneh Sanei - Designing emotional triggers for food experiences. Ricardo Yudi Akiyoshi, Filipe Campelo Xavier da Costa - Bokantú: re-contextualizing traditional recipes of the Caribbean coast of Colombia. Tania Delgado, Lía Reyes, Ana Linda Monroy - Getting Healthier: Creating interactive cooking tools for kids. Manon Spermon, Miguel Bruns Alonso - Food, design, users: how to design food interaction modes. Beatrice Lerma, Cristina Allione, Claudia De Giorgi, Silvia Bruno, Barbara Stabellini - Persuasive Food Design: A Toolkit for Cultural Triggers. Maryam Heidaripour - Aquaculture fish products – cooking strategies to increase its acceptability. Marcos C, Dias M, Viegas C, M Guerra - Designing food for young adults – increasing vegetable consumption using the sous vide method to enhance sensory appeal. Marcos C, Viegas C, Oliveira V, M Guerra - Food culture and the landscape through art: A comparative dissertation between Italy and Australia. Andrea Bosio - Design for the Next-Food©. An alternative approach of Food Design focused on social and system innovation. Loredana Di Lucchio - Food Design and Well-being: a research into cooking behaviour and well-being to guide designing for behaviour change. Joanne Lin Systemic Design in AgroFood Sector: EN.FA.SI project. Silvia Barbero, Paolo Tamborrini - Communicating Through Food: An Analysis of the Design of the Covers of Cuisine Magazine as they relate to the Development of Gastronomic Identity in New Zealand. Suzanne Bliss and Dr Frances Joseph - Jane Jacob and Designing Diversity: Investigating Gastronomic Quarters and Food Courts of Shopping Malls and Vitality of Public spaces. Harpreet (Neena) Mand, Steani Cilliers - Best Taste by Design: An approach to rapidly satisfy consumer preferences. Jingwei Tan*, Jiani Tang*, Declan Kelly, Qi Zhou, Jettie Hoonhout - Agriculture prototypes: A design experiment of sustainable open fields in China. Francesca Valsecchi, Serena Pollastri, Yongqi Lou - Nasal Nostalgia – Performativity in Food Experience Design Research? Anne Krefting - Why Use Design Philosophy in Culinary Arts Education? Richard Mitchell, Adrian Woodhouse, Tony Heptinstall and Justine Camp SHORT PAPERS - PROJECTS - Food Objects as Models of Cultural Evolution. Adriana Ionascu Nearness and Revealing: The Edible Veil of the Sensible Being. Andrzej Pytel, Marissa Lindquist - Cook & Connect – urban self-catering restaurant. Jens Pohl, Diana Schneider, Maria Lobisch, Caroline - Honey Moments. Florin Alexa-Morcov

2012

Food is becoming a design material: its use and consumption along with the entire related scenario have changed. Food, in particular, is no longer of interest only to cooks and pastry chefs but also to designers, of food and otherwise. The design of the new "material-food" creates new sensory worlds: as a result, the taste is analysed as a new and unexpected experience. At the same time, food handling is another crucial aspect that has acquired growing importance: what is the consumer's behaviour like when handling the food product? In other words, what are the ways and places of interaction between "this material" and the consumer? It is clear that interaction modes with food are changing according to its "usage context" and its presentation form (extruded, expanded, sandwich, mesh, granules, etc.). These presentation forms are directly linked to food ingredients and are often mediated by the presence of a packaging, which determines the user's...

2008

For many women in rural India spending several hours a day cooking over an indoor open stove is the norm. What these women fail to realize is that there is a dangerous killer in their kitchen: burning biomass fuels causes almost 500,000 deaths every year in India alone. What can creative design do to help these women continue with their traditional culture, while empowering them to select a way of cooking that does not endanger their lives? This paper illustrates an initiative built up within Philips’ global design community, where employees used their capabilities to face important current social and environmental issues and, in the paradigm of open-innovation, to provide a concrete context-specific humanitarian answer to one such issue. 1 PHILIPS DESIGN (NETHERLANDS), DESIGN RESEARCH AND INNOVATION. SENIOR DIRECTOR DESIGN FOR SUSTAINABILITY, [email protected] 2 PHILIPS DESIGN (NETHERLANDS), BRAND DESIGN MANAGEMENT, VICE PRESIDENT, [email protected]

International Journal of Education Through Art, 2022

Which possibilities are there for cultivating critical, creative, artistic and ethical thinking in collaboration with a major corporation in a student project? The project explored in this article involved first-year students enrolled in a BA product design course at the Oslo Metropolitan University. The research approach combined methods such as practice-led research with students, photo-elicitation interviews, autoethnographic writing and reflections. The article attends to potentials and failures in critical, creative and artistic practices that aim to challenge problematic modes of production in society today. The project initially set out to explore critical modes of creativity and making practices that are different from commercial design. However, the same project was embraced by Ikea, who both sponsored it and exhibited the final results. This embrace may have the effect of zeroing out, countering or incorporating attempts to be critical towards commercial design.

Among leading designers, Philippe Starck, Marije Vogelsang and Marti Guixé among others, have started to focus on all aspects of food culture: ingredients, preparation, culinary processes, design of the kitchen and the tools and appliances within it, and not to forget serving and especially enjoyment of food and the meal. Architecture and design have for a some time played a role with regard to food, but mostly to apply their core expertise by the design of kitchen layouts and interiors, cutlery, containers and tableware as well as packaging for food products. (Fisker 2003) What is changing, is that leading agents of change within gastronomy, retail, kitchen furniture, the cutting-edge chefs and tool and appliance industries are increasingly collaborating in interdisciplinary teams with designers, engineers, behavioural and food specialists to develop new strategies with innovative offerings that better fit the changing consumer and challenging market needs, that employ the potentials of new manufacturing technologies and materials to the fullest and through that manage to add massive value and commercial appeal to their offerings (WEB1: Food and Design Report), and ultimately helping these key players in their industry to stay ahead of global competition (WEB2: Tim Brown on Strategy by Design). The discussion the present paper wants to put up is in how far this move towards interdisciplinary product and strategy development is a relevant field of future activity in the architecturally field and in how far the architectural schools are able to prepare the students to be capable contributors to all aspect of food design? This leads to the essential question: how can architectural schools develop their education to make architects capable of effectively taking part in designing food?

This study describes the trends of the emerging discipline Food Design in an attempt to analyse food projects that emphasize today’s design approach to design with or for food. The study analyses food projects designed in the last few years. The selected food projects are part of the projects submitted to Food Design®, a Food Design competition organized by studio OneOff (at its 6th edition in 2010). The projects submitted to Food Design® are the representation of young designers and professionals’ creativity in this discipline. Semiotic analysis has been conducted on the representation boards of 24 projects that have been submitted to the 4th, 5th and 6th edition of the competition. The results of the semiotic analysis of each board have been summarized in a table under the categories target, materials, use, scenario and meaning. These data have then been reanalyzed in order to create a sub-categorization emerging from the table’s content. The sub-categories have been inserted into a wheel that has been called the Food Design wheel.