Goldsmiths College, University of London
WORK IN PROGRESS
Design, Critical Practice
FEAST
Sensoreal PROJECT BOOK Eunji Han
Goldsmiths College, University of London
WORK IN PROGRESS
Design, Critical Practice
FEAST
Sensoreal PROJECT BOOK Eunji Han
2
Feast, Eunji Han
Table of C
Manifesto
6
2.
Interest Map
8
3.
Experiments
10
_Playing with materials
10
_Dining table
18
image video
4.
18 26
_Food
36
_Light
37
Cutlery
38
_Prototype
38
_Making process
40
5.
Drawing
44
6.
Interaction Idea
45
3
1.
Design, Critical Practice, Goldsmiths
Contents
4
Feast, Eunji Han
I made a problem. The traditional interaction design tends to decide the aim of the project first and start to research to make a final design. However, in my project I revert this design process. I make something without design purpose extemporary and then, figure out what it can be in design context. This method helps me to create something at the first step and it makes a new way of thinking through design process. This method allows me to inject my unconscious through the design. Freud said that unconsciousness is _. How to share the multi sensory experiences that fill our lives through designing multi sensory experience? I began by questioning the multi-sensory experiences that fill our lives through reassessing the everyday ritual of dining. In interaction design, we look at tools and how the user gains a meaningful experience from an object’s use and we tend to put meaningful feeling into the tool. However, in my practice, I reverse this process. I chose the emotion first and then determine which method is the best way to achieve that feeling.
Design, Critical Practice, Goldsmiths
Introduction
5
In my practice, I inject unexpected sensory inputs into this methodology. Sensory Dining is based around a set of extemporal experiments with materiality, creating a
Feast, Eunji Han
dialogue between unexpected object affordances and the primal human. Since these experiments are based on the familiar and necessary ritual of eating, we can augment the a priori information we bring to the table. Eating can be disgusting, which contrasts with the contemporary approach to dining as more of a procedure. By applying an aesthetic of disgust, we engage with a primitive emotion, embracing its visceral nature and achieving a deeper interaction. Sensory Dining is a way to examine this ritual through critical objects in order to create a new emotional connection to what we eat and how we eat it. My research focuses on how objects ‘invite our subconscious to the table’ through unusual and extraordinary interactions, changing the whole experience of ordinary dining. The objects on the table (including cutlery, crockery and food) create a paradoxical magnetism through their performative use.
6
I put this book in chronological order to emphasise the process of the ‘Feast’ design. The process could be seen as non-linear and confusing, because I argue that this is the natural way of thinking. I could have categorised my work in a more organised way, but I realised that does not represent what I wanted to find through my design. In the first phase of planning this project, I made a big outline of my design manifesto. After the manifesto, I mapped my interests to determine any themes or links. However, even though I could feel that my strongest
Design, Critical Practice, Goldsmiths 7
interests were connected to each other in some way, I struggled to define these connections. I researched more about my some of my interests, but it was still vague what I really wanted to design. Hence, my problem making began. Without thinking about what I was making, I just made something. Then I figured out what it meant to me and researched about the theoretical meanings of my experiments. The essay will explain weirdness, materiality, unconscious in design process and eating as design - food, tools, unusual object in dining and sensory dining(sensoreal).
Manif Believe in myself
Feast, Eunji Han
Have fun, be happy Feel what you feel Be honest Be critical Make beautiful
8
You can’t always create something first
festo Remember my
But do not define myself by the originality
Design, Critical Practice, Goldsmiths
originality,
Make something happen Be instinctive
9
Love
10
Feast, Eunji Han
Interest Map
11
Design, Critical Practice, Goldsmiths
Feast, Eunji Han
weird complex of feeling
12
weird experience
In my project, I argue defining this usual/unusual tension in words is impossible. I have been looking at my life, and it is full of paradoxes which cannot be explained by language. Life is full of different feelings and these are always changing by seconds or even less than seconds. What is more, it is different for each person. Even to myself, I cannot explain what I felt a few seconds ago because the feeling has already changed. Or maybe not. Hence, my project is against the rational. It is against language and it is against stereotypes. I want to see the world as I felt it when I was an infant when before I learned language. In Lacanian context, we
13
I feel weird. The weirdness may come from within or might come from somewhere outside of me. I have been feeling weird throughout my life in different situations. In my point of view, all people and all objects which fill our lives have different faces. I do not say whether this is bad or not. It is a very natural thing. A murderer could be an easy example. If a murderer kills a person, s/he is heinous. For the family of the victim, the murderer is like the devil. However, if the murderer acts really nicely to others who do not know what has happened, the murderer could seem like a good person. Moreover, if the murderer kills someone who also wishes to kill someone, he could actually be a good person (but also still a bad person, because he is still a murderer). Okay, let’ stop talking about murderers. So, I feel the world is full of paradoxes and irony and it is hard to define something by just one situation. However, definitions are always exist to find out what it means to understand something well. In the complicated tensions between different aspects within one object(may be it is not an object), I find weirdness. It can be said it is irony or paradox. Weird is unusual but it can be usual.
Design, Critical Practice, Goldsmiths
Weirdness
Feast, Eunji Han
are living in the Symbolic world. Before Symbolic, we see our world through images. The reflected image of our life is full of paradoxes. The image itself drives certain feelings which we might know before the Symbolic or before the Imaginary. I would try to represent the Real through my design. Even if it cannot be Real to others or it cannot be the Real of me.
I began with th
14
Lacan
Design, Critical Practice, Goldsmiths
he Imaginary, I then had to chew on the story of the Symbolic ... and I finished by putting out for you this famous Real.
15
n, Seminar 22, quoted in James M. Mellard, Beyond Lacan (Albany 2006) p. 49
16
Feast, Eunji Han
Playing Materiality
Reality is going to a ghost.
17
The three trigger words in the interest map were ‘weirdness’, ‘texture’ and ‘sexuality.’ I’m interested in haptic materials so texture became the most medium within my research - sexuality, another prevalent topic but became confusing and so ‘unisex’ defined the notion that destroyed the concept of sexuality. During my journey of researching the idea of unisex, I became interested in the collapse of conception and how stereotypes of became vague and each being can be anything, anything they want without what they should be, this relates to weirdness. The last trigger word turned out to be weirdness - When a sentence can’t define something, I feel weird. However, I’m still confused with defining what I mean by weirdness, from this moment my experimentation began - I started with jelly, fluorescent colour and light, having no plans for a result. So without purpose, unconsciously I began making objects to define weirdness.
Design, Critical Practice, Goldsmiths
Vile'm Flusser
Feast, Eunji Han 18
Observing the movements of wobbly jelly.
Observing reflected colour
Design, Critical Practice, Goldsmiths
Feeling the texture of jelly on my
19
r and lights by movements.
20
Feast, Eunji Han
Design, Critical Practice, Goldsmiths 21
Fluorescent colour Combination of two materials(Wood + Jelly)
Feast, Eunji Han 22
Put objects randomly
23
Jelly making process Design, Critical Practice, Goldsmiths
Material can be touched by not only hand but also eyes. Touch is one of the sense in five senses. I argue that there are some textures have stronger tactilitythan other materials. Hara Kenya held exhibition called “HAPTIC : Awakening the Senses(2004).” The term haptic means mainly about touch. However, all the senses are engage in ‘HAPTIC’ by ‘the use of carefully selected materials and surfaces in designed objects.’ The objects encourage audience to touch them and observe them by their hands (Hara: 2004). His exercise is ‘feeling rather than form(Design Boom: 2012).’ Hara said:
Feast, Eunji Han
Without resorting to new materials or abstraction we can infer that there is something vital in the domain of the senses. That’s why we can understand the tactile sensation of a scrubbing brush without actually experiencing it.(2004) What Hara mentioned is relate to synaesthesia. The term synaesthesia : “is a neurological phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway(Cytowic: 2002).” By the idea of synaesthesia, I did some experiments with the material : jelly and fluorescent colour which I think it stimulate the senses.
Haptic as Jelly “ The life of a jellymonger is wobbly, largely ridiculous and often downright weird.”
24
BOMPAS AND PARR(2010)
Colour can be touched and tasted. Specially, I am intrigued in fluorescent colour. It is artificial colour made by chemical. It does not exist in nature. Therefore, it can stand out and catch eyes. Good arrangement of colour looks good for readable and make it beautiful. It should be carefully used to make a well designed design. However, if it needs to be eye-catching intensively and should be visible without arguing aesthetic point, it can be used without control. The main colour in the project is fluorescent pink and fluorescent green. Pink and green is the opposite place in colour chart. I used to learn not to use complementary colour when I was in art school. However, I use this colour combination and even it is two fluorescent colour to stimulates other senses. It reminds acid taste. Acid taste is what human do not like due to the fact that our body is designed to avoid toxic material. Sour taste is one of the taste human usually do not like with bitter and spicy. It makes the mouth watery like when I see citrus.
25
Haptic as Colour
Design, Critical Practice, Goldsmiths
I like to eat jelly. However, jelly was not merely savoring treat to me. Jelly is slimy and cold. Touching jelly is somehow sticky and weird. It reminds slimy material like disgusting rotten water lake. Korsmyer(2011) mentions that there is core material that “prompt unqualified visceral disgust and may include unpleasant involuntary responses[‌].â€? Jelly is sexy. It is similar with sticky and chewy material from human like saliva. Most of sex toy is made of silicone. It has very squishy texture to mimic human being. Jelly has movements. It react really sensitively by the movements around them. In Victorian era, jelly is a entertain object on dining table to watch them when they wobble(Channel 4: 2010). Jelly is not liquid but also is not solid. It change the materiality by temperature. These factors of jelly make me intriguing about jelly.
26
Feast, Eunji Han
Unconscio
27
Design, Critical Practice, Goldsmiths
Beyond ousness
Feast, Eunji Han 28
EATING ON DINING TABLE
Hence, we started without any plan. Adriana(F) put fringe in her hat and Galen(M) hang a skipping rope on his neck like a necklaces, because we want to.
There was no design approach.
Design, Critical Practice, Goldsmiths
I didn’t give them a script for the shooting, but just directed them pretending this is meal normal.
29
After I made dining table, I wanted to see what happen if I make a video on this table. Therefore, I invited some friends to make a film with it.
30
Feast, Eunji Han
31
Design, Critical Practice, Goldsmiths
32
Feast, Eunji Han
33
Design, Critical Practice, Goldsmiths
34
Feast, Eunji Han
35
Design, Critical Practice, Goldsmiths
36
Feast, Eunji Han
VID
37
Design, Critical Practice, Goldsmiths
DEO
G: Hello. I’m Galen.
38
Feast, Eunji Han
A: Oh hi, I’m Adriana.
A: How was your day? G: It was good.
G: How are you?
39
Design, Critical Practice, Goldsmiths
A: I’m good. How are you? G: I’m good, thanks..
Feast, Eunji Han 40
G: I know. And there’s too many cooking channel on TV.
Design, Critical Practice, Goldsmiths
A: We eat too much gelatin people. Aren’t we?
41
G: To be honest, today was a bit weird...
Feast, Eunji Han
G: ?
42
A: Are you sure?
43
Design, Critical Practice, Goldsmiths
A: Are you sure?
44
Feast, Eunji Han
45
Design, Critical Practice, Goldsmiths
A: Are you sure?
A: Are you sure?
A: Are you sure?
Feast, Eunji Han
A: Are you sure?
A and G :Cheers!
46
A: HAHAHAAHA
Design, Critical Practice, Goldsmiths
A: Are you sure?
A: Are you sure?
47
A and G: HAHAHAAHA
After the filming I asked to my actors what they feel during they are filming. Galen : Adriana :
48
Feast, Eunji Han
It was very intriguing Galen told me he could not act as normal because the objects on table was not normal. He said it makes him act weird.
49
Design, Critical Practice, Goldsmiths
Eating as Design
Feast, Eunji Han
Food Design
50
I did some food experiment.
I was failed as you can see.
51
“We are what we eat (Jackson: 2013).” Design, Critical Practice, Goldsmiths
52
Feast, Eunji Han
53
Design, Critical Practice, Goldsmiths
Feast, Eunji Han
What is eating? It is instinctive activity what animals do for living. Human is the only being who “eat”. The other all animals “feed”(Jackson: 2014). Eating eating is related with cultural, geography or social subjectivity. The practice of eating is performed ‘a range of routines and rituals around food we consume and the context in which meals take place depends on the factors human eat in different ways.’ Therefore, eating is not merely physical practice. In other words it is not simply satisfy hunger and body. Can food be designed? How can food design create a new emotional connection to what we eat and how we eat it? It has often been argued that taste is the most important part of food. However, this is only partially correct. This approach ignores that the other senses impact the whole eating experience just as much. There are some aspects about food that allows it to be considered more than just fuel for the body, it can also be a stimulation for the five senses. Therefore, the food experience can be an extraordinary and multi-sensorial experience.
54
Food design has allowed different manifestations from different sectors, from the tools used to the food itself, they enhance the dining experience and change the mundane into the extraordinary. Dining becomes more enjoyable and meaningful. Eating food on the dining table is an experience from both external and internal to body. External to body, religious could be in here. And internal to body, it is all about what people see, smell, taste and feel(Owen: 2001). In my project, I focused on the interaction to internal body.
55
Design, Critical Practice, Goldsmiths
Cutlery Design
Feast, Eunji Han
PROTOTYPE
56
So, how I should apply those idea to my design? I started to decide the material unintentionally again. I could use bone in the workshop in my main class. I might not be able to think using bone to make cutleries if there was no bone in the workshop. It made a sense to eating experience and eat foods with bone. I explored natural shape of bones which I can make a relation with usual cutlery. I chose similarities in shape and Painted on bone, plasticine, acrylic, rope, straw
(from top to bottom) fork, chopsticks and fork
57
Using tools
usage of the body part of the animals killed by human. I collected bone from River bank first. I do not know where is exactly came from. However, in the river bank there are piles of bones. I’ve heard the slaughter place is near Cutty Sark where I collected bone. Moreover, for the chicken feet fork, I went to the butcher to get some chicken feet. The butcher knew that I need chicken feet to eat them because in our culture we eat chicken feet. The metal symbolize the power of slaughter and the metal part meets the soft part. Users can hold the cutlery with squishy part and they could cut the food but they hold really soft material.
Design, Critical Practice, Goldsmiths
And then I sprayed some bones to see how it will be look like after I cast bones.
Feast, Eunji Han
plate. 1
plate. 2
plate. 3
I made cutlery prototypes before making the real thing. Firstly I made aluminum plate prototypes (plate 1) - it didn’t work well. Then, I tried to make prototypes casts with air dried clay (plate 2)- it didn’t work well either :(, after two weeks I used tried plasticine which was a disaster (plate 3). My plan was designing the cutlery shape inspired by bone’s natural shape (plate 4). My plan is to use the shape of teeth and feet which animals use to eat their food and using the bone shape cutlery to eat animals.
Cutlery Design 58
making process
Design, Critical Practice, Goldsmiths
Therefore, I went to Thames to get more bone to use original shape in making process. This pictures above was taken at the Cutty Sark at Greenwich. The place was intriguing. Quite many people at there to collect different stuffs at river bank such as poetry or bone like
plate. 4 59
Bones I collected from the river bank
Feast, Eunji Han 60
So, how I should apply those idea to my design? I started to decide the material unintentionally again. I got a chance to use bones in one day workshop session. I might not be able to think using bone to make cutleries if the bone was not in the workshop. It made a sense to eating experience and eat foods with bone. I explored natural shape of bones which I can make a relation with usual cutlery. I chose similarities in shape and usage of the body part of the animals killed by human. I collected bone from River bank first. I do not know where is exactly came from. However, in the river bank there are piles of bones. I’ve heard the slaughter place is near Cutty Sark where I collected bone. Moreover, for the chicken feet fork, I went to the butcher to get some chicken feet. The butcher knew that I need chicken feet to eat them because in our culture we eat chicken feet. The metal symbolise the power of slaughter and the metal part meets the soft part. Users can hold the cutlery with squishy part and they could cut the food but they hold really soft material.
61
Design, Critical Practice, Goldsmiths
62
Feast, Eunji Han
Casting process of cutting part
Design, Critical Practice, Goldsmiths
Casted pewter I’m going to grind it to make more delicate shape.
63
Final product planning
Cutlery Process
64
Feast, Eunji Han
I made moulds from the natural shapes of bone and chicken feet to make moulds. And then cast them with pewter. For the knife, I made a one prototype first but I realised that it is too much like the original jar shape and I wanted to make it more knife shape. Therefore I made some prototypes of the knife again and decide the final form. Then I cast it again. With the moulds I made, I made a wax form and cast it again. And finally I have got a pewter one. After I duplicated the row pewter knives I grind it to use for the food performance. I used leed free pewter and it is food safe. Pewter is historically used for cutlery in England. It is very soft metal which I can easily shape it and melt it.
65
Design, Critical Practice, Goldsmiths
Grinding chicken nail
66
Feast, Eunji Han
I got a metal chicken feet!
Moulds making for dessert fork, knife and main dish fork(from left to right)
67
Design, Critical Practice, Goldsmiths
Feast, Eunji Han
I took inspiration from Surrealism when I first started to make the cutlery. One Surrealist, Andre Breton, said there is what he’s already seen and others tell him they have seen as well. However, what an individual sees is different and even they can see “which is not visible(2007)”. The marvelless of Nature and the subjectivity of cognition(ibid) allow me to do my cutlery making process. I took bone and chicken feet in “a store of metaphors (ibid)” to create the world I have seen. I played with natural materials and took their shape. So I had to use different skills to mimic nature. Mostly, I made moulds to get the natural form. I used this method for making the fork prongs. For the other part (handle), I used 3D scanning and wax modeling. Then, I cast them in a different material to change the way of seeing the object and to build a set from the world I have seen. What feeling will be evoked when people see the object in a different usage? Uncanny is the class of emotion that frightens people and I create this feeling through objects that are reminiscent of familiar things, but made unfamiliar by changing the materiality. Some parts are the same as the real shape (like the chicken forks) but some parts have the designed shape like teeth knives, teeth forks, handle parts and silicone parts. I tried to mix the method to make an Uncanny feeling for the audience when using these tools.
68
“…is only this factor of involuntary repetition which surrounds what would otherwise be innocent enough with an uncanny atmosphere, and forces upon us the idea of something fateful and inescapable when otherwise we should have spoken only of ‘chance.(2003)”
69
Design, Critical Practice, Goldsmiths
Feast, Eunji Han 70
Row finished cutler
Nature is my unconscious.
Design, Critical Practice, Goldsmiths
Louis Aragon, Paris Peasant(1926)
71
ries for four people
72
Feast, Eunji Han
Handle Making Process
73
Design, Critical Practice, Goldsmiths
74
Feast, Eunji Han
75
Design, Critical Practice, Goldsmiths
Unusual Objec
Feast, Eunji Han
(“Savoring disgus
Tools for eating changes the dining experience. Even though the tools for dining are different in different cultures, it is the same that only specific designs are used everyday. Therefore, I designed tools for eating to change the mundane. By using the tools in perforamative ways, I want to make a “feeling towards(2002)”. Emotions are directs of mental states. (2011) Goldie(2002) uses “feeling toward” to recount the intentionality of emotion. He said it is “thinking of with feeling. Therefore, “object of your thought” directs towards “your emotional feelings.” Intentional object can be physical things(2011). In my design project, I tried to make intentional emotion through the objects on the table.
76
Cutlery is used for eating food or serving food-tools such as knives, forks and spoons. I think of using cutlery as a little slaughter on the plate. In Korea, chopsticks, spoon and scissors are normally used for dining. It might be surprising in Western culture to use scissors for eating but it is true. Every food should be ready to pick up, before it is put in the mouth. However, I was interested in the little slaughter on the plate for my project. Jeon said cutlery can be an extension of the body. I designed disgusting cutlery. It is said that:
ct in Dining
However, in my practice, I designed the cutlery to purposefully generate aversion by eating food with them. By taking the idea of “savoring disgust(2011)”, I tried to design the objects on the table to have “paradoxical magnetism(ibid)” in order to make an enjoyable disgusting dinner. It is said that “repugnance is merely the other side of the same coin from refinement(1978).”
77
The general refinement of table manners, notably through the adoption of the fork, was associated with increasing feelings of aversion to touching food with the hands[...](1985)
Design, Critical Practice, Goldsmiths
st(2011)”)
Sensoreal I designed a set of experiences. Each component makes one experience and helps each other by inspiring other components.
Cutlery
78
Feast, Eunji Han
I took the most time for this project to make cutlery. I made main dish fork, main dish knife and dessert fork. The main dish cutlery have three parts as cutting parts; handle parts and the silicone parts. I will explain cutlery design for FEAST by describing material because the shape is already mentioned in cutlery design process and unconscious nature part. Cutting part is made of metal. Metal is strong shiny material. I use the metal to emphasise the brutality when is it cuts and crushes food. For the handle part, I use clear resin. In my point of view, clear material is really interesting. Aesthetically, I like that it changes the colour and texture due to distorting light and reflecting the background. Moreover, I needed to use clear material to put screws into the handle part to emphasis the cruelty even more and make a connection with the cutting part. In the middle, silicone part gives two feelings. One is mimicking the joints of the bone, making the cutlery like an extension of our hand. Second is the feeling when it holds the silicone part. Silicone part is actually the handle on my design on purpose. When using the cutlery, people should hold it and the cold and squishy silicone are touched with hand. I used really soft silicone what is usually used for the product, which mimic human skin. However, the audience can still cut their food because there is a cutting and picking part. These different materials are supposed to stimulate tactile senses. The dessert fork is composed of a metal part and silicone part. I used a fishing worm as a handle. It wobbles with movements; it seems it is alive. What is more, the material of fishing worm is quite sticky. Many of people did not want to touch the dessert forks due to their look, but they finally played with them because of
its playful usage.
Food
During the FEAST, a three-course meal is served. The starter is tomato soup; the main course is fillet steak with mushroom sauce; the dessert is a chocolate chip cookie and tea and juice are served as drinks. I tried to make a really cliché meal to make the experience stronger with unexpected food design. I designed tomato soup as a green popsicle. Eating is more than taste. Jeon(2012) mentioned eating is a combination of senses such as “temperature, colour, texture, volume/weight and form.” I changed the temperature, colour and texture for designing tomato soup as a starter. And it tastes exactly the same with normal tomato soup, but is frozen. Moreover, popsicle normally has sweet flavor, but this popsicle has a salty flavor. I put a bright pink jelly (shaped from my face) on the middle of the dining table. And it melts during the meal and to became mushroom sauce. There is a relevant theory that red colour is attractive because it means “ripeness, sweetness and calories (the Guardian: 2013).” However, the pinkish mushroom sauce has a salty flavor. I poured the sauce for the steak on a mirror plate. The dessert was chocolate chip cookie with blue icing on top. Blue is a disgusting colour when it used for food. And the tea is served with fluorescent pink and juice is served on the table by squashing concentration juice during the performance. There is an interesting experiment about blue and senses;
Design, Critical Practice, Goldsmiths
I changed the food to be very different than expected. Jackson argues the experience of eating is associated with pleasure. It is related to “the sensory delights associated with buying, preparing, smelling, and ultimately experiencing the textures, tastes, flavors, aftertaste, and surprises accompanying each mouthful of food that individuals allow themselves to enjoy (2013).”
79
“It is interesting, though, that a dyed-blue steak will have the same effect, even if you know it’s perfectly safe. If you get people to eat it in the dark, says Spence, “so they think it’s normal, then you turn the lights up and show
them the colour, some will get up and be sick straight away”. Such is the powerfully aversive effect of food colour out of context.(Guardian: 2013)”
Plate
The popsicle is served by hand. And dessert is served on plain plate. But I think it will be interesting to see people cut meat and eat meat with the tools I made on the plate. The first plan was to make people see their face with blood from the steak on the mirror. I suppose it is rare to see the face from the bottom angle. I think it makes people more ugly than as they are normally. So I used the mirror plate during the performance.
Feast, Eunji Han
I also used a hot plate to help make the jelly melt. Again, jelly is interesting because it stays at room temperature and at a cold temperature it seems like a solid. After adding heat with the hot plate, the jelly starts to melt and it becomes liquid.
Decoration I used the image of death for the decoration. Eating is mainly for the living and I explored this juxtaposition through my design. Though subtle, I tried to incorporate symbols of memento mori. In general, I tried to give all inanimate objects on the table a vibrant ‘life’ through the colors that I used. Also, all organic objects on the table (or once living objects) are purposefully made to look dead: dried flowers, cold metal bones, and even the mould of my own face was made with my eyes closed.
80
Performance I kept making a joke during the performance. Many people asked me how you made this or how I get this. I always answered that they can get it everywhere such as Sainsbury’s. At the first performance, one person had to use normal cutleries with normal food. People feel pity with him and he said he felt like he was the weirdo at the table. I kept trying to make a joke and break the rule of signifier.
Cultural probes
81
Design, Critical Practice, Goldsmiths
In the cultural probes, I said to the participants that they only can describe their experience with non-verbal language, such as sending me a picture with a disposable camera or sending me materials that can describe the FEAST experience. I put questions about what they felt and saw through the performance.
82
Feast, Eunji Han
83
Design, Critical Practice, Goldsmiths
84
Feast, Eunji Han
85
Design, Critical Practice, Goldsmiths
86
Feast, Eunji Han
87
Design, Critical Practice, Goldsmiths
88
Feast, Eunji Han
89
Design, Critical Practice, Goldsmiths
90
Feast, Eunji Han
91
Design, Critical Practice, Goldsmiths
92
Feast, Eunji Han
93
Design, Critical Practice, Goldsmiths
94
Feast, Eunji Han
95
Design, Critical Practice, Goldsmiths
96
Feast, Eunji Han
97
Design, Critical Practice, Goldsmiths
98
Feast, Eunji Han
99
Design, Critical Practice, Goldsmiths
100
Feast, Eunji Han
drawings
101
Design, Critical Practice, Goldsmiths
102
Feast, Eunji Han
103
Design, Critical Practice, Goldsmiths
104
Feast, Eunji Han
105
Design, Critical Practice, Goldsmiths
106
Feast, Eunji Han
107
Design, Critical Practice, Goldsmiths
108
Feast, Eunji Han
109
Design, Critical Practice, Goldsmiths
110
Feast, Eunji Han
graphic design
> menu
> sticker
111
poster < Design, Critical Practice, Goldsmiths
112
Feast, Eunji Han
cultural probes
Design, Critical Practice, Goldsmiths 113
participants are reading cutural probes.
interaction idea Feast, Eunji Han
Magnetic Stirrer
Thermoelectric Cooler
Make moving plate
114
Ice Magic
115
Design, Critical Practice, Goldsmiths
LIGHT
How lights can see through fur
Case Studies Food Design
There are different ways to change dining experience through design the food by seeing them as material and their history.
Feast, Eunji Han
Bompas&Parr
fig 1
116
Bompas and Parr is a design duo based in London. They graduated in 2007 from the Bartett, University College of London. ‘Bompas & Parr leads in flavor-based experience design, culinary research, architectural installations and contemporary food design.(2010)’ Their work ranges in a wide
variety of installations, working mostly with jelly and sophisticated moulds, also feasts, parties and many more similar events. They released three books called Feasting with Bompas and Parr (2012), Jelly with Bompas&Parr (2010), Cocktails with Bompas&Parr (2011) and Memoirs of a Stomach (2014). They have a bar called Alcoholic Architecture(fig.1) at Borough Market. In here, the experience is quite unique: they vaporise gin and tonic, which allows people to savor these ingredients not just thorough taste but also smell and skin. Their approach to food culture is far from mundane. They take inspiration from historical feasts, They(2010) are specially inspired by the Victorian era, when jelly was a luxurious food. In the Victorian era, people enjoyed to putting jelly in the middle of the dining table to see it wobble(2010). Heavily inspired by this, their early works mostly focus on exploring the moulding of jelly: from Richard Roger’s architecture to breasts. Specific project description needed.
fig 2 At Guest Projects, the audience can participate in their dining projects, which are inspired by famous artist. The project allows people to socialise with others creatively with food. The Artist Dining Room runs every the first Thursday of the month and is curated with a theme or dedicated to a famous artist or figure, such as Andy Warhol or Frida Kalo. The menu will be fixed to suit the needs of the diners i.e gluten free or vegetarian. I wanted to find out more about the origins of the projects and the intentions and ideas behind it, such as the themes and other curatorial decisions, by
Heston’s feast
fig 3
Heston’s feast is a TV show on Channel 4. Heston Blumenthal is a chef at the ‘Fat Duck’ in Berkshire, which has three Michelin stars. He started to be interested in cooking after he experienced a three-star
117
The Artist Dining Room
She explained Yinka’s intention to have a supper club in the space and which is fitted with a professional kitchen. Also there is such a strong historical link between art and food. They usually choose an artist who is dead or in the twilight years of their career and who has a strong connection with food. “Hamilton, for example, was a big foodie and was a great friend of Ferran Adria, food features predominantly in his work.”
Design, Critical Practice, Goldsmiths
asking Guest Projects Co-Ordinator Ailbhe Clyne.
Feast, Eunji Han
restaurant with his family when he was sixteen. He realised that the atmosphere of the place, the environment in which he ate and even the type of day hugely influenced the quality of the meal (2015). Hence, his approach to cooking is about the elements of the meal not just of the taste. At Heston’s feast, he does a series different feast designs per episode such as Victorian Feast (Fig. 3 ). Before he cooks the different meals, he designs the courses that will constitute that specific menu. If these menus are themed to match a specific time period, he aims to be historically accurate with the dishes that make that menu. He searches for places where he can eat rare dishes, meals that are inspired by old eating habits.
118
fig 4
and perhaps ingredients too. For instance, he wanted to design “Mock Turtle Soup(fig. 4)”, which meant he had to look for places where turtle was still eaten which took him to the U.S. Part of this experience was to explore the flavors and to look for ways in which to enhance the flavors he was encountering so that he could apply the new findings on his own cuisine and therefore his clients, but always thinking about contemporary taste and the demands of the modern market. Especially, if he were using very unusual ingredients, he thought people would need to choose to accept eating those ingredients. The next step was to find a person who could help him. A man who worked as a butcher for a long time helped him to find a similar part of pork that could mimic the taste of turtle. With this part of the pork, he cooked Mock Turtle Soup as a kind of prototyped dish. Then, he brought it to the street for people to give him some feedback. Finally, he designed the final dish of Mock Turtle Soup and the dining experience for the show. In general, he believes that food should be about having fun. His philosophy about food is;
119
fig 5
Design, Critical Practice, Goldsmiths
‘Of course I want to create food that is delicious, but this depends on so much more than simply what’s going on in the mouth-context, history, nostalgia, emotion, memory and the interplay of sight, smell, sound and taste all play an important part in our appreciation and enjoyment of food.’
Case Study Tool Design
Feast, Eunji Han
There are different ways to change the dining experience through designing the tools used for eating. These tools can be used to recombine the different ways we perceive food while eating to create new sensations. Tableware as Sensorial Stimuli
120
fig 6 Jinhyun Jeon who graduated with a masters degree from Design Academy Eindhoven designed cutlery
to stimulate the appetite by using different shapes, texture and colour than normal cutlery. Her idea derives from the concept of synesthesia, which she says is a ‘neurological condition in which stimuli like taste, colour and hearing are affected and triggered by each other. People with synesthesia often report seeing a certain colour when they hear a particular word, for example.’ For example, she made spoons with warm colours to enhance appetite, also arguing that warm colours should be used sparingly to make them more effective. She also designed a spoon with spikes (fig. 6) to stimulate and enrich the sense of touch on tongue and change the whole experience in dining. As she says, ‘Cutlery design focuses on getting food in bite sized morsels from the plate to the mouth, but it could do so much more. The project aims to reveal just how much more, stretching the limits of what tableware can do.’ ‘The dining experience is a complex of more than five senses
Each of the five different flavors of Heinz Beanz have different musical sounds and the bowls themselves are designed with different ingredients from the flavour. These elements work together to create a pleasant and enjoyable way of eating the food. Bompass and Parr said;
Heinz Beanz Flavour Experience The figure seven is Heinz Beanz Flavour Experience by Bompas and Parr. This is from Bompas and Parr, but it is a different approach than their other works because it changes the food experience through tools, not the food itself. In this experience, the bowl and the spoon are included in the package with Heinz Beanz. The speaker is only activated when it detects movement from the spoon. Therefore, users can only listen to the music when they are tasting the Heinz Beanz. fig 7
Design, Critical Practice, Goldsmiths
‘Ultimately the project is designed to showcase the various flavou rs of Heinz Flavored Beanz and touch people’s most sensitive organs…their bellies.’
121
created by taste.’ The other elements in the meal she mentioned are temperature, colour, texture, volume/weight and the form of food. Her project ‘Tableware as Sensorial Stimuli’ could be used to enrich normal dining due to the fact that she designed actual tools, which we could feasibly use in our ordinary lives. It could be said her project is not just about usability like traditional cutlery design, but it makes the aesthetic point to make dining more beautiful. It enriches the dining experience and it also critiques how we could change our perception of an eating experience.
Bibliography Blumenthal, H (2015) The Fat Duck. http://www.thefatduck.co.uk/ [accessed 15/8/1] Bompas, S. and Parr, H (2010) The Jelly with Bompas & Parr, London : Anova Books
Feast, Eunji Han
Bompas, S. and Parr, H (2012) The Feastings with Bompas & Parr, London : Anova Books Channel 4 (2010) Heston Blumenthal creates his ultimate version of the Mad Hatter’s tea party. Heston’s Victorian Feast. http://www.channel4.com/ programmes/hestons-feasts/on-demand/45638-001 [accessed 15/8/1] Chalcraft, E (2012) Tableware as Sensorial Stimuli by Jinhyun Jeon. Dezeen. http://www.dezeen.com/2012/11/18/tableware-as-sensorial-stimuli-cutleryby-jinhyun-jeon/ [accessed 15/8/2] Chalcraft, E (2013) Heinz Beanz Flavor Experience by Bompas & Parr. Dezeen. http://www.dezeen.com/2013/03/27/heinzbeanz-baked-beans-flavour-experience-by-bompas-parr/ [accessed 15/8/2] Designboom | architecture & design magazine,. ‘Kenya Hara: Designing Design’. N.p., 2012. Web. http://www.designboom.com/design/kenya-haradesigning-design/ [accessed 15/9/2] Cytowic, Richard E. Synesthesia. Cambridge, Mass.: MIT Press, 2002. Print.
122
Elias, Norbert. The Civilizing Process. New York: Urizen Books, 1978. Print.
Fleming, Amy. ‘How We Taste Different Colours’. the Guardian. N.p., 2013. Web. 18 Aug. 2015. Freud, Sigmund, David McLintock, and Hugh Haughton. The Uncanny. New York: Penguin Books, 2003. Print. Goldie, Peter. The Emotions. Oxford: Clarendon Press, 2000. Print. Guest Project (2009) Guest Project http://www.guestprojects.com/artistdining/ana-mendieta/ [accessed 15/8/2]
Jackson, Peter. Food Words. Print. Korsmeyer, Carolyn. Savoring Disgust. New York: Oxford University Press, 2011. Print. Labuza, Theodore Peter, and A. Elizabeth Sloan. Food For Thought. Westport, Conn.: Avi Pub. Co., 1977. Print.
Design, Critical Practice, Goldsmiths
Hara, Ken’ya. Designing Design. Baden, Switzerland: Lars Müller Publishers, 2007. Print.
Lee, Yeongyung. ‘Community For Alternative Studies’. Cafe.naver.com. N.p., 2013. Web. 1 Sept. 2015. Mennell, Stephen. All Manners Of Food. Oxford: B. Blackwell, 1985. Print. Owen-Jackson, Gwyneth. Developing Subject Knowledge In Design And Technology. Stoke-on-Trent: Trentham Books, 2001. Print.
123
Wood, Ghislaine. Surreal Things. London: V & A Publications, 2007. Print.
Figure fig 1. Bompas&Parr [accessed 15/8/2]
http://bompasandparr.com/
fig 2. The Guest Project http://www.guestprojects.com/ artist-dining/ana-mendieta/ [accessed 15/8/3]
Feast, Eunji Han
fig 3. The Hestonâ&#x20AC;&#x2122;s Victorian Feast. Channel 4. http:// www.channel4.com/programmes/hestons-feasts/ondemand/45638-001 [accessed 15/8/5] fig 4. The Mock Turtle Soup http://media-cdn.tripadvisor. com/media/photo-s/01/c4/6f/e3/mock-turtle-soup-with. jpg [accessed 15/8/2] fig 5. The Fat Duck http://www.thefatduck.co.uk/HestonBlumenthal/ [accessed 15/8/1] fig 6. The Sensorial Stimuli Cutlery. Dezeen. http://www. dezeen.com/2012/11/18/tableware-as-sensorial-stimulicutlery-by-jinhyun-jeon/ [accessed 15/8/2]
124
fig 7. Heinz Beanz Flavour Experience by Bompas&Parr. Dezeen. http://www.dezeen.com/2013/03/27/heinzbeanz-baked-beans-flavour-experience-by-bompasparr/ [accessed 15/8/2]
125
Design, Critical Practice, Goldsmiths
Feast, Eunji Han
Many Thanks to... Terry, Mike, Derek, Aino, Adriana, Galen, Hannah, Piere, Lucy, William, Jiwoo, Andrew, London Bronze Casting, Chartwells, my family and you xoxo
126
Supported by
127
Design, Critical Practice, Goldsmiths