Learning from Fine Dining: Latent Frameworks for Human Behavior by Karisma Dev

LEARNING FROM FINE DINING

Karisma Dev

Felix D. Samo

Learning from Fine Dining Latent Frameworks for Human Behavior Karisma Dev & Felix Samo Advisory Group: Near Future Fictions Kyle Miller, Greg Corso & Daniele Profeta Syracuse University School of Architecture Thesis Document May 11, 2020 www.kafeco.wixsite.com/thesis

LEARNING FROM FINE DINING Karisma Dev & Felix Samo

CONTENTS 00. PREFACE

01. INTRODUCTION

02. BACKGROUND INFORMATION

03. REVIEW OF THE STATE OF THE ART _HUMAN BEHAVIOR _ARCHITECTURE : HUMAN BEHAVIOR _FOOD : HUMAN BEHAVIOR _WHAT IS FINE DINING?

16 18 24 36

04. RESEARCH QUESTION

05. ANSWERING THE QUESTION _TOPIC DEVELOPMENT _SURVEYS _SPATIAL STUDIES _FORM STUDIES _DESIGN GUIDELINES RULES OF FINE DINING DESIGN TECHNIQUES COGNITIVE ENGAGEMENT MATERIAL DEVELOPMENT _PRODUCTION OBJECT STUDIES SERIES OF ARTIFACTS

108 120

06. CONCLUSIONS

158

07. REFERENCES _INTERVIEWS _ARCHITECTURAL _EXTRA-ARCHITECTURAL _ARCHITECTURAL + EXTRA-ARCHITECTURAL _THE RULES OF FINE DINING

162 180 181 182 183

44 48 72 80 92 94 96 98

00_Preface

LATENT FRAMEWORKS FOR HUMAN BEHAVIOR The objects that we have developed pertain to the Rules of Fine Dining1 and human behavior. Driven by the practices of consumption, these objects attempt to inform human behavior with architecture. Throughout the process of form-making, the presence of an informed framework that directs material qualities and attitudes is developed. Artifacts inform subtle behaviors that nudge towards uncommon consumption practices, ultimately attempting to level the playing field of consumers. Ultimately, it is in the interest of the consumer, rather than an ability of the user, to partake in the dining experiences. This thesis is the result of collaborative studies between Food Studies students from the David B. Falk College of Sport and Human Dynamics and Architecture students from the School of Architecture at Syracuse University.

1 Refer to page 93. Left: Bowl 01 and Spoon 04, Dev & Samo. Right: Form studies collection, Dev & Samo.

01_Introduction

LEARNING FROM FINE DINING Utilizing fine dining as a vehicle for research and design, this thesis explores the socio-economic and socio-political structural hierarchies resulting from centuries of developmental tendencies of human behavior. We accept fine dining as the ultimate convergence of food and architecture, intended to create an experience that stimulates the multiple senses while executing the principles of gastronomy, here defined as a study of the relationship between food and culture and the practice of producing, preparing and consuming good food. By applying architecture as an agency to study the shaping of human behavior, this thesis will operate at the 1:1 scale, producing physical models that address the effects of cognitive engagement while maintaining the design techniques of functionality, material instability,1 and counter figuration.2

1 Michael Young, “The Estranged Object,” Syracuse University School of Architecture Spring 2014 Lecture Series. 2 Young, “The Estranged Object.” Left: Dinnerware of Table 04, Dev & Samo. Right: Thesis exhibit totem, Dev & Samo.

The research intent is to explore how fine dining mobilizes and manages behavioral dependencies on the latent infrastructures and tacit rules that define any given space. In a study of fine dining, the manipulation of human behavior and ritualistic patterns can become normalized through total architectural control, presenting a platform for other experiences. Thus, this design aims to emphasize the traditional and unconventional rules and practices of consumption by exaggerating their attributes, leading to a fully curated and executed dining experience to test a series of interventions. In Learning from Fine Dining, we begin by asking: can the total design of form, space and aesthetics operating as architectural tools be used to intentionally promote and direct desired behaviors and practices in any program or platform? And, channeling the lessons learned from the existing site and our subsequent interventions, can the latent frameworks of socio-economic and socio-political hierarchies be broken down using architectural tools to plateau the structures that have been constructed over the past centuries?

01_Introduction

We present the claim: in pursuit of plateauing social structures tied to cultural ritual, this thesis project demonstrates how linking behavior and functional objects induces cognitive and visceral experiences, which encourage critical engagement with the rituals in which we often participate blindly. Within fine dining, a full exploitation of food and architecture is undertaken to create experiences that are fully controlled yet successfully sensorial and experiential. With a plethora of standards, rites and regulations already in place within fine dining, this intersection renders the site as an ideal platform to study behavioral direction and manipulation. Presently, architectures of control focus mostly on prohibition and suppression, regulating behavior by physically or psychologically preventing infelicitous acts through the implementation of extraneous solutions.1 Our interventions in fine dining will contrastingly prove that architecture has the potential to encourage positive or desired behavior through its inherent form, generating a model by which appropriate practices are fostered through a design that explicitly presents and overstresses principles and rituals of a given space. 1 Anna Marie Fisker and Tenna Doktor Olsen, Food, Architecture and Experience Design, 63–74. Left: Dining set of “Relations at the Dining Table”, Dev & Samo. Right: Filming set of “Relations at the Dining Table”, Dev & Samo.

02_Background Information

LABORATORY FOR SPECULATION Similar to the procedural values of Denise Scott Brown and Robert Venturi in their publication Learning from Las Vegas, which valued the process of examining the philosophies of architecture through the existing conditions and problems in the landscape of Las Vegas,1 Learning from Fine Dining operates as a laboratory for design speculation, with lack of intent towards finding a solution or best version. In a pursuit to subtly plateau socio-political and socio-economic structures, architecture becomes an agency to inform human behavior that is physically manifested in functional, 1:1 scale architectural models, addressing the effects of cognitive engagement. The outlined project goals for this thesis include: an exploration of the mobilization of behavioral tendencies focused around space, form and aesthetics; the normalization of total architectural control on ritualistic frameworks; and trans-disciplinary collaborative research and development efforts. 1 Denise Scott Brown & Robert Venturi, Learning from Las Vegas, 7. Left: Denise Scott Brown infront of the Las Vegas Strip, The archives of Denise Scott Brown & Robert Venturi. Right, top: Work Station 01, Dev & Samo. Right, bottom: Work Station 02, Dev & Samo.

02_Background Information

WORD BANK anatomy assimilation comfort craft culture curation discomfort environment gastronomy object renewal sensory sensual sitopia social sofra (turkish) + sefer (arabic) surrealism sustainability temporality ritualistic nature of consumption function material instability counter figuration consumer latent frameworks hierarchy artifact form space aesthetics Right, center: Word cloud of associated terms, concepts and people, Dev & Samo.

TEAM Thesis Authors: Karisma Dev & Felix Samo Syracuse University School of Architecture Graduate Collaborator: Chanel Gaude Syracuse University Falk College of Sport and Human Dynamic Undergraduate Collaborator: Avanthi Dev University of Massachusetts, Amherst

Stockbridge School of Agriculture

03_Review of the State of the Art

HUMAN BEHAVIOR A large variety of factors affect the manners in which we conduct ourselves; the objects around us, environments we are in and experiences that we have had both past and present all have a role in our behavioral decisions. Intentionally produced at the intersection of cross-disciplinary work methodologies, principles and activities, the manipulation of human behavior can be explored and applied at several different scales. Here, we will individually examine the working relationships between architecture and behavior as well as the consumption practices between food and behavior.

Left: Diners in the dining room of Vespertine, Dev & Samo. Right: Dinner ticket from Blue Hill at Stone Barns, Dev & Samo.

03_Review of the State of the Art

ARCHITECTURE : BEHAVIOR The built environment can be effortlessly tied to issues of human behavior. Described as disciplinary architecture, this type of design attempts to control behaviors through a framework able to direct and prohibit certain types of actions deemed unwanted. Behaviors here can be shaped and enforced through physical or psychological means and mechanisms, which explicitly or inherently affect user experiences.1 Dating back to Haussmannization in Paris during the mid-1800s, architecture has been harnessed for its ability to control individuals and masses alike, particularly by instilling fear or regulating relations to maintain a sense of order and control without implicating larger costs in infrastructure. Through our interventions, however, we aim to part from an architecture that prohibits actions by instead focusing on innately encouraging desired behaviors through design strategies.

1 Alberto Gallace and Charles Spence, Tactile aesthetics: Towards a definition of its characteristics and neural correlates, 5-7. Left: Coated Wine Glasses, Dev & Samo. Right: Series of Heavy Shot Glasses, Dev & Samo.

By examining three independent architectural case studies that address human behavior and dynamics as a result or lack of strategically designed spaces, we can attempt to understand the latent indexing of frameworks that ultimately define the attitude and acceptance of circumstances. Supplementarily, we have also studied three varying components of the effects of food on human behavior including subconscious practices of shape recognition, the attitude towards colors and materials and varying responses to nomenclature.

03_Review of the State of the Art

THE PANOPTICON The most famous example of disciplinary architecture, the panopticon is a type of institutional building by which human behavior can be systematically controlled by symbols of authority and discipline. Invented as a prison type by English social theorist Jeremy Bentham,1 the panopticon was able to maximize prisoners while minimizing required guards and associated costs through a central control tower surrounded by a ring of cells. As prisoners become aware of a continuous authoritarian presence that is no longer limited to the physical entity, the uncertainty of being observed at any precise moment promotes a constant self-discipline. French critic Michel Foucault later expanded this theoretical concept, stating that similar symbols present in everyday life have the ability to uphold norms and promote desired behaviors through a notion of internalized authority and selfimposed rules.2

Collins, Stephen, Subverting the Panopticon: Privacy in the Public Realm. Michel Foucault, Discipline and Punish: The Birth of the Prison, 221-273. Left: Presido Modelo, Gerardo Machado, atlasobscura.com. Right: Traced plan of the Panopticon, Dev & Samo. 1 2

03_Review of the State of the Art

THE BANANA LEAF PARABLE Examining the relationship between architecture and human behavior, we can look at the evolving role of the object in symbolizing spatial and political human structures. It is in this manner that the materiality of everyday objects heavily influences the perception of and attitude towards the user. In The Banana Leaf Parable, illustrated by Charles Eames, the caste structure of India is best visualized through the dinner plate. Those of the lowest caste, the Untouchables, consume their food off of a banana leaf. As the castes progress, from Shudras to Kshatriyas, the dinnerware transforms from ceramic glazed talis ultimately to bronze western style plates; however, when examining the dinnerware of the Brahmins, the highest caste, it once again appears that the banana leaf is used as a vessel for consumption,1 showcasing how ritualized and influential objects have become through manifested tradition. Charles Eames, â&#x20AC;&#x153;Goods,â&#x20AC;? Harvard University Charles Eliot Norton Lecture Series. Left: The Banana Tree, Charles Eames, inspirationitem1.blogspot.com. Right: Good, The Eliot Norton Lecture Series, Charles Eames. 1

03_Review of the State of the Art

FOOD : BEHAVIOR The relationship between behavior and food consumption is effortlessly mutual. Often understood and recognized along a spectrum, this relationship is predominantly measured by satisfaction addressing consumption, visual expectations and experience. Through the exploration of characteristics common to consumption practices found in todayâ&#x20AC;&#x2122;s society, our behaviors are strictly formed through means of familiarity. We have identified several modes of engagement when it comes to food items and their acceptance, leading to their success, or lack thereof, when it comes to the relationship between consumers and food.

Left: Course 18, Vespertine, Dev & Samo. Right: Garlic fields ceiling of the farm house, Blue Hill at Stone Barns, Dev & Samo.

03_Review of the State of the Art

FORMAL RECOGNITION Branding has increased exponentially over the past few decades, leading to the association of even the simplest of colors and shapes to certain foods (particularly packaged and processed foods). This relationship inherently affects the perception of different foods when linked to recognizables shapes and colors, resulting in a heightened sense of like or dislike. In this manner, the perceived characteristics of colors and shapes of familiar foods alter the behavior of diners.1 Recognizable qualities are not the only factors that alter reception of foods and beverages: the manner of presentation has a direct effect on the liking of foods and products, regardless of the product itself. High quality presentation leads to a greater chance of positive reception from the consumers. This also maintains relevance in dinnerware studies and the meal reception, conversations best discussed in the context of color and materiality.

Charles Spence, Vanessa Harrar, and Betina Piqueras-Fiszman, Assessing the impact of the tableware and other contextual variables on multisensory flavour perception, 6. Left: A Collection of Condiments, Hollis Johnson, insider.com. Right: Series of food icons, Dev & Samo. 1

03_Review of the State of the Art

COLORS & MATERIALS What is the taste of copper? What is the taste of baby blue? Although there is no explicit taste, as taste is an extremely subjective thing, every material that becomes a vessel for food consumption has a taste. One can taste the copper spoon with a spoonful of ice cream or the warmth of a wooden spoon delivering soup to the mouth. The materiality of dinnerware certainly has an effect on the interpretation of food when it comes to diners. 1 Color is more aural than materiality, as the flavor distinctions are more subjective than those of materials; however, there is still a perceivable difference. The best example is through the consumption of beverages: when transferring a cold beverage, such as a soda or beer, to a glass, people are typically more satisfied with consuming the beverage out of a cool colored glass rather than a warm colored glass. While both vessels are practically the same, the visual reception of each makes one more ideal and pleasurable than the other.

Spence, Harrar, and Piqueras-Fiszman, Assessing the impact of the tableware and other contextual variables on multisensory flavour perception, 2. Left: Course 09, Vespertine, Dev & Samo. Right: Color and material swatches of common dining items, Dev & Samo. 1

03_Review of the State of the Art

NOMENCLATURE The use of nomenclature as a strategic behavioral technique alludes to the economic perspective of food consumption. The menu is commonly the first piece of a curated dining environment that a diner personally. Through close analysis and interaction coming from diners, the menu attracts a high level of importance that is commonly overlooked. In Fine Dining establishments, it is common for the language use on a menu to become unnecessarily elaborate and extravagant (i.e. deconstructed forest floor as a representation of ‘salad’). To those that do not commonly find themselves within the context of Fine Dining, this practice is perceived as pretentious; however, rather than ‘fluffing up’ simple dishes, the primary intent of this practice is to interest the economic value to diners and convey the statement that you are not paying for a salad but for an experience.1

Spence, Harrar, and Piqueras-Fiszman, Assessing the impact of the tableware and other contextual variables on multisensory flavour perception, 9-10. Left: The Summer Universe, Geranium menu, Dev & Samo. Right: Sample nomenclature verbage, Dev & Samo. 1

fermented cornichon pickle

deconstructed forest floor salad

warm vegetable tea soup

frozen custard ice cream

03_Review of the State of the Art

THE RITUALISTIC NATURE OF CONSUMPTION Dating as far back as the classical world of Ancient Greece, luxury dining has been a spectacle of power within our society for hundreds of years. Carrying over to Roman practices, these meals became even more extravagant with the addition of a series of courses to be presented to each guest. Diners were pampered by servants, and the meal was an opportunity for those that were excluded to peer upon. However, while these events set an example for the attitudes that would provide the framework for classist dining practices, modern fine dining has a foothold in the European practices that developed in the 16th and early 17th centuries.1 As an age of exploration, the Renaissance was an opportunity for advances in the arts to develop. At the wedding of Catherine deâ&#x20AC;&#x2122;Medici and the French King Henry II, an initiative was sparked to change the table manners of Europe.2 Heather Mallory and Ken Albala, The SAGE Encyclopedia of Food Issues: Fine Dining, 2-3 Francesca Prince, How Table Manners as We Know Them Were a Renaissance Invention, 1-4 Left: Peasants Making Merry, Brugel the Younger, commons.wikimedia.org. Right: The Jailbreak(fast)Spoon, David Wolkerstorfer, dezeen.com.

The institutionalized practices of fine dining that we partake in today are a result of the demands of French nobility that took advantage of opportunities to disseminate their work throughout Europe. These practices address methods of production, preparation and consumption. Modern fine dining has taken a step to renew these approaches, utilizing more sustainable food production methods, and creating environments that attempt to accommodate comfort rather than stereotypically proper behavior. Today, we execute these practices in the name of tradition, rather than as rational bases. The practice of consumption is highly ritualistic in nature. While we consume to sustain ourselves, the manner in which we do so is directly linked to the tacit rules that have been defined since the beginning of cooking for pleasure and the cultivation of fire. We abide to the methods of safe cooking as well as meeting the social standard to use a fork rather than our hands at a business meeting.

03_Review of the State of the Art

â&#x20AC;&#x153;This little ritual of talking to everyone and interacting with the guests serve two purposes: the first is making people feel relaxed and at home, and the second is gaining feedback. ...â&#x20AC;? Magnus Nilson, Faviken

With the introduction of architectural objects and concepts, consumption as a practice supersedes consumption for survival. As has been depicted throughout history, varying scales of architecture are prevalent in scenes of consumption: through urban planning, the bounds of a singular room, the dining table, dinnerware, etc. The foodarchitecture relationship has developed circumstances under which the frameworks that definer consumption practices increase with class, developing a distinct hierarchical systems by which consumers can abide, or be left out, from. Today, we can recognize a cognizant addressment of architecturally-involved presentations, such as the concepts behind gastronomical dining. Striving for an experience rather than an exquisite meal in a banal dining environment, food becomes a platform for experimental design that appeals to a wider audience of individuals.

Right, top: The Spectacle of Renaissance Dining:The Wedding Feast at Cana, Paolo Veronese, kcet.org. Right, bottom: Le ci devant grand couvert de Gargantua moderne en famille, Anonymous, britishmuseum.org.

03_Review of the State of the Art

WHAT IS FINE DINING? The understanding of fine dining is often misconstrued as a pretentious and frivolous act to achieve a simple goal: acquiring sustenance. However, the goals of fine dining exceed the mere act of consumption for survival; instead they celebrate the event of eating and the techniques and practices involved in the production, preparation and consumption of a meal. As described by Spencer Hardey in his article, The Problem with Fine Dining, “Fine dining is not a meal. It is entertainment. It is performance. It is art. It is a bloody rock show. Do not come hungry.” Fine dining has expanded beyond the plate, incorporating components of the dining environment to curate an experience. “When it comes to the dining experience at Faviken, we aim to give the kind of service and food that we ourselves would most appreciate in this extraordinary location...The service should be warm, friendly and genuine, and we want our customers to feel relaxed and leave Left: Blue Hill at Stone Barns, Dining Room, eater.com. Right: Vespertine, Garden, eater.com.

us with the feeling that the people working in the restaurant really care a lot about what they are doing.”1 Similar to the primary components of architecture, fine dining is dictated by respect, control, selection, concentration, and 2 presentation as well as form and craft. When addressing fine dining, we are designing for all that are interested in taking part in the experience of fine dining; however, all varies. Common practices within fine dining establishments include background checks on consumers once a reservation has been made. While seemingly invasive, this check provides the restaurant with information to assist with customer’s maximum satisfaction, as well as an opportunity to tailor each individual’s experience to their liking. Some terminology used to identify customers include: the Peacocks, or those that are typically present by means social association and are considered to have a disposable income when it comes to food; the Foodies, or those that prioritize economy on food, are present for the experience and may be part of the food community; and the Commoners, or those that do not necessarily prioritize income on food and may view fine dining as a “once in a lifetime” experience.3 Magnus Nilsson,Fäviken, 251. Nilsson, Fäviken, 2. Discussion with Avanthi Dev; Refer to page 171.

1 2 3

03_Review of the State of the Art

THE RULES OF FINE DINING The rules of fine dining perform between the classical and the ultramodern, the traditional and the unconventional, the sensible and the almost unnecessary. These rules, associated in origin with codes of etiquette and orthodox French dining standards, have rapidly evolved to allow for an experience of stimulation and absolute control, in which the subject feels, thinks and behaves through a supremely curated set of . They all, however, present frameworks with a space for design to act as an omnipresent authority.

Left: Heavy Napkin Holder, Dev & Samo. Right: List of the found rules in fine dining; Atalier HOKO. Science of the Secondary: Plate. Atalier HOKO, 201.; Hagen, Petra, and Rolf Toyka. The Architect, the Cook, and Good Taste. Basel: Birkhäuser, 2007.; Martin-McAuliffe, Samantha L. Food and Architecture at the Table. London: Bloomsbury Academic, 2016.; Shutt, Robert. Business Etiquette Dinner. Syracuse University Whitman School of Management, November 11, 2019.; Stradley, Linda. “United States Dining Etiquette Guide.” What’s Cooking America. Linda Stradley, December 14, 2019. whatscookingamerica.net.; Willett, Megan. “15 Etiquette Rules For Dining At Fancy Restaurants.” Business Insider. Business Insider, May 1, 2013. businessinsider.com.; Yagoda, Maria, and Maria Yagoda. “11 Fine-Dining Etiquette Rules You’ve Probably Broken Your Whole Life.” Food & Wine. Meredith Corporation Allrecipes Food Group, October 2, 2019.foodandwine.com.

1. Never lift your menu off the table. 2. Once you sip from a glass, you must sip from the exact same place on that glass for the duration of the meal. 3. Don’t clink your glass. 4. Never ask for an oyster fork. 5. Keep the rim of your plate as clean as possible. 6. Place “discards” on the upper left part of your plate. 7. Keep your bread on the plate at all times unless you are delivering it to your mouth. 8. Fold your napkin with the crease toward you before putting it in your lap. 9. Never say you are going to the restroom; just excuse yourself. 10. Don’t say “bon appetit.” 11. Leave one bite left on your plate. 12. Don’t take pictures of your food, unless professional. 13. Don’t put accessories on the dining table (cell phones, keys, purse, etc.) 14. Don’t call for your waiter. 15. Never reach across the table - ask for items to be passed. 16. Set up your payment ahead of time. 17. Know the difference between each of your utensils and when it is appropriate to use them. Never put the entire spoon or fork in your mouth. 18. Don’t salt your food. 19. Keep conversation conservative (no politics, religion, promiscuous topics, etc.). 20. Don’t blow on hot food. 21. Don’t mistreat service staff - it makes you look common. 22. Don’t move your dinnerware after finishing a course. 23. Dress formally. 24. Keep elbows off the table. 25. Never discuss the price of wine. 26. As soon as you are seated, remove the napkin from your place setting, unfold it, and put it in your lap. Do not shake it open. The napkin rests on the lap until the end of the meal. 27. Wait until all are served before beginning to eat 28. Don’t eat all of the food on your plate.

03_Review of the State of the Art

THE ROLE OF OBJECTS WITHIN DINING The ritualistic nature of consumption can be found in every mode of dining, but is the most prevalent in fine dining practices. We abide to the tacit rules of dining conventions, most of which we do not understand, at the cost of being excluded from participation in such dining activities. While todayâ&#x20AC;&#x2122;s society is not such an explicit representation of the classist discrepancies that disqualify certain people from participating in fine dining, the unspoken rules of fine dining simply may not turn people on to participating in it. The implicit meanings behind objects are created over years of hierarchical developments resulting from socio-political and economic habits. In his work with Carriers, ceramicist Peter Beseacker instigates influence over human behavior by forcing consumers and those of interacting parties to slow down. The material and construction properties of the cups within the carrier cause consumers to slow Left: Double Oval Carrier, Mt. Alban series, Peter Beasecker, peter-beasecker.com Right: Heavy Soup Bowl, Dev & Samo.

down with the slight scraping of the cups against one another. The value of objects are allocated and developed over years of attitudes and behaviors structured around them. How can we begin to tap into the potential to more greatly influence the behaviors of consumers in a manner that is selfexplanatory?

04_Research Question

RESEARCH QUESTIONS To best utilize the architectural agency of influence over human behavior, we have chosen the site of Fine Dining to best: maximize design speculations at the 1:1 scale; feasibly execute concepts and designs of objects and interiors; and to address the latencies of existing political, societal and relational structures of the ritualistic nature of consumption. We accept fine dining as the ultimate intentional convergence of food and architecture, intended to create an experience that stimulates the senses while executing the principles of gastronomy, here defined as a study of the relationship between food and culture and the practice of producing, preparing and consuming good food. Saturated by a plethora of unspoken rules dating back to the Renaissance and furthered by the efforts of French nobility looking to disseminate their work throughout Europe, fine dining is defined by latent frameworks that foster a sense of exclusivity. Modern fine dining has taken a step to renew these Left: Seaweed and baby potatoes at Destroyer by Jordan Kahn, Dev & Samo. Right: Rice pudding at Destroyer by Jordan Kahn, Dev & Samo.

approaches, utilizing more sustainable food production methods, and creating environments that attempt to accommodate comfort over stereotypically proper behavior. Today, we execute these practices in the name of tradition, rather than as rational bases. The practices of consumption have thus become ritualistic in nature. While we consume to sustain ourselves, the manner in which we do so is directly linked to the tacit rules that have been defined since the cultivation of fire and the beginning of cooking for pleasure. We abide by the methods of safe cooking as well as meeting the social standard to use a fork rather than our hands at a business meeting. With the introduction of architectural objects and concepts, consumption as a practice supersedes consumption for survival. As has been depicted throughout history, varying scales of architecture are prevalent in scenes of consumption: through urban planning, the bounds of a singular room, the dining table, dinnerware, and so on. The food-architecture relationship has developed circumstances under which the frameworks that define consumption practices increase with class, developing a distinct hierarchical system by which consumers can abide or be left out from. In an attempt to mitigate the political structuring of this dining typology, we have identified and addressed several of these rules in our design speculations.

05_Answering the Question

TOPIC DEVELOPMENT The speculative processes by which this thesis has been developed are executed through a system of conducting: surveys from a variety of food establishments including fine dining restaurants, food courts, cafes, and casual restaurants; a series of spatial studies that incorporate factors addressing the five senses and their responses to food consumption environments; form studies developing organic and geometric shapes that respond and inform to the human body needs in the context of consumption; a series of object studies that readily address the material and construction properties that instigate uncommon practices that leave room for misuse. The predominant production of this thesis operates at the 1:1 scale in order to feasibly produce and interact with the artifacts successfully. While uncommon to Architectural discourse, the products of this project are relevant to understanding the transcendence of this topic upon supplemental topics and varying scales. Left: Series of Wine glasses, Boa Nova Tea House, Dev & Samo. Right: High Tea spread, Fairmont Empress Hotel, Dev & Samo.

05_Answering the Question

SURVEYS The survey component of this research thesis was/is paramount to our understanding of human behavior within fine dining environments as well as understanding the latent frameworks that define fine dining establishments. As our understanding of this topic is addressed at a variety of scales, we have focused on the plating of courses as well as the construction techniques of the spaces that become food spaces. We would like to thank our collaborators for making many of our survey locations accessible to us during our research.

Left: Course 03, Vespertine, Dev & Samo. Right: Utensil drawer, Relae, Dev & Samo.

05_Answering the Question

AMASS

COPENHAGEN, DENMARK

AMASS

COPENHAGEN, DENMARK

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Angler

Los Angeles, California

Angler

Los Angeles, California

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Blue Hill at Stone Barns Tarrytown, New York

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Blue Hill at Stone Barns Tarrytown, New York

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Geranium

Copenhagen, Denmark

Geranium

Copenhagen, Denmark

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RelĂŚ

Copenhagen, Denmark

RelĂŚ

Copenhagen, Denmark

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RelĂŚ

Copenhagen, Denmark

RelĂŚ

Copenhagen, Denmark

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Saint Urban Syracuse, New York

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New Century Syracuse, New York

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Rise Nâ&#x20AC;&#x2122; Shine Syracuse, New York

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Costco

Syracuse, New York

New York State Fair Syracuse, New York

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Fiona

Los Angeles, California

Democratic Coffee Co. Copenhagen, Denmark

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SPATIAL STUDIES OBJECT + IMAGE + TEXT SET 1 Within the intersection of food and architecture, there is a specific discourse regarding the objecthood and relevance of the dining table. Through a study of the anatomy of the dining table, and the subsequent dematerialization and dissection of the same, we begin to explore the aesthetic and social potentials that lie within the object itself. Different processes were carried out with the goal of ultimately challenging the tableâ&#x20AC;&#x2122;s intrinsic qualities without disregarding its function. Dining Table No.3 thus showcases a pure speculation through both form and materiality, as it loses a considerable amount of usable surface area while simultaneously creating a strangely welcoming feeling of discomfort. s the matters of affect and constructed experiences emerge in the exploration of food spaces, contextualization and object placement also became particularly relevant; these were inversely developed through a visual narrative that focuses on Dining Table 00. The dematerialized object, the blank slate, is therefore Left: Dinnerware set, Table 03, Dev & Samo. Right: Top view of Table 03, Dev & Samo.

placed in an array of food spaces under conditions that range from informal to formal, from neutral to defined, and from muted to vibrant. Through this recontextualization within the different environments presented, perceptions of the object begin to alter as the neutral dining table is animated and takes on different qualities to produce both spatial and social order. The accompanying image for Dining Table 03 addresses the role and necessity of the bounds of a room on the dining environment. Presented as a series of small axonometric vignettes, each room displays a different attitude through the placement of the table, chairs and lighting. Additionally, material characteristics of the space introduce the concept of tactile aesthetics that are often conveyed, but underdeveloped, in dining environments.

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Dining Table 03

Image Set 01

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SPATIAL STUDIES OBJECT + IMAGE + TEXT SET 2 Food and architecture, although independent from each other, share an engrossing intersection that proposes a dynamic platform in which concepts such as space and aesthetics can be exploited to create extreme and speculative scenarios. The realm of fine dining presents the greatest and most curated ideals that produce an almost theatrical experience that is both fully curated and controlled but also sensorial and experiential. Within this intersection, there is a specific discourse regarding the objecthood and relevance of the dining table. Through a study of the anatomy of the dining table we begin to explore the aesthetic and social potentials that lie within the object without disregarding its function. Dining Table 04 showcases a curated scene that appeals to sight, touch, sound and smell for their cognitive and communicative potentials. As dining becomes a sensorial experience in itself, the extension of tactile aesthetics becomes a primary mechanism Left: Dinnerware set, Table 04, Dev & Samo. Image: Top view of Table 04, Dev & Samo.

to drive both social and antisocial relationships by promoting activity and intimacy with the objects and the environment. The image then begins to contextualize the object by activating the dining table and presenting two diners and a 14-course meal. As the simulation speculates on how social relations can be collaged within the existing fine dining platform, it also exposes spatial issues as well as challenges to control and detailing.1 The image developed to accompany Dining Table 04 was presented in the form of a video, where two entirely individualized dining experiences were overlapped to speculate on the formulated characteristics that social dining can attempt to mimick.

1 Sources for this presentation of the Object, Image and Text, have been derived from Daliâ&#x20AC;&#x2122;s Les Diners de Gala, LOG Issue No. 34 - the food issue, and interviews with students, professors and professionals.

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Dining Table 04

Image Set 02 Video Still of “Relations at the Dining Table”

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FORM STUDIES The development of objects stem from our curated Rules of Consumption that frame the behavioral “tendencies” of diners in an intentional and strategic way. Through a series of material studies, the first being plaster, we have developed a collection of dinnerware items that address our Rules. The objects, while not entirely practical, challenge and undermine the basic practices of conventional dining. The nubs, for example, present a way in which diners become intimate with their “silverware,” as they are forced to put the entire finger-like spoon in their mouth to efficiently feed themselves.

Left: Plaster Utentils production, Dev & Samo. Right: Form studies collection, Dev & Samo.

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Tall Plaster Bowl

Low Plaster Bowl

Plaster and Styrofoam Bowl

Angled Plaster Bowl

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Plaster Balloon

Plaster Hand

Plaster Fork Rest

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Layered Plaster Holder

Pooled Plaster Dish 01

Pooled Plaster Dish 02

Pooled Plaster Dish 03

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Plaster Wine Glass

Plaster Drip Utensils 01

Plaster Drip Utensils 02

Plaster Nub Utensils

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Plaster Shotglass and Coaster

Plaster Shot Glasses

3D Printed Eggcup

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DESIGN GUIDELINES RULES OF FINE DINING The Rules of Fine Dining are a series of â&#x20AC;&#x153;unspokenâ&#x20AC;? rules that we have gathered from a series of printed publication, articles, and interviews with culinarians and other professionals. These rules can be found in all establishments of Fine Dining at varying degrees

Left: Eleven Madison Park, Dining room, ny-eater.com. Right: Selected list of Rules of Fine Dining, Dev & Samo.

Do not move once you have been seated; Maintain good posture during the course of your meal; Do not leave your seat during the meal; Use your napkin minimally to prevent excessive staining; Keep your napkin on your lap with the crease facing you; Do not clink your glass; Do not move your dinnerware; Wait until all are served before beginning to eat; Know which utensil to use and when to use it; and Leave at least one bite of food on your plate.

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DESIGN GUIDELINES DESIGN TECHNIQUES To inform our design decisions in collision with the active employment of the selected Rules of Fine Dining, we have used a series of design techniques. These techniques include design practices that engage functionality, tactility and aesthetics. It is important to note that while functionality is always preserved, it is presented differently in each artifact. Maintaining varying levels of engagement ensures that each artifact is actively pursued in the consumers interactions as well as a representation of architecture at a personal, typically uncommon design scale. Operating at a non-traditional architectural scale, we found it the most appropriate to build at the scale of dinnerware and the accompanying furniture. This methodology additionally allows us to engage design in a way that transcends the basic intersection of food and architecture. The applications of the design methodologies applied to Left: Object, Meret Oppenheim, moma.org. Right: Junior Suite, Thomas Demand, artsy.net.

architecture at the urban, building and self scales similar to the practices identified here can be found in references at the forefront of speculative design. In addition to the identified design practices of functionality, tactility and aesthetics, this thesis has adapted several design principles addressing hybrid articulations of Michael Young. The first principle is Material Instability which employs the use of atypical material applications,1 such as Thomas Demand’s work with photos translated into 3D paper physical models. The second principle is the presence of Counter Figuration in collision with Visceral Sensations which intersects familiar figures, forms and shapes with the unfamiliar.2 Several examples in practice include: Greg Lynn’s Shark Fountain takes the typical and atypical assembly methods and merges them; and Francoise Roche and his documentation of buildings accumulating dust that examine the processes of the gradual happenings of time.

1 2

Young, “The Estranged Object.” Young, “The Estranged Object.”

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DESIGN GUIDELINES COGNITIVE ENGAGEMENT The Rules of Fine Dining, while embedded into the developed speculative artifacts, are revealed only through subtle moments of use that promote the realization of the intended application. Through the employment of cognitive engagement, there is an associated familiarity in the speculative design of artifacts that address uncommon consumption practices in support of speculative actions.1 The continued use of recognizable forms in the dining realm allow consumers to assume the intended uses of the developed artifacts. The methods of engagement that allude to the subtle understanding of these artifacts include: activity, aesthetics and tactility. Each of the developed artifacts present varying levels of engagement across the identified layers. With intent of curating a particular experience within the fine ding typology, slight alterations, whether blatantly obvious to some or unnoticeable to others, develop a novel experience for all. Gallace and Spence, Tactile aesthetics: Towards a definition of its characteristics and neural correlates, 5-7. Left: Dusty Relief, Francois Roche, new-territories.com. Right: Fountain of Toys, Greg Lynn, hammer.ucla.edu. 1

The potential operations account for opportunities of misuse; however, we are not curating or calculating the manners of misuse. While all design decisions are intentional, they allow room for interpretation and different modes of engagement, creating a lack of protocol. The opportunities for alternate uses present platforms for further explorations of form use, providing value to the supplemental uses of products resulting from trans-disciplinary studies. In a similar way that this thesis and its artifacts have come to fruition, with the unorthodox use of common architectural principles in manners uncommonly addressed, fields other than design can occupy the use of that artifacts in ways useful to them.

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MATERIAL DEVELOPMENT EPOXY RESIN-EGGSHELL COMPOSITE Created to resemble the material finished properties of fired and glazed ceramic, a material often found in the dining realm, the bio-composite epoxy resin and dehydrated eggshell dishes are durable, resisting cracks and tolerant to high heat levels. In its liquid form, this material is easy to pour and mold in either silicone or polyethylene terephthalate. In our studies, we found it the most successful to cure the mixtures at room temperature for 24-hour periods of time without any exposure to UV light (to help prevent yellowing of the hardened material).

Left: Dehydrated and pulverized egg shells, Dev & Samo. Right, top: 1:1:1/2 ratio test mix of resin to hardener to eggshells, Dev & Samo. Right,bottom: 1:1:1/5 ratio test mix of resin to hardener to eggshells, Dev & Samo.

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MATERIAL DEVELOPMENT ANCHORING CEMENT The use of Anchoring Cement allowed for greater density to be achieved when it came to the Heavy Bowls and Shot Glasses. The curing time for the cement was much quicker than concrete, and allowed for higher levels of strength in smaller volumes of space. Additionally, the quick curing time allowed for a larger number of iterations to be developed in order to test material properties and cosmetic effects. In experimenting with curing times and methods, it was discovered that the most successful practice in terms of aesthetics and tactile qualities was the submersion of the cement artifacts in warm water for a duration of 72 hours.

Left: Cured Heavy Soup Bowl, Dev & Samo. Right, top: Batches 01 and 02 of the Heavy Shot Glasses and primary Heavy Soup Bowl test, Dev & Samo. Right,bottom: PETG molding and setting of the Heavy Soup Bowl, Dev & Samo.

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MATERIAL DEVELOPMENT WOODS The presence of woods in the artifacts development presented a softer pliability when it came to the formation of components in large and small formats. Predominantly thought of in sectional cuts, the use of wood accentuates the users dexterity in collision with the occupation of the artifacts during the meal. Additionally, the cellular composition of the woods used provides a naturally flexible manipulation to occur during the design process. In our studies, we found it the most successful to pair hardwoods and softwoods with themselves, creating stereotomic and tectonic models respectively.

Left: Utensil 03 - Tongs design development, Dev & Samo. Right, top: Series of utensils with the Utensil Sorting Block, Dev & Samo. Right, bottom: Light Napkin Holder design development, Dev & Samo.

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MATERIAL DEVELOPMENT METALS Of all the material uses and explorations, the use of metals were produced as the most inorganic level, often using found objects that were gradually manipulated to best maximize the use of tools available. In many cases, artifacts were developed through methods of cutting, melding and soldering uncommon pieces with common pieces found in dining and consumption practices. The experimentation practices with the metals presented a successful platform to explore the degree to which cognitive engagement could be conveyed to the user. Moments of clarity identified within particular components allows the consumer to mindfully interact with metal objects while remaining somewhat skeptical of the material and/or figure qualities.

Left: Solder station and test, Dev & Samo. Right, top: At-home solder station, Dev & Samo. Right, bottom: Wireframe soldered spoon, Dev & Samo.

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Dehydrated Chicken Bones

Chicken Bone Utensils

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Play Sand and Latex Gloves

Play Sand and Supreme Fiberfill Gloves

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PRODUCTION OBJECT STUDIES The object studies precede the developed artifacts in an attempt to study the material and form qualities of the artifacts, serving predominantly as iterative studies towards a conceptual front. Resulting in the production of both successful and unsuccessful objects, this series of studies presented the opportunity to further navigate the methods by which we presented and executed highly curated material, form and aesthetic design decisions.

Left: Thesis Midterm 01, Iteration 03 of the Absorptive Dessert Plate, Dev & Samo. Right: Thesis exhibit totem, Dev & Samo.

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Small Cement Carafe

Wireframe Spoon

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Pitchfork

Double Spoon

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Double Fork

FIlled in Fork

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Bone Utensils

Tongs

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Resin-Eggshell Dish 01

Resin-Eggshell Dish 02

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Resin-Eggshell Shotglass

Cement Bowl 01

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Cement Bowl 02

Cement Bowl 03

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Resin-Eggshell-Cement Coaster

3D Printed Locking Bowl

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Resin-Eggshell Bowl

Resin-Eggshell Locking Bowl

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Plexiglass Bowl

3D Printed Locking Plate

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PRODUCTION SERIES OF ARTIFACTS The designed series of artifacts attempt to inform human behavior using architecture as an agency. The scales of the artifacts vary in scales from spatial to object, which have led to the production of a variety of objects such as furniture and dinnerware.

Left: Artifacts collection, Dev & Samo. Right: Artifacts drawn to relative scales, Dev & Samo.

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IMMOVABLE CHAIR Do not move once you have been seated The Immovable Chair playfully addresses weight to create a chair able to restrict movement throughout the meal. With sandfilled gloves draped down the back and over the seat, the chair proves difficult to move while the consumer is standing and nearly impossible to move while they sit down, compelling them not to move the furniture during the meal. As the rubber of the gloves restricts the consumerâ&#x20AC;&#x2122;s movement on the chair, the filling molds around the consumer to create a sinking sensation that intensifies the feeling of control. The change in the materiality of the back inserts adds a notion of comfort that subtly strengthens the restriction brought forth by the chair.

Left: Immovable Chair, Moment photo 01, Dev & Samo. Right: Immovable Chair, Moment photo 02, Dev & Samo.

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POSTURE CHAIR Maintain good posture during the course of your meal The Posture Chair utilizes an early 20th century arts and crafts style chair frame as the base for a piece that emphasizes proper posture at the table. The hollowed out seat replaced by a thick dowel requires the consumer to be seated at a 10-degree slant. The consumer is obliged to engage their quads in order to remain seated on the chair while additionally being challenged to balance on the loose dowel. This exertion of the leg muscles and core has a reverberating effect through the body that positively impacts and strengthens correct back posture. The nearly invisible backrest reinforces this concept by creating a moment of hesitation when sitting down. The notion of unreliability reinforced by the slight give of the fishing wire thus drives the consumer to maintain their posture throughout the meal as opposed to slouching or relaxing back on the chair back.

Left: Posture Chair, Moment photo 01, Dev & Samo. Right: Posture Chair, Moment photo 02, Dev & Samo.

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LOCK-IN TABLE Do not leave your seat during the meal The Lock-In Table couples a standard form with an undeniably unconventional material. The faux fur tabletop lining creates a surreal environment filled with odd moments where the traditionally comfortable and luxurious material evokes a sense of discomfort at the table. The pristine state of the fur fosters a feeling of caution that compels the consumer to slow down and become more thoughtful in their actions. Although the table rests at an average height, its top is mounted on a swivel system that allows for it to be adjusted. As the table revolves clockwise, the top is lowered until it touches the base, locking the consumer into place. By restricting movement under the table, the consumer is likely to remain in their original position and less inclined to leave the table during their meal.

Left: Lock-In Table, Moment photo 01, Dev & Samo. Right: Lock-In Table, Moment photo 02, Dev & Samo.

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IMPERMEABLE NAPKIN Use your napkin minimally to prevent excessive staining The Impermeable Napkin is made of a waxed, semi absorbent fabric that repels liquids and prevents excessive staining. To restrict the use of the napkin, which is meant to be utilized mindfully and selectively at the dining table, the material promotes a more careful approach as the soiled portions remain as moments of relief on the fabric and maintain the ability to stain the consumer throughout the rest of the meal.

Left: Impermeable Napkin, Moment photo 01, Dev & Samo. Right: Impermeable Napkin, Moment photo 02, Dev & Samo.

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WEIGHTED NAPKIN HOLDER Keep your napkin on your lap with the crease facing you The Weighted Napkin Holder directs the consumer to properly place the napkin down with its crease towards the consumer with basswood dowels capped with epoxy resin and plaster cups. As these pose an additional weight for the napkin holder, the same retains its place on the consumerâ&#x20AC;&#x2122;s lap if positioned correctly but inversely makes it fall down if improperly used. Furthermore, the holderâ&#x20AC;&#x2122;s weight makes the napkin harder to be continuously lifted and returned from under the table during the course of the meal making all associated actions require more thought.

Left: Heavy Napkin Holder, Moment photo 01, Dev & Samo. Right: Heavy Napkin Holder, Moment photo 02, Dev & Samo.

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LIGHT NAPKIN HOLDER Keep your napkin on your lap with the crease facing you The Light Napkin Holder utilizes a subtle approach to hold the napkin in its correct position without compromising the consumerâ&#x20AC;&#x2122;s ability to freely utilize their napkin. The dowels bound together by silver solder rings create an elegant holder through which the napkin crease is gently and unconsciously placed towards the consumer. When utilized incorrectly, the holder proves somewhat uncomfortable and inevitably falls off the consumerâ&#x20AC;&#x2122;s lap during the meal.

Left: Light Napkin Holder, Moment photo 01, Dev & Samo. Right: Light Napkin Holder, Moment photo 02, Dev & Samo.

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COATED WINE GLASS Do not clink your glass The Coated Wine Glass applies a material change to the bowl and rim of a ready-made object, reducing the inclination to clink the glass before drinking its contents. The rubber skin that covers the glass both protects the fragility of the glass and prevents a highpitched noise when clinked, instead producing a deep tintinnabulation or bell-like sound. Furthermore, the remaining adhesiveness of the applied liquid latex allows for glasses to stick together when clinked and drives the consumer to slow down and appreciate the moment as the glasses are pulled apart.

Left: Coated Wine Glasses, Moment photo 01, Dev & Samo. Right: Coated Wine Glasses, Moment photo 02, Dev & Samo.

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HEAVY SOUP BOWL Do not move your dinnerware The Heavy Soup Bowl utilizes the natural properties of cement to create a dense and compact vessel that thoroughly engages notions of weight and control. The bowlâ&#x20AC;&#x2122;s inherent heaviness prevents constant shuffling and accidental movements at the table, and instead promotes an intentional and thoughtful interaction with the vessel. As the bowl proves too difficult to move or lift fully off the table, new methods to attain the food inside and on the rim are devised while inadvertently following the guiding rule.

Left: Heavy Soup Bowl, Moment photo 01, Dev & Samo. Right: Heavy Soup Bowl, Moment photo 02, Dev & Samo.

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HEAVY CARAFE Wait until all are served before beginning to eat The Heavy Carafe slows down the consumerâ&#x20AC;&#x2122;s actions before the meal through the natural addition of weight via the cement base containing a glass vase. The weight prevents the consumer from accessing the meal prematurely and forces them to wait to be served, creating a specific moment at which everyone can simultaneously commence the meal. Furthermore, the insulation properties of the cement base maintain the desired temperature of the meal within the carafe until it is served.

Left: Heavy Carafe, Moment photo 01, Dev & Samo. Right: Heavy Carafe, Moment photo 02, Dev & Samo.

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CARRIER 01 - HEAVY SHOT GLASS Carrier 01, the Heavy Shot Glass, reimagines the concepts presented by the Heavy Soup Bowl at adifferent scale and through a different form. Parting from a common shot glass form, the materiality of Carrier 01 is manipulated to include a notion of heaviness that is not traditionally associated with the form. Although subtle, the naturally added weight becomes a focal point that shapes the interaction with the carrier.

Left: Heavy Shot Glass, Moment photo 01, Dev & Samo. Right: Heavy Shot Glass, Moment photo 02, Dev & Samo.

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UTENSIL SORTING BLOCK Know which utensil to use and when to use it The Utensil Sorting Block serves as the platform to focus on the relevance of utensils and the explicit directions of each and when to use them. This dish includes four different compartments, each of which carries a different food item. Together, they respond to a specific utensil through a one to one relationship, the meal unable to be consumed until the proper matches are made.

Left: Utensil Sorting Block, Moment photo 01, Dev & Samo. Right: Utensil Sorting Block, Moment photo 02, Dev & Samo.

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UTENSIL 01 - FORK Know which utensil to use and when to use it

The Fork strategically limits the bite size of the first portion of food designated in the Utensil Sorting Block. Matched directly to the texture, suggested portion and volume of the first compartment and its contents, this fork explicitly informs its intended use while making it impossible to access the other included food items.

Left: Utensil 01 - Fork, Moment photo 01, Dev & Samo. Right: Utensil 01 - Fork, Moment photo 02, Dev & Samo.

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UTENSIL 02 - SPATULA Know which utensil to use and when to use it The Spatula pertains directly to the second portion of food designated in the Utensil Sorting Block. Correlated to the thinness of the contents in the second compartment, this spatula makes the other food items unattainable through the employment of this utensil. Due to its form, it can delicately scrape up the food while maintaining its integrity.

Left: Utensil 02 - Spatula, Moment photo 01, Dev & Samo. Right: Utensil 02 - Spatula, Moment photo 02, Dev & Samo.

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UTENSIL 03 - TONGS Know which utensil to use and when to use it The Tongs correlate directly to the third portion of food items placed within the Utensil Sorting Block. Unlike the other utensils, these tongs require a delicate food item to interact with in order to be effective relative to their purpose. Similarly, any food items that are too heavy, too large or too fluid are unable to access using this utensil.

Left: Utensil 03 - Tongs, Moment photo 01, Dev & Samo. Right: Utensil 03 - Tongs, Moment photo 02, Dev & Samo.

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UTENSIL 04 - SPOON Know which utensil to use and when to use it The Spoon drives the consumer to the fourth portion of food items designated in the Utensil Sorting Block. The consistency of the food in the last compartment is inaccessible with any of the other utensils. Additionally, this spoon streamlines the desire to scrape the compartment to capture every last bite of the food item presented.

Left: Utensil 04 - Spoon, Moment photo 01, Dev & Samo. Right: Utensil 04 - Spoon, Moment photo 02, Dev & Samo.

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CARRIER 02 - ONE BITE SPOON Carrier 02, the One Bite Spoon, reimagines the concepts presented by the utensils associated with the Utensil Sorting Block at a different scale and through a different form. The One Bite Spoon is presented as a common spoon formation as a representation of the Utensil Sorting Block and the corresponding series of utensils that are explicitly matched to the food compartments. This carrier holds the food items that it most fitting for its form, ready for consumers to quickly understand the direct link between artifact and food.

Left: One Bite Spoon, Moment photo 01, Dev & Samo. Right: One Bite Spoon, Moment photo 02, Dev & Samo.

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ABSORPTIVE DESSERT PLATE Leave at least one bite of food on your plate The Absorptive Dessert Plate utilizes a biocomposite material to create a strong and durable dish that is safe, washable and mimics unfired clay in its appearance. The dish itself is composed of two locking-disc pieces and a swatch of muslin sealed between them that is accessible from the top. As the fabric well absorbs a portion of the food it carries, it prevents the consumer from attaining their last bite in a subtle yet perceivable manner as progressive assimilation is fully recorded in the raw material, which is fast-absorbing and easily stained. The lack of a solid bottom further prevents scraping, leaving a permanent imprint on the fabric.

Left: Absorptive Dessert Plate, Moment photo 01, Dev & Samo. Right: Absorptive Dessert Plate, Moment photo 02, Dev & Samo.

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CARRIER 03 - AMUSE BOUCHE PLATE Carrier 03, the Amuse Bouche Plate, reimagines the concepts presented by the Absorptive Dessert Plate atma different scale and through a different form. The coupling of the epoxy resin and dehydrated eggshell base as a lighter plate preserves the original qualities of the Absorptive Dessert Plate. The fabric effectively absorbs a portion of the meal and prevents the consumer from enjoying it in its entirety. As the meal sits atop the fabric, it leaves an imprint that cannot be scraped and remains in the same after being consumed.

Left: Amuse Bouche Plate, Moment photo 01, Dev & Samo. Right: Amuse Bouche Plate, Moment photo 02, Dev & Samo.

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06_Conclusions

CONCLUSIONS This thesis attempts to break down the socio-political hierarchies and economic circumstances that have been developed over years of developmental tendencies defined by circumstantial understandings within and outside of the fine dining realm. Regarding practices, there is greater opportunity for the consumer to partake based on interest rather than ability. Architecture can take on a vital role as an agent for design in broader social issues. The primary components of this thesis transcend medium and scale, with attention placed in architectural thinking and how it relates to materiality, rituals and composition. Working at the 1:1 scale allowed us to physically produce artifacts within the established frameworks, but these do more than maintain a rule set by intentionally stimulating the senses and allowing for different types of engagement. By incorporating different levels and modes of engagement, we also begin to speculate on how materiality and Left: Swivel system of the Lock-In Table, Dev & Samo. Right: Series of unplated Amuse Bouche Plates, Dev & Samo.

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form can be deliberately applied at varying scales to inform human behavior. The design and development of artifacts at this scale and exploring how they pertain to dining practices was extremely enjoyable throughout the course of this thesis. The implementation of design techniques allowed for unorthodox explorations of forms and materials common to an architectural practice. As part of the Near Future Fiction advisory group, the overall project outcome and development was a successful response to the presented goals. Moving forward with the design practices utilized and learned through this project, this thesis has provided a basis to advance directive manipulation over human behavior in a curated way that pertains to several different fields by utilizing the transdisciplinary methods of research exploration. Reaching outside the bounds of dining, this becomes a basis to implement methods to inform human behavior through architectural design at different scales including urban, building and self.

06_Conclusions

Increasingly relevant, political hierarchies are affecting greater issues than those found within dining; so we can ask: how can we apply architecture as an agency to reinform the discrepancies that we are seeing? Ultimately, we present the claim: in a pursuit to subtly plateau socio-political and socioeconomic structures, architecture becomes an agency to inform human behavior that is physically manifested in functional, 1:1 scale architectural models, addressing the effects of cognitive engagement.

Left: Series of unplated Heavy Shot Glasses, Dev & Samo. Right: Photo still from the Holistic Dining film, Dev & Samo.

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07_References

DISCUSSION: TORREY GRANT Falk College Wine Room Monday, October 14, 2019 at 2:30 PM Interviewers: Karisma Dev (KD) & Felix Samo (FS) Interviewee: Torrey Grant (TG) KD: How did you become involved with the food service industry? What are your favorite parts of being involved in the industry? TG: I started out in the food service industry by working as a front-of house team member for a restaurant that was local. I quickly grew increasingly more interested in the dynamics of running and managing a restaurant and was given the opportunity to become a manager at a relatively young age. Of course now my interest lies with the wine aspect of dining and food consumption, but food and hospitality have always been prevalent as well. Within the industry, I particularly enjoy the relationships that are formed between everyone in the dining environment. FS: As a restauranteur, were you ever involved in the process of opening a restaurant? Did you ever work with Designers, Interior Designers, or Architects?

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TG: I have actually worked from ground up on two restaurants, but only one actually opened. Those were some of the most interesting jobs I had, especially because I was able to learn and work with the varying functional aspects of restaurant design. One of the biggest lessons I learned, though, was about the disconnect between what customers like and want and what the designer, restauranteur or owner wants. A good example of this is Benjamins, downtown. Personally, the design of that space is horrible. It feels cramped, they have noise issues, and the space in general is just unappealing. However, functionally it works great and people love it. Arguably, the best use of space is the courtyard, even though they canâ&#x20AC;&#x2122;t open the back doors due to noise ordinances. KD: What are some interesting restaurants, conceptually, that you worked with? TG: The most interesting typology of restaurants that I have worked with have got to be restaurants that occupy old homes. Aesthetically, they may not be the best, but they maximize the use of space in an incredibly practical way. Many times, the layout may not even be up to code or meet basic standards, but thereâ&#x20AC;&#x2122;s something that can be said for a two person table placed behind the swing of a door that creates an intimate, warm spot.

07_References

If weâ&#x20AC;&#x2122;re talking about spatial dynamics, I would say that nightclubs are the most interesting. While these are not explicit food spaces, they do serve food and relay the consumption of food, most often in the form of beverages. The ways in which they have to adapt to changing conditions daily, particularly those that are used during the daytime and nighttime, poses an interesting platform for looking at how a seemingly simple space can be made incredibly dynamic. KD: How would you describe the importance of room allocation and dynamics when it comes to food spaces? TG: The way a room is layed out is incredibly important when it comes to dining. One of the biggest considerations when it comes to layout is the ability of service staff to see and watch the progression of your meal; especially when it comes to fine dining. With open floor plans, there is a mutual sense between how the kitchen staff works and the theoretical ability of watching how your food is being prepared. However, in fine dining, traditionally this relationship is very one-sided. Gradually, we are seeing this change, along with a more modern presentation of fine dining environments. For example, Brooklyn Fare has fourteen seats a night. Everyone sits at a single table, much like a bar, that surrounds the kitchen, watching the chef and line cook preparing their meals.

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FS: How do you address culture in the food service industry? TG: Appropriation is a relatively new thing in the grand scheme of culture in [the food service] industry. Now, you have to address it with a high degree of subtlety. All food is cultural, even New American, which we see a lot of fine dining restaurants in this country presenting. There is certainly a way in which tasteful art, design and an understanding of the dishes, both on the part of the people preparing the food and the people consuming the food, need to be executed in order to be accepted in our modern world. KD: How do you address and execute craft in the food service industry? (To us in the context of Architecture, craft is the moment of clarity in the chosen language of execution the signifies the precision and elegance executed) TG: Fine dining is one of the best representations of how craft can be executed in the food world. The traditions that fine dining is based off of provide a strict framework for how craft should be executed, but modern chefs are becoming more progressive in defining new bounds for the craft and execution in fine dining. A great example of this new type of craft can be seen in The Lost Kitchen, which has also been one of my personal favorite dining experiences.

07_References

Essentially, the space was formerly a barn, or something of the like. Chef Erin French opens for a certain time period every season, I believe she is going onto her sixth, in which through a random ballot process, the team picks a set number of people to experience a weekend of dining experiences. The space is made up of exposed beams and repurposed wood. The kitchen is open and everyone can see what is happening and hear the conversations that are being had. The richness and craft of the materials and the ingredients are maintained in very manicured states. As a patron, you experience no more, and no less, than that. FS: How do you define fine dining? TG: Fine dining is a refined form of dining that, at its best, is a way to form relationships with people. I think in many ways it is misunderstood by the ‘public’, and has much more to offer than often times is actually conveyed. KD: How would you characterize the role of design in the realm of fine dining? TG: Design is important when it comes to people’s comfort and their acceptance and intrigue of the experience. Based on the design, you have to make sure that the cuisine matches because people’s expectations are driven by the space. Design can also dictate how well people receive the dining experience.

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can also dictate how well people receive the dining experience. KD: What would you say is the most important aspect in the memorability of a meal? And what are the most important design aspects within a food space? TG: Ideally, the most important aspect would be the food. However, I find the service to be a large determining factor in how well as meal if received. Many times, if done right, hospitality can be an event. Many people in the food service industry believe that the key to a good experience is the service. In terms of the design aspects, I would say that the lighting and noise are the two most important aspects of the superficial design of a successful eating space. Because eating is such a social sport, people eat out in groups of two or more, and with this comes conversation. You want to be able to hear the person you are dining with and vice versa; and everyone wants to be able to see what they are eating. People just naturally find darkness uncomfortable and most times I find that lighting is underappreciated. But if the lighting can be perfected, thatâ&#x20AC;&#x2122;s one step closer to achieving a successful food space. A good example of good lighting is Saint Urban over on Westcott. They have done an excellent job at curating such a small, repurposed space through the strategic use of lighting.

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DISCUSSION: AVANTHI DEV Phone Discussion Interviewers: Karisma Dev (KD) & Felix Samo (FS) Interviewee: Avanthi Dev (AD) KD: How did you become involved with the food service industry? What are your favorite parts of being involved in the industry? AD: So I’m studying sustainable food and farming systems at the University of Massachusetts in Amherst, but I also spend a lot of my time working in restaurants as a line cook. I first became involved in the food service industry when I was fifteen, and it started out as more of a hobby than anything else. I worked at a country club in Bakersfield, California as a voluntary intern for a summer, and that’s where I picked up my knife skills and gained my first set of chef ’s knives. I don’t live in Bakersfield, so when I returned home to Los Angeles for my last year of high school, I took a job, again as a voluntary intern, at Winsome in Echo Park. After gaining more knowledge of the management side of the restaurant business, I decided to take a job at Destroyer, the new cafe at the Hayden Tract in Culver City by Chef Jordan Khan. To my excitement, the next year I was able to work at Vespertine -

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his fine dining restaurant across the street from Destroyer. Most recently, I was working at Blue Hill at Stone Barns in Tarrytown, New York and at the moment I am located in Copenhagen, and I have staged at several excellent restaurants and bakeries. My favorite part of this industry is definitely the community aspect. By doing this work, and having the ability to stage at such a wide variety of places, you build a network that connects you to people all around the world - and you know them personally! Thereâ&#x20AC;&#x2122;s also such a large wealth of knowledge about emerging trends and practices that people want to share with each other. With this comes a wide array of opportunities to branch out from your specific area of expertise. For example, at the moment I am learning and working a lot with breads, but my area of expertise is fine dining. KD: What are some interesting restaurants, conceptually, that you have worked with? AD: I would say in practice that Blue Hill at Stone Barns was the most conceptually interesting because the true attempt to tailor each experience to every individual is executed to the nth degree. No one will have the same experience. When I say this I mean that no one will have exactly the same menu, the things that we teach patrons during their meal will be taught and received differently, and the walkarounds that we do guide people to

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interesting, though, because theoretically different areas of the property based on what we derive of their interests. Blue Hill is an extremely high end restaurant, but they try to achieve a feeling of relaxation and comfort. This conversation is Vespertine is the most interesting. Because it was built in collaboration with Eric Owen Moss Architects, the building, the materials, the space all together is very cool; it’s very provocative. You feel like you are in another worldly dimension and they make sure that patrons experience the entire building. However you do not interact with the chef, as you may at Blue Hill. You will not hear what is happening in the kitchen, you won’t even smell your food before its set down in front of you. Its enjoyable, but it’s also incredibly stressful. FS: Within the food service industry, have you ever actively noticed a crossover between food and architecture? If so, what do you find are the most important aspects when it comes to successful dining? AD: Yes, absolutely. I believe that lighting and acoustics are the most important aspects when it comes to food consumption, especially when it’s in an environment that you are paying to be in. At Vespertine, the space has been designed so that you can hear the conversation of your company, but nothing more. The dining room seats have been elongated, almost cocooning you in so you can’t even hear conversations in the rest of the

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dining room. At Blue Hill at Stone Barns, they don’t even play music, which is highly unusual for a restaurant. Instead, they have a track of nature noises playing. The layout of the dining room is structured so people sit in a way that has been entirely determined by service staff, and the unspoken understanding of this scenario is that once seated you don’t move. It’s very rare that someone will be facing a wall, in the rare case of a round table where patrons will then be seated to face the rest of the dining room. This is interesting as well because even the most minute of details, such as the heaviness of a table cloth, can effect the experience that people have while dining. If someone’s legs get too hot because of the weight of a tablecloth, their focus has been shifted from the food to something that should have been mindless. We do also design for the different types of parties that come in. KD: What do you mean by the different types of parties? AD: We typically categorize people into three groups - the Peacocks, the Foodies and the Commoners. We determine these designations based on the background checks and research that the R&D team conducts prior to parties coming in for service. FS: What are some of the most unsuccessful food spaces you have come across? What qualities made them this way?

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AD: Unfortunately, I would say that Eleven Madison Park was one of the most underwhelming experiences Iâ&#x20AC;&#x2122;ve had. The biggest problem was one that no chef wants to have and that was a lack of the memorability of the food. When asked what I had the next day, I drew a complete blank - which is sad. The dining room in itself was incredibly mundane, and did not feel personal in any way. I can most closely related it to a hotel lobby. FS: When you are working as a line cook, what is you daily work schedule like? AD: My daily schedule is normally very hectic, and I know very similar to yours as well. Typically I am up by ten a.m. and in the kitchen no later than eleven-thirty. We have a brief meeting of the menu for that dayâ&#x20AC;&#x2122;s service and we start on prep. The first seating is at six-thirty p.m. so we have a solid period of time to prep, but it never seems like enough. Most recently I was working at the garde-manger station which involved cold food prep. We have a family meal from three-thirty to fourfifteen, which is really our only break. Once service starts, thereâ&#x20AC;&#x2122;s no end until around two-thirty or three a.m. when the kitchen has been cleaned and we can go home. KD: In the memorability of a meal, how much of it would you say is actually the food versus the environment? AD: I would love to be able to say that

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it is one-hundred percent the food, but realistically I knowthat it’s not. The environment has an incredible impact on how people perceive and accept the food - from what’s on the walls to how the food is plated. Grant Acatz’s Sugar Balloon is exponentially more memorable that a regular lollipop, not necessarily because it tastes better but because of how it has been presented to you. KD: What is your impression of fully immersive dining experiences such Dining in the Dark ? AD: Stuff like that doesn’t make sense to me - why wouldn’t you want to see you food. This is whylighting is so important. All of your senses enhance your eating experience, so by rejecting one of your senses, you are making yourself more hostile to the process of consumption. When you drink a glass of wine, the brief inhale you take before consuming it is exponentially different from simply chugging it. If anything, dining experiences should be capitalizes on human senses. FS: How do you address and execute craft in the food service industry? (To us in the context of Architecture, craft is the moment of clarity in the chosen language of execution the signifies the precision and elegance executed) AD: The way in which I have been taught

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and therefore execute a sense of craft is by maintaining freshness and doing things in small batches. If you were to ask Jordan Khan this question, its safe to assume that he would respond with a tone of perfection. To this degree, in the Vespertine kitchen, everything needs to be perfect, and should be where its supposed to be. If this is not the case, or if something is wrong, no matter how small, it does not go out to the guest. Blue Hill is a different case though. Because their focus is heavily based on the Sustainable Farming and Food Systems aspect, their level of craft is seen in the richness of quality they can achieve in the raw materials that they produce. KD: How do you define fine dining? AD: To me fine dining is the epitome of highly curated and well executed food consumption. Itâ&#x20AC;&#x2122;s an opportunity for chefs to make a bold statement and to experiment with concepts that they find compelling, important or intriguing. Itâ&#x20AC;&#x2122;s a dining experience that is meant to be relaxed and comfortable and should evoke a sense of socializing. Fine dining is based on very classical traditions that are becoming more modern thanks to more forwardthinking, innovative chefs from a variety of backgrounds. A lot of your experience in fine dining is based on who you are and the status of your table, which can enhance your experience. By this I mean that in

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most cases, if you have some sort of an influence within the food world, either as a chef, writer, etc., your experience will be enhanced. I understand that to most, fine dining is not social. Most people donâ&#x20AC;&#x2122;t think that fine dining is for them, which is an ideology that is of the past now. The monetary aspect if certainly a factor in the way is it generally received as well. The Peacocks are typically there just for show, where the commoners come expecting a nice dinner, which to them is well. The Peacocks are typically there just for show, where the commoners come expecting a nice dinner, which to them is steak and potatoes. While fine dining will never be accessible to everyone, the ideas behind fine dining should be applied to other areas and ideas that are accessible. People should feel encouraged to make the environment conducive to socializing and everyone should be able to experience good service and eat within the season.

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DISCUSSION: CHEF MARY KIERNAN Falk College Teaching Kitchen Friday, November 08, 2019 at 12:00 PM Interviewers: Karisma Dev (KD) & Felix Samo (FS) Interviewee: Chef Mary Kiernan (CMK) KD: How do you define fine dining? CMK: Fine dining is dining with a certain elegance. It is slower and undoubtedly more expensive. It presents a level of talent that is evident on the plate that most times happens behind closed doors. This is not the case all of the time, but it is there a higher level of detail that pertains to fine dining that is in return expected by patrons. The characteristics of fine dining do make it a niche of the food service industry that a small percentage of chefs and restaurateurs take part in. This almost ensures that you will never see massive amounts of fine dining establishments popping up anywhere. KD: What is the attitude that you understand fine dining to have? Do you believe that fine dining is a relaxing experience? CMK: Fine dining is pretentious. I think that the people that work to define and build fine dining certainly strive for it to be relaxing; however, there is a misunderstanding by most people about

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what fine dining is. When there was a change in the labor classifications of chefs from the domestic realm to the professional realm, American fine dining grew. As we know it, American fine dining has a foothold in Classical French dining traditions. In culinary school, the methods we are taught are based off of the French systems. There is a lot of potential that lies in how fine dining can continue to develop. One of the biggest things I have seen is the presence of active cooking, where people have the opportunity to watch their food being prepared There is also a large potential of other dining types to learn from the practices of fine dining. At well established restaurants such as Blue Hill at Stone Barns, they are heavily invested in the practices of sustainable farming and food systems. Farmer Lee Jones and his methods of sustainable agricultural practices have had a greater influence on the methods of plating that presentation that represent more of what happens in the field that being a facade. The flavor specifications for individual ingredients and foods have become increasingly more important. FS: We have outlined the “Rules of Fine Dining” that may or may not be latent but are always expected of patrons, particularly in terms of etiquette. Do you believe that fine dining is for everyone? If not, do you believe that these “Rules” deter people from

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partaking in fine dining? CMK: Let me start by stating that I do not think that fine dining is meant to be for everyone. This isnâ&#x20AC;&#x2122;t necessarily a bad thing either. It just means that, once again, fine dining will remain within its niche. We do not need fine dining, but the practices that fine dining includes can certainly be applied to other dining practices. I do not think that the rules of fine dining drive people away, but more so that they do not turn people on to it. There are certainly things that are expected of you when you are in a fine dining setting, the first being etiquette. As a participant of fine dining, you are assumed to meet the standards of society as a consumer, with above average manners and mannerisms. KD: What do you believe are the most important aspects when it comes to curating a fine dining experience? CMK: A fine dining experience needs to start at the front door, as soon as you enter the space. From then on, until the moment you leave, the most important thing is the service - how people address you, present their work to you and communicate the process. The most important aspect is the service. Service is so important when it comes to the success of a meal; bad service can so easily equate to a bad meal. The most important design aspects to consider when curating any dining

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experience are lighting and sound. People want to see their food for many reasons, and you want to be able to hear the conversation of your company as well. We even play music here; right now its holiday music. It makes the environment seem friendly and warm, something you want to be in while you eat. FS: In the memorability of a meal, how much of it would you say is actually the food versus the environment? CMK: I would say equal amounts of good food and good environmental design are needed. You should walk away from a fine dining meal with a great memory of how you felt and what you ate. Without either one of these, you can safely assume that the experience was not a complete success.

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ARCHITECTURAL SOURCES Brown , Denise Scott, Robert Venturi , and Steven Izenour. Learning from Las Vegas . Boston, MA: Massachusetts Institute of Technology , 1972. Collins, Stephen, “Subverting the Panopticon: Privacy in the Public Realm. “ Master’s Thesis, University of Tennessee, 2005. https://trace.tennessee.edu/utk_gradthes/587 Diller, Scofidio, and Renfro. “Indigestion.” DS R, n.d. https:// dsrny.com/project/indigestion. Eames, Charles. “Goods.” Harvard University Charles Eliot Norton Lecture Series, Cambridge, Massachusetts, 1971. Evans , Robin. Translations from Drawing to Building and Other Essays: Figures, Doors and Passages. London : Janet Evans and Architectural Association , 1997. Fiederer, Luke. “AD Classics: Pruitt-Igoe Housing Project / Minoru Yamasaki.” ArchDaily. ArchDaily, May 15, 2017. https://www.archdaily.com/870685/ad-classics-pruittigoe-housing-project-minoru-yamasaki-st-louis-usamodernism. Foucault, Michel. Discipline and Punish: The Birth of the Prison. S.l.: PENGUIN BOOKS, 2020. Gannon, Todd. “Five Points for Thesis.” Offramp 13, no. Guise (2017).https://offramp.sciarc.edu/articles/fivepoints-for-thesis. Lang, Peter, and William Menking. Superstudio: Life without Objects. Milan: Skira, 2003. Simon, Bart. “The Return of Panopticism: Supervision, Subjection and the New Surveillance.” Surveillance & Society 3, no. 1 (January 2002). https://doi.org/10.24908/ss.v3i1.3317. Venturi, Robert, and Vincent Scully. Complexity and Contradiction in Architecture. London: Butterworth Architecture, 1990. Vinegar, Aron. I Am a Monument On Learning from Las Vegas. Cambridge: MIT Press, 2014. Wang , Kai, Teodora Cirjan , and Jan Knikker . “Infinity Kitchen.” MVRDV, 2016. https://www.mvrdv.nl/projects/243/infinitykitchen.

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Wigglesworth , Sarah, and Jeremy Till . “The Everyday and Architecture .” Architectural Design , n.d., 6–35. https:// doi.org/https://www.swarch.co.uk/w p-content/ uploads/2017/03/3_1998_Everyday-Architecture_SOS-1. pdf. Young, Michael. “The Estranged Object.” Syracuse University School of Architecture Lecture Series, Syracuse, New York, March 12, 2014. Zumthor, Peter. Atmospheres: Architectural Environments, Surrounding Objects. Basel: Birkhäuser Verlag, 2018.

EXTRA-ARCHITECTURAL SOURCES Barber, Dan. The Third Plate: Field Notes on the Future of Food. London: Abacus, 2016. Dali , Salvador. Les Diners De Gala. Drageur Editioned. New York, NY: FELICIE, INC., 1973. Hobday, Cara, Jo Denbury, and Rob White. Food Presentation Secrets: Styling Techniques of Professionals. Buffalo, NY: Firefly Books, 2015. Hsu , Sheng-Hsun, Cheng-Fu Hsiao, and Sang-Bing Tsai. “Constructing a Consumption Model of Fine Dining from the Perspective of Behavioral Economics.” PLOS One. March 12, 2018. https://journals.plos.org/plosone/article?id=10.1371/ journal.pone.0194886. Jenkins, Tom. “What Is a Fine Dining Restaurant? .” Fine Dining Lovers , July 6, 2017. https://www.finedininglovers. com/article/what-fine-dining-restaurant. Ko, Genevieve. “Ready for Anything .” Los Angeles Times . November 21, 2019, food edition. Lane , Christel. “Taste Makers in the ‘Fine Dining’ Restaurant Industry: The Attribution of Aesthetic and Economic Value by Gastronomic Guides .” Elsevier , July 4, 2013, 342–65. https:// doi.org/https://doi.org/10.1016/j.poetic.2013.05.003. Mallory , Heather. “The SAGE Ecyclopedia of Food Issues: Fine Dining.” SAGE Reference , 2015, 498–501. https://doi.org/ http://dx.doi.org/10.4135/9781483346304.n159.

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Neuman, Nicklas. “On the Engagement with Social Theory in Food Studies: Cultural Symbols and Social Practices .” Food, Culture & Society 22, no. 1 (December 20, 2018). https://doi.org/ https://doi.org/10.1080/15528014.2018.1547069. Nilsson, Magnus. Fäviken. Phaidon Press Ltd., 2018. Prince , Francesca. “How Tabkle Manners as We Know Them Were a Renaissance Invention .” National Geographic , 2017. https://www.nationalgeographic.com/history/ magazine/2017/03-04/table-manners-renaissancecatherine-de-medici/. Redzepi René, David Zilber, Evan Sung, and Paula Troxler. The Noma Guide to Fermentation. New York: Artisan, 2018. Shklovskii, Victor Borisovich., Rick Rylance, and Richard Murphy. Art as Technique, 1987. Styler, Christopher, and David Lazarus. Working the Plate: The Art of Food Presentation. Hoboken, NY: John Wiley & Sons, Inc., 2006. Vohs, Kathleen, Yajin Wang , Michael I Norton , and Franceso Gino. “Rituals Enhance Consumption .” Harvard Libraries , n.d. https://dash.harvard.edu/handle/1/10686852.

ARCHITECTURAL + EXTRAARCHITECTURAL SOURCES Atalier HOKO. Science of the Secondary: Plate. Atalier HOKO, 2018. AvroKO. Best Ugly: Restaurant Concepts and Architecture. New York: Collins Design,2007. Cabannes, Yves, and Cecilia Marocchino. Food and Urban Planning: The Missing Link. London, England: UCL Press, 2018. Cromley, Elizabeth C. The Food Axis: Cooking, Eating, and the Architecture of American Houses. Charlottesville: University of Virginia Press, 2010. Dixon, John. Nourishing the Senses: Restaurant Architecture of Bentel & Bentel. New York: Visual Profile Books, Inc., 2018.

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Fisker, Anna Marie, and Tenna Doktor Olsen. “Food, Architecture and Experience Design.” Nordic Journal or Architectural Research 20, no. 1 (2008): 63–74. Gallace, Alberto and Charles Spence. Tactile aesthetics: Towards a definition of its characteristics and neural correlates. The Social Semiotics Journal, September, 2011. Grice, Gordon S. “Architecture and Food.” Perspectives, The Ontario Association of Architects, 2008. Guimapang, Katherine. “Eric Owen Moss-Designed Vespertine Wins the 2019 Atmosphere of the Year Award.” Archinect. Archinect, March 1, 2019. https://archinect.com/news/ article/150124332/eric-owen-moss-designed-vesp Rtine-wins-the-2019-atmosphere-of-the-year-award.

Hagen, Petra, and Rolf Toyka. The Architect, the Cook, and Good Taste. Basel: Birkhäuser, 2007. Horwitz, Jamie, and Paulette Singley. Eating Architecture. Cambridge, MA: MIT, 2006. Kois, Stelios. Café Plus: Reinventing Interior Design for the Modern Café Space. Mulgrave (Victoria): Images, 2018. Li, Juan. Design of International, 2016.

Restaurant & Dining. Artpower

“Log 34: The Food Issue.” Anyone Corporation. Anyone Corporation, 2015. https://www.anycorp.com/store/log34. Martin-McAuliffe, Samantha L. Food and Architecture at the Table. London: Bloomsbury Academic, 2016. Nan, Lucian. “The Architectural Dinners of Salvador Dali.” Perspectives, OntarioAssociation of Architects, 2008. Taylor-Hochberg, Amelia. “Play With Your Food: Hunting for the Link between Architecture and Food.” Archinect. Archinect, July 22, 2014. https://archinect.com/news/article/104792514/ play-with-your-food-hunting-fo

THE RULES OF FINE DINING Atalier HOKO. Science of the Secondary: Plate. Atalier HOKO, 2018. Shutt, Robert. Business Etiquette Dinner. Syracuse University Whitman School of Management, November 11, 2019.

Stradley, Linda. “United States Dining Etiquette Guide.” What’s Cooking America. Linda Stradley, December 14, 2019. https://whatscookingamerica.net/Menu/ DiningEtiquetteGuide.htm. Willett, Megan. “15 Etiquette Rules For Dining At Fancy Restaurants.” Business Insider. Business Insider, May 1, 2013. https://www.businessinsider.com/top-dining-dos-anddonts-from-an-expert-2013-4#dont-reach-across-the-tableto-sample-your-companions-food-9. Yagoda, Maria, and Maria Yagoda. “11 Fine-Dining Etiquette Rules You’ve Probably Broken Your Whole Life.” Food & Wine. Meredith Corporation Allrecipes Food Group, October 2, 2019. https://www.foodandwine.com/news/fine-diningetiquette-rules-youve-broken.

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