"We are relational creatures because we are finite creautres; we can't do everything ourselves. We need services of others to make our lives better." Brody Bond
Maher Bayoumi Major Project Report . MA Graphic Branding and Identity London College of Communication . UAL . 2014
To the reason why food is my inspiration, my mother; To the reason why I can afford my education and research, my father; To the reason why I am unstoppably motivated, my family; To the digestive tube through its multiliguism, the membrane by its geographical location, the eclectic in reference to its hybrid urban fabric, the schizophrenic in relation to its ambiguous affair with its neighbors as well as its inhabitants, Beirut; To Lea’s enthusiasm, Bassel’s alarming stress, Zahar’s selfies, Nireesha’s slowness, Yoonkyung’s sleeping tea, Matthew’s facebook links, Lillian’s Instagram account, Edgeware’s shisha, Byron’s burger, Friday’s chicken wings, Sohos’s pubs, Grant’s promptness, Eugenie’s ideology, and John’s humor; To Lama's warm voice, Patrick's three dimensional talent, Jubran's magic, Noor's input and Joe Barza's humbleness
Thank you
ingredients. 01. Introduction [09]
04. Preparation [43]
About The Report
Focus Point Gamification
02. Research Question [13] Main Question Overview Research Methodology Jargon Aims & Objectives
03. Context [23] Background Eclecticism Ottoman Mendate French Mendate Natural Resources What is happening? Obesity Rate Loss of Distinction Why is it happening? Social Factors Food Porn (Market Research) Self Mortification
05. The Brand [49] Naming Creative Definition [What] Main Objective [Why] The Platform [How] Target Audience [Who] 06. Brand Model [57] Brand Attributes Oppurtunity Challenges Competitors Brand Model Vision Values Mission Essence Personality Big Idea Positioning Tone of Voice
07. Visual Language [63] Logo Type Palet Color Palet Imagery&Material Mix & Match
08. Brand Experience [79] The Journey Deliverables Teaser Package Website Phone Application Promotional Kit Audio Sample
09. Bibliography [91] Citation Reading List 10. Conclusion [97]
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Introduction
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about the report. In the last two decades, Lebanon has been a welcoming spot for many international food concepts from around the world. Despite its rich eclectic cuisine and generous food production, Lebanese are failing to embrace their own national culinary style due to the emergence of international ‘food porn’ in a society where the generation gap is ever-widening. I begin the report with a series of anecdotes used to illustrate the richness of the Lebanese cuisine and act as a background for the topic. I then investigate through two main reasons why I believe this issue should be brought into the table. Before delving into a focus point, I highlight the three main reasons that stand against popularizing Lebanese home-style cooking among the Lebanese. In the last section, I develop a focal point where I believe my research can lead to a better understanding of the problem. Throughout, I follow a variety of different methodologies to examine the issue from different perspectives and widen my understanding of it.
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Research Question
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main question. How can we motivate Lebanese young adults to cook local dishes? Previous Questions How can we promote Lebanese food amidst the emergence of foodporn? How can we influence Lebanese new generation to revive local food? How can we motivate Lebanese millenials to preserve their culinary culture?
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overview. Food has always been integral to the way we live, but our relationship with it has drastically evolved. We do not eat food like we used to. There was a time when we simply put it into our mouths and swallowed it. Nowadays, we chew with our eyes and digest with our brains. Technology has changed the way we consume and enjoy food. Incontrovertibly, food has become a fashionable craze that does not only satisfy a physical need, but also provides an interactive social podium that is succeeding in creating more and more opportunities for us to eat.
In the last few decades, and with the massive technological progress in digital media, eating has grown considerably, from a need to a habit - a way of expression; a statement. “We’re in an age where people are using food more than in the past to define their social standing,” says Yotam Ottolenghi on ES magazine (ES, 20). Furthermore, ‘food porn’ has significantly manipulated new generation’s perceptions of their local cuisine in many regions of the world. My Report aims to show that Lebanese belonging to the younger generation (encompassing those who can be defined as Generation Y) have totally undervalued the essence of their local home-style cuisine due to the dominant emergence of international food porn and the wide gap between them and their older counterparts. “While [the] generation gap in Lebanon has been prevalent throughout all periods of Lebanese history, the width [differences] of these gaps have widened in the 20th and 21st centuries,” says Humaid F. (Nasser, 2013)
research methodology. 01
02
03
I carried out my investigation on food porn and its influence on people’s perception towards food from London to Lebanon. I wanted to create a Lebanese version of food porn to promote Lebanese home-style cooking. I started by taking photos of what my mom cooks everyday!
At this stage, I was in the process of creating a Lebanese food porn concept, targeting young professionals and students. Through a visual experiment that was based on food photography, I realised that what distinguishes Lebanese food is not the way it looks; rather it is the story behind it.
Media
· Food photography · Researching mobile
After realizing that food photography is not the key to distinguishing Lebanese food, I realised that what makes our food different is actually being eclectic. Lebanese cuisine is Turkish, Persian, French, Syrian, and many other cuisines intermingled together. This begged the question, is the alternative to provide Lebanese with a food service, or to motivate them to cook?
· Food photography · Interviews with
Media
kitchens
Lebanese Chefs (Joe Barza, Kamal Mouzawak, Anissa Helou and Chadi Zeitouni)
· Downloading
· Educational trips
gammification
to several Lebanese and Mediterranean restaurants in London and Beirut
· Business planning
more than 20 food takeaway smartphone applications
· Investigating through
Media
· Books and articles
related to history of Lebanon and the birth of Lebanese cuisine.
· Market research
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04
05
06
After examining further readings on Lebanese history, I was able to view the project through yet another lens: the gender divide. I discovered that social factors also drive many Lebanese to not embrace their authentic national cooking. Therefore, in parallel with my research on food porn, I investigated the issue through gender studies and the generation gap.
I developed several
During this stage, I finalised my conceptualization of the brand. I also developed a proper visual direction, and studied the possible platforms of communication for it.
visual experiments while considering the best way to enable communication between the two focus generations of this project. At this stage, I became more confident that the distinguishing feature of my brand could be obtained through highlighting the following opportunity: how to bridge the gap between the two generations? Media
Media
路 Articles that
illustrate statistics on Lebanese women and the emergence of new social priorities among the Lebanese.
路 Mind-mapping
Research on the use of smart phone in Lebanon (by both generations)
路 Obtaining over 32
conceptual recipe books and crafts publications in hand
07 The final stage entailed deciding on the list of design deliverables (The Output).
In parallel to conducting my research, I attended two conferences that were of a high benefit for my research: 01. The Future Of Travel And Hospitality Amid Digital& Social Transformation by Brand Us Social 02. How Social Media Is Shifting Our Relationship With Food by Like Minds.
jargon Gen X:
Yakhneh:
Generation X, commonly abbreviated to Gen X, is the generation born after the Western Post– World War II baby boom. Demographers, historians, and commentators use beginning birth dates ranging from the early 1950s to the early 1980s.
Home-style Lebanese dishes that are usually soupy. It is usually served with rice.
Gen Y:
A Turkish name for the dining table which was adopted by the Arabi c language. The term symbolizes the table with food ready on it.
Millennials (also known as the Millennial Generation or Generation Y) are the demographic cohort following Generation X. There are no precise dates when the generation starts and ends. Researchers and commentators use birth years ranging from the early 1980s to the early 2000s.
Kafkeer:
A kitchen tool (having the shape of a ladle), usually used to serve food of soupy characteristics.
Sofra:
Mankoucheh:
A Lebanese traditional and popular food consisting of dough topped with thyme, cheese, or ground meat. Similar to a pizza, it can be sliced or folded, and it can either be served for breakfast or dinner.
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aims&objectives 01
05
02
06
Illustrate that the story behind Lebanese cuisine is worth being narrated and shared;
To point out the reasons for why generation X among the Lebanese is totally ignorant when it comes to Lebanese home-style cooking.
03
Uncover the ultimate negative consequences resulting from drifting away from cooking traditional Lebanese food;
04
Analyze how food porn and international food concepts have the potential to dominate our local cuisine;
Make it clear to Generation Y (Gen Y) Lebanese, that Lebanese home-style cooking is simple, fun and encourages family values;
Build a solid critique of how Lebanese restaurants did not inspire the Lebanese to give their national food a chance, whereas international food concepts worked diligently to build genuine brand equity with their customers,
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As a result, create a communication channel between the two generations where Gen Y can benefit from the experience of Gen X;
08
Reward Gen X and give Gen Y the opportunity to be rewarded for asdf.
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Context
background. 01. Eclecticism As a start, it is paramount to highlight the story behind the Lebanese composite cuisine. Lebanon is a Middle Eastern country that lies on the Mediterranean. Its positioning at both geographical and cultural crossroads gave its land and inhabitants unique properties. The land’s history and the generations that lived on it participated in creating an eternal iteration of food recipes. From the start of recorded history till now, 15 cultures have resided in Lebanon and blended with its people. Today, the Lebanese people are an amalgamation of 21 religious, sectarian, and ethnic groups, each with its own version of food recipes.
02. Ottoman Mandate A unique cultural history has helped to make Lebanese food the most popular of all Middle Eastern cuisines. Since a very long period of time, Lebanon has been ruled by external forces that have influenced the Lebanese culinary art. From 1516 to 1918, the Ottoman Turks controlled Lebanon and introduced a variety of foods that have become staples in the Lebanese
diet, including olive oil, fresh bread, baklava (a sweet pastry dessert), laban (homemade yogurt), stuffed vegetables, and a variety of nuts. The Ottomans also increased the popularity of lamb amongst the inhabitants of Lebanon.
03. French Mandate After the Ottomans were defeated in World War I (1914–1918), France took control of Lebanon until 1946, when the country won its independence. During this time, the French introduced some of their most widely eaten foods, particularly treats such as flan (a caramel custard dessert dating back to the 1500s) and buttery croissants. The influence of French cuisine is clearly noteworthy through the presentation of food. During an interview with Chef Chadi Zeintouni, a specialist in Lebanese cooking, the latter made the claim that “the major difference between the Lebanese cuisine and its fellows is the way food is presented; we [Lebanese] have singular finesse that we've definitely derived from the French.”
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Illustration showing the formulation of Lebanese food as a result of several cultures overlapping all together.
04. Natural Resources "After the tertiary and industrial sectors, agriculture in Lebanon is the third most important sector in the country. It contributes to nearly 7% of GDP and employs around 15% of the active population. Main crops include cereals (mainly wheat and barley), fruits and vegetables, olives, grapes, and tobacco, along with sheep and goat herding. A 1999 report by the "Regional Socio-Economic Development Program for South Lebanon" revealed that Lebanon had 3,000 to 4,000 fishermen" (SRFO,2010).
Annual fish production in 1996 doubled in average over a phase of ten years, with production amounting to 4,485 tons. This varied agriculture provides Lebanese cuisine with ample raw ingredients to create rich and complex dishes, making the Lebanese kitchen’s story worth being told and shared. I believe that a flavorsome authentic meal with a story is all Lebanese people need in order to acknowledge the beauty of their home-style cuisine and revive it.
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Cows Sheep Goats Cereals
Autumn
Winter
Olives Potato Apple Grapes
Summer
Fish Dairy Wine
Spring
The top eleven food productions in Lebanon with based on its four seasons (2010-2011)
what is happening? 01. Obesity Rate “Lebanon has been experiencing a nutritional transition in food choices during the past years from the typical Mediterranean diet towards fast food� (FPubMed, 2008). As a consequence, the new generation is coming to have increasingly more overweight or obese individuals. Two studies conducted at the American University of Beirut (AUB), one in 1997 and another in 2008, and both the result of collaborative efforts between the Nutrition and Food Science Department at the Faculty of Agricultural and Food Sciences (FAFS) and the Faculty of Health Sciences (FHS), showed an alarming trend in the percentage of the population which is overweight. Other studies conducted at AUB found that the Lebanese population will face successive obesity-related illnesses if current eating trends continue. The Lebanese diet has accumulated admiration for its role in keeping the body healthy and starving off chronic disease, especially cardiovascular problems. Considering that traditionally Lebanese cooking is healthier than most fast food options available today, the study’s result is evidence that the Lebanese are not eating their national home-style food.
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1997 . (20%)
2008 . (38%)
The percentage of overweight adults (aged 20-30) in 1997 and 2008
02. Loss of Distinction In addition to the growing obesity rate and losing one aspect of Lebanese's family values, Lebanon is also witnessing a gradual loss in its sociocultural identity. This occurring primarily because Lebanese are overlooking a vital factor behind Lebanon and Lebanese food’s distinctiveness. During my research on Lebanese restaurants opening in London, I realised that there is a common unfamiliarity with authentic Lebanese home-style cooking. When I asked 100 non-Lebanese London-based students about what Lebanese food items are they familiar with, Tabbouleh, Hommus, Moutabbal, Kibbeh and Kabab were repeatedly mentioned. These dishes are not even Lebanese in origin; rather they were adopted from the Turkish kitchen during the
lengthy Ottoman conquest of Lebanon. In fact, in Lebanon, Mezza is served only as an appetizer, whereas authentic Lebanese cuisine itself offers more than 83 home-style cooked meals that uncover outstanding techniques and noteworthy processes in the culinary world. The Lebanese ‘sofra’ is so rich to an extent that many meals can be cooked in completely different ways. The young generation of Lebanese must become acquainted with what makes their culture so diverse, eclectic and most importantly, distinctive. This can be the starting point of uncovering the reality behind Lebanese national cuisine worldwide.
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why is it happening? 01. Social Factors It is important to mention that my focus on women does not aim to undervalue either of the sexes, but rather arises from the realities of Lebanon’s culture. Indeed, Lebanon developed as a conservative society where the majority of domestic work was assigned to females. The first educational reforms implemented in early 1990’s initially led to a rise in the number of females attending schools. Since then, and especially in the past four decades, the rate of illiteracy amongst women in Lebanon has dropped significantly from 43.3% in 1970 to only 13.8% in 2010 (Nasser, 2010) [diagram on the next page]. Literacy allowed Lebanese women to prove themselves as effective members of the society at the workplace, as opposed to their previous majority-
domestic jobs. However, the enrollment of women in jobs outside the home has brought upon them more tasks. As a result, the routine of cooking at home has dropped due to the emergence of new social priorities and hence, insufficiency in time. Today, Lebanon consists mainly of two generations: Gen X, which is relatively knowledgeable Lebanon’s culinary heritage, and Gen Y that knows close to nothing (or very little) about it. Bridging the gap between the two generations and finding a communication channel where they can both interact is now the point of focus of my research. Noteworthy, also, is that my biggest concern is not the present as much as the near future. That is because,
for now, the majority of Gen X is still active and (in many instances) catering to the younger general of Gen Y Lebanese who still reside at home. Hence Gen Y is still being supplied with home-style cooked meals. Despite this, and what resides at the root of the problem is that Gen X’s recipes and cooking methods are not being shared with Gen Y.
Bridging the gap between the two generations and finding a communication channel where they can both interact has become my point of focus to stress on while researching. This suggests that Lebanon will likely become another “take-away” food society in the near future when their Gen X elders are no longer able to cook for them. In the meantime, Gen Y is missing the pleasure of cooking Lebanese dishes, and the authenticity of Lebanese cuisine risks dying away as Gen X also grows older and passes on.
Britain can be a very clear illustration that Lebanon should learn from. In an interview with the Gen X celebrity Chef Delia Smith, the latter claims “Brits don't cook any more” (Sedghi, 2013). She criticises modern cooking shows such as MasterChef for intimidating aspiring cooks, and argues that the country has lost its grip on home cooking. Smith considers that current cooking programs are simply food porn and that basic cooking skills have been lost.
"We've lost our grip on home cooking. I can see that by the way kitchen equipment shops are in decline,” she continues. Good Food spokesman Roopa Gulati supports this outlook by saying, “My research shows how busy lifestyles and a lack of culinary know-how are impacting on the dishes we feel confident to cook. Everyone is increasingly pushed for time, and women in particular are finding it harder than ever to balance work and home lives. Many are resorting to quick fixes in the kitchen, rather than cooking from scratch.” It is no surprise then, that a report published on Mail Online in February 2013 found that Consumers in the UK buy more ready-made and instant meals than any other major European country.
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1970 . (43.3%)
2010 . (13.8%)
The percentage of illiterate Lebanese women in 1970 and 2010
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02. Food Porn and Other Competitors Another factor that appears to have persuaded Lebanese that their national food is mundane and boring is the innovative concepts created by international cuisines. In Lebanon, these cuisines have by far out-grown authentic Lebanese restaurants, because locals have not witnessed an innovative enticing concept that can reintroduce the authentic kitchen as a social trend to flourish among them. The problem lies in that local authentic cuisine has undergone little to no evolution in the way it is promoted and delivered to people. “The Lebanese society is more impressed by international cuisine rather than local” says Chef Joe Barza, a Lebanese chef, television personality, and culinary consultant (Barza, 2014). “Almost eight out of ten restaurants that open in Lebanon are French bistro, French gastronomy, American, Italian, Chinese or Japanese”, he continues.
Today, it is not enough for the food to be delicious in order to be tempting. A creative narrative and an opulent customer experience should both be engaged in order to sell food and transform it into a trend. Burgers and sushi have both successfully exhibited this narrative and experience. As noted, the success of the fast-food market and contemporary gourmet fast food restaurants are, in turn, affecting the dietary habits of the Lebanese.
Market Research (Primary) Leila is one of Lebanon’s most famous Lebanese restaurants which serves Lebanese food, but not ‘Yakhné’, a term that relates to home-style Lebanese dishes. Rather, it serves mezze items with other minor food selections. La Tabkha, on the other hand, is specialised in homestyle cooking, but is overpriced. As such, it has not been able to target the new generation as an affordable, easy-toapproach kind of food. The name might have been pleasing at first because it combines the (appealingly) French term “La” with the Arabic word for ‘home-style meal.’ However, the brand did not survive to trend for a long time due to lack of innovation and originality. In contract, Roadster, Classic Burger Joint (known as CBJ), and Crepaway are three of Lebanese people’s favorite eateries. They showcase innovative design solutions and unprecedented up-to-date features to target the new generation. CBJ calls its fans “The BRGR Addicts.” It delivers free burgers on each fan’s birthday, and the team works hard to maintain smooth communication channels with its customers. The restaurant has recently launched its mobile kitchen that can cater burgers for weddings and special occasions. At CBJ, each detail of the brand’s story has been taken into consideration. La Tabkha, in comparison, appears to be unexciting and soulless. Its trendy interiors have not been enough to keep the Lebanese devoted to its service, resulting in the closure of one of its branches in the famous Hamra district, an area fully occupied by students (including myself) who live away from their families and have the potential to form a loyal customer base desiring home-cooked food.
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Leila's menu starts with a short story about a grandmother called 'Leila'
Zaatar w Zeit, meaning Thyme and Oil in Arabic, is one of the main street kitchens in Beirut. It had, and still has, branches across Lebanon. In 2011, the brand was accused of not keeping its promise to be authentic, which led to general disappointment on behalf of many Lebanese. In July 2011, the famous chain went through a rebranding in order to better communicate with the smartphone-generation. Before the rebranding, the authentic cuisine’s visual identity was crowned by an Arabic calligraphic logo. Jonathan Ford, creative partner at Pearlfisher London, who created the new brand and identity, says, “The new logo is a distinctive, modern marque that provides a more literal and graphic expression by creating a simple link between the thyme and the oil, the leaf and the droplet, and forms a distinctive ‘Z’ within the negative
space (Pearlfisher, 2011).” Alongside the visual identity, Pearlfisher created the tone of voice for the new branding, which is seen on signage, interior graphics, communication materials and food packaging. The new identity needed to be bolder and more contemporary to better reflect both the eatery and retail offers based on connecting roots with modern life.” In the two years since, the restaurant has been expanding massively all around Lebanon, and the fans are still as loyal as before. Zaatar w Zeit has succeeded in bringing in more customers to experience the traditional Lebanese Mankouche. The quality of food and the food items are the same; what the brand had to sacrifice was an outdated visual language and a dull short-lasting tone.
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Le Comptoire Libanais, a Londonbased trendy Lebanese restaurant designed by the famous chef Rana Salam, has succeeded in becoming a trend amongst Londoners. The visual language of the restaurant narrates a thousand stories through the captivating and mouthwatering imagery of its food. It also reflects the Lebanese identity through a contemporary approach, illustrated in a series of colorful patterns. The restaurant displays a retail booth where branded artisanal food items
are sold under the restaurant’s name. The only significant opportunity missed at Le Comptoire Libanais is that it does not serve authentic home-style Lebanese food. Rather, it serves tasty fusion food that is the result of a melding of several cultures, with the authentic recipes kept for the cookbook that was released back in 2011. While this makes for
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exciting food, it causes the Lebanese identity of the cuisine to be lost and indistinguishable amongst its fellow cuisines on the dish.
Day after day, Mezze and other marketable food items are submerging our kitchen’s rich capacity. How can we clearly communicate the definition behind Lebanese authentic cuisine amongst the Lebanese? How can we instill the cravings for a local, home-style dish in a 24-year-old adult?
Chef Joe Barza
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3. Self Mortification “The problem was never that the Lebanese don’t want to have home-style food, but [that] their parents never cook!” says Chef Joe Barza. “When I cater Lebanese food for special occasions at the universities, the students rush to take their portions of Riza-Djej [Chicken and Rice], Mansaf [Lamb cooked in yoghurt with rice] and KoussaMehshe [rice-stuffed aubergines].” The main problem is that the home-style food is no longer accessible, which in the long run will cause a loss of interest in the food on behalf of the Lebanese. While Chef Barza was strongly optimistic about the future of Lebanese cuisine internationally, his main worry was the way Lebanese deal with it. During my interview with Chef Barza, he argued that in the recent past, many Lebanese chefs were ashamed to cook home-style local food because they had built a correlation between their authentic dishes and poverty, war and illiteracy.
Many Lebanese were also ashamed of their local food because they never thought it would trend or become as ‘cool’ as burgers and pizzas. Today, he believes that the foods and restaurant concepts we are focusing on in Beirut are driving the new generation to abandon authenticity and heritage for the same reason. The west is creating our needs and designing the relevant tools for us to satisfy them. The Lebanese, on the other hand, are adopting these innovative ideas but applying them to cuisines which are not authentic and true to their own culture. Furthermore, Barza is a Gen X chef who is keenly aware of Lebanese mentality, especially as it pertains to Lebanese Gen
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X and Gen Y’s inconsistent views on their heredity and belonging to their country of origin. He believes it is no real surprise, then, that Lebanese who carry multiple citizenships rarely mention their Lebanese heritage in public. “When Lebanese-French and Lebanese-Americans are asked about their nationality outside Lebanese territories, they’d say ‘French’ or ‘American’,” claims Barza. This vital information drove me to the conclusion that it is of utmost importance to revive our authentic food via a contemporary medium that communicates with the new generation which is slowly drifting away from its roots. On the other hand, and luckily, there has been a recent trend of endorsing rural areas as the new cities. Sustainability, artisanal food and hand picked vegetables are making great impact among Gen Y. “Rural livelihoods are enhanced through effective participation of rural people and rural communities in the management of their own social, economic and environmental objectives by empowering people in rural areas, particularly women and youth” (OECD, 2012). Many of the Lebanese who were ashamed of their belonging are particularly eager to indulge in this new trend, because it allows rural areas to symbolise modernity and innovativeness rather than reminding them of what they were once ashamed of in their country. Promoting rural areas has become an effective tool for encouraging Lebanese to cling to their identity, and more importantly, to each other. It has reintroduced them to the resources they have been disregarding for a long period of time, and has given them a reason to feel proud of their country’s resources.
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Preparation
focus point. 01. The Communication between Gen X and Gen Y 02. The 'heartwarming' stories behind Lebanese authentic cuisine At the beginning of my research, I wanted to create a Lebanese version of food porn. As a foodie, I was amused by food porn’s ability of to influence our food choices and the way we interact with it. I perceived food porn as a tool that makes every type of food appear better and nicer, even the junkiest of it. Following this aim, I applied several visual experiments where my goal was to make my country’s national food look ‘sexy’ and ‘cool.’ However, the results guided me to another fact on which I then decided to base my project: what distinguishes Lebanese food is not the way it looks, rather how it was born and the way it was formulated.
Today, my aim is to create a linking bridge between Gen X and Gen Y Lebanese to aid their communication with each other. To do so, I am investigating contemporary food photography, international and Lebanese cookbooks, food blogs, food science and social media for inspiration. The medium of communication was one hard task to decide on, because each of the existing generations has grown up in an entirely different environment with entirely different means of communication.
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2014
2016
2020
2026
Gen X
Gen Y
Gen Z
A diagram illustrating my aim for the ideal communication between generations in the future.
gamification. From the beginning, I was excited to explore how the sharing of food experiences in a social media context is changing consumer beliefs around food, eating and health, as well as the ultimate effect of this on food purchasing decisions. Today, food brands are reformulating the essence of what we eat through creating emotional scenarios, all illustrated in captivating imagery, highfrequency sounds and poetic copy-writing. UX/ UI (User Experience + User Interface) design is playing a vital role in raising these sensory experiences remotely, and has proven to be an effective tool in maintaining customers’ loyalty. This, in return, has lead to the emerging success of gamification, where each and every single one of us, the users, is becoming a protagonist in the story, and not just a receiver of the whole story.
Alongside social media, game culture has evolved and gained a vast following, creating a whole way of life.
Indeed, game playing is now the “world’s third larget internet-based activity after searching and socializing.” (Chatfield, 2010) Games have the amazing ability to keep people engaged for a long time, build relationships and trust between people, and develop their creative potentials. “Gamification is the craft of deriving all the fun and addicting elements found in games and applying them to [the] real world as a tool of motivation.” (Playgen, 2011). Gamification designers address the user as a player to emphasise that their motivations and interests constitute the focus of the gamification design. It is called gamification because the gaming industry was the first to master humanfocused (as opposed to function-focused) design. Zichermann and Cunningham (2011) predominantly identify games “by focusing on three central components – pleasure, rewards, and time” which addresses the previous idea of emotions being a core ingredient in the making of games. The Nike+ Gamification Platform Delivers Valuable Big Data Insights
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Pizza Hut's gamified menu: Play, win and eat for free!
Gamification uses game mechanics and processes to elicit customer motivation and engagement. Basic human psychological tendencies such as the urge to play, and the need for challenge, feedback and recognition are used to inspire and motivate users at a fundamental level. Mechanics such as points (virtual currencies), statuses, levels, achievements and badges, appointments, countdown, discovery, luck and lottery, challenges, progression, surprise, epic goals, and swiftness are applied. The best way to showcase gamification as an effective strategy is through a case study: when Jimmy Choo launched a new women’s trainer in the UK, they hid pairs of the new shoes in locations around London
and challenged customers to find them through a scavenger hunt. 20,000 people followed the clues to where they believed the shoes were hidden and checked into those locations on Facebook. Those who came closest won the shoes. Nando’s loyalty card, Nike+ Watch and McDonalds’ monopoly game are also valid examples of gamification. Loyalty, motivation and interaction are three key factors to understanding and effectively utilising the Lebanese’s relationship with their authentic cuisine. Given that Lebanese are not loyal to their authentic home-style food due to the lack of experiential interaction that keeps them motivated (especially in the age of food porn), how can gamification be applied in a medium that both generations can understand and tolerate? How can I motivate the Gen Y Lebanese to become more enthusiastic about cooking their national food?
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TheBrand
Naming 01. FoodBorn The idea behind FoodBorn came as a mimicking name to FoodPorn. Through my research, I highlighted that what distinguishes Lebanese food is its background and the way it is formulated. This is in contrast to the burger which has become a visual signature of FoodPorn. If FoodPorn represents sexy food, FoodBorn represents authentic food with a story. On the other hand, I was also on the look for a name that Gen X could relate to. Therefore, while Gen Y can easily relate FoodBorn to FoodPorn, which is social media trend that all the young adults are aware of, this is less intuitive to people from Gen X. Finally, pronunciation also proves to be difficulty with the name FoodBorn since the elderly in Lebanon (especially those who did not receive much education), find it hard to pronounce the letter “P,” and they use the “B” instead. For example, they say “bage” instead of “page.”. Therefore, for that generation, the pronunciation of FoodPorn and FoodBorn would be identical, causing possible confusion or discomfort amongst the older generation individuals who use it. Finally, the issue with this naming is that FoodBorne (with an ‘e’) means food poisoning, which is most definitely not a word association to be made.
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02. Soulmade What distinguishes Lebanese food is its background and the story behind its formulation. The very famous idiom “don’t judge a book by its cover” exactly described my brand’s dogma, because in addition to its taste, the soul of Lebanese food is what really worth sharing. Soulmade related to the emotional value of Lebanese food and how it is prepared. By twisting the original term ‘soulmate’, I also highlighted the affinity between food and people. When ingredients are all set together for a specific recipe, they are actually ‘soulmating’ in a harmonious mixture, which in return ‘soulmates’ with the person who is cooking it and then the one eating it. ‘Made’ is the humblest terminology to denote the preparation and cooking of food. Being used as a second word reminds us of ‘handmade’ and ‘homemade’, two important attributes of my brand. However, Soulmade was not chosen because it reminds us of Soulfood, which is a Southern American type of food that has emerged in late 1960’s. Again, this may bring about an erroneous association in the minds of the audiobook’s users.
03. Kafkeer (Chosen) ‘Kafkeer’ is the Arabic name for the tool we use to serve our food. The characteristics of our home-style food are saucy and thick. Hence, the tool was used because of its appropriate shape. We also use the term Kafkeer to signify a unit of measure, or portion. In the same way one might say a tablespoon of sugar, we say one Kafkeer of rice, which means one portion. The idea to use the term Kafkeer emerged from the fact that it is originally Turkish, and was adopted and modified by the Lebanese, just as the food itself was. Its story is similar to our cuisine’s story. By reviving the name of this tool that we no longer use, we are similarly reviving a food that has not been competitive in the last two decades.
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Definition . What?
Audience . Who?
Kafkeer is a tool that was created to bridge the gap between the two existing generations in Lebanon, in order to motivate young Lebanese adults to cook their local dishes. Kafkeer believes in the opportunity of bringing the two generations together before losing the older of them, with the hope of reviving local cuisine as a distinctive cultural aspect of Lebanon.
Kafkeer is for Lebanese, old and young, who despise the twice-daily commuter traffic jams which they must endure. Here is a good gift for you to think of what to cook for tomorrow while waiting in your cars. To the young professionals and college students who live in Beirut away from their families, you can thank me later! I wish I had it when I was in your shoes three years ago. This is also a perfect gift for a newlywed.
Goals . Why? It is commonly perceived that Lebanese home-style cooking is complicated, inaccessible and marginally mundane. On the contrary. It is one of the most simplistic approaches in the culinary world and is also steeped in history. Kafkeer acts as a foil to FoodPorn by telling the Lebanese that what makes our food valuable is the story behind it, the small narratives our grandmothers know, but we no longer share. It is a contemporary practical approach that hopes to encourage Lebanese to re-enter the kitchen and give their traditional food a shot.
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Medium of Communication . How? Your audiobook is a smartphone application that is always accessible and easy to use. Once installed in your library, it is always available. Generation Y is undoubtedly the smartphone generation, so the fact that communication, for them, is driven by the internet more than anything, makes accessing this audiobook even more achievable and immediate. The audio book is recorded by people who belong to different regions of Lebanon and also serves to showcase different accents and ways of cooking the same meals. It is a cultural reservoir of our eclecticism, and in a later stage, it becomes a witness to the richness of our heritage. Engaging high frequency sound effects will make the experience more opulent and ‘succulent’. It unleashes the receiver’s imagination on how the kitchen, the speaker and the food would look like. The audiobook is also functional
as people who use it will no longer have to take notes of the grocery list. Rather they can just replay the audio in the supermarket. On the other hand, linking social media to the smartphone application helps people exhibit their work themselves instantly and addictively. Kafkeer will therefore create the opportunity for the Lebanese to show off and be proud of cooking local dishes. The same audiobook will enable young adults to interact by recording their own recipe and being afforded the opportunity to be rewarded through having it published in the book. This feature was developed after my research on gamification and its massive success in motivating people to participate and get involved in the app itself.
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BrandModel
Brand Attributes 01. Opportunity
02. Challenges
Kafkeer is one of the very rare concepts to point out the importance of enabling communication between two generations in order to save a cultural aspect. It is a dialogue that respects two different generations and brings them together for their own benefit.
My main goal is to convince young adults that Lebanese home-style cooking is not only healthy, but simple, approachable, timeless, family-oriented and fun. I also cannot wait to receive thousands of records from Lebanese millenials who want their recipes to be featured in the audiobook.
Kafkeer is an audiobook that ‘narrates’ the recipes in a very subjective tone of voice, because each of the speakers has no limits in expressing his or her personality. It is also less formal than other traditional cookbook. Not only does it use Lebanese colloquial language, but it also gathers amateur cooks from all around Lebanon rather than belonging to a particular celebrity chef or a specific restaurant.
The concept is a thank-you-gift for Gen X and a welcoming kit for Gen Y.
On a visual level, the big challenge is to find a visual language that can communicate with the two generations, including both sexes. Kafkeer is Lebanese, motherly, not too feminine, young and authentic.
03. Competitors Kafkeer is the first concept of its kind in Lebanon, and there is no such facility in the region at the moment, however the concept might compete with international gourmet and fast food restaurants in Beirut and all the Lebanese cafĂŠs that serve food and Hookah (Shisha). Because social networking and interaction is part of Kafkeer's concept, online social networks can also challenge the brand as effective sources of distraction.
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Brand Model 01. Vision (Qualitative) Kafkee's vision in Lebanon is to witness a frontrow-competition between Lebanese authentic dishes and international foods. It aspires to revive cooking local dishes as a new emerging social trend that represents the upcoming generation. The role of the brand is similar to that of a mother who is passionate to cook for her family in order to keep the social values and sense of belonging brought out.
02. Values Kafkeer's main mission is to familiarize Lebanese young adults (Gen Y) with local home-style cooking through a practical modern approach. The voices behind Kafkeer are inspiring. They are true and real. They are proud of who they are and what they know, and have decided to share their secrets. They have premium resources and will guide the listeners through their recipes. They are mothers and fathers. They care about their listeners growing up in a healthy, gritty, honest environment. They want them to enjoying cooking, and relish picking up their own tomatoes from the nearest greengrocery. Kafkeer is a humorous grand mother who is sixty years old. It is an ex-butcher who has the best ‘Mloukhiyeh’ (Jew’s mallow stew) recipe in town. In the near future, we also want the brand to involve a twenty five year old woman with a degree in Engineering! Cooking local dishes should no more be an indication of illiteracy and unemployment.
Inspired by the mother-to-daughter recipe book, by the grandmother who has always had a story to tell, by the fast pace we, Gen Y, live in, by every single person who has lived away from their family and had to call their mom asking for a recipe. These are the people we created Kafkeer for. Kafkeer is a series of one-to-one short stories that bring the glorious age of Lebanese culinary art to the present, with the hope of its listeners taking it to the future. We want its users to know more about what Lebanon has to offer to them.
03. Mission Bridging the gap between the two existing generations in Lebanon is Kafkeer's main task. Moreover, and in order for it not to become another short-lasting trend, Kafkeer aims to become a daily social tool that assists its users. Kafkeer believes that authenticity is about keeping the promise. To do so, not only does it provide a practical solution to motivate young adults to cook, but it also maintains its interaction through updating its content, rewarding its users and offering its loyal fans all the possible motivational tools for continuous inspiration.
04. Essence Kafkeer is heartwarming, fulfilling and practical. For some users, it can become addictive due to its innovativeness and eclecticism. The content of Kafkeer is inspired by the people of Lebanon. It is rich, eclectic, different and warm. The brand assures to avoid any monotony due to this variety of contents. When you contact Kafkeer, you will feel warm-hearted, benevolent, entertained, and excited to cook and share. You will feel like a son/daughter who has been taken care of.
05. Personality Kafkeer is "mum-made", heartwarming and caring. It speaks and acts like a mother; sometimes like a father, too. The way it looks is slighlty imperfect, because it knows enough about the physical characteristics of Lebanese food. For the same reason, it is bringing amateur cooks, and not professional chefs, to "narrate" the recipes and share their food experiences with young adults. Kafkeer is raw, fresh, honest, practical, subjective but always yummy. It is hand-picked, hand-cut, hand stuffed, handmade but heart-served.
06. Big Brand Idea Level 01: Mummade & Heartwarming Level 02: Cook, Share, Record, Play
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07. Positioning We are a very big oppurtunity, and unfortunately, we are finite. Let's communicate and share the joy of cooking local dishes with endless twists from all around Lebanon. We will guide you through Lebanon's best resources, and we will make your life easier, healthier and we promise, yummier. We are very good at what we do, and we've always had a remarkable reputation in our neighbourhoods. We don't despise international cuisines, even if we don't know much about them, but we strongly believe that our local menu is worth being shared with you. We believe in family values and we want you to really think of what brings more joy to life in this fast-paced digital age. We are plural, and you're included. If you were to build a liturgy around eating, this would be it. The fire, the insence, the burn, the cup, the pour and the cut are all to make you lose yourself because you trust us. We believe that you can value what we value, and that what inspires us can actually inspire you.
07. Tone of Voice Kafkeer is passionate about cooking, and the brand's copywriting is a very honest interpretation of this fact. The brand features cooking terminology in a metaphoric way, ensuring the clarity of the message. For example, it uses: "Simmering" instead of "Loading" "Fresh out the oven" instead of "new" "Have a bite" instead of "Hear the sample" "Get served" instead of "Purchase"
The tone of voice continues to widen the interaction between the user and the digital platform. For example, to record a recipe, the user will have to press the cooker and hold. The mtaphoric concept is to alleviate the engagement with the cooking process.
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VisualLanguage
logo. Kafkeer's logo is a modern Arabic typeface that is distinct, recognizable, and relevant to the brand, It has a dynamic spirit and is confident and legible as a display font. The typeface was tweaked in order to gain a sharper finishing, focusing on the curvatures of the letters and the contrast in the line treatment. The reason why the logo is illustrated in Arabic only is because the communication of Kafkeer is all in English. A pure bold arabic logotype was a must in order to balance the contemporary visual direction. Kafkeer is a proud local brand, that aims to diminish self mortification of Lebanese people, hence it is reassuring its objectives through this Arabic logotype.
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The textured version of the logo gives it a rough authentic feel
Kafkeer's logo can be stylized with a rough texture that gives it a more authentic look. The logotype is white, and can be placed on any of the brand's colors.
type palette. 'Andada' is the dominating typeface of the brand. The serifed typeface reflects authenticity and trust, yet its slightly rounded edges give it a friendly feel. It is very important to reflect safety and maturity when it comes to food, and for that reason, I thought Andada would be a suitable solution that doesn't contradict with the Arabic bold logotype. 'Dragon is Coming', on the other hand, is a script typeface that contrasts Andada. Its cursiveness can definitely be used in a minimal way to add a feminine feel to the brand. After all, the mother is the ticket to sell the idea of Kafkeer.
Kafkeer is trustworthy, confident, entertaining and .
motherly
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Andada Regular / Italic
ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz 0123456789 ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz 0123456789
Andada Bold / Bold Italic
ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz 0123456789 ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz 0123456789
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Dragon is Coming
A B C D E F G H I JS TKULVMWNXOYPZQ R as tbuc vd we fxgyhzi j k l m n o p q r 0123456789
Ubuntu Regular / Italic
ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz 0123456789 ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqr stuvwxyz 0123456789
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Ubuntu typeface is a san-serif typeface which will be used to communicate the brand digitally. It is a webbased font which makes it easier for the website and the application to be updated. The typeface reflects youth, friendliness and interaction due to its low contrast line quality and rounded edges.
color palette.
C 0 M 66 Y 70 K0
C 40 M 0 Y 22 K0
The two main colors of Kafkeer are mint blue (Tiffany blue) and coral orange. Both colors were chosen as a statement in opposition to the commonly used vibrant color palets applied in the food industry. Despite the fact that Kafkeer's target audience isn't restricted to females, the brand still has to communicate motherhood. The chosed tonalities balance the busyness of the floral patterns used in the brand, and neutralize the overall look, so the brand doesn't appeal in a too feminine look. As for the logo, it is usually implemented in white and on flat unicolored backgrounds. When placed on a white background, it can adopt any of the two main colors.
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The textured version of the logo on a white background
imagery&material "Surfaces and objects can be described as tactile when they are designed to be felt, rather than purely seen or heard" (Bestly, 2005) These backgrounds are essential visual elements in Kafkeer's branding solution. The textures were reproduced from gift wrapping papers. The floral compositions remindes of kitchen aprons and vintage table cloths. In order to target both sexes, I decided to combine floral patterns along with flat colours, craft paper, artificial wool, uncoated paper and paper strings.
Because Kafkeer communicates the story behind Lebanese food and doesn't focus on how good-looking food is, real food imagery was replaced by illustrations of raw ingredients, all scanned and cutout imperfectly in order to reflect imperfection through a handmade (hand-produced) product. Mothers don't do it perfectly, and Kafkeer's promise is to do it just the way mothers do.
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Back in the day, paper strings were used to seal jars and cans in order to keep food fresh. Today, they are widely used in visual identities as a sign that reflects authenticity in a contemporary way.
mix&match Kafkeer's visual language is a mixed media engagement of several elements combined together in order to reflect the eclecticism of Lebanese. The final visual outcome is a celebration of textures, patterns and flat colors, overlapping to create a modern feel that target both genders.
tangibles. In order for the brand not to look feminine and to avoid any misjudgement on the behalf of the audience, we decided to keep the patterns as a subliminal element of surprise. The patterns will be seen upon discovering the brand and interacting with its deliverables.
The layouts are inspired by the top view of the Lebanese sofra and the way we display food on the table. Lebanese sofra is rich, randomly layed-out and it includes minor portions of fresh mezze items for nibbling.
Having these patterns spread on the inside of the branded items is a symbol to the core of the brand; the mother. By applying the patterns discretely through a meticulous eye on details, Kafkeer is keeping its promise to serve Lebanese people.
The textures were adjusted on Adobe Photoshop in order to match the original color palette of the brand. These floral textures will only be used underneath the branded
The inside pattern of the instant meal's cup
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A typical Lebanese sofra
On the outside, the brand's look and feel is more contemporary, and was achieved through matching food cut-outs, solid colors and story-telling patterns that I've produced in a previous stage of the design process. The pattern offers a more oriental feel to the brand, and it brings the food illustrations to a total new level. The white rough border surrounding the unicolored backgrounds is a contradicting graphical element that offers a feel of safety, hygiene and extends the rationale behing the imperfect look.
In conclusion, this motherly brand is in disguise with a very contemporary homey look that gives it a neutral feel. This look and feel can be perceived equally by both sexes.
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BrandExperience
the journey. 01
We offer you a ready-to-eat meal.
02
You unpack it.
03
Oups, there's no ready meal in the cup!
04
Scan the QR code.
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05
It will direct you to kafkeer.com.
06
Know more about the product and listen to a free recipe sample.
07
Enjoy your promotional kit upon purchasing the audio book.
08
Experience Kafkeer through cooking your own meals and record your own recipes for more rewards. After summarizing how Kafkeer functions step by step, I listed down all the design deliverables that I need to produce for each step in order to have a coherent visual output by the end of the project.
Following the eight steps above, the deliverables are: Step 1,2,3: Instant food package + Cup Holder Step 4: QR Code Step 5: Kafkeer's Website Step 6: Recipe Audio Design Step 7: Promotional Kit Step 8: The Audiobook (Smart Phone Application)
deliverables. Teaser Package The teaser package is basically Kafkeer's advertising campaign. It will be distributed in public, around university campuses and other potential areas in Beirut that attract young adults. This package is a cup holder that carries a sharable ready-to-eat hommade meal with two spoons. This gimmick item is a wake-up call for Lebanese. It doesn't actually contain instant food since Lebanese home-style dishes can not be instantized. However, it contains one essential ingredient that they will need in order to cook the same meal. Inside the cup is a message that directs the users to Kafkeer's website. On the website, they can register in order to purchase the audio book. Upon purchasing, they will receive a useful thank-you kit from Kafkeer. This kit promises to make the experience more enjoyable. The idea of the package comes in opposition to the concept of instant meals that discourage family values and traditions. It is a wake-up-call for young adults to save authenticity.
For the latest update on the visual language please refer to the final output submitted along with this report. The cup holder is made up of craft in order to contrast the patterns shown on the cup's label. The size of the cup and the two spoons are to highlight the idea of "sharing" the meal. In the project, gamification starts from the very first deliverable. The 'deceiving' cup is a playful way to motivate young adults to access the website in order to know more about Kafkeer. It is creatively provokative, and everyone would give the website a try as the promotional pack will be distributed for free.
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The gimmick instant food package
Website Kafkeer's website is the platform where the user will find out more about the concept as a service. The minimal approach in design is to balance the craftiness of the physical deliverables, reassuring that Kafkeer is a contemporary concept and not an outdated solution. Through the website, you will be able to order the audiobook for yourself, or as a gift for anyone else. The "Free Recipes" Button will direct you to a list of free audio samples.
Phone Application This application is the Audio Book itself. Through a very easy-to-surf interface design and well-though-of wireframing, the user will get the chance to scroll through recipes based on several filters that he chooses (recently added, alphabatically ordered or even by meal type). The record button is to enable the user to record his/her own recipe in order to be assessed by Kafkeer's professional team. The integration of this button is as a
result of gamification, a concept which I have deeply investigated throughout the research. The audio book, on the other hand, enables the user to share a recipe he liked on any of the social media networks. IT also allows him to rate all the recipes in order to filter the audiobook's content by the end of each year.
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The Kit This promotional kit will be offered to every subscriber to Kafkeer's audio book. Once you register and purchase the application, you will receive a lunchbox in just few days. The lunchbox includes an apron, a tote bag, a selection of major spices, a roll of wrapping paper and postcards with a QR code on each, as an access to extra free recipes. These postcards are to be shared with friends to let them know more about Kafkeer and Lebanese food. The lunch box by itself motivates young adults to take their cooked meals to work or college. It is a contemporary package that carries authenticity within; just an extension to the idea of having the floral patterns spread all over the inside of the packages, while using a vector-based contemporary pattern on the outside.
Apron's tag: Kafkeer's meticulous eye on details is what keeps the brand's promise, and therefore makes it authentic.
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One of the two spice mix packages that aim to simplify the cooking and shopping processes.
The apron and the tote bag are similarily packaged. Both items are promotional items that aim to provide a better experience for the user. I didn't print on the fabric in order to maintain the brand's low profile in communicating with its audience.
The top view is applied on all the visuals, and is inspired by the Lebanese 'sofra'. The updated version of the visual is available in the output and the visual summary.
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Audio Sample "With of our increasingly audio-enabled media environment, the strategic use of sound can play an important role in positively differentiating a product or service, enhancing recall, creating preference, building trust, and even increasing sales." (Minsky, 2014) Kafkeer's audio sample was designed to give you an idea of how the recipes will be 'narrated' in the audiobook. I integrated kitchen-inspired-by sounds effects and made sure that the duration of the audio reassures the practicality of the solution. Please scan the below QR code to hear the audio sample.
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Bibliography
citation. 01. Books Chatfield, T. (2010) Fun Inc. Virgin Books, London. Harris, W. (2012) Lebanon: A history, 600 - 2011. 1st ed. Oxford University Press, London. Miller, J. & Deutsch, J. (2010) Food studies: An introduction to research methods. Berg, London. Zichermann, G. & Cunningham, C. (2011) Gamification by design. Oreilly Media, Sebastopol
02. Interviews Barza, J. (2014) Interview with M.Bayoumi. Skype, 14 September. [Lebanese chef, television personality, and culinary consultant. Barza is known for cohosting the Middle Eastern version of the TV program "Top Chef "]
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03. Internet Anderson, B. (2012). As the Mediterranean diet declines, obesity rises. The Daily Star, [online] p.12. Available from: http://www.dailystar.com.lb/News/ Health/2011/Nov-24/154960-as-the-mediterranean-diet-declines-obesity-rises. ashx#axzz3DrJJdfiQ [16 Sep. 2014]. Deans,J. (2013). Delia Smith: MasterChef intimidates aspiring cooks. Available from: http://www.theguardian.com/lifeandstyle/2013/may/14/delia-smith-masterchef-intimidates-aspiring-cooks. [30 Oct 2014]. Gosling, E. (2011, July 21). Pearlfisher rebrands Lebanese food retailer. Available from: http://www.designweek.co.uk/pearlfisher-rebrands-lebanese-food-retailer/3028631.article [9 Sep. 2014] Sustainabledevelopment.un.org, (2014). Rural Development Sustainable Development Knowledge Platform. [online] Available from: http://sustainabledevelopment.un.org/index.php?menu=1263 [6 Oct. 2014]. Sedghi, A. (2013). Brits don't cook any more, says Delia Smith. But is she right?. [online] the Guardian. Available from: http://www.theguardian.com/news/datablog/2013/may/14/delia-smith-cooking [6 Oct. 2014]. Zichermann, G. (2011) Gamification has issues, but they aren’t the ones everyone focuses on. O’reilly radar [Internet] Available from: http://radar.oreilly. com/2011/06/gamification-criticism-overjustification-ownership-addiction.html [September 20 2014]
reading list. 01. Videos Champagnetv's channel. (2012). Launch of Champagne Lanson Vintage Collection with Alain Ducasse at Plaza Athenee, Paris. [Online Video]. 19 September. Available from: https://www.youtube.com/watch?v=2Hgo0QnwFxY. [October 01 2014]. Priebatsch, S. (2010) The game layer on top of the world. Boston: TEDX, July 2010 [Video: Internet] Available from http://www.ted.com/talks/lang/en/seth_ priebatsch_the_game_on_top_of_the_world.html [September 22 2014]
02. Books Accad, J. (n.d.). The taste of Beirut. 1st ed. Baren, M. (1992) How it all began : the stories behind those famous names. Otley : Smith Settle. Butler, A. and Butler, D. (2013). Stencils. 1st ed. San Francisco, CA: Chronicle Books. Drummond, G. & Ensor,J. (2001) Strategic Marketing, planning and control (2.ed) Oxford: Reed Elseiver plc group. GobĂŠ, M. (2001) Emotional branding : the new paradigm for connecting brands to people. New York: N.Y. : Allworth. Hart, J. (2008). Sublime stitching craft pad. 1st ed. San Francisco: Chronicle Books. Henry, D. and Lowe, J. (2006). Crazy water, pickled lemons. 1st ed. London: Mitchell Beazley. Kitous, T. and Lepard, D. (2013). Comptoir Libanais. 1st ed. London: Preface. McGonigal, J. (2011) Reality is Broken. London: Random House. Moilanen, T. and Rainisto, S. (2009) How to brand nations, cities and destinations: a planning book for place branding. Basingstoke: Palgrave Macmillan. Olins, W. (2008). Wally Olins: The brand handbook. London: Thames & Hudson. Ottolenghi, Y. (2011). Plenty: Vibrant vegetable recipes from London's Ottolenghi. San Francisco, Calif.: Chronicle Books. Pellegrin, P., & anderson, S. (2007). Double Blind: war in Lebanon 2006. London, Trolley Books.
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Packer, S. and Srulovich, I. (n.d.). Honey & Co. 1st ed. Senker, C. (2010). Lebanon. 1st ed. Minneapolis, MN: Clara House Books. Wheeler, A. (2013). Designing brand identity: An essential guide for the whole branding team (Fourth ed.). New Jersey: Wiley.
03. Online Articles Arabictype.com (2011) Arabic Type and Typography – Arabic fonts. [online] Available at: http://www.arabictype.com/blog/category/arabicfonts/page/2/ [Accessed: 2012]. Fanoos (1934) History of Beirut. [online] Available at: http://www. fanoos. com/country/beirut_history_beyrouth.html [Accessed: 17 Jun 2012]. Fanoos (1925) Lebanese National Anthem a Stolen Rip-off. [online] Available at: http://www.fanoos.com/songs/lebanese_ national_anthem_ stolen_copy_rip-off.html [Accessed: 31 Oct .]2012 Koerner, B. (2014). How the Weird Art of Food Photography Went Mainstream | WIRED. [online] WIRED. Available at: http://www.wired. com/2014/07/food-photography-2/ [Accessed 6 Oct. 2014]. Lcweb2.loc.gov (1989) Lebanon : Country Studies - Federal Research Division, Library of Congress. [online] Available at: http://lcweb2.loc. gov/ frd/cs/lbtoc.html [Accessed: 13 Jun 2012]. Lgic.org (1943) History of Lebanon, Phoenicians - Greek - Romans. [online] Available at: http://www.lgic.org/en/history_4000.php [Accessed: 13 Jun 2012]. Ministry of Tourism (2012) Destination Lebanon. [online] Available at: http://www.lebanon-tourism.gov.lb/Ministry/Statistics.aspx [Accessed: .]2012 Lorient Le Jour (2012) L’hippodrome romain de Beyrouth englouti par les promoteurs. Lorient Le Jour, [online] 16/03/2012. Available at: http:// www.lorientlejour.com/category/%C3%80+La+Une/ article/750188/ L’hippodrome_romain_de_Beyrouth_englouti_par_ les_promoteurs. html. Nationmaster.com (2005) Lebanon: People. [online] Available at: http:// www.nationmaster.com/red/country/le-lebanon/peo-people [Accessed: 13 Jun 2012].
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Conclusion
conclusion. Other than being a hot zone throughout history, Lebanese cuisine is a major reason why Lebanon is noticeable around the world. Losing this distinctive feature will deteriorate its cultural persona and bring in a multitude of undesirable results on several levels, such as obesity and loss of identity. Food porn has succeeded in dominating international food concepts over Lebanese national home-style cooking. My research guided me through building a communication channel between the two existing generations so that the joy of cooking at home does not die out. By the end of my research, I settled on gamification, a “modern� concept that has been applied to motivate people through engaging and rewarding them for their use of the app. In the hope of inspiring Lebanese youth to consider cooking at home more often, I sought the right tools to build a smooth connection between the two generations whereby this dialogue could become a beacon for upcoming generations. I must admit to beginning this project with a rather nonchalant attitude since it was in my comfort zone due to my huge interest in food. At some point, and instead of working to my benefit, being a foodie limited my ability to objectively seek out opportunities in the field. Rather, the major project came to entail a constant fight with myself where I became lost between doing what I know I am good at and unleashing new capabilities where I can develop my thinking and openness to new options. The turning point came when I realised that far from being original, the photo-shoot I conducted to promote my initial idea was actually expected and hackneyed. It was then that I realised that starting with the solution and looking for a problem to assign to it was just a huge block to my creativity. From that point onwards, experimentation, trial and error, failure and daydreaming became the main drivers for my future endeavors on the project.
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On the other hand, my four-year-experience of working as a graphic designer with a speciality in branding has become another obstacle at some point while developing the project. I was reminded by Grant Rose, the M.A. course leader, that I need to step backwards and revisit the project from a student-to-teacher point of view instead of a designer-to-client perception. Due to the pressure I've had in my previous jobs, I got used to think fast, design fast and submit ahead of time. Stepping backwards and changing the angle of my perception to the whole project was actually the key to finding my medium of communication, the audio book, and the visual direction which I consider much less commercial in comparison to my previous work. It was uterly pleasurable to think of paper-cuts, wrapping papers and craft boxes instead of embossing, U.V. printing and other forms of commercial print finishings which I find as a comfort zone. By the end of the course, I now feel more confident that I can tackle projects of a wider variety, and my thinking has developed to become slightly slower and more conceptual than what I am used to. Unit three of the M.A. is undoubtedly the most enriching and challenging portion of the whole structure.
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