ARCHITECTURE FOR FOOD:

ARCHITECTURE FOR FOOD: The Sensorial Spaces in Food Exhibit Spaces, enhancing the learning on food.

FELICIA TU PI LIAN

Submitted in partial fulfillment of the requirements of the degree of Master of Architecture November 2017

SCHOOL OF ARCHITECTURE, BUILDING & DESIGN TAYLOR'S UNIVERSITY

UNIT COORDINATOR : DR. SUCHARITA SRIRANGAM SUPERVISOR

: DR. CAMELIA KUSUMO

ABSTRACT There is a substantive and interwoven relationship between human and food.

Before the creation of advanced technology, humans clearly understand where food comes from as food is produced locally. The invention of industrialized agriculture and urbanization had slowly caused separation between humans and food. The separation caused the obliteration of food knowledge, results in negative impacts on human health, food cultures and the natural environment. This situation had raise the concept of FarmTo-Table. Farm-To-Table, a social movement, intention in create awareness on knowing our food sources, supporting the local food to bring closer the relationship of human and food.

Currently, people starts to aware on the importance on restoring food knowledge, but there are limited building typology to hold this event. The food exhibit spaces now occur only in the form of food factory and food museum. There is a need in research on designing the food exhibit spaces especially on the sensorial experience, to capture the right emotion while learning about food. Most of the food exhibit spaces signify the locality of a place, as this building usually situated at the area where the raw ingredients of the food being produced.

This dissertation started by situating the spatial design of exhibition spaces in museum, as food exhibit spaces shared similar typology, as an exhibition spaces. The research further understanding on perception of spaces through senses and explores through the philosophy of Steven Holl on poetic spatiality and Peter Zumthor on the concept of Atmosphere. The theoretical framework of the research further analyzes through case study on beverage exhibit spaces which share the closest context in food exhibit spaces.

The discoveries of the research identify the design principals used in creating sensorial experiences in food exhibit spaces. The materials, lights, and building form are the main element in affecting the ambient of the food spaces. Food is all about senses, and hence the quality of space shall able to enhance the senses on food appreciation.

Although senses on food are much similar to the senses in perception on spaces, but the main food senses not the main senses in designing the food spaces in providing sensorial experiences. The senses for sensorial experiences mainly depends on the condition and type of ambient or experience to be provided in the space.

Key Words: Food Knowledge, Farm-To-Table, Exhibition Architecture, Culinary Architecture, Sensorial Design, Food Exhibit Spaces

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DECLARATION This is to certify that: • The dissertation comprises only my original work towards the Master of Architecture except where indicated in the Preface, • Due acknowledgement has been made in the text to all other materials used, • The dissertation is compiled between 10,000 and 15,000 words in length, exclusive of figures, tables and bibliographies.

________________________________ Signed by: TU PI LIAN (FELICIA) Date: 24th November 2017

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PREFACE This is an original dissertation by the author, TU PI LIAN (FELICIA), submitted in total fulfilment of the requirements of the degree of Master of Architecture in School of Architecture, Building and Design, Taylor’s University. It contains work and research done from April 2017 to December 2017.

This dissertation explores the findings on the principals in designing sensorial spaces for food exhibit spaces. The findings of the research will further contribute to the design for food exhibit spaces which restore the knowledge of food through sensorial experiences.

The research is carried out solely by the author with references to the sources. The findings of the research will benefit designers and architects, expand the understanding of sensorial design for food exhibit spaces, which enhances the narration on food.

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ACKNOWLEDGEMENTS The success and outcomes of the research requires a lot of guidance and assistance from many people in different fields. I would like to acknowledge my gratitude to all those who have contributed in providing assistance throughout the completion of the dissertation.

First, I would like to thank Dr. Camelia Kusumo, the supervisor of my dissertation in providing unfailing support and guidance in completing the dissertation.

I would also like to thank Ms Arie Siswanto, the Director of Bali International and Development Center (BITDEC), Bali in giving me the opportunity to make my research feasible.

I’m also grateful to Dr. Veronica Ng Foong Peng and Dr Sucharita Srirangam, in providing guidance and valuable comments throughout the process of writing the dissertation.

Lastly, I would extend my gratitude to my family, especially my parents, in giving me motivation and continuous support to let me believe in myself and this has enabled me to complete my dissertation on time.

Thank you.

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TABLE OF CONTENT

CHAPTER 1:

INTRODUCTION

1.1 Background Study………………………………………………………………………Pg 13-23 1.1.1 Separation of Food and Human 1.1.2 The Knowledge on Food 1.1.2.1 The Translation of Food Knowledge 1.1.3 Farm-To-Table 1.1.4 The Relationship of Food and Human through Architecture 1.2 Problem Statement………………………………………………………………………Pg 23-26 1.3 Research Questions……………………………………………………………………...Pg 26 1.4 Research Aims & Objectives…………………………………………………………...Pg 27 1.5 Research Methodology and Methods………………………………………………...Pg 28-33 1.5.1 Data Collection Methods: Interview 1.5.2 Data Collection Methods: Literature Review 1.5.3 Data Collection Methods: Case Study 1.6 Significance………………………………………………………………………………..Pg 33 1.7 Limitation and Delimitation…………………………………………………………...Pg 33-34

CHAPTER 2:

FOOD NARRATION IN EXHIBITION TYPOLOGY

2.1 Spatial Narration in Exhibition Environment……………………………………….Pg 34-39 2.1.1 Spatial Narration in Exhibition Typology 2.1.2 Spatial Narration through Manifestation of Place

CHAPTER 3: SENSES IN PERCEPTION ON FOOD EXHIBIT SPACE 3.1 Senses as Perceptual System…………………………………………………………..Pg 40 3.2 Food and Senses…………………………………………………………………………..Pg 40-42 3.3 Spatial Experience and senses……………………………………………………….....Pg 42-48 3.3.1 Poetic Spatiality – Steven Holl

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3.3.2 Atmosphere – Peter Zumthor 3.4 Summary of Findings…………………………………………………………………...Pg 49-55

CHAPTER 4:

APPLICATION OF SENSORIAL EXPERIENCES IN FOOD EXHIBIT SPACES

4.1 Case Study 1: Bamboo Courtyard Teahouse……………………………………….Pg 56-58 4.2 Case Study 2: Osulloc Tea Museum………………………………………………….Pg 59-60 4.3 Case Study 3: Cite Du Vin Wine Museum…………………………………………...Pg 61-65 4.4 Summary of Findings……………………………………………………………………Pg 65-67

CHAPTER 5: CONCLUSION & RECOMMENDATION……………………………………Pg 67-71

APPENDICES……………………………………………………………………………………Pg 72-80 BIBLIOGRAPHY………………………………………………………………………………...Pg 81-82

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List of Figures: Chapter 1: Figure 1.1: Mural painting found in Deir el-Medina tomb showing couples harvesting crops…16 Figure 1.2: Mural painting on baking techniques during Ancient Egypt…………………………….16 Figure 1.3: Mural painting found in Menna’s tomb, on delivering food which prepared for afterlife dated back in 1380 B.C……………………………………………………………………………...16 Figure 1.4: Wayne Thiebaud works on rows of pies and cakes in bright pastel colours…………17 Figure 1.5: “Kitchen Painting” by Elizabeth Murray……………………………………………………...18 Figure 1.6: “The Dinner Party” by Judy Chicago…………………………………………………………..18 Figure 1.7: The Mesakin Quisar Cluster Dwellings of Nuba People, Sudan. The dwelling includes spaces for food storage, seed storage and livestock storage…………………………………………..21 Figure 1.8: Balinese traditional house with rice barn to secure their main food sources. ………21 Figure 1.9: Mid-nineteen century housing, with kitchen segregated from the social zones……………………………………………………………………………………………………………….22 Figure 1.10: The modern dwelling with the dining-living-kitchen concept where the walls between service zone and social zone are removed……………………………………………………..23 Figure 1.11: The relationship of food and human before and after industrialization of agriculture………………………………………………………………………………………………………...24 Figure 1.12: Exhibit on the replicas of food in Penang Food Museum……………………………....26 Figure 1.13 Research organization chart…………………………………………………………………...30

Chapter 2: Figure 2.1: The archeology site locates at the entrance of the New Acropolis Museum………….37 Figure 2.2: Architect Bernard Tschumi separates the experiences of the museum in replicate the ambience of Acropolis of Athens into 3, with the base as archaeology site, then further up to the main galleries and the Parthenon Hall………………………………………………………………….38 Figure 2.3: Replication of the pillars in Acropolis of Athens by having some of the pillars in concrete and steel, arrange in rows to create the ambience of the site……………………………..38

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Figure 2.4: (Left) The new acropolis museum located 650m away from Acropolis of Athens…39 Figure 2.5: (Right) The building formed by stacking 2 large rectangular box with the top tilted 23 degrees………………………………………………………………………………………………………...39

Chapter 3: Figure 3.1: The floor plan of Kiasma Museum, showing Holl designed using one side curve wall to form a sequential spatial experiences when passes through the exhibition spaces………….44 Figure 3.2: The design using combination of regular and irregular building form, creates a silent yet dramatic backdrop for the exhibition………………………………………………………………….44 Figure 3.3: The access element also creates dynamic emotions with the combination of regular and irregular form……………………………………………………………………………………………….45 Figure 3.4: The penetration of lights through different shapes of skylights, creates different poetic spaces in the exhibition………………………………………………………………………………..46 Figure 3.5: Different quality of spaces forms by the contrast of lights and shadow……………...46 Figure 3.6 The external of the museum which seems to be like closed box with holes puncturing the facades………………………………………………………………………………………………………...48 Figure 3.7: Pathway through archaeological excavations, uses both nature and artificial lightings to guide visitors through the exhibition in Kolumba Museum………………………………………...49 Figure 3.8: The small ceiling-less atrium which lead by the pathway from the internal exhibition to the external exhibition………………………………………………………………………………………49

Chapter 4: Figure 4.1: The external and internal environment in providing cognitive experiences to the visitors in the culinary centre…………………………………………………………………………………56 Figure 4.2: Exterior View of the Bamboo Courtyard Teahouse floating on the lake……………….57 Figure 4.3: The vertical and horizontal lines formed by the bamboo curtain………………………58 Figure 4.4: The solid space formed by bricks and bamboo and the total open space in different blocks of the building, to have the spatial experience of layering effect…………………………….59 Figure 4.5: The inward facing arrangement formed the internal landscape………………………...59 Figure 4.6: Exterior View of the Innisfree Pavilion with the forest spaces…………………………..60 Figure 4.7: The Tea Stone Pavilion host the tea ceremony with the twin pool, designed with dark polished concrete finishes……………………………………………………………………………………...61 Figure 4.8: The Innisfree Pavilion designed with raw timber exterior and wooden ceiling interior……………………………………………………………………………………………………………...61

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Figure 4.9: Exterior View of the wine museum, the bold and curves iconic architecture………...62 Figure 4.10: The shapes of the building uses metaphor of swirling of wine, creates a shapes which is seamless, without sharp angles……………………………………………………………………63 Figure 4.11: The glass and aluminum formed the exterior of the building, create visual perception, showing the character of wine…………………………………………………………………63 Figure 4.12: The interior formed by the wooden structure creates arch that enhances the smoothness feeling in the exhibition spaces……………………………………………………………….64 Figure 4.13: The courtyard penetrates through the centre of the building………………………….65 Figure 4.14: Spaces with different light intensity, uses lights to direct the movement of the users………………………………………………………………………………………………………………...65

List of Table: Chapter 1: Table 1.1: Farm-To-Table status in ASEAN…………………………………………………………………..20 Chapter 3: Table 3.1: Summary of elements use in creating sensorial spaces by Steven Holl and Peter Zumthor…………………………………………………………………………………………………………….50 Table 3.2: Steven Holl’s design approach considered on both emotion and perception element in creating sensorial spaces…………………………………………………………………………………...51-54 Table 3.3: Peter Zumthor’s approach on sensory design considered both reality and imagination quality………………………………………………………………………………………………………………55

Chapter 4:

Table 4.1: Analysis of findings for the case study……………………………………………..67

Chapter 5:

Table 5.1: Analysis of findings for the case study and sensorial design principals from Steven Holl and Peter Zumthor…………………………………………………………………….71

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CHAPTER 1: INTRODUCTION 1.1 BACKGROUND STUDY 1.1.1 Separation of Food and Human The relationship between human and food used to be close before the industrial revolution where people are conscious about food related knowledge and issues, but not after. Before the creation of advanced technology, people clearly understand where the food came from as there is no refrigerator nor technology to process food. All the food is fresh from the farmer or the butcher. The invention of industrialized agriculture had slowly caused human to lose the basic knowledge of growing, harvesting, cooking and to forget that their food still relies on the soil for sustainability.

Less understanding

given to the food knowledge has increased the negative impact on human health, food cultures and also care to the built environment.

"Tell me what you eat and I will tell you what you are,” a well-known phrase by Jean Anthelme Brillat-Savarin (1826), saying that the health in physical, mental or emotionally determined by the food itself. Without knowing the food source, we are not able to judge on the health aspect of the food, whether is it free from pesticide or free from antibiotics and hormones. A lot of food is added with chemical substances to enhance the colour of the food, texture and flavour and at the same time to prolong storage life of food. For example, the Luncheon Meat, the Sliced Turkey Breast, and even some toufu and bread.

These chemicals substances caused disease and sickness to increase rapidly, especially cancer which can critically damage human health. Based on statistics on GLOBOCAN 2012, there are 14.1 million new cancer cases and 8.2 million deaths which occurred in 2012 and it had shifted to less developed countries since. The separation of human and food also caused the dilution in food cultures. More fast food restaurants and food chain stores such as Mc Donald’ s, Kentucky Fried Chicken and Starbucks which is widespread in many countries, affecting the local food cultures and food preferences of the community. In France, the fast food had out-earned their traditional local cuisine, which shaken their identity on their food cultures. France, a country for good food and good wine, is facing these issues due to the economic crisis where fast food is convenient and also affordable. Daniel Fasquelle, a lawmaker in the French Assembly mentioned in the CNBN News on “France's fast food out-earns traditional cuisine.” Forty percent of tourists visit France for her food cultures. If this situation continues, some of the jobs 11 | P a g e

will also be at stake. In 2010, the French lawmakers took actions to persuade UNESCO, to put French cuisine into the World Heritage list, to make the food cultures a national pride so that their citizens will reconsider and value French food.

Food also has a significant impact on the environment. The impact caused not only by the pesticide that fused into the soil in the growing stages of food cycles, but also wastage of raw food during harvesting, cooking and food waste after meals. Based on the data released by the Food and Agriculture Organization in US, 1.3 billion tons of food is wasted every year worldwide and this caused damage to the built environment.

An analysis released on 2014 by Geographic Society and Globe Scan on Greendex, an index monitor on consumer’s progress towards sustainable consumption, shows that there is an increasing trend on people concerning the environment but there are still little as the subjects on health and environmental issues are getting critical, people start to feel fearful and concern on this issue as it negatively affects their living quality. There is a need to find a solution to encourage people to take actions for the environment instead of simply feeling fearful for it. This awareness had brought new concept in the culinary field, the Farm-To-Table Culinary. The Farm-To-Table Culinary promotes local foods, appreciates the original taste of food, encourage people to be more concerned about the environment and at the same time educate people to have a better understanding of food knowledge and cultures.

1.1.2 The Knowledge on Food Similar to architecture, food represents the culture of a community. Carole Counihan’s (2008) research on Food and Culture argued that food represents everything important to people, indicates the social differences and social bonds of groups of people, yet different from table to table. Different country practices different culture, and this is represented by a specific type of food. For example, Ramen represents Japanese cuisine, Kimchi represents Korean cuisine, Babi Guling represents Balinese cuisine and Nasi Briyani represents the Indian cuisine. There are also similar food representing different culture, but there is a certain difference in the way of cooking or seasoning the food. Take the example of the famous food in Malaysia, Wantan Mee. In Melaka and Penang, the Wantan Mee is in chili base, while the Kuala Lumpur Wantan Mee

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uses Dark soy sauce as the base. Wantan Mee is food from the Cantonese cuisine, and in Kuala Lumpur the majority of Chinese are Cantonese, but in Melaka and Penang the majority are Hokkien. Hence, the Wantan Mee in Melaka and Penang is a modified version to suit the food cultures of their community after they settled down in Malaysia.

Having similar food representing the different region, also means that these different regions share certain similarities in their cultural context.

In ancient time, the food cultures were being documented in the form of painting.

These paintings had become the food knowledge for current historians to learn about the culture of that time. The art of food through paintings, not only shows food cultures, but also shows social cultures. It also represents the social status of the community and also as the main industry the community rely on for their economy. The exhibition on food starts here where all the paintings on food were being exhibited, as to allow people to have a better understanding on the ancient food cultures and realize the changes in food throughout the years.

1.1.2.1 The Translation of Food Knowledge The earliest food knowledge occurs in paintings, dating back during ancient Egypt. There are lots of engraving on tombs and wall being studied by historians to understand the lifestyle and cultures at that time. In the Deir el-Medina tomb, archaeologists found mural painting which elaborates an Egyptian couple harvesting crops (Figure 1.1). From the mural paintings, historians discovered that the main food production is based on wheat which is used to make bread and beer and are the main food sources during that time. Also, a mural painting found in the tomb of Ramesses III shows the importance of bread as the main food source and the baking techniques of bread vary from kingdom to kingdom (Figure 1.2).

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Figure 1.1: Mural painting found in Deir

Figure 1.2: Mural painting on baking techniques

el-Medina tomb showing couples

during Ancient Egypt (Gudmundsson, 2014)

harvesting crops (Joshua, 2016)

As the Egyptians believes in afterlife, there are also mural paintings on food that they preserved with salt and dry under the sun, to be buried together with the mummy.

The food depicted in the mural mainly are fish, ducks and grapes, which are more common daily food instead of beef which was more expensive at that time (Figure 1.3).

Figure 1.3: Mural painting found in Menna’s tomb, on delivering food which prepared for afterlife dated back in 1380 B.C (Anonymous, 2017)

In the modern era, food knowledge is conveyed through paintings. The difference is that instead of documenting food culture practices, artists use food to reflect on the 14 | P a g e

social context. Wayne Thiebaud, artist in the pop art era, uses bright pastel colours in painting rows of pies and cakes, to symbolize the American society, which at that moment is said to be wealthy and rich (Figure 1.4).

Figure 1.4: Wayne Thiebaud works on rows of pies and cakes in bright pastel colours (Alex, 2016)

In late 1960’s till early 1970’s, many feminist artists appeared and used food as an art to show the social status of women during that time. Feminist artist, Elizabeth Murray, produced a painting named, “Kitchen Painting” (1985), in which a spoon is bound over a kitchen which seems to be on a flat plane and bolted confronts the viewer (Figure 1.5). In this work of hers, she is trying to convey the message that women are capable of handling both worldly and domestic works. Judy Chicago, another feminist artist during the era had come out with an installation on food, “The Dinner Party” (1974), crafted on a 48-foot-long triangular dinner table, placed with 39 different sets of napkins with ceramic plate and wine glass, signifies 39 culturally notable women (Figure 1.6). The arts on the plates becomes more three-dimensional as to show the women’s growing freedom and political power.

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Figure 1.5: “Kitchen Painting” by Elizabeth Murray (Anonymous, 2017)

Figure 1.6: “The Dinner Party” by Judy Chicago (Anonymous, 2017)

Technology and urbanization had changed the form of food knowledge, from conveying message through paintings which are exhibited in the art museums, to the interactive food museums. Food museums became popular in the 21st century, due to the separation of human and food sources. Food museums focus on how and what people consumes, mainly to understanding the production of food from raw materials to the finished product, and usually specifically focused on one food product. Most of the food museums are set up to be at places where the specific food is being produced and depicts the local context. For example, a Kimchi museum will be located in Seoul, South Korea, Ramen museum in Yokohama, Japan, and Paddy Museum in Sekinchan, Malaysia. The food museum besides becoming a tourist attraction and understanding 16 | P a g e

about food production, also helps to promote and allow tourists to have better understanding of the local food cultures.

1.1.3 Farm-To-Table The Farm-to-Table concept surfaces after the introduction of the concept on “Food as Art and Molecular Gastronomy� where the food served is unrecognizable and look strange as opposed to the practices of Farm-To-Table culinary. The first Farm-ToTable movement dated back to 1960 and was introduced by Alice Waters together with Jerry Traunfeld, both American Chefs and authors. This concept epitomizes the idea of the Italian slow food movement which promote local foods in creating awareness to reduce food miles and at the same time appreciate the original taste of food.

Although the Farm-to-Table concept existed long ago but it became popular only during the 21st century. The locavore movement become popular in that moment where people started to realize the distance relationship of consumer with the food source.

This separation of relationship caused by urbanization, moving more and more people towards the city and leaving the rural areas, where the gap between food production and food consumption became wider. This also means that food has to travel a further distance, as to transport food from the rural areas to the city which contributed to food miles. Food miles is a term referred to the distance where food travels from production to consumption and this contributed to the pollution of the natural environment. Based on reports from National Resources Defense Council on November 2007, in year 2005, approximately 3 million tons of food imported from all around the world to California by different methods of transportation. This transportation had released 70,000 tons of carbon dioxide into the air, causing air pollution.

Currently, there is also a rise of the Farm-To-Table concept in ASEAN. Harold Bernardo Bueno (2017), in his thesis, identifies the significant potential of Farm-To-Table in Cambodia, Indonesia, Laos, Malaysia, Philippines, Singapore, Thailand, and Vietnam in the agriculture and tourism sectors (Refer Table 1.1) which is due to the tourism industry. This condition can be seen in Bali, Indonesia as the rapid increase of tourists in Bali had increased the mushrooming of the Farm-To-Table restaurants in the region.

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ASEAN Brunei Cambodia Indonesia Laos Malaysia Myanmar Philippines Singapore Thailand Vietnam

Status Inactive Active Active Active Active Inactive Active Active Active Active

Legend: Active- The Existing Farm-to-Table tourism activities Inactive- Non-Existing Farm-toTable tourism activities

Table 1.1: Farm-To-Table status in ASEAN (Harold, 2017)

The concept of Farm-To-Table in Western and ASEAN share similarities, which aims to restore the relationship of food and consumer through the understanding of food source and create awareness on food related issues.

1.1.4 The Relationship of Food and Human through Architecture Food and human used to have close relationship and it can be shown through the food spaces in human shelters. The shifting of food axis changed the design of the foodrelated-spaces. Looking at the traditional dwellings, the planning on the dwellings does integrate with food spaces, mainly to store foods or seeds, and house their animals as livestock. It shows the importance of food in their daily-lives.

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Figure 1.8: The Mesakin Quisar Cluster Dwellings of Nuba People, Sudan. The dwelling includes spaces for food storage, seed storage and livestock storage (Ghazali, 2007)

Figure 1.9: Balinese traditional house with rice barn to secure their main food sources (Wirata, 2014)

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Food-related spaces mentioned here include food preparation and cooking, serving and feeding, storage and disposal. In traditional houses, the spaces were conceived based on the usage of different zones; social zones, services zone, private zones. The food preparation and cooking spaces are categorized as the services zone only to be used by the household or the servants. Hence, the design of the service zone was to be segregated from the social spaces where they are not to be seen by the guests.

Elizabeth Cromley (1996) in her research explained that the design of the services zones in the modern houses becomes an open plan which traditionally was segregated from the social spaces is due to the household economy and women’s roles in the kitchen rather than the aesthetic intention of the modern architects. In the modern houses, the solid walls between the social zones and services zones had been removed as the food preparation and cooking spaces are currently perceived as social zones for the family and also guests; The smells flow from the kitchen in the modern context is interpreted as the alluring invitations of the food aromas rather than obnoxious smells with bacteria and germs.

Figure 1.10: Mid-nineteen century housing, with kitchen segregated from the social zones. (Cromley, 1996)

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Figure 1.11: The modern dwelling with the dining-living-kitchen concept where the walls between service zone and social zone are removed (Cromley, 1996)

1.2 PROBLEM STATEMENT The connectivity between human and food have been isolated since the rapid growth of urbanization where the distance of food production and food consumption becomes more and more distant. The separation of human and food has caused negative impact to human health and the natural environment. The pollution contributed by the food miles had destroyed the natural environment and human health through the omission of carbon dioxide in large amount into the air. Human health is also being threatened when ignorance on the food sources where people are unable to track what kind of food or the contain in the food being consumed. In the television series, Jamie Oliver’s Food Revolution, which started since March 2010 until 2011, he sets out to make America healthier. He also explained how serious these problems turn out to be and stated that the main problem is people do not understand their food sources. Therefore, it is necessary to provide or bring back the knowledge about food, as to restore the relationship of food and human, through food learning centres.

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Cooking

FOOD HUMAN

Harvesting

TECHNOLOGY

HUMAN

FOOD SOURCE???

FOOD KNOWLEDGE

COOKING HABIT???

FOOD CULTURE???

Sources + HEALTH

- HEALTH

+ ENVIRONMENT

- ENVIRONMENT

BEFORE

AFTER

Disconnected

Growing

FOOD

Figure 1.12: The relationship of food and human before and after industrialization of agriculture (Author, 2017)

The movement on restoring the relationship of food and human had brought the new concept in the culinary field, the Farm-To-Table. Farm-To-Table is a concept which aims to provide food knowledge on food sources, to ensure more people understand where their food came from, to promote healthy eating especially within the city people.

The Farm-To-Table practices are usually in a restaurant typology. There are also other venues in providing knowledge on food, mainly in food factory and food museum.

Although these food learning facilities shared similarities which aims to provide knowledge on food, but there are also differences in the learning process. The Farm-ToTable learning is more towards self-consciousness through the eating experiences in the restaurant, whereas for food factory and food museum, it is based on interactive learning in the exhibition typology.

There is different learning experiences in both food factory and food museum.

Food factory is mainly learn through the visitation of the production line, to understand the process of making the food from raw materials to packaging. Example of food factory exist in Malaysia, The Boh Plantation, Cameron Highlands, PLS Paddy Processing Factory, Sekinchan, Gardenia Bread Factory, Shah Alam and Beryl’s Chocolate Factory, 22 | P a g e

Seri Kembangan. As for food museum, it provides more variety of learning experiences as it is usually in a bigger scale. Both of these food learning facilities not only represent the locality of place but also binds with the cultural context. As Penang is named the haven for food, there is a food museum in Penang, Malaysia which exhibits replicas of Malaysian dishes. There is The Ramen Museum located at Yokohama, Japan, the first food-themed amusement park which allows visitors to taste different varieties of Japanese Ramen and understand the history of Ramen as Ramen had become one of the food identities representing Japan culture. There is also the Kimchi Field Museum in Seoul, South Korea which exhibits the food’s history using the display method, showing the importance of Kimchi to Korean culture and cuisine. Although the foods exhibited are representing the locality, but the museums designed is in a black box context, without any connection and showing the context of the place.

The popularity of food museum had make it become a-must-go tourist attraction in every country, as believes able to have better understanding on the local food cultures.

Besides food museum, the Farm-To-Table Culinary Experience Centre also having similar aims and functions, which is to provide food knowledge and to have better understanding on the local food cultures. Food exhibit spaces are exquisite in its region, as food itself, always as a representation of cultural identity and place characteristics.

Although this building typology having lots of connection with the land itself, but most of the current food exhibit spaces designed to be is in a “black box” setting. The “black box” here refers to the building designed to be in a closed box, which is unconnected with the surrounding, causing the loses in the sense of place of the building itself. Due to the development of technology, instead, the food exhibition spaces designed to satisfy the production of nice photography or film through the interior ambience and exterior outlook, but not considering the cognitive experiences by providing context to the exhibit content, to allow visitors to have a more comprehensive learning about foods. In Penang, there is a food museum which exhibits the replicas of Malaysian dishes. As Penang named as the heaven of food, this food museum had attracted lots of locals and overseas tourists, but the food knowledge here being narrated is too shallow, as the learning is only related to the list of food in Penang, without having any understanding and narration on the context of the building and exhibition itself.

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Figure 1.13: Exhibit on the replicas of food in Penang Food Museum. (Anonymous, 2016)

Appreciation of food involves senses. In the food exhibit spaces, the sensorial experiences are important to enhance the learning. Similar while dining in the restaurant, the surrounding environment affects our senses on perceiving food. However, currently the sensorial experiences only occur in the restaurant typology but not in any food exhibit spaces. The food exhibit spaces only considered on the satisfaction on the sight senses but not involving other senses. All the senses are considered as a perceptual system, and each senses affects one another in perceiving on food.

1.3 RESEARCH QUESTION The research is based on the following research question: “What are the design element in creating sensorial experience for food exhibit spaces that are able to enhance food and culture appreciation in food exhibit spaces?’

And with the sub-question as below: -

How does the spatial experience influences sensory perception of food in exhibition typology?

-

What are the design principals in linking the food exhibit spaces with its context?

-

How the sensory design enhances user’s experience in appreciating food and cultures?

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1.4 RESEARCH AIM AND OBJECTIVES This paper aims to identify the principals in designing sensorial spaces for food exhibit spaces which are able to enhance food and culture appreciation. The objectives which supports the aim as follow: -

To understand the design principals in creating spatial experiences for the food exhibit spaces that influences the sensory perception while learning about food.

-

To identify the design principals in linking the food exhibit spaces with its context.

-

To understand on the sensory design in enhancing users in food and cultural appreciation.

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1.5 METHODOLOGY AND METHODS This research uses a mixed qualitative research method which includes literature review, case study and informal interviews to understand the issues on food and sensorial experiences in food exhibit spaces. The research started through the understanding of Farm-To-Table through collection of interviews from various disciplines such as tourism, culinary and mainly with stakeholders of Farm-To-Table.

The literature review and case studies are used to identify and understand the principles in designing sensorial spaces for the food exhibit spaces.

Organization Chart of the Research:

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Figure 1.14 Research organization chart. (Author, 2017)

1.5.1

Data Collection Methods: Interview

Interviews will be conducted mainly people involved in the culinary and tourism fields to understand the current situation of Farm-To-Table in relation to the connection of food with human. There are 3 groups of people from different disciplines being interviewed.

Tourism: Harold Bueno

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The Sumitomo Corporation scholar, also researcher in the tourism field recently conducted studies on Farm-To-Table in ASEAN context. The interview aims to understand the current position and situation of Farm-To-Table in the ASEAN context.

Culinary: Madam Siti Ramadhaniatun Binti Ismail - Head of School of Culinary Arts & Food Studies of Taylor’s University Chef Khairul Anuar Bin Muhamad- Stream Coordinator – Culinary Arts of Taylor’s Culinary School.

Interview carried out with Madam Siti and Chef Khairul to understand the teaching of chef in the culinary schools and also understand the issues faced in practicing sustainability in culinary studies. Madam Siti also shared her experiences in the field of Farm-To-Table and also the pros and cons and challenges faced while proposing the practices of Farm-To-Table in Taylor’s University.

Stakeholders: Interviews are carried out specially with the stakeholders of the Farm-To-Table as to understand the challenges faced while operating the Farm-To-Table concept and to understand the current situation of this concept in the ASEAN region. Besides, the interviews also contribute to the understanding of the future planning of the stakeholders to foresee the expansion and flexibilities of the Farm-To-Table concept.

Ms Lisa Ngan - Stakeholder of A Little Farm on the Hill, Bentong, Pahang, Malaysia Ms Jessie Lee – Stakeholder of Song Yan, Bentong, Pahang, Malaysia Mr Justin Ajah – Stakeholder of Bali Silent Retreat, Penatahan, Bali, Indonesia Mr Made Janur Yasa – Stakeholder of Moksa Plant-based Restaurant & Permaculture Garden Through the interviews, it seems that the Farm-To-Table concept gained popularity among the local communities and tourists with the number of people visiting increases each year. The main intention of the concept is to create awareness on issues related to health and the impact to the environment. Most of the stakeholders came across the

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idea of Farm-To-Table through visitation to other countries which are doing well with the Farm-To-Table concept.

A simple interview was conducted with Ms Arie Siswanto, Director of Bali International and Development Center (BITDEC) and the local communities around the area, to understand their perspective towards Farm-To-Table and also the preferred type of educational tour to be provided in educating the concept of Farm-To-Table.

1.5.2

Data Collection Methods: Literature Review A review of literature on spatial design of museum will first being analyze to

provide a

background study on the design of exhibition spaces, as food exhibit spaces

shared similar typology. The main citing work from Sophia Psarra (2009), the Associate Professor of Architecture at Alfred Taubman College of Architecture and Urban Planning at University

of Michigan, USA, also researcher on spatial organization in museology.

In her book “Architecture and Narration�, she explained the conceptual, perceptual and social space

which will affects the design and life of building in museum typology.

She also further explained how the meaning is constructed in buildings and the relationships of exhibition in communicating with visitors through spatial design. Her works in this research provides references

on

spatial

organization,

planning

of

exhibitions and also visitor experiences in

the museum. There are also other citing

works through related journals and books to understand spatial design in museum typology from Regan Forrest (2014), Kali Tzortzi (2015), Polly Mckenna-Cress (2013).

The theory of space syntax by Bill Hillier (1996) is further analyze to understand the begins of spatial design in museology.

The research further analyzes through literature on the senses which combine to form a perceptual system. The main concept based on the J. James Gibson (1966) where he mentioned that the idea of perception is through a system which formed by all the senses rather than operating individually as each of the senses affects one another. The research

then further explore on the sensorial design through the idea of Steven Holl

(1993) in using the principals of Poetic of space, and the theory of Atmosphere by Peter Zumthor (2006) to identify principals in creating sensorial experiences for food exhibit spaces.

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1.5.3 Data Collection Methods: Case Study There are in total of three case study carried out to look at the principals and approach of architects in sensorial design for food exhibit spaces. The case study chosen based on the

design of food exhibit spaces which provides connection with the

context and also considerate

on the importance of sensorial design to enhance user’s

appreciation on food. The case study analyzes as to compare the ways used in creating sensorial spaces to the food exhibit spaces based on the principals of Poetic of Space, Atmosphere and Composition Syntax concept. The case study chosen as below:

1. Bamboo Courtyard Teahouse, China 2. Osulloc Tea Museum, South Korea 3. Cite Du Vin, Wine Museum, France

1.6 SIGNIFICANCE This dissertation will serve as a design guideline for architects, to set as a standard and framework in designing food exhibit spaces in providing sensorial experience which aim to educate and create awareness within the public on the importance of food to human.

The discovery of the research expands understanding on the spatial experience which enhances the senses in the exhibition typology. The research also elaborates on the idea of perceptual system in architectural context, using combination of senses in perceiving the space to capture the emotion of the users in food exhibit spaces.

1.7 LIMITATION AND DELIMITATIONS There are not many studies or research carried out on the Farm-To-Table topic, as such the reference and citing on Farm-To-Table is limited. The understanding on the FarmTo-Table is mainly based on interviews and visitation through the community and stakeholders at Bali, Indonesia. Currently, there are not many research on food spaces in exhibition typology, the approach on sensorial design is mainly based on ideas used in museology as references. Although there are lots of literature and studies related to 31 | P a g e

museology there are also limited access to those literatures. The idea of museology is written only based on the literature which is able to access through online and book resources.

CHAPTER 2: FOOD NARRATION IN EXHIBITION TYPOLOGY 2.1 SPATIAL DESIGN IN EXHIBITION ENVIRONMENT The food exhibit spaces require design in enhancing senses while learning about food. Sensory design emphasizes on the space which is created for sensory experience that capture the emotion of occupants meanwhile influencing their reaction, attitude and behavior when they are in the space. David Leatherbarrow (2009) in his book Architecture Oriented Otherwise, he mentioned that atmosphere of spaces, is similar to the mood, which is to be impressed through experience. In the food exhibit spaces, the atmosphere created is to enhance the senses, senses in experiencing food. Despite the differences based on the building typology, the food exhibit spaces have similar identity with museums, library and visitors centres, and as exhibition spaces in providing cognitive experiences. The exhibition is considered as an informal learning or free-choice learning. It involves a higher degree of self-direction and self-selection. Based on the research by Chantal Barriault (2010) on Assessing Exhibits for Learning in Science Centers in the Journal of Visitor Studies, this type of learning experiences involves a considerable choice, as it depends on the person to choose what to learn, as well as where and when to participate in the learning. It is directed to be more personally motivated. Visitors have the freedom in choosing the learning content and when to participate in the learning process. Both spatial and learning experiences involve movement of visitors. Janet Kamien (2013) mentioned that the exhibition content is able to be delivered in multiple ways through a space that visitors physically move through.

Through the movement in the exhibition spaces, the visitors create knowledge and make meaning from the experiences. There are 4 reasons people visit the exhibition spaces, mainly to satisfy education, spiritual, social and emotional desires (McIntyre, 2007).

Currently, the design of the exhibition spaces is mainly on fulfilling the learning desire but not others. As for the food exhibit spaces, the satisfaction on the emotional aspect is more dominant, as food experiences uses senses. The sensory design is able to increase the engagement of visitors to the food exhibit content. As to fulfill the 32 | P a g e

emotional aspect and learning desire of visitors on food, the sensory experiences plays an important role in providing and comprehending learning experiences. It is also to reconnect the relationship of human and food.

2.1.1 Spatial Narration in Exhibition Typology Learning on food involves narration in the form of exhibition, hence food exhibit spaces is similar to museum typology. The design of the exhibition environment becomes an important element for study to identify principles in designing food exhibit spaces. The exploration on exhibition design begins when Hiller (1996) introduced the concept of space syntax. Space syntax is a set of theory to analyze spatial configurations.

The spatial configuration not only look at the arrangement of space, but also at the relation of individual spaces in affecting each other in a layout, and form all parts of individual spaces as a whole.

In Psarra’s (2009) studies, The Architecture and Narrates, she uses the concept of space syntax to analyze the relationship between geometry and configuration. The different parts of spaces affect the behavior of users in the building. She used the words ‘narrates’ as to refer to each component of the building, the structures, materials and content which formed certain meanings to the building. Psarra discussed and explored the idea of space syntax based on the visual perception, focus on the relation between the individual spaces, the sightlines and visibility of the space. She focuses on mainly on two elements which is to look at the relationships of the geometry with the configuration in a building, namely: 

Interaction of geometry and visual perception in creating meaning The different geometry formed by the configuration of spaces creates various degree of visual perceptions to the observer while moving within the spaces. The visual perception caused the building to be understood as different spatial complex (symmetrical, axiality, repetitive, centrality, etc). This different spatial complex formed different meanings and interpretations to the observer.



The reality and virtual in spatial experiences

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The spatial experience holds both the reality and imaginative experiences, referring to the physical space and the psychological space. The psychological spaces manifest the imaginative realm which is designed to activate the dreams and thoughts in the space, the emotional experiences in the building. Both conceptual and perceptual structures of the building are dynamic instead of dichotomous.

Kali Tzortzi (2010) also uses the idea of space syntax to understand the relation between t spatial design of the exhibition spaces with the displays. The key issues in this study raised is due to the criticism on the New Acropolis Museum, on the spatial design which uses different approach on designing exhibition building typology. The New Acropolis Museum, designed by architect Bernard Tschumi, uses the manifestation of the place to connect the exhibition with the context. In Tzortzi’s research, he concluded, that buildings itself is performative, which is able to narrate beyond text. The narration on space and time in a museum, able to express through the spatial connectivity together with movement and changing of visual fields, which is shown in the New Acropolis Museum. He suggested that there are three bodies of knowledge contributing to the spatial understanding of museum, which is the space syntax, museology and the reality of spatial design.

2.1.2 Spatial Narration through Manifestation of Place Most of the spatial design for exhibition typology uses space syntax in narrating the content in the building. A different approach is used by architect Bernard Tschumi in his design for New Acropolis Museum. New Acropolis Museum, an archaeological museum for the archaeology findings from the Acropolis of Athens which is located 650m walking distance from the museum. He recreates the similar spatial experiences in Acropolis of Athens in the New Acropolis Museum, by having traces of the Acropolis to triggers the memory of the visitors.

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Traces of Acropolis in the New Acropolis Museum: -

Natural Stone The experiences of the museum separates into 3, with the base as archaeology site, then further up to the main galleries and the Parthenon Hall. The archaeological site fills up with natural stone from the Acropolis which locates right inf ront of the entrance, to first give clues to the visitors on the exhibition content in the museum.

Figure 2.1: The archeology site at the entrance of the New Acropolis Museum. (Tomisti, 2011)

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Figure 2.2: Architect Bernard Tschumi separates the experiences of the museum in replicate the ambience of Acropolis of Athens into 3, with the base as archaeology site, then further up to the main galleries and the Parthenon Hall. (Archdaily, 2010)

-

Pillars Replication of the pillars in concrete and steel of the Acropolis of Athens in the museum in different sizes as the main support of the building. The columns are arranged with the rhythm of the pillars in Acropolis of Athens to allow the visitors to feel that they are at the site instead of an indoor exhibition spaces.

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Figure 2.3: Replication of the pillars in Acropolis of Athens by having some of the pillars in concrete and steel, arranged in rows to create the ambience of the site. (Archdaily, 2010)

Besides traces, architect Bernard Tschumi provides context to the exhibition content by connecting the museum to the surrounding to manifest the location of the museum. The space in the museum is visually connected to the acropolis, having acropolis as the background to narrates on the contents. The whole building is formed by 2 boxes stacked together. The first two level below simply arrange to suit the site, as the view to the Acropolis of Athens is blocked by others surrounding buildings, whereas the top box tilted 23 degrees to be directly parallel to the Acropolis of Athens and to provide a 360 panoramic background view for the exhibition content.

Figure 2.4: (Left) The new acropolis museum located 650m away from Acropolis of Athens.

(Archdaily, 2010) Figure 2.5: (Right) The building formed by stacking 2 large rectangular box with the top tilted 23 degrees. (Archdaily, 2010)

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CHAPTER 3: SENSES IN PERCEPTION ON FOOD EXHIBIT SPACE 3.1 SENSES AS A PERCEPTUAL SYSTEM Perceiving food is similar to perceiving spaces, which involves all senses. Senses work in a perceptual system in receiving information from the surrounding. The word ‘perception’ is defined as the translation and responses on the information received through the senses. Richard Gregory (1970) believes that the perception mainly based on visual senses, and he further explained that the past experiences of the sensory information affects the perception. The previous stored information which occurs to be incorrect, then it will form error in our perception on objects. This idea of perception opposed by James J. Gibson (1966). He believes that the sensory perception is more direct and does not influences by the previous information. He argues that the perception solely depends on the environment. He further explains the concept of perception by looking into senses as a perceptual system, which he believes senses do not function individually; it works in a synesthetic hybrid method, which also means that all senses function together in perceiving and rely each other in transmitting message.

Perceiving on food involves all senses, and all these senses influences one another. As for the food exhibit spaces, it requires similar sensory experiences in enhancing the learning process on food. The perceptual system in this context will be referring to the emotion, emotion of users captured through the design of the food exhibit spaces.

3.2 FOOD AND SENSES Although tasting the same food, some people will seem to taste it differently. The ways we perceiving food influenced the flavor. Experience on food involves all the senses, which includes sight, smell, taste, touch and hear. The predominant of the senses are varied based on the type of food. For example, chocolate involved more senses on touch for it smoothness and taste; curry involved more senses on smell of its spices; and crisps involved more senses on hearing for it crispness. These senses act as a codes based on Levi-Strauss (1983) which transmit certain message. These messages sometimes create memories and able to triggered through senses. These memories also 38 | P a g e

caused different people to have different preference on food. We use to predict the taste of food even before we taste it, as memories becomes the fundamental to the senses especially on sight senses.

The sight senses influence the taste on food through the perception on colour.

The food colour changed the experience on taste. An experiment on the effect on colourants and flavorants on the perceived flavor intensity on food, conducted by DuBose (1980), none of the respondent able to identify the orange juice when it was in green colour even after tasted it. It seems that although taste senses involve more sensory nerves than other senses, the sight senses expect to be more dominant in food experiences. The sight senses are usually the first senses to be triggered, then follow by other senses such as, smell and hear before reaching the taste senses. The sequence of senses involving are to be similar for all food, with sight senses first and the taste senses at last, but the dominant of senses is various based on the food. The most dominant senses for eating a potato chips will be the hearing senses, sight senses will first predict the flavor of the potato chips, and then the crunching sounds that tells the crispiness of it; as for curry, the smell senses become more dominant, as curry contain lots of different spices. Despite that sight sense is more dominant, nor the taste senses, it is necessary to involved other senses, as richer senses involve, the memory created given a bigger impact while perceive on food. Sutton (2010) support the statement as he believes that food and senses had converged through the idea of synesthetic, the key element in creating memories on food which rely on the involvement of different sensory which work together as a perceptual system.

Senses is important while experiencing on food. Without senses, food is just an object to feed onto our body for survive, but not for experiencing. There are also other factors which influenced the senses to alter the taste of food. Based on Episode 9: Fundamentals of Food Appreciation by The Food Sommelier, the environment, mood, temperature, medication and aroma sensitivities will affect opinions and taste on food.

Eating a same pizza at the beach will taste different while having it inside the house during party; eating a same piece of cake while sorrow will taste different while having it with joy; and for a person who are more aroma sensitive on cheese, will taste differently over the same cheese for a person which is less aroma sensitive on it. Further

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exploration on the research will be focus on the environment and mood that forms the ambient, which are different based on the spatial experiences.

The ambient of a food space affect the enjoyment of food as our body responds to the surroundings. Kolter (1973) supports the statement as he mentioned that the environment influenced the consumer’s behavior especially on the purchase decision, which is similar in the restaurant. The restaurant provides food experiences through the ambient by using architectural element and styles to gives settings and allow expression on the cuisine being served. For example, a pizza does not seem to suit well in the Chinese cuisine setting; and Roti Canai does not seem to appear in the Western cuisine setting. Some food required certain contexts to communicate and capture the right mood or emotions of the consumers while experiencing food. Many restaurants had fulfilled in designing ambient to capture the right mood and emotion of the consumers, however this does not appear in any of the food exhibit spaces. Food exhibit spaces also required sensorial design in having cognitive experience on food, as food exhibition also requires involvement of all the senses.

3.3 SPATIAL EXPERIENCE AND SENSES Perception on spaces does not only interpret through visual perception, but also involving other senses. The sensorial information perceived from the environment responds by the emotion and mood of visitors. The emotion of visitors is based on the design of the space, the quality of the space for spatial experiences. Hence, the idea of phenomenology will be closely link here as mentioned about the spaces of ambience that influences the emotion of users.

In this research, the studies explored through the idea and concept in sensorial design of Steven Holl and Peter Zumthor to understand the principals used in design spaces which capture the emotion of the users. The reason for choosing the design principles by Steven Holl and Peter Zumthor is because both the architects designed exhibition building typology through sensorial experiences.

3.3.1 Poetic Spatiality – Steven Holl 40 | P a g e

Steven Holl (2007) introduced the idea on ‘Poetic Spatiality’, where he believes the spatial experiences involving both emotions and perception through senses. The poetic characteristics creates certain meaning to the spaces which provides symbolisms which lead the way in perceiving spaces through both body and mind. This idea is similar to the studies of Gaston Bachelard (1994) the author of book ‘The Poetics of Spaces.’ He uses the idea of daydreaming to explain the spatial experiences which embraces both reality and imagination. He mentioned that daydreaming experiences are through the movement in physical spaces and the imaginary experiences are towards the memories while in the space.

Holl’s idea is to use the spatial design to form poetic expression, and generates the spatial image which act as symbolisms and creates meaning to the space. He implements this concept in designing the Helsinki Museum of Contemporary Art which uses building forms, lights and shadow to form the spatial experiences in the museum.

Helsinki Museum of Contemporary Art is also named as Kiasma, an art museum located at Helsinki, Finland. Holl’s design focuses on the connectivity of the exterior with the interior by choreographing the outwards views which influences the poetic of internal spaces. There are few elements used by Holl, in creating the poetic space in the museum such as follows:



Building Form

The form uses both regular and irregular shapes. The spatial characteristics with almost all rectangular shapes but with one side having curves wall. The curved side of the walls form a sequential spatial experiences when passes through the exhibition spaces. The spaces described by Holl as ‘silent yet dramatic backdrop’. As contemporary artistes produce works which are more unique, he designed the spatial quality of the museum to serve as a backdrop which is able to make the display stands out meanwhile creates harmony with space. Holl also uses the solidity of the form in creating the poetic spatiality. The visitor first enters the building through the lobby. The lobby is designed in curved off corridors with stairways and ramp as a starting point of the spatial experiences in the exhibition. The initial impression of the museum seems to be more enclosed without connections to the outwards, and through the movement in each 41 | P a g e

spaces, the visitors slowly is able to explore different interesting exterior view in the exhibition spaces.

Figure 3.1: The design using a combination of regular and irregular building form, creates a silent yet dramatic backdrop for the exhibition. (Kiasma Museum, 2016)

Figure 3.2: The access element also creates dynamic emotions with the combination of regular and irregular form. (Archdaily, 2016)



Lights & Shadow

Holl fascinates with the daylights in Finland. Hence, he introduces lots of natural lighting into the exhibition spaces. He uses different openings and skylights to create different degree of lightings into the spaces. Some of the skylights appear to be in regular shapes, some with curve lines and the lights formed sculpture elements in the spaces. With the 42 | P a g e

lights shining on the protruded wall it also creates dynamic emotions by the formation of shadows. The spatial experiences turn dynamic within the static.

Figure 3.3: The penetration of lights through different shapes of skylights, creates different poetic spaces in the exhibition. (Archdaily, 2016)

Figure 3.4: Different quality of spaces forms by the contrast of lights and shadow.

(Joseph, 2002)

3.3.2 Atmosphere – Peter Zumthor Another similar approach on the spatial design of the exhibition spaces, using Peter Zumthor’s (2006) idea of ‘Atmosphere’. Peter Zumthor, a Swiss Architect believes in designing through sensory qualities of spaces, using spaces to capture the emotions, 43 | P a g e

as it reveals the authentic core of things. His designed focuses on the spatial experience to capture the emotion of visitors to engage with the exhibition. He came up with the principles of ‘atmosphere’, looking at the sensory experiences in architecture on perceiving the ambience or character of space. In his book, he explains the principles to be considered in creating ambience through the design of his house. He feels the spatial characteristics that affects his singular density and mood.

There are 9 criteria in

considering the design of the ambience in his book, ‘Atmosphere’.

•

The Body of Architecture (Materiality): The materiality that creates sensory effect in

spaces •

Material Compatibility: The reaction of different materials in affecting the ambience

in the spaces. Combination of the materials sometimes seems to be fit together but some seems not in harmony with spaces.

•

The Sound of Space: The movement of users that makes the materials to create

sounds in spaces.

•

The Temperature of Space: The temperature of the space to provide human bodies

level of comfort which is determined by the materials.

•

Surrounding Objects: The spatial organization forming the relationship of the

individual spaces, creating different ambience and details for the space.

•

Between Composure and Seduction: The involvement of movement to experience the

spatial quality.

•

Tension between Interior and Exterior: The boundaries formed that create distinctive

sensory experiences to the indoor and outdoor; the interaction between both of the spaces that affect the ambience.

•

Levels of Intimacy: Proximity and distance which involves size, dimension, scale and

mass.

•

The Light on Things: The effects of nature and artificial light on different materials,

creates shadows and different feeling to the users.

After his works on the principles of ‘atmosphere’ in his house, he further explores into other building typology, the museum. Kolumba Museum located at the dense 44 | P a g e

archaeological site, where the Kolumba Church stood before the World War II anddemolished together with the rest of the city. The Kolumba Church have lots to speak about the city as it is built to show the power of the parish during the time. In 1949, small octagonal chapel was built, as a remembrance to the airstrike that happened in the city and destroyed the Kolumba Church. As the site contains layers of history, Peter Zumthor designed this to embrace the pre-existing fragments. The Kolumba Museum does not emphasize the shape of the museum as he opposes on the ‘Bilbao effect’. He opposes as the ‘Bilbao effect’ turns architecture into a marketing tools to allow more visitors to visit the museum every year. Peter Zumthor believes that the ambience, the architectural content of spaces, is able to engage visitors to the exhibition and also as a mark of appreciation to them through the atmosphere instead of architectural form.

The museum seems to be a closed slender box, without windows on the wall of the exhibition but instead having holes puncturing the facades to allow slight natural lighting into the exhibition spaces to create a mysterious space. He mindfully uses the materials and the construction details in creating the ambience to catch the emotions of the visitors to have sensory experiences to engage with the content. Besides having pathways through the archaeological excavations, he also plays with both nature and artificial lightings to direct the visitors while moving in the spaces. Peter Zumthor also carefully designed the space in order to bring visitors from mysterious spaces and slowly lead them to a semi-enclosed space and to draw the narration of the exhibition to a point where it seems coming to an end, with pathway leading to a small ceilingless atrium.

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Figure 3.5 The external of the museum which seems to be like a closed box with holes puncturing the facades (Hybel, 2013)

Figure 3.6: Pathway through archaeological excavations, uses both nature and artificial lightings to guide visitors through the exhibition in Kolumba Museum (Cilento, 2010)

Figure 3.7: The small ceilingless atrium which is led by the pathway from the internal exhibition to the external exhibition (Binet, 2007-2008)

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3.4 SUMMARY OF FINDINGS Steven Holl and Peter Zumthor creates the sensorial spaces through different design principles, but both works draw similarities as based on the idea of French philosophy, Merleau-Ponty (1945), who speaks about the phenomenology perception believes that the perception by the body and mind influences each other. Steven Holl’s idea on ‘Poetic Spatiality’ uses both emotions and perception through senses in creating the spatial experiences. He believes that the poetic characteristics of space will form certain meaning through symbolisms as to have the perception of space through both body and mind, the spatial quality contains both tangible and intangible element (Refer to Table 3.1). Peter Zumthor’s idea on ‘Atmosphere’ focuses on creating ambience through sensorial experience to form the character of space. The ambience will be affected by many elements exist in the space which includes both permanent (example: building material) and temporary (example: surrounding objects) (Refer to Table 3.1).

Summary of the elements used in creating sensorial spaces: Architect

Design Idea

Elements in creating sensorial spaces

Steven Holl

Poetic Spatiality

Emotion & Perception

Peter Zumthor

Atmosphere

Permanent & Temporary Object

Table 3.1: Summary of elements use in creating sensorial spaces by Steven Holl and Peter Zumthor (Author, 2017)

Based on the analysis of the design principles by architect Steven Holl and Peter Zumthor, the approach on sensorial design in the exhibition spaces share certain similarities. Both of the architects use lights as main elements in creating poetic spaces to bring contrast in spatial experiences in the spaces. In Peter Zumthor approach, his spatial sensorial design does not constrain only to using natural lighting, but also artificial lightings. Peter Zumthor’s approach involves more senses compared to Steven Holl’s poetic spatiality, as the design involves the hearing and touches senses which is formed by the materials. His approach has more focus on the materials in affecting the ambience of the exhibition spaces.

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As for Holl, his approach is more on the building forms to create different spatial perception by the shapes and also density of the building. Mentioning the density of the building, Peter Zumthor indirectly uses the same approach, by creating the tension between interior and exterior to provide different spatial experiences.

Summary on the design approach in creating sensorial spaces by Steven Holl: Poetic Spatiality – Design Element

Elements in creating sensorial spaces

Building Form

Perception

- Uses contrast building form to creates the sensorial experience in the space.

Irregular shapes

Regular shapes

Regular shape

Irregular shapes

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Irregular shapes

Regular shape

Light

Emotion

- Uses different shapes of skylight to have different degree of light penetration into the space.

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Shadow -

Forming

Emotion contradiction

with

the

lights

penetrates into the space, outlines different density of space in the building.

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Table 3.2: Steven Holl’s design approach considered on both emotions and perception elements in creating sensorial spaces (Author, 2017)

Summary on the design approach in creating sensorial spaces by Peter Zumthor: Atmosphere- Design Element

Elements in creating sensorial spaces

Materiality

Permanent

- The materiality that creates sensory effect in spaces Material Compatibility

Permanent

- The reaction of different materials in affecting the ambience in the spaces Sound of Space

Temporary

- The movement of users that makes the materials to create sounds in spaces

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Temperature of Space

Temporary

- The temperature of the space to provide human bodies level of comfort which is determined by the materials.

Surrounding Objects

Temporary

- The spatial organization forming the relationship of the individual spaces, creating different ambience and details for the space.

Composure & Seduction -

The

involvement

Temporary

of

movement

to

experience the spatial quality.

Tension between Interior & Exterior -

Permanent

The boundaries formed that create

distinctive indoor

sensory

and

experiences to the

outdoor,

the

interaction

between both of the spaces that affect the ambience.

Intimacy

Permanent

- Proximity and distance which involves size, dimension, scale and mass.

Lights

Temporary

- The effects of nature and artificial light on different materials, creates shadows and different feelings to the users.

Table 3.3: Peter Zumthor’s approach on sensory design considered both reality and imagination quality (Author, 2017)

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The concept of Poetic Spatiality and Atmosphere can be applied to into food exhibit spaces as it emphasizes the ambience in capturing emotion which affects the behavior of users in the exhibition spaces. As both of the approach are mainly in exhibition typology, the design principles will further scope down through case study as to identify the principals which able to host the sensorial spatial experiences for the food exhibition.

CHAPTER 4: APPLICATION OF SENSORIAL EXPERIENCES IN FOOD EXHIBIT SPACES Besides sensorial experiences, the food exhibit spaces is also exquisite to its locality, as food represents the local culture. The case study chosen considers the importance of the context, the external environment to the food exhibit content and also the ambience of the spaces, the internal environment to the emotion of users in the building. (Refer Figure 4.1). The design principles for the sensorial experience will be further identified through the case studies based on the concept of poetic spatiality and atmosphere.

Figure 4.1: The external and internal environment in providing cognitive experiences to the visitors in the culinary centre (Author, 2017)

There are in total of three case studies analyzed for the studies. All three case studies are located at the countryside; two of it are tea centres and another one is winery.

All of these case studies are chosen based on the consideration of the context of the building, and also based on the importance of sensory design in enhancing the learning process occurs in the space through the ambience. Although there are food exhibit 53 | P a g e

spaces being built, but most of food exhibit spaces are not designed to incorporate the sensorial experiences. Hence, the case studies chosen are beverage exhibit spaces instead of food exhibit spaces, which is the closest context to look into in designing for food exhibit spaces. The sequence of the case study analyzes a smaller scale building, then to bigger food exhibit spaces, as to compare the principles used in different scales.

4.1 CASE STUDY 1- BAMBOO COURTYARD TEAHOUSE

Architect: HarmonyWorl d Consulting & Design Building Type: Tea-House Location: Yangzhou, China.

Floor Area: 400.0 sqm Project Year: 2012

Figure 4.2: Exterior View of the Bamboo Courtyard Teahouse floating on the lake (Danny, 2013)

Architects from the Harmony World Consulting & Design, designed a floating teahouse by having bamboo as the main materials with courtyard design. Every cup of tea differs from its colour, and slowly changes in its scent and also taste, although it is from the same pot of tea. Hence, the spatial designed in creating layering effect as to allow occupants to experience the layering formed in the process of tea drinking. The sensorial experience on the layering process created through the following elements: 

Material & Shadow The pavilion mainly uses bamboo as the building material. The arrangement of

bamboo, creates a space which emphasize on vertical and horizontal lines (Refer to 54 | P a g e

Figure 4.3) and produce interesting depth within the space. The shadows formed by the materials outline different perspectives and stimulates an intense sensory perception of the space.

Figure 4.3: The vertical and horizontal lines formed by the bamboo curtain. (Danny, 2013)



Tension Between Interior and Exterior The tea house formed with variation of solid and void (Refer Figure 4.4), created

and evoke a sense of space from a total open space facing the lake, to solid space formed by bricks and bamboo curtain. The layering effect created through the density of the spaces, experienced through the movement of users in the space, from one block of the pavilion to another.

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Figure 4.4: Solid space formed by bricks and bamboo and the total open space in different blocks of the building, to have the spatial experience of layering effect. (Danny, 2013)

The tea house is situated on the lake. As to allow all spaces links with the lake, the architect allows the lake to flow into the spaces by creating internal facing courtyard (Refer Figure 4.5). The occupants are able to enjoy the scenery of the lake even when they are inside the building. The tea learning process happens within the lake-scape, deeply feel on the character of the place.

Figure 4.5: The inward facing arrangement formed the internal landscape. (Emilie, 2012)

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4.2 CASE STUDY 2: OSULLOC TEA MUSEUM

Architect: Mass Studies Building Type: Farm-Museum Location: Jejusi, Jeju-do, South Korea Floor Area: 1452.0 sqm Project Year: 2012

Figure 4.6: Exterior View of the Innisfree Pavilion with forest spaces. (Archdaily, 2014)

The Osulloc Tea Museum, a museum with green tea plantation showing Korea’s traditional tea culture, allow visitors to understand the traditional and modern tea culture through different activities. for learning experiences. There are 2 new pavilion added into the tea museum. The first pavilion is Tea Stone. This pavilion hosts new exhibition spaces and classrooms for tea ceremonies. The second pavilion is Innisfree.

This pavilion hosts Innisfree (Korea cosmetic Brand) shops, café and also workshops.

Mass Studies Architect designed the extension for the farm-museum aims to allow visitors in experiencing the tranquility and stillness in the space and to enhance learning process of the tea culture. The architect uses few elements in creating the sensory experience of the spaces. 

Material

The exterior of the Tea Stone pavilion is designed to have dark and polished concrete finishes The purpose is to reflect the forest and sky on the building, as it seems like nature is extended towards the building. As for the Innisfree pavilion, the exterior uses raw timber finishes with the wooden ceiling rafters, as to form the continuation from the forest to the exterior finishes and into the interior spaces. Both the pavilion havr 57 | P a g e

floor-to-ceiling height glass to reflect the surroundings. For the Tea Stone Pavilion, thrvarchitect uses glass and concrete to form sense of heaviness and lightness in balancing the weight of the building to achieve the aura of stillness.

Figure 4.7: The Tea Stone Pavilion host the tea ceremony with the twin pool, designed with dark polished concrete finishes. (Archdaily, 2014)



Figure 4.8: The Innisfree Pavilion designed with raw timber exterior and wooden ceiling interior. (Archdaily, 2014)

Character of Nature Element

As for the ambience of space, the architect aims to achieve the sense of stillness by capturing the nature element into the space. A twin pool added to surround the pavilion, enhances the experience of stillness for the tea ceremony by reflecting both the building and thru nature. When the winds blow, the slight movement on the water features and the glass façade both have reflection on the interior, creating movement within the static.

As the tea museum represents the culture of the place, the building is designed with the sense of place. The architect uses Gotjawal tree as the traces of the place, as it is a unique nature ecosystem existed at Jeju. Both of the pavilion are designed to be surrounded with Gotjawal forest, to covered partial of the building, as to have the building only partially been seen from far, to invite visitors into the forest spaces. The setting of the forest allows visitors to perceive the character of the place which is being surrounded with the unique nature.

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4.3 CASE STUDY 3: CITE DU VIN, WINE MUSEUM

Architect: XTU Architects Building Type: Wine-Museum Location: Bordeaux, France Site Area: 13 644 sqm Level: 10 Floors Project Year: 2016 Figure 4.9: Exterior View of the wine museum, the bold and curves iconic architecture. (Amy, 2016)

CitÊ du Vin, the Wine Museum is located at Bordeaux, France. Bordeaux is famous as a wine-growing region, surrounded by rivers. The wine museum boasts 20 different themes of wine exhibition to allow visitors experience the culture and history of wine in Bordeaux. It also contains workshops, restaurants and events hall for the learning of wine. The tasting of wine is mainly based on the senses. The architect uses sensory design to create spatial experience which enhance the learning process. The building uses building form, materials and lights to create the sensory experiences in the museum. 

Building Form

The building form designed in metaphor of the wine swirling in the glass, brings the motion and movement in perceiving the building. The building with seamless roundness, without angles is to allow visitors to feels the texture of smoothness, which also is the main sensory experience on wine tasting. The details on the building form represent the soul and nature liquid characteristics of wine.

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Figure 4.10: The shapes of the building uses metaphor of swirling of wine, creates a shapes which is seamless, without sharp angles. (Archdaily, 2016)



Material

The idea of smoothness is further enhanced through the building materials. The exterior of the building mainly uses glass and aluminum panels. The reflection of the aluminum panels when sunshine on the surfaces, showing the character of wine which changes it appearances through time, uses the character of materials to create visual perception for the sensory experience before entering the building.

The interior material also

further detail up the sensory experience. The wooden structures which uses wooden curved ribs, forming arch enhances the smooth texture of sensory experiences in the exhibition spaces

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Figure 4.11: The glass and aluminum formed the exterior of the building, create visual perception, showing the character of wine. (Amy, 2016)

Figure 4.12: The interior formed by the wooden structure creates arch that enhances the smoothness feeling in the exhibition spaces. (Amy, 2016)



Light

The exhibition spaces designed to be surrounding the courtyard. The architect uses lights to give direction the users to move inside the building. With different intensity of lights in the space, the visitors first experience a cellar-like basement setting and reaches the top watchtower which contain more glasses, a brighter space. The movement of the users provide perception which experience like the swirling of the wine in glass, which

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go round in the spaces and experience the smooth effect as the shapes form without angles.

Figure 4.13: The courtyard penetrates through the centre of the building. (Amy, 2016)

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Figure 4.14: Spaces with different light intensity, uses lights to direct the movement of the users. (Archdaily, 2016)

The wine museum situated around the city and river. The river is an important element for the wine as it connects most of the winery at Bordeaux. There is also winery tour through the river cruise provided in the museum. The architect brings the character of the place through the perceptual movement in the museum by having one side of the building with the city view and one side the river view.

4.4 SUMMARY OF FINDINGS The Bamboo Courtyard Tea House, Osulloc Tea Museum and Cite Du Vin, Wine Museum design to provide the right emotion for the users while learning about food.

The design of space embrace both emotion and perception aspect to enhance the sensory experience. The sensory experience achieved through different design element which some similar to the principals used by Steven Holl and Peter Zumthor in creating the ambient of space.

Summary on the analysis of the three case study: Case

Main

food Context

Study

senses

Bamboo

Sight and

Blending

Courtyard

Smell

Tea House

Senses

Spatial

Senses

Design Element

Layering

Sight Senses -

-

with

effect-

involves in

Nature -

representing

experiencing

The tea

the tea

the layering

house

making

effect created

situated on

process, from

through the

the lake.

its colour,

space.

Architect

slowly

allow the

changed on

lake to flow

its scent and

into the

then the

spaces by

taste.

Experiences Arrangement of Material -

Shadow of Materials

-

Forming the density of spaces through the

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creating

tension

internal

between

facing

Interior and

courtyard.

Exterior

Osulloc

Sight and

Traces as

Tranquil of

Sight Senses-

Tea

Smell

Symbol –

Stillness-

involves in

Museum

Senses

with the

emotion for

experiencing

Gotjawal

tea drinking

the tranquil of

tree

ceremony in

stillness

surround

Korea.

through the

the building,

material and

uses nature

the movement

element as

on the pools.

-

Finishes of Material

-

Character of Nature Element

the traces of the place.

Cite Du

Sight, Smell

Perceptual

Character of

Sight and

Vin, Wine

and Taste

Movement

wine –

Taste Senses-

uses metaphor

Museum

Senses

of users -

Smooth,

Having the

of the wine

by having

changes it

sight senses in

swirling in the

one side of

appearances

perceiving the

glass, brings the

the building

through

spatial

motion and

experience

movement in

which triggered

perceiving the

one side the

on the taste

building.

river view as

senses where

the museum

the wine being

situated

tasted.

with the city view and

time

-

-

Building Form

Character of Material

around the city and river.

-

Uses light to enhances the density of space in different spaces

Table 4.1: Analysis of findings for the case study. (Author, 2017) 64 | P a g e

In all the case studies, the building uses materials in capture the emotion of users while learning about food. The texture, scale, and arrangement of materials affect the ambient in the food exhibit spaces. Other design elements used are mentioned by both Holl and Peter Zumthor in their design principals, using building form, lights, shadow and the contrast on the density of space, to form the right ambient in enhancing the learning process in the food exhibit spaces.

The spatial design of the 3 building involves the senses, uses senses in enhancing the perception on the spatial experiences. Based on the analysis, it seems that the senses involve are mainly focus on the sight senses as perception on spaces. There is no connection on the food senses and the senses which use for the spatial experiences. The tea ceremony mainly required sight and smell senses during the process of appreciation, but the design of the spatial experience only focus on the sight senses. Whereas for the wine museum, the main senses involve in appreciating wine will be the sight, smell and the taste senses, but the spatial experiences only involve the sight and taste senses. The sensorial experience created in the space mainly based on the ambient of the space to be created, but not on the food senses.

As food much representing the locality, the food exhibit spaces design embraces the character of place, connects the exhibition content with the surrounding context.

Each of the case studies uses different approach on connecting with the context. The tea house allows the surrounding nature element to flow into the interior, blend the nature with man-made so that in all the spaces user are able to connects with the context. As for the tea museum, architect uses traces of the place, as a symbol to create and recall the memory of the place. The wine museum connects the context through the perceptual movement of users in the exhibition spaces. The exhibition spaces with visual connections to the surrounding and only able to experience through the journey of the learning process.

CHAPTER 5: CONCLUSION Food, not only as an essential of life, but it speaks and represent a lot about human, especially on the cultures. The relationships of human and food use to be closely related. The separation due to urbanization, bring the distance of food production and 65 | P a g e

consumption far apart. This caused the obligation of food knowledge, people don’t know where does the food came from, and bring negative impact to both human health and natural environment. Currently, people starts to aware on this issue and introduce the concept of Farm-To-Table, a locavore movement in restoring food knowledge to bring closer the line of food production and consumption especially to the urban people.

Although there are venues in providing food knowledge, but limited to the restaurant typology for the concept of Farm-To-Table. The growth of tourism sector had made the food factory and food museum become popular as a new venue in providing learning on food. Food appreciation involves all senses and representing the locality of a place but all this food exhibit spaces design without consideration of sensorial experience and sense of place, instead designing in a black box setting focus only on the content itself.

The food exhibit spaces having similarity with museum as it requires narration of food through spaces. The studies first understand on the spatial design for exhibition typology. Psarra and Bernard Tschumi uses different approach in narration of the exhibition content. Psarra’s studies on the spatial relationship in forming the story; whereas for Bernard Tschumi uses manifestation of place to provide background setting for the exhibition content to narrates on the story.

The understanding on the sensorial design started with the exploration on senses as food involves sensorial experience. The studies support the statement of Gibson (1966) who argues that senses work in a perceptual system which direct perceiving through the information occur in the surrounding environment, without required previous stored information to perceive. All the senses are well-related to each other as each senses affect the perception of one another, especially on food appreciation. Other than senses, the surroundings environment also affects how food being perceived. The emotion of the users is important to capture through the spatial experience as to have the right ambient in perceiving food.

The sensorial design principals further explored through Steven Holl and Peter Zumthor’s concept on Poetic Spatiality and Atmosphere. Both of their works draw similarities as based on the idea of on phenomenology perception. Steven Holl’s idea on Poetic Spatiality mainly uses the building forms, lights and shadow to create the sensorial experience through both emotions and perception. As for Peter Zumthor 66 | P a g e

design principals, it uses the element within the space, which some are permanent element and some are temporary element, in creating the ambient to capture the emotion of users in the space. The approach on sensorial design in both principals shared certain similarities, both uses lights as elements in creating sensorial experiences.

As both Holl and Peter Zumthor’s design principal exquisite for exhibition typology but not directly on food exhibit spaces, the principals identify based on three case studies on beverage-type exhibit spaces. The findings from the case studies shows that this type of building typology mainly uses finishes and character of material in providing sensorial experiences to enhance the ambient on learning about food. Through the analysis, it seems that the main food senses do not be the main element influences the involvement of senses in designing for the spatial experiences. The senses for sensorial experiences mainly depends on the condition and type of ambient or experience to be provided in the space. Most of the spatial design of the food exhibit spaces focus on sight senses as it affects much on the perception of space. Also involving with other senses to enhance the sensorial experience by using the idea of senses as perceptual system to creates the spatial experience for food learning. The design element in creating the spatial experience in the case studies also supports Holl’s idea of poetic spaces where the space contains both emotional and perception aspect, as to allow perception through both body and mind.

Table of summary on the design element analyze through case study with the design principals of Steven Holl and Peter Zumthor: Case Study

Design Element

Elements in creating sensorial spaces

Bamboo Courtyard

-

Tea House

Arrangement of

-

Material -

Shadow of

Permanent Element

-

Emotion

Materials

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-

Tension between

-

Interior and

Permanent Element

Exterior Osulloc Tea

-

Museum

Finishes of

-

Material -

Character of

Permanent Element

-

Nature Element Cite Du Vin, Wine

-

Building Form

-

Perception

Museum

-

Character of

-

Permanent

Material -

Light

Element -

Emotion

-

Temporary Element

Table 5.1: Analysis of findings for the case study and sensorial design principals from Steven Holl and Peter Zumthor (Author, 2017)

The design on food exhibit spaces also shows the character of place, by connecting building to the nature environment and uses the traces to symbolize the place. The context of food exhibit spaces is important as it represent the locality of the place.

The sensorial experience in food exhibit spaces able to create through the following design element: 

Material Material plays an important role in affecting the spatial experience of a space especially through senses, as the material able to perceive through sight, smell, touch and sometimes hearing senses when the material reacts and formed certain sound. Material in many ways creates the sensorial experience, can be through the arrangement of materials, the texture and finishes of the material. Also the character of the material shall also enhance the spatial experience in food exhibit spaces.

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

Lights Different penetration of lights into the spaces creates different quality of space.

Dark spaces bring the feeling of enclose and cold; whereas the brighter spaces create the feeling of outdoor spaces. It also enhances the density of spaces. Lights creates sensorial experience through sight senses. It also affects the perception of users towards the materials. Lights also able to direct the movement of users in the food exhibit spaces.



Building Form Building form creates sensorial experiences through metaphor, as a symbolism which relates to the food, which mainly feeds on the sight senses. Also it able to form a poetic space in creating certain meaning in the food exhibit spaces.

The sensorial experiences of the food exhibit spaces able to be more specific and enhanced through the connection of food senses with the perceptual senses on the space. It is an important aspect for architects to look into the design of food exhibit spaces as it speaks much about human especially on the food cultures. Food is all about senses, and hence the quality of space shall able to enhance the senses on food appreciation. The restoration of food knowledge able to connects back the relationship between food and human through the learning and understanding of food knowledge.

The sensorial experiences enhance the learning experiences on food.

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APPENDIX Interview Questions to Harold Bueno, Researcher in the Tourism Field, Studies on FarmTo-Table in Taylor’s University, Malaysia 1. What is the concept of Farm-To-Table in the ASEAN context? It is different compare to other countries?

The Farm-To-Table is a locavore movement in promoting the local food and healthy eating. The concept started with the same practices throughout the countries, but it turns different after the growth of this concept. In many regions where the practices already be there for some time, the concept used as business gimmick in attracting customers, which devalue the concept of it.

2. Is the concept of Farm-To-Table in growing trend? This popularity on this new food cultures is due to what kind of reason?

Yes. Currently Farm-To-Table become more popular especially in ASEAN region due to agro-tourism.

3. What are the difficulty faced in practices the concept of Farm-To-Table currently?

Although the concept is not new, but there are not many guidelines available in setting up the Farm-To-Table practices in ASEAN region. Many people/ community don’t know how and where to start it.

4. Who are the people involving in this Farm-To-Table movement?

Mainly the local community.

5. What kind of learning gain through the concept of Farm-To-Table?

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Through the practices of Farm-To-Table, people able to learn more about food, especially on the food source, practices healthy eating.

Interview Questions to Pn Siti Ramadhaniatun Binti Ismail, Head of School of Culinary Arts & Food Studies of Taylor’s University 1. How do you come across the concept of Farm-To-Table?

During my study aboard at United Kingdom.

2. What are the challenges in practicing the concept of Farm-To-Table especially in the university?

There are lots of constrain in university as involving lots of different authority and departments. The main challenge is the student. Some student just wants to learn how to cook, they do not understand the importance of knowing the food especially the raw ingredients, and food source.

3. Does the student chef in Taylor’s University learns about Farm-To-Table?

Yes. Part of it.

4. What are the course/ activity available for learning on Farm-To-Table?

There is a subject on sustainable culinary in the culinary courses. Student will also get to visit some of the organic farm in Johor and Pahang.

5. Is chef an important role in the Farm-To-Table movement?

Yes. As chef is the professionals for food.

6. In your opinion, why is this concept in growing trend?

People start aware on healthy eating.

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Interview Questions to Chef Khairul Anuar Bin Muhamad, Stream Coordinator, Culinary Arts of Taylor’s Culinary School.

1. How do you come across the concept of Farm-To-Table?

During my studies as a chef

2. What are the challenges in practicing the concept of Farm-To-Table especially in the university?

Student. Not all student would want to practice the concept.

3. Does the student chef in Taylor’s University learns about Farm-To-Table?

Yes. There is subject on learning something similar to Farm-To-Table.

4. What are the course/ activity available for learning on Farm-To-Table?

Sustainable Culinary. Activities are visiting organic farms.

5. Is chef an important role in the Farm-To-Table movement?

Yes. Chef shall be the main person to drive this concept.

6. In your opinion, why is this concept in growing trend?

Many people start eating organic, start concerning on health and practices healthy eating.

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Interview Questions to Ms Lisa Ngan - Stakeholder of A Little Farm on the Hill, Bentong, Pahang, Malaysia 1. How do you come across Farm-To-Table?

We had been to several other farm to table operations in Australia and Europe

2. Why do you choose to operates using Farm-To-Table concept?

The concept seemed to work really well with the existing farm that we have.

3. What are the challenges faced during the setting up of Farm-To-Table?

Refining the menu to incorporate what we grow and to serve in a way that suits our farm environment and customers.

4. What are the values or believes (vision & mission) in practicing Farm-To-Table?

We hope to show our guests that good healthy food is not about self-flagellation and punishment but should be delicious and enjoyable.

5. Is your Farm-To-Table benefits to the local community? How? We employ some people from the local community but I think the benefits are indirect in that guests who come up to our farm are then introduced to the area.

6. Do you see any potential of the concept of Farm-To-Table for the future?

We believe there is huge potential for farm to table as consumers become more educated and concerned about the source of their food. It is also a really good way for small farms like our own to be financially sustainable.

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Interview Questions to Ms Jessie Lee – Stakeholder of Song Yan, Bentong, Pahang, Malaysia 1. How do you come across Farm-To-Table?

From TV programme and during visits to a vegetable farm.

2. Why do you choose to operates using Farm-To-Table concept?

For educational purposes, to let more people to consume healthy food.

3. What are the challenges faced during the setting up of Farm-To-Table?

Mainly on the soil during setting up. As the soil in the area mainly are dead soil.

4. What are the values or believes (vision & mission) in practicing Farm-To-Table?

Appreciating the nature.

5. Is your Farm-To-Table benefits to the local community? How? Yes. As we employed local community to work in the farm and restaurant.

6. Do you see any potential of the concept of Farm-To-Table for the future?

Yes. As can see that more and more Farm-To-Table restaurant appear at this area.

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Interview Questions to Mr Justin Ajah – Stakeholder of Bali Silent Retreat, Penatahan, Bali, Indonesia 1. How do you come across Farm-To-Table?

From a friend who practice the concept of Farm-To-Table.

2. Why do you choose to operates using Farm-To-Table concept?

As to provide learning on healthy eating.

3. What are the challenges faced during the setting up of Farm-To-Table?

The crops. We have to test out what vegetables suitable to plant to suit the condition of the soil. Not all the vegetables is suitable and sustainable to grow in our farm.

4. What are the values or believes (vision & mission) in practicing Farm-To-Table?

Would like to contribute and benefits to the environment through food.

5. Is your Farm-To-Table benefits to the local community? How? Yes. We only choose plants/ vegetables which does not plant by the community as their main crops. So that we can buy from them.

6. Do you see any potential of the concept of Farm-To-Table for the future?

Yes. As many people interested with our farm and enquiries on our Farm tour.

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Interview Questions to Mr Made Janur Yasa – Stakeholder of Moksa Plant-based Restaurant & Permaculture Garden 1. How do you come across Farm-To-Table?

Visitation to the farms in overseas.

2. Why do you choose to operates using Farm-To-Table concept?

As I believe and practices the value of healthy eating.

3. What are the challenges faced during the setting up of Farm-To-Table?

Mainly on the time required to spend on setting up, and need lots of patient while managing the farm and also restaurant.

4. What are the values or believes (vision & mission) in practicing Farm-To-Table?

Would like to contribute and benefits to the environment through food.

5. Is your Farm-To-Table benefits to the local community? How? Yes. As we set up the farmer’s market every weekends for the community and also provide a learning environment to the community who would like to practice FarmTo-Table.

6. Do you see any potential of the concept of Farm-To-Table for the future?

Yes. As more Farm-To-Table restaurant in the region.

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Interview Questions to Ms Arie Siswanto, Director of Bali International and Development Center (BITDEC) 1. How do you come across Farm-To-Table?

Introduced by my friend and also from the existing Farm-To-Table around Bali, Indonesia.

2. Is this concept new at this area?

Not really as there are lots of Farm-To-Table restaurant around the area.

3. In your opinion, why is this concept in growing trend?

People starts to ask about their food, practices healthy eating.

4. Why do you want to practices Farm-To-Table?

I think is a suitable progamme for the site, as the main activities here is farming.

5. Do you learn from the existing Farm-To-Table restaurant in coming up this idea/program? Is there any good values or practices who are able to incorporate into your program?

Have not been visiting to the existing Farm-To-Table. But would like to visit to study on their current pros and cons of the practices in Bali, Indonesia.

6. Who do you want to involve in the movement of Farm-To-Table?

The chef from BITDEC, the community and the stake holders around that area and the tourist.

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7. How shall the local community benefits through the Farm-To-Table practices?

I would like to have the communities involve in the programme. Probably can provide learning on new farming techniques to the community, and also employ them to work in the farms.

8. What kind of learning prefer in teaching the concept of Farm-To-Table?

Prefer to have informal learning, which have more contain more interactive learning, and to enjoy and have fun throughout the process of learning.

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