Design and Food Journal 01: Planting the Flag

Andrea Lipps
Jan 24, 2013 4:22PM

As part of my participation on Artsy’s blog, I will cross-post another blog series – my Design and Food journal – that initially appears on the Cooper Hewitt, Smithsonian Design Museum blog. In this blog series, I’m testing ideas and sharing what piques my interest around design and food, part of early ongoing research I’m undertaking at Cooper Hewitt in preparation for an exhibition. I view this space as an important part of my process, pulling back the curtain, if you will, on initial thinking that will shape the exhibition. Consider it your special backstage tour. This Design and Food journal will therefore get messy, but that’s precisely the intention – to have a space where ideas can emerge, develop, be thrown out or enriched. I’m thirsty for suggestions and feedback.

For starters, what comes to mind when you think of design and food? When I’ve mentioned this to others, their initial response is often about the design of the bites themselves – sushi, with its elegant balance of rice, seaweed, and colorful raw fish; pasta, designed in varying shapes to best hold a particular sauce; molecular gastronomy; hand-crafted local cuisine. No doubt, the design of food is one of the oldest, creative, and most spontaneous of human activities. But what about design and food?

Design certainly plays a critical role in food production, from the design of efficient delivery systems to packaging, but over the past decade design has taken on a more expansive role than simply as a tool deployed by the food industry. Designers themselves are engaging with food as a subject. Moving beyond the shape of food, they are creating the contexts, content, and background of our experiences with food, enriching the dialogue between those who provide, prepare, and consume it.

Mischer’Traxler’s Reversed Volumes from 2010, for example (see image above), is a collection of ceramic bowls cast from vegetables, demonstrating how designers are using food to give form to objects. Ceramic powder is packed around vegetables and hardens, leaving the imprint of the parent vegetable such that each bowl becomes a unique, customized piece. The collection is evocative of the preciousness and beauty of food, and of our desire to sharpen our connection to food not just as fuel, but sustenance. Reversed Volumes is certainly not alone in achieving this, but as I plant the flag with this first Design and Food journal, it at least helps to illustrate the expansive approach I’m (currently) taking around the subject.

Follow my Food board on Pinterest to see lots more of what I’m exploring, and stay plugged in to this space to dialogue. I would love to hear from you.

Andrea Lipps
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Jenna Gribbon, Luncheon on the grass, a recurring dream, 2020. Jenna Gribbon, April studio, parting glance, 2021. Jenna Gribbon, Silver Tongue, 2019