FN:s globala mål nummer sex och femton fodrar skyddandet av vatten och landsburna ekosystem. För att nå målen krävs bland annat bevarandet och restaureringen av naturskogar och ett främjande av ett hållbart skogsbruk. Denna studie syftar till att undersöka huruvida sprängtickan kan inom småskalig skogsförvaltning kan ses som en resurs för konsumenter och för skogsägare ur ett konsumentperspektiv genom att besvara frågeställningen; Hur kan design ha betydelse för ett urvals konsumenters inställning till sprängtickan som livsmedel? Samt genom en kartläggning över den produktmarknad med sprängticka som existerar i Sverige idag. Studien besvaras genom att koppla till teorier inom FoodTech, Food design thinking samt nudging. Undersökningen har genomförts genom en visuell innehållsanalys samt en kvantitativa enkätundersökning. Resultatet av de båda metoderna visar att det finns stor potential för sprängtickan att utnyttjas som konsumentvara och på så sätt hjälpa privat skogsägare att bevara urskogarna. Studien visar dock en problematik i den nuvarande svenska marknaden med sprängticka och att det finns stora utvecklingsmöjligheter inom detta område.

How could culinary science and technology educate us about food through engagement and reflection? In this project, I proposed to uncover opportunities for design intervention within our near-future scenarios of cooking and eating in a home environment. My intent has been to use interaction design methodology to form social practices that turn the process of making and eating food more pleasurable and inspiring, while developing one’s individual knowledge, without being didactic and prescriptive. The hypothesis has been that culinary science simplified, combined with today’s data-driven technologies, have the potential to foster creativity and experimentation among hobby cooks. The aim has been to discover the consequences of cloud data and connected technologies on experimentation, which is inherently driven by human intuition. My approach has been to explore what behaviors such data-driven systems designed for eliciting creativity could possess, and what kind of inspiration the science of flavor could bring into everyday cooking. The result is a set of design principles for how creative cooking explorations can be fostered through tangible and embodied experiences. It is manifested in a concept that creates a ‘culinary safe zone’ by encouraging experimentation, presenting information on demand, but without overshadowing the cook’s intuition. The concept Curious Cuisine allows non-professional cooks to create their own unique dishes; to explore ingredient pairings, preparation techniques, and fine-tuning flavors.

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[pt] Este estudo aborda o Food Design como uma lente para o Design Sistêmico e de Serviço em gastronomia, mais especificamente, para instrumentar chefs de restaurantes no Rio de Janeiro a revisar e modificar relacionamentos em cadeias curtas de produção e consumo de alimentos. Esse conjunto de ações objetiva influenciar e estimular a consciência do consumidor, mudando assim o modo como os alimentos são percebidos e consumidos e a relação entre o usuário final e o produtor. A Design Science Research foi aplicada como espinha dorsal metodológica para desenvolver uma solução (artefato) que melhore o fluxo do campo à mesa no Rio de Janeiro, conscientização do consumidor e cadeias agrícolas locais. Para complementar, os métodos de Pesquisa-ação Participante, Food Design, Design Thinking e Design de Serviço foram também adotados, em um processo imersivo e empático na questão em análise, aprimorada neste estudo pela vivência pessoal da autora, experiente chef de cozinha. O estudo aborda os desafios de uma cadeia de alimentos mais saudável e sustentável, benefícios e obstáculos enfrentados pelos chefs que trabalham com agricultores familiares e pequenos produtores. A pesquisa se debruça sobre barreiras existentes e busca entender como o design pode contribuir na superação desses obstáculos, na interação com os prestadores de serviços de alimentação e na promoção do consumo consciente com sistemas e serviços para chefs. Este trabalho é fortemente apoiado pelo conhecimento empírico dos chefs locais selecionados, com iniciativa relevante para encurtar a cadeia, uma vez que a referência escrita sobre o assunto é um tanto escassa e quase nenhum estudo de Design se concentra no restaurante como sistema alimentar ou seus impactos. Outro sustentáculo da pesquisa se apresenta na experiência didática de Design de Serviço para alimentação em um exercício com alunos da Graduação sobre o tema. Os resultados levantados por esta pesquisa fornecem insights e anteveem a possibilidade de replicação, tendo explorado principalmente questões logísticas, culturais, e as facetas diretas de inovação social que ela contém. / [en] This study approaches Food Design as a lens for the Systemic and Service Design in gastronomy, more specifically, to provide tools for chefs in Rio de Janeiro to review and modify relationships in short food supply chains; wherewith influencing and encouraging conscious consumption, thus changing the way food is perceived and consumed and the relationship between the end user and the producer. Design Science Research was adopted as a methodological backbone to develop a solution (artifact) that improves the flow from farm to table in Rio de Janeiro, consumer awareness and local agricultural chains. Participatory Action Research, Food Design, Design Thinking and Service Design methodologies were also adopted, in an immersive and empathetic process in the question under analysis, which was enhanced in this study by the personal experience of the author, versed restaurant chef. The study approaches the challenges of a healthier and more sustainable food supply chain, benefits and obstacles faced by chefs who work with family farmers and small-scale producers. This has been done by surveying existing barriers, understanding how to overcome these obstacles with systems and services for chefs, who rely on a network of small farmers to surpass the difficulties of interacting with food industry service providers and promoting conscious consumption. This work is strongly supported by the empirical knowledge of the selected local chefs with relevant initiative in bypassing this chain, since written reference on the subject is somewhat scarce, and hardly any Design study has focused on the restaurant as a food system or its impacts. Another support of the research is presented in the didactic experience of Service Design for food in an exercise with undergraduate students on the theme. The results raised by this research provide insights and foresee the possibility of replication, having explored logistics and cultural issues mostly, and the direct social innovation facets it contains.

This thesis analyses, documents, and explores the possibilities of food perception through our senses. Hereby the project should open up for alternative systems regarding the edibility of food. The project focuses on date labels and the way they affect consumption and food waste. The components of my thesis project include an interactive workshop, a survey as a baseline and an installation to further understand sensory cues in relation to safe consumption of food. The workshop is designed to enable visitors to investigate their perception of food in various processing stages. (raw, processed, leftover, etc.) This interaction explores multiple factors influencing our perspective of food, being labelled as waste, as surplus, or as consumable, in connection with the installation which observes the current behaviour of food edibility as an interaction between date labels and sensory cues. Following through by using and connecting the knowledge of our senses to confirm the safe consumption of food, with this, questioning the necessity as well as the connotations of best-before-labels or similar formulations.

The many technological processes that products go through can make consumers less related to the systems behind them and their origins. The same thing happens to food. This project highlights the implications of a food system within the global scale of today’s mainstream economy and explores the possibilities for a product that originates from a more sustainable food system. Apart from re-designing a processed everyday food product, the aim of this study is to increase awareness of the pressure that the world’s fish stocks are suffering due to overfishing – an issue that is being aggravated by our current food system. For this reason fish fingers (aka fish sticks), which is a well known food product in Sweden, have been chosen as the primary focus in order to make a complex issue more tangible. By re-evaluating what a fish is, analysing current food systems and food products, making sensory explorations and collaborating with chefs, Havsbitar 1.0 and 2.0 (”Sea Bites” 1.0 and 2.0) have been developed. It is a series of fish fingers that has been designed for a desirable future scenario, where a resilient food system has been implemented. The aesthetics of Havsbitar intends to connect it to its ingredients and to the ecosystem it comes from, while maintaining the key characteristics of the fish finger as we know it today. The acceptance of the concept as a food product is an important variable to this project. The concept is placed in the field of Transition Design. Nevertheless, the design of Havsbitar 1.0 is a proposal that is intended to create possibilities for dialogue about an ideal industrialized commercial product. On the other hand, Havsbitar 2.0 follows a more discursive, critical angle towards the fact that fish fingers do not resemble fish, its main ingredient. Havsbitar 2.0 could then be placed in the field of Critical Food Design and Discursive Design.

La tesi si prepone di analizzare il significato di design nel contesto dell’industria agro-alimentare in Italia, con particolare riferimento alle teorie dell’innovazione tramite servizi (Miles et al., 1995; Tether et al., 2001). Precedenti studi sulla professionalizzazione di una disciplina hanno supportato una prima fase di ricerca, durante la quale si è cercato di valutare se si sta sviluppando una disciplina del design agro-alimentare (Hodgson, 2002). Successivamente, la ricerca ha analizzato come le imprese del settore abbiano sviluppato ed integrato specifiche competenze mirate a fare del design uno strumento di crescita innovativa (Jennings e Wood, 1994, Meroni, 2000, Miele e Murdoch, 2002). La metodologia si basa su casi studio tratti da dati di fonte primaria e secondaria. Un primo risultato ha evidenziato l’importanza dell’innovazione di tipo organizzativo, in particolare il lavoro di progetto ed un rapporto frequente con il cliente. Lo studio enfatizza inoltre che le aziende agro-alimentari debbano considerare aspetti legati all’innovazione in concomitanza a quelli legati all’estetica. Nei casi in cui il prodotto non rappresenti l'unica interfaccia col cliente (es. settore vinicolo), la ricerca suggerisce che la funzione di servizio del design emerge come preminente. / This thesis unveils the meaning of design in the context of the agro-food industry in Italy from a service innovation perspective (Miles et al., 1995; Tether et al., 2001). Different theoretical underpinnings have been called: previous studies on the professionalisation of a discipline have helped to assess the extent to which a discipline of agro-food design is emerging (Hodgson, 2002). Additional insight is provided by the analysis of firms and sectors that have integrated design-related expertise into their activities and, consequently, contributed to further our understanding on this matter (Jennings and Wood, 1994, Meroni, 2000, Miele and Murdoch, 2002). A qualitative approach has combined both primary- and secondary-source data. The study indicates that organisational innovations are crucial for the competitiveness of Italian design firms, project-based activity and close relationship with client firms in particular. Case studies on medium and large agro-food firms point to a blurring line between design and marketing. The study emphasises that both the innovation and aesthetic components must be considered. In cases where the product is not the only interface with the client (e.g. winemaking sector), the research suggests that the service trait of the design activity is becoming increasingly relevant.