FormFollows Food A material forecastby Lidewij Edelkoort
FormFollows Food
Food and materials inspire one another, becoming a multi-sensorial formof creative expression. Food has graduated as a new design discipline tobe reckoned with, encouraging people to be open and experiment more.This forecast explores three trend directions alongside profiles on threecontemporary designers whose work is connected to food; teaching ourtaste buds along the way, informing our visual aesthetics, and illustratingwith gusto how form follows food.
Contents 05 06 25Introduction Conceptual Crafting Concrete Ingredients28 47 50 DarkMarbling Hallucinating Rituals Mood Confections 69 72 74Eating Design Glossary Colophon
FORM FOLLOWS FOOD 3CHAPTERthe graphic simplicityof round Swedishflatbread poised atopa single pedestal ofMoorland Fog™ 6046 –complemented by FrozenTerra™ 4601 (background)
4 contemporary artefacts by Hugo Madureira (courtesy Jouw Store) stacked atop raw slabs of Airy Concrete™ 4044
IntroductionSince the beginning of time, food has played Eating has transitioned from being a sur- FORM FOLLOWS FOODan important role in human existence. vival instinct into defining multiple aspectsFood was hunted, gathered and fished, of our lifestyle; a federating platform for 5with primitive instruments made of stone or interaction, entertainment, recreation andiron, and ingredients were slashed, ground, leisure. Consumers are ever more aware INTRODUCTIONand cooked on open fires. Our modern of what they put in their bodies, consciousbarbecue is a faint echo of these early of their health and the benefits of eatingrituals and today we see contemporary better; interested in cultivating longevitykitchens returning to the millennial format and promoting inner wellness, truly believingof the hearth. The sampling of roots, plants the adage “you are what you eat”.and fruits was relative to the season andlocation, and would influence the meals As a consequence, kitchens are refurbishedpeople assembled. The Palaeolithic diet was and enlarged – the best place to be in thehealthy and balanced because food was house, the important central room wherehard to get; it had to be foraged and hunted everyone congregates to work, study, playby the human hand, eaten on the run. and cook. Families turn their homes around, swapping the living room for the livingArchaeological studies in the past have kitchen; where new appliances, tabletopgiven us insight into the composition of our and pots and pans are aesthetically recon-ancestors’ meals. We therefore know that the ceived to better steam, roast, grill, chill orRomans would combine honey-sweetened bake. Advanced recipes often get darkerapricots with battered ham, that the in the process, inspiring some kitchens toVikings would feast on mashed wild apples become as dark as their blackened foods. with sea buckthorn berries, and that the Other cooked fare is also a reflection ofCelts indulged in mutton cooked on an its surroundings, referencing the beauty ofopen birch fire that would give it a peculiar marbling or mixing up pastes to look likesmoked character. Pretty sophisticated for concrete. The celebration of togethernesssuch a so-called primitive period. Food was becomes the vital ingredient of life itself.a necessity but already a culture in itselfand therefore we have to acknowledge that Consistency and flavour will thereforefood has been, and will always be, a source reign supreme, stimulating innovation andof immense pleasure and satisfaction. surprising us with unfamiliar notes that hark from afar, often from other continents asToday, cooking is in the process of becom- well. In turn, design surfaces are becominging the largest megatrend on our planet, more dimensional – mixed, compressed, burnt,taking over our spending and all other scorched, whipped and stained – connectinginterests, or so it seems. Each day a fashion consumers to the tactile materials andstore is replaced by a bakery, a patisserie authentic values they crave.or a caterer; each week another cookbookis published; each month another docu- Food is put on a pedestal as if it’s a work ofmentary makes people eager to become art. Like designers, chefs conceive originala bit of a chef themselves. Blogs and vlogs dishes; from sourcing the perfect ingredientsbecome the official vehicles of this major to considering texture, colour and composi-movement, especially for young people tion. Chefs become architects: researching,who share their food experiences instantly sketching and constructing their designs.on Instagram. Cooking classes are organised, In parallel, architects and designers turn todemonstrations performed, and food trucks food: creating aesthetic cookware, tabletopimprovised. Recipes evolve and ingredients and appliances. Indeed, form follows food.are collected, often experimenting withnew tastes brought to us through immigra- Lidewij Edelkoorttion. Plating is the new hobby and foodiesare the new cultural elite.
ConceptualConcreteUrbanisation has seen the prolific con- The concept of cementing materialsversion of abandoned industrial spaces together is also already being reflectedinto cultural centres, ateliers and incuba- in food trends, where pulverised ingredi-tors. The creative community paves the ents are compressed into cheese, bread,way for the rehabilitation of countless paste or smash – the newest form of thederelict buildings; developments that more rustic mash – original and contem-inspire newer ways of living, working porary, in never before seen textures.and sharing. In the process, the decayed Foods will lend themselves to beingglory of our industrial areas and their spread, chiselled and pummelled with astark structures has been laid bare, painter’s spatula, like in conceptual art,influencing design in general, including turning the cook into an artisan at work.6 the design of food. There is an inherent The creative consumer is part of thebeauty found in rawness and sturdy making process, finishing things by handmaterials, reflecting the authentic tex- or personalising the item – and food istures of manufacturing, such as oxidised no exception.steel, poured plaster, sifted sand, piledfractions and fresh concrete. The rusted In the concrete kitchen, the mood ismetals, heavy beams, exposed pipes, brutalist, inspiring sturdier foods, devel-factory windows and cement floors have oped from local goat’s cheese, almondinfluenced the creation of robust inte- butter, buckwheat loaves, savoury por-riors, radiators, lighting, room dividers ridge and other coarse recipes such asand kitchens. These industrial elements sii, a revived Helvetic dessert made fromare now becoming mature and gen- soaking bread chunks in red wine. Earthytrified, reaching a more sophisticated ingredients such as root vegetables andaudience. mushrooms are grilled on open flames, then served as protein alternatives. FoodThis is how the taste for concrete was presentation is improvised as well, withborn, a trend that has reached epic meals spooned and slapped directly ontoproportions with everything turning to plates and planks, smeared with artisticconcrete-like materials: floors, walls and freedom. The craftsmanship in foodcountertops, but also cupboards and preparation reflects a bigger picture:barbecues, platters and cutting boards objects and materials that express a– even lamps when used in translucent handmade gesture are an antidote tosheets. The mixing of ingredients into a people feeling alienated and fatiguedpaste when making concrete is echoed from too much technology.by the felting of woollens, the poundingof paper, the plastering of clay and therecycling of plastic. These rugged materialsolutions are comforting, appeasing andmake us feel safe.
FORM FOLLOWS FOOD 7CHAPTERsavoury porridge iscoarsely mixed withcurcuma, saffron, pepperand wild blueberries; arough approach like thatof Rugged Concrete™4033 (featured pages 8-9)
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FORM FOLLOWS FOOD 9 CONCEPTUAL CONCRETE
10 an improvised landscape Objects Work) and a plate of organic and industrial by K.H. Würtz (courtesy textures featuring several Vive Ma Maison) – each varieties of chevre, a complementary to the platter by Vincent Van tactile character of Rugged Duysen (courtesy When Concrete™ 4033
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FORM FOLLOWS FOOD 12 CHAPTER
14 slices of material define oxidised look of Excava™ chunkier ingredients: 4046 (foreground) from square buckwheat bread to cheese loaves > raw slabs of materials and untempered and textural chevre atop chocolate blocks; a Rugged Concrete™ 4033 sturdy approach to (foreground) design as seen in the
FORM FOLLOWS FOOD 15CHAPTERThe concept of cementing materials togetheris also already being reflected in food trends,where pulverised ingredients are compressed.
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FORM FOLLOWS FOOD 17 CONCEPTUAL CONCRETEbaked buckwheat breadwith almond butter,coloured with blueberryjuice, piled on top ofExcava™ 4046 (foregroundand opposite) – art objectby Tomasz Niedziółka(courtesy Jouw Store)
18 a slab of Excava™ 4046 (left) industrial-looking slabs, and Rugged Concrete™ including freckled Nougat™ 4033 (right and foreground) 6600, and the smoother Sleek Concrete™ 4003 > Excava™ 4046 is and Raw Concrete™ 4004 complemented by other (shown as cutting boards)
FORM FOLLOWS FOOD 19 CONCEPTUAL CONCRETEThere is an inherent beauty found inrawness and sturdy materials, reflectingthe authentic textures of manufacturing.
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FORM FOLLOWS FOOD 21 CHAPTER< (bottom right) black sii is an ancient alpinepolenta and a bowl by dessert made of old breadK.H. Würtz (courtesy soaked in red wine –Vive Ma Maison) accompanied by a cup by Tomasz Niedziółkacontained in bowls by (courtesy Jouw Store)Marga Kirbis (this page – atop Excava™ 4046and opposite top left),
22 a taste for hearty meals inspires grilled foods like brochettes with whole mushrooms and chunks of tempeh; an industrial robustness inherent in Rugged Concrete™ 4033 (background)
FORM FOLLOWS FOOD 23 CONCEPTUAL CONCRETE
24 Sleek Concrete™ 4003 (cutting board and foreground) alongside Topus Concrete™ 4023 (background)
Designer ProfileFormafantasmaCraftingIngredientsFormafantasma has found its niche within with colonialisation, deforestation, FORM FOLLOWS FOODthe design world and developed a prolific industrialisation, urbanisation andbody of work through reinterpretations e-waste. Their work then initiates aesthetic 25of historical production processes and questions, leading to uncomplicatedlost material sources. By applying craft answers and sophisticated solutions. CRAFTING INGREDIENTStechniques to natural materials that areembedded in the collective memory, The culture of lava, the benefits of charcoal,Andrea Trimarchi and Simone Farresin are the invention of polymers, the dying ofable to wander into fantasy and indulge madder, the mystery of ceramics, the tradi-in research while mastering their artistic tion of weaving and the moulding of doughskills in the same way that the craft guilds are all disciplines employed to exploreonce created universal objects of beauty. and research the local versus the global, with rural, anthropological and historicalOrganic forms are chosen to represent references to give context to the process.the vegetal and animal origins of theingredients used, symbolising the connec- In Autarchy, they pay tribute to the simpli-tion between humans and nature. With city of everyday life, celebrating thepoetic strength, they have imagined a harvest and contentment with a family ofsingular vision of applied arts. They have objects derived from a bio-material mademanaged to bridge the divide between up of 70% flour, 20% agricultural wasteoutsider art and folklore, with the indus- and 10% natural limestone; coloured liketrial and the cultural, thus creating a new baked breads with spices, vegetables andcategory of archetypes. They consider the roots. Produced in collaboration withforces of nature as evident partners in the the French baking house Poilâne and theprocess of creation, and the materials of Italian broom maker Giuseppe Brunello,the planet like the natural skins of their the project traces craft knowledge thatproducts. Relating to each other as one has been handed down generation afterand accustomed to working together, they generation while inspiring alternativehave started to collaborate with other ways of making things independently andskilled artisans: glass blowers, wood carv- sustainably without waste.ers, broom makers, bread bakers, leathertanners, textile weavers, colour chemists... In a quest for a new decorative language, the fantastic form-designers overhaul theThe autonomous designers delve into notions of high and low, constantly invig-investigative research, immersing them- orating discarded and massively indus-selves in science, botany, history and trialised materials with a new noblesse;cataloguing. Like Renaissance men living a serene observation of what is essentialin a nascent timeframe, they are able to and how to pay homage to the earth weroam freely from topic to topic, making inhabit, the history we incarnate. Thepoetic and aesthetic statements that dis- hope and humanity within their creationssect pertinent and political issues. Like an – a vision of another, braver world –archaeology of manmade disasters, their speaks clearly of a moral future with newdesign narrates, in a quiet and yet strangely ideals and a spiritual approach, definingimposing manner, how things went wrong a design discipline on its way to utopia.
26 In Autarchy, they pay tribute to the simplicity of everyday life, celebrating the harvest and contentment with a family of objects derived from a bio-material made up of 70% flour, 20% agricultural waste and 10% natural limestone; coloured like baked breads with spices, vegetables and roots… the project traces craft knowledge that has been handed down generation after generation while inspiring alternative ways of making things independently and sustainably without waste.
FORM FOLLOWS FOOD 27 CRAFTING INGREDIENTS< the earthy neutralsof bread complementthe warmth of TopusConcrete™ 4023(background), accentedby Nougat™ 6600 andSleek Concrete™ 4003(cutting boards andforeground)Nougat™ 6600 andTopus Concrete™ 4023(background)
MarblingMoodThe sudden return of marble has trig- and planks, amphorae and lamps. Ingered a return to classical inspirations homage to marble, veining now comesthat follow form and function. Classical in manifold variations, from the delicacyin the historic sense as well as classical of intricately laced lines to the dynamicin the contemporary sense, artistic influ- drama of oversized thicker veining. Thisences from the past espouse traditional trend still has a long way to go; in manyideas of the present. A perfect way of cases, these diverse marble patternsincorporating history and nature into are combined within one space, com-our interiors. In the home, products are plementing the room or table setting.put on a pedestal and finished with brass New veining is also impacting trends into bring an antique quality to the table fashion, textiles, ceramics, paper and28 while food is curated to complement our design – each item generously splashedfascination with marbling. with marbled motifs to seduce consumers everywhere.In difficult times, an indulgent way oflife tends to entice society, helping peo- The art of decoration with veiningple to forget and escape in a moment of also follows marbling in food design.bliss. A need for adorning, a quest for A similar taste for texture and visualdecoration and an urge for embellishing excitement pervades mottled foods andare currently resonating through the frothy desserts, with the prominence ofcreative industries, inviting designers to marbled meringues, flecked cheeses,make life more emotional, celebrating dappled breads, spotted soups andthe romantic beauty of sophisticated sauces, as well as fruits and vegetablesmaterials and the organic motifs of veined that are sliced to expose their intimatesurfaces that inspire a stylish image. inner veining. Together these ingredients form a marbled landscape of antiqueAt first, it was the designer fashion magnitude, reminiscent of the banquetsstores that reintroduced veined materi- served up in ancient times. Many tech-als to their jaded public and from there, niques are employed to bring themarbles moved to luxurious, chef- marbled foods to the table as an instal-quality kitchens as countertops and wall lation, including crushed boiled eggs,cladding, often used in large slabs and whipped egg whites and preservedas centrepiece islands. Whereas in the vegetables – everything performed withpast marble would be seen as an impos- exuberance to commemorate a newing and elite material, today the use of vein in design history.marble is primarily because of its natu-rally designed veins and colours. Poeticand modest, objects are therefore oftenbased on the aesthetic combinations ofseveral stones at the same time. Theseveined surfaces will also be employed astabletops and shelving, for small items
FORM FOLLOWS FOOD 29 CHAPTERa classical setting inspired is echoed by slabs ofby white marble, featuring Cloudburst Concrete™containers by Wolternick 4011 and Statuario(courtesy When Objects Maximus™ 5031, andWork) and White Attica™ foods such as Roquefort5143 (foreground); the and sliced pearstrend for veined materials
30 the marbling of eggs mirrors the veins found in nature, reinvented with the use of natural dyes such as tea, soy and onion skins – featuring White Attica™ 5143
FORM FOLLOWS FOOD 31 CHAPTER
32 slices of pear chips and White Attica™ 5143 (foreground) accented by Statuario Maximus™ 5031 > marbled dip and marbled Statuario Maximus™ 5031
FORM FOLLOWS FOOD 33 MARBLING MOOD
34 a scattering of organic veins: from the rich taste of pear chips and Roquefort to the rich depth of White Attica™ 5143
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FORM FOLLOWS FOOD 36 CHAPTER
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FORM FOLLOWS FOOD 39 CHAPTER< (top left) candy by < (bottom left) pumpkinBotanic Bakery alongside pie cheesecake, as frothyStatuario Maximus™ as the textural veins of5031 and Statuario Statuario Maximus™ 5031Nuvo™ 5111 – plate byK.H. Würtz (courtesy < (bottom right) marbledVive Ma Maison) dip – featuring Statuario Maximus™ 5031< (top right) soupmarbled by amaranth slices of small heirloompourpe and capucine carrots and spoonfuls ofpetite in a plate by marbled dipK.H. Würtz (courtesy contrast with theVive Ma Maison) – dramatically wide veins ofcomplemented by Statuario Maximus™ 5031Statuario Nuvo™ 5111
40 nature’s harvest includes organic surfaces like those of purple cauliflower and miniature aubergine, while design is inspired by nature to pattern the detailed veining of Statuario Nuvo™ 5111 > nature creates organic complexions in many skins, as seen in these discrete veined slices of Cloudburst Concrete™ 4011
FORM FOLLOWS FOOD 41 MARBLING MOOD
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FORM FOLLOWS FOOD 43 MARBLING MOOD< vegetables designed a vase of cauliflowerby nature have become infused with redstill lives in the most cabbage, vinegar andcontemporary of water – featuringrestaurants, like the Statuario Nuvo™ 5111honesty of “tongueof fire” beans
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FORM FOLLOWS FOOD 45 MARBLING MOOD< organic patinas are the elegance of beetrootweathered by both time carpaccio; a dish that isand the elements, as elevated by Statuarioseen in these beans and Maximus™ 5031 (pedestalthe inspired texture of and background)Topus Concrete™ 4023
46 the Meringue Girls blow their kisses with flavoured dyes, organic and emotional like the veins in Statuario Maximus™ 5031 (background) – featuring Sleek Concrete™ 4003 (foreground)
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