• · performative food - transformation, optimization, function...
• · structural food - practical, integral, natural...
• · food context - culture, use, action...
• · food identity - essence, memory, symbol...
• · food play - fun, discovery, enjoyment...
• · food sensitizing - education, conscious, connection...
• · food art - expression, reflection, emotion...

Some foods need to have a structure in order to be more practical and functional, to be transported, stored and/or eaten. Even though the idea of food having a structural element to it might sound strange at first, it is totally logical if we think of food as a product that has to function well, like that a slice of pizza shouldn't collapse in our hands or a cracker break while being buttered. The structural aspect of food is a variable that deserves to be designed for optimizing the experience of interacting with it. Our ideas in this sense are akin to architecture or engineering since these practices take into account dynamic user interaction. It is within this spirit that one can pose the question: what would a wedding cake designed by the world-renowned architect Norman Foster look like?

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As a necessary complement to food and its processes of production, preparation and consumption, are the spaces, tools and accessories which make it friendly and efficient. Our ideas for accompanying food in its various stages before reaching our mouths, are designed to respond to the needs and desires for better functions and healthier environments. Rooted in the care of the small details in daily life and the large forces which work behind them, is that our work in context and accessories for food becomes alive and purposeful.

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A logical and accessible way to improve our interaction with food, without entering into technological or productive considerations, is by looking for solutions based on changing habits and attitudes. In this sense we work in motivating interest and consciousness regarding basic aspects of food and eating, both at a personal as well as a social level. Education at all its stages and forms is the relevant place to develop learning tools and methods, implement programs and projects aimed at improving our relationship with food and eating. We work with social innovation, systems design, reconversion of practices and processes at schools, universities, communities, institutions, businesses, cultural centers and other strategic stakeholders. Our role is to accompany and strengthen the processes for change and growth towards a better food present and future, inclusive and sustainable.

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Many food products can improve their performance in various ways beyond taste and nutritional considerations; mainly in storage, preparation and consumption. Considering these functions in a measurable way allows for analysis and improvement in every instance of its performance. In this way we can imagine a hamburger that cooks faster and more evenly, has better taste and texture, and is easier to digest. Our interest and attention to detail in every variable which comes into play with a given food product has led us to develop a methodology for innovation which prioritizes improving our interaction with food, its context and processes in every possible instance.

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The identity of a place, practice or concept can be transformed into an edible product, therefore associating a sensorial experience with a specific memory. In this way we create products that work with the primary senses of taste, smell and visuals in order to relate them to the desired object, be it a brand, event, moment or other significant activity. Another way to imagine the potential force of identity that food can have is as a souvenir, a way of remembering or symbolizing something valuable to us. Food is deeply rooted in memory through taste and smell, two factors which operate in the full spectrum of our recollections. This capacity helps build our food identity as individuals and as culture.

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We all want and need to play. By creating playful edible products for people of all ages, we can transform the time for eating also into one of entertainment. Playing can also have an educational value to it which is why we integrate the two, so learning becomes a natural part of play and vice versa. Play is also a social activity, making it a natural complement to eating. After dinner table time or shared snack moments are examples where playing becomes a social practice which we do not want to loose, reason why play can be a resource for making culture in general more sustainable, especially when associated with food. This way we all gain from something we all enjoy.

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The context of art opens a new dimension for interacting with food and eating. It allows us to explore personal and social ideas without inhibitions or functional constraints, facilitating a direct and emotional proximity with food. It also takes us to different modes of seeing and showing food. In this sense our work as a business is directed at products and projects which exploit the visual as a determining factor in our attitudes and decisions regarding food. We use all the spaces and tools which art offers us to appreciate and understand new modes of interacting with food and eating.

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