It is not easy to say what food design is. Contemporary design finds infood a playground that gives new incitements but, at the same time, presentsrelevant challenges. Of course, there are several “objects” involved in foodconsumption and preparation, but more frequently food design means alsoworking on edible substances and on the communication artifacts that comewith them. The question then is: can we think about food as the result of aproject? Analyzing the artifacts – from the logo to the dishes – that Michel Brashas constructed and through which he has raised his identity as a chef, in thispaper I will advance the thesis that not only a theory of food designing isconceivable but also that it has an indispensable counterpart in semiotics.Only through understanding the mechanisms of intersemiotic translation thatJean Marie Floch indicated in one of his most famous books, can the heteroclitegroup of artifacts that populate the world of gastronomy be recognized as acoherent – and therefore effective – discourse; a discourse whose aim is tocreate a tasteful identity.
|Numero di pagine||13|
|Stato di pubblicazione||Published - 2016|
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