contextual research process book lacoste spring 2014 final

1CONTEXTUAL RESEARCHOF NATURE, CULTURE &FOOD ARTISANSHIP IN PROVENCE, FRANCEIDUS 215/711 METHODS OF CONTEXTUAL RESEARCHSPRING 2014, LACOSTE

SOURCE: toptravellists.net

2IMPRESSUMProject Participants:

Nathan Beck, Abbie Francisco, Mark Hemphill, Katie Murray,

Monica Seggos, Raquel Serebrenik, Isaac Toonkel, Marcelo Torres,

Nicole Walsh.

Advisors:

Regina Rowland Professor of Design Management

Ernst Kortshak Scientist at the Design Table

Unless otherwise credited, all photographs copyrighted by

authors.

2014 Savannah College of Art and Design, Lacoste, France

3DEDICATIONThis project is dedicated to the people of Provence, without whom

neither our schoolwork nor our own personal cultural development

could have taken place.

4First and foremost, we would like to thank everyone who helped

make this project possible. The people of Provence were absolutely

central to our contextual experience of this place, and without

Paula Wallace and all the hard-working individuals in the Savannah

College of Art and Designs study abroad program, we would not

have had the privilege of living and learning in beautiful Lacoste.

Thank you as well to Regina Rowland and Ernst Kortschak for

acting as mentors in all things academic and ecological. Lastly, we

give thanks to our family and friends for all their moral and financial

support, without which we would not be where we are today.

ACKNOWLEDGEMENT

5CONTENTSIntroduction 6RESEARCH DESIGN & PLANNING 7Framing 8Methodology 10Eco System Map 11Research Subquestions 12Secondary Research 13PROJECT MATRIX 14Timeline 16FIELDWORK 17Overview Location Map 18Observations 19Note Taking 20Participatory Evaluation 21Multi-Sensory Observations 22Semi-Structured Interviews 23Samples 24Research Protocols 26Probing Questions 27Working Walls 28Working Walls (Final) 29ANALYSIS 30Word Cloud 31Olive Product Journey Map 32Visual Map Of Nature 33Product Graph 34Process Report 35Affinity Diagram 36SYNTHESIS 37Insight 1 38Insight 1 Map 39Insight 2 40Insight 3 41Insight 4 42Insight 5 43Insight 6 44Insight 6 Map 45Opportunity Map 46Conclusion 47Recommendation 48EXHIBITION POSTERS 49APPENDIX 57Team Bios 58Research Protocols 61Bibliography 67

6INTRODUCTIONIn this Contextual Research class, we were interested in exploring

the relationship between nature, culture, and food artisanship in the

Provenal region of France (where SCAD Lacoste is located). We

researched products that are traditional to the region: goat cheese,

candied fruits, wine, and olive oil. Initially, we gathered background

stories on the internet, in books, and in academic publications.

From this foundational research, we developed a plan of action

for collecting data in the field. We conducted interviews with local

artisans, made observations, learned about their lives and both the

traditional and novel methods they use. Applying a distinct design

research process, we collected, analyzed and mapped data in order

to better understand the relationship between nature, culture, and

artisanship.

This study led to our deep appreciation of the people of Provence,

their land, their practices, and their culinary specialties, created

with passion. Conducting research abroad in a foreign language

helped us gain a unique perspective about empathy and the design

process as a whole that we will carry with us to future projects.

This experience will enable us to offer our clients a deeper level of

awareness, a way to gain in-depth insights about their challenges,

and a platform from which to create innovative solutions.

7RESEARCH DESIGN & PLANNINGContextual Research of Nature, Culture & Food Artisanship in Provence, France

8FRAMINGTITLE OF STUDY

SUBJECT OF STUDY

TARGET AUDIENCE

PROBLEM STATEMENT

Food Artisanship: Relationships Between Nature, Culture and Craft.

Three artisanal groups were identified as target groups for this case study.

These have been named Farmers, Makers, and Consumers. Makers were the

established entrepreneurs who have dedicated their lives to crafting wine, goat

cheese, or candied fruit. These artisans have learned and adopted processes

within the realm of their developed craft. They may farm crops, process raw

goods into consumable form, package products, distribute and sell these

goods, and manage a successful business flow. Farmers were the workers and

producers of the main ingredient of the artisan craft. They cultivated and tended

to the specific plant or animal that was needed by the artisan. In some cases,

the farmer and maker were one, in other cases the farmer was either proximate

or geographically distant and outsourced by the artisan. The farmers understood

the land and the surrounding environment. This knowledge may have been

acquired through inherited guidance, observations of nature, trial and error, or

external inquiries. Consumers could be chefs, enthusiasts, traditionalists, tourists,

or everyday shoppers. They may incorporate artisanal ingredients into higher

value offerings in a retail setting, purchase goods as gifts for others, reinforce

cultural norms via consumption, or simply enjoy artisanal foods as standalone

experiences.

Food artisans, including farmers, producers and chefs are part of a natural

and cultural ecosystem. It is possible that all such actors are aware of the

relationships present in this larger system, but value can likely be added

(in the Provenal region and elsewhere) by making these relationships more

transparent.

The concept for exploring the relationship arose out of the commonly held

belief amongst members of our contextual research class that the Provenal

region of France supports a disproportionately vibrant community of food

artisans. Provence is known for its traditional production of wine, olive oil, soap,

candied fruit and goat cheese, among other goods. Guided by an inclination

to understand human relationships with nature, we decided to align our

academic inquiry with the geographic availability of relevant research subjects:

culture, nature, and food artisans. As such, it appeared that relationships in the

Provenal region between cultural, natural, and culinary entities could inform

the formation (or at least fostering) of similarly healthy ecosystems elsewhere

(e.g. Savannah, Georgia, USA). The intent of this study was thus twofold: first,

to assist the existing food artisanship community in Provence by shining light

on their own activities through a contextual research lens; second, to identify

insights that constitute opportunities for innovation in the domain of food

artisanship in regions external to that of our study.

MAIN RESEARCH QUESTIONWhat is the relationship between nature, culture and food artisanship in the

Provenal region of France?

9From this research, we expected two categorically different opportunities. First,

by reflecting back to the participants the pattern that we noticed about food

artisanship in the region, they may have found new perspectives about their own

shared methodologies and identities. Furthermore, we could potentially offer the

insights we found of the cultural, natural and artisanal systems to people in the

Provenal region. Second, we could nudge systems abroad (e.g. in Savannah,

GA, USA) by fostering cornerstone relationships in the realm of food artisanship.

A characterization of the relationships between nature, culture and food

artisanship in Provence, France, can benefit the contextual research community

at large by offering a structured representation of traditional culinary crafts. By

conducting this research abroad, yet publishing our results in English, we hoped

to provide a novel lens that native English speakers can use as a comparison to

their existing perspective on artisanal foods. Furthermore, this study can provide

the younger generation seeking to get involved in their local food industry with

a structured guide highlighting key aspects of the natural and cultural facets

involved in the craft.

This study broadened our perspective to better understand relationships between

humans and their natural and cultural environment. This framing lended nuance

to the traditional product design model emphasizing functional relationships

between humans and their physical objects. It gave us functional insight into the

human-nature-culture ecosystem, which will, in turn, serve as an intellectual asset

to developing future sustainable products or services within our specific fields of

study.

The scope of the project was defined as engagement with food artisans of the

Provenal region and those related to this industry. We were focusing specifically

on wine, candied fruit, goat cheese and olive oil as archetypal artisanal products.

The time frame for the project was April 1st through May 22nd, 2014. Food

artisans included the growers, farmers and producers. People relationally

adjacent to the food artisanship industry included suppliers, consumers, business

leaders, and company owners. While we intended to make a statement relevant

to the entire Provenal region, a disproportionate amount of our primary research

took place in Lacoste and adjacent towns. Furthermore, due to time and mobility

constraints, we did not acquire a statistically significant body of data. Thus,

we were not looking at artisanal products outside of the four aforementioned

categories; we did not conduct longitudinal interviews or observations to

directly discover patterns of change in time; and we did not empirically validate

statements made by interviewees or non-peer-reviewed secondary research

sources. Rather, we aimed to collect a manageable number of rich descriptions

from which qualitatively compelling design opportunities could emerge.

The focus area was the characterization of relationships between nature, culture

and food artisanship in the Provenal region of Southern France. Specifically,

the characteristics which define each of these elements and how they function

in relation to one another. Through the process of contextual research, data

analysis and synthesis, insights were gained and opportunities identified for

creating a new model of interaction.

PURPOSE

SIGNIFICANCE OF STUDY (for design students)

SIGNIFICANCE OF STUDY (for the larger community)

OPPORTUNITY STATEMENT

SCOPE

10

We conducted a basic contextual research case study with an ethnographic

lens and a limited participatory research aspect. A case study emphasizes

detailed contextual analysis of a limited number of events or conditions and their

relationships. It is descriptive and exploratory. Ethnographic research usually

involves observing subjects in their natural, real-world environment. It searches

for meaning and understanding of their social setting and relationships with

their surroundings; it aims to gather insight into how people live their everyday

or professional lives. Thus, our research included observations, field notes and

interviews. We incorporated participatory aspects because as researchers,

we recorded our own experiences as we tasted, smelled, observed and

conducted interviews on our subjects of study. We considered this combination

of methodologies to be well suited to our research question because we tried

to understand how people from the Provenal region are affected by their

surroundings in regards to nature and culture. We dove into a culture that we

had not experienced previously, observing it from an ethnographic point of view.

Doing so gave us a richer understanding of the cultural and natural environment

of the Provenal region.

METHODOLOGYRESEARCH METHODOLOGY

DATA COLLECTION METHODS

Observation

Interviews

Personal Exploration

11

After formulating our main research question What is the

relationship between nature, culture and food artisanship in the

Provenale region of France? we needed to visualize this

relationship in order to determine its implications for our secondary

research. After moving through several iterations, we returned

to the simplest representation of overlapping entities: the venn

diagram. These three circles established seven categories of study:

nature, culture and food artisanship as standalone entities; the

three overlaps between them; and finally, the central meeting point.

These categories, in turn, directed the formation of our research

subquestions and provided an effective visual schema onto which

secondary research findings could be mapped.

ECO SYSTEM MAP

CULTURE ARTISANSHIP NATURE

AWARENESS + BEING IN TUNE WITH CONTEXT

TRADITIONS + NEW WAYS

ENVIRONMENTAL IMPACT UPON

PRODUCT

NATURECULTURE

ARTISANSHIP[craf t ]

[wor ldviews] [condi t ions]

1

7

2

3

5 4

6

E N T I T I E S

12

NATURE NATUREARTISANSHIP

ARTISANSHIP

RESEARCH SUBQUESTIONS

AWARENESS +

BEING IN TUNE

WITH CONTEXT

ENVIRONMENTAL

IMPACT UPON

PRODUCT

TRADITIONS +

NEW WAYS

What is the region most proud of? What is most important to them? What are the challenges and

opportunities?

ARTISANSHIP

ARTISANSHIP

What are the conditions of the natural environment?

What is the craft of food artisans? Why are they doing it? What are they getting out of it?

How does nature affect the product and processes associated with their craft?

How do food artisans accept, adjust, and turn events they do not control into

opportunities?

How connected are artisans to their natural environment?

What kind of person does the food artisan become due to living in the

nexus of nature, culture, and craft?

What are the traditional ways of production? How are these ways used today? How are new ways integrated? How do artisans know when to transition or

integrate?

ARTISAN + NATURE

+ CULTURE

ARTISANSHIP

NATURE

NATURE

CULTURE

CULTURE

CULTURE CULTURE

13




PRODUCT

NATURECULTURE



1

7

2

3

5 4

6

SECONDARY RESEARCHProvenal people codify their traditions (agricultural regions, fetes, etc.) in social, political and economic structures. Additionally, they work extremely hard, but have a deep appreciation for slowness, grace and charm (Demossier, 2011; Lanson, 2007.)

The region of Provence is located between the southern Alps and the Mediterranean sea, encompassing a huge diversity of ecosystems. Throughout these zones, the seasonal cycle is most important, but there are also events on a larger time scale which have huge impact (e.g. rockslides, semi-centennial frosts, and inundations) (Lasceve, 2011; Monnier et al, 2012.)

Space (as exemplified by soil) and time (notably, traditional methods of preservation) heavily influence the artisanal definition of product authenticity and quality (Beckett-Young, 1989; Demossier, 2011; Preston, 2008; Swinburn, 2011.)

Food artisans play a pivotal role in defining a collective disclosure associating themselves (and the true French) with work ethic, family values, community and a non-competitive small business sector. Anecdotally supporting the duality of structure theory, this story is presented outwardly to tourists as a way to retrieve and sustain heterogenous local identities (Rogers, 2002; Swinburn, 2011.)

Since Roman times, traditions, processes, and rituals (in regards to candied fruit, fromage, wine, and olive oil) have persisted and are applied alongside new methods and techniques in modern manufacturing. Furthermore, highly structured artisanal organizations of France consciously articulate the elements of their craft in part to market their products (Demossier, 2011; Swinburn, 2011; Rogers, 2002; MacDonald, 2011.)

The environment (especially the soil) of Provence is central to the typology and quality of artisanal foods produced here. Furthermore, artisans view themselves, in part, as a mediator and/or conduit towards nature (Demossier, 2011; DallOrto, 1985; Jones, 1947; Sargent, 1952; Gade, 2004; Van Leeuwen and Seguin, 2006; Coffey, 2011.)

The people of Provence have continuously altered and adapted to their local environment in order to further economic growth. The most notable example of this growth deals with water. Mass irrigation of dry lands and drainage of swamps demonstrate the interaction of people with their natural environment (Rosenthal, 1990; Aspe et al, 2012.)

14

PROJECT MATRIXContextual Research of Nature, Culture & Food Artisanship in Provence, France

15

WHAT DO I NEED TO KNOW?

WHY DO WE NEED TO KNOW

THIS?

WHAT TYPE OF DATA IS NEEDED?

WHERE CAN I FIND THIS DATA?

WHAT TYPE OF DATA

COLLECTION METHODS?

WHO DO WE CONTACT?

WHEN DO WE NEED TO KNOW?

WHAT ARE WE TAKING AWAY? WHAT ARE WE

LEARNING?

WHAT MIGHT WE BE MISSING?

What is the region most proud of? What is most important to them? What are the challenges and opportunities?

Work Traditions Heritage Culture Beliefs Values Perceptions Behaviors

Discover priorities Develop sense of people Identify frames of mind Define worldviews Note behaviors Understand investments (mental, physical)

Conversational pieces Provenal localsPersonal interviews Observations Secondary research

Florence Thurston, Marie Bayol Week 5

Hopes Dreams Fears Values Worldviews

Even spread of Provenal people, chosen participants might be outliers (societal outsiders), and missing elements of information they aren't proud of

What are the conditions of the natural environment?

Seasons Hydrological cycles Sunlight Topology Natural disasters Flora Fauna

Identify conditions under which their product flourishes Qualify reactions to the conditions Identify geological and biological factors Provide ecological focus

Rainfall Temperature Seasons Soil quality Fauna Flora

Local experts (Scientist at the Design Table) Secondary research Farmer's almanac

Personal interviews Secondary research

Florence Thurston, Marie Bayol Week 4 and 5

Atunement with the land, opportunities the environment provides, what kind of people can thrive here, and natural dependencies

Sufficient expert advice

What is the craft of artisans? Why are they doing it? What are they getting out of it?

Process steps Elements used and not used Personal histories of life style and craft Larger traditions

Define craft of artisans Record subjective experiences Map how knowledge is acquired Understand how artisanship shapes lives

Production process Motivations Construction of meaning

Artisans and crafters Consumers Employees of artisanal organizations

Interviews Secondary research Blogs Observation


Why artisans do what they do, how the region supports artisans, and processes shared amongst communities

An external viewpoint of artisans and holistic mapping of processes (due to privacy or time concerns)

How does nature affect the product and processes associated with their craft? How do food artisans accept, adjust, and turn events they do not control into opportunities?

Desirable/undesirable environmental conditions Tools and technology used Perceptions of opportunities Attitudes towards change

Characterize adaptation behavior Define culture with nature Map effect of natural process on the product and market Quantify artisans' atunement Understand uniquely Provenal nature

If-then statements Strategies Attitudes

Artisans Growers Secondary research

Interviews Secondary research


Resilience of artisans to nature and adaptability of artisans to nature

Validity of beliefs and accurate conveyance of memories

What are the traditional ways of production? How are these ways used today? How are new ways integrated? How do artisans know when to transition or integrate?

Traditional methods of the producers Novel techniques Change mechanisms Epistemology

Form picture of craft's culture and maintenance Identify traditional methods Characterize adaptability/resiliency of artisans Determine current trends

Strategies Processes Heritage Family traditions

Artisans Secondary research

Interviews Secondary research


Cultural resilience of artisans, cultural adaptability of artisans, and traditions of artisanal processes

Holistic stories Scale Meaning

How connected are artisans to their natural environment?

Types of nature they encounter Depth of ecological knowledge Emotional importance of nature to individuals

Understand interactions with nature Identify what they give back to nature (physically, spiritually)

Behaviors Strategies Technology utilization Subjective relationships

Artisans Locals

Interviews Observation


Identity with nature, routines in nature, and classification of nature as resource, privileged, responsibility

Appropriate people (subjects) Well-worded questions

What kind of person does the food artisan become due to living in the nexus of nature, culture, and craft?

If they feel that they adopted this identity or if it was created by the circumstances of their craft/culture/nature What is the description of the group to which they believe they belong

To learn who the holders or the carriers are in order to understand the relationship between nature, culture, producer or artisan.

Self-image Relationships Interactions Tasks Routines

Artisans (indirect information) and other locals Observation

Interviews Observation


Affect of system on potential participants and true identity of our subjects

Appropriate research methodology, the impact of our own experience in this study, and trust of interviewees

16

TIMELINE

APRIL

April 1Project Start

Field Research Finished

Digitization of Data Finished

Process Book Finished

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

MAY

I N I T I A L R E S E A R C H P R O J E C T Q U E S T I O N

E C O S Y S T E M M A P + S E C O N D A R Y R E S E A R C H

R E S E A R C H S T U D Y S U B Q U E S T I O N S

8 days

6 days

4 days

7 days

5 days

3 days

5 days

2 wks

7 days

1.2 wks

1.2 wks

6 days

3 days

W O R K I N G W A L L - S E C O N D A R Y R E S E A R C H

P R O J E C T M A T R I X

R E S E A R C H P R O T O C O L S

F I E L D R E S E A R C H

W O R K I N G W A L L + I N S I G H T S

D I G I T I Z E D D A T A M A P S

O P P O R T U N I T Y M A P

D I G I T I Z E A L L D A T A

P R O C E S S B O O K

D I G I T I Z E D T R A N S C R I B E D I N T E R V I E W S + O B S E R V A T I O N S

P A R I S

17

FIELDWORKContextual Research of Nature, Culture & Food Artisanship in Provence, France

18

OVERVIEW LOCATION MAPIn order to conduct observations, interviews, and collect

data, we needed to be mobile. Exploring Provence was

necessary for successful collection of rich data. In order

to travel through the surroundings, we employed a

fleet of turbo diesel Ford transit vans, each of which fit

one driver and eight student researchers. These vans

acting as our mobile headquarters enabled us to collect

data and quickly move on to our next destination, be

it another observation opportunity or a time to collect

direct data. Whether it was the chiseled walls of Les

Baux chateau, the markets of Apt, or the rocky shores

of Cassis, our mean of transportation was a fast,

comfortable, and efficient way to traverse the diverse

landscape of Provence.

Fromages is a small goat farm located northeast of Lacoste where Fromage is made from a happy herd of 40 goats.

Lacoste is a small medieval town located in southern France. Its medieval structure and history attract many tourist every year in search of characters such as the Marquis de Sade.

Chateau La Coste is a vineyard with a tasting room. It is a fantastic out-door museum of modern art and architecture.

Cassis is a commune situated east of Marseille in the department of Bouches-du-Rhne in the Provence-Alpes-Cte dAzur region in southern France.

Castelas is an olive oil buisness located nearLes Baux. They produce high-end olive oil from their on-site olive orchards.

Les Baux-de-Provence is a commune in southern France. It has a spectacular position in the Alpilles mountains, set atop a rocky outcrop that is crowned with a ruined castle overlooking the plains to the south.

Aptunion, based in Apt, was founded in 1964 by confectioners who specialized in the manufacture of candied fruit. Aptunion has become an industry leader in candied fruits and dried processed fruit inclusions.

GargantuApt is a small wine store located in Apt that sells a variety of wines as well as candied fruit from Aptunion.

Leonidas is a small gourmet candy store in Apt which has a vast selection of delicatessens that will nourish your craving for sweets.

J.C. Rousset is a small family oriented candy store located inApt that has a variety of homemade candied fruits and chocolates.

Font Leale is a small winery located near Lacoste. The owner creates decidant wines for the locals of Provence.

19

OBSERVATIONSObserving our surrounding environment and trying

to identify the different elements present within was

the main goal of this stage on our research process.

We started by locating and visiting places that could

help us understand the context. In order to acquire

a fuller understanding of our context, we allowed our

mindset to be constantly changed by the increasing

awareness of everything that surrounded us. We made

field trips to goat farms and vineyards, olive orchards

and candied fruit factories. Through empathy and

immersing ourselves in artisans daily life and activities,

we acquired pieces of information which would later be

used as the foundation upon which to build insights.

We sometimes played Fly-on-thewall, a method that

consists in observing and listening to the people and

environment without getting actively involved. We took

notes, listened to the people, observed the interactions

between people and product, and took pictures of

the environment. Taking pictures turned out to be as

important as note taking in the final analysis phase;

from these photographs, we were able to relive (to

some degree) the atmosphere and interactions that

were taking place at the time.

AptUnion candy museum



Display at Castelas ol ive oi l

Display at Castelas ol ive oi l

Goats at farm

Goat farm

Apt candy store

Apt candy store

Fresh goat cheese

Font Lale barrels

Font Lale winery

20

NOTE TAKING

Along with our more objective observations, we wrote

down everything our senses encountered. We made

sketches and personal notes of what we saw, felt,

heard, smelt, and tasted. Sometimes even wrappers

or take-aways made their way between the pages of

our notebooks.

Before every visit, we were given field guides to help

remind us of specific things to look for. If, for whatever

reason, these field guides were not used during an

interview or observational field trip, we transfered our

notes from our notebooks and sketchbooks to the field

guides afterwards to help organize the information.

From there, we used our fields guides as a reference

to digitize all of the information gathered. We

communicated the digitized information through

Google Drive amongst ourselves in order to

collaborate efficiently.

21

In order to have a complete understanding of our

artisanal niches, we had to submit to our senses to

further our learning potential. Putting ourselves in

the place of customers gave us a new view on how

businesses interact with their products and represent

themselves to the public. Being a part of tastings let the

business owners show us their products as well as the

methods behind each step. Having the opportunity to

try artisan made products was a learning experience;

by delving into the local culture and artisanal world, we

applied an experiential lens to our contextual research

processes, resulting in a deeper understanding of our

research data.

PARTICIPATORY EVALUATION

Goat cheese pizza from Antonies

Candy frui t paste at HediardsCastelas ol ive oi l d isplay

Candy frui t conf i t at AptUnion

Wine cave at Font Lale Taste test ing candy frui t f rom AptUnion Taste test ing ol ive oi l at Castelas

22

SIGHT: From the ripening tangles of olive trees to the glossy coats of

fresh candied fruit, Provence has proven its beauty in so many ways.

The four crafts we studied were created in the inviting valleys of

Provence, which are full of farms and natural vegetation.

SOUND: One of the greatest challenges of our research process was

the language barrier. The majority of the artisans spoke little,

if any, English, and very few of us spoke French. However, with our

translator, Marie, communication was possible.

TASTE: All of the artisans proudly presented us with samples of their

craft, and Catherine (an olive oil artisan) even taught us how to taste

her olive oil. We enjoyed the goat cheese with crackers and some fig

spread after having left the farm. Everything was fresh and bursting

with flavor.

SMELL: While the candy factory beckons you in with the sweetest

breeze, the goat farm had a distinctly earthy smell. Castelas smelled

clean while the oil itself presented the freshest scents of basil, chili

pepper, rosemary, or lime. If one were to walk into Font Leale blind,

they would know immediately that it was a winery from the damp

smell of oak barrels and the vinted haze.

MULTI-SENSORY OBSERVATIONSA FULL SENSORY EXPERIENCE

Les Baux en ProvenceAptUnion

Font Lale winery

AptUnion Font Lale winery

Goat cheese

23

SEMI-STRUCTURED INTERVIEWSOur interview process consisted of a professional,

yet casual environment. Starting off with polite

introductions, we created a friendly common ground

by asking simple questions, thereby sparking

conversations. After this step, we went over the consent

forms, one of which is signed by the participant, and

the other is given to them to keep for future reference.

Moving ahead with the interview itself, we began by

asking questions based on our prepared interview

questions. To maximize efficiency, we interviewed

in small groups, which allowed us to divide tasks

between ourselves; while one person was asking the

questions, others were recording the data, noticing the

surroundings, and taking pictures. After asking all the

questions and recording the answers as thoroughly as

time allowed, we concluded the interview by thanking

the participant for their time and saying goodbye. The

interview data was then digitally transcribed as soon as

possible.

This is the cowline. Everything north of the line is

cows and butter. Everything south of the cowline is

no cows and olive oil. There are no cows because for

most of year there is no grass.

Finn McEoin

For me, Provence, its something

strong. Its hard life, cold winter, hot

summer.

Jean Pierre

I use my arms to make my pizza.

There are some machines, but it is

better when done by hand.

Antoine

I defend my techniques, my way, but

I respect others way of doing.

Mathieu Ronchi

Hate to pick a favorite, but spring, because of the

positivity and new growth.

Florence Thurston

Tenacious, courageous, passionate. I started with nothing.

I bought the land, and built it up. You have to work a lot and

complete the work, so you have to be passionate.

Micheline Perrier

I took all the courses possible to learn about olive trees and olive

making, all free. Also we learned from experience. Exchanging

info with neighbors, learn from old people, they do it but they

dont know why they do it that way, its a tradition, but it works.

Catherine Hughes

24

SAMPLES

Antoine (Antoine Pizza Truck Owner)

Antoine was born in Provence, working as a

builder for 30 years before moving into the

pizza business seven months ago. He learned

his craft by himself while practicing in his

home. He drives a pizza truck around various

towns in Provence, creating new and exciting

recipes for his hungry customers.

Catherine Hugues (Castelas Olive Oil)

Catherine was born and raised in southern

France. She went to the United States

to study biochemistry, living there for 15

years. She and her husband eventually

returned to France in order to raise their

children. Catherines husband was raised

on an apple farm and she was raised on a

vineyard, so they decided that olive oil was

an appropriately similar, yet sufficiently novel

agricultural endeavor for them. Their first

batch of olive oil won a gold medal.

Micheline Perrier (Fromage Goat Cheese)

Micheline was born in Lyon and subsequently

moved to Provence. She and her business

partner started the goat farm 30 years ago.

She has been working seven days a week

since then. She makes the goat cheese and

delivers it to all of her customers, most of

whom have been loyal to her for 20+ years.

Micheline is also very attached to her goats,

even going so far as saying that they are her

children.

Marie Bayol(SCAD Employee)

Born and raised in the south of France, Marie

studied communications in Venice, Italy, and

Nice, France. She has put her studies and

knowledge of the land to good use helping out

SCAD in Lacoste. She does everything from

driving students and planning trips to passing

out candy.

25

Matthieu Ronchi (Font Lale Wine)

Matthieu was born in Provence. He currently

owns the vineyard, Font Leale, which was

passed down to him by his father and sister in

2012. The vines that grow at this vineyard are

typical of Provence: Syrah, Grenache, Rohl-

De Martino [Merlot, Cabernet] and varieties

from Bordeaux. He studied math and physics

in college and currently focuses most of his

free time on carpentry. His primary role is to

direct the production at Font Leale, but he

also occasionally goes out to work in the field.

Florence Thurston(SCAD Employee)

Florence was born and raised in Paris. She

has fond memories of summering in the south

of France, traveling down from Paris via the

Autoroute du Soleil, (the A7.) Eventually,

she moved to the United States, had two

sons and worked as a French teacher. She

returned to France in the Fall of 2013 to work

for Savannah College of Art and Design at

Lacoste, where she is currently employed

as a Student Services Coordinator.

SAMPLES

Finn McEoin(Lacoste gardener)

Finn was born and raised in Ireland. Once

he came to Provence, he made the decision

never to move back to his home country. He is

currently employed as the gardener for SCAD,

doing so in an exclusively organic manner. He

is a vegetarian who eats only organic foods.

Finn is also a writer, historian, and poet. His

favorite drink is coffee, and he once sold

a book he wrote on Amazon.com for 10,000

Euro.

Jean Pierre Soalhat (SCAD Employee)

Jean Pierre was born and raised in the south

of France. He is an artist, historian, and

mayor of his town. He is employed at SCAD,

along with his wife Hlne. He has been part

of the restoration of the SCAD buildings in

Lacoste, most notably Maison Basse. He has

two children and is currently studying Greek,

because he plans to explore the archaeology

of Greece when he retires.

26

Contextual Research Field Guide

If lost, please return to: ___________________Phone: ________________________________E-mail: ________________________________

Remember:--> Take lots of photos--> Obtain consent if talking to someone (especially for pictures)--> Look for patterns and remain consistent in the types of things you record between categories (artifacts, behaviors, etc.)--> Code for factual vs. inferred data (e.g. I indicates inference)

Sub Questions (in bold) with Corresponding Interview Questions: 1. What is the region most proud of? What is most important to them? What are the challenges and opportunities? What makes Provence special for your product? What is quintessentially Provencal? Why do you like to live here?

2. What are the conditions of the natural environment? What is a year like? What is your favorite season? What are the local flora and fauna (local plants and animals)? What is the yield in a typical year? What are examples of things that affect the flavors of______?

How do seasons/weather affect the product? 3. What is the craft of the producers? Why are they doing it? What are they getting out of

it? Describe your product. How many different types of ______ do you grow/raise? What time of year is _____ most popular? What is your best season for selling? What is your relationship with the other producers of ______ in this region?

4. How does nature affect the product and processes associated with their craft? How do

vintners accept, adjust, and turn events they do not control into opportunities? What are the seasons here like, and how do they affect _____(product)? What happens if something (ie bad weather) goes wrong? What about Provence makes your product unique? Would the product be different if it was produced anywhere else?

5. What are the traditional ways of winemaking? How are these ways used today? How

are new ways integrated? How do vintners know when to transition or integrate? How long have you been in this business? What type of education is needed to be in this business? Are the recipes passed along through generations? Have new processes changed your methods? Have you changed methods? Good/bad outcome?

6. How connected are vintners to their natural environment? How do you engage with nature? What do you do outside and why? What do you do personally know about the nature? How do you spend your time off? 7. What kind of person does the producer become due to the relationship between nature

and culture?

If I asked a neighbor what would they say about you? How would you describe yourself? How would I know that you are happy?

Consent form Field guide Field guide Field guide Probing quest ions

Probing quest ions Probing quest ions Probing quest ions Probing quest ions Probing quest ions

RESEARCH PROTOCOL

Informed Consent Form I voluntarily agree to participate in an interview/inquiry performed by students at the Savannah College of Art and

Design. I understand that this interview/inquiry is being conducted by students in the Contextual Research Methods

class in order to better understand the research process and identify opportunities for design in the realm of food

artisanship in the Region of Provence .

I understand that the evaluation methods may include:

1. Recorded (audio, video and/or photography) observations 2. My completion of an evaluation questionnaire(s) 3. My participation in a 15-60 minute interview

I grant permission for the interview/inquiry to be recorded, transcribed, translated and to be used only by the

Savannah College of Art and Design for analysis of interview data. I grant permission for this datagenerated from

the above methodsto be used in an educational setting.

I understand that any identifiable information in regard to my name and/or company name will be removed from any

material that is made available to those not directly involved in this study.

_________________________________ _________________________________ Printed Name Signature _______________________________________ Lacoste, France Date

Eyes Brain

MouthEars

Nose Heart

Hands

Feet

Subjective Observations Objective Observations

People Artifacts

Events Behaviors

Interactions Other

Sketch Notes on photos & video

(e.g. signage, packaging, tools, etc.)(e.g. other customers, artisans, etc.)

(e.g. flow of people, sampling, etc.)(i.e important moments)

27

Probing questions (categorized by research subquestion):

1. What is the region most proud of? What is most important to them? What are the challenges and opportunities?

What makes Provence special for your product? What is quintessentially Provenal? Why do you like to live here?

2. What are the conditions of the natural environment? What is a year like? What is your favorite season? What are the local flora and fauna (local plants and animals)?

3. What is the craft of the producers? Why are they doing it? What are they getting out of it? Describe your product. How many different types of ______ do you grow/raise? What time of year is most popular? What is your best season for selling? What is your relationship with the other producers of ______ in this region?

4. How does nature affect the product and processes associated with their craft? How do producers accept, adjust, and turn events they do not control into opportunities?

What are the seasons here like, and how do they affect _____(product)? What happens if something (e.g. bad weather) goes wrong? What about Provence makes your product unique? Would the product be different if it was produced anywhere else?

5. What are the traditional ways of conducting the craft? How are these ways used today? How are new ways integrated? How do artisans know when to transition or integrate? How long have you been in this business?

What type of education is needed to be in this business? How do you acquire your recipes/processes? Have you changed methods over time? Good/bad outcome?

6. How connected are artisans to their natural environment? How do you engage with nature? What do you do outside and why? What do you personally know about nature in this region? How do you spend your time off?

7. What kind of person does the producer become due to the relationship between nature and culture?

If I asked a neighbor what would they say about you? How would you describe yourself? How would I know when you are happy (as an outside observer)?

PROBING QUESTIONS

28

WORKING WALLSWe started the process by writing descriptive words indicating

what we thought makes this region important. The three main

categories that emerged from this activity were nature, culture,

and food artisanship. Then, we created potential questions and

melded those into our final question relating the three elements.

We moved on to mapping out how nature, culture, and food

artisanship are connected through a relationship diagram. From

this relationship diagram, we created a Venn diagram discussing

further subquestions and subcategories. We created a timeline,

subquestions and interview questions, and subcategories.

Collection of secondary research followed, resulting in the

organization and mapping of data. Finally, we pulled together all of

the primary research and photos to organize and synthesize the

information.

29

WORKING WALLS (Final)

30

ANALYSISContextual Research of Nature, Culture & Food Artisanship in Provence, France

31

WORD CLOUD

By creating a word cloud the reader can understand what words

were used in the process of research. The large words are the

words that were most common and successful at the time of

researching via online methods. As the size of the words gets

smaller, its popularity decreases. This means that the small words

were not used as many times as the large words were. The word

cloud map contributes to the understanding of how the research

was made and what the successful methods of researching this

topic were. The combination of general words with specific ones

can elicit a fruitful result. However, the more common the word, the

more results the researcher found.

32

OLIVE PRODUCT JOURNEY MAPBy analyzing the process of the olive, we understood how people

interacted with the product within the different stages. It is not until

the product enters the marketing stage that physical interaction

with the producer and the consumer occur. This was an interesting

finding because this would mean that the new technologies are a

barrier for interaction between the product and the producer. The

map exemplifies the steps of the production and sales of the olive oil

clustered in four main stages.PLANTING

GROWING

TREATING

COMPRESSING

HARVESTING

CRUSHING

DE-LEAFING

STORING

LABELLING

SELLING

TASTING

CLEANING

FARMING PRODUCING PACKAGING MARKETING

HUMAN INTERACTION

MACHINEINTERACTION

33

VISUAL MAP OF NATURELife Cycle of Raw Material

Formatted as an annual calendar, the map uses the four

seasons as a base. Each product is represented in its own

color and placed on the map according to when its existence

begins in nature. The closer to the middle, the less impact the

process has. The olive trees for the oil (green) are planted in

spring, along with the fruit trees for the candy (pink) and the

grape vines (purple) for the wine. The goats which produce

the milk for the cheese (yellow) are productive all year round

in an endless cycle.

Artisans Effort Toward the Product

Mirroring nature, the seasons are the base of the map.

The colors represent the same products as in the nature map,

however the patterns are different.

For the candy, the process begins small in the winter, swells in

the spring and shrinks again in the summer. This shows that

the artisans step into the picture in the winter to begin their

part of the process and work the hardest in the spring, slowing

again in the summer. After the grapes for the wine are fully

mature, the artisans begin their labor at harvest and make the

wine in the fall. Olives for the olive oil are also harvested in

the fall, and the oil itself is produced by the artisans in late fall,

early winter. Just like the goat cheese on the nature map, the

cheese production is also on an annual cycle.

I have been working for 30 years.

No holidays.

Michelline Perrier

The winter prepares me mentally for next year.

Theres time, its more quiet. Spring, you fight the

herb and work the ground in the vineyard. I also

work in the cave washing bottles, putting labels

on wine. the Summers are hot and I try to sell

because of the holiday season. The grapes are

picked in September and then the wine is made.

Matthieu Ronchi

The blooms begin to grow in May. Only 510%

of the blooms actually produce olives. The

olives begin to grow in Summer and change

color from purple to black in September.

Harvesting begins in mid-October and ends in

November before the weather gets too cold.

Catherine Hugues

LIFE CYCLE OF RAW MATERIAL

ARTISANS EFFORT TOWARDS THE PRODUCT

ONE FULL YEAR

ONE FULL YEAR

Fruits

Fruits

Grapes

Grapes

Olives

Olives

Cheese

Cheese

34

PRODUCT GRAPHOlive Oil Fromage Wine Candied Fruit

Background

Time Input

ProductionScale

Craftmanship

Experience

Export Local International

Traditonal Methods

IndustrialMethods

LimitedYield

IndustrialScale

Seasonally Daily

Learn fromPast

Field ofStudy

Self Made Inherited

This graph shows and compares four products that are important to

the Provenal region. Each category on the y-axis shows a different

way of classifying each product. Where each dot falls on the

corresponding x-axis creates a visual way in which to see how the

different products relate to one another throughout their production

processes. Each line has two extremes relevant to its own category.

The placement of each products corresponding dot is based off the

generalization of qualitative information collected from a variety of

participants.

Castelas is a husband-wife-owned company.We

started the company from scratch and have constantly

been reinvesting in it and making sure it is kept at the

highest standard.

Catherine Hugues

I pay attention to capacity for

production. Quality over quantity.

Michelline Perrier

35

PROCESS REPORTAs we completed our interviews, observations and participatory

experiences, we placed these data on a giant working wall.

In order to make sense of this plethora of quotes, notations,

and photographs, we absorbed and subsequently distilled the

information into sticky notes. Layered atop the working wall, these

sticky notes served as summary items from which the next round of

data mapping could take place. Each researcher created two visual

models they felt represented the situation, and we then reconvened

to compare and discuss these models. Out of this discussion, we

developed a subset of these sketches further in order to formulate

a comprehensible narrative of our data. After bringing these diverse

visual perspectives to the front, we revisited our original working

wall and re-affinitized the data until categorical insights emerged.

The following section elaborates upon these insights and the

opportunities we derived from them.

36

AFFINITY DIAGRAMInteractive processes

Techniques

TechnologyLearning about

the craft

Changing business

Education

Highly educated

Working into the future

Taste

Presentation

Samples

ShowingDisplays

Senses

Quiet

Variety

Wind

Calendar

DrySeasonal change

InteractionProduction

Modernization

Use of machinery

History

Family

CommunityCulinary traditions

Independent

Holistic conditions

Knowledge

Experience within context

SeasonsFamily Is important

WORKING WALL

37

SYNTHESISContextual Research of Nature, Culture & Food Artisanship in Provence, France

38

Contextual Experience

Perception of involvement in the process of product creation is

valuable.

The experience of a product within its appropriate context is crucial.

The artisanal producers were eager to share their methods, and

customers appreciated a story with full sensory experience. Having

samples to evoke smell and taste as accompaniments to a visual

and auditory runthrough of the creation process leads to a more

fulfilling consumption experience, in that it lends an impression of

deeper connection with people (the artisan) and time (the traditions

they espouse).

There is an opportunity to:Blur the currently crisp boundary between producers

and consumers of goods.

Extend the consumer experience into a wider range

of senses (gustatory, olfactory, visual and even

temporal).

Align the consumption of products with their ideal

contexts.

How might we:How might we involve the consumer in the

production process of artisanal goods?

How might we introduce new senses into the

consumer experience, or make higher quality use of

the time they spend throughout that experience?

How might we match the consumption of products

within their context(s)?

Potential design ideas or scenarios:Create interactive tours in which the consumer

becomes directly involved in one or more phases

of the physical production process (packaging,

planting, processing, sorting, distributing, etc.)

To enhance the consumption of the product, alter

packaging to evoke notions of the ideal scenario in

which to consume the product.

Create a service that takes your context and

surprises you with food that matches that context.

Instead of bringing the consumer to the context of

the product, this service would consider the context

of the individual and deliver an appropriate product

to their location (e.g. were at the beach might

result in watermelon).

INSIGHT 1Everyone in the tour was curiously looking around,

tasting the different samples that were offered to us.

By the end of the tour they had a table full of a great

variety of sweets for us to taste. Also, they had a small

fondue station to dip the fruit in.

AptUnion Tour Observation

Bread changes as you go

north. Here in Provence its

blotting paper to soak up the

olive oil and garlic.

Finn McEoin

Also some treatment with copper and sulfur on

leaves with the tractor, could buy a horse for

that, but that would mostly just be for fun, and to

look nice for tourists.

Matthieu Ronchi

39

ARTISANSPROCESS

PRODUCT CONSUMERS

BUY FROMCREATES

RAWMATERIAL

INSIGHT 1 MAP

40

Holistic Conditions

Until the necessary systemic conditions emerge, neither process

nor production scale alter.

The implementation of new knowledge was dependent on

systemic conditions such as social networks, cultural pressure and

environmental serendipity. By this we mean that artisans relied

upon the support of people they felt close to (e.g. family, neighbors,

teachers) before adopting new production techniques. There is

also an artisan reliance upon nature; there must be systemic

environmental cooperation between the conditions regarding

water, temperature, wind, bugs, etc. in order for the natural sources

of artisanal food products (vines, trees, bushes, goats, etc.) to

thrive.

There is an opportunity to:Acknowledge artisanal food products reliance on

systemic readiness.

Indirectly influence artisanship through upstream

interventions directed at systemic conditions.

How might we:How might we recognize that evolution of the

artisanal food products and processes is dependent

on integral conditions?

How might we positively influence the artisanal

process indirectly by modifying certain systemic

conditions?

Potential design ideas or scenarios:Create new codes and regulations to broaden the

geographic relevance of French product standards

(e.g. agriculture biologique label in the US that is

fluidly linked to the exact standards of France.)

Offer a community college course focusing on the

processes and regulations that contribute to defining

Provenal goods.

INSIGHT 2

French cuisine was totally changed by

Catherine Medici. She was probably

Frances best import. Ever.

Finn McEoin

Little by little, young people

come to do hand made.

Matthieu Ronchi

Terrior soil has its own properties and conditions

(alkalinity)...sunshine can affect flavor.people buy the

Provence brand.

Florence Thurston

41

Family

Family is considered to be of the utmost importance.

All of the samples we spoke with mentioned one or more family

members as central to their own position. While factors such as the

high cost of living or a culturally instilled responsibility to support

ones parents could contribute to the practice of older children

living at home, it could be that this insight is as straightforward as it

appears: people simply love their families.

There is an opportunity to:Tap into existing familial connections to deepen

economic or more peripherally social relationships.

Convey the fulfilment artisans receive from their

familial relations more obviously in the products.

How might we:How might we broaden economic networks through

genealogy?

How might we demonstrate the value of family within

their products?

Potential design ideas or scenarios:Create labels that display more heritage and

genealogy regarding a products past (e.g. the

people who made and shaped the product).

Create an environment that allows for an intimate

relationship between the consumer and the producer

which thoroughly explains the values, challenges,

history, and goals of the artisan.

Strategically assign artisanal producers homework:

Have them do a book report on their own family,

summarized in a single page (showing what they

value, where the came from, what they learned from

their challenges.)

INSIGHT 3Learned winemaking from father (and sister):

learned all together, begin with little quantity, then

scale, then bring in technical logistics consultant, do

analysis on wine.

Matthieu Ronchi

I like to go fishing and stroll with

my family in the mountains.

Antoine

Came back to France to raise children

and decided to start olive farming.

Catherine Hugues

42

Wind

Wind has deep cultural and agricultural implications.

The winds in the Provenal region are not only important for

agricultural processes such as the pollination of olive trees, but also

occupy a place in common conversation amongst locals. Named

winds (the mistral, sirocco, levant and tramontane) blow across

this area, some of which are enshrined in traditional objects (e.g. le

santon figure holding his hat against the mistral wind) or common

phrases (e.g. levant blanc indicating good weather).

There is an opportunity to:Elevate citizens awareness and cultural appreciation

of their regions wind patterns.

Harness the power of wind as renewable energy.

How might we:How might we facilitate the cultural claiming of

regional winds and cycles?

How might we capture wind energy to directly

power mechanical or electrical artisanal production

equipment?

Potential design ideas or scenarios:Use the wind and its directional paths as a way to

calculate the passage of time or change in season.

Create wind harnessing methods that mechanically

translate wind energy to directly power artisanal

production equipment.

INSIGHT 4The blooms begin to grow in May. Only 510% of

the blooms actually produce olives. The olives begin

to grow in summer and change color from purple to

black in September. The wind helps pollinate.

Catherine Hugues

Magistalis (magestics): minestral

wind that caused them to take off

their huge hats.

Finn McEoin

You learn to read the weather: one

wind, like the mistral, brings rain.

Florence Thurston

43

Expect the Unexpected

Artisans acknowledge and accept uncertainty with grace.

The individuals we interviewed drew knowledge from a diverse

range of sources, but they also expressed reluctance to accept that

knowledge until they personally validated it via future application.

Furthermore, they expressed little disappointment in the possibility

that unforeseen events could cause large-scale losses in any given

season.

There is an opportunity to:Facilitate the mindset of flexibility and anticipation

towards uncertainty in other sectors.

Balance certain organizations reliance on theory

with more pragmatic, future-oriented validation of

ideas.

How might we:How might we convince individuals to be more open

towards misfortune and/or foreign ideas?

How might we convince certain organizations to

integrate more practical, forward-thinking theories to

balance currently used ideas?

Potential design ideas or scenarios:Create a crisis intervention book that has a large

amount of information on how to recognize certain

absurd situations and solutions to them.

Design distributable literature (pamphlets,

brochures, post cards) that touch on the intricacies

of traditional practices and inevitable challenges that

will arise.

Use music (live or recorded) within a busy and

stressful environment such as a public transportation

station to instill a sense of calm.

INSIGHT 5[About the flies that come sometimes and ruin the

trees] We have traps in the fields, and everyone

writes down what they find and share amongst the

local farmers.

Catherine Hugues

I would be as happy or as sad

elsewhere. You can decide all

things.

Matthieu Ronchi

Snow, rain, I dont care, Im just

looking for that [buried artifact].

Jean Pierre Soalhat

44

Seasons (nature and people)

Seasons are the overarching driver of food artisans activity.

While certain seasonal factors might be common knowledge (e.g.

harvest of grapes and olives occurs in late summer/early fall),

many other processes also align with seasonal cycles. Summers

are dry, but also loud because it is the time when tourists inundate

the Provenal region. Winters are quiet and involve proportionately

fewer agricultural responsibilities; this is a time for reflection and

planning. Occupying alternate mindsets in this seasonally cyclic

manner appears to be one characterization of the Provenal food

artisans we spoke with.

There is an opportunity to:Visualize full seasonal variation in local climate and

activity for temporary residents.

Export some principles of seasonality to areas less

subject to calendar-year environmental shifts.

How might we:How might we convey the feeling of a full seasonal

cycle to visitors or temporary residents?

How might we reframe the perception of

unproductive seasons in the minds of non-

agricultural workers?

Potential design ideas or scenarios:Organize businesses to work around the changes in

seasons.

Create a biodynamic manual to educate new

farmers about the rotation of crops and cohabitation

of plants within the seasons to make the most

natural use of the seasonal cycle.

Create a series of infographics that draw metaphors

between seasonal farming patterns and generalized

business processes, thereby creating an efficient

cycle.

INSIGHT 6It beginds in winter, cut the vineyard, prepare wood

for burning, clean ground, repair the tractor, sell

the wine too, prepare mentally for next year (new

direction, changing, new grapes, take up animals or

not), theres time, its more quiet

Matthieu Ronchi

For me, provence, its something

strong. its a hard life. cold winter,

hot summer.

Jean Pierre Soalhat

Im watching all the time.

The birds are always changing here.

The timing, the plants here.

Finn McEoin

45

ONE FULL YEAR

INSIGHT 6 MAP

46

OPPORTUNITY MAP

HOLISTICCONDITIONS

CONTEXTUALEXPERIENCE

FAMILY

EXPECT THE UNEXPECTED

INSIGHT

OPPORTUNITY

HEALTHYRELATIONSHIP

TO CHANGE

Family

ContextualExperience

HolisticConditions

Expect theUnexpected

Wind

I N S I G H T # 1

I N S I G H T # 6

I N S I G H T # 5

I N S I G H T # 3

I N S I G H T # 4I N S I G H T # 2

12

3

4

5

6

7 8

Seasons (Nature & People)

9

10

11

12

1314

1. Blur distinction between producer and consumer roles.

2. Expand sensory engagement.

3. Align product consumption with ideal context.

4. Tell stories via product experience.

5. Accept reliance on system factors.

6. Influence system outputs indirectly.

7. Merge familial and economic relationships.

8. Convey artisans fulfillment from positive relationship with family.

9. Promote appreciation of local winds.

10. Harness wind power.

11. Stay calm.

12. Validate ideas with testing.

13. Convey the value of seasonal cycles to visitors.

14. Emulate natural seasonal work cycles.

Healthy Relationship to Change

Our overarching impression of the interrelationship between nature,

culture, and food artisanship was that is it characterized (at least

in part) by a healthy relationship to change. Thus, an opportunity

exists for individuals in different walks of life to assume this

mentality. When confronted with change, options for responding

include: resilience, adaptability, and transformability. Ultimately,

this amounts to accepting and positively experiencing both cyclic

change and outright uncertainty with grace. The following are

specific opportunities derived from the insights that emerged from

our research:

47

CONCLUSIONUltimately, the insights we developed led us to the realization that

they all contained a flavor of change. We suspect this healthy

relationship to change stems from close interaction with nature.

When confronted with uncertainty and adversity, we found

Provenal food artisans in acceptance of their dynamic context. An

appreciation for wind, contextual experience and holistic systems

indicated that this awareness and positive orientation to dynamic

conditions is present at multiple natural and social scales. At the

end of our research study, we asked again, What is the relationship

between culture, nature and food artisanship in the Provenal

region of France? Our research indicated that this relationship was

characterized by constant cycles of change and flexible responses

to change.

ADAPTABILITYRESILIENCE

FLEXIBILITY

TRANSFORMABILITY

[based on cul ture fami ly]

[based on learnings from nature]

[based on tradi t ion of craf t processes]




PRODUCT

NATURECULTURE



1

7

2

3

5 4

6

48

RECOMMENDATIONWhile it may seem like an evasion of specificity, we simply

recommend that individuals (food artisans or otherwise) consider

three response modes when confronted with unexpected changes:

resilience, adaptability and transformability. These responses

to change consist of maintaining course (despite disturbances),

appropriately adjusting processes, or completely altering ones

paradigm, respectively. In short, when change looms, individuals

should act with intent towards one of these three options.

49

EXHIBITION POSTERSContextual Research of Nature, Culture & Food Artisanship in Provence, France

51

WHAT IS THE RELATIONSHIP BETWEEN NATURE, CULTURE, AND FOOD ARTISANSHIP IN THE PROVENAL REGION OF FRANCE?Guided by an interest in human relationships with nature, our research team decided to align academic inquiry with the surrounding environment. We focused our research on the characteristics that define the interrelation-ships between nature, culture, and the cra of food artisanship. Through the process of contextual research, data analysis and synthesis, we gained insights and mapped opportunities for potential future actions.

NATURE

CULTURE

FOODARTISANSHIP

[ World views ]

[ Conditions ]

[ Cra ]


TRADITIONAL + NEW WAYS


PRODUCT

SCAD | SCHOOL OF DESIGN | Contextual Research

52

The main form of our research is defined as a case study. In this research methodology, we explore and describe a bounded system through a limited number of events, conditions and their interrelationships.

Additionally, our research had a participatory aspect. We recorded and analyzed our direct experiences with the products as we consumed them, engaging all of our senseswith intent.

RESEARCH METHODOLOGY & DATA COLLECTION

METHODS

We also applied an ethnographic lens to our investigation, observing artisans in their natural environment in order to sense their relationship with their surroundings. Essentially, we wanted to know how people lead their lives.

CASE STUDY PARTICIPATORY

ETHNOGRAPHY

Our approach to this contextual research project can be characterized as a mixed qualitative methodology.

QUALITATIVE RESEARCH

Our data collection methods for primary research included observation, semi-structured interviews, and personal explorations. Prior to this endeavor,

we sought information about our research question through academic journals, on websites,

news articles, books, and publicly available videos. This secondary research both underpinned our

primary research phase, and informed subsequent analysis of the data.

DATA COLLECTION METHODS


53

FIELDWORK: PRIMARY RESEARCH PROCESS

Luberon, we are one of the best parts of Provence.

Quality of life. It is tranquil and peaceful...My friends say I live in the middle of nowhere

and I love it!

REGION OFPROVENCE

PRIMARY RESEARCHDuring the primary research phase, we collected data directly from our locale. For reasons of consistency, we all used the same field guides. We held interviews with local artisans and consumers, observed environments, processes, and interactions, and personally evaluated products. Thus, the outcome of our primary research is a set of descriptions addressing our focus question from various perspectives. This rich data informed our next steps and ultimately led to the emergenceof our insights.

...What makes the product unique is how the cheese is fabricated.

I love to take care of my goats. I am happy

everyday...I am also very happy when I take a shower,

when I am tired.

Castelas olive oil business

Font Leale small winery

Fromages small goat farm

Aptunion manufacture of candied fruits

Gargantuapt small wine store

Leonidas a small gourmet candy store

J.C. Rousset small family-oriented candy store

Chteau La Coste vineyard with large, outdoor installations

APTLACOSTE

LES BAUXLE PUY-SAINTE-REPARDE


54

DATA MAPSVISUALIZING INFORMATION

LOCAL INTERNATIONAL

TRADITIONALMETHODS

INDUSTRIALMETHODS

LIMITED YIELD MAXIMUM YIELD

MONTHLY DAILY

LEARN FROM PAST FIELD OF STUDY

SELF MADE INHERITED

TIME INPUT

PRODUCTIONAMOUNT

CRAFTSMANSHIP

EXPERIENCE

EXPORT

BACKGROUND

PLANTING

GROWING

TREATMENT

COMPRESSING

HARVESTING

CRUSHING

DE-LEAFING

STORAGE

LABELLING

SELLING

TASTING

CLEANING

FARMING PRODUCTION PACKAGING MARKETING

HUMAN INTERACTION

MACHINEINTERACTION

LIFE CYCLE OF RAW MATERIAL

ARTISANS EFFORT TOWARDS THE PRODUCT

COMPARISON OF PRODUCTS FACETS

PRODUCT JOURNEY

As we completed our interviews, observations and participatory experiences, we placed these data on a giant working wall. In order to make sense of this plethora of quotes, notations and photographs, we absorbed and subsequently distilled the information into sticky notes. Layered atop the working wall, these sticky notes served as summary items from which the next round of data mapping could take place. Each researcher created two visual models they felt represented the situation, and we then reconvened to compare and discuss these models. Out of this discussion,we developed a subset of these sketches further in order to formulate a comprehensible narrative of our data.

ONE FULL YEAR

ONE FULL YEAR


55

INSIGHTS REPORT

Aer making meaning of the data, we revisited our original working wall and re-ainitized the information until categorical insights emerged.

DISCOVERING INSIGHTS

HOLISTIC CONDITIONSUntil the necessary systemic conditions emerge, neither process nor production scale of the artisans product alter.

FAMILYFamily is considered to be of the utmost importance.

WINDWind has deep cultural and agricultural implications.

EXPECT THE UNEXPECTEDArtisans acknowledge and accept uncertainty with grace.

PRESENTED TO

INSIGHTS

CONTEXTUAL EXPERIENCE

Perception of involvement in the process of product

creation is valuable.

SEASONS (NATURE & PEOPLE)Seasons are the overarching driver of food artisans activity.

ARTISANSPROCESS

PRODUCT CONSUMERS

BUY FROM


56

OPPORTUNITY MAP

CONCLUSIONUltimately, the insights we developed led us to

the realization that they all contained a flavor of change. We suspect this healthy relationship to

change stems from close interaction with nature. When confronted with uncertainty and adversity, we found Provenal food artisans in

acceptance of their dynamic context. An appreciation for wind, contextual experience

and holistic systems indicated that this awareness and positive orientation to dynamic

conditions is present at multiple natural and social scales. At the end of our research study, we asked, What is the relationship between culture, nature and food artisanship in the Provenal region of France?, our research

indicated that this relationship was characterized by constant cycles of

change and response.

HEALTHYRELATIONSHIPTO CHANGE

HOLISTICCONDITIONS

CONTEXTUALEXPERIENCE

WIND

FAMILY

EXPECT THE UNEXPECTED

SEASONS(NATURE &PEOPLE)

e.g. Convey seasonal cycles to visitors

e.g. Convey artisans fulfillment from family

e.g. Harness wind power

INSIGHTS


OPPORTUNITY

57

APPENDIXContextual Research of Nature, Culture & Food Artisanship in Provence, France

58

TEAM BIOS

NATHAN BECK

I am a person and love to serve people. All my pants

are too short and I wear flowers in my front pockets.

I am learning how to be a Service Designer at the

Savannah College of Art and Design. I am from the

Sunshine State, so the beach will always be my

home. Sunflowers bring me joy and butterflies make

me chuckle.

ABBIE FRANCISCO

Im from Rockford, Illinois located near Chicago. I am

a sophomore at Savannah College of Art and Design

majoring in Industrial Design and minoring in painting.

I have always loved both art and nature so being in

France has been the time of my life. My favorite word

is caddywhompus and despite the fact that I am tone

deaf, I will serenade any friendly face that welcomes

me, too. Rainy days are the best, spiders are the

worst, and puns make me laugh until I cry.

MARK HEMPHILL

I was born and raised in Cary, North Carolina, but

have been fortunate enough to live in Wisconsin, the

Netherlands, Portugal, Georgia, and currently France.

My academic background is math and physics, and I

worked in the healthcare IT sector prior to enrolling in

SCADs Industrial Design MFA program. My favorite

thing is water, and I would argue that the most

underutilized word in the English language is groak.

59

KATIE MURRAY

I was born and raised in Singer Island, Florida.

I am currently a sophomore at Savannah College of

Art and Design for Industrial Design. I have always

been interested in art and design. I dabble in making

objects and finding out how objects work, and I hope

to apply those skills to my major.

MONICA SEGGOS

I was born in Manhattan and raised in Connecticut.

I recently completed my Masters in Jewelry and

Objects at SCAD Savannah and am currently enrolled

in the Design Management eLearning program.

Prior to SCAD, I worked in the fashion industry as a

consultant, with the lifetime dream of becoming an

artist. As an entrepreneur, I am interested in applying

design principles to the business of creativity.

I am enamored by nature. Ever since I was a child, it

has been the guiding force in my life. SCAD Lacoste

has been one of the most spectacular natural

environments that I have ever experienced from the

wildflowers and birds, to the forests and wild animals.

RAQUEL SEREBRENIK

Born in Bogota, Colombia, I have always been

interested in how art and design affect our daily

activities. Because of this I decided to study at SCAD.

I wondered how we can use the past to enhance our

future so I started studying Art History the past,

and Design for Sustainability the future. I have

traveled around the world searching for cultures and

experiences. Gratefully Provence is one of them.

60

ISAAC TOONKEL

I am from a small town of Millbrook, New York,

located in the Hudson Valley. I am currently a

sophomore at Savannah College of Art and Design

majoring in Industrial Design and minoring in Design

for Sustainability. Being interested in Mechanical

Engineering, but having a classical approach to

drawing, made Industrial Design an avenue that just

seemed right. My admiration for the outdoors and my

sense of adventure is what led me to study here in

Lacoste.

MARCELO TORRES

I was born in Guayaquil, Ecuador, and have lived

there most of my life. I also lived in Florida for a year

when I was 6 years old. Art has interested me since

I was a young child, and I have always liked to

draw, but it was not until late in high school that

I heard about Industrial Design and decided that this

was exactly what I wanted to study. I am currently

a sophmore at SCAD and am pursuing a Bachelor

of Fine Arts degree in Industrial Design as well as

Business Management and Entrepreneurship and

Illustration minors. I enjoy outdoor activities, sports,

music and good conversation.

NICOLE WALSH

I was born in Panama, Republic of Panama and

raised in the Canal Zone area. I moved to United

States in 2008, where I finished my Bachelors of

Fine Arts in Digital Animation with my thesis in 3D

Architectural Rendering at UCF in Orlando, Florida.

After working in the Interior Design industry for three

years, I decided to go to SCAD and enroll in their

Design Management M.A. program. I have a great

interest in learning about the business world and

how it interacts with design. I love to cook and highly

believe that the best part of life happens around a

dinner table.

61

RESEARCH PROTOCOLS

Consent Form 1 Consent Form 2

62

Probing quest ions 1 Probing quest ions 2

63


64


65

Probing quest ions 7 Observat ion f ie ld guide cover

66

Observat ion f ie ld guide 1 Observat ion f ie ld guide 2

67

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the-country-candied-fruit-of-provence-sweet-tradition.html

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BIBLIOGRAPHY

INTRODUCTIONRESEARCH DESIGN & PLANNINGFRAMINGMETHODOLOGYECO SYSTEM MAPRESEARCH SUBQUESTIONSSECONDARY RESEARCH

PROJECT MATRIXTIMELINEFIELDWORKOVERVIEW LOCATION MAPOBSERVATIONSNOTE TAKINGPARTICIPATORY EVALUATIONMULTI-SENSORY OBSERVATIONSSEMI-STRUCTURED INTERVIEWSSAMPLES

WORKING WALLS (Final)WORKING WALLSPROBING QUESTIONSRESEARCH PROTOCOLANALYSISWORD CLOUDOLIVE PRODUCT JOURNEY MAPVISUAL MAP OF NATUREPRODUCT GRAPHPROCESS REPORTAFFINITY DIAGRAM

SYNTHESISINSIGHT 1INSIGHT 1 MAPINSIGHT 2INSIGHT 3INSIGHT 4INSIGHT 5INSIGHT 6INSIGHT 6 MAPOPPORTUNITY MAPCONCLUSIONRECOMMENDATION

EXHIBITION POSTERSAPPENDIXBIBLIOGRAPHY

contextual research process book lacoste spring 2014 final

Documents

research protocols

research subquestions

secondary research

research design planning

foundational research

contextual research

opportunity map

visual map of nature