Bioprinting

City
SAPIENS: A Methodology
for Understanding
Cooking

Culture
Creativity Gastronomy. First explanation
Design

Environment
Decoding
Method
(work in progress)
Food Being as it is an everyday activity closely linked to our senses,
Process
Food designing
our appreciation of gastronomy is largely based on the
satisfaction and the pleasure it provides us, on subjective
Food product
considerations according to which we simply like what we have
Food safety eaten to a greater or lesser degree. In other words, besides
Health considering its objective values, creative contributions, novelties,
Intelligent labels and understanding its professionalism or savoir faire, its special
gustatory combinations, we take for granted that the criterion
of personal taste is the most important factor.
Packaging

Printed food
Ferran Adrià Josep Maria Pinto Arranging for Understanding ery as it is told in compilations and surveys by an-
When elBullirestaurante became elBullifoundation thropologists, archaeologists and historians; indirect
Products on 30 July 2011, one of our first intentions was to sources that describe everything related to cooking

Project “Arranging and understanding further our work classifying cookery in order to
come up with a methodology that would enable
before the invention of the printing press. Indeed,
up until the fourteenth century there are no books
Proteins the past is essential in order us to completely decode and arrange our gastro- that reveal the work of cooks, their recipes or any
nomic knowledge. Starting from the fact that our conception of cookery that stems from the contents
Refuse to move forward. Order is first purpose was to get to know and understand our and classification of their works. The second starting
discipline in order to educate and innovate, when point therefore is found in recipe books and thematic
Senses
the fundamental premise for it comes to judging the main contributions to gas- works drawn up by cooks and other agents to plainly
Society
understanding what we are tronomy over time, we soon realise the significant describe their cookery or their knowledge of specific
Sociocultural absence of data and of a unified taxonomy in the gastronomic aspects. A look at the contents and in-
Strategy
talking about and for working history of gastronomy informing of its characteris- dexes of these books reveals that no consensus has
tics and its evolution, as a result of which objectivity existed to codify cookery, and no agreement has been
Technology efficiently” is impossible. reached by the various agents. Gastronomic knowl-
Urban agriculture
So, in order to devise this decoding we decided to edge may abound yet it is quite heterogeneous.
Ferran Adrià has been chef and co-owner of elBulli
restaurant until 2011. In 2011 creates the elBulli
begin by studying how cookery had been classified So why is it necessary to classify this knowledge?
Urban design
Foundation and in 2014 opened the elBulli LAB, and over the course of history, i.e. whether it had been Why is this classification so important?
Urbanism
develops the gastronomy process decoding. Doctor subjected to any systematic coding. By coding we Arranging and understanding the past is essential
Honoris Causa from the University of Barcelona,
mean an agreed arrangement or logical classification in order to move forward. Order is the fundamental
Waste and Aberdeen University.
of all gastronomic elements. premise for understanding what we are talking about
Waste of resources Josep Maria Pinto is a freelancer in the field of The evolution of gastronomy may be studied from and for working efficiently. Confused knowledge hin-
writing and editing. Since 1985 carries out two starting points. The first is the history of cook- ders efficiency, preventing and a comprehensive under-
writing and translation in the publishing world.
He collaborates with Ferran Adrià since 1997, with
whom he has prepared the texts of all the books
of elBulli.

11
31 ELISAVA Temes de Disseny
standing of the structures, processes and relationships
of disciplines. Order is essential, especially for formu-
lating complex ideas and tackling difficult processes.
Ordering means taking decisions, trying to un-
derstand how the different elements of disciplines
are grouped together. Ordering implies reflecting,
grouping, classifying, distinguishing, establishing
families—in short, forming categories that will al-
low us to understand the processes that define dis-
ciplines. Ordering is a way of encouraging chaotic
states that favour the flow of creativity. The Sapiens
methodology is the tool that enables us to tackle
our objective of understanding gastronomy so as to
create in different ways. In other words, we want to
understand in order to create again.
The Sapiens Methodology
We firmly believe that to maintain effectiveness and
efficiency in the fields of innovation and education
it is absolutely necessary to understand the differ-
ent stages of disciplines, and have therefore devel-
oped a methodology that helps us decode the most
important processes involved. Although our main
purpose is to decode and understand the genome
of gastronomy, Sapiens hopes to use it to decode
all other creative disciplines. This is why Elisava, in
collaboration with elBulliLab, is decoding design
following the parameters outlined in this text.
To begin with it is indispensable to ascertain the
questions raised by the discipline, which will enable
us to understand it: the what, how, when, where, who,
for what and why of all its processes, how they are
contextualised and how they interact. We call this
methodology Sapiens.
The Processes
The answers to the previous questions reveal that
there are thousands of processes (that can vary
greatly according to the discipline in question), each
one of which brings its defining elements into play. A
12
discipline can be decoded to a great extent through
these processes, moving from more to less, from
maximum to minimum, from general to concrete –
a company, a service, a concept, a specific product.
For instance, we may decode the processes involved
in mobile phone engineering as a discipline, but
we may also decide to decode the processes of the
Apple company, of the iPhone concept or even of a
specific generation of iPhone. In this sense, the cre-
ative, productive, experiential and commercial pro-
cesses of iPhone1, which were essentially disruptive,
have little in common with the more evolutionary
processes of subsequent generations of iPhones. To
give another example, we may decode the processes
involved in the making of champagne in general, or
those of a certain producer, Dom Pérignon, or even
that of a specific vintage year.
Studying a discipline’s processes can be an ab-
solutely boundless, infinite task—the fascination for
diversity. The processes involved in the making of
a large-scale painting will necessarily differ from
those required to make a small painting or a series
of paintings. Those that are involved in filmmaking
can diverge considerably in the case of a commer-
cial blockbuster, an animated film or an educational
documentary. When we speak of disciplines in the
field of science we start from a common methodol-
ogy, the scientific method, but even so the processes
involved in the work of biologists and physicists are
completely different.
Processes can be produced more or less simulta-
neously. In performance art, for instance, experiences
can be created, produced and perceived in parallel.
A painting can be conceived and made at one and
the same time, and experienced later. A menu can be
created in one phase, produced in another and ex-
perienced in a yet another. In the case of a complex
film production, successive processes can develop in
several phases.
The decoding of processes is the first premise for
approaching a discipline, for it helps us understand
it as it is produced, as it works, although it doesn’t
Ferran Adrià - Josep Maria Pinto SAPIENS: A Methodology for Understanding Gastronomy
tell us what has taken place in the story and how
the plot has developed, for which we need an evolu-
tionary analysis that will contextualise each finding,
each contribution, that will be set within a specific
time frame.
The understanding gleaned from processes and
from evolutionary analysis will then allow us to apply
Sapiens in two main areas: education and innovation.
– Education: understanding a discipline will help us
improve the quality of its teaching thanks to the
creation of didactic material, a new propaedeutics
that will structure curricula.
– Innovation: understanding a discipline and what
it has in common with others as regards pro-
cesses will lead to creative solutions that imply a
development from the point of view of creativity.
In other words, in this case Sapiens is used as a
creative technique.
“Creating isn’t reproducing;
the action of the cook
doesn’t match the
perception of the diner.
The processes must be
the backbone of the entire
discourse”
The Sapiens Methodology Applied
to Gastronomy in Restaurants
We have already pointed out that our first intention
was to apply the Sapiens methodology to gastronomy,
and more specifically to gastronomy in restaurants,
i.e. the professional restaurant industry that stems
from the tradition of culinary art and therefore at-
taches importance to the gastronomic element. As
mentioned, the Sapiens methodology can be applied
at different levels, ranging from the most general
(gastronomy in its broadest sense) to the most con-
crete (avant-garde restaurants, a chef ’s particular
style or a specific preparation).
For a start, it is a matter of knowing how to pose
the right questions for identifying the processes of
the discipline.
— Do we understand what we’re doing? We then go
on to decode the reproductive process of gastron-
omy in restaurants.
— Why do we do it? We reflect on our degree of in-
volvement in our activity.
— What was the origin of gastronomic restau-
rants? What was the origin of gastronomy? We
study the reasons that triggered the appearance
of our discipline.
— When did our discipline emerge? We study the
origins of gastronomy.
— How do we create? We decode our own creative
process and that of professional gastronomy in
general.
— How is what we create and reproduce perceived?
We examine the perceptions and reactions of din-
ers and decode the experiential process.
— How is it produced? We examine and apply the
decoding of professional gastronomy in the pro-
cess of traditional reproduction.
— Where did gastronomy first appear? We study
the places in which it emerged and developed.
— Who has been or is still influential in our dis-
cipline? We study the past development and the
present of gastronomy in restaurants.
13
 31 ELISAVA Temes de Disseny

PROCESO CREATIVO CULINARIO ACTORES

CONDICIONANTES QUE MARCAN
EL PROCESO

CONDICIONANTES CONDICIONANTES
AGRICULTORES
GANADEROS
PROFESIONALES PERSONALES
PROCESO AGRICULTORES
PESCADORES ... GANADEROS
GASTRONÓMICO PESCADORES ...

MENTAL Y EMOCIONAL
ELABORACIÓN QUE SE
PRODUCTORES CONVIERTE EN UN

The answers to these questions enable us to iden- Creative Process Traditional Gastronomic Experiential Process
PRODUCTO ELABORADO
TECNOLOGÍA PARA
PREELABORACIONES
BÚSQUEDA PROPIA
EN LA NATURALEZA

Reproduction Process
PROVEEDORES DIRECTOS PROVEEDORES DIRECTOS

tify the processes that define different moments, ap-

PRODUCCIÓN PROPIA - -
DISTRIBUIDORES DISTRIBUIDORES

Given that all that exists must The gastronomic process

proaches, points of view, intentions and attitudes: necessarily have been created, has actors who create and/
The following process is that
creating isn’t reproducing; the action of the cook
TECNOLOGÍA DE
ESPACIO DONDE
PROCESO
ACONDICIONAMIENTO
SE COCINA

the first gastronomic process or reproduce, and others

DEL ESPACIO

GASTRONÓMICO
of gastronomic reproduction, FÍSICO

doesn’t match the perception of the diner. The pro-

ACTORES

is the creative process, which during which what has been who receive the result of PRODUCTOS
ELABORADOS
PRODUCTOS NO
ELABORADOS
PRIMARIOS DERIVADOS

cesses must be the backbone of the entire discourse. we must learn in order to created is prepared. All those previous processes and SECUNDARIOS

TERCIARIOS
PRODUCTOS
improve creative efficiency. consequently have certain
TECNOLOGÍA PARA
PREELABORACIONES

They are so closely related that the connections that who reproduce do not
CUATERNARIOS

necessarily create. Strictly specific experiences, in which MANOS

emerge between them define and classify gastronomy.

HERRAMIENTAS

CONTEXT case we speak of experiential

TÉCNICAS

speaking, to reproduce means

TÉCNICAS TECNOLOGÍA
INDIVIDUALES

processes.

HUMANOS
RECURSOS
to follow a number of steps

ACTITUDES
Actors to reach a result that can ELABORACIONES

-Personal determinants Context

UNITARIAS

Processes in Gastronomy be served and consumed.

-Professional determinants TECNOLOGÍA
PARA OBTENER

INTELIGENCIA Y TALENTO
ELABORACIONES

We go on to draw up a taxonomy of the different ele-

PLURALES

Actors

CAPACIDADES
ments shaping each of the processes, which we shall Creative personality CONTEXT -Personal determinants ELABORACIONES
PLURALES

-Attitudes, abilities, habits, -Professional determinants

express in their respective charts.
ESTAS ELABORACIONES
SE TRANFORMAN SEGÚN SU USO EN:
SE COMBINAN LAS ELABORACIONES

virtues and/or faults Actors

CON O SIN PRODUCTOS

PERSONALIDAD
ELABORACIONES QUE FORMAN
PARTE DE OTRA ELABORACIÓN ELABORACIONES FINALES
QUE FORMAN PARTE DE LO QUE

CONOCIMIENTO
RECURSOS
-Emotions and feelings -Personal determinants Personality
SE OFRECERÁ O CONSERVARÁ

ECONÓMICOS

ESTRATEGIA
RECURSOS

HÁBITOS
HERRAMIENTAS DE
PRESENTACIÓN

-Intelligence and talent, culture -Professional determinants -Attitudes, abilities, habits, ELABORACIONES CONSERVADAS TECNOLOGÍA
DE EMPLATADO

and knowledge, philosophy virtues and/or faults TECNOLOGÍA

ELABORACIONES QUE SE VAN
A LA SALA O SE CONSERVAN

Creative personality

VIRUTES Y DEFECTOS
-Emociones y sentimientos
DE CONSERVACIÓN

FILOSOFIA
Resources -Attitudes, abilities, habits, -Emotions and feelings TRASLADO DE LAS

MAPA DEL PROCESO CREATIVO Extrinsic to gastronomy virtues and/or faults -Intelligence and talent, culture ESPACIO DONDE
TECNOLOGÍA DE
ACONDICIONAMIENTO
ELABORACIONES A LA SALA

SE DEGUSTA DEL ESPACIO

and creativity -Emotions and feelings and knowledge, philosophy

EMOCIONES Y SENTIMIENTOS
-Human resources -Intelligence and talent, culture ACTORES
REPETICIÓN DEL
PROCESO CULINARIO

-Financial resources and knowledge, philosophy Resources RECIPIENTES DE

PRESENTACIÓN

ACTOR/ES
C O N T E XTO C R E AT I V O
CONDICIONANTES QUE MARCAN -Recursos organizativos Extrinsic to experience TECNOLOGÍA
DE EMPLATADO

ORGANIZATIVOS
EL PROCESO CREATIVO

-Organisational resources Resources -Financial resources

RECURSOS
CONDICIONANTES CONDICIONANTES ELABORACIONES QUE SE SIRVEN ELABORACIONES QUE SE SIRVEN
V O
TI
PROFESIONALES PERSONALES (SIN INTERVECIÓN DE OTROS ACTORES) (CON INTERVECIÓN DE OTROS ACTORES)
EA CO

CE
SO
CR
AC
TIT
N
TE
XT
O
Intrinsic to gastronomy Extrinsic to gastronomy and -Organisational resources
- Products
UD
O

creativity
PR

ES
EL
L
DE

PR
OC
TO

ACTORES
INVESTIGACIÓN
ES

-Pre-production, production -Human resources Intrinsic to experience

SERVICIO DE LA ELABORACIÓN
EX

PREVIA A LA IDEA PARA DEGUSTAR

O
NT

CR
CO

EA

E CON TECNOLOGÍA DE
ENT SCI
TI

SERVICIO DE BEBIDAS
SCI
ACTORES

and preservation tools -Financial resources -Information supports

EN
VO

ON TE
INC
IN
TE

LO
O

BEBIDAS PARA ACOMPAÑAR

TIV

LI

OBJETOS DE APOYO
SR
CA

-Pre-production, production -Recursos organizativos Direct information

A LA DEGUSTACIÓN
GE

LAS ELABORACIONES
EA

TECNOLOGÍA DE SERVICIO,
EC
PA

ATENCIÓN Y EXPLICACIÓN
NC
R

UR
OC

AL COMENSAL
C
IA

I DA

SO
ES

TECNOLOGÍA DE
YT

and preservation techniques -Organisational resources Guidelines

SY
OC

PERCEPCIÓN Y ELABORACIONES ANTES DE SER

DE
AR

DEGUSTACIÓN
AL

MODIFICADAS POR EL COMENSAL

PR

LA
RE

S
AC

EN

PER
EL

R
PA

/technology Intrinsic to gastronomy Invitation

TO
NE

1 Experiential Gastronomy map

SON
AS
UCIO

NIC

PERD S
ALID
TÉC

- Products
EVOL

DE

-Serving, presenting and tasting Social networks

A
CIÓN

REPETICIÓN DEL
C R E AT
CT Ú A N E N TRE S Í . Y H A C E N Q U E

DORES / DESBLOQUEADORES

CREA

PROCESO CULINARIO
ONALIDAD CREATIVA
CULTUR

utensils -Pre-production, production Advertising, magazines

COMENSALES
DINERS
I VA I N T E R A CTÚ A N E N T R E S Í . Y H A
DEL PROCESO CREATIVO
RECURSOS

EL COMENSAL CUANDO LLEGA AL RESTAURANTE

PUEDE DECIDIR CÓMO VA A COCINAR EL COCINERO
(FILETE AL PUNTO, POCO HECHO, ETC.)
ESTRATEGIA

A Y CONOCIMIENTO

-Serving, presenting and tasting and preservation tools and/or newspapers

HÁBITOS

ELABORACIONES QUE SE
DEGUSTAN
CONSUMO DE LAS ELABORACIONES CONSUMO DE LAS ELABORACIONES

techniques/technology -Pre-production, production Indirect information

TECNOLOGÍA NO MODIFICADAS POR EL COMENSAL MODIFICADAS POR EL COMENSAL
DE LIMPIEZA
ACTIVA

Intrinsic to creativity and preservation techniques Audiovisual medium

INTERA

AR
AT I VA

CE

-Creative techniques /technology Personal and/or

CRE

N QU
CRE

ARA

-Control techniques -Serving, presenting and tasting professional

E VO
AD

VIR
SP

FIL
LID

LU C
I CA

TUD
OS
NA

v. 1.1 14/11/2014
N

ION
OF
ÉC
O

-Recording techniques utensils connections

ES
RS

ÍA
T

RU
PE

EL
/ D
RO

TIN
PR
A
YL

ST

-Initiators and releasers -Serving, presenting and tasting Conferences

OC

AS
FE
GI
OS

ES
RE

1 Reproductive system map

CT

CO
S

O
DE
UR

OS

CR

TID
AS
C
O

EA

techniques/technology Articles and/or press

RE
TIV

IC
TI

I AN

CN
S
EA

VO
LO

TÉ
CR

AS
E

M
O

OL

PHASES / STAGES Intrinsic to creativity Recommendations

OC
ES

TR
ON
C

IO
RO

C NE
DE
P

AS S
CO

NIC
EL

-Creative techniques -Booking tools

TÉC
N
D

SE
TE
O

NT XT
XT

Welcome reception CONSEQUENCES

IM O
TE IEN DE
N TOS L

END RESULT
CO

-Control techniques Telephone

PR
OC
ES

-Welcome taste -Appraisal

O
CR

-Intermediate preparations
EA

-Recording techniques Web

TIV
O

Standing or seated -Criticism

-Final preparations -Initiators and releasers -Transfer tools
-Offer -Dissemination
À la carte or menu
PHASES / STAGES PHASES / STAGES
-Beginning of the taste
-Decision to have the experience
-After-dinner conversation
END RESULT -Booking
-Payment
-Intermediate preparations -Transfer
1.1 14/11/2014
-Leave-taking
1 Creative process map -Final preparations -Entrance
-Transfer back to starting point

14 15
31 ELISAVA Temes de Disseny Ferran Adrià - Josep Maria Pinto SAPIENS: A Methodology for Understanding Gastronomy

MAPA DEL PROCESO DE MARKETING DE UN RESTAURANTE

ACTOR / ACTORES CONDICIONANTES PARA LA APLICACIÓN DE TÉCNICAS/MÉTODOS

CONDICIONANTES DE LA DISCIPLINA RECURSOS FINANCIEROS CONDICIONES SEGÚN ORGANIZACIÓN QUIÉN REALIZA LA CAMPAÑA DE COMUNICACIÓN ALCANCE DE LA COMUNICACIÓN TIPO DE CLIENTE DESTINATARIO IMAGEN QUE SE DESEA COMUNICAR PRODUCTO QUE SE DESEA COMUNICAR DURACIÓN DE LA CAMPAÑA SOPORTE
CONDICIONANTES

ETAPA 1 ETAPA 2 ETAPA 3 ETAPA 4 ETAPA 5 ETAPA 6 ETAPA 7 ETAPA 8 ETAPA 9

INICIO DEL PROCESO DISEÑO DE CAMPAÑA PRODUCCIÓN LANZAMIENTO TOMA DE CONTACTO DESPLAZAMIENTO CONSUMO CONTROL I AUDITORIA INFORME FINAL
DE EJECUCIÓN AL LOCAL

SI LA CAMPAÑA A SI LOS OBJETIVOS

GENERAR EXPECTATIVAS ESTRATEGIAS DE VENTA REFORADO O NO
PRIMER CONTACTO DEL POTENCIAL SE HAN ALCANZADO
DE LAS ELABORACIONES CUANDO EL CLIENTE A LA IMAGEN
CLIENTE CON EL RESTAURANTE SE RETIRA DEL RESTAURANTE
TOMA DE CONTACTO DE LA EMPRESA SI HA AYUDADO A
HERRAMIENTAS PARA CREAR CON EL DESTINATARIO QUE AUMENTEN LAS VENTAS
INVESTIGACIÓN ENVÍO A REPRODUCCIÓN LANZAMIENTO DE CAMPAÑA CONSUMO DEL PRODUCTO CONTROL FINAL DE
DE COMUNICACIÓN Y MARKETING CUANDO EL COMENSAL
ENSAYO Y ERROR: PROPUESTAS, VA AL RESTAURANTE LA CAMPAÑA DE COSAS QUE HAN DADO
BOCETOS, MAQUETAS, ETC. MARKETING COMERCIAL BUEN RESULTADO
RESPUESTA DEL
PRODUCTO QUE SE COMUNICACIÓN DEL PROMOCIÓN ESPECIAL COSAS PARA MEJORAR
NUEVO LOCAL CLIENTE A LA CAMPAÑA
QUIERE DAR A CONOCER PRODUCTO EN EL LOCAL
MODIFICACIÓN EN EL MENÚ ELEMENTOS
PROCESO CREATIVO MAQUETA, PRUEBA DE CRITICA / CREATIVIDAD A EVALUAR SOBRE LA CAMPAÑA
(RELACIÓN CON EL MAPA DISEÑO DE PIEZAS (INFLUYE O NO EN LA CAMPAÑA) ESTRATEGIAS PARA FIDELIZAR TÉCNICAS/MÉTODOS
SE RESERVA O NO USO DE IDIOMAS DE MARKETING
DEL PROCESO CREATIVO) DE COMUNICACIÓN EN ENVÍO A PRODUCCIÓN AL CLIENTE / COMENSAL DE EVALUACIÓN
LOS DIFERENTES SOPORTES EXPECTATIVAS ESPECIALIZADA SE CUENTA CON BASE AUTOSERVICIO TIPO DE SOPORTE EN SALA SISTEMAS DE PAGO
ÁMBITOS DE CONTACTO - PEDIR DATOS DE CONTACTO
ESCOGIDOS CONTROL FINAL ANTES DE DATOS DE LOS CLIENTES ESTRATEGIAS
PARA ENVIAR INFORMACIÓN
DE LANZAR LA CAMPAÑA NO ESPECIALIZADA DE ATENCIÓN ATENCIÓN PERSONAL VIRTUALES DEL RESTAURANTE
MENÚ DE TEMPORADA CANALES PARA CONTACTAR
EL RESTAURANTE ELABORACIÓN DE - ENTREGA TARJETA DEL ¿QUÉ SE BUSCA SABER? AUDITORIA FINAL DE LA
NUEVA ELABORACIÓN DISCURSO ESTUDIADO,
PLAN DE COMUNICACIÓN TEST DE CONTROL RESTAURANTE CAMPAÑA DE MARKETING SOBRE EL EQUIPO
EVENTO ESPECIAL O NO DEMUESTRA INTERÉS ACCESIBILIDAD ACERCA DE LAS CAPACIDADES METÁLICOS
EL COCINERO MEDIOS CIERTO PÚBLICO NO HUMANO DE TRABAJO
CONTRATACIÓN DE DE MARKETING POR MEDIOS DE DEL PRODUCTO
ELABORACIÓN DE MATERIAL DEMUESTRA INTERÉS MARKETING - INVITACIÓN FINAL DE LA CASA
UNA PRODUCTORA DE COMUNICACIÓN COMUNICACIÓN EN EL LOCAL
PERSONAL UNIFORMADO
APLICACIÓN DE TÉCNICAS
VIA CORREO ELECTRÓNICO UBICACIÓN O NO
PRODUCCIÓN PARA RECABAR INFORMACIÓN EXTERIOR /
MUESTRA INTERÉS FACHADA DEL LOCAL RESPUESTA DEL CLIENTE SEGÚN TIPO
IDEA: CONCEPTO PRINCIPAL PERO REQUIERE MEDIOS PARA A LAS EXPECTATIVAS EN SEGÚN TIPOS TÉCNICAS PARA
POR CURIOSIDAD POR TELÉFONO DE RESTAURANTE
DE CAMPAÑA DE MARKETING DE MÁS INFORMACIÓN LLEGAR MARKETING EN EL INTERIOR TODO EL PROCESO DE MARKETING DE CLIENTES RECAUDAR INFORMACIÓN
REPRODUCCIÓN SOPORTES CONTACTA PORQUE EXPECTATIVAS NO SATISFECHAS
PÚBLICOS ESTÁ DECIDIDO A IR INDICACIONES PARA
PERSONALIZADO SOLO DE FORMA PERSONAL SEGÚN TIPO
LLEGAR EXPECTATIVAS SATISFECHAS ENCUESTA PERSONAL
IDEA PORQUE YA DE CAMPAÑA DE
PORQUE LE GUSTA CONTACTA PARA TENER AL CLIENTE
CONOCE LA MARCA ACCESIBILIDAD DEL LOCAL/INGRESOS MARKETING
ANALÓGICOS PIEZA ÚNICA PRODUCCIÓN LA CAMPAÑA MAYOR INFORMACIÓN
TÉCNICAS DE ANÁLISIS O DIGITALES O REPRODUCIBLE CUESTIONARIO DE PREGUNTAS
POR CORREO ELECTRÓNICO
TÉCNICAS DE CONTROL
BUZÓN DE SUGERENCIAS

PROCESO CREATIVO
PROCESO REPRODUCTIVO
PROCESO EXPERIENCIAL

1 Map of the marketing process in a restaurant.

These four processes are studied separately (and we Areas Contents Activities
Economic sectors surrounding
therefore present them here in this way) in order to restaurant Menús Restaurants professional gastronomy
Commercial and Direct marketing industry Techniques Bars
Guidelines be better understood. Actually, the creative process Concepts Banquets According to the process we are addressing, gastron-
Marketing Process Cocktails
The commercial and
Invitation comes first in professional gastronomy, while the re- omy can enter into dialogue with various economic
Social networks education Courses Cookery schools
marketing process production, commercial and experiential processes Másters Laboratories sectors: public organisations, energy companies, the
Advertising,
contemplates studying
magazines have close ties and consequently the different elements Lectures
environment, health, education, culture, tourism, fi-
the possibilities and
and/or newspapers of their respective taxonomies coincide to a great ex- publishing sector Cook books Prizes
nance, marketing, the food industry, communica-
needs of the market Recipe books Competitions
and how to convey and
Indirect marketing tent. The preparation reproduced in the kitchen, for Leaflets tion, transports, etc.
Audiovisual
disseminate information.
medium
instance, is advertised in order to promote the restau- written press Newspapers -
Guides
Personal rant, providing the diner with the experience. Areas and disciplines that use
CONTEXT digital media Redes sociales -
Actors
and/or professional Sitios web gastronomy without entering
Conferences Portales
-Personal determinants into dialogue with it
Articles entertainment Radio programmes Festivals
-Professional determinants
and/or press After the Results of the Processes Television Television Fairs Some areas and disciplines use gastronomy in their
Recommendations If we want to complete the taxonomy of professional Documentaries
own creative processes, although without entering
Personality
-Attitudes, abilities, habits, gastronomy we must necessarily bear in mind that art Art works Exhibitions
into dialogue with it. The realm of the plastic arts,
PHASES / STAGES
virtues and/or faults besides the processes, the consequences of their re- Musical pieces Museums for instance, turns to motives and materials taken
-Beginning
-Emotions and feelings
of the execution process sults are also important in our activity. from cuisine and foodstuffs without gastronomy
-Intelligence and talent,
culture and knowledge,
-Design of the campaign being influenced by the creative process. Literature
philosophy
-Production Contents and Activities Types, Styles and Movements and film too are disciplines in which we find works
v. 1.1 19/11/2014 -Launching
-Establishing contact
The gastronomic process produces results that can The characteristics of the results of gastronomic inspired in gastronomy without dialogue exchange.
Resources
Extrinsic to marketing -Travelling to the restaurant be expressed in preparations that are sampled or else processes may lead us to group them together or re-
-Human resources -Consumption in written transcripts, recipes. The consequences late them to other results. After this analysis, we go
-Economic resources -Control and inspection
can be summarised in two grouped in two fields: on to identify different types of cuisine, styles and
-Organisational resources -Final report
Intrinsic to marketing contents and activities, divided into different areas. movements, which are examined by periods.
-Offer/Concept
-Marketing supports

16 17
 Creative analysis
Physical and historic context
Creative analysis map in Western gastronomy -Climate
MAPA ANÀLISI CREATIU A OCCIDENT -Model of society
-Type of diet
MAPA ANÀLISI CREATIU A OCCIDENT -Beliefs and religions
-Discoveries and colonisations
-Revolutions and wars
ACTORES Actors
-Types of agent
ORGANIZACIÓN Y GESTIÓN -Personal determinants
-Professional determinants

PRODUCTO NO ELABORADO Creative Personality

-Attitudes, abilities, habits,
PRODUCTO ELABORADO
virtues and/or faults
-Emotions and feelings
HERRAMIENTAS DE PREELABORACIÓN,
-Intelligence and talent, culture
ELABORACIÓN Y CONSERVACIÓN and knowledge, philosophy

TÉCNICAS DE PREELABORACIÓN, Resources extrinsic

ELABORACIÓN Y CONSERVACIÓN
to gastronomy
-Human resources
ELABORACIONES INTERMEDIAS -Financial resources
-Organisational resources
HERRAMIENTAS PARA EL EMPLATADO,
SERVICIO Y DEGUSTACIÓN Resources intrinsic
to gastronomy
TÉCNICAS PARA EL EMPLATADO, -Non-manufactured products
SERVICIO Y DEGUSTACIÓN
-Manufactured products
ELABORACIONES FINALES QUE -Pre-production, production
SE DEGUSTAN and preservation tools
-Pre-production, production
BEBIDAS and preservation techniques
/technology
TIPOS, ESTILOS Y MOVIMIENTOS -Serving, presenting
DE COCINA
and tasting utensils
-Serving, presenting and tasting
DIÁLOGOS techniques/technology

Resources intrinsic to
CONTENIDOS GENERADOS creativity (creative process
only)
ACTIVIDADES CONSECUENCIALES -Creative techniques
-Control techniques
-Creative recording techniques
-3.000.000
1.000 -2.000.000

1.100 -1.000.000

1.300 -100.000

-Creative tools
1.500 -10.000

-3.000
1.700 -2.000

1.750 -1.000

1.000

1.100

1.200

1.300

1.400

1.500

1.600

1.700

1.750

1.800

1.850

1.900

1.910

1.920

1.930

1.940

1.950

1.955

1.960

1.965

1.970

1.975

1.980

1.985

1.990

1.995

2.000

2.005

2.010

2.015
1.850 -900

-800
1.900 -700

1.910 -600

1.930 -500

1.940 -400

-300
1.950 -200

1.955 -100

-Initiators and releasers

1.975 100

1.980 200

1.985 300

1.990 400

1.995 500

2.000 600

2.005 700

2.010 800

2.015 900
1.965 0
1.200

1.400

1.600

1.800

1.920

1.960

1.970

Haute cuisine y cuisine

PHASES / STAGES
-400

-300

-200

-100

Cocina de los últimos veinte años

100

200

300

400

500

600

700

800

900

bourgeoise (1780 - 1903)

0

Edad de oro de la cocina clásica Nouvelle cuisine (1968-actualidad)

Haute cuisine y cuisine
End result
Arte culinario en la Edad Media hasta 1370 Arte culinario Arte culinario Arte culinario en la corte
bourgeoise (1780 - 1903) Cocina de los últimos veinte años
en la Edad Media del Renacimiento y cuisine bourgeoise (s. XVII - XVIII)
Paleolítico (-3 / -2,5M) Neolítico (10.000 - 3.000 a.C.)
europea a partir (s. XV - XVI)
Mesopotamia (3.600 - 629 a.C.) de 1370

Arte culinario en la Edad Media hasta 1370 Arte culinario Arte culinario Arte culinario en la corte
Edad de oro de la cocina clásica
Egipto (3.200 - 30 a.C.)
Nouvelle cuisine (1968-actualidad)
-Intermediate preparation
en la Edad Media del Renacimiento y cuisine bourgeoise (s. XVII - XVIII)
europea a partir
de 1370
(s. XV - XVI)
Culturas del Indio (2.500 - 1.800 a.C.)

China (2.200 - actualidad)

-Final preparation
Grecia (2.000-s. - I a.C.)

Hititas (s. XVIII - XII a.C.)

China (2.200 - actualidad)
Persia (660-330 .C.) Consequences of the results
Olmecas (1.200 - 400 a.C.)

Fenicios (1.200 - 539 a.C.) -Contents and activities

330 .C.)
-Types, styles and movements
Hebreros (s. XII - V a.C.)

Mayas (1.000 a.C. - 1.600 d.C.)

Roma (s. VIII-s - V d.C.)

Japón (660 a.C.)

-Economic sectors surrounding
Roma (s. VIII-s - V d.C.)
Mayas (1.000 a.C. - 1.600 d.C.)
professional gastronomy
Japón (660 a.C.)
-Areas and disciplines that use
gastronomy without entering
into dialogue with it
v. 1.2 24/11/2014

18 19
 31 ELISAVA Temes de Disseny
The evolutionary analysis of the history
of cuisine and professional gastronomy
In order to understand our discipline in its entirety it
is essential that we introduce a new parameter: chro-
nology. To place in the history of gastronomy each
new creation, each of the events that have shaped its
evolution, provides the time dimension we need for
the global understanding of gastronomy. To study the
subject, not only must we go back to the ages prior to
the establishment of restaurants in the late eighteenth
century 1 but back to the first human activities related
to food. In fact, we have realised that in order to fully
understand our discipline we must contextualise it
within the history of humanity and the development
of disciplines. Furthermore, if we don’t understand
the processes we will be unable to analyse the history.
Studying the history of gastronomy obliges us
to redefine the taxonomy drawn up for the pro-
cesses, as many of its elements are transversal. The
discovery of America and thus of its products, for
instance, influenced the creative, reproductive and
experiential processes. The history of cuisine and
of professional gastronomy must bear in mind the
following items:
Conclusions
One of the transformations gradually produced by
the realm of gastronomy that was sparked by the
culinary revolution in Spain was the possibility of
judging gastronomic creations following purely ob-
jective criteria instead of the subjective taste of the
agents receiving the offers. In this sense, contempo-
rary cuisine represents or decidedly hopes to rep-
resent the age of objectivity, knowledge and order,
1 In spite of certain precedents, such as the establishment
founded by Boulanger in Paris in 1765, whose importance
in the history of the restaurant industry is a central object
of study and discussion, there is general agreement in
considering the Grande Taverne de Londres, opened in
1782 in the same city by Antoine Beauvilliers, chef to the
Count of Provence (future King Louis XVIII), as the first
grand restaurant.
20
the elements that enable us to assign each creation
its true value and contextualise it within the history
of the discipline.
This new situation highlights a change of para-
digm, revealed thanks to this desire to understand
and classify. This broader and more global approach
has provided completely new viewpoints of various
aspects of the gastronomic phenomenon. Here are
some examples.
“When we speak of
disciplines in the field
of science we start from a
common methodology, the
scientific method, but even
so the processes involved
in the work of biologists
and physicists are completely
different”
If creativity has always played a key role in the
history of cooking, to date this creativity and the
creative process per se had hardly been propounded.
The analysis and knowledge of the different ele-
ments that come together in the creative process has
enabled this decoding, that results in greater effi-
ciency, effectiveness and creative longevity.
Having defined the taxonomies to which we now
apply the Sapiens methodology we have acquired a
new vision of gastronomy. A whole series of ques-
tions are slowly explained, clarifying the previously
unknown role played by each element in the gastro-
nomic process. Is wine a product? A preparation? A
beverage? Is a sauce a use or a preparation? Can we
consider cocktails and snacks as dishes? Why do we
usually classify them as such? What’s the difference
between a prepared product and a preparation?
Ferran Adrià - Josep Maria Pinto SAPIENS: A Methodology for Understanding Gastronomy
If nouvelle cuisine stood for the emancipation of tronomic delight and satisfaction has unfolded
chefs from the conservative recipe books of cuisine ‘without restaurants’. We should therefore be able
after Escoffier, in recent years the perspective that to imagine gastronomy without restaurants, and in
has acquired maximum prominence is that of an- this sense increasingly original formats will con-
other agent: the diner. The experiential process has tinue to emerge.
broadened his possibilities, weaving connections Gastronomy without restaurants, but what about
with the gastronomic process as a whole. For a start, gastronomy without tastes? Certainly. Whenever
the analysis of the process reveals that the role of we watch television programmes on cooking, read
the diner is no longer simply that of a passive sub- blogs on cookery criticism, use gastronomic portals
ject undergoing an experience, but also that of an or apps on the subject, or when we visit exhibitions
agent who cooks, i.e. someone whose decisions are on chefs we are consuming gastronomy.
not influenced by the chef and yet exert an influ- From the point of view of knowledge, the possi-
ence on the end result, the meal he will consume. bilities provided by the digital world and the Inter-
Choosing dishes from a menu is a decision, as is or- net are boundless and offer us new ways of access-
dering the desired cooking point for meat, or ask- ing and classifying this information. Curating and
ing to be served a salad without one or more of its classifying this knowledge following the Sapiens
ingredients. At the table, numerous situations can methodology, which, as we have pointed out, can
arise in which the diner’s decisions are absolutely be used in education and in innovation, will extend
determinant for the outcome: the cooking time of its influence to chefs, restaurant professionals and
meat and the accompanying sauce in a fondue, the diners, who now consume gastronomy fully aware
way in which he spreads tomato on a piece of bread of what they are experiencing. As we are not facing
and how much olive oil he will add to it, whether a future projection but a reality, we can no longer
he will eat the cured ham together with the bread understand gastronomy without this knowledge of
or separately, etc. The examples are countless. Even its history, of its processes and characteristics.
in avant-garde gastronomy, where there seems to be
less margin for choice, the diner can complete dishes,
decide the proportions or the order in which he will
combine the products and preparations that make up
a dish, whether he will take one mouthful or two, etc.
Awareness of this reality will necessarily alter our un-
derstanding of the gastronomic phenomenon.
The concept of restaurant can be legitimately called
into question. Even though the term ‘gastronomy’ has
only been in use for about a couple of centuries,2 the
gastronomic attitude can be traced back to the age of
civilisations at the very least. Even so, the first gas-
tronomic restaurant is barely two hundred years
old, which means that most of the history of gas-
2 The term gastronomie first appeared in 1801 in a poem by
Joseph Berchoux, but was popularised in 1826 following
the publication of La Physiologie du Goût by Jean
Anthelme Brillat-Savarin.
21