CONTEXTUAL RESEARCH

OF NATURE, CULTURE &

FOOD ARTISANSHIP IN
PROVENCE, FRANCE
IDUS 215/711 METHODS OF CONTEXTUAL RESEARCH
SPRING 2014, LACOSTE

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SOURCE: toptravellists.net

IMPRESSUM
Project 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

DEDICATION
This project is dedicated to the people of Provence, without whom
neither our schoolwork nor our own personal cultural development
could have taken place.

ACKNOWLEDGEMENT
First 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.

CONTENTS

Introduction
RESEARCH DESIGN & PLANNING
Framing
Methodology
Eco System Map
Research Subquestions
Secondary Research
PROJECT MATRIX
Timeline
FIELDWORK
Overview Location Map
Observations
Note Taking
Participatory Evaluation
Multi-Sensory Observations
Semi-Structured Interviews
Samples
Research Protocols
Probing Questions
Working Walls
Working Walls (Final)
ANALYSIS
Word Cloud
Olive Product Journey Map
Visual Map Of Nature
Product Graph
Process Report
Affinity Diagram
SYNTHESIS
Insight 1
Insight 1
Map
Insight 2
Insight 3
Insight 4
Insight 5
Insight 6
Insight 6
Map
Opportunity Map
Conclusion
Recommendation
EXHIBITION POSTERS
APPENDIX
Team Bios
Research Protocols
Bibliography

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INTRODUCTION
In 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.

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

RESEARCH DESIGN & PLANNING

FRAMING

TARGET AUDIENCE
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

TITLE OF STUDY
Food Artisanship: Relationships Between Nature, Culture and Craft.

MAIN RESEARCH QUESTION

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

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

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

Provenal region of France?

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

SUBJECT OF STUDY
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.

PROBLEM STATEMENT
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.
8

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.

PURPOSE

SIGNIFICANCE OF STUDY (for the larger community)

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

A characterization of the relationships between nature, culture and food

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

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

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

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

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

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

analysis and synthesis, insights were gained and opportunities identified for

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

creating a new model of interaction.

their existing perspective on artisanal foods. Furthermore, this study can provide
the younger generation seeking to get involved in their local food industry with

SCOPE

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

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

involved in the craft.

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.

OPPORTUNITY STATEMENT

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

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

artisans included the growers, farmers and producers. People relationally

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

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

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

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

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

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

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

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

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

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

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

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.

SIGNIFICANCE OF STUDY (for design students)

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.

METHODOLOGY
RESEARCH METHODOLOGY
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.

DATA COLLECTION METHODS

Observation
Interviews
Personal Exploration

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ECO SYSTEM MAP

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
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diagram. These three circles established seven categories of study:

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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

CULT URE
[worldviews]

secondary research findings could be mapped.

TR ADI TI ONS
+ NEW WAY S

ENV I R ONM ENTAL

I M P ACT U P ON
P R ODU CT

[craft]

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[conditions]

ART ISANSHIP

A RTISANSHIP

NAT URE

E N T I T I E S

C U LTU R E

AWAR ENESS
+ B EI NG I N
TU NE WI TH
CONTEXT

NATURE

RESEARCH SUBQUESTIONS
CULT URE

N ATU R E

ARTISAN SH IP

What is the region most proud of?

What is the craft of food artisans?

What is most important to them?

Why are they doing it?

What are the challenges and

What are they getting out of it?

What are the conditions of the

natural environment?

opportunities?

ARTISA N S H IP

C U LTU R E
CULT URE

A RT I S A NS HIP

TRADITIONS +
NEW WAYS

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?
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ART ISANSHIP

NAT URE

ENVIRONMENTAL
IMPACT
UPON
ART
ISANSHIP
PRODUCT

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?

C U LTU R E

N AT U R E

N ATU R E

AWARENESS +
BEING IN TUNE
WITH CONTEXT

How connected are artisans to their

natural environment?

ARTISAN + NATURE
+ CULTURE

What kind of person does the food

artisan become due to living in the
nexus of nature, culture, and craft?

SECONDARY RESEARCH
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.)

Provenal 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.)

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1

CULTURE
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.)

AWARENESS
+ BEING IN
TUNE WITH
CONTEXT

[worldviews]

NATURE
[conditions]

TRADITIONS
+ N E W W A YS

E N VI R O N M E N T A L
I M PA C T U PO N
PR O D U C T

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, semicentennial frosts, and inundations) (Lasceve,
2011; Monnier et al, 2012.)

ARTIS ANS HIP

[craft]

Space (as exemplified by soil) and time

(notably, traditional methods of preservation)
heavily influence the artisanal definition of
product authenticity and quality (BeckettYoung, 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.)

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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.)

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

PROJECT MATRIX

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WHY DO WE
WHAT DO I
WHAT TYPE OF
WHERE CAN I
NEED
TO KNOW DATA
NEED TO KNOW?
IS
NEEDED?
FIND
THIS DATA?
THIS?

WHO DO WE
CONTACT?

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 locals

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

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

Florence Thurston,
Marie Bayol

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

Florence Thurston,
Marie Bayol

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

Strategies
Processes
Heritage
Family traditions

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

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

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?

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WHAT TYPE
OF DATA
COLLECTION
METHODS?

Traditional methods of
the producers
Novel techniques
Change mechanisms
Epistemology

Artisans
Secondary research

Personal interviews
Observations
Secondary research

Personal interviews
Secondary research

Interviews
Secondary research

Interviews
Observation

Interviews
Observation

Florence Thurston,
Marie Bayol

Florence Thurston,
Marie Bayol

Florence Thurston,
Marie Bayol

Florence Thurston,
Marie Bayol

Florence Thurston,
Marie Bayol

WHEN DO WE
NEED TO KNOW?

WHAT ARE WE
TAKING AWAY?
WHAT ARE WE
LEARNING?

WHAT MIGHT WE
BE MISSING?

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

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

Week 5

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)

Week 4 and 5

Resilience of artisans
Validity of beliefs and
to nature and
accurate conveyance
adaptability of artisans
of memories
to nature

Week 5 and 6

Cultural resilience
of artisans, cultural
Holistic stories
Scale
adaptability of
artisans, and traditions Meaning
of artisanal processes

Week 5

Identity with nature,

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

Appropriate people
(subjects)
Well-worded
questions

Week 6

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

TIMELINE
8 days

INITIAL RESEARCH PROJECT QUESTION

6 days

ECOSYSTEM MAP + SECONDARY RESEARCH

4 days
7 days

RESEARCH STUDY SUBQUESTIONS

WORKING WALL - SECONDARY RESEARCH
5 days
3 days

P R O J E C T M AT R I X
RESEARCH PROTOCOLS
5 days
2 wks

PA R I S
FIELD RESEARCH
7 days

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 VAT I O N S
1.2 wks

WORKING WALL + INSIGHTS

1.2 wks

D I G I T I Z E D D ATA M A P S
6 days

OPPORTUNITY MAP
3 days

D I G I T I Z E A L L D ATA
PROCESS BOOK

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APRIL
April 1
Project Start

16

MAY
Field Research
Finished

Digitization of
Data Finished

Process Book
Finished

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

FIELDWORK

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OVERVIEW LOCATION MAP

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.

In 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

GargantuApt is a small wine

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

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

Leonidas is a small gourmet

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

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.

J.C. Rousset is a small family

oriented candy store located in
Apt 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.

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.

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Castelas is an olive oil

buisness located near
Les Baux. They produce
high-end olive oil from
their on-site olive
orchards.

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

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

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.

Fromages is a small goat

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

OBSERVATIONS
Observing 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

D i spl ay at Cast elas olive oil

Apt Union candy m useum

Fr esh goat cheese

Goat farm

Apt Union candy m useum

Display at Cast elas oli v e o il

Font Lal e winer y

Apt candy st or e

G oat s at f ar m

A pt candy st or e

Apt Union candy m useum

Font Lale bar r els

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.

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NOTE TAKING

20

Along with our more objective observations, we wrote

Before every visit, we were given field guides to help

From there, we used our fields guides as a reference

down everything our senses encountered. We made

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

to digitize all of the information gathered. We

sketches and personal notes of what we saw, felt,

reason, these field guides were not used during an

communicated the digitized information through

heard, smelt, and tasted. Sometimes even wrappers

interview or observational field trip, we transfered our

Google Drive amongst ourselves in order to

or take-aways made their way between the pages of

notes from our notebooks and sketchbooks to the field

collaborate efficiently.

our notebooks.

guides afterwards to help organize the information.

PARTICIPATORY EVALUATION
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
G oat cheese pizza f r o m A n t o n ie s

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.

C astel as olive oil display

Candy f r uit past e at H e d ia rd s

C andy fru it conf it at Apt Union

W i ne cave at Font Lale

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Tast e t est ing candy f r uit f r om Apt Union

Tast e t est ing olive oil a t Ca s t e la s

MULTI-SENSORY OBSERVATIONS
A FULL SENSORY EXPERIENCE
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.

Apt Union

Les Baux en Pr ovence

Font Lale winer y

G oat cheese

Apt Union

Font Lale winer y

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.

22

SEMI-STRUCTURED INTERVIEWS
Our interview process consisted of a professional,

This is the cowline. Everything north of the line is

yet casual environment. Starting off with polite

introductions, we created a friendly common ground

cows and butter. Everything south of the cowline is

For me, Provence, its something

by asking simple questions, thereby sparking

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

strong. Its hard life, cold winter, hot

conversations. After this step, we went over the consent

most of year there is no grass.

summer.

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

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

Jean Pierre

Finn McEoin

Moving ahead with the interview itself, we began by

asking questions based on our prepared interview
questions. To maximize efficiency, we interviewed

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

in small groups, which allowed us to divide tasks

positivity and new growth.

between ourselves; while one person was asking the

Florence Thurston

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

Tenacious, courageous, passionate. I started with nothing.

I defend my techniques, my way, but

interview data was then digitally transcribed as soon as

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

I respect others way of doing.

possible.

complete the work, so you have to be passionate.

Mathieu Ronchi

Micheline Perrier

I took all the courses possible to learn about olive trees and olive
I use my arms to make my pizza.
There are some machines, but it is
better when done by hand.

23

Antoine

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

SAMPLES

Antoine

Catherine Hugues

Micheline Perrier

Marie Bayol

(Antoine Pizza Truck Owner)

(Castelas Olive Oil)

(Fromage Goat Cheese)

(SCAD Employee)

Antoine was born in Provence, working as a

Catherine was born and raised in southern

Micheline was born in Lyon and subsequently

Born and raised in the south of France, Marie

builder for 30 years before moving into the

France. She went to the United States

moved to Provence. She and her business

studied communications in Venice, Italy, and

pizza business seven months ago. He learned

to study biochemistry, living there for 15

partner started the goat farm 30 years ago.

Nice, France. She has put her studies and

his craft by himself while practicing in his

years. She and her husband eventually

She has been working seven days a week

knowledge of the land to good use helping out

home. He drives a pizza truck around various

returned to France in order to raise their

since then. She makes the goat cheese and

SCAD in Lacoste. She does everything from

towns in Provence, creating new and exciting

children. Catherines husband was raised

delivers it to all of her customers, most of

driving students and planning trips to passing

recipes for his hungry customers.

on an apple farm and she was raised on a

whom have been loyal to her for 20+ years.

out candy.

vineyard, so they decided that olive oil was

Micheline is also very attached to her goats,

an appropriately similar, yet sufficiently novel

even going so far as saying that they are her

agricultural endeavor for them. Their first

children.

batch of olive oil won a gold medal.

24

SAMPLES

Matthieu Ronchi

Florence Thurston

Finn McEoin

Jean Pierre Soalhat

(Font Lale
Wine)

(SCAD Employee)

(Lacoste gardener)

(SCAD Employee)

Matthieu was born in Provence. He currently

Florence was born and raised in Paris. She

Finn was born and raised in Ireland. Once

Jean Pierre was born and raised in the south

owns the vineyard, Font Leale, which was

has fond memories of summering in the south

he came to Provence, he made the decision

of France. He is an artist, historian, and

passed down to him by his father and sister in

of France, traveling down from Paris via the

never to move back to his home country. He is

mayor of his town. He is employed at SCAD,

2012. The vines that grow at this vineyard are

Autoroute du Soleil, (the A7.) Eventually,

currently employed as the gardener for SCAD,

along with his wife Hlne. He has been part

typical of Provence: Syrah, Grenache, Rohl-

she moved to the United States, had two

doing so in an exclusively organic manner. He

of the restoration of the SCAD buildings in

De Martino [Merlot, Cabernet] and varieties

sons and worked as a French teacher. She

is a vegetarian who eats only organic foods.

Lacoste, most notably Maison Basse. He has

from Bordeaux. He studied math and physics

returned to France in the Fall of 2013 to work

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

two children and is currently studying Greek,

in college and currently focuses most of his

for Savannah College of Art and Design at

favorite drink is coffee, and he once sold

because he plans to explore the archaeology

free time on carpentry. His primary role is to

Lacoste, where she is currently employed

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

of Greece when he retires.

direct the production at Font Leale, but he

as a Student Services Coordinator.

Euro.

also occasionally goes out to work in the field.

25

RESEARCH PROTOCOL
Informed Consent Form

Contextual Research Field Guide

Subjective Observations

People

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

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:

Objective Observations

Eyes

Brain

Ears

Mouth

(e.g. other customers, artisans, etc.)

Events (i.e important moments)

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

Artifacts(e.g. signage, packaging, tools, etc.)

What makes Provence special for your product?

(e.g. flow of people, sampling, etc.)

Behaviors

What is quintessentially Provencal?

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

Nose

the above methodsto be used in an educational setting.

Heart
Interactions

Other

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.

Why do you like to live here?

Hands
Feet

_________________________________ _________________________________
Printed Name
Signature

_______________________________________
Lacoste, France
Date

Cons ent f or m

2. What are the conditions of the natural environment?

Notes on photos & video

If lost, please return to: ___________________

Phone: ________________________________
E-mail: ________________________________

Fi el d gui de

How do seasons/weather affect the product?

What is a year like?

What is your favorite season?

Sketch

Fi eld guide

Field guide

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?

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?

What are the seasons here like, and how do they affect _____(product)?

How long have you been in this business?

6. How connected are vintners to their natural environment?

How do you engage with nature?

What do you do outside and why?

3. What is the craft of the producers? Why are they doing it? What are they getting out of
it?

Describe your product.

Pr obing quest ions

What happens if something (ie bad weather) goes wrong?

What type of education is needed to be in this business?

What do you do personally know about the nature?

Are the recipes passed along through generations?

How do you spend your time off?

What about Provence makes your product unique?

What are the local flora and fauna (local plants and animals)?

How many different types of ______ do you grow/raise?

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

Would the product be different if it was produced anywhere else?

Have new processes changed your methods?

If I asked a neighbor what would they say about you?

What time of year is _____ most popular? What is your best season for selling?
What is the yield in a typical year?

How would you describe yourself?

What are examples of things that affect the flavors of______?

P r obing que s ti o n s

26

Have you changed methods? Good/bad outcome?

What is your relationship with the other producers of ______ in this region?

P robi ng questi ons

P robing quest ions

Pr obing quest ions

How would I know that you are happy?

Pr obing quest ions

PROBING QUESTIONS
Probing questions (categorized by research subquestion):

What type of education is needed to be in this business?

How do you acquire your recipes/processes?

1. What is the region most proud of? What is most important to them?

Have you changed methods over time? Good/bad outcome?

What are the challenges and opportunities?

What makes Provence special for your product?

6. How connected are artisans to their natural environment?

What is quintessentially Provenal?

How do you engage with nature?

Why do you like to live here?

What do you do outside and why?

What do you personally know about nature in this region?

2. What are the conditions of the natural environment? What is a year like?

How do you spend your time off?

What is your favorite season?

What are the local flora and fauna (local plants and animals)?

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

3. What is the craft of the producers? Why are they doing it? What are they getting out of it?
Describe your product.

How would you describe yourself?

How many different types of ______ do you grow/raise?

How would I know when you are happy (as an outside observer)?

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?

27

If I asked a neighbor what would they say about you?

WORKING WALLS
We 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.

28

WORKING WALLS (Final)

29

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

ANALYSIS

30

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.
31

OLIVE PRODUCT JOURNEY MAP

By analyzing the process of the olive, we understood how people

MACHINE
INTERACTION

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

HUMAN
INTERACTION

the product enters the marketing stage that physical interaction

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

FARMING

PRODUCING

PACKAGING

MARKETING

STORING

SELLING

LABELLING

TASTING

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.

32

PLANTING

COMPRESSING

GROWING

CRUSHING

TREATING

CLEANING

HARVESTING

DE-LEAFING

VISUAL MAP OF NATURE

The blooms begin to grow in May. Only 5 10%
Life 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

of the blooms actually produce olives. The

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

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

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 milk for the cheese (yellow) are productive all year round
in an endless cycle.

I have been working for 30 years.

No holidays.
Michelline Perrier

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

LIFE CYCLE
OF RAW MATERIAL

ARTISANS EFFORT
TOWARDS THE PRODUCT

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

Fruits

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

Cheese

Fruits

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

Grapes

cheese production is also on an annual cycle.

ONE
FULL YEAR

ONE
FULL YEAR
Olives
Grapes

Cheese

Olives

33

PRODUCT GRAPH
Olive Oil

This graph shows and compares four products that are important to

Fromage

Wine

Candied Fruit

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.

Self Made

Inherited

Seasonally

Daily

Background

The placement of each products corresponding dot is based off the

generalization of qualitative information collected from a variety of
participants.

Time
Input

Production
Scale

Castelas is a husband-wife-owned company.We

started the company from scratch and have constantly

Craftmanship

Limited
Yield

Industrial
Scale

Traditonal
Methods

Industrial
Methods

Experience

Learn from
Past

Field of
Study

Export

Local

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

34

International

PROCESS REPORT
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. 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.

35

AFFINITY DIAGRAM
Interactive processes

Technology

Production

Learning about
the craft
Changing business

Education
Highly educated

Working into
the future
Interaction
Presentation

Techniques
Modernization

Knowledge

Use of machinery

Samples

Taste
Displays

Showing

Senses

Holistic conditions
Experience within
context

Independent
Family
History

Community

Seasonal
change

Dry
Quiet

Culinary traditions

Wind
Variety

Calendar

Family Is important
W OR KIN G WALL

36

Seasons

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

SYNTHESIS

37

INSIGHT 1

Everyone in the tour was curiously looking around,

Bread changes as you go

Contextual Experience

north. Here in Provence its

blotting paper to soak up the

Perception of involvement in the process of product creation is

olive oil and garlic.

valuable.

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

Finn McEoin

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

Also some treatment with copper and sulfur on

leaves with the tractor, could buy a horse for

and auditory runthrough of the creation process leads to a more

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

fulfilling consumption experience, in that it lends an impression of

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

look nice for tourists.

Matthieu Ronchi

they espouse).

There is an opportunity to:

How might we:

Potential design ideas or scenarios:

Blur the currently crisp boundary between producers

How might we involve the consumer in the

Create interactive tours in which the consumer

and consumers of goods.

production process of artisanal goods?

becomes directly involved in one or more phases

of the physical production process (packaging,

Extend the consumer experience into a wider range

How might we introduce new senses into the

planting, processing, sorting, distributing, etc.)

of senses (gustatory, olfactory, visual and even

consumer experience, or make higher quality use of

To enhance the consumption of the product, alter

temporal).

the time they spend throughout that experience?

packaging to evoke notions of the ideal scenario in

which to consume the product.

Align the consumption of products with their ideal

How might we match the consumption of products

Create a service that takes your context and

contexts.

within their context(s)?

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).

38

INSIGHT 1 MAP

PRODUCT

CONSUMERS

CREATES

BUY
FROM

PROCESS

39

RAW
MATERIAL

ARTISANS

INSIGHT 2
Terrior soil has its own properties and conditions
Holistic Conditions

Little by little, young people

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

come to do hand made.

Provence brand.
Florence Thurston

Matthieu Ronchi

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

French cuisine was totally changed by

environmental serendipity. By this we mean that artisans relied

Catherine Medici. She was probably

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

Frances best import. Ever.

Finn McEoin

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:

How might we:

Potential design ideas or scenarios:

Acknowledge artisanal food products reliance on

How might we recognize that evolution of the

Create new codes and regulations to broaden the

systemic readiness.

artisanal food products and processes is dependent

geographic relevance of French product standards

on integral conditions?

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

Indirectly influence artisanship through upstream

interventions directed at systemic conditions.

40

fluidly linked to the exact standards of France.)

How might we positively influence the artisanal

Offer a community college course focusing on the

process indirectly by modifying certain systemic

processes and regulations that contribute to defining

conditions?

Provenal goods.

INSIGHT 3
Learned winemaking from father (and sister):
I like to go fishing and stroll with

Family

my family in the mountains.

Antoine

Family is considered to be of the utmost importance.

learned all together, begin with little quantity, then

scale, then bring in technical logistics consultant, do
analysis on wine.
Matthieu Ronchi

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

Came back to France to raise children

ones parents could contribute to the practice of older children

and decided to start olive farming.

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

Catherine Hugues

appears: people simply love their families.

There is an opportunity to:

How might we:

Potential design ideas or scenarios:

Tap into existing familial connections to deepen

How might we broaden economic networks through

Create labels that display more heritage and

economic or more peripherally social relationships.

genealogy?

genealogy regarding a products past (e.g. the

people who made and shaped the product).

Convey the fulfilment artisans receive from their

How might we demonstrate the value of family within

Create an environment that allows for an intimate

familial relations more obviously in the products.

their products?

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.)

41

INSIGHT 4
Magistalis (magestics): minestral
wind that caused them to take off

Wind

their huge hats.

Finn McEoin

Wind has deep cultural and agricultural implications.

The blooms begin to grow in May. Only 5 10% 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

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

You learn to read the weather: one

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

wind, like the mistral, brings rain.

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

Florence Thurston

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

There is an opportunity to:

How might we:

Potential design ideas or scenarios:

Elevate citizens awareness and cultural appreciation

How might we facilitate the cultural claiming of

Use the wind and its directional paths as a way to

of their regions wind patterns.

regional winds and cycles?

calculate the passage of time or change in season.

Create wind harnessing methods that mechanically

Harness the power of wind as renewable energy.

How might we capture wind energy to directly

translate wind energy to directly power artisanal

power mechanical or electrical artisanal production

production equipment.

equipment?

42

INSIGHT 5
[About the flies that come sometimes and ruin the
Expect the Unexpected
Artisans acknowledge and accept uncertainty with grace.

I would be as happy or as sad

trees] We have traps in the fields, and everyone

elsewhere. You can decide all

writes down what they find and share amongst the

things.

local farmers.
Matthieu Ronchi

Catherine Hugues

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.

Snow, rain, I dont care, Im just

Furthermore, they expressed little disappointment in the possibility

looking for that [buried artifact].

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

Jean Pierre Soalhat

season.

There is an opportunity to:

How might we:

Potential design ideas or scenarios:

Facilitate the mindset of flexibility and anticipation

How might we convince individuals to be more open

Create a crisis intervention book that has a large

towards uncertainty in other sectors.

towards misfortune and/or foreign ideas?

amount of information on how to recognize certain

absurd situations and solutions to them.

Balance certain organizations reliance on theory

How might we convince certain organizations to

Design distributable literature (pamphlets,

with more pragmatic, future-oriented validation of

integrate more practical, forward-thinking theories to

brochures, post cards) that touch on the intricacies

ideas.

balance currently used ideas?

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.

43

INSIGHT 6
It beginds in winter, cut the vineyard, prepare wood
for burning, clean ground, repair the tractor, sell

Seasons (nature and people)

Seasons are the overarching driver of food artisans activity.

For me, provence, its something

the wine too, prepare mentally for next year (new

strong. its a hard life. cold winter,

direction, changing, new grapes, take up animals or

hot summer.

not), theres time, its more quiet

Matthieu Ronchi

Jean Pierre Soalhat

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

Im watching all the time.

the Provenal region. Winters are quiet and involve proportionately

The birds are always changing here.

fewer agricultural responsibilities; this is a time for reflection and

The timing, the plants here.

planning. Occupying alternate mindsets in this seasonally cyclic

Finn McEoin

manner appears to be one characterization of the Provenal food

artisans we spoke with.

There is an opportunity to:

How might we:

Potential design ideas or scenarios:

Visualize full seasonal variation in local climate and

How might we convey the feeling of a full seasonal

Organize businesses to work around the changes in

activity for temporary residents.

cycle to visitors or temporary residents?

seasons.
Create a biodynamic manual to educate new

Export some principles of seasonality to areas less

How might we reframe the perception of

farmers about the rotation of crops and cohabitation

subject to calendar-year environmental shifts.

unproductive seasons in the minds of non-

of plants within the seasons to make the most

agricultural workers?

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.

44

INSIGHT 6 MAP

ONE
FULL YEAR

45

OPPORTUNITY MAP
Healthy Relationship to Change

14

Our overarching impression of the interrelationship between nature,

13

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

INSIGHT #6

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

Seasons
(Nature
FAMILY&
People)

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

Contextual
CONTEXTUAL
Experience
EXPERIENCE

our research:
1. Blur distinction between producer and consumer roles.
3. Align product consumption with ideal context.
4. Tell stories via product experience.
5. Accept reliance on system factors.

Expect the
Unexpected

INSIGHT #2

HOLISTIC
Holistic
CONDITIONS
Conditions

INSIGHT #4

10

Wind

8. Convey artisans fulfillment from positive relationship with family.

9. Promote appreciation of local winds.
10. Harness wind power.

INSIGHT #3

11. Stay calm.

EXPECT
FamilyTHE
UNEXPECTED

12. Validate ideas with testing.

13. Convey the value of seasonal cycles to visitors.

14. Emulate natural seasonal work cycles.

7
OPPORTUNITY
INSIGHT

46

11

HEALTHY
RELATIONSHIP
TO CHANGE

2. Expand sensory engagement.

7. Merge familial and economic relationships.

INSIGHT #5

INSIGHT #1

specific opportunities derived from the insights that emerged from

6. Influence system outputs indirectly.

12

CONCLUSION
Ultimately, 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.

6
1

AWAR E NE S S
+ BE I NG I N
T U NE W I T H
C ONT E X T

C U LT U R E
[w o rl d vi e w s]

NAT URE
[ condit ions]

T R AD I T I ONS
+ NE W WAY S

E N V IRO NME NTAL

I MPACT U PO N
PRO DUCT

ARTISANSHIP
[cra ft]

47

ADAPTABIL ITY

RESIL IENCE

[based on l earni ngs

from nature]

[based on
cul ture fami l y]

F L EXIBIL IT Y

T RANSF O RMABIL IT Y
[based on tradi ti on of
craft processes]

RECOMMENDATION
While 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.

48

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

EXHIBITION POSTERS

49

50

WHAT IS THE
RELATIONSHIP BETWEEN
NATURE, CULTURE, AND
ENVIRONMENTAL
IMPACT UPON
FOOD ARTISANSHIP
PRODUCT
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 interrelationships between nature, culture, and the craft
of food artisanship. Through the process
of contextual research, data analysis and
synthesis, we gained insights and mapped
opportunities for potential future actions.

FOOD
ARTISANSHIP
[ Craft ]

TRADITIONAL
+ NEW WAYS

NATURE
[ Conditions ]

CULTURE
[ World views ]

AWARENESS +
BEING IN TUNE
WITH CONTEXT

SCAD | SCHOOL OF DESIGN | Contextual Research

51

RESEARCH
METHODOLOGY &
DATA COLLECTION
METHODS

QUALITATIVE
RESEARCH

Our approach to this contextual

research project can be characterized
as a mixed qualitative methodology.

CASE STUDY
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.

PARTICIPATORY
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 senses
with intent.

ETHNOGRAPHY
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.

DATA COLLECTION METHODS

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.
SCAD | SCHOOL OF DESIGN | Contextual Research

52

FIELDWORK:
PRIMARY RESEARCH
PROCESS
PRIMARY
RESEARCH
During 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 emergence
of our insights.

REGION OF
PROVENCE

Font Leale small winery

Castelas olive oil business

Aptunion manufacture of
candied fruits
Gargantuapt small wine store

Leonidas a small gourmet candy store

APT
LACOSTE
LES BAUX

LE PUY-SAINTE-REPARDE

J.C. Rousset small family-oriented

candy store
Chteau La Coste vineyard with
large, outdoor installations

...What makes the

Fromages
small goat farm

product unique is
how the cheese is
fabricated.

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!

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.

SCAD | SCHOOL OF DESIGN | Contextual Research

53

DATA MAPS

LIFE CYCLE
OF RAW MATERIAL

VISUALIZING
INFORMATION

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.

COMPARISON OF
PRODUCTS FACETS

BACKGROUND

TIME
INPUT

ONE
FULL YEAR

PRODUCTION
AMOUNT

SELF MADE

INHERITED

MONTHLY

DAILY

LIMITED YIELD

MAXIMUM YIELD

TRADITIONAL

INDUSTRIAL
METHODS

CRAFTSMANSHIP METHODS

EXPERIENCE

EXPORT

ARTISANS EFFORT
TOWARDS THE PRODUCT

LEARN FROM PAST

FIELD OF STUDY

LOCAL

INTERNATIONAL

PRODUCT JOURNEY
MACHINE
INTERACTION

HUMAN
INTERACTION

FARMING

PRODUCTION

PACKAGING

MARKETING

PLANTING

COMPRESSING

STORAGE

SELLING

GROWING

CRUSHING

TREATMENT

CLEANING

HARVESTING

DE-LEAFING

LABELLING

TASTING

ONE
FULL YEAR

SCAD | SCHOOL OF DESIGN | Contextual Research

54

INSIGHTS REPORT
DISCOVERING
INSIGHTS

After making meaning of the data,

we revisited our original working
wall and re-affinitized the
information until categorical
insights emerged.

PRODUCT

CONSUMERS
PRESENTED TO

CONTEXTUAL
EXPERIENCE
Perception of
involvement in the
process of product
creation is valuable.

BUY
FROM

PROCESS

ARTISANS

FAMILY
Family is considered to be
of the utmost importance.

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

EXPECT THE UNEXPECTED

Artisans acknowledge and accept
uncertainty with grace.

WIND
Wind has deep cultural and
agricultural implications.

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

INSIGHTS

SCAD | SCHOOL OF DESIGN | Contextual Research

55

OPPORTUNITY MAP
e.g. Convey artisans fulfillment from family

e.g. Convey seasonal cycles to visitors

FAMILY

SEASONS
(NATURE &
PEOPLE)

CONTEXTUAL
EXPERIENCE

HEALTHY
RELATIONSHIP
TO CHANGE
HOLISTIC
CONDITIONS

WIND

EXPECT THE
UNEXPECTED

e.g. Harness
wind power

CONCLUSION

Ultimately, 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.

OPPORTUNITY
INSIGHTS

SCAD | SCHOOL OF DESIGN | Contextual Research

56

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

APPENDIX

57

TEAM BIOS

NATHAN BECK

ABBIE FRANCISCO

MARK HEMPHILL

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

Im from Rockford, Illinois located near Chicago. I am

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

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

a sophomore at Savannah College of Art and Design

have been fortunate enough to live in Wisconsin, the

I am learning how to be a Service Designer at the

majoring in Industrial Design and minoring in painting.

Netherlands, Portugal, Georgia, and currently France.

Savannah College of Art and Design. I am from the

I have always loved both art and nature so being in

My academic background is math and physics, and I

Sunshine State, so the beach will always be my

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

worked in the healthcare IT sector prior to enrolling in

home. Sunflowers bring me joy and butterflies make

is caddywhompus and despite the fact that I am tone

SCADs Industrial Design MFA program. My favorite

me chuckle.

deaf, I will serenade any friendly face that welcomes

thing is water, and I would argue that the most

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

underutilized word in the English language is groak.

worst, and puns make me laugh until I cry.

58

KATIE MURRAY

MONICA SEGGOS

RAQUEL SEREBRENIK

I was born and raised in Singer Island, Florida.

I was born in Manhattan and raised in Connecticut.

Born in Bogota, Colombia, I have always been

I am currently a sophomore at Savannah College of

I recently completed my Masters in Jewelry and

interested in how art and design affect our daily

Art and Design for Industrial Design. I have always

Objects at SCAD Savannah and am currently enrolled

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

been interested in art and design. I dabble in making

in the Design Management eLearning program.

I wondered how we can use the past to enhance our

objects and finding out how objects work, and I hope

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

future so I started studying Art History the past,

to apply those skills to my major.

consultant, with the lifetime dream of becoming an

and Design for Sustainability the future. I have

artist. As an entrepreneur, I am interested in applying

traveled around the world searching for cultures and

design principles to the business of creativity.

experiences. Gratefully Provence is one of them.

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.

59

60

ISAAC TOONKEL

MARCELO TORRES

NICOLE WALSH

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

I was born in Guayaquil, Ecuador, and have lived

I was born in Panama, Republic of Panama and

located in the Hudson Valley. I am currently a

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

raised in the Canal Zone area. I moved to United

sophomore at Savannah College of Art and Design

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

States in 2008, where I finished my Bachelors of

majoring in Industrial Design and minoring in Design

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

Fine Arts in Digital Animation with my thesis in 3D

for Sustainability. Being interested in Mechanical

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

Architectural Rendering at UCF in Orlando, Florida.

Engineering, but having a classical approach to

I heard about Industrial Design and decided that this

After working in the Interior Design industry for three

drawing, made Industrial Design an avenue that just

was exactly what I wanted to study. I am currently

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

seemed right. My admiration for the outdoors and my

a sophmore at SCAD and am pursuing a Bachelor

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

sense of adventure is what led me to study here in

of Fine Arts degree in Industrial Design as well as

interest in learning about the business world and

Lacoste.

Business Management and Entrepreneurship and

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

Illustration minors. I enjoy outdoor activities, sports,

believe that the best part of life happens around a

music and good conversation.

dinner table.

RESEARCH PROTOCOLS

C onsent Form 1

61

Consent For m 2

P robi ng questi ons 1

62

Pr obing quest ions 2

P robi ng questi ons 3

63

Pr obing quest ions 4

P robi ng questi ons 5

64

Pr obing quest ions 6

P robi ng questi ons 7

65

O bser vat ion f ield guide

cover

Observati on fi el d gui de 1

66

O bser vat ion f ield guide 2

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