and be inspired by potential food combinations through a
science-based recommendation engine.
In Lahousse’s Interaction ‘14 presentation, he shared how it’s not
only the flavor pairings themselves that contribute to the smell
and taste, but that the environment and manner in which we eat
can have a dramatic effect. The design of packaging and utensils
is one part of this, but he also gave examples of chefs who are
creating interactive, even game-like eating experiences. One
restaurant he highlighted uses room temperature, sound, and
projections to design an environment that alters and enhances
the smell and taste of the food. These augmented dining
environments are one area in which Interaction Designers could
contribute their expertise to support the full range of human
senses.
An Orchestration of the Senses
Interaction Designers have always tried to engage people’s
senses but in comparison to the tangible output of Industrial
Design, the options to do so have historically been limited. When
designing for the screen, the best option has often been
simulation, using metaphor and connotation to invoke a sensorial
experience beyond what can truly be offered.
The introduction of the graphical user interface was the first
major advancement in engaging the senses through a screen.
The next leap forward was the “multimedia” era, bringing sound,
motion, and interactivity together in unique and immersive
environments. Multimedia was initially made possible through
cheap CD-ROM storage, which offered access to large graphics
and video files that were impractical to store on small hard drives
or download over slow internet connections.
Interaction Designers of the multimedia era often utilized the new
capabilities of CD-ROMs to break away from standard interface