Design rarely ventures into your nose and onto your tongue. Or, at least, not design as most of us recognize it. An exhibition at Brooklyn's Museum of Food and Drink (MOFAD) Lab explores how flavorists—essentially specialized chemists—have been simulating natural tastes and smells for generations, dramatically shaping our collective palate in the process. (Read our initial coverage of the exhibition, dubbed Flavor: Faking It and Making It, here). But how did Brooklyn-based creative office Labour and MOFAD create a physical exhibition around the ephemeral sensations and nervous stimuli that creative flavor? MOFAD's Program Director Emma Boast sat down with Labour's Ryan Dunn and Wyeth Hansen in a discussion moderated by the MoMA's Paola Antonelli to explore just that. "Flavor is the synthesis of smell and taste," said Boast, and the exhibit caters to both with multiple flavor pill dispensers and tubes that blow flavor molecule-scented air into your face. In the educational spirit of the exhibition, these smell stations reveal how they work: small glass jars of labelled flavor concentrate are in plain view when you lean into the nozzle. Dunn, Hansen, and Boast wanted to avoid more conventional scented paper samples. Or as Dunn put it, "It had to look bonkers." They contacted a neuroscientist who helped Labour and MOFAD Founder, President, and culinary maestro Dave Arnold develop the smell puffer technology. The consoles are easy to approach and fun to use, in no small part thanks to some familiar design elements. "The brief said it has to have arcade buttons," Dunn said. When partaking of the smell tubes and flavor pills, there is an inherent leap of faith. When you eat a seaweed umami pill, or inhale a molecule used to simulate lemon flavor, you can't be entirely sure what will happen. And that's very much by design. "Disorientation as a means to discovery," said Hansen, was a core idea in designing the exhibition. The lenticular wall graphic that adorns the exhibition interior similarly disorients visitors, forcing them to decipher its dual meaning. In fact, MOFAD's inaugural exhibition, which traveled around New York City, was even more disorientating: MOFAD deployed an early, industrial cereal "cannon" that popped grains into breakfast cereal with a thunderous, shotgun-like boom. (The machine is on display at MOFAD Lab, but not in use.) The cereal cannon, which predated the MOFAD Lab, set a high bar. "The lineage we're trying to follow," said Hansen, "it's not easy." While crowds could naturally gather around the cannon, the MOFAD Lab would have to work harder to create a shared experience among visitors. The MOFAD Lab had to be equally democratic: "Food is something we should all be excited about, not just the foodie elite," said Dunn. People do easily mix among the smell machines, and pairs or groups can step up to sample the flavors together. The design "emphasizes community: friends, strangers...it's more intimate," said Hansen. Antonelli quizzed the trio towards the end, asking if there were crazy ideas for MOFAD Lab that didn't pan out. One such idea was a "tongue theater" that would've projected footage taken from within a chewing mouth onto the walls of a small room. Antonelli and this reported lamented that it didn't come to fruition, but MOFAD one day hopes to inhabit a larger, permanent space, so there may yet be hope. In the broader context of global food culture, which can range from militant nutritionists to daredevil gourmets, Flavor: Faking It and Making It invites visitors to pause and question our idea of flavor. And critically, it's visceral and not some vicarious television experience. As Antonelli put it, "If I see another white guy chewing on stuff around the world...."
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At most museums, "Do Not Touch" is a core commandment. Even at idiosyncratic institutions like the New York Hall of Science or the City Museum in St. Louis, licking or sniffing the exhibits is not encouraged. The behavioral guidelines are very different at Brooklyn's just-opened Museum of Food and Drink (MOFAD) Lab. MOFAD Lab engages all five senses to investigate the history, science, and culture of food and drink. Housed in a converted mechanic's garage across the street from McCarren Park, MOFAD Lab is the first brick-and-mortar museum devoted exclusively to what the world drinks and eats. The first exhibit, Flavor: Making it and Faking It, explores flavor production and manufacturing. MOFAD founder Dave Arnold explained the need for a physical museum in the digital age: "watching TV shows, you're not able to taste food. The MOFAD Lab is a place to experiment" with how to best engage and present MOFAD's novel items and ideas. It is also the testing ground for a possible, but as yet unconfirmed, permanent museum space. Wyeth Hansen and Ryan Dunn, the designers behind Brooklyn-based Labour, directed MOFAD Lab's entire creative strategy. The duo has worked with Arnold and executive director Peter Kim since 2012 to develop the logo and branding strategy. When it was certain the museum would assume a tangible form, Labour extended their work for the lab into 3D, designing the installations, creating graphics and video, and commissioning fabricators to create specialty aroma-producing machines. Dunn describes the aesthetic of MOFAD Lab as "Eames' office meets Willy Wonka." The team worked fast to convert the raw space into a museum: there was a three month turn around time between the design phase and the October opening. While declining to name a figure, the duo stated their budget was "not big." The space, consequently, has a polished DIY feel: Hansen and Dunn described the exhibition as a "hierarchy of modules," underscoring the flexibility of the program. Wall text and some displays are mounted on a system of wooden cleats. The cleats allow for quick install and breakdown, while ensuring that every text panel is aligned with its neighbor. Labour enlisted design and engineering firm RUSHdesign, located right down the street from MOFAD, to fabricate the frames and smell machines. Voll, exhibition designers based out of Bedford-Stuyvesant, created a floor-to-almost-ceiling paneled wall, and the housing for a video installation that greets incoming visitors. The proximity of the fabricators enabled an especially fast turnaround between design and build. As a key component of taste, many installations engage olfaction. Beside wall text that explained the origins of a particular scent or flavor, smell machines ask visitors' nostrils to determine whether two side-by-side smells, piped through metal tubes at the push of a button, are genuine "concord grape" or genuine "methyl anthranilate." The mother of all the smell machines is the whimsical Smell Synth, a taxonomy of scents, edible and not. Visitors may breed hybrid smells from 19 choices like "Pancakes", "Fruity" and "Cheesey/Vomit", or "Vanilla" and "Nail Polish Remover." The machine lights up when its buttons are pressed, while its tubes emit puffs of the chosen olifacton. Amazingly, the Smell Synth took seven to ten days between design and installation. Beginning October 28, MOFAD Lab is open to foodies (and the general public), though as of yet, no hours are posted on their website.