The Cooked Kitchen: A Poetical Analysis

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SpringerWienNewYork

^oos

Jhe Cooked

Kitchen

SpringerWien NewYork

A Poetical Analysis

Ma^
EOOS www.eoos.com

This work is subject to copyright. All rights are reserved, whether the whole or part of the material is concerned, speciﬁcally those of translation, reprinting, re-use of illustrations, broadcasting, reproduction by photocopying machines or similar means, and storage in data banks. Product liability: The publisher can give no guarantee for the information contained in this book. This also refers to that on drug dosage and application thereof. In each individual case the respective user must check the accuracy of the information given by consulting other pharmaceutical literature. The use of registered names, trademarks, etc. in this publication does not imply, even in the absence of speciﬁc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. © 2008 Springer-Verlag/Wien Printed in Austria SpringerWienNewYork is a part of Springer Science + Business Media springer.at Text: Harald Gruendl, EOOS Graphic Design: graﬁsches Büro – Günter Eder, Roman Breier, Marcel Neundörfer Copyediting, translation: Camilla Nielsen Editorial assistance: Martina Mara Printing and binding: Holzhausen Druck & Medien GmbH, 1140 Wien, Austria Printed on acid-free and chlorine-free bleached paper

4

The Cooked Kitchen

SPIN: 12209767 Library of Congress Control Number: 2008924004 With 44 black and white illustrations. ISBN 978-3-211-77641-4 SpringerWienNewYork EOOS: Martin Bergmann, Gernot Bohmann, Harald Gruendl Poetical Analysis and EOOS are registered trademarks of EOOS Design GmbH.

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6

The Cooked Kitchen

Karl Kraus, Die Fackel, 1907

Contents

The Viennese kitchen is the place where Viennese interests are burned into memory. (a play on two meanings of the German words “Einbrenn” [roux] and “Brennpunkt” [the point where things come together – in this case the Viennese interests])

8

Bgmkh]n\mbhg

Kitchen Conversations 119

Images, Rituals, Myths

124 127 131

10 14 18 20 23 26 29 32 35 39 42 46 49 52 55 57 61 66 69 72 76 79 81 84 87 90 94 96 98 103 106 109 112

Contents

Ma^Pb^g^kL\agbms^ebgma^Khkl\aZ\aM^lm =hn`aZlIkbfZe?hkf Ma^;hn`aZlma^?bklm?hkd Ma^=^obeÍl?hkd Ma^AZg]ZlZMhhe Ld^e^mhgh_Z=bla_hkma^>r^lHger KbmnZe=k^ll Ma^?bla<en[ZlZ
134 136 139

Poster

Ma^Dbm\a^gZlZPhkdlahi Ma^;kZg\abgma^Dbm\a^g Ma^@^g]^kh_ma^
>HHL<e^Zklhnmma^Dbm\a^g

Theory 147

Ih^mb\Ze:gZerlbl

Index 163 166 168

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7

Preface

>HHLmZd^l_hkmrdbm\a^gnm^glbelZg]nl^l ma^fmhk^\hgÖ`nk^ma^^gmbk^phke]h_ma^ dbm\a^g':pZr_khfma^p^ee&mkh]]^giZmalh_ ]^lb`gma^hkrZg]]^lb`gablmhkrÈpbmaZeebml lmreblmb\ablmhkb^lZg]ma^hkb^l[hkkhp^]_khf lh\bheh`rZg]^magh`kZiarÈ>HHL]^iehrl Ih^mb\Ze:gZerlblmh]^l\kb[^ma^\k^Zmbo^ ikh\^llh_]^lb`gZg]nlZ`^h_h[c^\ml'Mabl ]^lb`giabehlhiarl^^dlhnmbgmnbmbo^bfZ`^l% kbmnZelZg]frmall^kobg`ZlZihbgmh_ ]^iZkmnk^_hkma^\k^Zmbo^ikh\^ll':g\b^gm frmalf^^mpbmamh]ZrÍlab`am^\a'>HHLbl Z[e^mh]hcnlmb\^mhma^\hfie^q[Z\d`khng] h_ma^hkrZg]ikZ\mb\^' ?hkmablin[eb\ZmbhgbfZ`^lh_dbm\a^gl _khf]b__^k^gm^ih\al!phh]\nml%iZbgmbg`l% iahmh`kZial%k^Ze&eb_^h[c^\ml"aZo^[^^g mkZgl_hkf^]lhmaZmma^rZii^ZkhgZiZk pbma^Z\ahma^k'P^l^^ma^fÖklmZllaZ]hpl% ma^g^g]hp^]pbmalb`glh_\hkihk^Zebmr Zg]fZm^kbZebmr'MablZiikhZ\a`bo^lpZrmh Z\hfie^m^erg^p]bl\hnkl^h_bfZ`^Zg] m^qm%bg]^i^g]^gmh_mbf^Zg]liZ\^':g^p iabehlhiarh_]^lb`g'

8

The Cooked Kitchen

Images, Rituals, Myths

Preface

9

The Wiener Schnitzel in the Rorschach Test

10

The Cooked Kitchen

Images, Rituals, Myths

11

E^mÍllmZkmh__[r[k^Zdbg`hnkikhfbl^mhmZedZ[hnmdbm\a^gmhhel'Ma^Pb^g^k L\agbms^ebl\^kmZbgerghmln\aZmhhe'Mhl^mma^lmZ`^p^phne]cnlmebd^mh [^`bghnk]bl\nllbhghgdbm\a^gmhhema^hkrpbmahg^h_ma^fhlm_Zfhnl ]bla^lh_Ob^gg^l^\nblbg^'Inmmbg`mh`^ma^kZf^Zef^Zgpabe^bll^^gZlZ mZldh_]^lb`g'Ma^_hh]bg]nlmkrbl\hglmZgmer]^fZg]bg`bgghoZmbhgl'

1 Plachutta/Wagner (1993: 306 f )

2 Leitner (2006: 62 f )

MaZgd@h]ma^\hirkb`amhgPb^g^kL\agbms^eaZl^qibk^]':grhg^\ZgfZd^ hg^Zg]\Zeebmhg^'Mablblghmmkn^h_ZeeOb^gg^l^li^\bZemb^l':ghe^ll _Zfhnl\ah\heZm^\Zd^pZlehg`ma^ln[c^\mh_]blinm^hg\hirkb`amZg] gZf^'A^k^p^\Zgghm^qieZbgparma^L\agbms^e_khfOb^ggZaZl[^\hf^lh k^ghpg^]';nmpaZmp^pbeemkrmh]hÈZg]mablbliZkmh_hnkZiikhZ\aÈ blla^]lhf^eb`amhgma^frmalnkkhng]bg`bm':[^lml^ee^kmaZmaZlma^lhf^& paZmik^lnfimnhnlln[mbme^3=Zllm^kk^b\abl\a^CZakang]^kmdh\a[n\a!Ma^ :nlmkbZgfibk^bmpZl\hffhg ikZ\mb\^Zm\hnkmmh\ho^kib^\^lh_f^Zmpbmae^Z_`he]Zg]mhl^ko^bm'Ma^ [hnk`^hblb^mhhdZebdbg`mhmabl'Bm]b]ghm%ahp^o^k%bg]ne`^bgmablikh×b`Zm^ ikZ\mb\^%himbg`bglm^Z]_hkma^nl^h_bg^qi^glbo^%`he]&r^eehp[k^Z]bg`' Ma^\hehkaZlmhmabl]Zrk^fZbg^]ma^fhlmbfihkmZgm\kbm^kbhg_hkZ`hh] L\agbms^e'Bmk^Z\a^]Ob^ggZbgma^fb]]e^h_ma^*2ma\^gmnkr'?b^e]fZklaZe KZ]^msdrpZlZelhk^lihglb[e^_hkma^L\agbms^efrmabgmablo^klbhg'KZ]^msdr abfl^e_blh_\hnkl^ghfrmab\Ö`nk^'A^ebo^]_khf*0//mh*1,/':g]a^ cnlmaZii^g^]mh]b^bgma^\hfi^mbg`L\agbms^emhpgh_FbeZghgCZgnZkr.% mh[^ik^\bl^';nmmablZelh]h^lghmabg`mh\aZg`^ma^lmhkrh_ma^Pb^g^k L\agbms^e'KZ]^msdrpZl:nlmkbZÍl@ho^kghk@^g^kZebgEhf[Zk]r'?hkmabl k^Zlhg%ma^lmhkrh_ablngeZp_neZiikhikbZmbhgh_ma^BmZebZgL\agbms^efZr[^ mkn^':g]a^\^kmZbgeraZ]ma^ihp^k%_heehpbg`ma^:nlmkbZgob\mhkrho^kma^ BmZebZglZm
12

The Cooked Kitchen

3 Cf. Frazer (1993: 704)

4 Cf. Ruhm (undated: 248 f )

5 Cf. Rorschach (1921/ 1998: 15) 6 Ibid., p. 23

7 Cf. Gombrich (1959/ 1987: 80 f f )

8 Ibid.

Images, Rituals, Myths

R^mahp]h^lma^p^Zemar[nk`a^k\eZll\hf^mh[^eb^o^maZmbmlL\agbms^e ]kbiibg`bg_ZmaZllhf^mabg`mh]hpbmama^KhfZg^fi^khkÍl`be]^]ib^\^h_ f^Zm8Bmblma^fZ`b\k^l^f[eZg\^h_[hma]bla^l':gmakhiheh`blmCZf^l @^hk`^?kZs^kaZllheo^]ZlbfbeZkikh[e^fbgabl[hhdMa^@he]^g;hn`a%hg ma^[Zlblh_Mnkg^kÍliZbgmbg`Ma^@he]^g;hn`a'MablZelh]^ib\mlBmZer%gZf^er ma^obeeZ`^h_G^fb'Ma^k^hg^Ög]lma^lZg\mnZkrh_=bZgZ%`nZk]^][rZ ikb^lmpbmalphk]'Ikb^lmahh]\hne][^ZmmZbg^][rdbeebg`ma^bg\nf[^gmikb^lm' :_m^kZeebmblma^frmab\mbf^bgpab\amablblaZii^gbg`%ma^mbf^bgpab\a Zelhma^Pb^g^kL\agbms^e^f^k`^]'Lbg\^=bZgZpZlo^g^kZm^]Zlma^`h]]^ll h_ma^_hk^lm%Z`he]^g[hn`aieZrlZli^\bZekhe^'Bmlkb]]e^blhgerlheo^] Z_m^kfhk^maZgZmahnlZg]iZ`^l'BmblZfblme^mh^[hn`apab\aZllnf^l Z`he]^g&r^eehp\hehkZ_m^k[^bg`\nm'?kZs^k^qieZbglmaZmma^k^blZgZmnkZe Z_Ögbmr[^mp^^gma^`he]^g[kZg\aZg]`he]Z\\hk]bg`mhma^ikbg\bie^ h_ahfh^hiZmab\fZ`b\'3Mabllheo^lhnkkb]]e^'Ma^Pb^g^kL\agbms^ebl`he] [^\Znl^bmbl`he]^g&r^eehpÈih^mb\Zeerli^Zdbg`%h_\hnkl^' Pah^o^kfZd^lln\aZfZ`b\]bla^Zmlphke]_Zf^'MablpZlZek^Z]r\hg& Ökf^][re^`^g]Zkr:nlmkbZgfZbmk^]^\a^_Zg]\hhd[hhdZnmahk?kbmsKnaf fhk^maZgZang]k^]r^ZklZ`h'4:g]mabl%bglibm^h_ma^_Z\mmaZmik^iZkZmbhg h_mabl]bla\ZgfZd^]hpbmahnm_nkma^kfZ`b\kbmnZel'Ikhob]^]%h_\hnkl^% maZmhg^mZd^lo^ZeÈOb^gg^l^^qi^kml\Zeema^ib^\^_khfma^kbg`[hg^ma^ bfi^kbZeib^\^&[nmZ?kb\Zg]^ZnZelh]h^lma^ch['Ma^ghg^mZd^lZdgb_^ Zg]\nmlma^f^ZmlhmaZmbm\Zg[^ng_he]^]lrff^mkb\Zeer!_he]\nm"' Ma^L\agbms^elahne][^Zl[b`Zlihllb[e^'Fhk^ho^k%ma^lrff^mkrpab\a [^\hf^loblb[e^Z_m^kihng]bg`ma^f^Zmehhdlgb\^' Ma^bkk^`neZkbmrh_ma^_hkfmkb``^klZeelhkmlh_Zllh\bZmbhgl'Ma^Lpbllilr& \aheh`blmA^kfZggKhkl\aZ\aaZl_h\nl^]bg]^imahgma^fbgma^]^o^ehi& f^gmh_ablKhkl\aZ\am^lm'A^libee^]bgdhgiZi^kZg]ma^g_he]^]ma^iZi^k lhmaZmZlrff^mkb\lihm^f^k`^]'Ablm^lmbg`ZiiZkZmnl^g\hfiZll^lm^g iZg^el'BmpZl\aZee^g`^mh\k^Zm^bgd[ehmlmaZm^ohd^lhf^mabg`ib\mnk^&ebd^% lhmaZmma^ln[c^\mllZplhf^mabg`Zg]ghmcnlmlihml'5Bgd[ehmlmaZm^ohd^ k^\nkkbg`Zllh\bZmbhglp^k^\Zee^]`hh]_hkfl[rKhkl\aZ\a'6MaZmÊ@nm^ ?hkfË!`hh]_hkf"blZelhma^gZf^h_ma^@^kfZg]^lb`gikbs^lahne]ghm bkkbmZm^nla^k^'Ma^ln[c^\mmkb^lmhÖg]oblnZef^fhkrbfZ`^lpa^gehhdbg` Zmma^aZiaZsZk]_hkflmaZm\hgo^k`^pbmama^lihmZg]ÖgZeer\hf^lni pbmaZ_hkfZglp^k' Ma^lZf^mabg`aZii^glpa^ghg^ehhdlZmZkm':kmablmhkbZg>'A'@hf[kb\a ]^Zembg&]^imapbmamablilr\aheh`b\Zeia^ghf^ghgbgabl[hhd:kmBeenlbhg'7 :g^qZfie^bgZkmblIZ[ehIb\ZllhÍll\neimnk^maZm]^ib\mlZ[Z[hhgpbma bmlrhng`'Ma^l\neimnk^\k^Zm^]bg*2.*aZlZa^Z]maZm\hglblmlh_ZlfZee Znmhfh[be^pab\aIb\ZllhfnlmaZo^_hng]bgabl\abe]k^gÍl\ni[hZk]'BgZ lnkk^Zeblmb\fhf^gmh_i^k\^imbhga^lZpbgbmZgZgbfZea^Z]pab\aa^ nl^]Zlma^ihbgmh_]^iZkmnk^_hkabll\neimnk^'8:[hhdhg=^lb`gBeenlbhg aZlr^mmh[^pkbmm^g'A^k^%ahp^o^k%hg^phne]Ög]gnf^khnllmhkb^lZ[hnm ]^lb`g^klpahp^k^bg×n^g\^][rZgbfZel%pah]^lb`gma^_khgmiZkmlh_ \Zkl%pab\aehhdZmnl^bma^kZg`kberhk_kb^g]erpbmama^bkkZ]bZgm^r^l'Bm aZlr^mmh[^^fibkb\Zeerm^lm^]paZmma^_hkfh_ZPb^g^kL\agbms^ek^fbg]l nlh_'Ma^ihlm\Zk]bg]nlmkraZl\hf^nipbmalhf^mabg`_hkmahl^pah]h ghmaZo^fn\a_ZgmZlr3ma^Pb^g^kL\agbms^elaZi^]ZlOb^ggZÍleZg]fZkd% Lm'Lm^iaZgÍl
13

Ì@^kfZgi^hie^_ZohnkZlh_m]hn`a_hkma^bk lhni%fZ]^pbmaZab`aikhihkmbhgh_^``lZg] [nmm^k'Bg\hgmkZlm%ma^BmZebZglebd^ZÖkf^k ]hn`a%fZ]^_khf×hnkZg]pZm^k'Mablblkhee^] Zg]phkd^]Z`k^Zm]^Zemhmhn`a^gbmZg] blnlnZeerik^iZk^]bg_Z\mhkb^l%Zbk]kb^]Zg] manld^im_hkZehg`mbf^'Ma^Ögbla^]]hn`abl gZf^]Z\\hk]bg`mhbmllaZi^'Í 9

14

The Cooked Kitchen

Karl Friedrich von Rumohr

Dough as Primal Form

Images, Rituals, Myths

15

9 Rumohr (1822/1993: 95)

Ma^\hhd[hhdMa^>ll^g\^h_o^gbgma^lfZee^lm_Zfberrhn\Zg`^m]b__^k^gm bglmkn\mbhgl'Hg^\hne]mabgdmaZmZikhmhmrib\Zemhheln\aZlma^]hn`aibg phne]ÖgZeeraZo^Z]^Ögbmbo^_hkfZ_m^kang]k^]lh_r^Zkl'MaZm%ahp^o^k% phne]ghm[^\hg]n\bo^mhlZe^l':_m^kZee%p^Zk^ebobg`bgZ\hglnf^k\nemnk^ pab\aenk^lpbma]^lb`gZpZk]lZg]l^^dlhnmg^p`khnilh_[nr^kl'Hg^ \hne]fhngm_he]Z[e^aZg]e^lmhma^phh]'Ma^l^\hne][^_he]^]nib_ma^k^ pZlghm^ghn`aliZ\^hgma^phkdbg`lnk_Z\^'Hkhg^\hne]\ho^kma^ibg pbmaZli^\bZeZgmb&lmb\deZr^klhmaZmgh×hnkphne][^g^^]^]'Hkhg^\hne] ]^lb`gZaheehpibglhmaZmbmphne][^ihllb[e^mhihnkpZm^kbgmhma^ibg Zg]fZd^bmgb\^Zg]a^Zor':g]r^mZghma^kb]^Z3p^\hne]ikh]n\^Z]hn`a ibgbgZgbgm^k^lmbg`\hehk

16

The Cooked Kitchen

Ma^kheebg`ibgbgma^iZiZedbm\a^gblZkhng]ib^\^h_phh]pab\abl\hgb\ hg[hma^g]l':phg]^k_neh[c^\m[nmbmk^jnbk^lZ\^kmZbgldbeemhnl^bm' I^kaZilp^fnlmk^\hglmkn\mma^h[c^\mlbghnkablmhkrlhZlmhk^]bl\ho^k ma^bkjnZebmb^lcnlmebd^^qi^kbf^gmZeZk\aZ^heh`r':gZq^_khfma^Lmhg^ :`^pZl\eZllbÖ^]ZkbmnZeh[c^\m[^\Znl^ma^Zk\a^heh`blml]b]ghmZllnf^ maZmbm\hne][^nl^]_hkZgrikZ\mb\ZemZld'KbmnZeh[c^\mlZk^h_m^g]^kbo^] _khf^o^kr]Zrh[c^\ml%Zg]bgmabl\Zl^hg^Zelhmahn`amh_Zlrf[heb\h[c^\m' Hg\^ma^Zq^pZlk^\hglmkn\m^][rma^Zk\aZ^heh`blmZg]pZlnl^]mh\nm ]hpgZmk^^%bml_ng\mbhgZeihm^gmbZepZlk^\h`gbs^]'Ma^_hkfp^`bo^ ma^]hn`alhf^mbf^lZelh]^i^g]lhg\Ze^g]ZkkbmnZel%mahl^kbmnZelpab\a lmkn\mnk^mbf^'Hg\^kmZbgh\\Zlbhglma^k^bl_hh]maZmblhma^kpbl^g^o^k l^ko^]'Mablbllhf^mabg`hg^\Zgehhd_hkpZk]mhma^pahe^r^Zk'Mabl_hh] nlnZeerZelhaZlZablmhkrbgpab\ama^_hh]bl^f[^]]^]'Bgma^iZlm%p^ Zk^mhe]%iZlmZpZl]blmkb[nm^]makhn`ahnmma^^gmbk^ahnl^mh]kr':gb\^ b]^ZÈmhli^g]Z_^p]ZrlbgZahnl^Öee^]pbmaiZlmZ

10 The ﬁlm and cultural theorist Peter Kubelka recently republished this book (2006). In his introduction he juxtaposes the cookbook with books by Rumohr, Brillat-Savarin and Pellegrino Artusi that were all written by philosophical diners.

Ma^he]\hhd[hhdlh_m^g[^`bgpbmalhnil'MablblZelhmkn^_hkma^\hhd[hhd [r?'@'S^gd^k%ma^Öklm\hhdmhphkd_hkIkbg\^Chl^iasnL\apZks^g[^k`' Abl\hhd[hhdpZlin[ebla^]bg*1+)10Zg]bm[^`bglpbmama^Zkmh_\hhdbg` lhni':k^ZeZkmblmh_ma^\hhdbg`phne]ZelhaZo^mhZ]]ma^kb`am\hehkmhbm' Rhn\hg\h\mZ]Zkdebjnb]![eZ\d[khma"pab\a`bo^l[^^_[khmabmlk^]&r^eehp \hehkÈcnlmZlbmlniihl^]mhaZo^bghnkb]^Zeib\mnk^h_bm'LbfbeZkmhma^ phkdh_ZiZbgm^kpbmaabliZe^mm^%ma^ikh\^llh_\hehkbg`lhnibl^qieZbg^]' Lbg\^ma^\hehkh_ma^lhnibllhbfihkmZgmma^k^blZelhZk^\bi^_hkmabl%cnlm bg\Zl^ma^m^\agbjn^]^l\kb[^]Z[ho^_Zbel' Ma^gbmblmbf^mhmZd^Zg^``%lZemZg]^ghn`a×hnkmhfZd^Z]hn`amaZmbl ^Zlrmhdg^Z]':_m^kk^lmbg`_hkZ[bm%ma^]hn`ablkhee^]hnmmabger[nmbgma^ ikh\^llhg^aZlmhmZd^\Zk^maZmbl]nlm^]pbmaZlebmme^×hnkZlihllb[e^' :_m^k[kb^×r[^bg`Zeehp^]mh]kr%ma^]hn`ablkhee^]niZg]\nmbgmhÖg^ ghh]e^l'Ma^ghh]e^lZk^\hhd^]_hklbqfbgnm^lZg]ma^gkbgl^]pbma\he] pZm^kZg]]kZbg^]'Ma^ghh]e^lZk^Z]]^]mhma^lhniZg][khn`ammh[hbe hg\^Z`Zbg'BgOb^ggZghh]e^lhnibll^ko^]pbma\ahii^]\abo^l':efhlmebd^ bg:lbZpa^k^\ahii^]likbg`hgbhglZk^Z]]^]mhma^lhni'Pa^ma^kmabl blma^he]k^\bi^maZmKnfhakaZ]bgfbg]p^]hghmdghp'A^]b]gÍmÖg]bm g^\^llZkrmhpkbm^]hpgablk^\bi^lbg\^lhnighh]e^lZk^fZ]^bg^o^kr ahnl^ahe]'Mh\hhdbgma^ablmhkb\ZepZrhg^hgeraZlmhpZediZlmdbehf^m^k& ehg`lni^kfZkd^mla^eo^lpbmahnmmZdbg`Zgrmabg`'Hg\^hg^`^mlahf^hg^ lbfiere^Zo^lZlb]^ma^m^\agb\ZeZg]]^lb`g&k^eZm^]Z\\hfieblaf^gml' MablpZrbmÍlZek^Z]rihllb[e^mhmkZo^ebgmhDZke?kb^]kb\aohgKnfhakÍlmbf^ Zg]mhnl^Z\nemnkZeZ\mh_]^lb`gmh]^Ög^pa^k^p^lmZg]bgma^ngbo^kl^ pa^gbm\hf^lmhlaZibg`lhnighh]e^l'

Images, Rituals, Myths

17

The Bough as the First Fork

18

The Cooked Kitchen

ÌGhpbmÍlZ_hkd'Í ÌBmfZr[^Z_hkdmhh'Í

Ludwig Wittgenstein

11

11 (Wittgenstein 1953/ 2004: 166)

:lZfZmm^kh__hkfbmlahne][^ghm^]pbmak^`Zk]mh[hmah_ma^Z[ho^ l^gm^g\^ljnhm^]_khfma^iabehlhia^kEn]pb`Pbmm`^glm^bgÍlIabehlhiab\Ze Bgo^lmb`ZmbhglmaZma^lZpma^fZlfZdbg`ebmme^l^gl^bgabl]bl\hnkl^ hgma^ib\mnk^&h[c^\m'Pah^o^klZrlÊGhpbmÍlZ_hkdËZeen]^lmhZihllb[e^ mkZgl_hkfZmbhgh_Zi^k\^bo^]ib\mnk^%_heehpbg`Pbmm`^glm^bgÍlebg^h_mahn`am' :lhg^fb`ammabgd%mkrbg`hnmln\aiabehlhiab\ZeeraZk]erlb`gbÖ\Zgml^gm^g\^l \Zglhf^mbf^l[^k^pZk]bg`bg]^lb`g'E^mÍlbfZ`bg^Zghnm]hhkdbm\a^gZmZ k^fho^_khfhnkfh]^kg[nbem&bgdbm\a^g%eh\Zm^]ZmZ\e^Zkbg`bgma^phh]l' P^Zk^\hee^\mbg`phh]mhfZd^ZÖk^'Hnkl^e^\mbhgh_ma^[kZg\a^lblnlnZeer lhf^mabg`p^]hpbmahnm\hgl\bhnlermabgdbg`Z[hnmbm'P^lbfieraZo^Z `^g^kZeb]^Zh_paZmÖk^phh]lahne]ehhdebd^'P^e^Zo^[kZg\a^lmaZmZk^ mhh[b`erbg`ma^k^%Zg]p^Zelh]hgÍmmZd^hg^lmaZmZk^mhhlfZee'B_Z[kZg\a bl`hh][nmi^kaZilghmlahkm^ghn`a%p^mkrmh[k^ZdbmlhmaZmbmÖmlhnkb]^Z' Pa^gma^Ök^[nkglp^pZgmmh`kbeema^kZpib^\^lh_f^ZmmaZmp^aZo^ \nmbgmhfZgZ`^Z[e^ib^\^l'Ma^gp^ghmb\^ZlfZee[kZg\amaZmp^aZo^ghm mhll^]mhma^Ök^phh]'BmÍlehg`^ghn`alhmaZmp^\Zgd^^iZ`hh]]blmZg\^ mhma^Ök^Zg]gb\^erihbgm^]'P^ib^k\^Zib^\^h_f^ZmpbmabmZg]ahe]bm ho^kma^Ök^'BgbmbZeer%mablphkdlÖg^';nmma^gpa^gp^pZgmmhmnkgma^f^Zm ma^[kZg\amnkgl[nmghmma^f^Zm'P^lmZg]niZg]`h[Z\dbgmhma^phh]l mhÖg]Z_hkd'P^fZd^hnkpZrmakhn`ama^[knla'Pa^gp^]hgÍmÖg]paZm p^Ík^l^^dbg`ma^k^%p^[^`bgmhmZd^Z\ehl^kehhdZmma^mk^^l'Lbg\^ma^k^ Zk^oZkbhnlmk^^llmZg]bg`ma^k^%le^g]^kZg]mab\dhg^l%^e^`ZgmZg]\khhd^] hg^l%p^[^`bgmhmabgdahpma^_hkdlahne]b]^Zeerehhd':ehg``kbi'Mab\d ^ghn`alhmaZmma^[kZg\abllmZ[e^Zg]k^lmlp^eebghnkaZg]l'Ma^phh] lahne][kZg\ahnmbgmph^jnZeermab\dikhg`lb_ihllb[e^pbmapab\ap^\Zg ib^k\^ma^f^Zm'Bgma^phh]lln\a[kZg\a^l\Zgh_m^g[^_hng]h_\hnkl^' Ma^rZk^iZkmZg]iZk\^eh_ma^ikbg\bie^h_`khpma';nmbm\Zg[^kZma^k m^]bhnlmhfZd^hnkbfZ`^h_Z_hkd%hnkf^gmZehg^%\hgo^k`^pbmaZeema^ [kZg\a^lbgma^phh]l%Zg]mhl^^pa^k^ma^_hkdblmh[^_hng]bgma^f' B_rhnaZo^Zmhhehgrhnma^grhn\ZgZelh_^m\ama^b]^Zeghmbhgh_ma^h[c^\m _khfZ[kZg\apab\a%ZmÖklm`eZg\^%]h^lghmehhdebd^hg^ZmZee'Ikhob]^] maZmma^k^bl^ghn`afZm^kbZep^\Zg\nmZpZr'Ma^gp^\Zg`h_hkma^ g^qmmab\d[kZg\a%bm]h^lgÍm^o^gaZo^mhaZo^ZgrkZfbÖ\Zmbhgl'P^ma^g phkdhgbmngmbebmk^l^f[e^lhnkb]^Zh_Z_hkd'Mabl\ZgmZd^Zpabe^Zg]bm lmbeeblgÍm\e^ZkpaZmbl[^mm^kÈmhehhd_hkZ[kZg\a_hkdmaZm\hkk^lihg]l mhhnkb]^Zhkmh`^mbm_khfZ]b__^k^gm_hkf'B_p^p^k^[Z\dbg\bobebsZmbhgp^ \hne]ma^gZelhfZd^Z_hkdhnmh_Z]b__^k^gmfZm^kbZe%hnmh_f^mZe%_hk bglmZg\^':fZm^kbZemaZm\Zg[^phg]^k_neerlaZi^]';nmp^]hgÍmaZo^maZm himbhg%[^\Znl^f^mZeblghmmh[^nl^]_hkZghma^k*)))r^Zkl'

Images, Rituals, Myths

19

Pah^o^kaZleb_m^]Z[b`ib^\^h_f^Zmhnmh_ZihmpbeeaZo^lnk^er]hg^mabl pbmaZf^Zm_hkd':f^mZe_hkdmaZmaZlmphehg`ikhg`lZg]Z`hh]`kbi lhmaZmrhn\ZgfZg^no^khkahe]ib^\^lh_f^Zmp^b`abg`l^o^kZedbehlbgma^ dbm\a^gZg]hgmhma^mZ[e^'BmblZelh\^kmZbgmaZmma^KhfZglZek^Z]rnl^] ln\aZdbm\a^gnm^glbe'ebZlÍlmn]rMa^
The Devil’s Fork

12 The story about carving is taken from Wühr’s book (1961: 27ff ). The book Altes Essbesteck (Old Cutlery) certainly does not always take a scientiﬁc approach. But since we are not interested in scientiﬁc proofs but in myths, this book serves our purposes very well. 13 On this subject see Freedberg (1991) and Belting (1996). 14 Rudofsky (1987: 110), in his polemic, often puts forward drastic arguments with regard to western culture. He thus begins his story about eating with cutlery at the table with the idea of a wooden fork used by cannibals (who eat humans). 15 This story can also be found in Honselmann (1992: 378 ff ) in the description of the history of cutlery, under the heading “The Fork Proscribed in the Middle Ages as Satan’s Tool”.

20

The Cooked Kitchen

o^g ma^leb`am^lmfho^f^gmZg]`^lmnk^bgmabl\hnkmerli^\mZ\e^_heehp^]Z \ahk^h`kZiar'PbmaZ`bo^ggnf[^kh_\nmlmaZmp^k^]^Ög^]_hk^Z\aZgbfZe ZkbmnZeh_\Zkobg`%l^iZkZmbg`Zg]ZkkZg`bg`h_f^ZmpZl\^e^[kZm^]':lbg`e^ \Zkobg`_hkdbl%h_\hnkl^%ghmln_Ö\b^gmghkblbmZiikhikbZm^_hkma^mZld'Ma^ \Zkobg`\nme^krZm\hnkm\hfikbl^lZ\Zl^h_bglmknf^gmlÈÖo^_hkdlZg]_hnk dgbo^lmaZmZk^g^^]^]_hkma^Zkmblmb\\Zkobg`ikh\^ll'Bmblghmg^\^llZkrmh Z]]maZmma^l^mhhelZelhg^^]ZiikhikbZm^]^\hkZmbhgl`bo^gma^_Z\mmaZmma^ \nmmbg`mZd^lieZ\^pbmama^gh[bebmrehhdbg`hg'Lbg\^hg^iZkmh_ma^`kbibl \ho^k^][rma^\Zko^kÍlaZg]ma^[eZ]^pZl%h_\hnkl^%Zelh]^\hkZm^]'Ma^ ikbg\^manlZepZrllZpma^liZkdebg`\hgm^fihkZkrZ]hkgf^gmpabe^ma^f^Zm pZl[^bg`\nm'P^Ög]hnkl^eo^lbgZmbf^bgpab\abmZelh[^ÖmlZikbg\^mh nl^ablÖg`^klmhinmma^f^Zmbgablfhnma'Ma^\Zkobg`blZgZkmblmb\`^lmnk^ h_ihp^kmaZmfho^lÈf^Zme^llÈbgmh^o^kr]ZrnlZ`^3[rm^eebg`lmhkb^l' ebZlmablpZlghmma^\Zl^':ghma^k\nemnkZe ma^hkblm%;^kgZk]Kn]h_ldr%m^eelnlparma^_hkdpZlghmnl^]_hkma^ehg`^lm mbf^'A^pkbm^l!k^_^kkbg`mhma^frma"maZmma^_hkd]b]ghm[^\hf^\hffhg _hkZehg`mbf^[^\Znl^ma^\ank\aik^o^gm^]mabl'Hgma^hg^aZg]%ma^ Ög`^klZk^ma^phkdh_@h]Zg]lahne][^`hh]^ghn`a_hkieZ\bg`ik^\nm ib^\^lbghg^Ílfhnma'B_mabl^qieZgZmbhgpZlghmln_Ö\b^gm%ma^gma^k^ pZlma^ihp^kh_bfZ`^l13 'Ma^_hkdpZlma^]^obeÍllb`gh_k^\h`gbmbhg'14Bml !mak^^"ikhg`lk^\Zee^]ma^]^obeÍlmkb]^gm'15Ma^k^p^k^Zeelhkmlh_h[c^\mbhgl hg^\hne][kbg`_hkpZk]'Hg^\hne]Zk`n^%_hkbglmZg\^%maZmhe]_hkdlaZ] mphhk_hnkikhg`l'Hg^\hne]aZo^lbfierfZ]^_hkdlpbma_hnkikhg`lZlbm bl]hg^mh]Zr!_hk_^Zkh_ma^]^obe8"'Hklhf^pbmamphikhg`lebd^ma^\Zkobg` _hkd'R^mma^ihp^kh_bfZ`^lpZl`k^Zm'Ma^]^obepbmaablmkb]^gmZlZ l\^im^k8I^hie^p^k^Zek^Z]rebobg`bgZ]b_Ö\nemmbf^lhma^r\^kmZbger]b] ghmpZgmmhkbldZgrmabg`Zg]fZd^ma^\ank\aZg`kr'Lhma^r\hgmbgn^] mh^Zmpbmama^bkÖg`^kl%bmpZlfhk^_ngZgrpZrmaZglahobg`ma^\he]f^mZe [^mp^^grhnkm^^ma'

Images, Rituals, Myths

21

16 Cf. Frutiger (1998: 264 f ). In his book Signs and Symbols. Their Design and Meaning Frutiger presents the trident along with the spear, sword, scythe, and similar objects under the heading of everyday objects that have been elevated to the status of a sign. 17 This description was taken from Lexikon der christlichen Ikonographie (Lexicon of Christian Iconography) by Kirschbaum (1994), vol. 4, p. 295 ff. 18 Ibid., vol. 3, p. 124 f 19 Wühr (1961: 35)

20 Ibid. 21 Rudofsy (1987: 110)

22

The Cooked Kitchen

:g]i^kaZilhg^aZ]Zek^Z]r[hn`amma^fhlmk^\^gm[hhd[r;hgob\bgh]Z KboZÈ?b_mrmabhibZg%Zg`e^hk>b]hehg'Hka^^f[h]b^lZee^obebgma^`nbl^ h_ZgZgbfZeÈZlgZd^%]kZ`hg%ebhg%[^Zk%ahkl^hk[Zm'B_Zeeh_maZmblghm ngl^mmebg`^ghn`aa^\ZgZelh\hf[bg^oZkbhnl[^Zlml%Zii^Zkbg`Zllbk^g% \^gmZnk%gZbZ]hklZmrk'17Bgma^Fb]]e^:`^lZghma^kmkZgl_hkfZmbhgmhhd ieZ\^ÈgZf^ermaZmh_En\b_^k!_Zee^gZg`^e"bgmhZ]^obe'Bgma^eZm^Fb]]e^ :`^la^Zii^Zklpbma\eZplhk]kZ`hgpbg`l'18Bghk]^kmh\hngm^kma^mkb]^gm Zmma^^g]h_ma^phke]hg^g^^]lZ`k^Zm]^Zeh_en\dhkb\hgh`kZiab\ dghpe^]`^'FZkmbgEnma^kÍlie^Z!Ê@h]ikhm^\mf^_khfma^ebmme^_hkdl%ma^r fZd^mak^^ahe^lË"_nkma^kghnkbla^]i^hie^Íl_^Zklh_g^p^Zmbg`\nme^kr' :g]_hklhf^mbf^ma^pbm\a^l!_hkdpahk^l"\hgmbgn^]mhkb]^makhn`ama^Zbk hgma^]^obeÍlÖk^_hkd'19 BmpZlghmngmbema^l^\hg]aZe_h_ma^*2ma\^gmnkrmaZmma^_hkdpZlmh [^\hf^pb]^ernl^]bghnk\nemnk^Zg]_hh]pZlmanlZl\kb[^]Zab`a^ke^o^e h_\bobebsZmbhgZehg`pbmabm'?khfZgbglmknf^gmnl^]f^k^ermhib^k\^ lhf^mabg`%ma^ikbfZep^Zihgh_ma^l^Z%bmma^g\Zf^mhk^l^f[e^fhk^ ma^lihhg%Zllnfbg`Zeb`am\nkoZmnk^'Pah^o^kmahn`amma^]^obepZl [Zgbla^]\Zgabmma^mZ[e^pbmaZ_hkd'Ma^lhng]h_ma^_hkd\hgcnk^labf Z`ZbgZg]Öeelma^ahf^pbmaZg`nbla'20B_p^[^eb^o^Kn]h_ldr%_hnkÖ_mal h_ma^phke]!lmbee"]hghmnl^Z_hkd'21?hkma^fma^]^obepbeeaZo^mh\hf^ nipbmalhf^mabg`]b__^k^gm'

The Hand as a Tool

Images, Rituals, Myths

23

ÌMa^aZg]maZml\hhilpZm^kblma^Öklm k^\^imZ\e^'!Á"Rhn\hne]bfZ`bg^maZmh[c^\ml bghnkl^gl^%h[c^\mlmaZmZllnf^ZoZen^ ^qblm^]Zllb`glh_aZg]l'Í

Elias Canetti

22

22 Canetti (1984: 217). See also Vilém Flusser’s book, Les Gestes (1999) (Gestures), a reference work for all phenomenological approaches of this type. Flusser sees a gesture as referring to movements of a body and, by extension, the tools linked with it. Fortunately, his observations took place outside of the kitchen.

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24

The Cooked Kitchen

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Images, Rituals, Myths

25

Skeleton of a Dish for the Eyes Only

26

The Cooked Kitchen

ÊRhn^Zmpbmarhnk^r^lË%Zlma^lZrbg``h^l';nmpaZmblk^Zeerf^Zgm[rmabl blmaZmma^pZrZf^Zeblik^iZk^]Zg]l^ko^]bg×n^g\^lma^pZrp^^qi^kb& ^g\^bm'Ma^k^Zk^]bla^lmaZmmZlm^`k^Zm[nm]hgÍmehhdlh`k^Zm%pabe^ma^k^ Zk^[^Znmb_ne]bla^lmaZmaZo^ghmZlm^ZmZee'

23 Cf. Bäumler (1993: 113-116) as reference for the culinary spectacle described in the following.

24 Cf. Laurioux (1999: 138). See also Sommer (2006: 257 ff )

Images, Rituals, Myths

Bgma^fb]]e^h_ma^*/ma\^gmnkrma^b]^Z^f^k`^]Zm\hnkmmh^gkb\ama^ fZgr\hnkl^lZmZ[Zgjn^mpbma]bla^l_hkma^^r^lhger'23Ma^rp^k^ghm f^Zgmmh[^^Zm^g[nmhgerehhd^]Zm'L^ko^]cnlmebd^ma^hg^lmaZmp^k^^Zm^g [^_hk^Zg]Z_m^k[nmghm\nm'Ma^r\hglblm^]h_eZobla]blieZrlmkn\mnk^lZg] ]bla^lmaZmhgerlhn`ammhikhob]^oblnZeie^Zlnk^'Ma^rp^k^bgm^g]^]Zl ih^mb\ZelmZm^f^gmlhgma^phke]%fZbgerl^kobg`hg^inkihl^3mh[kZ`'Ma^ _ng^kZe_^Zlm_hk=nd^:e[k^\amBOh_;ZoZkbZ!*.)2"\hglblm^]h_*0]bla^l% gbg^h_pab\ap^k^]bla^l_hkma^^r^lhger'?heehpbg`Z[hbe^]ib`Íla^Z] Zg]Z\ab\d^gma^Öklmeho^erbeenlbhgpZll^ko^]3GhZaÍl:k\hgZl^Zh_\hg& l^\kZm^]pZ_^kl[Zd^]pbmaln`Zk'Ma^rk^ik^l^gm^]ma^ÖklmZ`^h_ma^phke]' ?heehpbg`ÖlaZg]\Z[[Z`^Zg:[kZaZfÖ`nk^pZll^ko^]%h_\hnkl^%pbma ma^lhgpahpZlmh[^lZ\kbÖ\^]'G^qmmhma^fZmhp^kh_ln`ZkZg]Zefhg]l' ?blabgZlib\%o^gblhgpbmai^ii^kmhÖeema^lmhfZ\a%ma^gma^g^qmZ`^ _heehplhgbmla^^el'=Zob]Ö`ambg`Z`Zbglm@hebZma%lnkkhng]^]hg[hmalb]^l [rZefhg]iZlmkb^l'=Zob]%Zlp^dghp%pbglZg]ma^l^koZgmlma^g[kbg` o^`^mZ[e^l%ZaZk^Zg]ÖgZeerma^Ö_maZ`^h_ma^phke]'Ma^mhp^kh_;Z[rehg% lnkkhng]^][ro^`^mZ[e^l'Ma^lmZ`^]]blabl]^ohnk^][rma^^r^l'Ma^gma^k^ bl[bk]im%e^`h_o^gblhg%_heehp^][rma^g^qmphke]Z`^':o^krhg^lmZk^lZmabf'Ma^g\hf^lma^`kZg]ÖgZe^% ZeZk`^\Zd^'Ln]]^gerebo^[bk]l×rhnmh_ma^\Zd^':ibmrmaZmma^]nd^blgh ehg`^kZ[e^mhpbmg^llmabl' Ma^:k\a]nd^h_:nlmkbZpZl\^kmZbgerghmpaZmrhnphne]\Zeelmbg`r'A^e^g]l abl]pZk__hkma^p^]]bg`[Zgjn^mh_ma^=nd^h_;ZoZkbZbg*./1'Mh`^ma^k pbma-)\hhd^]]bla^lma^ihhk`nrblab]]^gbgZib^Zg]l^ko^]'Hgma^ hnmlb]^ma^ib^blZ]hkg^]pbmaÖ`nk^lZg]bfZ`^l'Ma^gln]]^germa^]pZk_ cnfilhgmhma^p^]]bg`[Zgjn^mmZ[e^Zg][^`bglmh]Zg\^Zg]^gm^kmZbg mahl^ik^l^gmpbmaln[l^kob^gmlZrbg`l'Pa^gln\abfihkmZgmh\\ZlbhglZk^ \^e^[kZm^]%ma^k^p^k^ghmcnlm]bla^l_hkma^^r^lhger[nmZelhZgbfik^llbo^ [n__^mnlnZeerl^mnigb\^eroblb[e^bgma^khhf';nmpah^o^kmabgdlmaZmma^k^ pZllhf^mabg`mh^Zmma^k^blpkhg`'Ik^\bhnl\kh\d^kraZ][^^gl^mni3cn`l% ibm\a^kl%lZemieZm^lZg]ma^ebd^'>o^krmabg`cnlm_hk]blieZr%ghmabg`bgma^ [n__^mmaZm\hne][^^Zm^g'LhmaZm^o^krmabg`aZ]bmlhk]^k%ma^`nZk]h_Zeeh_ ma^mk^Zlnk^lpZlbg\aZk`^h_mabg`l'A^Z]obl^]ma^ahlmlhgahpmhl^m nima^mZ[e^Zg]mh]^\hkZm^ma^[n__^m'24Ma^\k^]^gsZ_hk]blieZrbg`mabg`l k^fZbg^]Zgbg]bli^glZ[e^ib^\^h__nkgbmnk^nibgmhma^eZm^*1ma\^gmnkr' Ma^gh[bebmr]b]ghmpZgmmh]bli^gl^pbmaZob^ph_ma^ik^\bhnlh[c^\ml'Ma^l^ aZ[bml%\nemboZm^]_hkfZgrang]k^]lh_r^Zkl%]hghmoZgbla_khfhg^]Zrmh ma^g^qm'Mh]Zrhg^lhf^mbf^llmbee\hf^lZ\khll]bgbg`khhf`eZll\Z[bg^ml bgpab\aZeefZgg^kh_ik^\bhnl%aZg]&[ehpg`eZll^lZk^]blieZr^]';nmma^k^ blZ]b__^k^g\^3ma^l^`eZll^lp^k^ghmink\aZl^]mh[hZlmpbma'

27

ÌMh]ZrÍldbm\a^gl%pbmama^bklmkZb`am_hkpZk] ]^lb`g%^fZgZm^ZgZ^lma^mb\h_iZllbobmr Zg]k^ik^l^gmZmbhg'Ma^rZk^[^Znmb_ne[nm pbmahnmZgrZ\mbhg'Ma^Z^lma^mb\h_Z\mbhge^Z]l mhZ]b__^k^gmlhkmh_hk]^kÈmaZmh_×^qb[bebmr Zg]fh[bebmr'Í

Otl Aicher

25

25 Otl Aicher (1982/1994: 106)

26 Cf. Benker (1987: 15) and Hanisch/Widrich (1999: 46)

28

The Cooked Kitchen

Lahpdbm\a^glZk^Zgbgo^gmbhgh_ma^*1ma\^gmnkr'Ma^l^Zk^dbm\a^glbg pab\a%Zlrhn\ZgZek^Z]r`n^ll%rhn]hghmZ\mnZeer\hhd'Ma^rZk^hger ehhd^]Zm'Ma^rZk^nl^]mhlmhk^k^ik^l^gmZmbo^\hhdbg`nm^glbelZg]\kh\d^kr' Ma^:fZeb^g\Zlme^bgma^Grfia^g[nk`g^ZkFngb\aaZlln\aZeZoblalahp dbm\a^g'Bmbl_neer_ng\mbhgZeZg]bl_nkgbla^]pbmama^fhlmfh]^kgm^\agb\Ze `Z]`^mlh_bmlmbf^3Z[kZg]&g^plmho^%hg^h_ma^Öklmo^klbhglh_ma^ eZm^k\ehl^]lmho^'26
Ritual Dress

Images, Rituals, Myths

29

Ma^Ob^gg^l^nkhi^ZgfhgZk\alZg]lmZm^lf^g mh]bl\nllma^g^pihebmb\Zelmkn\mnk^h_>nkhi^Z_m^kGZihe^hgB_^ee_khf ihp^k'?khf_Zeeh_*1*-mhCng^*1*.ma^rk^×^\m^]hgahpmhk^lmhk^ ma^ik^&k^ohenmbhgZkrhk]^k':nlmkbZhg\^Z`ZbgZllnf^]Zlmkhg`^kihlbmbhg bgNii^kBmZerpab\a%Zlp^aZo^Zek^Z]rl^^g%fZ]^ma^Ob^gg^l^L\agbms^e Zgbgm^kgZmbhgZe]bla';^abg]ma^l\^g^lZmma^
27 Cf. Schwendter (1999: 223 ff ) for a description of Carème’s output.

28 See ibid., p. 227 ff

30

The Cooked Kitchen

B_hg^ehhdlZmma^l\h_Ö^k!*1-0&*2,."mh]Zrbll^^gZlZ d^rÖ`nk^hgmabl\nko^h_\bobebsZmbhg'28

BmpZla^paheb[^kZm^]mZ[e^Zg]]bla^l_khfghg&^]b[e^]^\hkZmbhgl%fZdbg` _hh]eb`am^kZg]nlbg`e^ll\hg]bf^gml'A^bgm^glbÖ^]ma^bgmkbglb\mZlm^h_ma^ \hglmbmnmbo^^e^f^gmlZg]l^mmabl]hpghg\^Zg]_hkZeebgabl`nb]^mhma^ Zkmh_\hhdbg`'Ma^fh]^kgk^lmZnkZgm\nblbg^aZl\k^Zm^]Zfhgnf^gm_hkabf bgma^`nbl^h_Zgh[c^\mmaZmblghmZepZrlZmmkZ\mbo^ÈfZ]^bgma^phklm \Zl^h_\a^Zieb`amf^mZe'>l\h_Ö^klZk^nl^]mh\Zkkrlb]^]bla^lmhma^mZ[e^ Zg]mablahi^_neerbgma^`k^ZmfZlm^kÍllibkbm3

ÌMa^Z[lhenm^kne^_hkma^_nmnk^lahne][^mh [Zgbla^o^krmabg`maZmblbg^]b[e^_khfma^ ieZmm^kZg]mhaZo^ZmZlm^_nelbfieb\bmrik^oZbe bgma^ZkkZg`^f^gm'Í

G. A. Escoffier

29

29 Quoted in Mitsche et al. (2005: 122 f )

Images, Rituals, Myths

:_nkma^kkbmnZeZmmkb[nm^h_ma^fZlm^kh_\nebgZkrZkmlbllmbeenl^]bgfZgr ikboZm^ahnl^ahe]l'Ma^\hhdbg`Zikhg'Bm\hkk^lihg]lmhma^\Zm^`hkb^lh_ kbmnZe]k^ll'Mhinmhgma^Zikhgf^Zglmhi^k_hkfZgZ\mh_bgbmbZmbhg'P^ [hpZg]ineema^g^\d[Zg]ho^khnka^Z]'Ma^gp^mb^ma^Zikhg[hplhghnk [Z\dhkhnk[^eer'Inmmbg`hgZgZikhgf^Zgl^qbmbg`ma^^o^kr]Zrphke]Zg] ^gm^kbg`ma^ih^mb\Zephke]h_ma^dbm\a^g'Bmbl_ng\mbhgZe[nmZelhlrf[heb\' Hnk`^g^kZefhh]\aZg`^lpa^gp^Zk^p^Zkbg`bm'B_p^Zk^\hhdbg`pbma lhf^hg^^el^ma^gbm_neÖelZgZk\aZb\_ng\mbhg%fZdbg`nl^jnZel'B_\ho^kl hnk^o^kr]Zr]k^llZg]l^iZkZm^lmahl^p^Zkbg`ma^Zikhg_khfmahl^pah Zk^ghm':kbmnZe\bk\e^^f^k`^lpbmamahl^pahZk^bglb]^h_bmZg]mahl^pah k^fZbghgma^hnmlb]^Zlhgehhd^kl'KbmnZe]k^llblZg]kh`rghnl%maZmblmh lZr3ma^k^blgh`^g]^k&li^\bÖ\]blmbg\mbo^_^Zmnk^'Bm\Zg[^ZgZikhgnl^] [rZ_^fZe^\hhdhkZ[eZ\dlfbmaÍle^Zma^kZikhg'Pa^gp^inmhgZgZikhg% bm`bo^lnlikh_^llbhgZe]b`gbmrZg]Znmahkbmr%cnlmebd^Zngb_hkf'Pa^gp^ aZg`bmniZ`Zbghgma^ahhd%p^lrf[heb\Zeerlanmma^]hhkmhma^dbm\a^g'Hk p^e^Zo^bm\ehl^]Zg]`hmhhg^h_ma^mhjn^k^lmZnkZgmlmaZmaZo^[^^g ahghk^]pbma
31

The Fish Club as a Can Opener

32

The Cooked Kitchen

Ì>o^krmabg`Z[hnmmablbfie^f^gmÈpab\abl ZelhZlni^k[phkdh_ZkmÈl^^flmh[^Z fZmm^kh_lmkn\mnk^3bmlfrmab\Zelrf[heblfZl p^eeZlbmlikZ\mb\Ze_ng\mbhg'Í

Claude Lévi-Strauss

30

Images, Rituals, Myths

33

30 Lévi-Strauss (1966: 26)

31 Ibid.

32 Ibid., p. 27

33 Already at the beginning of the 20 th century there were comprehensive kitchen catalogues offering everything one needed at the time for cooking. Such a catalogue can be found in Stille/Beitlich (1978). The objects described here can be found on page 58.

34

The Cooked Kitchen

Ma^_ZfhnlZgmakhiheh`blm<eZn]^Eob&LmkZnllbllbmmbg`bgabllmn]rZg] pkbmbg`abl[hhdMa^LZoZ`^Fbg]'A^aZlcnlmk^Z\a^]ma^l^\mbhgbgma^m^qm pa^k^a^^qieZbglma^]nZegZmnk^h_frmal'Hgma^hg^aZg]%ZlZlrlm^f h_Z[lmkZ\mk^eZmbhgl%hgma^hma^k%ZlZgh[c^\mh_Z^lma^mb\lmn]r'Ma^\k^Zmbo^ Z\mmaZm[kbg`l_hkmama^frmabl%\hgo^kl^er%lrff^mkb\mhma^\k^Zmbo^Z\m h_ZgZkmphkd%Zla^^eZ[hkZm^l'Ma^Zkmphkdbl[Zl^]hgZmhmZebmre^g]bg`ma^ Z^lma^mb\\k^ZmbhgZ\hffhglmkn\mnk^Zg]ma^\aZkZ\m^kh_mhmZebmr'Ma^frma% [r\hgmkZlm%nl^lZlmkn\mnk^mhikh]n\^ZgZ[lhenm^h[c^\mpab\alnffZkbs^l ma^^o^gmlmhhg^mhmZebmr'31 A^k^Eob&LmkZnllghmb\^lZgh[c^\mlmZg]bg`hgablla^e_'A^nl^lbmmho^kb_r ablk^×^\mbhgl'BmblZMebg`bm\en[fZ]^h_\^]Zkphh]'Bmblnl^]mhleZrZÖla' Ma^Zkmblmpah\k^Zm^]bm`Zo^bmma^Zii^ZkZg\^h_Zfhglm^kh_ma^l^Z'B_hg^ h[l^ko^lmabllrf[heb\e^o^eh_ma^h[c^\m%ma^f^llZ`^l^^flmh[^\e^Zk' Ma^fhglm^kh_ma^l^Zbllmkhg`Zg]aZlgh^g^fb^l'Bm^Zmlma^Öla%dbeel ma^fmhlnkobo^'B_rhnehhdZmma^Öla\en[%rhnng]^klmZg]ma^f^llZ`^'Bm k^_^klmhma^pZm^kpa^k^ma^\en[blnl^]_hkangmbg`'I^kaZilma^Ö`nk^Zelh aZllhf^mabg`mh]hpbmama^lnkoboZeh_ma^mkb[^h_ZkmblmlZg]ma^frmab\ Ö`nk^bliZkmh_ma^_hng]bg`frma'BgZk\aZb\lh\b^mb^lln\aÖ`nk^lh_m^g m^Z\ai^hie^ahpma^rZkkbo^]Zm^]b[e^h[c^\ml'Eob&LmkZnllfZraZo^mZd^g ma^\en[_khfma^la^e_mhahe]bm'A^ZnmhfZmb\ZeermZd^lbmmhpa^k^ma^Zkmblm \nmma^mZbeh_ma^l^Zfhglm^k'I^kaZila^aZlZelhZeen]^]mhZ_^p[ehpl lhZlmhm^lmahp[ZeZg\^]ma^p^Zihgbl'BgZgr\Zl^a^\hf^lmhma^\hg& \enlbhgmaZm[hmafrmab\lrf[heblfZg]ikZ\mb\Ze_ng\mbhgZk^lmkn\mnkZe'Hg _nkma^kk^×^\mbhg%mablZefhlmlhng]lZ[bmebd^]^lb`gma^hkr'A^^qieZbgl ma^ikh\^llh_Zkmblmb\\k^ZmbhgZlZ]bZeh`n^pbmama^fh]^e%ma^fZm^kbZehk ma^nl^k%Zllb`gbg`ma^Zkmblmb\`^gk^lh_oblnZeZkml%ikbfbmbo^ZkmlZg]ÖgZeer mhma^Ziieb^]Zkmlmhma^l^ihllb[bebmb^l'32 B_a^aZ]`hg^bgmhma^dbm\a^gmh`^mabfl^e_lhf^mabg`mh^Zm%a^fZraZo^ \hf^Z\khllZgh[c^\mmaZma^ikh[Z[erphne]aZo^inm[Z\dbgmhma^dbm\a^g ]kZp^kkb`amZpZr':\Zghi^g^klaZi^]ebd^Zfhglm^kh_ma^l^Z':dbm\a^g \ZmZeh`n^_khfma^[^`bggbg`h_ma^+)ma\^gmnkreblmlma^h[c^\mZlZgh[c^\m pbmaÊZ*Zdgb_^maZm\Zg[^l\k^p^]bgZg]^q\aZg`^]Ë'33Bmbl*,\^gmbf^m^kl ehg`Zg]fZ]^h_[khgs^&\hZm^]\Zlmbkhg'Bm]^ib\mlZÖlapab\a%lbfbeZk mhma^Öla\en[%bla^e][rma^mZbe'Ma^^gmbk^[h]rh_ma^l^Zfhglm^kblfZ]^ hnmh_\Zlmf^mZeZg]aZlZl\neimnkZelaZi^'Rhnl^^ma^^r^l%ma^lb]^Ögl Zg]ma^mZbe'Ma^eZmm^kblkhng]^]h__ikh[Z[er_hk[hmaikZ\mb\ZeZg]Z^lma^mb\ k^Zlhgl':mma^^g]h_ma^mZbema^k^blZl^fb&\bk\e^pab\aehhdlZlb_lhf^& hg^p^k^mkrbg`mhbgl^kmZ[Zeebgmhma^Ölamakhn`ama^mZbe'Ikh[Z[erma^ hi^g^keb^l[^mm^kbgma^aZg]mablpZr%ma^Ziieb^]ZkmblmfnlmaZo^mahn`am' Lbg\^ma^\ZlmfZm^kbZeblghlnbm^]_hklaZibg`ma^dgb_^%ma^lm^^edgb_^pZl l\k^p^]hgmhma^Ölahgma^hnmlb]^'Ma^l\k^pbloblb[e^lhmaZmma^dgb_^\Zg [^^q\aZg`^]Zgrmbf^'Ma^\ZmZeh`n^lZrlghmabg`Z[hnmma^lrf[heb\laZi^ h_ma^h[c^\m'Bm`h^lpbmahnmlZrbg`maZmbmbl^Zlb^kmhhi^gÖla\ZglpbmaZ \Zghi^g^klaZi^]ebd^Zl^Zfhglm^k'Bgma^lZf^ÊbeenlmkZm^]ikb\^[hhdËp^ Ög]ghmhgerma^l^Zfhglm^k\Zghi^g^kpbmama^hk]^kgnf[^k2+2(*[nm ZelhZleb`amerfhk^^qi^glbo^\Zghi^g^k'H[c^\mgnf[^k2+2(,aZll\k^p^] ma^^q\aZg`^Z[e^[eZ]^hgmhZf^mZeib^\^'Ma^eZmm^kaZl[^^glmn\dbgmhZ ikhmhmri^phh]^g`kbi%pab\abllbfbeZkmhfZgrmhhelp^dghp'H[c^\mgnf[^k 2+2(+blfbllbg`'Mph\Zghi^g^klZk^^ghn`aÈhg^maZmblfhk^lrf[heb\ Zg]ma^hma^kmaZmblikZ\mb\Ze'

The Cooking Spoon as a Scepter

Images, Rituals, Myths

35

34 Cf. Benker (1987: 66 ff )

:\hhdbg`lihhgpbmabmlehg`aZg]e^blnl^]mhlmbkebjnb]Zg]fnlar_hh]bg Zihm'Bgma^iZlm\hhdbg`lihhglp^k^fZ]^^bma^khnmh_f^mZelhmaZmbm pZl^Zlb^kmhlmbkbg[b`ihmlhkhnmh_phh]';^_hk^fZllikh]n\mbhg[^`Zg phh]^g\hhdbg`lihhglp^k^fZgn_Z\mnk^]Zmahf^lbgma^pbgm^kbgphh]^] k^`bhgl'Ma^phh]nl^]_hkmablbg\en]^]Zahkg%Zla%[bk]\a^kkr%ebg]^ghk r^pphh]'34Mh]Zr\hhdbg`lihhglZk^ZelhfZ]^hnmh_ieZlmb\':lfZgr h[c^\mlmaZmaZo^k^ieZ\^]Zphh]^ghg^\hehk[^\hf^lZgblln^'Ma^laZi^ Zg]_ng\mbhgh_Z\hhdbg`lihhg\Zg[^bfbmZm^]';nmma^fZm^kbZeaZlr^mmh [^bfbmZm^]bgZ\hgobg\bg`pZr'MhpaZm^g]%hg^fb`amZld%lbg\^ma^k^Zk^ Zgnf[^kh_bg]nlmkbZe\hhdbg`lihhglmaZm\ho^kma^^gmbk^kZg`^h_r^eehp% pabm^Zg][khpglaZ]^l'Ma^inkihl^h_\Zfhn×Z`^blmhfZd^ma^lihhg [e^g]bgpbmama^hma^kphh]^ghg^lbgma^dbm\a^g]kZp^k'Dgb_^aZg]e^lZelh nl^]mh[^fZ]^h_phh][^_hk^ma^rp^k^^o^gmnZeerk^ieZ\^][rieZlmb\': ik^_^k^g\^_hk[eZ\ddgb_^aZg]e^laZl^f^k`^]'Ma^^qi^glbo^aZg]e^l fZ]^hnmh_mkhib\Zephh]Zelhnl^]mh[^[eZ\d':[eZ\ddgb_^aZg]e^lbfier aZlZfhk^]b`gbÖ^]ehhd';nmi^hie^l^^fmhbgmnbmbo^eraZo^lhf^mabg` Z`Zbglm[eZ\d\hhdbg`lihhgl'Ma^Zllh\bZmbhgpbma[eZ\dmkhib\Zephh]]h^l ghmZkbl^'Bglm^Z]%hg^mabgdlh_leb`amer\aZk\hZe^]phh]^g\hhdbg`lihhgl' MablaZii^g^]bgZmbf^bgpab\ama^a^ZkmaÖk^pZlZ[bmfhk^ngik^]b\mZ[e^' ;nm^o^gbgfh]^kgahnl^ahe]l\hhdbg`lihhgllhf^mbf^l`^m[nkg^]'Rhn cnlmaZo^mhieZ\^Zphh]^glihhghgmhih_ma^ihmlhmaZmbmlmb\dlhnmhg ma^kb`amZg]e^_m&aZg]lb]^Zg][^_hk^rhndghpbmma^aZg]e^bl[nkg^]' MablblZgghrbg`Zg]rhn]hgÍmpZgmmh[^k^fbg]^]h_bm'Lhgh[eZ\d\hhdbg` lihhglMa^lbmnZmbhgbl]b__^k^gmpbmaiZgeb_m^kl'Ma^k^[eZ\dl^^flmh[^ [^mm^kmaZg[khpg':iiZk^gmerma^k^Zk^mabg`lmaZmnl^]mh[^fZ]^hnmh_ phh]'I^hie^pZgmmhk^mZbgma^bkhe]bfZ`^h_ma^f'Lhhg^Z\\^imlma^fhgh& \akhf^%lfhhmaieZlmb\lnk_Z\^pab\ablh_m^gZgbgZ]^jnZm^ZiikhqbfZmbhg h_ma^phh]^glnk_Z\^pbmabml]b__^k^gmlaZ]^l%m^qmnk^lZg]bmlkhn`a_^^e'
36

The Cooked Kitchen

35 Ibid., p. 67

Ma^\hhdbg`lihhgblZ\^gmkZe\hhdbg`mhhe'BmbllhbfihkmZgm[^\Znl^fhlm _hh]fnlm[^lmbkk^]pa^g[^bg`ik^iZk^]'Bgma^iZlmfZgr]bla^laZ]Z fnlar\hglblm^g\r'H_m^g\hhdlaZ]mhlmbk_hkahnkl[^_hk^Zf^ZepZl k^Z]r'35Bgib\mnk^lp^h_m^gl^^ma^\hhdahe]bg`mablmhheg^qmmhma^ihm' Pa^gnl^]_hkmZlmbg`ma^lmbkkbg`lmb\dblhg\^Z`ZbgmkZgl_hkf^]bgmhZ \hhdbg`lihhg'Rhnma^gl^^ma^\hhdlenkibg`_khfma^lihhghkahe]bg`ma^ mhheahkbshgmZeer%\a^\dbg`ma^_hh]erbg`hgma^lihhgpbmaabl^r^l'Rhn ]hgÍmaZo^mhlenki%rhn\hne]Zelhlf^eehklbfierehhdZmma^\hglblm^g\r' H_\hnkl^ma^i^k_^\m\hhdg^^]llihhglbg]b__^k^gme^g`malcnlmZllhf^hg^ pahphkdlpbmaphh]g^^]l]b__^k^gm&lbs^]mhhel_hkhg^Zg]ma^lZf^ mZld'Bgma^\Zl^h_ma^\hhdbg`lihhgmablaZlmh]hpbmama^_Z\mmaZmrhn aZo^mhnl^ihmlpbma]b__^k^gma^b`amlZg]ma^lihhgaZg]e^laZo^mhÖmma^f' ?nkma^kfhk^%rhng^^]Zl^iZkZm^\hhdbg`lihhg_hk^Z\aihm[^bg`nl^]' Pa^grhn\ehl^ma^eb]h_ma^ihmmh\hhdma^_hh]ma^\hhdbg`lihhgaZlmh [^k^fho^]Zg]ma^gma^jn^lmbhgZkbl^lpa^k^mhinmma^]bkmrlihhg'Ma^ dbm\a^gZkmb\e^bg]nlmkraZl\hf^nipbmaZ\hhdbg`lihhgahe]^k%_hkbglmZg\^% hg^fZ]^hnmh_lmZbge^lllm^^eÈpab\abl\^kmZbgerZ[bm^qZ``^kZm^]Zl Zlhenmbhgmhma^ikh[e^f'Bm\hglblmlh_Zib^\^hgpab\ama^]bkmrlihhgk^lml Zg]ZlniihkmZeehpbg`ma^aZg]e^mh[^ieZ\^]bgZgnikb`amihlbmbhg'Ghp ma^\hhdbg`lihhglmZg]lebd^bgma^ihmÈ[nmpbmahnmma^ihm'Hg\^\hne] ZelhbfZ`bg^ik^l^gmbg`bmebd^mablbgZfnl^nf'Ahp^o^k%bmphne]aZo^mh[^ pZla^][^_hk^aZg]Zg]ghm]blieZr^]pbmalhni]kbiibg`_khfbm' :lp^aZo^Zeen]^]mhZ[ho^%\hhdbg`lihhglZk^ghmcnlmnl^]_hklmbkkbg` Zg]mZlmbg`'Ma^mabgphh]^gaZg]e^\hne]Zelh[^nl^]_hkZgnf[^kh_hma^k mabg`l'?hkbglmZg\^%_hkeb_mbg`ma^eb]_khfZahmihm'Bm\hne]Zelh[^^f& iehr^]_hkZeemZldlmaZmZk^[Zl^]hgma^iarlb\ZeeZph_ma^e^o^k'Bm\hne] Zelh[^nl^]ZlZ_hkf_hkpkZiibg`]hn`a'BgZ]bla\Zee^]lghp[Zeelma^ ]hn`ablpkZii^]Zkhng]ma^aZg]e^Zg][Zd^]bgahm_Zm'Bgmh]ZrÍl^k`hghfb\ phke]mablphne]f^ZgmaZmma^\hhdbg`lihhgaZg]e^bllbfier\rebg]kb\Ze Zg]blghmlaZi^]bgZli^\bZepZrmhZ\\hffh]Zm^mhma^aZg]'Ma^fhk^ Z[lmkZ\mZgh[c^\mblma^fhk^hg^\Zg]hpbmabm'
36 Cf. Wühr (1961: 11)

Images, Rituals, Myths

Ma^\hhdbg`lihhgblZlihhgpbmaZehg`aZg]e^'LihhgZg]dgb_^p^k^ma^ hgerh[c^\mlnl^]_hk^Zmbg`ningmbema^fb]]e^h_ma^*1ma\^gmnkr'BgZ]]bmbhg mhma^ikZ\mb\Ze_ng\mbhglZmma^mZ[e^ma^lihhgaZ]Zgnf[^kh_lrf[heb\ hg^l';rma^pZrbmpZlieZ\^]hgma^mZ[e^hg^\hne]bg]b\Zm^b_hg^pZllmbee ang`kr'B_ma^aheehplb]^_Z\^]nipZk]hg^pZllmbeeang`kr'36B_hg^[^``^]% hg^Zelha^e]hg^Íl^fimraZg]'Pa^ghg^pZl_nee%hg^lbfiermnkg^]ma^ lihhgZkhng]'Lbg\^mh]ZrZlihhgblaZk]ernl^]Zgrfhk^_hkl^kobg`_hh] ma^_hkdZg]dgb_^ghpaZo^Zlrf[heb\_ng\mbhghgZieZm^'B_dgb_^Zg] _hkdZk^ieZ\^]lb]^[rlb]^hgma^ieZm^%mabllb`gZelmaZmhg^bl_nee^o^g b_hg^aZlghm^Zm^g^o^krmabg`'B_hg^ieZ\^ldgb_^Zg]_hkdhgma^^fimrieZm^ ma^pZrhg^a^e]ma^fbghg^ÍlaZg]lpabe^^Zmbg`%ma^gmablf^ZglmaZmhg^ pZgmlZl^\hg]a^eibg`'

37

37 Scholars are still not certain whether the groom is depicted at all in the painting. 38 Cf. Wühr (1961: 11)

Ma^lihhgZelhl^ko^]hma^kbfihkmZgm_ng\mbhgl%_hkbglmZg\^%mhlb`gZebs^ \hnkmlabi'Ma^p^]]bg`lihhgpZlZlrf[heh_eho^ikhfblbg`ZaZiir fZkkbZ`^'Ma^_ZfhnliZbgmbg`?Zkf^kÍlP^]]bg`[rIb^m^k;kn^`^ema^>e]^k !\Z'*./1"lahplZfZe^Ö`nk^pbmaZlihhghgablaZm':mma^mbf^ma^ iZbgmbg`pZlfZ]^mablpZlZ\hffhgpZr_hklhf^hg^mh\Zkkrabllihhg' Mablbg]bob]nZe%ahp^o^k%pZlghmma^`khhf37^o^gmahn`aZmma^mbf^bm pZl\hffhg_hkma^g^perp^]mh^Zmlhnimh`^ma^khgma^fhkgbg`h_ma^bk p^]]bg`]Zr'38Ma^lhnilrf[hebs^]Zehg`eb_^pab\apZlhg^h_ma^pbla^l fZ]^mhma^\hnie^hgln\ah\\Zlbhgl' Mh]Zrbm\hf^lZlghlnkikbl^maZm ma^@^kfZglZrbg`Ì]^gE__^eZ[`^[^gÍ!ebm^kZeer3`bobg`nima^lihhg"ÈZ lZrbg`maZmaZllnkobo^]mhma^ik^l^gm]ZrÈbllrghgrfhnl_hkma^>g`ebla lZrbg`Ìdb\dbg`ma^[n\d^mÍ'?hklni^klmbmbhnli^hie^bm\hne]manl[^Z[Z] lb`gb_Zlihhg_Zeel'Bm\hne]ihbgmmhZgbffbg^gm]^Zma' Ma^\hhdbg`lihhgblZlrf[heh_ihp^kbgma^dbm\a^g'BmblZlmZmnllrf[he% ebd^ma^dbg`Íll\^im^k'MhÌpb^e]ma^\hhdbg`lihhgÍf^Zglmh^q^k\bl^ihp^k% mhkne^bgma^dbm\a^g'Nlbg`pZg]lZllb`glh_ihp^kblZgZg\b^gmlrf[heb\ ikZ\mb\^'Ma^pZg]h_ihp^k%ma^l\^im^kbllrf[heb\h_ma^ihp^kmaZmma^ hpg^kaZl'Bmblghmlbfie^mhÖg]ZgbfZ`^_hkihp^k'Bghe]>`rimZg]bg Zgmbjnbmrma^l\^im^kpZlZek^Z]rbgmkh]n\^]ZlZlb`gh_ihp^k'BmpZlhg^ h_ma^bfi^kbZebglb`gbZZg]Zelhbgnkhi^bmZelhl^ko^l ZlZlb`gh_ikbg\^erihp^k'FZdbg`nl^h_ma^l\^im^kf^Zgl[^bg`Z[e^mh [hkkhpma^ihp^kmhkne^ho^kZib^\^h_eZg]'Pa^ghg^ehl^lma^lrf[he h_ihp^kmhkne^hg^Zelhnl^lma^ihp^kbmk^ik^l^gml'=^\^Zl^]kne^klp^k^ `bo^gln\aZl\^im^kmhmZd^mhma^g^qmeb_^'Ahp^el^\hne]ma^rikho^maZm ma^raZ]Zllnf^]Zab`aihlbmbhgbgmableb_^8 Ma^\hhdbg`lihhg\hne][^^ZlbermkZgl_hkf^]bgmhZl\^im^k[rahe]bg`bm pbmabfi^kbZe]b`gbmrÈo^kmb\ZeZg]pbmahnmfhobg`bm'Ma^mkZgl_hkfZmbhg mZd^lieZ\^makhn`ahnkf^fhkrpab\aieZ\^lbfZ`^lh_kne^l_khffbee^ggbZ ho^kmabl`^lmnk^Zg]hk]^klnlmhlahph[^]b^g\^mhma^\hhd'

38

The Cooked Kitchen

The Stewpot as the Picture’s Substrate

Images, Rituals, Myths

39

Ì:ghma^k^ih\aaZ]mhiZll[^_hk^ZpZm^kmb`am% Ök^ikhh_ZiiebZg\^pZl]bl\ho^k^]%fZ]^h_ \eZrhkf^mZe%pbmahnmpab\a[hbebg`Zg]lm^pbg` phne]aZo^[^^gjnbm^bfihllb[e^'Í

Karl Friedrich von Rumohr

39

39 Rumohr (1822/1993: 65). See also Flusser’s phenomenological sketch (1999: 99 ff ) relating to the cooking pot.

Ma^]bll^fbgZmbhgh_ma^ihmk^ik^l^gmlZfbe^lmhg^bgma^\nemnkZe]^o^ehi& f^gmh_\hhdbg`'Pabe^Ök^pZlghmk^Zeer[khn`amng]^k\hgmkhe_hkma^g^qm mphmahnlZg]r^Zkl%hg^ghpaZ]Z\hhdbg`nm^glbepbmapab\abmpZlihllb[e^ mhaZo^[^mm^k\hgmkheh_ma^ikh\^llh_ehp&a^Zm\hhdbg`'MablpZlbfikho^& f^gmho^k\hhdbg`_hh]]bk^\merho^kZghi^gÖk^hkpkZii^]bgiZkmlh_ ieZgml'Lbff^kbg`%lm^pbg`Zg]khZlmbg`p^k^g^p\hhdbg`m^\agbjn^lpab\a ^gmZbe^]ma^bgmkh]n\mbhgh_d^mme^l%ihmlZg]iZgl'Ma^l^nm^glbelp^k^mh Z]hkgma^pZeelh_hi^gdbm\a^gl_hk\^gmnkb^l'Ma^l^[Zlb\\hhdbg`m^\agbjn^l k^lnem^]bgZeZk`^gnf[^kh_\nemnkZeer]b__^k^gm]bla^l%]^i^g]bg`hgpaZm iZkmh_ma^phke]ma^ihmpZlnl^]'BmpZlghmnl^]ma^lZf^pZr^o^krpa^k^ lbg\^\hhdbg`m^\agbjn^lk^jnbk^]oZkrbg`]^`k^^lh_^g^k`rZg]mablbl ghmZoZbeZ[e^Zeeho^kma^phke]bg^jnZeer'Ma^k^Zk^Zelh\nemnkZeik^_^k^g\^l pbmak^`Zk]mhma^mri^h__hh]Zg]bmlik^iZkZmbhg'Lhf^i^hie^lg^^]ma^bk phh]mh[nbe][hZml':_m^k\e^Zkbg`an`^phh]^]Zk^ZlmaZmZk^ghehg`^k k^ie^gbla^]ma^rfnlmk^lm\hgm^gmpbma_Zlm\hhdbg`È`kbeebg`Zg]khZlmbg`' Lm^pbg`blZm^\agbjn^maZmeb^l[^mp^^gkhZlmbg`Zg][hbebg`'Ma^_hh]bl jnb\derl^Zk^]bgZ[bmh__Zm%Zg]ma^gZ[bmh_ebjnb]blZ]]^]'Ma^gma^ihm bl\ehl^]Zbkmb`am'Bgmbf^lbgpab\ama^ihmlp^k^ghmfZgn_Z\mnk^]pbmama^ ik^\blbhgma^rZk^mh]Zr%\hhdlnl^]Zg^``hk×hnkfnlamhl^Zema^ihm' Ma^gma^_hh]bl\hhd^]ngmbema^\hhdbg`ebjnb]aZlmab\d^g^]'Lm^pbg`k^& jnbk^lghab`aa^Zm':eebmg^^]lbl\hgmbgnhnla^Zmho^kZi^kbh]h_mbf^'Bg he]^m\abg`lhg^h_m^gl^^lZd^mme^\hhdbg`ho^kZÖk^'G^qmmhma^Ök^ma^k^ Zk^Zgnf[^kh_lfZee^kihmlbgpab\a_hh]bllm^p^]'KhZlmbg`iZgl\Zg[^ _hng]bgma^Ök^%ieZ\^]hgmak^^&e^`lmZg]l' >o^gmahn`af^mZepZlnl^]mhfZd^ihml%ma^fZm^kbZenl^][^_hk^È \^kZfb\lÈpZlnl^]bgmhma^+)ma\^gmnkr'B_p^mabgdh_Zghe]ihmp^ehhd bgmhZ[ne[hnl[h]rpbmaZ×Zm×hhk'Bml^]`^aZlZlfZee^k\bk\nf_^k^g\^ maZgma^[^eerh_ma^k^\^imZ\e^'MabllaZi^pZlbg×n^g\^][rma^aZg]& laZi^]ihmlfZ]^h_\^kZfb\l_hkmahnlZg]lh_r^Zkl'Pbmama^^f^k`^g\^h_ \Zlmf^mZelhf^Z^lma^mb\\aZg`^lmhhdieZ\^[nm`^g^kZeerma^ihmlk^mZbg^] ma^bkikhmhmrib\ZelaZi^'G^pm^\agheh`raZlhgerkZ]b\Zeer\aZg`^]ma^ mriheh`rh_ma^ihmÍlaZg]e^l' :_m^kma^\Zlmf^mZeihml\Zf^lhf^maZmp^k^fZ]^hnmh_la^^mf^mZe' Ma^l^%mhh%Zllnf^]ma^laZi^h_ma^bkik^]^\^llhkl^o^gmahn`ama^[ne[hnl _hkfpbmama^mkZ\^lh_phkd^]la^^mf^mZepZl]b_Ö\nemmhbfbmZm^'Ma^f^mZe aZ]mh[^aZff^k^]mhZ\^kmZbglaZi^mhk^mZbgma^he]bfZ`^'MablpZrma^ [ne[hnlihmikhmhmri^pZlZ[e^mhlnkobo^nibgmhma^bg]nlmkbZeZ`^'Ma^k^ pZlma^gZ[kb^_i^kbh]bgpab\afZ\abg^lp^k^ghmr^mZ[e^mhfZgn_Z\mnk^ lm^pihmlhnmh_f^mZelhmaZmma^rk^l^f[e^]ma^aZg]&fZ]^hg^l';nmbgma^ f^Zgmbf^p^\Zg`hmhZgr]blapZk^lahiZg][nrma^he]_hkf'PbmaZ \hnie^h_ang]k^]mhglh_f^\aZgb\Zeihp^kZla^^mf^mZe[eZgdblik^ll^] bgmhbmlhkb`bgZelaZi^_neerZnmhfZmb\ZeerZg]ng]^keZl^k\hgmkhe'P^\Zginm

40

The Cooked Kitchen

mablhkb`bgZeihmhgma^Ök^Z`ZbgZg]]hpaZm`^g^kZmbhgl[^_hk^nl]b]'Inm _Zmbgbm%l^Zkma^f^Zm%Z]]lhf^pZm^k%a^k[l%\ehl^ma^ihmpbmama^eb]Zg] pZbmang`kber_hkma^ÖgZeikh]n\m'Ahp^o^k%ma^\hgob\mbhgmaZmZg^Zkma^g& pZk^\hhdbg`]bla]h^lghm\aZg`^ma^_hh]\hhd^]bgbmZg]ikh]n\^lma^ [^lmlm^p^]f^Zm\hgmbgn^lmhebo^hg'

40 Cf. Schwendter (1999: 218)

41 Cf. Bullinger/Solf/ Stübler (1984: 131)

>o^gma^fhlm[^Znmb_neihmaZlaZ]ZaZk]eb_^bgma^dbm\a^g'Hgerk^\^gmer aZlbm[^\hf^_ZlabhgZ[e^mhik^l^gmZlm^pihmmaZmaZl[^^gZpZk]^]]^lb`g ikbs^lZmma^mZ[e^Zg]mhe^Zo^bmma^k^]nkbg`Zf^Ze'Mablblk^]he^gmh_Z \aZim^kh_\nemnkZeablmhkrmaZmp^aZo^Zek^Z]r^qZfbg^]È_hh]inmhg]bl& ieZr'Ma^[hnk`^hbloZkbZmbhghgma^\nebgZkrli^\mZ\e^pZlma^nl^h_\kh\d^kr maZmaZ]ma^laZi^lZg]\hehklh_ZgbfZelghpk^ieZ\bg`ma^a^Z]lh_k^Ze ZgbfZel'40MablpZrbmpZlihllb[e^mh^Zlberk^i^Zmma^_^n]Ze`^lmnk^pbmahnm aZobg`mhfZlm^kma^Zkmh_\Zkobg`'Rhnlbfierk^fho^]ma^eb][rineebg`ma^ ^Zklh_ma^pbe][hZkÍla^Z]'Ma^grhn\hne]l^ko^ma^lm^p^]f^Zm'Ma^ pbe][hZkbllrf[heb\Zeerinmmh`^ma^kZ`Zbgmakhn`abmlbfZ`^%ma^ihmbgma^ laZi^h_ZgZgbfZe%Zg]bmlf^ZmZmma^mZ[e^hgermhma^g[^\nmniZ`Zbg%lrf& [heb\Zeer\Zko^]Èhgermablmbf^ghmpbmaZ\Zkobg`_hkdZg]dgb_^[nmpbmaZ l^kobg`lihhg'Gh\hgm^fihkZkrihmaZlma^^Zkh_Zpbe][hZkZlma^`kbihg ma^eb]'Ma^k^Zk^%ahp^o^k%Zgnf[^kh_hma^klrf[heb\_hkflbgmh]ZrÍldbm\a^g mhhel'Ihnkbg`_hh]hkahm]kbgdl_khfZk^\^imZ\e^bgmhik^l^gmZ[e^ihk\^eZbg blghpghehg`^kg^\^llZkrmaZgdlmhma^]^lb`gh_\hhdpZk^'Mh]Zrp^]hghm g^^]Z\h__^^\Zg%p^l^ko^\h__^^]bk^\mer_khfma^p^ee&]^lb`g^]\hhdpZk^' P^]hgÍmg^^]Zgrl^kobg`[hpe_hkhnkiZlmZ%ma^ghg&\hkkhlbo^f^mZeihmbl Z_hkfh_ik^l^gmZmbhg[^Ömmbg`h_hnkmbf^'P^`h[Z\dbgmbf^mh[^fh]^kg' Ma^lm^pihmaZl[^^glZ]]e^]pbmabmlikhmhmri^l_hk\^gmnkb^l'BmfZd^lgh ]b__^k^g\^pa^ma^kbmblfZ]^hnmh_bkhg%sbg\%\hii^k%i^pm^k%lmhg^%^Zkma^g& pZk^hk`eZll%bmlmZg]lma^k^hgma^lmho^pbmabml[ne[hnllaZi^'Bmbl ikh[Z[er]^l\kb[^]Zl[ne[hnllbg\^bmk^l^f[e^lZ`enmmhgÍl[^eer%mabl%mhh% [^bg`ZgbfZ`^Zllh\bZm^]pbmama^ihm'Ih^mb\Zeer%ghmabg`li^ZdlZ`Zbglm ma^ikhmhmrib\Ze]^lb`gh_ma^lm^pihm'Bgm^kflh_fZgn_Z\mnkbg`%ma^k^bl Zelhghmabg`maZmli^ZdlZ`Zbglmbm^bma^k'PaZm]h^lli^ZdZ`ZbglmbmÈZg] i^hie^mh]ZrZk^l^glbmbo^Èblma^^k`hghfb\Zg]lZ_^mrZli^\ml'A^k^hnk ikbfZeihm]h^lghmaZo^o^krab`akZgdbg`l'41 Ma^Zk\aZb\laZi^h_ZihmfZd^lbmiZkmb\neZkerngpb^e]rhg^fimrbg`bm' o^gb_rhnfb`am[nkgrhnk_Z\^pbmama^ahmlm^Zf'B_ rhnpZgmmhZohb]mablrhnfnlmmnkgrhnkaZg]lhmaZmma^ihm\ZgZelhlebi hnmh_rhnkaZg]l'Pah^o^k]hn[mlmabllahne]mkrbmhnm[nmpbmaZa^Zorahm ihm'Ma^aZg]e^lh_Z\hhdbg`ihmlahne]ZelhZeehphg^mhfZg^no^kbmbgZee ]bk^\mbhglÈniZg]]hpg%_hkpZk]lZg][Z\dpZk]l%lb]^pZrlZg]ma^gÖgZeer nilb]^]hpg'P^l^e]hfmkrmabg`lhnm%b_p^l^^bmbgZ]blapZk^lahi'Rhn hgermabgdZ[hnmahpgb\^erbmehhdlZmma^mZ[e^'B_rhnpZgmmhlahph__% ma^gbmblh_m^gZ`hh]b]^Zmh[nrlhf^mabg`[b`Zg]^qi^glbo^';nmmablbl ghmma^\Zl^pbmaZ\hhdbg`ihm'@he]blikh[Z[ere^lllnbm^]maZgZenfbgnf ZlZeZk`^pZm^kihm':g]b_rhnpZgmmhlm^pZlfZeeib^\^h_f^Zmma^gbm blkb]b\nehnlmhinmbmbgZihmmaZmblmhheZk`^mhlbfierlahph__'Mablblahp p^lahne]mabgdpbmahma^kmabg`lZlp^ee'

Images, Rituals, Myths

41

Krippendorff’s Cup

42

The Cooked Kitchen

ÌB[^eb^o^maZm]^lb`gk^ik^l^gmllhf^mabg` maZm`h^l[Z\dmhma^^Zkeb^lmmbf^bg anfZgablmhkr'>o^krmabg`blbgoheo^]bgmabl ikh\^ll%hma^kpbl^rhnÍ]ZepZrlaZo^ma^ o^krlZf^ÌA_^keÍZg]p^dghpmaZmma^k^p^k^ Zelho^kr]b__^k^gm_hkfl_hkhg^Zg]ma^ lZf^_ng\mbhgZeh[c^\mbg]b__^k^gm\nemnk^l'Í

Bruno Kreisky

42

42 This quote is taken from a conversation with the organizers of the FORUM DESIGN exhibition in Linz/Austria (1980) with former Austrian Federal Chancellor Kreisky. Cf. Gsöllpointner/ Hareiter/ Ortner (1981: 568). The goal of the ex hibition was to assess the culture of the time from the perspective of design. In the introduction to this conversation Gsöllpointner referred to some national (corporate) identities and addresses the politician Kreisky as the head designer of such an identity. “Häferl” is the Austrian expression for coffee or tea mug. 43 Cf. Branzi (1988: 40) 44 Cf. Lindinger (1987: 10)

Ma^Ah\al\ane^_k@^lmZemng`!L\ahheh_=^lb`g"bgNef(@^kfZgr!*2..& *2/1"pZlZ]^lb`geZ[pab\ama^]^lb`gma^hkblm:g]k^Z;kZgsbhg\^ ]^l\kb[^]o^krZimerZlMa^Fhgdlhgma^Abee'43?heehpbg`ma^r^Zklh_ma^ GZsbk^`bf^pab\aaZ]fZ]^^q\^llbo^nl^h_ma^ihp^kh_bfZ`^l%ma^k^pZl ma^]^lbk^mh^qhk\bs^ma^f'Ma^fhgdlh_Dna[^k`]b]ghmcnlmpZgmmh]^Ze pbmama^bg_^kgZemZlm^&hkb^gm^]`hh]lh_Zk^^f^k`bg`\hglnf^k\nemnk^Zg] k^ghng\^]ma^f'L^fbhmb\lÈ]^lb`gZlkZmbhgZelb`gÈpZlma^g^pk^eb`bhg maZmkZeeb^]bml_heehp^kl_hkZlmkn``e^Z`ZbglmbkkZmbhgZebmrZg]lrf[heblf' Bgma^mp^eo^r^Zklma^ngbo^klbmrpZlZ\mbo^ma^k^p^k^/-)lmn]^gml%h_pab\a hger+*.ZmmZbg^]ma^ab`a]blmbg\mbhgh_Z]biehfZ'44Ho^kma^\hnkl^h_mbf^È Zg]mablbllhf^mabg`hma^kk^eb`bhglaZo^^qi^kb^g\^]Èma^ln\\^llhkl k^o^kl^]ma^hkb`bgZeb]^Zl4[^eb^_l\aZg`^]%pabe^ma^gZf^k^fZbg^]ma^ lZf^%ma^frmaebo^]hg'Hg\^ma^rlhn`ammh`bo^bg]nlmkbZeh[c^\mlZg^p _hkf[Zl^]hgerhgkZmbhgZe\hglb]^kZmbhgl'Mh]Zr%[r\hgmkZlm%ma^lrf[heb\% ma^bkkZmbhgZeaZo^k^Zii^Zk^]maZgdlmhma^k^Zebmrh_\hglnf^k\nemnk^' Ma^k^blhg^pahaZlk^mZbg^]ma^fhgdlmZmnlh_ma^Nefl\ahheÈma^]^lb`g ma^hkblmDeZnlDkbii^g]hk__'A^bllmbee\hffbmm^]mhma^he]f^mah]%pbma mh]ZrÍlk^lneml^g\hfiZllbg`Zg^qiZg]^]ob^ph_kZmbhgZebmr':eeh_Zln]]^g f^mZiahklZk^Z`ZbgZ[e^mh`bo^_hkfmhZiahg^[hhma'Bm\^kmZbgerphne] aZo^[^^gl^glZmbhgZeb_%bgmahl^]Zrlhgma^Dna[^k`fhngmZbg%Zlmn]^gm aZlln``^lm^]]^lb`gbg`Ziahg^[hhmabgma^_hkfh_Zmak^^&]bf^glbhgZe iahg^k^\^bo^kbgpab\arhnib\dnima^k^\^bo^k_khfma^k^\^bo^k':iZkm _khfmaZm%rhnphne][^lmZg]bg`bgma^kZbg%Zo^kmb\Zeiahg^k^\^bo^kaZk]er e^g]lbml^e_mhikhob]bg`la^em^k_khfkZbg' BgE^Zkgbg`_khfEZlO^`Zl!*200"Kh[^kmO^gmnkblZp]^\hkZm^]la^]l!lb`gl hg[nbe]bg`l"hkZlgZ\dlmZg]laZi^]ebd^Z]n\d!ma^[nbe]bg`ZlZlb`g"Zl ma^mphikhmhmri^lÈghmh_`hh]_hkf%[nmh_^gm^kmZbgf^gmZk\abm^\mnk^bg ma^`Zf[ebg`mhpg'Bgma^e^\mnk^la^e]Zmma^l\ahhebgNef%]n\dlZm[^lm Zii^Zk^]bgPbmm`^glm^bgÍleZm^iabehlhiar'Ma^ikh]n\meZg`nZ`^%ma^ma^hkrh_ ]^lb`gZllb`g%pab\ahg\^lhn`ammh\nk^ma^phke]h_bkkZmbhgZebmr%aZlmh]Zr [^\hf^ma^[b[e^h_]^lb`gZgbfblf'P^Zk^lmZg]bg`bg_khgmh_ma^hi^g ^g`bg^ahh]h_Zenqnkr\Zk%ehhdbg`ZmZp^ee&]^lb`g^]^g`bg^'>o^krmabg` ehhdl\e^Zkerlmkn\mnk^]%ma^^g`bg^l^^flihp^k_neZg]k^ebZ[e^'R^mpaZm p^l^^a^k^blghmma^^g`bg^[nmma^bfZ`^h_Zg^g`bg^ÈieZ\^]ho^km^\a& gheh`rebd^Zg>`rimbZg]^ZmafZld'Bmghehg`^k\hglblmlh_`he]Zg]ik^\bhnl lmhg^l[nmh_ma^fhlmlmZm^&h_&ma^&Zkmm^\agheh`b\ZeieZlmb\ib^\^lmaZmma^ \Zklniieb^lbg]nlmkrbl\ZiZ[e^h_fZgn_Z\mnkbg`'Lbg\^p^Zk^ghmZ[e^mh `^mZ\e^Zkb]^Zh_paZmma^^g`bg^blk^Zeerebd^%ma^]^lb`g^k]h^lmabl_hk nlZg]]^lb`glikhmhmri^lmaZm\hkk^lihg]pbmahnkb]^ZZg]ma^b]^gmbmrh_ma^ ikh]n\m'P^dghpmaZmpaZmp^l^^blcnlmZgbfZ`^[nmbmlmbeea^eil'B_p^

Images, Rituals, Myths

43

li^g]maZmfn\afhg^rhgZ\Zkma^gp^pZgmbmmhehhdgb\^%^o^gpa^k^bm ]h^lghm\hkk^lihg]mhhnkb]^Zlh_]^lb`g' BgfZgrh_mh]ZrÍldbm\a^glhg^Ög]l^lik^llhfZ\abg^lpahl^ikh]n\mb]bhf ikhfbl^lZjnZebmr\hff^glnkZm^pbmamaZm_hng]bgZgBmZebZg[Zk'Ma^nmhibZ h_Zf^ZeZmma^mhn\ah_Z[nmmhgaZlf^Zgpabe^[^\hf^k^Zebmr'Rhnik^ll gb\^erbeenfbgZm^][nmmhglZg]ma^fZ\abg^[^`bglmhfZd^ghbl^l'Pbma bgm^k^lmp^k^Z]paZmma^]b`bmZe]blieZrm^eelnlZ[hnmpaZmbl`hbg`hgbg mabl[eZ\d[hq'o^krmabg`^el^aZlZek^Z]r [^^gikh`kZff^]bgmhma^fZ\abg^'

45 Cf. Krippendorff (2006: 93). On the influences of linguistics on design theory (production semantics) see Bürdek (2005: 337), who was also a graduate of the Ulm School of Design. He makes reference to the book by Krippendorff cited here.

46 Cf. Eco (1977: 36) 47 Perhaps one would arrive at an ideal form if one would empirically study the gray zone between tea and coffee cup. Cf. The theory of object recognition by Marr and Nishihara in Bruce/Gree/ Georgeson (2000: 216 ff )

44

The Cooked Kitchen

Hkb`bgZmbg`bgma^e^`^g]ZkrNef]Zrlma^M<*))lmZ\dZ[e^]blal^m[rAZgl Kh^kb\am!*2.1(.2"aZl`hg^]hpgbg]^lb`gablmhkr':kb`b]erZ[lmkZ\m_hkfZe b]bhf]^Ög^][rma^b]^Zh_lmZ\dbg`Zeeh[c^\ml'IkZ\mb\Ze[^\Znl^bm\Zg [^^ZlberlmZ\d^]Zg]lmhk^]'Bmblma^bfZ`^h_^o^krmabg`maZmp^Zllh\bZm^ Nef]^lb`gpbma'Mh]ZrDkbii^g]hk__l^^dl%Z_m^kfhk^maZgÖ_mrr^Zkl%ma^ b]^Zemri^h_\ni'45Ma^pZrbgpab\aa^]h^lmablblZ[bmZeb^gZmbg`^li^\bZeer \hfbg`_khflhf^hg^pahphkdlpbmaikh]n\ml^fZgmb\l':lfZee^fibkb\Ze lZfie^^g\hfiZllbg`+)^o^kr]Zr\h__^^\nilbllmn]b^]lmZmblmb\Zeer%bg lb]^^e^oZmbhg'PaZmblbfihkmZgm_hkma^b]^Zemri^%Zla^k^_^klmhbm%hkma^ ikhmhmri^%Zlp^k^_^kmhbma^k^%ble^_mmhma^ob^p^kÍlbfZ`bgZmbhg'Ahp^o^k% ma^Z[bebmrh_ma^[kZbgmhk^\h`gbs^h[c^\mla^eil'Lbg\^ma^[kZbgaZlZ li^\bZeik^_^k^g\^_hkkhmZmbhg&lrff^mkb\_hkfl%bmng\hgl\bhnleriZkmb\biZm^l bgmabl^qi^kbf^gm' Blbmihllb[e^mh]^m^kfbg^ma^b]^Zemri^h_Zgh[c^\m[rf^Zglh_lmZmblmb\l8 Gh%hg^blbg\ebg^]mhZglp^k%b_hg^ehhdlZmma^ebg^lDkbii^g]hk__lahpl' Ma^k^ZlhgaZle^llmh]hpbmaikh]n\ml^fZgmb\lmaZgpbmai^k\^imnZe ilr\aheh`r'Ma^i^k\^imnZeZiiZkZmnlZ]cnlmlpaZmbml^^l%\hfiZkbg`[hmama^ lbfie^lb`gÌ\niÍZg]ma^\hfie^qlb`gÌ\h__^^\niÍ!gZf^Zg]]^l\kbimbhg"46 pbmaoblnZeiZmm^kgl\hfihl^]h_lbfie^lmkn\mnk^lZg]l^^lpa^k^bmÖmlbg !i^k\^imbhg\Z`^"'Ma^k^blZ`^g^kZe_kZf^phkdmaZmma^h[c^\mZeehplnlmh i^k\^bo^3ZkhmZmbhglrff^mkb\aheehp[Zlb\lmkn\mnk^pbmaZlaZi^Z]]^]mhbm% pab\a\hne][^ZaZg]e^'
ma^[hmmhf';nmbm\ZgZelh[^laZi^]ebd^Z\hg^'Hg^l^^lmaZm\nilnl^Ze& fhlmma^^gmbk^kZg`^h_[Zlb\`^hf^mkb\laZi^lr^mp^Zk^lmbeeZ[e^mh k^\h`gbs^ma^fZl\nil'>o^gmahl^maZmZk^\Zee^]M<*))'Bm\hglblmlh_mph lmZ\d^]%mZi^k^]\rebg]^kl4ma^aZg]e^blhgma^nii^khg^'Mabl%mhh%blZ\ni' Dkbii^g]hk__]b]ghmbg\en]^bmbgabl]bZ`kZf'Ma^k^a^ik^_^klmhnl^mkbobZe ^o^kr]Zr]blapZk^_khf:f^kb\Z'Ma^k^lnemblZ[bsZkk^cnf[e^h_ebg^lpab\a% bgmnkg%_hkflZ\ehn]bgpab\aZeeh_ma^\nillmn]b^]Öm'Ma^]bZ`kZfbml^e_ blghmma^ikhmhmri^h_Z\nihkma^b]^Zemri^h_Z\ni%[nmbm\^kmZbgerÖml bgbm'MaZmblmhlZrma^l^`^hf^mkb\Zef^ZgoZen^l]hghm[kbg`nlZgr\ehl^k mhhnk`hZe' Kh^kb\amÍl]blapZk^blZg^qi^kbf^gmZeeZrhnmbeenlmkZmbg`ahp]blapZk^\Zg [^^qik^ll^]Z[lmkZ\merZg]lmbee[^k^\h`gbs^]'Ma^^gmbk^l^kb^l\hglblmlh_ ma^lZf^[Zlb\^e^f^gmlpab\aZk^\aZg`^]hgerf^mkb\ZeerlhZlmhfZd^ma^ h[c^\ml]blmbg`nblaZ[e^'Ma^\h__^^\niaZlZlfZee^k]bZf^m^kZg]blZ[bm ab`a^kmaZgma^m^Z\ni'HkZk^ma^rhgerb]^Zemri^_hkfl_hklfZee^khkeZk`^k \ZiZ\bmb^l%bg]^i^g]^gmh_ma^Z\mnZe\hgm^gm8PaZm]hrhnaZo^mhdghp Z[hnmZgh[c^\mmh[^Z[e^mhk^\h`gbs^bm8Ma^\h__^^\ZgaZl[^^g\ho^k^] pbmaZlZn\^kcnlmZlhg^phne]ikh\^^]b_hg^\hne]ghmÖg]ma^eb]Zg] ]b]gÍmpZgmma^\h__^^mh`^m\he]'Lbg\^ma^eb]k^l^f[e^lg^bma^kma^eb]ghk ZlZn\^kmablphkdl'Ikhob]^]hg^dghplZ[hnmma^]^lb`gb]^Z'Hma^kpbl^ ma^ahm^efZgZ`^kfb`am\Zeeabllniieb^kZg]\hfieZbgmaZmmhhfZgrlZn\^kl Zg]ghm^ghn`aeb]lp^k^]^ebo^k^]pbmama^ahm^e\kh\d^kr'

Images, Rituals, Myths

45

Barthes’ Chopsticks

46

The Cooked Kitchen

ÌÁmablbll^^g\e^Zkerbgma^\hhdÍlehg` \ahilmb\dl%pab\al^ko^ghm_hk^Zmbg`[nm_hk ik^iZkbg`_hh]lmn__l3ma^bglmknf^gmg^o^k ib^k\^l%\nml%hklebml%g^o^kphng]l[nmhger l^e^\ml%mnkgl%lab_ml'Í

Roland Barthes

48

48 Barthes (1970/ 1982: 16)

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Images, Rituals, Myths

47

Ma^l^Zk^ik^\bl^\nmlmaZm\k^Zm^ma^h[c^\mlpbmahnmfn\apZlm^Èh[c^\ml maZmZk^\hfie^m^][rhnkaZg]lmakhn`ahnknl^h_ma^f' Ma^dbm\a^gblhg^h_ma^eZlmieZ\^lpa^k^ma^k^Zk^lbfie^Zg]kZph[c^\ml% pa^k^ma^bff^]bZm^Zg]bgmnbmbo^\hgg^\mbhgmhgZmnk^blik^l^gm':fZllbo^ ib^\^h_phh]ZlZ\nmmbg`[hZk]%\hhdbg`lihhglfZ]^hnmh_phh]%Zpho^g [k^Z][Zld^mfZ]^hnmh_lmkZp'

48

The Cooked Kitchen

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Murals of the Rich and Poor

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49 Saris are very practical when cooking. You can, for instance, use the Pallu (part of the Sari) to remove a hot pot from the stove. Cf. Banerjee/ Miller (2004: 38)

50 In a kitchen study 83% of those interviewed claimed that the modern kitchens are better than the ones of the past. Cf. Freeman (2004: 131)

Images, Rituals, Myths

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49

50

The Cooked Kitchen

Images, Rituals, Myths

51

Cleaning Rituals

52

The Cooked Kitchen

Ì@h][e^ll^lma^dbm\a^g [nm]h^lghm\e^Zgbm'Í

anonymous

51

51 The kitchen saying is embroidered on to a hand towel depicting a housewife cleaning a pot and a counter work surface. Such kitchen sayings with different appellative messages were common in Germany between 1870 and 1930. Cf. Majonica (2002: 164 ff ) 52 Cf. Douglas (1966/2002: 1 ff )

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Images, Rituals, Myths

53

53 The example is taken from Karmasin (1998: 363), a market research manual.

54 Ibid., p. 441 ff

55 Ibid., p. 412

54

The Cooked Kitchen

\aZg`^]Zg]ma^bg]bob]nZeblhg\^Z`Zbg_hk^`khng]^]'Ma^kbglbg`ikh]n\m blfZkd^m^]Zl[^bg``^gme^mhaZg]l'Bm^o^gikhm^\mlhnkaZg]l[nmbmbl ]^mkbf^gmZemhma^^gobkhgf^gm'ManlZg^pl^mh_Zk`nf^gml^f^k`^lbg pab\ama^^gobkhgf^gmmZd^l_khgmlmZ`^'53BgieZ\^h_ZgZ]o^kmblbg`fhmb_% pa^k^Z\e^Zg^]ihm^f^k`^l_khfma^kbglbg`pZm^k%hg^l^^lZgb]reeb\eZd^'
Dreyfuss' Cake Server

Images, Rituals, Myths

55

ÌBaZo^_hkfneZm^]ma^_heehpbg`ikbg\bie^3 Ma^_hkfh_Zgh[c^\mlahne]eZlm%maZmbl%p^ lahne]Ög]bmmhe^kZ[e^Zlehg`Zlma^h[c^\m bml^e_eZlml'Í

Adolf Loos

56

56 This quote was taken from the famous essay Ornament and Crime by Adolf Loos (1908/1998: 172). 57 Cf. the chapter by Giedion (1948: 607 ff ) on streamlining in the book Mechanization takes Command.

58 Cf. Flinchum (1997: 50 f )

59 For Dreyfuss this design of kitchen utensils falls under the heading of timeless design. Cf. Dreyfuss (1955/2003: 273). To this very day this category belongs to the naive pipedreams of design. What Dreyfuss says here is that the forms created by him were used in a pioneering way and later found widespread use – even years later. Dreyfuss was, however, also aware of the fact that design has an expiration date, be it for technical or fashionable reasons. In an interview he gave he did ultimately admit that he strived for classical forms and warned against overly hasty taste judgements in objects that are not that old yet. Cf. Dreyfuss (2003: 224 f )

56

The Cooked Kitchen

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Kitchen Decor

Images, Rituals, Myths

57

ÌMabl_nkgbmnk^Zeeln__^kl_khfma^lZf^[Zlb\ ob\^maZmblfhk^maZg_ZfbebZkmhma^bg]nlmkbZe Z`^bg@^kfZgrbgiZkmb\neZk3ma^bfbmZmbhgh_ Z[^mm^kikh]n\m':mjnb\d`eZg\^mabl_nkgbmnk^ aZlma^lZf^Zii^ZkZg\^Zlma^^qi^glbo^ \Zki^gm^k&fZ]^_nkgbmnk^h_ma^Z_×n^gmfb]]e^ \eZll%hgermaZmma^]bf^glbhglZk^lfZee^k% ma^phh]^g[hZk]lmabgg^k%ma^^gkb\abg`ikhÖe^ iZkmlaZo^[^^ge^_mhnmZg]ma^mk^Zmf^gm h_ma^phh]^glnk_Z\^lZii^ZklngZmmkZ\mbo^'Í 60

58

The Cooked Kitchen

Walter Gropius

60 Essay by Walter Gropius on the subject of economic household goods and false poverty in Die Volkswohnung (Social Housing), Berlin 1919. Taken from Probst/ Schädlich (1988: 76).

61 There are various myths regarding the evolution of the modern kitchen, in particular related to the work surface counter which is seen as one of its most signiﬁcant characteristics. These myths vary depending on whether the myth originates in America, Great Britain or Central Europe. With regard to America we would like only to refer to the theory of Lupton/Miller (1992: 52) who trace the development of the prototype of the built-in kitchen to the ensemble of sink and kitchen credenza. These anonymous attempts at design historical explanation are juxtaposed by stories that would prefer to present a photograph as evidence. One example is the Haus am Horn (1923) of the Bauhaus Weimar. In one corner it shows at least the characteristic row of upper and base cabinets and was designed by Benita Otte and Ernst Gebhardt. Cf. Wingler (1975: 373) for the description of the model house and Giedion (1948: 521) for its classiﬁcation in the history of the kitchen. Cf. Corrodi (2006: 32) as recent example of the canon that has evolved from this historiography of the kitchen, based on Central European examples (Bauhaus, Werkbund...) and familiar names.

Images, Rituals, Myths

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59

62 See Heubach (1996: 126 ff ) on the objectivity of the decorator panel in terms of everyday psychology.

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60

The Cooked Kitchen

Ma^dbm\a^gphkdlahihkma^phkdlahidbm\a^gblZf^mZiahk_hkma^khhfbg Zahnl^pab\ablnl^]_hkphkdfZglabi'Bmblma^fZ\abg^khhfh_ma^ahnl^ Zg]Zelhma^ieZ\^pa^k^Zeema^]b__^k^gmdbm\a^gnm^glbelZk^lmhk^]Zg] nl^]'Bgma^iZlmma^dbm\a^g[hk^`k^Zm^kk^l^f[eZg\^mhZphkdlahi'Ma^ k^Zlhg_hkmablblmaZmma^nm^glbel%ma^iZgl%ihml%cn`l%eb]l%dgbo^l%\hhdbg` lihhgl%^m\'p^k^fhngm^]hgma^pZeelhmaZmma^rp^k^bg^Zlrk^Z\a'Mabl bllbfbeZkmhZphkdlahipa^k^Zeema^mhhelaZo^[^^gZkkZg`^]lhmaZm ma^r\Zg[^nl^]pa^gg^^]^]'CnlmZllZplZk^ang`Z\\hk]bg`mhlbs^%iZgl h_]b__^k^gmlbs^lp^k^ang`bgZkhpbgma^he]dbm\a^gl'

Workshop Kitchen

63 On the history of the carpenter’s tool cabinet see Heine (1990: 47 ff ).

64 Cf. Benker (1987: 28) on the development of open kitchens since the 16 th century.

65 Cf. Majonica (2002: 83)

Images, Rituals, Myths

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61

62

The Cooked Kitchen

66 Such an example can be found in the Deutsches Warenbuch (German Product Book), a compilation of selected household goods that was published by the German Werkbund/ Dürerhund. It features more than 3,000 functional objects from 1915 that were rcommended by the editors. Cf. Rezepa-Zabel (2005: 551)

67 Cf. Meyer (1926: 94 ff )

68 Cf. Heine (1990: 36)

69 When built-in kitchens became widespread in the 1950s, there was also open criticism of the new kitchen boxes as, for example, in the book Küchen ABC (Kitchen ABC) by Hirsch (1950: 5). Here the author states that shelves that are too deep are impractical and that things should also be mounted on the inside of doors if possible provided that the hinges are strong enough.

Images, Rituals, Myths

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63

70 Krauch’s lecture (1977/1992: 133ff ) also addresses the subject of workshop kitchen. In his book A Pattern Language (1977), architectural theorist Christopher Alexander describes architectural elements that constitute a house. These also include some suggestions that could be interpreted as marking a return to the ktichen as it existed before the built-in kitchen. Also Aicher (1982/1994) keeps changing his experimental kitchen to adapt it to needs and to thus create a kitchen type that deviates from the mainstream of kitchen manufacturers. In the book Die Küche zum Kochen. Das Ende einer Architekturdoktrin (The Kitchen for Cooking. The End of an Architectural Doctrine) he writes: “The dignity of the kitchen lies not only in its being clean and orderly, but also in its being accessible. It once again may look like old kitchens did, with visible cooking spoons and pans.“ Aicher (1994: 89). Later the workshop kitchen is also ideologized as the kitchen of people who do not see cooking as a necessity. Cf. Mandl(2006: 13). This ideologization is understandable from Aicher’s interpretation but it is not necessarily convincing and plausible. Meanwhile many of Aicher’s ideas have been adopted in to improving the built-in kitchen. 71 Dixon (2000: 80) suggests simply using the work benches originally offered for industrial purposes in the kitchen, since their functionality is better than that of products offered for kitchens at the same price. 72 Cf. Odate (1992: 18)

64

The Cooked Kitchen

:mma^^g]h_ma^*20)lma^[nbem&bgdbm\a^gpZlma^]hfbgZgmbfZ`^h_ma^ dbm\a^gbg<^gmkZe>nkhi^'Bmblghmlniihl^]mh[^\Zee^]bgmhjn^lmbhg'I^hie^ lZo^_hkZ[nbem&bgdbm\a^g%Zg]bmma^gaZlmheZlm_hkma^g^qmmp^gmrr^Zkl hkehg`^k'BmlmZg]lma^k^cnlmma^pZrbmpZl[nbembg%ng\aZg`^Z[e^'Ma^ bg]bob]nZeÍlg^^]l\Zg\aZg`^ho^kln\aZehg`i^kbh][nmma^[nbem&bgdbm\a^g ]h^lghmk^Z\mmhmabl'?hkmablk^Zlhg%ma^b]^Zh_ma^phkdlahidbm\a^g lnk_Z\^]Z`Zbg'70:dbm\a^g\hg\^imcnlmebd^ma^hi^gdbm\a^gÈ^Zlber\aZg`^] Zg]Z]Zim^]'Pa^k^rhn]hgÍmaZo^mh[nr^o^krmabg`Zmhg\^[nmlm^i[rlm^i% pabe^rhn`^mkb]h_hma^kmabg`lrhnghehg`^kg^^]':dbm\a^g\hg\^immaZm ZelhZeehpli^hie^mhk^ZkkZg`^mabg`llbfier[^\Znl^i^hie^\aZg`^Zg] Zelhma^pZrp^\hhdhk_hkahpfZgri^hie^p^\hhd'Ma^[nbem&bgdbm\a^g bl`^Zk^]mhma^khhf%ma^phkdlahidbm\a^gmhhnk\hhdbg`g^^]l'Ma^[nbem&bg dbm\a^gblkb`b]%ma^phkdlahidbm\a^g×^qb[e^'Ma^[nbem&bgdbm\a^gab]^lma^ \hhdbg`nm^glbelpabe^ma^phkdlahidbm\a^g]blieZrlma^f' Bg]nlmkbZebsZmbhgaZlghmlmhii^]lahkmh_ma^phkdlahiZg]aZlZelh]^o^e& hi^]Zgnf[^kh_bgm^k^lmbg`ikh]n\ml'Lhf^`ZkZ`^phkdlahilmh]ZrZk^ [^mm^k^jnbii^]maZgma^dbm\a^g'Ma^phkdlahi_nkgblabg`lZk^eb`am%lmnk]r% \a^Zi%^Zlrmh\aZg`^Zg]mkZglihkmÈ[^mm^kmaZgfZgrmabg`lhg^Ög]l bgma^dbm\a^g'Ma^ik^llnk^h_aZobg`mhfZgn_Z\mnk^ma^i^k_^\mnm^glbee^Z]l mhhma^kk^lnemlmaZgma^]^\hkZmbo^\aZg`^lbgdbm\a^g_nkgbmnk^ho^kma^ \hnkl^h_mbf^'Ahp\Zgma^Z]oZgmZ`^lh__nkgblabg`l_khfma^bg]nlmkbZe \hgm^qm[^inmmhphkd_hkma^ahnl^ahe]871Blma^k^ZiZmae^Z]bg`[Z\dmh ma^ih^mb\dbm\a^gphkdlahi\Z[bg^m8 Ma^mkZ]bmbhgZeCZiZg^l^\Zki^gm^k[nbe]lablmhhe[hqhnmh_lbfie^phh]^g eZmalmaZmaZo^[^^ggZbe^]mh`^ma^k'Mablblo^krfn\angebd^abl>nkhi^Zg \hee^Z`n^lpahaZo^Z]hkg^]ma^bk[hq^lpbma^eZ[hkZm^bgeZrl'Ma^e^g`mah_ ma^[hq]^i^g]lhgma^lbs^h_ma^h[c^\mmkZglihkm^]bgbm%_hkbglmZg\^%Z lZp'Ma^mhhe[hqblZlrf[heh_ma^lahdngbg%[nmghm[^\Znl^h_bml^qm^kbhk [nm[^\Znl^h_ma^mhhel\hgmZbg^]bgma^f'Bmbl\hglb]^k^]bfihebm^mhehhd bgmhabl[hq%Zg]bmphne][^Zgh__^gl^mhbgli^\mma^laZkig^llh_ma^mhhel'72 Ma^CZiZg^l^\Zki^gm^kpahhma^kpbl^lmhk^lZeeh_ablmhhelhgpZeeahhdl m^Z\a^lnlma^ikZ\mb\Zelhenmbhgh_Zikh[e^fcnlmZlma^ablmhkrh_ma^mhhe _kZf^aZlZelh]^fhglmkZm^]'Hg^l^^dlhnmma^mabg`lhg^k^Zeerg^^]l Zg]ieZ\^lZ_kZf^Zkhng]ma^fmhZ\\hffh]Zm^ma^f'B_hg^]h^lghmpZgm Zghi^gdbm\a^gphkdlahi%hg^lbfier\ehl^lma^]hhklh_ma^mhhe\Z[bg^m pab\a\ZgZelh[^nl^]_hklmhkbg`lhf^h_ma^mhhel'Ma^dbm\a^g\Zg[^ mkZgl_hkf^]_khfZghi^gdbm\a^g!h_ma^iZlm"bgpab\a\hhdbg`pZllbfie^ Zg]lmkZb`am_hkpZk]%bgmhZhg^&pZeedbm\a^g!ma^fh]^kg[nbem&bgdbm\a^g" pa^gghmbgnl^'Pa^gp^hi^gma^mhhe\Z[bg^m]hhklp^l^^Zeeh_hnkmhhel \e^ZkerZkkZg`^]'Ghmabg`ab]]^gbgZ]kZp^k%ghmabg`lmZg]bg`[^abg]lhf^& mabg`^el^'Mablblahp\kZ_mlf^glmbee[nbe]Zmhhe\Z[bg^mmh]Zr'P^\ZgZelh e^Zkg_khfbg]nlmkbZemhhepZeel'?hkbglmZg\^%mhaZo^\hgmZbg^klmaZmrhn \ZgaZg`kb`amhgma^pZeepbmahnmZla^e_Zg]%Z[ho^Zee%pbmahnmg^^]bg` Z]kZp^k'Mh]Zrrhn\Zg[nrl\k^plbgZngbo^klZeiZ\dZ`^maZm\Zg[^ang` hgma^pZeebgma^phkdlahi'MaZmphne]Zelh[^o^krikZ\mb\Zebgma^dbm\a^g' Rhn[nrZlib\^Zg]aZg`bmbgma^phkdlahi\Z[bg^m';^_hk^mablblk^Zeer ihllb[e^p^fnlmfZd^]hpbmalmhkZ`^\hgmZbg^klmaZmp^k^]^lb`g^] li^\bZeer_hkma^mhhe\Z[bg^ml'Ma^l^\hgmZbg^kl\Zg[^ZoZbeZ[e^bg]b__^k^gm lbs^lZg]\ZgZelh[^nl^]Zl_k^^&lmZg]bg`k^\^imZ\e^l'A^k^hg^\hne] ieZ\^ma^\nme^kr%hkma^\hhdbg`lihhgmaZmhg^g^^]lg^qmmhma^lmho^'Bgma^ phkdlahirhnl^e^\mZmhhemaZmrhng^^]Zg]mZd^bmmhma^phkdmhi'

Bgma^g^pphkdlahidbm\a^grhn\ZgZelh]hmabl%pbmahnmZgr\Z[bg^m]hhkl Zg]]kZp^kl'Hi^gbg`Z\Z[bg^ma^k^blZ]^eb[^kZm^`^lmnk^bgbmbZmbg`ma^Z\m h_\hhdbg`'Pa^g[hma]hhklh_ma^dbm\a^gmhhe\Z[bg^mZk^hi^g%p^^gm^k Zmbf^bgpab\a^o^krmabg`pZllmbeebg^Zlrk^Z\abgma^dbm\a^g'Ma^phkdlahi dbm\a^gblghmZg^p\hg\^im%Zlma^hi^gdbm\a^gaZl[^^gbg^qblm^g\^_hk \^gmnkb^l'Ma^phkdlahidbm\a^gblma^[kZg\ah_dbm\a^g^ohenmbhgmaZmaZl ghm[^^g\hglblm^gmerinkln^]bgfh]^kgbmr'Pa^k^Zlma^[nbem&bgdbm\a^g nembfZm^erk^Z\a^lZihbgmh_lmZ`fZmbhg%ma^phkdlahidbm\a^gh__^klihm^gmbZe _hk_nkma^k]^o^ehif^gm':dbm\a^gbgpab\ap^lmZg]bg_khgmh_Zeeh_ma^ nm^glbelp^hpg'A^k^p^pbeeZelh_^^efhmboZm^]mhmakhpZpZr^o^krmabg` p^ghehg`^kg^^]'Hgerma^[nbem&bgdbm\a^gikhob]^lliZ\^mhab]^\hhdbg` nm^glbelmaZmZk^ngg^\^llZkrZg]ghmnl^_ne'Pa^gp^mZd^^o^krmabg` hnmh_ma^]kZp^klZg]ieZ\^^o^krmabg`hgma^×hhkp^\Zgl^^ma^dbm\a^gh_ ma^_nmnk^'A^k^mabg`lZk^lnli^g]^]bgma^kb`amieZ\^%ik^\bl^erpa^k^p^ g^^]ma^f%ZepZrloblb[e^':g]pa^gp^Zk^Ögbla^]\hhdbg`%^o^krmabg`pbee ]blZii^ZkZ`Zbg%bg]^i^g]^gmh_ma^liZ\^'

Images, Rituals, Myths

65

Rabbit or Duck (based on Wittgenstein)

66

The Cooked Kitchen

ÌBlaZee\Zeema^_heehpbg`Ö`nk^%]^kbo^]_khf CZlmkhp%ma^]n\d&kZ[[bm'Bm\Zg[^l^^gZlZ kZ[[bmÍla^Z]hkZlZ]n\dÍl':g]Bfnlm ]blmbg`nbla[^mp^^gma^Ì\hgmbgnhnll^^bg`Íh_ ZgZli^\mZg]ma^Ì]Zpgbg`Íh_ZgZli^\m'Í

Ludwig Wittgenstein

73

73 Wittgenstein (1953/ 2004: 165 f ) 74 Gombrich (1959/1987: 4 f ) uses Wittgenstein’s example to introduce his own theory on Art & Illusion. The experience of illusion is hard to describe and observe just as we notice when viewing tilting images. Mitchell (1995: 45 ff ) devotes a chapter of his Picture Theory to describing the duck-rabbit which also shows the original historical context as a psychological study image to its use in the satirical journal Fliegende Blätter (Flying Sheets) and Wittgenstein’s Philosophical Investigations. 75 The German word “Zeitungs-Ente“ (literally: newspaper duck) refers to a news item that is deliberately misleading. 76 Cf. Cross (2007: 78 f )

77 Cf. Krippendorff (2006: 52 f )

78 Cf. Wittgenstein (2004: 166)

Images, Rituals, Myths

Pbmm`^glm^bgÍl]n\d&kZ[[bmaZlaZ]k^i^k\nllbhgl_hk[hmaib\mnk^ma^hkrZg] Zkmma^hkr'74K^\^gmerma^]n\d&kZ[[bmaZlZelhZii^Zk^]bg]^lb`gma^hkrÈbml f^Zgbg`[^bg`iZkmb\neZkerZeenlbo^bg@^kfZg'75 GhmpbmalmZg]bg`ZeepZkgbg`l[rPbmm`^glm^bgbml^^flmh[^bgm^k^lmbg`_hk ]^lb`gma^hkrmhk^×^\mhgpaZmPbmm`^glm^bg\hglb]^k^]mh[^ghg&l^glb\Ze l^gm^g\^l'Ln\al^gm^g\^lZl3ÊBl^^mablZlÁËMa^hg^i^klhgbll^^dbg` \eZkbmr!ZgZermb\Zeiabehlhiar"%ma^hma^k\k^Zmbobmr!]^lb`gma^hkr"'Ma^bfZ`^l mbem_khfhg^fhmb_mhma^hma^k'Mablikh\^llh_lpbm\abg`[Z\dZg]_hkmabl mkb``^k^][rf^fhkrib\mnk^lbgnlÈbgmabl\Zl^ma^rfb`amk^fbg]nlh_ma^ hnmebg^lh_ZkZ[[bmZg]Z]n\d' Ma^l^ib\mnk^insse^ll^^fmhaZo^Zelhbglibk^]]^lb`gma^hkblmGb`^e
67

ieZ\^]hgma^`khng]'Bgk^Zebmrp^phne][^lmZg]bg`hgma^mkZbgieZm_hkf pbmahnk]n\d&kZ[[bm!]^lb`gikh[e^f"Zg]`^mmbk^]'R^mma^k^blgh_k^^l^Zm' P^l^^Z\aZbkhkZ[^g\ahgma^ieZm_hkf[nmbmblh\\nib^]'Ln]]^gerhnk i^k\^imbhgmbemlZg]p^l^^ma^lnbm\Zl^ZlZ\aZbkZg]nl^bmZlln\a'Lbg\^ p^]hghml^^ma^lnbm\Zl^pa^gp^lbm]hpgZg]hger_^^eZlbmmbg`lnk_Z\^% ma^bfZ`^h_Z\aZbkfZr^o^g^f^k`^'Ma^mbem^__^\mdb\dlbgZ`Zbg%p^ghp hgerl^^ma^l^Zk\abfZ`^Z`ZbgÈma^\aZbk' GhkfZei^hie^phne]mZd^ma^bklnbm\Zl^Zg]`^mhgpa^gma^mkZbgineelbg' Ma^\aZbkghpcnfil[Z\dbgmhma^ib\mnk^h_ma^lnbm\Zl^'=^lb`g^klghpinee hnmma^bk]kZpbg`i^gZg]fZd^Zld^m\ah_Zlnbm\Zl^&\aZbk'Ma^ikh[e^f pbmamabl^qZfie^blmaZma^k^Zlpbm\ablmZdbg`ieZ\^[^mp^^gma^bfZ`^ !\aZbk"Zg]ma^_ng\mbhg!lnbm\Zl^ZlZl^Zm"'Manlb_p^fZbgerpZgmmhl^^ ma^lnbm\Zl^ZlZlnbm\Zl^!]n\d"ma^gma^kZ[[bm!lbmmbg`_ng\mbhg"aZlmh[^ bgm^`kZm^]Zlngghmb\^Z[erZlihllb[e^'Ahp^o^k%rhnma^gaZo^mhfZd^Z ehmh_in[eb\bmr_hkma^Êlnbm\Zl^&\aZbkË':g]rhnaZo^mhk^Z]ma^beenlmkZmbhg bg_hkfZmbhgZlbgma^]n\d&kZ[[bm'Hma^kpbl^rhn]hghml^^ma^kZ[[bmhkma^ ]n\d%]^i^g]bg`hgpab\abfZ`^mbemlÖklm'

68

The Cooked Kitchen

Kandinsky’s Cooking Spoon

Images, Rituals, Myths

69

ÌMa^[Zk^pZee!'''"Ma^b]^ZepZeeblma^hg^ Z`Zbglmpab\aghmabg`lmZg]l%ghmabg` e^Zgl%hgpab\aghib\mnk^aZg`l%hgpab\a ma^k^blghmabg`mhl^^'Í

Wassily Kandinsky

79

79 In Kandinsky’s contribution to the journal Kunstnarr (1929), in Wingler (1975: 162). 80 Cf. Wick (1988: 198)

81 The following description has numerous references to Kandinsky (1926/1979). Here, however, we are dealing mainly with a reconstruction of the avant-garde perspective of composition dominant at the time. Thus the text passages have not been explicitly identiﬁed.

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70

The Cooked Kitchen

mabgg^kahkbshgmZehgpab\ama^eZ]e^lZk^ang`'Ma^eb`amahkbshgmZe[kZg\a^l h___hnkmbf^lbgmheb`amo^kmb\Zelpab\a^g]karmafb\Zeerbgihbgml'Hgma^ihm la^e_ma^k^Zk^ma^gÖo^ljnZk^_hkfl!ihml"maZm[^\hf^lfZee^k_khfe^_m mhkb`am':[ho^ma^fb]]e^ljnZk^Z_k^^pZo^&ebd^ebg^kngl%pab\aZllnf^lZ leb`amerleZgm^][Zlblhgma^;I'Bm^g]l^fiaZmb\ZeerbgZfho^Z[e^eb`am' Ma^l^\hg]ahkbshgmZeblZlahkmhg^pbma_hnkZfhkiahnlihbgm_hkflmZd^g _khfZgngebfbm^]k^Zefh_ihbgml'Ma^roZkrma^[Zlb\lhng]h_ma^ihbgm ZepZrlfhk^lbe^gm%Zelh_khfe^_mmhkb`am':[ho^ma^lmho^ma^k^blZg ZkkZg`^f^gmh_ahkbshgmZeerho^keZiibg`ihbgml×hZmbg`\^gmkb\Zeerho^kma^ lmho^'?bgZeerf^gmbhgfnlm[^fZ]^h_ZihbgmmaZm]kb_mlbgma^;Ipbmahnm Zgrk^_^k^g\^mhma^[Zlb\ahkbshgmZehk]^k'Bm]blknimlma^×hph_pZm^kZg] lb`gbÖ^llbe^g\^'

Images, Rituals, Myths

71

The Sink as a Cultural Code

72

The Cooked Kitchen

ÌEbd^Zeehma^kphf^g%Bmahn`ammaZm ma^k^\hne]gÍm[^fn\abfikho^f^gmbg ma^lZf^he]mZldh_pZlabg`]bla^l'Í

Christine Frederick

82

82 Frederick (1915: 23)

83 Cf. Rutherford (2003: 194)

84 Cf. Beecher/ Beecher Stowe (1869/2006: 209)

85 Frederick (1915: 23)

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Images, Rituals, Myths

73

ma^ib^\^lmakhn`ama^pZlabg`ikh\^]nk^'Ma^liZ\^maZmblghpoZ\Zgmbl Öee^]pbmaZfho^Z[e^\Zkmhgpab\ama^]bkmr]blapZk^bllmZ\d^]'?k^]^kb\d ma^g]bob]^lma^pZlabg`ikh\^]nk^bgmhmak^^fZbglm^il'Khn`a\e^Zgbg` Zg]lmZ\dbg`%kbglbg`Zg]]krbg`'LbfbeZk\hhdbg`nm^glbelZk^pZla^]mh`^ma^k Zg]ma^g]kb^]'H_\hnkl^%la^[^`bglpbma`eZll^l'La^`bo^lbglmkn\mbhgl_hk ^Z\alm^ih_pZlabg`Zeema^ib^\^l'Mablk^fZkdZ[e^lZobg`lbgmbf^bl[Zl^] hga^kf^mah]h_FhmbhgLmn]r'CnlmZlbgbg]nlmkr%ma^phkdikh\^]nk^l aZo^mh[^ZgZers^]Zlik^\bl^erZlihllb[e^lhZlmhÖg]g^pZg]mbf^& lZobg`lhenmbhgl':mmablmbf^?k^]^kb\daZ]Zek^Z]rZnmahk^]l^o^kZeZkmb\e^l' Bga^kbgmkh]n\mbhg%ahp^o^k%la^]^l\kb[^la^kl^e_ZlZÊ\hfie^m^erhk]bgZkr ahnl^pb_^Ëpbmamphdb]lZg]Zmb`aml\a^]ne^'MaZgdlmha^kibhg^^kbg` Z\ab^o^f^gmla^pZlZ[e^mhÖg]ma^mbf^mhpkbm^ZlmZg]Zk][hhdhgknggbg` Zahnl^ahe]':Öklmlm^ibga^k\Zk^^kZlZg^qi^km_hk^_Ö\b^gmahnl^ahe] fZgZ`^f^gm%\hglnemZgm_hkZ]o^kmblbg`Zg]\hglnf^khf[n]lfZg'Bg*2+. ma^[hhd>_Ö\b^gmAhnl^d^^ibg`hkAhnl^ahe]>g`bg^^kbg`Zii^Zk^]' A^k^la^pZlZek^Z]rZ[e^mh]^ib\mZlbgdmaZmaZ][^^gfZ]^ma^pZrla^ aZ]^goblbhg^]' Ma^lbgdblfZ]^hnmh_pabe^^gZf^e^]lm^^ela^^mZg]bl ^jnbii^]pbmaZeZk`^]kZbgbg`lnk_Z\^hgma^e^_m&aZg]lb]^'Ma^aZg]&\kZ_m^] lbgdbg:iie^\kh_mblghpZmabg`h_ma^iZlm'

86 Meyer (1926: 107)

87 Cf. Witte (1928: 30)

88 Cf. Scholtz (1995: 88)

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74

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89 Even toilets are different from country to country. Žižek (1997: 5) has attributed this to national psychology – here for France, Germany and England. In Germany the hole is up front and excrements ﬁrst land on a surface before they disappear into the hole. In France feces immediately disappear into the hole located in the back, and in England there is an in-between solution where the excrement ﬁrst swims in the water in the bowl before disappearing in the hole. He also mentions national differences in dishwashing in Sweden and Denmark.

Images, Rituals, Myths

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75

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Hole or Hook

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76

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Images, Rituals, Myths

77

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The Clothespin in the Kitchen

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90 See the approaches developed by Brandes/ Erlhoff (2006) for design theory and Dixon (2000) for artistic design work. The designer Dixon suggests reinterpreting everyday objects, while Erlhoff/Brandes see the objects being reinterpreted by the users.

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Images, Rituals, Myths

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Theodor W. Adorno

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91 Adorno (1951/ 2005: 40)

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The Cooked Kitchen

Drawer and Tool Wall

Images, Rituals, Myths

85

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86

The Cooked Kitchen

Mh]Zrma^bfZ`^h_ma^_Zkfahnl^khhfble^llZablmhkb\Zek^ZebmrmaZgZg bfZ`^p^pZgmmh\nemboZm^h_ma^knkZeiZlmÈpbmaZeeh_hnk]^lbk^lZg]_^Zkl mh]Zr'P^lmbeeaZk[hkb]^Zlh_Z_Zkfahnl^khhfebd^ma^hg^iZbgm^][r CZg;kn^`a^ema^>e]^kbgabliZbgmbg`OblbmZmma^E^Zl^ahe]?Zkf!\Z'*./1"' A^k^p^l^^ZeZk`^d^mme^\hhdbg`ho^kZghi^gÖk^':eZk`^^Zmbg`mZ[e^ lmZg]lbgma^\hkg^kpbmaphh]^g[hpelahe]bg`_hh]'>o^krhg^bl`Zma^kbg`bg ma^eZk`^khhf%^o^krhg^^g`Z`^]bgZ]b__^k^gmZ\mbobmr'Ma^iZbgmbg`^fZgZm^l Z\^kmZbgpZkfmamaZmbl\^kmZbgerZelhkZ]bZm^][rma^i^hie^ik^l^gmma^k^'

Rustic Farmhouse Room

92 Cf. Benker (1987: 13). In the kitchens of the upper-class homes the kitchen was already separated from the kitchen in the 10 th century. The kitchen was then located either on the ground ﬂoor below the dining room, in the cellar or in a separate building. The fear of ﬁres may have been a reason for this separation. Cf. Laurioux (1999: 95) 93 Cf. Könz (1978: 24 ff )

94 Cf. Witt-Dörring (2006: 70)

95 Cf. Sloterdijk (2007: 242.) In his book The Poetics of Space (1994) Gaston Bachelard studies poetic images in novels and poems, as for instance, nests, chests, drawers and shells which are images of intimate space.

Images, Rituals, Myths

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87

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88

The Cooked Kitchen

Images, Rituals, Myths

89

Ma^ablmhkrh_ma^fh]^kg[nbem&bgdbm\a^gblZgb\hgh\eZlfh_ma^mkZ]bmbhgZe he]dbm\a^g%ma^_k^^&lmZg]bg`bg]bob]nZeib^\^lh__nkgbmnk^ln\aZlma^dbm\a^g \k^]^gsZ%ma^pZeela^eo^lZg]ma^dbm\a^gmZ[e^'Lmbeebg*2+,Z@^kfZg fZgn_Z\mnk^kikZbl^]ma^l^bg]bob]nZeib^\^lh__nkgbmnk^Zlma^b]^Zedbm\a^g' :_^pr^ZkleZm^kbmpZlma^lh&\Zee^]K^_hkfd\a^!k^_hkfdbm\a^g"%Z ikh`kZfh_\Z[bg^mlieZ\^]g^qmmh^Z\ahma^kpbmaoZkbhnl_ng\mbhglZlma^ \hgm^fihkZkrlhenmbhg':mma^^g]h_ma^*2+)lma^Zk\abm^\mnkZeZoZgm&`Zk]^ s^kh^]bghgZeb_^lmre^maZmbmob^p^]ZlmkZ]bmbhgZe'BgaZk]mbf^l\bmb^l fh[bebs^]Z`Zbglmma^ahnlbg`lahkmZ`^'Bg?kZgd_nkmbmpZl>kglmFZrpah a^Z]^]ma^[nbe]bg`ikh`kZfMa^G^p?kZgd_nkm'BmpZl]b_Ö\nemmh_ZfbebZkbs^ i^hie^pbmama^b]^Zlh_fh]^kgZk\abm^\mnk^'Ma^lmkZb`am_hkpZk]%\e^Zgehhd h_fh]^kgZk\abm^\mnk^pZlghmma^mZk`^m`khniÍl^goblbhg^]pZrh_ebobg`' Ma^[Zmme^ho^kma^g^pdbm\a^gpZl\hg]n\m^]pbmabfZ`^lÈ[hma[rma^ Z``k^llhkl%ma^fh]^kgblmZk\abm^\mlZg][rma^]^_^g]^klh_ma^mkZ]bmbhgZe dbm\a^g'Ma^Zk\abm^\mFZk`Zk^m^L\amm^&Ebahmsdr]^o^ehi^]dbm\a^gmri^l_hk ma^ahnlbg`ikh`kZfma^lfZee^lmh_pab\aÈdghpgZlma^?kZgd_nkmDbm\a^g !*2+/"Èp^gm]hpgbgma^ablmhkrh_Zk\abm^\mnk^Zg]]^lb`g'Ma^ma^f^h_ma^ dbm\a^gpZlma^ln[c^\mh_k^l^Zk\abgfh]^kgZk\abm^\mnk^'L^o^kZe^qab[bmbhgl% ln\aZlma^P^kd[ng]^qab[bmbhgpab\amhhdieZ\^bgLmnmm`Zkmbg*2+0%]^Zem bg&]^imapbmama^ma^f^'Ma^G^p?kZgd_nkmpZlghmcnlmZeZ[_hklh\bZe ahnlbg`\hglmkn\mbhg%bmpZlZelhZikhiZ`Zg]ZfZ\abg^_hkZg^pbfZ`^h_ ahpi^hie^p^k^mhebo^bgma^_nmnk^'I^hie^k^lihg]^]g^`Zmbo^erpa^gma^r p^k^Öklm\hg_khgm^]pbmama^l^ikhihlZel':gZiZkmf^gmbgpab\ama^ !?kZgd_nkm"dbm\a^gpZlZek^Z]r[nbembgZg]pab\apZlZelhlhlfZeemaZmhger hg^i^klhg\hne]lmZg]\hf_hkmZ[erpZlf^mpbmaZeZ\dh_ng]^klmZg]bg`' >o^gb_ma^ikb\^_hkma^Ögbla^]dbm\a^gÖmma^lh\bZeg^^]lh_ma^lh\bZe \eZll'Ahp\hne]hg^\hhdbgbmpbmahnmZdbm\a^gmZ[e^Zg]Zdbm\a^g\k^]^gsZ maZmaZ]Zek^Z]r[^^gnl^][rhg^Íl`kZg]iZk^gmlZg]iZk^gml8:gnf[^kh_ bgghoZmbhglmkb``^k^]\nkbhlbmr%bg\en]bg`ma^fh]^kg`Zllmho^hkma^Zenfb& gnf]bli^gl^klpab\ama^bg]nlmkbZeblmAZkk^kaZ]Zelh[nbembgmhabliZm^gm^] \Z[bg^ml';nmhgma^pahe^i^hie^p^k^bg\ZiZ[e^h_]^Zebg`pbmamablbfZ`^ h_ma^dbm\a^g'Ma^fh]^kgblmlZbf^]Zm^]n\Zmbg`ma^i^hie^%nlbg`fh]^kg f^Zglh_fZll\hffngb\Zmbhgln\aZlma^lbe^gmÖefZg]chnkgZelhkab`aer ^__^\mbo^in[eb\^o^gmlln\aZl_Zbkl'

Swedish Kitchen

96 Cf. Krausse (1992: 99)

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90

The Cooked Kitchen

97 Cf. Hartmann (1996: 250)

98 Cf. Rüegg/ Janser (2001)

99 Cf. Schütte-Lihotzky (undated: 9): “The kitchen with dining area, that is, a kitchen with eating area for the entire family and a living space in the living room, would have already been ideal back then. But I was unable to get the municipality to accept this since this solutions with two sitting possibilities and 6-7 sq.meters ﬂoor surface per apartment would have cost more. One decade later the Swedes built such kitchens with dining areas in their many coop apartments, in which they always referred to the Frankfurt kitchen.“

f^Zeblinmbgma^[nbem&bg\hhdbg`[hq%pabe^bghe]dbm\a^gl\hhdlaZ]mh _nf[e^pbmama^phh]^geb]h_Zl^e_&fZ]^\hhdbg`[hqZg]inm[^]ebg^g ho^kma^ahmihm'Pah^o^klmbeehiml_hkma^he]dbm\a^gZ_m^kl^^bg`Zeema^ bfZ`^llahne]ehhdZmma^ZgbfZm^]]bZ`kZfl]^ib\mbg`ma^o^gmbeZmbhgh_[hma dbm\a^glmhl^^ahpfblmZd^ga^hkla^bl'L^^g_khfmh]ZrÍli^kli^\mbo^bmbl ]b_Ö\nemmhcn]`^ma^^__^\mh_ma^Öef'o^gma^LpbllP^kd[ng]chbg^]ma^f^]bZ_kZr'Bg*2,)bm\hffbllbhg^] ZoZgm&`Zk]^ÖeffZd^kAZglKb\am^kmhfZd^ZÖefikhiZ`Zmbg`Zg^p ebobg`lmre^'98Pabe^ma^Öefhgma^?kZgd_nkmdbm\a^gblikh]n\^]kZma^k \hgo^gmbhgZeer%AZglKb\am^k^fiehrlZeef^Zglh_ZoZgm&`Zk]^Öef'Lnkikblbg` Zg]bgmnbmbo^bfZ`^krZg]^]bmbg`bllniihl^]mhfZd^ma^g^peb_^lmre^ Zii^Zkihlbmbo^Zg]]^lbkZ[e^'Ma^g^pZiZkmf^gmlZk^Öee^]pbmaeb`amZg] ZbkZg]i^hie^\Zgfho^Z[hnm_k^^erbgma^f'Ma^]blZ]oZgmZ`^lh_ma^he] lmre^h_ebobg`p^k^ik^l^gm^]bgZ]kZfZmb\pZrÈbgbfZ`^l]^ib\mbg`Öemar [Z\d\hnkmrZk]lZg]ZiZkmf^gml_neeh_cngdZg]]Zkd%^qi^glbo^ib^\^l h__nkgbmnk^'Gnf^khnl%Zelhbgm^kgZmbhgZeer\hfibe^]^qZfie^lh_g^p Zk\abm^\mnk^Zk^ik^l^gm^]mhbeenlmkZm^ma^eb_^lmre^':g]h_\hnkl^hg^Zelh l^^lZ[b`he]dbm\a^g\hgmkZlm^]pbmaZfh]^kgphkdbg`dbm\a^g]^lb`g^] mhk^]n\^ma^gnf[^kh_g^\^llZkrlm^il'Bg@^kfZgrma^GZsbk^`bf^pZl mhaZemma^fh]^kgblmfho^f^gm'Ma^\ehlnk^h_ma^;ZnaZnl!*2,,"blhger hg^h_fZgrbgm^ko^gmbhglmaZmnla^k^]bgma^k^mnkgmhma^knlmb\ebobg` khhf\hf[bg^]pbmadbm\a^g%nlbg`ma^lZf^f^Zglh_ikhiZ`Zg]Zik^obhnler ^fiehr^][rma^ZoZgm&`Zk]^Zk\abm^\mlmhikhiZ`Zm^g^pebobg`' Ma^fZgrin[eb\Zmbhglhgma^?kZgd_nkmdbm\a^gZg]ma^gnf^khnl^qab[bmbhgl aZo^k^lnem^]bgmablikhmhmri^h_ma^phkd&lZobg`%lh\bZelfZeedbm\a^gpab\a pZlZelhnl^]bgLp^]^gZlZfh]^e_hkma^^f^k`bg`ahnlbg`ikh`kZf' Lhf^mabg`L\amm^&EbahmsdrpZlngZ[e^mhbfie^f^gmpZleZm^kmh[^\hf^ k^ZebmrbgLp^]^g'99Ma^lfZee^lmlbs^]dbm\a^gl^o^gaZ]Zgbgm^`kZm^]^Zmbg` Zk^Z'Manlma^+'1f^m^kiZma_khfma^dbm\a^gmhma^]bgbg`mZ[e^\Ze\neZm^] [rL\amm^&EbahmsdrpZlk^]n\^]mhcnlmhg^aZg]fho^%pbmahnmk^jnbkbg` ^o^ghg^lm^imh[^mZd^g'BgLp^]^gZin[eb\bglmbmnmbhgmhhd\Zk^h_ma^ lmn]rh_blln^lk^eZm^]mh_nkgblabg`Zg]ahnlbg`\hglmkn\mbhg'BmpZlma^ Bglmbmnm^_hkAhnl^ahe]K^l^Zk\a!A?B"pab\apZl_hng]^]bg*2--Zg]kng[r \a^fblmZg]lh\bheh`blm
100 Cf. Scholtz (1995: 86)

Images, Rituals, Myths

91

101 Cf. Boeck (1951: 49)

102 The Biedermeier is not quoted here as a bad example of the past but as a good one preceding an epoch characterized by imitation of styles and an obsession with representation in the bourgeois living style. Cf. ibid., p. 51. Bruno Taut’s advisor for Die neue Wohnung (1924) also cites Biedermeier as a model of clarity and expediency. In her guide Der neue Haushalt (The New Household) Erna Meyer (1926: 78) also depicts a Biedermeier chair, referring to its beauty and functionality. Thus Biedermeier twice serves an important point of departure in a search for a modern living style as part of an innovative movement in 20 th century interior design.

103 Cf. Tölzer (1952: 85)

104 Cf. Jupp/Sandberg/ Wagenfeld (1962: 26)

92

The Cooked Kitchen

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Images, Rituals, Myths

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Cooking Box

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The Cooked Kitchen

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96

The Cooked Kitchen

Fire Myth

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Images, Rituals, Myths

97

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Doing Away With Design

105 Cf. Taut (1924: 56 ff )

106 Ibid., p. 79

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107 F.T. Marinetti, The Futurist Cookbook (1932/1989: 40) 108 A spoon that can taste was recently presented in a technology lab at an American university. If this object were introduced some day in the market for kitchenware, the futurists would be delighted to see their almost 80-year old demand being fulﬁlled. The tasting instrument looks like a transparent spoon and on the inside one can see sensors and a tangle of wires. The high-tech spoon can determine the salt content of food and distinguish between sweet and sour.

109 Marinetti (1989: 119) 110 As early as 1962 a large manufacturer of kitchen appliances in America presented a food preparing machine that could create an entire dinner when a button was pressed. It was given the truly awesome name of ‘xpc 1’ and was equipped with a storage for several ﬁnished dinners that could be called up by pushing a button. Cf. Jupp/Ernst/Wagenfeld (1962: 32)

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111 Cf. Marinetti (1989: 40)

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Frank B. Gilbreth

Taylor in the Kitchen

112 Cf. preface by Gilbreth in Frederick (1925: 3)

113 Cf. Duboy (1999: 103 ff )

114 Cf. Schütte-Lihotzky (undated: 10)

MZrehkblfk^lnem^]bgZghimbfbsZmbhgh_bg]nlmkbZefZgn_Z\mnkbg`ikh\^ll^l [Zl^]hgma^ZgZerlblh_fho^f^gmlmn]b^lZg]mbf^f^Zlnk^f^gm'Ma^bf& ikho^f^gmh_ma^hk`ZgbsZmbhgh_phkdbg`ikh\^ll^lZg]phkdbg`f^Zgl bg\k^Zl^]ikh]n\mbobmrZg]manlbg]nlmkrÍlikhÖml'>o^gma^lmkn\mnkbg`h_pZ`^ lrlm^flpab\ap^k^ghpi^k_hkfZg\^&]^i^g]^gm\hgmkb[nm^]mhbg\k^Zl^] ikh]n\mbobmr'Ma^lZf^ikh\^ll^l\Zgghp[^i^k_hkf^]jnb\d^k'Mabl%ahp& ^o^k%k^jnbk^]Zik^\bl^lmn]rh_Z\mbobmb^lZg]ma^bk^k`hghfb\k^lmkn\mnkbg`' Ahnl^pb_^_Ö\b^g\rLmn]b^lbgAhnl^FZgZ`^f^gm!*2*."pZlZibhg^^kbg`Z\\hngm h_ma^_hhmiZmalbgZmkZ]bmbhgZedbm\a^g×hhkieZgZg]Zdbm\a^geZrhnmla^ aZ]bfikho^]'Hg^iZmak^\hglmkn\mlma^ik^iZkZmbhgh__hh]%pabe^Zghma^k hg^]^ib\mlpaZmaZii^glZ_m^kma^]bgbg`mZ[e^bl\e^Zk^]' Ma^[^mm^kma^_ng\mbhglZk^ZkkZg`^]bgma^dbm\a^g%ma^lahkm^kma^iZmal' Ma^ahnl^pb_^lZo^lmbf^Zg]^g^k`rbgZp^ee&ieZgg^]dbm\a^g'Bg*2++ ?k^]^kb\dÍl[hhdpZlmkZgleZm^]bgmh@^kfZgZg]ma^b]^Zh_ma^MZrehkbs^] dbm\a^gpZl`kZ]nZeerZ]him^][rfh]^kgblmZk\abm^\mlbg@^kfZgr';kngh MZnmlahp^]?k^]^kb\dÍl]bZ`kZfbgabl[hhd=b^g^n^Phagng`!*2+-"Zg] ZgZers^]ablahnl^`khng]ieZglpbmaiZma]bZ`kZfl'FZk`Zk^m^L\amm^& Ebahmsdrhimbfbs^]a^k?kZgd_nkmDbm\a^g!*2+/"pbmama^a^eih_iZmaZg]mbf^ ZgZerl^lpab\ap^k^ma^gZelhnl^]ZlZgbfihkmZgmZk`nf^gmbgma^l\ahhe Öefhgg^p[nbem&bgdbm\a^g_hklh\bZeahnlbg`'Pa^k^Zl_hkma^bg]nlmkr ma^fZbgZk`nf^gmpZlbg\k^Zl^]ikh]n\mbobmr%_hkahnl^d^^ibg`k^l^Zk\a^kl bmpZlfZbgerk^]n\bg`ma^[nk]^gh_ahnl^pbo^lpab\apZll^^gZlma^`hZe h_ahnl^ahe]k^l^Zk\a'Bg?kZg\^IZne^mm^;^kg`^pZll^^gZlma^]kbobg` _hk\^h_ma^MZrehkblmfho^f^gm'A^k[hhd=^eZfmah]^fgZ`k^pZl in[ebla^]bg*2,-'A^k^%h_\hnkl^%ma^phkdh_E^kgZF^r^k%ma^^]bmhkh_ma^chnkgZeG^n^AZnlpbkml\aZ_m%in[ebla^] ZgZkmb\e^hgÊPhkdbg`M^\agheh`rbgma^Dbm\a^gË'La^k^ihkm^]hgZg^q& i^kbf^gm]hg^[r^g`bg^^kF^kbg`aZnl^gpahZgZers^]ma^phkdbg`ikh\^ll h_k^fhobg`ZiZ\dZ`^h_×hnk_khfZghe]\ni[hZk]Zg]Zg^phg^'Ma^ \hfiZgrpa^k^ma^^g`bg^^kphkd^]aZ]ma^b]^Zh_k^ieZ\bg`ma^lmhkZ`^h_ ×hnkbgZiZi^k[Z`bgZ]kZp^kpbmaZlmhkZ`^bglm^^e\rebg]^klmaZmaZ]Z mkZgliZk^gm×hhk'Ma^l^\rebg]^klp^k^fhngm^]ahkbshgmZeerbgma^\ni[hZk] Zm^r^e^o^e'MhfZd^ma^phfZgÍlfho^f^gmoblb[e^Zeb`am[ne[pZlfhngm^] hga^kkb`ampkblm'MablpZrbmpZlihllb[e^mh]h\nf^gmma^phkdlm^ilpbma Z\Zf^kZbg\hgmbgnhnleb`am'Pa^k^Zlbgma^he]dbm\a^g\ni[hZk]ma^\Zf^kZ

Images, Rituals, Myths

107

]h\nf^gm^]Zcnf[e^h_ebg^lbgma^Zbk%bgma^g^p\ni[hZk]bmpZlhgerZ _^p^e^`Zgmebg^l'Ghpahnl^d^^ibg`k^l^Zk\apZlZlik^\bl^Zl@be[k^maaZ] ]^fhglmkZm^]mhbg]nlmkrr^ZklZ`hpbmaablmak^^&]bf^glbhgZepbk^fh]^el' >o^gmahn`ama^l^^qi^kbf^gmlmhhdieZ\^Zefhlm^b`amrr^ZklZ`hma^cnf& [e^]ebg^lbgmh]ZrÍldbm\a^gaZo^lmbeeghmbfikho^]'Ahnl^pbo^llmbee\kZf bg]kZp^klmhÖg]lhf^mabg`bglm^Z]h_lmhkbg`mabg`lbg^Zlrk^Z\aZmZg himbfnfa^b`am'Ma^ln\\^llmaZmMZrehkaZ]bgbg]nlmkr\hne]ghm[^ZmmZbg^] [rahnl^ahe]k^l^Zk\a^klbgma^dbm\a^g'

115 Cf. Gardner (1953: 172 ff ) who presented the prototype of the Cornell Kitchen in an article in the journal Popular Science. For documentation on the project see Beyer (1955).

116 Heiner/Steidl (1951) 117 Small Homes Council (1949). Baden-Powell (2005: 20) attributes the concept of the kitchen work triangle to the University of Cornell. This ascription is, however, problematic. An accumulation of paths was noted but all other paths were also taken into account in the diagram. Thus one major step is lacking in the abstraction, namely a consideration of all paths, in addition to the exclusive focus on the work triangle as an indicator of efﬁcient kitchen planning.

108

The Cooked Kitchen

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Bottle Dryer

Images, Rituals, Myths

109

ÌBg*2*-Bma^gfZ]^ma^[hmme^]kr^k !Ihkm^&[hnm^bee^l"'Blbfier[hn`ambmZmma^ ;ZsZk]^eÍAm^e&]^&Obee^':g]ma^gBaZ] ma^b]^Zh_inmmbg`bgl\kbimbhglhgma^ h[c^\ml'Ma^[hmme^]kr^kZelhaZ]ln\aZg bgl\kbimbhg[nmB_hk`hmma^phk]bg`'Í

Marcel Duchamp

118

118 Marcel Duchamp in an interview conducted by art critic and art historian Pierre Cabanne (1972: 66) in 1966.

119 Ibid., p. 67

120 Ibid.

121 Cf. Schwarz (1988: 113)

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110

The Cooked Kitchen

122 “This damn hérisson (bottle dryer) has become a big test. In the meantime it simply looks too good,“ Marcel Duchamp said in an interview in September 1965. In: Stauffer (1992: 189)

Images, Rituals, Myths

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111

Ladder Chair

112

The Cooked Kitchen

Images, Rituals, Myths

113

:gr\aZbkmaZmbllmZg]bg`bgma^dbm\a^gZg]bllmnk]r^ghn`a\ZgZmmbf^l[^ nl^]ZlZeZ]]^k'Rhn\ebf[nihgma^l^Zmmh[^Z[e^mhk^Z\amabg`lmaZm phne]hma^kpbl^eb^-.\^gmbf^m^klhnmh_k^Z\a'Mabla^b`amblnlnZeer^ghn`a mh`^mZmmabg`leh\Zm^]bgma^o^kr[Z\diZkmh_nii^kpZee\Z[bg^ml'Mhk^Z\a lhf^mabg`ab`a^krhn_^m\aZeZ]]^k'Rhn\Zginmmabg`l]hpghgma^l^Zmh_ ma^\aZbk%aZg`mhp^elho^kma^[Z\dk^lm%]h\^kmZbgmZldlbgZl^Zm^]ihlbmbhg hklbfierk^eZq'Ma^\aZbkblZeZ]]^kmaZmlbfieraZlhg^lm^i';nmmabllm^i \Zgikho^mh[^Z[bmmkb\drbgZ\mnZenl^'GhkfZeerlm^ilZk^Z[bmehp^kZg] lhrhnaZo^mhahe]hgmhma^[Z\dk^lmpa^grhn\ebf[nihgma^l^Zm'Mabl phkdlp^eeb_rhnZk^ghmahe]bg`Zgrmabg`bgrhnkaZg]l';nmb_rhnZk^eb_mbg` lhf^mabg`nihk]hpgZg]]hghmaZo^ZgrZllblmZg\^ma^gbmÍlfhk^]Zg`^k& hnl'Ma^\aZbk\Zgmbem%]^i^g]bg`hgpa^k^ma^ihbgmh_`kZobmrbl[^mp^^g ma^bg]bob]nZeZg]ma^\aZbk'B_bmeb^lhnmlb]^ma^e^`lh_ma^\aZbkma^gbmblZ [bmph[[er':gnf[^kh__Zeelk^`blm^k^][ra^ZemabglnkZg\^\hfiZgb^lZk^ ikhh_h_ma^ebfbm^]_ng\mbhgZebmrh_ma^\aZbkZlZeZ]]^k'
114

The Cooked Kitchen

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Images, Rituals, Myths

115

Kitchen Conversations

117

The Kitchen as a Workshop

IZne!.+"%iahmh`kZia^k%m^eel>HHL Z[hnmma^iZkZee^ela^aZl]^m^\m^] [^mp^^gdbm\a^glZg]phkdlahil' P^`^mmhdghpZiabehlhia^k%]^& lb`g^kZg]\hhdpahmh]Zm^aZl hgermahn`amZ[hnmma^dbm\a^gZg] \hhdbg`bgZikboZm^\hgm^qm'

You’re someone who likes to stand both in the kitchen and the workshop.

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MaZm^oheo^]Z[bm[r\aZg\^'Hpbg` mhlahkmZ`^h_liZ\^'
Rhn]hgÍmaZo^mhmZd^maZmZlZ f^mZiahk'Bl^^ma^dbm\a^gZl[^bg` Zphkdlahicnlmebd^Zeema^hma^kl' BmaZlmh[^hk]^kerZg]\e^Zk';nm B]hgÍmmabgdmaZmmaZmÍlma^\Zl^hger bg\hhdbg`'

mabg`lZlikZ\mb\Ze';nm^ZlrZ\\^ll blZek^Z]rbfi^kZmbo^'Bgikh_^llbhgZe dbm\a^glbmblZepZrllhmaZmrhn fho^Zkhng]_k^^&lmZg]bg`mZ[e^l'Bg lfZee^k`Zlmkhghfrdbm\a^glbmbl nlnZeerZ\^gmkZengbmbgmhpab\ama^ \hhdbg`kZg`^blZefhlmZepZrl bgm^`kZm^]';nmma^k^blnlnZeerZelhZ i^kbia^krpa^k^Zeeh_ma^ZiiebZg\^l maZmZk^nl^]lmZg]' Did you look at professional kitchens before you planned your own kitchen?

Behhd^]Zmma^f[nmng_hkmngZm^er ghm^ghn`a'F^Zgpabe^BaZo^l^^g o^krfZgrdbm\a^glZg]ehhd^]Zm ma^ffhk^ZgZermb\ZeermaZgBnl^] mh'MablaZl]^o^ehi^]ho^kma^r^Zkl' BZepZrlmabgdZ[hnmpaZm\hne][^ ikZ\mb\Ze_hkf^' You have an open kitchen. What thoughts motivated such a kitchen?

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Are there any insights from working in the workshop that you have brought into the kitchen?

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Gh%bmlahne]lbfier[^ikZ\mb\Ze' OZkbhnli^hie^i^k\^bo^]b__^k^gm

Kitchen Conversations

119

120

The Cooked Kitchen

Change

Has your kitchen changed in recent years?

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They are put on the outside of the door? How did you come up with this idea?

Ma^k^Zek^ZlhgpZllahkmZ`^h_ liZ\^';nmghpbmehhdlgb\^Zg]bl jnbm^ikZ\mb\Ze'Ma^\ni[hZk]]hhk k^Z\a^l_khfma^×hhkmhma^\^bebg` Zg]hgma^hnmlb]^rhnaZo^ma^eb]l' Ma^eb]lZk^o^krbfihkmZgm'Bnl^] mhd^^ima^fbgZ]kZp^k'Rhnphne] \hglmZgmer[^\kZffbg`bgma^f ngmberhn_hng]ma^kb`amhg^':g] ghpB\Zgl^^ma^fZeepbmahg^ `eZg\^Zg]\ZgmZd^ma^kb`amhg^' And the pans? How did you use to store them?

:elhbg]kZp^kl'H_\hnkl^%ma^hg^ rhng^^]pZlZepZrlma^ehp^lm hg^';nmma^rZk^fn\a^Zlb^kmh`^m ZmmaZgdlmhmablaZg`bg`lrlm^f'

What are these objects?

>o^krmabg`_hk\nmmbg`%^o^krmabg`_hk lmbkkbg`%ma^iZglZg]ma^fhlm bfihkmZgmihml'Rhnlahne]gÍmaZo^ mhli^g]Zehmh_mbf^ehhdbg` _hkZdgb_^maZmrhng^^]kb`amZpZr hk_hkZfbq^k[^\Znl^hma^kpbl^ lhf^mabg`pbeelmZkm[nkgbg`' Were there also radical changes in this time?

Ma^k^pZlZkZ]b\Ze\aZg`^hgerbg ma^[^`bggbg`'BaZ]Z`kbeekZg`^ pab\aikho^]mh[^nl^e^ll[^\Znl^ bmÖee^]ma^^gmbk^ZiZkmf^gmpbma lfhd^^o^gmahn`aBaZ]Zo^kr ihp^k_ne^qaZnlm'B^q\aZg`^]bm_hk Z]b__^k^gm\hhdbg`kZg`^Z_m^kZ_^p fhgmal' What do you do if you notice that something doesn’t work right?

Ma^gB\aZg`^bm%b_bm\Zg[^\aZg`^] bgZk^ZlhgZ[e^Zfhngmh_mbf^Zg] pbmahnmmhhfn\a^__hkm'Ma^k^blZ g^ppZee%bmblhnmh_lmZbge^lllm^^e pbmalmZbge^lllm^^ekh]l'MaZmÍl pa^k^friZglaZg`'Hglhf^h_ ma^\ni[hZk]]hhklBÍo^fhngm^] lmZbge^lllm^^e_kZf^lhgpab\ama^ eb]lZk^lmhk^]'

Kitchen Trends

How do you explain certain trends when it comes to kitchens? Isn’t the kitchen something you have for a long time? Ten years and longer are not so unusual.

Ma^k^aZo^ZepZrl[^^g_Z]lZg] i^hie^\Zg[^^Zlberbg×n^g\^]' But take for instance workshop furniture. It is much less susceptible to such trends, isn’t it?

;^\Znl^bmblfn\afhk^hkb^gm^]mh _ng\mbhgZebmrZg]fn\ae^llmh _ZlabhgZ[e^Zii^ZkZg\^'Ahnl^ahe] dbm\a^glZk^fn\afhk^hkb^gm^] mhmk^g]l'I^hie^nlnZeer]hghmli^g] lhfn\ambf^lmn]rbg`ma^fZg]Zk^ lnl\^imb[e^pa^gma^rZk^mZed^]bgmh lhf^mabg`'EZm^kma^r]bl\ho^kmaZm bmÍlghmlh`hh]Z_m^kZee';nmma^g bmÍlZek^Z]rma^k^Zg]ma^rma^gebo^ pbmabm';nmb_hg^]h^lgÍm\hhdZehm% bm]h^lgÍmk^ZeerfZmm^kb_bmÍl ngikZ\mb\Ze' How can you tell that someone is cooking in a kitchen?

P^ee%maZmblaZk]mh^qieZbgbg]^mZbe [nmrhn\Zgl^^bff^]bZm^erpa^ma^k lhf^hg^bl\hhdbg`hkghm'Rhn\Zg

Kitchen Conversations

121

m^ee[rma^mabg`lmaZmZk^lmZg]bg` Zkhng]%ma^pZrma^dbm\a^g\ni& [hZk]lehhd%hkpa^ma^kmabg`laZo^ Zek^Z]r[^^glmhp^]ZpZrbgma^f' B_bmÍlcnlmZgb\^`eZll\^kZfb\llmho^ bgZab`a&`ehlloZkgblal^mmbg`%ma^g rhndghpma^k^Ílgh\hhdbg`[^bg` ]hg^ma^k^'Bmehhdlahkkb[e^pa^grhn \hhdma^k^Zg]ma^iZbgm^Zlberi^^el h__'Lbg\^Zeeh_ma^hg^lBZf_ZfbebZk pbmaZk^m^kkb[erngikZ\mb\Ze%B[nbem frhpgpab\ahger\hglblmlh_Zl\k^p mak^Z]^]kh]Zg]ZgbkhgZg`e^'Bm phkdl_ZgmZlmb\'Mhhfn\a^fiaZlbl blieZ\^]hgZ^lma^mb\Zii^ZkZg\^% fhk^maZghg_ng\mbhgZebmr'O^krkZk^er blma^k^Z\hf[bgZmbhgh_ma^mph' That sounds like a reproach directed at kitchen companies and designers?

R^l%ma^k^Zk^fZgrdbm\a^glmaZm Zk^\hfie^m^ernl^e^ll_hk\hhdbg`' Ma^rh_m^g]hgÍm^o^gaZo^ma^ _ng\mbhgh_[^bg`nl^]_hk\hhdbg`' Ma^l^Zk^cnlmlahp\Zl^dbm\a^gl' Bg`Zlmkhghfrdbm\a^glaZo^\aZg`^] fn\ae^llho^kma^r^ZklmaZgbg ahnl^ahe]dbm\a^gl'Lbfier[^\Znl^ ma^rZk^fn\afhk^hkb^gm^]mh _ng\mbhgZebmr':ehmh_mabg`lmaZmZk^ lbfierngikZ\mb\Zehk\hgmkbo^]Zk^ lbfier^ebfbgZm^]'

Ideal kitchen

What would your ideal kitchen look like?

Bmphne]aZo^ZeZk`^\^gmkZephkdbg` mZ[e^Zmhg^^g]h_pab\ama^k^phne] [^ma^lmho^'Mablphne][^frb]^Ze lmZm^%hi^gmhpZk]lma^_khgm':g] mhma^[Z\dma^i^kbia^krpa^k^ma^k^ phne][^mphho^glZg]ma^g^\^l& lZkrdbm\a^gZiiebZg\^l'Mablbllhf^& mabg`Bdghp_khfhma^kdbm\a^glZg] Bphne]Ög]mablmh[^fhlmikZ\mb\Ze' :eZk`^mZ[e^%_hnkmhÖo^f^m^kl ehg`'K^Zeer]^^ilhmaZmmphi^hie^ \hne]_Z\^^Z\ahma^klmZg]bg`Zg] phkd'MhaZo^Z`hh]phkdbg`lnk_Z\^ blhg^h_ma^fhlmbfihkmZgmmabg`l' Ma^phkdbg`lnk_Z\^lahne][^fZ]^ h_`kZgbm^'Bphne]g^o^kZ`Zbg \hglb]^kZgrmabg`^el^'Ma^lmho^bl ]bk^\m^]mhma^`^g^kZein[eb\Zg] mablbllhf^mabg`BZelhk^Zeerebd^'Bm aZlZleb`amerZemZk\aZkZ\m^k' With such a long table, aren’t the distances very great?

Ma^]blmZg\^lbgma^dbm\a^g%maZmÍlZg he]blln^'Fbgbfbsbg`ma^]blmZg\^bl ghmma^fhlmbfihkmZgmblln^bgma^ dbm\a^g'KZma^k%hg^fnlm[^Z[e^mh phkd\hf_hkmZ[er'MablZelhf^Zgl maZmmphi^hie^\Zg\hf_hkmZ[erpZed iZlm^Z\ahma^kZg]maZm^Z\ah_ ma^f\Zg[^ahe]bg`lhf^mabg`'Mabl blfhk^bfihkmZgmmaZgfbgbfbsbg` ma^iZmal'B_hg^aZlZmZ[e^_hk ik^iZkbg`lhf^mabg`maZm^g]lnibg ma^ho^g%ma^ghg^]h^lgÍmaZo^ln\a `k^Zm]blmZg\^lZgrpZr' Where would the sink be?

Ma^lbgdphne][^hgma^i^kbia^kr': pZm^k\hgg^\mbhgphne]%h_\hnkl^% Zelh[^`hh]hgma^mZ[e^mhÖeeihml Zg]lhhg':×Zmlbgdphne]\^kmZbger [^ikZ\mb\Ze';nmma^lbgdblZg blln^maZmblghmZ]]k^ll^]^ghn`a' Ma^rZk^ZepZrlmhhlfZeelhmaZm rhn\Zgghmk^ZeerpZla[b`h[c^\ml% _hkbglmZg\^Z[Zdbg`la^^m'?hk f^ma^b]^Zelbgdphne][^hg^bg pab\arhn\hne]inmma^[Zdbg`la^^m bgahkbshgmZeer'

122

The Cooked Kitchen

Zk^nl^]e^llh_m^g\Zg[^lmhk^] Frho^gblbgma^pb]^klmZg]Zk]lbs^% bg]kZp^kl'Hma^kpbl^ma^rpbee \hee^\m]nlm' rhn\hne]lZr' You probably have a very big oven?

What do you say about the use of microelectronics in kitchen?

What materials do you think make sense in the kitchen?

Rhnik^llZ[nmmhgZg]ma^go^kr \hfie^qmabg`laZii^gZnmhfZmb\Zeer' ?hkbglmZg\^%bglmho^lmaZm\Zg\hhd ZnmhfZmb\Zeer'Bgfh]^kgho^glrhn l^mma^ho^gmhÊ[^^_khZlm+'0dbehlÊ Zg]ma^ho^g]h^l^o^krmabg`^el^' Bmabgdmablbl`hh]_hki^hie^pah eZ\d^qi^kb^g\^bg\hhdbg`'Ma^rZk^ manlZ[e^mh`^m[^mm^kk^lnemlmaZg pa^gma^rp^k^mh^o^krmabg`[r ma^fl^eo^l'Bphne]kZma^k]^\b]^ hgma^m^fi^kZmnk^bgma^ho^gfr& l^e_Zg]ghm[^]^i^g]^gmhgma^ ikh`kZff^kh_ma^ho^g'?hkf^Zee h_mabl^e^\mkhgb\l]h^lghmfZd^Z ehmh_l^gl^[nmBmabgdbmfZd^l l^gl^_hkhma^ki^hie^'B_rhndghp Z[hnmehp&m^fi^kZmnk^\hhdbg`ikh& \^ll^lrhnkl^e_ma^grhn]hgÍmg^^] mabl'Ma^gbmÍlfhk^h_Z]blmkZ\mbhg'

LmZbge^lllm^^e]h^l%h_\hnkl^%fZd^ i^k_^\ml^gl^%ma^k^\Zg[^gh]hn[m Z[hnmmabl'Lmhg^%bgiZkmb\neZk`kZgbm^% BZelhÖg]o^kr`hh]'E^ll`hh]bl Zab`a&`ehlloZkgblahk`eZll'Phh] ZelhfZd^ll^gl^[nmma^gma^k^Íl ma^jn^lmbhg3Zk^rhnfhk^Zm^\agh& hkb^gm^]i^klhgebd^f^hk]hrhn ebd^mabg`lmh[^fhk^\hsrbgpab\a \Zl^rhnpbee\^kmZbgerik^_^kphh]^g lnk_Z\^l';nmbgZgr\Zl^lmZbge^ll lm^^eZg]lmhg^Zk^ZepZrlikZ\mb\Ze'

Would there be more objects hanging on the outside in your ideal kitchen?

Ma^k^phne]\^kmZbger[^Zphkd lnk_Z\^ho^kma^mZ[e^bgma^fb]]e^% cnlmZlma^k^blbgZee`Zlmkhghfb\Ze dmb\a^glpa^k^rhn\ZgaZo^ihml% iZgl%^m\'MaZmbl\^kmZbgerikZ\mb\Ze' ;nmhger_hkh[c^\mlmaZmZk^nl^]':ee h_ma^h[c^\mlmaZmZk^ghmnl^]lh h_m^glahne]ghmlmZg]Zkhng]hi^g' Hma^kpbl^ma^rphne]\hee^\m]nlm' If you buy a ladle, do you take one with a hole or a hook on the end to hang it up?

=^Ögbm^erhg^pbmaZahhd' But then you don’t put it in a drawer. Otherwise it would get tangled in other things.

BaZo^mhZ]fbmmaZmma^rZk^d^imbg Z]kZp^kbgfr\Zl^Zg]ma^r`^m mZg`e^]pab\aZgghrlf^h_\hnkl^' ;nmh_\hnkl^rhnaZo^mhaZg`ma^f nilhf^pa^k^%Bcnlm]hgÍmaZo^Zgr khhf_hkma^f';nmrhnZelhg^^]ma^ ahhdmhd^^ima^eZ]e^_khf_Zeebg` bgmhma^ihm'Ma^mabg`lmaZmZk^nl^] Zehmlahne][^ang`'Ma^mabg`lmaZm

Kitchen Conversations

Country house kitchen or modern kitchen – what is your position on this?

?hkf^ma^\hngmkrahnl^dbm\a^gbl ma^phklmgb`amfZk^bfZ`bgZ[e^%B fnlmlZr'Ma^k^ÍlaZk]erZgrmabg` phkl^'BÖg]bmo^krZfnlbg`maZm ma^l^Zk^h_m^gbg\k^]b[er^qi^glbo^ pa^gma^rZk^[nbemhnmh_fZllbo^ hZdZg]ma^rZk^Zelhm^kkb[ern`er Zg]nl^e^llmh[hhm'Fh]^kgdbm\a^gl% p^ee%BÍo^lhkmh_`hmm^glmn\dbg ma^_hkfZek^i^kmhkrh_\eZllb\Ze fh]^kgblf'Bebd^ma^;ZnaZnl lmre^'BmaZlmh[^gb\^er]^lb`g^] _ng\mbhgZebmr' Is a workshop nice?

:ghk]^ker%\e^Zg%p^ee&d^imphkdlahi bllhf^mabg`phg]^k_ne'MablblZelh bfihkmZgmbg\hhdbg`'BgoZkbZ[er lmk^lllbmnZmbhglZkbl^pa^g\hhdbg`% [^\Znl^ma^k^Zk^h_m^go^kr[kb^_ fhf^gmlbgpab\alhf^mabg`aZl mhaZii^gpbmaZ]bla'BgmaZm fhf^gmrhnaZo^mhdghppa^k^ mh`^mma^kb`amnm^glbe':g]pa^gB aZo^mhl^Zk\a^g]e^llerma^gmabl fhf^gmblho^k'

123

We would like to hear the story about this branch.

The Branch in the Kitchen

Mabl[kZg\a\hf^l_khfma^Ob^ggZ Phh]l':_kb^g]h_fbg^pah\hf^l _khfNf[kbZe^gmbmmhf^_hklmbkkbg` ihe^gmZ'Ma^]blamaZmrhnfZd^ pbmabm\hf^l_khfma^Nf[kbZg fhngmZbgl'BmblZmkZ]bmbhgma^k^mh lmbkma^ihe^gmZpbmaln\al^e_&\Zko^] lmbkkbg`bglmknf^gml'Ma^ihe^gmZbl Zelh\hhd^]bgZli^\bZepZr3rhn d^^iZ]]bg`iZkmh_ma^ihe^gmZlh maZmZmma^^g]hg^iZkmaZl[^^g \hhd^]_hkZehg`mbf^Zg]hg^iZkm hgerlahkmer'MablpZrma^ihe^gmZ mZd^lhgbmlhpgmZlm^Zg]Z \hglblm^g\rmaZmbllniihl^]mh[^ o^krebjnb]&ebd^'Ma^ihe^gmZblma^g ihnk^]ho^kZ[b`[hZk]'B_rhn]h bmk^Zeerkb`amma^gbmlahne]Zee[^ ihnk^]lhmaZmZ×ZmeZd^bl_hkf^]' :mhfZmhlZn\^pbmalZelb\\^blma^g Z]]^]'Mablbl]blmkb[nm^]ho^kma^ ^gmbk^ihe^gmZZg]ma^giZkf^lZg bllik^Z]ho^kbm'Ma^g^o^krhg^^Zml ]bk^\mer_khfmabl[hZk]' Could the board have once also been a table?

Gh%Zl_ZkZlBdghpbmpZlZepZrlZ l^iZkZm^[hZk]'MablblZelhfhk^ ikZ\mb\Ze'BmpZlmbem^][rlhf^hg^ Zg]a^e]mablpZrZg]ma^gmphhma^kl ihnk^]ma^ihe^gmZho^kbm'?hkma^ Öklmmbf^BaZ]Z[hZk]fZ]^_hkmabl Zg]BaZo^[^^gnlbg`bm^o^klbg\^'Bm bl1)\fpb]^%*'1fehg`Zg]fZ]^ hnmh_fZie^'Fhlmdbm\a^g[hZk]lZk^ fZ]^h_fZie^'Bnl^ma^[hZk]hger _hkfZdbg`mabl]bla'BZelh]hgÍmdghp Zgrhma^kmaZmblihnk^]ebd^mabl' Just as you have cooked this dish we should also eat it in a certain way.

B]b]gÍmbgo^gmZgrmabg`a^k^'Blbfier Z]him^]^o^krmabg`ma^pZrbmpZl iZll^]]hpgmhf^bgNf[kbZ'Ma^ lZelb\\^Zk^ma^^qi^glbo^iZkmh_ mabl]bla'Rhn\ZgÍmcnlm`h_hkma^ lZnlZ`^l%[nmaZo^mh^Zmma^ihe^gmZ Zkhng]ma^fZlp^ee'BmÍlZfZsbg` ahpfn\ai^hie^^Zmh_mabl]bla' >o^gi^hie^pahZk^hma^kpbl^o^kr \hgl\b^gmbhnlZ[hnmgnmkbmbhg'

124

The Cooked Kitchen

That almost sounds like paradise. On the outside a mushy wall and on the inside the sausages.

Bl^^maZmZ[bmfhk^lmkZb`am_hkpZk]' Bl^^maZmZlZlbfie^]blah_ma^ knkZeihineZmbhg_khfma^fhngmZbg k^`bhg'BZelh]hgÍmdghpb_ma^]bla ^qblmlZgrpa^k^^el^[nmBÍf bg\ebg^]mh[^eb^o^maZmbm]h^lgÍm' Ma^\hgg^\mbhgmaZmBphne]ikh[Z[er ghmb\^kb`amZpZrblmaZmbmÍl^Zm^g bgma^\hngmkra^k^mhh' As a cook you’ve certainly had a lot of cooking tools in your hands and stirred a lot. Does it make a difference if one holds such a hand carved branch? Does it work well?

_hnkkZfbÖ\ZmbhglZg]rhnikh[Z[er phgÍmÖg]fhk^'BmblZefhlmlaZi^] ebd^ZaZg]Zg]l^^flmhf^mh[^ jnbm^i^k_^\m' When you have found the branch you also have to work it. You don’t simply stick it right into the pot?

Gh%h_\hnkl^rhnaZo^mh\nmma^ [ZkdZg]ma^ge^mbm]kr'RhnaZo^mh ik^iZk^bmbgmbf^%ma^[kZg\aaZl mhaZo^Z\^kmZbg]krg^ll[^_hk^rhn \Zg\hhdpbmabm' Do you have to cut a new branch for each dish?

Gh%rhnpbeeikh[Z[ermkrmhd^^ibmZl ehg`Zlihllb[e^'BaZo^mkb^]mhÖg] hnmahpbmpZlhkb`bgZeer]^Zempbma Bmphkdlp^ee[^\Znl^rhn\ZgZelh [nmma^k^blghmkZ]bmbhgmaZmaZl[^^g lmbkp^eehgma^^]`^lh_ma^ihmlh iZll^]]hpg'BÖ`nk^maZmi^hie^ maZmma^ihe^gmZ]h^lgÍm[nkgpab\a aZo^fZ]^ma^bglmknf^gmZg]ma^g blhma^kpbl^ZepZrlma^`k^Zm^lm ]Zg`^k'H_\hnkl^%ln\aZaZg]&fZ]^ nl^]bmZlehg`Zlbmphkd^]'Lhbmbl ghmhgerf^Zgmmh[^nl^]hg\^' mhheZepZrlaZlZli^\bZeZnkZ' ;nmbmblZelhghmZkbmnZeh[c^\mmaZm bliZll^]hgho^kang]k^]lh_r^Zkl' Does the branch work better than a normal cooking spoon? What would you use otherwise to stir the polenta?

How often have you made this?

P^ee%Bphne]mZd^Zo^kr[b`%lmZ[e^ pabld'IenlZ\hhdbg`lihhg_hkma^ ihe^gmZmaZmlmb\dlmhma^×hhkZg] ma^^]`^lh_ma^ihm'Ma^aZg]&fZ]^ mhheZ\mnZeerk^ieZ\^l[hmaik^mmr p^ee'BmZelh_^^elo^kr`hh]pa^g rhnmhn\abm'Ma^aZimb\Zli^\mblZelh Zo^krbfihkmZgmZli^\mh_\hhdbg`'

BÍo^\hhd^]ma^]blai^kaZilmak^^hk _hnkmbf^lbgfreb_^'BmaZlZepZrl _hng]`k^ZmZiikhoZe'BmaZllhf^& mabg`o^krli^\bZeZ[hnmbmpa^grhn ihnkma^ihe^gmZhgmhma^[hZk] Zg]lik^Z]bmbg_khgmh_i^hie^Zg] ^o^krhg^^Zmlbmkb`am_khfma^[hZk]' Ma^k^blZab`a^qi^kb^gmbZeoZen^' :iZkm_khfmaZm%bmZelhmZlm^l`hh] Zg]mabl\hf[bgZmbhgbllhf^mabg` Why do you have to cut the branch maZmmakbeel^o^krhg^'Ma^k^rhnZk^ yourself, what does that mean? fhk^Zlhkmh_\hffngbmrpa^grhn B]hgÍmmabgdmaZmma^k^blZgrkbmnZe k^Zlhg_hkmabl'Ma^ihe^gmZbl\hhd^] ^Zm_khfZ[hZk]maZgpa^g^o^krhg^ ^Zml_khfablhka^kieZm^' bgeZk`^ihmlaZg`bg`ho^kZÖk^' Lbg\^i^hie^ma^k^]hgÍmaZo^ln\a eZk`^\hhdbg`lihhglma^raZo^ What’s the name of the dish? \k^Zm^]ma^bkhpglmbkkbg`bglmknf^gm' ?hkf^bmaZlma^gZf^Êihnk^] BmaZlfhk^ikZ\mb\ZeZg]_ng\mbhgZe ihe^gmZÊ'MaZmlhng]lo^krfng]Zg^' k^ZlhglmaZgkbmnZehg^l' Bmfb`amaZo^ZgNf[kbZggZf^'

Kitchen Conversations

If you go into the woods now what do you have to keep in mind when you cut off such a branch?

Do you eat it with a fork or with a spoon?

RhnZk^ehhdbg`_hkZ\^kmZbg[kZg\a' Rhng^^]ZlmkZb`ameZk`^ib^\^pahl^ kZfbÖ\ZmbhglaZo^Zl^jnZeermab\d [kZg\a^lZlihllb[e^'Mablhg^aZl

Do you eat this dish in every season?

Rhn\Zg]h[hma'

Mabl]blablghmfZ]^_hkli^\bZe h\\Zlbhgl'Bmbl%h_\hnkl^%Zpbgm^k ]blalbg\^bmblo^kra^Zor'

125

What does one drink with this dish?

K^]pbg^';^^kblZelhihllb[e^';nm mhfZd^bm\ha^k^gmrhnphne]aZo^ mh]kbgdZlbfie^k^]pbg^%gh lni^k&]ni^kk^]pbg^'MaZmlbfier ]h^lgÍm`hpbmamablmri^h_]bla' Is there also a recommendation on the red wine glasses? Do you have to use clay cups?

;Zlb\Zeer%B[^eb^o^maZmma^k^blghm cnlmhg^mknma'>o^krhg^lahne]]hbm ma^pZrma^rpZgmmh'BaZm^mabl fbllbhgZkrlibkbmbgma^dbm\a^g'?hk mablk^]pbg^BÍ]nl^lbfie^`eZll^l% mrib\Zeik^ll^]`eZllpbmahnmZlm^f' CnlmZlma^pbg^nl^]mh[^]kngd bgknkZeZk^Zl[^_hk^Z\^kmZbg`eZll fZgn_Z\mnk^kik^l\kb[^]ahppbg^ pZlmh[^]kngd' There have always been typologies for wine glasses. These, however, were not based on taste.

GhpmaZmZeeblpZkkZgm^]bg\^kmZbg pbg^l';nmpbmaln\aZlbfie^]bla rhnlahne]Zelh]kbgdZlbfie^pbg^ Zg]nl^Zlbfie^`eZll' Did you think about building other cooking tools after your experience with this branch?

Gh%B]b]gÍmmabgdZ[hnm[nbe]bg` \hhdbg`bglmknf^gmlr^m'Hki^kaZil r^l8R^l%B[nbemZ`hh]eZ]e^hnmh_ inmmr_khfma^=BRfZkd^m';nmbg lahil_hkikh_^llbhgZe`Zlmkhghfr ^jnbif^gmrhnÖg]Zefhlm^o^krmabg` maZmblnl^_neZg]fZd^ll^gl^' But don’t you also find things in other areas that can be used in a practical way?

MaZmÍlkb`am%Bnl^]Z\abfg^ribi^_hk \hhdbg`'Ma^]blabl\Zee^]Ê;ZkZmheehÊ' Ma^l^Zk^]b__^k^gmib^\^lh_f^Zm maZmZk^\hhd^]bgma^bkhpgcnb\^'Bm blma^g\nmbgkhng]leb\^l'MaZmÍlpar rhn\hhdbmbgma^khng]ibi^'Ma^]bla pZlhkb`bgZeer\hhd^]bg^fimrhbe \Zgl'Ma^k^Zk^hma^kmabg`l%ln\a Zl[^Zgl%maZmZk^\hhd^]bg
126

The Cooked Kitchen

Does the polenta taste different if one uses this kind of branch?

B_rhnp^k^mhmkrbm[ebg]_he]^]%h_ \hnkl^ghm';nmghkfZeerrhn]hgÍmmkr Z]bla[ebg]_he]^]Zg]^o^krmabg` lnkkhng]bg`bmZelhieZrlZ[b`khe^ bglaZibg`ma^mhmZe^qi^kb^g\^'H_ \hnkl^%b_rhnlmZg]ma^k^pbmamabl mabg`Zg]lmbkma^ihe^gmZma^`n^lml Zk^bgZ]b__^k^gmfhh]maZgpa^g rhnphne]nl^Zpabld':g]bgmabl l^gl^bmmZlm^l]b__^k^gm'RhnaZo^ mhl^^mablZlZg^qi^kb^g\^h_ Zeema^l^gl^lZg]maZmÍlma^pahe^ ihbgm'Mhhebmme^Zmm^gmbhgbl`bo^gmh ma^pZr_hh]blik^l^gm^]'Bgfr hibgbhg^o^krhg^Ziik^\bZm^lZgb\^% l^glnZe^qi^kb^g\^'

The Gender of the Corkscrew

Kitchen Conversations

127

123 Cf. Selle/Boehe (1986: 53) 124 Cf. Selle (1993: 13) 125 Cf. Selle/Boehe (1986: 255) 126 Ibid., p. 54. Walker (1989: 174) points out that it is problematic that design is often given short shrift in sociological studies. Walker also claims that design theorists could learn tolerance and respect for the tastes of others from anthropologists. Selle (1993: 13) laments that his efforts did not have any effect on design theory and that his book was not read enough. According to him, there is thus no design theory “referring to the empirical and theoretical analyses of the change of social structures and thus on the history of the conscious and unconscious use of design.“ 127 Ibid., p. 55 128 In the book Selle and Boehe use only fragments of conversations that are commented. The original transcriptions are accessible to scholars but are not allowed to be printed. We have thus decided to reconstruct the kitchen conversation on the basis of short quotes. The text fragments can be found on pp. 176 – 190. With kind permission from Gert Selle. 129 In archaic societies it is common that men and women use everyday objects that represent their sex. For instance, a stool used by a man looks very different from one used by a woman. The gender-speciﬁc differences are also very much an issue in discussions on ergonomic aspects of design, since woman actually sit differently than men. The example here, however, revolves around the symbolic delineation function of everyday objects Selle/ Boehe are interested in explaining the function of life tools. This includes their actual use function, their social function based on their delineation and recognition function, as well as the ownership and recollection function of the design. Cf. Selle/Boehe (1986: 40)

128

The Cooked Kitchen

Fkl'A'!-)"blZ]^gmblmZg]fZkkb^] mhFk'A!-."%pahphkdlZlZk^\k^Z& mbhg^]n\Zmhk'Ma^raZo^mphdb]lZg] ebo^bgZfh]^kgmhpgahnl^';^mp^^g *21,Zg]*21.ma^rp^k^oblbm^][r ]^lb`gma^hkblm@^kmL^ee^Zg]abl \h&ZnmahkCnmmZ;h^ag^pahpZgm^] mh`^mZgbfik^llbhgh_ma^bkebobg` \nemnk^pabe^ma^rp^k^phkdbg`hg ma^bk[hhdE^[^gfbm]^gl\ag^g =bg`^g':giZllng`ng]>b`^glbggbf :eemZ`]^lPhag^gl!Ebobg`pbmaGb\^ H[c^\ml':]ZimbhgZg]Lmn[[hkgg^ll bg>o^kr]ZrEbobg`"!*21/"'L^ee^Zg] ;h^a^lmn]rma^]blZii^ZkZg\^h_ mabg`lbgnl^'123Ma^bk[hhdpZlpkbm& m^gng]^kma^bg×n^g\^h_ma^@^kfZg mkZgleZmbhgh_Ib^kk^;hnk]b^nÍl lh\bheh`b\Ze\eZllb\=blmbg\mbhg3Z Lh\bZe
How do you like the photographs? Mrs. H. laughing:Bk^\h`gbs^frahnl^

Zg]frahnl^ahe]'B]hgÍml^^Zgr& mabg`maZm[hma^klf^%BfnlmlZr' Mr. H.:;nmma^_^pmabg`lmaZmB [khn`ambgmhma^fZkkbZ`^%rhn]hgÍm l^^ma^fZmZee Mrs. H.:Ma^k^rhnl^^%rhnaZk]er ]^lb`gZgrmabg`' Is the interior design the result of your wife’s efforts? Mr. H.:R^l%rhn\hne]inmbmmaZmpZr'

La^ZepZrl]h^lZefhlm^o^krmabg` Zehg^';nmnlnZeerp^Z`k^^hgma^ l^e^\mbhg%cnlmZlp^]b]hgma^]bgbg` khhfmZ[e^%p^l^e^\m^]bmmh`^ma^k' La^ÖklmpZgm^]ZgBmZebZghg^[nm maZmpZlaZk]mh`^mZg]lhp^ ]^\b]^]_hkmablhg^' Mrs. H.:Bphne]lZrhgZo^kr_^p mabg`lp^Z`k^^[nmhgfhlmmabg`l p^aZo^ZmhmZeerhiihlbm^hibgbhg' Mr. H.:Bgma^ik^l^g\^h_hma^k i^hie^la^ZepZrlm^g]lmhaZo^ma^ hiihlbm^hibgbhg'BmÍlZepZrlebd^maZm' Could you tell us how your positions on usage and predilections differ in concrete terms? Mrs. H.:BZiik^\bZm^Z\e^Zk^k%lbfie^k

lmre^maZmZelh]h^lgÍm^q\en]^ ieZlmb\%maZmbl%ma^l^ZkmbÖ\bZe fZm^kbZel%Zg]pbmarhnbmÍllhmaZm rhnebd^phh]Zg]_Z[kb\'Bi^klhgZeer Ög]gZmnkZefZm^kbZelZ[bmng& ie^ZlZgm%p^ee%ma^]bgbg`khhfmZ[e^ bl\^kmZbgerZ\hfikhfbl^' Mr. H.:PaZmrhnlZb]Z[hnmphh]Zg] _Z[kb\blghmk^Zeermkn^'BZ\mnZeer Ög]Zpb]^kZg`^h_fZm^kbZelgb\^' ?hkf^_ng\mbhgZeZg]^\hghfb\ Zli^\mlaZo^mh[^[ZeZg\^]bgZ mhe^kZ[e^pZr' Could each of you get an object from the kitchen so that we discuss this on the basis of a real object?

!Fkl'A'`^mlZkbg`&laZi^][hmme^ hi^g^kZg]Z\hkdl\k^pbgma^lZf^ ]^lb`g';hmahi^g^klZk^\ho^k^] pbmak^]ieZlmb\'Fk'A'inmlZmrib\Ze \a^Zi[hmme^hi^g^kfZ]^h_ik^ll^] f^mZepbmaZgZ]o^kmblbg`m^qmZg]Z lbfie^\hkdl\k^phgma^mZ[e^'"129

Mrs. H.:Ng_hkmngZm^er%B\ZgÍmÖg]ma^ gb\^lmh[c^\mmaZmblma^^qZ\mhiih& lbm^h_mablahkkb[e^%]^m^lmbg`mabg`h_ franl[Zg]'Ma^\hkdl\k^pehhdlebd^ Zlakbo^e^]Zgme^k'A^[khn`ambmbgmh ma^fZkkbZ`^'B\ZgÍmng]^klmZg]par a^]b]gÍmmakhpbmhnmZehg`mbf^Z`h' Mr. H.: B]hgÍmdghppaZmrhnk ikh[e^fbl'Fr[hmme^hi^g^kbl\a^Zi% _ng\mbhgZe%cnlmi^k_^\m'Rhn\Zghi^g Zgr[hmme^pbmabm' Mrs. H.:RhnZk^ZepZrlhger bgm^k^lm^]bgpaZmblbg^qi^glbo^Zg] ^\hghfb\'Rhn]hgÍmng]^klmZg] maZmZ[hmme^hi^g^k\ZgZelhaZo^ lhf^mabg`_ng\mbhgZeZg]Z^lma^mb\ Z[hnmbm' Mr. H.:BaZo^gÍm^o^glihd^gZ[hnm ma^Z^lma^mb\';nmrhnkkbg`&laZi^]% Z^lma^mb\&_ng\mbhgZe[hmme^hi^g^kbl ngikZ\mb\Ze'RhnaZo^mhmkrmp^gmr mbf^lmh[^Z[e^mhhi^gZ[hmme^' Mrs. H.:PbmaZ[bmh_ikZ\mb\^rhnÍee ln\\^^]l^\hg]mbf^khng]' Mr. H.:Ghp]hgÍmfZd^f^eZn`a' E^mÍlmZd^mabl\hkdl\k^ph_rhnkl _hkbglmZg\^'Rhn\Zgahe]bmpbma mphhkmak^^Ög`^klZmma^fhlm' Mrs. H.: Rhn\ZgZelh`kZlibmpbma rhnkpahe^aZg]' Mr. H.:B]hgÍmng]^klmZg]ahprhn \ZgkZo^_hkr^ZklZ[hnmln\aZmabg` Zg]lmbeeÖg]bm`k^ZmZg][^Znmb_ne' Pa^gfrpb_^[hn`ambm%la^pZl ln[c^\mmh\^kmZbgbg×n^g\^l'A^kÖklm anl[Zg]pZlZgZk\abm^\m%rhnl^^ Zg]mabllh\b^mrh_Zk\abm^\mlZepZrl `h^lmhma^e^Z]bg`_nkgbmnk^lmhk^l _hkmk^g]l^mm^kl'MaZmÍlZelhpa^k^ la^`hmmablk^]\hkdl\k^pmaZmblmh& mZeernl^e^ll' Mrs. H.:R^l%maZmÍlkb`am%BÍflhf^ahp [bZl^]' Mr. H.: Ma^rZeep^gmma^k^Zg][hn`am mabg`lmaZmp^k^]^lb`g^]' Mrs. H.:R^l%[nmBZepZrl]^eb[^kZm^er _heehp^]ma^mk^g]'Bk^Zeermabgdma^ ]^lb`gh_fr\hkdl\k^pblgb\^' Mr. H.: Fr[hmme^hi^g^kfZrghm[^ ]^lb`g^]ZmZee[nmbm_neÖeelbml inkihl^'BmblZmabg`maZmphkdlbg ^o^kr]Zreb_^pa^k^Zlrhnk\hkdl\k^p phne][^[^mm^kZlc^p^ekraZg`bg` hgrhnkg^\d'Pa^gBk^Z\abgmhma^ ]kZp^kBZepZrlmZd^fbg^'

Kitchen Conversations

129

Mrs. H.: MaZmÍlkb`am' Mr. H.:B]hgÍmng]^klmZg]parla^Íl

ZepZrlikZblbg`ma^[^Znmrh_a^k \hkdl\k^p%^o^gmahn`arhn\ZgÍm nl^bm'Lhf^hg^pah[nrllhf^mabg` ebd^maZmeZ\dl\kbmb\blfZg]bl cnlmbgm^k^lm^]bgma^Z^lma^mb\ h_mabg`l' (to Mr. H.) Do you want to delineate yourself from such people? Mr. H. (does not respond to the question and turns to his wife):Rhn\^kmZbger

Z\m^]bgk^lihgl^mhlhf^lh\bZe \hglmkZbgm' Mrs. H.:R^l%Zg]B\Zgohn\alZ_^maZm' (to Mrs. H.) Do you have a preference for designed objects? Mrs. H.:R^l%b_Bebd^Z_hkfma^gB

phne]ZelhinmnipbmaZgngikZ\mb\Ze lhenmbhg' Mr. H.:P^ee%BZelhebd^khng]_hkfl' What do you say about this photograph here? Here you can see into the kitchen cupboard. Mrs. H.:Hafr@h]%ma^^Zkma^gpZk^

[hpeMaZmk^ZeerfZd^lrhnZ_kZb]% ma^fZm^kbZe%ma^]^\hkZmbhg%maZm k^Zeer`bo^lf^ma^\k^^il'BÍo^ ]^lmkhr^]fhlmk^\^imZ\e^lmaZmfr anl[Zg][khn`ambgmhma^fZkkbZ`^' Mr. H.:>Zkma^gpZk^bllhf^mabg`BÍo^ `khpgZ__^\mbhgZm^h_Zg]frpahe^ _Zfberk^Zeerebd^]bm%Zg]BaZo^gÍm [^^gZ[e^mhiZkm_khfbmmhmabl]Zr' There is a photograph of your kitchen drawer. How do the two of you see it? Mrs. H.:Ma^]kZp^km^eelfZgrlmhkb^l'

A^k^%_hkbglmZg\^%ma^]hn`aibgZg] ma^ihmZmhi^^e^k'P^`hmma^l^ZmZg Zn\mbhgmaZmpZla^e]pa^gZahnl^& ahe]pZl]bllheo^]''' Mr. H.:'''Zg]ma^`Zkeb\ik^llpZl `bo^gmhf^[rZo^krlp^^m_kb^g]% hg\^nihgZmbf^'Ma^mabg`lmaZm aZo^fho^]pbmanlZk^o^kr%o^kr bfihkmZgmmhf^''' Mrs. H.:MaZgd@h]ma^k^Zk^ghmlh fZgrmabg`l_khf[Z\dma^ga^k^':g] mablihm%bmblk^Zeerahkkb[e^'Rhn\Zg aZk]erehhdZmma^iahmh`kZiapbmahnm \ho^kbg`nimaZmfhglmkhlbmr'

130

The Cooked Kitchen

Mr. H.:;^_hk^frl^\hg]fZkkbZ`^B aZ]ZeZk`^[Z\a^ehkÍl×ZmmaZmpZl \hfie^m^er_nkgbla^]'Pa^gBma^g fho^]hnmB`Zo^ma^^qi^glbo^\abgZ mhMnkdblabffb`kZgml' Mrs. H.:Ma^]^lb`gh_ma^\abgZpZl ]k^Z]_ne'' And here is a photograph of your glasses... Mr. H.:Blmbeeebd^ma^f' Mrs. H.:PaZmcngd

Pastry Board

:ggZ!2-"li^ZdlZ[hnmmphh[c^m\l maZmla^aZlnl^]_hkfhk^maZg0) r^Zkl3a^kiZlmkr[hZk]Zg]ma^ dbm\a^g\k^]^gsZ'Mph`^g^kZmbhgl eZm^kma^rZk^lmbee[^bg`nl^]È[r a^k`kZg]\abe]k^g'P^pbeenl^ma^l^ mphh[c^\mlmhmkZo^e[Z\dbgmbf^%mh :ggZÍlmbf^'

Where was the board kept?

B\hne]lahprhn'Ma^k^pZlma^ \k^]^gsZ%_heehp^][rma^lbgdZg] BieZ\^]bmbg[^mp^^g'BmÍlZ[b` [hZk]Zg]ma^k^pZlZehmh_khhf' BmZepZrlaZ]bmlieZ\^ma^k^' Is there a special story with the pastry board?

Gh%ghmk^Zeer'HgermaZmB[Zd^]Z Today we want to talk about the wooden ehm':ehmh_lmkn]^el%Zehmh_iZlmkb^l' Rhninm×hnkhgbmZg]Zeeh_ma^ pastry board...: bg`k^]b^gml%ma^gma^]hn`abl_hkf^] R^l%r^l%B`hmmaZm_hkfrp^]]bg` Zg]ieZ\^]hgma^[Zdbg`la^^m'B Fr_Zma^k`hmmaZm_hkf^Zmma^ _Z\mhkrpa^k^a^phkd^]'Pa^gB`hm ZepZrlinmma^]hn`ahgma^[hZk]%B fZkkb^]ma^]bk^\mhklZb]3ÊFk'?bl\a^k ebd^]maZm[^mm^k'G^o^khgma^dbm\a^g mZ[e^'Ma^[hZk]pZlZepZrl\e^Zg hk]^k^o^krmabg`rhn\Zg_hk:ggZ'Ë :]hn`aibg%Zf^ZmfZee^m%Z\hhdbg` Zg]ma^lbs^pZllhmaZmB\hne] lihhg%Zg]B`hmhma^kmabg`lZlp^ee' ZepZrl\hf_hkmZ[erphkdpbmabm' :g]ma^[b`iZlmkr[hZk]' :ehmh_lmkn]^elp^k^fZ]^hgbm':g] How did you clean the board? \hhdb^l'MaZmpZlbgma^r^Zk*2,/% Kn[[^]bmh__p^eepbmaZlihg`^Zg] ma^r^ZkB`hmfZkkb^]' ma^gkbgl^]bmmahkhn`aer'BmaZ]mh[^ \e^Zg' What did the factory manufacture?

BmpZlZmhhe_Z\mhkr'BgOb^ggZÍl*+ma ]blmkb\m'BmpZlZ[b`_Z\mhkr'BmpZl eh\Zm^]hgHlpZe]`Zll^'MaZmÍlpa^k^ BpZl[hkg' Normally the company produced tools and so they made tools for the wedding?

Ma^rfZ]^ma^fli^\bZeer_hkf^' Ma^rZepZrlfZ]^phkd[^g\a^l'Fr _Zma^kpZlma^k^_hkZehg`mbf^'A^ pZlma^lni^koblhk' Where did the wood come from?

Ma^phh]\Zf^_khfma^_Zkf^kl bgFZn^k[Z\a'Fr_Zma^kaZ]mh]kbo^ hnmma^k^mhl^e^\mma^phh]'Ma^r \Zf^pbmama^l^mkngdlmaZmp^k^ ma^g\nmZg]ikh\^ll^]bgma^ \hfiZgr'MaZmpZlZehmh_phkd' Ma^k^p^k^Zehmh_phkd^kl'Fr _Zma^kpZlZepZrlbg\aZk`^h_Zee h_mabl'BmpZlZ[b`\hfiZgr[nm ho^kmbf^bmp^gm]hpgabee'Ma^r ZelhfZgn_Z\mnk^]ldbl'@kZg]iZ pZl^fiehr^]ma^k^%franl[Zg]' A^phkd^]bgZgZ]fbgblmkZmbo^h_Ö\^ h_ma^\hfiZgr'MaZmÍlpa^k^Bf^m abf'Bebo^]ma^k^%BpZl[hkgbgma^ _Z\mhkr'P^aZ]Zahnl^ma^k^%Z \hfiZgrahnl^'

Kitchen Conversations

What is something that you never used the board to make?

Bg^o^kfZ]^f^Zm'BaZ]Zl^iZkZm^ [hZk]_hkmaZm'Mablhg^pZlhger_hk ]^ll^kml&lmkn]^e%iZlmkb^l%^m\'Mabl pZrbmlmZr^]\e^Zk'BZelhaZ]mph lfZee^k[hZk]l'?hkiZkle^rZg] hgbghgl'BZepZrlaZ]Zl^iZkZm^hg^ lhmaZmbm]b]gÍmmZd^hgZgrh]hkl' Did you have such a board at home too?

R^l%[nmghmln\aZeZk`^hg^'Fr fhma^kaZ]Z[b`iZlmkr[hZk]'Rhn inmbmhgma^mZ[e^'Ma^[hZk]pZl[b` Zg]bgma^[Z\dbmpZlkZbl^]Z[bm lhmaZmghmabg`\hne]_Zee]hpg':g] mhma^_khgmbmpZlmbem^]]hpgpZk] lhmaZm×hnkZg]lhhg\hne]gÍm`^m ng]^kbm' What was your favorite thing to make on this board?

BpZlgÍmk^Zeerib\dr'PaZm^o^kpZl g^^]^]'B_bmpZllmkn]^e%ma^gB fZ]^Zlmkn]^e':iie^lmkn]^e%ikng^ lmkn]^e%BfZ]^ma^fZeefrl^e_'Bg mahl^]Zrlma^k^pZlghik^&fZ]^ lmkn]^e]hn`a':g]Zehmh_\hhdb^l' ;nmbgmahl^]ZrlrhnZelhfZ]^ma^ \hhdb^]hn`arhnkl^e_':g]ahpfn\a

131

]hn`aB\nmhnm'?hk\Z[[Z`^&Zg]& ghh]e^\ZlZkhee^Zg]lhhg'Bhger\nm ]hn`ahgma^[hZk]';nmik^mmrlhhgB phgÍmdghpZgrmabg`Zgrfhk^'B`Zo^ ZpZrma^[hZk]pa^gB]b]gÍm]h Zgrfhk^[Zdbg`'BmpZlZgb\^[hZk]% gb\^phh]'

132

The Cooked Kitchen

Kitchen Conversations

133

134

The Cooked Kitchen

Kitchen Credenza

What did it look like?

;^ehpma^k^pZlZ[b`\ni[hZk] pbmaZl^iZkZm^\hfiZkmf^gm%mph ]kZp^kl%hg^×ZiZg]ma^nii^kiZkm' MaZmÍlpa^k^ma^]bla^lZg]ieZm^l p^k^inmZg]lhhg'Ma^dgbo^lZg] ma^\nme^krp^k^bgma^]kZp^kl'MaZm pZlgb\^%^o^krmabg`pZli^k_^\m Ma^k^pZlZelhmZ[e^pZk^Zg]lhhg bgbm':g]bgma^fb]]e^ma^[hpel Zg]ma^ieZm^l':g][^ehpma^[Zdbg` iZglZg]lhhg'?hh]Zg]a^k[lp^k^ bgZl^iZkZm^\hfiZkmf^gmlhghmabg` \hne]mZd^hgma^h]hk'Ma^\hhdbg` lihhglp^k^bgZ]kZp^k%^o^krmabg` pZlgb\^erhk]^k^]'Ma^a^k[lp^k^bg Zlb]^\hfiZkmf^gmh_ma^\k^]^gsZ' MaZmÍlahpbmpZl'B\Zglmbeelahp rhnpa^k^BaZ]^o^krmabg`%B\hne] aZo^k^Z\a^]_hklhf^mabg`[ebg]er'

\Zf^kZpbmama^l^la^^ml[^_hk^p^ `hmfZkkb^]'Ma^k^blghiahmh`kZia% lhkkr'PaZmrhn]hgÍmaZo^%rhn]hgÍm aZo^' Did everyone used to have credenzas?

>o^krhg^aZ]Z\k^]^gsZ[Z\dma^g' Ma^[nbem&bgdbm\a^gl\Zf^fn\a eZm^k'Pa^gB`hmfZkkb^]ma^k^p^k^ hger\k^]^gsZl'MaZmpZllhf^mabg` maZmaZ]ÖgZg\bZek^Zlhglbgfrmbf^' B]b]gÍm`^mbgmhma^lbmnZmbhgh_[^bg` Z[e^mhl^e^\mbm'Bgmahl^]Zrlrhn p^k^aZiirb_rhnaZ]ZgZiZkmf^gm Zg]maZmrhn\hne]_nkgblabmZgrpZr rhnebd^]'BmpZlebd^maZm[Z\dma^g' Frfhma^k[hn`amZeeh_ma^_nkgbla& bg`l'Ma^^gmbk^l^mh_]bla^l%B`hmZee h_maZm' Where did one buy this?

How was the credenza arranged on the inside, did that change over time?

BaZ]bm_hkr^Zkl'Bk^ZkkZg`^]bmcnlm ma^pZrBg^^]^]bmZmZ`bo^g fhf^gm':g]BZepZrlpZgm^]mh dghppa^k^^o^krmabg`pZl'B]b]gÍm pZgmmhaZo^mhl^Zk\a'Bgma^×Zi Blmhk^]fr\hhd[hhdl%ma^fZem lp^^mlZg]ma^aZg]d^k\ab^_l'Hgma^ hg^lb]^BaZ]fr_hh]lmZie^l%Zg] lhhg'Hgma^e^_mlb]^BaZ]\nilZg] hma^kmZ[e^pZk^':g]]hpgma^k^B aZ]fr[Zdbg`]bla^l'Ma^k^p^k^ lmbeemph]kZp^kl'Bgma^e^_mhg^ma^k^ pZl\nme^kr%bgma^kb`amhg^ma^k^ p^k^[Z`lZg]paZm^o^k^el^rhn g^^]'Bgma^fb]]e^ma^\hhdbg` lihhgl'Hkp^k^ma^k^mak^^]kZp^kl8 Ik^mmrlhhgBphgÍm^o^gdghpfr hpg\k^]^gsZZgrfhk^'Ma^k^ pZllmbeeZlfZee\hfiZkmf^gm' MaZmÍlpa^k^Bd^imi^ii^kZg]ebmme^ `eZll^l'Ma^lmZie^laZ]ma^bkhpg \hfiZkmf^gml'

Rhn[hn`ammablZmma^[b`]blapZk^ lmhk^l'B[hn`amma^^gmbk^l^mh_ ]bla^lmaZmBg^^]^]%[^bm^gZf^e^] mZ[e^pZk^hk\abgZpa^gB`hmfZk& kb^]'Frfhma^k`hmZeeh_bm_hkf^'

Did all of the credenzas look alike?

BÖklmaZ]hg^pbmaphh]phkd \henfgl'B\ZgÍmk^Zeer]^l\kb[^bm ik^\bl^er'Bgmahl^]Zrlrhn]b]gÍm fZd^Zgriahmh`kZialh_^o^krmabg`% Zme^Zlmghmh_maZm'B]hgÍm^o^gdghp pa^ma^k`kZg]iZaZ]Z\Zf^kZ[Z\d ma^g';nmbmpZlgÍmebd^maZm'A^aZ]Z

Kitchen Conversations

135

High-Heeled Shoes in the Kitchen

130 The following text is taken from the novel Unter Paaren (Among Couples) by Thomas Lang (2007). It was adapted to the style of the other kitchen conversations. The paragraphs in between conversations are quoted indirectly, while the conversations are quoted directly. The quoted passage was taken from pages 41 to 51. In his novel Lang often took texts from advertisements or commercials and incorporated them directly in the speech of his protagonists. Thanks to the real context of the plot these statements have a strange, even disconcerting effect. If you read the same statements in advertising brochures it usually does not seem unusual. The author here presents us four persons, all of whom are successfully partaking of our consumer culture. They are familiar with luxury brands and can also afford them. They drive big, expensive cars and show off what they own. The already constructed propaganda of advertising has already been assimilated in their minds, and we become witnesses of the unconscious assimilation of luxury design and the related life style models. The text is used here in a theoretical context, but at the same time an effort was made to capture the original ambience of the novel and to render it in the reworked form. The woman as a pleasure object as she is depicted here is unfortunately still one of the successful stereotypes of the advertising industry. Thomas Lang must have also found this image of the woman, who stands there seductively in her high-heeled shoes in one of today’s kitchen catalogues. This is a genre that advertising created for the kitchen at least ﬁfty years ago. Printed with the kind permission of the author and the publisher: Thomas Lang, Unter Paaren. Roman © Verlag C.H. Beck oHG, Munich.

136

The Cooked Kitchen

KZ_Z!-+"Zg]I^k!-*"aZo^[^^gZ \hnie^_hkZehg`mbf^'KZ_Zebo^lbg ma^\bmrZg]aZla^khpgZiZkmf^gm' I^kaZlcnlm\hfie^m^]Zg^eZ[hkZm^ k^ghoZmbhgh_ma^bkahnl^hgma^hnm& ldbkmlhgma^^]`^h_ma^phh]l'A^ aZl_nkgbla^]ma^ahnl^pbmal^e^\m^] ]^lb`gib^\^lZg]ahi^lmaZmKZ_Z pbeelhhgfho^bgpbmaabf'Hg^]Zr Zghe]_kb^g]\hf^l[r'IZl\ZeblZ ln\\^ll_ne[nlbg^llfZgpahbl Z\\hfiZgb^][rZrhng`LiZgbla phfZg[rma^gZf^h_BgbmZpahbl lmbeeZlmn]^gm'KZ_Zhg\^eho^] IZl\Ze[nmma^ghim^]_hkI^k'Hgma^ Öklm^o^gbg`h_ma^]Zrh_ma^bkoblbm ma^_heehpbg`l\^g^mZd^lieZ\^bg I^kÍl]^lb`g^kdbm\a^g3130 I^kblbgma^ikh\^llh_\e^Zkbg`ma^ k^fZbglh_ma^]bgg^k'A^nl^lZdgb_^ mhlaho^ma^[hg^lh_ma^]n\dZg]Z _^pib^\^lh_ldbgbgmhma^`Zk[Z`^' Ma^ga^hi^glma^]blapZla^k%inml bgma^ieZm^lZg]ma^dgb_^Zg]lmZkml ma^\e^Zgbg`ikh`kZf'Ma^]blapZla^k [^`bglmhphkdZefhlmlbe^gmer'Ma^g I^k[^`bglmZdbg`\Zk^h_ma^]^ll^km' A^mZd^lhg^i^ZkZ_m^kma^hma^khnm h_ma^lmZbge^lllm^^e_knbm[Zld^m% i^^elma^fZg]k^fho^lma^\hk^ Zg]l^^]l':la^[^`bgl\nmmbg`ma^ i^Zklbgmhleb\^l%BgbmZ\hf^lbgmhma^ dbm\a^g'Bghg^aZg]la^lmbeeaZlZ _^p]n\dk^fZbglmaZmZk^pkZii^] bgZgZidbg' Inita: Phne]rhnebd^mhd^^ima^l^hk

Zk^rhn`hbg`mhmakhpma^fZpZr8 BgbmZ^qm^g]la^kaZg]pbmama^`Zk& [Z`^mhpZk]lI^kZg]pZbml_hkZg Zglp^k'La^lmZg]lma^k^Z[bmebfier'

mhinmmh`^ma^kZi^k_^\m]^ll^km Zg]ma^ik^l^g\^h_BgbmZ[hma^k^] abfZmÖklm'BgbmZbllmZg]bg`g^qm mhma^pbg]hpZg]ehhdbg`hnmbgmh ma^]Zkdg^ll'La^ikhila^kl^e_ nipbmaa^kaZg]lZg]e^Zgl_hkpZk]' I^kaZlmhd^^iehhdbg`Zma^k%Zm a^klfZeeÖkf[nmmh\dlZg]a^kehg` e^Zgmab`al'La^blp^Zkbg`ab`a& a^^e^]lah^l[nmla^bllmbeelahkm^k maZgI^k' Inita:Ma^_hh]pZl`k^Zm' Per (lowers his gaze):>li^\bZeer

ma^lZn\^%kb`am8RhnZeecnlma^ei^] rhnkl^e_mhlhf^mh[^ihebm^' I^kbllmbeeehhdbg`Zmma^`khng]Zg] BgbmZmabgdlmaZma^ehhdlebd^Zebmme^ [hr'BgbmZmkb^lmhlZeoZ`^ma^\hg& o^klZmbhgZg]mkb^lmh]blmkZ\mabf _khfma^lZn\^'La^bllmbeelmZg]bg` g^qmmhma^\hngm^k[nmaZlghp mnkg^]a^k[Z\dmhma^pbg]hpZg] a^ke^`lZk^leb`amerZiZkm'La^ mhn\a^lma^\hngm^kpbmaa^kÖg`^k' Inita: Ma^bgm^k^lmbg`\hf[bgZmbhgh_

fZm^kbZelÈZenfbgnf%phh]hk`eZll È`bo^lrhnkdbm\a^gZngbjn^jnZebmr' Per (laughs):Gb\^erinm'RhnaZo^Z

_^^e_hkbgm^kbhk]^lb`g'BÍee[^aZiir mh^qieZbgmhrhnpaZmBpZlZ_m^k'Mh \k^Zm^ZgngfblmZdZ[e^aZ[bmZmpbma l\neimnkZeerZg]_ng\mbhgZeer]^lb`g^] dbm\a^g^e^f^gml'Ma^khhfpZlmh [^k^]n\^]mhma^^ll^gmbZeZli^\ml [nmZmma^lZf^mbf^mh^fZgZm^ Zlho^k^b`g%ie^ZlZgmpZkfma'=hrhn ng]^klmZg]8?hkbglmZg\^a^k^' I^kihbgmlmhma^^qaZnlmahh]maZm

Per:BÍeemakhpma^fZpZr'Rhn\Zginm aZlZfbgbfZeblm]^lb`gZg]mhma^

ma^fbgma^`Zk[Z`^'ÈGh%e^Zo^bm hi^gie^Zl^'

fhoZ[e^\Z[bg^ml' Per::ln[me^_hkfZeb]bhfZg]Z

I^kmZd^l_hnkieZm^lZg]Zkmblmb\Zeer ZkkZg`^lma^i^Zkleb\^lhgbm'A^ blZ[bmZgghr^][^\Znl^ma^ihf^& `kZgZ]^lZn\^]b]ghm\hf^hnm \hfie^m^erkb`am'A^blZi^k_^\mbhgblm Zg]\ZgghmlmZg]bmb_lhf^mabg`bl [hm\a^]'GhpZme^Zlma^phne]ebd^

k^mnkgmhma^^ll^gmbZeZli^\ml hi^g^]nig^poblmZl_hkbg]bob]nZe Zg]\k^Zmbo^hk`ZgbsZmbhgh_liZ\^' G^p_hkflh_ebobg`^oheo^]%pab\a \^gm^k^]Zkhng]ma^bg]bob]nZepbma ablhka^ki^klhgZeb]^Zl%g^^]lZg] ngbjn^lmre^h_eb_^'

Kitchen Conversations

137

Inita:MablZiikhZ\abl\^kmZbgerZ ikh]n\mh_ma^gbg^mb^l'Ma^rp^k^ bg×n^g\^][rma^ebfbm^]^\heh`b\Ze k^lhnk\^lZg]ma^jnZebmrh_fhkZe oZen^l'
\hfihg^gmbg\e^Zkm^kflBphne] ik^_^kmhli^ZdZ[hnmma^liZ\^' Inita:Ma^e^bmfhmb_lh_ma^*22)llmbee

`ho^kg\nebgZkr\nemnk^bgma^Öklm ]^\Z]^h_ma^g^pfbee^gbnf'Mablbl ^li^\bZeermkn^h__Z\mhklln\aZl a^Zema%ie^Zlnk^%\hfiZmb[bebmrpbma ma^^gobkhgf^gmZg]Zii^Ze'Ma^ mk^g]l_hkma^g^pfbee^gbnfZk^ \hhdbg`fhk^hg^l^e_%fhk^k^`neZk f^ZelZg]e^llk^lmZnkZgmoblbml' I^kZg]BgbmZehhdZm^Z\ahma^k%ma^g I^k\hgmbgn^lik^iZkbg`ma^]^ll^km'

138

The Cooked Kitchen

The Carp in the Bathtub

@n\db!//"Zg]L^ii!/,"Zk^[hma k^mbk^]Zg]aZo^mph`khpg\abe]k^g' @n\dbphkd^]ZlZ[Zgd\e^kdZg] L^iiZlZ\hfinm^k^qi^km';hmaZk^ _ZgZmb\\hhdl'Ma^lmhkrZ[hnmma^
The story about the carp is an old one. How far does it go back? Sepp:Aff&maZmfnlmaZo^[^^g

Z[hnm+)r^ZklZ`h'*.r^Zkl_hklnk^' Gucki:R^Za%r^Za%ma^lmhkrbllmbee fZdbg`ma^khng]lbgma^_Zfber' BmpZlZelhZmkZnfZmb\^qi^kb^g\^' Sepp: !eZn`al" What happened exactly? Sepp::mma^mbf^BpZlphkdbg`_hk

ma^Ölabg`\en['Ma^k^pZl\nlmhf maZmma^f^f[^klp^k^`bo^gZ\Zki Zm
Did you want to kill it? Sepp:Dbeebm8Gh%maZmpZlghmZg

h imbhg'Ghhg^phne]aZo^^Zm^gbm' LhpaZm]b]B]h8BmhhdZ[n` [n\d^m%Öee^]bmpbmapZm^k%inmma^ ebmme^[^ZlmbgmhbmZg]mhhdbm]hpg mhma^kbo^k' But didn’t you guys want to eat carp at Christmas? Sepp: R^l%bmpZllniihl^]mhaZo^

[^^ghnkfZbg
Ölabg`\en[Zg]aZ]^qi^kb^g\^ ]^Zebg`pbmaÖlabmpZlghikh[e^f' BfZgZ`^]mh`kZ[bm%makhpbmbgmh ma^[n\d^mZg]\ho^kbmpbmaZmhp^e' Were you able to get it out of the tub with your hands? Sepp: R^l%lnk^%Bdghpahpmh]hbm'

;nmbminmnilhf^k^lblmZg\^%bmaZ] _^em`hh]bgma^[Zmamn[Zg]bgma^ gb\^pZm^k'Ma^gBinmbmbgma^\Zk% The carp was simply left at your door ng]^kma^iZll^g`^kl^Zm'H_\hnkl^% step? Sepp: R^l%a^eZb]ma^\Zkibg_khgmh_ ^o^krmabg`pZlZeep^mbgghmbf^ ma^]hhkZg]e^_m'A^aZ]ieZ\^]ma^ ZmZeeZg]ma^k^pZlpZm^kbgma^\Zk' ;nmlhf^ahpBfZgZ`^]Zg]Bl^m \ZkibgZieZlmb\[Z`'Fr]^Zkpb_^ bm_k^^'En\dber%ghhg^lZpf^'Ma^r \hf^lahf^Zg]mabgdlmha^kl^e_3 p^ee%maZmfnlm[^ma^\Zki%mZd^lma^ phne]aZo^lZb]BpZlk^Zeer\kZsr L^mmbg`Z\Zki_k^^Zm
Kitchen Conversations

Now that’s unbelieveable! Sepp: Frpb_^blho^k\hf^[r_^Zk%

When you got back were you still alone? Sepp: R^l%[nmma^gfrpb_^\Zf^

ehhdlbgma^[Z`Zg]l^^lma^\Zki' La^bff^]bZm^erÖeelma^[Zmamn[ pbmapZm^k%inmlma^\Zkibgma^mn[ pa^k^bmlpbflZ[hnm'Ma^g^qmmabg` pZlmaZmla^\Zee^]f^Zmma^h_Ö\^% Zeephkd^]niZg]_nkbhnl%Z\\nlbg` f^h_mhkmnkbg`Zg]dbeebg`ZgbfZel Zg]m^eelf^mh\hf^ahf^bff^& ]bZm^er'F^Zgpabe^ma^ÖlaaZl [^^glpbffbg`bggb\^\e^ZgpZm^k' Frpb_^`hm]k^ll^]kb`amZpZrZg] e^_mlZrbg`ma^_heehpbg`phk]l3 ÊB\ZgÍminmnipbmamaZm%BÍfe^Zobg`Ê' Ma^gBpZlZehg^pbmama^\Zki'

[Z\d^o^gmnZeer':mma^]hhkla^ Zek^Z]rZld^]f^pa^ma^kma^\Zki pZllmbeea^k^'Ê?hkEhk]ÍllZd^% bmÍlZek^Z]r`hg^'BÍo^l^mbm_k^^%Ê Bbff^]bZm^erlZb]mha^k';nmma^g la^Zld^]f^pa^ma^kmablpZl k^Zeermkn^%pa^ma^kBpZlgÍmcnlm chdbg`'Ma^gma^k^pZli^Z\^ Zm
ghÖla'

139

Did you ever eat any carp again after that? Sepp:R^l%h_\hnkl^%p^Zm^\Zki

eZm^k%hk^o^ghma^kÖla';nmbgmabl \Zl^bmpZllbfiermhhlhhg'B pZlgÍmZeehp^]mh^o^gf^gmbhgma^ phk]Öla' But if you fish yourself you must have also killed a fish before. Sepp:R^l%h_\hnkl^'B_BÖlafrl^e_B

dbeebm'Ma^gBik^iZk^bm%l\Zebg`bm% [^_hk^[kbg`bg`bmahf^'Ma^gbmbl Zek^Z]r]^Z]Zg]ma^^gmkZbelaZo^ [^^gk^fho^]'MaZmÍlhdZr';nmbgmabl \Zl^fr]^Zkpb_^pZlk^Zeerjnbm^ mZd^gZ[Z\d' She wouldn’t have permitted you to kill the fish at home? Sepp:MhdbeebmZmahf^phne]ghm

aZo^[^^g`hh]' To kill it at the fishing pond is okay but not at home? Sepp: R^l%maZmÍlahpbmbl%maZmÍl

kb`am'MaZmÍlma^pZrbmblpbmaÖlabg`% angmbg`%pbma^o^krmabg`' The animal has to be dead right away. Only then can you bring it into the house? Sepp: R^l%maZmÍlkb`am'Ma^ZgbfZe

fnlm[^]^Z][^_hk^rhn\Zg\khll ma^mak^lahe]' In old pictures you sometimes see fresh fish swimming in a kitchen. Sepp3R^l%\^kmZbger'>li^\bZeerpbma

ÖlabmÍllhmaZmrhnaZo^ma^fbgZ [n\d^mZg]ma^gdbeema^fbgma^ dbm\a^g'MaZmÍl\hffhg[^\Znl^maZm pZrma^rÍk^Zelh_k^la':g]maZmÍlZ \kn\bZeblln^^li^\bZeerpbmaÖla' How did you experience all this? Gucki::mÖklmma^k^pZlghmabg`%B

lbfierib\d^]nima^[Z`';nmma^ fhf^gmma^[Z`[^`Zgmh[hng\^ni Zg]]hpgBbff^]bZm^er[^`Zgmh l\k^Zfarlm^kb\Zeer%BpZlarlm^kb\Ze' Frg^qmlm^ipZlmh\Zefma^ Öla3ÊRhnihhkebmme^mabg`%ÊZg] pabe^lZrbg`ma^l^\Zefbg`phk]lB jnb\dere^mpZm^kbgmhma^mn[Zg]

140

The Cooked Kitchen

fZg^no^k^]ma^Ölabgmhma^mn[';nm BfnlmZ]]maZmBpZlZgZ\mbo^ f^f[^kh_ma^Lh\b^mr_hkIk^o^gmbhg h_
bmpZlabl_Znem'Br^ee^]Zmabf' ÊPaZmdbg]h_Öla^kf^gZk^rhn`nrl mh[^`bgpbma8ÊR^l%maZmpZlk^Zeer o^kr%o^kr[Z]'MaZmpZlma^ZgbfZe ikhm^\mhkbgf^';nmpa^gBlZpmaZm ma^\Zkik^\ho^k^]lhp^eeB\Zef^] ]hpgZ[bm'Ma^\ZkilpZf[Z\d Zg]_hkmagb\^erZg]_^emp^ee'Bd^im mZedbg`mhbmZg]anfhkbg`bm_khf ma^^]`^h_ma^mn[ngmbeL^ii\Zf^' BZefhlmlmkhd^]ma^ihhkÖla'Bmkb^] mh\Zefbm%[nmBaZo^ghb]^ZpaZm ^__^\mBaZ]hgbm'BmpZlZ\hglheZmbhg _hkf^maZmB\hne]\Zefbm';nmbmpZl k^ZeerZeeo^kr]kZfZmb\' It was clear that the fish wasn’t going into the pot, right? Gucki::[lhenm^er%Z_m^kmabllZeoZ`bg`

Z\m8Bg^o^k^o^kphne]aZo^^Zm^g bm'Ma^hk^mb\Zeer%B\hne]aZo^[khn`am bmmhL^iibgma^dbm\a^gZg]a^ \hne]aZo^dbee^]bmbgZikh_^llbhgZe pZr';nmmaZmg^o^kpZlZghimbhg' MaZmpZlk^ZeerZahkkb[e^^qi^kb^g\^' BmfnlmaZo^mZd^gieZ\^lhf^ Ö_m^^ghkmp^gmrr^ZklZ`h%[nmbm lmbeeaZngmlnl' It’s interesting how in such extreme situations the kitchen expands – even into parts of the home that were otherwise off-limits for food. Gucki:R^l%r^lrhnÍk^kb`am'Ma^

Zmakhhf[^\Zf^iZkmh_ma^ [ dbm\a^g'R^l%maZmÍlkb`am'Bm\hne]gÍm aZo^lpnfbgma^lbgd'Rhn\Zg inmbmbgma^lbgdZmma^o^krfhlm [nmbm\ZgÍmfho^ma^k^'Bmphne] aZo^\^kmZbgerlnkobo^][nmb_BÍf Zek^Z]rmkrbg`mhlZo^bm%ma^g BÍ]ebd^mhlZo^bmbgZehobg`pZr lhmaZmbm\Zglpbf'

The carp in the bathtub is a sort of classic. You think you are familiar with it, even if you have never heard your story. Gucki:R^l%i^kaZilmaZmÍlahphg^

nl^]mh]hbm'P^ee%ghmbgma^[Zmamn[% [nmfZr[^lhf^pa^k^^el^%bgZ [n\d^m'Bm\hne]o^krp^ee[^maZmrhn [hn`amma^ÖlaZ_^p]Zrl^Zkeb^k Zg]ma^gaZ]bm_k^lahgo^'Bglhf^\bmrZiZkmf^gml\Zki fZraZo^Zelh[^^gd^imbgma^[Zma& mn[lhmaZmbmphne]lmZr_k^la';nmB ]hgÍm[^eb^o^maZm';nmma^hk^mb\Zeerbm phne]aZo^[^^gihllb[e^'

Kitchen Conversations

141

142

The Cooked Kitchen

Kitchen Conversations

143

Theory

145

Pa^gp^\hee^\mdbm\a^gmhhel%nm^glbelZg]_nkgbmnk^_hkhnkahnl^ahe]%p^ Zk^ghm^gmbk^er_k^^mhfZd^]^\blbhgl'Ln[\hgl\bhnler%p^Zk^`nb]^][r \^gmnkr&he]%b_ghmfbee^ggbnf&he]frmalZlp^eeZl\hee^\mbo^Zg]bg]bob]nZe f^fhkb^l%]^lbk^lZg]_^Zkl'P^aZo^l^e^\m^]_hkmrZli^\mlh_mabl\hgm^qm% hgma^[Zlblh_pab\ap^phne]ebd^mh]^l\kb[^ma^\hlfhlh_ma^dbm\a^g _khfZ]^lb`gi^kli^\mbo^'Hnk`hZeblmh[^Z[e^mh_Z\bebmZm^Zgng]^klmZg]bg` h_ma^\hgg^\mbhgl[^mp^^g_hkfZg]_ng\mbhg'Mablpbeee^Z]nlmhbglb`aml liZggbg`_khfma^ih^mb\Ze^o^kr]Zrnl^h_ma^dbm\a^gmhZma^hkrh_]^lb`g' Ma^ln[c^\mh_mabl[hhdblma^dbm\a^gZg]ma^nm^glbel_hng]ma^k^'Ma^ nm^glbelZk^ma^_h\nlh_hnkk^×^\mbhglpabe^ma^liZmbZe\hgm^qmblhgerZ]& ]k^ll^]bgiZllbg`'Ma^mbme^h_mabl[hhdk^_^kl^qieb\bmermhma^fhk^`^g^kZe \Zm^`hkrh_ma^dbm\a^g'Bmll^e^\mbhgblcnlmbÖ^]lbg\^bmblbeenlmkZmbo^h_hnk Öklm\eZbf%b'^'%nm^glbel%ma^bkZkkZg`^f^gmZg]nl^\hglmbmnm^Z\^gmkZeiZkm h_paZmp^k^_^kmhZldbm\a^g'Dbm\a^gma^gblma^ieZ\^pa^k^p^lmhk^ Zg]nl^\hhdbg`nm^glbel%ma^phkdlahih_ma^ahf^'Ma^Zk\abm^\mFZk`Zk^m^ L\amm^&Ebahmsdr]^l\kb[^]ma^ihlbmbhgmaZmma^dbm\a^gZllnf^lpbmabgma^ ^gmbk^ebobg`liZ\^3

Poetical Analysis

ÌMa^_ng\mbhgh_ZgZiZkmf^gm[^\hf^l\e^Zk bgma^_heehpbg`jn^lmbhg3pa^k^]h^lfZgebo^% pa^k^]h^la^^Zm%pa^k^]h^la^ik^iZk^abl _hh]%pa^k^]h^la^le^^iZg]phkd' >Zmbg`Zg]\hhdbg`\hglmbmnm^Z\^gmkZeiZkmh_ mabl_ng\mbhg'Í

Margarete Schütte-Lihotzky

131

131 Schütte-Lihotzky (undated: 7) in an essay on the notion of the Frankfurt kitchen. In the history of architecture and design this kitchen is seen as paving the way for today’s modern kitchen. 132 On this see the book We Have Never Been Modern by science theorist Bruno Latour (2002: 75).

Theory

Ma^li^\bÖ\mri^h_nm^glbel]^l\kb[^]a^k^Zelhebfbmlhnk`Zs^'Ma^l^bg\en]^ fZbgerlbfie^h[c^\mlmaZmaZo^ghm\aZg`^]ho^kfZgrr^Zkl%]^\Z]^l Zg]bglhf^bglmZg\^l%^o^gho^k\^gmnkb^lhkfbee^ggbZ'Ahp\ZgZ]^lb`g& ablmhkb\Zehk]^lb`g&ma^hk^mb\ZeZiikhZ\amhma^iZlmZg]ma^_nmnk^]hcnlmb\^ mhma^l^h[c^\ml8Hnkik^l^gmZ`^blbg_hkf^][rZm^glbhg[^mp^^ghe] Zg]g^p%ma^Zk\aZb\Zg]ma^m^\agheh`b\ZeerZ]oZg\^]'P^nl^^e^\mkhgb\Zeer ikh`kZffZ[e^ho^gl[nmlmbeenl^Zghe]phh]^glihhgmhfbqlhf^mabg`'132 @^lmnk^l%m^\agbjn^lZg]h[c^\ml_khfoZkbhnlmbf^lZk^^fiehr^]Zmma^ lZf^mbf^%Zg]bmblik^\bl^ermabl^q\aZg`^maZmbg_hkflhnkik^l^gm& ]Zri^k\^imbhgh_mbf^'Bgabl[hhdMa^FZgPbmahnmJnZebmb^lKh[^kmFnlbe ]^l\kb[^lmabl\eZlah_ma^he]pbmama^g^p'Ma^fZbgÖ`nk^Nekb\alm^il hnmh_Zfh]^kgf^Zglh_mkZglihkmZmbhgZg]l^^lZ;Zkhjn^lmhg^\henfg' MablaZiaZsZk]himb\Ze\heeblbhgblk^g]^k^]_heehpl3

147

ÌPbmahnmmZdbg`lb]^lpbma^bma^kma^Ghphkma^ Ma^gbgfZmm^klh_mZlm^%Zlhg^nlnZeer]h^l pa^g_Z\^]pbmaln\aZcnqmZihlbmbhg%a^_^em ablfbg]Z[Zg]hg^][r[hmalb]^lpbmahnmZg bglmZgmÍla^lbmZmbhg%Zg]lZpbgbmhgerma^`k^Zm ]^fhglmkZmbhgh_Zikh[e^fmaZmblZm[hmmhf ZfhkZeikh[e^f'Í

Robert Musil

133

133 Musil (1930/ 1995: 947) 134 In the standard work on design history and the history of design by John A. Walker (1989: 81 f ) the Prague Prism is described as a theoretical model for illustrating the density and complexity of the moment which is descriptive of the perception and recognition of the simultaneous presence of stylistic forms from various epochs. 135 See the photo volume by Menzel/D’Aluisio (2005) which in addition to the kitchens of people in 24 countries all over the world also shows what they cook over the course of a week. 136 On this also see for instance Elkins (2003: 114) who points out the dominance of the western gaze.

137 Cf. Selle (1993: 13). A pioneering piece of this historiography of design is certainly Pioneers of the Modern Movement by Nikolaus Pevsner (1936/2005).

138 Cf. Meier (2003: 24), Feyerabend (1983: 56 ff ) shows that such an approach is an attempt of an (artistic) discipline to prove its scientiﬁc character by means of academic links. 139 Cf. Meier (2003: 36)

148

The Cooked Kitchen

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140 In the contribution by Boehm (2007: 116) on fullscale simulative models in design and in architecture one can note an interesting issue for design which is only insufﬁciently ad dressed from a picture theory perspective. This issue is certainly interesting for the study of design and a central one since both in design and in the presentation models play an important role. Their mechanisms have yet to be theoretically studied in full. One contribution referring explicitly to design but couched in general terms is that on communication design by Scholtz (2005) . This text can be found in the anthology Bildwissenschaft edited by Sachs-Hombach (2005), which gives an overview of the participating disciplines, methods and issues. 141 The notion of paradigms was coined by Thomas S. Kuhn. This refers to “universally recognized scientiﬁc achievements that for a time provide model problems and solutions for a community of practitioners.“ (1962/1970: viii) 142 Cf. Kuhn (1970: 177) 143 This is how Kuhn describes a state of a discipline that is “ﬁrmly based upon one or more scientiﬁc past achievements, achievements that some particular scientiﬁc community acknowledges for a time as supplying the foundation for its further practice.”(1970: 10). Bonsieppe (2007: 33) gives an account of the history of design theory as an ongoing paradigm shift. However, there is reason to harbor doubts. This has more to do with theory fads. 144 Cf. Sturm (2000: 89). As an antidote he recommends the relativization of objects by creating inbetween spaces which allow the viewer to perceive differences. Second, he recommends a confrontation with objects that have become alien.

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145 Lindstrom (2005: 103) refers in the context of marketing to the necessity of reinforcing brands by means of historical references and associations. 146 Schneider (2005: 9) 147 Bürdek (2005: 7)

Theory

149

148 Dunne/Raby (2000: 59) are somewhat more radical here. Their academic subject of research, which they refer to as Critical Design, is deﬁned on the basis of the fact that the projects cannot be realized in the industrial (popular) context. 149 Cf. the kitchen study by June Freeman who sums up her approach as follows: “It is true that the approach adopted here denies the authority of the designer in judgments of meaning and taste, ad refuses any claim that they might make to the right to legislate about taste.” (2004: 16) 150 Cf. Thackara (2005: 220 ff ) 151 See on this the book by Laurel (2003). 152 A particularly interesting description of the process of a complex problem from the realm of transportation design can be found in Latour (2002a). Here the project of an innovative means of public transportation (ARAMIS) is described which was ultimately not realized. 153 Cf. Burckhardt (1981)

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ÌNg]^klmZg]bg`Zln[c^\mf^ZglmkZgl_hkfbg` bm%eb_mbg`bmhnmh_ZgZmnkZeaZ[bmZmZg] bgl^kmbg`bmbgmhZfh]^ehkZma^hkrhkZ ih^mb\Z\\hngmh_bm'Í 154

150

The Cooked Kitchen

Paul Feyerabend

154 Cf. Feyerabend (1999: 12)

155 Cf. Walker (1989: 9)

156 Cf. ibid., p. 11

157 Cf. Sturm (1998: 153) 158 Cf. Sahlins (1976: 170)

159 Cf. ibid., p. 240

160 Cf. Elias (1939/1994: 99)

161 Cf. Bürdek (2005: 13)

Theory

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151

162 In his excellent introduction to the history of design (of Germany) Selle (1994:10) includes this long periodization but then ultimately decides against it. It seems to be more of a literary phrase in the history of design and less a possibility to be taken seriously. 163 The authorized abridged version of a private conversation with Peter Weibel on the intentions and possibilities of this book. For Latour the lab as a kitchen or the kitchen as a lab represents the sites of prediction but also of surprise for scientiﬁc or artistic action (Latour 1999: 283).

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Ì=^lb`g6Ik^]b\mbhgÍ

163

164 Cf. Erlhoff (1988: 9). In his introduction to an interdisciplinary study on the Ritual und Gegenstand (Ritual and Object), Erlhoff points to the future challenges in design. On this see also Dunne (1999:12): “Design research in the aesthetic and cultural realm should draw attention to the ways products limit our experiences and expose to criticism and discussion their social and psychological mechanisms.” 165 Cf. the text by Feyerabend (1983)Wissenschaft als Kunst (Science as Art). 166 Didi-Hubermann (2001:43) explores how visual forms and formulae live on – a question that leads from Nietzsche via Freud to Warburg. Design theorist Paul J. Grillo juxtaposes a number of images from nature with man-made design in his book What is Design (1960). The fascination that the archetypes of nature exert on designers as well as the compelling references of forms to physical phenomena in nature have resulted in amazing similarities, as for instance, between a shark and a ﬁghter jet. Is what we ﬁnd here what Warburg has referred to a pathos formula, a survival of ancient forms? Is there something like an archaic iconics?

152

The Cooked Kitchen

Peter Weibel

=^lb`g]h^lghmcnlmk^_^kmh]^lb`gbg`lhf^mabg`%[nmZelhmhZgZersbg`ma^ ihllb[bebmb^lZg]\hg]bmbhglh_h[c^\ml'A^k^ma^ln[c^\mbobmrh_ma^]^lb`g^k \Zg[^fhk^h_Zgh[lmZ\e^maZgZ[e^llbg`'164Bg*2,-hg^h_ma^ibhg^^kl h_:f^kb\Zgbg]nlmkbZe]^lb`gKZrfhg]Eh^prbeenlmkZm^]Z]^l\kbimbhgh_ ma^^ohenmbhgh_ma^m^e^iahg^'Bg*2+)p^l^^Zfb\khiahg^hgZlmZg]%ma^ k^\^bo^kbllmbeel^iZkZm^Zg]aZg`lhgZfb\khiahg^ahe]^k';r*2,*ma^ m^e^iahg^aZ]Zllnf^]ma^_hkfmaZmbmpZlmhk^mZbg_hkma^g^qm]^\Z]^l' Fb\khiahg^Zg]ehn]li^Zd^kZk^hgma^^g]lh_ZaZg]e^pab\aeb^lhgZ _hkdhgma^[hqpbmama^]bZe'Bg*2,-lhf^leb`am\aZg`^lp^k^Z]]^]%[nm ghmabg`li^\mZ\neZk'Eh^praZ]k^Z\a^]ma^ik^l^gmlmZm^[Z\dma^g':_nkma^k ng]Zm^]]kZpbg`bfbmZm^llfZee_hkfZe\aZg`^l':ikZ\mb\^maZmbg]nlmkbZe ]^lb`glmbeeh__^klZlZl^kob\^mh]ZrlhZlmhfZd^_Zlabhg&k^eZm^]hklmreblmb\ \aZg`^l'Ma^eZlm]kZpbg`bgmabll^kb^laZlZjn^lmbhgfZkd'BmlahplZ m^\agb\Ze`Z]`^mZlp^Zk^_ZfbebZkpbma_khfmh]ZrÍlnlZ`^'Hkmhinmbm ]b__^k^gmer%p^Ög]mh]ZrÍlmrib\Ze_hkfh_Zm^e^iahg^bgbmZg]mablfhk^maZg l^o^gmrr^ZklZ`h'MablZkmblmb\Zgmb\biZmbhgh_ma^_nmnk^\ZgaZk]er[^i^k& _hkf^][r]^lb`gma^hkr';nmpaZmbm\Zg]^ebo^kblmhhel!ma^hkb^l"maZm\Zg [^nl^]bgZf^Zgbg`_neZg]ikh]n\mbo^pZr[r[hma]^lb`gma^hkblmlZg] ]^lb`g^kl'Ma^`Zs^h_]^lb`g^klbl]bk^\m^]mhma^_nmnk^pbmak^`Zk]mhma^bk Z\mbobmb^lZg]blcnlmZl[enkk^]Zlma^`Zs^h_ma^ablmhkbh`kZia^klh_]^lb`g pab\aehl^lbml^e_bgma^]^imalh_mbf^';hmaikh_^llbhglZk^lmkbobg`_hk `k^Zm^kdghpe^]`^Zg]Z[^mm^kk^ik^l^gmZmbhgh_ma^phke]È[hmamahl^ ikh]n\bg`]^lb`gZg]mahl^bginklnbmh_dghpe^]`^'165;hmaehhd_hkpZk]Zl p^eeZl[Z\dpZk]l%pZbmbg`_hkma^k^mnkgh__hkfl'166

ÌR^l%p^ebo^bgZar[kb]phke]fZ]^niZm hg\^h_`h]l%i^hie^%lmZkl%^e^\mkhgl% gn\e^ZkieZgmlZg]fZkd^ml%Zg]bmblhnk]nmr mhmnkgbmbgmh^bma^kZgÌngknerlaZf[e^lÍhk ZgÌhk]^k^]pahe^Í%Z\hlfhl!'''"Í

Bruno Latour

167

167 Latour (1999: 16)

168 Cf. Frazer (1993: 12) 169 Ibid.

170 Cf. Durkheim (1968/2001). The book The Elementary Forms of Religious Life does not deal with today’s consumer culture. However, the categories that Durkheim used to describe archaic cultures ﬁt surprisingly well.

Lbg\^ma^]^lb`g^kÍlbgm^ko^gmbhgbgma^k^eZmbhglabi[^mp^^gmabg`lZg] anfZgl]h^lghmcnlmaZo^mhmZd^ieZ\^bgma^`nbl^h_ikh]n\ml%mabl k^eZmbhglabiZelh[^bg`Z[e^mh^oheo^pbmahnm\aZg`^hkg^pikh]n\mbhgh_ mabg`l%bmblg^\^llZkrmh]^Ög^\Zm^`hkb^lh_]^lb`gmh[^Z[e^mh]^l\kb[^ ma^phke]h_\hffh]bmb^lZlik^\bl^erZlihllb[e^'>o^gpa^gp^a^ZkZ lmhkrZ[hnmZgh[c^\mhnkk^eZmbhglabimhbm\aZg`^l'Ln\aZ\hff^k\bZelmhkr \hne]%_hkbglmZg\^%[^Z[hnmZgh[c^\mnl^][rZ\hhdpahbla^e]bgab`a ^lm^^f^o^krpa^k^'AblgZf^Z]hkglZ\hhdbg`ihm!^bma^kk^Zeerhkcnlmbg ma^lZe^l\ZmZeh`n^l"'P^k^f^f[^kma^\hhdÍlobkmnhnlpZrh_phkdbg` pbmaablnm^glbel':ek^Z]rhnkk^eZmbhglabimhma^f^mZemabg`aZl\aZg`^]% bkk^li^\mbo^h_pa^ma^kma^`kbiblma^he]hg^hkZleb`amerZem^k^]hg^' Ma^Zk\aZb\b]^Zh_fZ`b\eb^l[^abg]mabl^__^\m'Ma^Zgmakhiheh`blmCZf^l @^hk`^?kZs^kaZl\Zee^]mabl_hkfh_fZ`b\lrfiZma^mb\fZ`b\'168BmfZgb_^lml bml^e_bgmphfZbg_hkflÈmaZmh_ahfh^hiZmab\fZ`b\!eZph_lbfbeZkbmr" Zg]maZmh_\hgmZ`bhnl!eZph_\hgmZ\m"'169CnlmZlmn_mlh_aZbkhkÖg`^k gZbelpab\aZk^!hkaZo^[^^g"Zl\kb[^]fZ`b\jnZebmb^lhnk\hhdbg`ihmaZl ghp[^\hf^lhf^mabg`li^\bZe':iZkm_khfma^l^fZ`b\&frmab\]^lb`gl hg^\ZgZelhl^^ma^lrf[heb\nl^ZlZfZbg]^lb`g_^Zmnk^h_Z\hffh]bmr' Bghk]^kmh]^ebg^Zm^ma^\hffh]bmr_khfhma^klp^\Zgbgmkh]n\^\^kmZbg ikhab[bmbhgl!mZ[hhl%g^`Zmbo^kbmnZel"hkkne^lh_nlZ`^!ihlbmbo^kbmnZel"'170 :lpbmaZ]kbgdpab\ahg^]h^lghmihnk!hkblghmi^kfbmm^]mhihnk" bgmhZ`eZll[nmaZlmh]kbgdhnmh_ZZenfbgnf\Zg'Ma^l^^qZfie^lZek^Z]r lahpmaZm]^lb`gblZfbqh_bfZ`^%kbmnZeZg]frma%pbmama^bg]bob]nZe Zli^\mlghmZepZrl[^bg`i^k\^bo^]Zl^jnZeer]blmbg\mbo^er]^lb`g^]'P^ pbeeghpmZd^Z\ehl^kehhdZmma^bg]bob]nZeZli^\ml3

Image

171 Cf. Mitchell (1987: 10)

172 Cf. Sachs-Hombach (2005: 13) 173 The example described here stems from Bürdek’s design history (2005: 35).

Theory

:gbfZ`^\Zg[^fZgrmabg`l'Bm\Zg[^Zib\mhkbZephkdh_Zkm%ZlmZmn^hk ]^lb`g!`kZiab\"Bm\Zg[^Zikhc^\mbhghkZk^×^\mbhg!himb\Ze"'Bm\Zg[^ l^glhkrbg_hkfZmbhg!i^k\^imbo^"'Bm\Zg[^]k^Zfl%f^fhkb^l%b]^Zl%_ZgmZlb^l !f^gmZe"'Hkma^bfZ`^\ZgÖ`nk^bghnkeZg`nZ`^ZlZf^mZiahkhkZ ]^l\kbimbhg!o^k[Ze"'171Mh[^lnk^%ma^oZkbhnll\b^gmbÖ\Ö^e]llaZk^ma^mZld h_^qZfbgbg`Zeeh_ma^l^oZkbhnlbfZ`^l'Ib\mnk^ma^hkr%Zgbgm^k]bl\biebgZkr Ö^e]%_h\nl^lhg[kbg`bg`mh`^ma^kma^]b__^k^gmZiikhZ\a^lmaZm\hgmkb[nm^ mhma^ma^hk^mb\Zeng]^klmZg]bg`h_ma^ib\mnk^ma^f^'A^k^ma^blln^bl]^o^e& hibg`lrlm^fZmb\lmZm^f^gmlbgmhib\mhkbZe_hkfl%ib\mhkbZemri^lZg]ma^bk nl^%ikh\^]nk^l_hkikh]n\bg`Zg]ikh\^llbg`bfZ`^kr%k^\^imbhgZg] ]blmkb[nmbhghkma^ihlbmbhgh_ma^bfZ`^bgl\b^gmbÖ\]bl\hnkl^'172Ma^eZmm^k blln^pbeeZelh[^Z]]k^ll^]bgma^_heehpbg`pa^gp^_h\nlhgma^bfZ`^l bgmabl[hhd'Ma^bfihkmZg\^h_mablblln^aZlghmr^m[^^gln_Ö\b^gmer k^\h`gbs^]bg]^lb`glmn]b^l'PaZmZk^p^mhmabgdh_Zablmhkrh_]^lb`g maZm]^ib\mlFZkmLmZfÍllm^^emn[^\aZbk!*2+1"ZlZgbeenlmkZmbhg8173=b]

153

lhf^hg^lbfiermkrmh`^mZkhng]`^mmbg`ma^kb`amlmhk^ikh]n\^bfZ`^kr Zg]hgermkZ\^ma^iahmh`kZiapbmaebg^l8Ahp]h^lhnkng]^klmZg]bg`h_ma^ ablmhkrZg]h_ma^li^\bÖ\h[c^\m\aZg`^makhn`amabl8P^pbeeghminkln^ mabljn^lmbhga^k^Zgr_nkma^k';^maZmZlbmfZr%p^\ZgZek^Z]rk^\h`gbs^Z ihllb[e^]bk^\mbhgk^`Zk]bg`ma^nl^h_bfZ`^krbg]^lb`g]bl\hnkl^'

174 Cf. Rorschach (1998: 56)

175 Cf. Bruce/Green/ Georgeson (2000: 223)

176 Ibid, p. 226

Ma^bfZ`^lmaZmp^g^^]_hkhnk_nkma^kik^h\\niZmbhgpbmadbm\a^gnm^glbel Zk^ma^f^fhkrbfZ`^l!^g`kZfl"'P^ehhdZmZgh[c^\mZg]k^\h`gbs^bmZl Z\hhdbg`lihhg'P^hgerk^\h`gbs^_hkflpa^gp^aZo^\e^Zk_hkfZef^fhkr bfZ`^l'174P^Zelhk^\h`gbs^ma^fpa^gma^rZk^Z[bm\aZg`^]hkZ]]bmbhgZe bfZ`^laZo^[^^gieZ\^]ho^kma^f%Zl_hkbglmZg\^%Z[hmme^hi^g^kbg ma^_hkfh_Z_^fZe^Ö`nk^'Ilr\aheh`rblbgm^k^lm^]bgmabl_hkfh_h[c^\m i^k\^imbhgZg]]^o^ehilma^hkb^lhgahpanfZglk^\h`gbs^mabg`l'@^hgl Zk^lbfie^[h]b^l!iZkZee^e^ib]l%\rebg]^kl%\hg^lÁ"pab\a\Zgk^ik^l^gmhnk h[c^\mlcnlmebd^Zl^mh_[nbe]bg`[eh\dllmZ\d^]hg^mhih_ma^hma^k\Zg ]^ib\mhnkh[c^\ml'175Hnk\hhdbg`lihhgphne][^Zl^\mbhgh_Zlia^k^pbma Zehg`\rebg]^kZmmZ\a^]mhbmbgZkb`amZg`e^'>o^krmabg`maZmÖmlbgmhmabl ikhihkmbhgZel\a^f^\Zg[^i^k\^bo^][rnlZlZ\hhdbg`lihhg':f^mkb\ \aZg`^bgikhihkmbhg\Zge^Z]nlmhln]]^gerk^\h`gbs^Zghma^kh[c^\m'B_ma^ aZg]e^[^\hf^l\hglb]^kZ[erlahkm^k%ma^gp^fZrl^^Zlihhg%b'^'%p^Ög] hnkl^eo^lbgZ]b__^k^gmh[c^\mmriheh`r'B_ma^aZg]e^k^mZbglma^lZf^e^g`ma Zg]ma^khng]iZkm[^\hf^lk^\mZg`neZk%ma^gp^l^^ZiZgeb_m^k%^m\'Ilr& \aheh`rlmn]b^lahpehg`p^Zk^Z[e^mhk^\h`gbs^lhf^mabg`b_hg^\aZg`^l ^bma^kbmlikbfbmbo^[Zlb\[h]rhkZelhma^ikhihkmbhglpbmabgma^[Zlb\[h]r'176 =^lb`g^klieZrpbmama^lZf^^qi^kbf^gmZeeZrhnm'Ma^rpZgm&hkZk^\hf& i^ee^]&mh\aZg`^h[c^\mlbghk]^kmh\k^Zm^]blmbg\mer]b__^k^gm\hffh]bmb^l' Ma^\aZg`^]k^lnemfnlm%ahp^o^k%lmbee[^k^\h`gbsZ[e^'Bgma^_heehpbg`%Zg beenlmkZmbhgpab\ahgma^[Zlblh_Zl\a^fZmb\]kZpbg`h_Z\aZbklahplpaZm ^__^\mma^\aZg`^bgikhihkmbhg\ZgaZo^pbmabgZ[Zlb\lmkn\mnk^!+\n[hb]l"3 Chair typologies

Ma^ikhihkmbhglh_ma^fb]]e^\aZbkZk^ln\amaZmfhlm\aZbklpbmahnmZkf& k^lmlphne]Ömbgbm%^o^gFZkmLmZfÍl\aZbk'GhfZmm^kpaZmma^\aZbkehhdl ebd^È[^bmZ\eZllb\hkZghk]bgZkrib^\^h__nkgbmnk^%[^bm\nlabhg^]hk ghm%pa^ma^kbmaZl_hnk_^^mhkblZ\Zgmbe^o^k\aZbkÈp^k^\h`gbs^^o^krmabg` maZmÖmlmabl\hglm^eeZmbhgZlZ\aZbk'B_p^\aZg`^hgerma^ikhihkmbhglh_ ma^\n[^Zlbgma^e^_m]kZpbg`%ma^gp^l^^Z[Zklmhhepab\ap^\hne] [^lmZg]bg`bgZdbm\a^g'Ma^]kZpbg`hgma^kb`am^qZ``^kZm^lma^[Z\d k^lmZg]p^l^^Zmakhg^pab\a\^kmZbger]h^lghm[^ehg`bgZdbm\a^g'Bg hnk^qZfie^%fZdbg`ma^l^Zmab`a^kk^lnemlbgZ_ng\mbhgZe\aZg`^%pa^k^Zl fZdbg`ma^[Z\dk^lmab`a^ke^Z]lmhZlrf[heb\\aZg`^h_ma^[Zlb\h[c^\mÈ bgmabl\Zl^ma^\aZbk'

154

The Cooked Kitchen

177 Cf. Walker (1989: 112)

178 Cf. Fischer (1988: 111)

179 Cf. Jung (1959: 13)

180 If someone is so inclined, he/she will ﬁnd evidence for the existence of such design inspirations in Heuﬂer (2004: 160). 181 Cf. Bohn (1990: 8f )

182 Cf. Belting (2006: 57) 183 Cf. Bredekamp (2007: 179) 184 The architect Peter Zumthor (2006: 64-5) describes production of imagery from the designer’s perspective: “Our desire for images is big. We feel a need to create imagery, to introduce imagery to the world, to live with this imagery and to let ourselves be guided by them. Good images make us happy. Images can develop a transcendental power. The perception of a picture then becomes an experience of beauty and beauty gives life meaning.” The deﬁnition given by the philosopher Peter Sloterdijk (2007: 35) ﬁts this very nicely. He sees the program of design as infecting reality with beauty. Erlhoff (1999: 73) describes the automatic mechanisms governing private and collective imagery during the process of designing a kitchen shelf.

Theory

LZeZ]\nme^kr\Zg[^h[mZbg^]_khfma^f^mkb\lab_mh_Z_hkdZg]Zlihhg'Lh fn\a_hkma^k^\h`gbmbhgZg]]^lb`gh_h[c^\mmriheh`b^l':mri^blng]^klmhh] Zl[^bg`paZmblmkZgl_^kk^]mhma^g^ph[c^\mbgma^ikh\^llh_]^lb`gbg`'177 P^\Zeema^\hglm^eeZmbhgh_ikbfbmbo^[Zlb\laZi^lpab\aZeehpma^h[c^\mmh [^k^\h`gbs^]Z]^lb`g\Z`^'Bmblma^]^lb`gliZ\^pbmabgpab\ama^]^lb`gbg` Z\mbobmrk^lnemlbg\e^Zkk^\h`gbmbhgh_ma^h[c^\mmriheh`r'Ma^l^Zk^ma^ [hng]Zkb^lpbmabgpab\aZ_hkfnlnZeer^f^k`^lpbmabgma^]^lb`gikh\^ll' =^lb`gablmhkrk^_^klmhZk\a^mri^lZlh[c^\mlmaZmbgma^bk_hkflZmbl_rZg^^] _hk^ll^g\^Zg]ehg`^obmr%^fZgZmbg`Zmbf^e^lloZeb]bmrbgma^bkZ^lma^mb\ fZgb_^lmZmbhg'178 ;rmablhg^h_m^gk^_^klmhmabg`lmaZm\hglblmh_o^kr[Zlb\ _hkfl':\\hk]bg`mh<'@'Cng`Íl]^ÖgbmbhgZk\a^mrib\ZebfZ`^lZk^lhiZ\d^] pbmaf^Zgbg`bgma^fl^eo^lmaZmi^hie^g^o^kmabgdh_Zldbg`paZmma^r k^Zeer]hf^Zg'179I^kaZilbmphne][^[^mm^kmh]^l\kb[^h[c^\mlmaZmaZo^ ma^l^^ll^gmbZejnZebmb^lZlikhmhmrib\Ze';nmmabl%h_\hnkl^%blhgerhg^pZr h_fhobg`Z[hnmbgma^]^lb`g\Z`^'Rhn\Zg`^g^kZm^^fhmbhgpbmama^kb`am dbg]h_lb`gZmnk^hk^o^g[rho^keZiibg`pbmaZ_nkma^kf^fhkrbfZ`^cnlm Zlma^]^lb`g^kh_hnk[hmme^hi^g^k]b]'Rhnl^^ZÖ`nk^pbmaZa^Z]%]k^ll Zg]aZg]lhkrhnl^^ma^aZg]e^h_Z\hkdl\k^p%ma^\Zlbg`h_ma^\hkd& l\k^pZg]ma^mphe^o^klpbmapab\ama^\hkdblinee^]hnmh_ma^[hmme^' Ma^e^o^kaZg]e^l!aZg]l"eb_mnipa^grhnmnkgma^a^Z]!aZg]e^"h_ma^ Ö`nk^!\hkdl\k^p"'BmblghmZepZrllh^Zlrmhl^^pab\abfZ`^leb^[^abg] ma^]^lb`g'Manlhg^fZri^kaZilghmk^\h`gbs^ma^\krlmZeebg^\Zfhn×Z`^] [hf[^k[^abg]ma^laZi^h_Z_knbm[hpe'MablfZrZelh[^bkk^e^oZgm%ma^ l^e^\mbhgh_ln\aZgbfZ`^bl[^bg`i^kaZilfhk^Zgblln^_hkilr\aheh`r maZg]^lb`gablmhkr'180 Ma^bfZ`^lmZg]l[^mp^^gfZgZg]ma^\hlfhl'BmaZlZf^]bZmhkr_ng\mbhg [^mp^^gma^bglb]^Zg]hnmlb]^%[^mp^^gfZgZg]ma^phke]'181B_mablf^]bZ& mhkr_ng\mbhgblehlm%ma^gZkmablmhkbZgAZglL^]efZrkÍl]b\mnfEhllh_<^gm^k Zelhahe]lmkn^bg]^lb`g'
155

Ritual

BfZ`bg^lhf^hg^ahe]bg`Zfbqbg`[hpe':aZg]blo^krjnb\derfbqbg`lhf^& mabg`bgbmpbma\bk\ebg`fho^f^gml'Ma^h[c^\mlhf^hg^blahe]bg`blghm oblb[e^[nmp^lmbee\Zgl^^ma^pabld'Hg\ehl^kbgli^\mbhg%Z\ml\k^Zm^ma^ bfik^llbhgh_ma^ik^l^g\^h_Z\^kmZbgh[c^\m!pbmabgZ\nemnk^"'Ma^Z\m `^g^kZm^lma^h[c^\m'MablZelhphkdlma^hiihlbm^pZr'RhnmZd^ma^pabldZg] lmbk%ma^grhn\ZgbfZ`bg^ma^fbqbg`[hpe'Pbmahg^h[c^\mrhn\ZgbfZ`bg^ Zghma^khg^3RhnmZd^Znkhi^Zglhni lihhg%[^`bgZfhmbhgmaZmk^l^f[e^llihhgbg`lhni%Zg]Zek^Z]rma^lihhg Zii^Zkl'A^k^rhnl^^maZmZ\mZg]bfZ`^Zk^k^eZm^]bgZo^kr\hfie^qpZr' P^aZo^Zek^Z]r[khZ\a^]mablZii^ZkZg\^h_ma^hma^kpa^gp^k^_^kk^]mh bfbmZmbo^fZ`b\'Ma^bfbmZmbhgh_Zg^o^gmmkb``^klma^^o^gmbml^e_%cnlmZlbg kZbgfZ`b\'Mablphne][^ma^Zk\aZb\\hg\enlbhg]kZpgbghnk^qi^kbf^gm' Mabg`lk^eZm^[robkmn^h_ma^_Z\mmaZmma^rZk^lbfbeZk'B_rhndghpmabl%ma^g ma^r\ZgZelh[^bg×n^g\^]'Bmbl!pZl"lhlbfie^'H_\hnkl^%p^]hghmaZo^ kZbgfZ`b\bghnk\nemnk^%[nmma^k^Zk^Zgnf[^kh_lbfbeZk_heeb^lmaZmZk^ [Zl^]hgma^lZf^ikbg\bie^'P^cnlmaZo^mhehhdZmZ]o^kmblbg`mhl^^maZm lhf^mabg`fZ`b\ZeblmZdbg`ieZ\^ma^k^Zeema^mbf^'

185 Cf. Bourdieu (1974: 143)

186 Cf. Weber (1968/1978: 4) 187 One could imagine that the study of rituals has developed a considerable number of different deﬁnitions for ritual just as the study of pictures has for the picture. The deﬁnition presented here originates with the anthropologist Caroline Humphrey and James Laidlaw (1994: 133). It is precise but at the same time easy to understand. Belliger/ Krieger (1998) and Bell (1997) have written monographs on theories of rituats which are also very interesting for design research. 188 Cf. Elias (1939/1994: 85) 189 Cf. Bell (1997: 224) 190 Cf. Jung (1959: 22) 191 Cf. Lévi-Strauss (1969/1983: 298) 192 Ibid., p. 299

156

The Cooked Kitchen

Lh\bheh`r\Zeelma^lrlm^fh_bgm^kgZebs^]iZmm^kglmaZm[kbg`_hkmaZeema^ mrib\Zeb]^Zl%i^k\^imbhglZg]Z\mbhglh_Z\nemnk^aZ[bmnl'185:\mbhgblZ _ng]Zf^gmZelh\bheh`b\Ze\hg\^im'Bmk^_^klmhanfZg[^aZobhk![^bm^qm^kgZe% bgm^kgZe%_hk`hg^hkmhe^kZm^]"bglh_ZkZlma^Z\mbg`bg]bob]nZeZmmZ\a^lZ ln[c^\mbo^f^Zgbg`mhabl[^aZobhnk'186KbmnZehkkbmnZebsZmbhg!ma^fhk^ nlnZem^kf_hkab`aer]^o^ehi^]l^\neZk\nemnk^l"k^_^klmhZgZ\mpbmama^ Z\mhkl[^bg`[hmama^ZnmahkZg]ghm[^bg`ma^Znmahkh_ablZ\m'187B_mh]Zr hg^ghehg`^km^Zklf^Zmpbmahg^ÍlaZg]lZmma^mZ[e^ma^gmablkbmnZeh_ \bobebsZmbhg188l^ko^lmhk^`neZm^hnkbglmbg\ml' KbmnZelZk^\hglmZgmer[^bg`k^bgo^gm^][nmi^hie^m^g]mhlniik^llma^_Z\m maZmma^rZk^Zikh]n\mh_anfZgbfZ`bgZmbhg'189KbmnZelZk^ma^]ZflZg] pZeelpab\afZgaZl^k^\m^]mhahe][Z\dma^]Zg`^klh_ma^ng\hgl\bhnl190 Èmh]ZrcnlmZlbgma^iZlm';rf^Zglh_ma^f%a^[kb]e^labl_^ZklZg] ]^lbk^l'Bgabl\hee^\mbhgh_Zk\aZb\frmalÈMa^KZpZg]Ma^
193 Cf. Frazer (1993: 484 ff ) 194 See Gruendl/EOOS (2007) on the rite of passage of fashion which shows similarities with the myth of the archaic corn god. 195 Cf. Elias (1939/1994: 78). In Wood/Beck (1994) one ﬁnds an interesting list of a hundred rules for an American living room. At ﬁrst one can hardly believe that we move completely unconsciously in a cloud of precepts and prohibitions when we sink into the living room couch to relax. 196 Cf. Laurioux (1999: 26)

197 Ibid., p. 132

198 Cf. Elias (1997: 80)

CZf^l@^hk`^?kZs^kk^ihkmlZghma^kbglmZg\^bgMa^@he]^g;hn`a'?hk_^Zk h_ma^lnghkma^fhhg^qmbg`nblabg`ma^k^pZlhg\^bg^Zkeb^kmbf^lbg Z`kZkbZg\nemnk^lZelhma^_^ZkmaZmgZmnk^phne]ghehg`^kZpZd^bglikbg`% Zg]manlgh\hkgphne]`khpZg]ma^k^phne][^ma^]^fbl^h_\nemnk^' Manlhg^]bl\ho^klkbmnZelbgZeeh_ma^l^\nemnk^lpab\al^ko^mhk^ZpZd^g gZmnk^[rf^Zglh_fZ`b\'FZgr\nemnk^laZo^Z\hkg`h]frma'Bglikbg` ma^@h]bllrf[heb\Zeerdbee^]%Z_m^ka^aZlmZd^glb]^lpbmama^\hkgÖ^e]' Pah^o^kmabgdlmaZmmablbl_Zk&_^m\a^]lahne]mZd^Z\ehl^kehhdZmma^>Zlm^k kbmnZeh_ma^
Myth

199 For a semiotic explanation of the concept see Barthes (1972: 109 ff ) 200 Feyerabend (1975: 295) doubts that myths and scientiﬁc theories can be clearly delineated. The success of scientiﬁc theories lies in their methodological veriﬁcability, they explain the world better. 201 Cf. Wittgenstein (1979: 4)

Theory

P^aZo^_^emma^ik^l^g\^h_frmabghnkk^×^\mbhglhgma^kbmnZe'KbmnZeZg] frmaZk^\ehl^erbgm^kpho^g%bgiZkmb\neZkbgZk\aZb\\nemnk^lZg]pa^gbm \hf^lmhma^[Zlb\lmkn\mnkZeZli^\mlh_\nemnkZehk]^k'Mh]ZrÍlma^hkrh_ l\b^g\^ng]^klmZg]lfrmaZlZikbfZe_hkfh_hnkl\b^gmbÖ\^qieZgZmbhgh_ ma^phke]'Frma^qieZbglma^phke]bgma^`nbl^h_Zlmhkr'Ma^frmablZmri^ h_li^^\a'199Ma^frmablma^^q\enlbo^er^qieZgZmhkrphke]bfZ`^h_Zk\aZb\ \nemnk^l'200;nm^o^gb_p^dghpmh]ZrmaZmhnkÖk^bgma^lmho^blghm]^& i^g]^gmhgma^fhhg%bmaZlZli^\bZeZii^Ze_hknl'Ma^bgaZ[bmZgmlh_Rndhg aZo^[khn`ammablk^eZmbhglabimha^Zkhgma^bk\hlfhlZg]aZo^Zelhlhn`am mhk^g^pmablk^eZmbhglabi[rf^Zglh_kbmnZe'BgablK^fZkdlhg?kZs^kÍl @he]^g;hn`a%Pbmm`^glm^bglmZm^lmaZmlrf[heb\Z\mbhgblghm[Zl^]hgZg ^kkhk[nmhgma^]^lbk^mh]^l\kb[^Zg]lmZm^lhf^mabg`'Bgma^\Zl^h_ma^ bgaZ[bmZgmlh_Rndhgbmbli^kaZilma^_^Zkh_Zln]]^g^\ebil^lbgdbg`hgma^f pab\ahg^\Zgib\mnk^ZlZg^ll^g\^maZm\hee^\mlbgk^\^imZ\e^lZg]mkb``^kl beeg^ll'Ma^^kkhkhger^f^k`^lmakhn`ama^l\b^gmbÖ\bgm^kik^mZmbhgh_frma' 201

157

202 Cf. Fromm (2006: 70)

FrmalaZo^ehg`×^]bgmhma^lia^k^h_\hglnfimbhg'Ma^k^ma^rg^^]ghm_^Zk ma^ZmmZ\dl\hfbg`_khfl\b^g\^'Ma^k^hg^Ög]lma^ieZ\^_hkmh]ZrÍlikh]n\& mbo^phke]&^qieZgZmhkrgZkkZmbo^':]o^kmbl^f^gmahe]lmh`^ma^khnk\hffh]bmr \hlfhlpbmabmlgZkkZmbo^l':g]l\b^g\^\ZgfZd^Zihlbmbo^\hgmkb[nmbhg [rmkrbg`mhmkZ\^ma^l^lmhkb^l[rjn^lmbhgbg`\hglnf^kl%o^kb_rbg`ma^bk^__^\m% l^g]bg`hnmfhk^lmhkr&m^ee^klb_g^\^llZkrhk\hkk^\mbg`ma^lmhkrZ[bm' Ma^lh\bZeng\hgl\bhnl202aZlmZd^ghgZg^p%p^ee&`nZk]^]m^kkZbgZg]bm blikh[Z[er`hh]mablpZr' GhpbgZ]]bmbhgmhma^\hee^\mbo^frmalma^k^Zk^Zelhmahl^maZmZk^ikboZm^bg gZmnk^'Lmhkb^lmaZmZk^k^eZm^]mh^o^kr]Zrh[c^\ml'Pa^gp^hi^gZ]kZp^kbg ma^dbm\a^g%p^fb`amghmb\^Zgh[c^\mghmnl^]lhh_m^g[nmhg^maZmm^eelnl ZlmhkrÈhg^maZmZii^ZkllhbfihkmZgmmaZmbm\Zglmb\dpbmanl'P^Zllh\bZm^ lhf^lmhkrpbmama^h[c^\mmaZmlmhilnl_khf`^mmbg`kb]h_ma^h[c^\m%^o^g mahn`abmaZlZepZrl`hmm^gbgma^pZrpa^gp^mkb^]mh\ehl^ma^]kZp^k'Ma^ lmhkraZl^g`kZo^]bml^e_bgma^h[c^\m'Bm`bo^lnlie^Zlnk^mhmabgdh_bm%ma^ h[c^\mk^ik^l^gmlpaZmp^aZo^^qi^kb^g\^]'?hkbglmZg\^%hnk\hhdbg`lihhg _khfLb\ber'BmaZl[^^gkhn`aer\Zko^]hnmh_hebo^phh]'Lhf^ahphg^lmbee ghmb\^lma^hkb`bgZe\khhd^]fZm^kbZe'Ma^lihhgbl[b`Zg]fZllbo^'Bg \hfiZkblhgmhbmma^aZg]e^blkZma^kmabg%hg^blZefhlmZ_kZb]maZmbm\hne] [k^Zdh__pa^glmbkkbg`'BmehhdlngÖgbla^]%Zlb_ma^\Zko^kaZ][^^g]blmkZ\m^] [rlhf^mabg`bggh\nhnlZg]ma^ge^_mma^h[c^\mbgma^phh]laZobg`l'I^k& aZilbmehhdlmablpZr[^\Znl^ma^mhnkblmlpah×hh]ma^obeeZ`^^o^krr^Zk aZ]Z]^lbk^_hkh[c^\mlmaZmehhdZk\aZb\'Ma^r×^^hnmh_ma^bkphke]Zg]ibg^ _hklhf^mabg``^gnbg^%Znma^gmb\Zg]\e^Zkerngk^Ög^]'Mabllhf^mabg`maZmbl bg\k^Zlbg`er]b_Ö\nemmh\hf^[rbghnk\nemnk^'Ma^k^bmeb^l%hnk\hhdbg`lihhg _khfLb\ber'P^aZo^Zek^Z]r\hhd^]lhf^`hh]kblhmmhlpbmabm'H_\hnkl^% ma^kblhmmhpbmae^fhgl'Bmbl_khfLb\berZ_m^kZeeZg]ma^k^mahl^phg]^k_ne e^fhgl`khppab\ahg^g^o^kÖg]la^k^Zmma^fZkd^mlh_k^laZg]`hh]' :g]manlp^aZo^pkZii^]hnkl^eo^lnibgZikboZm^frma'Bmphkdl'Pa^g `n^lml\hf^hg^Zii^Zklpbmamabllbfie^h[c^\mZg]m^eelma^fma^lmhkrh_ Lb\ber%Z]]bg`maZmma^e^fhgl_khfa^k^Zk^ghmZl`hh][nmZme^Zlmma^r Zk^hk`Zgb\'MablpZrrhn`^mZgb]^Zahpfrmalphkd'H_\hnkl^%hg^\hne] k^ieZ\^hg^hkma^hma^k]^mZbe%pab\ablghmlh^__^\mbo^pbmaZfhk^^__^\mbo^ hg^':]o^kmblbg`]h^lmablZ_m^kZeeZg]bmblZe^`bmbfZm^\nemnkZem^\agheh`r' CnlmZlbg^qi^kb^g\bg`ZgZkmphkd%k^Z]bg`%mabgdbg`%\hfiZkbg`%^m\' [kbg`l_hkmaZg^qi^kb^g\^'BmbllbfbeZkpbmaehhdbg`ZmZg]nlbg`]^lb`g'

203 Cf. Botta (2005: 23)

158

The Cooked Kitchen

Ma^frmamaZmlakhn]l]^lb`g^klhkma^frmah_Z]^lb`gÖkf_ng\mbhglfhk^ hke^llebd^ma^lmhkrpbmama^\hhdbg`lihhg':lZg^qZfie^hg^\hne]\bm^ ma^LmkZ]boZkbfrma'Bgmablfhf^gmZgbg]bob]nZe_khf<^gmkZe>nkhi^pahbl Zme^Zlmbgm^k^lm^]bg\eZllb\Zefnlb\fZrmabgdh_Zgh[c^\mmaZmblmkner frmab\%[nmlmbeeab]^lZgnf[^kh_kb]]e^lghmpbmalmZg]bg`Zeebglibm^h_ l\aheZkerlmn]r'=h^lZgh[c^\m[^\hf^[^mm^kpa^gbmhgerma^[^lmobhebgblml h_ma^phke]ieZrbm8=h^lZ\hhdbg`lihhg\aZg`^pa^ghgerma^[^lm\hhdl \hhdpbmabm8H_\hnkl^%[nmZelhh_\hnkl^ghm'BgZgr\Zl^hnki^k\^imbhgh_ Zgh[c^\m\aZg`^lpa^gp^a^Zkma^k^eZm^]lmhkr!frma"'Ma^frmaZem^klma^ k^eZmbhg[^mp^^gfZgZg]ma^h[c^\ml%laZi^lbm'Ma^Z\\^imZg\^!\hgl\bhnlhk ng\hgl\bhnl"h_\^kmZbgfrmalZg]kbmnZelh_\hee^\mbobmre^Z]lnlmhpaZm p^\Zee%_hkbglmZg\^%ebobg`'203Bg\ehlbg`p^\Zglnfnihnkk^×^\mbhglhg ib\mnk^%kbmnZeZg]frmaZl_heehpl3

BfZ`^ &7 ?hkfl KbmnZe &7 ?hkfl Frma &7 ?hkfl

204 Cf. Buckminster Fulller (1979: 16) who was immortalized by the Beatles in the song “The Fool on the Hill”. With his many publications and lectures he also inspired the edition of the Whole Earth Catalog (which appeared at irregular intervals between 1998 and 1994).

Design factors

P^aZo^fZ]^ma^[he]\eZbfmaZm]^lb`gblZih^mb\]bl\biebg^'PaZmblf^Zgm [rmablblmaZm]^lb`g[kbg`lmh`^ma^kma^_hkfZmbo^_Z\mhklh_bfZ`^kr%kbmnZe Zg]frma%\k^Zmbg`Zlrgma^lblhnmh_ma^f'=^lb`gZllh\bZm^l_hkfl!bfZ`^kr% kbmnZel%frmal"pbmag^pf^Zgbg`lZlZih^mb\]^lb`gbg``^lmnk^Zg]bg\hkih& kZm^lma^fbgma^\hglmkn\mbhgh_Z\hgm^fihkZkranfZg\hlfhl'=^lb`gmanl bgmkh]n\^lma^]blhk]^kh_Zk\aZb\Zg]ab`aerm^\agheh`b\ZeZli^\mlh_hnk \nemnk^bgZih^mb\hk]^k%`bobg`laZi^mhma^f'?hkma^m^Z\a^k%ma^hkblm%Zk\ab& m^\mZg]oblbhgZkrh_Z[^mm^kphke]%Kb\aZk];n\dfbglm^k?nee^k%ih^mkrblma^ ihp^kmaZm[kbg`lmh`^ma^kmabg`l'204=^lb`gblhg^h_ma^]bl\biebg^lmaZm a^eilmh^q^kmmablihlbmbo^_hk\^hg\nemnk^'=^lb`gma^hkrblma^bglmknf^gm maZm]^lb`gmZd^lZiZkmmhl^^pa^k^mabl_hk\^Zg]ih^mkrh_h[c^\ml\hf^l _khf':g]ghpÖgZeerZ]bZ`kZfmaZmbeenlmkZm^l[hmama^k^\^imbhgliZ\^Zg] ma^]^lb`gliZ\^h_]^lb`g'Hg^\ZgbfZ`bg^bm[^bg`^bma^kmak^^&]bf^glbhgZe hk^o^gmph&]bf^glbhgZe'B_hg^ebd^lhg^\ZgZelh]^kbo^]bZ`kZfl_khfbm Zg]\hfiZk^oZkbhnlmabg`l'Ma^hkb`bgh_ma^Zqblphne]ghmbfierma^h\\nk& k^g\^h_Z\hg\^im%ma^fhk^hg^fho^lZpZr_khfma^\hhk]bgZm^Zq^l%ma^ `k^Zm^kma^bg×n^g\^h_hnk_hkf_Z\mhkl'B_hg^]h^lmabl_hkZ_^p^qZfie^l% ma^ghg^aZlgb\^lmZklmaZm\Zg[^\hfiZk^]pbma^Z\ahma^k'Hkhg^lbfier e^Zo^lma^]bZ`kZfebd^maZm%ZlZf^fhkrh_hnk]^lb`giabehlhiar'

The Poetical Analysis

Illustrations

205 Cf. Benjamin (2005: 512)

206 Ibid., p. 510 ff

Theory

Bgabl^llZrhgiahmh`kZiarPZem^k;^gcZfbg\hbg^]ma^m^kfhimb\Zeng\hg& l\bhnl'205A^nl^lbm_hkiahmh`kZiarmaZmlahpllhf^mabg`maZmblghkfZeer ghmoblb[e^^bma^k[r^geZk`bg`mabg`lhk\Zimnkbg`Zfhf^gmh_Zfho^f^gm pab\ahg^hma^kpbl^i^k\^bo^lng\hgl\bhnler';^gcZfbg]^l\kb[^lma^ ^qblm^g\^h_ma^himb\Zeng\hgl\bhnlhgma^[Zlblh_iahmh`kZiarcnlmZlma^ bglmbg\mnZeng\hgl\bhnlpZl]bl\ho^k^]makhn`ailr\ahZgZerlbl'206 Ma^dbm\a^g mhhelik^l^gm^]bgmabl[hhdZk^Z\\hfiZgb^][rbeenlmkZmbhgllh

159

207 David Marr’s research ﬁndings on object recognition of silhouettes were summarized in Bruce/Green/Georgeson (2000: 219 f )

208 Cf. Baudrillard (1981: 63). See also the account in Walker (1989: 58-62) on the subject of design objects.

160

The Cooked Kitchen

maZmhnki^k\^imnZeZiiZkZmnlaZlfhk^phkdk^\h`gbsbg`ma^fmaZgbgZ gZmnkZeblmiahmh`kZiapa^k^eb`amZg]laZ]hplfh]^ema^h[c^\mhk\hehk Zg]ma^m^qmnk^h_ma^h[c^\m\Zg[^k^\h`gbs^]'Bgma^Z[lmkZ\mbhg\aZbg h_h[c^\m&lbeahn^mm^&\hgmhnkp^Ög]hnkl^eo^lZmma^lbeahn^mm^[nmpbma \hgmhnk&`^g^kZmbg`lb`glhkZelhlb`glh_fZm^kbZebmr%pab\ae^Z]nl[Z\dmh ma^h[c^\m'Hnki^k\^imnZeZiiZkZmnlm^g]lmhbgm^kik^mma^l^lbeahn^mm^l Zlmak^^&]bf^glbhgZeh[c^\ml'207Ma^h[c^\mlZefhlmZii^Zkmh[^laZ]hpl [nmma^gma^r\Zg[^bfZ`bg^]Zl[h]b^l[^\Znl^h_lfZee\hgmhnkbg`]^mZbel' MablblZg^__^\mmaZm\Zg[^lm[^\hfiZk^]pbmaZgh[c^\mbgZlmkhg` \hngm^k&eb`am'Hnki^k\^imbhgblmanl_hk\^]mhmZd^k^\hnkl^mhbmlbgg^k bfZ`^l!^g`kZfl"Zg]mhÖgblamabgdbg`ma^h[c^\ml'P^\Zg]hmabl bgmph]bk^\mbhgl3hgma^hg^aZg]%bgma^iZlm%Zlablmhkb\Zeh[c^\m%Zg]hg ma^hma^k%bgma^_nmnk^%Zlihllb[e^h[c^\m%pbmama^fh]^elm^ffbg`_khf hnkik^l^gm':lhkmh_lmZm^h_lnli^gl^k^lneml%pab\a\Zghl\beeZm^[^mp^^g _nmnk^Zg]iZlm':ikh\^llh_ehhdbg`bgpZk]pab\abgfZgrk^li^\ml k^l^f[e^lZ\k^Zmbo^Z\mh_]^lb`g'BmblZgho^kiZbgmbg`h_k^Zebmrpab\a k^o^Zelma^ihm^gmbZeh_Zg^pib\mnk^'Ma^ib\mnk^[^\hf^lZgbeenlmkZmbhg maZm\Zg[^bgm^kik^m^]bg]bob]nZeerg^qmmhma^m^qmpab\ablZlb`g_hk bmlikhmhmri^'Bgma^\Zl^h_ma^dbm\a^gmhhe%ma^eZmm^kblZk^lnemh_\he& e^\mbo^]^lb`gphkd'Ma^lh\bZe\hgm^qm%ma^ablmhkb\ZeZl\kbimbhg%mbf^Zg] liZ\^Zk^]^eb[^kZm^erZefhlm^gmbk^erehlm'Ma^lrg\akhgb\gZmnk^h_ ma^beenlmkZmbhgllmZg]lbghiihlbmbhgmhma^m^qmpab\afho^lbgZ]bZ\akhgb\ fho^f^gm[^mp^^gik^l^gm%ZlaZkiZg][enkk^]iZlmZlp^eeZlma^ Zgmb\biZmbhgh_ma^_nmnk^'Ma^\hgmhnklh_dbm\a^gmhhel\k^Zm^Z[kb]`^makhn`a mbf^Zg]liZ\^'Ma^^fibkb\Zeh[c^\m[^\hf^l]bllheo^]_khffZm^kbZeZg] \hehklhZlmhfZd^g^pk^eZmbhgloblb[e^208pab\ap^aZo^fZkd^]h__ pbmama^\hhk]bgZm^lh_ma^bfZ`^%kbmnZeZg]frmaZg]pbmabgpab\ap^pbee \hg]n\mhnkbgo^lmb`Zmbhgl'

Index

161

Bibliography

Adorno, Theodor W. Minima Moralia. Reﬂections on a Damaged Life (London/ New York: Verso, 2005). Aicher, Otl Die Küche zum Kochen. Das Ende einer Architekturdoktrin (5th edition; Berlin: Ernst & Sohn, 1994). Alexander, Christopher, Ishikawa, Sara, and Silverstein, Murray A Pattern Language. Towns, Buildings, Construction (New York: Oxford University Press, 1977). Bachelard, Gaston The Poetics of Space. The Classic Look at how we Experience Intimate Places (Boston: Beacon Press, 1994). Baden-Powell, Charlotte Architect’s Pocket Book of Kitchen Design (Amsterdam/ Boston/Heidelberg et al.: Architectural Press, 2005). Banerjee, Mukulika and Miller, Daniel The Sari (Oxford/New York: Berg, 2004). Barthes, Roland Mythologies (New York: Hill and Wang, 1972). Empire of Signs (New York: Hill and Wang, 1982). Baudrillard, Jean For a Critique of the Political Economy of the Sign (St. Louis: Telos Press, 1981). Bäumler, Susanne ‘Fürstliches Schauessen’, in Ulrike Zischka, Hans Ottomeyer and Susanne Bäumler (eds.) Die anständige Lust. Von Esskultur und Tafelsitten (Munich: Droemer, 1994), 113-16. Beecher, Catherine E. and Beecher Stowe, Harriet The American Woman’s Home (Teddington: Echo, 2006). Bell, Catherine Ritual. Perspectives and Dimensions (New York/Oxford: Oxford University Press, 1997). Belliger, Andréa and Krieger, David J. (eds.) Ritualtheorien. Ein einführendes Handbuch (Opladen: Westdeutscher Verlag, 1998). Belting, Hans Likeness and Presence. A History of the Image before the Era of Art (6th edition; Chicago/London: University of Chicago Press, 1996). Bild-Anthropologie (3rd edition; München: Fink, 2006).

Index

Benjamin, Walter ‘Little History of Photography’, in Michael W. Jennings, et al. (ed.) Walter Benjamin. Selected Writings (volume 2, part 2; Cambridge/ London: Harvard University Press, 2005), 507-30. Benker, Gertrud In alten Küchen. EinrichtungGerät-Kochkunst (Munich: Callwey, 1987). Beyer, Glenn H. The Cornell Kitchen. Product Design through Research (New York: Cornell University, 1955). Boeck, Rudolf J. ‘Die Frau und ihre Wohnung. Ausstellung in Wien im Dezember 1950. Ein optimistischer Bericht’, Der Aufbau. Monatsschrift für den Wiederaufbau, 6/2 (February 1951), 49-67. Boehm, Gottfried Wie Bilder Sinn erzeugen. Die Macht des Zeigens (Berlin: Berlin University Press, 2007). Bohn, Volker (ed.) Bildlichkeit (Frankfurt am Main: Suhrkamp, 1990). Bonsieppe, Gui ‘The Uneasy Relationship between Design and Design Research’, in Ralf Michel (ed.) Design Research Now. Essays and Selected Projects (Basle/ Boston/Berlin: Birkhäuser, 2007), 25-39. Botta, Mario Architektur und Gedächtnis (Brakel: FSB, 2005). Bourdieu, Pierre Zur Soziologie der symbolischen Formen (Frankfurt am Main: Suhrkamp, 1974). Distinction. A Social Critique of the Judgement of Taste (Cambridge/London: Harvard University Press, 1984). Brandes, Uta and Erlhoff, Michael Non Intentional Design (Cologne/London/New York: daab, 2006). Branzi, Andrea Learning from Milan. Design and the Second Modernity (Cambridge, Massachusetts: MIT Press, 1988). Bredekamp, Horst Bilder bewegen. Von der Kunstkammer zum Endspiel (Berlin: Wagenbach, 2007). Bruce, Vicki, Green, Patrick R., and Georgeson, Mark A. (eds.) Visual Perception. Physiology, Psychology, and Ecology (3rd edition, Hove: Psychology Press, 2000).

Buckminster Fuller, Richard On Education (Amherst: University of Massachusetts Press, 1979). Bullinger, Hans-Jörg, Solf, Johannes J., and Stübler, Elfriede Die arbeitsgerechte Küche. Ergonomie und Sicherheit in der Küche (Stuttgart: Eugen Ulmer, 1984). Burckhardt, Lucius ‘Design ist unsichtbar’, in Helmuth Gsöllpointner, Angela Hareiter, and Laurids Ortner (eds.) Design ist unsichtbar (Vienna: Löcker, 1981), 13-20. Die Kinder fressen ihre Revolution. Wohnen-PlanenBauen-Grünen (Cologne: DuMont, 1985). Bürdek, Bernhard E. Design. History, Theory and Practice of Product Design (Basle/ Boston/Berlin: Birkhäuser, 2005). Cabanne, Pierre Gespräche mit Marcel Duchamp (Cologne: Spiegelschrift 10, 1972). Canetti, Elias Crowds and Power (New York: Farrar, Straus and Giroux, 1984). Conran, Terence Terence Conran’s Kitchen Book. A Comprehensive Source Book and Guide to Planning... Your Kitchen (London: Overlook, 1993). Corrodi, Michelle ‘Von Küchen und unfeinen Gerüchen. Auf dem Weg zu einer Wohnkultur zwischen Gründerzeit und Zweitem Weltkrieg’, in Klaus Spechtenhauser (ed.) Die Küche. Lebenswelt-Nutzung-Perspektiven (Basle/Boston/Berlin: Birkhäuser, 2006), 21-44. Cross, Nigel Designerly Ways of Knowing (Basle/Boston/ Berlin: Birkhäuser, 2007). Didi-Huberman, Georges Phasmes. Essays über Erscheinungen von Photographien, Spielzeug, mystischen Texten, Bildausschnitten, Insekten, Tintenﬂecken, Traumerzählungen, Alltäglichkeiten, Skulpturen, Filmbildern (Cologne: DuMont, 2001). Dixon, Tom Rethink (London: Conran Octopus, 2000). Douglas, Mary Purity and Danger (Abingdon/New York: Routledge classics, 2002).

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Fischer, Volker (ed.) Design heute. Maßstäbe: Formgebung zwischen Industrie und Kunststück (Munich: Prestel, 1988). Flinchum, Russel Henry Dreyfuss. Industrial Designer. The Man in the Brown Suit (New York: Rizzoli, 1997). Flusser, Vilém Les Gestes (Paris: Hors Commerce, 1999). The Shape of Things. A Philosophy of Design (London: Reaktion Books, 1999). Frazer, James, Sir The Golden Bough. A Study in Magic and Religion (Hertfordshire: Wordsworth Editions Limited, 1993). Frederick, Christine The New Housekeeping: Efﬁciency Studies in Home Management (Garden City/New York: Doubleday, 1915). Efﬁcient Housekeeping (Chicago: American School of Home Economics, 1925). Freedberg, David The Power of Images. Studies in the History and Theory of Response (London/Chicago: University of Chicago, 1991). Freeman, June The Making of the Modern Kitchen. A Cultural History (Oxford/New York: Berg, 2004). Fromm, Erich Beyond the Chains of Illusion. My Encounter with Marx and Freud (London/New York: Continuum, 2006).

Grillo, Paul Jacques What is Design? (Chicago: Paul Theobald, 1960). Gruendl, Harald and EOOS The Death of Fashion. The Passage Rite of Fashion in the Show Window (Vienna/ New York: Springer, 2007). Gsöllpointner, Helmuth, Hareiter, Angela, and Ortner, Laurids (eds.) Design ist unsichtbar (Vienna: Löcker, 1981). Hanisch, Ruth and Widrich, Mechtild ‘Architektur der Küche. Zur Umwertung eines Wirtschaftsraums in der europäischen Architektur des zwanzigsten Jahrhunderts’, in Elﬁe Miklautz, Herbert Lachmayer, and Reinhard Eisendle (eds.), Die Küche. Zur Geschichte eines architektonischen, sozialen und imaginativen Raums (Vienna/Cologne/Weimar: Böhlau, 1999), 17-47. Hartmann, Kristina ‘Alltagskultur, Alltagsleben, Wohnkultur’, in Gert Kähler (ed.), Geschichte des Wohnens. 1918-1945. Reform Reaktion Zerstörung (Volume 4; Stuttgart: DVA, 1996), 183-302. Heine, Günther Das Werkzeug des Schreiners und Drechslers (Hannover: Schäfer, 1990).

Humphrey, Caroline and Laidlaw, James The Archetypal Actions of Ritual (Oxford: Clarendon, 1994). Jung, C. G. The Archetypes and the Collective Unconscious (The Collected Works of C. G. Jung, volume 9, part I; New York: Pantheon Books, 1959). Jupp, Ernst, Sandberg, W., and Wagenfeld, Wilhelm ‘Küchen’, form, 17 (1962), 26-33. Kandinsky, Wassily Point and Line to Plane (New York: Dover, 1979). Karmasin, Helene Produkte als Botschaften (Vienna/ Frankfurt: Ueberreuter, 1998). Kirschbaum, Engelbert (ed.) Lexikon der christlichen Ikonographie (Rom/Freiburg/ Basle/Vienna: Herder, 1994). Koller, Gabriele Die Radikalisierung der Phantasie. Design aus Österreich (Salzburg/Vienna: Residenz, 1987). Könz, I. U. Das Engadinerhaus (3rd edition.; Bern: Paul Haupt, 1978). Krauch, Helmut ‘Die Küche der 70er Jahre’, in Michael Andritzky (ed.), Oikos. Von der Feuerstelle zur Mikrowelle. Haushalt und wohnen im Wandel (Giessen: Anabas, 1992), 133-35.

Heiner, Mary Koll and Steidl, Rose E. Guides for Arrangement of Urban Family Kitchens (Cornell: New York State College of Home Economics, 1951).

Kraus, Karl ‘Illusionen’, Die Fackel, IX/237 (1907), 1-16.

Gardner, Soule ‘New Kitchen Built to Fit Your Wife’, Popular Science, (September 1953), 172-76.

Heubach, Friedrich W. Das bedingte Leben. Theorie der psycho-logischen Gegenständlichkeit der Dinge. Ein Beitrag zur Psychologie des Alltags (2nd edition; Munich Wilhelm Fink, 1996).

Krausse, Joachim ‘Die Frankfurter Küche’, in Michael Andritzky (ed.), Oikos. Von der Feuerstelle zur Mikrowelle. Haushalt und Wohnen im Wandel (Giessen: Anabas, 1992), 96-113.

Giedion, Sigfried Mechanization Takes Command (New York: Oxford University Press, 1948).

Heuﬂer, Gerhard Design Basics. Von der Idee zum Produkt (Zürich: Niggli, 2004).

Krippendorff, Klaus The Semantic Turn. A New Foundation for Design (Boca Raton/London/New York: CRC Press, 2006).

Gmeiner, Astrid and Pirhofer, Gottfried Der Österreichische Werkbund. Alternative zur klassischen Moderne in Architektur, Raum- und Produktgestaltung (Salzburg/ Vienna: Residenz, 1985).

Hirsch, Bettina Das KüchenABC (2nd edition; Vienna: Sozialistischer Verlag, 1950).

Frutiger, Adrian Signs and Symbols. Their Design and Meaning (New York: WatsonGuptill Publications, 1998).

Gombrich, E. H. Art and Illusion. A Study in the Psychology of Pictorial Representation (5th edition; Oxford: Phaidon Press Limited, 1987).

164

Honselmann, Dagmar ‘Der Mensch von Kultur lebt nicht nur von der Hand in den Mund. Die Geschichte des Essbestecks’, in Michael Andritzky (ed.), Oikos. Von der Feuerstelle zur Mikrowelle (Giessen: Anabas, 1992), 378-81.

Kubelka, Peter (ed.) F.G. Zenker. Nicht mehr als sechs Schüsseln. Ein Kochbuch für die mittleren Stände (Vienna: Czernin, 2006). Kuhn, Thomas S. The Structure of Scientiﬁc Revolutions (2nd edition: Chicago/London: University of Chicago Press, 1970). Lang, Thomas Unter Paaren (Munich: C. H. Beck, 2007).

The Cooked Kitchen

Latour, Bruno Pandora’s Hope. Essays on the Reality of Science Studies (Cambridge/London: Harvard University Press, 1999). We Have Never Been Modern (7th edition: Cambridge: Harvard University Press, 2002). ARAMIS or the Love of Technology (4th edition: Cambridge, Massachusetts/ London: Harvard University Press, 2002a). Laurel, Brenda (ed.) Design Research. Methods and Perspectives (Cambridge, Massachusetts: MIT Press, 2003). Laurioux, Bruno Tafelfreuden im Mittelalter. Die Eßkultur der Ritter, Bürger und Bauersleut (Augsburg: Bechtermünz, 1999). Leitner, Carola Die gute alte Küche. Wien (Vienna: Ueberreuter, 2006). Lévi-Strauss, Claude The Savage Mind (The Nature of Human Society Series; Chicago/London: University of Chicago Press, 1966). The Raw and the Cooked. Mythologiques, Volume One (Chicago: University of Chicago Press, 1983). Lindinger, Herbert (ed.) Hochschule für Gestaltung Ulm. Die Moral der Gegenstände (Berlin: Ernst & Sohn, 1987). Lindstrom, Martin Brand Sense. How to build powerful brands through touch, taste, smell, sight & sound (London: Kogan Page, 2005). Loos, Adolf Ornament and Crime. Selected Essays (Riverside, California: Ariadne Press, 1998). Lupton, Ellen and Miller Abbott J. The Bathroom, the Kitchen and the Aesthetics of Waste. A Process of Elimination (Cambridge, Massachusetts: MIT Press, 1992). Maasberg, Ute and Prinz, Regina Die Neuen kommen! Weibliche Avantgarde inder Architektur der zwanziger Jahre (Hamburg: Junius, 2005). Majonica, Rudolf KüchenAntiquitäten (3rd edition; München: Battenberg, 2002). Mandl, Roger Individuelle Küchen. Maßgeschneidert von Architekten, Designern und Schreinern (Munich: DVA, 2006).

Mang, Karl Geschichte des modernen Möbels. Von der handwerklichen Fertigung zur industriellen Produktion (Stuttgart: Hatje, 1978). Marinetti, F.T. The Futurist Cookbook. La Cucina Futurista (San Francisco: Bedford Arts, 1989). Meier, Cordula ‘Design Theorie. Grundlagen einer Disziplin’, in Cordula Meier (ed.), Design Theorie. Beiträge zu einer Disziplin (Frankfurt am Main: Anabas, 2003), 16-37. Menzel, Peter and D’Aluisio, Faith Hungry Planet. What the World Eats (Napa, California: Ten Speed Press, 2005). Meyer, Erna Der neue Haushalt. Ein Wegweiser zu wirtschaftlicher Hausführung (8 edn.; Stuttgart: Franckh’sche Verlagshandlung, 1926). ‘Arbeitstechnik in der Küche’, Neue Hauswirtschaft, (June 1929), 90-91. Mitchell, W.J.T. Iconology. Image, Text, Ideology (Chicago/London: University of Chicago Press, 1987). Picture Theory (Chicago/London: University of Chicago Press, 1995). Mitsche, Eduard, et al. (ed.) Küchenmanagement. Speisen-, Menükunde. Kochen (3rd edition; Linz: Trauner, 2005). Musil, Robert The Man without Qualities (London: Picador, 1995). Noever, Peter (ed.) Die Frankfurter Küche von Magarethe Schütte-Lihotzky (Berlin: Ernst & Sohn, undated). Odate, Toshio Die Werkzeuge des japanischen Schreiners (Ravensburg: Maier, 1992). Pevsner, Nikolaus Pioneers of the Modern Design. From William Morris to Walter Gropius (4th edition; New Haven/London: Yale University Press, 2005).

Rezepa-Zabel, Heide Deutsches Warenbuch. Reprint und Dokumentation. Gediegenes Gerät fürs Haus (Berlin: Dietrich Reimer, 2005). Rorschach, Hermann Psychodiagnostics. A Diagnostic Test Based on Perception (10th edition: Bern/Göttingen/ Toronto/Seattle: Hans Huber, 1998). Rudofsky, Bernard Sparta/Sybaris. Keine neue Bauweise, eine neue Lebensweise tut not (Salzburg: Residenz, 1987). Rüegg, Arthur and Janser, Andreas Hans Richter. New Living (Baden: Lars Müller, 2001). Ruhm, Franz Kochbuch für alle. Rezepte der Wiener Küche (Vienna: Ruhm, undated). Rukschcio, Burkhardt and Stachel, Roland Adolf Loos. Leben und Werk (2nd edition; Salzburg/Vienna: Residenz, 1987). Rumohr, Karl Friedrich von The Essence of Cookery (London: Prospect Books, 1993). Rutherford, Janice Williams Selling Mrs. Consumer. Christine Frederick and the Rise of Houshold Efﬁciency (Athens/Georgia: University of Georgia, 2003). Sachs-Hombach, Klaus (ed.) Bildwissenschaft. Disziplinen, Themen, Methoden (Frankfurt am Main: Suhrkamp, 2005). Sahlins, Marshall Culture and Practical Reason (Chicago/London: University of Chicago Press, 1976). Scappi, Bartolomeo Opera Divisa in Sei Libri (Venice: Michele Tramezzino, 1570). Schwarz, Arturo Marcel Duchamp, la Sposa ... e i Readymade (Milan: Electa, 1988).

Plachutta, Ewald and Wagner, Christoph Die gute Küche. Das österreichische Jahrhundertkochbuch (Vienna: Kremayr & Scheriau, 1993).

Schmuttermeier, Elisabeth Metall für den Gaumen. Bestecke aus den Sammlungen des Österreichischen Museums für angewandte Kunst (Vienna: Museum of Applied Arts, 1990).

Probst, Hartmut and Schädlich, Christian Walter Gropius. Ausgewählte Schriften (Berlin: Ernst & Sohn, 1988).

Schneider, Beat Design - Eine Einführung. Entwurf im sozialen, kulturellen und wirtschaftlichen Kontext (Basle: Birkhäuser, 2005).

Scholtz, Andrea Hand und Griff. Austellung Wien 1951. Walter Zeischegg, Carl Auböck. Ein Buch über Griffpioniere (Cologne: Walther König, 1995). Scholz, Martin ‘Kommunikationsdesign’, in Klaus Sachs-Hombach (ed.), Bildwissenschaft. Disziplinen, Themen, Methoden (Frankfurt am Main: Suhrkamp, 2005), 335-48. Schütte-Lihotzky, Margarete ‘Die Frankfurter Küche’, in Peter Noever (ed.), Die Frankfurter Küche von Margarete Schütte-Lihotzky (Berlin: Ernst & Sohn, undated), 7-14. Schwendter, Rolf ‘Der strukturelle Übergang von der feudalen zur bürgerlichen Küche’, in Elﬁe Miklautz, Herbert Lachmayer, and Reinhard Eisendle (eds.), Die Küche. Zur Geschichte eines architektonischen, sozialen und imaginativen Raums (Vienna/Cologne/Weimar: Böhlau, 1999), 207-49. Selle, Gert and Boehe, Jutta Leben mit den schönen Dingen. Anpassung und Eigensinn im Alltag des Wohnens (Reinbeck bei Hamburg: Rowohlt, 1986). Selle, Gert ‘Zu den Texten von Lore Kramer. Einige persönliche Bemerkungen’, in Hochschule für Gestaltung, Offenbach am Main (ed.), Lore Kramer. Texte (1977-1882) zur aktuellen Geschichte von Architektur und Design (Walldorf/ Hessen: Jochen Rahe, 1993), 13-16. Geschichte des Design in Deutschland (Frankfurt/New York: Campus, 1994). Siebenbrodt, Michael (ed.) Bauhaus Weimar - Entwürfe für die Zukunft (OstﬁldernRuit: Hatje Cantz, 2000). Sloterdijk, Peter Der ästhetische Imperativ (Hamburg: Philo & Philo Fine Arts, 2007). Small Homes Council University of Illinois, ‘Kitchen Planning Standards’, University of Illinois Bulletin, volume 47, no. 19/C5.32 (1949) Sommer, Werner, ‘Die Ordnung der Dinge. Essgerät, Tafelzier und Tischszenarien’, in Hannes Etzlstorfer (ed.), Küchenkunst und Tafelkultur. Kulinarische Zeugnisse aus der Österreichischen Nationalbibliothek (Vienna: Brandstätter, 2006), 243-62.

Index

Spechtenhauser, Klaus The Kitchen. Life World, Usage, Perspectives (Living Concepts; Basle/Boston/Berlin: Birkhäuser, 2006). Stauffer, Serge Marcel Duchamp. Interviews und Statements (Stuttgart: Graﬁsche Sammlung Staatsgalerie, 1992). Stille, Eva and Beitlich, Peter (eds.) Aus der Küche um 1900 (Munich: Heimeran, 1978). Sturm, Hermann ‘Thesen zum Konzept der Designwissenschaft’, in Hermann Sturm (ed.), Geste & Gewissen im Design (Cologne: DuMont, 1998), 150-53. ‘Designgeschichte ausstellen?’ in Hermann Sturm (ed.), Design retour: Ansichten zur Designgeschichte (Essen: Klartext, 2000), 77-90.

Wingler, Hans M. Das Bauhaus. 1919-1933 Weimar Dessau Berlin und die Nachfolge in Chicago seit 1937 (3rd edition; Schauberg: Rasch & Co/DuMont, 1975). Witt-Dörring, Christian ‘On the Path to Modernism’, in Christian Witt-Dörring (ed.), Joseph Hoffmann. Interieurs 1902-1913 (Munich/Berlin/ London/New York: Prestel, 2006), 28-73. Witte, I. M. Heim und Technik in Amerika (Berlin: VDI, 1928). Wittgenstein, Ludwig Bemerkungen über Frazers GOLDEN BOUGH. Remarks on Frazer’s GOLDEN BOUGH (Atlantic Highlands: Humanity Press, 1979). Philosophical Investigations. Philosophische Untersuchungen (3rd edition; Malden/Oxford: Blackwell, 2004).

Taut, Bruno Die neue Wohnung. Die Frau als Schöpferin (2nd edition; Leipzig: Klinkhardt & Biermann, 1924).

Wood, Denis and Beck, Robert J. Home Rules (Baltimore/London: Johns Hopkins University Press, 1994).

Thackara, John In the Bubble. Designing in a Complex World (Cambridge, Massachusetts: MIT Press, 2005).

Wühr, Hans Altes Essgerät. Löffel-Messer-Gabel (Darmstadt: Schneekluth, 1961).

Tölzer, Maria ‘Die Küche. Arbeitsplatz der Frau (Die Musterküche - Die “schwedische” Küche Die Kleinstküche - Kochnischen)’, in Robert Stern (ed.), Neues Wohnen (Vienna: Österreichsicher Gewerkschaftsbund, 1952), 84-92.

Žižek, Slavoj The Plague of Fantasies (London/New York: Verso, 1997). Zumthor, Peter ‘Körper und Bild’, in Department Architektur ETH Zürich (ed.), Zwischen Bild und Realität (Zurich: GTA, 2006).

Venturi, Robert, Scott Brown, Denise and Izenour, Steven Learning from Las Vegas. The Forgotten Symbolism of Architectural Form (Cambridge/London: MIT Press, 1977). Walker, John Design History and the History of Design (London/Chicago: Pluto Press, 1989). Warncke, Carsten-Peter Das Ideal als Kunst. De Stijl 1917-1931 (Cologne: Taschen, 1990). Weber, Max Economy and Society. An Outline of Interpretive Sociology (Berkeley/Los Angeles/ London: University of California Press, 1978). Wick, Rainer Bauhaus Pädagogik (3rd edition; Cologne: DuMont, 1988).

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2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

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34

35

36

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42

166

The Cooked Kitchen

List of Illustrations

Index

1

p. 10 f

Schnitzel meat

2

p. 15

Dough pin and dough

3

p. 18

Branches from the Vienna Woods

4

p. 21

Bronze trident (17th cent.). Reconstructed photograph based on Schmuttermeier (1990: 33).

31 p. 106

Illustration below: Time exposure of the movement of a light bulb attached to the wrist of a woman performing the same act with a doorless kitchen cabinet with removable storage bins. After Meyer (1929: 91)

32 p. 109

Bottle dryer (before 1914)

33 p. 112

Ladder chair in a state of transformation

5

p. 23

Hand

34 p. 113

Ladder chair

6

p. 26

Wire structure for dolphin pastry (1719). Reconstructed photograph based on Benker (1987: 48).

35 p. 120

Cutlery with handles made of wrenches

36 p. 124

Wooden whisk

37 p. 127

Cork screw. Reconstructed photo after Selle/Boehe (1986: 178).

38 p. 129

Cork screw. Reconstructed photo after Selle/Boehe (1986: 178).

39 p. 132 f

Pastry board (1936)

40 p. 134

Kitchen credenza (1940s)

41 p. 137

High-heeled shoe (early 21st cent.)

42 p. 142 f

Carps

7

p. 29

Toque

8

p. 32 f

Cast iron can opener (early 20th cent.)

9

p. 35

Hand-carved cooking spoon made of olive wood (late 20th cent.)

10 p. 39

Earthenware stewpot

11 p. 42

Ideal coffee cup. Reconstruction based on Krippendorff (2006: 93). Computer rendering: EOOS

12 p. 46

Chinese chopsticks made of bamboo

13 p. 50 f

Pots and cooking utensils

14 p. 52

Cleaning brush

15 p. 55

Cake server designed by Henry Dreyfuss (1934) and, to the right, the previous model. Reconstructed photograph based on Flinchum (1997: 50).

16 p. 57

Frame and molding of a wooden door (sectional detail)

17 p. 62

Tool wall

18 p. 66

Duck-Rabbit. Reconstruction of an illustration by Joseph Jastrow taken from Fact and Fable in Psychology (1900), reproduced in Mitchell (1995: 46).

19 p. 68 f

Reconstruction of a detail from the wall of the kitchen designed by J.J.P. Oud for the Weissenhof Settlement in 1927.

20 p. 72

Detail of a sink

21 p. 77

Details of hanging kitchen utensils

22 p. 78 f

Egg shells

23 p. 82

Clothespin

24 p. 85

Kitchen utensils in a drawer

25 p. 89

Deer antlers

26 p. 94

Cooking box (early 20th cent.) from the collection of the Museum of Ethnology Vienna.

27 p. 96

Electric range

28 p. 99

Chair in the style of historicism. Reconstruction of an illustration in Meyer (1926: 75).

29 p. 103

Lab glass

30 p. 106

Illustration above: Time exposure of movement of a light bulb attached to the right wrist of a woman taking ﬂour out of a traditional kitchen cabinet with doors and drawers. After Meyer (1929: 91).

Poster

EOOS Clears Out the Kitchen

p. 154

Chair typologies. Sketch: EOOS

p. 159

Poetical analysis. Sketch: EOOS

All photos by Paul Prader unless indicated otherwise. Post-processing: graﬁsches Buero, Günter Eder/Roman Breier.

167

Thanks to:

Anna Alpart Matthias Beitl Roman Breier bulthaup Gerd Bulthaup Fortunato Depero Thomas Ebner Günter Eder Michael Erlhoff Angela Fössl Inge und Josef Hein Joern Ikels Beatrix Kromp Renate Kromp Thomas Lang Martina Mara Marcel Neundörfer Camilla Nielsen Eva Ottillinger Paul Prader Hartmut Roehrig Rolf Sachsse Gert Selle Thomas Slunecko Stephan Trunetz Verlag C.H. Beck Volkskundemuseum Wien Peter Weibel Alexander Wied Christian Witt-Dörring

The EOOS staff and everyone who helped make this book possible.

168

The Cooked Kitchen

Poetical Sketches

Poetical Sketches

Kitchen

The Poetical Works of Chaucer

The Poetical Works of Chaucer

Meat: A Kitchen Education

Meat: A Kitchen Education

Kitchen

Kitchen

The Kitchen Hand: A Miscellany of Kitchen Wisdom

The Kitchen Hand: A Miscellany of Kitchen Wisdom

The Man Who Cooked for Himself

The Man Who Cooked for Himself

The Poetical Works of John Keats

The Poetical Works of John Keats

The Poetical Works of Elizabeth Barrett Browning

The Poetical Works of Elizabeth Barrett Browning

Death of a Kitchen Diva

Death of a Kitchen Diva

Sultan's Kitchen: A Turkish Cookbook

Sultan's Kitchen: A Turkish Cookbook

The Smitten Kitchen Cookbook

The Smitten Kitchen Cookbook

The Kitchen Shrink

The Kitchen Shrink

The Kitchen Boy

The Kitchen Boy

The Kitchen Witch

The Kitchen Witch

The Enlightened Kitchen

The Enlightened Kitchen

The Kitchen Witch

The Kitchen Witch

The Indian Vegan Kitchen

The Indian Vegan Kitchen

Death of a Kitchen Diva

Death of a Kitchen Diva

The Indian Vegan Kitchen

The Indian Vegan Kitchen

The Kitchen Garden Cookbook

The Kitchen Garden Cookbook

The Kitchen Witch

The Kitchen Witch

The Kitchen Boy

The Kitchen Boy

The Kitchen Witch

The Kitchen Witch

The Greek Kitchen

The Greek Kitchen

Thomas Hardy's 'Poetical Matter' Notebook

Thomas Hardy's 'Poetical Matter' Notebook

The Poetical Works of John Keats

The Poetical Works of John Keats

The Kitchen Garden Cookbook

The Kitchen Garden Cookbook

The Saffron Kitchen

The Saffron Kitchen

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