Towards

 a  Pattern  Language  for  Cooking:  A  GENERATIVE  APPROACH  

TO  COOKING  

TAICHI  ISAKU,  Keio  University  Faculty  of  Environment  and  Information  Studies,  
TAKASHI  IBA,  Keio  University  Faculty  of  Policy  Management  

This  Paper  will  explore  the  possibilities  that  pattern  languages  have  in  the  field  of  cooking.  Cooking  can  be  considered  as  a  very  simple  
form   of   design   that   many   of   goes   through   daily.   By   highlighting   the   similarities   between   cooking   and   architecture,   we   will   show   that  
pattern   languages   will   enhance   the   creative   process   of   cooking   for   all.   We   will   introduce   a   generative   approach   to   cooking   where   the  
process  is  guided  both  by  a  loose  recipe  and  a  network  of  patterns.  As  our  first  challenge  for  creating  a  pattern  language  for  cooking,  we  
have   created   a   pattern   language   for   sautéing,   along   by   which   we   have   a   sample   recipe   to   show   how   the   patterns   would   support   a   person’s  
cooking  process.  
 
Categories  and  Subject  Descriptors:  K.3.0  [Computers  and  Education]  
General  Terms:  Creativity,  Cooking  
Additional  Key  Words  and  Phrases:  Pattern  Language,  Design  
ACM  Reference  Format:    
Isaku,   T.   and   Iba,   T.   2014.   Towards   a   Pattern   Language   for   Cooking:   A   Generative   Approach   To   Cooking.   Proceedings   for   European  
Conference  on  Pattern  Lanuage  of  Programs  (EuroPLoP14)  12  pages.1  

1.   INTRODUCTION  
Here  we  will  discuss  the  possibility  of  the  application  of  Pattern  Languages  into  the  field  of  cooking.  Cooking,  
though  a  widespread  perception  of  it  as  a  special  skill  exists,  can  be  seen  as  just  another  form  of  design  that  
many  of  us  go  through  daily.  It  is  a  process  which  requires  creativity,  and  in  most  cases  practice  is  needed  to  
become  a  good  cook.  The  meal  made  has  no  limits  where  the  same  meal  can  have  millions  of  variations,  and  yet  
new  menus  continue  to  be  created.  The  design  aspect  of  cooking  are  hard  to  just  overlook.  
In  this  paper  we  will  highlight  the  similarities  between  cooking  and  architecture  -­‐  a  rather  traditional  form  of  
design   -­‐   and   discuss   the   possibility   that   Patten   Languages   have   in   the   area   by   applying   the   principles  
introduced   in   Christopher   Alexander's   book   The   Oregon   Experiment.   Through   the   observations,   we   will  
introduce  a  method  called  Generative  Cooking  as  a  new  approach  to  understand  cooking,  and  show  a  prototype  
patterns  created  with  the  method.  With  the  application  of  pattern  languages  into  the  field  of  cooking,  it  would  
bring  the  concept  of  design  and  pattern  languages  to  a  more  familiar  level  for  all.    
 
2.   BACKGROUND  
Pattern languages were first introduced by Christopher Alexander in the field of architecture. While the method has its
roots in architecture, its logical yet creative aspects that help people make a sequence of decisions can be applied to
all design processes in general. Indeed pattern languages has been introduced into a variety of expert fields – its most
famous being software – and yet holds potential for more expansion. Therefore, its application to cooking – yet
another form of design - can be derived in a logical sense. Since cooking is a form of design where many of us engage
in on a daily basis, it would become an important step in the spread of the method. In the following sections we will
compare the characteristics of cooking with that of architecture in effort to apply the ideas proposed by Christopher
Alexander to cooking.

2.1 Architecture and Cooking

1
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EuroPLoP '14, July 09 - 13, 2014, Irsee, Germany

Copyright 2014 ACM 978-1-4503-3416-7/14/07…$15.00
http://dx.doi.org/10.1145/2721956.2721964
Cooking   and   architecture   share   many   characteristics   together.   Among   many   of   the   similarities   that   can   be  
imagined,  Ettinger-­‐Brinckmann  and  Toyka  highlights  some  similarities  between  the  two  fields:  
Both arts are essential “staffs of life.” If we start addressing the question of quality, then in the case
of both cooking and building we see that quality does not have to be associated with high costs. On
the contrary, it is about devising intelligent, creative solutions using basic ingredients or materials –
and these can be very simple
Here,  architecture  and  cooking  are  both  referred  to  as  "arts".  Since  both  architects  and  cooks  engage  in  some  
kind   of   a   creation   process,   their   works   often   require   creativity.   Borrowing   Franken's   definition   of   creativity   as  
"the   tendency   to   generate   or   recognize   ideas,   alternatives,   or   possibilities   that   may   be   useful   in   solving  
problems,   communicating   with   others,   and   entertaining   ourselves   and   others",   both   arts   can   be   considered  
creative  since  each  use  their  specialties  to  fulfill  these  needs.    
One   major   difference   between   the   two   arts   lies   in   the   subject,   which   the   act   is   done   by,   and   its   frequency.  
Though  Alexander's  proposal  with  A  Pattern  Language  was  that  the  production  of  towns  and  buildings  should  
be  a  continuous  process,  its  time  span  between  projects  is  still  tremendously  long.  Moreover,  though  Alexander  
had   argued   the   importance   of   citizens'   participation   in   the   creation   of   their   towns,   architecture   is   still  
considered   to   be   a   professional   field,   and   very   few   of   us   build   houses   on   a   daily   bases.   Cooking   on   the   other  
hand   is   a   process   encountered   multiple   times   in   a   single   day,   and   much   more   people   cook   food   than   people  
build  houses.    
 
It  is  clear  that  the  two  arts  have  deep  connections  in  between,  and  yet  have  some  differences.  Its  exploration  
could  be  endless.  However  what  we  are  rather  interested  in  here  is  the  mere  fact  that  architecture  and  cooking  
share  some  similarities,  where  we  can  derive  the  idea  of  introducing  patterns  into  the  field  of  cooking.    
 
 
2. 2 Pattern Languages and the Problem with Master Plans  
Christopher  Alexander,  in  his  1975  book  The  Oregon  Experiment,  criticized  the  inefficiency  of  master  plans  in  
the  construction  of  a  town.  For  a  town  to  be  whole  and  meet  the  needs  of  its  inhabitants,  he  says  it  must  have  
what  he  calls  an  organic  order.  This  order  is  similar  to  that  of  a  plant,  where  its  parts  -­‐  leaves,  roots,  flower,  etc.  
-­‐  grow  to  be  placed  so  that  the  need  of  the  parts  and  the  needs  of  the  whole  plant  are  in  balance.  This  organic  
order  is  not  created  by  the  existence  of  a  master  plan  that  strictly  maps  out  the  future  vision  of  a  town,  but  is  
achieved  piecemeal  by  a  series  of  small  projects  that  each  aim  to  meet  local  needs.  
 Borrowing  his  words,  Alexander  says  that  a  master  plan  "attempts  to  set  down  enough  guidelines  to  provide  for  
coherence   in   the   environment   as   a   whole   -­‐   and   still   leave   freedom   for   individual   buildings   and   open   spaces   to  
adapt   to   local   needs".   At   first   this   may   seem   sensible,   but   Alexander   points   out   the   essential   problems   of   the  
master  plan.    
But in Practice master plans fail - because they create totalitarian order, not organic order. They are
too rigid; they cannot easily adapt to the natural and unpredictable changes that inevitably arise in
the life of a community. As these changes occur ... the master plan becomes obsolete, and is no longer
followed.
Alexander  states  that  pattern  languages  would  help  overcome  the  problems  of  a  master  plan.  The  growth  of  a  
town   should   not   be   planned   as   one   big   chunk,   but   should   be   a   dynamic   process   achieved   in   a   piecemeal  
manner  through  a  series  of  small  projects.  The  existence  of  a  pattern  language  would  help  guide  this  process.  
Since   each   pattern   describes   what   should   be   made   and   why   it   should   be   made,   it   is   clear   which   patterns   a  
project  is  trying  to  achieve,  and  what  the  benefits  of  the  project  are.  Furthermore,  people  of  the  town  can  check  
the  list  of  patterns  in  the  pattern  language  periodically  to  see  if  any  of  the  patterns  don't  match  their  needs  any  
more.  If  so,  any  of  the  patterns  can  be  taken  out,  replaced,  or  revised  without  affecting  much  the  future  plans.  
As  a  result,  the  small  projects  would  guide  the  town  through  piecemeal  growth,  which  then  leads  to  having  an  
organic  order.    
As   I   will   explain   in   the   following   sections,   a   recipe   for   cooking   may   be   seen   as   a   master   plan,   and   therefore  
potentially  contains  the  same  problems  as  explained  above.  
 
2.  3     Limitations  of  Recipes  
Taking  the  similarities  between  architecture  and  cooking  into  account,  the  same  problems  that  Alexander  had  
explained  about  a  master  plan  can  be  reflected  on  to  a  recipe.    
 
 Towards  a  Pattern  Language  for  Cooking:  A  Generative  Approach  To  Cooking:  Page  -­‐  2  
Most   recipes   that   exist   today   somewhat   follow   the   same   format.   They   have   the   recipe   title,   a   picture   of   the  
completed   dish,   ingredients   and   their   measurements,   and   then   steps   to   follow   to   achieve   the   dish   pictured  
above.   In   most   cases   this   format   is   sufficient   for   the   cook's   needs.   All   the   cook   has   to   do   is   to   get   each  
ingredient   ready   as   it   is   written   in   the   recipe,   and   then   just   follow   the   steps.  Though   this   may   seem   as   the   best  
way   to   write   out   the   knowledge   of   a   dish,   recipes   still   withhold   limitations   that   interfere   with   the   actual  
cooking  process.  
 
Rigid  Contexts  
There  is  one  inevitable  flaw  that  all  recipes  have:  they  cannot  accommodate  for  each  specific  circumstance.  You  
forgot   to   buy   butter;   you   only   had   two   eggs   in   the   refrigerator   while   the   recipe   requires   three;   the   recipe  
requires  you  to  use  a  spatula  but  you  don’t  have  one  in  your  kitchen.  Recipes  often  implicitly  demand  that  the  
kitchen  be  in  a  somewhat  perfect  condition  where  supplies  and  ingredients  are  sufficiently  provided.  If  a  chef  
cannot  meet  the  right  conditions,  then  it  is  only  up  to  him  to  overcome  these  difficulties.    
 
Unwritten  Tacit  Knowledge  
Another  thing  that  recipes  require  us:  perfection.  Situations  occur  when  we  put  too  much  of  a  condiment  into  
the   pot,   or   when   we   mistake   the   order   which   to   cook   the   ingredients.   Ways   to   overcome   these   mistakes   are  
rarely   addressed   in   the   recipe   itself.   Experienced   cooks   have   knowledge   from   the   past,   so   usually   these  
situations   do   not   become   too   much   of   a   problem   for   them.   However,   these   knowledge   from   experience   are  
mostly  tacit  and  rarely  are  they  written  down.  Seen  from  a  beginner,  it  is  these  unwritten  parts  that  are  making  
cooking  seem  hard  and  mystical  for  them.  
 
Accommodation  for  Variables  
Even   if   the   kitchen   is   in   perfect   condition   with   the   right   tools   and   ingredients,   and   the   chef   cooks   with  
perfection  as  the  recipe  says,  still  there  is  no  guarantee  that  the  dish  will  turn  out  well.  What  must  be  said  is  
that   the   measurements   and   times   written   in   the   recipe   are   no   more   than   a   good   guideline   to   follow.   In   the  
actual  cooking  process,  there  are  many  variables  that  would  alter  the  actual  numbers.  For  example,  a  thicker  
loaf  of  meat  would  require  a  longer  cooking  time,  or  the  performance  of  your  oven  can  alter  the  time  the  pot  
goes   into   the   oven.   It   is   impossible   to   write   out   exact   cooking   times   for   all   situations,   so   alterations   must   be  
entrusted  to  the  chefs.  
 
Possibilities  of  Variations  
When  a  chef  cooks  a  recipe,  very  often  he  makes  some  alterations  to  it.  The  very  simplest  form  of  this  may  be  
scaling  a  recipe  to  make  the  right  amount  needed  for  the  night.  Advanced  variations  of  the  meal  can  occur  at  all  
kinds  of  levels:  using  a  different  kind  of  a  meat,  adding  an  extra  vegetable,  baking  the  dish  instead  of  frying  it,  
etc.  There  are  an  infinite  number  of  variations  that  a  single  recipe  could  have,  but  ideas  for  it  all  depends  on  the  
chef’s  inspirations.  These  ideas  are  based  on  the  chef’s  past  experiences  of  cooking  and  eating  different  kinds  of  
foods,  and,  again,  is  something  that  is  tacit  and  unwritten.    
 
Knowledge  Beyond  Recipes  
One  last  point  of  consideration  as  a  limitation  of  recipes:  many  of  us,  when  we  cook,  do  not  need  a  recipe.  There  
are  many  people  who  can  just  go  shopping,  buy  ingredients,  and  cook  their  favorite  dish  all  without  any  form  of  
a  written  recipe.  There  are  others  who  can  open  the  refrigerator  to  see  what's  inside,  and  then  image  what  can  
be  cooked  from  it.  This  kind  of  cooking  often  results  in  a  delicious  yet  nameless  dish.  It  may  be  the  first  time  
that  the  person  cooks  the  dish,  and  also  the  last.  The  specific  ingredients  that  were  available  at  the  time  had  
lead  to  the  one-­‐time-­‐only  dish.  And  of  course,  a  written  recipe  does  not  exist  for  this  specific  dish.    
 
These   facts   suggest   one   simple   idea:   totalitarian   order   may   not   be   the   only   answer   to   good   taste.   Though  
recipes  are  important  sources  for  inspiration  on  what  and  how  to  cook,  just  following  its  directions  would  be  
meaningless.  What  a  good  chef  has  in  his  mind  is  not  the  teaspoons  memorized,  but  is  a  framework  that  allows  
them  to  cook  on  the  spot.  
 
 
 
2.  4     Application  to  Design  in  General  
 
 Towards  a  Pattern  Language  for  Cooking:  A  Generative  Approach  To  Cooking:  Page  -­‐  3  
Both  the  master  plan  in  architecture  and  the  recipe  in  cooking  can  be  said  to  be  representative  of  the  modern  
industrialized  society.  In  efforts  to  optimize  production  with  low  costs  and  less  labor,  they  have  lost  somewhat  
an  important  idea  behind  houses  and  food.  If  people  were  just  taught  to  read  and  follow  directions  on  how  to  
cook,  the  essential  principles  behind  the  design  process  will  become  lost.  
This  may  be  bringing  up  something  more  than  just  a  problem  in  architecture  or  cooking.  Reading  and  following  
manuals  is  something  that  is  done  widespread  in  business  and  educational  contexts.  If  the  mere  following  of  
directions  is  what  becomes  valued,  then  we  are  left  with  people  who  do  not  think  for  themselves.    
Efficiency   is   definitely   one   important   factor   in   the   growing   economy,   and   recipes   and   manuals   will   continue   to  
have   its   importance   in   many   ways.   However,   we   would   like   to   pose   another   approach   to   cooking   –   and  
ultimately  to  design  in  general  -­‐  where  efficiency  is  not  necessarily  the  best  approach  to  create  the  happiness  of  
living,  just  as  Alexander  had  proposed  for  architecture.    
 
 
3.     THE  GENERATIVE  COOKING  APPROACH  
The  connection  between  food  and  architecture  brought  up  the  potential  of  the  application  of  pattern  languages  
in  this  new  field.  When  applied  properly,  it  should  create  a  synergy  which  would  become  helpful  for  all  current  
and  future  chefs.  
Hence,   we   would   like   to   introduce   the  Generative   Cooking  approach.   In   brief,   this   approach   aims   to   create   a  
pattern   language   for   both   beginning   and   expert   chefs   to   use   so   they   can   perform   the   necessary   steps   at   the  
necessary   moments   while   cooking.  While   recipes   will   continue   to   have   importance   in   the   cooking   process,  
these   patterns   will   function   to   fill   in   the   gaps   between   the   lines   in   a   recipe.   Together   with   a   recipe,   the   cooking  
process  can  be  considered  as  a  whole  process,  not  just  divided  into  individual  steps.  
This   is   an   approach   to   cooking   aimed   to   capture   the   process   from   the   side   of   the   food   that   is   being   cooked.  
Looking  back  at  Alexander's  A  Pattern  Language,  the  patterns  in  this  book  were  not  written  about  the  human  
mindsets   for   building   towns   and   buildings,   but   they   focused   on   capturing   the   mere   architectural   forms   that  
shaped  the  place.  Similarly,  the  technique  we  will  introduce  here  will  aim  to  capture  the  patterns  that  lurk  in  
the  field  of  cooking  that  shapes  the  taste  and  appearance  of  food.  (The  search  for  patterns  on  the  mindset  while  
cooking  will  be  covered  in  a  future  study.)  
 
3.  1     The  Diagnosis  and  Repair  Cycle    
The  basic  idea  for  the  patterns  for  Generative  Cooking  lies  in  this  diagnosis  and  repair  cycle.  When  using  the  
pattern,  the  perception  from  one  or  more  of  a  chef's  senses  would  trigger  the  context  of  a  pattern  (for  example,  
a  sizzling  sound).  From  this,  the  chef's  thought  process  will  generate  a  problem  in  his  head  (The  meat  will  be  
burnt  and  taste  bad  if  I  don't  do  something).  Finally  the  pattern  would  help  the  chef  come  up  with  a  solution  to  
the  problem  (flip  the  strip  of  meat  over),  which  he  can  execute.  Then  the  cooking  process  would  go  on  with  the  
chef  perceiving  the  next  signal  from  the  pan.  This  process  of  using  patterns  is  illustrated  in  the  figure  below.  
 

 
 Towards  a  Pattern  Language  for  Cooking:  A  Generative  Approach  To  Cooking:  Page  -­‐  4  
  
Figure  1.  Chain  process  of  the  use  of  patterns  while  cooking  
 
It  is  exactly  this  process  of  piecemeal  growth  that  we  call  the  Generative  Cooking  process.  Though  the  cooking  
process  can  still  be  guided  loosely  by  a  recipe,  it  is  also  locally  driven  by  the  repeated  check  of  the  dish's  needs,  
and  efforts  to  balance  any  problems.  Notice  that  this  process  is  done  centrally  to  the  needs  of  the  food  being  
cooked.   It   is   not   the   chef's   random   acts   that   are   shaping   the   dish:   the   chef   only   is   following   what   the   dish   is  
demanding.  Hence  the  cooking  process  too  is  generative.  
Designed  as  Designer,  a  2008  paper  by  Richard  Gabriel,  offers  a  way  of  looking  at  this  process.  In  his  work  he  
describes   how   an   object   being   designed   becomes   self-­‐referentially   its   own   designer.   He   gives   poetry   as   an  
example  where  the  first  draft  of  a  poem  itself  shows  points  that  could  be  revised,  which  then  the  new  revised  
version   again   gives   more   places   that   could   be   fixed.  The   same   process   can   be   applied   to   cooking,   where   the  
dish  continually  gives  signals  to  the  cook  of  places  that  need  to  be  fixed.    
It   is   this   simple   process   of   using   patterns   (though   the   patterns   themselves   are   usually   unconscious   for   most  
cooks)  that  people  have  in  their  minds  that  allows  them  to  cook  –  whether  with  or  without  a  recipe.  They  can  
combine   and   use   necessary   patterns   according   to   the   dish   they   are   trying   to   cook.   The   combinations   can   be  
infinite,  which  allows  them  to  process  various  situations  they  encounter  while  cooking.    
 This   unfolding   process   of   cooking   is   also   what   can   result   in   a   creation   of   a   nameless   but   delicious   dish.  
Buschmann   describes   this   in   the   context   of   patterns:   by   using   pattern   sequences,   a   specific   solution   is   developed  
stepwise   through   many   creative   acts   until   it   is   complete   and   consistent   in   all   its   parts.   We   can   see   here   the  
metaphor  of  cooking  match  exactly  the  function  of  patterns.    
What   is   more,   many   of   the   same   patterns   are   encountered   in   a   different   way   over   several   menus.   Figure   2  
shows   the   same   pattern   (to   cook   carrots   with   oil)   used   in   two   different   menus.   Hence,   once   the   pattern   is  
acquired  through  one  dish,  the  connection  is  easy  to  make  in  other  menus.  This  connection  may  not  be  always  
clear  without  the  help  of  patterns.  Buschmann  (as  cited  in  Kohls,  2011)  explains:  
The merge of patterns into a new whole is rather like cooking than building something by
connecting Lego bricks: ‘the metaphor of cooking has more to offer us than the metaphor of
construction: ingredients blend and affect one another in a way that lacks convenient parallels in
the world of steel, glass, bricks, and wood’ (Buschmann, Henney & Schmidt, 2007, p.185). This
means that the very character of one pattern can be altered by other patterns. Just as an apple
tastes different in diverse meals, an OBSERVER may have different emergent properties depending
on other patterns at work.
For  example,  let’s  say  the  carrots  in  the  two  menus  on  Figure  2  are  both  cooked  in  oil  to  create  a  caramelization  
reaction  to  make  them  sweeter.  Although  it  may  be  hard  at  first  to  make  the  connection  between  the  carrots  in  
 
 Towards  a  Pattern  Language  for  Cooking:  A  Generative  Approach  To  Cooking:  Page  -­‐  5  
the   two   menus   due   to   the   difference   in   their   visuals,   the   patterns   will   allow   the   chef   to   track   these   two  
relationships  back  to  the  same  pattern.    

 
Figure 2. The same pattern may appear over different menus
We   believe,   the   combination   of   a   recipe   –   written   out   or   not   –   and   the   generative   cooking   patterns,   will   help  
guide  a  person  through  a  cooking  process.  However,  what  must  not  be  confused  here  is  that  a  written  recipe  -­‐  
which   scribes   out   the   exact   measurements   and   time   to   cook   -­‐   must   be   thought   of   as   nothing   more   than   a  
guideline   where   all   measurements   and   times   not   need   to   be   followed   exactly.   What   is   more   important   is   to  
extract   the   mere   steps   (for   example,   "brown   the   meat")  and   that   lead   up   to   a   certain   dish,   which   we   can   follow  
according   to   occasional   needs.   Then,   each   process   of   cooking   stew   should   become   dynamic   and   improvised.  
After   several   occurrences   of   cooking   using   the   patterns,   then   the   patterns   will   start   to   stick   to   the   person.  
When  such  a  level  is  achieved,  then  ultimately,  a  person  will  start  to  become  able  to  cook  with  just  the  patterns  
guiding  their  process  (and  without  a  written  recipe).  
 
 
4.      THE  GENERATIVE  COOKING  PATTERNS  
There   are   mainly   two   sources   that   the   Generative   Cooking   Patterns   can   be   mined   from:   from   written   and  
existing  text  and  from  actual  experience.  
In   most   cases,   recipes   are   written   by   experienced   chefs   who   (unconsciously)   have   patterns   in   their   heads.  
Thus,  a  written  recipe  will  become  a  good  starting  point  as  a  source  for  pattern  mining.  Each  step  in  a  recipe  
has  a  reason  for  existence,  and  therefore  becomes  a  candidate  for  a  pattern.  What  we  need  to  do  is  to  extract  
these   steps   from   the   recipe   so   that   they   can   be   handled   individually.   Once   the   individual   actions   are   extracted,  
why   each   step   exists   can   be   explored   to   shape   it   into   a   pattern.   By   knowing   why   each   action   is   important,   then  
when   we   run   into   similar   situations   when   cooking   a   different   dish,   the   situation   can   be   tracked   back   to   the  
same  pattern.  
In  this  particular   case,   we   will   use   a   recipe   introduced   in   Alice   Water's   book  The   Art   of   Simple   Food.  Recipes  
often  contain  steps  that  only  the  author  knows  why  it  exists.  But  in  the  book,  not  just  the  recipe  is  shown  but  
also  its  background  information  is  given.  She  does  a  wonderful  job  explaining  why  a  certain  step  needs  to  be  
done,  which  makes  this  book  a  great  source  for  mining  patterns  on  cooking.    
As   section   2.3   had   pointed   out,   just   the   recipe   itself   is   not   sufficient   to   describe   the   entire   cooking   process,   and  
knowledge   to   fill   in   the   gaps   in   between   the   lines   of   a   recipe   also   need   to   be   extracted.   This   complimentary  
other  half-­‐  the  thought  process  and  the  experiences  of  the  chef  –  is  best  extracted  from  first-­‐hand  experience.  
This  can  be  done  by  brainstorming  for  personal  experience,  or  better  yet,  through  observing  and  interviewing  
a  cook.  The  best  way  to  do  this  is  to  record  a  cooking  process  by  a  cook,  and  then  to  observe  the  recording  with  
the   cook   to   mine   out   patterns.   Basically,   every   action   that   the   cook   takes   while   cooking   a   recipe   becomes   a  
candidate  for  a  pattern.  By  asking  why  the  cook  a  certain  action,  these  actions  can  be  shaped  into  a  pattern.  
 
4.  1    Mining  the  Generative  Cooking  Patterns  
 
 Towards  a  Pattern  Language  for  Cooking:  A  Generative  Approach  To  Cooking:  Page  -­‐  6  
There   are   mainly   two   sources   that   the   Generative   Cooking   Patterns   can   be   mined   from:   from   written   and  
existing  text  and  from  actual  experience.  
In   most   cases,   recipes   are   written   by   experienced   chefs   who   (unconsciously)   have   patterns   in   their   heads.  
Thus,  a  written  recipe  will  become  a  good  starting  point  as  a  source  for  pattern  mining.  Each  step  in  a  recipe  
has  a  reason  for  existence,  and  therefore  becomes  a  candidate  for  a  pattern.  What  we  need  to  do  is  to  extract  
these   steps   from   the   recipe   so   that   they   can   be   handled   individually.   Once   the   individual   actions   are   extracted,  
why   each   step   exists   can   be   explored   to   shape   it   into   a   pattern.   By   knowing   why   each   action   is   important,   then  
when   we   run   into   similar   situations   when   cooking   a   different   dish,   the   situation   can   be   tracked   back   to   the  
same  pattern.  
In  this  particular   case,   we   will   use   a   recipe   introduced   in   Alice   Water's   book   The   Art   of   Simple   Food.  Recipes  
often  contain  steps  that  only  the  author  knows  why  it  exists.  But  in  the  book,  not  just  the  recipe  is  shown  but  
also  its  background  information  is  given.  She  does  a  wonderful  job  explaining  why  a  certain  step  needs  to  be  
done,  which  makes  this  book  a  great  source  for  mining  patterns  on  cooking.    
As   section   2.3   had   pointed   out,   just   the   recipe   itself   is   not   sufficient   to   describe   the   entire   cooking   process,   and  
knowledge   to   fill   in   the   gaps   in   between   the   lines   of   a   recipe   also   need   to   be   extracted.   This   complimentary  
other  half-­‐  the  thought  process  and  the  experiences  of  the  chef  –  is  best  extracted  from  first-­‐hand  experience.  
This  can  be  done  by  brainstorming  for  personal  experience,  or  better  yet,  through  observing  and  interviewing  
a  cook.  The  best  way  to  do  this  is  to  record  a  cooking  process  by  a  cook,  and  then  to  observe  the  recording  with  
the   cook   to   mine   out   patterns.   Basically,   every   action   that   the   cook   takes   while   cooking   a   recipe   becomes   a  
candidate  for  a  pattern.  By  asking  why  the  cook  a  certain  action,  these  actions  can  be  shaped  into  a  pattern.  
 
4.  2     Patterns  
The   Generative   Cooking   Patterns   themselves   are   written   in   rather   a   simple   form.   They   follow   the   traditional  
context-­‐problem-­‐solution   format.   It   can   be   said   that   the   collection   will   be   composed   of   two   types   of   patterns:  
patterns   that   solves   an   existential   problem,   and   patterns   which   prevent   problems   from   occurring.   Note   this  
distinction  is  only  for  the  purpose  of  convenience,  and  the  actual  patterns  are  mixed  in  together  without  any  
visual  markings.  
Referring   back   to   section   2.2   of   this   paper,   the  context   will   contain   the   perception   from   one   or   more   of   the   five  
senses   that   will   become   the   trigger   of   the   pattern.   It   may   also   instead   describe   the   situation   of   the   dish   in  
general  as  a  traditional  Alexanderian  pattern  would.  The  Problem  can  be  understood  as  the  reason  this  pattern  
should   be   used.   It   would   guide   the   user   to   think   why   some   action   should   be   taken   at   this   point   by   notifying  
them  of  any  current  or  future  problems.  Finally,  the  solution  would  tell  the  cook  what  to  do  to  solve  or  avoid  
the  problem.    
When   using   the   pattern   the   reader   would   most   likely   it   as   a   reference   whenever   they   meet   an   unfamiliar  
pattern  in  the  steps  for  cooking.  Also,  if  they  have  read  through  the  patterns  beforehand,  they  would  be  able  to  
recognize   the   patterns   when   they   look   at   a   recipe   or   when   they   see   someone   cook.   The   result   –   faster  
acquisition  can  be  anticipated.  
 
 
4.  3    Generative  Cooking  Patterns  for  Sautéing  
 
A   collection   of   Generative   Cooking   Patterns  mined  from  a  recipe  for  sautéing  by  Alice  Waters  will  follow.  For  
now  the  patterns  are  presented  as  a  list.  In  future  works  where  more  patterns  start  to  be  mined  from  various  
recipes,  a  network  of  patterns  will  start  to  form  showing  patterns  that  are  seen  across  many  dishes.    
 
Context   Problem   Solution  
Quick  Strong  Heat  

Sautéing   vegetables   should   generally   be  

If  the  sautéing  is  done  taking  time,  it  
done   quickly   under   high   heat.   This   way  
Vegetables   are   being   would   take   time   to   cook,   causing  
the   high   heat   will   evaporate   moisture   in  
sautéed   vegetables   to   become   watery   and  
the   ingredients   while   preserving   its  
lose  its  important  vitamins.  
fibers  for  good  texture.    

 
 Towards  a  Pattern  Language  for  Cooking:  A  Generative  Approach  To  Cooking:  Page  -­‐  7  
 Pre-­‐seasoning  

Season  the  meat  or  fish  with  salt,  pepper,  

These   ingredients   tend   to   have   a  
herbs   and   spices   beforehand.    Exposing  
distinct   raw   smell   that   would   take  
You   are   about   to   cook   the   meat   and   fish   to   salt   causes   the  
away  from  the  flavor  of  a  dish.  Also,  
some   fish,   shellfish,   or   protein  inside  to  shrink,  causing  water  to  
if   just   cooked   together   with   other  
meat.   become   squeezed   out   of   it.   When   this  
vegetables,   the   resulting   dish   may  
happens,  the  salt  on  the  meat  submerges  
lack  taste.  
inwards  to  flavor  the  meat.    

Uniform  Cuts  

The   ingredients   should   be   cooked  

When   sautéing,   cut   the   ingredients   so  
Raw   meat,   vegetables,   evenly.   If   some   ingredients   are  
they  are  roughly  the  same  size.  This  way  
fish,   shellfish,   etc.   are   about   to   burn   and   yet   others   are  
all   of   the   ingredients   will   be   finished  
about  to  be  sautéed.   still  half-­‐raw,  the  resulting  dish  will  
cooking  at  the  same  timing.    
not  be  enjoyable.    

Oil  Coat  
Before   adding   any   ingredients   into   the  
pan,  add  oil  to  the  pan.  Oils  with  an  high  
Heating  the  ingredients  will  cause  it   smoking   point   best   fits   fro   sautéing.  
to   shrink   and   the   protein-­‐filled   Olive   oil   is   an   excellent   choice.   Its  
Ingredients   are   about   to  
juices   from   the   inside   will   be   amount   should   be   enough   so   that   when  
be  placed  into  the  pan  or  
squeezed   out.   This   will   cause   the   the   pan   is   tilted,   the   oil   coats   the   entire  
sautéing.  
ingredients   to   stick   to   the   pan   and   cooking   surface.   This   will   create   a  
make  it  likely  to  burn.   membrane   of   oil   between   the   pan   and  
the  ingredients,  which  will  prevent  them  
from  sticking  when  heated.  
Hot  Heated  Pan  

Preheat   the   pan   to   a   high   temperature  

Since   the   uniform   before   adding   any   ingredients   into   it.  
If  a  large  amount  of  time  is  taken  to  
ingredients   are   still   raw,   This   way   the   ingredients   is   cooked  
cook   the   meat   or   fish,   the   long  
they  need  to  be  cooked  so   quickly   on   its   surface,   which   would  
heating  will  take  away  the  taste  and  
it   can   be   eaten.   The   prevent   the   taste   from   escaping   out.   To  
moisture   from   the   ingredients,  
ingredients   are   about   to   check   its   temperature,   drop   a   little  
making   them   tasteless   and   hard   to  
be   put   in   the   pan   for   amount   of   water   onto   the   pan.   If   the  
chew.    
sautéing.     water  evaporates  almost  instantly,  it  is  a  
sign  that  the  pan  is  heated  enough.    

Batched  Sautéing  
If   large   amounts   need   to   be   cooked,   or  
If  the  ingredients  are  put  in  the  pan  
you  only  have  a  small  frying  pan,  sauté  in  
all   at   once,   it   would   not   reach   the  
There   are   large   amounts   small  batches  at  a  time  to  keep  the  whole  
desired   high   temperature   and   also  
of   ingredients   to   be   dish   maintain   flavor   and   texture.  For  
would   take   time   to   cook.   The  
sautéed.   example,   if   a   meal   for   two   needs   to   be  
resulting   dish   would   become  
cooked,   cook   a   batch   for   one   person  
watery,  taking  away  from  the  taste.  
twice.    
Sticky  Removal  

 
 Towards  a  Pattern  Language  for  Cooking:  A  Generative  Approach  To  Cooking:  Page  -­‐  8  
 This   happens   because   some   of   the   If   ingredients   start   to   stick   to   the   pan,  
ingredients  tend  to  suck  up  more  oil   add   a   little   amount   of   liquid   to   the   pan.  
than   others,   resulting   in   it   taking   Water   works   perfectly   fine,   but  
Ingredients   sautéing   in   away  oil  from  the  other  ingredients.   condiments   can   be   used   if   the   dish   still  
the   pan   are   starting   to   If  they  are  left  stuck  to  the  pan,  it  is   lacks   taste.   If   this   does   not   solve   the  
stick  to  the  pan.   likely   that   they   will   become   burnt,   problem,  oil  can  also  be  used.  This  can  be  
while   other   ingredients   in   the   pan   done   by   letting   the   oil   pour   down   the  
still  need  more  heat,  resulting  in  an   side   of   the   pan   so   it   can   heat   up   on   its  
unevenly  cooked  dish.   way.  
Stirring  and  Flipping  
To   keep   the   ingredients   constantly  
There  is  enough  oil  in  the  
coated   with   oil   so   it   will   not   stick,  
pan   but   the   Ingredients   Even   if   there   is   enough   oil   in   the  
constantly  stir  the  ingredients  around  in  
being   sautéed   in   a   pan   pan,   the   pieces   still   tend   to   make  
the   pan.   This   will   recoat   the   ingredients  
are   sticking   to   pan.   Some   contact   with   the   pan   to   cause   the  
with  the  extra  oil  in  the  pan,  and  also  will  
pieces   are   even   starting   stick.  
help   each   piece   of   ingredient   to   receive  
to  burn.    
heat  evenly.    
Space  cushion    
When  sautéing  several  pieces  of  meat  or  
If   the   pieces   are   too   close   to   each  
fish,  keep  about  3  centimeters  of  space  in  
other,   the   juices   from   the   meat   or  
Several   pieces   of   meat   or   between   the   ingredients   to   keep   the  
fish  will  start  to  cause  them  to  stick  
fish   that   are   about   to   be   pieces   from   sticking   to   each   other.   Be  
to  each  other.  This  would  become  a  
sautéed   are   placed   on   the   careful   not   to   leave   too   much   space   in  
problem   if   the   meat   or   fish   are   to   be  
pan.     between,   which   will   then   cause   oil   to  
sautéed  without  much  stirring  (pan-­‐
collect   in   the   open   area,   causing   it   to  
fried)    
smoke.    
Separate  Sautéing  

In   general,   meats,   fish,   shellfish  

become   tough   and   hard   as   they  
Cook   meats,   fish,   and   shellfish   in   a  
cook,   and   overcooking   would   make  
There   are   meat,   fish,   or   separate   batch   from   vegetables.   Leave  
it   lose   its   flavor.   Since   these  
shellfish   to   be   sautéed   the   cooked   meats   and   seafood   on   the  
ingredients  generally  take  a  shorter  
with  vegetables.     plate,   and   then   add   it   back   to   the   pan  
time  to  cook  than  root  vegetables,  it  
after  the  vegetables  are  cooked.    
is   hard   to   determine   the   right  
timing  to  add  to  the  pan.  

The  Starting  Lineup  

Add   ingredients   to   the   pan   at   different  

timings  so  that  all  ingredients  will  finish  
If   the   ingredients   start   cooking   at  
Sautéing   usually   uses   cooking   at   around   the   same   time.   In  
the   same   time,   the   finished   dish   will  
several   different   kinds   of   general,   root   vegetables   such   as   carrots  
contain   ingredients   that   are   cooked  
ingredients.   These   take   longer   to   cook   and   should   be  
up   to   different   levels.   Some  
ingredients  take  different   cooked   first,   while   leafy   vegetables   can  
ingredients   may   start   to   harden   and  
amounts  of  time  to  cook.     wait   until   later.   Meats   will   be   added   at  
burn  while  others  are  still  half  raw.    
different   timings   depending   on   its   kind.  
To  be  safe,  separate  sautéing  can  be  used.  

 
 
 
 Towards  a  Pattern  Language  for  Cooking:  A  Generative  Approach  To  Cooking:  Page  -­‐  9  
4.  4     Understanding  a  Sample  Recipe  using  Patterns  for  Sautéing  
We   will   present   here   a   sample   sauté   recipe.   It   is   a   typical   Japanese-­‐style   recipe   for   sautéing   pork   and  
vegetables.  We  chose  a  Japanese  recipe  to  show  that  the  patterns  mined  can  be  used  in  sauté  recipes  in  general  
and   have   possibilities   to   be   applied   to   a   variety   of   recipes   in   different   cultures.   In   a   table,   besides   each   step,  
patterns  from  above  that  can  be  recognized  at  that  step  are  shown.  This  was  done  to  show  what  the  experience  
of   cooking   with   Generative   Cooking   patterns   would   feel   like.   The   patterns   would   exist   in   a   user’s   minds   to  
understand  the  recipe  better,  and  to  fill  in  the  gaps  between  the  lines.    
 
Japanese-­‐Style  Pork  and  Vegetable  Sauté  
 
Ingredients  (for  four):  
400g  Thin-­‐sliced  Pork  
1  Onion  
1/2  Carrot  
2  Green  Bell  Peppers  
1  piece  ginger  
2  tablespoons  sugar  
4  tablespoons  soy  sauce  
3  tablespoons  cooking  oil  
 
Step   Instructions   Applicable  Patterns  
1   Grate  the  ginger  into  a  bowl      
2   Mix  in  the  sugar  and  soy  sauce.   Ready-­‐to-­‐go  Condiments  
Measure  apart  about  half  of  the  mixture  
3      
into  a  separate  bowl    
Add  in  the  pork  and  stir  so  the  meat  is  
4   Pre-­‐seasoning  
covered  with  the  mixture  evenly.  
Peel  the  onion,  slice  in  half  and  cut  
5   Uniform  Cuts  
vertically  into  1/4  inch  slices.  

The  bell  pepper  is  also  cut  in  half,  remove  

6   Uniform  Cuts  
the  seeds  and  cut  into  1/4  inch  slices.    

The  carrots  are  also  cut  into  1/4  inch  

7   Uniform  Cuts  
strips.  
8   Heat  a  sauté  pan  under  high  heat.     Hot  Heated  Pan  

Once  the  pan  is  heated,  add  one  

9   tablespoon  cooking  oil  and  tilt  the  pan  so   Oil  Coat  
its  surface  becomes  evenly  coated  with  oil.  

Add  the  flavored  pork  into  the  pan  and   Stirring  and  Flipping  
10  
stir  around  to  cook.  Keep  over  high  heat.     Quick  High  Heat  

Once  the  meat  is  cooked  brown,  remove  

11   Separate  Sautéing  
the  meat  from  the  pan  for  later.  

Keep  the  same  pan  and  reheat  it  under  

12   Hot  Heated  Pan  
high  heat.  
 
 Towards  a  Pattern  Language  for  Cooking:  A  Generative  Approach  To  Cooking:  Page  -­‐  10  
 Add  2  tablespoons  of  oil  to  the  pan  and  
13   Oil  Coat  
coat  as  in  step  9.  

The  Starting  Line-­‐up  

Add  the  carrots  into  the  pan  and  cook  for   Personal  Space  
14  
about  2  minutes.   Batched  Sautéing  
Sticky  Removal  

The  Starting  Line-­‐up  

Add  the  onions  and  bell  peppers  into  the   Personal  Space  
15  
pan  and  continue  cooking.   Batched  Sautéing  
Sticky  Removal  

Once  the  vegetables  become  tender,  add  

16   the  rest  of  the  condiments  from  step  3  and      
stir.  

17   Lastly,  add  back  the  meat  from  step  11.      

You  are  finished  cooking  once  the  meat  is  

18      
heated.  
 
It  can  be  observed  that  some  steps  do  not  have  an  applicable  pattern  while  other  steps  have  multiple  patterns  
that  are  applicable.  This  can  infer  a  couple  of  topics  for  further  discussion.  First,  there  is  always  room  for  more  
patterns.  These  steps  may  still  contain  unfound  patterns  that  can  yet  be  recorded  and  added  to  the  collection.  
Second   it   may   be   presenting   another   limitations   of   a   recipe.   For   example,   in   steps   14   and   15   of   the   sample  
recipe,  four  patterns  are  applicable.  Some  need  to  be  used  every  time  the  step  is  followed  (such  as  The  starting  
Line-­‐up   and   Personal   Space)   while   others   are   needed   only   in   certain   conditions   (for   example,   Batched  
Sautéing).  While  the  steps  that  lead  up  to  step  14  are  all  preparation,  the  actual  “sautéing”  is  expressed  only  a  
few   steps.   There   are   multiple   aspects   to   consider   in   while   the   heat   is   running   in   step   14,   while   the   actual  
process   is   expressed   simply   in   a   few   steps   in   the   recipe.   This   may   be   suggesting   another   limitation   of   the  
conventional  recipe  to  write  out  the  whole  cooking  process.  Together  with  the  patterns,  the  process  becomes  
full  and  understandable.    
 
5.    CONCLUSION  AND  FURTHER  POSSIBILITIES  
This  paper  explored  the  potential  use  of  pattern  languages  in  the  field  of  cooking.  We  proposed  a  generative  
approach   to   cooking   to   suggest   a   new   way   of   understanding   cooking   which   views   cooking   from   the   point   of  
view  of  the  food  being  cooked,  and  presented  a  first  prototype  collection  of  patterns  which  could  be  used  in  a  
sautéing  process.  The  approach  focused  on  the  unfolding  process  of  cooking,  and  together  with  a  recipe,  a  cook  
can  understand  the  recipe  better  and  cook  at  a  higher  conceptual  level.    
This   study   is   still   at   its   beginning,   and   there   are   many   topics   to   be   yet   considered   for   the   full   application   of  
patterns   into   the   cooking   field.   To   leave   off,   we   would   like   to   present   a   couple   of   topics   for   further   possibilities  
that  we  will  cover  in  later  studies.    
 
Existence  of  Global  Patterns  for  Cooking  
As   one   aspect   we   did   not   cover   in   the   paper   and   is   left   for   further   study,   we   noticed   the   existence   of   global  
patterns  that  could  be  used  for  all  cooking  experiences.  Some  of  these  patterns  may  include  portioning  a  recipe  
based  on  the  amount,  or  tasting  a  piece  at  necessary  steps  to  make  sure  the  flavor  is  right.  Since  these  patterns  
are   not   usually   written   out   explicitly   in   recipes   but   are   stoned   into   the   experiences   of   cooks,   we   need   a  
different  approach  –  such  as  in-­‐depth  interviews  with  experienced  cooks  –  to  mine  these  patterns  out.  
 
Patterns  for  the  Cooking  Methods  Itself  

 
 Towards  a  Pattern  Language  for  Cooking:  A  Generative  Approach  To  Cooking:  Page  -­‐  11  
Another  possibility  that  could  be  explored  is  the  reason  for  the  existence  of  different  cooking  methods.  There  
are  several  ways  to  prepare  meat  –  boiling,  baking,  frying,  stewing,  etc.  Each  fit  a  different  context,  and  possibly  
solves  different  problems.  Therefore,  the  types  of  dishes  themselves  can  become  a  pattern.    
Exploring   the   history   of   the   dish   can   be   one   way   to   attack   this   approach.   For   example,   if   we   look   at   the   history  
of   stewing,   it   can   be   traced   back   to   the   times   when   humans   hunted   for   their   own   food.   Meat   was   dried   for   long  
storage,  but  then  they  were  very  hard  to  chew  when  eating.  The  very  first  forms  of  stewing  came  from  cooking  
the   hard   meat   in   water   over   fire   –   which   was   constantly   lit   due   to   the   difficulty   of   making   fire   -­‐   for   a   long   time  
so  they  become  soft.  These  historical  and  cultural  aspects  of  food  can  be  explored  for  possible  patterns.    
 
The  Effect  of  the  Human  Mind  in  Cooking  
The  Generative  Cooking  Patterns,  we  believe,  is  only  half  the  deck.  The  approach  purposely  left  out  the  effects  of  
the  human  mind  on  taste,  but  in  theory,  these  factors  also  play  a  big  role  in  the  taste  of  food.  For  example,  hot  
cooked   chicken   noodle   soup   on   a   cold   winter   day   would   make   a   person   feel   relieved   and   feel   home.   These  
emotions  caused  by  food  are  not  only  due  to  its  temperature  or  taste.  There  is  something  special  for  the  person  
about   the   soup   that   is   giving   him   more   than   what's   just   in   the   soup.   These   emotional   aspects   of   food   are   yet   to  
be   considered   but   are   for   sure   an   important   factor   in   cooking.   There   are   also   basic   mindsets   that   the   chef  
should   keep   in   mind   when   cooking   (such   as   checking   for   taste   frequently)   that   help   enhance   the   cooking  
experience.  These  also  rely  on  the  chef’s  ability  rather  than  the  food  itself.  Patterns  that  aim  to  cultivate  such  
frameworks  in  the  chef  are  left  for  further  investigation.  
 
 
ACKNOWLEDGEMENTS  
Our  greatest  thanks  goes  to  Mr.  Akimitsu  Sano,  CEO  of  COOKPAD  Inc.,  for  his  support  as  a  startup  engine  for  
this  effort  of  making  cooking  a  better  experience  for  everyone.  We  would  also  like  to  acknowledge  the  Cooking  
Patterns  Team  members  Rena  Suzuki,  Tomoko  Osada,  and  Rio  Sakurai  for  much  support  and  contributions  to  
the  ideas  presented  in  this  paper.  Finally,  we  would  like  to  express  gratitude  to  our  shepherd  Christian  Kohls  
for  the  shepherding  process  of  this  paper.  His  comments  and  ideas  were  very  thoughtful  and  inspiring,  and  the  
quality  of  this  paper  would  not  have  been  without  him.  
 
 
 
 
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