AnanasAnanas transforms food into immersive, sculptural experiences—blending art, architecture, and ritual. Their edible installations invite touch and interaction, turning dining into a sensory, site-specific exploration of space and material.
AnanasAnanas—by Verónica González and Eléna Petrossian—is a design duo reshaping how we experience food, space, and material. Working between Los Angeles and Ensenada, the pair transforms dining into immersive, sculptural encounters that exist at the intersection of art, architecture, and sensory ritual.
With González’s background in industrial design and Petrossian’s experience in fashion production and cultural storytelling, their collaboration results in site-specific installations that are both ephemeral and architectural. Every piece is developed with the precision of an architectural model—rendered, measured, and prototyped—before it becomes a multi-sensory landscape of form and flavor.
Their commissioned works reveal a practice that is anything but conventional. One striking example: a chandelier made entirely of oyster and trumpet mushrooms, presented at The Future Perfect gallery in Los Angeles. Suspended in clusters and marinated in soy and vinegar, the fungi were pinned—over 4,000 times—onto glowing light structures. Guests were invited to pluck, dip, and eat directly from the installation, fusing consumption with interaction in a performance of light, texture, and taste.
Whether designing for art museums, magazine launches, or private spaces, AnanasAnanas approaches food as material. Saffron-hued sobrasada rests like sculpture atop terrazzo. Dips are served directly on gravel or natural stone. Crackers, spiced nuts, herbs, and charred fruits become architectural elements—elevated not only in flavor, but in physical presentation. Often there are no plates, no cutlery. Instead, food is hung from ceiling frames, arranged on podiums, or stretched across communal plinths, compelling audiences to move, touch, and engage.
Their work isn’t just about aesthetics—it’s about atmosphere. By stripping dining of traditional cues and formats, González and Petrossian ask us to rethink the relationship between body, space, and sustenance. Food becomes both medium and message: fleeting, intimate, and deeply spatial.
AnanasAnanas’s practice is part culinary design, part conceptual installation—and entirely experiential. In a cultural moment where food design is gaining traction as both discipline and spectacle, their work is notable for its integrity, clarity, and depth. Each commission is a sculptural moment, carefully crafted and deliberately devoured.
In their hands, food is no longer just what we eat. It’s a way to feel, to connect, and to occupy space differently.
AnanasAnanas—by Verónica González and Eléna Petrossian—is a design duo reshaping how we experience food, space, and material. Working between Los Angeles and Ensenada, the pair transforms dining into immersive, sculptural encounters that exist at the intersection of art, architecture, and sensory ritual.
With González’s background in industrial design and Petrossian’s experience in fashion production and cultural storytelling, their collaboration results in site-specific installations that are both ephemeral and architectural. Every piece is developed with the precision of an architectural model—rendered, measured, and prototyped—before it becomes a multi-sensory landscape of form and flavor.
Their commissioned works reveal a practice that is anything but conventional. One striking example: a chandelier made entirely of oyster and trumpet mushrooms, presented at The Future Perfect gallery in Los Angeles. Suspended in clusters and marinated in soy and vinegar, the fungi were pinned—over 4,000 times—onto glowing light structures. Guests were invited to pluck, dip, and eat directly from the installation, fusing consumption with interaction in a performance of light, texture, and taste.
Whether designing for art museums, magazine launches, or private spaces, AnanasAnanas approaches food as material. Saffron-hued sobrasada rests like sculpture atop terrazzo. Dips are served directly on gravel or natural stone. Crackers, spiced nuts, herbs, and charred fruits become architectural elements—elevated not only in flavor, but in physical presentation. Often there are no plates, no cutlery. Instead, food is hung from ceiling frames, arranged on podiums, or stretched across communal plinths, compelling audiences to move, touch, and engage.
Their work isn’t just about aesthetics—it’s about atmosphere. By stripping dining of traditional cues and formats, González and Petrossian ask us to rethink the relationship between body, space, and sustenance. Food becomes both medium and message: fleeting, intimate, and deeply spatial.
AnanasAnanas’s practice is part culinary design, part conceptual installation—and entirely experiential. In a cultural moment where food design is gaining traction as both discipline and spectacle, their work is notable for its integrity, clarity, and depth. Each commission is a sculptural moment, carefully crafted and deliberately devoured.
In their hands, food is no longer just what we eat. It’s a way to feel, to connect, and to occupy space differently.
