Selected Visual Inspiration From Bilbao

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VISUAL INSPIRATIONFROM BILBAOGraphic Design

Illustration

Packaging

Window Dressing

Branding

Photography

Typography

Product Design

Gastronomy

Teaching

Interior Design

3D Mapping

Architecture

Information Design

Fashion Design Landscape Design

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Angélica BarcoBegoña ViñuelaBordos ArtWorksDesignBrigdeDicey StudiosEduard Cehovin & Tanja DevetakElenio PicoElodie PoissonEspluga + AssociatesFoster + PartnersFrank O. Gehry & AssociatesFernando Baptista Fraser MuggeridgeHernán OrdoñezIker AyestaranIsidro FerrerJa! StudioJulia PelletierKasia A. NiewiarowskaKesselKramer_KKLa Tinta HopperL’effigieLaura VarskyLavernia & CienfuegosLuiza LacavaLur PaisajistakMaixuMandragorastudioMax-o-maticMikel Casal MugaritzNoelia LozanoPep CarrióPepe PuertasProduct Arita Q KreativgesellschaftR2 Media FactorySebastián Gómez LegardaSkeleton SeaSupperstudioSusana ZarcoTatiana Plakhova. Complexity GraphicsToormixVasavaWaterhouse Cifuentes Design Former Vignelli Associates400 Muralismo

Includes “Come, Look and Vote”.Artworks selected from european students.

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The Guggenheim Museum Bilbao, completed

in 1997, is the result of a unique collaboration

between the Basque Country Administration,

which finances and owns the project, and the

Solomon R. Guggenheim Foundation, which

operates the Museum and provides the core

art collection. The Museum represents the

first step in the redevelopment of the former

trade and warehouse district along the south

bank of the Nervion River. Directly accessible

from the business and historic districts of

the city, the Museum marks the centre of

a cultural triangle formed by the Museo de

Bellas Artes, the University, and the Old

Town Hall. La Salve Bridge, which connects

the 19th-century city centre with outlying

areas, passes over the site at its eastern

edge, lending the Museum significance as a

gateway to the city.

A public plaza located at the entrance of

the Museum encourages pedestrian traffic

between the Museum and Museo de Bellas

Artes, and also between the Old City and

the River Front. Public facilities, including a

300-seat auditorium, a restaurant, and retail

spaces, are all accessible from the main public

plaza as well as from within the Museum

itself. This dual access enables the spaces

to operate independently of the Museum,

making them an integral part of the urban life

of Bilbao.

The main entrance to the Museum opens

onto a large central atrium, where a system

of curvilinear bridges, glass elevators and

stair towers connects the exhibition galleries

concentrically on three levels. A sculptural

roof form rises from the atrium, flooding

it with light through glazed openings.

The unprecedented scale of the central

atrium, rising more than 50 metres invites

monumental site-specific installations and

special Museum events.

Architecture

Los Angeles, USA.

www.foga.com

FRANK O. GEHRY & ASSOCIATES, INC.GUGGENHEIM MUSEUM BILBAO

CLIENT: Consorcio del Proyecto Guggenheim Solomon R. Guggenheim Foundation

AREA: 28,500 m2

SCHEDULE: Begin design - 1991Begin construction - 1993 Completion - June, 1997

DESIGN TEAM: Frank O. Gehry - Design Partner Vano Haritunians - Project ManagerDouglas Hanson - Project ArchitectEdwin Chan - Project DesignerBob Hale, Rich Barrett, Karl Blette, Tomaso Bradshaw, Steve Butts, Padraic Cassidy, Naomi Ehrenpreis, Matt Fineout, Doug Giesey, Dave Hardie, Michael Hootman, Grzegorz Kosmal, Mark Lefitz, Sara MacDonald, Mehran Mashayekh, Patricia McCaul, Chris Mercier, George Metzger, Brent Miller, David Reddy, Marc Salette, Matthias Seufert, Eva Sobesky, Derek Soltes, Todd Spiegel,Tom Stallman, Jeff Wauer, Tami Wedekind - Project Team

ASSOCIATE ARCHITECTS/ ENGINEERS: IDOM (Bilbao, Spain)STRUCTURAL ENGINEERS: Skidmore, Owings & Merrill (Chicago)MECHANICAL ENGINEERS: Cosentini Associates (New York)LIGHTING CONSULTANTS: Lam Partners (Boston)

Photos by Erika Ede © FMGB Guggenheim Bilbao Museoa2015

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The Guggenheim Foundation required gallery

spaces to exhibit a permanent collection,

a temporary collection, and a collection of

selected living artists. In response to these

needs, three distinct types of exhibition

space were designed. The galleries which

house the permanent collection are relatively

conservative in design. They consist of two

sets of three consecutively-arranged, square

galleries, stacked at the second and third levels

of the Museum. The temporary collection

is displayed in a more dramatic, elongated,

rectangular space that extends to the east

of the central atrium. This space passes

underneath La Salve Bridge and terminates

in a tower on its far side, integrating the

bridge into the overall composition of the

Museum. The column-free interior of the

gallery provides the Museum with the unique

capacity to stage large-scale art installations

that would not be feasible for a smaller, more

conventional museum. The work of selected

living artists is exhibited in a series of eleven

distinct galleries, each of unique spatial

quality and generous ceiling height. Back-of-

house functions, such as loading, art staging,

storage, and conservation are housed in the

lower level of the Museum.

The major exterior material on the rectangular

buildings of the Museum is Spanish limestone,

while the more sculpted shapes of the building

are clad in titanium panels. The interior walls

of the galleries are a smooth finish plaster.

Large, glazed curtain walls open to views of

the river and surrounding city. Mechanical

systems are designed to maintain a strict

level of temperature and humidity control. The

permanent collection galleries are lit by direct

exhibition lights with a flush mounted power

system, while the galleries for the temporary

collection and for the living artists collection

are lit by a theatrical catwalk-mounted lighting

system. In addition, custom designed wall-

wash fixtures create an even illumination of

10 to 20 foot candles at eye level in all of the

galleries. Natural light is introduced through

skylights with supplemental blackout shades

for daylight control.

The design of the Museum is influenced by

the scale and the texture of the existing city,

and it recalls the historic building materials

of the River Front, thus demonstrating a

thoughtful response to the historic and

economic traditions of the area. The design

also represents a thorough understanding that

light and space can be manipulated to shape

and to enhance the emotional response of

Museum visitors.

Frank O. Gehry & Associates, Inc. provided full

architectural services throughout all phases of

this large-scale project.

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Fashion Design

Architecture

Gdansk, Poland. Barcelona, Spain.

www.kasia-a-niewiarowska.com

What’s your idea of Design?

In my opinion design is a balance between

finding a solution for a certain need and trying

to do it in the most beautiful way possible. I

think that a good design is not only a practical

answer for a problem. Of course it is very

important to understand a need so that

the design can fulfil all the criteria of being

useful and practical, but at the same time we

shouldn’t underestimate the need for beauty.

In the area of fashion design the need of

beauty has a very important role.

What and / or who are the inspirational

references that build your imaginary?

What methods, techniques and experiences do

you usually use during your design process?

I usually get my inspiration from my

surroundings. It can be a city, nature, an art

exhibition, a book I’ve read or a movie I’ve

seen. I think the key to my projects is that I

really like to work a lot on a concept. I choose

a theme which is exciting for me at the time

and I try to play with it. I like to dig quite a

lot into a concept, look at the theme from

different angles and try not to be too obvious

about it. I think that because of this I’m always

surprised with the final result of my projects.

For me, playing with the concept is a mind

puzzle which brings more depth, a personal

touch and honesty to the designer’s work.

KASIA A. NIEWIAROWSKA

FLY ME TO THE MOONFly Me To The Moon is a collection which tells the story of a dreamer who wants to reach the stars. As an inspiration source I merged two very different kinds of star admirers. One group was the 18th century romantic poets who embraced the beauty of the firmament. The second group is the astronauts who, not satisfied by merely watching, need to explore. IED Barcelona 2013

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SKY PRODUCTIONThis project began my adventure with fashion design. In this case my inspiration came from the fabric itself. I was inspired by the lightness of this material, its woven see-through structure and the different possibilities for shaping it.IED Barcelona2012

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Illustration

San Sebastian, Spain.

www.mikelcasal.com


Illustration is a design. Although, at times,

illustration does not meet one of the two

premises that are required in a design. It is not

always useful. It’s in this precarious balance

between the functional and the purely artistic

that the illustrator must move. To work for

a client, but also for yourself. To create your

own universe, but one which can also be

understood from a different perspective. To

create a world with rules that can be broken

at any time. Design is passion, but also

mathematics. It’s about making mistakes in

order to find your way. It’s being explicit or

suggestive. A chaotic gibberish which, when

filtered properly, can produce an aesthetic and

useful balance. Well... not necessarily useful.



My references are endless and changing.

Music, cinema, comics, TV. The entire POP

universe around us. Everything is interesting

and enriching.

But I can perhaps name three people who

always come to mind: Saul Steinberg, Alvin

Lustig and Marcel Breuer. An illustrator,

a designer and an industrial architect and

designer.



I think my work method is very much like a

collage. I take from here and there. Textures,

references, compositions, which I later mix

and apply to the final result.

MIKEL CASAL

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EGURRAKDigital silkscreen on wood.Personal project2014-2015

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Window Dressing

London, UK. Tolosa, Spain.

www.ja-studio.com


Design must go beyond the conventional

limits without losing its primary function,

which is to express the essence of a concept

and cause a reaction in people.



My references do not usually come from

typical sources of window dressing, but rather

are inspired by the contemporary art world.

I try to mix elements of the Basque culture

in my work, which are, in the end, closest to

me. The Basque Country has an enormous

contemporary art background that is connected

with our language, culture and landscape.

The work of artists such as Oteiza, among

others, has been a great inspiration for me.

And I split my time between London and

Spain. London seems to me a place that

keeps you awake and constantly stimulated,

so working and living in different places gives

me the possibility to feel enriched, to network

and to connect with what is happening

nowadays.



My work combines various disciplines,

such as architecture and industrial design.

I decontextualise everyday objects, endowing

them with new meaning: my compositions

dispense with superfluous elements and

only employ those which best describe the

idea. The most characteristic features of

my compositions are the lighting and the

meticulous attention to detail and finish.

I believe that window display design is about

more than just selling a product. In my case,

I like to create images that stop people in their

tracks, that make them look, amuse them,

and intrigue and draw them in. The essence

lies in creating a dialogue between the shop

and the customer, maintaining high standards

and sustaining momentum. A window display

should, above all, surprise passers by and

entice them in.

JA! STUDIO

FASHIONISTAA conceptual window display, showing the company’s denim jeans placed on the head of a porcelain dog from the autumn/winter 2009-10 collection.Photo: Floro AzquetaClient: Loreak Mendian Barcelona 2010

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TOASTThis project was displayed at the Loreak Mendian Barcelona store in order to present LM´s first women’s shoes collection. This geometric and thought-provoking interpretation of the summer, arranges different elements into a balanced composition using everyday objects such as a side table and a set of cork toast slices making their way across the wall in a stair formation.Photo: Juan AvilaClient: Loreak Mendian Barcelona 2014

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PERSONAThis project was displayed at the Loreak Mendian store in order to feature the new accessories in the AW13 collection.The cubist silhouette of a person, composed of a metal structure and black MDF wooden boards, creates a dialogue between the product and object where each accessory acquires its natural, logical position. All in black, white and blue.Photo: Floro Azqueta Client: Loreak Mendian San Sebastian 2013

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Illustration

Design

Huesca, Spain.

www.isidroferrer.com


Designing is making the imaginary possible.



Everything that happens “here”, at the moment

being experienced, can be a trigger for getting

“there”, at the moment of being told.

We only need to keep the attention hungry.



I am amethodological, I believe that the

continuous systemisation of the creative

processes eliminates surprise and kills the

unpredictable.

One technique that I often use is the

enhancement of objective randomisation:

similarities and coincidences charged with

emotional value that have high significant value.

ISIDRO FERRER

ELEPHANTBy Isidro Ferrer & LZF Lab

Elephant is the other Funny Farm animal we chose to convert into a light sculpture. Like all elephants, it has big ears, a trunk, even its own legs, and a body, standing more than a metre and a half tall.To turn Isidro Ferrer’s vision into a large-scale lamp, LZF has again drawn on the experience of the craftsman Manolo Martin.

Just as he did with Fish, Manolo used the “vareta” technique to shape the three spheres which constitute the body and the head of Elephant. Its luminous heart, at the centre of the sculpture, is diffused through an internal lining of natural wood veneer.

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FISHBy Isidro Ferrer & LZF Lab

Fish is modelled on one of the original pieces by Isidro Ferrer, a friendly fish with legs which was one of the first large-scale light sculptures in the Funny Farm project. Developing the piece was a real challenge, both technically and from the point of view of the design.

The external structure of Fish, made from poplar and elm wood by Manolo Martin, was built using the traditional Valencian “vareta” technique, which consists of creating 3D structures through the use of wood strips treated with water. The inside holds 24 balls of light; hand blown glass spheres of various sizes handcrafted in Granada, placed at different heights inside the fixture. The carefully studied layout produces a captivating effect, as if a small universe of luminous orbs lived inside Fish.

What is the ideal habitat for Fish? Lobbies, rest areas, zoos and children’s hospitals are all spaces Fish and its Funny Farm friends could dwell in. Where do you imagine yours to be?

Fish can be wherever you imagine it to be.

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FUNNY FARMBy Isidro Ferrer & LZF Lab

Funny Farm is a project which arises from our admiration for Isidro Ferrer, a very talented designer who has been awarded with the National Design Award, the most prestigious prize awarded in Spain to a designer for his or her career achievement.

We had already worked with Isidro Ferrer in 2008 for the design of our logo, and we knew we wanted to work with him again. We called him one day and proposed to develop something for LZF. When we said ‘something’, we meant exactly that: something, without briefings, without conditions, with absolute freedom. He accepted and began to brainstorm ideas and to study our products.

“…On the one hand, I knew right away that I would use wood and that the richness of the colours of LZF’s lamps would be present in the project. On the other hand, I was looking to develop something unique and original, something completely different from what LZF had been doing up to then.

I began to experiment with the shape and the look of their lamps, and began to play with small wooden pieces inspired by the morphology of their products. My experiments led me to a peculiar, funny family made up of 19 wooden animals, including, among others, monkeys, a fish with legs, elephants and rabbits. That was when knew I had created the Funny Farm”.

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Multidisciplinary Communications

Amsterdam, Netherlands. London, UK. Los Angeles, USA.

www.kesselskramer.com


Designers should be more obsessed with

developing great ideas and rely less on all

the bells and whistles available to them. Do

away with easiness and strive for originality.

To do this you have to develop an inner radar

and be continually progressing. It would be

impossible to think of a mega idea every day,

but continually striving for it makes our work

and lives considerably more interesting. Long

live the good idea!



Our work always has a sense of irony and

honesty. There is too little of this in the world

of design and advertising, were everything

always needs to be better and more beautiful.

People working in the field of communication

also have a responsibility for what they

produce, so it’s good to be critical of yourself

and towards the clients you work for.



Working in design and communication

nowadays means having knowledge about all

kinds of fields. The last few years have seen

many borders open up between these fields.

Graphic design, advertising, fashion, product

design and architecture increasingly merge

into each other. This doesn’t mean that we

have to be specialists in these fields. We have

to be specialists in strong ideas. For instance,

a field such as graphic design has become

very accessible. In a way, everybody can be a

graphic designer - people have grown up with

computers and typefaces. At the same time,

not everybody grew up with the ability to

come up with strong ideas.

We feel that the stage of making the idea

is the most important part in the process of

designing something. There are a lot of good

designers, but there aren’t many designers

that start with an exceptional idea. All

disciplines are nowadays so accessible that

an idea is the only weapon you can use to

differentiate yourself.

KESSELSKRAMER_KK

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THE STANDARD 2014 CALENDARFrom skeletons in hot tubs, to Jesus in the swimming pool, The Standard brings their suggestion box to life for their 2014 calendar. The Standard Hotel is always striving for perfection. To help themselves get better they listen to the suggestions of their patrons and take them more seriously than most. So seriously in fact, that they used them as the inspiration for their calendar.Client: The Standard (Hotel)2014

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CHECK IN, CHECK OUTFor most guests, the Brinker provides little more than a bed and a shower between binges. By the time they leave, the fresh-faced youngsters have experienced Amsterdam’s infamous delights and -in the process- have developed more spots and killed more brain cells than they imagined possible. To celebrate this hedonism, while noting the price to pay, the Brinker produced a poster campaign entitled Check In, Check Out. In each image, normal-looking guests were compared as they entered and left the hotel.Client: Hans Brinker Budget Hotel2000

I’M NOT HERE RIGHT NOWWomen Inc. is a network that is committed to strengthening the position of women in contemporary society. The ultimate goal of this campaign is a preventative one, namely to prevent additional social care duties automatically appearing on women’s ‘to-do’ lists.

The ever-increasing discrepancy in the work-care division often comes at the expense of women’s workplace participation. “I’m not here right now” appeals to society at large and calls on not only women but also men and employers to pull up their sleeves, blow the dust off and give this issue the social and political attention it deserves. Client: Women Inc.2015

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Illustration

Moscow, Russia.

www.complexitygraphics.com


The main idea is to show a new way of making

infographic drawings. Because everything we

see is biological, mathematical or geological

information. It can also be cultural patterns

or any other thing. Complexity Graphics’

works are based on mathematical simplicity

and harmony. I would describe them as

infographic abstracts. An abstract style gives

you an opportunity to create visualisations

of very big and large-scaled volumes of

information, including science data.

This mathematical style helps me to illustrate

everything from a biological cell to space and

meditative worlds. That’s why I admire maths,

because it’s everywhere and nowhere.





Music (Drone Zone radio on Soma FM),

meditations.

TATIANA PLAKHOVA

DIGITAL BOTANICSGrowing fresh digital lamp.2015

CHAOS & STRUCTUREAbstract Universe scheme, based on Northern Circumpolar Map.2011

LIGHT BEYOND SOUNDSoul structure as a lamp.2011

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Selected Visual Inspiration From Bilbao