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SELECTED EUROPE. VISUAL INSPIRATION FROM BILBAO.
AUGMENTED REALITY
Angélica Barco Begoña Viñuela Bordos ArtWorks DesignBrigde Dicey Studios Eduard Cehovin & Tanja Devetak Elenio Pico Elodie Poisson Espluga + Associates Foster + Partners Frank O. Gehry & Associates Fernando Baptista Fraser Muggeridge Hernán Ordoñez Iker Ayestaran Isidro Ferrer Ja! Studio Julia Pelletier Kasia A. Niewiarowska KesselKramer_KK La Tinta Hopper L’effigie Laura Varsky Lavernia & Cienfuegos Luiza Lacava Lur Paisajistak Maixu Mandragorastudio Max-o-matic Mikel Casal Mugaritz Noelia Lozano Pep Carrió Pepe Puertas Product Arita Q Kreativgesellschaft R2 Media Factory Sebastián Gómez Legarda Skeleton Sea Supperstudio Susana Zarco Tatiana Plakhova. Complexity Graphics Toormix Vasava Waterhouse Cifuentes Design Former Vignelli Associates 400 Muralismo
S E LECTE D RSOPIRPATIOEN EU UAL IN VIS FROM BI LBAO Graphic Design Illustration Branding Product Design 3D Mapping Fashion Design Packaging Photography
Typography Gastronomy Architecture Interior Design Window Dressing Landscape Design Teaching Information Design
Includes “Come, Look and Vote”. Artworks selected from european students.
AUGMENTED REALITY
Architecture Los Angeles, USA. www.foga.com
FRANK O. GEHRY & ASSOCIATES, INC. GUGGENHEIM MUSEUM BILBAO The Guggenheim Museum Bilbao, completed
A public plaza located at the entrance of
in 1997, is the result of a unique collaboration
the Museum encourages pedestrian traffic
between the Basque Country Administration,
between the Museum and Museo de Bellas
which finances and owns the project, and the
Artes, and also between the Old City and
Solomon R. Guggenheim Foundation, which
the River Front. Public facilities, including a
operates the Museum and provides the core
300-seat auditorium, a restaurant, and retail
art collection. The Museum represents the
spaces, are all accessible from the main public
first step in the redevelopment of the former
plaza as well as from within the Museum
trade and warehouse district along the south
itself. This dual access enables the spaces
bank of the Nervion River. Directly accessible
to operate independently of the Museum,
from the business and historic districts of
making them an integral part of the urban life
the city, the Museum marks the centre of
of Bilbao.
a cultural triangle formed by the Museo de
The main entrance to the Museum opens
Bellas Artes, the University, and the Old
onto a large central atrium, where a system
Town Hall. La Salve Bridge, which connects
of curvilinear bridges, glass elevators and
the 19th-century city centre with outlying
stair towers connects the exhibition galleries
areas, passes over the site at its eastern
concentrically on three levels. A sculptural
edge, lending the Museum significance as a
roof form rises from the atrium, flooding
gateway to the city.
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.
CLIENT: Consorcio del Proyecto Guggenheim Solomon R. Guggenheim Foundation AREA: 28,500 m2 SCHEDULE: Begin design - 1991 Begin construction - 1993 Completion - June, 1997
DESIGN TEAM: Frank O. Gehry - Design Partner Vano Haritunians - Project Manager Douglas Hanson - Project Architect Edwin Chan - Project Designer Bob 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)
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Photos by Erika Ede Š FMGB Guggenheim Bilbao Museoa 2015
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The Guggenheim Foundation required gallery
conventional museum. The work of selected
are lit by a theatrical catwalk-mounted lighting
spaces to exhibit a permanent collection,
living artists is exhibited in a series of eleven
system. In addition, custom designed wall-
a temporary collection, and a collection of
distinct galleries, each of unique spatial
wash fixtures create an even illumination of
selected living artists. In response to these
quality and generous ceiling height. Back-of-
10 to 20 foot candles at eye level in all of the
needs, three distinct types of exhibition
house functions, such as loading, art staging,
galleries. Natural light is introduced through
space were designed. The galleries which
storage, and conservation are housed in the
skylights with supplemental blackout shades
house the permanent collection are relatively
lower level of the Museum.
for daylight control.
sets of three consecutively-arranged, square
The major exterior material on the rectangular
The design of the Museum is influenced by
galleries, stacked at the second and third levels
buildings of the Museum is Spanish limestone,
the scale and the texture of the existing city,
of the Museum. The temporary collection
while the more sculpted shapes of the building
and it recalls the historic building materials
is displayed in a more dramatic, elongated,
are clad in titanium panels. The interior walls
of the River Front, thus demonstrating a
rectangular space that extends to the east
of the galleries are a smooth finish plaster.
thoughtful response to the historic and
of the central atrium. This space passes
Large, glazed curtain walls open to views of
economic traditions of the area. The design
underneath La Salve Bridge and terminates
the river and surrounding city. Mechanical
also represents a thorough understanding that
in a tower on its far side, integrating the
systems are designed to maintain a strict
light and space can be manipulated to shape
bridge into the overall composition of the
level of temperature and humidity control. The
and to enhance the emotional response of
Museum. The column-free interior of the
permanent collection galleries are lit by direct
Museum visitors.
gallery provides the Museum with the unique
exhibition lights with a flush mounted power
Frank O. Gehry & Associates, Inc. provided full
capacity to stage large-scale art installations
system, while the galleries for the temporary
architectural services throughout all phases of
that would not be feasible for a smaller, more
collection and for the living artists collection
this large-scale project.
conservative in design. They consist of two
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Fashion Design Architecture Gdansk, Poland. Barcelona, Spain. www.kasia-a-niewiarowska.com
KASIA A. NIEWIAROWSKA What’s your idea of Design?
What and / or who are the inspirational references that build your imaginary?
In my opinion design is a balance between
What methods, techniques and experiences do
finding a solution for a certain need and trying
you usually use during your design process?
to do it in the most beautiful way possible. I think that a good design is not only a practical
I usually get my inspiration from my
answer for a problem. Of course it is very
surroundings. It can be a city, nature, an art
important to understand a need so that
exhibition, a book I’ve read or a movie I’ve
the design can fulfil all the criteria of being
seen. I think the key to my projects is that I
useful and practical, but at the same time we
really like to work a lot on a concept. I choose
shouldn’t underestimate the need for beauty.
a theme which is exciting for me at the time
In the area of fashion design the need of
and I try to play with it. I like to dig quite a
beauty has a very important role.
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.
FLY ME TO THE MOON Fly 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 PRODUCTION This 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 Barcelona 2012
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Illustration San Sebastian, Spain. www.mikelcasal.com
MIKEL CASAL What’s your idea of Design?
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. What and / or who are the inspirational references that build your imaginary?
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. What methods, techniques and experiences do you usually use during your design process?
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.
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EGURRAK Digital silkscreen on wood. Personal project 2014-2015
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Window Dressing London, UK. Tolosa, Spain. www.ja-studio.com
JA! STUDIO What’s your idea of Design?
What methods, techniques and experiences do you usually use during your design process?
Design must go beyond the conventional limits without losing its primary function,
My work combines various disciplines,
which is to express the essence of a concept
such as architecture and industrial design.
and cause a reaction in people.
I decontextualise everyday objects, endowing them with new meaning: my compositions
What and / or who are the inspirational
dispense with superfluous elements and
references that build your imaginary?
only employ those which best describe the idea. The most characteristic features of
My references do not usually come from
my compositions are the lighting and the
typical sources of window dressing, but rather
meticulous attention to detail and finish.
are inspired by the contemporary art world.
I believe that window display design is about
I try to mix elements of the Basque culture
more than just selling a product. In my case,
in my work, which are, in the end, closest to
I like to create images that stop people in their
me. The Basque Country has an enormous
tracks, that make them look, amuse them,
contemporary art background that is connected
and intrigue and draw them in. The essence
with our language, culture and landscape.
lies in creating a dialogue between the shop
The work of artists such as Oteiza, among
and the customer, maintaining high standards
others, has been a great inspiration for me.
and sustaining momentum. A window display
And I split my time between London and
should, above all, surprise passers by and
Spain. London seems to me a place that
entice them in.
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.
FASHIONISTA A 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 Azqueta Client: Loreak Mendian Barcelona 2010
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TOAST This project was displayed at the Loreak Mendian Barcelona store in order to present LM´s first women’s shoes collection. This geometric and thoughtprovoking 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 Avila Client: Loreak Mendian Barcelona 2014
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PERSONA This 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
ISIDRO FERRER What’s your idea of Design?
What methods, techniques and experiences do you usually use during your design process?
Designing is making the imaginary possible. I am amethodological, I believe that the What and / or who are the inspirational
continuous systemisation of the creative
references that build your imaginary?
processes eliminates surprise and kills the unpredictable.
Everything that happens “here”, at the moment
One technique that I often use is the
being experienced, can be a trigger for getting
enhancement of objective randomisation:
“there”, at the moment of being told.
similarities and coincidences charged with
We only need to keep the attention hungry.
emotional value that have high significant value.
ELEPHANT By 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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FISH By 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 FARM By 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.
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“…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
KESSELSKRAMER_KK What’s your idea of Design?
What methods, techniques and experiences do you usually use during your design process?
Designers should be more obsessed with developing great ideas and rely less on all
Working in design and communication
the bells and whistles available to them. Do
nowadays means having knowledge about all
away with easiness and strive for originality.
kinds of fields. The last few years have seen
To do this you have to develop an inner radar
many borders open up between these fields.
and be continually progressing. It would be
Graphic design, advertising, fashion, product
impossible to think of a mega idea every day,
design and architecture increasingly merge
but continually striving for it makes our work
into each other. This doesn’t mean that we
and lives considerably more interesting. Long
have to be specialists in these fields. We have
live the good idea!
to be specialists in strong ideas. For instance, a field such as graphic design has become
What and / or who are the inspirational
very accessible. In a way, everybody can be a
references that build your imaginary?
graphic designer - people have grown up with computers and typefaces. At the same time,
Our work always has a sense of irony and
not everybody grew up with the ability to
honesty. There is too little of this in the world
come up with strong ideas.
of design and advertising, were everything
We feel that the stage of making the idea
always needs to be better and more beautiful.
is the most important part in the process of
People working in the field of communication
designing something. There are a lot of good
also have a responsibility for what they
designers, but there aren’t many designers
produce, so it’s good to be critical of yourself
that start with an exceptional idea. All
and towards the clients you work for.
disciplines are nowadays so accessible that an idea is the only weapon you can use to differentiate yourself.
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THE STANDARD 2014 CALENDAR From 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 OUT For 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 Hotel 2000
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I’M NOT HERE RIGHT NOW Women 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
TATIANA PLAKHOVA What’s your idea of Design?
What and / or who are the inspirational references that build your imaginary?
The main idea is to show a new way of making
What methods, techniques and experiences do
infographic drawings. Because everything we
you usually use during your design process?
see is biological, mathematical or geological information. It can also be cultural patterns
Music (Drone Zone radio on Soma FM),
or any other thing. Complexity Graphics’
meditations.
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.
DIGITAL BOTANICS Growing fresh digital lamp. 2015 CHAOS & STRUCTURE Abstract Universe scheme, based on Northern Circumpolar Map. 2011 LIGHT BEYOND SOUND Soul structure as a lamp. 2011
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