Page 1
10.3
— 3
.7.2
016
Not
es o
n
Cre
ativ
ity
Ferr
an A
drià
:Th
e ex
hibi
tion
Fer
ran
Adr
ià: N
otes
on
Cre
ativ
ity
is p
art
of t
he M
arre
s pr
ogra
m
devo
ted
to t
he s
ense
s. T
his
prog
ram
ex
amin
es t
he v
isua
l art
s, b
ut a
lso
sens
ory
refl
exes
, men
tal c
ondi
tion
s an
d bo
dy
know
ledg
e. N
otes
on
Cre
ativ
ity
focu
ses
on
Adr
ià's
con
sist
ent
and
radi
cal a
ppro
ach
to
the
sens
e of
tas
te. I
t sh
ows
the
impo
rtan
t re
lati
on in
his
pra
ctic
e be
twee
n se
nsor
y pe
rcep
tion
and
the
cre
ativ
e pr
oces
s.
Page 2
Room
1
Mini-golf sign in Montjoy bay, 1962
elBulli terrace, 1964 Johan Cruijff visits elBulli, 1976
© Pepo Segura, 1998Food for Thought, Thought for Food: A Reflection on the Creative Universe of Ferran Adria, 2009
Cover New York Times, photo Pepo Segura, 1999
Last menu, 2011
Touristmap elBulli, 1970
Menu, 1977elBulli logo
Marketta Schilling with, fltr: Ferran Adrià, chef Christian Lutaid and maitre Juli Soler, 1984
— T
he h
isto
ry o
f elB
ulli
In 19
61, M
arke
tta
and
Han
s Sc
hilli
ng o
pene
d a
min
i-gol
f co
urse
nea
r Ros
es, a
sm
all
tow
n no
rth
of B
arce
lona
. Le
ss th
an a
yea
r lat
er, t
hey
turn
ed it
into
a b
ar a
nd n
amed
it
elBu
lli a
fter
thei
r bul
ldog
s.
elBu
lli b
ecam
e a
serio
us
rest
aura
nt w
ith th
e ap
poin
t-m
ent o
f Fre
nch
chef
Jea
n-
Loui
s N
eich
el, w
ho e
arne
d a
Mic
helin
sta
r for
the
res t
au ra
nt
in 19
76. F
erra
n A
drià
join
ed
the
kitc
hen
staff
in 19
84 a
nd
beca
me
chef
de
cuis
ine
thre
e ye
ars
late
r. O
ver t
he n
ext 2
5 ye
ars,
Adr
ià a
nd h
is c
reat
ive
team
dev
elop
ed a
lmos
t 200
0 ne
w d
ishe
s, a
gre
at m
any
ne
w te
chni
ques
, tab
le a
nd
kitc
henw
are,
met
hods
of
cutt
ing,
mix
ing
and
free
zing
. Th
eir e
ffor
ts w
ere
crow
ned
with
a th
ird M
iche
lin s
tar i
n 19
97. R
es ta
uran
t Mag
azin
e na
med
elB
ulli
the
best
re
st au
rant
in th
e w
orld
five
ye
ars
in a
row
. Adr
ià‘s
uni
que
styl
e dr
ew a
tten
tion
of th
e ar
t w
orld
, whi
ch re
sulte
d in
an
invi
tatio
n to
par
ticip
ate
in th
e D
ocum
enta
12. T
he re
stau
rant
cl
osed
in 2
011.
Sinc
e th
en,
Adr
ià a
nd h
is te
am h
ave
be
en w
orki
ng o
n nu
mer
ous
proj
ects
, all
dedi
cate
d to
m
appi
ng th
e cr
eativ
e
pro c
ess
that
will
be
key
to
the
re-o
peni
ng o
f the
elB
ulli
Foun
datio
n in
Ros
es in
201
7.
Page 3
— P
latin
g D
iagr
ams
Whe
n A
drià
and
his
team
in
vent
ed n
ew d
ishe
s, th
ey
relie
d pa
rtly
on
a m
etho
d of
ex
pres
sing
idea
s on
pap
er.
In d
raw
ing
a di
sh, A
drià
vi
sual
ized
the
tast
e an
d pl
acem
ent o
f the
food
, so
met
imes
with
out k
now
ing
exac
tly w
hat t
he fo
od w
as,
or w
hat i
ts in
gred
ient
s w
ere.
Th
ese
plat
ing
diag
ram
s,
datin
g fr
om a
roun
d 20
00-
2004
, exe
mpl
ify th
is m
etho
d in
whi
ch s
hape
, col
or a
nd
com
posi
tion
prec
ede
expe
rimen
ts in
tast
e.
— M
ap o
f the
Cul
inar
y Pr
oces
s
Adr
ià o
ften
use
d sk
etch
es,
flow
char
ts a
nd o
ther
vis
ual
mat
eria
ls to
exp
lain
pro
cess
es
and
orga
niza
tiona
l met
hods
in
the
kitc
hen.
Thi
s di
agra
m
deta
ils th
e di
ffer
ent p
hase
s of
the
culin
ary
proc
ess
by
trac
ing
a m
eal f
rom
coo
k to
cus
tom
er. A
sec
ond
dia-
gram
is o
n th
e la
ndin
g of
th
e st
airs
. It i
s a
crea
tive
pyra
mid
repr
esen
ting
four
le
vels
of c
reat
ivity
. The
low
est
leve
l sho
ws
the
cook
ing
from
exi
stin
g re
cipe
s, th
e hi
ghes
t the
cre
atio
n of
new
te
chni
ques
and
con
cept
s.
Room
2
Room
3
Plating diagram, c.2000 – 2004
Plating diagram, c.2000 – 2004
Ferran Adrià, Map of the Culinary Process, 2013
Page 4
— P
repa
ring
a M
enu
The
men
us p
rese
nted
in th
is
room
are
the
prod
uct o
f a
pain
stak
ing
proc
ess
of e
xper
i-m
enta
tion
and
perf
ectio
n.
Pinn
ed o
n th
e w
alls
are
list
s fil
led
with
not
es a
nd s
ketc
hes
on c
ulin
ary
elem
ents
that
sh
ow th
is p
roce
ss. T
he p
re pa
-ra
tion
of a
men
u st
arte
d w
ith
prod
ucin
g lis
ts o
f eac
h of
the
elem
ents
that
con
stitu
te c
ook-
ing
and
sub s
eque
ntly
usi
ng
them
to a
rriv
e at
com
bina
tions
be
twee
n ta
stes
, pre
para
tions
, te
chni
ques
and
gar
nish
es th
at
mig
ht g
ive
rise
to a
new
dis
h.
Thes
e lis
ts a
nd s
ketc
hes
wer
e th
e st
art o
f elB
ulli’
s fa
mou
s di
shes
, suc
h as
sav
ory
ice
crea
m, t
he o
bula
to, o
r elB
ulli’
s fa
mou
s sp
heric
al o
lives
.
— V
anis
hing
Rav
ioli
(film
fr
agm
ents
)
Thes
e fr
agm
ents
sho
w th
e ev
olut
ion
of e
lBul
li’s
fam
ous
Vani
shin
g Ra
viol
i, st
artin
g w
ith
the
disc
over
y of
the
Japa
nese
ob
ulat
o (t
rans
pare
nt, e
dibl
e sh
eets
) and
end
ing
with
the
dish
that
bec
ame
part
of t
he
2009
men
u.
— C
ookw
are
desi
gns
an
d Pi
ctog
ram
s
In 2
001 e
lBul
li be
gan
its c
ol-
labo
ratio
n w
ith th
e de
sign
-er
s Lu
ki H
uber
and
Mar
ta
Mén
dez
Blay
a. T
o A
drià
, in
nova
tions
in ta
ste
coul
d no
t be
real
ized
with
out i
nnov
a-tio
n in
des
ign,
as
the
latt
er
allo
wed
for a
pre
cise
and
re
gula
r ren
derin
g of
new
fla
vors
. The
col
labo
ratio
n w
ith H
uber
led
to d
ozen
s of
de
sign
s fo
r dis
hes,
silv
erw
are,
ut
ensi
ls, a
nd a
pplia
nces
for
cook
ing.
Gra
phic
des
igne
r M
arta
Mén
dez
Blay
a ca
me
to
elB
ulli
for i
ts
Room
4
Room
5
Menu, 1993
Menu preparation on display in elBulli lab PVC Tube mold for 2 m spaghetto, 2003
Draining spoons, 2003
Candy nylon adaptor, 2005
Menu, 2006
Gen
eral
Cat
alog
ue. S
he d
e-si
gned
the
pict
ogra
ms,
vis
ual
repr
esen
tatio
ns o
f the
cla
s-si
ficat
ion
of p
rodu
cts
used
at
the
atel
ier a
nd th
e re
stau
rant
. Th
e fo
od s
ymbo
ls s
erve
d to
gr
oup
the
diff
eren
t fam
ilies
of
pro
duct
s. T
hey
also
hel
ped
to id
entif
y th
e ev
olut
iona
ry
anal
ysis
of t
he re
cipe
s.
Page 5
Wat
ers
Flow
ers
Mea
t
Cav
iar
and
sim
ilar
Oils
and
oth
er
vege
tabl
e fa
tsFl
ours
, sem
olin
a
and
star
ches
Smok
ed fo
odPi
ckle
s an
d br
ine
Sauc
es a
nd
cond
imen
ts
Oth
ers
Fung
i and
tr
uffl
es
Fres
h he
rbs
Poul
try
Leav
ens
and
yeas
ts
Suga
rs
Saus
ages
Jam
s an
d pr
eser
ves
Mol
lusc
s
Seaf
ood
offa
lFr
uits
and
ber
ries
Seed
spr
outs
Feat
here
d ga
me
Coc
oa a
nd
deri
vati
ves
Salt
ed p
rodu
cts
Can
ned
prod
ucts
Liqu
eurs
, spi
rits
and
ot
her
beve
rage
s
Oth
er m
arin
e cr
eatu
res
Cer
eals
Nut
s
Poul
try
and
mea
t of
fal
Butt
er a
nd o
ther
an
imal
fat
s
Salt
s
Cru
stac
eans
Brea
d an
d ot
her
doug
hs
Juic
es a
nd s
oft
beve
rage
s
Seaw
eed
Dri
ed p
ulse
s
Ani
mal
gam
eEg
gs
Fish
Vin
egar
s
Dri
ed a
nd
crys
talli
sed
frui
ts
Fres
h an
d dr
ied
past
a’s
Win
es
Veg
etab
les
Seed
s
Gas
es
Foie
-gra
sC
hees
e, m
ilk a
nd
othe
r da
iry
prod
ucts
Stab
ilize
rs a
nd
gela
tins
Free
ze-d
ried
and
de
hydr
ated
pro
duct
s
Dri
ed s
pice
s an
d he
rbs
Infu
sion
s an
d co
ffee
Mar
ta M
énde
z B
laya
, Pi
ctog
ram
s, 2
00
1 – 2
00
3
Page 6
— T
heor
y of
Cul
inar
y
Evol
utio
n
Adr
ià: “
I was
giv
en a
pai
nt
box,
as
a gi
ft, a
nd o
ne d
ay
I dec
ided
to c
reat
e a
visu
al
stor
yboa
rd o
f the
his
tory
of
coo
king
[...]
”. Th
e re
sult-
ing
serie
s ill
umin
ate
Adr
ià’s
theo
ry o
f cul
inar
y ev
olut
ion.
Th
ey s
tart
sym
bolic
ally
with
th
e Bi
g Ba
ng, s
ketc
h a
theo
ry
of w
hat e
arly
hum
ans
fed
them
selv
es, s
how
the
ga th
er-
ing
of v
eget
al s
peci
es a
nd
the
cons
umpt
ion
of m
eat,
the
disc
over
y an
d co
ntro
l of fi
re,
and
the
begi
nnin
gs o
f agr
i-cu
lture
and
hus
band
ry
of li
vest
ock.
Room
6
Imag
es: F
erra
n A
drià
, The
ory
of
Cul
inar
y Ev
olut
ion,
dra
win
gs, 2
013
Ferran Adrià, Creative Pyramid, 2013
Page 7
— C
reat
ive
note
book
s an
d D
NA
dra
win
gs
Ove
r the
yea
rs, A
drià
fille
d no
tebo
oks
with
the
idea
s th
at
emer
ged
in th
e la
b an
d fr
om
whi
ch h
is te
am w
ould
cre
ate
new
tech
niqu
es, c
once
pts,
di
shes
, and
inno
vativ
e pr
e-pa
ratio
ns. A
drià
did
n’t h
ave
a fa
vorit
e co
okin
g to
ol, b
ut
alw
ays
had
a pe
ncil
in h
and.
If
he d
idn’
t dra
w in
his
not
e-bo
oks,
he
used
hot
el s
tatio
n-ar
y or
pap
er n
apki
ns to
jot
dow
n hi
s id
eas.
Sho
wn
in th
e ad
jace
nt ro
om, t
hese
form
pa
rt o
f the
lega
cy o
f elB
ulli’
s m
etho
dolo
gy o
f cre
atin
g.
Room
7
— F
ilm: G
ereo
n W
etze
l, C
ooki
ng in
Pro
gres
s (2
010)
Le
ngth
: 148
min
.
The
Ger
man
dire
ctor
Ger
eon
Wet
zel s
pent
a y
ear fi
lmin
g th
e rh
ythm
and
pro
cess
at
the
elBu
lli re
stau
rant
and
lab.
Th
e fil
m s
how
s ho
w in
Adr
ia’s
kitc
hen
desi
gn, d
isci
plin
e an
d sc
ienc
e ar
e ju
st a
s im
port
ant
as a
rtis
try,
insp
iratio
n an
d se
rend
ipity
.
Room
8
Imag
es: F
erra
n A
drià
, DN
A d
raw
ings
Imag
es: G
ereo
n W
etze
l,
Coo
king
in P
rogr
ess
(20
10),
sti
lls
Page 8
— S
culp
ting
tast
e
For 2
5 ye
ars,
Adr
ià a
nd h
is
team
exp
erim
ente
d w
ith
inpu
t fro
m d
iffer
ent fi
elds
, re
sulti
ng in
an
over
whe
lmin
g am
ount
of e
quip
men
t. e
lBul
li co
mm
issi
oned
an
endl
ess
num
ber o
f pla
tes
of a
ll si
zes
and
mat
eria
ls, p
orce
lain
, gl
ass,
sla
te, a
nd p
aper
, to
fit
spec
ific
dem
ands
of k
eepi
ng
the
tast
e, fo
rm a
nd te
xtur
e of
the
food
inta
ct. I
t com
-m
issi
oned
met
al a
nd m
esh
hold
ers
to c
onta
in a
nd s
erve
ne
w fo
ods,
gla
ss tu
mbl
ers
and
spoo
ns w
ith h
oles
and
he
rb h
olde
rs to
org
aniz
e sc
ents
whi
le e
atin
g, a
nd
num
erou
s ot
her c
ookw
are
and
tabl
ewar
e de
sign
ed to
m
axim
ize
the
flavo
r of d
ishe
s.
In a
dditi
on, e
lBul
li ex
peri-
men
ted
with
way
s of
cut
ting
food
s, a
nd p
last
icin
e sh
apes
to
det
erm
ine
the
exac
t siz
e
of d
iver
se in
gred
ient
s on
th
e pl
ate.
Room
9
Fransesc Guillamet & Bob Noto, Interior of elBulli kitchen, 2005 elBulli Team, Plasticine food models, 1994
Bowls of gold glass, photo Renée Roukens
Square grid mesh dish, 2007, photo Marc Cuspinera Prototype blue dish, 2006, photo Renée Roukens
Bowl Baroque, 2007, photo Marc Cuspinera
Prototype mesh dish, 2007, photo Renée Roukens
Page 9
— A
rchi
ve: e
lBul
li
Foun
datio
n
Follo
win
g th
e cl
osin
g of
th
e re
stau
rant
, Adr
ià a
nd
his
team
sta
rted
the
elBu
lli
Foun
datio
n ai
med
to fu
rthe
r an
alyz
e, c
ateg
oriz
e an
d de
ve-
lop
the
crea
tive
inno
vatio
ns
achi
eved
at e
lBul
li. T
he fo
un-
datio
n st
arte
d th
e el
Bulli
lab
in B
arce
lona
, an
office
whe
re
rese
arch
ers
are
inve
stig
at-
ing
the
proc
ess
of c
reat
ivity
an
d de
velo
ping
an
onlin
e da
ta ba
se o
f gas
tron
omic
kn
owle
dge,
cal
led
Bulli
pedi
a.
The
lab
and
curr
ent p
roje
cts
exem
plify
the
cont
inui
ty in
A
drià
’s se
arch
for s
cien
tific
met
hods
as
a m
eans
of f
ully
un
ders
tand
ing
and
map
ping
th
e cr
eativ
e pr
oces
s.
Room
10
Black tray with holes, 2005 photo Marc Cuspinera
Glass dishes, 2006, photo Marc Cuspinera Crumpled metal dish, 2007, photo Marc Cuspinera
Glass dishes, 2006, photo Marc Cuspinera
— F
ilm: e
lBul
li Fo
unda
tion
and
the
Dra
win
g C
ente
r,
1846
(201
3)Le
ngth
: 87
min
.
The
film
1846
is n
amed
aft
er
the
num
ber o
f dis
hes
that
A
drià
add
ed to
the
voca
bu-
lary
of g
astr
onom
y. It
als
o re
fers
to th
e bi
rth
year
of
the
fam
ous
Fren
ch c
hef
Geo
rges
Aug
uste
Esc
offier
. Th
e fil
m d
ispl
ays
all 1
846
dish
es s
erve
d at
elB
ulli
from
19
87 to
201
1. It
feat
ures
fo
ur s
ound
trac
ks: o
ne is
a
mus
ical
pie
ce c
ompo
sed
by
Man
tova
ni, w
hose
insp
iratio
n ca
me
from
a d
inne
r at e
lBul
li;
the
othe
rs c
onsi
st o
f sou
nds
from
the
elBu
lli k
itche
n an
d its
env
ironm
ent.
elBulli foundation and The Drawing Center, 1846 (2013), still
elBulli, General Catalogue, 2005 – 2011
Page 10
DR
AW
ING
TA
ST
E
Inte
rvie
w w
ith
Ferr
an A
drià
Ove
r th
e pa
st f
ew y
ears
, I f
requ
entl
y m
et F
erra
n A
drià
to
prep
are
for
the
exhi
biti
on a
t M
arre
s. T
he m
eeti
ngs
wer
e em
bedd
ed in
tw
o- o
r th
ree-
day
visi
ts t
o th
e la
rge
rese
arch
labo
rato
ry
the
Cat
alan
che
f op
ened
sev
eral
yea
rs
ago
in a
n ol
d pa
rkin
g ga
rage
at
the
Cal
le M
exic
o in
Bar
celo
na. T
he la
b ho
uses
an
exte
nsiv
e te
am c
onsi
stin
g
of f
orm
er e
lBul
li st
aff
and
team
s of
st
uden
ts a
nd y
oung
pro
fess
iona
ls.
They
wor
k at
clu
ster
s of
des
ks a
mid
st
mea
nder
ing
wal
ls c
ompr
isin
g do
zens
of
ful
l-le
ngth
Sty
rofo
am b
oard
s w
ith
clas
sifi
cati
on c
hart
s, c
reat
ivit
y di
a-gr
ams,
men
u pr
epar
atio
ns, d
raw
ings
, an
d ph
otog
raph
s pi
nned
upo
n th
em.
This
is t
he e
ngin
e ro
om o
f th
e cr
ea-
tivi
ty r
esea
rch
that
will
fue
l the
re
-ope
ning
of
elBu
lli in
20
17.
The
prep
arat
ion
is, l
ike
ever
ythi
ng
Adr
ià d
oes,
tho
roug
h an
d al
l enc
om-
pass
ing.
The
tea
m d
elve
s in
to t
he
hist
ory
of e
lBul
li, c
reat
es v
ast
know
ledg
e re
sour
ces
in a
Bul
liped
ia,
rese
arch
es c
ulin
ary
hist
ory,
incl
udin
g an
cien
t re
cipe
s in
clo
iste
r m
anus
crip
ts,
and
drea
ms
up n
ew p
roje
cts
wit
h pa
rtne
rs in
clud
ing
Dom
Pér
igno
n
and
Wal
t D
isne
y. W
ith
each
vis
it, I
am
in
trod
uced
to
new
exp
erts
, not
onl
y
n cu
linar
y m
atte
rs, b
ut a
lso
on d
esig
n,
mat
hem
atic
s, p
hilo
soph
y, a
nd e
xhi-
biti
on m
akin
g. W
e vi
sit
the
Talle
r la
b,
whe
re A
drià
and
his
tea
m h
ave
inve
n-te
d th
eir
new
dis
hes,
the
loca
l mar
ket
whe
re t
hey
did
thei
r sh
oppi
ng, a
nd t
he
arch
ive
whe
re I
foun
d hi
stor
ic m
ater
ial
from
the
ear
ly 1
960
s w
hen
a D
üsse
ldor
f co
uple
Han
s an
d M
arke
tta
Schi
lling
st
arte
d el
Bulli
, fir
st a
s a
min
i gol
f ce
nter
, the
n as
a b
each
bar
for
loca
l di
vers
.
At
our
mee
ting
s, A
drià
tir
eles
sly
prov
ides
ext
ensi
ve in
trod
ucti
ons
to
his
chie
f pr
eocc
upat
ion:
cre
ativ
ity.
H
e ta
kes
me
thro
ugh
his
Styr
ofoa
m
wor
ld t
hat
deta
ils a
spec
ts o
f th
e D
NA
of
cre
ativ
ity.
And
eac
h ti
me,
he
prov
ides
hi
s ne
w in
sigh
ts, o
ften
in t
he f
orm
of
ques
tion
s: c
an I
tell
him
whe
n co
okin
g or
igin
ated
? D
o I k
now
the
diff
eren
ce
betw
een
styl
e an
d te
chni
que?
Wha
t do
I t
hink
a c
erta
in d
iagr
am is
abo
ut?
He
inva
riab
ly c
oncl
udes
tha
t no
body
un
ders
tand
s th
e fu
ll de
pth
of w
hat
it
is a
ll ab
out,
but
it is
all
in t
here
.
The
Styr
ofoa
m b
oard
s hi
ghlig
ht a
cr
ucia
l fac
t of
Adr
ià’s
cre
ativ
e pr
oces
s:
his
tend
ency
to
visu
aliz
e be
fore
he
cook
s. O
n m
any
occa
sion
s th
e ch
ef h
as
stat
ed t
hat
draw
ing
prov
ides
him
wit
h a
voca
bula
ry f
or t
he k
itch
en. A
nd it
is
mor
e th
an t
hat;
Adr
ià d
raw
s th
roug
-ho
ut t
he in
terv
iew
.
Vale
ntijn
Byv
anck
: The
aim
of
this
in
terv
iew
is t
o pr
ovid
e in
sigh
t in
to t
he
sens
ory
wor
ld t
hat
com
es in
to e
xis t
ence
w
hen
you
cook
and
dra
w; a
mer
ging
of
the
visu
al w
orld
, and
the
wor
ld o
f ta
ste.
Ferr
an A
drià
: The
met
hod
you
des c
ribe
is
bas
ed o
n so
met
hing
cal
led
the
‘men
tal p
alat
e’. (
he d
raw
s) W
hen
I dra
w
an a
spar
agus
and
a s
hrim
p, I’
m a
lrea
dy
sens
ing
thei
r fl
avor
, the
ir t
extu
res,
be
caus
e I’v
e ea
ten
them
man
y ti
mes
be
fore
. The
que
stio
n is
: how
do
you
com
bine
dif
fere
nt p
rodu
cts
or e
labo
-ra
tion
s. T
his
is w
hat
we
do b
y dr
awin
g.
We
wan
t to
com
bine
shr
imp
wit
h as
para
gus:
doe
s th
is w
ork?
VB
: Do
you
tast
e th
e co
mbi
nati
on w
hile
yo
u dr
aw?
FA: Y
es.
(d
raw
s tw
o ci
rcle
s)
Thes
e ar
e tw
o el
abor
atio
ns f
rom
whi
ch
we
crea
te a
dis
h. T
he fi
rst
is t
he c
om bi
-na
tori
al o
ne, t
he o
ther
the
con
cept
ual
one.
In t
he la
tter
cas
e, y
ou c
reat
e th
e co
ncep
t, t
he g
loba
l ide
a. T
he fo
rmer
is
mor
e lik
e a
colla
ge.
The
crea
tion
of
ever
y di
sh u
nder
goes
va
riou
s st
ages
. Eac
h of
the
se h
as it
s de
fine
d pr
oces
s. T
his
is o
ne o
f th
e th
ings
we’
ve d
isco
vere
d si
nce
we’
ve
orga
nize
d ex
hibi
tion
s: e
ach
and
ever
y pr
ojec
t w
e pe
rfor
med
- be
it a
dis
h, a
m
enu,
the
des
ign
of t
he m
enu,
the
w
aite
r’s o
utfi
ts, a
pla
te, a
too
l, a
book
- w
as b
ased
on
a cr
eati
ve p
roce
ss. A
nd
all o
f th
em f
it in
to a
map
. Thi
s is
wha
t w
e ar
e do
ing
in t
he la
b to
day.
The
re a
re
thou
sand
s of
pro
ject
s th
at a
re a
wai
ting
a
fina
l res
ult.
The
dev
elop
men
t of
the
se
proj
ects
gen
erat
es c
reat
ive
proc
esse
s. elBulli Foundation and The Drawing Center, 1846 (2013), still
elBulli lab, Calle Mexico, 2016
Page 11
Ferran Adrià, Drawing made during the interview, 18 dec, 2015
Page 12
VB
: Whe
re d
o th
ese
proj
ects
sta
rt?
FA: A
dis
h ca
n st
art
or e
nd w
ith
the
tast
e or
the
tex
ture
. How
ever
, the
re is
al
way
s a
sens
ory
begi
nnin
g fr
om w
hich
yo
u bu
ild t
he r
est.
Foo
d is
a s
enso
ry
disc
iplin
e. It
invo
lves
all
the
sens
es.
It’s
the
wor
ld’s
mos
t co
mpl
ex d
isci
plin
e.
That
’s w
hy n
o on
e ha
s da
red
to w
rite
ab
out
its
sens
ory
begi
nnin
gs. T
he o
nly
impo
rtan
t w
ork
I kno
w o
f is
Phy
siol
ogie
du
goû
t (T
he P
hysi
olog
y of
Tas
te) b
y B
rilla
t-Sa
vari
n, f
rom
181
0.
VB
: Dra
win
g is
a w
ay t
o be
gin.
It is
se
nsor
y. B
ut it
is a
lso
a w
ay t
o or
gani
ze.
Even
dur
ing
this
inte
rvie
w, y
ou a
re
draw
ing
in o
rder
to
mak
e yo
urse
lf
unde
rsto
od.
FA: W
e w
ork
wit
h ep
hem
eral
thi
ngs.
A
nd t
his
oblig
es m
e to
vis
ualiz
e. I
can’
t ta
ste
ever
y id
ea. F
or m
e dr
awin
g w
as a
w
ay o
f vi
sual
izin
g an
d or
gani
zing
. Wit
h th
ese
sket
ches
I or
gani
ze a
nd b
uild
a
wor
ld. A
pai
nter
will
pai
nt a
can
vas.
I w
ill m
ake
a di
sh.
(k
eeps
dra
win
g)
VB
: Did
you
dra
w b
efor
e yo
u st
arte
d co
okin
g?
FA: N
o, t
here
was
no
need
. Dra
win
g w
as a
con
sequ
ence
of
choo
sing
coo
k-in
g. O
ther
wis
e, I
wou
ld n
ot k
now
how
to
dea
l wit
h an
idea
. I c
all t
his
theo
-re
tica
l cre
ativ
ity.
VB
: In
one
of y
our
inte
rvie
ws
you
said
yo
u w
eren
’t p
lann
ing
to b
ecom
e a
cook
. So
it c
ould
hav
e be
en t
hat
you
alre
ady
wer
e th
inki
ng y
our
way
thr
ough
oth
er
occu
pati
ons
by d
raw
ing.
FA: A
s ti
me
goes
by,
one
has
mor
e pe
rspe
ctiv
e on
thi
ngs
and
ther
efor
e m
ore
capa
city
to
anal
yze
them
. It’s
w
eird
. I n
ever
look
ed a
head
to
beco
me
wha
t I h
ave
beco
me.
Pic
asso
wan
ted
to
be
Pic
asso
. Mir
ó w
ante
d to
be
Mir
ó.
And
Mes
si w
ante
d to
be
Mes
si. I
did
n’t
pret
end
to b
ecom
e an
ythi
ng. I
rea
lly
can’
t ex
plai
n. I
had
to t
rain
mys
elf
in
crea
tivi
ty. I
was
n’t
a cr
eati
ve p
erso
n.
You
can
ask
my
pare
nts.
I w
as n
orm
al.
The
funn
y th
ing
is t
hat
my
brot
her,
Alb
ert,
was
the
sam
e.
VB
: Wes
tern
soc
iety
mor
e th
an e
ver
puts
a p
rem
ium
on
crea
tivi
ty a
s a
way
to
inno
vate
and
sta
y af
loat
eco
nom
i-ca
lly. D
oes
this
infl
uenc
e yo
ur f
asci
na-
tion
wit
h cr
eati
vity
?
FA: I
don
’t li
ke t
o th
ink
of t
his
in a
gl
obal
way
. We
are
all s
ons
of o
ur m
ums
and
dads
. Peo
ple
are
so d
iver
se. I
am
in
tere
sted
in c
ooki
ng a
nd it
s cr
eati
ve
proc
ess.
It m
ight
be
polit
ical
ly in
corr
ect
to s
ay t
his,
but
peo
ple
don’
t un
ders
tand
fo
od. P
eopl
e th
ink
that
just
by
goin
g to
ea
t at
goo
d re
stau
rant
s th
ey k
now
ab
out
food
.
(d
raw
s)
Food
has
a v
ery
inte
rest
ing
rela
tion
w
ith
the
sens
ory.
You
get
exc
ited
, and
th
at’s
it; t
here
’s n
o ne
ed t
o un
ders
tand
. Th
e cr
eati
ve a
ctiv
ity
uses
thi
s se
nsor
y w
orld
whi
le c
reat
ing,
and
yet
, whe
n it
co
mes
to
eati
ng, y
ou d
on’t
nee
d to
un
ders
tand
any
thin
g. Y
ou ju
st n
eed
to
app
reci
ate
and
feel
it.
VB
: Nev
erth
eles
s, y
our
sear
ch f
or
crea
tivi
ty s
eem
s fo
cuse
d on
doi
ng
prec
isel
y th
at: t
ryin
g to
und
erst
and
wha
t is
hap
peni
ng.
FA: Y
es. W
hy a
m I
doin
g th
is?
Ther
e ar
e m
any
reas
ons.
One
of
the
best
Ital
ian
cook
s, C
arlo
Cra
cco,
pro
vide
d th
e be
st
expl
anat
ion
for
star
ting
the
elB
ulli
Foun
dati
on. H
e sa
id: “
you
grew
a p
lant
, yo
u cu
t it
dow
n to
its
root
s… a
nd n
ow
you
are
grow
ing
it a
gain
.” It
too
k us
25
year
s to
bec
ome
suff
icie
ntly
mat
ure
to
unde
rsta
nd w
hat
it w
as t
hat
we
wan
ted.
Th
e ev
olut
ion
was
slo
w b
ut it
kep
t us
ve
ry m
otiv
ated
. In
200
9, e
lBul
li ha
d re
ache
d it
s su
mm
it. W
e ha
d do
ne
ever
y thi
ng t
hat
we
had
drea
mt
of. W
e un
ders
tood
tha
t w
e w
ere
at t
he e
nd.
We
had
exha
uste
d th
e m
etho
d; t
he
rest
aura
nt w
as a
lway
s so
ld o
ut b
efor
e th
e se
ason
had
beg
un. W
e st
arte
d lo
sing
our
app
etit
e to
ren
ovat
e w
ithi
n th
is f
ram
ewor
k. W
e ha
d to
reb
oot;
re
thin
k ou
r pr
acti
ce.
VB
: Can
you
r w
ork
follo
win
g th
e cl
osin
g of
elB
ulli
be v
iew
ed a
s a
form
of
deep
re
flec
tion
on
your
ow
n pr
acti
ce?
FA: A
ll of
thi
s is
abo
ut r
efle
ctio
n, a
bout
ho
w w
e ap
ply
the
scie
ntif
ic m
etho
d,
cons
truc
t or
der
in o
ur w
ork.
And
yet
, w
e st
ill f
ind
new
thi
ngs
to t
hink
abo
ut.
Imm
edia
cy, f
or in
stan
ce. W
hen
you
go
to a
res
taur
ant,
you
wan
t an
inst
ant
resu
lt. Y
ou w
ant
to h
ave
your
cof
fee
righ
t aw
ay. e
lBul
li w
as k
now
n fo
r it
s ab
norm
al e
ffic
ienc
y an
d im
med
iacy
. Th
is is
par
t of
the
rea
son
why
we
achi
eved
our
res
ults
. Im
med
iacy
is
par
t of
our
cre
ativ
e pr
oces
s.
VB
: You
onc
e to
ld m
e th
at y
ou’v
e be
en
insi
de a
pro
cess
tha
t w
as s
o bi
g an
d
so m
any
thin
gs w
ere
happ
enin
g at
th
e sa
me
tim
e th
at o
nce
in a
whi
le y
ou
need
ed a
per
son
to p
ick
out
som
ethi
ng
that
hel
ped
you
conc
eptu
aliz
e. T
he
arti
st R
icha
rd H
amilt
on is
an
exam
ple
of
suc
h a
pers
on. H
e to
ld y
ou t
hat
you
wer
e cr
eati
ng a
new
voc
abul
ary
for
th
e cu
linar
y w
orld
, and
com
pare
d
you
to w
rite
rs, a
rtis
ts a
nd s
cien
tist
s.
FA: R
icha
rd H
amilt
on m
ade
me
view
fo
od a
nd c
ooki
ng a
s a
lang
uage
. Tha
t w
as n
ew f
or m
e. O
ne o
f th
e th
ings
wit
h th
e hi
stor
y of
tas
te is
tha
t w
e ca
n m
ake
clas
sifi
cati
ons
of t
hing
s, b
ut w
e fi
nd it
ve
ry d
iffi
cult
to
talk
abo
ut w
hat
tast
e is
. Th
ere
are
very
few
cat
egor
ies.
Wit
h it
s ge
nres
, sty
les
and
sub-
styl
es, m
usic
is
muc
h be
tter
org
aniz
ed. I
’m n
ot a
n ex
pert
on
mus
ic, b
ut if
you
exa
min
e
the
mus
ic’s
tim
elin
e yo
u ca
n re
ally
un
ders
tand
it w
ell.
I’m n
ot s
ure
to w
hat
acad
emic
ext
ent,
but
I gu
ess
you
can
stud
y th
at a
t un
iver
sity
now
aday
s.
The
prob
lem
wit
h ga
stro
nom
y is
tha
t it
’s n
ot a
cade
mic
. Peo
ple
who
hav
e w
ritt
en a
bout
it a
re n
ot c
ooks
. Foo
d
is e
phem
eral
. Voc
abul
ary
exis
ts, b
ut
it is
har
d to
con
text
ualiz
e it
. We
don’
t ha
ve a
ny s
yste
mat
ic k
now
ledg
e. It
is
not
my
life’
s am
biti
on t
o do
thi
s re
sear
ch; I
wou
ld m
uch
rath
er h
ave
othe
r pe
ople
do
it. B
ut w
e ca
n’t
let
th
em b
ecau
se it
’s s
o co
mpl
ex.
(F
erra
n ge
ts u
p an
d ge
stur
es m
e to
fo
llow
him
to
a w
all h
e is
pre
pari
ng
for
a pr
esen
tati
on w
ith
his
frie
nd
and
form
er T
ate
Mod
ern
dire
ctor
V
icen
te T
odol
í)
FA: T
his
is a
tim
elin
e of
cul
inar
y ar
t fr
om t
he b
egin
ning
up
unti
l tod
ay.
We
have
mad
e a
clas
sifi
cati
on o
f th
e di
ffer
ent
type
s of
gas
tron
omie
s an
d co
llect
ed t
he m
ost
impo
rtan
t an
d in
fluen
tial
coo
ks in
his
tory
. Wha
t di
ffe-
renc
e is
the
re b
etw
een
a ty
pe o
f co
okin
g an
d a
styl
e of
coo
king
?
One
of
the
thin
gs I
am le
arni
ng is
tha
t yo
u ca
nnot
app
ly t
o co
okin
g w
hat
you
appl
y to
mus
ic o
r pa
inti
ng, b
ecau
se
each
dis
cipl
ine
is d
iffe
rent
. You
can
us
e th
ose
as a
ref
eren
ce, h
owev
er.
Bef
ore
we
thin
k ab
out
our
own
wor
k,
we
have
to
orga
nize
and
cla
ssif
y ou
r lin
eage
. For
the
fir
st t
ime,
we
need
to
org
aniz
e an
d or
der
gast
rono
my.
To
som
e, t
his
coul
d be
con
side
red
as
‘ant
i-cr
eati
on’.
VB
: It
rem
inds
me
of t
he p
ains
taki
ng
clas
sifi
cati
on w
ork
by E
nlig
hten
men
t
thin
kers
, inc
ludi
ng t
he b
otan
ist
Linn
aeus
and
enc
yclo
pedi
st D
ider
ot.
They
bot
h tr
ied
very
har
d to
con
cep-
tual
ize
how
thi
ngs
wer
e lin
ked
to o
ne
anot
her
by c
lass
ifyi
ng a
nd o
rder
ing
them
, the
re by
hop
ing
to f
ind
a un
i ver
sal
key
to t
he w
orki
ngs
of t
he w
orld
.
FA: T
he d
iffe
renc
e is
tha
t th
e pr
imar
y go
al o
f w
hat
I am
doi
ng is
to
crea
te.
VB
: Do
you
thin
k th
at b
ecau
se t
aste
is
so d
iffi
cult
to
orga
nize
, it
may
giv
e yo
u a
bett
er s
tart
ing
poin
t fo
r st
udyi
ng
crea
tivi
ty t
han
othe
r fi
elds
?
FA: T
here
are
no
good
or
bad
star
ting
po
ints
. I ju
st b
elie
ve in
wha
t yo
u lik
e
or d
o no
t lik
e. T
his
is v
ery
impo
rtan
t.
In t
he e
nd, o
ne o
f th
e re
ason
s I t
urne
d in
to s
uch
a th
ough
tful
per
son
is t
he
bubb
le a
gain
st s
ubje
ctiv
ity.
As
all
my
wor
k is
ver
y su
bjec
tive
, I h
ad t
o re
gim
ent
it, f
ind
a w
ay t
o co
mm
unic
ate,
cl
assi
fy, t
o cr
eate
an
obje
ctiv
e w
orld
.
(d
raw
s)
FA: S
ubje
ctiv
ity
is a
rea
lly im
port
ant
topi
c to
def
ine
as it
dir
ectl
y re
late
s to
ou
r id
ea o
f qu
alit
y. D
om P
érig
non
is a
gr
eat
cham
pagn
e. B
ut m
y m
um d
oesn
’t lik
e it
. I d
o lik
e it
; it’s
one
of
my
favo
-ri
tes.
So
wha
t? J
ust
beca
use
I’m F
erra
n A
drià
, my
opin
ion
is b
ette
r th
an o
ther
s?
This
mig
ht b
e th
e on
e th
ing
that
dif
fe-
rent
iate
s an
ext
raor
dina
ry c
hef
from
a
good
che
f. F
or e
xam
ple,
imag
ine
that
w
hen
I am
in M
aast
rich
t, v
ario
us c
hefs
Page 13
Ferran Adrià, Drawing made during the interview, 18 dec, 2015
Page 14
serv
e m
e a
sele
ctio
n of
pre
pare
d sa
mpl
es o
f a
prod
uct
that
I ha
ve n
ever
ta
sted
bef
ore.
The
re a
re v
ery
few
che
fs
that
are
cap
able
of
pick
ing
out
the
best
an
d ha
ve t
he D
utch
exp
erts
agr
ee. T
his
is a
n an
imal
thi
ng. I
t’s a
n an
imal
tal
ent
beca
use
ther
e’s
no k
now
ledg
e in
volv
ed.
VB
: And
are
the
re q
ualit
ies
that
you
can
na
me
that
mak
e th
at p
rodu
ct t
he b
est,
or
is it
just
the
bes
t?
FA: I
t’s ju
st t
he b
est.
But
the
n ag
ain:
the
be
st c
avia
r is
the
one
tha
t is
rou
nd, i
t do
esn’
t st
ick,
it e
xplo
des
in y
our
mou
th,
etc.
But
the
n so
meo
ne c
an c
ome
and
tell
you
they
pre
fer
the
cavi
ar t
hat
brea
ks a
nd is
a li
ttle
sti
cky.
It’s
ver
y co
mpl
icat
ed.
(F
erra
n ge
ts u
p an
d ge
stur
es m
e to
fol
low
him
dow
nsta
irs
whe
re h
is
staf
f is
wor
king
to
fill
one
of t
he
new
spa
ces
wit
h m
ater
ials
. He
says
so
met
hing
to
his
staf
f an
d w
e go
ba
ck u
p. “
Do
you
know
why
I am
do
ing
this
?” h
e as
ks. “
To s
tay
on
top
of t
hing
s. W
e do
a r
eset
tw
ice
a ye
ar, a
s w
e us
ed t
o at
elB
ulli,
to
keep
peo
ple
fres
h, t
o ke
ep c
ontr
ol,
and
figh
t di
sord
er a
nd in
effi
cien
cy.”
)
VB
: Wha
t w
ould
you
wis
h th
e el
Bulli
Fo
unda
tion
in R
osas
to
beco
me
whe
n it
reo
pens
and
how
doe
s th
e ex
hibi
tion
in
Mar
res
prov
ide
insi
ght
into
wha
t’s
goin
g to
hap
pen?
FA: T
he M
arre
s ex
hibi
tion
is t
he g
enes
is
for
a ne
w e
lBul
li th
at is
goi
ng t
o be
ab
out
rese
arch
, kno
wle
dge
and
the
crea
tive
pro
cess
. We
lear
ned
all t
his
thou
ght
abou
t th
e cr
eati
ve p
roce
ss
from
wor
king
on
this
exh
ibit
ion.
It
help
ed m
e to
con
text
ualiz
e ev
eryt
hing
at
a v
ery
high
leve
l. W
e ha
ve a
lway
s do
ne it
, but
in a
ver
y na
ïve
way
. Now
w
e ar
e w
orld
wid
e ex
pert
s, n
ot o
nly
in c
ooki
ng, b
ut a
lso
in t
he c
reat
ive
proc
ess.
We
wou
ldn’
t ha
ve d
one
the
Mad
rid
exhi
biti
on o
r an
y of
thi
s, if
it
was
not
for
the
wor
k w
e pu
t to
geth
er
for
Mar
res.
VB
: Can
I re
ceiv
e a
copy
of
the
draw
ing
and
publ
ish
it t
oget
her
wit
h th
e in
ter-
view
in t
he e
xhib
itio
n ca
hier
to
show
th
at, w
hile
I’m
inte
rvie
win
g yo
u, y
ou
are
draw
ing
to e
luci
date
you
r po
int?
FA: S
ure!
Go
for
it. T
his
is a
ver
y in
tere
stin
g bu
t al
so c
ompl
ex t
hem
e.
The
prob
lem
is t
hat
it’s
ver
y pr
eten
-ti
ous.
Peo
ple
don’
t un
ders
tand
tha
t fo
r us
foo
d is
the
alp
habe
t.
Val
enti
jn B
yvan
ck, 1
8.12
.20
15
Col
opho
nIm
ages
: elB
ulli
Foun
dati
on, P
epo
Segu
ra, M
arc
Cus
pine
ra, F
ranc
esc
Gui
llam
et, B
ob N
oto,
Ren
ée R
ouke
nsG
raph
ic d
esig
n: V
ande
jong
Inte
rvie
w: V
alen
tijn
Byv
anck
Tran
scri
ptio
n an
d tr
ansl
atio
n in
terv
iew
(S
pani
sh –
Eng
lish)
: Gis
ela
Fite
Hig
ham
Te
xts:
elB
ulli
Foun
dati
on, T
he D
raw
ing
Cen
ter,
Val
enti
jn B
yvan
ck, H
anna
H
esem
ans,
Luc
ie M
arra
ffa
Cop
y Ed
itin
g: Im
my
Will
eken
s, R
enée
R
ouke
ns, M
argo
t K
rijn
enTr
ansl
atio
n En
glis
h –
Dut
ch: P
ower
ling
Prin
ter:
UN
ICU
M I
Gia
nott
en
Prin
ted
Med
ia
Loca
ted
in t
he h
eart
of
the
old
tow
n of
Maa
stri
cht,
Mar
res
deve
lops
wit
h ar
tist
s, m
usic
ians
, des
igne
rs, c
hefs
and
pe
rfum
ers
a ne
w v
ocab
ular
y fo
r th
e se
nses
. In
addi
tion
to
brin
ging
a li
vely
pr
ogra
m o
f ex
hibi
tion
s, p
rese
ntat
ions
an
d pe
rfor
man
ces,
Mar
res
also
fea
ture
s a
beau
tifu
l gar
den
and
a w
onde
rful
re
stau
rant
.
Mar
res
rece
ives
ong
oing
sup
port
fro
m
the
Min
istr
y of
Edu
cati
on, C
ultu
re a
nd
Scie
nce,
the
Pro
vinc
e of
Lim
burg
and
th
e C
ity
of M
aast
rich
t.
Mar
res
Hou
se f
or C
onte
mpo
rary
Cul
ture
Cap
ucijn
enst
raat
98
6211
RT
Maa
stri
cht
+31(
0)43
327
02
07
info
@m
arre
s.or
gw
ww
.mar
res.
org
Ferr
an A
drià
: Not
es o
n C
reat
ivit
y w
as o
rigi
nally
cur
ated
by
Bre
tt L
ittm
an
for
The
Dra
win
g C
ente
r, N
ew Y
ork.
Fe
rran
Adr
ià a
nd V
alen
tijn
Byv
anck
ad
apte
d an
d ex
pand
ed t
he e
xhib
itio
n fo
r pr
esen
tati
on a
t M
arre
s.
Dom
Pér
igno
n is
the
pre
sent
ing
part
ner
of F
erra
n A
drià
: Not
es o
n C
reat
ivit
y.
Add
itio
nal s
uppo
rt is
pro
vide
d by
the
R
amon
Llu
ll In
stit
ute,
Acc
ión
Cul
tura
l Es
paño
la (A
C/E
), L
avaz
za, t
he P
rovi
nce
of L
imbu
rg, V
SBfo
nds
and
the
Bank
Gir
o Lo
teri
j Fon
ds.