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.

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.

— 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

— 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.

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

— 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

— 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

— 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

— 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

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

Ferran Adrià, Drawing made during the interview, 18 dec, 2015

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

Ferran Adrià, Drawing made during the interview, 18 dec, 2015

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.