Verde Prato, sweet rebel

Posted on 3 July 20259 July 2025 by eki

Verde Prato, sweet rebel

Art & Design, Culture, Gipuzkoa, People & Creation

Text: Manuela Estel / Photos & Videos: Verde Prato

With Verde Prato, Ana Arsuaga has built a unique, unclassifiable musical universe that resonates throughout Europe.

One evening in 2019 in Bilbao, Ana Arsuaga was hurriedly looking for a stage name. She had just agreed to perform solo for the first time at an experimental music concert, but not under her real name. “I didn’t want all my friends to turn up,” she explains. So she looked for a vague name that revealed nothing about the artist, whether male or female, solo or part of a group.

That’s when an image came to mind. An old poster that had always hung on the walls of her parents’ house in Tolosa. It was for a play her mother had put on when she was little, called Verde Prato. Spontaneously, Ana made it her stage name and rushed to write three songs.

Six years later, “Neskaren Kanta”, one of the improvised tracks from that evening, has racked up almost 2 million plays on Spotify. And the name “Verde Prato” is now appearing on concert halls and festivals across Europe.

This is the paradox of Verde Prato: music born out of discretion, but carried by a voice that is impossible to ignore: a unique project that is both deeply personal and universal in scope.

The path of someone who defies categorisation

Defining Verde Prato’s musical style is a million-dollar question. She herself hesitates, searches and then says with a smile: “eclectic”. And how could it be otherwise? Ana Arsuaga grew up surrounded by eclecticism.

Her mother taught theatre. Her father, a house painter, passed on his passion for books and music. And her aunties, who were pianists, encouraged her to take up the keyboard at an early age. Art in all its forms is omnipresent in the Arsuaga family.

As a child, Ana already felt different. She devoured books, preferred films in their original language and gradually distanced herself from her peers’ tastes. “Tolosa is small. You can quickly become an outsider there. It made me want to leave, to see other places.” Art became a refuge and soon a path in life.

After graduating from high school, she enrolled at the Bilbao School of Fine Arts and co-founded the free-spirited and noisy trio Serpiente with two friends. “We had a blast making music; we didn’t care how it sounded.” The band experimented with their own version of post-punk, inspired by Jayne Casey, Cate Le Bon and Siouxie and the Banshees. “Being a girl band changed everything. There were no expectations. No specific goal. Just the desire to create.”

It was during a Serpiente concert that artist Jon Mantxi spotted her. He invited her to play solo. That was the birth of Verde Prato.

With just the first three songs she played that night, she laid the foundations for a unique and varied universe: “Neskaren Kanta”, a spectral reggaeton, “Mutilaren Kanta”, a spellbinding incantation, and “Galtzaundi”, a traditional song filtered through minimalist electro.

Invitations started pouring in right away. She created prolifically. Concerts followed one after another and, without ever having planned it, Ana Arsuaga took Verde Prato (and the Basque language!) on a journey from Tolosa to Prague, from the Azores to London.

“Her mother later told her that Verde Prato is the title of a fairy tale by Giambattista Basile, in which the princess saves the prince.”

On stage, a complete and committed work

Her mother later told her that Verde Prato is the title of a fairy tale by Giambattista Basile, in which the princess saves the prince. Ana couldn’t have found a better name. From the outset, she has been charting her own course. A radical proposition that draws as much on the heritage of the bertxularis and liturgical chants as on contemporary performance.

At the time, a new artistic wave was already shaking up the Basque Country and inspiring her deeply. Ana cites Mursego in particular: “She played the cello, threw in loops, added electronics… It was powerful, new, it made an impression on me.” Ana comes from the trio Serpiente, where anything goes, so why hold back on her desire to experiment? “I said to myself: if I want to do reggaeton, I’ll do it. If I like flamenco, I’ll slip it into a song.”

Her common thread is her minimalism. Alone on stage, without artifice or accompaniment, she imposes her magnetic presence. A keyboard, looping, and a raw voice that plays with extremes. Almost nothing, and yet a whole world.

While her creativity is spontaneous, almost organic, nothing is left to chance. Not even her clothes. Ana works with a stylist friend to create outfits that defy convention. “I don’t want people to just see a girl singing. I want them to experience a complete project. Something theatrical, aesthetic. Almost a plastic art form.”

The stage is also the setting for a feminist political statement. “I’m a woman who writes her own songs and performs alone on stage. It’s something I wanted to see as a spectator myself.”

The choice of Basque was less deliberate at first. It was natural to write in her mother tongue. “But seeing people all over Europe dancing to my language is a dream come true! Now it’s a choice I’m committed to.”

Laying claim to sweetness

Verde Prato recorded her latest album, Bizitza Eztia, in Rome with producer Donato Dozzy, a leading figure in minimalist electro. With Italy as a backdrop, she draws on her personal experiences to explore a certain idea of la dolce vita (bizitza eztia in Basque).

“But this sweetness must be for everyone. Otherwise, it’s not really la dolce vita.” Behind the delicate electronic sounds, powerful themes emerge: the need for a more inclusive world, freedom, feminism, and social pressure on women’s bodies.

The album perfectly reflects the three words Ana Arsuaga ultimately chose to describe herself: “Girl. Sweet. Radical.”

The small but powerfully painstaking ants of Iñurri

Posted on 29 May 202523 June 2025 by eki

The small but powerfully painstaking ants of Iñurri

Gipuzkoa, Society

Text: Manuela Estel / Photos: Andoni Beristain

Miren Cuerdo and Julene Illarramendi founded Iñurri to provide taboo-free support to women with cancer. The association quickly stood out for its feminist approach, which extends far beyond Gipuzkoa.

In their light-filled office in Usurbil, next to a colourful mural by Zumeta, Miren and Julene, co-founders of Iñurri (Basque for “ant”), look through photos of a weekend in Madrid with friends. Laughter, tapas, walks in Retiro Park… moments of simple joy. Except that this is the last weekend for Leire, 22, who is terminally ill with cancer. She smiles throughout. She passed away a few hours later in her hotel bed, surrounded by her mother and the ‘iñurris’ who had become her friends.

“If death could be beautiful, it was,” says Miren. Behind her, the association’s T-shirts display a meaningful slogan: Hil arte, bizi — Live until you die. Indeed, it is Iñurri’s mission to help sick women prioritise themselves, sweep away social dictates and live as they see fit. A feminist kick in the anthills…

How did Iñurri come about?

My mother died of cancer eight years ago. She was ill for 10 years. She refused to wear a wig, showed her tattooed breast and helped other women with cancer. When she died, I needed to do something, but I didn’t know what or how.

I started an Instagram account, and Miren contacted me. We met in a bar, Miren created a design, and we launched some T-shirts. They were an instant hit, and lots of women affected by cancer contacted us.

It is often said that a person does not die as long as they live on in our words. Iñurri is a bit like that: before, there was my mother with her ant tattoo, now there are lots of Iñurris.

How did you make a difference?

We started by listening to them, just listening. It was liberating to be listened to without that heavy compassion, to be treated like people and not like patients.

One day, one of them told us that the way we talked about the disease was feminist. We hadn’t even realised it, but it was true. Iñurri could only be feminist. That’s what makes us unique.

What inequalities do women face in healthcare?

One of the first women we supported was a 29-year-old Catalan woman. It took almost a year to diagnose her… She was told she was touching her breasts too much!

There is a real imbalance: men are always believed when they complain of pain. As for women, they always hear: “It’s stress, anxiety, hysteria!”

We quickly realised that we had to change the situation.

What happens after the diagnosis?

There is enormous aesthetic pressure. The first thing you are told is where to buy wigs, prostheses, or get micro-pigmentation. Of course, these things can be useful, but they are not enough.

Young women who are going through early menopause, which disrupts their sexuality, are left with no answers. This should be a free public service. The truth about cancer is that either you recover or you don’t. But in the meantime, you deserve to live well, don’t you?

And in their personal lives, how does cancer affect women?

A 2017 study published in the journal Cancer says that 20.8% of women with cancer end up being abandoned. Whereas when it is the man who falls ill, he can count on his wife. Women with cancer continue to take care of others, while many men shy away. It is time to stop taking care of everyone else except ourselves.

In your podcast Dragón Cáncer, Olatz Mercader recounts how, in the swimming pool showers, a little girl stared at her operated breast. Her mother told her to stop, but Olatz invited the little girl to ask her any questions she had. How does this moment reflect the importance of breaking taboos about the female body and illness?

It shows that you never see breasts that have been operated on in public! It’s great to have people like Olatz, who are empowered and comfortable with their bodies. “It’s a scar; I don’t have a breast anymore, so what?” And when people ask her, “How are you going to manage in the summer, wearing a dress?” she replies, “Why that question? Do you think the dress is going to run away?’

There is still a lot of work to be done in terms of education, not only with children, but with everyone. That’s how the idea for the calendars came about.

“When you have cancer, it’s like entering a factory: you’re placed on a conveyor belt and moved from chemotherapy to radiotherapy, treated like an object.”

How do these calendars, and your work in general, help women reclaim their bodies?

When you are told that you need to have a breast removed, the first thing you are offered is an appointment for reconstruction. And those who refuse often end up with an external prosthesis. It’s always the same logic: hide, cover up.

Many people imagine that a reconstructed breast is just like before, with a nipple and the same appearance as before. But the reality is very different. And some studies show that prostheses increase the risk of recurrence. We understand why women choose reconstruction to feel better about themselves. But what we’re criticising is that they’re not being told about all the options available to them, or about the consequences of their choices.

We empower women. Because it takes a lot of courage to say no when you are at your most vulnerable…

What do you offer that the traditional healthcare system doesn’t?

The idea was to create a network. The first point of contact is with us. Then we put women in touch with others who have had similar experiences. You understand each other better when you’ve been through the same things. We’re like a big tribe: 220 women (and one man!).

We have also just launched group therapy sessions with a psychologist. The idea is to provide support after treatment, during that period when you are supposed to be happy but feel bad: fear, your changing body… Nobody talks about it.

Why is the collective so important?

The Iñurris like to feel active: we support them, but they also support other women in return, and are making their own little revolution. They were the ones who initiated the association’s first projects!

When you have cancer, it’s like entering a factory: you’re placed on a conveyor belt and moved from chemotherapy to radiotherapy, treated like an object. With us, you’re not a number. You play an active role as a patient.

Tell us about a moment that captures the spirit of Iñurri.

During a retreat, a rather modest woman arrived wearing a thick turtleneck jumper. She always wore her external prosthesis, even though it hurt her (she had marks on her skin). On the second day, we organised a photo shoot. Everyone posed however they wanted. She posed topless, feeling liberated. At moments like that, you realise you’ve achieved something precious.

What would you say to someone who has just been diagnosed?

That we are here for them. When you find a tribe, everything becomes easier. The shit is still there, but together, it’s less shitty.

Néstor Basterretxea, pioneer of modern Basque design

Posted on 19 May 202523 June 2025 by eki

Néstor Basterretxea, pioneer of modern Basque design

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Text: Peio Aguirre / Photos: Basterretxea family, Irungo udal artxiboa

Nestor Basterretxea (Bermeo 1924 – Hondarribia 2014) initially trained as an architect. However, this did not prevent him from becoming an artist; a role he embraced in order to explore other creative fields such as cinema, design and even architecture.

His origins in industrial design date back to the late 1940s in Buenos Aires, where the young Nestor studied at the Instituto Huergo and worked as an illustrator for the Swiss multinational, Nestlé. There he learned the fundamental principles of perspective, delineation and projection that he would later put into practice in his painting and sculpture. This design logic would become his personal trademark, which he would always combine with an expressionist and humanist spirit.

In 1957, he joined Equipo 57 and explored the principles of spatial interactivity. Alongside Jorge Oteiza, he decorated the apartment of industrialist and patron Juan Huarte in Madrid. In 1958, he began designing for H Muebles, a fledgling modern furniture company. There he met other designers, such as Gregorio Vicente Cortés, Huarte’s trusted technician and designer.

Basterretxea was commissioned to design the first pieces of furniture for the catalogue, while producing furniture for the Spanish Pavilion at the 1958 World’s Fair in Brussels, designed by architects Ramón Vázquez Molezún and José Antonio Corrales. Basterretxea’s designs for H Muebles are characterised by a metal structure supported by a Meccano-style connector, on which soft seats rest. He also designed small coffee tables in wood or glass with asymmetrical metal ribs. For H Muebles, he designed the first version of the Diván H, one of his most original signature designs.

Néstor Basterretxea and Jorge Oteiza with the model of the Sabino Arana Foundation and the sculpture Open Cubes, Interior Spaces, Light Retentions, 1979. © J. García Koch / Jorge Oteiza museoaren artxiboa

Promotional photo of Espiral furniture. © Irungo udal artxiboa

His experience in Madrid and his close relationships with architects and designers, enriched by Oteiza’s theoretical teachings, familiarised him with the Bauhaus ideal of integrating the arts. He had great skill and a keen eye for combining furniture, atmosphere, decoration and art. When he moved into his brand new house-studio in Irun in the late 1950s, he noticed the absence of modern furniture (made of tubular metal or bent wood) in Basque homes.

He then began to forge links between industry and creativity, marking the beginning of the modernisation of domestic furniture. In Irun, he was responsible for the interior design of the Aguirre tasting room and, in 1961, he became a partner in a new shop in Donostia called Espiral. This shop, which sold domestic and imported furniture, also served as an office for decoration and interior design projects. Espiral also produced some curved plywood furniture, such as a bench and small side table in dibetou and sipo, as well as other simple wooden tables.

Espiral’s designs were inspired by Nordic austerity and a taste for Japanese horizontality. Espiral became a reference point for those who wanted to furnish their homes with the latest trends. Its premises also served as an impromptu meeting place for the city’s intellectual and cultural intelligentsia. Among Espiral’s most original creations is its chess set that comes with a storage box for the pieces. Basterretxea revisited some of his old ideas, such as the Diván H, for which he created a new prototype, followed by a third version of the sofa for Biok. This obsession with his own designs shows the artist’s deep attachment to his work.

Divan H, Biok, 1965. © Irungo udal artxiboa

Chessboard and chess pieces, 1967. © Irungo udal artxiboa

“A clear evolution can be seen at Biok: the austerity of the early designs gave way to more rounded, warmer, pop-inspired organic shapes.”

Espiral’s business grew, and at the same time, Basterretxea began working as an “exclusive model designer” for Biok, a small, newly established company in Irun specialising in the production and marketing of furniture, which he joined as a partner in 1965. Although Espiral and Biok were two separate companies, they were linked by common partners, and the creative link between the two entities was provided by the designer. Espiral became the first point of sale for furniture designed and produced in Irun.

At Biok, Basterretxea developed his full potential, working closely with technicians and employees. They used complex cabinet-making and assembly techniques and made more sophisticated use of African woods. A clear evolution can be seen at Biok: the austerity of the early designs gave way to more rounded, warmer, pop-inspired organic shapes. This was an attempt to escape the monotonous sobriety of rationalism with high-end furniture that never sacrificed functionality or comfort. It was also the era of the domestic revolution led by the Italian magazines Domus and Casabella, which Nestor regularly received at his home.

This world of references blended with a passion for indigenous culture. The pieces for Biok were named after coastal villages: Orio, Zumaia, Getaria… The sturdy Bermeo desk evokes the prow of a boat or a breakwater and is reminiscent of many of the artist’s sculptures based on circles and semicircles. Nature and art are thus translated into industrial design: the dynamism of the curve, the rising spiral, the ever-changing shape of the waves… This period was marked by Basterretxea’s commitment to Basque identity and culture. It is therefore probably no coincidence that his most fertile period at Biok coincided with the gestation and production of the feature film Ama Lur (1968), a major milestone in Basque culture during the Franco regime.

Néstor Basterretxea, Julio Amóstegui, and Fernando Larruquert on the set of Ama Lur, a documentary considered foundational to Basque cinema.

In a very short time, Biok began participating in several of Europe’s most important design fairs, such as the one in Cologne. In 1968, Basterretxea designed two variations of his most unique and personal design, a true aesthetic manifesto that reflected his entire stylistic ideology: the Kurpilla armchair (a phonetic variation of Gurpila, which means ‘wheel’ in Basque). This was a “camp” style model with a counter-curve in the armrests, which elevated it to the ranks of the best designs of the 1960s. In the same year, Biok had successfully launched the “BK system” of modular furniture for the home and office.

Néstor Basterretxea with workers from the Biok furniture company, Irun, 1960s. © Basterretxea family

Basterretxea then sketched and produced small models, photographs and displays of a whole series of visionary prototypes. These would be his legacy to the world of design. With his artistic expressiveness being constrained by standardised production, he distanced himself from Biok. This marked the end of his involvement in industrial design, which had lasted just over a decade. This period was enough to make Néstor Basterretxea a leading figure in Spain and a pioneer of modern Basque design.

Microscopic beings at the helm of a revolution

Posted on 4 April 202523 May 2025 by eki

BROMALGAE

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Bizkaia, Brands & Business, Science, Society

Text: Nahia Zubeldia / Video: Mito & Iker Treviño

Microscopic beings at the helm of a revolution

Until a few decades ago, Barakaldo was the beating heart of heavy industries when the Biscayan blast furnaces were producing iron and steel. A real springboard for the Basque economy, this activity unfortunately caused very high levels of pollution. With the passage of time and the decline of the industry, Bilbao and the surrounding area have undergone considerable transformations, with the emergence of new environmental policies and sustainable development projects.

Altos Hornos de Vizcaya, founded in 1902 in Barakaldo.

So the green revolution currently taking place in the Basque Country does not stem solely from its forests and its agriculture. Tiny marine organisms, microalgae, are paving the way towards a more sustainable future. This is the challenge taken up by the innovative company Bromalgae: to use the power of microalgae to address major environmental issues such as reducing air pollution, absorbing carbon dioxide and promoting renewable energy.

Microalgae, the green gold of the sea
These small but powerful microalgae are sometimes compared to “superplants” because of their incredible ecological capacities. In addition to their exceptional capacity to absorb carbon dioxide and produce oxygen, microalgae multiply at an impressive rate, doubling or even tripling every day! All these characteristics make them interesting and productive allies for industry, food and energy production.

By using the natural process that oxygenates the planet, Bromalgae has developed technology made possible by microalgae to reduce pollution and purify the air. To enable us to breathe healthier air in our polluted cities, the company has created innovative algae trees. This system, called GarbiAir, uses microalgae to capture gases such as CO₂ and NOx (nitric oxide and nitrogen dioxide). Initial experiments carried out in Barakaldo and Bayonne are more than promising, as they have revealed a 30% to 40% reduction in carbon dioxide emissions and a 70% reduction in nitrogen oxides. So we may well see these new kinds of trees blossoming in our streets in the not-too-distant future.

But pollution issues go well beyond this scale. Large industries emit quantities of gases that are very harmful to the environment. Here again, microalgae have their say. Thanks to ingenious systems installed in factories, the GarbiNox system filters the air, absorbing toxic gases and expelling purer air. This technology not only preserves the environment, but also helps companies comply with the strictest regulations in this field.

Microalgae have many other strings to their bow. To be able to study them in the best possible way and to derive maximum benefit from them, Bromalgae has embarked on the production of microalgae on an industrial scale, as part of the Valga project. Microalgae could thus be applied to agriculture, waste management, health and even cosmetics.

Bromalgae proves that a city or region, even one with a history of pollution, can reinvent itself to become a major player in environmental protection. It also demonstrates that microalgae offer concrete and effective solutions to major ecological challenges.

However, many obstacles remain before these revolutionary technologies can become a reality on a large scale. In addition to scaling up production to an industrial level, it is essential to raise awareness and disseminate the benefits of microalgae, to raise citizens’ awareness and push companies towards sustainable alternatives. Public policies must act in the same direction, placing air quality and environmental protection at the heart of their priorities.

Microalgae, a promise for the future
Bromalgae proves that a greener and more sustainable future is achieved through the combination of innovative technologies and the power of nature. Microalgae are not a miracle solution but a real opportunity offered by science and engineering to reduce pollution and preserve the environment.

The work done by Bromalgae in the Basque Country shows the world that these microscopic marine organisms can have a huge impact on the health of our planet. Although the potential of microalgae is still largely untapped, they are just waiting in the wings. Technology, awareness and regulation are the three essential pillars that will enable their potential to flourish and develop.

This book is an ode to the beauty of nature

Posted on 27 March 202523 June 2025 by eki

This book is an ode to the beauty of nature

Gipuzkoa, Places

Text: Manuela Estel / Photos: Lur Garden

Iñigo Segurola’s book Lur Garden looks back at the genesis of his “garden of gardens” that he has been shaping for ten years in the Oiartzun valley.

But since a garden is nothing without its gardener, the Basque landscape designer also reveals a lot about himself. It is the story of a man in search of order and beauty in the heart of a free and indomitable nature.

As a child, Iñigo Segurola was one of those children who picked flowers on every school outing. He used to say that when he grew up, he would write “books about trees”. Already passionate about plants, he tells how moved he was when, in science class, the seeds he had placed in damp cotton finally germinated.

Fifty years later, he has created a garden that is unique in the Basque Country, an “oddity” in the local landscape. Above all, he has published Lur Garden, the “book about trees” he had dreamed of.

“I always say that this garden was like adopting quintuplets: when one sleeps, the other cries, another becomes uncontrollable, and so on,” – Iñigo Segurola

Lur Garden, the 10-year genesis of a book
Lur Garden is a collection of 16 themed gardens; a “garden of gardens” spread over two hectares in the heart of a small valley in Oiartzun. Some would say it is the Garden of Eden. However, when Iñigo Segurola and his partner Juan Iriarte found this land ten years ago, it was just a meadow where a few cows grazed, bordered by the Sarobe stream.

At the head of Lur Paisajistak since 1994, the visionary landscape architects of Gipuzkoa fell in love with the place and decided to acquire it in order to experiment with their art without constraints.

As the pages turn, Segurola reveals the stages of the project. We learn that the idea of creating a succession of round, rather than straight-lined, gardens emerged from Juan Iriarte’s sketch of a fried egg. Inspired by metal rings found on the site, Iriarte sketched a garden conceived not as an extension of a building, but as islands in the middle of nature.

The photographs, by Segurola himself and by Clair Takacs, Marta Etxebarria and Unai Bellami, offer a visual journey through these contrasting spaces. We meander from the garden of mirrors, soberly organised around a stretch of water devoid of aquatic plants, to the multi-coloured and luxuriant garden of extravagance.

Segurola opens the doors to his inner garden
Lur Garden is organised in two parts: the gardener and then the garden. For Segurola, the relationship between the two is visceral. “I always say that this garden was like adopting quintuplets: when one sleeps, the other cries, another becomes uncontrollable, and so on,” he says. The first eight years of this creation were like an obsessive relationship, in which he admits to having forgotten himself to the point of “hitting rock bottom”. He compares the garden to a child forever dependent on its parent.

Only yoga and meditation freed him from this interdependence and enabled him to rebuild himself. Rather than a Creator, he then took the place of an Observer in these gardens full of plants and animals, which in the end were not so dependent on him.

You can buy the book here!

Palmadera: small surfaces with big ambitions

Posted on 3 February 202523 June 2025 by eki

PALMADERA

Architecture, Brands & Business, Nafarroa

Text: Naia Zubeldia / Photos: Mito

In 1962, Palmadera set up in Bera/Vera de Bidasoa, Navarre, bringing with it an innovative German technique: the manufacture of moulded plywood objects.

The products, made from sheets of beechwood impregnated with phenolic resin and compressed under high pressure, quickly gained popularity. The robustness and versatility of these materials made them indispensable in many settings: from school furniture to hotel trays.

Continuous improvement
In the 1990s, Palmadera modernised its processes by introducing Kraft paper in the middle layers and improving the finishes with oak veneer. This material, which is both aesthetic and practical, became a standard in the hotel sector. In 2005, in partnership with Zoocreative the design studio, Palmadera launched an award-winning collection of dishes and trays, winning over prestigious brands, such as Starbucks, McDonald’s and Zara Home, in search of personalised designs.

Architecture as a new horizon
The compression technology developed by Palmadera took on a new dimension in 1992, when wooden panels were used to clad pavilions at the Universal Expo in Seville. This success propelled the company into the architectural sector. The Palmadera Group, represented by its sister brand Parklex, develops laminated wood panels capable of withstanding the most extreme weather conditions.

University of Washington
Architect: Perkins + Will

Hall of Waterfront City – Chongqing
Architect: Shangai Tianhua

5 St Paul’s Square Liverpool
Architect: RHWL

“With 130 employees and a worldwide presence, Palmadera and Parklex are now key players in industrial design and architecture”

An innovation for architects
Parklex panels are becoming the preferred choice for demanding architectural projects. They can be used to create ventilated façades, curved walls, railings, false ceilings and ultra-resistant floors. Their versatility encourages architects to push the boundaries of creativity.

Prestigious projects around the world
Parklex laminated panels clad the walls of iconic buildings:
• Frank Gehry’s Guggenheim Museum in Bilbao.
• Ricardo Bofill’s W Barcelona Hôtel.
• Jean Nouvel’s suites at Hôtel Silken Puerta América in Madrid.
• Christian de Portzamparc’s Hôtel de Région Rhône-Alpes.

They can also be found in international projects such as:
• 5 St Paul’s Square, Liverpool.
• Washington University in Seattle.
• Woodview Mews in Croydon.
• Hall of Waterfront City in Chongqing.
• Fast Lane Center in Tel Aviv.

A high-growth company
With 130 employees and a worldwide presence, Palmadera and Parklex are now key players in industrial design and architecture, combining tradition and innovation.

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In the forests of Gipuzkoa, a small hut with big ambitions

Posted on 2 February 202523 June 2025 by eki

In the forests of Gipuzkoa, a small hut with big ambitions

Architecture, Art & Design, Nafarroa, Places

Text: Nahia Zubeldia / Photos: Biderbost Photo

The architects at Babelstudio in Bilbao have spearheaded an ambitious renovation project in the heart of the Sierra de Aralar, transforming a 20m2 tool shed into a cosy pied-à-terre.

Bringing some great ideas to life in a (very) small space: is this the architecture of the future?

In recent years, images of small huts in the middle of nature have invaded social networks, blogs and magazines. In a world teeming with information, people and pressure, the need for nature has, for many, become insatiable. This is what brought a creative couple from Bilbao to the offices of Andrea García, Michael Schmidt and Andrea Emmanuel, founders of the architectural firm Babelstudio.

Owners of a tool shed nestling in a wood in the Sierra de Aralar, on the edge of Gipuzkoa, they aspired to turn it into a place where they could enjoy a well-deserved weekend break, where they could do odd jobs, rest after a hike and even spend the night. The cottage designed by Babelstudio reveals all the ingenuity required in the architecture of small spaces.

“The professionals at Babelstudio therefore had to ensure that no unusable spaces were created, that every square metre was optimised.”

An optimised space that preserves the heart and soul of a cabin from yesteryear.
“The hut was in a serious state of deterioration,” explain the architects. “The structure had stability issues and the building’s envelope was neither insulated nor weatherproof.” In order to comply with current standards, they had to rethink the materials and structure of the cabin, while retaining its original shape and volume in the aim of creating a habitable cabin of 20 m2, no more, no less. The challenge was an appealing one: at a time when space and budgets are increasingly limited, the architecture of small buildings is the one that gives the greatest freedom to inventiveness and creativity.

The professionals at Babelstudio therefore had to ensure that no unusable spaces were created, that every square metre was optimised. This resulted in two spaces of equivalent size: the first, a cosy living room/bedroom around a stove, with large bay windows offering a glimpse of the surrounding greenery. The second has a small dry toilet and a carpentry workshop that literally opens onto the forest, thanks to a large door that takes up the entire facade.

A project that blends into its environment
Another architectural challenge that is equally in tune with the times is renovation with the greatest respect for nature. To achieve this, the creative minds at Babelstudio chose to use local pine for the floors, beams and interior and exterior walls. The roof is made of corrugated iron. A “raw” look that is nevertheless jazzed up by the black paint on the entire exterior of the cabin, which gives the impression of both a contrast and a fusion with the surrounding nature.

With this mini-cabin in the forest of Gipuzkoa, Babelstudio responds to our growing need not just to do well, but to do even better. Is the future small?

Notox: ecological, high-performance surfboards

Posted on 24 January 202523 June 2025 by eki

Notox: ecological, high-performance surfboards

Text: Naia Zubeldia / Photos: Mito & Notox

Pierre Pomiers and Benoît Rameix, surfing enthusiasts and colleagues in a robotics company, decided to take action.

True harmony with nature
At the turn of the millennium, surfing, despite its symbiotic relationship with nature, revealed its shameful side. The manufacture of surfboards generates a great deal of pollution: a 3 kg board produces 6 kg hazardous waste, and the materials needed to make it travel an average of 9,000 km.

Faced with this reality, Pierre Pomiers and Benoît Rameix, surfing enthusiasts and colleagues in a robotics company, decided to take action.

In 2006, they founded Notox in Anglet, an innovative workshop that puts the health of its craftsmen and the environment at the heart of its priorities. Working with the occupational health department, they equipped their workshop to minimise environmental pollution: extraction of fine particles, noise reduction, substitution of toxic solvents and waste recycling.

The first eco-friendly boards
In 2010, Notox launched its first ecological surfboard made from linen fibre. Its recycled polystyrene core and biosourced epoxy resin (56% plant-based) drastically reduce its ecological footprint: materials are sourced from 700 km away and 75% of the 4 kg waste produced per board is recycled. This innovation also guarantees optimum performance in terms of lightness, vibration absorption and manoeuvrability.

Contouring and sanding a cork board

“Combining technical expertise, ecological responsibility and accessibility, Notox embodies a new vision of surfing.”

The cork revolution
In 2016, after three years of research, Notox created its cork board, ideal for beginner and intermediate surfers. Shock-resistant and non-slip, cork eliminates the need for wax. The board was an immediate success and now accounts for over 50% of production.

A fast-growing brand
Notox’s creations, exhibited at numerous trade fairs and at the Milan World Expo in 2015, are attracting international attention. Today, 20% of sales are exported, and the brand is planning to open a licensed workshop in Australia.
Combining technical expertise, ecological responsibility and accessibility, Notox embodies a new vision of surfing, where passion and respect for the environment can finally surf the wave together.

B.Lux lamps: Some enlightening and multi-faceted ideas

Posted on 20 January 202523 June 2025 by eki

B.LUX

Art & Design, Bizkaia, Brands & Business

Text: Christine Holmes / Photos: B.Lux

Founded in 1979 in Markina, Biscay the B.Lux lighting company was a pioneer in an industrial context traditionally dominated by steelmaking and machine tools.

From the outset, it distinguished itself by its innovative approach, combining local manufacture, exceptional design and an international outlook. B.Lux favours local, high-quality production, carried out entirely at its Gizaburuaga factory, which doubled in capacity at the end of the 1980s.

Guillermo Capdevilla design pioneer in the Basque Country with a team of designers at the DZ Diseinu Zentrua centre in Bilbao – 1985

Cover of the first catalogue for the Belux System Collection – 1980

Design at the heart of the strategy
Right from the start, B.Lux placed design centre stage by calling upon talented creators. In the 1980s, Guillermo Capdevilla, a pioneer of industrial design in the Basque Country, led the way with innovative creations that would leave a lasting mark on the identity of B.Lux.

He was soon joined by other great names in design, such as Jorge Pensi, Miguel Ángel Ciganda and, more recently, David Abad, Stone Designs and Tim Brauns. Together, they develop timeless lighting designs that regularly win international awards.

Architectural and outdoor projects
Since 2001, B.Lux has been developing lighting systems for large-scale architectural projects, working with renowned architects such as Frank O. Gehry, Patxi Mangado and Dominique Perrault. At the same time, the company offers models for outdoor lighting, some of which, like the Kanpazar lamp (Jon Santacoloma), have won international design awards.

Designed in 1979 by Guillermo Capdevilla, the Belux System Collection was reissued in 2019.

Aspen Collection (Werner Aisslinger): with dual lampshades in matt-finish tones that can be combined for sophisticated lighting, both direct and diffused.

Belux System (Guillermo Capdevilla, 1979): a timeless collection of articulated lamps, reissued in 2019.

“With a presence in over 50 countries, B.Lux combines local know-how with a global vision”

An international reference
With a presence in over 50 countries, B.Lux combines local know-how with a global vision. The complementarity between Basque industrial know-how and the talent of local and international designers has enabled this family-run business to become a benchmark in the world of designer lighting.

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Gipuzkoa, Places

This book is an ode to the beauty of nature

Architecture, Art & Design, Nafarroa, Places

In the forests of Gipuzkoa, a small hut with big ambitions

Architecture, Lapurdi, Places, Society

Alki unveils its new headquarters: a sustainable workshop with a showroom and shop

Culture, Gipuzkoa, Memory, People & Creation

“Ombuaren Itzala”, or in the shadow of Otaño, the bertsolari

Orbea: from canons to bicycles

Posted on 14 January 202523 June 2025 by eki

ORBEA

Art & Design, Brands & Business, Gipuzkoa, Memory

Text: Nahia Zubeldia / Photos: Orbea

The original Orbea Hermanos emblem, which combined the initials of the company, is engraved on a multitude of weapons around the world.

A two-wheeler turn
In 1926, the company made a radical change: gun barrels became bicycle frames. Eibar, the historic heart of the gunsmith’s business, was transformed into the nerve centre of bicycle manufacturing. Orbea joined companies such as BH, which had begun this transition in 1923. The company divided its activities: Orbea y Compañia, based in Eibar, concentrated on bicycles, while Hijos de Orbea, in Vitoria/Gasteiz, continued to produce cartridges.

This period also saw the rise of cycling in the region. In 1910, Eibar organised its first race, Eibar-Elgoibar-Eibar, 25 years before the Tour of Spain was created.

“This period also saw the rise of cycling in the region.”

The cooperative, a new start
Despite its initial success, Orbea went through a crisis in the 1960s. In 1969, on the verge of bankruptcy, the company was taken over by its employees in the form of a cooperative. This new corporate model enabled the company to bounce back. In 1975, the factory moved to Malaria, reinforcing its commitment to professional cycling with its own professional team.

A brand at the cutting edge of innovation
Orbea is constantly innovating and expanding. Today, the brand offers a varied range of racing, mountain, triathlon, city and electric bikes, as well as helmets and accessories. In each discipline, it offers customisable models, like the Orca, an ultra-light road bike with integrated cabling and a frame weighing just 833g. This model perfectly embodies the balance between aesthetics and technical features.

Riding tall in the saddle
With subsidiaries all over the world (USA, France, Germany, Australia, etc.), Orbea is a key player in the bicycle industry. Still based in Mallabia, Orbea combines long-established expertise with innovation, powering the company forward to conquer new summits.

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