Within the apparent complexity of its design, there is a pattern that guides the shape and volume of the museum. This pattern is based on the application of the maximum curvature that titanium can support in all of its elements. The Great Hall, often referred to as the Fish Hall, extends eastward and connects to a bridge that crosses the Bilbao estuary, the La Salve Bridge. This structure existed on the site before the museum was built, and the architecture of the museum had to adapt to it. Behind this bridge is a tower that appears to be an extension of the museum and its side facing the bridge lacks titanium cladding. Inside, it features a structure of inclined metal bars reminiscent of Coop Himmelb(l)au's works.

When the museum is viewed from the east, it appears to have a more ethereal appearance compared to other perspectives. Strange curved and twisted parallelograms can be identified that make up the Fish Hall. In general, the building's windows follow more conventional patterns. Frank Gehry is known for his ability to create contrasts, a concept that originates in other artistic disciplines, such as music. In architecture, this involves the juxtaposition of very different elements. In the case of the Guggenheim Museum in Bilbao, Gehry achieves this effect by placing a series of blocks with straight, rational forms in the southern part of the building, which faces the urban center of Bilbao. These structures contrast dramatically with the curved, organic designs of the most iconic part of the museum. The facades of the straight blocks are not clad in titanium, and their windows are rectangular. Some of these facades have a purple hue, while others are clad in cream-colored stone.

Behind these blocks is a small plaza leading to the main entrance of the building, where Jeff Koons' sculpture "Puppy" is located. This work is a gigantic representation of a dog made of natural flowers. Initially, it was conceived as a temporary exhibition, but it was later decided that it would remain permanently. From this plaza, the building appears to have a more solid and stable appearance compared to the view from the east. To the left of the museum, exterior stairs can be seen descending to a walkway that runs parallel to the north side of the building, between the Bilbao estuary and a pond. As you descend these stairs, you can see protrusions in the straight blocks and curved walls.