Deeply influenced by the free and experimental thinking of Miralles<\/em>\u2014her partner in life and creation\u2014she has kept that radically integrative philosophy alive. In her view, each project is a new journey, a laboratory of ideas, textures, and emotions. Today, under her leadership, EMBT<\/em> has become a global reference for architecture that rejects formulas and reinvents itself with every location and commission.<\/p>\n Recent projects like the Spanish Pavilion <\/em>at Expo Shanghai 2010<\/em>, the K\u00e1lida Sant Pau Centre<\/em> in Barcelona\u2014a gem of therapeutic architecture within the Maggie<\/em>\u2019s movement\u2014or the evocative San Giacomo Apostolo<\/em> church in Ferrara, confirm a practice that doesn\u2019t repeat itself but adapts and flourishes based on local culture, landscape, and the people who will inhabit it.<\/p>\n Beyond her built work, Benedetta<\/em> is also a revered figure in academia. She currently serves as the Louis I. Kahn Visiting Professor of Architectural Design<\/em> at Yale School of Architecture<\/em>, where she leads the spring semester with the same vital energy that defines her studio.<\/p>\n In this exclusive conversation with CC\/magazine<\/em>, Benedetta Tagliabue<\/em> invites us into her creative universe to understand the soul behind her spaces and discover a way of practising architecture that does not impose answers but opens questions to the world\u2014through light, beauty, and emotion.<\/u><\/p>\n Enric Miralles left a legacy deeply rooted in experimentation and contextual integration. How do you manage to keep that vision alive in the studio\u2019s current projects?<\/strong><\/p>\n We do keep it alive, yes, but not by literally replicating what we used to do when Enric<\/em> was with us. His way of experimenting and engaging with context was absolutely unique, and back then we mainly worked with hand-drawn sketches\u2014so expressive, so intuitive. Today, we\u2019ve evolved towards other languages, and one of the ones that has excited us the most in recent years is collage.<\/p>\n Both physical and digital collage have become wonderful tools for the early stages of a project. It\u2019s a very rich way of placing yourself in a new location, with different clients, different cultures… You start gathering fragments\u2014materials, ideas, atmospheres, references\u2014and as you bring them together, you begin to uncover the soul of the place. It\u2019s a very playful, collective and, above all, inspiring process.<\/p>\n What I love most is that, unlike an author\u2019s drawing\u2014which in Enric<\/em>\u2019s case was incredibly personal and magical\u2014collage allows the whole team to take part. Everyone brings their own sensitivity, perspective and energy. It\u2019s less individual, but perhaps for that very reason, even more enriching. And the beautiful thing is that through this practice, we\u2019ve discovered some amazing talent within the studio. In a way, we\u2019re still experimenting and working with context, but from a new, more open and collaborative perspective. And I believe that\u2019s a very vibrant and current way of honouring Enric<\/em>\u2019s spirit.<\/p>\n The Clichy-Montfermeil metro station, which you won in 2014 and is due to open in 2026 as part of the Grand Paris Express, will transform a transport hub into a vibrant, lively urban space\u2014deeply connected to the multicultural identity of the neighbourhood. How did you approach the challenge of designing a space that, beyond its transport function, builds identity and emotional ties with the city and its people?<\/strong><\/p>\n This project has been particularly fascinating, because from the very beginning we were clear that we wanted the building to resemble the people who live there. As someone who\u2019s very aesthetically driven\u2014and who sees fashion as far more than something superficial\u2014I noticed that many of the women in the area wore incredible dresses made from fabulous fabrics, completely different to what you\u2019d normally see in Europe. Most of the residents are originally from Africa, India or Bangladesh, and this area of Paris is a magnificent ethnic mosaic.<\/p>\n We also discovered some wonderful local markets\u2014full of life, colour, and truly unique goods. So, taking all of this into account, we knew from the start that we wanted the station to reflect its neighbours. We didn\u2019t want it to be an alien structure, or one that ignored the people around it.<\/p>\n To achieve this, we created many collages and made a real effort to connect with the community, to understand their needs\u2014and it wasn\u2019t easy. This is the same area where the 2005 riots began, following the tragic deaths of two young Muslim men of African descent who were fleeing the police in Clichy-sous-Bois<\/em>, a deprived suburb in eastern Paris. That event was pivotal in the decision to place a major transport station there. To truly engage the local community and create a project they could feel ownership of, we organised a series of workshops with local women. We asked them to bring in their favourite dresses and fabrics, made photocopies of them, and invited them to cut and shape the materials however they liked. Together, we built a collective collage. The collages were absolutely amazing! And from them, we developed the colour palette used throughout the station.<\/p>\n For us, it\u2019s essential to find ways to make local people part of the process\u2014because architecture, the work we do, should ultimately serve to improve people\u2019s lives.<\/p>\n Major public projects, due to their complexity and long timelines, are often subject to numerous changes: new regulations, budget adjustments, political decisions\u2026 All of this can lead to frustration and requires a great deal of resilience from the architect. How do you personally approach these long and ever-changing processes?<\/strong><\/p>\n Yes, that\u2019s absolutely true. And we accept it from the very beginning\u2014especially when it comes to large-scale institutional projects. We know the journey will be long, that not everything will go exactly as initially imagined, and that many voices will be involved, sometimes with conflicting interests. We also know that new regulations, funding cuts or decisions may arise that are completely beyond our control.<\/p>\n That\u2019s why we always tell our clients that we are not architects who cling rigidly to a fixed idea. We work in service of the project, accompanying the entire process from start to finish, fully aware that modifications will happen. The important thing is to be present when they do\u2014to reinterpret, adapt, and make decisions that stay true to the original essence.<\/p>\n Rather than seeing changes as a threat, we prefer to view them as opportunities. Every modification, however challenging, can be a chance to improve, to rethink, or to refine the project even further. That attitude of constant adaptation, dialogue and attentive listening is something that truly defines our way of working. Architecture isn\u2019t just a finished product\u2014it\u2019s a living process. And we want to be there at every stage, growing alongside it.<\/p>\n It\u2019s clear that in your studio, ego is very well managed… (laughs)<\/strong><\/p>\n It seems so… (laughs). The truth is, in this profession, having a healthy dose of humility is essential, because projects rarely depend on just one person.<\/p>\n Right now, for example, we\u2019re working on the Music Conservatory <\/em>at the Chinese University of Hong Kong (CUHK)<\/em>, located in the Longgang district<\/em> of Shenzhen. We won the competition in 2021, and it\u2019s a massive project\u2014over 129,000 square metres of built space.<\/p>\n There, we follow the process set by the client, with weekly meetings. And quite often, we have to listen to opinions that don\u2019t always stem from architectural or technical criteria, but rather from the personal tastes of individuals in decision-making positions. And you have to be ready for that\u2014it\u2019s part of the game.<\/p>\n When you choose this profession, you need to know that moments like that will come. You can\u2019t control everything, and sometimes decisions are made that can even have a negative impact on the project.<\/p>\n However, that\u2019s where our sense of commitment comes in: to do everything we can to protect the essence, to find alternative paths, and to keep adding value, even in difficult circumstances. Because in the end, what truly matters is that the architecture reaches a successful outcome\u2014even if the journey is far from perfect.<\/p>\n What projects are you currently working on, and what new directions is the studio exploring?<\/strong><\/p>\n One of them is the Parco del Mare <\/em>in Rimini, a city in the Emilia-Romagna<\/em> region of northeast Italy and one of the Adriatic\u2019s most popular tourist destinations. The project involves a process of renaturalisation\u2014transforming a fragmented seafront into a coherent urban park that embraces the city\u2019s vitality and creates a green space for both locals and visitors. At the same time, it addresses the effects of climate change by providing protection against rising sea levels.<\/p>\n We\u2019re very happy with this project. Before the intervention, Rimini\u2019s promenade was disjointed, lacking both clear identity and cohesion. It didn\u2019t make the most of its potential as a public space that could offer an attractive and accessible environment all year round. Moreover, the lack of connection between the city and the coastline limited its use and enjoyment.<\/p>\n The work is being carried out in phases, as completing the full 8.5-kilometre stretch will still take at least another three or four years. So in the meantime, we remain actively involved in the process.<\/p>\n In 2004, the city of Naples invited international studios\u2014including those of Foster, Siza, Tagliabue and Fuksas\u2014to design a new metro line under the theme \u201cArchitecture, Archaeology and Art.\u201d Your proposal was selected as the winner, drawing inspiration from local traditions to revive a neglected public space and reintroduce nature and identity to the Neapolitan capital. What can you tell us about this?<\/strong><\/p>\n N\u00e1poles \u00e8 un\u2019occasione!<\/em> And I\u2019m not at all surprised that the project has taken 20 years! (laughs). The truth is\u2014I absolutely love it. Naples is not just a city; it\u2019s a living opportunity: a chance for transformation, discovery, and dialogue between past and future, between chaos and the sublime. I loved visiting it time and again.<\/p>\n When we were commissioned to design the Centro Direzionale station<\/em>, what inspired us most was the challenge of reconnecting a very artificial part of the city\u2014originally designed in the 1970s by Kenzo Tange<\/em>\u2014with the more organic and emotional essence of Naples. It\u2019s an area filled with tall office towers, highly structured and rational, but by evening it becomes empty, almost deserted. We wanted to bring it back to life\u2014to introduce nature, new energy\u2014while also paying tribute to the city\u2019s deep historical roots.<\/p>\n The project is based on a concept they refer to in Naples as the “triple A”<\/em>: arte, architettura e archeologia\u2014art, architecture and archaeology. We found the idea fascinating, because it wasn\u2019t just about building a metro station, but about creating a place with a soul, one that speaks to both past and present. In our design, we aimed to create a new kind of topography\u2014a sort of architectural forest flowing above the existing metro lines. That\u2019s why we chose wood as the main material: it\u2019s warm, light, highly versatile, and it creates a poetic contrast with the concrete and rigidity of the previous structures.<\/p>\n Vaults, which are a near-constant in our studio\u2019s work, take on a new dimension here. They evoke the grandeur of classic railway stations, but also allow us to play with light and with the sensation of walking among trees. We wanted travellers to feel as if they were taking a stroll through nature\u2014even in the middle of a financial district. It\u2019s about transforming something artificial into something living, human, and close.<\/p>\n We also included an artistic element in the ceiling\u2014a reinterpretation of a face found in Pompeii\u2014which reinforces the connection with archaeology, and with the visual and emotional memory of the site. Naples is a city built on layers: historical, cultural, emotional. This station aims to become a new layer\u2014one that doesn\u2019t impose, but listens, interacts, and dialogues with all the others.<\/p>\n Among your most recent projects, which one would you highlight as the one that has brought you the greatest joy?<\/strong><\/p>\n Of the latest projects we\u2019ve completed at the studio, one that has deeply moved me\u2014and that I hold very close to my heart\u2014is the San Giacomo Apostolo<\/em> church in Ferrara. It has been a profoundly human, spiritual and architectural experience. For us, it wasn\u2019t simply about constructing a religious building, but about creating a new centre for community life\u2014a place that could become a catalyst for the neighbourhood, promoting gathering, dialogue, education and culture.<\/p>\n We drew a great deal of inspiration from nature, from organic and light forms\u2014almost as if the building had grown directly from the ground itself. We wanted the architecture to feel welcoming, approachable and open to all. In contrast to the historic solidity of Ferrara\u2019s city centre, we opted for a more fluid, slender language\u2014like a forest of trees gently embracing those who approach.<\/p>\n The building establishes a visual and symbolic axis with the bridge and the city beyond the river, while also opening outwards with two lateral arms that extend towards the square\u2014as if embracing the community. I find it deeply moving to think that this space can host both moments of spiritual contemplation and everyday encounters, cultural events or children\u2019s games. It is a space that truly lives and breathes with the people. And I believe that is the most beautiful thing architecture can do: to generate identity, belonging and emotion.<\/p>\n Is there a particular anecdote you\u2019d like to share from this project?<\/strong><\/p>\n During the project, we had a fantastic team of clients\u2014and a liturgist, which is someone specialised in liturgy: the set of rites, ceremonies, prayers and rules that govern religious worship, especially within the Christian tradition.<\/p>\n In the context of religious architecture, their role is to advise the team of architects and designers to ensure that the space responds properly to the requirements of worship, both from a theological and ritual perspective.<\/p>\n At one point, the liturgist felt that we needed to incorporate certain attrezzo elements into the church. So, we went searching for a Madonna<\/em> in an abandoned church, and just as we were about to leave, we noticed a reflection behind a glass cabinet. Hidden there was a 13th-century Madonna<\/em>, which now resides in the new church. Interestingly, she bears a slight resemblance to the Virgin of Montserrat<\/em>.<\/p>\n Another amusing anecdote involves the artist Enzo Cucchi<\/em>. At the start of the competition, I went to speak with him\u2014and it wasn\u2019t easy. He\u2019s famously short-tempered, and at the time he seemed very angry with the Church. He was quite reactive towards what was being asked of him compared to what he actually wanted to create. As a result, the project was stalled for five years, because the church elders were seriously hesitant about carrying out the ideas proposed by the artist, even though they were part of the winning proposal. However, when we brought in the liturgist, he somehow managed to act as a mediator\u2014or even a tamer (laughs)\u2014of Cucchi<\/em>. They actually became great friends (laughs). Fortunately, everything was resolved in the end with large crosses and striking black ceramic figures\u2014exactly what Cucchi<\/em> had envisioned. And the final result is truly impressive. We\u2019re incredibly proud of what we achieved with this project.<\/p>\n In many of your projects, architecture also engages with its surroundings in an organic way. How do you think architecture can improve people\u2019s quality of life in contemporary cities?<\/strong><\/p>\n I deeply believe that architecture plays a fundamental role in enhancing people\u2019s quality of life\u2014especially in today\u2019s cities, where we are often surrounded by rush, noise, and impersonal spaces. For me, architecture is not just about constructing buildings, but about creating atmospheres that care, that listen, that support. Spaces that, in some way, embrace us.<\/p>\n One project that beautifully represents this way of understanding architecture is the K\u00e1lida Sant Pau Centre<\/em> in Barcelona. It\u2019s a space dedicated to supporting people going through the incredibly delicate experience of cancer. From the very beginning, we knew the space had to convey warmth, serenity, beauty and hope. Although located next to the Hospital de Sant Pau<\/em>, we wanted it to have a completely different character\u2014not clinical, not institutional, but deeply human.<\/p>\n We designed the building almost like a liveable garden, using natural materials, soft lighting, intimate corners and open spaces that connect with the outdoors. Every detail was conceived to make visitors feel welcome, at peace, and supported. I believe that\u2019s what architecture can\u2014and should\u2014offer to cities and their citizens: spaces of emotional connection, where people can breathe, reflect, and reconnect\u2014with themselves or with others.<\/p>\n And the wonderful thing is that this kind of architecture\u2014so organic and connected to its environment\u2014also helps to transform the urban fabric. It brings beauty, fosters community, and encourages a more gentle, human relationship with the city. If we design our spaces with care at their core, we can change not only a city\u2019s aesthetics, but also its very soul.<\/p>\n Technology and artificial intelligence are transforming architecture. How do you think AI and digital tools are shaping the future of architectural practice?<\/strong><\/p>\n For us, artificial intelligence is simply another tool within the creative process. We enjoy experimenting with it and incorporating it into our projects. We are still in a very exploratory phase, playing with its possibilities and discovering how it can enrich our work without replacing the more human side of design.<\/p>\n Undoubtedly, it offers greater speed in production and in certain phases of architectural development, which can be incredibly useful. However, I believe the presence of human judgement will always be essential\u2014someone behind the scenes, guiding, making decisions, interpreting. Technology doesn\u2019t think, it doesn\u2019t feel, it doesn\u2019t intuit.<\/p>\n I remember a recent conversation with my son, who is an artist and has been working with AI for several years now. He\u2019s 27, and whenever I ask him how he works with these tools, he always tells me: “Mum, you have to understand that AI is really stupid. You have to constantly be behind it, training it to do what you actually want.”<\/em>\u00a0And I think he\u2019s absolutely right. AI doesn\u2019t replace the soul of a project, but it can help us fine-tune, accelerate, or explore new paths\u2014as long as we know where we want to go.<\/p>\n You\u2019ve worked all over the world, yet Barcelona remains a central hub for your work. What does this city mean to you, and how has it influenced your architecture?<\/strong><\/p>\n Barcelona is a city I give thanks for every morning. It is simply wonderful. Facing the sea, with the mountains at its back, surrounded by unique landscapes and an incredibly special life energy. It\u2019s a well-built city, with a strong, singular personality\u2014and at the same time, it\u2019s welcoming, full of warm, creative people with a passion for life. It strikes a perfect balance between the human and the urban, between the historic and the contemporary.<\/p>\n I came to Barcelona for love, when I fell in love with Enric Miralles<\/em>. And when he passed away, many people assumed I would return to Italy, back to my roots. But I always knew\u2014I didn\u2019t want to leave. This city had become my home, my place in the world.<\/p>\n Barcelona has influenced me profoundly, in so many ways. It\u2019s a city that gives you everything\u2014almost by osmosis. It inspires you, it shares its rhythm with you, its way of observing space, its ability to live with history while also looking boldly to the future. It has been\u2014and continues to be\u2014a great teacher, both for me and for our studio.<\/p>\n Looking ahead, what legacy would you like to leave in architecture?<\/strong><\/p>\n I would like to leave behind a legacy of architecture that is committed, generous and attentive. An architecture that always strives to give its best, that listens to the place in which it is rooted, and aspires to leave it better than it was found. One that doesn’t impose itself, but rather integrates, engages in dialogue, and transforms with respect.<\/p>\n I would also love for our work to be remembered for its experimental and open spirit\u2014for that constant search for new forms, materials, and ideas\u2026 Always with the will to discover something positive, something meaningful, something that moves people and fosters connection. That it\u2019s clear behind each project there was a process filled with questions, with sensitivity, and with the desire to make the world a better place\u2014even in small ways\u2014through space.<\/p>\n If Miralles Tagliabue EMBT<\/em> is remembered one day for that\u2014for that way of seeing and doing\u2014I will feel deeply grateful.<\/p>\n (*)<\/strong> Photos: Cover by Sergi Alcazar; Still image 1 (horizontal) and still image 3 (vertical): Parco del Mare, Rimini (Italy) by Roland Halbe; Still image 2 (horizontal): Clichy-Montfermeil Workshop, Paris (France) \u00a9EMBT; Mobile slider image 1 and still image 8 (vertical): K\u00e1lida Sant Pau Centre, Barcelona (Spain) by Duccio Malagamba; Mobile slider image 2: Fudan School of Management Campus, Shanghai (China) by Liu Songkai; Mobile slider images 3, 4 and 8, and still images 4 and 5 (vertical): Naples Central Metro Station (Italy) by Roland Halbe; Mobile slider image 5: Clichy-Montfermeil Metro Station, Paris (France). Render by \u00a9Playtime; Mobile slider image 6: K\u00e1lida Sant Pau Centre, Barcelona (Spain) by Lluc Miralles; Mobile slider image 7: San Giacomo Apostolo Church and Parish Complex, Ferrara (Italy) by Marcela Grassi; Mobile slider image 9: Parco del Mare, Rimini (Italy) by Roland Halbe; Mobile slider image 10: San Giacomo Apostolo Church and Parish Complex, Ferrara (Italy) by Paolo Fassoli; Mobile slider image 11 and still images 6 and 7 (vertical): San Giacomo Apostolo Church and Parish Complex, Ferrara (Italy) by Roland Halbe; Still image 1 (vertical): Benedetta Tagliabue by Cesar Segarra; Still image 2 (vertical): Clichy-Montfermeil Metro Station, Paris (France). Render by \u00a9Playtime.<\/p>\n","protected":false},"excerpt":{"rendered":" Architecture as a living dialogue For Tagliabue, architecture is not a closed object or a final answer, but a living organism that breathes, transforms, and engages with its surroundings. Her work is born from attentive listening, from respect for context, and from a unique ability to let materials, light, and form tell stories. Deeply influenced […]<\/p>\n","protected":false},"author":4,"featured_media":86187,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[5959,5957,5918,5917,5916,5900],"tags":[],"class_list":["post-86132","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-architecture","category-design-en","category-inspiration-en-2","category-interviews","category-inspiration-en","category-art-en"],"acf":[],"yoast_head":"\n![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2025\/04\/Benedetta-Tagliabue_Photo-by-Cesar-Segarra-1.jpg\")
<\/p>\nThe power of collage as a collective tool<\/h6>\n
Designing identity: The Clichy-Montfermeil station<\/h6>\n
![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2025\/04\/Clichy-Montfermeil-Metro-Station_Paris_France_Render-Image_\u00a9Playtime.jpg\")
<\/p>\nFacing change with resilience and adaptability<\/h6>\n
![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2025\/04\/Parco-del-Mare_Rimini_Italy_\u00a9Roland-Halbe-2.jpg\")
<\/p>\nA human-centred urban vision<\/h6>\n
The poetics of Naples: Art, architecture and archaeology<\/h6>\n
![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2025\/04\/Naples-Underground-Central-Station_-Naples_Italy_\u00a9Roland-Halbe-2.jpg\")
<\/p>\n![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2025\/04\/Naples-Underground-Central-Station_-Naples_Italy_\u00a9Roland-Halbe-3.jpg\")
<\/p>\nSpiritual spaces with social meaning<\/h6>\n
![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2025\/04\/San-Giacomo-Apostolo-Church-and-Parish-Complex_Ferrara_Italy_\u00a9Roland-Halbe-3.jpg\")
<\/p>\n![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2025\/04\/San-Giacomo-Apostolo-Church-and-Parish-Complex_Ferrara_Italy_\u00a9Roland-Halbe.jpg\")
<\/p>\nThe emotional impact of architecture<\/h6>\n
![\"\"](\"https:\/\/ccmagazine.es\/wp-content\/uploads\/2025\/04\/Kalida-Sant-Pau-Centre_Barcelona_Spain_\u00a9Duccio-Malagamba.jpg\")
<\/p>\nTechnology and AI in the creative process<\/h6>\n
Barcelona as home and source of inspiration<\/h6>\n
A generous and experimental legacy<\/h6>\n