Nuevo Parlamento Escocés, Edimburgo, 1998-2004. Enric Miralles, Benedetta Tagliabue / Miralles Tagliabue EMBT + RMJM Scotland, M.A.H. Duncan, T.B. Stewart. “En nuestros recuerdos de Escocia nos encontramos con estas imágenes que se fijan en nuestras mentes. Los barcos ofrecidos por la tierra. Nos gustan estos barcos no solo en su construcción, también en su presencia en un lugar. Algo sobre su forma flotante en el paisaje debe ser parte de nuestro proyecto”. Enric Miralles, 1998.
New Scottish Parliament, Edinburgh, 1998-2004. Enric Miralles, Benedetta Tagliabue / Miralles Tagliabue EMBT + RMJM Scotland, MAH Duncan, T.B. Stewart. “In our memories of Scotland we find these images fixed in our minds. The boats offered for the land. We like these ships not only for their construction, also for their presence in a place. Something about their floating shape in the landscape must be part of our project.” Enric Miralles, 1998.
particularly complex right from the beginning, with the presence of the city, its history, a new power in conflict with the ruling regime, where we had to build an official building and try to make it familiar, not distant to the people, finally, there were too many issues. And then really be able to achieve a building that worked well considering all safety requirements and where people could reach all places of debate. When Enric was sick he obsessed drawing parts of the project, already under construction, and it was like this until the end, solving things while we built, almost hand in hand ... And it was not just dealing with the architecture produced in the studio, but also with difficulties around it. It was a project in the eye of the people and the media, there was a kind of process, there was a parliamentary inquiry and yes, it was tough. It was a challenging period; I was very concerned of convincing everyone that at the end they would fall in love with the building. And that was the hardest part: keeping confident while giving confidence to others. Well, in the end the building is appreciated. The Santa Caterina Market, however, was an easy project, perfect, that we loved a lot. It was near our home, with our daughter’s name. We exaggerated and named our son Domenec, in honor of the ancient monastic order who occupied the convent, the Dominicans. Throughout the project there was much love, it was our city, we had a lot of support and backing, doing it was great.
- Miralles attached much importance to the idea reflected in the first drawings, which changed. He spoke of each project as an open investigation, which could continue in the following projects. At the same time he seemed to show certain reluctance to digital architecture. How do you see this relationship with the digital age, with BIM, Revit, etc ...? Enric died in 2000, when the digital world in architecture was just beginning. But during the 90s he never said no to the digital world, on the contrary. He loved manual design and did it so well that it was like the trademark, but he liked to draw a lot also in digital projects. He liked the lines of the screen; he photographed them and analyzed the colors, layers. He sat watching those who did renders, gave them instructions. I’m sure that if Enric had lived these 15 years he would have had a lot of fun because he loved to experiment and to try. - No architect or architectural office is consistent in its works, and in the case of EMBT among the high points are the Scottish Parliament and the Santa Caterina Market. Do you share this opinion? True, these are two peaks to which we dedicated much time and a special energy, although Enric himself thought spending too much time on something was no guarantee it would go better. Certainly the Scottish Parliament (1999-2005) and Santa Caterina (1997-2004) were demanding projects. The Parliament was
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