Emilio Tuñón
Egoless architecture
Architecture designed by people, with people, for people. This is the key principle for Emilio Tuñón, an architect who does not work for himself, but rather for the city, its surroundings and its inhabitants. His career, which was recognised in 2022 by the National Architecture Award of Spain, has been marked by time, which he considers just another building material—hence his modest but outstanding production—.
His old colleague Luis Mansilla, whom Emilio Tuñón (Madrid, 1959) set up his first studio with in 1992, always used to say that people live off the second thing they know how to do best. Taking Luis for his word, which is the first thing in Emilio’s case? “Taking care of my family—he confesses—. I love spending time with my wife and kids. And even though I am good at cooking now, what I have always been best at is drawing. I could have made a living out of illustration.” And he really did, even though he put his drawing skills—which his mother always praised—at the service of architecture. Through honesty and humility, showing off generosity, empathy and discretion that are revealed in each of his projects, Emilio has crafted a career which, in 2022, made him worthy of the National Architecture Award of Spain. Prior to this, he won the 2007 Contemporary Architecture Mies van der Rohe Award by the European Union and, alongside Luis Mansilla, the 2014 Gold Medal of Merit in the Fine Arts. His latest award is the Premio Ciudad in the Sustainable Architecture category, which he won during Open House Madrid 2025, an event sponsored by Iberia. He has also made time to teach, bringing together different generations of architects. He takes his students on a journey: “The best country to learn about architecture is Italy. Wherever you are, it is dazzling.”
You have always defended “architecture designed by people, with people, for people.” What do you mean by that?
It is an expression I have borrowed to talk about the humanistic side of architecture. When I say “by people” I am referring to the architects, but we design it “with people”, who are all the agents involved—engineers, urban planners, ecologists, sociologists, artists—, and “for people”, who are those who participate both from the inside—its users—and the outside—citizens—. Architecture is the result of a conversation.
You conceive architecture as “impure art,” born from a combination of private obsessions and public needs. How do both coexist within you?
Whether architecture is art is always in question; this is where the expression “impure art” comes from, from a text by professor Antón Capitel. In fact, it refers to architecture as a mediated art form requiring the participation of different agents. The part about a combination of private obsessions and public needs comes from a quote by American philosopher Richard Rorty, who said that thought is the fruit of an accidental coincidence between both spheres, that is, between what catches your interest and what society demands. When this coincidence occurs in architecture, successful processes can emerge.
“Every time an architect takes on the obligation to help build a better world, that is success. If they are a disciple of mine, the joy is twofold”
Let us go back to your roots… Did your passion for architecture bloom during a visit to the Mosque of Córdoba with your father when you were eight?
The Mosque left me in shock. For the first time, I understood that there are valued spaces, a different architecture to what I was used to. However, I was going to study naval engineering because that was what my brother was. I liked maths, physics, chemistry… But I was good at drawing, and my mother encouraged me to try architecture. I did and got into technical school at the age of 16.
As someone who loves teaching, how do you feel when one of your students spreads their wings and makes their talent take flight?
I experience it as a huge success. For me, there is no greater joy than seeing my students working as architects. Architecture is really hard, and there is a high percentage of people who end up doing something else. Every time an architect takes on the obligation to help build a better world, that is success. If they are a disciple of mine, the joy is twofold.
In another interview, you said that “we need to teach students to say no.” In which situations should an architect stand their ground?
Architecture must improve people’s lives. That is where its value lies. I believe there are many buildings that are not suitable for people, or for cities, or for nature… When speculation or selfishness appear, that is the time to say no. It is very important for an architect to not make mistakes, to say no to everything that they morally and ethically believe should not be built.
There are two words that you often repeat when you talk about architecture: honesty and humility. Do you consider these two key traits in an architect?
An architect is a public servant and accepting that condition is the basis of their work. That is, an architect must build spaces so that people can carry out their activities and they must do so with the honesty and humility of someone who works at the service of others. A lack of honesty or humility ends up producing poor architecture.
“An architect builds spaces so that people can carry out their activities and they must do so with the honesty and humility of someone who works at the service of others”
Your projects are not overwhelming; they convey balance and discretion. Is this closely related to your own personality?
I like to make unimposing architecture. An architect must respect everything: the environment, people, the political situation, the financial climate… A studio must not produce works that cause discomfort, they must manage to make them part of nature, of the city and of the people with ease, simplicity and discretion, even when they are large infrastructures.
As one of the most well-renowned architects in Spain, you have built just over twenty projects. Is time just another construction material for you?
When Luis Mansilla—who sadly passed away 13 years ago—and I started working together, we planned on building around ten buildings during our professional career. I built ten with Luis and another ten or so with my current partner, Carlos Martínez de Albornoz. There are many architects, and it is good to share, right? Time is part of the construction process of a building, just like in people’s lives. I always tell clients I need time: to think, to draw, to talk to the technicians, to build… Not all buildings can rise in 18-24 months. In the end, time turns into a building material. But the most relevant time is the period when the building is in use, when it transforms and ages with people.
You are a passionate advocate of restoration and reuse. Is that the direction of future large cities?
Without a doubt. On the one hand, there is the restoration of buildings of architectural value; preserving them is important so that future generations can enjoy them. On the other, there is reuse. We have a large number of buildings, many of them empty, and a huge demand for housing. In recent years, at our school we have been working a lot on reusing buildings to turn them into housing.
As a close observer of the reality of architecture in Spain, tell me how much talent there is and if there is a lack of recognition.
There is so much talent in Spain, and we have some of the best architecture in the world. Young people have the right training and incredible skills. We also have top middle-aged architects. Our architecture stands out for being well constructed, good value for money and service-minded. In Barcelona, great work is being done in terms of social housing, for example. Regarding a lack of recognition, I do not consider that as important. What matters is that they can continue working.
