Extract from the presentation of Belén Moneo as president of the jury of the 2017 FAD awards:
It has been an honor and a great responsibility to be the president of the Jury of this year's FAD awards. The journey has been intense since the first day in February, when we faced the 435 projects presented. The members of the jury have been honored to analyze the X-ray of Spanish architecture and to visit many fantastic projects. In short, it has been, for all of us, a great learning trip that has reaffirmed our commitment to work and architecture.
As a jury, we agreed on the importance of strengthening the pre-existences, -cultural, historical and social- preconditions, emphasizing that constructed objects are capable of consolidating parts of the city, improving its identity, its relationship with the urban fabric and with society.
Many of the works presented had elongated in time, but we discovered that this circumstance did not detract from its final quality, on the contrary, perhaps because the decision making process was slower, the superfluous and the excessive was eliminated.
Despite the times of shortage, the ingenuity in the solutions became sharpened. The finalist projects stand out for their innovation in multiple senses: new typologies, technical solutions, morphologies and creation of cultural and architectural values.
In 110 Rooms (Finalist Architecture), a wise re-reading of the party wall residential buildings of the Cerdá development offers a novel typology. A plan resolved with intelligence, where a set of rooms hinged to each other, without needing aisles, allows future versatility in their uses and redistributions.
In a former working-class cooperative, the sala Beckett (Finalist Architecture) puts in value the historical patina of the building, converted with imagination to the new use, establishing a dialogue between the contemporary intervention and the rehabilitation of the existing, thus enhancing the scenic use of the building, now a theater.
The absence of lyricism in the Museum of Royal Collections (Architecture Prize) offers a rotund space, free of details, precise and exciting, capable of preserving the flow of history as well as setting an image of its time.
At Alcázar Genil metro station (Finalist City and Landscape), we appreciate how architects are able to identify the beauty of the ground material discovered during the construction process and masterfully manages to incorporate it into the final project.
In the Restoration of the Fossar Vell (Finalist City and Landscape), a delicate and minimal intervention in a small sacred area of the eighteenth century; recognizes, observes and enhances cultural identity through the application of clear and precise criteria that indicate the different stages of growth of the enclosure.
In the rehabilitation of Joan Oliver Park (City and Landscape Award), the refusal to use a pavement, and therefore a geometry, will give flexibility and freedom to the proposal, freeing it from all hierarchy and unnecessary formal excesses.
In Pontejos 9 (Prize Interior Design), architects assume a sort of creative archeology as the design process, reassigning values to found objects and fixing them in one place, building a new support for a material history of the neighborhood.
The Commemorative Columns of the 30 Years of the Reconstruction of the Barcelona Pavilion (Ephemeral Interventions Prize) offers a second material life to sheet metal cans, turning them into a beautiful object without losing the memory of their previous life.
Several of the finalists propose a profound reading of the legacy of the past and, therefore, dealing, implementing and innovating with the temporal factor, one of the intrinsic components of architecture. A time factor understood and used in several senses: recovering positive aspects of the past and at the same time proposing a committed future, from a clear awareness of the present situation, experimenting with the form and the new notions of ornamentation.
Many works stand out for the balance achieved between the resources and the good work of the architect, where an economy of synthesis is solved with an applied knowledge of the profession, with craft, with experience.
Finally, we would like to congratulate all the professionals of the sector who continue to exercise this beautiful and necessary discipline of architecture with responsibility and dedication, increasingly dedicated to the construction of works that improve the lives of its inhabitants and therefore of society. No doubt, the selected works prove it.
Belén Moneo, July 6th 2017
Connected to the foyer of an elegant luxury hotel, the Café de la Reina or “BUR-BU-JA-JA” adds a colorful and casual note to the complex. A cafeteria during the day, the space transforms into a sophisticated cocktail bar at night, the patrons immersed in iridescent aquatic colors.
A long curved green bar runs through the space, while “seaweed” camouflages the curtain wall and the mundane view of the city beyond, dissolving it into small fragments of an organic, aquatic world. Smoothly curved walls with reflecting belts, circular benches and round tables create a sensual atmosphere where space and movement interact.
Belén Moneo, Jeffrey Brock
Andrea Caputo, María Pierres, Sandra Formigo, Andrés Barrón, Spencer Leaf and Silvia Fernández
The church “El Señor de la Misericordia” is located in the center of a new town-like urban development in Monterrey, Mexico, surrounded by an impressive mountain landscape. The most important factor in the siting and orientation of the church is its relationship to the largest open space of the development, a verdant plaza. Its main entry opens right onto the plaza, and with an unobstructed width of 11.5 meters (38 feet), this opening allows for the visual connection between the church’s interior space and the plaza. This entry is at once delineated and protected by a large trapezoidal canopy cantilevered off the main façade.
Above the entry canopy, the façade is a large flat wall without fenestration or ornament, an emphatic and nearly square plane, declarative of the otherness of the space behind and within: the sacred space of the church interior. Its blatant frontality toward the square is entirely intentional.
It is thought that the plaza can function as an annex to the church, with religious celebrations and rites spilling out of doors when attending crowds exceed the church’s capacity of 350 worshippers. On the other hand, when the bustle of the square comes into conflict with the solemnity of the church’s activities, large sliding screens attenuate the connection to the square and restore the peaceful atmosphere to the temple interior.
The project aims to go beyond the accommodation of religious rituals and liturgical events as currently practiced in Monterrey, to where the spaces of the temple represent the development of an architectural language with a very long history, where the architecture speaks of both continuity and renewal, finding references to a great heritage of ecclesiastical architecture while simultaneously remaining unquestioningly contemporary. The temple is seen not just as a place of meditation but as a social and educational center as well.
While the character of the church is undoubtedly contemporary, its volumetric concept was derived from traditional church plans; the design presents recognizable architectural features taken from early Christian temple prototypes such as the bell tower, the stained-glass windows, the frontal altar, the baptistery, the choir, the three chapels and the lateral courtyard. The architectural proposal is therefore thought to be both recognizable and new.
Being free-standing and in the center of the new town development, the configuration of the exterior volume presents a design that, while modern, communicates solidity and aplomb. The rotund forms are thought to be reminiscent of the first missions built by Friar Junipero throughout the American Southwest, constructed of wood and adobe.
The 43 meter- (141 foot-) -tall bell tower can be seen from a great distance, and serves as a landmark and reference for drivers on the highway to Santiago, on which Pueblo Serena is located.
The plan is that of a basilica, with a rectangular central nave some 15 meters wide, 18 meters long and 15 meters high (W:49 feet, L:59 feet, H:49 feet), its long axis running north-south and oriented towards the altar. There are multiple sources of natural light in the interior. Behind the baptistery a long glass wall runs the length of the nave giving views of an enclosed patio. The glass is protected from direct sun by a lightweight horizontal sunscreen projecting into the patio space, and the visual connection to the surrounding urban areas blocked by a massive stone screen at the patio perimeter. Within the patio, a water fountain spills a cascade of streams into a lower patio at the basement level.
Above the baptistery is a version of a rose window, a nine-square grid opening to the west with colored glass. To the southeast, three small chapels each enjoy daylight from high skylights, each one oriented towards a different cardinal direction so that the color and level of light in each chapel changes throughout the day. Finally, above the altar is a fourth high skylight, whose light washes down behind an inclined panel cut into four sections to reveal a large Latin cross, the cross glowing with the light from above.
As with all churches, the acoustics of the central nave were of paramount importance. The renowned acoustic engineers of Arau Asociados made a thorough study of the conditions inside the church and helped us develop a detailed approach to the configuration of its interior surfaces, including the application of diffusing wood battens on selected walls, notable behind the altar, at the back of the three chapels and the choir, and over the entry door.
Sustainable solutions were sought at every opportunity. After ensuring the project’s incorporation of thermal insulation of far and away greater performance characteristics than is typically used in local construction, we devised a system of natural ventilation that takes advantage of the bell tower’s great height to create a strong chimney effect drawing air through large-scale grills incorporated in the entry façade. Daylighting was also carefully studied to be sufficient without the need for electrical lighting in all spaces for use and work, while at the same time we took great pains to avoid insolation during the hotter months, to keep the thermal gains as low as possible. Finally, much of the building program is located underground, where temperatures are constantly comfortable, with daylight being provided by generous sunken patios.
The interior design is fully integrated with the architecture, and the furnishings are by Moneo Brock, from the wood benches to the altar, the choir and the multiple screens, the sliding doors at the entry, the doors to the main sanctuary and the screen that separates the baptistery from the central nave. We also designed elements of a more artistic nature, such as the stained glass windows of the “rose window” (a reinterpretation of the gothic feature, here oriented to the west for maximum effect during the evening Mass), the stained glass at the entry to the ossuaries, and the two sanctuaries, sunbursts made of gold or silver triangles canted to catch light from all angles.
Various artworks were commissioned for the church under Moneo Brock’s curatorial guidance: a large sculpture of Christ on the cross carved in wood by the Galician artist Francisco Leiro, a mural in encaustic of John Paul II in the third chapel painted by Pedro Cuní of New York, and a tall painting of the Christ the Merciful by Carmen Pinart of Madrid, now hanging in the second chapel. These pieces by contemporary artists, respectful of the traditional content called for by church’s benefactors and clergy, complete the space.
Thanks to the opening up of two large sunken patios, the various spaces on the basement level are flooded with natural light. Around the north patio are the parish’s administrative offices. The patio to the west with the cascading waterfall has to one side classrooms and multifunctional spaces for the community and to the other the ossuaries and a small chapel for funeral rites, spaces that are made more private in their location behind the waterfall. One of the challenges facing us in the design of the basement was the need to connect to the commercial atrium at the lower level; to create a space of transition between atrium and church, we designed a vestibule lit by an open-air, prismatic skylight and, immediately below it, a reflecting pool.
The landscape design of Harari LA successfully integrates the architectural concept with that of the larger urban project, using Holm oaks and a spectacular control and selection of the planted material to mediate between the different built structures that compose the larger development.
Plaza Serena (Real Estate in Huajuco Canon)
Carretera Federal 500, Monterrey México
Belén Moneo, Jeffrey Brock
Irene Alberdi, Andrés Barrón, Fabrice Leray, Jaime Salvador, Sara Pericacho, Irene Hernádez, Juan Galloso
Fabrice leray, Andrés Barrón
RGT Engineering (Gerardo Hernández)
Arau Acustic (Higiniarau)
The Quinta Mutis campus in Bogotá is one of the three campuses of the University of El Rosario in Bogotá. The projected building is located on the southwest corner of the campus adding almost 25,000 m² of classrooms, laboratories and common spaces. The building will replace some temporary structures built years ago, currently used as classrooms, adding significant new area and at a much higher level of amenity.
Moneo Brock has carefully designed the project to emphasize and update the values of the University, with the goal of opening the campus and providing it with a large agora having been priority throughout the project’s development.
The taller volume of laboratories has been given the shape of a mineral outcropping that responds to the city-scape of Bogotá and its environment, while the lower volume adapts to the surrounding buildings, some of them of historical value for the city. Both shapes share common spaces and emphasize communication, facilitating the practical use of the building.
A large terrace on top of the lowest volume opens the cafeteria to panoramic views of Bogotá. This plaza-garden is not only open to the interior common spaces of the campus, but to the surrounding city and its inhabitants.
Sustainable design and flexibility were both high priorities in the design of the new building. This project is being developed by a multidisciplinary team based in Madrid and in Bogotá.
Belén Moneo, Jeffrey Brock, Fernando de la Carrera, Alejandro Cavanzo
Francisco Blázquez, Irene Alberdi
This sustainable proposal seeks to preserve and revitalize the ecosystem of the River Tajo, recuperating this natural area for the enjoyment of all citizens of Talavera pointing out the possibility this Tajo Natural Park, beginning in Talavera, can grow, adding territories and cities in such a way that, in a few years, we could follow the river from the Guadarrama mountain to its mouth in Lisbon.
The project is understood as a series of interventions, all consisting with this promising idea. The River’s protagonism in the Talavera de la Reina cityscape will be reasserted. It will be made accessible for the enjoyment of all citizens through a series of interventions and activities that bring the natural landscape of the river closer to the city. Finally, this park could become a tourist attraction for Talavera at a national level, as a supra-municipal infrastructure, with economic and social opportunities for the whole city.
The proposed solutions and objectives include sustainable measures to improve water quality, recover the habitats and species of this section of the Tajo River, improve the landscape and enable an increase in the use of the river and its banks in forms commensurate with the conservation of its biodiversity and its landscape. Opening the project to citizen participation should furthermore serve to achieve greater knowledge of the river’s history and evolution.
It is intended that the river be for "all" in the broadest sense; allowing the growth of the vegetation and the complex of habitats specific to the place, sheltering numerous autochthonous species of flora and fauna, improving and recovering the enormously attractive scenic landscapes of the river and its fertile plain, and allowing access by the citizens of and visitors to Talavera to the shores and islands for their use and enjoyment. In short, it is about achieving a Natural and Human River Landscape Park.
Confederación hidrográfica del Tajo y Ayuntamiento de Talavera de la Reina
Talavera de la Reina
MONEO BROCK, BLASCO ESPARZA, EIN
Irene Alberdi, Mathilde Noirot