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Recent Publications

Breaking Ground: Architecture by Women
Breaking Ground Architecture by Women, Phaidon, November 2019
Colores y árboles. Tec 205 House by Moneo Brock
Arquitectura Viva 205 'América Importa', July 2018
The American Architecture Prize 2017
International Awards Inc, March 2018
Parish Church in Pueblo Serena
Destination Architecture: The Essential Guide to 1000 Contemporary Buildings. Phaidon, January 2018
Solid Form
The White Book, Design and Architecture D+A, October 2017
"Építészeti Játék És Liturgikus Szertelenség" / "Iglesia El Señor de la Misericordia"
Metszet, Septermber 2017
"Behind the Design: How Unique Glass Blocks Were Created for Moneo Brock’s Seminal Thermal Baths"
Architizer, August 2017
Rafael Moneo + Moneo Brock: Hospital Campus in Vall d’Hebron
Afasia Archzine, July 2017
"Church in Pueblo Serena. Dialogue between public spaces."
OnDiseño, June 2017
Decade of Design
By Interior Design magazine, June 2017
Parish church "El señor de nuestra misericordia"
Arquitectura Viva, February 2017
Parish Church in Pueblo Serena, Best Of Year Award
Interior Design, December 2016
Parish Church in Pueblo Serena
Arquine, September 2016
The Sixth Dimension. Parish Church in Monterrey
Diseño Interior, October 2016
Thermal baths "Termas de Tiberio"
Metalocus, abril 2016
"Museum in Madrid" Espacio Fundación Telefónica
AIT, February 2016
"Visita privada: Una casa racionalista transformada en un mundo de color"
Houzz, October 2015
"Centro Cultural y de eventos Ruinas de San Francisco"
AAA Archivos de Arquitectura Antillana, October 2015
"El patio de mi Hospi" Garden and Playspace Hospital 12 de Octubre
Revista AD Online, July 2015
ALL PUBLICATIONS
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ARTICLES

Casa Tec 205: colour leads the way in Monterrey
LifeStyle, October 2019
Belén Moneo, arquitecta Detailer
Detailer, July 2019
Elle Deco News
Elle Decoration, July 2019
Nada que ocultar
Elle Decoration, June 2019
"Muchas cosas muy importantes" la exposición de Clara Cebrián
Vein, May 2019
Mi casa, su casa
Home Design, May 2019
Casa TEC 205
On Diseño, April 2019
Sofa Sonia D
Casa Viva, March 2019
Objetivo: minimizar el aire acondicionado en una torre vertical
NAN Arquitectura y Construcción, April 2019
"Parámetricas" en la galería _2B space to be
Arquitectura Viva, February 2019
El viaje de tres generaciones de mujeres a la cabeza del diseño
Traveller, March 2019
Envoltura vegetal que habita el espacio
Proyecto Reforma, January 2019
The colours of Spanish design on show in Tokyo
Domus, December 2018
Iglesia en Pueblo Serena
Tectónica Blog, December 2018
Diseño que evoca talentos
Entremuros, November 2018
Belén Moneo, Pensar la Profesión
Interiores, November 2018
Viviendas 5 estrellas: los nuevos parámetros
To Home, October 2018
El salón de Moneo Brock
El Mundo, October 2018
España cromática
Diseño Interior, October 2018
México Lindo
Nuevo Estilo, October 2018
Ein Tanz von Material und Licht
Architektur, October 2018
Zivobarvna prva nagrada srecelova
Naj Dom, October 2018
Casa TEC 205
Habitat, September 2018
Explosión de color en Monterrey, México
Diario Design, September 2018
Casa TEC 205
Bob Magazine, 167 Housing. September 2018
Uma casa colorida com vista para as montanhas no México
Casa Vogue, September 2018
México Moderno
Living, September 2018
Señoras Sillas
ABC, June 2018
Architektur aus Mexiko: vier Bäume und eine Villa Kunterbunt
AD Germany, June 2018
Casa TEC 205
Revista Muros, June 2018
Colourful Barragán-esque house by Moneo Brock wraps four trees in Mexico
Dezeen, May 2018
Moneo brock's colorful casa TEC 205 in monterrey is a homage to mexican architecture
Designboom, Mayo 2018
Casa TEC
Arquine, April 2018
Fiesta Mexicana
DiseñoInterior, May 2018
Estallido de color en Monterrey
El País Semanal, April 2018
Se rifa una CASA
AD Spain, March 2018
Methacrylate Design by Moneo Brock
Tectónica Blog, March 2018
Parish Church in Pueblo Serena
Magaceen, October 2017
Parish Church in Pueblo Serena, winner of the American Architecture Prize 2017
Arquine, October 2017
Espacio Fundación Telefónica
Madrid Style, September 2017
"How to Detail Windows Within Glass Block Constructions"
Architizer, August 2017
"Religious works". Parish church by Moneo Brock
AD Spain, January 2017
Garden and Playspace Hospital 12 de octubre
Diseño Interior, March 2017
"Cutting-edge religious architecture"
Wallpaper, December 2016
Crystalline Church by Moneo Brock
DEZEEN, october 2016
"Moneo Brock Transforms an Underutilized Hospital Rooftop in Madrid into a Playground for Pediatric Patients"
Interior Design, July 2016
"La azotea terapéutica" Garden and Playspace Hospital 12 de Octubre
Diseño Interior, Septembre 2015
Miles Carpet
Catálogo "Una oleada de diseño español", 2016
"En defensa del detalle" Museum Espacio Fundación Telefónica
El Mundo, March 2016
Room, CircuiTree
Producto Fresco. DIMAD, Dicembre 2016
Espacio Fundación Telefónica
Interior Design, January 2011

Café de la Reina

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.  

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Client

Aragonia

Location

Zaragoza, Spain

Architects

Belén Moneo, Jeffrey Brock

Architects team

Andrea Caputo, María Pierres, Sandra Formigo, Andrés Barrón, Spencer Leaf and Silvia Fernández

3d model

Andrés Barrón

Parish Church in Pueblo Serena

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.  

 

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Client

Plaza Serena (Real Estate in Huajuco Canon)

Location

Carretera Federal 500, Monterrey México

Building size

17,222 sqft

Budget

$ 2.077.717

Architects

Belén Moneo, Jeffrey Brock

Architects team

Irene Alberdi, Andrés Barrón, Fabrice Leray, Jaime Salvador, Sara Pericacho, Irene Hernádez, Juan Galloso

3d model

Fabrice leray, Andrés Barrón

Structural engineer

RGT Engineering (Gerardo Hernández)

Acoustical consultant

Arau Acustic (Higiniarau)

Contractor

Plaza Serena

Photographer

Jorge Taboada

The University of El Rosario Laboratory Building

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.

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Location

Bogotá, Colombia

Gross area

270,000 sqft

Architects

Belén Moneo, Jeffrey Brock, Fernando de la Carrera, Alejandro Cavanzo

Architects team

Francisco Blázquez, Irene Alberdi

Model

Moneo Brock

3d model

Moneo Brock

Park on the River Tajo

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.

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Client

Confederación hidrográfica del Tajo y Ayuntamiento de Talavera de la Reina

Location

Talavera de la Reina

Architects

MONEO BROCK, BLASCO ESPARZA, EIN

Architects team

Irene Alberdi, Mathilde Noirot