Final essay: The architecture of Rafael Moneo Vallés

Rafael Moneo Vallés born in 1937 in Spain, is one of modern architecture’s most valuable prodigies. The thoughtful use of materials and his deep understanding of the site he works in grants him success in the process and creation of his projects. His technique is more traditional, arithmetical, and lineal; he finds a way to make an impact with his designs by taking them beyond the square while still being in it. Of course, this all because of years of experience and hard work and innovation which he then projected into his students through various prestigious universities like Harvard and Polytechnic University of Cataluña. Moneo is popularly recognized for his passion for architecture and his commitment to students.

Rafael Moneo has been greatly influenced by the neoclassical movement. Moneo's work is often characterized by its restrained and austere aesthetic, which can be traced back to the neoclassical tradition. His designs often feature simple, geometric forms, and he places great emphasis on the relationship between structure and space. Moneo's use of materials is also influenced by neoclassical principles, with a preference for natural materials such as stone and wood. Neoclassicism emerged in the 18th century as a reaction against the excessive ornamentation and extravagance of the Baroque and Rococo styles. It sought to revive the classical forms and principles of ancient Greece and Rome, emphasizing symmetry, proportion, and simplicity. Neoclassicism became popular in Europe and the United States and influenced a wide range of art forms, including architecture. One of Moneo's most significant neoclassical influences can be seen in his design for the extension of the Prado Museum in Madrid. The original building, designed in the neoclassical style by Juan de Villanueva in the late 18th century, served as a reference point for Moneo's design. He sought to create a harmonious relationship between the existing building and the new extension, using similar materials and forms. The result is a modern building that pays homage to its neoclassical predecessor. Cesare Boullee was an important 18th century french architect who was influential in the development of Neoclassicism in architecture. Cesare Boullee is best known for his imaginative architectural designs, which were inspired by classical themes but often took on a dramatic, theatrical quality. Boullee's designs were characterized by bold, sweeping curves, dramatic massing, and a focus on creating an emotional experience for the viewer. He is particularly famous for his designs for unbuilt structures, such as the Cenotaph for Isaac Newton, which was a tribute to the famous scientist and mathematician. In general, the architecture of Boullee was characterized by a return to classical forms and themes, as well as an interest in creating a harmonious relationship between form and function similarly to Moneo.

Architecture is both a physical and cultural practice that involves designing and constructing buildings, structures, spaces, and surfaces. As such, there are both physical and cultural limits to what can be achieved through architecture. The social, economic, and political factors that shape the way buildings and spaces are designed and used are know as cultural limits. For example, cultural norms and values may dictate the use of certain materials or architectural styles or may influence the way a building is organized and structured. Economic factors, such as the availability of resources and funding can also impact the design and construction of buildings greatly. This factor determines the magnitude of a project as well as its opportunities. Architects must work within these limits to create buildings and structures that are functional, safe, and aesthetically pleasing. This requires a deep understanding of the materials, technologies, and cultural context of the project, as well as the ability to balance competing demands and constraints. The constraints imposed by the laws of physics, materials, and engineering form limits to what can be drawn on paper. For example, buildings must be able to withstand the forces of gravity, wind, earthquakes, and other natural disasters. The size, shape, and design of a building are also limited by the properties of the materials used to construct it, as well as the available technology and construction techniques. Moneo’s years of experience and studies of architecture make him an expert in the art of buildings surfacing architecture. Rafael Moneo has won numerous awards for his work. He is known for his use of modern materials and techniques, while also incorporating traditional forms and styles. Some of his most notable works include the National Museum of Roman Art in Mérida, Spain, and the Cathedral of Our Lady of the Angels in Los Angeles.

While harmony is a fundamental theme in Rafael Moneo's architecture, fragmentation is also a recurring element in some of his works. Fragmentation is the deliberate use of elements that do not fully connect or blend together, creating a sense of contrast or tension within the design. Harmony and fragmentation are two contrasting concepts in architecture that have been explored by architects throughout history. Harmony refers to the state of balance, coherence, and unity that can be achieved within a building or a group of buildings. It can be achieved with symmetry, proportion, repetition, and other elements of design. Harmony in architecture can create a sense of tranquillity, order, and beauty. On the other hand, fragmentation refers to the intentional breaking up of a building or a group of buildings into smaller parts or pieces. Fragmentation can be achieved using asymmetry, irregularity, and other elements of design that create a sense of disunity or disconnection. Fragmentation in architecture can create a sense of complexity, dynamism, and even chaos. One example of fragmentation in Moneo's work is the extension he designed for the Prado Museum in Madrid. The new building is visually distinct from the neoclassical original building, with a different scale, materiality, and form. Rather than trying to create a seamless integration between the old and new, Moneo chose to highlight the contrast between them, creating a sense of tension and dynamism between the two buildings. Another example of fragmentation in Moneo's work is the Museum of Roman Art in Mérida, Spain. The building is composed of three distinct volumes, each with a different material and form. The central volume, which contains the museum's exhibition spaces, is a stark, minimalist box made of white concrete, while the other two volumes are more ornate, with stone facades and traditional elements such as arches and columns. The different volumes do not fully connect, creating a sense of contrast and tension between them. Despite the presence of fragmentation in some of his works, Moneo still places a great emphasis on harmony and balance in his architecture. He often uses formal elements such as symmetry, proportion, and regular shapes to create a sense of order and balance in his buildings. Additionally, even in works where fragmentation is present, Moneo still pays careful attention to the relationships between the different elements, ensuring that they work together to create a cohesive whole.

One of Moneo's key design principles is the idea of "timelessness" in architecture. He believes that good architecture should be able to withstand the test of time and should not be tied to any style or trend. Instead, he seeks to create buildings that are durable, flexible, and able to adapt to changing needs and conditions over time. For Moneo, timelessness in architecture means designing buildings that are relevant to their context and environment, and that respond to the needs of their users. He places a great emphasis on the use of traditional materials and construction techniques, which he believes can help to create buildings that are more durable and resistant to wear and tear. Moneo's emphasis on timelessness in architecture reflects his belief that architecture has a vital role to play in shaping our environment and culture, and that good architecture should be able to endure and adapt to changing circumstances over time.

Rafael Moneo's architecture is often characterized by a balance between the visceral and the academic. The visceral aspect of his work refers to his intuitive, emotional approach to design, while the academic aspect refers to his rigorous, intellectual approach. Moneo's visceral approach is rooted in his belief that architecture should engage the senses and create a visceral response in its users. He often uses materials and textures in a way that is meant to be experienced directly, such as the rough-hewn stone walls of the Museum of Roman Art in Mérida, Spain, or the wooden louvers that filter light in the Audrey Jones Beck Building at the Museum of Fine Arts in Houston, Texas. These elements create a tangible, sensory experience for the building's occupants, engaging them in a way that goes beyond the purely visual. At the same time, Moneo's work is also deeply informed by academic research and intellectual rigor. He is a professor of architecture at Harvard University and has written extensively on the subject of architecture. His designs often reflect a thorough understanding of architectural history and theory, and he is known for his attention to detail and technical precision. For example, the Kursaal Congress Center and Auditorium in San Sebastian, Spain, features a complex system of structural supports and acoustical treatments that are carefully integrated into the building's design. Despite the apparent dichotomy between the visceral and the academic, Moneo does not see them as opposing forces. Rather, he believes that the two approaches are complementary, and that a successful design must balance both. He has said, "My architecture is emotional, but at the same time, it has to be based on reason. It's a combination of intuition and thought, of feeling and analysis."

Series and variations are another recurring themes in Rafael Moneo's architecture. He often designs buildings that are part of a larger collection, creating a sense of continuity and coherence across different projects. One example of this approach is Moneo's series of museum designs, which includes the Museum of Fine Arts in Houston, the Davis Museum at Wellesley College in Massachusetts, and the National Museum of Roman Art in Mérida, Spain. Each of these museums is distinct in its form and function, but they share a common approach to design, with a focus on simple, geometric forms, natural materials, and careful attention to detail. Another example of Moneo's use of series and variations is his work on university campuses, such as his designs for the Graduate School of Business at the University of Houston and the Humanities Building at the University of Navarra in Spain. These buildings share a similar architectural vocabulary, with a focus on simplicity, clarity, and materiality. Moneo's use of series and variations allows him to explore different approaches to design while maintaining a sense of continuity and coherence across his body of work. He often revisits certain themes or ideas in his designs, refining and developing them over time. For example, his use of stone as a primary building material is a recurring theme throughout his work, from the Museum of Roman Art in Mérida to the Cathedral of Our Lady of the Angels in Los Angeles. In the art of modern architecture, ordering, series, and variations are important concepts that help to create a sense of coherence and continuity in a building or group of buildings. Such qualities make the authorship and style of an architect become unique.

The trajectory of architecture has changed over the centuries, constantly evolving according to the advancement of technology. Rafael took great advantage of this, with his incredible works, once again changed the path of this sublime art. He proposed innovative theories and made great contributions to the architectural tectonics of the 20th century and the present, breaking limits and opening new opportunities to new aspirants. The Science Building at Columbia University in New York was designed by Rafael Moneo together with Belén Moneo and Jeffrey Brock. This is configured as a pedestrian precinct, where Moneo respects the decisions made in the surrounding buildings by completing the corner of the building's location. For this reason the project does not show an expressionist accent. The tectonics used in this building is a continuous and abstract mesh. The Science Building acts as a structural and interdisciplinary bridge. As is common in Moneo's works, this building is very compact, since users can move freely in closed spaces, without resorting to fragmentation. The structure of the building has a central lower truss that assumes the entire weight of the construction. This is reinforced with the roof of the building where the state of the charges is shown. In turn, the project has a hybrid structure, with two types of structural systems: an iron construction with a lattice beam and a 'lattice structural tube' where a façade made up of pillars and beams was designed to resist the loads of wind. Being a building dedicated to science, a system of closed facilities is promoted, devoid of windows and isolated, with the purpose of preventing contamination by odors, heat or leaks. This being a way in which Moneo supports the concepts and ideas to achieve an architectural work.

The art of imperfection is a theme that can be observed in Rafael Moneo's architecture. He embraces the inherent imperfections and irregularities of materials and construction, allowing them to become part of the design rather than trying to hide or correct them. The art of the unfinished is one that shows all the imperfections of the artistic process. These imperfections are made in certain situations intentionally, bringing out the best parts of a project. Imperfection is a topic of great discussion in the world of art, including sculpture, painting, music and of course architecture. Now, the imperfection in the works, especially in the musical ones, is classified as an improvisation, a positive reaction to an error that has occurred. It can even be said that imperfection itself has come to be seen today as a new style of perfection. This same theory is applied in other branches of art, curiously a simile that may seem distant and is not usually invoked is that of music and architecture. The relationship may be much clearer than it appears, since both doctrines are based on the design of a composition for the creation of an artistic piece that conveys an idea. The constant search for problems to provide solutions is today a style of design that brings a new scope to the world of art. Both musical and architectural composition is closely connected to improvisation, the imperative need to provide a solution to a conflict. In the world of music Busoni, (composer) goes to a humanist imperfection focused on the solution forming a performance, a style that represents the author of the piece. While Schoenberg, also a composer, uses the perfectionism of the work to create a structured abstract composition. Thus, demonstrating the new spectra that imperfection has discovered. The art of the unfinished lies in the freedom of the artist or architect. The work ends when the architect indicates it and its value is manifested through the process of carrying out said work. The process is inseparable from the result, no matter how it is. Imperfection is a symbol of individuality, it is a symbiosis between the process, the user, the space and the architect or artist. The unfinished can easily be interpreted as carelessness or carelessness, but it can also be naturalness, ease and spontaneity. The fact that an artist decides to leave his works unfinished is a demonstration of authorship. Through these decisions, the intentions of the author of a work can be recognized and attributed.

Imperfection and fragmentation are concepts that share certain qualities. Although fragmentation may become a perfection, it is also capable of acting as a mistake that occurred in the communication of an idea. Sometimes these qualities make a work a "not this, but not this either". The great magnitude of opportunities that imperfection offers can leave the exact classification of a work adrift. Rafael Moneo works architectural compactness and overhead light ambitiously. Compactness in architecture allows room for the cumulative, the random, the arithmetic or inorganic, the summative or juxtaposed while favouring the individuality and diversity of the elements in the face of the richness or sophistication of their relationships, and organizations schematic versus articulated. The entrance systems that Moneo designs as wells or capillaries allow lighting and ventilation to penetrate his works in a compact way. In Rafael Moneo's projects, the walls have a constructive and coherent role. With these walls he manages to formulate a personal seal or the identity of his organization and construction. The walls define the nature of your spaces. Also, the surface of it manage to strongly express the individuality of the enclosures and the architect. Many Moneo projects present skylights, blind facades, many overhead lights, fragmentation, free plans, neoplastic spaces, and plans blocked by strong walls. All elements form repetitions and compositions of individuality of the architect.