Ramón Pico
Ramón Pico. Architect and architectural historian, Chair of the Architectural History Department at the Universidad de Sevilla, Spain. I have been also as visiting professor or scholar at Harvard Graduate School of Design (GSD), Lunds Tekniska Högskola (Sweden), École D'Architecture de Nancy (France), Politecnico di Milano (Italy), Tongji University (Shanghai), Universidad de Chiclayo (Perú) and SWUST (Miangyang, China). I the past I was an active member of DoCoMoMo in Spain. For 2017 I got a Research Award from Dumbarton Oaks Research Library in the field of Garden and Landscapes Studies.
As practitioner, I am the principal at ACTA Studio Architects in Seville, a research-based design studio focused on the historical intersections of architecture, landscape and urbanism.
Our works have been widely published and awared, including the 3rd European Landscape Biennale (First Prize), 7th Spanish Biennale and Ibero-American Architecture Biennale. His works and writings have been published in journals as El Croquis, Bauwelt, Lotus, Garten + Landschaft, Detail, Quaderns and Arquitectura Viva.
Address: Sevilla
As practitioner, I am the principal at ACTA Studio Architects in Seville, a research-based design studio focused on the historical intersections of architecture, landscape and urbanism.
Our works have been widely published and awared, including the 3rd European Landscape Biennale (First Prize), 7th Spanish Biennale and Ibero-American Architecture Biennale. His works and writings have been published in journals as El Croquis, Bauwelt, Lotus, Garten + Landschaft, Detail, Quaderns and Arquitectura Viva.
Address: Sevilla
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Papers by Ramón Pico
En el contexto de la revisión crítica de la modernidad arquitectónica que se produjo en los cincuenta Philip Johnson destacó como activo defensor de la recuperación instrumental de la Historia. El pabellón para la ampliación del Museo de Dumbarton Oaks constituye en este sentido una pieza clave, olvidada o temida por la crítica, y en la que su contacto con Mildred Bliss resultaría decisiva. En este trabajo se analiza esta obra y las vicisitudes de su creación.
In the late twenties of the last century began to address a full and deliberate consideration of the territory from the height. Passed the fascination with the aircraft as an object and recomposed emotions after the initial contact with the air, begins the exploration, serene eyes emerge on land that has been down. In October 1929, Le Corbusier will have the opportunity to explore the fabulous American territory from above in a walk through the air during a peaceful southern spring that belongs him to discover the strong relation between site and architecture. Since then, accompanied throughout his sketchbook, would travel thousands of miles through the air: South America and M’zab, meanders and deserts, are, although not their first flights, the whole experience definitely transcendent in reshaping the spatial and geographic coordinates of an architect in love with aviation.
The flying experience allowed him to look into the past and find the subtle balance of man and nature. Revelation and rebellion at the same time. Thanks to the new visual as well as mental perspective provided by height, he would drive his reflections towards “geoarchitecture”, a definitive, Humboldtian approach to Earth.
His aerial observation of the Algerian M’Zab valley or the layout of the settlements along the Paraná would crystallise both into texts such as Sur les quattro routes, Aircraft or Les trois établissements humains, and a series of proposals for Rio, São Paulo, Montevideo, Buenos Aires and Algiers. Epic adventures through which, and connecting with the interest of those geographers worried about reclaiming human action on the writing on the Earth through his “establishments”, Le Corbusier tackles the configuration of a new public space beyond the limits of the traditional city, claiming for a new planetary order.
Books by Ramón Pico
CHAPTER: Project A PATHWAY THROUGH THE PINEWOOD OF LA ALGAIDA.
Award from the Critic at the Biennial
En el contexto de la revisión crítica de la modernidad arquitectónica que se produjo en los cincuenta Philip Johnson destacó como activo defensor de la recuperación instrumental de la Historia. El pabellón para la ampliación del Museo de Dumbarton Oaks constituye en este sentido una pieza clave, olvidada o temida por la crítica, y en la que su contacto con Mildred Bliss resultaría decisiva. En este trabajo se analiza esta obra y las vicisitudes de su creación.
In the late twenties of the last century began to address a full and deliberate consideration of the territory from the height. Passed the fascination with the aircraft as an object and recomposed emotions after the initial contact with the air, begins the exploration, serene eyes emerge on land that has been down. In October 1929, Le Corbusier will have the opportunity to explore the fabulous American territory from above in a walk through the air during a peaceful southern spring that belongs him to discover the strong relation between site and architecture. Since then, accompanied throughout his sketchbook, would travel thousands of miles through the air: South America and M’zab, meanders and deserts, are, although not their first flights, the whole experience definitely transcendent in reshaping the spatial and geographic coordinates of an architect in love with aviation.
The flying experience allowed him to look into the past and find the subtle balance of man and nature. Revelation and rebellion at the same time. Thanks to the new visual as well as mental perspective provided by height, he would drive his reflections towards “geoarchitecture”, a definitive, Humboldtian approach to Earth.
His aerial observation of the Algerian M’Zab valley or the layout of the settlements along the Paraná would crystallise both into texts such as Sur les quattro routes, Aircraft or Les trois établissements humains, and a series of proposals for Rio, São Paulo, Montevideo, Buenos Aires and Algiers. Epic adventures through which, and connecting with the interest of those geographers worried about reclaiming human action on the writing on the Earth through his “establishments”, Le Corbusier tackles the configuration of a new public space beyond the limits of the traditional city, claiming for a new planetary order.
CHAPTER: Project A PATHWAY THROUGH THE PINEWOOD OF LA ALGAIDA.
Award from the Critic at the Biennial