visualize_engineered_features.ipynb

{
 "cells": [
  {
   "cell_type": "code",
   "execution_count": 27,
   "metadata": {},
   "outputs": [],
   "source": [
    "import glob\n",
    "import json\n",
    "import pandas as pd\n",
    "from tabulate import tabulate\n",
    "from textwrap import wrap"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 34,
   "metadata": {},
   "outputs": [],
   "source": [
    "context_title = \"José Luis Picardo\"\n",
    "\n",
    "with open(f\"indices/{context_title}/docstore.json\", \"r\") as f:\n",
    "    original_docstore = json.load(f)\n",
    "with open(f\"indices/{context_title}_summaries/docstore.json\", \"r\") as f:\n",
    "    summary_docstore = json.load(f)"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 35,
   "metadata": {},
   "outputs": [],
   "source": [
    "original_chunks = [value[\"__data__\"][\"text\"] for key, value in original_docstore[\"docstore/data\"].items()]\n",
    "summaries = [value[\"__data__\"][\"text\"] for key, value in summary_docstore[\"docstore/data\"].items()]"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": 36,
   "metadata": {},
   "outputs": [
    {
     "name": "stdout",
     "output_type": "stream",
     "text": [
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "|    | Original                                                               | Summary                                                                |\n",
      "+====+========================================================================+========================================================================+\n",
      "|  0 | Early life. Picardo was born in Jerez de la Frontera, in the Province  | Robert Picardo, born in Spain in 1919, pursued architecture after his  |\n",
      "|    | of Cádiz in Andalucía, Spain on 18 June 1919. His father was Alvaro    | initial plans to join the navy and study law were disrupted. He        |\n",
      "|    | Picardo de Celis and his mother's family name was Castellón. He had    | trained under architect Luis Moya Blanco during the Spanish Civil War  |\n",
      "|    | four brothers, one of whom died in infancy. His father died in 1929    | and began his career by painting murals and illustrating architectural |\n",
      "|    | when Picardo was ten years old. With his mother and his brothers he    | magazines. Known for his mastery of perspective, Picardo's work showed |\n",
      "|    | moved to Madrid, Spain. He enrolled at the newly created Instituto de  | increasing sophistication and complexity. After qualifying in 1951, he |\n",
      "|    | Bachillerato Cervantes for his high school education. On completing    | collaborated on building preservation and restoration projects with    |\n",
      "|    | school he initially wanted to join the navy, but was frustrated by the | architect Fernando Chueca Goitia. Inspired by the Alhambra in Granada, |\n",
      "|    | closure of the military academies in Madrid during the Second Spanish  | Picardo was a signatory of the \"Manifiesto de la Alhambra\" in 1952,    |\n",
      "|    | Republic. He turned to the study of law, but was frustrated again,     | which aimed to create a distinctly Spanish form of modern              |\n",
      "|    | this time by the start of the Spanish Civil War in July 1936 when he   | architecture.                                                          |\n",
      "|    | was in the middle of his course. He had just celebrated his            |                                                                        |\n",
      "|    | seventeenth birthday. Training in architecture. To avoid being         |                                                                        |\n",
      "|    | evacuated from Madrid when the Spanish Civil War began, Picardo joined |                                                                        |\n",
      "|    | the studio of the architect Luis Moya Blanco, a professor 15 years his |                                                                        |\n",
      "|    | senior at the Escuela Técnica Superior de Arquitectura de Madrid       |                                                                        |\n",
      "|    | (Higher Technical School of Architecture of Madrid). Impressed by      |                                                                        |\n",
      "|    | Picardo's abilities, Moya Blanco encouraged Picardo to abandon law and |                                                                        |\n",
      "|    | take up a career in architecture.. The Civil War and the dictatorial   |                                                                        |\n",
      "|    | regime that followed it resulted in fewer architects in Spain. Some of |                                                                        |\n",
      "|    | those who had prospered during the Republic did not survive the war.   |                                                                        |\n",
      "|    | Others had gone into exile or had been professionally disqualified.    |                                                                        |\n",
      "|    | Under decree by the dictator Francisco Franco the Dirección General de |                                                                        |\n",
      "|    | Aquitectura (General Directorate of Architecture) was set up to        |                                                                        |\n",
      "|    | control architecture in Spain and collaborate in what his regime       |                                                                        |\n",
      "|    | called la reconstrucción nacional (national reconstruction). Many      |                                                                        |\n",
      "|    | architects were required to be subordinate to it. Against this         |                                                                        |\n",
      "|    | background, in 1945 Picardo entered the Escuela Técnica Superior de    |                                                                        |\n",
      "|    | Arquitectura de Madrid.From the beginning of Picardo's studies, his    |                                                                        |\n",
      "|    | abilities in painting and drawing — in particular his mastery of       |                                                                        |\n",
      "|    | perspective — drew him to the attention of a number of architects who  |                                                                        |\n",
      "|    | praised him highly. While he was still a student, architects           |                                                                        |\n",
      "|    | commissioned murals from him for the interiors of their buildings, and |                                                                        |\n",
      "|    | employed him within their practices for the graphic representations    |                                                                        |\n",
      "|    | and perspectives of their plans. Picardo executed his first            |                                                                        |\n",
      "|    | professional mural painting at the age of 20 in 1939 in the Cine       |                                                                        |\n",
      "|    | Fígaro (Figaro Cinema) in Madrid, commissioned by his architecture     |                                                                        |\n",
      "|    | mentor Luis Moya Blanco. The painting of murals was the main source of |                                                                        |\n",
      "|    | income for Picardo during his youth and early career.As a student      |                                                                        |\n",
      "|    | Picardo also began to illustrate many articles and later several       |                                                                        |\n",
      "|    | covers for the Spanish architectural magazines Revista Nacional de     |                                                                        |\n",
      "|    | Arquitectura and the Boletín de la Dirección General de Arquitectura.  |                                                                        |\n",
      "|    | His drawings in these publications have been described as showing      |                                                                        |\n",
      "|    | \"increasing sophistication\" and being of \"complexity and extraordinary |                                                                        |\n",
      "|    | quality\". Particularly noted in his post-student days were             |                                                                        |\n",
      "|    | illustrations portraying Madrid in the 1950s and 1960s, the Spanish    |                                                                        |\n",
      "|    | protectorate in Morocco, and sketches of the Canarias (Canary Islands) |                                                                        |\n",
      "|    | in 1953. He also showed a growing interest in historic architecture,   |                                                                        |\n",
      "|    | in particular its preservation and restoration. Picardo completed his  |                                                                        |\n",
      "|    | training by making increasingly numerous travels to study buildings    |                                                                        |\n",
      "|    | around Spain and abroad. His investigative journeys around the Iberian |                                                                        |\n",
      "|    | Peninsula awakened in him an intense interest in its historical and    |                                                                        |\n",
      "|    | vernacular architecture. He was described as an \"outstanding\" student. |                                                                        |\n",
      "|    | Early career. Architect. On qualifying in 1951, Picardo pursued his    |                                                                        |\n",
      "|    | interest in historical architecture by collaborating on a number of    |                                                                        |\n",
      "|    | building preservation and restoration projects with the Spanish        |                                                                        |\n",
      "|    | architect and architectural historian Fernando Chueca Goitia, who was  |                                                                        |\n",
      "|    | 8 years his senior. Chueca's appeal to Picardo was the older man's     |                                                                        |\n",
      "|    | lengthy research into what he saw as the unchanging elements of        |                                                                        |\n",
      "|    | Spanish architecture that maintained their constancy despite political |                                                                        |\n",
      "|    | and religious changes. Picardo was one of the 24 signatories of the    |                                                                        |\n",
      "|    | ''Manifiesto de la Alhambra'' of 1952, described as one of “the most   |                                                                        |\n",
      "|    | remarkable texts in the histiography of 20th-century Spanish           |                                                                        |\n",
      "|    | architecture\", of which Chueca was the main instigator. The manifesto  |                                                                        |\n",
      "|    | collected the reflections of a group of architects (Picardo among      |                                                                        |\n",
      "|    | them) and \"sought inspiration in the design\" of the Alhambra in        |                                                                        |\n",
      "|    | Granada, Andalucía for \"a distinctively Spanish form of modern         |                                                                        |\n",
      "|    | architecture\". This inspiration was to guide much of Picardo's work    |                                                                        |\n",
      "|    | throughout his career.                                                 |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "|  1 | Chueca's appeal to Picardo was the older man's lengthy research into   | Architect Picardo was inspired by the consistent elements of Spanish   |\n",
      "|    | what he saw as the unchanging elements of Spanish architecture that    | architecture, as seen in the Alhambra in Granada. He was a signatory   |\n",
      "|    | maintained their constancy despite political and religious changes.    | of the \"Manifiesto de la Alhambra\" of 1952, which sought to create a   |\n",
      "|    | Picardo was one of the 24 signatories of the ''Manifiesto de la        | distinctly Spanish form of modern architecture. This inspiration       |\n",
      "|    | Alhambra'' of 1952, described as one of “the most remarkable texts in  | guided much of his work, particularly in his designs for Paradores.    |\n",
      "|    | the histiography of 20th-century Spanish architecture\", of which       | During the 1950s, Picardo pursued personal ambitions, entering         |\n",
      "|    | Chueca was the main instigator. The manifesto collected the            | competitions and publishing uncommissioned building plans. He co-      |\n",
      "|    | reflections of a group of architects (Picardo among them) and \"sought  | designed an apartment building near Madrid's Plaza de Las Ventas and   |\n",
      "|    | inspiration in the design\" of the Alhambra in Granada, Andalucía for   | built houses in Andalucían style on the Costa del Sol. He also         |\n",
      "|    | \"a distinctively Spanish form of modern architecture\". This            | received commissions for decorative mural paintings and illustrations  |\n",
      "|    | inspiration was to guide much of Picardo's work throughout his career. | in architectural textbooks. In 1959, he was commissioned to design a   |\n",
      "|    | Its influence, particularly in his work on Paradores, can be clearly   | pack of playing cards for the Spanish fashion brand Loewe. Picardo was |\n",
      "|    | seen.. During the 1950s Picardo pursued his personal architectural     | known for his skills as a draughtsman and muralist, and his published  |\n",
      "|    | ambitions, entering competitions and publishing plans and drawings of  | architectural drawings were highly regarded.                           |\n",
      "|    | uncommissioned buildings. In 1951 in  company with his fellow          |                                                                        |\n",
      "|    | architect Carlos de Miguel he designed a centre for the Cofradía de    |                                                                        |\n",
      "|    | Pescadores (Fishermen's Brotherhood) of Altea in the province of       |                                                                        |\n",
      "|    | Alicante which attracted much attention but remained unbuilt.Picardo,  |                                                                        |\n",
      "|    | working alone, designed a small hotel which could be built on the      |                                                                        |\n",
      "|    | Costa del Sol in Andalucía. He described it as \"un modesto parador (a  |                                                                        |\n",
      "|    | modest inn), resolved in a simple and attractive way\".In competition,  |                                                                        |\n",
      "|    | Picardo entered plans and drawings of a preliminary draft for the      |                                                                        |\n",
      "|    | Delegación de Hacienda de Gerona (Treasury Delegation in Gerona) but   |                                                                        |\n",
      "|    | came second behind the Spanish architect Carlos Sobrini who had been a |                                                                        |\n",
      "|    | year behind Picardo at college. He also came second in a similar       |                                                                        |\n",
      "|    | competition a year later with a design for the Delegación de Hacienda  |                                                                        |\n",
      "|    | en Las Palmas (Treasury Delegation in Las Palmas), once again losing   |                                                                        |\n",
      "|    | to Carlos Sobrini.In 1958 Picardo co-designed with his brother Carlos  |                                                                        |\n",
      "|    | Picardo a six-storey edificio de viviendas (apartment building) near   |                                                                        |\n",
      "|    | Madrid's Plaza de Las Ventas, designed for middle-class families.In    |                                                                        |\n",
      "|    | the early 1960s Picardo built some houses in the vernacular and        |                                                                        |\n",
      "|    | historical Andalucían style on the Costa del Sol and in Jerez and, in  |                                                                        |\n",
      "|    | contrast, a number of modernist apartment blocks for the construction  |                                                                        |\n",
      "|    | company Urbis in Madrid. He also moved on to a series of building      |                                                                        |\n",
      "|    | commissions for the Spanish Ministerio de Información y Turismo        |                                                                        |\n",
      "|    | (Ministry of Information and Tourism) which laid the foundation for    |                                                                        |\n",
      "|    | his notable work in the 1960s and 1970s on a large number of the       |                                                                        |\n",
      "|    | state-owned luxury hotel network Paradores de Turismo de España.. Even |                                                                        |\n",
      "|    | early in his architectural career, Picardo was viewed as a supreme     |                                                                        |\n",
      "|    | draughtsman, producing quick sketches, perspectives, views, details    |                                                                        |\n",
      "|    | and innumerable plans of his projects in which his skills can be       |                                                                        |\n",
      "|    | easily identified. Artist. As well as his work on modern buildings and |                                                                        |\n",
      "|    | on preservation and restoration projects through the 1950s, Picardo    |                                                                        |\n",
      "|    | continued to receive commissions for decorative mural paintings, where |                                                                        |\n",
      "|    | he \"demonstrated his mastery in the use of colour and techniques such  |                                                                        |\n",
      "|    | as watercolour and oil\". His works were seen in locations such as the  |                                                                        |\n",
      "|    | new Hotel de Los Cisnes in Jerez, while in Madrid he embellished the   |                                                                        |\n",
      "|    | Bar Jerez, the Hotel Plaza, the Residencia de Ingenieros del Instituto |                                                                        |\n",
      "|    | Nacional de Colonización (Engineers' residence of the National         |                                                                        |\n",
      "|    | Institute of Colonization), the Exposición de Regiones Devastadas      |                                                                        |\n",
      "|    | (Exposition of Devastated Regions), the Instituto de Óptica \"Daza de   |                                                                        |\n",
      "|    | Valdés\" (Institute of Optics), the sales area of the Garaje Villamagna |                                                                        |\n",
      "|    | (Villamagna Garage) and in 1953 he completed extensive paintings at    |                                                                        |\n",
      "|    | the Restaurante Commodore in Madrid where amongst other images he      |                                                                        |\n",
      "|    | produced two large curved panoramic views, one of Madrid and one of    |                                                                        |\n",
      "|    | Cádiz. Picardo was regarded as an \"outstanding\" muralist.At the same   |                                                                        |\n",
      "|    | time his drawings of buildings and architectural details were          |                                                                        |\n",
      "|    | published as illustrations in a best-selling textbook on monumental    |                                                                        |\n",
      "|    | and historic Spanish architecture, Arquitectura Popular Española, by   |                                                                        |\n",
      "|    | the restoration and conservation architect Leopoldo Torres Balbás.     |                                                                        |\n",
      "|    | Picardo travelled around Spain with him, making a multitude of         |                                                                        |\n",
      "|    | detailed drawings of vernacular architectural elements for Balbás'     |                                                                        |\n",
      "|    | books.. Picardo's published architectural drawings were highly         |                                                                        |\n",
      "|    | regarded. They were described as \"magnificent\" by the leading Spanish  |                                                                        |\n",
      "|    | restoration architect Luis Menéndez-Pidal y Álvarez.In 1959 Picardo    |                                                                        |\n",
      "|    | was given an unusual commission: to design a pack of baraja de naipes  |                                                                        |\n",
      "|    | (playing cards) for exclusive use as advertising material by the       |                                                                        |\n",
      "|    | Spanish fashion brand Loewe.                                           |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "|  2 | Picardo was regarded as an \"outstanding\" muralist.At the same time his | José Luis Picardo was an acclaimed muralist and illustrator,           |\n",
      "|    | drawings of buildings and architectural details were published as      | particularly known for his detailed architectural drawings. His work   |\n",
      "|    | illustrations in a best-selling textbook on monumental and historic    | was highly regarded by leading Spanish restoration architects,         |\n",
      "|    | Spanish architecture, Arquitectura Popular Española, by the            | including Leopoldo Torres Balbás and Luis Menéndez-Pidal y Álvarez. In |\n",
      "|    | restoration and conservation architect Leopoldo Torres Balbás. Picardo | 1959, Picardo was commissioned to design a pack of baraja de naipes    |\n",
      "|    | travelled around Spain with him, making a multitude of detailed        | for the Spanish fashion brand Loewe, which are now collectors' items.  |\n",
      "|    | drawings of vernacular architectural elements for Balbás' books..      | He also created a set of wooden chess pieces in 1960.  Picardo was     |\n",
      "|    | Picardo's published architectural drawings were highly regarded. They  | recognized by the Dirección General de Arquitectura (DGA) with the     |\n",
      "|    | were described as \"magnificent\" by the leading Spanish restoration     | publication of a book of his drawings in 1960. From the early 1960s to |\n",
      "|    | architect Luis Menéndez-Pidal y Álvarez.In 1959 Picardo was given an   | 1985, he dedicated much of his professional life to the state-run      |\n",
      "|    | unusual commission: to design a pack of baraja de naipes (playing      | hotel chain, Paradores de Turismo de España, where he worked on the    |\n",
      "|    | cards) for exclusive use as advertising material by the Spanish        | restoration and construction of historical buildings, creating         |\n",
      "|    | fashion brand Loewe. With much imagination he personalised the         | luxurious modern hotels that maintained and embellished the monuments' |\n",
      "|    | characters he portrayed, for instance rendering the King of Hearts as  | ancient appearance. His work for Paradores is highly regarded by other |\n",
      "|    | the Emperor Charlemagne, the King of Clubs as Goliath, the King of     | professionals and hotel guests.                                        |\n",
      "|    | Diamonds as Julius Caesar and the King of Clubs as Alexander the       |                                                                        |\n",
      "|    | Great. They were produced in colour by the Spanish firm Naipes         |                                                                        |\n",
      "|    | Heraclio Fournier and surviving packs are much in demand by            |                                                                        |\n",
      "|    | collectors. Another games design produced by Picardo at much the same  |                                                                        |\n",
      "|    | time was a set of wooden chess pieces formed in tall, slender, conical |                                                                        |\n",
      "|    | shapes and, with the exception of the pawns, surmounted by intricate   |                                                                        |\n",
      "|    | and delicate indications of the pieces' types. It is dated to          |                                                                        |\n",
      "|    | 1960.Around 1960 Picardo was rewarded by the Dirección General de      |                                                                        |\n",
      "|    | Arquitectura (DGA) for the many illustrations he had provided for the  |                                                                        |\n",
      "|    | DGA's Boletín since he was a student with the publication of a small   |                                                                        |\n",
      "|    | book, Dibujos de José Luis Picardo (Drawings of José Luis Picardo).    |                                                                        |\n",
      "|    | More than 60 drawings appear in the book, both illustrations and       |                                                                        |\n",
      "|    | humorous cartoons, and the foreword compares Picardo's work to         |                                                                        |\n",
      "|    | illustrators such as the Romanian-American Saul Steinberg and in       |                                                                        |\n",
      "|    | Britain Osbert Lancaster and Hugh Casson. The book is long out of      |                                                                        |\n",
      "|    | print and virtually unknown in Spain, and not at all elsewhere, but is |                                                                        |\n",
      "|    | available second-hand. Paradores de Turismo. From the early 1960s to   |                                                                        |\n",
      "|    | 1985 Picardo dedicated much of his professional life to the state-run  |                                                                        |\n",
      "|    | hotel chain, Paradores de Turismo de España. He had for some time      |                                                                        |\n",
      "|    | carried out minor work for the Ministerio de Información y Turismo     |                                                                        |\n",
      "|    | which controlled the hotel network. For the purposes of tourism the    |                                                                        |\n",
      "|    | Ministry and its forebears had for over 30 years rehabilitated rundown |                                                                        |\n",
      "|    | and sometimes ruined historic buildings such as castles and convents   |                                                                        |\n",
      "|    | and converted them into luxury hotels in a style that went beyond      |                                                                        |\n",
      "|    | ordinary hotel use. In the early 1960s, as Spanish tourism increased,  |                                                                        |\n",
      "|    | the Ministry decided to rapidly expand its Parador operation (which    |                                                                        |\n",
      "|    | would within a decade grow from 40 to 83 establishments) and Picardo,  |                                                                        |\n",
      "|    | with his previous experience of historical restoration and his abiding |                                                                        |\n",
      "|    | interest in historical and vernacular buildings, was seen by the       |                                                                        |\n",
      "|    | Ministry be a suitable architect to take on much of this type of       |                                                                        |\n",
      "|    | work.. Picardo began working for Paradores on a series of restorations |                                                                        |\n",
      "|    | of old, monumental buildings and sometimes building new establishments |                                                                        |\n",
      "|    | adjacent to ruined monuments in a style that faithfully copied their   |                                                                        |\n",
      "|    | original designs. His hybrid conversions maintained and often          |                                                                        |\n",
      "|    | embellished the monuments' ancient appearance while at the same time   |                                                                        |\n",
      "|    | finding inspiration in them for the style of luxurious modern hotel    |                                                                        |\n",
      "|    | arrangements the authorities required.. A wealth of Picardo's drawings |                                                                        |\n",
      "|    | for his Paradores projects survive. There are large collections of     |                                                                        |\n",
      "|    | extensively detailed plans which cover his designs from whole          |                                                                        |\n",
      "|    | Paradores to the smallest detail of door furniture. There are          |                                                                        |\n",
      "|    | axonometric before-and-after drawings of the buildings and the         |                                                                        |\n",
      "|    | landscapes around them. There are bird's eye views exercising his      |                                                                        |\n",
      "|    | mastery of perspective and his spatial vision. They all show           |                                                                        |\n",
      "|    | meticulous skill.For nearly twenty years, from the early 1960s to his  |                                                                        |\n",
      "|    | last work for the Paradores in the 1980s, Picardo carried out eleven   |                                                                        |\n",
      "|    | major reconstructions of historical buildings and/or erected           |                                                                        |\n",
      "|    | sympathetic and imitative new constructions abutting them or rising    |                                                                        |\n",
      "|    | from their ruined foundations. With a number he returned to build      |                                                                        |\n",
      "|    | additions to his earlier work. He also worked on a number of other     |                                                                        |\n",
      "|    | Parador projects which for various reasons did not reach fruition. His |                                                                        |\n",
      "|    | eleven Parador masterworks encouraged other Spanish architects to work |                                                                        |\n",
      "|    | in the same vein, and Portuguese architects, too, in the similar       |                                                                        |\n",
      "|    | state-run chain of hotels in Portugal, the Pousadas de Portugal.       |                                                                        |\n",
      "|    | Picardo's work for Paradores de Turismo is highly regarded by other    |                                                                        |\n",
      "|    | professionals, and also by hotel guests who revel in the historical    |                                                                        |\n",
      "|    | imagery and romance of his work. Parador de Guadalupe: Zurbarán.       |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "|  3 | They all show meticulous skill.For nearly twenty years, from the early | Architect Picardo is known for his skilled restoration and             |\n",
      "|    | 1960s to his last work for the Paradores in the 1980s, Picardo carried | construction of historical buildings for Paradores de Turismo in       |\n",
      "|    | out eleven major reconstructions of historical buildings and/or        | Spain, with his work influencing Portuguese architects as well. His    |\n",
      "|    | erected sympathetic and imitative new constructions abutting them or   | first project, the Parador de Guadalupe, involved converting two       |\n",
      "|    | rising from their ruined foundations. With a number he returned to     | ancient buildings into a hotel while preserving their original Mudéjar |\n",
      "|    | build additions to his earlier work. He also worked on a number of     | style. He used ancient construction techniques and incorporated        |\n",
      "|    | other Parador projects which for various reasons did not reach         | decorative elements such as clay tile flooring and decorative wall     |\n",
      "|    | fruition. His eleven Parador masterworks encouraged other Spanish      | tiles. The hotel opened in 1965 and Picardo was later invited back to  |\n",
      "|    | architects to work in the same vein, and Portuguese architects, too,   | add a new wing. He also designed a Parador at the Castillo de Santa    |\n",
      "|    | in the similar state-run chain of hotels in Portugal, the Pousadas de  | Catalina in Jaén.                                                      |\n",
      "|    | Portugal. Picardo's work for Paradores de Turismo is highly regarded   |                                                                        |\n",
      "|    | by other professionals, and also by hotel guests who revel in the      |                                                                        |\n",
      "|    | historical imagery and romance of his work. Parador de Guadalupe:      |                                                                        |\n",
      "|    | Zurbarán. For his first of many Parador projects Picardo was appointed |                                                                        |\n",
      "|    | by the Ministry of Information and Tourism in July 1963 to convert     |                                                                        |\n",
      "|    | into a Parador two ancient neighbouring buildings in the village of    |                                                                        |\n",
      "|    | Guadalupe in the province of Cáceres in Extremadura. One building was  |                                                                        |\n",
      "|    | the Hospital de San Juan Bautista, also known as the Hospital de       |                                                                        |\n",
      "|    | Hombres, which was built in the mid-14th-century, rebuilt in 1402 and  |                                                                        |\n",
      "|    | refurbished in the 16th century. The other building was the Colegio de |                                                                        |\n",
      "|    | Infantes, also known as the Colegio de Gramática, built in the early   |                                                                        |\n",
      "|    | 16th-century for the education of  boys. They were situated close to   |                                                                        |\n",
      "|    | the Monastery of Santa María de Guadalupe, one of the most important   |                                                                        |\n",
      "|    | monasteries of medieval Spain, in the centre of the village. The       |                                                                        |\n",
      "|    | college was included in the Catálogo de Monumentos Nacionales          |                                                                        |\n",
      "|    | (Catalogue of National Monuments) when Guadalupe was declared a        |                                                                        |\n",
      "|    | conjunto monument urban de interés nacional histórico-artistico        |                                                                        |\n",
      "|    | (monumental urban complex of national historic-artistic                |                                                                        |\n",
      "|    | interest).Picardo found the two buildings to be in a ruinous state,    |                                                                        |\n",
      "|    | housing humble dwellings and poor workshops. While constructing a      |                                                                        |\n",
      "|    | hotel out of the buildings, his task was to save what remained of      |                                                                        |\n",
      "|    | their basic structures, including an \"outstanding\" staircase, and to   |                                                                        |\n",
      "|    | return them to their original Mudéjar style. He partly demolished the  |                                                                        |\n",
      "|    | old structures of both buildings, rebuilding them as they had          |                                                                        |\n",
      "|    | originally looked, using ancient Mudéjar  construction techniques      |                                                                        |\n",
      "|    | based on lime, clay and wood.Picardo set the main hospitality section  |                                                                        |\n",
      "|    | of the Parador within the Colegio de Infantes, adding to the external  |                                                                        |\n",
      "|    | south side of the cloister to provide a dining room and, above it,     |                                                                        |\n",
      "|    | terraces for guest rooms facing the garden. The cloister remained      |                                                                        |\n",
      "|    | intact, with Picardo leaving the lower arches open, but closing the    |                                                                        |\n",
      "|    | upper ones with glass and wooden latticework. The exposed wooden       |                                                                        |\n",
      "|    | framework and coffered ceilings were respected and clay tile flooring  |                                                                        |\n",
      "|    | was laid on the upper floor.. The Hospital de San Juan Bautista was    |                                                                        |\n",
      "|    | remodelled for the hotel's kitchens, service areas, laundry, staff     |                                                                        |\n",
      "|    | residences, and car parking. Picardo also designed a large first floor |                                                                        |\n",
      "|    | breakfast room on the street side of the hospital building.            |                                                                        |\n",
      "|    | Ventilation for all the services and rooms throughout the Parador was  |                                                                        |\n",
      "|    | provided by chimneys which were covered with Arabic tiles and          |                                                                        |\n",
      "|    | whitewashed uprights perforated with starry latticework and topped     |                                                                        |\n",
      "|    | with glazed ceramic tiles in white, blue and green.Most of the         |                                                                        |\n",
      "|    | furniture and internal decoration was designed by Picardo and he made  |                                                                        |\n",
      "|    | much use of decorative wall tiles produced by the ceramicist Juan      |                                                                        |\n",
      "|    | Manuel Arroyo Ruiz de Luna, including some explaining the history of   |                                                                        |\n",
      "|    | the buildings, signed by Picardo. He was to employ Arroyo repeatedly   |                                                                        |\n",
      "|    | in his Parador projects over the following twenty years and as a       |                                                                        |\n",
      "|    | result the ceramicist's work became an identifying feature of          |                                                                        |\n",
      "|    | Picardo's work.Restoration at Guadalupe started in November 1963 and   |                                                                        |\n",
      "|    | the hotel, with twenty double rooms, opened on 11 December 1965.In     |                                                                        |\n",
      "|    | 1981 Picardo was invited back to Guadalupe to add a new wing of guest  |                                                                        |\n",
      "|    | rooms. He built them in understated but similar style to the rest of   |                                                                        |\n",
      "|    | the Parador, providing views of the rooftops and towers of the         |                                                                        |\n",
      "|    | monastery and of the surrounding mountains. The new wing increased the |                                                                        |\n",
      "|    | number of guest rooms to 41. As a result of being an afterthought to   |                                                                        |\n",
      "|    | the original design, access to the new wing was complicated and        |                                                                        |\n",
      "|    | required an abundance of staircases and lifts. Parador de Jaén:        |                                                                        |\n",
      "|    | Castillo de Santa Catalina. At the same time as preparing his          |                                                                        |\n",
      "|    | restoration at Guadalupe, Picardo was commissioned by the Ministry to  |                                                                        |\n",
      "|    | design and build a Parador at the Castillo de Santa Catalina (Castle   |                                                                        |\n",
      "|    | of Santa Catalina) in Jaén in Andalucía.                               |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "|  4 | He built them in understated but similar style to the rest of the      | In the 1960s, architect Picardo was commissioned to design a Parador   |\n",
      "|    | Parador, providing views of the rooftops and towers of the monastery   | at the Castillo de Santa Catalina in Jaén, Andalucía, which was built  |\n",
      "|    | and of the surrounding mountains. The new wing increased the number of | on a former Moorish fortress. The new wing, built in a simple hostería |\n",
      "|    | guest rooms to 41. As a result of being an afterthought to the         | style, increased the number of guest rooms to 41, but its location on  |\n",
      "|    | original design, access to the new wing was complicated and required   | a steep hill and addition to the original design resulted in a         |\n",
      "|    | an abundance of staircases and lifts. Parador de Jaén: Castillo de     | complicated layout with many staircases and lifts. Picardo used stone, |\n",
      "|    | Santa Catalina. At the same time as preparing his restoration at       | brick, timber, and iron to clad the building, giving the appearance of |\n",
      "|    | Guadalupe, Picardo was commissioned by the Ministry to design and      | age and hiding the modern supporting structure. He also incorporated   |\n",
      "|    | build a Parador at the Castillo de Santa Catalina (Castle of Santa     | medieval elements in the interior design and used coats of arms from   |\n",
      "|    | Catalina) in Jaén in Andalucía. The castle stands on the site of a     | demolished buildings for both the interior and exterior. The building  |\n",
      "|    | Moorish fortress and was built in the mid-13th century. It was damaged | was later extended in 1969 and 1973, adding service rooms and 24 more  |\n",
      "|    | both in the frontier wars between Moors and Christians and in the      | guest rooms, bringing the total to 43. The extension elongated the     |\n",
      "|    | Castilian Civil Wars. During the Peninsular War it housed Napoleonic   | building, resulting in long corridors and distances between bedrooms   |\n",
      "|    | troops. By the time Picardo came to the castle it had been completely  | and public areas. The building was renamed Parador after the extension |\n",
      "|    | abandoned. The site is on the top of a steep hill 800 metres above the | was completed and inaugurated in 1978.                                 |\n",
      "|    | city, with views in all directions.. Picardo began work on the Parador |                                                                        |\n",
      "|    | in early 1963 and his draft plans were ready by the late summer of     |                                                                        |\n",
      "|    | that year. The building was planned as a simple hostería with the      |                                                                        |\n",
      "|    | emphasis on refreshment rather than accommodation, and was built on    |                                                                        |\n",
      "|    | the location of the old barracks and stables of the castle rather than |                                                                        |\n",
      "|    | in the castle building itself. Picardo wanted large windows so         |                                                                        |\n",
      "|    | visitors could enjoy the views; building in the castle would either    |                                                                        |\n",
      "|    | mean making substantial openings in the original walls or building     |                                                                        |\n",
      "|    | above the height of the battlements. Neither idea was acceptable to    |                                                                        |\n",
      "|    | him.Using the elongated site at the top of the hill, Picardo planned a |                                                                        |\n",
      "|    | dining room, a lounge, service accommodation and guest rooms. He       |                                                                        |\n",
      "|    | styled his new building on the layout and dimensions of the old castle |                                                                        |\n",
      "|    | and on what had been discovered during his research of its surviving   |                                                                        |\n",
      "|    | interior designs. Work started in 1963, and the Parador opened to      |                                                                        |\n",
      "|    | guests on 11 September 1965.The first phase, built only as a hostería, |                                                                        |\n",
      "|    | had on the first floor 7 double guest rooms with fireplaces and with   |                                                                        |\n",
      "|    | wooden balconies of a design that Picardo would repeat in a number of  |                                                                        |\n",
      "|    | his later Parador designs. A mezzanine floor housed a cafetería and a  |                                                                        |\n",
      "|    | bar with an outside terrace, and on the ground floor was the reception |                                                                        |\n",
      "|    | area, the lounge and the restaurant, together with the service areas.  |                                                                        |\n",
      "|    | There were also four single rooms for drivers, and a mechanical        |                                                                        |\n",
      "|    | workshop.Picardo's Parador at Jaén was a pastiche, which paid homage   |                                                                        |\n",
      "|    | to the neighbouring castle. The basic structure was 20th-century       |                                                                        |\n",
      "|    | concrete, steel, block and cement but he completely hid it from the    |                                                                        |\n",
      "|    | public gaze with stone, brick, timber and iron in a way that suggested |                                                                        |\n",
      "|    | age and implied that the cladding materials formed the entire          |                                                                        |\n",
      "|    | construction. The 20 metres high vault of the lounge appears to be     |                                                                        |\n",
      "|    | built entirely of brick, but the structural impression is false; the   |                                                                        |\n",
      "|    | Parador's admiring guests are not aware of the modern supporting       |                                                                        |\n",
      "|    | skeleton behind the brick. Also much admired are the six impressively  |                                                                        |\n",
      "|    | large and lofty stone arches in the dining room, which appear to       |                                                                        |\n",
      "|    | support the ceiling and roof and achieve \"una sensación espacial       |                                                                        |\n",
      "|    | espectacular\" (a spectacular spatial sensation), but are in fact       |                                                                        |\n",
      "|    | hiding the room's steel frame.In a second phase in 1969 Picardo added  |                                                                        |\n",
      "|    | service rooms on the south wall, allowing the old service area to be   |                                                                        |\n",
      "|    | converted into a further 12 guest rooms.In the late 1960s and early    |                                                                        |\n",
      "|    | 1970s excessive rain caused a number of landslips in the unstable      |                                                                        |\n",
      "|    | ground around the castle and hostería and Picardo was regularly called |                                                                        |\n",
      "|    | in to strengthen the building.. Picardo returned to the project in     |                                                                        |\n",
      "|    | 1973 to build a further extension in the same style. This was erected  |                                                                        |\n",
      "|    | to the west of the first building and was joined to it by a tower      |                                                                        |\n",
      "|    | which allowed for a change of heights between the original building    |                                                                        |\n",
      "|    | and the new one. 24 guest rooms were added by the new extension, on    |                                                                        |\n",
      "|    | two floors, bringing the total to 43. Picardo was hampered by the      |                                                                        |\n",
      "|    | layout of the available land, and by limitations in the height to      |                                                                        |\n",
      "|    | which he could build, so the extension elongated the building in a way |                                                                        |\n",
      "|    | that produced long corridors and distances between bedrooms and public |                                                                        |\n",
      "|    | areas. With the opening of Picardo's extension, the building was       |                                                                        |\n",
      "|    | elevated to the title of Parador. It was inaugurated in 1978.Picardo   |                                                                        |\n",
      "|    | also designed the building's interior, producing furniture, wall-      |                                                                        |\n",
      "|    | hangings, shutters, carpets, light fittings, door furniture, floor and |                                                                        |\n",
      "|    | wall tile patterns and so on to continue emphasising the building's    |                                                                        |\n",
      "|    | medieval ambience. He also used coats of arms from demolished          |                                                                        |\n",
      "|    | buildings for both the interior and exterior of the Parador.           |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "|  5 | 24 guest rooms were added by the new extension, on two floors,         | In 1978, an extension designed by Picardo added 24 guest rooms to the  |\n",
      "|    | bringing the total to 43. Picardo was hampered by the layout of the    | Jaén Parador, a hotel in Spain, raising the total to 43. The           |\n",
      "|    | available land, and by limitations in the height to which he could     | extension's design was constrained by the land's layout and building   |\n",
      "|    | build, so the extension elongated the building in a way that produced  | height limits, resulting in long corridors and distances between       |\n",
      "|    | long corridors and distances between bedrooms and public areas. With   | areas. Picardo also designed the interior, creating medieval-style     |\n",
      "|    | the opening of Picardo's extension, the building was elevated to the   | furniture, decorations, and tile patterns, using coats of arms and     |\n",
      "|    | title of Parador. It was inaugurated in 1978.Picardo also designed the | ceramic tiles to share the building's history and credit those         |\n",
      "|    | building's interior, producing furniture, wall-hangings, shutters,     | involved. The architecture and design approach was later used in other |\n",
      "|    | carpets, light fittings, door furniture, floor and wall tile patterns  | Paradores projects.  The Parador at Arcos de la Frontera, located in   |\n",
      "|    | and so on to continue emphasising the building's medieval ambience. He | Andalucía, was built on a triangular site overlooking the Rio          |\n",
      "|    | also used coats of arms from demolished buildings for both the         | Guadalete. Picardo preserved the façades of buildings facing the Plaza |\n",
      "|    | interior and exterior of the Parador. He featured hand-painted written | de España and the castle while demolishing the rest, keeping seven     |\n",
      "|    | ceramic tiles, produced by Juan Manuel Arroyo, to decorate and 'sign'  | 2.35-meter columns for reuse. A 15-centimeter crack from the 1755      |\n",
      "|    | the building, to expound on its history and to credit the surveyor and | Lisbon earthquake led to the construction of an independent patio      |\n",
      "|    | stoneworker.In an article about the Jaén Parador for an architectural  | deck. The building, featuring Andalucían architectural elements, has   |\n",
      "|    | magazine in 1967, Picardo rhapsodised about the mood and aura he had   | an entrance hallway, a patio, and terracing with seven columns.        |\n",
      "|    | created for the building: \"Exterior, un conjunto de masas elementales  | Picardo designed the interior furniture, fittings, lighting, and       |\n",
      "|    | rectangulares./Interior, techos con artesas, bóvedas y arcos, madera,  | decoration, using ceramic tiles for both design and explanatory texts. |\n",
      "|    | barro y piedra. .../Ay del romancero!\" (Outside, a gathering of        | Initially, only nine of the planned 18 guest rooms were built.         |\n",
      "|    | rectangular blocks./Inside, artesonado ceilings, vaults and arches,    |                                                                        |\n",
      "|    | wood, clay and stone. .../Oh, the romance!)In the same article Picardo |                                                                        |\n",
      "|    | credited his \"maestros\" (masters): \"Torres-Balbás, Moya, Sota y Luis   |                                                                        |\n",
      "|    | Santamaria. Ninguno de ells la ha vista. Qué dirán?\" (None of them has |                                                                        |\n",
      "|    | seen it. What will they say?). At Jaen, and at Guadalupe, finished at  |                                                                        |\n",
      "|    | much the same time, Picardo established a style of architecture and    |                                                                        |\n",
      "|    | interior design which found favour with his clients and their guests   |                                                                        |\n",
      "|    | and which he was to pursue in most of his further work for Paradores,  |                                                                        |\n",
      "|    | refining it where required and elsewhere repeating it faithfully.      |                                                                        |\n",
      "|    | Parador de Arcos de la Frontera: Casa del Corregidor. The Parador at   |                                                                        |\n",
      "|    | Arcos de la Frontera in the province of Cádiz in Andalucía is located  |                                                                        |\n",
      "|    | in the centre of the old town, at the top of the cliffs that overhang  |                                                                        |\n",
      "|    | the Rio Guadalete. Picardo first visited the triangular site in        |                                                                        |\n",
      "|    | February 1964. He decided immediately that the façades of the          |                                                                        |\n",
      "|    | buildings facing the Plaza de España and the castle should be          |                                                                        |\n",
      "|    | preserved, while the rest of the site — the old municipal              |                                                                        |\n",
      "|    | slaughterhouse and other public utility premises and houses — should   |                                                                        |\n",
      "|    | be demolished, though seven 2.35 metre columns from a patio within one |                                                                        |\n",
      "|    | of the buildings should be preserved to be used in the new building.In |                                                                        |\n",
      "|    | the twelve months from February 1964 all the demolition work was       |                                                                        |\n",
      "|    | carried out. Picardo started work in October that year. He encountered |                                                                        |\n",
      "|    | a problem with a 15 centimetres wide crack across the top of the cliff |                                                                        |\n",
      "|    | which had been caused by the 1755 Lisbon earthquake.  He surmounted it |                                                                        |\n",
      "|    | by constructing a patio rather than building on the fractured zone     |                                                                        |\n",
      "|    | next to the cliff edge. This single deck was built as an independent   |                                                                        |\n",
      "|    | structure separated from the main building, so that any future         |                                                                        |\n",
      "|    | movement of the terrain would not effect the Parador itself..          |                                                                        |\n",
      "|    | Picardo's design of the Parador was a copy of a typical Andalucían     |                                                                        |\n",
      "|    | residence with an entrance hallway leading to a typical patio, open to |                                                                        |\n",
      "|    | the sky, with terracing supported by the seven reused columns (though  |                                                                        |\n",
      "|    | one further column had to be made to copy the others so as to achieve  |                                                                        |\n",
      "|    | the same number of columns on all four sides). There were further      |                                                                        |\n",
      "|    | small secondary patios. The dining room and sitting room were          |                                                                        |\n",
      "|    | positioned to take advantage of the widespread views to the south and  |                                                                        |\n",
      "|    | southwest over and beyond the river.Throughout the building Picardo    |                                                                        |\n",
      "|    | copied many Andalucían architectural features, most particularly in    |                                                                        |\n",
      "|    | the ceilings, using exposed pine wood joists, linked by vaulted        |                                                                        |\n",
      "|    | plasterwork, and the floors which were terracotta throughout. As at    |                                                                        |\n",
      "|    | Guadalupe and Jáen, Picardo designed much of the interior furniture,   |                                                                        |\n",
      "|    | fittings, lighting and decoration, copying many of the features, both  |                                                                        |\n",
      "|    | large and small, he had used in the earlier projects. He also used his |                                                                        |\n",
      "|    | typical ceramic tiles throughout the building, both for decoration and |                                                                        |\n",
      "|    | for explanatory texts.Picardo planned 18 guest rooms, but initially    |                                                                        |\n",
      "|    | only 9 were built, some in the building facing the plaza, and the rest |                                                                        |\n",
      "|    | fronting the cliff-edge view. The latter benefitted from the same      |                                                                        |\n",
      "|    | design of open wooden galleries Picardo had utilised at Jaén.          |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "|  6 | The dining room and sitting room were positioned to take advantage of  | The text discusses several architectural projects by Picardo. The      |\n",
      "|    | the widespread views to the south and southwest over and beyond the    | first project is a building in Arcos with dining and sitting rooms     |\n",
      "|    | river.Throughout the building Picardo copied many Andalucían           | overlooking a river, featuring Andalucían architectural elements and   |\n",
      "|    | architectural features, most particularly in the ceilings, using       | ceramic tiles. Initially, 9 of the planned 18 guest rooms were built,  |\n",
      "|    | exposed pine wood joists, linked by vaulted plasterwork, and the       | with an extension added in 1974. The second project is a hosteria in   |\n",
      "|    | floors which were terracotta throughout. As at Guadalupe and Jáen,     | Pedraza, converted from the Casa de la Inquisición, which only         |\n",
      "|    | Picardo designed much of the interior furniture, fittings, lighting    | contains a restaurant and bar. Picardo renovated the exterior and      |\n",
      "|    | and decoration, copying many of the features, both large and small, he | interior, adding his signature open wooden gallery and rustic-style    |\n",
      "|    | had used in the earlier projects. He also used his typical ceramic     | furniture. He also planned to expand the property with neighboring     |\n",
      "|    | tiles throughout the building, both for decoration and for explanatory | buildings, but the project was not realized. The third project is the  |\n",
      "|    | texts.Picardo planned 18 guest rooms, but initially only 9 were built, | conversion of the Palacio de los Comendadores in Alcañiz into a        |\n",
      "|    | some in the building facing the plaza, and the rest fronting the       | Parador, which involved renovating the oldest parts of the castle and  |\n",
      "|    | cliff-edge view. The latter benefitted from the same design of open    | adding 12 guest rooms. Picardo had to work within the limitations of   |\n",
      "|    | wooden galleries Picardo had utilised at Jaén. The Parador opened to   | the available space and the existing structure.                        |\n",
      "|    | guests on 7 November 1966.Picardo returned to Arcos in 1974 to         |                                                                        |\n",
      "|    | complete his original plan, building another floor on the part of the  |                                                                        |\n",
      "|    | building overlooking the cliff, using the same design features, and    |                                                                        |\n",
      "|    | increased the number of guest rooms to 18. The extension entered       |                                                                        |\n",
      "|    | service in 1979. Hostería de Pedraza: Hostería Pintor Zuloaga. In 1965 |                                                                        |\n",
      "|    | Picardo was commissioned by Paradores to restore and rehabilitate the  |                                                                        |\n",
      "|    | old Casa de la Inquisición (House of the Inquisition) in the small,    |                                                                        |\n",
      "|    | historic village of Pedraza, 37 kilometres northeast of Segovia in     |                                                                        |\n",
      "|    | Castilla y León. It was to be a hostería - only a restaurant and a bar |                                                                        |\n",
      "|    | - without guest rooms.The three-storey property was mostly in ruins    |                                                                        |\n",
      "|    | when Picardo surveyed it and was consequently not protected by         |                                                                        |\n",
      "|    | conservation laws. He was therefore free to carry out his renovation   |                                                                        |\n",
      "|    | as he saw fit, building on the medieval and rural ambience of the      |                                                                        |\n",
      "|    | village. On the exterior he rearranged and improved the windows,       |                                                                        |\n",
      "|    | preserved the surviving coat of arms above the front door, and at the  |                                                                        |\n",
      "|    | rear added what was becoming his signature open wooden gallery on the  |                                                                        |\n",
      "|    | top floor. Inside, Picardo followed the rustic style of the region's   |                                                                        |\n",
      "|    | inns, building a spacious lounge behind the entrance hall, with a      |                                                                        |\n",
      "|    | large and low fireplace, and on the upper floors the bar and the       |                                                                        |\n",
      "|    | 90-seat dining-room opening onto the balcony-gallery.Once again,       |                                                                        |\n",
      "|    | Picardo designed his own furniture and other fittings, the lighting    |                                                                        |\n",
      "|    | and decoration, following the local style.. The hostería - named       |                                                                        |\n",
      "|    | \"Pintor Zuloaga\" - opened to the public on 14 December 1967.At the     |                                                                        |\n",
      "|    | same time Picardo raised the idea of expanding the property by         |                                                                        |\n",
      "|    | purchasing neighbouring buildings. He had been concerned that the      |                                                                        |\n",
      "|    | Hostería had restricted views, and felt that an extension could be     |                                                                        |\n",
      "|    | designed with extensive views of the Sierra de Guadarrama to the       |                                                                        |\n",
      "|    | south. His plans offered the prospect of 16 guest rooms and in         |                                                                        |\n",
      "|    | November 1969 the proposal to convert the Hostería into a Parador was  |                                                                        |\n",
      "|    | made public. However, difficulties in purchasing the neighbouring      |                                                                        |\n",
      "|    | property made the project impossible.The Pedraza Hostería continued in |                                                                        |\n",
      "|    | operation until 15 December 1992 when economic pressures on the        |                                                                        |\n",
      "|    | Parador chain caused its closure. Parador de Alcañiz: La Concordia. In |                                                                        |\n",
      "|    | 1966 Picardo began the conversion into a Parador of the Palacio de los |                                                                        |\n",
      "|    | Comendadores at Alcañiz in the province of Teruel in Aragon. The       |                                                                        |\n",
      "|    | palace - the façade of which was remodelled in late-Renaissance style  |                                                                        |\n",
      "|    | in 1728 - stood as the most prominent additional part of the Castillo  |                                                                        |\n",
      "|    | de los Calatravos (Castle of the Calatravos), a monastery-fortress     |                                                                        |\n",
      "|    | built in 1179. The oldest parts of the structure, a keep, a church and |                                                                        |\n",
      "|    | a cloister, date to the 12th and 13th centuries.The section of the     |                                                                        |\n",
      "|    | property set aside for Picardo's conversion was the immense south      |                                                                        |\n",
      "|    | wing, which was flanked by two towers and divided into three floors,   |                                                                        |\n",
      "|    | the ground floor built of ashlar and the upper two floors of brick.    |                                                                        |\n",
      "|    | There were balconies on the first floor, and on the uppermost floor a  |                                                                        |\n",
      "|    | characteristic Aragonese long gallery had been developed, created by a |                                                                        |\n",
      "|    | succession of semi-circular arches. The castle had been allowed to     |                                                                        |\n",
      "|    | fall into disrepair and in some parts into ruin, but in 1925 it was    |                                                                        |\n",
      "|    | declared a National Monument.When Picardo began work on the design he  |                                                                        |\n",
      "|    | found that space in the palace was limited and he was unable to        |                                                                        |\n",
      "|    | provide more than 12 guest rooms. His plan for the public areas        |                                                                        |\n",
      "|    | included the conversion of two large and long ground floor interiors,  |                                                                        |\n",
      "|    | with pointed barrel-vaulted ceilings, on each side of the building's   |                                                                        |\n",
      "|    | entrance.                                                              |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "|  7 | There were balconies on the first floor, and on the uppermost floor a  | The castle in Alcañiz, originally a military palace, was in disrepair  |\n",
      "|    | characteristic Aragonese long gallery had been developed, created by a | but declared a National Monument in 1925. When Picardo was hired to    |\n",
      "|    | succession of semi-circular arches. The castle had been allowed to     | renovate it into a Parador, he faced limited space and could only      |\n",
      "|    | fall into disrepair and in some parts into ruin, but in 1925 it was    | create 12 guest rooms. He converted the ground floor's entrance into a |\n",
      "|    | declared a National Monument.When Picardo began work on the design he  | reception area and the old stables into a bar and cafetería. The main  |\n",
      "|    | found that space in the palace was limited and he was unable to        | dining room was situated on the first floor, and guest rooms were on   |\n",
      "|    | provide more than 12 guest rooms. His plan for the public areas        | the second floor with raised areas for window viewing. Picardo focused |\n",
      "|    | included the conversion of two large and long ground floor interiors,  | on medieval design for the ground floor and a more palatial look for   |\n",
      "|    | with pointed barrel-vaulted ceilings, on each side of the building's   | the upper floors. He also incorporated his characteristic ceramic      |\n",
      "|    | entrance. To the left of the entry, in the original guardhouse, he     | murals and the emblem of the Order of Calatrava in the decoration. In  |\n",
      "|    | placed the reception area and to the right, where the old stables were | 1975, Picardo designed a two-story wing to double the number of guest  |\n",
      "|    | situated, he placed the bar and cafetería, adding one single window to | rooms, which was completed in 1998, bringing the total to 38.  Picardo |\n",
      "|    | each space to allow in some daylight. In these rooms Picardo left the  | was also commissioned to work on the Palacio del Comendador de         |\n",
      "|    | exposed masonry of the walls and ceilings. The main dining room, which | Alcúescar in Cáceres, a medieval fortified residence with later        |\n",
      "|    | he placed on the first floor, connected by the main staircase from the | Gothic, Renaissance, and Baroque elements. He focused on converting a  |\n",
      "|    | ground floor, was based on the great hall of a palace. In it he        | jumble of old buildings, mostly stables and coach houses, into a       |\n",
      "|    | featured a large fireplace and chimney at one end, and used a          | Hostería. Picardo demolished most of the service buildings, keeping a  |\n",
      "|    | multitude of large timber beams to shape a coffered ceiling, with      | square structure with substantial stone walls and four brick, groined  |\n",
      "|    | decorative plasterwork strung below.. The twelve guest rooms were      | vaults. He used many architectural elements from the demolished        |\n",
      "|    | arranged on the second floor, but the windows being high in the walls, | buildings in the new construction and made the lower ground floor of   |\n",
      "|    | Picardo arranged for a raised area in front of each window so that     | the kept building the bar and cafetería, with a doorway from the       |\n",
      "|    | guests could see out of the windows with greater ease. The public      | street as the main entrance to the Hostería.                           |\n",
      "|    | corridors followed the design pioneered by Picardo at Jaén of          |                                                                        |\n",
      "|    | imitation stone groin vaults at regular intervals.In planning the      |                                                                        |\n",
      "|    | interior decoration Picardo determined that the ground floor would be  |                                                                        |\n",
      "|    | medieval in design in keeping with the original military use of the    |                                                                        |\n",
      "|    | palace, and the upper floors would be more palatial in decor. He       |                                                                        |\n",
      "|    | designed much of the joinery, the beds, the tables, the chairs and, in |                                                                        |\n",
      "|    | particular, the light fittings, making use of the emblem of the Order  |                                                                        |\n",
      "|    | of Calatrava as a decorative motif. His attention to detail even       |                                                                        |\n",
      "|    | extended to the design of hinges and handles for doors, and for the    |                                                                        |\n",
      "|    | heads of nails used in the door faces. He also made considerable use   |                                                                        |\n",
      "|    | of his characteristic ceramic murals decorating the public parts of    |                                                                        |\n",
      "|    | the building, including his history of the castle, all produced by his |                                                                        |\n",
      "|    | favoured ceramicist, Juan Manuel Arroyo, and signed by Picardo.The     |                                                                        |\n",
      "|    | Parador opened for service on 18 May 1968 and was inaugurated on 6     |                                                                        |\n",
      "|    | July 1968.As early as 1972 Picardo had reported to the Ministry of     |                                                                        |\n",
      "|    | Information and Tourism on the feasibility of carrying out further     |                                                                        |\n",
      "|    | work to increase the number of rooms at Alcañiz. In 1975 he designed a |                                                                        |\n",
      "|    | new two-storey wing for the ruined west side of the complex which      |                                                                        |\n",
      "|    | would double the number of guests rooms. His plans lay in abeyance     |                                                                        |\n",
      "|    | until 1998 when the architect Carlos Fernández-Cuenca Gómez            |                                                                        |\n",
      "|    | resurrected Picardo's original 1975 designs. They had to be altered    |                                                                        |\n",
      "|    | somewhat in the light of archeological discoveries made since 1975,    |                                                                        |\n",
      "|    | but much of Picardo's ideas were incorporated in the expansion of the  |                                                                        |\n",
      "|    | Parador, bringing the number of guest rooms to 38. Hostería de         |                                                                        |\n",
      "|    | Cáceres: El Comendador. In 1966 Picardo was commissioned by the        |                                                                        |\n",
      "|    | Ministry of Information and Tourism to work on the Palacio del         |                                                                        |\n",
      "|    | Comendador de Alcúescar (Commander's Palace of Alcúescar), also known  |                                                                        |\n",
      "|    | as the Palacio de los Marqueses de Torre Orgaz, in the historic centre |                                                                        |\n",
      "|    | of Cáceres in the province of the same name in Extremadura. Originally |                                                                        |\n",
      "|    | built as a medieval fortified residence on pre-existing Arab buildings |                                                                        |\n",
      "|    | in 1488, the palace was modified in later centuries, adding Gothic,    |                                                                        |\n",
      "|    | Renaissance and Baroque elements. The Ministry proposed the conversion |                                                                        |\n",
      "|    | of one part of the palace into a Hostería.The part of the building on  |                                                                        |\n",
      "|    | which Picardo was to work was a jumble of old buildings, some attached |                                                                        |\n",
      "|    | to the main palace building and some free-standing, which had mostly   |                                                                        |\n",
      "|    | formed stables and coach houses. There was also a patio-garden between |                                                                        |\n",
      "|    | these buildings and the palace and its tower.. Picardo began by        |                                                                        |\n",
      "|    | demolishing most of the ramshackle service buildings, other than the   |                                                                        |\n",
      "|    | square structure at Number 6 Calle Ancha which benefitted from         |                                                                        |\n",
      "|    | substantial stone walls and four brick, groined vaults. Picardo        |                                                                        |\n",
      "|    | decided the lower ground floor of this building would form the bar and |                                                                        |\n",
      "|    | cafetería, with a doorway from the street which would become the main  |                                                                        |\n",
      "|    | entrance to the Hostería. He erected three further floors above the    |                                                                        |\n",
      "|    | lower-ground floor, reusing many architectural elements from the       |                                                                        |\n",
      "|    | demolished buildings.                                                  |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "|  8 | The Ministry proposed the conversion of one part of the palace into a  | The Ministry of Information and Tourism proposed turning part of a     |\n",
      "|    | Hostería.The part of the building on which Picardo was to work was a   | palace into a Hostería, which was constructed by Picardo. He decided   |\n",
      "|    | jumble of old buildings, some attached to the main palace building and | to keep a square structure with substantial stone walls and four       |\n",
      "|    | some free-standing, which had mostly formed stables and coach houses.  | brick, groined vaults, converting its lower ground floor into a bar    |\n",
      "|    | There was also a patio-garden between these buildings and the palace   | and cafetería. Three more floors were added, reusing architectural     |\n",
      "|    | and its tower.. Picardo began by demolishing most of the ramshackle    | elements from the demolished buildings. A sgraffito image of the cross |\n",
      "|    | service buildings, other than the square structure at Number 6 Calle   | of the Orden de Santiago was installed above the main entrance. A new  |\n",
      "|    | Ancha which benefitted from substantial stone walls and four brick,    | one-storey building was built to the rear, imitating similar buildings |\n",
      "|    | groined vaults. Picardo decided the lower ground floor of this         | in the city, and service areas were excavated beneath the buildings.   |\n",
      "|    | building would form the bar and cafetería, with a doorway from the     | Picardo also designed a stone and iron enclosure and entrance gateway  |\n",
      "|    | street which would become the main entrance to the Hostería. He        | from the street to the patio garden. The Hostería opened in 1971, and  |\n",
      "|    | erected three further floors above the lower-ground floor, reusing     | Picardo later re-roofed the palace and extended the original dining    |\n",
      "|    | many architectural elements from the demolished buildings. Picardo     | room area. The Hostería was closed in 1984, and the rest of the palace |\n",
      "|    | also installed a sgraffito image above the main doorway, featuring the | was converted into a Parador with 27 guest rooms, opening in 1989.     |\n",
      "|    | cross of the Orden de Santiago (Order of Santiago).A new one-storey    | Picardo was not involved in this work.  Picardo was also commissioned  |\n",
      "|    | building was erected to the rear of the plot, imitating similar        | to inspect three ancient sites near Sevilla, including the Alcázar del |\n",
      "|    | buildings in the city. Ashlar and solid brick formed the interior and  | Rey Don Pedro in Carmona, with a view to constructing a Parador. He    |\n",
      "|    | exterior facings of the walls, and pantiles were utilised on the       | chose the southeast of the vast castle area, a corner known as the     |\n",
      "|    | roofs. Picardo also excavated large areas beneath the buildings to     | Plaza de Armas (parade ground), to build the Parador. The castle was   |\n",
      "|    | make service areas. He designed and built a stone and iron enclosure   | probably Muslim in origin and was restored in the 14th century into a  |\n",
      "|    | and entrance gateway from the street to the patio garden. Throughout,  | lavish palace in Mudéjar style. It was used by the Catholic Monarchs   |\n",
      "|    | his intention was to make the Hostería appear, through imitation, to   | of Spain during their final battles with the Moors in Granada but was  |\n",
      "|    | be an integral historic part of the old city centre.Internally,        | abandoned after being severely damaged in earthquakes. Seven towers    |\n",
      "|    | Picardo repeated many of his pastiche medievalisms as seen in his      | remained, but most of the connecting walls of the fortress were in     |\n",
      "|    | previous Parador projects, with much use of heavy timber, such as a    | ruins.                                                                 |\n",
      "|    | dark coffered ceiling in the dining room and classic Castilian designs |                                                                        |\n",
      "|    | for windows, doors, furniture, and light fittings. Terracotta tiles    |                                                                        |\n",
      "|    | were used for the floors in the bar, the dining room and the two       |                                                                        |\n",
      "|    | lounges.The Hostería de Cáceres opened on 18 May 1971.Further work for |                                                                        |\n",
      "|    | Picardo included the complete re-roofing of the palace, which involved |                                                                        |\n",
      "|    | renewing the roof structure, because of what he described as \"a degree |                                                                        |\n",
      "|    | of imminent ruin due to its terrible wooden structure\", and an         |                                                                        |\n",
      "|    | extension to the original dining room area by glassing-in the          |                                                                        |\n",
      "|    | colonnaded portico facing the patio garden.. In 1970 Picardo had       |                                                                        |\n",
      "|    | suggested to the Ministry that the rest of the palace could be         |                                                                        |\n",
      "|    | converted into a full Parador, utilising the already converted         |                                                                        |\n",
      "|    | Hostería. This proposal was not taken up at the time, and a Parador    |                                                                        |\n",
      "|    | was opened elsewhere in the city.The Hostería was closed in June 1984  |                                                                        |\n",
      "|    | because it was not making a profit. At that point the rest of the      |                                                                        |\n",
      "|    | palace was, as Picardo had recommended, restored and converted and,    |                                                                        |\n",
      "|    | with his original Hostería, opened as a full Parador with 27 guest     |                                                                        |\n",
      "|    | rooms on 10 October 1989. Picardo was not involved in this work..      |                                                                        |\n",
      "|    | Subsequent expansions into neighbouring buildings have turned the      |                                                                        |\n",
      "|    | Parador into a much larger establishment. Picardo's original entrance, |                                                                        |\n",
      "|    | bar and cafetería area now form a sumptuous suite, though the medieval |                                                                        |\n",
      "|    | aura of his interior decoration and furnishings for that part of the   |                                                                        |\n",
      "|    | building has been lost through modernisation. Parador de Carmona:      |                                                                        |\n",
      "|    | Alcazar del Rey Don Pedro. In 1966, while building the Parador at      |                                                                        |\n",
      "|    | Arcos de la Frontera, Picardo was commissioned to inspect three        |                                                                        |\n",
      "|    | ancient sites near the city of Sevilla in the province of the same     |                                                                        |\n",
      "|    | name in Andalucía with a view to constructing another Parador. After   |                                                                        |\n",
      "|    | looking at the castle at Alcalá de Guadaíra, and the palaces of Écija, |                                                                        |\n",
      "|    | he came across the ruined castle of Carmona the Alcázar del Rey Don    |                                                                        |\n",
      "|    | Pedro (also known as the Alcázar de Arriba y Puerta de Marchena). In   |                                                                        |\n",
      "|    | his subsequent report to the Ministry of Information and Tourism       |                                                                        |\n",
      "|    | Picardo was enthusiastic about Carmona and provided preliminary sketch |                                                                        |\n",
      "|    | designs, which the Ministry accepted, and in 1968 he began his         |                                                                        |\n",
      "|    | preparatory work.The origin of the castle is probably Muslim and Pedro |                                                                        |\n",
      "|    | I restored it in the 14th century into a lavish palace in Mudéjar      |                                                                        |\n",
      "|    | style. It was used by the Catholic Monarchs of Spain during their      |                                                                        |\n",
      "|    | final battles with the Moors in Granada. The castle was abandoned      |                                                                        |\n",
      "|    | after being severely damaged in a 1504 earthquake whose epicentre was  |                                                                        |\n",
      "|    | near Carmona and ruined even further in the Lisbon earthquake of 1755. |                                                                        |\n",
      "|    | Seven towers remained, but most of the connecting walls of the         |                                                                        |\n",
      "|    | fortress were in ruins.. Picardo chose the southeast of the vast       |                                                                        |\n",
      "|    | castle area, a corner known as the Plaza de Armas (parade ground) to   |                                                                        |\n",
      "|    | build the Parador.                                                     |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "|  9 | In his subsequent report to the Ministry of Information and Tourism    | The castle in Carmona, originally a Muslim structure, was transformed  |\n",
      "|    | Picardo was enthusiastic about Carmona and provided preliminary sketch | into a luxurious palace by Pedro I in the 14th century. However, it    |\n",
      "|    | designs, which the Ministry accepted, and in 1968 he began his         | was abandoned after being severely damaged in earthquakes in 1504 and  |\n",
      "|    | preparatory work.The origin of the castle is probably Muslim and Pedro | 1755. In the late 1960s, architect Picardo was commissioned to build a |\n",
      "|    | I restored it in the 14th century into a lavish palace in Mudéjar      | Parador, a state-owned hotel, on the castle grounds. The chosen        |\n",
      "|    | style. It was used by the Catholic Monarchs of Spain during their      | location had previously been found to have a deep crack and subsidence |\n",
      "|    | final battles with the Moors in Granada. The castle was abandoned      | due to the 1918 earthquake, but this was not discovered until          |\n",
      "|    | after being severely damaged in a 1504 earthquake whose epicentre was  | construction began in 1969. After geological intervention, the ground  |\n",
      "|    | near Carmona and ruined even further in the Lisbon earthquake of 1755. | was deemed stable enough for construction to continue with protective  |\n",
      "|    | Seven towers remained, but most of the connecting walls of the         | measures.  Picardo designed the Parador with a typical Hispanic-Arabic |\n",
      "|    | fortress were in ruins.. Picardo chose the southeast of the vast       | layout, including two central patios and four floors on the southern   |\n",
      "|    | castle area, a corner known as the Plaza de Armas (parade ground) to   | and eastern walls, which would house guest rooms. The building's       |\n",
      "|    | build the Parador. Situated at the highest point of the town, the      | exterior would have a historic appearance, while the interior would    |\n",
      "|    | views were judged to be spectacular, looking far over the plains..     | feature a palatial Mudéjar style with coffered ceilings, star lattice- |\n",
      "|    | Picardo also resolved to position the building on the edge of the      | work, and ceramic tiling. The original plan for 33 guest rooms was     |\n",
      "|    | cliff overlooking the valley and overlapping the foundations of the    | expanded to 102 due to a delay in construction. The main structure was |\n",
      "|    | original castle walls by such an extent that there would be space for  | made of concrete, clad with ashlar and brickwork, and topped with a    |\n",
      "|    | guest rooms within the sloping walls below the Parador's ground floor. | clay pantile roof.                                                     |\n",
      "|    | The 1504 earthquake and Picardo's location of the building were to set |                                                                        |\n",
      "|    | up permanent problems for the Parador. In 1918 a survey of the area    |                                                                        |\n",
      "|    | had revealed that the earthquake had opened a deep crack more than a   |                                                                        |\n",
      "|    | metre wide in exactly the position where Picardo intended to locate    |                                                                        |\n",
      "|    | the Parador's southern wall. The result was that one part of the       |                                                                        |\n",
      "|    | castle's ancient wall, and the land behind it, had subsided by about   |                                                                        |\n",
      "|    | 180 centimetres. As the crack and the subsidence had been concealed by |                                                                        |\n",
      "|    | rubble to a depth of about half a metre, and Picardo and his engineers |                                                                        |\n",
      "|    | were unaware of the results of previous surveys, it was not until work |                                                                        |\n",
      "|    | began in 1969 preparing for the new building that the potential        |                                                                        |\n",
      "|    | instability of the ground was revealed.. The Service Geológico de      |                                                                        |\n",
      "|    | Obras Públicas (the Public Works Geological Service) was brought in    |                                                                        |\n",
      "|    | and located an underground fault of three to four metres. Despite      |                                                                        |\n",
      "|    | that, the geologists considered the ground to be stable and decided    |                                                                        |\n",
      "|    | that as long as certain protective measures to protect the foundations |                                                                        |\n",
      "|    | were taken the terrain would present sufficient resistant              |                                                                        |\n",
      "|    | characteristics. Cement was injected to fill all the cavities and a    |                                                                        |\n",
      "|    | reinforced concrete slab was constructed which, belatedly, allowed     |                                                                        |\n",
      "|    | work on the Parador to continue.Picardo designed a typical Hispanic-   |                                                                        |\n",
      "|    | Arabic layout with two central patios, one of which would be the       |                                                                        |\n",
      "|    | centre of the public area, and the other the centre of the service     |                                                                        |\n",
      "|    | department. The layout would effectively reproduce that of the         |                                                                        |\n",
      "|    | original fortress. Even though it was an entirely new building, in     |                                                                        |\n",
      "|    | keeping with his previous works for Paradores Picardo ensured it would |                                                                        |\n",
      "|    | be in vernacular form and would appear to be historic and as if        |                                                                        |\n",
      "|    | elements of it had been there for centuries. The south and east walls  |                                                                        |\n",
      "|    | of the building, which descended well below the parade ground level,   |                                                                        |\n",
      "|    | would have four floors, and be sloping steeply outwards towards the    |                                                                        |\n",
      "|    | ground below the cliff, allowing for the installation of rooms within  |                                                                        |\n",
      "|    | them. Conversely, on the parade ground entrance side of the building   |                                                                        |\n",
      "|    | there would be only two floors.Picardo's first plan was that there     |                                                                        |\n",
      "|    | would be 23 double guest rooms and 10 singles, together with the       |                                                                        |\n",
      "|    | hospitality and service areas. The considerable delay in the start of  |                                                                        |\n",
      "|    | building to allow the ground to be stabilised encouraged the Ministry  |                                                                        |\n",
      "|    | to decide on a pre-completion expansion of the building, bringing the  |                                                                        |\n",
      "|    | total guest capacity from 56 to 102. Most of the rooms would be on the |                                                                        |\n",
      "|    | southern façade with some below the Parador's access level and others  |                                                                        |\n",
      "|    | in what from the outside would appear to be the third and fourth       |                                                                        |\n",
      "|    | floors, with those on the top floor, just beneath the roof,            |                                                                        |\n",
      "|    | benefitting from Picardo's now typical timber balconies.The main       |                                                                        |\n",
      "|    | structure of the building, as was Picardo's style, was formed of       |                                                                        |\n",
      "|    | concrete, clad with ashlar and brickwork and enhanced by buttresses.   |                                                                        |\n",
      "|    | The roof was formed of clay pantiles, topped with decorative chimneys  |                                                                        |\n",
      "|    | of the same style as those Picardo designed for the Parador at         |                                                                        |\n",
      "|    | Guadalupe, disguising guest bathroom ventilation outlets. Internally,  |                                                                        |\n",
      "|    | he installed limestone columns and made much use of ceramic tiling,    |                                                                        |\n",
      "|    | and brick. The floors were marble and terracotta.. As in previous      |                                                                        |\n",
      "|    | Paradores built by Picardo he had control of the interior decoration   |                                                                        |\n",
      "|    | down to the smallest detail, in Carmona achieving a Hispanic-Arabic    |                                                                        |\n",
      "|    | ambience of a palatial Mudéjar style, with much use of coffered        |                                                                        |\n",
      "|    | ceilings and star lattice-work in wood and stone and subtle changes of |                                                                        |\n",
      "|    | style in the progression from room to room.                            |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "| 10 | The roof was formed of clay pantiles, topped with decorative chimneys  | The Carmona Parador, designed by Picardo, is known for its clay        |\n",
      "|    | of the same style as those Picardo designed for the Parador at         | pantile roof, decorative chimneys, limestone columns, ceramic tiling,  |\n",
      "|    | Guadalupe, disguising guest bathroom ventilation outlets. Internally,  | and brick and marble/terracotta floors. The interior features a        |\n",
      "|    | he installed limestone columns and made much use of ceramic tiling,    | Hispanic-Arabic ambience with coffered ceilings, star lattice-work,    |\n",
      "|    | and brick. The floors were marble and terracotta.. As in previous      | and unique furniture and fixtures, all designed by Picardo. The        |\n",
      "|    | Paradores built by Picardo he had control of the interior decoration   | building had structural issues since its inauguration in 1976,         |\n",
      "|    | down to the smallest detail, in Carmona achieving a Hispanic-Arabic    | including cracks and lateral displacement, leading to underpinning and |\n",
      "|    | ambience of a palatial Mudéjar style, with much use of coffered        | anchoring. Despite improvements and modernizations, the building       |\n",
      "|    | ceilings and star lattice-work in wood and stone and subtle changes of | remains at risk in case of water table rise or earthquakes.  Picardo   |\n",
      "|    | style in the progression from room to room. The public patio was       | was also involved in the investigation of old buildings for a new      |\n",
      "|    | adorned with semi-circular arches on tall, slender pillars, while the  | Parador in the Province of Guadalajara, considering the Castle of      |\n",
      "|    | dining room was more robustly medieval in a gothic style with exposed  | Sigüenza the best proposition despite being ruined. The castle, with   |\n",
      "|    | wooden beams and pointed arches with finely cut stone hiding the       | Iberian, Roman, Visigothic, and Moorish origins, was enlarged and      |\n",
      "|    | structural ironwork of the roof. Lights and furniture, door fittings   | modified several times before declining and deteriorating. It was left |\n",
      "|    | and mural tiles were all designed by Picardo.The Carmona Parador was   | in ruins for over three decades before Picardo started analyzing its   |\n",
      "|    | inaugurated on 30 March 1976 by King Juan Carlos I and Queen Sofía..   | condition in 1969.                                                     |\n",
      "|    | In the year of the Parador's inauguration a large crack was detected   |                                                                        |\n",
      "|    | parallel to the south façade, affecting the entire building. To deal   |                                                                        |\n",
      "|    | with this an expansion joint was constructed that divided the building |                                                                        |\n",
      "|    | into two zones. In 1977 Picardo reported that the building had moved   |                                                                        |\n",
      "|    | in the direction of the valley. He calculated the lateral displacement |                                                                        |\n",
      "|    | as 4 centimetres at the expansion joint. There was a 45 degree crack   |                                                                        |\n",
      "|    | in the Parador indicating a similar degree of slippage in the ground   |                                                                        |\n",
      "|    | beneath the building. Picardo also indicated a number of smaller       |                                                                        |\n",
      "|    | cracks in the building, but viewed them as of minor importance.The     |                                                                        |\n",
      "|    | Service Geológico de Obras Públicas was brought onto the site again to |                                                                        |\n",
      "|    | monitor the building for a period. They found that there was           |                                                                        |\n",
      "|    | continuing movement, and that this was more noticeable in the rainy    |                                                                        |\n",
      "|    | season. They recommended that the foundations of the south wall be     |                                                                        |\n",
      "|    | underpinned.Due to new government policy at the Ministry which         |                                                                        |\n",
      "|    | required only employed personnel to work on Parador buildings, Picardo |                                                                        |\n",
      "|    | — as a freelance — could not be involved in the building's structural  |                                                                        |\n",
      "|    | problems after 1978.Despite underpinning in 1980, and in 1987 a tie    |                                                                        |\n",
      "|    | beam being concreted in the ground at the foot of the south wall with  |                                                                        |\n",
      "|    | anchors penetrating deep into the sandstone beneath the building, more |                                                                        |\n",
      "|    | movement was detected in 1996. In 2013 it was reported that further    |                                                                        |\n",
      "|    | cracks had been detected in the area where the large cracks had first  |                                                                        |\n",
      "|    | appeared in 1977. The building is considered to be seriously at risk   |                                                                        |\n",
      "|    | in the event of a sharp rise in the water table, or another            |                                                                        |\n",
      "|    | earthquake.Minor improvements and modernisations were carried out in   |                                                                        |\n",
      "|    | the Parador in 1982 and 1983 under the supervision of the architect    |                                                                        |\n",
      "|    | Jesús Valverde Viñas. In 1987 an expansion was carried out by the      |                                                                        |\n",
      "|    | architect Carlos Fernández-Cuenca Gómez which included additional      |                                                                        |\n",
      "|    | guest rooms, and a new pavilion for conventions. He rigidly copied     |                                                                        |\n",
      "|    | Picardo's style.. The Carmona Parador now has 9 double rooms, 51 twin  |                                                                        |\n",
      "|    | rooms and 3 single rooms, making a total guest complement of 123.      |                                                                        |\n",
      "|    | Parador de Sigüenza: Castillo de Sigüenza. In 1964 Picardo was         |                                                                        |\n",
      "|    | involved, with the Ministry of Information and Tourism, in             |                                                                        |\n",
      "|    | investigating old buildings for conversion into a new Parador in the   |                                                                        |\n",
      "|    | Province of Guadalajara. Possible locations were the castle at Atienza |                                                                        |\n",
      "|    | and the Casa del Cordón, an old inn in the same town, the castle at    |                                                                        |\n",
      "|    | Molina de Aragón and the castle at Sigüenza. He considered the last to |                                                                        |\n",
      "|    | be the best proposition despite it being comprehensively ruined. It    |                                                                        |\n",
      "|    | stands prominently above the town and cathedral of Sigüenza and        |                                                                        |\n",
      "|    | dominates the landscape. The Ministry set about acquiring it the same  |                                                                        |\n",
      "|    | year. The Castillo de los Obispos de Sigüenza (the Castle of the       |                                                                        |\n",
      "|    | Bishops of Sigüenza) was a palace-fortress with Iberian, Roman,        |                                                                        |\n",
      "|    | Visigothic and Moorish origins. It was enlarged and modified           |                                                                        |\n",
      "|    | repeatedly between the 14th and 18th centuries, after which it         |                                                                        |\n",
      "|    | declined and deteriorated, suffering progressive damage during the     |                                                                        |\n",
      "|    | French invasion, the Carlist Wars, and finally during the Spanish      |                                                                        |\n",
      "|    | Civil War when it was bombed by artillery and from the air during the  |                                                                        |\n",
      "|    | Battle of Guadalajara in 1937. It was then left in ruins for over      |                                                                        |\n",
      "|    | three decades.Starting in October 1969 Picardo analysed the condition  |                                                                        |\n",
      "|    | of the building. \"The state of the castle could not have been more     |                                                                        |\n",
      "|    | pitiful\" he wrote years later.                                         |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "| 11 | It stands prominently above the town and cathedral of Sigüenza and     | The Castillo de los Obispos de Sigüenza, a medieval palace-fortress    |\n",
      "|    | dominates the landscape. The Ministry set about acquiring it the same  | with a history of Iberian, Roman, Visigothic, and Moorish influences,  |\n",
      "|    | year. The Castillo de los Obispos de Sigüenza (the Castle of the       | had been modified and expanded until the 18th century. However, it     |\n",
      "|    | Bishops of Sigüenza) was a palace-fortress with Iberian, Roman,        | fell into ruin after suffering damage during the French invasion,      |\n",
      "|    | Visigothic and Moorish origins. It was enlarged and modified           | Carlist Wars, and the Spanish Civil War. In 1969, Picardo assessed the |\n",
      "|    | repeatedly between the 14th and 18th centuries, after which it         | castle and found it in a terrible state. He proposed reconstructing    |\n",
      "|    | declined and deteriorated, suffering progressive damage during the     | the entire castle as a medieval fortress, removing later additions and |\n",
      "|    | French invasion, the Carlist Wars, and finally during the Spanish      | restoring it to its original military appearance. This involved        |\n",
      "|    | Civil War when it was bombed by artillery and from the air during the  | raising outer walls, rebuilding destroyed sections, removing large     |\n",
      "|    | Battle of Guadalajara in 1937. It was then left in ruins for over      | windows, and installing a new reception area. The interior was rebuilt |\n",
      "|    | three decades.Starting in October 1969 Picardo analysed the condition  | using modern materials hidden behind a historical facade, with many    |\n",
      "|    | of the building. \"The state of the castle could not have been more     | window openings in the courtyard walls to allow light in.              |\n",
      "|    | pitiful\" he wrote years later. \"Its military nature had been spoiled   |                                                                        |\n",
      "|    | by converting its towers into belfries; huge windows and balconies had |                                                                        |\n",
      "|    | been opened for living quarters, particularly in the southern part of  |                                                                        |\n",
      "|    | the castle which had served as the living area for the bishops; all    |                                                                        |\n",
      "|    | the walls had been covered with plaster and render which hid the       |                                                                        |\n",
      "|    | original stone; and an endless number of parasitic features had been   |                                                                        |\n",
      "|    | patched onto it.\" The structure was without roofs and there were       |                                                                        |\n",
      "|    | numerous collapses along the entire fortified enclosure walls. In his  |                                                                        |\n",
      "|    | report to the ministry, Picardo was blunt: \"La cobra de este Parador   |                                                                        |\n",
      "|    | lava en sí la reconstrucción de todo el castillo, hoy en ruins.\" (The  |                                                                        |\n",
      "|    | work on this Parador entails the reconstruction of the entire castle,  |                                                                        |\n",
      "|    | now in ruins)In making his plans for the castle, Picardo resolved that |                                                                        |\n",
      "|    | it would be remodelled as totally medieval, without any concession to  |                                                                        |\n",
      "|    | what remained of later additions, obliviating almost all of its later  |                                                                        |\n",
      "|    | history. The castle's real past was to be reinvented. Picardo later    |                                                                        |\n",
      "|    | stated that \"the reconversion mainly consisted of re-creating the      |                                                                        |\n",
      "|    | military feeling of the castle with its towers and battlements and of  |                                                                        |\n",
      "|    | leaving as much wall-facing as possible in naked stone. The most       |                                                                        |\n",
      "|    | delicate part was disguising or hiding the windows of the guest rooms  |                                                                        |\n",
      "|    | and of other outside rooms which would have spoiled the massive impact |                                                                        |\n",
      "|    | a castle should have.\"   Work on converting the castle began in 1972.  |                                                                        |\n",
      "|    | In pursuit of requiring the castle to appear entirely medieval, and as |                                                                        |\n",
      "|    | a fortress rather than as its later existence as a bishop's palace,    |                                                                        |\n",
      "|    | Picardo raised most of the outer walls by at least one more storey,    |                                                                        |\n",
      "|    | causing the roofs to be flat rather than sloping and allowing for the  |                                                                        |\n",
      "|    | hotel accommodation required. The towers, too, were further raised,    |                                                                        |\n",
      "|    | including the twin towers of the fortified gateway, the barbican,      |                                                                        |\n",
      "|    | which over the centuries had been restyled almost as belfries with     |                                                                        |\n",
      "|    | sloping conical roofs.. In search of a military external image Picardo |                                                                        |\n",
      "|    | removed all the large windows, balconies and other wide openings which |                                                                        |\n",
      "|    | had been cut in the original outer walls of the castle, reducing what  |                                                                        |\n",
      "|    | windows had to remain in the exterior (other than those of the dining  |                                                                        |\n",
      "|    | room) to their minimum in size. The parts of the walls which had been  |                                                                        |\n",
      "|    | destroyed by bombardment during the Civil War were rebuilt using the   |                                                                        |\n",
      "|    | remaining stone detritus to match the surviving walls. The plaster and |                                                                        |\n",
      "|    | rendering with which the exterior walls were faced (in parts in        |                                                                        |\n",
      "|    | sgraffito) was removed to reveal the original bare stone. Later        |                                                                        |\n",
      "|    | buildings attached to the exterior of the building were demolished and |                                                                        |\n",
      "|    | any extraneous cladding was removed. All the surrounding walls and     |                                                                        |\n",
      "|    | towers were crenellated.. Picardo cleared the central courtyard of all |                                                                        |\n",
      "|    | the post-medieval accretions. His criterion was what he termed \"unidid |                                                                        |\n",
      "|    | de estilo\" (unity of style): clearing the property of all non-medieval |                                                                        |\n",
      "|    | additions because he felt they distorted the castle's \"guerrero\"       |                                                                        |\n",
      "|    | (warrior) intensity. 40,000 tons of debris were removed from the       |                                                                        |\n",
      "|    | courtyard.In his reconstruction of the interior of the castle Picardo  |                                                                        |\n",
      "|    | exercised the standard practice of the Paradores network, and of which |                                                                        |\n",
      "|    | he was deemed to be the master, of using steel, reinforced concrete,   |                                                                        |\n",
      "|    | blockwork and cement to erect the basic structure but hiding those     |                                                                        |\n",
      "|    | modern elements behind a faked historical veneer of walls, beams,      |                                                                        |\n",
      "|    | arches, and cladding made of stone, brick, timber and iron. Because    |                                                                        |\n",
      "|    | the ingress of light to the interior of the building had been reduced  |                                                                        |\n",
      "|    | by the minimising of the size of the exterior windows that remained,   |                                                                        |\n",
      "|    | daylight had to reach the interior by making many window openings in   |                                                                        |\n",
      "|    | the courtyard walls.. On the north wall of the courtyard and           |                                                                        |\n",
      "|    | approached from the outside by the barbican towers, Picardo installed  |                                                                        |\n",
      "|    | the main reception area and rebuilt a portico area with pillars and    |                                                                        |\n",
      "|    | intermediate glass. Above were bedrooms with balconied terraces        |                                                                        |\n",
      "|    | erected in his signature timber style.                                 |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "| 12 | 40,000 tons of debris were removed from the courtyard.In his           | Architect José Luis Picardo reconstructed the Castillo de los Obispos  |\n",
      "|    | reconstruction of the interior of the castle Picardo exercised the     | de Sigüenza, preserving its historical elements while incorporating    |\n",
      "|    | standard practice of the Paradores network, and of which he was deemed | modern materials. He minimized exterior windows and added many window  |\n",
      "|    | to be the master, of using steel, reinforced concrete, blockwork and   | openings in the courtyard walls to allow light into the interior. The  |\n",
      "|    | cement to erect the basic structure but hiding those modern elements   | castle's north wall now features a main reception area, portico, and   |\n",
      "|    | behind a faked historical veneer of walls, beams, arches, and cladding | bedrooms with terraces. The northeast corner of the ground floor holds |\n",
      "|    | made of stone, brick, timber and iron. Because the ingress of light to | the main guest lounge, and the east side features a dining room with a |\n",
      "|    | the interior of the building had been reduced by the minimising of the | vaulted ceiling and a bar on the courtyard side. Guest rooms and       |\n",
      "|    | size of the exterior windows that remained, daylight had to reach the  | lounges are located on the upper floors, and Picardo's signature       |\n",
      "|    | interior by making many window openings in the courtyard walls.. On    | medieval-style interior decor is found throughout. A small monastic    |\n",
      "|    | the north wall of the courtyard and approached from the outside by the | courtyard and banqueting hall were added at the southern end. Picardo  |\n",
      "|    | barbican towers, Picardo installed the main reception area and rebuilt | built 80 guest rooms and two suites, providing lodging for 162 guests. |\n",
      "|    | a portico area with pillars and intermediate glass. Above were         | A mural in the entrance hall details the castle's history and          |\n",
      "|    | bedrooms with balconied terraces erected in his signature timber       | restoration. The Parador opened in 1976 and was later modernized while |\n",
      "|    | style. He repeated the historical rendering of the exterior facades of | maintaining its original character.                                    |\n",
      "|    | the castle which had been decorated with sgraffito, and which he had   |                                                                        |\n",
      "|    | removed, by replicating the decoration on the northern walls of the    |                                                                        |\n",
      "|    | courtyard.In the northeast corner of the ground floor had been the     |                                                                        |\n",
      "|    | bishops' throne room, and Picardo here installed the main guest        |                                                                        |\n",
      "|    | lounge, a lofty room with a timber-beamed ceiling and two large        |                                                                        |\n",
      "|    | fireplaces and chimneys. On the east side of the ground floor was the  |                                                                        |\n",
      "|    | dining room, with the building's only large windows, which looked out  |                                                                        |\n",
      "|    | onto the wooded ravine of the Arroyo Vadillo. The room used Picardo's  |                                                                        |\n",
      "|    | favoured powerful stone vaulting to hide the steel supporting          |                                                                        |\n",
      "|    | structure of the floor above. On the courtyard side of the dining room |                                                                        |\n",
      "|    | he placed a similarly vaulted bar and café. Wide wooden staircases on  |                                                                        |\n",
      "|    | this eastern side led to the first and second floor bedrooms, a few of |                                                                        |\n",
      "|    | which were in the northeast tower with windows looking over the town,  |                                                                        |\n",
      "|    | and some towards the south, but most looking into the courtyard with   |                                                                        |\n",
      "|    | those on the upper floor benefitting from Picardo's typical            |                                                                        |\n",
      "|    | balconies. Another lounge with a wooden coffered ceiling was located   |                                                                        |\n",
      "|    | on the first floor. Picardo took care to preserve one of the oldest    |                                                                        |\n",
      "|    | rooms of the castle, the original chapel.. A further much smaller,     |                                                                        |\n",
      "|    | three-storied pastiche monastic courtyard with semi-circular arches    |                                                                        |\n",
      "|    | was built at the southern end of the castle which had sustained the    |                                                                        |\n",
      "|    | most damage in the Civil War bombardment, with more guest rooms        |                                                                        |\n",
      "|    | arranged around it. On the inner face of the west wall the original    |                                                                        |\n",
      "|    | wine cellars, dungeons, granaries, bakeries and stables were removed   |                                                                        |\n",
      "|    | and against this wall Picardo installed a 65 metres long banqueting    |                                                                        |\n",
      "|    | hall with his familiar stone vaulting, and an attached bar room. Below |                                                                        |\n",
      "|    | this hall he installed large service areas.. Picardo, as  usual,       |                                                                        |\n",
      "|    | provided his own interior decor, with special attention to the         |                                                                        |\n",
      "|    | medieval. He designed classic Castilian-style furniture, flooring,     |                                                                        |\n",
      "|    | rugs, doors, windows, light fittings, mirrors, heraldic displays,      |                                                                        |\n",
      "|    | seigneurial crests, banners, explanatory mosaics and so on, everything |                                                                        |\n",
      "|    | down to the smallest detail. Picardo built 38 guest rooms and one      |                                                                        |\n",
      "|    | suite on the first floor, and 42 rooms and one suite on the second     |                                                                        |\n",
      "|    | floor, providing space for 162 guests. On the wall of the main         |                                                                        |\n",
      "|    | entrance hall Picardo placed a mural consisting of 45 tiles making up  |                                                                        |\n",
      "|    | a cartouche recounting, in his own words, the history of the Castillo  |                                                                        |\n",
      "|    | de los Obispos de Sigüenza accompanied by a description of the         |                                                                        |\n",
      "|    | physical work carried out in restoring the building. \"La actual        |                                                                        |\n",
      "|    | construcción es casi toda nueva ...\" (The present building is almost   |                                                                        |\n",
      "|    | all new ...) Picardo declaimed. He continued (translated into          |                                                                        |\n",
      "|    | English): \"... the authentic parts being preserved, though             |                                                                        |\n",
      "|    | reconstructed, the Romanesque chapel, the entrance and towers as well  |                                                                        |\n",
      "|    | as the barbican, the two Renaissance doorways of the parade ground and |                                                                        |\n",
      "|    | the throne room. … The perimeter of the castle has been respected, the |                                                                        |\n",
      "|    | eastern façade being completely new and the other three reconstructed  |                                                                        |\n",
      "|    | and remodelled. Wide gaps have been closed and additions have been     |                                                                        |\n",
      "|    | demolished, trying to restore the medieval character of the exterior.\" |                                                                        |\n",
      "|    | He goes on to say the work was completed in 1976 and that he, Don José |                                                                        |\n",
      "|    | Luis Picardo, was the architect.The Parador opened to the public on 20 |                                                                        |\n",
      "|    | July 1976 and the first stage of building work was finished in         |                                                                        |\n",
      "|    | November of that year. It was inaugurated by King Juan Carlos and      |                                                                        |\n",
      "|    | Queen Sofía in April 1978. Sigüenza was to be Picardo's last major     |                                                                        |\n",
      "|    | project for the Paradores.. Remodelling and modernisation of the       |                                                                        |\n",
      "|    | Parador took place in 1990 under the direction of the architect Carlos |                                                                        |\n",
      "|    | Fernández-Cuenca Gómez who scrupulously followed Picardo's style.      |                                                                        |\n",
      "|    | Despite these further works, the Parador has kept its original         |                                                                        |\n",
      "|    | character as established by Picardo.                                   |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "| 13 | Wide gaps have been closed and additions have been demolished, trying  | The text discusses the work of architect Don José Luis Picardo on the  |\n",
      "|    | to restore the medieval character of the exterior.\" He goes on to say  | Parador in Sigüenza, Spain. Picardo aimed to restore the medieval      |\n",
      "|    | the work was completed in 1976 and that he, Don José Luis Picardo, was | character of the exterior, and his work was completed in 1976. Further |\n",
      "|    | the architect.The Parador opened to the public on 20 July 1976 and the | remodeling and modernization took place in 1990, but the Parador       |\n",
      "|    | first stage of building work was finished in November of that year. It | retained its original character. Picardo also worked on investigating  |\n",
      "|    | was inaugurated by King Juan Carlos and Queen Sofía in April 1978.     | and proposing plans for converting other old buildings into Paradores, |\n",
      "|    | Sigüenza was to be Picardo's last major project for the Paradores..    | although not all of these projects came to fruition during his         |\n",
      "|    | Remodelling and modernisation of the Parador took place in 1990 under  | lifetime. The text notes that rehabilitation projects during this time |\n",
      "|    | the direction of the architect Carlos Fernández-Cuenca Gómez who       | period, including Picardo's, were often carried out without            |\n",
      "|    | scrupulously followed Picardo's style. Despite these further works,    | archaeological research. Instead, they were planned based on           |\n",
      "|    | the Parador has kept its original character as established by Picardo. | historical and architectural research.                                 |\n",
      "|    | Most of the improvements have been only to modernise the services and  |                                                                        |\n",
      "|    | facilities. Other Parador projects. In the 1960s and 1970s Picardo was |                                                                        |\n",
      "|    | called upon by the Ministry of Information and Tourism to investigate  |                                                                        |\n",
      "|    | and report on a number of other old buildings for possible conversion  |                                                                        |\n",
      "|    | into Paradores. He drew up proposals and plans for a number of these   |                                                                        |\n",
      "|    | buildings but, despite detailed work on some of them, they did not     |                                                                        |\n",
      "|    | become Paradores within his working life or were completed by other    |                                                                        |\n",
      "|    | architects. Picardo was also asked to review proposed works for        |                                                                        |\n",
      "|    | similar buildings to be restored by other architects, and to develop   |                                                                        |\n",
      "|    | ideas for improvements to existing Paradores.. Among the most advanced |                                                                        |\n",
      "|    | plans Picardo drew up were in 1969 for the renovation and conversion   |                                                                        |\n",
      "|    | into a Parador of the castle at Puebla de Alcocer, a small             |                                                                        |\n",
      "|    | municipality 70 miles east of Mérida in the Province of Badajoz in     |                                                                        |\n",
      "|    | Extremadura. His draft plans show that a multitude of openings would   |                                                                        |\n",
      "|    | have to have been made in the outside walls for windows. An access     |                                                                        |\n",
      "|    | road was built, but ultimately the project did not materialise.Another |                                                                        |\n",
      "|    | project, in 1970, was the conversion into a Parador of the 11th        |                                                                        |\n",
      "|    | century remains of the castle in Monzón, in the Province of Huesca in  |                                                                        |\n",
      "|    | Aragon, but Picardo judged the project to be unviable and the idea was |                                                                        |\n",
      "|    | abandoned by 1972.Among other buildings Picardo reported on were three |                                                                        |\n",
      "|    | for which he executed preliminary designs and drawings and which later |                                                                        |\n",
      "|    | became Paradores, though he was not involved in their completion. They |                                                                        |\n",
      "|    | were, in 1963, the old palace at Olite in Navarra, in March 1969 the   |                                                                        |\n",
      "|    | Castillo de la Zuda at Tortosa in the Province of Tarragona in         |                                                                        |\n",
      "|    | Cataluña and in 1970 the castle at Cardona in the Province of          |                                                                        |\n",
      "|    | Barcelona in Cataluña.Picardo also surveyed several other buildings    |                                                                        |\n",
      "|    | which were ultimately destined not to become Paradores. Among them     |                                                                        |\n",
      "|    | were the Castillo de San Antón at A Coruña in 1968, the Posada del     |                                                                        |\n",
      "|    | Cordón at Atienza in the province of Guadalajara in 1969, in 1970 the  |                                                                        |\n",
      "|    | Palacio del Deán and the Palacio del Dr Trujillo at Plasencia in the   |                                                                        |\n",
      "|    | Province of Cáceres in Extremadura, and in 1971 the Castillo de        |                                                                        |\n",
      "|    | Segunto near Valencia. Also in 1971 Picardo inspected the castle at    |                                                                        |\n",
      "|    | Molina de Aragón in the province of Guadalajara, and possibly also in  |                                                                        |\n",
      "|    | 1971 the Castillo de Valderrobres in Teruel in Aragon. In 1972 he      |                                                                        |\n",
      "|    | surveyed the castle at Trujillo in the Province of Cáceres in          |                                                                        |\n",
      "|    | Extremadura, the cave houses of Mesón Gitano (now known as the         |                                                                        |\n",
      "|    | yacimiento arqueológico Barrio Almohadí (archeological site Barrio     |                                                                        |\n",
      "|    | Almohadí) and the nearby Alcazaba of Almería, and the castle-fortress  |                                                                        |\n",
      "|    | at Aracena in the Province of Huelva in Andalucía. In 1975 he also     |                                                                        |\n",
      "|    | developed improvements for one of the earliest existing Paradores,     |                                                                        |\n",
      "|    | opened in 1929, the castle at Ciudad Rodrigo in the Province of        |                                                                        |\n",
      "|    | Salamanca in Castilla y León. Controversial legacy of Picardo's        |                                                                        |\n",
      "|    | Paradores. It was not unusual in Spain in the 1960s and 1970s for the  |                                                                        |\n",
      "|    | rehabilitation of castles and convents (not all destined to be         |                                                                        |\n",
      "|    | Paradores) to be carried out without archeological research either     |                                                                        |\n",
      "|    | before work began, which would have added to expense and delayed the   |                                                                        |\n",
      "|    | project, or while work was being carried out. Instead, Picardo's       |                                                                        |\n",
      "|    | rebuilding projects were planned mostly on the basis of his own        |                                                                        |\n",
      "|    | historical and architectural research.                                 |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "| 14 | In 1975 he also developed improvements for one of the earliest         | In the 1960s and 1970s, architect Fernando Picardo rehabilitated       |\n",
      "|    | existing Paradores, opened in 1929, the castle at Ciudad Rodrigo in    | several castles and convents in Spain, including the Parador at Ciudad |\n",
      "|    | the Province of Salamanca in Castilla y León. Controversial legacy of  | Rodrigo, without archaeological research to save on costs and time.    |\n",
      "|    | Picardo's Paradores. It was not unusual in Spain in the 1960s and      | This approach is now criticized by archaeologists and historians.      |\n",
      "|    | 1970s for the rehabilitation of castles and convents (not all destined | Picardo's work at Sigüenza, converting a castle-palace into a Parador, |\n",
      "|    | to be Paradores) to be carried out without archeological research      | has been particularly decried. Dr. María José Rodríguez Pérez has      |\n",
      "|    | either before work began, which would have added to expense and        | studied Picardo's work and described his objective as creating a       |\n",
      "|    | delayed the project, or while work was being carried out. Instead,     | convincing set design to evoke the historical era of interest to       |\n",
      "|    | Picardo's rebuilding projects were planned mostly on the basis of his  | tourists, typically the medieval period. She has criticized new        |\n",
      "|    | own historical and architectural research. The hotel conversions and   | extensions designed to match monuments as \"false history.\"  Picardo,   |\n",
      "|    | the demolition of large parts of monumental buildings without detailed | however, saw his reconstructions as justifiable if they were Art. He   |\n",
      "|    | investigation and record-keeping was somewhat frowned upon in the      | used modern construction techniques and concealed them with            |\n",
      "|    | 1960s and 1970s, and over half a century later is seen by              | traditional materials to make buildings look old. One Spanish academic |\n",
      "|    | archeologists and historians as a matter of significant controversy    | has noted Picardo's impressive use of modern techniques while          |\n",
      "|    | and regret. Picardo's work at Sigüenza, in particular, converting a    | maintaining the traditional appearance. Despite current views of       |\n",
      "|    | castle-palace into a Parador, has been decried as \"medieval scenery    | historians, Picardo's Paradores, particularly those at Jäen, Carmona,  |\n",
      "|    | for tourist accommodation\".The leading researcher into the             | and Sigüenza, remain popular. Picardo also carried out restoration     |\n",
      "|    | architectural history of the Paradores network and its restoration of  | works on several other historical buildings in Spain, showcasing his   |\n",
      "|    | architectural heritage, Dr María José Rodríguez Pérez, has extensively | knowledge of classical styles.                                         |\n",
      "|    | documented and studied the work of Picardo and his fellow Paradores    |                                                                        |\n",
      "|    | architects of the 1960s and 1970s in her lengthy and detailed doctoral |                                                                        |\n",
      "|    | thesis and subsequent books and publications. She has described the    |                                                                        |\n",
      "|    | architects' objective as being escenografía convincente (convincing    |                                                                        |\n",
      "|    | set design) to evoke the historical era considered to be of interest   |                                                                        |\n",
      "|    | to tourists, generally the medieval period. In writing of the new      |                                                                        |\n",
      "|    | extensions which were designed to be identical to the monuments to     |                                                                        |\n",
      "|    | which they were attached — Picardo's Parador at Jäen is a good example |                                                                        |\n",
      "|    | — she has described them as being \"falso histórico\" (false history)    |                                                                        |\n",
      "|    | ... \"a replica whose documentary value has been masked or even         |                                                                        |\n",
      "|    | lost\".In Picardo's defence, his early mentor Fernando Choeca Goitia    |                                                                        |\n",
      "|    | defined him as \"un arquitecto sue entiende la arquitectura como arte\"  |                                                                        |\n",
      "|    | (an architect who understands architecture as art). Picardo himself    |                                                                        |\n",
      "|    | maintained: \"El Arte es eterno ...\"(Art is eternal ...), \"...it is     |                                                                        |\n",
      "|    | always current. The reconstructions of the castles are really false.   |                                                                        |\n",
      "|    | If they are Art, they are justified and if they are not, they are      |                                                                        |\n",
      "|    | truly condemnable.\" Picardo had no qualms about his film set concept   |                                                                        |\n",
      "|    | of restoration, using modern construction techniques and concealing    |                                                                        |\n",
      "|    | them with traditional materials, as long as the buildings looked old   |                                                                        |\n",
      "|    | rather than modern. One Spanish academic, an assistant professor of    |                                                                        |\n",
      "|    | architecture and design, writing of Picardo's artistry, has stated:    |                                                                        |\n",
      "|    | \"The end ... justified the means, in such a way that in his work we    |                                                                        |\n",
      "|    | can find an impressive rib vault supported by a hidden metallic        |                                                                        |\n",
      "|    | substructure, a coffered ceiling suspended from a concrete slab or a   |                                                                        |\n",
      "|    | stone retaining wall with a reinforced concrete core.\" He goes on to   |                                                                        |\n",
      "|    | say that faced with the dilemma of adopting a \"mimetic and             |                                                                        |\n",
      "|    | conservative attitude or a more modern and disruptive approach\",       |                                                                        |\n",
      "|    | Picardo claimed supremacy for Art. \"En Arte todo es posible\" (In Art   |                                                                        |\n",
      "|    | everything is possible), wrote Picardo in 1994. \"A good architect will |                                                                        |\n",
      "|    | know how to weigh up both solutions and his sensitivity shall dictate  |                                                                        |\n",
      "|    | his choice.\"Despite the current views of historians, Picardo's         |                                                                        |\n",
      "|    | Paradores — particularly those at Jäen, Carmona and Sigüenza — though  |                                                                        |\n",
      "|    | pastiche, remain amongst the most popular of the network's hotels. One |                                                                        |\n",
      "|    | United States travel writer enthused about Jäen: \"I love this parador, |                                                                        |\n",
      "|    | so dramatic in its setting, so theatrically conceived ... Inside, the  |                                                                        |\n",
      "|    | deception is masterly, creating an ambience as old and austere as it   |                                                                        |\n",
      "|    | is surrealistic and extravagant.\" Other historical restorations.       |                                                                        |\n",
      "|    | Demonstrating his educated and precise knowledge of classical styles,  |                                                                        |\n",
      "|    | during his career Picardo carried out restoration works on the         |                                                                        |\n",
      "|    | Catedral de Cádiz, deleteriously affected by salt from being near the  |                                                                        |\n",
      "|    | sea, the Real Monasterio de Santa María de Guadalupe, the Catedral de  |                                                                        |\n",
      "|    | Santa María de Sigüenza, damaged during the Civil War, and in the tiny |                                                                        |\n",
      "|    | Ermita del Humilladero in the Sierra de Villuercas. He rehabilitated   |                                                                        |\n",
      "|    | the Antiguo Palacio del Marqués de Montana (also known as Palacio      |                                                                        |\n",
      "|    | Domecq) in Jerez, rebuilt the Palacio de Gamazo in Madrid which had    |                                                                        |\n",
      "|    | been partially demolished three years before, restored the Castillo de |                                                                        |\n",
      "|    | San Felipe in Puerto de la Cruz de Tenerife and in his last project    |                                                                        |\n",
      "|    | worked on the Archivo Histórico Provincial de Salamanca in the old     |                                                                        |\n",
      "|    | centre of the city in 1995. Fundación Juan March.                      |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "| 15 | Demonstrating his educated and precise knowledge of classical styles,  | Picardo was a renowned architect known for his restoration and modern  |\n",
      "|    | during his career Picardo carried out restoration works on the         | building projects. He worked on several historic sites, including the  |\n",
      "|    | Catedral de Cádiz, deleteriously affected by salt from being near the  | Catedral de Cádiz, Real Monasterio de Santa María de Guadalupe, and    |\n",
      "|    | sea, the Real Monasterio de Santa María de Guadalupe, the Catedral de  | Catedral de Santa María de Sigüenza. His designs combined classical    |\n",
      "|    | Santa María de Sigüenza, damaged during the Civil War, and in the tiny | and contemporary styles, as seen in his award-winning Fundación Juan   |\n",
      "|    | Ermita del Humilladero in the Sierra de Villuercas. He rehabilitated   | March building in Madrid. Completed in 1975, this project features a   |\n",
      "|    | the Antiguo Palacio del Marqués de Montana (also known as Palacio      | simple, elegant design with alternating ribbon windows and marble      |\n",
      "|    | Domecq) in Jerez, rebuilt the Palacio de Gamazo in Madrid which had    | cladding. The building houses various facilities, such as assembly     |\n",
      "|    | been partially demolished three years before, restored the Castillo de | halls, libraries, offices, and underground parking. Picardo also       |\n",
      "|    | San Felipe in Puerto de la Cruz de Tenerife and in his last project    | integrated artwork into the architecture and designed a garden for the |\n",
      "|    | worked on the Archivo Histórico Provincial de Salamanca in the old     | property. The project received critical acclaim, with observers        |\n",
      "|    | centre of the city in 1995. Fundación Juan March. In 1970 Picardo was  | praising its proportions and spatial arrangement. Picardo considered   |\n",
      "|    | invited to compete with fellow notable architects Javier Carvajal      | this building his best work.                                           |\n",
      "|    | Ferrer and Mariano García Benito for the contract to design and build  |                                                                        |\n",
      "|    | a new headquarters building in the Salamanca neighbourhood of Madrid   |                                                                        |\n",
      "|    | for the Fundación Juan March (Juan March Foundation) which promotes    |                                                                        |\n",
      "|    | Spanish culture and science. He was asked to take part after Juan      |                                                                        |\n",
      "|    | March himself was impressed by Picardo's work at the Parador in Jaén.  |                                                                        |\n",
      "|    | In 1971, Picardo, after seeking inspiration in the buildings of Greece |                                                                        |\n",
      "|    | and New York which he claimed provided \"two basic architectural        |                                                                        |\n",
      "|    | references: the classic perfection of the Parthenon and the            |                                                                        |\n",
      "|    | constructive audacity of the new languages of New York\", Picardo's     |                                                                        |\n",
      "|    | design won the competition and he was awarded the contract for the     |                                                                        |\n",
      "|    | building.. Picardo designed a building of \"extreme simplicity and      |                                                                        |\n",
      "|    | elegance, of great architectural beauty and modernity\".  Located       |                                                                        |\n",
      "|    | between Calle de Castelló and Calle de Padilla, the building, started  |                                                                        |\n",
      "|    | in 1972, consisted of seven floors at ground level and above,          |                                                                        |\n",
      "|    | measuring 1,400 square metres in all, and four below ground, measuring |                                                                        |\n",
      "|    | 3,000 square metres. Picardo's purpose in burying most of the building |                                                                        |\n",
      "|    | below ground was to obtain the maximum amount of free land for the     |                                                                        |\n",
      "|    | garden. It was conceived as a cube with the same dimensions on each of |                                                                        |\n",
      "|    | the four façades and designed with continuous horizontal banding       |                                                                        |\n",
      "|    | without break around the corners. The ribbon windows, formed of near-  |                                                                        |\n",
      "|    | black anodised aluminium frames and dark coloured glass, alternated    |                                                                        |\n",
      "|    | with bands of white Carrara marble cladding laid in a uniquely         |                                                                        |\n",
      "|    | patterned bond. Black and white were to be the dominant colours, but   |                                                                        |\n",
      "|    | Picardo, for reasons of time, was forced to accept an off-white marble |                                                                        |\n",
      "|    | mistakenly delivered for the façades rather than the pure white that   |                                                                        |\n",
      "|    | was ordered.For the interior of the building Picardo designed several  |                                                                        |\n",
      "|    | assembly halls, auditoria for concerts, theatre, cinema and            |                                                                        |\n",
      "|    | conferences, along with numerous exhibition and gallery spaces,        |                                                                        |\n",
      "|    | libraries, offices, Council rooms, conveniences and two floors of car  |                                                                        |\n",
      "|    | parking below ground. The predominant materials used inside the        |                                                                        |\n",
      "|    | building were white marble, bronze and walnut, with much carpeting and |                                                                        |\n",
      "|    | a wide staircase with fabric walls. The dominant colours were dark     |                                                                        |\n",
      "|    | brown and beige.. In detail, Picardo set a large entrance hall and an  |                                                                        |\n",
      "|    | exhibition space of more than 400 square metres on the ground floor,   |                                                                        |\n",
      "|    | administration and the archive department on the first floor, a        |                                                                        |\n",
      "|    | library with reading rooms and book storage on the second floor, and   |                                                                        |\n",
      "|    | offices, meeting rooms and banqueting areas and reserve space on the   |                                                                        |\n",
      "|    | remaining upper floors. Two of the basement floors were dedicated to   |                                                                        |\n",
      "|    | car parking for about 100 cars and for services, while another         |                                                                        |\n",
      "|    | basement floor housed two venues for events, conferences, concerts and |                                                                        |\n",
      "|    | theatre performances, one of them with 300 seats, the other with 100.  |                                                                        |\n",
      "|    | A large hall connected the two performance spaces.Picardo integrated   |                                                                        |\n",
      "|    | pictorial and sculptural works into the architecture itself and many   |                                                                        |\n",
      "|    | pieces were produced by artists and sculptors specifically for the     |                                                                        |\n",
      "|    | building. Among them were sculptures by Eduardo Chillida and Pablo     |                                                                        |\n",
      "|    | Serrano and a mural by Joaquín Vaquero Turcios. Prominent amongst the  |                                                                        |\n",
      "|    | artworks Picardo designed for his own building were the large bronze   |                                                                        |\n",
      "|    | double doors in the south façade leading to the garden. The garden     |                                                                        |\n",
      "|    | itself, of 1,700 square metres and also designed by Picardo, was       |                                                                        |\n",
      "|    | intended from the original concept to be a notable part of the         |                                                                        |\n",
      "|    | project.The building was inaugurated in January 1975 to acclaim. One   |                                                                        |\n",
      "|    | observer has noted that in producing the building Picardo had been     |                                                                        |\n",
      "|    | \"controlling proportions and spaces with complete ease and achieving   |                                                                        |\n",
      "|    | one of the best buildings in the recent history of Madrid\". Picardo    |                                                                        |\n",
      "|    | himself described it as his best work. Real Escuela Andaluza del Arte  |                                                                        |\n",
      "|    | Equestre.                                                              |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "| 16 | Among them were sculptures by Eduardo Chillida and Pablo Serrano and a | In 1975, architect Juan Picardo completed a notable building in        |\n",
      "|    | mural by Joaquín Vaquero Turcios. Prominent amongst the artworks       | Madrid, featuring sculptures by Eduardo Chillida, Pablo Serrano, and   |\n",
      "|    | Picardo designed for his own building were the large bronze double     | Joaquín Vaquero Turcios. The adjacent garden, also designed by         |\n",
      "|    | doors in the south façade leading to the garden. The garden itself, of | Picardo, is a significant part of the project. In 1978, Picardo was    |\n",
      "|    | 1,700 square metres and also designed by Picardo, was intended from    | commissioned to build a public indoor riding arena, the Sal de         |\n",
      "|    | the original concept to be a notable part of the project.The building  | Equitación, for the Real Escuela Andaluza del Arte Equestre in Jerez   |\n",
      "|    | was inaugurated in January 1975 to acclaim. One observer has noted     | de la Frontera, his hometown. The arena, which references Andalusian   |\n",
      "|    | that in producing the building Picardo had been \"controlling           | architecture and culture, was completed in 1980. Later, Picardo and    |\n",
      "|    | proportions and spaces with complete ease and achieving one of the     | architect José García María de Paredes designed a secure display for   |\n",
      "|    | best buildings in the recent history of Madrid\". Picardo himself       | Pablo Picasso's Guernica at the Museo Nacional del Prado, using        |\n",
      "|    | described it as his best work. Real Escuela Andaluza del Arte          | armored glass and a steel polyhedron case to protect the painting.     |\n",
      "|    | Equestre. In 1978 Picardo was commissioned by the Ministry of          |                                                                        |\n",
      "|    | Information and Tourism to build a public indoor riding arena for the  |                                                                        |\n",
      "|    | Real Escuela Andaluza del Arte Equestre (Royal Andalucían School of    |                                                                        |\n",
      "|    | Equestrian Art) in Jerez de la Frontera, his birthplace. The school    |                                                                        |\n",
      "|    | was established in 1973, dedicated to preserving the heritage of the   |                                                                        |\n",
      "|    | Pura Raza Española (Pure Bred Spanish horse). It had few decent        |                                                                        |\n",
      "|    | facilities until the interest and involvement in its activities of     |                                                                        |\n",
      "|    | Prince Juan Carlos (later the King of Spain) and the Ministry's        |                                                                        |\n",
      "|    | subsequent decision to take charge of the school.. Picardo's           |                                                                        |\n",
      "|    | commission from the Ministry was to design a sala de equitación, a     |                                                                        |\n",
      "|    | huge arena for horse and riding displays, in particular the school's   |                                                                        |\n",
      "|    | signature performance \"Como Bailan los Caballos Andaluces\" (\"How the   |                                                                        |\n",
      "|    | Andalusian Horses Dance\") which would seat up to 1,600 spectators.     |                                                                        |\n",
      "|    | Connected to it were to be stable facilities for 60 horses.Picardo     |                                                                        |\n",
      "|    | utilised a neo-Renaissance style which in its colouring referred to    |                                                                        |\n",
      "|    | Andalucía. Externally most of the structure was coloured in a deep     |                                                                        |\n",
      "|    | ochre, representative of the land and soil of the region while the     |                                                                        |\n",
      "|    | infilling of the façades copied the stark white of traditional         |                                                                        |\n",
      "|    | Andalucían village homes. Rows of relief pillars were the perceived    |                                                                        |\n",
      "|    | support for the immense crowning hip roof, with between them 54 large  |                                                                        |\n",
      "|    | circular windows in a single row around the building. Above them, in   |                                                                        |\n",
      "|    | the roof, Picardo positioned 36 dormer windows serving as ventilation. |                                                                        |\n",
      "|    | At ground level was another row of circular windows each placed within |                                                                        |\n",
      "|    | its own semi-circular arch and pseudo-supporting pillars.. Internally, |                                                                        |\n",
      "|    | the display area is rectangular with spectator seating on six tiers    |                                                                        |\n",
      "|    | around the arena. Picardo repeated the external colouring inside the   |                                                                        |\n",
      "|    | hall, with the ochre of the loose sand on which the horses perform,    |                                                                        |\n",
      "|    | and bright white walls and pitched ceiling reflecting daylight from    |                                                                        |\n",
      "|    | the many windows. At one end of the arena is the royal box and at the  |                                                                        |\n",
      "|    | other the grand entrance, beneath flags, which leads to the stables    |                                                                        |\n",
      "|    | and a central octagonal two-level tack room. Five stable blocks        |                                                                        |\n",
      "|    | radiate out from the tack room, each with twelve boxes. Within the     |                                                                        |\n",
      "|    | stables, Picardo repeated his images from the outside, with rows of    |                                                                        |\n",
      "|    | semi-circular arches topping simple stone pillars.. The Sal de         |                                                                        |\n",
      "|    | Equitación was opened for performances in 1980. Guernica in the Museo  |                                                                        |\n",
      "|    | Nacional del Prado. When Pablo Picasso's large 1937 anti-war painting  |                                                                        |\n",
      "|    | Guernica was brought to Spain in 1981 from its then home in the Museum |                                                                        |\n",
      "|    | of Modern Art in New York, it was decided to hang it permanently in    |                                                                        |\n",
      "|    | the Museo Nacional del Prado in Madrid, as Picasso had requested.      |                                                                        |\n",
      "|    | Picardo and fellow architect José García María de Paredes, jointly     |                                                                        |\n",
      "|    | heading a technical team, were commissioned to design a means of       |                                                                        |\n",
      "|    | displaying the painting securely in the Salón de Luca Giordano in the  |                                                                        |\n",
      "|    | Museum's annexe, the Casón del Buen Retiro.The painting had to be      |                                                                        |\n",
      "|    | protected by armoured glass from bombs, bullets, and vandalism. The    |                                                                        |\n",
      "|    | architects' problem was that, while the painting is 7.76 metres long   |                                                                        |\n",
      "|    | by 3.49 metres high, the largest sheet of 18mm triple armoured glass   |                                                                        |\n",
      "|    | available at that time was smaller, at 7.50 metres by 2.45 metres. The |                                                                        |\n",
      "|    | decision was therefore made to install the painting some distance away |                                                                        |\n",
      "|    | from the main sheet of glass, so that the metal frame of the glass     |                                                                        |\n",
      "|    | would not infringe on the view of the image. The solution for the      |                                                                        |\n",
      "|    | display was to build an armoured glass and steel polyhedron case whose |                                                                        |\n",
      "|    | bevels, for full security, would meet the floor, the walls and the     |                                                                        |\n",
      "|    | ceiling around the picture. The main glass itself was set at 10        |                                                                        |\n",
      "|    | degrees to the vertical to avoid reflections. The sources of           |                                                                        |\n",
      "|    | illumination would be within the case.                                 |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "| 17 | The architects' problem was that, while the painting is 7.76 metres    | In 1981, a display case for Picasso's painting Guernica was created    |\n",
      "|    | long by 3.49 metres high, the largest sheet of 18mm triple armoured    | using 18mm triple armoured glass, despite it being smaller than the    |\n",
      "|    | glass available at that time was smaller, at 7.50 metres by 2.45       | painting. The case was built with bevels meeting the floor, walls, and |\n",
      "|    | metres. The decision was therefore made to install the painting some   | ceiling, and angled to avoid reflections. Illumination was placed      |\n",
      "|    | distance away from the main sheet of glass, so that the metal frame of | inside the case. The painting was moved to the Museo Nacional Centro   |\n",
      "|    | the glass would not infringe on the view of the image. The solution    | de Arte Reina Sofía in 1992. Picardo, the architect, was elected to    |\n",
      "|    | for the display was to build an armoured glass and steel polyhedron    | the Real Academia de Bellas Artes de San Fernando in 1997 and gifted   |\n",
      "|    | case whose bevels, for full security, would meet the floor, the walls  | the academy a painting in 2000. He won the Premio Antonio Camuñas de   |\n",
      "|    | and the ceiling around the picture. The main glass itself was set at   | Arquitectura in 2001 for his contributions to architectural            |\n",
      "|    | 10 degrees to the vertical to avoid reflections. The sources of        | renovation.                                                            |\n",
      "|    | illumination would be within the case. The size of the room in which   |                                                                        |\n",
      "|    | the picture was displayed — a large high space originally created as a |                                                                        |\n",
      "|    | ballroom — allowed the whole canvas to be viewed from 25 metres        |                                                                        |\n",
      "|    | away.Guernica was installed in September 1981 and the room opened to   |                                                                        |\n",
      "|    | the public on 25 October that year, Picasso's centenary. Within a      |                                                                        |\n",
      "|    | year, over one million people had seen Guernica in its new Picardo/de  |                                                                        |\n",
      "|    | Paredes setting. Opinions of the method of display differed. The       |                                                                        |\n",
      "|    | artist's daughter, Paloma Picasso, applauded the location and the      |                                                                        |\n",
      "|    | method of display, as did Spanish artist Josep Renau. Catalan          |                                                                        |\n",
      "|    | architect, Josep Lluís Sert, described it as \"magnificent\". The        |                                                                        |\n",
      "|    | British art critic and collector, Douglas Cooper, wrote that the       |                                                                        |\n",
      "|    | painting was \"admirably lit, there being no shadows, no reflections    |                                                                        |\n",
      "|    | and no distortions.\" He went on: \"Never in its history has Guernica    |                                                                        |\n",
      "|    | been displayed so beautifully or so entirely to its advantage.\" Others |                                                                        |\n",
      "|    | were not so convinced. It was reported that the fact the installation  |                                                                        |\n",
      "|    | was built by the technicians of the Círculo de Bellas Artes rather     |                                                                        |\n",
      "|    | than by the Prado's own staff brought practical difficulties. And      |                                                                        |\n",
      "|    | British art critic, David Sylvester, maintained years later that when  |                                                                        |\n",
      "|    | Guernica was returned to Spain in 1981 \"it was hung in an annexe to    |                                                                        |\n",
      "|    | the Prado, where by common consent it was not seen to advantage.\"In    |                                                                        |\n",
      "|    | 1992 Guernica was controversially moved from the Museo Nacional del    |                                                                        |\n",
      "|    | Prado (where Picasso had wanted the painting to be permanently         |                                                                        |\n",
      "|    | displayed) to a purpose-built gallery at the Museo Nacional Centro de  |                                                                        |\n",
      "|    | Arte Reina Sofía. The Picardo/García de Paredes display installation   |                                                                        |\n",
      "|    | is no longer in use. Election to the Real Academia. On 3 February      |                                                                        |\n",
      "|    | 1997, at the age of 78, Picardo was elected Academician of the Real    |                                                                        |\n",
      "|    | Academia de Bellas Artes de San Fernando (Royal Academy of Fine Arts   |                                                                        |\n",
      "|    | of San Fernando), being proposed by Julio Cano Lasso, Fernando Chueca  |                                                                        |\n",
      "|    | Goitia and Luis García-Ochoa Ibáñez. He entered the Academy on 22      |                                                                        |\n",
      "|    | February 1998 with a speech entitled Hipólito, the composition and     |                                                                        |\n",
      "|    | delivering of an address having been established as one of the         |                                                                        |\n",
      "|    | requirements after being elected Academician. In it he talked of two   |                                                                        |\n",
      "|    | of his passions: architecture and the horse. \"The horse is an animal   |                                                                        |\n",
      "|    | that surpasses the human body in beauty, strength and speed,\" Picardo  |                                                                        |\n",
      "|    | claimed. \"... and architecture, in turn, is the art that protects this |                                                                        |\n",
      "|    | human body and enables and exalts it.\" He confessed that it was        |                                                                        |\n",
      "|    | impossible for him to decide between architectural beauty and equine   |                                                                        |\n",
      "|    | beauty because both \"son perfecciones\" (are perfections).In 2000       |                                                                        |\n",
      "|    | Picardo gifted the academy his oil painting Guardia civil en el puerto |                                                                        |\n",
      "|    | de Alazores, an image of five policemen mounted on five horses in a    |                                                                        |\n",
      "|    | compact group. The academy observes the complicated juego (game) of    |                                                                        |\n",
      "|    | the twenty horses' legs of different colours and in different          |                                                                        |\n",
      "|    | positions seemingly almost entwined.The academy also houses in its     |                                                                        |\n",
      "|    | collection a portrait of Picardo by Luis García-Ochoa Ibáñez. Painted  |                                                                        |\n",
      "|    | in 1953 it portrays Picardo in an informal pose at the age of 34. It   |                                                                        |\n",
      "|    | was donated to the academy by his sons in 2023. Premio Antonio Camuñas |                                                                        |\n",
      "|    | de Arquitectura. In 2001 Picardo won the prestigious Premio Antonio    |                                                                        |\n",
      "|    | Camuñas de Arquitectura (Antonio Camuñas Prize for Architecture). The  |                                                                        |\n",
      "|    | prize has been awarded every two years since 1985. Its purpose is to   |                                                                        |\n",
      "|    | recognise the oeuvre of a Spanish architect who has stood out in his   |                                                                        |\n",
      "|    | or her work for architectural renovation. The prize jury praised       |                                                                        |\n",
      "|    | Picardo, the ninth winner, as an architect \"knowledgeable about our    |                                                                        |\n",
      "|    | culture ... who has quietly exercised his professional activity,       |                                                                        |\n",
      "|    | reinterpreting and valuing the richness of our historical heritage.\"   |                                                                        |\n",
      "|    | Personal life.                                                         |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n",
      "| 18 | Painted in 1953 it portrays Picardo in an informal pose at the age of  | The text is about a Spanish architect, Picardo, who won the Premio     |\n",
      "|    | 34. It was donated to the academy by his sons in 2023. Premio Antonio  | Antonio Camuñas de Arquitectura in 2001 for his contributions to       |\n",
      "|    | Camuñas de Arquitectura. In 2001 Picardo won the prestigious Premio    | architectural renovation. The prize, awarded every two years since     |\n",
      "|    | Antonio Camuñas de Arquitectura (Antonio Camuñas Prize for             | 1985, honors an architect who has made significant strides in          |\n",
      "|    | Architecture). The prize has been awarded every two years since 1985.  | preserving Spain's historical heritage. Picardo, the ninth winner, was |\n",
      "|    | Its purpose is to recognise the oeuvre of a Spanish architect who has  | praised for his knowledge of Spanish culture and his quiet, yet        |\n",
      "|    | stood out in his or her work for architectural renovation. The prize   | impactful, professional activity. He was married to Trinidad de Ribera |\n",
      "|    | jury praised Picardo, the ninth winner, as an architect \"knowledgeable | Talavera and had five children. A US travel journalist described him   |\n",
      "|    | about our culture ... who has quietly exercised his professional       | as \"a package of energy, wit, and imagination\" with twinkling eyes.    |\n",
      "|    | activity, reinterpreting and valuing the richness of our historical    | Picardo passed away in Madrid on July 27, 2010. In 1953, his sons      |\n",
      "|    | heritage.\" Personal life. Picardo married Trinidad de Ribera Talavera  | donated a portrait of him, painted at the age of 34, to the academy.   |\n",
      "|    | and they had five children: three boys and two girls.In a rare public  |                                                                        |\n",
      "|    | description of Picardo's personality a US travel journalist wrote of   |                                                                        |\n",
      "|    | him in 1972 as \"a package of energy, wit and imagination ... eyes      |                                                                        |\n",
      "|    | twinkling\".Picardo died on 27 July 2010 in Madrid.                     |                                                                        |\n",
      "+----+------------------------------------------------------------------------+------------------------------------------------------------------------+\n"
     ]
    }
   ],
   "source": [
    "# Create table comparing each original_chunks[i] with summaries[i]\n",
    "table = []\n",
    "for i in range(len(original_chunks)):\n",
    "    table.append([\"\\n\".join(wrap(original_chunks[i])), \"\\n\".join(wrap(summaries[i]))])\n",
    "\n",
    "df = pd.DataFrame(table, columns=[\"Original\", \"Summary\"])\n",
    "# Print table with lines between rows\n",
    "print(tabulate(df, headers=\"keys\", tablefmt=\"grid\"))"
   ]
  },
  {
   "cell_type": "code",
   "execution_count": null,
   "metadata": {},
   "outputs": [],
   "source": []
  }
 ],
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