Hello how about very good afternoon, I am Karian Ramirez and we are on
one more radio broadcast the design in your ears here in the new season of
the year that we are broadcasting from capo worked here in San Luis Potosí one
hundred and thirteen b. So come and take a little turn at this shorrum
full of high design, of furniture, of high design. So come and
take a little turn' cause it' s amazing. And I am very
happy, because he is not only an architect who I admire very much,
but also a great friend of mine that I have already known for several years.
I think an earthquake brought us together basically how Rodrigo is Hi How nice
to be here again. Thank you very much, Karen, for inviting me
and this and not good was not even an earthquake. It was before the
earthquake of two thousand seventeen and I was going to make a jacobo to Blue
Dodsky. Right, no, no, no, well, I don'
t know you, you remember well, but you were good to us,
because you used to interview and supposedly that episode we recorded before. It was
on 19 September. Your birthday. So, it' s yes, not
like that, then it' ll be this one. We' re going
to everything as it is 19th September, not then, hello, it'
s six o' clock in the afternoon and we' re here very funny
and we fell from the earthquake. And I didn' t know if the
episode came out anymore. No, yes, it came out like that,
obviously. It wasn' t the 19th. It didn' t have to
be another day, obviously because of the catastrophe. But yeah, I mean,
it was like those sunny days, yeah, sure, yeah, so
I make them talk like that. Nothing happened here. Nothing happened to the
remote. Aha hours before in very iconic theory, how we met for this
father. How good you' ve been on ten radios, how many times
you' re under stress. I think it' s the third one.
No yes and I don' t know why people still don' t place
you well. Ah it is not that, that is, they place the
name of your office well, but to give predi and who is Rodrigo Velas
Yo, whether Lusio is called as I or not exactly, Ahorita, we
give them the nets again. Yes, exactly. Yeah, exactly because right
now, you' re just like yourself. Yeah, I' ve got
a little bit on my own. Uh- huh Exactly with Juan. Yeah,
' cause when I met you, you were in another office. I
was in another office and then I was alone for a while and then I
was associated with another architect for a couple of years and I was four years
ago. Yes, if time flies by that, if four years ago it
was the pandemic, yes, then the three. Yeah, well after the
pandemic, okay, yeah, let' s go three. We' ve
worked with Michelangelo. Yeah, I mean, anyway, three years. I
' m already getting too fast, not too fast, but first I want
the new audience, because apart they already listen to us a lot in France
why. I don' t know. Greetings to France, greetings to Peru,
greetings to Colombia, because I don' t know why. But we
' ve come as long as well, because it' s the nice father,
yes, it' s the beautiful thing about the Internet. There are
no exact limits to the Internet of things. So I want you to meet
that audience and tell me who Rodrigo Velasco is. That' s the usual
question he starts with. Of course, I always answer it the same way.
Well, I' m basically Rodrigo. Not everyone knows me as a
robbery. Rodrigo a robbery more than anything. I am an architect, I
work as an independent evil, although with some stages there of successions and whatever,
but from two thousand ten I am a good architect. I have a
master' s degree at the UFC of Catalonia. So what else am I
dad am friend game, well, I' ve played it already I play
that things talk long true, but good and right now for matters there of
personal organization, because I have left there a little bit to the team,
but it will take it safe again. Yeah, coming up. Okay and
then pretty intense. I' ve gotten into a lot of things that I
don' t know how to get out of, but I always end up
in fun. He was a book teacher, too. I' ve been
in class for many years. I really liked it. There' s no
good a normal guy. Pretty active, I' d say, yeah,
pretty hyperactive, little, anxious little. You say listen, but what a
father he hears, how is it that you, at some point you said.
OK. I' m going to line up with architecture, I'
m going to pick this, this one, because look at the story.
It' s already preached it to you too, but it' s funny
me in this way of vocational disorientation, I don' t know, as
for many stages not moment that is oral philosophy, until I realized that my
professor of philosophy, of preparing vacuum cleaners on the boards to be able to
pull out and I said this at some point, this thought right, right.
Ten minutes is until I met a lawyer and said no goes with me,
this one tried to be a marine biologist. I wasn' t interested
in that I saw sea wolf. But because I had to move more Atlantis
and I was personal and you were going to move to Mazatlan. Mazatlan,
for Ra had more Atlantis. Well, yeah, well, I don'
t know if I' d met you there in our Mazatlanta quates, but
it' s a very beautiful north place, incredible, well, and now
you' ve left it even more beautiful in my place. Happy you would
have stayed there. I' m going to stay more atlán. But,
well, there' s family business. I couldn' t Ok the kid
I wanted to be an inventor. Okay, no, I made my toys.
I was good at it, I' m still, because that doesn
' t take away an only child. Then I had to arm my worlds
and my things. And I would wake up in the morning with a hyperactive
face. They would wake me up in the morning to see what Ok was
doing and see what my mom was with, that is, she was my
parents. Suddenly, one day came and the whole room was full of threads
everywhere, like a web, because I didn' t think of it.
I don' t know players. Mine, yes, of course it was
with my dolls and they' re going over to the other side of the
salt so, well, I was always making up my nineteen of my stuff.
I understood at some point that I wanted to do something creative and in
the end, in all this everything, this going and coming and going and
so on, I ended up being either a film director or an architect,
ok a communicator. No, because the cinema at the time was a little
more difficult. There were two schools, the CUEC and the CSC, and
both, as they entered was already more like a specialization than a career.
So what plan was to study communication and then the CSC or go my architecture
and see what else was going on. Then, then, when I came
to the FILA to choose a career, I was told, yes, very
good name, such, such, such, such, such, admission exam,
very good to what career. Well, I don' t know,
but I got a quarter. I threw it in the air, good eagle
or the other way around. Not anymore, I remember. Aguila was communication,
only architecture or upside down aha came out architecture. Here I am looking
not, very happy and very good, that is, and also very aware
that the coin would have gone out backwards, because it would be very happy.
Being I don' t know if film director, really not, but
the next mine yesterday Iñarri you say no, because I was no longer not
now it was multiverse, it came out from the other side to the best
and this, and yes, maybe this would have been bitch loves or made
me love cats. But, well, by the end of the day,
he would have left the other side, I know he would have been just
as happy. Not sure, at the end of the day the joke is
more to find love in what you do, not what they' re looking
for, but yes, I mean, if you found yourself in that career
in the years to come at the university, because not the three that I
would have lost you to, it' s just that many people say a
lot about saying I' m going to choose this career, but okay,
what I' m doing here, you know what happened to you. Not
me what I think. Well, I do say if many times, especially
in the architecture race, in the early mornings, in the early mornings at
three in the morning, you say that chinga or güey, I should not
be asleep here at partying, from being elsewhere, like the law, like
it' s good like any other, but at the end of the day
of the jokes you end up finding it, that is, you end up
finding in the passion to what you do. That is clear and it is
not for me, it would not have been very different to study communication than
to study architecture. By the end of the day, in both I would
be looking to create something or generate something. The only difference is the tool
And if you get to see it, not cold, the architect' s
shamba and the film director' s shamba are very similar. Yeah, because
you' re working with a lot of people around to achieve an end and
you don' t have areas, you don' t have schedules, and
you have a lot of broncas and stress. And that' s clear,
but that at the end of the day enriches what you do. Of course
it' s not like a job, but on the contrary, it'
s not things that are enriching and that the fact that you' re looking
for and seeing the way things work out makes the product even much richer.
The way I see it, no, but the chamba process is very similar.
Ok, yes, no, sane architect is directing the work of good
back an idea of clear origin that is being polished and developed until there came
a moment of a production such as no longer of a cinematic production, with
the architectural production, no, but then, that develops until God wants to
come to a good conclusion, of course, hears and how it was since
you left the university bubble and already faced the real world, how it was
that, what you did, what your step was. It' s just
that I didn' t stay in the bubble, okay, no, that
' s me. The truth is that I, in my case, started
working from practically the prepa or architect and rocked it to every bastard. No.
And there, then, I learned a lot and not during the whole
race, because there was lapsus in which I became a little bit, a
little silly, well, not silly, but I preferred to be a little
bit more involved in school I didn' t work, but I practically worked
the whole race and from a little earlier. Okay, so this one I
worked some touched my uncle. Then I got out. Then I was working
in some architecture offices. Then I had as the social housing roll and I
got into a social housing developer to understand how the game is, how the
game was at the time. And then when I left, I had a
little idea. The truth is that the school is still a teacher and I
tell my students, the school at the end of the day doesn' t
teach you enough, that is, I teach you a few bases, it
gives you a bibliography, it takes you as along certain paths. But this
is really a trade and the trades are learned as the shoemaker teaches him his
apprentice in the offices. There has to be architectural apprentices, because where you
really understand how to make a façade cut or what it serves for or a
cutting or not in the office. And, therefore, the play. If
you come and make the plan and take it to the mason and the bathroom
doesn' t understand, it' s just not right. Your exact chomba.
So, as much as a teacher comes in and says yes, very
nice, you have eight you don' t really serve clearly. It'
s interesting, because it' s reality, that is, it only gives
you certain bases, but you really learn in the real world to be a
clear architect and not conforming to the march. And the thing is when you
' re going to learn exactly what happened to me a little bit when you
worked that I was desperate with school because I said I put on a wake
- up call to end a model, because a slug comes in like I
am now in that position. No, and say, oh, it'
s very nice. You' re nine, or you' re eight or
you' re seven, and then you' ll take pictures to the model,
if you leave, if you don' t get rites in the closet,
then it' s clear. True, it is true and, instead,
when I was in the offices, especially since it was good. I
' m revealing you to make this plane, which, maybe it' s
a very simple plan to wake up. I' m telling you, cutting
off a flat that' s kind of simple, but I know that tomorrow
I' m gonna take it to the contractor, the mason, whoever it
is, and in three four days I' m gonna see it. There,
then, maybe no one will peel it, but I know that,
in fact, all I had at that time to make that flat clear is
then. Well, yes, it has, like other things, the school
environment, but well, the other day and now that you' re a
teacher, how you see the new generations of architects, how you visualize them
your different. Not complete. Everybody changes. The world changes very fast.
No, and obviously, people change, processes change, new tools are going
to make everything change, not make it much faster. No. And that,
then, has me excited. No. And the kids, so,
that is, the students, live in this different way. No, I
mean, I got a generation that I really appreciate because it touched me a
little bit like that transition between the old school this one and not really,
of course, that is, yes, yes, yes. It was my
turn to see your office of my uncle drawing by hand. Not clear and
I learned to draw by hand and when there was no need to do,
I also told rale Look don' t hold on to the Jesus heroy.
Besides, I' ll give you the hero for anyone who doesn' t
know. It was a series, it was a game with a series of
grills aha and a little something that was like three ducks that told him.
I don' t think you' re from the big cangres, the crab,
it was the crab. So you were copying the letter- by-
letter rule to put it in the plan. Literally, Mira used to call
me. Here' s the heroy, here' s the newspaper copy this
newspaper article today and there it is. He didn' t catch him again,
uh, I don' t know if he did, right now.
I had to grab it in the first semester of the race, but no
more to know what it was and how it worked. From there. He
never caught him again in my life. Not then did that touch me and
then I' ve touched all your amazing technological changes. From what I'
m saying, the wire lotus touched, that' s already walking. No,
no, I' m so in the rain. It doesn' t
change and it was very old school and I didn' t use it.
But the car wasn' t known, it already existed, it was already
walking. Okay, so, right now, because the new generations already have
all the tools, but they' re tools, okay, they don'
t understand your account, they have tools, they' re tools, they
' re different. No, it doesn' t mean that now this artificial
intelligence and mid jorn I do you a project or that Architectures or the program
East of Herzoki of meurunque still doesn' t come out make you the architecture.
Yeah, no, that' s for me that' s new to
me, because I, when I went to college, I was taught as
the basics that we were right now with the heroy, but I was already
introduced to the rev autoca and everything was already full, I mean, it
was already a matter as such. But right now for me it' s
very new about artificial intelligence that they' re already starting to use. And
it' s like it gives me the laugh, because what is re-
evitating now came vi aha. No, well, I, without knowing how
I handled it at the University because I handled the kikat Ahah, that little
Necio boy had his mac and didn' t want to trade the MAC for
a PC. Then he wanted to check that what program there was of Paloma
architecture, which he found the Arkika and found to be a new format.
And then I never revealed myself again, okay, but at the end of
the day it' s a tool, yes, of course, and now
there' s the thing about schools teaching REVIT when it' s not something
new. He explained yes, no, it' s not something new,
but it' s already something that like a clear tool, already glued by
the architect. Basically I still don' t understand, because there' s
no REVIT for MAC. I still don' t understand. If anyone in
the public can tell me that, please explain but no, I don'
t understand, I have no idea, but I say there are other Bian
Panama programs that KANT works very well. I think that each story is much
more friendly and more malleable than what can be real. But, well,
like neither of us sponsors us exactly. But greetings, greetings, Ojala,
hopefully, we are sponsored Exist in Mexico salutes, yes, well. We,
in the office, take up revits, but suddenly I don' t
know. You know I' m like at the event, at the event,
all of a sudden and I have to chamberle too at the event,
and it' s that chup is also very good. No yes, it
' s mac I think the joke of these tools is that you don'
t need to be in the same place anymore. I mean, when the
little things were hand and the other day I' ve given a developed talk.
Not to them and taught them that not because things were a hand,
it was still lifes with five hundred cartoonists, not to do a project and
all of a sudden they lenk autto cal and those five hundred become two hundred
fifty, not even ten, no or two, yes, yes, yes,
yes, ok not right now with all these technologies, what happens is,
because you can do it among three people the same job and it doesn
' t even have to be in the same place. If not, I
mean, you' re connected in the cloud and everything works in the cloud
and the client from the cloud b what you' re doing and all of
a sudden, the contractor checks it out and makes notes and pops up in
a moment, that is, it' s much more malleable and much better,
much more not better, I mean, it' s different. So
how you' re free, no, and that' s the technology to
do things a lot more to him, to do theories, so it takes
less time and you' re happier. Yeah, it' s time you
do it in less time and it' s stress, of course, yeah,
exactly less people. And now with artificial intelligence, you' re not
going to have to be looking at plant options for weeks. Or, well,
we' re weeks away, because it' s a lot, but
it' s several days because it' s going to give you options very
fast, of course, they' re tools. He' s not gonna
take our champagne off. No one, yes, that' s me too,
as well as at first. It was like a shock to see that,
but you already understand that you' re always going to need the human
because he' s there, that is, the architect must be there.
Yeah, there' s a meme not that said the client never knows what
they want. You don' t have to make an exact prompt. Great
intelligence, which is exactly what you have to do. He doesn' t
know exactly what they want. So if you' re going to need an
architect who can weigh. Indeed, that is what keeps me very calm.
The truth is, we' re gonna survive. Don' t worry very
well hear and you' re making r architects right now what projects you have.
We' re just finishing up some remodeling, not an apartment. We
' re working in a house in or coyoacá that brings us there funny,
what a father this isn' t. We' re tearing out buildings from
an apartment building and we' re seeing what else comes out that' s
not so good then this we walk there also with a side project of a
bin workshop we walk there always seeing active sewn and seeing how we fill the
time. All right. Hey also another tool that' s very top right
now. I think it' s print three d and you' ve been
using it yes yes, look at prototype people playing themselves. The truth is
that everything starts playing and starts gossiping and seeing what works. Not this one,
too. At the time I was sharing an office with a friend putting
together bouquets that came with the first one and said what this is. Then
this one doesn' t. Within my work process, my process, especially
the conceptual part, does go a cascade there of options ok is not suddenly,
for example, not for a building that we finished a little bit ago
the schematic. Fifty models of the original models, the first choices of things
as mafufas as a cer circles, squares, etcetera, etcetera, etcetera,
appeared in your lu. Why nothing is right. Well, I' m
sorry to make basic geometric shapes. It has to make basic geometric shapes and
things that I had neither feet nor head until somehow you' re polishing until
you end up with three choices. And for this, because I' ve
always made models ok and made models by hand And now I' ve learned
or you' ve taken the habit of starting to make these models in print,
three of ok and that you, I mean, really learned it and
it was a very beneficial tool for you. Yeah, yeah, yeah,
yeah, yeah, I mean, this is actually that I thought it was
something like a lot more complicated. But he learns very simple, very fast.
I, I would have process because at first, when I was going
to your new office, well, not so much anymore, I already have
a couple of are that aside, it' s a great office, yes,
it has a great story. Everyone has a good story. So you
' re in a building at Xack Brights. It' s amazing, yeah,
and besides, that was also Xack Broide' s office. Some time
and then the pandemic came and there was a transfor a transfusion there, yes,
there was, yes, not a mutation, a rare mutation to a
bra boat clandestine, that the good thing is that already yes, yes,
yes, yes, that is, I have there exposed, but now it
is already dispatch, already, the office also the Bartlandestinos. Ah no good,
but already, but already more pi call you, yes, I have.
I' ve got the penu in the office calling the GNTA. I
love it because the partners that I' m not going to say their names,
because it was clandestine, not or no longer this office, not the
address below clandestine bar, literally the slightest doubt that it was a pas yes,
yes, yes, exactostino, until the neighbors decided that it would no
longer be him. I know that and that cycle already had you in a
great place. You' re in a great place, yes, I'
m very happy. There to see you, you' re on the ground
floor of Amsterdam circuit, yes, and it' s amazing because apart from
there you have a super simple urbanization situation, yes, but it works,
which is a bench. Yeah. Now, not for a while. In
my case, this idea of architecture as an object has not stopped drawing my
attention. Not now I see architecture in a different way and it' s
Juan' s carral calls it out of walls. How the architecture also works
from walls outwards. And in these in this architecture of walls outwards, you
also have to see the sidewalk, the street, the neighbor, of course,
the camelón, all this roll. No, and I casually say why
I don' t say that. Obviously Lois Isac didn' t do it
ourselves. But outside there' s a little bench and I' m taking
my students with me I have a class where I take them for a walk
around Amsterdam. I' ll show you a couple of projects. One is
this bench, another is a gym that is outside the ky El over Amsterdam,
which is the way you make this wall architecture out. How can you
do something that works for the Community? No, in what way you can
make your architecture not just, not an exclusive architecture, not as it is
handled, especially throughout the developers to make it an inclusive architecture. Not in
what way? And that generates the other day we were talking about it with
park I had the movement after you said it ah of course, yes,
yes, yes, the first attempt of this talk not that Eduardo Micha.
Yes with Eduardo Micha. And that is precisely what a whole series of events
take place that you do not have programmed, that you have not thought about
and that enrich the whole Community before the area. No, then we have
that little bench We open the windows. A lot of times I don'
t. I used to say to him that we were like the pandite in
CHAPULTEPEC, because people would pass by and see us working there and Abel would
stop and so would those who do no and this and suddenly they would talk
to us or not. Or I say suddenly students of architecture saw us and
they are architects. We can go in and see the office, because it
does happen from no and it is beautiful. But well, there with this,
because we have also sat on a lot of things that happen on the
bench, not since not couples that start, couples that bring the infidelities,
close my leisures that well, then you are happy there in the gossip.
I would be very happy the truth of pure gossip and my dad stoned the
truth alone. Last time we did the show for being gossiped exactly, really.
This is the second chance. In fact, this show should have been
out a few weeks ago, but it won us the gossip. He won
us the gossip. But that happens right away. Well to what we said
in this process that I had gone to your office na already at the beginning,
when you just got there to the space that now is office. Everybody
' s got jabus. We' ve got that one where it doesn'
t get there. And it' s not like here and the DJ and
here and here and here I don' t know what and here they were
painting and here was Nuccio with the p Yes, exactly. Yeah, yeah,
yeah, yeah, she' s really weird. The truth could have
taken you the first few days. This one was hard for me to visualize
as my office. Yeah, yeah, fit in, he used to call
me ay no cua. There' s no chela ja beer here It'
s not chelas time Monday morning at nine and there' s a tip,
the shawl. No, yeah, it' s not funny apart, I
faced that one, too. Well, don' t face it if I
didn' t find out that that rook who was discovering just using the three
- d machine already after a few months later I went back and already the
more you had been arming you sent ay no longer print ah look right now.
Yeah, I mean, he was already the technician. Well, it
has to be said that that' s why I decomposed the machine several times.
Okay, I mean, it' s not like that I grabbed her
no, no, I didn' t arm her disarmed her I broke her
off I fixed her and this and the good thing is that I found an
angel from the guard named Erick, who is a master' s degree from
three o' clock in Oklar. Then when suddenly I already had enough screws,
Erick, you can see wey fixing it, but yeah, yeah,
yeah, I broke it down a lot of we spres fixing what. But
if you learned ah not clear embracing lamb you learn clear to everything, eh
kick for everything. It' s amazing, it' s great, and
you keep making impressions of three of your own with the impressions three d It
' s amazing, that father, no, and I have a lot of
fun because apart, because the truth is that he gives me and there'
s a boy who came in making models, Alejandro Flores, who well listens
to us and this one then in the model is already a little bit doing
other things. But he' s doing other things because the trip printer came.
Not what you do then already, why not, that is, why
I give you instructions to do the model. If I already put on the
model, I didn' t already tell them the other day that, luckily
I didn' t run it. But I mean, and listen to what
you think you' re already bloated because a three- thousand printer comes in
and comes out like a sissy, comes out like a wither. Hey,
there' s Father. Good thing you got that, that kind of tool
in your office. Yeah, and what happens is that you also have to
be alive, not seeing what' s new and what' s accommodating you
in your process and what' s going to be more agile in your process?
What' s more agile in your process? I mean, does it
give me the chance to make a lot of models very fast, not without
using the time, that is, using less time for that task? Not
sure, there' s time left for other things that are going to enrich.
Of course, it' s amazing. It' s good that you
have these processes and that you' re going to update them in some way
to sort of be on the order of the day. But at the end
of the day they are also processes that are being complemented, because the cro
is by hand. We didn' t leave him. The first options are
still rule and pencil and it' s there. We' re not going
now. Yes, that between analog and digital is a combination of a basic
process. Yeah, yeah, new ones. We' re just art,
you have so many tools, it' s crazy to marry a yes no.
For example, we in the office, when they get to ask us
to do the internships and they already want to do it all with review wins
anana here you will learn to do a sunning with ruler and with transporter and
with this all the basic tools to do it in hand. And we'
re already seeing them. Just as and because these madmen are going to be
able to make sunbathings by hand, for it is that you have learned we
will not give it all to you, but that is to say that also
the new generations must be inculcated also to see And above all because the other
day with pf Hill it is now of tools. He didn' t tell
me and I loved the definition because he said the difference between tools and instrument
is that you a tool, because you see it very fast and the press
to handle it in a very easy way. A paratillo is a tool,
but a violin is an instrument. Then you need to learn how to use
it and you need a long time practice to be able to use a violin.
So it' s the difference between the instrument tool. I think that,
more than tools, what we' re using are instruments, because you
have to learn how to handle them. But each instrument you use at a
specific time, not in other words, and for a specific activity, of
course, you can' t use the violin as an umbrella umbrella, exactly
as a drum or as a trombone, that is. There' s time
for the ropes how we' re gonna hit the metals like I' m
hit by the percussions. Each tool is used in a moment. I tell
my students the same thing they want to start designing from Reddit and Redvit works
and it is an amazing or artistic tool. Returning to the topic, for
us less this for the development of the executive project, but for the conceptual
part, it can work, but, but there are other better tools.
Yeah, there' s nothing. For me, in my way of seeing
what here. I think that for my way of seeing the conceptual, we
also do it very much from thought and hand. And then, when we
are already going to give it a lot, more form and more of this
regulation, because now it is already occupying the technological instruments that I have done,
for example, I think it works very well at that stage. Yes,
you make boxes, you do very simple things that you can never use,
very fast, very easy and then you' re going through, but
at the same time it' s going to be working by hand, coming
down by hand, because maybe, you' re already giving up on the
autoca and the autoca, you' re going to skip it to Reddy and
from there to all the programs that I imagine exactly. That' s a
good thing. Hey and who are your five favorite architects, no, because
that' s like a peña grandchild question, no yes, of which are
the three books that you don' t, because yes I think I say
my rich father, poor son. I don' t mean, at the
end of the day I think talking about your three or your five favorite architects
is like talking about your five favorite books or your five favorite albums? Or
not, I mean, at the end of the day, what you have
there is a series of teachers. Okay, those teachers are marking you at
certain times in your life. No, no, no, no, no,
no, no, no, no, no, no, no,
no, no, no, no, no, no, no, no,
no, no, no, no, no, no, no,
no, no, no, no, no, no, no, no,
no, no, no, no, no, no, no,
no, no, no, no, no, no, no, no,
no, no, no, no, no, no, no,
no, no, no, no. You don' t have the Book
of Manantial here and we' re talking about that Book of Manantial. I
don' t know whether to recommend it or not, because he' s
aged so badly, so badly. It' s a book that' s
almost a hundred years old that was written out there on Rand and it'
s aged really bad. But, well, for me, someone who likes
Manantial is a flag net. Yes, of course. Yeah. Yeah,
yeah, yeah, I mean not this one totally, totally. They don
' t begin to talk about architecture like this struggle to dominate the nature of
the iron In other words, no more people, no, no. If
the 27th century we can talk about it. But, coming back to the
subject, it' s not like that, not the spring. I read
it when I was in college. I really liked it. In college I
loved it, but today I reread it again. Last year and as you
say no net flag no so this is no longer I do not work well
in that. It is the same with the architects, that is, it
has been my turn to know there a lot and the quintet important and at
the end of the day, because you are learning them some things from them
that are nourishing you. Of course not, then it is very difficult to
answer those five favorite architects, well, those of the moment, because it
is like marrying notice that good also happens with the music. All of a
sudden you hear a lot and all of a sudden the year you come in
like ah well other five favorites, yes, of course it doesn' t
give me much laugh because there was a time that I heard the pink sulfe
of the pixis aha aha no and I think that it was seven months playing
it was still in cdes, yes, playing for seven months in the stereo
and not listening to anything else And that' s where I was years that
I didn' t hear it again. That' s how I happened recently
I heard it again and I say no more with that intensity you say ah
orale happens just like that, because of that exercise that Spotify does on your
list of the year. He' s good, he' s father,
because he doesn' t listen. It' s not the same thing last
year. I mean, there' s a father. Not clear and above
all, they tell you the truth. Not seven güey, you say ah
not this pinch or you heard it every time you don' t like wan
and open the car, you saw it four or six times twice like you
don' t like reggaeton here or here I have another exact data, I
have other dates. Yes, then this one I tell you at the moment,
because I am seeing in a very strange moment, because I tell you
that I have stopped thinking about this architecture as an object and I begin to
see it as urban relationships with the context. Aha then this, because I
do not think I am much more interested in these examples that do not have
an author. I don' t mean. For example, I say I
know about the bench outside of Ofcina, because the building is Isaac de Broid
' s clear and he told me the story of that bench and it'
s amazing. No, but the gym outside the Kins is also to attract
attention, as it didn' t even make an architect. I' m
sure the manager of the quí said to see we need space, why don
' t we go down the street and do this, and it' s
an amazing space in which people who are in the gym use it, but
also people who are not registered and start putting together a community of people who
exercise in the dressing room that don' t even need to be part of
the gym to be able to use it. He explained. That' s
what he' s starting to call me. So I' d rather look
for those kind of examples right now than nail myself into the work of some
architect. No. I' ve always liked this architecture that has no name,
not this toparte with a building of nine hundred fifty so many in the
narvarte and say I don' t know who you are but with what mastery
you solved this window removes, but of course not, I mean, I
don' t know who you are? Don' t you? I know
who you are? But I admire you, God knows I did it.
It doesn' t hit me or that suddenly you find a hut in Oaxaca,
of course not, in which they made you a tihuacan slab with a
cleaning that you say hijole what mastery to be able to do this. No,
of course, yes, you understand yourself then, yes, I'
m sorry to answer that. Your question. It' s not yes,
you answered it because, I mean, you' re right, I mean,
you' re not. You always like the same ones. You are
always changing, even the same technique or style of architects changes over time.
Why, because they are polishing all the time and then you fall in love
and then you fight and s suddenly deny them and then you say ah good,
but yes, and if we go to the big ones, the architecture
of Barragán in Guadalajara is very, very different from that we come here,
in Mexico City. It' s totally different. Why, because they'
re stages. Yeah, and I think we have to let them go a
little bit, too, actually. Not anymore, because suddenly live these things
not Or be good, already Barragan is very well, the house is incredible,
the dancedi, the pedregal, but there, Guadalajara, no yes,
but already we begin to turn certain sides. That' s what I think.
I don' t have to be here. I mean, suddenly I
don' t know if it' s because it' s Barragán' s
work because of the result or because it' s Barragán' s good point.
That' s a good point, I mean, I don' t
know if it' s like ah like it' s barragan, so I
have to say it' s good when maybe, because it' s not.
I am then asked who are your five favorite Mexican architects and Barragano even
in the first, evidently, and why Barragano is in the first, because
why not. I mean, I think there' s another better one,
of course not. And then there was one, or there was a band
in the' 80s that was called, I say yes no, that of
WIPET. Then you have two albums that call me a lot. The attention
isn' t from Greatest Hits, OK, which are the songs they put
out laterally. One that was called O' s Mises rat, that is,
songs that they thought they were going to hit and didn' t hit
no at the end of the day, that is, everyone has their Ratest
Hits and has their rat months nothing more than everyone who is still on social
networks you always get the grades hits, of course not, but where you
really learn it' s from the rat miss Yes, then I think it
' s also worth not only seeing the architects for their rat hits, but
also coming and criticizing them and saying to see here you fulano doesn' t
work. Because of this, because of this, because of this, and
because of this, and used to say when I have something like this,
don' t try to get in any other way and don' t hear
me like that. Sure, yeah, that' s right, that'
s very true. That' s the way it is, very small things.
Chiqui hears and already to finish this great talk, because the n every
time I invite you, the truth is that it is incredible. What'
s wrong with a program or look at it, as well as gossip.
No, yeah, I' d be full Yeah, you' d be
a messy little stone. Don' t make me announce mayamendas. I was
going to give you a mayonnaise, the VI, a pantheon fly and a
pantheon fly of yes or no. You don' t get the ideoma there.
I' d like to finish now, because I always ask you the
same thing, but this season it' s not like that. No,
no, it' s not equal to that, yeah, that or what.
But we are going to end differently, because before I asked you what
you would say to the students, now not, what you would say to
the architects who are about to take the step, as well as you to
have the same thing or that they are already in the beginning to say no,
because we are already doing in our office. What would you say to
them, because they cut that off, no, that' s the band
' s gonna look black. This says not always, always, always,
always happens right now that you were talking about the spring. He has a
paragraph in which Howard Kurk returns with the one he mentored, showing him the
photos of his office and says Howard Work architect. So the mentor sees them
and says this you see this image, this name. I don' t
say more or less, he says so. It' s not like those
morus, like those phrases that were in the castles and for which the men
died. Don' t mean this is why you' re going to die,
it practically says you' re starting the way of your hell. No.
Then I would say something similar to these architects that I wish them luck
first of all. If you listen to me, they get complicated, if
they come amazing, yes, be very careful what they are accepting, because
suddenly no longer to do something that no one will notice, because you become
famous for that. True, no, and you end up doing things to
me that you didn' t want to do. Then I think you have
to be as very faithful to yourself, two forgivenesss. I think you have
to have a lot of eggs. True, I don' t think having
much courage, being very stubborn, not always waiting for the best. No,
two must be very faithful to himself. True, not wanting when you
have any more doubts. The other day I saw just fast. There appeared
to me in networks some v Arcangers that said when you have doubts nothing else.
Remember why you opened the office? Oh, you saw you didn'
t open, so I bet you didn' t open the office to do
nothing, because if you were to do wool. You won' t be
able to do any other kind of business. Not architecture, not obviously,
because yes, the ana, yes there is, but it is not the
end. When you have that doubt, remember why they opened the office and
the third is that, then, do not stop believing in them well and
do things. I mean, it' s gonna sound so corny, but
your heart' s never gonna fail you. Good. How nice to see
how cute? How cute? You' re hearing so many therapies. Yeah,
you should be, yeah, you should be architecture coaches. You'
re my life coach It' s an architect life car. Yeah, the
truth is, you' re still killing yourself. Woe to seeing for regentain
is you xacto for not one as well. I' m a good,
not a man for a rock band. Yeah, not for knots, too.
Oh, yeah, I can touch the tambourine now. Hey, there
' s Father. I didn' t like it. Listen, thank you
so much for being here with us again. Happy to see you invite me,
I do, even if we stay in the gossip and don' t
record anything. It' s just that you know that the weeks ago we
were with Eduardo Miche, who were here talking, they didn' t know
each other and suddenly boom they were already talking about a thousand things. I
think I' m going to do a couple of programs, as well as
bring together certain architects as of the same generation, but that they don'
t know each other, that they don' t know each other is jokes
that don' t know each other, because it' s exactly what happens.
Yeah, yeah, I' m not organizing it, and obviously,
you' re gonna be inviting me. The times you invite me happy,
super because thank you so much, Mirro. We see ourselves as soon as
you hear this thing that, for for those who do not know me hear
yes bouquets I beg. My instagram is rb arroba with v e r r
V. And the office instagram is equal to RV. But at rq ok
the page Rodrigo Velasco, eat anything with my managers, with my managers no,
no, anything. There' s mail Hello, arroba, Rodrigo Velasco,
with anything that comes up, that comes up. Not very well,
we are always open to any opinion, consultation or circumstances. Yeah, I
don' t know that we can help each other. All right. Thank
you very much, my Ro, and thank you very much to our audience.
See you in the next chapter of this new season. The new programs
are about to come out. Yeah, no, I' m just telling
you, we have new talent here in di Radias and they' re not
gonna miss it. And this one we hear in the next vendense. Here
I work in San Luis Potosí one hundred and thirteen b so that they come
to see pure this furniture of high design. Come and take a turn.
I' m Caran Ramirez. Thank you so much. Bye Bye,