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Hey. How about a very good
afternoon. I' m kran Ramirez.

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We' re on one more die
radio broadcast. I am in your ears

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in the new season, that the
truth is that it is very bad,

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because we are in capo Laboró not
just right now, but that is that

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here are some circumstances that life takes
me mercury retegrately. You' ve been

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working hard since this season. But
this great architect who is here with me,

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because I came to the beautiful State
of Hidalgo, to Pachuca to visit

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them and also for paste, evidently, to interview her. But every now

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and then I go to Mexico City
too, so I' ll walk her

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in the country. He worked at
the time, but I recommend that you

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go for a walk to the shorwom
of Capolaboró that is in the street of

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San Luis Potosí one hundred and thirteen
in the Colony Rome. So it'

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s high- design furniture, so
turn around because it' s amazing.

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And in the meantime, I'
m very happy here in Pachuca, very

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comfortable. You say with my dear
Cinthia Banda. Maybe how you' re

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doing, how happy I am that
you' re here with me, that

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we' ve managed to meet so
long ago. Yeah, we did it.

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He had it all and mercury,
challenge, everything I' ve been

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drugged and everything he hears, what
with the truth he' s so great

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we' re getting out of it
really and before the Eclipse, before the

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etylipse, yes me, but he' s already for you already strong of

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energy, because we felt or felt
that I can' t was the man

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the holograms record I' m very
happy that you invited me here Apochoga,

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I happy of life, no and
it' s good to have you here

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for the first time on my radio, first time you' re new look.

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I' m new to this,
in this one I' m very

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happy, very happy. You know
I really like radio. Thank you,

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I' m here. Thank you
very much. You better get somebody else

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on. The truth is, let' s see first. Yeah, we

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' re really on what we'
re doing and what we' re doing.

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Oh yes, they are doing us
a lot of things and you sell

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also come to give a little turn
that to Pachuca, especially in November,

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because there will already be surprises here
in Pachuca and it will be amazing.

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But, in the meantime, I
want to know later I then in jona

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and baptist mentia, or so,
you left me thinking. But I always

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say the Baptist synthesis, it is
eternal, looking for beauty, that is,

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I think that defines my life and
defends my profession, that is,

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done, I believe that I am
eternal seeker of beauty forever and ever.

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Besides, I say that in my
profession. But I also say that I

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am a work of art and I
work in process, that is, I

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am as always changing and always evolving. And then I think that those would

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be both sides and that they would
define who India is. And so,

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obviously, I' m Lidybeck,
I' m Lilidy directclou, I'

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m mans. So it' s
total, cool amazing and you' re

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all literally pachuca. So it'
s pachuca, pachuqueña, pachoqueña? Wow

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and how it is that you a
pachupinia was included in the architecture. I

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mean no, it' s just
that you can' t, but I

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just want to know how you did
it, because it was really funny because

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my dad is an architect. Then
everyone thought like that, because he'

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s going to be an architect.
And then I said I, then I

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said no. I' m not
gonna say little one like that. There

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' s a world of possibilities.
I used to say architect then. I

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don' t know anything else to
go find, because actually, I think

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that if I go like this in
retrospect, I always liked it. It

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was always my idea and I tried
it first. I used to say when

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I had to pick careers and deduce, because I' m going to do

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a psychologist. Or then she said
she was going to be a textile designer,

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fashion designer. And then doctor who
clearly smelled like a hospital made me

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faint. Then I could be a
little bit, that would be the point.

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Yes, and then later, I
kind of realized that everything I liked,

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that I tilted design and imploded,
because practically aesthetic, not everything in

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aesthetics, then I said. Well, I know I always said I wasn

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' t going to be an architect, but I' m going to be

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an architect. And then already from
there was I' m going to be

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an architect and then go a little
bit alike, against that, because all

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this story that I had with architecture, and it was the same to break

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a little, because well, I' m not just going to be a

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reptecta, I' m going to
be an interest designer. That and then

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my parents saw him drinking. Just
like you' re not gonna die as

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a man. This one is architecture
is really weird, but I was touching

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new terrain and then that' s
how it started, it wasn' t

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like I said it. Well,
now this architecture. And now I want

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to focus on the design of previous
seriously decent you' re going to starve

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sound what you think, yeah,
notice that it' s like it was

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unexplored land, of course, and
then they saw it, as well as

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me. I think that a part
always had like this this little thing,

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not because suddenly I, like the
first works everything and I paid for courses

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and diplomas and workshops of interior design
and design of furniture and color And then

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it gave me. And but it
was like when I started to start an

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architect and then they said like that, well, it almost had fun,

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so they do what they like.
But, then, let him stay on

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the path of architecture. Not because, because finally I lived with many architects

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and for those architects, because the
design was like a little thing. They

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didn' t see it as designs, they were like decoration. I think

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that' s the idea that people
generally have. It' s like he

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doesn' t distinguish design from decoration, yes, totally, and then he

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kind of panicked and said how to
put it. And just like, I

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don' t mean, that'
s not a race. But later,

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I kind of did it and then
I got ready and I told you I

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was working and I was saying good. And now I' m gonna do

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this or, I' m gonna
do this summer. And then, when

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I realized, I said that all
this is only taking me to one place

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and it' s interior design and
that' s when I said well,

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I really like architecture. I still
do, but the part you tell me

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fruit is the dicinc and then that
design hangs seventy percent more than I ok

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is amazing. What a father.
Yeah, yeah, yeah. It'

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s a shock because, obviously,
you and I specialized in different times in

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interiorism and for me in that entity, that is, when I already chose

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the, the specialization was as from
then it was something like very settled and

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it was like already several people chose
it ecl it was already in a boom,

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but wow, well, it touched
you at a time of experimentation.

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What a total, uh, and
besides, I think it' s good

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Pachuca. In Mexico we are very
close too. I think we' re

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a little far away in terms of
shapes, in terms of, let'

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s say it' s actually architectural, design and a lot of things.

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I mean, I don' t
mean that on one side it' s

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better than another, but that they
develop different and then here, like the

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role of interior designer I have collides, because it had to be strengthened then

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more. I feel at the moment
that it was already much more, because

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people already have it very conceptualized.
But I do feel that before it was

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like what land is so much.
Before, I don' t mean,

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architects played interior designers. Yeah,
and they keep playing. That' s

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a little what I' m saying
to me. I don' t like

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it when they suddenly play shindig designers
that they say. No, because I

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' m an architect, I can
do these design issues. Of course,

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everyone can, that is, the
aesthetic sense is individual and we can provide.

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But yes, I think we have
as an obligation to people actually do

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their job or the best thing you
know then I think there' s still

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a lot of this one. I' m going to judge being interiorist and

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not understanding the whole role. Okay. Yeah, yeah, that' s

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right. I think we' re
still here. I' m telling you,

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15 years ago I did get a
holster. No good, well,

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interiors, not those things that the
architects do. No, and that'

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s what they do, as well
as you getting your ass kicked. And

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then, you don' t say. It' s just, it'

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s not a game. I mean, this has to be based, it

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' s got mud. Yeah,
it' s clear that working a lot

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of things. Yeah, and then
it kind of went that way. And

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no, that' s how I
was doing these years. Okay, but

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something, because it does still go
on, not so much, but it

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still follows the attentive one, because
then it has touched me is the fact

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that people, especially in the one
that hires you, do not know how

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to differentiate between design and decoration.
So it' s something like this one,

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like a shot, because there comes
the decorator. I' m sorry.

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I' m sorry, and yes, that' s the line we

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say when you meet a person and
you tell yourself your profession, then you

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put them in boxes. So the
line between you separating the design and the

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heart, because it can look like
just a little word, but there'

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s a whole world behind it.
We don' t know all that'

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s behind it and as you say
it' s ah we' re not

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part of it. Sure, we' re going further, because, well,

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decorators. It can be anyone who
decides there, even at home,

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ah wey buy this pot or put
it here or picture that is, not

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our pass. So sometimes it'
s very difficult to explain that it'

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s not just the sounding of objects. Yes, there are whole stories to

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put together, in particular, to
embody the identity of who will live it,

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to give an identity to those who
will use it a day. If

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you do that, that' s
what they say your house should be yours,

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because you must reflect who you are. Exactly. It' s very

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difficult, I mean, sometimes you
don' t think of a very simple

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thing. I don' t always
tell them, that is, when I

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give some course or when I talk
to customers I fig them. They do

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tell me a lot more. You
guys are telling me what you' re

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telling me for real, but with
what' s not true, you'

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re telling me too clearly. I
like to know and perceive the other client

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and then I start how to put
together in life just as they tell me,

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they work a lot and their needs
everything, but there is also this

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language that tells you more than they
are needing different, and I think that

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there is the amazing thing about design
being able to have that perception and that

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bluish intuition to know exactly what you
are looking for and what you are looking

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for by wanting to make the space
clear. Yes, exactly, that'

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s very true. And it'
s so nice that you have it super

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well- defined, especially that you
set it up. He doesn' t

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hear. But before I talk about
your work as Lady, I can tell

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you how your incursion into the real
world was, after college, how that

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was, so look, I remember. Before I left college I started working

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on my ca. Then I was
doing my service there and we started there

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and either later or for a moment
I said well, maybe I' m

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going to Mexico. No, and
then my dad gave me the chance,

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he told me. And so let' s work, work with me and

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it was like it was left in
this world, in architecture, not as

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we say, like I hand human
rights And then it has its pros and

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cons. That' s what they
used to tell me sometimes. Ah yes,

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that is simple, no, that
is not simple, because finally,

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because the boss is the boss and
the ideas about how they have to prove

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themselves, that is, they are
there what happens, because it is the

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same when a little more of that
boss and then I started to work with

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him and we started to do many
things, that is, when I arrived,

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anyway, I remember that suddenly they
would say no because you will be

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going up and then suddenly towards spas, said Albercas. And that' s

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how I started, that is,
first I started I remember that the first

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thing I got the first thing to
work, so I earned myself alone,

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because obviously we were private initiative,
it was the school facha. Well,

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and then I ventured for a whole
week conceptualizing how to make it the façade

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and everything, and already after that, it kind of got easier. I

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mean, it' s becoming as
simple as the process and I tell you

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later we make pools, then we
made public like I did I realized that

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what I liked was the urap or
I then started to separate a little bit.

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To me I carried only the private
work and because it is almost in

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what I have kept in private work. I really like the customer deal.

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He enjoyed listening to his ideas and
the rope that sounds the most to me

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is like listening to his dreams,
because they are, I mean, uncovering

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a whole life. So it'
s like, you' re understanding why

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people are like that when they tell
you and I figure it' s going

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to have these colors and the light
and the window, and then they completely

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expose you who they are then in
the public work. It' s not

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like that. And then it was
like I started going into my private play

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that I stayed there, I stayed
right on my way and very well father.

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And then how did you say it, because I got to do my

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thing, because I said that because
I kept going with the courses and so

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and then there was a moment that
I remember perfect. The director of Casa

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Palacio took the course and in the
end there was an exhibition and then I

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asked you well, because I was
going that you liked three years after the

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race and I remember. But an
effect that in that exhibition told me well,

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what you like the most, not
because we designed furniture. At that

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time I taught a collection of furniture
and then I already said what you like

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the most And because I said,
because the design and the real estate design

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and the design of the steps.
And then I said good, but you

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' re an architect, I mean, take a line no, and I

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said why I' m going to
take a life, I mean, I

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mean, I understand his posture,
because we were different generations anyway, but

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I was saying why I can'
t do everything I like. You use,

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I mean, I like to design
furniture, but I also like to

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design space and I like to design
interior. And he said who says you

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can' t. And then I
realized, because that was the action of

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many people and that also a little
like him and only working in the company

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that the band, because I was
not traditionally going to leave myself to devote

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myself to all that I wanted and
it was like a direct air came up.

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Same. It was a time.
I remember that I kind of had

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a lot of uncertainty about a lot
of things and then I was in a

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time like I was saying I'
m not having a bad time, and

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then I think the idea was how
I was creating this idea, this company,

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because let' s say this character
and then it was like yes,

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I mean, before biblical law and
I remember perfect talking to my friend and

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my sister and then we said no. I' m going to do or

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I' m going to do all
that that I' m told I can

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' t do. I gather,
so if I like to design dresses and

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also like to design furniture and if
you like to design this spaces can make

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clear, because I decide what the
limits are. Yeah, and then it

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' s just like yours. How
well is incredible and how long has the

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idea, Lady Deck, is four
years old, four years old, is

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successful, that is, the project
are seeing young children, know little because

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and notice me still in the so
then there is a lot of interiorism and

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all ok but as such direct law
we toniforamos, since two thousand twenty ok

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or just like my four years.
Now, in July give him four years

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when he had güey that good.
I congratulate you very much, especially that

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you regret and I know how you
can' t. Of course you can.

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That' s what really applauds the
most, the truth that that day

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I went out, I decide,
but why he' s going to limit

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me saying, I admire him very
much and what he' s telling me

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and I admire a lot of work, but why someone' s going to

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limit what everything I said Sahua Harri, who designs his shoes. Of course,

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I open Shi does the same,
why I' m not going to

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do what I want to do exactly, because yes, it' s good

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that you threw yourself and that you
said to me, no one will stop

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me and that good makes me very
happy. And what the law of Cobrita

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is doing, so, Right now, we' re making a lot of

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noises. Thanks to what I mean, I' m very happy and I

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tell you that I' m very
excited about the projects we' re doing.

250
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We are developing a hotel in Huasca
or maybe it is a themed hotel.

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He' s a real father.
Then I hope that if I finish

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you this year, we' re
also well inside bad houses. I'

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m here pachupa different aficionados cases and
I' m also right now the same

254
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in Mexico City, same department that
happens ah I' m in the past

255
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here and I' m going there, I' m still going into the

256
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Miras village. So, the truth
is that everything is very fast and I

257
00:18:03.279 --> 00:18:07.279
am doing a little bit of you, being an interrorism. Whatever it is,

258
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I' m doing corporate. We' re also talking about bris hotels.

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Already then, because it has him
excited about these seek because, because

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the projects arrive and it is under
duress and then I say this is also

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very country houses. Then you interiorize
in wine, for we are happy with

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it, because of each project it
is different and as if I become a

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law, I say different for each
one of them. No, and then

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I really like it because while on
one side, for example, being something

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more classic, the other might be
something had a lot more alternatives. I

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don' t know, and then
I enjoy being in distil projects. OK,

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that' s amazing. You do, but you have a great equipacio,

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too, no yes. The truth
is, yes, that' s

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still like we' re growing to
one. No, because, because it

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is like these same very new in
u to Toner as in works and different

271
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places, then we are just to
each other and hear. How is your

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design process, I mean, since
it comes to you to the customer and

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tells you that it wants how you
break it down to bringing reality to the

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process. When I have this first
interview with the clients I tell you that

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it is my favorite, because in
that interview the healthy tell me and do

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not tell me how far I can
go, that is, how much they

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are willing to receive color. I
always tell them that I like it a

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lot in that first interview and that
defines everything very much, as well as

279
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dressed in a very different way to
see how much they receive well or how

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much they receive an evil, as
this new idea of how they should present

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themselves to someone and then say that
I know them, that they talk to

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me and that I tell myself that
they are stripping the entire dream and what

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they want. So, the idea
already begins as conceptualized. I need a

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space like scratching, resetting, reading
and as I read, it goes like

285
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creating the idea and then I start
to see comparables. And then that'

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00:20:14.160 --> 00:20:17.400
s how we begin to define.
No and I already give in the first

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00:20:17.400 --> 00:20:22.599
ideas, and that' s how
the lines begin because let' s say

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the project, and that' s
when I start to say see now we

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' re going to do this here, we' re going to do that

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and we' re going to define
and we' re going to profile and

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we' re going to detail each
of the furniture elements that have to report.

292
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And so already with that, because
the plans are already starting to come

293
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out, already the proposals are starting
to come out. This I like to

294
00:20:45.799 --> 00:20:48.559
give several proposals, nor so many, so that the client is not confused.

295
00:20:48.680 --> 00:20:52.839
Yeah, just because all of a
sudden it' s like there'

296
00:20:52.920 --> 00:20:56.279
s a universe in that you'
re learning to go with that because if

297
00:20:56.359 --> 00:21:00.240
sometimes you don' t know what
you want, then you put a thousand

298
00:21:00.400 --> 00:21:03.359
litions on them you' re going
to see them less then, like,

299
00:21:03.559 --> 00:21:10.839
well, we' re already cutting
that and after that, then we already

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00:21:10.839 --> 00:21:15.759
put proposals, we presented renders and
already, we practically got the idea,

301
00:21:15.960 --> 00:21:21.920
that is, the client is already
telling us that he thinks it' s

302
00:21:21.920 --> 00:21:26.720
incredible of the proposal, of what
he could do without, and then we

303
00:21:26.839 --> 00:21:29.039
start to crash him, and that' s all that is how we practically

304
00:21:29.039 --> 00:21:30.240
got to the project and then to
build the revolution. Of course, and

305
00:21:30.359 --> 00:21:33.519
it' s practically just like that. You have to be in there in

306
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the whole process. You' ll
like it now, yes, it was

307
00:21:36.519 --> 00:21:40.240
you. I like it a lot
and I like, for example, going

308
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to the beginning. I like it
the same way in the process, but

309
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I think the start is my favorite
part, because it' s like here

310
00:21:45.680 --> 00:21:48.119
what are we going to do?
What' s that gonna do? How

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00:21:48.359 --> 00:21:51.640
does it get into the light like
pain comes, what are we going to

312
00:21:51.640 --> 00:21:55.079
do? So that' s like
my favorite and my process, let'

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s run the execution and woman see
how it' s going to be modified,

314
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be the space she likes and when
it' s finished, wow mckout

315
00:22:06.960 --> 00:22:07.680
So, wow, what a nice
process. And you' re born as

316
00:22:07.680 --> 00:22:11.319
something very specific, just like I
don' t know how to cheer cisa,

317
00:22:11.720 --> 00:22:14.920
but example, before starting a project, I hear the beatles. You

318
00:22:14.960 --> 00:22:18.119
do something like a ritual. I' m making a serious production list.

319
00:22:18.359 --> 00:22:22.480
Yeah, I mean, I feel
like it' s really funny, because

320
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I' ve always said that I
have to embrace the five feelings. So,

321
00:22:26.559 --> 00:22:32.039
then, I prepare myself as well
as to see what music I'

322
00:22:32.160 --> 00:22:37.079
m going to give me as for
this project no And then it can be

323
00:22:37.880 --> 00:22:40.960
were he Killer, it can be
Taylor Swift, or it can be the

324
00:22:41.079 --> 00:22:41.160
Beatles, no, I mean,
you can say as he wants. And

325
00:22:41.240 --> 00:22:45.359
then I' m going to form
the list of the project. And then,

326
00:22:45.480 --> 00:22:49.240
since I kind of say ay I
need you to tomas by force,

327
00:22:49.519 --> 00:22:55.119
I add because I design I'
m better music and then I start,

328
00:22:55.200 --> 00:22:57.039
as if I do the playlist.
And then it also gives me how to

329
00:22:57.079 --> 00:23:02.640
see how colorful and I start though
the project in the final part might not

330
00:23:02.680 --> 00:23:06.200
have that color, but I like
to use it as a color, an

331
00:23:06.480 --> 00:23:11.079
aroma. I liked to associate the
same as a texture and then I start

332
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as thinking like that to where.
Then I' m going globato ok.

333
00:23:17.000 --> 00:23:19.319
That' s why you play some
kind of music. When you take a

334
00:23:19.359 --> 00:23:25.200
picture of your project, right,
yeah, that one- hundred music is

335
00:23:25.200 --> 00:23:27.920
smart. That' s why,
uh, and I get it, you

336
00:23:27.920 --> 00:23:30.799
do have your lists. Because,
because each project, that is, there

337
00:23:30.799 --> 00:23:36.240
are softer projects, there are more
classic projects and there are projects as they

338
00:23:36.359 --> 00:23:41.880
need to be rockers. So,
like everyone has the socialist and her suppliers.

339
00:23:42.079 --> 00:23:45.160
Not because, I mean, it' s your supplier, it can

340
00:23:45.240 --> 00:23:51.440
' t be for this one,
so it starts the way it has,

341
00:23:51.440 --> 00:23:53.279
because a whole world, the only
ones. Of course how nice I liked

342
00:23:53.400 --> 00:23:57.839
that which father you can do in
the yes and I am yes, I

343
00:23:57.839 --> 00:24:03.279
say and yes very much as the
sas as a bela, that is,

344
00:24:03.440 --> 00:24:07.720
or some more specific hour for that
project. What this has to read then

345
00:24:07.880 --> 00:24:12.200
is that it' s all.
But what more than I think I am

346
00:24:12.240 --> 00:24:18.359
very ulti very well and what parents
is amazing I really liked that too I

347
00:24:18.319 --> 00:24:22.960
understood the stories. Yes, there' s a father. He' s

348
00:24:23.000 --> 00:24:26.680
ready to play. Yeah,'
cause I see your stories about your projects

349
00:24:26.759 --> 00:24:30.559
and all of a sudden, because
it jumps from a kilo to a guah

350
00:24:30.640 --> 00:24:34.160
because maybe we have the same musical
taste. Half a revolt dawned a playlist.

351
00:24:36.400 --> 00:24:40.920
I was very, very old,
I' m very pleased. Hey,

352
00:24:41.200 --> 00:24:45.519
you want your five favorite architects.
See that it' s hard.

353
00:24:45.640 --> 00:24:47.480
It' s hard, it'
s hard. Yeah, yeah, yeah,

354
00:24:48.440 --> 00:24:52.160
I mean, I think I'
d put it, okay, I

355
00:24:52.160 --> 00:24:53.960
mean? She' s a goddess, yes, totally, I mean.

356
00:24:55.039 --> 00:25:00.319
It was completely different and I think
that' s something that and then,

357
00:25:00.720 --> 00:25:12.079
because rits more regm equal I fascinate
Hanney of the ship and of course I

358
00:25:12.160 --> 00:25:17.920
like franklor Wright and my I think
would be my tito. Yes, and

359
00:25:18.200 --> 00:25:19.440
that, for example, that to
me is I like, for example,

360
00:25:19.799 --> 00:25:25.200
in architecture, but I do,
I least is more, it doesn'

361
00:25:25.279 --> 00:25:30.279
t work for me, but I
like a lot, of course, I

362
00:25:30.279 --> 00:25:33.960
really like the reference, but I
think that there I am more like Iros

363
00:25:34.079 --> 00:25:38.880
Offel and Morris Moren dess something.
Yes, yes, yes sometimes very is

364
00:25:38.960 --> 00:25:45.000
sometimes so many, sometimes very use. Yeah, oh, yeah, that

365
00:25:45.160 --> 00:25:49.119
' s different stages, and I
think I was talking. I think that

366
00:25:49.240 --> 00:25:52.519
last week with an architect that just
happens, that is suddenly you like some

367
00:25:52.599 --> 00:25:56.720
very much is because you don'
t pay so much attention and pay more

368
00:25:56.720 --> 00:26:00.680
attention to others. But it'
s the architect' s stage is the

369
00:26:00.680 --> 00:26:03.400
same. The beginnings are obstructed that
the endings do not, i e,

370
00:26:03.359 --> 00:26:06.920
that is in terms of tastes.
It' s also that yes then,

371
00:26:07.359 --> 00:26:11.119
but wow it' s amazing,
is that you' re absolutely right,

372
00:26:11.599 --> 00:26:14.319
i e you may like it as
you say the beginning, or you may

373
00:26:14.319 --> 00:26:15.160
like the latest works. Of course, then, not always coir sides,

374
00:26:15.319 --> 00:26:19.079
no, but there are many things
that you admire if you take them as

375
00:26:19.119 --> 00:26:22.680
pre- support, and I think
it' s that I always say,

376
00:26:22.119 --> 00:26:25.240
I mean, I think that'
s just the sum of all our references.

377
00:26:25.440 --> 00:26:30.799
We are not like the sum of
what we all like. It'

378
00:26:30.839 --> 00:26:34.160
s what we are and it'
s what we deepened at the exact end

379
00:26:34.240 --> 00:26:37.000
this hears I had an amazing time
and I hope it' s not the

380
00:26:37.079 --> 00:26:41.799
last time you come to look good, that I come to you yes I

381
00:26:41.279 --> 00:26:45.640
come and that if I desc you
touch the play or I will have finished

382
00:26:45.680 --> 00:26:49.400
it exactly in this place and are
believed to this place what it' s

383
00:26:49.440 --> 00:26:51.880
called notice, this being auditor lugo
te Achlanta. But the one we'

384
00:26:52.519 --> 00:26:55.720
re seeing is I' m going
out. It is the tread of the

385
00:26:55.839 --> 00:27:00.480
woman of most or that there are
thousands and mañas of pesstadicos that it is

386
00:27:00.160 --> 00:27:03.599
indeed a esplanade everything, everything,
everything, but that really a projection that

387
00:27:03.720 --> 00:27:08.519
is seen right now. There'
s machinery on the ground and everyone'

388
00:27:08.559 --> 00:27:11.160
s on the move. But I
know that November this is going to be

389
00:27:11.359 --> 00:27:15.839
shocking smo, but it is clear
to me that that is, because I

390
00:27:15.880 --> 00:27:18.440
was going to get on to everything
of course that yes, that is,

391
00:27:18.640 --> 00:27:22.559
I have it because for a long
time I was given like the flagious ones

392
00:27:22.640 --> 00:27:26.160
of what you are going to see
of what you are already thinking I said

393
00:27:26.440 --> 00:27:29.359
no yes, I have to come
listen, yes, to see how it

394
00:27:29.400 --> 00:27:30.759
gives everything, but it will not
look incredible. I mean, I think

395
00:27:30.759 --> 00:27:33.480
that' s what I' m
telling you, I mean, I feel

396
00:27:33.599 --> 00:27:37.319
like pachuca, the pachokemies, the
architecture, the design. We' re

397
00:27:37.400 --> 00:27:41.599
kind of in transition. It is
different what is called Mexico, I insist

398
00:27:41.680 --> 00:27:45.119
a no return to any evil,
that is, but they are different.

399
00:27:45.240 --> 00:27:48.960
So I think we' re,
like, at this stage of growth and

400
00:27:48.960 --> 00:27:52.359
of accepting things, of accepting ideas. And then I think he' s

401
00:27:52.359 --> 00:27:56.319
got perfect. He doesn' t
treat very well. Listen and now to

402
00:27:56.440 --> 00:27:59.240
close this great interview, which is
not going to be the last, because

403
00:27:59.319 --> 00:28:03.319
I want you to follow me not
so much from your playlists and your works

404
00:28:03.359 --> 00:28:06.960
that I really liked that, because
yes, I come again clearly or if

405
00:28:07.039 --> 00:28:11.319
we don' t make you infisile. Thanks to yes, I would very

406
00:28:11.759 --> 00:28:15.400
much like to do the proyo,
please, there will be now of the

407
00:28:15.400 --> 00:28:21.279
architects. I imagined and there you
see that. Yeah, yeah, well,

408
00:28:21.359 --> 00:28:26.359
bad hey. We do that first. You know when we started on

409
00:28:26.480 --> 00:28:30.640
radio we asked the architects that we
were going to interview or the designers and

410
00:28:30.680 --> 00:28:33.759
five songs that they liked, that
is, that they wanted a lot and

411
00:28:33.839 --> 00:28:36.480
we put them and people asked him
a lot. That' s why.

412
00:28:36.599 --> 00:28:41.279
I think we' ve pulled it
out a little bit, especially or right

413
00:28:41.400 --> 00:28:42.319
off we' re not gonna do
it. I think I' m gonna

414
00:28:42.359 --> 00:28:47.599
find a way to put the plais
in Spotify so that maybe it' s

415
00:28:47.599 --> 00:28:49.799
interesting. It is that it is
also to know people like this through music

416
00:28:49.880 --> 00:28:53.319
their tastes. It' s also
getting to know them that' s a

417
00:28:53.319 --> 00:28:56.000
great way. Then I' ll
find a way. Promise me, you

418
00:28:56.440 --> 00:29:00.240
' ll catch me all. I' m going to go back to the

419
00:29:00.359 --> 00:29:03.359
thing about taking back people from radio
life. Thank you for them, thank

420
00:29:03.400 --> 00:29:10.640
you really hear and I would already
like you to tell someone so in high

421
00:29:10.759 --> 00:29:14.279
chair, in design, so enthroned
in architecture. I would really like you

422
00:29:14.319 --> 00:29:18.480
to say something to the new generations
of architects who are just like you about

423
00:29:18.599 --> 00:29:22.799
to step in, do the same
or are already starting. What would you

424
00:29:22.839 --> 00:29:26.839
tell them that I don' t
know is anio, that is, there

425
00:29:26.880 --> 00:29:30.440
' s going to be a lot
of things you say. It' s

426
00:29:30.519 --> 00:29:33.759
not for me, or it'
s not for me, but I think

427
00:29:33.839 --> 00:29:36.960
if you stick to what you want
and you' re clear about it,

428
00:29:37.119 --> 00:29:37.799
that is, you have to go, so it' s going to cost

429
00:29:37.799 --> 00:29:40.599
you your job. Yeah, but
you' re also gonna like work maybe,

430
00:29:40.759 --> 00:29:44.359
which I don' t look for, so you better put all the

431
00:29:44.720 --> 00:29:47.000
desire into this thing that you'
re liking and, above all, finding.

432
00:29:47.920 --> 00:29:52.400
And I always tell them that when
I burn them, I' m

433
00:29:52.599 --> 00:29:55.240
class, I mean, I always
tell them. It' s how you

434
00:29:55.599 --> 00:29:59.319
have to find out what you like
about what you' re good at and

435
00:29:59.400 --> 00:30:02.519
how you look not, what you
want to keep doing and then go about

436
00:30:02.519 --> 00:30:07.079
that idea, that is, stay, because there are good days, yes,

437
00:30:07.319 --> 00:30:08.799
there are very bad days, that
is, not everything. But the

438
00:30:08.839 --> 00:30:12.839
thing is like not getting discouraged or
saying good or saying good or not,

439
00:30:14.240 --> 00:30:18.799
everything hard always stops or good or
so it' s being like with the

440
00:30:18.880 --> 00:30:22.559
feet on the ground and saying what
I' m going to do so that

441
00:30:23.079 --> 00:30:30.559
what I want aren' t and
then and about that sounds like they'

442
00:30:30.839 --> 00:30:33.960
re not my death and persisting hold
water. There' s no more exacting.

443
00:30:33.240 --> 00:30:36.440
That' s a great advice from
the truth, because sometimes it'

444
00:30:36.480 --> 00:30:38.720
s like the new generations want everything, like very fast, because that'

445
00:30:38.759 --> 00:30:44.799
s how the world is right now
moving forward and they want everything too that

446
00:30:44.799 --> 00:30:48.599
the results are already. But in
architecture it is a very different process,

447
00:30:48.400 --> 00:30:52.640
it is true a process little by
little. And that' s what you

448
00:30:52.880 --> 00:30:57.279
know I think it' s the
same when I' m done with primes.

449
00:30:57.359 --> 00:31:03.240
So they said, no, critical, but I try not to gregrate,

450
00:31:03.000 --> 00:31:06.599
that is, to give you my
point of view. But and I

451
00:31:06.640 --> 00:31:07.799
think that' s the same Sometimes
it cheers them up a lot. No,

452
00:31:07.880 --> 00:31:10.759
so someone tells you, oh,
no, I don' t like

453
00:31:10.960 --> 00:31:15.640
it, yeah, you can'
t hear it a thousand times, but

454
00:31:15.680 --> 00:31:18.119
I mean, you have to be
clear. Well, I' ll have

455
00:31:18.200 --> 00:31:22.279
this the best in this diminution.
If to my consideration is very good,

456
00:31:22.880 --> 00:31:26.279
then defend that idea, because sometimes
it is only a matter of s then

457
00:31:26.359 --> 00:31:30.920
don' t take criticism so seriously, neither good nor mine. I mean,

458
00:31:30.359 --> 00:31:33.519
it' s clear, because maybe
a lot of people I' ve

459
00:31:33.519 --> 00:31:37.319
seen get discouraged. So, then
I try how to always like to guide,

460
00:31:37.559 --> 00:31:41.640
but not for the ugly side,
that is, that' s all.

461
00:31:41.880 --> 00:31:47.279
They tell me no, because you' re not here because you don

462
00:31:47.480 --> 00:31:48.599
' t say what' s wrong. No, yes, I say,

463
00:31:49.000 --> 00:31:52.720
but I change the whole thing.
I don' t like it. I

464
00:31:52.799 --> 00:31:56.680
wouldn' t want you to decide
for me to blow your dream off.

465
00:31:56.079 --> 00:32:00.279
Of course, I say no.
I' m not disis. So that

466
00:32:00.279 --> 00:32:04.759
' s the point. I use
them to be clear that what they are

467
00:32:05.000 --> 00:32:07.200
doing and more and they did it
with all the effort and all the knowledge.

468
00:32:07.599 --> 00:32:10.319
I know that, because they are
very well, yes, that they

469
00:32:10.319 --> 00:32:16.000
may have certain additions, they are
modifications, not as they are all clear,

470
00:32:17.000 --> 00:32:22.720
but that they do not define a
critical hand or very well belt of

471
00:32:22.720 --> 00:32:24.640
truth. Thank you so much for
being here with us on deo day for

472
00:32:24.680 --> 00:32:28.119
the first time and for this being
the lot, the first of many.

473
00:32:28.519 --> 00:32:31.279
So it will be, please,
I' m happy to have you here

474
00:32:31.319 --> 00:32:35.759
woe that we volga cicar y con
ser and already after taking to the projects

475
00:32:35.880 --> 00:32:37.559
of Mexico. Yeah, let'
s go to the Rubi show. Yes,

476
00:32:37.640 --> 00:32:40.119
please, I' m very emotional, not really. Yeah, thanks

477
00:32:40.119 --> 00:32:44.000
for this first invitation. You don' t have to say a thousand thanks.

478
00:32:44.039 --> 00:32:47.000
I am very happy to be here
in Pachuca and you come to take

479
00:32:47.039 --> 00:32:51.720
a tour of the Pachuca system especially
in November so that you will see the

480
00:32:51.720 --> 00:32:53.200
great progress that is here in Pachuca, because it is cooking. It'

481
00:32:53.240 --> 00:32:55.759
s still cooking and it' s
gonna be amazing. And I also invite

482
00:32:55.759 --> 00:33:00.599
you to go to the field show
working there in San Luis, photos in

483
00:33:00.200 --> 00:33:04.519
one hundred and thirteen in the Colonia
Roma, do not miss it. Go

484
00:33:04.519 --> 00:33:07.680
take a turn and I, when
you go to Mexico City, will turn

485
00:33:07.079 --> 00:33:09.920
you around to a certain pontoon.
Of course he does, he takes you

486
00:33:09.920 --> 00:33:14.559
a go. She' s so
excited. We' ll go grandparents and

487
00:33:14.559 --> 00:33:16.079
not you. Thank you very much
and thank you very much for listening to

488
00:33:16.079 --> 00:33:20.079
us. See you next time because
we' re in the new season and

489
00:33:20.119 --> 00:33:22.519
the new programs are about to come
out. Thank you very much. Bye Bye,