Hey. How about a very good afternoon. I' m kran Ramirez.
We' re on one more die radio broadcast. I am in your ears
in the new season, that the truth is that it is very bad,
because we are in capo Laboró not just right now, but that is that
here are some circumstances that life takes me mercury retegrately. You' ve been
working hard since this season. But this great architect who is here with me,
because I came to the beautiful State of Hidalgo, to Pachuca to visit
them and also for paste, evidently, to interview her. But every now
and then I go to Mexico City too, so I' ll walk her
in the country. He worked at the time, but I recommend that you
go for a walk to the shorwom of Capolaboró that is in the street of
San Luis Potosí one hundred and thirteen in the Colony Rome. So it'
s high- design furniture, so turn around because it' s amazing.
And in the meantime, I' m very happy here in Pachuca, very
comfortable. You say with my dear Cinthia Banda. Maybe how you' re
doing, how happy I am that you' re here with me, that
we' ve managed to meet so long ago. Yeah, we did it.
He had it all and mercury, challenge, everything I' ve been
drugged and everything he hears, what with the truth he' s so great
we' re getting out of it really and before the Eclipse, before the
etylipse, yes me, but he' s already for you already strong of
energy, because we felt or felt that I can' t was the man
the holograms record I' m very happy that you invited me here Apochoga,
I happy of life, no and it' s good to have you here
for the first time on my radio, first time you' re new look.
I' m new to this, in this one I' m very
happy, very happy. You know I really like radio. Thank you,
I' m here. Thank you very much. You better get somebody else
on. The truth is, let' s see first. Yeah, we
' re really on what we' re doing and what we' re doing.
Oh yes, they are doing us a lot of things and you sell
also come to give a little turn that to Pachuca, especially in November,
because there will already be surprises here in Pachuca and it will be amazing.
But, in the meantime, I want to know later I then in jona
and baptist mentia, or so, you left me thinking. But I always
say the Baptist synthesis, it is eternal, looking for beauty, that is,
I think that defines my life and defends my profession, that is,
done, I believe that I am eternal seeker of beauty forever and ever.
Besides, I say that in my profession. But I also say that I
am a work of art and I work in process, that is, I
am as always changing and always evolving. And then I think that those would
be both sides and that they would define who India is. And so,
obviously, I' m Lidybeck, I' m Lilidy directclou, I'
m mans. So it' s total, cool amazing and you' re
all literally pachuca. So it' s pachuca, pachuqueña, pachoqueña? Wow
and how it is that you a pachupinia was included in the architecture. I
mean no, it' s just that you can' t, but I
just want to know how you did it, because it was really funny because
my dad is an architect. Then everyone thought like that, because he'
s going to be an architect. And then I said I, then I
said no. I' m not gonna say little one like that. There
' s a world of possibilities. I used to say architect then. I
don' t know anything else to go find, because actually, I think
that if I go like this in retrospect, I always liked it. It
was always my idea and I tried it first. I used to say when
I had to pick careers and deduce, because I' m going to do
a psychologist. Or then she said she was going to be a textile designer,
fashion designer. And then doctor who clearly smelled like a hospital made me
faint. Then I could be a little bit, that would be the point.
Yes, and then later, I kind of realized that everything I liked,
that I tilted design and imploded, because practically aesthetic, not everything in
aesthetics, then I said. Well, I know I always said I wasn
' t going to be an architect, but I' m going to be
an architect. And then already from there was I' m going to be
an architect and then go a little bit alike, against that, because all
this story that I had with architecture, and it was the same to break
a little, because well, I' m not just going to be a
reptecta, I' m going to be an interest designer. That and then
my parents saw him drinking. Just like you' re not gonna die as
a man. This one is architecture is really weird, but I was touching
new terrain and then that' s how it started, it wasn' t
like I said it. Well, now this architecture. And now I want
to focus on the design of previous seriously decent you' re going to starve
sound what you think, yeah, notice that it' s like it was
unexplored land, of course, and then they saw it, as well as
me. I think that a part always had like this this little thing,
not because suddenly I, like the first works everything and I paid for courses
and diplomas and workshops of interior design and design of furniture and color And then
it gave me. And but it was like when I started to start an
architect and then they said like that, well, it almost had fun,
so they do what they like. But, then, let him stay on
the path of architecture. Not because, because finally I lived with many architects
and for those architects, because the design was like a little thing. They
didn' t see it as designs, they were like decoration. I think
that' s the idea that people generally have. It' s like he
doesn' t distinguish design from decoration, yes, totally, and then he
kind of panicked and said how to put it. And just like, I
don' t mean, that' s not a race. But later,
I kind of did it and then I got ready and I told you I
was working and I was saying good. And now I' m gonna do
this or, I' m gonna do this summer. And then, when
I realized, I said that all this is only taking me to one place
and it' s interior design and that' s when I said well,
I really like architecture. I still do, but the part you tell me
fruit is the dicinc and then that design hangs seventy percent more than I ok
is amazing. What a father. Yeah, yeah, yeah. It'
s a shock because, obviously, you and I specialized in different times in
interiorism and for me in that entity, that is, when I already chose
the, the specialization was as from then it was something like very settled and
it was like already several people chose it ecl it was already in a boom,
but wow, well, it touched you at a time of experimentation.
What a total, uh, and besides, I think it' s good
Pachuca. In Mexico we are very close too. I think we' re
a little far away in terms of shapes, in terms of, let'
s say it' s actually architectural, design and a lot of things.
I mean, I don' t mean that on one side it' s
better than another, but that they develop different and then here, like the
role of interior designer I have collides, because it had to be strengthened then
more. I feel at the moment that it was already much more, because
people already have it very conceptualized. But I do feel that before it was
like what land is so much. Before, I don' t mean,
architects played interior designers. Yeah, and they keep playing. That' s
a little what I' m saying to me. I don' t like
it when they suddenly play shindig designers that they say. No, because I
' m an architect, I can do these design issues. Of course,
everyone can, that is, the aesthetic sense is individual and we can provide.
But yes, I think we have as an obligation to people actually do
their job or the best thing you know then I think there' s still
a lot of this one. I' m going to judge being interiorist and
not understanding the whole role. Okay. Yeah, yeah, that' s
right. I think we' re still here. I' m telling you,
15 years ago I did get a holster. No good, well,
interiors, not those things that the architects do. No, and that'
s what they do, as well as you getting your ass kicked. And
then, you don' t say. It' s just, it'
s not a game. I mean, this has to be based, it
' s got mud. Yeah, it' s clear that working a lot
of things. Yeah, and then it kind of went that way. And
no, that' s how I was doing these years. Okay, but
something, because it does still go on, not so much, but it
still follows the attentive one, because then it has touched me is the fact
that people, especially in the one that hires you, do not know how
to differentiate between design and decoration. So it' s something like this one,
like a shot, because there comes the decorator. I' m sorry.
I' m sorry, and yes, that' s the line we
say when you meet a person and you tell yourself your profession, then you
put them in boxes. So the line between you separating the design and the
heart, because it can look like just a little word, but there'
s a whole world behind it. We don' t know all that'
s behind it and as you say it' s ah we' re not
part of it. Sure, we' re going further, because, well,
decorators. It can be anyone who decides there, even at home,
ah wey buy this pot or put it here or picture that is, not
our pass. So sometimes it' s very difficult to explain that it'
s not just the sounding of objects. Yes, there are whole stories to
put together, in particular, to embody the identity of who will live it,
to give an identity to those who will use it a day. If
you do that, that' s what they say your house should be yours,
because you must reflect who you are. Exactly. It' s very
difficult, I mean, sometimes you don' t think of a very simple
thing. I don' t always tell them, that is, when I
give some course or when I talk to customers I fig them. They do
tell me a lot more. You guys are telling me what you' re
telling me for real, but with what' s not true, you'
re telling me too clearly. I like to know and perceive the other client
and then I start how to put together in life just as they tell me,
they work a lot and their needs everything, but there is also this
language that tells you more than they are needing different, and I think that
there is the amazing thing about design being able to have that perception and that
bluish intuition to know exactly what you are looking for and what you are looking
for by wanting to make the space clear. Yes, exactly, that'
s very true. And it' s so nice that you have it super
well- defined, especially that you set it up. He doesn' t
hear. But before I talk about your work as Lady, I can tell
you how your incursion into the real world was, after college, how that
was, so look, I remember. Before I left college I started working
on my ca. Then I was doing my service there and we started there
and either later or for a moment I said well, maybe I' m
going to Mexico. No, and then my dad gave me the chance,
he told me. And so let' s work, work with me and
it was like it was left in this world, in architecture, not as
we say, like I hand human rights And then it has its pros and
cons. That' s what they used to tell me sometimes. Ah yes,
that is simple, no, that is not simple, because finally,
because the boss is the boss and the ideas about how they have to prove
themselves, that is, they are there what happens, because it is the
same when a little more of that boss and then I started to work with
him and we started to do many things, that is, when I arrived,
anyway, I remember that suddenly they would say no because you will be
going up and then suddenly towards spas, said Albercas. And that' s
how I started, that is, first I started I remember that the first
thing I got the first thing to work, so I earned myself alone,
because obviously we were private initiative, it was the school facha. Well,
and then I ventured for a whole week conceptualizing how to make it the façade
and everything, and already after that, it kind of got easier. I
mean, it' s becoming as simple as the process and I tell you
later we make pools, then we made public like I did I realized that
what I liked was the urap or I then started to separate a little bit.
To me I carried only the private work and because it is almost in
what I have kept in private work. I really like the customer deal.
He enjoyed listening to his ideas and the rope that sounds the most to me
is like listening to his dreams, because they are, I mean, uncovering
a whole life. So it' s like, you' re understanding why
people are like that when they tell you and I figure it' s going
to have these colors and the light and the window, and then they completely
expose you who they are then in the public work. It' s not
like that. And then it was like I started going into my private play
that I stayed there, I stayed right on my way and very well father.
And then how did you say it, because I got to do my
thing, because I said that because I kept going with the courses and so
and then there was a moment that I remember perfect. The director of Casa
Palacio took the course and in the end there was an exhibition and then I
asked you well, because I was going that you liked three years after the
race and I remember. But an effect that in that exhibition told me well,
what you like the most, not because we designed furniture. At that
time I taught a collection of furniture and then I already said what you like
the most And because I said, because the design and the real estate design
and the design of the steps. And then I said good, but you
' re an architect, I mean, take a line no, and I
said why I' m going to take a life, I mean, I
mean, I understand his posture, because we were different generations anyway, but
I was saying why I can' t do everything I like. You use,
I mean, I like to design furniture, but I also like to
design space and I like to design interior. And he said who says you
can' t. And then I realized, because that was the action of
many people and that also a little like him and only working in the company
that the band, because I was not traditionally going to leave myself to devote
myself to all that I wanted and it was like a direct air came up.
Same. It was a time. I remember that I kind of had
a lot of uncertainty about a lot of things and then I was in a
time like I was saying I' m not having a bad time, and
then I think the idea was how I was creating this idea, this company,
because let' s say this character and then it was like yes,
I mean, before biblical law and I remember perfect talking to my friend and
my sister and then we said no. I' m going to do or
I' m going to do all that that I' m told I can
' t do. I gather, so if I like to design dresses and
also like to design furniture and if you like to design this spaces can make
clear, because I decide what the limits are. Yeah, and then it
' s just like yours. How well is incredible and how long has the
idea, Lady Deck, is four years old, four years old, is
successful, that is, the project are seeing young children, know little because
and notice me still in the so then there is a lot of interiorism and
all ok but as such direct law we toniforamos, since two thousand twenty ok
or just like my four years. Now, in July give him four years
when he had güey that good. I congratulate you very much, especially that
you regret and I know how you can' t. Of course you can.
That' s what really applauds the most, the truth that that day
I went out, I decide, but why he' s going to limit
me saying, I admire him very much and what he' s telling me
and I admire a lot of work, but why someone' s going to
limit what everything I said Sahua Harri, who designs his shoes. Of course,
I open Shi does the same, why I' m not going to
do what I want to do exactly, because yes, it' s good
that you threw yourself and that you said to me, no one will stop
me and that good makes me very happy. And what the law of Cobrita
is doing, so, Right now, we' re making a lot of
noises. Thanks to what I mean, I' m very happy and I
tell you that I' m very excited about the projects we' re doing.
We are developing a hotel in Huasca or maybe it is a themed hotel.
He' s a real father. Then I hope that if I finish
you this year, we' re also well inside bad houses. I'
m here pachupa different aficionados cases and I' m also right now the same
in Mexico City, same department that happens ah I' m in the past
here and I' m going there, I' m still going into the
Miras village. So, the truth is that everything is very fast and I
am doing a little bit of you, being an interrorism. Whatever it is,
I' m doing corporate. We' re also talking about bris hotels.
Already then, because it has him excited about these seek because, because
the projects arrive and it is under duress and then I say this is also
very country houses. Then you interiorize in wine, for we are happy with
it, because of each project it is different and as if I become a
law, I say different for each one of them. No, and then
I really like it because while on one side, for example, being something
more classic, the other might be something had a lot more alternatives. I
don' t know, and then I enjoy being in distil projects. OK,
that' s amazing. You do, but you have a great equipacio,
too, no yes. The truth is, yes, that' s
still like we' re growing to one. No, because, because it
is like these same very new in u to Toner as in works and different
places, then we are just to each other and hear. How is your
design process, I mean, since it comes to you to the customer and
tells you that it wants how you break it down to bringing reality to the
process. When I have this first interview with the clients I tell you that
it is my favorite, because in that interview the healthy tell me and do
not tell me how far I can go, that is, how much they
are willing to receive color. I always tell them that I like it a
lot in that first interview and that defines everything very much, as well as
dressed in a very different way to see how much they receive well or how
much they receive an evil, as this new idea of how they should present
themselves to someone and then say that I know them, that they talk to
me and that I tell myself that they are stripping the entire dream and what
they want. So, the idea already begins as conceptualized. I need a
space like scratching, resetting, reading and as I read, it goes like
creating the idea and then I start to see comparables. And then that'
s how we begin to define. No and I already give in the first
ideas, and that' s how the lines begin because let' s say
the project, and that' s when I start to say see now we
' re going to do this here, we' re going to do that
and we' re going to define and we' re going to profile and
we' re going to detail each of the furniture elements that have to report.
And so already with that, because the plans are already starting to come
out, already the proposals are starting to come out. This I like to
give several proposals, nor so many, so that the client is not confused.
Yeah, just because all of a sudden it' s like there'
s a universe in that you' re learning to go with that because if
sometimes you don' t know what you want, then you put a thousand
litions on them you' re going to see them less then, like,
well, we' re already cutting that and after that, then we already
put proposals, we presented renders and already, we practically got the idea,
that is, the client is already telling us that he thinks it' s
incredible of the proposal, of what he could do without, and then we
start to crash him, and that' s all that is how we practically
got to the project and then to build the revolution. Of course, and
it' s practically just like that. You have to be in there in
the whole process. You' ll like it now, yes, it was
you. I like it a lot and I like, for example, going
to the beginning. I like it the same way in the process, but
I think the start is my favorite part, because it' s like here
what are we going to do? What' s that gonna do? How
does it get into the light like pain comes, what are we going to
do? So that' s like my favorite and my process, let'
s run the execution and woman see how it' s going to be modified,
be the space she likes and when it' s finished, wow mckout
So, wow, what a nice process. And you' re born as
something very specific, just like I don' t know how to cheer cisa,
but example, before starting a project, I hear the beatles. You
do something like a ritual. I' m making a serious production list.
Yeah, I mean, I feel like it' s really funny, because
I' ve always said that I have to embrace the five feelings. So,
then, I prepare myself as well as to see what music I'
m going to give me as for this project no And then it can be
were he Killer, it can be Taylor Swift, or it can be the
Beatles, no, I mean, you can say as he wants. And
then I' m going to form the list of the project. And then,
since I kind of say ay I need you to tomas by force,
I add because I design I' m better music and then I start,
as if I do the playlist. And then it also gives me how to
see how colorful and I start though the project in the final part might not
have that color, but I like to use it as a color, an
aroma. I liked to associate the same as a texture and then I start
as thinking like that to where. Then I' m going globato ok.
That' s why you play some kind of music. When you take a
picture of your project, right, yeah, that one- hundred music is
smart. That' s why, uh, and I get it, you
do have your lists. Because, because each project, that is, there
are softer projects, there are more classic projects and there are projects as they
need to be rockers. So, like everyone has the socialist and her suppliers.
Not because, I mean, it' s your supplier, it can
' t be for this one, so it starts the way it has,
because a whole world, the only ones. Of course how nice I liked
that which father you can do in the yes and I am yes, I
say and yes very much as the sas as a bela, that is,
or some more specific hour for that project. What this has to read then
is that it' s all. But what more than I think I am
very ulti very well and what parents is amazing I really liked that too I
understood the stories. Yes, there' s a father. He' s
ready to play. Yeah,' cause I see your stories about your projects
and all of a sudden, because it jumps from a kilo to a guah
because maybe we have the same musical taste. Half a revolt dawned a playlist.
I was very, very old, I' m very pleased. Hey,
you want your five favorite architects. See that it' s hard.
It' s hard, it' s hard. Yeah, yeah, yeah,
I mean, I think I' d put it, okay, I
mean? She' s a goddess, yes, totally, I mean.
It was completely different and I think that' s something that and then,
because rits more regm equal I fascinate Hanney of the ship and of course I
like franklor Wright and my I think would be my tito. Yes, and
that, for example, that to me is I like, for example,
in architecture, but I do, I least is more, it doesn'
t work for me, but I like a lot, of course, I
really like the reference, but I think that there I am more like Iros
Offel and Morris Moren dess something. Yes, yes, yes sometimes very is
sometimes so many, sometimes very use. Yeah, oh, yeah, that
' s different stages, and I think I was talking. I think that
last week with an architect that just happens, that is suddenly you like some
very much is because you don' t pay so much attention and pay more
attention to others. But it' s the architect' s stage is the
same. The beginnings are obstructed that the endings do not, i e,
that is in terms of tastes. It' s also that yes then,
but wow it' s amazing, is that you' re absolutely right,
i e you may like it as you say the beginning, or you may
like the latest works. Of course, then, not always coir sides,
no, but there are many things that you admire if you take them as
pre- support, and I think it' s that I always say,
I mean, I think that' s just the sum of all our references.
We are not like the sum of what we all like. It'
s what we are and it' s what we deepened at the exact end
this hears I had an amazing time and I hope it' s not the
last time you come to look good, that I come to you yes I
come and that if I desc you touch the play or I will have finished
it exactly in this place and are believed to this place what it' s
called notice, this being auditor lugo te Achlanta. But the one we'
re seeing is I' m going out. It is the tread of the
woman of most or that there are thousands and mañas of pesstadicos that it is
indeed a esplanade everything, everything, everything, but that really a projection that
is seen right now. There' s machinery on the ground and everyone'
s on the move. But I know that November this is going to be
shocking smo, but it is clear to me that that is, because I
was going to get on to everything of course that yes, that is,
I have it because for a long time I was given like the flagious ones
of what you are going to see of what you are already thinking I said
no yes, I have to come listen, yes, to see how it
gives everything, but it will not look incredible. I mean, I think
that' s what I' m telling you, I mean, I feel
like pachuca, the pachokemies, the architecture, the design. We' re
kind of in transition. It is different what is called Mexico, I insist
a no return to any evil, that is, but they are different.
So I think we' re, like, at this stage of growth and
of accepting things, of accepting ideas. And then I think he' s
got perfect. He doesn' t treat very well. Listen and now to
close this great interview, which is not going to be the last, because
I want you to follow me not so much from your playlists and your works
that I really liked that, because yes, I come again clearly or if
we don' t make you infisile. Thanks to yes, I would very
much like to do the proyo, please, there will be now of the
architects. I imagined and there you see that. Yeah, yeah, well,
bad hey. We do that first. You know when we started on
radio we asked the architects that we were going to interview or the designers and
five songs that they liked, that is, that they wanted a lot and
we put them and people asked him a lot. That' s why.
I think we' ve pulled it out a little bit, especially or right
off we' re not gonna do it. I think I' m gonna
find a way to put the plais in Spotify so that maybe it' s
interesting. It is that it is also to know people like this through music
their tastes. It' s also getting to know them that' s a
great way. Then I' ll find a way. Promise me, you
' ll catch me all. I' m going to go back to the
thing about taking back people from radio life. Thank you for them, thank
you really hear and I would already like you to tell someone so in high
chair, in design, so enthroned in architecture. I would really like you
to say something to the new generations of architects who are just like you about
to step in, do the same or are already starting. What would you
tell them that I don' t know is anio, that is, there
' s going to be a lot of things you say. It' s
not for me, or it' s not for me, but I think
if you stick to what you want and you' re clear about it,
that is, you have to go, so it' s going to cost
you your job. Yeah, but you' re also gonna like work maybe,
which I don' t look for, so you better put all the
desire into this thing that you' re liking and, above all, finding.
And I always tell them that when I burn them, I' m
class, I mean, I always tell them. It' s how you
have to find out what you like about what you' re good at and
how you look not, what you want to keep doing and then go about
that idea, that is, stay, because there are good days, yes,
there are very bad days, that is, not everything. But the
thing is like not getting discouraged or saying good or saying good or not,
everything hard always stops or good or so it' s being like with the
feet on the ground and saying what I' m going to do so that
what I want aren' t and then and about that sounds like they'
re not my death and persisting hold water. There' s no more exacting.
That' s a great advice from the truth, because sometimes it'
s like the new generations want everything, like very fast, because that'
s how the world is right now moving forward and they want everything too that
the results are already. But in architecture it is a very different process,
it is true a process little by little. And that' s what you
know I think it' s the same when I' m done with primes.
So they said, no, critical, but I try not to gregrate,
that is, to give you my point of view. But and I
think that' s the same Sometimes it cheers them up a lot. No,
so someone tells you, oh, no, I don' t like
it, yeah, you can' t hear it a thousand times, but
I mean, you have to be clear. Well, I' ll have
this the best in this diminution. If to my consideration is very good,
then defend that idea, because sometimes it is only a matter of s then
don' t take criticism so seriously, neither good nor mine. I mean,
it' s clear, because maybe a lot of people I' ve
seen get discouraged. So, then I try how to always like to guide,
but not for the ugly side, that is, that' s all.
They tell me no, because you' re not here because you don
' t say what' s wrong. No, yes, I say,
but I change the whole thing. I don' t like it. I
wouldn' t want you to decide for me to blow your dream off.
Of course, I say no. I' m not disis. So that
' s the point. I use them to be clear that what they are
doing and more and they did it with all the effort and all the knowledge.
I know that, because they are very well, yes, that they
may have certain additions, they are modifications, not as they are all clear,
but that they do not define a critical hand or very well belt of
truth. Thank you so much for being here with us on deo day for
the first time and for this being the lot, the first of many.
So it will be, please, I' m happy to have you here
woe that we volga cicar y con ser and already after taking to the projects
of Mexico. Yeah, let' s go to the Rubi show. Yes,
please, I' m very emotional, not really. Yeah, thanks
for this first invitation. You don' t have to say a thousand thanks.
I am very happy to be here in Pachuca and you come to take
a tour of the Pachuca system especially in November so that you will see the
great progress that is here in Pachuca, because it is cooking. It'
s still cooking and it' s gonna be amazing. And I also invite
you to go to the field show working there in San Luis, photos in
one hundred and thirteen in the Colonia Roma, do not miss it. Go
take a turn and I, when you go to Mexico City, will turn
you around to a certain pontoon. Of course he does, he takes you
a go. She' s so excited. We' ll go grandparents and
not you. Thank you very much and thank you very much for listening to
us. See you next time because we' re in the new season and
the new programs are about to come out. Thank you very much. Bye Bye,