Hey. Good afternoon, I' m Karen Ramirez. We are in one
more issue of designing, I am here in D radio the design in your
ears and we continue here transmitting the end of the season of the first season
of the year, here in field work located in San Luis Potosí one hundred
and thirteen, here in the Colonia Roma Norte, that I invite you to
turn here to the Shorrón, because it is divine. It' s pure
high- design mobile. So come and take a little turn' cause it
' s amazing. And we are already about to say goodbye to them.
It doesn' t always happen, Dad always at once to listen to me
raul. This does not always happen, but the season of a few holidays
for us, because autumn is coming and you already know that it is loaded
with many activities, of which we are participants and because we are already preparing
in these months. But don' t worry because Rie Radio isn' t
going to stay that way alone, because the two new programs with Emiliano and
Lorenas are coming and they won' t be lost again in these summer months,
from the summer Hindo to start with the whole autumn in the activities.
And I' m very happy because in this closure there' s pure prowess.
It' s a talent that I said has to be with me.
Yes or yes, and I encouraged them to give them a message in instagram.
I said to see if I hit and hit guys. Here' s
the popular design workshop guys with me, and they' re Jonathan and Gaby
and Gaby. How they' re doing. Good. Thank you so much
for the very happy admission to be here. Oh, I' m not
happier to meet you. No. We hadn' t met. It'
s the first time we saw the faces exactly were we followed you in nets
ay ay ay ay. I fa published pure barbarity. I said bear what
a barbarian really let me know or something to publish things we have. That
was not and besides, it gave me a very nice surprise because Johnathas told
me a short while ago other backstages, which is one that he listened to
us from the first chapters of Dirray. I' m no longer crying and
God, no sleep and not really how you guys are, how wonderful to
have you here. Well, thank you, it' s nice to be
here with you, and I' m also honored that you don' t
have us and that you consider us talented people, but that we' re
not that many. Of course he does, of course he does, of
course he does. Believe it because you really are. I' ve been
following them and I' ve been following them lately, just like I don
' t know at what point I' m sleeping for not inviting them to
the podcast. I mean, I' m falling asleep right now. But
good thing you' re here and I' d really like to start this
conversation by asking you who GabrielaÁndale is this time, because Gabriela is a
proud Mexican woman. I am a chimica, graduated, of design, integral
of fine arts, because it also likes art, color, textures. Enjoy
going to beautiful places accompanied from here by Jonathan rather nas this, because we
do enjoy very much. That' s not those little salts that you say
visually, they don' t make you happy the day enters also yes,
they nourish you not as a designer, as an architect, because they also
make you think many things. Of course very well, Gaby, who is
Jonathan or Nas, which is that you like the most to be told,
because everyone knows me as Nas, all the exact ones. I mean,
no one knows me as Jonathan or your mom. The only one who calls
Jonathan is just my mom, she' s the only person. So everyone
knows me as Nash, because since I was kids, my friends gave me
this nickname for cutting my name and because I didn' t stay ok and
Nas is a very fearless person, extroverted, curious walk as an observer.
I really like seeing things, watching the bike out the window experimenting with new
things, daring things that maybe people kind of don' t take the courage.
I don' t also love the issue of identity, the Mexican tradition,
because since, well, when we went out of good, I tell
you that I told you that we lived in Chile for three years and,
unfortunately, when we left, because we learned to value the country very much,
not Mexico, we realized that Mexico has a lot of things that we
don' t take advantage of and that we don' t value. So,
when we come back here, which was just about in the pandemic,
because we also shut ourselves down and then we said what we have to do,
that is, we have to do something, that is, we can
' t stay without doing anything, because we arrived at a pandemic without work
and we said what to do, we have to occupy, there I think
they are something and there was also a workshop with design. So he'
s four years old, he' s a popular Nacho design workshop with the
pandemic. Yes, in fact, we were born rather like a rabbit studio
or ok almost out of college. It' s just an adventure. There
you go, but try it on. Yeah, yeah, yeah, yeah.
I want to know first, on the other hand it' s the
one that already intrigues me, like rabbit to see, let' s prepartes.
Yeah, Gaby, tell me how you got involved in studying what you
' re dedicated to. You said what he calls me about that I'
m going to get him in full. Why. Well, look, it
was weird, because first I wanted physics or robotics ok and because I didn
' t stay in school no, and then I kind of think I don
' t know, but apart from something like that I said, because you
don' t go, no, that' s like it was several things,
my mom just told me and why not. Design no, my uncle
that this restorer and moralist that I now live in Chile studied in crafts,
is that the school of design of fine arts perhaps no longer accepted in one,
the same series. OK. So he, then, always kind of
took me to his exhibitions, that is, I was always like there in
the ambi and this, because I liked it And then, just he told
me why you didn' t go into the design of fine arts. And
I didn' t even know her. I didn' t know either,
I just knew the face wasn' t there and this wam too. Well,
the joke is, I tried to take the test. And for this,
then, I didn' t stay either, because it was very difficult
to enter, it was practical and theoretical the examination I' m like very
limited. Then I went to an art initiation school. It really helped me
a lot. It also belongs to fine arts. He' s here for
the doctors and that' s where I went for a year and just to
a teacher who gave me a drawing, because he helped me a lot to
form my portfolio so I could get into design school. And then I'
m still there, so I' m still there. I liked it very
much because, because it is integral design, not only graphic, but also
industrial, textile, publishing. There are workshops, there is not that then
to me that I liked also to grab the tools. So, super good
for me he doesn' t hear. What good, then as very complete,
super complete, Yes, very well, truths that yes more, how
you entered the architecture, because I think I started from little to do,
as I always said curious, to disarm the things of the house. I
' d decompose something or it wasn' t broken and I was the one
who put his hand in it. My dad always had a lot of tools
at home. Then I was very curious to do the same thing as my
dad did, that is, compose things and then I disarmed, sometimes composed
them, sometimes decomposed them. No. Then, from there, I started
to do quite skillful with curious hands with tools and bought me many away.
Okay, so I really liked putting things together. And like from there I
said well, what something I didn' t go into after the water machimilco,
thinking that I wanted to be an architect, thinking that it was going
to be little houses, not that I was going to reveal so much very
well exactly, but just like through this curiosity of doing things, I'
m always doing as little things. Never focus quito, for example, Gaby
always on his birthdays I arm something, a scenery for him to have a
different time. Oh, like my dad taught me a lot about that too,
because he always made us themed parties. So he really liked making us
set, that little toy stuff. So I said no I mean, this
father, I like I have tools, I have the skill and I said
well, let' s give them the architecture. I think it' s
creativity and that' s what I like very well. Gaby' s got
that better Christmas. Yes, it' s also clear what already, but
I' m also ready that more than yes. Besides, my mom also
means, in the family there' s no one I mean, there wasn
' t one n ah Ok three. The first. In fact, really,
like my family generation, hardly anyone was professional until our generation, cousin
we started graduating, but no one design or everyone was more like the business
trade issue Ok. So that' s when they told me well, you,
what you' re gonna do about your video. Okay. I like
this. I think you make stables fix it I saw them with their briefcases
and I said I want to be like them that do this kind of thing
and that make the little houses not legos, but already real. Wow very
well manifesting yes is the gy decreed to hear what and what happened to you
or well, bon Gaby, right now, after the little university bubble,
that happened there. How you entered already professionally, because Mira was also funny,
because just in my thesis at the University this one along with my partner
I told him listen you know that what is this set of National Design Award
Design Mexico, that you think if we put the project in, no,
then yes, we said this, we got the design. The project was
this for a museum that is in Xochimilco, which is the Archaeological Museum of
Santa Cruz, and we put together, because the graphic identity, diffusion,
not in fographies, also signetetic. That is, it was very complete and
from there we did not expect them and we won the National Design Award for
the best thesis ora right there because we already had as an idea between Nasí
and me to go to Chile, to visit my uncle, to be there
and see what happened. And this one, we ventured. It' s
nothing, he' s quitting his job. I finished the project and this
one we left for Esch sent his car, not because I didn' t
win a prize. Oh yes, I had to sell my car to be
able to, to good fortune I lost the prize and we left. The
idea was to be there a year, six months or six that gave us
split ok entered into three, turned into three. Eat with friends, well,
don' t forget one poyar j we do, friends. No.
And there, just this because we already started as I told nas hears,
because it is how doctors go out and put their offices. No and one
as a designer and an architect, because he doesn' t throw himself like
that. Not to have also his studio, his architect' s workshop,
of design. And that' s kind of where we started, not just
finishing the race. We started with the pedestrian eura, not that it was
like our first before we left here, we also entered a contest of a
pedestrian congress that there was ok here in the Merced and sent a design to
make paint a pedestrian saura. Then we were also chosen and painted a pedestrian
seura. And this one already after we went to Chile, nothing. That
' s good, yes, and there in my case, because that'
s where I started as my professional life. As you say, she'
s either going to run or she' s just graduated and won a prize.
Yeah, you didn' t sell the prize. I didn' t
sell the prize, of course. I went to spend it there, but
Salta is fine, all right, she liked well spent. Let' s
not blame you, yes and swim how he started his professional career, because
anyway, after we went to Chile, we thought we' d just leave
for vacation. Not in the end, because we met the Beto, who
is his uncle and he began to share with us the theme of design,
art. And in a very small city called Chillán, near conception, because
there were few exhibitions and when we went, they invited us and one day,
walking in the center of that city, I passed and saw an architecture
office walking and I said look, here is an office. Then I touched
and there was no one. Then another day after we were exact, we
went and there was someone. Then I went and went to ask for a
job. Then they gave me work and we made houses of wood with earth
ok. Then there I started to do, like all the executive projects of
the houses we were doing, construction with wood, stuffing with straw with land.
The truth had its super interesting, because I too after social service,
I dedicated myself to doing it with traditional constructive systems. Ah very well,
then I fell as I went and started to work there and started to work,
actually laying flattened. They hired me to throw me to land plans because
they knew that I knew the techniques and then they told me hey, I
don' t mean to go to work in the office and they said I
would be father. And then I started working as an architect, look at
what a father. I have a question. This doesn' t come in
the office. How they knew each other. I want to know why I
said well, he' s in the gua. I' ll take it
from you as I die I don' t know it' s soap opera.
Ay a chapter of the race, s fits me and prepares the Telitas,
because we went in the prepa, we went together and Gaby wanted me
a lot, but I actually talk drool at the party and in other things
and skating then, I have always been very moved, not at that moment,
like I didn' t feel like having a boyfriend. Oh no,
and after I caught her, like I said, but after a year she
' s gonna regret it, after a year, watching TV on Channel 11
I saw a girl come out at an event called the rather chosen flower and
I told my mom I say I know, I know her and I say
Gaby and I was at events. Then already after, already after I'
m famous and enriquemos the Latin did not clear I wrote to her and yes
it was the pole to that was of congratulations, congratulates, but then fell
to her. She, yes fell on me no, yes, no,
right now, yes, I can think as a rite of how she says
or can hear that, but so it is picture, she n she,
yes, I fell, but this n ondita ay muy bien do. But
at what point you said to see, yes, we function as a couple,
but also intellectually and at work we are working. That is, at
what time was it because we were going to see it was in Chile,
it was in Chile, yes, yes, yes, I mean, we
arrived in Chile, because it also did not work in Tourists. We'
ve run out of prize, we' ve already eaten the car, we
' ve already said what we' re going to do, we' re
going to work ok ok. So, yes, this is just a friend
of my uncle' s who recommends us to a lady. This was like
the first one, not like the first job you insaí that had an apothec
and this one didn' t say. Not because she' s looking for
not someone who wants to remodel my façade, to remodel its façade. And
we thought you and us, well, yeah, not sure, just what
we dropped as a hannibal finger and we did design your façade there as something
very simple. Actually it was just, as well as morals, painting and
inside also something very simple that I wanted to make it also. And from
there and from there this started us as we were, we started, we
made the collective that is called Holy Hell, and we did cultural events in
our house, we had Mexican food, look and we had talks about subtraction
of the painting design. That' s exactly what you' re doing.
Then that’ s when we also realized that, as we could do interesting
things in sets, as well as food. If we start over there and
then they looked for us to make another façade of a nail aesthetic. It
wasn' t the cinema first, it was the rest. A hundred of
us did some nail clogging. Maybe we won' t be remolding a façade.
And but as the good one I do not expect, but rather,
as it is a very conservative society, as they are afraid to experience,
then we brought as a more avant- garde idea, rather they kind of
came looking. Listen I want the design of some tarpaulins, this prints and
we already said, well, no, why not, that is, why
don' t we show you the then that' s not funny to us,
gasoline, no, if it' s not going to look exactly.
And then he said well, then, let' s see how it is,
for the price is not. And yes, we just put together the
branding and put together the design of its façade orale from the center of this
one not because it is, it is very small. It wasn' t
a corner, it was mounted in the exact center. And there, then,
Gaby, too, as a designer, hits the chart a little bit
more. She is more dedicated to doing this whole branding theme, graphic image
and all that. And I' m the one who gets the most into
the tool or the one who makes the pain of texture. Yes, I
' m the mara. Yeah, yeah, yeah, yeah, I believe
you. The truth is, yes, because right now we' ve made
the altar and we' re done, so then we' re gonna make
it. In the end we all got him in. Not then. There
too, Gaby loves to grab the tools. Even later in another project that
we made of a facade in a cinema, people passed by and said they
looked good on something. And like because that reason tools, not that I
' m a woman and why you go to what they' re tools if
we' re at seventeen, or that then, I mean, Gaby'
s always been thrown. Not that mass of tools, because there we do,
I mean, we do match, we don' t match everything.
Yes, I' m very angry. I love you too, we crashed
there. No. But then, but we understand each other a little bit.
But, right now, they' re going to fight us right now,
right now, we' re coming here well, good time, because,
right now, we' re going to start with marital problems. I
said no, what else, but it is good that they do not macha
in everything, because I have always said that in a society and I say
it from experience, it is that if they always think the same is that
one is left over, then they do have to think very differently in order,
therefore, to have diversity of opinions and views. Not then it'
s very good that they have that just to be pulling back on us.
So thank you, but because everything flows, then he' s very father,
that well, I really like him. And then they started with some
rabbit. How' d that go? I study rabbit, I study rabbit,
what happened there, like why. That' s the name from there,
' cause I like rabbits. Okay, I' m a fan of
having a rabbit. I' ve never had it, but I want to
have it I don' t give it to you. It' s okay.
This was the season everyone was studying. I don' t know what
I' m studying. I don' t know it was everything. He
knows what it' s not. Andres Aha writes very well ok Ok So,
daughter let' s study Rabbit, you are the rabbit, I am,
the study and the net aha or what this is like. So that
' s where this one was born. So those projects we did in Chile
were with studio and rabbit ok and then how it changed the name. It
was when we returned here that it was already Pandemia and we decided how to
open it as it was or a workshop and that here we are already the
workshop that was already like a workshop. We said what name, because we
put the workshop in Sochimilco. We also wanted to get a little out of
this area of Rome. There you are congratulate this one, yes, no,
that is to say, yes, it was difficult, no, how
to start there. The road has been difficult and just there came the name
of a popular design workshop. All right, there' s congratulations to centralize
the city center. Yes, the truth is that because there are already many
when when the pandemic forced us to have our own workshop and we wanted him
to put the popular design workshop, because also the design has to be,
it would have to be for the majority. Not exactly and we loved it
good. I love that Chimilco, because it has a lot of things,
it' s traditions, culture and entity, landscape. Then I told him
today it is perfect design and that we share a little of what we know
with the people of our locality. All right. That' s why it
' s also called a popular digna batalle. People would say there and workshop
that they' re fixing mechanic workshop, because we really recited a locothito,
it was a bike shop. Okay, we set it up and across the
street it was our office and back it was the tool shop. Then we
have a tool for carpentry, mechanics, graphics of all of them. Or
we really started doing a lot of design stuff. OK, yeah, what
comes in, so you know how to do this, no, but you
tell her that yes, yeah, that' s who we all are.
So that' s how we start and parents people kind of start realizing that
they can also have access to design something more thought out, not clear and
that we' re kind of globalized, you don' t know what I
do. Right now the rome, the countess the girl, kiso chapultepe and
then being in that space, because they were like that super has something clear,
not and I congratulate them because decentralizing not only from the city, but
also from the design standard that only a certain range of people living or having
a certain economic level can come to have some design in their homes. No,
or you can hire an architect for a remodeling or something, because usually
in certain guilds I do. I don' t or contract to bathelly puns
self- construction exactly, but I' m very happy that they decentralize it,
because that' s the point that design has to reach everyone or the
majority, not just a certain economic standard, that is to say it'
s very fatherly and it' s good that they have it and that they
soak it with just the popular stuff. Yeah, what you guys have a
lot. That' s good. I' m so happy about that,
so good of you to invite them to that too. Another curious fact was
that when we were in Chile in the seventeenth, when it was the earthquake
here, because others were there and we didn' t know what to do
if we returned, but from there we made a collection for life father,
and I also communicated with my friends and you see that in San Gregorio the
subject was very, very cannony there. Then we try to do as a
group of friends who can help over there. Father, I kept the truth
with great desire to come, to help and to rebuild homes of families,
because, unfortunately, they are the people who sometimes have less access to a
house worthy, of course, for economic or social reasons. No, but
I did stay with that desire and when we came back, because this happened
and I said, that is, I was delighted to be here, wow
what a father, how good I am, they are very grateful for having
this initiative to be able to help from wherever they are, because the help
was needed here a lot and good that they had that initiative. Maybe there
is no body and soul, as my meal details says, but yes in
question of moving in some way and that good. I' m so glad
that speaks very well. You will see many thanks for doing so and,
above all, in the Community where you do identify very much and which was
also terrible to you that everyone was coming here to Rome. And it'
s not like there' s also come from behind here, not all of
them back, because it' s hit hard enough. So it was a
subject there, but I' m very pleased with your initiative. I applaud
them very much. And a parenthesis. That day of the earthquake, the
nineteen is my birthday or more earth I saw is not would be the worst
birthday of my life. But it reminds me that you celebrate them, because
of your petijo is a moment is that not anyone. That day he gave
her the night before made movement, the exact birthday date, that' s
exactly what rumbles, But I' m afraid, because no one wants to
go out with me that day. It' s just that I' m
not gonna have with evol anymore what I have about a week later. Ah
wey yes, because if not, it is that you changed it like the
granny so that they have two cos to do on the birthdays of sectors that
is my saint, is the other exact millon. So, I do it
more or less like that, but that' s good, I' m
very pleased with your initiative. And how good that you' re decentralized and
I want you to tell me how it is, because I' m holding
quite the thread to how you work, but I would like you to detail
it more how it is when the design process of you comes How is it
that a project doesn' t come into your hands and you' re developing
it, because you have the skill of architecture, but here my weasel has
the life of design look, but here that sprouts the hands, then,
since you arrive, how are you unfolding it? What the process is like,
because first conceptualize, not understand the client, not also talk to him,
know how he wants, but also how to guide him. No,
because many times it is not what they want, but they need to sound
to me not and then to know it in walking this, for it does
see references, for also how to see where we stand, not or who
the person is and where I is from. I really like that context thing.
What depending on the context in which it develops, even if it is
a graphic design, I really like how to grab details that we might not
notice. For example, we made a logo with a textile icon. So
I really like to work like from these things, like very traditional identity,
like give them a spin and a dusty one so they kind of take it
back. That I quite like to do the same thing, to pry,
to chat with friends, not to try to mess with me for a while
and, as Gaby says, because sometimes also the job of convincing the client
that this is what will work for him, because many times people like that
are very square and they are very much like this. You want, you
want, yes, yes, of course you always try to offer the best
service so it works much better. Not then, I think the road is
going a little bit. I already stick more to the planes a bit also
to the late nights and gabyes tend to stick the theme is like modbox and
that a color lec colors in mundiario. Well, yes, we' re
going to complement each other. And so, because we also get into the
issue of construction and because we both don' t and we like to share
with people as much. I believe that one of the things that has also
been lost in Mexico is that of the Community. Yes, for example,
Alejandro told me no, because it is that my sectors greet each other here
good morning, in good afternoon. I say, yes, that is,
it is really our job to follow or strengthen it. No. So I
think that community building, meeting the people in your neighborhood is super enriching.
Then that' s the truth. I' m very happy to do it,
because in the end they would also say your sweep back. No.
But it' s literally together, when we go on the street around Gaby,
you tell him if you don' t know him, say hello and
so you won' t do anything to them anymore, because you' re
going to be left with the doubt that if you know him or you don
' t know him. Yeah, of course he' s a stranger.
I' m the milk. Then he is super father, because there too
we start to know things that, perhaps, other people know how to do
not, for example, at the altar, for example, the well,
the sweeper the one who went through the garbage in the house told us that
he loves to make electricity. Not then I told him, but what this
is doing here, I don' t say hey come on and he made
us the electricity installation. Oh, what a beauty of the altar. What
a beauty, then, that' s what I' m saying. I
mean, just knowing people a little bit more we can ask them not to
dare as to ask well you are born, like that part of the workshop,
which is the one that is the one that is the most avant-
garde. I am not more painful, but I am, for example,
that you met Don Angel, who helped us to rescue Canoa, because they
were abandoned in the canals and with them, because we made a family member
for the altar. No, well, yes, or community, that'
s nice. That' s very smart, very rich. Yes, of
course, and this is part of what I also identify at the workshop.
No, we try as always to include people who do something within the Community
or who can help more and who we can give them back with our professional
knowledge. Or it' s very nice. That' s good to congratulate
you on winning, winning it is nana. I make community too. That
' s super parents, being itinerant. Yeah, the truth is, we
' re not like back in the day, where you were all closed down,
you were doing business and you were shutting down, and nothing else was
inside. But, Ahorita, I think in this generation of us, I
hurt the Asian one. It' s ayes the armadilla meters. Right now,
this generation is more open to collaboration and community. Then that makes me
so excited. Because it' s no longer working from the inside to the
inside, but it' s inside out and the other way around. Then
the truth is that I really like that, because it makes us more moved
and apart from seeing. I' m good at this, but you have
that skill, too. We' d better get together and we' re
a projector. So I think that' s happening a lot in our,
in our, our, our day- to- day, our generation,
and I hope that they will continue generation after generation. Whether you stay because,
I mean, it' s a win- win for everyone, that
is, we all win, we pool skills and we do something extraordinary.
That adds up to a lot of things. So I think you' re
doing very well and I just want you to tell me to jump now,
because I didn' t mention it. They mention it, and I already
want me to mention it now. So, tell me how this idea of
making the altar was born, how this project came about, because I know
you did it with one size to one that was already with us. Yes,
and with the anti- hero I sent him a kiss and a soft
and dear. Alexander already studied with us, too, because I was missing
more from you. Yes, alas, I was given a divinima apostle.
Thank you very much. Me, the postols I use for Holywood apart are
then I really like it. Ay mucho so divine. Thank you very much.
It' s divine, the altar was like that. Tell me how
this project came when you said, because we' re going to collaborate with
them two, these two teams and make an incredible triad. Tell me about
it. Yeah, well, that' s where the project is. Well,
I' m gonna tell you like a little ropima story aha fast.
Laugh yes, because it' s a little bit long, the chido gossip.
This one is good, because here, that is, the altar was
for the most important image of religious in Chiminico, ok where, because my
grandmother had been waiting thirty- nine years to have him only for a year.
Not that this, for it was the year two thousand twenty- four.
Then this one, then there the one in charge of making the altar
was Beto, who was my uncle. But he' s not here,
he' s in Chile, and that' s where we send him to
us. You shouldn' t say good, because I have an architect and
a designer here. Let' s see, tetra- coming, you know,
you' re a lawyer, you end up with this bad boat almost
doesn' t make it, but it runs high. That' s what
I said about the pc U. It' s not right. No,
and this one, for he had told us as it was a year ago.
But you know we like pressure. No And this one, and we
already talked about it one day that we were also there, this is the
mellow one. Not there this one we met Carlos, they detailed to one
such a greeting, a greeting. This one, and we were also told,
hears why I' m not invited. No, I mean, as
I hear we were talking very curious Chinese, because we also, I mean,
came to melloose. Okay, well, because you, for then,
among my things, I' m the one that if something nice goes,
even if it' s not a restaurant or business place, I' m
going to see it. So I said ah this is in San Luis clash
chinitos we have to do remove go and there we know the Charlie And from
there, Chanlie says, They didn' t invite me. I invited myself
alone is not going to Charlie, yes, yes, but I want him
bur and this one and we said well, we already talked to my grandma.
That' s it They wanted to go You give us a chance.
Now the idea if we already have as a main idea, which was nothing
we thought, which was very simple, we never thought of building anything or
destroying part of the house. And this one and so, we started talking
between Charlie, Gaby and me one day at his house and then he joined
Alejandro, who came by the Holy Spirit was already in the house. It
came to me and also a greeting for the land now Peru. But the
Arkin or Markimen Prize no longer because it is famous, you were no longer
rich, famous and Latin. Then we start doing things and talking good,
why don' t we sponsor it, why don' t we look for
a sponsorship that can help us reach out. We' ve already consued something
bigger. Then I said, well. I like to get over it too
and I said let' s get it over with and Gaby told him I
don' t know how we' re going to do this and I'
m going to teach time. I did, I got angry and told him
you know what. If you' re not going to help me, if
you' re not going to add up, don' t tell me anything
and I need people who want to add up. The more. Let'
s join in with this, so we managed not to make amic to us
sixteen thousand partitions or also by the UNAM or the material, the teak or
the architect. Maria Guadalupe made us a contact with anokal Ok, yes Querétaro
and we commented on the project and we were told it goes. We give
them the stucco of the interior and then they give us the stucco, they
give us the partitions and nothing more. We have to put the labor and
the hand of prayer, for we put it among the whole family. My
mom also helped me a lot and this one and it also sent out the
work of us and it erases everything, because besides, yes, I mean,
and that was the intention of the project that people would help us,
because when people participate, it' s done, that' s how I
' m going to say, I put the partition on and I say that
' s my little partition, I mean, I made it clear, yeah,
yeah, so that would strengthen quite a lot. So also this idea
was a little forgiveness, this was a parenthesis. This is just to add
to the Community, as by giving workshop for example, how to apply stucco.
Of course, it didn' t work for us that much. No,
please, it' s a call to apply stucco. And they did,
but it didn' t reach the. He finally became a super father
because Gaby' s mom came in, Gaby came in, another neighbor came
in, that is, they were like four people. We don' t
know how to apply it, but we did what we wanted and this I
don' t know what it is doing, but it' s not all
happened to us. We missed quite a stucco. Plus, we wasted a
lot worse. But it was left then that was enough. It nourished us
a lot and united us as a family to achieve it. Not then too,
Charlie, who suddenly wouldn' t give us the partitions when they gave
them to us and Charle had some partitions in store. Then you will plant
my house and we will deal with it and then, who will carry us,
then among all of us. No. Then there you have us loading
partitions in a van that his wife lent us that everything moved like a truck.
But we arrived, we made several trips, we already had material to
start. Then we started the inside and then we got the outside one and
we didn' t even know how we were going to tackle so many partitions
and they didn' t come this way out of nowhere. Two trips,
twelve pales, partition not in twenty, as you see the tortillas. Give
him two partitions we' re gonna pay whore. There were partitions in front,
there were partitions back, there was still almost in the rooms the turn
up us because everything was naran me guys. But in the end, he
did. And the truth is that also the teachers who helped us, even
they donated us a day' s work. That' s beautiful. Then
you were father. That' s right, it' s worth a lot
of money. Well, it' s in a lot of value. The
day we proposed to them, we went to the table and they know what
this is about. We wanted to ask them if you could do it,
too, and they said yes. Of course I do. I mean,
the truth is that the kid stops at chimico moves mountains in series. Yeah,
so people really appreciate it and offer you a lot of things. So
he passed them with the door of the High, not the door, for
he did think we went with Don Angel. He introduced us to the few
lords who continued to work the sawmills of the trajineras. Ah, you don
' t fix it. He did introduce who, Right now, you don
' t remember his name Theodore, I think it' s called good Sérchi,
is that he introduced us and said what they need so much. He
hit them. Then he gave us a piece of another engineer to make the
altar door. Wow. So wow to me, that really excites me.
It happened to me, Right now, because it' s just that I
love doing things today that I' m always making things up and then I
said good. It is super, super father, that we can rescue the
trajineras that are in the abandoned channels, literal and abandoned, that there are
thousands that no one of the peels and know that type of people that are
still engaged in these handicrafts. Sure, of course, they don' t
give you that easy I don' t know. It wasn' t there
to move them because I imagine it wasn' t, but it took a
lot of things. We met Don Angel A of the sawmills, all the
garbage that put the electricity wow I father to other teachers, the teachers of
Nanocal came Peter and Pedro JR. That even a greeting for them is Pedro
Pedro, Pedro Jimena Pajico. They had camels with the super good people who
came near and came to know the altar and were amazed when they saw it.
What we managed to do through moving is that we did not and you
also know what. That' s the most important thing. I think here
the project is from tradition, that is, how a tradition became the actor.
Yes, I mean, how important is that tradition that everyone said,
because we' re going to get into what it is for these. Yes,
and I also believed and also the other was that I want to show
a little bit to the Community, as with a little creativity and with very
basic materials we can create a space, because beautiful, dignified, uncomfortable for
the use of design. Exactly then people asked me, my teacher told me
and how she' s going to accept it. Those people aren' t
going to make them a chok, so because they' re used to the
curtains that I hate, which is more to adorn the Christmas lights that never
take them off, no and it' s already hul Then, yes,
it was a pretty strong blow, but because also accepted, people accepted it
well. I believe that the fact of also the materials speak, that is
to say, the choice of materials, which is the red brick, which
is very typical of us, is not as from because they put me to
board rock and right now. Looks like I don' t know the basilica.
No, then it' s not like such a drastic cultural shock.
I think the materials also helped to say, because this is very familiar to
us. We use it in our homes. That' s very good.
Yes, other friends who were going told Chalilla, a partial charlilla such because
chalí was moving the subject of the partitions and Meloso you know him a mellow
his restaurant, but it is not made of partition that is okay, I
have not met him, is that I have a tour pending with them.
Then soon we organize it and we' ll see everything stays close to launching.
And Meloso brought the idea of the partition and had the contact. So,
through what we managed to achieve and then they already said what they were
going to put tabica on everything and they would tell us and what they would
paint it or what they would do. No yes, oh, it'
s not to show people that we don' t need to paint it that
shines and that I know it covers it. Yes, exactly. No yes,
even the gate of the house that we had a friend that we put
to dispainting. Then people would come by and say they don' t have
to paint. Let' s see the food. But happy is that the
truth is that the stewardships that are made are used as pinning houses, that
is, they will remodel them and paint them to make one or even without
new houses. Camera, no, then these you don' t have to
paint a lot, no or since they saw it dispainted, they start yelling
at us hey, no, it' s no time to paint or it
' s not going to if they' re giving at the end it was
the idea, i e, drawing it and giving it is that it'
s rusty and right now, it looks super pretty. And the truth is
that the project has given us quite a lot of joy and has filled us
because people are happy, of course not, people are happy. The main
actor of this altorro is happy that he is the pas boy and that he
goes out there. Wow, well, it' s amazing. The truth
is that I have seen the photos that have been published by you as well
as by a Hadana and our dear Alexander. Ah well this pardon also paulin
aha Pabelín give us the photos. Ah look at that link. Yeah,
super grateful to him. Also greetings to my Papelín has helped us also this
Sykes shares other photos. How good, no, and because the truth is
that this project is not only a design project, but also a social project,
totally social. The truth is that we have even more with that project.
I mean, that project didn' t stay there. Oh, that
' s good, because it' s a temporary thing, that is,
it' s a year that' s going to pass the stewardship and then
the child stops being there a ok tempora. Yeah, and by the way,
Güey, okay. So what we did was in the living room and
dining room of Grandpa Ok' s house. So now you have to kick
and now you have to think about what' s going to happen after the
afternoon. Then it' s the next project. Then it is interesting what
the year is when, because if I am not going to arrive so much
the year, it is the February two of the twenty- five thousand.
Ah well, okay, you still have time. Well, visit, don
' t take it away from me yet, no, no, no,
that' s good, no, I thought it was really past, it
' s temporary. So, yeah, that' s a big move,
that' s how I said now that we' re making a big challenge,
I said a big Güey squirt, because we already put all his heart
like this and whether it' s later. It is a great challenge What
a father, because I have seen the photos that you and I share the
truth that I said and well, with ta comes one by one and I
get along very well and I said no manchens was amazing. And I,
for the truth is that I' m always in love with the red brick,
like I always put it in some way, some project and when I
saw everything upholstered, I said God no. I was not very surprised and
I congratulate them very much to do this community architecture, because it is community
architecture And wow, it is splendid, it is plenda and desplendida. And
well they made this great enclosure that are out there and now what else has
popular workshop saying what else it will do, what is more up to a
hundred tell me, so, now, and we have been a little slow.
Yeah, okay, like the altar, if it kind of moved us,
because it was a project, well, big, that' s the
biggest thing we have. But design work has arrived, as well as remodeling
work. There we have like two at the door what little jobs more like
we' re planning, just like through the altar, like we' re
left with enough ideas. Okay, so with Charlie, with Alejandro, we
also participated in unpublished us and there we met José lo maderita. Yeah,
and we got an idea, too. There with doing some of the trajineras.
Oh, Father Jorcelo and Charle and Alejandro to sponsor other brilliant projects.
So, more than doing the play. We' re creating, that is,
we' re in the creative process. From seeing what we can entertain
ourselves in, because I really have my office work ok because, unfortunately,
architecture does not feed us all very well. Then we have our works of
Godin, of office valid and these small projects, which are the ones that
already fill our soul, are created little by little, There is not even
a very bad thing, that is, it is very valid. That'
s what' s important is that they don' t leave theirs. It
' s the most important thing not to leave yours because at some point I
' m sure they' re going to quit their Godine jobs and they'
re going to be fully dedicated. That' s because there' s so
much going on and if you' re going to pass them from being manifested,
then the truth is that I congratulate them very much. Good that they
are, they are not paused, they are in that creative process that everyone
has. It' s very good And that' s also movement, that
' s really lame And it' s good that you keep moving and collaborating
with others more. I mean, that' s being a person like you,
that' s if you saw us come here with Charlie, with this
one, now that he opened his studio there in San Pedro Toppan as well.
Yes, I also know other architects from Xchimilco ok and from a thousand
faults. Oh, so we' re good then, so I mean to
see how it would be super father if we did something in the peripheral and
southern form of the city, because there' s talent, I mean,
there' s talent and there' s things that can come up quite interesting.
So don' t tell me that because things like that spring up to
me and I' ve already started to sprout things and pick them up with
Alejandro, because he has also shared with us a lot of his trips to
Guadalajara and has met quite a lot of architects through his way of being and
going into people and that I say is super going, very valid totally.
Through that we have met quite a few people, architects, designers, painters,
sculptors, erasists. Well, then joke is like seeing what we can
do there, what you can do to us, how moving. Right now,
we talk, yes, it seems like we' re doing things because
I don' t deserve those things and look at you starting to trouble me
rich dir Ahorita, we talk, but I' m really glad you'
re doing that community because I was just talking to Charles a little bit and
the one that I tell you I have a tour pending with them and he
told me is that we moved here at a thousand missing, because we don
' t like being in the countess, in Rome, more or less yours.
And I liked the office here better and the egoist very well. It
is, very good that you decentralize it because I am already a greeting to
the Rome of Clothing. So the truth is, I see it as very
promising. That is already many are migrating, for example, Atlampa who went
to Santa María de la Rivera before or anyone and they are already giving it
to go to San Rafael Azcapuzalco. Sometimes those places were not named as for
a place for architects' office or architects were not known. From there it
is very sad that you have as it is that here too in the south
are happening and sprouting things and it is very painful because at some point you
look with here of my eyes. Yeah, something' s going to happen,
something' s going to happen and so very soon because right now,
then he' s really weird. I congratulate you very much. And so,
well, that is, what would be for you then the star project
that you would like to see come to a popular workshop. They say they
arrive this would be the jewel of the cordana of us. Which one would
be good. I agree that, because not as well as that we wait
only in specific, but rather, I think it would be like continuing to
generate community, not collaboration. And yes, I mean, I think that
' s what makes a project very good. Yeah, I don' t
know that your family life has always been involved in the social issue. Just
as we don' t say there' s good, come to another altar,
come to me. Personally, I would love to do as a community
thing, that is, a community center in Sochinito, because when I was
at WAM we did a study that is the Villacopapa area, and that is
the area with more shopping centers and fewer museums. Yeah, then there'
s nothing. We have a source of culture and tradition there and there is
no space other than the pillars and there are some that made are very parents,
but that have this power that can unite society and share design, culture,
tradition. I think it would be like this for me and also the
issue of working with local materials. I love the tule theme exactly, with
that, yeah, I mean, something out there I think I' d
like to do right. For example, there is another super- plan project
that also the wine space, since we are there, that is, there
is no museum, yes, that was going to say how it goes and
in your Chile, so it is necessary and the museum in which Gabin and
Daniela did the thesis is very abandoned, that is, they are for example,
the Dolores at least error four years ago you have each time you leave
us eat museums. It is not true and very little dissemination that they make
it and because they are very worse. Well, that' s a pretty
interesting topic because, yeah, they' re running out of cultural centers and
they have a lot of culture. Yeah, so it' s as if
it isn' t. Every time you open the street and start this you
will find Spanish preis pieces. No, then. That doesn' t happen
in Tendegua. Here we do, then, I say yes no, that
is how much wealth we do not have there. Of course, she'
s very buried and much to discover and melt. You have to do something,
you have to look, but I have already protogo. That' s
either tickle, ombres, coffee, that' s drunk. Listen, it
' s unfortunate that you' re running out of cultural science. But that
gives you a chance. That' s a source of opportunity. It'
s not about becoming the victim, it' s about opportunity, and that
' s amazing. Do it. Do it? Do it, I support
you and I support the deceased. I' m serious now. Do it
because yes already that I think one of the most important enclosures, which is
the sommed pain that you have until and La is closed four years ago.
It says a lot, they say a lot about the cultural part over there
it' s like chin what' s going on. And apart from the
fact that they want to pass it on right now, it' s the
news, that is, that' s what the pieces that are in the
Olmedo Pain Museum want to pass to the park you plan. Then the director
of the pains went away as it was, was, was to see,
to see no, this is not going to happen. Guys, let'
s see sometime, but that' s not gonna happen. Yeah, well,
I' m not. But here it would be like the London Museum,
the British Museum, which is stealing things from everywhere and has no identity
of its own. Then don' t take it off better put a spotlight
on it to open it again and ready and spread more. I don'
t think it' s the right solution and to pass it here the chapultepec
when they should be in fun because if they already have a space, then
just open it and manage it exactly, question it correctly and point. I
mean, here we go, we get balls. Not then, yes,
there are many things to do and it is good that you are with your
finger, without removing it from the line, because it is really worrying,
but it is to be speeded up. It is also motivating for you.
Yes, as well as, for example, you start pauperizing this whole area
as magical villages. I mean Tepoztlan, it' s already a drinking street.
Yes and, for example, sochemical, the trajineras also yes, it
is already seen as ugly only thing, but you do mention ochumilco. The
first thing that comes to mind are tragedies. But there' s so much,
so much, so much more. We' ve done military and if
it' s getting less and less, and that' s why it'
s getting more and more partying than tradition, because it' s already getting
lost. And that' s what we have. I think we' re
still our generation that we grew up with snaria, with traditions of yes no,
because really young people don' t come out of the cell phone anymore.
No, then this young Hahaha and look. But it' s true,
yes, it' s true. That is, I teach, I
realize with my students that they do not leave their cell phone and ask them
something that is happening in the city or some tradition of a festival. They
don' t know yes, because they don' t come out, because
they don' t exactly get to know us, they don' t come
out curious. Curiosity is a basic element of an architect, of a designer,
of a creative. It' s curiosity is like one of the bases
of the pyramid of that and they don' t have it because they already
have all disk at hand, but they' re not taking advantage of it
in what they should then. The truth is that, yes, young people
are right now, it is the Asian woman who is hard for you.
Unfortunately, they are intoxicating the technology badly they are not using it in their
favor. And it' s terrible, terrible, terrible, and I just
think I' m a lot with you, that I' m not gender.
That' s the last one against the fact that you know about traditions,
yes, you mention something to him and he knows yes, that'
s the way it is. It is therefore I of St Jude. Don
' t, for example, ask someone from the other generous which lities,
some you' re never going to see or run into then. And in
addition to that we are also returning, notice, let us realize that the
architecture also and the design is like returning to the origin, that is to
say every time we are returning to the finishes with lime the paintings of the
same natural, the dyeing totally, yes, the techniques of traditional ancestras of
construction, that is, we are returning and it is what are selling us
very expensive, yes, and that here abounds and but it is becoming very
exact. We ourselves are fondening it, but yes, exactly although there is
something good that is happening a lot in design and architecture is that yes,
we are just using techniques from before, but we are also seeing how to
get in. For example, there was a design exhibition and all ah well,
I' m going to put an Italian furniture or I' m going
to put a Danis and Ahorita furniture. It' s not like I'
m going to do this at the indisiinhouses anymore, and now who of the
Mexican designers is doing something, what furniture and stuff. I mean, we
' re already looking inside and it' s perfect. And that' s
very good. It' s just that we don' t have to make
things expensive. You don' t have to make them ducks always hear us
the same architects or we always have tellers. Very well understood. I think
there is, there is a lot of talent, a lot of talent,
and I think that in unpublished is one of the perfect examples to say there
is more than one furniture designer, there is more than one and there come
new ones. Then there' s nowhere to choose. Only I go inside
and even things, please, because that' s how uy hurt in my
pocket. Ah then if it is as if to think, because, then,
there is a lot to offer as designers, as Mexican architects. But
this one, you have to pay attention in that you have to help us
all and that the design reaches everyone, most by the, most by the,
at least, as you say, and in which father I hear.
I know you have a lot of opportunities to rerun culturally and also in your
fields, but what are your favorite designers and architects that you say. He
makes me get my hands up, he makes me flow things, who it
is who starts, because right now, that is, because what I'
m seeing more Kallage, I love the landscape is also the workshop. It
' s called plain landscape tonatiu ay. That' s chimene. Well,
there' s the chintos, done, but I love the landscape theme.
Well, this merging architecture with the landscape seems surprising to me, because I
love plants very well. And what else, because also of the women have
been excelling barely had. I think Christ was more of an echo with Gabriela
Carrillo. Ah sure, in the echo aha Gabril, the carnalo Moris Rocho.
They also have them, as well as on radar that are the ones
I like as design, how they read the context. Of course, that
' s a great example of how lenin context. Gaby is one of them
Dragona and to see the Gaby, the Gaby here I will add a designer
and an artist to see Cediari and the Red is big designer and skiros,
a great mural that we were just there in the Workshop, i e,
this man. So every time we go there to Whenmaca, we try to
visit the Workshop, also not China, it doesn' t have to see
that space that you say wow like not every time we go like we see
something different and we like that. Yes, this father, yes I love
the Workshopa also when I go to Cornavaca, as ay, I love I
do yes I who has also raised quite the panso tea an ambito manzono the
Museum of Art. There is also the garden color embroidered, the chocolates,
the parish made by Felix Candela. There' s a lot to see,
a lot of things all of a sudden, like when cow got to it.
Unfortunately, a footballer came to be Cuernavaca' s boss and did everything,
but because look again he is re- emerging then yes, yes,
but how good it is, he has very good references and very much of
his own, very of his own, certainly to the very one of his
own hear And I mean, this talk is amazing and I feel it'
s not going to be the first and last time they' re going to
be that. But it' s manifestation. Manifestation is about to keep telling
me, that it is still a popular design workshop, that they are doing,
that another idea came to mind who else they are collaborating with, because
look they are on the right track. But then, but on this occasion
I would like to finish this great talk by asking you what you would say
to the new generations of architects and designers who, like you, are launching
to undertake or who are already starting or are thinking about it. What they
would say to them, because do not hesitate if they have an idea or
if they want to undertake, because they do not hesitate to do so,
not that he does not already have it insured. But there' s always
like a pocinline. Yes, always, because they will see ups and downs,
not stoned, decalabradas, but the one who perseveres reaches, that is,
if the idea is to create a space of their own, for they
are not averted, but that they were not done to what we said to
collaborate is not that they do not see them as competition, but as collaborating.
We' re really allies. They would say in Chile, we are
colleagues, we are in the field and the joke is to help us.
Then I would recommend that they walk a lot, that we learn to observe
where we stand and I think that' s what works for me. Yes,
let them also approach artisans, teachers, because also to these communities that
have a lot of knowledge and that I don' t think they don'
t, because we have gone to value it in this one without stealing you
clear. Yeah, please, yeah, I toon out there, I create
for that always where the credit. Yeah, that' s very important.
Also because then it' s how I look is going to be at nothing.
You stole it. Yes, there are no limits to me. There
are limits, no, because thank you very much, guys for being here
with us for the first time, but not the last time. Thank you
very much. I was really looking forward to meeting you guys It' s
good that you' ve already given in. Yes, that the stars lined
up and said. Now yes, this is the good day. Thank you
very much, God, thank you for inviting me. No, thank you
very much for your time, because it comes from afar. Yeah, they
come a little far, the truth from the south to the south shallows.
I am very grateful for your time and, well, see you next time
not only here in Dirra, we can also see you on an ordinary day
to continue chatting, because it is amazing what you are doing. And so,
as people, I also got super, super good, really, a
thousand thanks for opening up with us. And so, well, I say
goodbye. We' re already on the final straight. They' re the
last chapters of the new season, well, in the first season of designing
ando don' t miss them. Remember that we are on all music streams,
Spotify, Apple Podcast, Google Podcast, which has already become YouTube,
Podcast, ih Hear, Spreaker, everything that ends in podcast. We'
re there, and then, well, there we wait for them, there
' s no, but they' re worth it, don' t miss
them. And so thank you very much. Newly popular design workshop. Thank
you Gaby, thank you Nas, thank you yes and a greeting to everyone
and come and take a little Vueltecita Here. I work here in San Luis,
Potosí one hundred and thirteen on the Roma hill. Thank you so much.
Bye Bye.