That hello, what? Such a very good afternoon, I am Karan Ramírez
and we are on a mission to say Radio saying in your ears, in
the new season of D Radio two thousand twenty- four, where we are
already sharing with new speakers, new programs and new podcasts here in this program
as well, so don' t miss them that we are in Spotify,
in Amazo, Podcast, Google, Podcast, disser everything that ends in podcast.
There we are, so there' s no excuse that they won'
t find us. And so, this season we' re in hard work
on the street of San Luis Potosí one hundred and thirteen so that they come
to give a turn to the great shorrum of pure design, high design,
really, so come and take a turn And I' m very happy and
very surprised because at first I was going to interview one person and now it
' s going to be two by one, Fernando Arrionda and Sebastian McGregor,
that the truth they two, I know them from Designe Wick, who do
an extraordinary job. Guys, how are you, how are you? Thanks
for inviting me. Thank you very much. Thanks for including me, too.
Thank you, no thanks, it really was a surprise and really nice
to do the two for a viceroy had not happened this in a canca.
It' s unusual. After eight years of being on d radio for prime
this finally happens, but good to have you here, I know you from
design Wick. It' s every season that you' re there participating.
The truth is, they' re doing an extraordinary job, and it'
s good to see them all together Yeah, I guess that' s got
to do with it. We' re gonna tell you a little bit of
the story. Yeah, not everything. Sebastian always exercised. He' s
an architect. Well, tell him you Sebastian, well, c Sebastian?
Yes, Sebastian is an architect of formation and I had always liked the world
of plants and up to there I had not always caught much attention and met
in design Wick. I also referred to Fernanda and approached her to teach me
how to work with her and from there I stayed with her learning landscaping.
Now you' ve been asking me, it' s not how you do
it to do so much, and it' s because I have a big
team, not just big, of high- level people who work in an
extraordinary way. Sebastian is one of my team members. We have in the
office many other members like the Machuca and other rosalía and when they listen to
this podcast, we will send them to say hello. But I have a
team that allows me to make and sebastian. Yeah, he' s been
working for how long you' ve been with me for up to two half
years. Ok Yo, I thought more. There aren' t almost three
today, yes, three. In fact, I already feel like it'
s more time. Yeah, but it feels like it. We' re
already like families, and we' re all in the sustainable garden. You
can imagine me, listen, and who Fernanda is, who' s me,
I win upstairs, if you look at me, I tell you.
I' m saying you see I' m passionate about plants. I'
m a gardener. I' ve always described myself as a gardener. I
' m a landscaper, self- taught. I' m not your landscape
artist. I didn' t study landscape architecture. I always like to tell
it, because it' s no myth and it' s no no no.
People then confuse me by the way I move. I studied international relations
on the Iberian in the 1990s. It' s a career I love and
I loved studying it. I don' t regret anything and always everything in
the long run closes circles and closes cycles. And today, with my work
in society, architect those landscapers. It' s been super helpful to have
studied that. And, moreover, all the projects that aboard the landscape always
analyze the political, economic and social context before addressing the landscape project. I
always do it mostly in public space. And so because it is something that
I bring from formation my life, from a return in the year, in
the two thousand years, at the beginning of the two thousand years, when
I decided to launch a business of design and landscape, I started as everyone
starts with ferents and family little bit, I do the garden, my mom,
my friends, my own garden, experimenting and took a course in the
Iberian that everything no longer exists, but we have one of the teachers that
was my teacher there, the architect Miguel Medina, in the diploma of the
Nahuac that you give and the day one that I took that diploma, I
understood that I wanted to work on this the rest of the cías month.
I mean, there are things that are like love at first sight, and
this was not and alone. I started when there was not so much Internet,
and I say the Internet was already, but there were not so many
forums and so many pages of intrenat So much, I began to dedicate myself
to ordering books that did exist asanón, already existed, had books and plant
encyclopaes. And I read in the plant encyclopelas of the z and I understood
a lot of things about plant encyclopedias. I understood that they were published in
one country and did not work the same for Mexico. I started experimenting.
I don' t mean if a plant encyclope says that flowering is in spring,
because spring in Spain is not the same as that in Mexico as in
England. Maybe then I learned all that. I was experimenting with my own
garden. I created the sustainable garden office and in the years I believe that
in the beginning I already have almost twenty years working on it. This started
with residential gardens hundred percent at first and then we happened several important changes in
my life that was participated in the first disange that in two thousand twelve,
and there no longer being like positioning the brand within offices, architects and others,
always being very having to the residential and from the seventeenth year, where
he participated in the first Festival of Flowers and Fixed Gardens, where I made
the first public space of my office was a wetland in the botanical garden of
Bosque Chacoltep. I can already say we made a change. I don'
t think I was doing bigger projects. No, and today we have projects
of all kinds in public space and above all good post industrial parks and already
bigger things. No, and that' s who I am. I'
m still today that we went with Sebastian in the car, we went to
have now, I don' t even tell you what you' re going
to do next week at the Froyres and Jardines Festival, but we went to
see the nursery that we have experimental in Suchimilco And if you always return to
the bases, you know that of vocation of information you are a gardener.
You' re a gardener who might do more than a traditional gardener. I
mean, we do landscape architecture, I don' t think, but I
' ll never stop being a gardener and not passionate about notes. Very well,
and Sebastian' s formation, how is it because I already knew the
formation of fer but yes that of Sebastian, that of Sebastian is focused to
see. I think it affects a lot. My mom' s a biologist
and I think that' s where this formation begins towards the landscape. No,
yes, I think that' s obviously where the design comes from.
It' s always been something for me that I liked. That' s
why I mean to jump architecture and from there I got interior design. I
put a lot into interior design at one time, but something was missing and
the plants gave it to me. I don' t know what it'
s like to work with as well, with this living environment. Not that
for me it has been magical, it goes half with the seasons and how
to interact in a living environment that was as well as good design. I
' m fascinated by architecture, I' m fascinated by this formation as well
as I do, I have an architect uncle, like I' ve always
seen all this growing up, I grew up with pure architects, but something
like that didn' t fit in my life and the plants gave it to
me. Yeah, it' s like this, it' s like understanding.
For me it' s like everyday interaction with something alive and you do
the design and you apply it. But at the same time it evolves by
itself. And that' s very nice, like you have to anticipate.
But you' re always getting surprised. Not because, yes, plants are
fascinating. Yeah, because it' s not an architectural project. You finish
the geotic project and it' s already there. You stay and dedicate yourself,
you dedicate yourself to preserving the essence of the project that doesn' t
get damaged over the years or to updating it all of a sudden. But
architecture is much more, because it doesn' t change that much. They
don' t change places they change cities, people change. But a building,
because it is a building, yes, different meats, living exact,
we created, plant communities and, besides, our office is like focused on
naturalist landscaping, but I think also having people from different formations inside the office
helps a lot. That is, of course, we need architects working in
the office. We have monomast, sebastian. There are other architects in the
office doing project to the machuca. We don' t have kids on social
service. For me it is very important to have the point of view of
architect, because I am not and I have always said that it is my
best virtue not be architect. No, because I don' t question them.
I question them a lot in supplemental things. We' re not just
perfect. Of course because I see something else. Yeah, and Sebastian doesn
' t see what I see, nor do I see what Sestian is,
nor do I see what Alan' s office or not then. But yes,
I think it was a father process. I already met him at the
two thousand twenty- one at Licen House and he makes me wonder as well
as Hola fer I feel like learning, learning and seeing what wavele sante to
work with us. And so it was, and I did, I'
ve seen a lot of evolution in our office since Sebastian came in and let
' s say a lot of things happened before. It wasn' t fair
to come out of the pandemic and right now we realized, after the pandemic
much more of the importance of green spaces than we were used to. I
feel like we were more locked up in party halls, offices or restaurants,
you had them. No, people went out to the street, to eat
the exact street and are green spaces, even if they are small, and
it was also a rethinking of the public space, of the use of the
public space of the cities. So all this has been a very father and
I think our office has been growing much faster in the last five years than
in the first fifteen, for example. For telling you like that, but
it' s normal. It' s not what they' re going to
sow clearly, yes, exactly. And last October that I interviewed you indisiin
House right in your Jardin, that you did wonderful, that I was amazing
to you, I learned that now you are the new President of sap SR,
of the Society of Landscape Architects of Mexico. Congratulations, but how do
you do it, woman and as presidents. As President, it' s
one of the most rewarding jobs I' ve ever had in my life.
I see it as a project rather than a job. It' s a
post really isn' t a position where you assume a public personality, because
it' s a landscape archtect society, it' s an association that you
have fifty years of existence among its founding partners. For example, I mention
it a lot because a lot of people don' t know. He was
the architect Luis Barrajante, because Nes Barragan was a landscaper. He described himself
as a landscape architect, in addition to being a great architect. Much of
his legacy took place in the urban area of several places in Mexico City and
in addition the gardens they made in his house. Not the landscape architects society.
When I turn five in damage, a lot happens since we' ve
opened a lot more. At first it was very limited to accepting only landscape
artict partners. And for a long time, already from several Presidencies back,
not from mine, from that of Maya the RUSAA and Katherin Brian began to
make it much more diverse and I equated it. A community of plants.
If a community of plants is much more diverse, it is richer and the
society of landscape architects is opening up. He has already opened up to have
members of other disciplines, but that are all for purposes to the landscape,
biologists, arborists, urbanists, etc. We have academics of all kinds dedicated
to agronomists architects. Many are architects, as to the limited offer in Mexico,
the offer of academic in terms of landscape architecture is limited because there is
a bachelor' s degree that is the one already are opening much more in
many master' s degrees. That presented us with a problem and a dilemma
in which society went very small, the landscaped society cretos. So, now
that we open it, it' s a whole revolution and it' s
my turn to leave this legacy to me. It is not the task of
communicating the vocation of landscaped aquiritos society, and our vocation is to promote the
discipline of landscape architecture in Mexico and Latin America. Not clear and how I
do it, then, thanks to the wonderful team that I have in the
office and within the society architects, landscapers and Sebastian and people like Stephane Creek
and Diana Hernández, who work hard in society, that these landscapers are architects,
landscapers, ejas of formation and because people who were before me, who
are my mentors, did Arredondo, Mario Shetman, all of them who were
from previous presidents, the Isofo was founding partner. In fact, the history
of the architectural society was that the Liceo first entered as a person to be
part of the IFLA, which is the International Federation Offlands Cape ARQUITEC and then
he entered as an individual partnership and then formed the society. What' s
up, what' s up? What' s up? And yes,
Redondo entered the Ifla as a person as well. Then he spoke to Barragán
and other partners that I don' t remember all the name right now,
but among them Mario Shepman rito Alfonso Murai, who today has because it is
not close to the ninety years and continues working in the architecture of the landscape
Wow. So society was formed and over these fifty years we have done things.
We already have thirteen congresses held in the Congress is held every two years
is the National Congress of Landscape Architecture and every two years the vienal. This
year it touches the sea This year it plays well it touches the binal and
the surprise has already authorized that we can communicate it already. This year it
will be an award in Colombia. What father, why? Because the biennial
is called the Latin American biennial of the landscape, the landscape no longer gives
them the number of landscape. So this is the first time Mexico has won
the award, although Mexico always organizes it. I think it' s time
to get her out of Mexico. Already organized in Colombia. We will give
the details to much later And what is stop sounds incredible, that well,
but if you are very right is Latin American and it was always celebrated here
in Mexico, yes, but good that you already had the initiative to take
it out, because the truth was initiative of the team of the Angolan architects
society. We owe it to Megumio Andrade, who is also the vice president.
But he' s not in Mexico right now, but the other day
we invited him to the interview. Yeah, he' s in Mexico right
now. She' s in Japan right now. She organizes trips to Japan
and knows a lot about Japanese culture. And besides, they are now on
the subject of cherry trees. And all this is spring right now is not
fair. When people liked to travel to Japan, then it was her initiative
and throughout several negotiations with a legacy already Colombian and in those volumes hour of
which father is already giving her as a surprise. Yeah, it' s
a surprise bike to me, too, but many times what I' ve
been telling you right now is based on the car. If it doesn'
t hit you, there are projects that you feel a little bit on the
edge of the cliff. Yeah, but you know you' re gonna jump
and nothing' s gonna happen. This is one of them. You don
' t say. Oh, it' s the first time we' ve
left Mexico, but then the stars always line up and the sponsors arrive and
it' s coming out. All right, it' s not amazing to
do it and if you don' t feel like on roller coasters it'
s not a project that' s treated enough for you exactly then I like
these mountain ranges and because there' s her, you' re gonna mart
your rags, you' re gonna go back. You' re a father.
I am very happy to know that it is evolving very well. It
is the rest of the landscape and the biennial that is already coming and that
already are the summons, right now, until the question. We' re
already shared on my radio. I invite you to enter the page of the
biennial. If you put the Latin American landscape right, it seems to me
that the page is www. Black landscape is called something like that if you
weren' t helping confirm it to dress your audience and invite them to everything.
They don' t need to be landscape architects. You can put your
projects in. Anyone who has some landscape architecture project is open- pit spaces.
But we have several categories, not only built and unbuilt construction projects,
and within urban architectural scales and region to territorial protection projects as well and we
also have the category of research projects. That' s why we include you
I tell the landscape architects society has many acanomics in which father their associates and
many have impressive research projects. And also in Latin America there are many super
valuable research projects in different universities, since we can mention several, but we
have colleagues in Brazil, at the University of Brasilia, are constantly publishing interesting
things. Then just so they know and we' ll be following them.
We will continue to share the initiatives. Anything we are contacted by social networks,
not perfect to the social networks of the society architects paacialistas or Vienna.
We have social networks for both of us very well, but that' s
it. Do not waste your time and come to give a reading to the
calls, because they are very good and participate, which is the most important
thing that they enter, that they dare yes, because the projects do win.
And I say you never know when I touch you not to win a
project and you always have to be putting projects in. I didn' t
win prizes, which I didn' t expect to win. And it is
very important to put the projects in because in addition, you are also learning
about what other people do. Not anymore, you don' t know and
then or be the finalists and you know people. That' s like a
workshop on bread. Also yes, yes, it' s a good network
five really hard and it' s talking to people, which is your competition.
Finally and in the end who earns it Sometimes it' s not that
important. No, but of course it' s a recognition and we also
have the price. We have an award that grants IFLA within the society that
you can that within the biennial and fla that is the International Federation of architects
of world landscape. This award is well prestigious and is the prize as the
top prize and is very prestigious for any firm architecture countrying to have a rural
prize porrifla is next. He' s a pain in the ass today.
It' s good to bring everything. Let' s go with everything real
and good wey tell me what you' re doing. Right now, jarainsustentable,
because I feel like they' re coming from Chinampaurita. Yes, please,
let' s talk. The week that enters is the Festival de Flores
y Jardines fixed in Mexico City. What a father you all know and everyone
already loves and there are people who travel from other parts of the country and
I' m going to tell you a little bit of history. This festival.
Its first edition was the pre- launching in the two thousand sixteen in
the botanical garden of the forest Chapitatepec, as a pre- launch, as
an initiative of the Foundation planting with cause of epity of the streets, seeing
as that a little bit measuring the water to the tambals to see how it
reacted and it was such a success that the edition was made two thousand seventeen
and two thousand eighteen. What was the vocation of this edition to rehabilitate the
botanical garden, the Chapopec forest, whose master plan by the architect Magrier Sheatward,
was very successful. After or there has been a pause of almost six
years in not being able to intervene anymore the botno robot garden Chapultepec and has
concentrated Festival of flowers and gardens on the initiative they have in Polanco of Polanco
in flowers of the shops and the crossed ones, which is spectacular and travels
people from all over the country to take pictures with them and besides, it
is an opportunity for the brands. No, but this year we return with
temporary garden facilities to Campo Mars and Campo Mars is this where we are going
to be there sustainable garden and twelve other offices. I think it' s
twelve. I don' t remember. That' s two in total.
Several are members of the landscape architects society. It is fullsol Pole, the
landscape of Alejandra, the sow Oatán, Daniel Gómez, Bulbao home or I
study harvesting water, jazz arterra landscaping. If I forget, somebody forgives you
guys, but you' re a lot. I' ll write. Yeah,
that' s right now. I tell you the page of the biennial
W Black, landscape com perfect and in fixate. I mean, we'
ll be 12 dispatches inside the Mars field with temporary facilities. They' re
micro- garden gardens. Our garden is what I call a pocket garden of
four meters by five. Yes, yes, and I love it because this
year' s theme is called the garden of amazing beings, and all the
gardens are oriented to the amazing species that inhabit our garden, but not only
pollinators, but also fungi, mycorrides, that is, all are amazing beings
that are in conjunction with the plants inhabiting our small rodent gardens or tlacocacomiscles.
I don' t know you know that gardens inhabit all kinds of beings.
Our garden is a bird garden and in this garden we are collaborating with creative
yato that you already know them also say that it is a spectacular company that
weaves with palm of communities of warrior and of caréntaro. Yes, yes,
and we have a surprise, a nest, some nests, that is,
spectacular, and we come from there. We went first to see plants in
the occimilco chinampas and then to see the nests as the fabric was going And
well, we' ll get it up. Right now, images on social
networks and you will be able, as you see, incredible. And I
' ve always believed that collaborating on a project gives it much more wealth.
I mean, I do that I can know about making a nest. And
there are the master weavers not clear, which are more artists than they are
apart. It' s ancient tradition. Orita, they were telling us that
we are doing it with material that no longer serve them, because you can
not weave a basket with what is left of the Palma, because it has
to be a continuous strip to weave. That is to say, I believe
that of what remained for them on Sunday in the Community, which are the
points, because they are not very long the sevación must measure forty thirty-
five cetimeters. All that is already material that is not useful for weaving,
because the baskets you have seen them as PJ that even the lines of Palma
are thrown back and weaving it. Then the whole spirit of the garden is
to use material that they would no longer have used. He bought yato from
these artisans this material they were going to throw away. And it' s
just what birds do in nests, not experiences, the service of what birds
find, from what twig leaves are found, and then it' s an
obviously, it' s an artistic interpretation clear. We are making a faithful
nest of being inspired by birds of chapultepeque the Mexican sanate that inhabits Mexico City
near the water. Then there are healers in chapultepec as bringing a little bit
to the discourse the topic of urban birds and in a super artistic and spectacular
interpretation of this company and self creative Claudia a part. We are already friends,
colleagues, we have lived everything in disiden wicks This I already, this
heat, impossible deliveries work eleven o' clock at night. Then I trusted
her. When I invited him, it was as she was already believed,
we already wanted this collaboration and when they told me in invite, Pati told
me you' re going to make a jargin. You see I said well,
I know who is going to be the nest after yes, now is
when and I hope that now they go to the week that I entered the
nest and then we will wait for them to say radio. Ah of course
and this areas that I liked already goes the guided tour. So yes,
of course, this is what we have right now for sustainable garden in the
short term, in the long term, because to continue with our projects that
we already have to continue research. I' m kind of obsessed with working
on poor soils people, with anti- garden, right now for Fernández,
anti- garden, ok we have many traditions inherited from agriculture, which is
very good, that is, for agriculture. We are talking about agroforestry and
very rich soil and so on. However, there are many vegetable communities that
they like. The poor soils grow in poor soil and the meadows that I
make I designed a meadow for a park, to a post industrial site,
a recital site, industrial, in a company transports in Guadalajara, just where
it does not pass several railway tracks, but the residual space, where there
was lying gravel thrown to spoil this metal thrown alone contaminated. We took away
all that garbage, that is to say, solid waste and with the soil
there and the rock that had planted a lot of wild plants, many natives
of Mexico and that you think looked not well what follows it see ay why,
because some what passes the meadows. If your sertiles are a paradora,
you put very fertile soil on it. The only thing that' s going
to happen is that grasses, which are very selfish and very absorb a lot
of nitrogen and need a lot of nutrients. It was commented, that is,
they eat the rest of the space of the plants are very competitive and
if you raise a meadow, the pastures finish your flowers and the time you
no longer have flowers and you have by the steps. Of course what happened
here. None of that. I mean, grasses invade very little because they
' re just very poor. There are pastures growing on poor soils, eh,
but plants they like alone poor. There are many types of plants in
Mexico that don' t care about poor soil and rocky soil we see in
the Pedreal SanÁngel Reserve. Totally, they grow in lava if dry for
thousands of years and no one pretilizes them. In this scene they' re
already blooming every year. Then I like to challenge these ideas and present this
anti gardening and say in the gardener is the anti gardener And it will no
longer fertilize once more not once, because what happens. Solitary plants fix tempts
and enrich the soil. You don' t need to put anything on it.
We do not have land doing projects with much less impact of carbon histo
and that is what but in the short term we have a fixed and long
- term festival that will follow us on social networks with these anti- garden
projects. All right, it' s not for how much sebastian. Then
our customers ask us when it comes to fertilizing their gardens. The only thing
to fertilize is grass. But nothing more, why the grass is designed to
see how many them until States biologically united to grow, to grow. If,
in reality and we are cutting it all the time, then it is
a constantly stressed plant, like that leaf never produces photosynthesis already feels good more
a potential to create nourishing and it is always much more susceptible is to fertilize
it more or it is stable, domesticated and, of course, estringed.
But we no longer try not to put grass anywhere, but sometimes it is
irreplaceable. We understand that with some clients. Yes, yes, but try
to reduce to the maximum the area of grass in the houses and in the
public area, also in the and or if we have to water at least
and leave it half dry when as if, because I think people marry with
the fact that how much golf it is just to have a golf green and
it is all grass and plants on the banks or just, and not a
garden. It goes beyond having grass and seeing it all the time, because
apart from the grass, it absorbs a lot of water, it feels very
beautiful, yes, magua and now. We' re not looking exactly and
they know what to stop giving away. It' s okay, it'
s okay, it' s okay, it' s okay, it'
s okay. We have a client. Now we are solving a project near
the valley of Bravo that we stop giving away grass. Well, they don
' t give him away all season, but he stopped pruning. I told
him to stop being able to leave it alone, seriously and what happened?
The pastor is appreciating us because he needs water to grow. So, since
it' s in the norm, what' s going on with everything else
that wanted to go out and that we didn' t leave it with the
mower. Of course, coming out came out of a bunch of little flowers.
Yesterday we saw some amazing mancerinas. It' s not still green coverage.
Sure, besides, it happened to us. Then we must dare the
gardener' s ante. Yeah, let it grow, yeah, let it
be in tempo. There you, it' s going to become a problem,
because it' s going to grow a lot and we' re going
to see what we do between projects. But, Ahorita, maybe my idea
is that these colonizing plants and these spontaneous plants end up with the grass.
Or you already understood the competition. Right now, they have a competitive advantage
because, as there is, they don' t need water and grass.
Yeah, so the grass is like resting. Of course, that' s
exactly what I want to see. Okay, then we' ll go.
We' re going to publish them. I don' t know what'
s going to happen anymore. Okay, but we' re seeing more species
per species, which works for us in the long run and which one doesn
' t, of course, I already know what' s going to happen.
That' s gonna happen what I told you. The plants, Ahorita
are going to colonize the area that the grass is leaving. Right now,
he is at rest and then see which is not useful to tread, which
serves for why we are going to grow very high and others are served,
others yes, you can step on. Then it' s about putting some
in a third- night place. Well, yes, exactly Listen, I
' m going to ask you both, yes, how important to you.
This year with year in they say Wick, how important it is to participate
for you Tell me then, to see you I' m going to talk
to me, not because there are many people say why you keep doing this
when you' re, you' re crazy, that' s because apart
it' s how stressful it is, don' t beat yourself. It
' s interesting. That' s a very stressful process. It' s
a setback, against the clock, against the clock. But besides, we
are the only space apart from the others. This year there were three gardens,
two gardens down and not on the top floor of the schisic landscape and
up to Juan Sánchez. They' re not yes, yes, we are.
No one understands us, like everyone else. They' re architects,
carpenters, upholsterers, that' s for real. It is very difficult for
them to understand that our garden is a finish even though alive. Yeah,
that' s right. That' s right, that' s right.
But I love it for millions of reasons. The first is collaboration. If
I hadn' t never met this girl from Claudia de Iato, for example,
or I' d never known I' d be enough. For me
it' s important I wouldn' t know, dog yes, not Sinwak
' s most important thing. And I think I tell my students, because
a lot of people measure or a lot of people I know who have participated
as I said better and I' m no longer raising awareness about a topic
and I think my participation says Wicks if only I had once stayed there.
Oh how nice the garden of Fernanda of the two thousand nineteen, for example,
that was very famous and giving of the mirrors that I put for the
first time cosnos of pines that we reproduce from seed. It was the first
time he reproduces seed plant, especially for that gallows that a little bit is
blown up, it' s not like that because sometimes it comes out,
sometimes it doesn' t and we go to China we stick that there,
but this time it did happen like that and maybe they would have said yes.
It was very nice, but the exercise of the constancy of repeating a
message one year after year, after year, three years, three years,
has worked to transform a little bit the image that the public has, the
naturalist landscape. Yes or no. I think so, I think I think
you do. I can say that, after nine participations. I believe that
we have succeeded in influencing the public' s perception of what looks good and
not at first they were very shocked by my very poor gardens. I think
so. And second, it' s pretty hard every year to believe something
different. Yeah, yeah, and I always say, oh, see if
we don' t get it the same as last year and we' re
always surprised at sebastian and we always create something new. That' s right.
I can' t tell you if we' re going to participate this
year, because we always leave it a little bit to align certain things.
Yeah, especially you who have things to see on you and I don'
t think anything would happen either. Also of what it means. I would
love to open it to more offices that could participate many more offices. However,
the dison House space sometimes does not allow it. It was amazing this
year. We met these girls, they' re landscaped and we collaborated.
It' s really weird because then you have someone else to listen to your
problems. Yes, of course and we have to water you no, that
is, for example, because the one who makes the living room or the
dining room does not have to water daily. Yeah, nothing at all.
This year we had even Rainberg sponsors who went to put it yes Galomans or
my river installer of millions of years ago, that is, they sponsored us
the river. Imagine how important it is to participate in saynwik that even they
are looking for us to collaborate. Ah It is very bad because we present
to you a system of irrigation by boat that is like this, it is
done an irrigation like, no, with a pipe out and that is seen
all the people and it throws the water everywhere. I don' t mean
waste I like it, even if it' s a temporary installation, always
be faithful to my work. I would never say I know that it'
s going to take a month and I could put a plant that won'
t be given next to another that won' t be given and they won
' t work and they look good for a month and no one will notice
clearly, but I would be lying to my audience and my students and my
students. And then we always try to be very aware of the message we
communicate. And, well, then, we' re not rushing, it
' s not adrenaline. If we get problems addicted to adrenaline, you think
it' s an incoming army and miss is like exercise. It' s
very nice of the collaboration with the whole house. It is very splendid,
that is the entrance, it is very stressful, because all of a sudden
they enter through a pedestrian door, three hundred furniture, heavy finishes, marbles
and trees. Not then, like a whole thing is amazing, like the
exercise of your house. Sometimes there up to 200 people. So it'
s not crazy. It' s so dull that it' s happening.
Yeah, yeah, yeah, and you have to behave and you can'
t lose your cool and you can' t lose your cool. And suddenly
it is maximum stress, but also the blacksmith here helps you and the face
of the help if you take a plant brings you the ladder. Yes,
it is the motorcycle people and we are more solved also nothing like with new
offices, that is, as it has evolved and we have met new spachos
and we know new offices. But above all, as Fed says that customers
or the public that consumes design can consume landscaping as at the design level,
yes, that is, that they put it in their i e, consider
it already as design. No more gardening. A gardener already did. The
gardener has already gone as a perception of what landscaping is. It' s
one more discipline of design. Not sure. I think it' s like
the function and good, but he' s done a lot for this to
happen to him and I think I' ve had the customers and they say
I want this in my house. Yeah, I never would' ve bought
it for you. I never would have seen it, but I see it
and now it' s like this. So, what it is is a
demonstration of the work and it' s like someone tells it to invite you
yes and right now good. A client did go last year Juan Sebastián to
see him and this I want to say no. We cannot disassemble it and
carry it null for many reasons, but we are repeating it. But he
already understood that he wants a garden without grass, completely wants different species like
he already does. I mean, that' s the nicest thing about this.
The message reached the client. It came to him and I have a
competitive advantage against the rest of the people at Dison House, because there'
s only one garden not like two or you and I understand that we had
to make a very strong message from the landscape. It' s not clear
design, and I' ve been invited year by year. It' s
not an obligation at all. It' s just a chance for me every
year and every year I say yes. I' ve said yes many times,
nine years and always. I never regret it when we' re done,
although there' s stress, yes, millions of things happen and everyone
who' s in saja, that is, we' ve made joke videos
of not going to end up in time, not a month. Last year
you got one like a joke. And that' s the feeling. If
you say tyano and all of a sudden, about twenty- four hours before
or forty- eight hours before it happens from magic and it' s all
over. You' re staying warm. He landed still very good with the
whole cause. Yes, but it' s an incredible collaborative exercise and as
the director of San Gwick says, that Melio Cabrero, who you know,
I' m very kind. Yeah, we' re a family and I
believe it, it' s amazing. It' s to that family environment.
I mean, we' re already two quates. I don' t
think I' d ever been clear about that message Emilio had, because more
than once he had repeated it in an interview. I reputed it all the
time aja and I find it incredible and just last year I think it was
pretty clear when you saw it in four c interact in the house to see
them on the mere day of which we open the doors to the press.
And that' s when I noticed more than every time they' re helping
each other and I pass this on to you, I pass on to you.
And also when we had the panel with you think we sent a greeting
to frest in the white work of everything is talking. Thank you, you
think everyone talking about the same subject and talking about everything that had happened to
achieve the goal. That' s when I realized they were a family.
Yeah, yeah, yeah, we' re all too far from lending me
your broom ah how it kills time or it' s also with the sponsors
and the media. I also say we get to know each other and come
on. It' s very nice this exercise has been very nice. Yeah,
yeah. I think the family isn' t just like it' s
not, we' re not just the ones yet, but it' s,
like, a little bit out, everyone, the suppliers even as you
say sebastian, that is, the same suppliers that work with us from the
blacksmiths. There are even people who have evolved their career through oh thanks to
Addison Wick. In other words, there are offices that have originally grown that
were probably no more suppliers, not that they decided to see this model.
I mean, you see entrepreneurs as well and we' re a model of
all of us We' re starting at that, that' s a lot
of the word entrepreneur. I don' t call him more Right now that
we were there in Suchimilco lego, to know that we are all entrepreneurs,
that is micros or macros, or Mexico is the country of the entrepreneurs.
Not Micro. How many women, there are not that tend to see the
tienditas, we did not come, we stopped in an ox to, but
there are a thousand tienditas. Not Margarita, there' s a thousand tempts.
There' s always a woman behind and s s s s tiendita and
no matter how many you invite out there on the street. They all sell
and there are already these women, whether they' re men or whatever.
And the winterers. In Sochimilco there are dectal greenhouses and there are another thousand
meters just. And we' re all entrepreneurs. And we are all in
disin rick because we are entrepreneurs or design professionals, as you want to call
entrepreneurs. Now we do, but finally we are two leading companies and we
learn a lot from that too the design Wick model, which is non-
profit. That too has helped me a lot to work in Architectural society as
well. It seems that in Mexico it is inventing totally different strategies for raising
funds, in order to be able to bring design and landscape architecture to other
people. Both have helped me a lot, both society and wik say that
having collaborated with them so many years and understanding many things how partnerships work without
luxury endings. Yeah, it' s just very interesting. That' s
not easy, because it' s not just fundraising, it' s attracting
the public that' s interesting and engaging and going on two things at a
time and it' s a big challenge. They say so much as what
is done in it among all the things I do, because you always ask
me what soon I tell you. So then, if not many people know
and I' m going to talk about it. I also send a greeting
to my professor Javier Duarte, who will listen to this. It' s
called. Javier Duarte Slateger is a Lipade teacher. I am a graduate of
lipadre very well that is the business school of the Pan American University and we
are writing. I offered Javier. I wrote the case of the landscape architects
society for lipa because lipader is handled with the method of the case, not
that it is to study a case of a company or of some association.
You don' t really have to do business by profession and you study finance.
The case of x company Full Motors, I don' t know.
It doesn' t necessarily have to be big companies. There are some that
are called stationery. I don' t know what. So because they are
cases to illustrate a principle of matter that you are carrying, for example,
Javier Da the matter of decision analysis. He described a case about the Titanic.
The catastrophic decisions were made before the Titanie East Jesus sank. So I
decided to propose you write the case of landscape direct society and how it has
transformed over fifty years and what awaits you in the next two that I am
President. If there is re- election, it would be another two we
don' t know, but it can happen and how we are transforming it
to make the rantable. So we' re writing this case. This is
the part where I tell you non- profit associations, from the subject of
design, because we are landscape architecture, how to do it to make it
profitable and above all, know how to communicate and that brands interest them sponsored.
We have several super interesting allied brands. And here we are. But
just so you know in one of the eight hundred, fifty- eight,
thousand more things we do. We meet every fortnight the operating board of the
Stefany Creek Society, Diana Hernández and I with our teacher of lipadre, to
teach us many things, they do not have much experience in the associations infiennes
of Lucrostan. He is a counselor to several and then he is advising us
and also, holding hands. It' s not so much that he gives
us the solutions, he' s bringing us to the hand that we'
ll find. The clear solutions that you know how to solve yes and communicate.
This is fun. That' s good fun. Well, the truth
does sound pretty interesting. Hear what father faith? Hey, what would be
the project you' d consider, which would be the jewel of the sustainable
garden crown that tells you this one. I' d love for you to
get there, get where your office is going. I want to do a
project of my dreams. Yes, what would he be, what a blacksmith
sebastian think not, for I don' t know right now he' ll
tell you or or or look. I would love to continue transforming residual and
post- industrial space somewhat more, that is, to continue this project that
we started doing together with the Grupo Mexico Foundation, to reproduce native plants to
rehabilitate post- industrial seasonal space is called industrial posto, not that the space
is actually put industrial, but the residual space in a place that is contaminated.
Make a sort of biological corridor inside all these industrial corridors that there are
and have lots of residual spaces. I' d love that. I know
it doesn' t sound like maybe, so loud, it' s not
a better park together. I' d love to because there' s a
book, a chapter in a book that I read that' s called a
strange beauty, or a strange cuty is a landscaper, or I don'
t remember the name. But then I tell you a little bit about the
postis spaces and the strange beauty they have when you come to a real industrial
or industrial space you see that they always come out hierbitas between the railway tracks
or between an example is the fighline. Not being a train track was no
longer in use was rehabilitated and a park with its own identity was created for
a Manhattan site that is not of any entity. If you do that,
imagine the country' s industrial corridors, whether it' s railways, factories,
mining, anyone, not only do you get dressed, you enable these
spaces and turn them into biological corridors so that the fauna, the birds of
the cities live there and low temperature. This effect is that of heat to
the people who work in that factory. For example, we also have a
super interesting brand that is also our ally, ELBEC. It was done in
the show room Deveis in Vallejo, a garden without lawn wow and you don
' t know how the temperature feels there in that place and it' s
a middle of Bayle imagine that all companies in Mexico adopt green microspaces. That
' s a project I' d love. That' s obviously very long
- term and we' d have to start company by company, but we
could count if all companies did. I' m crazy, because I don
' t know why the industrial casco landscape I like is like a strange beauty.
I' m attracted to the abandoned and everything that grows. There come
birds to live in and suddenly you put them in this space that we did
in Guadalajara we have an increase of diversity of six hundred percent guau clearly because
there was nothing. Yes, there were three little pastries that are there suffering
for survival, and suddenly we arrived and entered more than seventy different species.
There are seventy- four thousand individual plants. It seems to me that twenty
so many trees. Imagine if there' s not a six hundred percent time
of college. The temperature of the site dropped between three and five degrees.
Crazy isn' t a big deal if we measure the carbon footprint and how
much we' re converting. No more, we don' t have the
data. We' re still going to do it in a study with Shatte
University, which is already on its way very well. That' s my
Crown Jewel Wow project, that all Mexico adopts. It is well cresto and
right now it is going to look bastante, yes, sebastian, but it
goes there also to see father more, yes, a park not all the
more, I mean, as it gives the desire to intervene the whole city,
That is the dream to intervene on an urban scale, for me that
would be incredible. But right now, I have a lot of concern about
water issues, because that is, per Ahorita is like restoration, that is
to say, harvesting and restoration of aquifers and water harvesting with gardens, with
SNS gardens. Rain with all that process, Ahorita has me as very interested,
very interested, and I think that would be an incredible project. I
mean, it varies from residential to this organ scale, obviously, urban scale.
It would be surprising and especially seeing in Mexico City, with all these
ravines that we have been losing and losing all the water, like working to
restore the ravines. For me it would be as if, a dream not
to mean, to be able to see the process of saying, of recognizing
the rivers and it is also a city of sponge, the city of Sponge
of Concha. I bring her to Mexico City and recognize this that the river
comes, that is, the water comes from above the mountains and goes down
and we have gone on your side and lost her and give her that as
well, as that space that deserves the water, and recognize it. Yes,
of course you can imagine if we made Mexico City, in the sponge
city, instead of making the camels high and that water, when it rains
will go to the brain to make them under the level of the street and
that camels and all areas, but there were the ability to catch the water
from the street, as they are doing in Sheffield, they are doing it
they can get to see soon gray to rain A Sheffilds and, well,
cities put themselves, all sponge cities in that yes, to transform the city
of Mexico into the city sponges, yes. It would not be seeing exactly
how right now, that is, the idea of re- creating the exact
source, because they recharge the use of water and also how this awareness of
seeing the water that is going to bring them. We' ve already had
a chef with tubed noises and be able to see her, that is to
say, see again to know that there' s water there, so we
live together so here we don' t bemary. They are easy because to
say no yes, to be like being able to recognize this city of so
incredible and what is very beautiful I say no, no, no te,
yes, it would be if a project has incredible. There' s a
big project. I think that we are in a moment to do that And
just for that we are the landscape architects society, not and nothing more fernanda
reonda, but as a society pesista architects, so that those who hear us
that not all are landscapers, maybe I say of vir radio you have a
very wide audience. Not very broad. Yes, it is that they understand
that we are in a wave like landscape surfing, that we have to climb
the crest right now in order to avoid us as far as we can and
to take advantage of it and incorporate in their speaking of all the people who
hear you that not all are landscapers, that they see that at best really
in spaces that they had not considered in the residual space, the interstice.
This is what is called these spaces that are between the city and one area
of the city and others, that is, the interstitial landscape. You can
do something, you can do something complete. Wow go back to basics and
you' re also involved in society. She' s also involved. Sebastian
' s gone. This is in the locality of commercials, important commercials,
not as many i of the most important vowels. Date basically dialog with marks.
Everyone who listens to us, if I say they know who they can
talk to Sebastian with me. But we' re just looking at all that,
not brands and alliances. We also see not only have brand allies,
but we also have alliances that I would love to communicate with universities that not
necessarily all alliances are of economic type of exchanges. Not that it gives us
a university in exchange for that we, for example, made a spectacular alliance
with the UABC of Mexicali, Autonomous University of Baja California, the Campus of
Mexicali, what we did with the landscape congress there, in October, imagine,
they gave us the headquarters in exchange for society planting a seed to say
here there is landscape, although it seems that in Mexicalino there are and there
are a lot of projects. There' s even one who' s Liberian,
Mars Shetnan It' s about a river in tubed in Mexico called Rio
Nuevo. So they' re doing a project there for water and mexical is
the first city that had a landscape teacher. The University of the wabes then,
but like this we have alliances with the UAM, with the Veracruz Corps,
the Faculty of Architecture, UNAM. That' s nice. There are
many things, no, nothing else are commercial alliances. But from all then
between associations, right now the alliance between foundation planting with cause that is that
of Fixed and the landscape art society. We will engage in a dialogue between
landscapers and will be guided by you Creek, which is the c of the
architectural society. He' s having a good time. Let' s go
alliances. With all that joke is that the landscape, that the architecture of
the landscape, reaches more people and that in Mexico we understand that it is
no longer a residual space of the architecture, not in the country' s
algreto, because many see as a luxury not good nothing more believe than to
put a green area. The landscape is already architu, so what they do
in developing an opposite project. That' s not landscape architecture. That and
not all green areas, that is, landscape architecture also involves designing grey and
blue areas, believe, water and walkers. No, and now that'
s not just a luxury product, it' s not terrorizing it and reaching
an audience to understand clearly is the landscape, that is, the right actions
and that everyone can enjoy clear because green areas. Yeah, yeah, yeah,
it' s not a necessity. A green area has the ability to
reduce inequality barriers in a city. No doubt there are statistics that talk about
that and it is known that if you see the Green Area in Mexico City,
well, I don' t remember how much it is per person.
I think seven in meters. I don' t remember. I just gave
the lecture. I forgot, but it' s so easy to consult on
the Internet. But it is very uneven Cuajimalpa has thirteen square meters per person.
The green area, which is wonderful, you are not lucky enough to
live in Cuajimapa or in Miguel Hidalgo, why, because you have chapultepr If
you see Miguel Hidalgo you are less than fifteen minutes walking or a complete car.
I don' t know about Chapoltete, but if you don' t
have a thousand missing, I don' t think they' ll get two
seriously, so imagine the inequality barrier between a person who' s lucky enough
to have more to live in Joajerí Mal Pao, in Miguel Hidalgo against a
thousand Missing. Then you have to have a much smarter design in the cities.
And if we can' t, not everyone can have a green area
in their house. But there are statistics that say that I think they should
be. The best thing is that they' re less than 15 minutes from
winning green, on foot to see if we can make it. Wow,
it' s a slam, yes, a slam and above all in this
city that lacks much awareness of imagine if it would not change the perception of
security of a site in a thousand lack or of insecurity and security not,
but also, of being, therefore, an equitable and healthy city for all.
Bad luck you had to be born there or live there and not any
malpa no, then why not make a city more equitable. Sure, yeah,
yeah, yeah, no, because on average we' re not that
bad. It means that those who live on my schedule have enough green area
for them. No, sure wow. So, they are important statistics,
say, this is it and you can consult the page of the cdema or
of the environment. You have to keep an eye on him, because,
yes, it' s important. It' s clear, yeah, wow.
She' s amazing. But what happens when a how is your design
process, when a project arrives here, how you are developing it in your
office until they get to deliver what that process looks like is always done already
we know not site analysis is the typical thing that would answer you a landscape
teacher of the Nahuat. I don' t understand you in class. No
or what there is not that cyto analysis, create a concept and then do
an exercise of seeing which plants are on the site. There are no things
I like to tell my students, and the first one is I almost always
take a place and automatically do a vegetable palette abstraction and I said here you
get a point. You know what plant they' re going to plant if
they don' t even think beyond what else I' m going to do.
The first thing I do is think about plants, which is not necessarily
the best idea to have a fatal palette already is to visit one, because
if you already have all the answers, not a little does mean that you
are missing to do a deeper analysis itself, well, but I think we
already give you many more years. But if you have a lot of experience
and that' s part of what I' ve learned, that is,
you get to do and you already have an idea and then we analyze the
site and we' re applying the changes that if it' s happening,
that is, many times we say it doesn' t apply. We got
it and it' s why I don' t change the same. There
' s too much wind here for this plant. Yes or no. I
know. It' s like you guys just don' t get it at
the time. I mean, I don' t know, for example,
yes, and then there are times that I say via. You always have
to hook up the client suddenly has needs that he didn' t know anyway
and then tells you no. I just think it' s going to be
a little bit more space here to spread out with the kids or whatever,
and then there, but who' s private is a little bit better.
No, no, it' s not easier. Each project is different.
When you' re working in a public area or in a city or something,
as I tell you, you have to really analyze the economic, political
and social context, because what happens. You know he' s working on
public plow and you know that, maybe there' s going to be a
change of government, they' re not going to follow up on maintenance.
Either yes, or who' s there, who' s the decision maker,
who' s the clientele, it' s not the same as a
decision maker, or the client is probably the city. But the user is
the citizen, not the government of the cities, of the client, that
is, you have to analyze that in terms of context. There is the
economic and political context. A little and what' s going on. There
' s a crisis, right now, it' s a pandemic right now.
People are wasting us. Yeah, I mean, there' s a
recession or there' s no recession. Large- scale projects are taking place
and the social issue is very important. Now that we did this project for
these workers of the transportation company in Guadalajara, we did a very simple analysis.
We didn' t hire sociologists or anything either, because we didn'
t even have the budget. We were thinking about who' s going to
be the user. We are railway workers and they work and they are generations
of people who travel by rail and collect money across the country and had their
collection of plants. Then you must always take into account the user and what
impact you will have on a social level with a landscape intervention. What we
did, we connected their plants to the design and gave them a space so
that they would have a place to collect their plants and, besides, teach
them that the plants of the site that nothing else. You should always want
the plant from the very distant sites, but work with the plants of the
site and it does work. Doing that kind of analysis, that is,
already after asking people, that is, it' s very important to ask
people who the user is. And since we have that, we did several
interviews there on the very interesting site and then we asked them how much they
thought. And as you say, I think in landscape I say that in
all the discussions, in architecture, in interiors everything has to involve the customer,
the user and everyone so that it presents part of the garden is to
be alive, yes, then you have to involve them a lot for when
you leave that in the house you have already made the decisions of how they
want the distribution or the furniture type other colors not, but here the garden
will continue to evolve. You have to involve the customer a lot in the
process and the user to know what' s going to happen. Then no,
and how you can enjoy that garden, because it just so suddenly dries
up, but it' s part of the cycle and you subsist. There
you go. One thing we have learned is to anticipate the anguish of the
exact celestial client, because no shock is difficult, like they expect the plant
to be green all year long and there are times that it is. It
' s a garden consection. Many times it is a green area, eternally
green. And we are also promoting plants that fulfill the cycles of the year
and will be a dead divine. Some flowers are also annual and disappear completely,
as the one that throws the exact seed and remakes good. So you
have to, like, this conversation in Mexico too, we have eternal spring
syndrome. Yeah, yeah, they eat exactly Cuernavaca. Then we want you
to keep low and it can' t be cor a cow but that does.
Our people go to Japan and don' t mind seeing all the hairy
trees in winter. They don' t care there. But in Mexico,
yes, and we have to change this, because in Mexico the funny thing
is that in Mexico we do not perceive it as cold and hot seasons.
Rather it is perceived in the landscape as dry and green ah yes and learn
to love also our dry season. It has its beauty totally, it has
its relo and it is very fun to try to change this customers. But
the design process which is very important in pacing you have to understand that you
do not end with the final delivery. And I said it the other day
at a conference in Bageo Polis, in my bagio I wanted to do a
week. I told them the landscape is an act of faith, because it
is an act of faith, because although we know what is going to happen
and we can predict what is going to happen, it always surprises us with
something. There' s never a garden for me. I' ve been
at this for 20 years and we' re still here today. We were
the restean and I saw the little plants in chinapa as a baby, like
little children, like in the candy store we knew we carried the seeds,
we took the envelope, you gave how much it will grow, that is,
it tells you and I say it is an act of faith, because
we are always surprised by some, that is, what it doesn' t
mean. It' s like and projects have unexpected effects, sometimes desired,
sometimes unwanted. But the most important thing to understand in the design process is
that it ends with us entering the project and you have to explain to the
client always anticipate a little bit his anxieties that the trees are without not every
yes already died us and died. It' s winter exactly it' s
winter and even though you don' t notice it because we don' t
wear a scarf and there' s no snow. It is not seen the
same in winter in Mexico as in Canada. I like him very clearly.
In the mild winter and we have the best weather in the world. And
I love him not all lotus. We all complain here, but we know
we' re not really going to complain. We' re not going to
Monterrey, for example, so it' s extreme to that we' re
complaining. I arrived jja momentizes the heat, not when I said well it
' s not hot here. Finally, we just complain because that' s
how we are, but we actually have a wonderful climate and then understand that
the customer has to understand what' s going to happen. Not seeing the
process, the process that is not immediate like the architecture, as Sebastian said,
but that takes a process and that there will be green seasons and there
are yellow seasons, coffee there is exactly there we go. That' s
the process we' re going through. All right, there' s a
great father who are your architects, landscapers, favourites who right now are as
in your sights, because I feel like you' re always at the dawn
of what' s going on like this. Well, let' s see,
tell us your favorite, well, what a cliché it is. Well,
I' m very focused on planting design. I' m very inspired.
Thank you for this which is called plantation design which are not necessarily landscape
architects, because I don' t know what this is about. So I
always my first influence and the one we all knew, and the first one
I wanted to be not Fernanda Riona wants to become was peto of no Wow
Vit Dolph has a style of design tending to the modernist, because he is
Dutch and modernist. I mean, he designs like with a lot of blocks
and straight shapes. Suddenly it' s very spectacular. However, life has
led me to follow Ih Nd Donnet' s work in Sheffield and I think
his work is very different. They tend more to make one- on-
one plant communities against very well- defined blocks of certain plants. I love
Idol and I' m a fan of his plantation work. He' s
not a landscape architect. He is dedicated exclusively to designing the plantations they do
in landscape projects that design pacifist architects. He' s the first and the
two. Jean Jou' s work in China is unprecedented. It could not
be realized in a fully democratic country, because the political system of China,
which is totalitarian or authoritarian, with this capitalist economy, that even if they
say they are not capitalists, this dumbbell, makes cities that he designs are
created. He has a book called Letters to the leaders of the Monsk nation,
where he explains how he convinces the governors of provinces and that to make
the cities sponge that those of. But he intervenes cities at city level restore
clarity at city level and blah. They' re my two, I love
working with Jan Ju because it' s on a much larger scale and apart
it' s different, not that of no because it' s bigger.
No, they' re my two favorites, with Jan Ju and nightl Donnet
the Tys, because I' m going to repeat it. But you ns,
Nigel, I don' t say Sebastian, I think you do,
your mirror, yes, it doesn' t belong to the arche, and
all the devil in him sent him. It hits you, hits you,
and so it' s like we' re all with piet Dolf, like
it was like the first box to scale. No yes, it' s
more spectacular and it was the one who participated in the Highlight at Millennium Park
in Chicago, and we are these big or these tanks projects as very media.
Also not as if it was the one who exposed the landscape very much,
that new landscape then was always the first that opens you, as well
as that the desire to understand this and then you are already more and as
with a Latin American scale, I think it would be worth it to tell
your audience about the work of our friends and colleagues of suffering. Yes,
that are the Chileans, the Argentines, our friends who also came to Mexico,
already gave lectures, the work of Cristóbal, the Getame Macarena calbó in
Chile made some. You guys are literally totally naturalistic hairs, with gravel,
with your technical dealings. They don' t use land so they don'
t get vitacura herbs in the province, because it' s you remember as
a municipality. Or what' s his name, what' s his name
in Santiago de Chile. The work of Maca and Cristóbals print before fronts of
Jimena Nasal, also at home. She is lived in Mexico and the queen
of the agaves in Chile, because she took to Chile and also, the
queen of the gramineas. The grasses are the pastures. Pasture was not used
in landscape before. Carl Forester started using them in the beginning, well the
20th century, the late 19th was used for boats. It was a forage
and she is the queen of grasses in Chile. She' s about 70
years old, Jimena, and she' s been working on it for many
years. Who more the work of Mariana Siqueira in Brazil, Julio pastore Fono
geniusist truth for the awards. Abe who else all these Latin Americans are worth
it for your entire audience to follow. I love to talk to you about
other people, so nothing else. I like that they know the work of
all people and that, besides they are our friends and colleagues. So,
I was traveling to Mexico, traveling with maca to do I amaa met her
on a trip eighteen months ago to Macarena Calbo follow the m instagram is Macarena
no longer think they say. Now he tells me no landscaping, ecosist cristóbal,
but Macarana Calvo is Macaranata a landscaper or something. Yeah, they work
together, not in every project, they don' t have a patamonica.
There it is. But Macas was in charge of Chile' s screenplay in
Venice' s life last year. Okay, well, a beauty. They
were the spheres of clear acrylic Seed yes, yes. McCay Suizya, yes,
yes, to be located. I already met her last year on a
trip here I know Chile and the enamoria of the country and well we became
instant friends because we watched taking pictures of seedlings. We went last year also
with another extraordinary landscaper to this valeriaer Mira is Argentina, to the Tennis,
to the chess show and to give a lecture to the University of Sheffield.
Am has robbed you is also spectacular. He' s already in Uruguay.
Yes, see all these works of Latin American landscapers. Or that the Latin
American landscape is very spectacles. Yes, and they are. I think they
' re advanced mccarem mccalbou mckademan. I don' t see her, she
doesn' t recognize her. No. That which is not, no,
not what you say yes, but the landscape sand that has virtue we also
have the virtue of labor, that is, of having I say is gigantic.
Not exactly Latin America. We have very large, we have deserted mountain,
two tropical forests. So it' s very rich, it' s
very amazing if they' re countries that have the, that is, the
advantage of having an incredible huge biodiversity. Europe doesn' t have it,
they don' t have it. In Europe it was gradually imported. It
' s been imported by Naya. All the work they do in Shefied is
just put plants native to other countries to replenish the biodiversity that has ended there
and here we have her, the carena cal paisan that is expected to salular
ok. I think it' s very enriching. The Latin American pheasage.
Yes, it is. If any. So there is a lot to learn
from the Latin, that is, a lot and now the landscape biennial.
It' s just that, to highlight the region well, that' s
very lame, cantable, a great one for society. Really the one I
thought was amazing. Really listen to that vacan and you will stay forever in
landscaping, for I hope yes, I hope already yes, yes, I
hope not. Yes, the truth has been something incredible and I have it
here. No, I don' t say life then you went different ways,
but here I come. So, here I am and the truth is
yes, it' s amazing and I' m happy, but I saw
his dicks glowing. Yeah, tomorrow with the money for me like, yeah,
I mean, I' m working with living things again. No,
as it is spectacular and obviously also the magic to deliver a garden and let
a client come out and see it and then mark you later tell you already
changed everything what happened. It' s amazing this is when they' re
enjoying it. It' s that surprise you' re giving and you'
re saying good that father can share. We' ve got a nice little
chamba. Yes, I' m not saying that everything is as they are,
as they are not, but it' s like very noble, because
it' s like a much happier action, that is, from the most
basic point of view, interaction with nature. Yeah, I heard happy straight.
Then it' s good, but we' re neither drivers nor lawyers,
because we' re mostly in the majority and the truth is our problems
are smiling happy. We' re in a world of both. We have
problems, but we have happy problems. They' re a good tree,
not the truth. It' s nice, it' s a jacket.
She' s amazing. It' s nice that House has somehow joined them
together, because I was going to disign furnaces and I saw Sebastian' s
work and now it' s totally different. I mean, they' re
different together. Yeah, pretty scary. Yeah,' cause we had a
lot of fun. Hey, what a father I like and how nice to
have you both here in two by one. Unexpectedly, amazingly and I'
d like to finish this great interview having you guys here for real. Thank
you so much for being with us. What would you say to the new
generations of landscape architects that, just like you, you are about or are
already taking the step of doing the same? What would they say to them,
for I would tell them to do what, that is, where their
heart beats, that is what I have done to my life. Or it
' s the day I entered my kind of landscape that addressed you with Miguel,
I said this, this is what I want to do all my life
here I' m not the one who dares, I mean take risks,
uh, totally. The fact that you don' t take risks doesn'
t win and you do have to do a little bit of risk affection while
you' re ahead, obviously two calculated and so on. But that'
s what I' d tell my students. I always tell them and everything
from a little plant mix that might not be the case to try. Sometimes
they do work. That' s why I' m telling you it'
s an act of faith. Sometimes they surprise gardens and companies too, because
the work teams you would tell them. I think yes, I mean,
you have to let them go, yes as hell, you dared to change
really yes how to go on. You intuited your heart, not like seeing
what and how to follow and how to exploit your idea to the fullest,
because reality already lands you. Then let me tell you exactly in the ideas
and exploit it to the fullest. I mean, your creativity, yes,
and reality is already going to terrify you. That' s the wine.
If your silver mix doesn' t work, it won' t happen all
by itself, but you already did, no, then you dare break those
rules a little bit. Yeah, yeah, yeah, yeah, we'
d say good, guys. Thank you, because the truth is, thank
you so much for your time, for having us so much show ah thank
you so much when you want to quote the field labor and that I don
' t know the last time you' re here in dirrace. Sure,
please, to keep telling us, to learn you because yes, there is
a lot to learn landscape and also to know what you are in right now,
no yes, yes, really. Thank you very much. We'
ll be in Fixed the week we do, of course. I' m
there, of course, and there we' ll be a lot higher than
the probe. Yes, of course of the sessions. S u good berto.
Let' s try exactly, not if we, because we did it
with you. The truth is that we love what landscape society does. I
think we' ve been supporting them for several years now. So, this
won' t be the last one. The last one. We' ll
keep working with you now. Thank you very much, thanks to the audience
and remember that we are found on all music streams, Spotify, Amazon,
Deezer, Google Podcast. Everything that ends in podcast there can' t be
found. And please visit Capo Laboro' s show, which is on St
Louis Boto' s Street, one hundred and thirteen, in the Rome Colony.
Thank you very much, thank you, Fernanda, thank you Sebastian.
See you at the next bye bye. Thank you.