Hello Good afternoon I' m Kralen Ramirez. We are in one more broadcast
designing, I am here in D Radio, the design in your ears and
I am at the same time very happy, also a little melancholy, because
it is the closing of the season precisely, of the first season of the
year of D Radio. And, well, we are closing with a gold
clasp because there is with us an architect who for the second time is with
us, but it' s been a long time. So I want to
remaster this new program to know what it' s doing, what things have
changed, among other things, and this is José Moyau, how you'
re doing. Well, thank you very much, Cara for the invitation,
thank you for your time. And so with you, we' re closing
with gold clasp very well. I hope so. Make sure you do.
That' s right, hey, well, that' s right. I
' d like to start this great talk with you wondering who José Oya is,
but my name is José de Arima. I love you, I love
Lopez. They know me as Pepe Moyao. That is my name, which
everyone very places, not and who I am because I am an architect who
has more than thirty years in professional practice. I have my own studio,
which is mo I carry architects and because this one we have been working for
a long time and can only tell you that it is an architecture studio where
we think, analyze and do all kinds of projects and by chances of life.
The greatest number of projects that we have as for the part in which
they place me is for the whole theme of the centers of spectacle, entertainment,
theaters, auditoriums, stadiums, museums, exhibition centers, that is,
that they have been buildings. Regardless of how I started in my career with
the subject of housing, I worked a long time with the architect, it
doesn' t touch Rasco where we made housing for infonavitfo dresses And this good,
as I tell you, because of chance of life this type of projects
took place and we are pioneers in the study in the whole topic of rescue
of heritage buildings, conversion of them. The example is Frontón Mexico. You
have what is the Science Museum, model group industry that was the beer factory
victory. And so, then, good on this topic and also, starting
with the whole theme of the centers of shows, that the first was the
rescue and also conversion of a sports polysport palace designed for the Olympics of the
sixty- eight. And that' s where we start with going literal.
That' s where I started with oucesa that wasn' t before. That
even began its name was transformed today one of the world' s leading companies
in the topic of the center in the operation of centers of entertainment promoters.
Anyway, today they have the leaders in this industry. And so, regardless
of this I say I work on my own and have been able to develop
for others and contest and make other types of properties of these characteristics. But
we do everything in the good studio that doesn' t stand out basically that
' s one day good friend told me that says this one hears why not.
Instead of quantifying how many square meters of construction, you don' t
quantify how many seats or entertainment seats. You' ve done it, and
out of curiosity, I' m standing on the edge right now. We
carry more than four hundred seventy thousand entertainment seats from an imax room of three
hundred people to what you now have to know your world, like what is
today' s Genep Stadium racetrack, which has changed its name from sun forum
to GNEP Stadium. That' s right Wow. It' s impressive,
because now the square methods as they changed to butaks. No, it'
s not what it is. All right, it' s amazing. Which
father and I would like to know how it was that you chose the architectural
career for which architecture. In fact, I wasn' t thinking this way,
I' m in high school, I' m in high school,
I' m six at UNAM, and we were like seven eight boys who
were very stuck, very this month and we were all going to engineering.
Actually and at the time of filling the automatic pass, because I said,
because I don' t know, we all took out ten in physical themes,
but because I had concerns the models that were made in the last,
in the third year of preparation, I the subject of drawing, of art
and I liked and then it architecture, but without thinking more or less,
my family, my father was a lawyer, has nothing to do with this.
So, laugh and today, because I think the family has some creativity.
I have a cousin named Ulysses Moyao. I' m also architecture,
but he' s also a plastic artist. My son, Santiago Moyao,
studied communication and today he is a great illustrator and has his writing and has
his graphic novel, Ahorita, which has been published is mandrake and I have
written him and in the illustrator, then skills. I have a niece,
my brother' s ija that Andrea Moyao. Also then, everywhere, I
began to see that this, as there is something in the family up to
the subject of creativity. And well, then, they have become so natural.
And so, well, starting the race. This because I wanted to
do what I really wanted to do was footballer. In fact, he was
on the Atlante' s pilot team. I mean, all I wanted was
to study, try to exempt the subjects so I could have two months of
training and play forgiveness. Of course it wasn' t anything that football is
today. And just finishing one of the so many unveiled in the first semesters,
I went to a three- day sleepless workout and I passed out and
when I woke up I said because I have to think more about what I
want to do, and I myself made the decision to continue studying and do
it more like a hobby, a sport that I continue to practice to date.
Oh, well, he' s not getting that way anymore. That
' s good, I' m glad you didn' t lose that hobby.
What father and then, how about the incursion into the school, how
about that introduction to architecture? How they were in the classrooms, because in
reality, I think I had the fortune to know in the second semester the
career of architect Norato Carrasco, with which I began to work with him.
From the third semester he invited me half, which saw me something in me
along with another teacher, who was the architect Juan Tobar and Luis Solis,
teachers who began to tell architect Carrasco born look to this boy this and because
I nailed I liked one of the most complete architects that I have known the
studio in San Carlos. Then he calculated, projected, built, painted,
was a bohemian, played the guitar, sang, then torea, so everything
that ended with aba, did very well and was a very prepared man.
I hide and with him, because I did the whole race. And when
the theme of the thesis came, it was my thesis advisor. With that
thesis I was able to win a world architectural competition. And it was out
of necessity, because I needed a hundred pesos to print the thesis. He
paid me ninety- five centa for the drawing hour and then, living in
the hallways. There, at the faculty I saw a UNESCO poster called to
make a home rooted in a social and cultural environment of each country and it
was a contest for young architects under thirty- five years of age. I
was twenty- one years old at that time and this one, but I
had two phases that contest, the national phase, where the first place was
five hundred pesos of the prize, third, three hundred, third, fourth
and fifth was a hundred pesos and I said, because there is my one
hundred pesos. I spoke to him and entered won third place in the national
phase. I forgot that there is an international phase and in the international phase
won the first place with ten other nine architects. Well, there were fifty
- seven countries with five projects each. And the prize was that you went
to Tsucuba' s World Expo in Japan, and it was to put the
project and there were ten projects and the other nine were teams, many architects
already with their studio and I was alone, and because it was my turn
to go with that and the jury president of this contest was Kenzo TangerÁlvaro
Cisa, the vice president was Pedro erran Mérez Vázquez and good others more by
unknown. That' s why it was the maximum there was at that time
and there I had the opportunity to meet Don Pedro and Este, with whom
I made a good relationship, but I never worked with him always more well
and he was sworn in in that contest and twenty years later, he was
the president of the jury of the Guadalajara Auditorium, which I also won then,
but the day was the president of the jury and I tell you so
many things. Yes, I have been starting to fix the Palace of Sports
because I started César Bueno, Alejandro Soberón and Federico González with peán nothing I
was summoned one day to see what could be done with that property. And
thanks also to the support of the architect Honorato and Antonia Peir. At that
time he was in Mexico and was one of the architects who made the Palace
of Sports. Happy Candela Pedi Drum Res no, so it' s wow,
so what real privilege? And so, then, you start, because
it' s done, I don' t mean, the truth is that
I think the opportunities when they present themselves, because you have to take them,
not and there are times that you don' t meditate on things,
but also, because you' re young too. And today, you see
how all this is, the success you' ve had or stopped, yes,
uh, and this one and you And, well, there we go,
I don' t know, come on, yes, yes, yes,
yes, so also to class that has also grown a lot. Here
we go clearly, yes, wow, because it was amazing how his start,
his career and, above all, the great masters that touched him.
Above all it is also to get the fact of entering a contest at an
early age, because, unfortunately, I feel, I, I don'
t know you, but there aren' t so many architectural contests anymore.
Yeah, there' s, there' s, there' s, no,
no, no, it' s a time, but I think we
should be looking for the opis and I, as I tell you, was
more of a necessity issue. And then, then, to enter Guadalajara,
because there was no work, because you invent, that is, I,
because we are, we have from below, we have done to pure work
And this and, yes, contesting, risking, when they ask, well,
you get clicks. I don' t mean, the thing is,
I' m over it. I know it' s going to happen to
some project development. They ask me to do an analysis and I end up
making preliminary drafts and which, fortunately, several have been done no and are
then being done this, since one is going to make up his own work,
of course very well and he was then working with his honorary professor and
then, after that, of independence, he does learn how many years.
He' d be twenty- two. WOW and here I started in the
Rome presenter with good before in a fourth service with a friend, we started
doing there a market in his chitepec in models with the government of Lauro Ortega
Este as already used the topic that had been world prize and more won and
had no work. And I remember that in an interview that Marta Sosa gave
me today, my weasel, she was a show host. Today in culture,
he saw the newspapers that came out the name of José Arimatris. I
know him and I didn' t have a job. I remember I told
him good because tomorrow I' m going to go to the pinos Miguel de
la Madrid, of the President who had received Hugo Sánchez, because it had
been the beta Pichichi. Then I said I' m also champion, I
' m from the world and why not. And then, no, no,
no, no, I' m gonna help you. And then his
help was to have introduced me at the time, in her boyfriend, the
graduate Federico González Copián, today also my compadre, because if we made a
good friendship and we grew up together, not in other words, and there
is always someone who helps you, not the real one, and the truth
for me they are very important. Of course, nice and besides, you
' ve had that friendship. Yes, yes, yes, of course,
very valuable, really good. Yes, yes, yes, they have trusted
And that too, because working with friends, has a double commitment, not
to say because, because it is also to be very disciplined, this complimenter
and then not to fail of course, And if so with a friend,
then and with a client, because it is also me. I think one
of the most parenting things that' s ever happened to me is that all
the people he' s worked with have a very good relationship They invite you
back to work. This is the case, Ahorita, with Justino Hirshow and
Polo Ari, those of the Gir and because I made them Pepsiscenter many years
ago and at this moment we are doing a new project for other centers of
shows and because of confidence, because it has worked already gives you results with
his partner, Carlos Camagio. Right now, we' re watching this,
are we working, right now, on this project? What a father,
and I have a doubt how it is that you are involved in a project
since you arrive the client, how you are developing it with your team.
I think that this is how it is definitely posed, because I what it
is to listen to the client, try to see things, see his needs
and every entertainment center or every property of any kind depends. I think the
success of the studio is that I got involved in the first place with who
' s going to operate it, that is, who' s going to
handle it. So, even though it is, for example, Caesar has
the arrangement for the cell theater where the musicals are, and then you sit
down and see the whole thing with the director who handles this whole subject and
it' s Jame Matarredona. This is how it' s going to work,
which is x things, the needs of a theater. In fact,
there was an interesting anecdote. When he talks to Federico, it' s
a project Anton García Abril did. His company is assembly that they are Spanish
in a theater, but he loved the dovela And when he tells me this
how you see it, I told him, because it doesn' t work.
They tell him but why, because he has no stageya. And then
they told me how. For, indeed, there was nowhere to put all
the cloth and then had to. But let' s get you out there
and say things this big. And it was an important thing. And one
day it' s the Broadway musical theater. Thank you very much. And
when we started, for example, the Orpheon cinema was a cinema of the
forties and again we have to bring a beautiful and beast. This is a
lot before and this and because the people who were operating in this case,
Federico Kaime Matar, then it' s a profile. But the other thing
is concerts. When you are to do sports, driving with this George González,
who is the director today of Océsar, with pop people from real estate
like Mario Villavera, who have and have to manage masses. When Federico,
then start to see how you handle twenty- zero people, twenty- two
zero, which is the capacity he has, and then scale to Madonna'
s concert, sixty thousand people, and then it would seem that the theme
is twenty zero And now it' s sixty zero, because it' s
three times the things you theoretically needed. Totally fake here. I mean,
it' s not true, it' s not arithmetic. If you don
' t have to have a logistics, it has to look like where you
stop where. I remember what I used to say to the wolves. In
that first concert I said you have to get down the stairs before people go
up the stairs, because they were also tubular steps. Then the wolf boys,
for they stood up and of course people came with the ticket and they
were the next door and all of a sudden, the stairs were full of
people. And I trembled because if I could fall into that clear and besides,
I was the one who signed as director responsible for today and I remember
that in that in that I have many anecdotes and this, but that was
that I turned eighty- four hours without sleep to finish, because they did
load tests and moved and loaded and reinforced it and so and it is literal,
I rented a room. There I noticed about viaduct and nothing else.
I went to give myself a shower because I could no longer bear the smell
and did not eat pure water, because if I ate it made me hungry.
This dream and November 10th of the ninety- three is with being a
concert and this at five o' clock in the morning came five thousand policemen
to the test and that same said ok was approved. But you have to
fix all the perfect plas that you made. The police ripped off some conchitas,
looted the food and beverage stalls that were already ready. And well,
then, arrange And well I can perform the Knowing the concert and ending,
Alejandro Sobrón tells me this is the great vision that has the truth. He
is an extraordinary entrepreneur and leader. And I remember you told me and this
one you wouldn' t like to see here a permanent building. I said,
of course, yes and he says why don' t you do it
and if it' s done, I' ll pay you. I said
go and then I armed my team and I still told them engineer tar such
tell me how much it costs and if it is done you, I pay
it. That is the back to back, and so it was two years
before the Forum sun Guau could be made. Those are just like those.
I could count twenty thousand and we could keep talking about everything. There'
s more shows, there' s more seasons and he' s gonna keep
telling me. That' s right, no, no, I don'
t know about bras, but it' s amazing. I mean, I
never really did. I never imagined when I came to the forum. It
' s me that I' m a lot of concerts and suddenly I wonder
how the architect has done it, already or for another forao channel, because
for a long time it was closed and then back to life and now it
' s the Gennep. Not all the time has a success been working.
Since the sun forum was born This was intended to make a new mega concert
a year. Today, that' s like four. Today it is booted
as the world' s number one, as in the Open Stadium category.
Claro formula one in the last eight years, because it has won the place
six times and now. What was done was the project. It took us
more than a year and a half since the remodeling began in January and it
has to be ready for the month of August. There goes and if there
is, a transformation in thirty years, more than thirty years that the building
has, because it will have a new cover, it has a new image
for what they will be able to see of things and the idea of having
an experience for the viewer much more pleasant. Baths, I' ve multiplied
things, food and drinks, more things. The idea is that the public
feels very, very well. Yeah, yeah, the truth is, I
' m glad that what they' re reforming back to now the EP gene,
because last year, it was like eight times at the Sun Forum,
yeah, it was kind of good. You already have to give it a
new view because aside, because it is already something that is very recognized worldwide,
as you mention, and besides not come any artist, no, no,
no, you have to put some sizes of the most top totally there
comes puel mccart and, for example, it is slut in the six aha
number one. Not of things, right now, yeah, gruno, Mars
that you' re going to give the opening. No, uh, well,
that' s not just anybody. And the truth is that I am
very glad that this saying you are still involved in this show thing, because
you were given yes, which, besides, I thank and I think very
father that I have reconsidered the east, because the group, that is,
Alejandro, Federico, Bueno George, all to be doing things again and everything
comes out and the idea was to look for more spaces for advertising. And
well, also that that also of what happens, that I am not only
in architect that we design a theater. That' s why we have not
learned when watching Ticketmaster, we made Ticketmaster to understand the SIY all the issue
of how all these ticketing centers, food and beverage topics were sold, is
the subject of marketing, the subject of all the items involved in this production.
To be with you, for example, with Fede Valverde, who is
in charge of the whole production assembly part, and yes, we have grown
up together for thirty years and that has served me, because precisely for when
Guadalajara was the contest. I knew the problems I had, I had been
doing things for fifteen years and I knew the great problem I had of setting
up and disassembly an event. So this is Guadalajara' s Alleyard, the
Telmex has two great manoeuvring countries where you can get there. They went down
stage, let' s say one production and be going out and coming up
to the other and having a stage. It is one of the largest scenarios
in the world, because it has twenty background events sixty long, which this
allows me to have. And the concept was to be able to make three
different productions on the same day at different times. That was the concept and
that' s why I won and that place has some mobile buros where you
have sixteen room variables in the same building from 1, 500 to 6,
000. Yes, then you have and that was an international contest organized by
the University of Guadalajara and this and good because it was more than a hundred
projects that presented themselves anonymously and the I knew, since many things or production
and the other that it is not the same to see a play and than
to see a pop where you can have a concert, where you have a
100 degree opening in the room or a play where you need to close.
Then the moving walls are one hundred seventy- sixty degrees, incredible with a
few boxes and then in the back sections. So that' s what we
say, the multifunctionality and that part of what in recent years is yes,
it' s true that you have to do, for example, for the
government, to make a perfect opera room, because you' re between a
thousand two hundred and a thousand five hundred spectators, but it' s a
cavity of twenty- four meters and where it' s not profitable to make
for a people of productions. This is such a small musical theatre, that
is, telcel is a thousand four hundred, yes for but it is a
whole year ok yes then, but a theater for the government, which says
Querétaro, the metropolitan, in what is machis here, in the cultural center
Amexicans of the East. These have been, for governments and have a visual
hearing quality for the public, but they are probably not profitable and rather through
subsidies or by seeking sponsors. In other words, the Guadalajara Auditorium is called
the Telmex Auditorium because the University of Guadalajara, despite being the second most important
public university in the country, does not have the locks that UNAM has.
The Sebo Olympic Stadium you can' t call it BBBA Stadium. Yes,
not then, but that part because it allowed to develop a property with all
these characteristics that I say ok I understood good point. That' s why
everything and it' s part of that the Sol forum is born by the
Sol beer. So it is and I heard then kennep thirty years and another
and it is part of what the group of Alexander, on the subject of
selling the name, because there is the Center Exhibitor City Banamex, this persistence
of the cell and so I can go you addition of the Metropolitan, because
it has not been sold and I sold the name to us. Why don
' t I know, by the way, but they have a really good
place. I mean, it was a cinema of the 40s that you asked
me about, for example, my friend Alejandro Ochoa, because you are born
with these cinemas, that it is a rescue and that fortunately, because we
were also kids. They start making that book of distant spaces. They'
re alive from WAM and they documented all this. And, for example,
another rescue that I find beautiful is the Fronton Mexico. Oh, I haven
' t had any beauty of being a real estate. Twenty years closed.
That was 20 years. Yes, yes, yes, he was twenty-
sorbed and with serious issues and he' s from the family, cosio de
los ingenieros. I also appreciate you trusting me every time something calls me.
It' s an art deco building. We made it multifunctional. He'
s got some removers, some steps down to make some retractable gras by then.
For s has a thousand seven hundred spectators for this bresh, for example,
concerts. You can reach more than six zero spectators, lectures, exhibitions
have been given, I have been killed with scaffolding, as well as branded
exact material jafar and all, and that is part of what I think we
have mounted here in the studio that I say in some I believe more in
furniture today than in the Real Estate ok that is. You don' t
have to make closed systems. We have to make architecture that has the ability
to transform itself and not just in the theme of the entertainment centers. I
am talking about it, for example, in the case of housing, which
are the most important. Suddenly, right now you buy yourself a terra camcorder
apartment, why, because you have the kids or you start newly married.
Ah, so, as an office, what' s her studio, the
studio, your studio, and the main camera? But then it happens,
you have the kids and then they grow up. If you have a chance,
then you buy a house, but if not, if this is your
initial estate, you have to think about origin. Well, if we think
about it and then you evolve, and at the end of you, the
children' s people come in and they' re staying and the people who
have a case and then, then this one would have to be done.
Some rent the room, next door, others because they move flat and want
an apartment, from a bedroom. And ready and this I' ve always
said the best country house is your friend' s. Then why invest in
a country house you are invited and ready not, because besides, if you
buy a house to go bravo you become slave to that bed house. Yes,
to give it maintenance and it does that how much and you have to
go, well, all that so for it to take advantage of exactly,
because like that all these things here thinking you notice seeing the having so many
properties or things like that is to look for the rent and offer this kind
of thing. No yes, and I think that forming we had a great
lesson now, which was about the pandemic, about how to change the spaces
also to the needs we need at that time. We have together, the
work, the exercise, everything inside and suddenly it was like not giving me
the space is not giving me for myself. Then yes, I fully agree
with you. To say, because we need architecture that can be transformed,
not only stays always 100 percent. Not so and we see it now,
for example, right now that we are here in the East Rome colony why
Rome and the Countess come after a hundred years and more than a hundred years
to be in force. And already a great plus was worth. And all
for me, because they are neighborhoods that have an urban structure of origin,
because you see Rome, Axis, Alvaro, Obregón, Orizaba, Plaza,
Rio de Janeiro, Plaser, Luis Cabrera, a grid and you have a
scheme of gardens countess park Mexico, Parque España XS. And then it'
s like it' s been easy compared to the Pedregal. I' m
putting it at one end and here all these neighborhoods are vivable, of course
not all the times walking has connectivity. Sure, yeah, you got subways.
I can tell you about several seasons. I used trobus, it has
ecobic and everything. All right, there' s no public transport in the
Pedregal. Everything you have to go out with a car and push the ends
to make it easier to spread rubs and the Y and in turn, all
those houses that were made in East Rome at the beginning of the century thousand
nine hundred and ten. I saw in a house of nine hundred and thirteen
and today ten. My studio house and across the street is a six-
camera butin hotel with three bedrooms. Anyway they were houses and today they are
little hotels or they are Airby and b and they have gone and then many
are restaurants. You don' t have the rosette in the house this one
that you have the white columa on Facebook married everything there in the Bruges building,
that you have this good one, anyway, if what this is the
dick, which is that it' s down there, and then you do
have everything. And if you want me when I tell them I don'
t have a parking lot in the house, but I have to have a
boarding house and there you find a place and my garden too, because my
garden is chapultepec. What you' re starting to do is you' re
two miles and I' m half and you' re working out going to
run there. Sure, then I tell you you have to start living things
differently. And also how to operate as architects this, how to operate clear
cities, for example, this case of the NFL, because they are many
people who go to the stadium and you have to operate it because not two
wide streets or public transport to handle those votes. So they already tell you,
you, we pick up in the antara, we pick you up in
the national auditorium and they go trucks, because you won' t grow the
streets. Yeah, it' s not impossible in this town anymore It'
s impossible to just sit around. A little of that' s like operating
the cities. I also do how to connect it, because I feel that
there are still places like disconnected that the car is indispensable. And it'
s kind of good, because you already have to use the uber or,
the lidio or everyone else or the car of your own to go to these
places, because they don' t have that comicity that they have, for
example, here in the rome and countess, that already begins to see in
the Holy Mary and in the flakes something and they begin to expand more.
But there' s still a lot to be done in the south. I
feel, yes, yes, yes, of course, I feel, but
here in the center north, as it already begins to expand more. But
a lot remains to be done again It is because they have an exact urban
structure, because it has structure the other is the outskirts and also, for
example, another topic is university city. There came a moment, it'
s fifty- three fifty- four x and it worked that spoke very few
cars to me. Passing the time came many cars and saturated all the streets.
Yes and no, I mean, it was a very good proposal.
That' s like a Felitial. The theme of the stadium. It has
a capacity of 3, 000 cars and you do it there and you put
in a pomo abus system or eleven clear lines when it gets there and then
now you transport and you have a clean college image. Yeah, yeah,
yeah, and you don' t have to connect second stories. It doesn
' t keep as it' s been and it' s exactly heritage that
to me the pumabus thing. It makes me a wonderful thing, wonder no
more you have to stick which is the right one, it is not cheese
is the color of the road ready, that architecture, because it is yellow
and such is a wonderful thing of truth to connect your same university. It
' s wonderful because you don' t alter it any more than it already
is, or it' s really city. The university has not changed so
much, but I made a very good solution, both for those who are
there that for those who visit the university city of connects or because it is
huge, huge and connected from point to point of Universum, which is the
furthest part of this rectory, because it is wonderful that, because there is
a pumabus that goes and brings you, no, then it is amazing.
That is a great solution and that is missing, I think it believes a
very small exercise, but that, therefore, it can be expanded to,
for example, to the mayor' s office that, for example, the
Santa Maria, that there was no ecobici and Ahorita already begins to have stations
and already there is beginning to be more mobility in the streets that was not
before. Not then. So, let' s get a good look at
it. Not because it' s too far away and, maybe, it
' s a risk wave and now it' s not too passable anymore.
There' s ecobic going through the purple trucks and all that and it makes
it more feasible for people to live it as well as here, I don
' t know what you think. That' s very good. Hey,
so to do all those projections you have, you must have a very big
team. How many are in your office today. We are fourteen, that
is fourteen, Very good, but it is again to be forming or talking
and making them, that is to say, but in the pandemic it seems
that not working and doing promotion of things. And that' s it.
We were three ok Raúl, my sister Rocío and I and the guys we
had, because we had a year holding a group like eight, but after
a year it was all over. And the truth is, I decided to
bet. They' re doing promotions. Then, for the opportunity was given
that now what is the parcas clan you know where the wheel is. We
have designed and bet we have now taken almost twelve years to develop an auditorium,
a forum that, therefore, begins to be built at the end of
this year and the time is very father. But well, they' re
betting it and doing so making a hotel for cooked Philia to everyone stuck to
what was this topic tremendously, but if not what I' m trying to
already, at some point in my life it was up to me to have
more than fifty people in the studio working, because it' s the issue
of having to pay a payroll of that size and life is qualitative, not
quantitative. So right now it' s better infrastructure, good teams, committed
people and I have two collaborators so they' re eight years old with me
this light and good raul the new Viridian guys who also have a while and
already with us. But these two people are that they have supported me to
be able to lead and there we are doing several projects in these clear and
yes, right now for the morning, they told them to see what they
have to say things by their name. Occa scene, prostration bow, legs,
backstage X. They are clear guajes, yes, yes, yes,
they have to be used. Yes or yes in architecture, well, that
' s right. Wow. It' s amazing and good. I thought
your team was bigger than but it' s 14 people. Yeah, but
I have a lot of outside advisors. Okay, it' s the people
in the studio who give you a whole project to executive. Well, then
my people of structures that the company is coffee with the Carlos Arroyo genre,
also learned from it because it was the same. The frequency of music in
structures is another theme. It' s not regulated. The theme of how
to load a grill. It is Leonardo Rodríguez in his Saul, his engineering,
Eduardo Dualdo, Jorge Romero, in what is the acoustic part and special
installations he steps on with Edgar Castillo, everything that had worked and all things,
that are equipment, that are what forms and that, therefore, they
have their equipment. And the truth is, it' s very interesting.
That is, for example, air conditioning would be good. The point is
that it has the air conditioning to a room twenty degrees of tino temperature with
fort x. But it' s not just to make a comfort or,
be it, because your design engineer, who is pepegodinho to explain to you
that the speed of what is injected from air does not have to make noise
well ok suddenly you' re not in an opera, or you' re
in a classical music concert and it' s in the climax, which is
silence, it' s a terrible beat. I mean, then it is
the comfort but also or the scheme of conditions a scenario. Then you don
' t have to move the curtains. Sure, and when you inject the
air into the room, there' s the procedure arch. Yeah, and
that' s done like a shot of chinos There' s pressure going there.
Then all these things. It' s not the same as working with
someone on condition. You have to explain all these things clear, of course,
wow, yes, that' s a lot of detail and years of
practice too that you' ve seen that good, and there are things that
you have a triple heights in the national auditorium of many theaters all and this
one why set up upstairs if there' s no one clear, because it
matters where people are standing. Yes, exactly, then go we have many
things done and learned over time. And indeed, when we started with the
Palace of Sports, we knew nothing about acoustics or flows, nothing beside that
it was born with the mote of Palacio of the rebounds. True, I
was twelve seconds late, that is, everything was finished the artist singing and
because upstairs I kept hearing the until well, already engineers of are put the
curtains to absorb, not bounce. But that' s how he was born
clear. But you' re learning. Yeah, we didn' t know
anything, and besides, I wasn' t made for that. At first,
it was what sport basketball was for, everything was sports, in cinema,
what was basketball, gym, everything that has questions. And in fact,
we started from first event and it was pan- Americans Wow, very
well arranged the instruction for Americans. And then they already started an inexense concert
and already the opening officer was with Billy Joel well Wow, a great artist,
very well any exact or not exact exact. He' s a great
great real musician that I love and hear I know you' ve done architecture
of all kinds. You' ve already done and I know you' re
the master of all the scenarios and everything, but there' s still a
project that' s your crown jewel, that hasn' t arrived, that
' s already arrived, which one would be no. I think it'
s good. I would like to do a lot of things not from projects,
but, as you say right now, I think the project has never
arrived, the star project, Ahorita, here we keep doing things. This
one day will come and he won' t decide. Well, life'
s the one who breaks it down and they' re gonna have to do
it. Everyone locates the forsor, but other projects that the fronton are finally
like children, do not have their things that give you illusion. The lining
of the Empire of Acapulco is very beautiful, as you have me very intimate.
They are also spectators of the GNP sand that we made for tennis and
live like this kind of transformations and that we attend all and museums. That
is to say, of course, already to make a museum of science industry
with a theme of water, beer, that was a motadore project that clearly
has already sold it the group Modelo and this one because it has just interested
to the new company to have it. And now it' s a cultural
center there in Toluca. That' s right, but then he hasn'
t gotten to that star project. But which one wouldn' t, Ahorita
would give. I think we need to keep working, but what would be.
I don' t know what' s coming, what' s coming.
Things have been done, for example. Yes, now with my brother
Honorato, the son of the Masternoda, we were I recently made last year.
This is an airport. He has a lot of experience in the subject
of aeronautics and was my father because we did a collaboration and he focused a
course. Unfortunately, they evaluated it more by topic expensive architectural contests that are
made deep architecture and it will cost what it has to cost, of course
not, if they had not been said, we want it to be with
such a budget and remained very father and then so you also have many projects
that I gave the chair Federico Mariscal two thousand twelve and the chair and I
called thinking and rethinking the architecture. Yes, and several conferences in which I
have been asked to speak, because there are many times talks about parent projects
everything, but there is also frustration. So I' ve presented projects that
frustration is necessary in anyone' s life if you don' t have a
frustration, like you can have a comparison of the father and then gross clear.
And then, put, for example, a multi- function Stimedith Baiseball
in the inkwell was left in the university after it had been approved by UNESCO.
And everything, and because there are variables that don' t depend on
one not another. For example, I taught him a stadium of Mr Hernández
' s auto end for the team all the messa complete project developed paid me,
we moved a million cubic meters and I had invested ten million dollars it
and simply, because it changed and stayed there I day, but because we
did not finish it. I mean, and he, because he had the
equipment of all the tables and the zacatepec. And well, and this is
for calling you or not then. Suddenly, one day, many years ago,
a friendÁlvaro gave himself an engineer, gave me a little book from
Frank Lock Wright, of all the projects that were not built. It was
a book. Yeah, there' s a lot of things that stayed that
way. The frustration, because you already do it and cham and the trap
are the contests and they will be in a second place, because for me
it is of first loser, since and even with certain number, certain that
it is already in the second to nothing. But because you were in second
place in that try forgiveness, yes, the truth is that those are the
things that it was, for example, in the case of the theater of
o De was an invitation contest and in the end there were three and the
team meridian that I tell them at ease the Bunch and this truth. And
so for one thing, so are these things. They swam And so,
you stay chin and I remember that it was good on February 4, because
the next day it was the university of the plate of all Mexico ok and
they said no longer want to be architect, ah flat, when I decided
I returned from what I wanted to go to the bulls. It wasn'
t at the time. But not anymore. They are not great architects,
no, and good friends, yes it is also that this trade because I
have always said that it is like a pyramid where we all leave the base
that is the one cop the wab that you want. And I see and
then over time I' ve realized that it' s getting the tip of
the pyramid and closing the circle of people who are doing things clearly. Yeah,
yeah, yeah. That happens at least as close to me as generationally
speaking. They are a little more boys Javier Sánchez and Mauricio Rocha de Lona,
very well hears and what he is doing, very ao arquitectos, Ahorita,
because we are with this that told you, Ahorita, about the development,
the asclan. We are with the lining in Cancún and with a entertainment
center so that it is a little waiting for a matter of permits, here,
a rescue, a fronton in the sures of the Lisas Group, but
we are sewn and a good hotel, several things there that we are promoting
there giving it very well. This is because we' re already hired.
Ah good to see the others still and you still do the area to promote
it. Of course, then this yes very well hear, but I think
you don' t need so much promotion, because your work speaks for you
sun, because you have to be anyway having yes, yes, that is,
no. I' ve never been able to get you to finish the
famous geo güey page. It' s all been like this, because you
publish things, uh- huh, but well something has worked out No,
yeah, of course, your work speaks for itself and that well, it
' s also a way to promote you. And, but then, web
page for what if you don' t need it. I say no,
then in vita. At the moment I was talking to one of the guys
who was right now who said about sales as they do now through social networks,
because yes, many dawn yes, of course, he doesn' t
hear who your five favorite architects are or that you have in your sights.
I believe that of the people who have always admired him, I do not
remember that one day being at the Venice Biennial, which is one thing that
I suggest to you that I had to start enjoying them through that the pavilion
of Mexico was made, this previously nadianal of the Mexican pavilion and presented a
project of mine, that of Fuero de Acapulco. Then all of a sudden,
because I believe a lot in each side, no and that it was
my turn to see it and to buy a book where he had signed his
work Picter Suntor, it is crossing it and you almost put it as if
it were your bread so complete of it. Well, I really like Renzo
Piano very much what the way I analyze and everything about Rogers and Sín more
Rogers than Foster, but Rafael Moneo or I' m going to tell you
a lot of what I have. No and obviously here, because in Mexico
we all in one way have an admiration for what it was there that has
transcended Barragan' s work. Of course, I like everything Agram sol Dowsky
handled, yes, and the way to organize, pcentorize that Don Pedro Ramírez
Vázquez had. Yes, very certain people and right now, because there are
many young people who are doing things and I like the time to knock.
I like to speak of Mauricio Rocha, of Javier Sánchez himself, in short
several that could be said long list of all the Japanese. They' re
a not- good thing too, yeah? Yeah? Yeah? And that
as a starting point. I' m sorry to understand all these things,
but most of all it' s that movement of provoking and knowing, approaching
projects. Right, I don' t know. It' s part of
what you' ve called me in college and keep studying things and seeing the
moves that are taking place. I' m a fan of the Bauhause movement.
I' ve studied it carefully and going to know the building twice already,
almost going to Germany and asking a friend that I have is Gaspar Woodyno
who lives in Berlin, in Mexican. It' s a wake up in
everything he gets. You call a guide all this and good to visit.
It' s like going to the temple doesn' t have its temples,
of course, yeah, does it? It' s very true. Everyone
has their temples, which only one knows why? That' s very good,
hey, it' s been an amazing conversation and I hope it'
s not the last time, because the last time you were with us was
six years ago. Please don' t spend another six years having you here
with us and keep telling me your anecdotes, because you have so many.
That' s right, we' ll talk about what happens a couple of
months in a couple of months. Please, hey, I' d like
to finish this big talk now. With you wondering or rather what you would
say to the new generations of architects that, just as you want to throw
yourself in the ring of saying well, I want to put myself in office
or already putting it. What would you say to them? I would tell
you a little bit that, as I said poster is that in this trade
we have to be curious and creative. Yeah, and have the curious zero,
not to tell him that it' s really research, analyze the things
that don' t get carried away by the fashions of all the things that
if they' re confusing, to make architecture because you drive a i e
the reddit the I don' t know what each are working tools, of
course, and then suddenly they say good, neither am I a good manager
and everything, but they don' t say clear to solve things. Then
you have to do what I tell you if I' m going to make
a door, when you have to see curious it is, then, I
' m going to make a door from where, then, a gate of
the door to grab. So, then, to investigate how they' re
done, to have what hardware they handle, blah blah, not just to
be drawing it, it' s not a copy pas Then you have and
it' s all that if I want to make a boob, I take
to the theater and I see and I' m where I' m going
that if I had the chance to go to Australia, of course I'
m going to have a concert at the clear movie opera and I take the
explanation tour, from the backstage of the testime. Yeah, yeah, then,
and of course all that cult stuff, knowledge stuff, at some point
it' s gonna present you something, but you already have a file in
your head of all this information and you can drive it into a creative part
the moment you get it. He' s asking for a pleasant hotel in
the room today too. How you arrived in New York and you have rooms
that are truly unclosed Why, then, because the bed is high and down
the chamber, you guard the matter of the east manalette. Why, because
the square meter is very expensive. There, yes, it is not the
same that you go to a beach that you have, that is, for
example, the Princesses Hotel, which have its rooms of almost a hundred square
meters, but of the old one. We' re not talking about how
to make a hotel clear and all these things, the curious observer being learning,
reading as much as he can and yes, traveling as he can.
I, unfortunately, started to travel to like pleasure and enjoy things, since
relatively already large, but obviously because the people who worked from Sunday to Sunday,
in fact, work Sunday Sunday, but now otherwise, that is,
enjoying the studio, we work Monday to Friday, well we work Monday to
Saturday. Right now, if Monday through Friday, we start at 8:
00 a m we finish at 7: 00 a m, that part of
being ordered that, for example, light tail has it, that is,
boys respect at lunchtime. The idea is two and a half, four and
a half hours of food. Well there in the studio very strange his things,
but we are always talking about food, I as with three of my
collaborators, also with Roberto so that we are talking and we are working,
eating and we are this time hearing all seeing things. Maybe they don'
t happen in the studio. Maybe not calmer now. It' s settled
and yes, I' ve got Marie, who' s a teacher,
the girl who cooks everything for me, who' s over 20 years old
with me, who' s so cute that the batting nanny who' s
now twenty- two. So they' re like those things I' m
doing to you and you really have to take advantage of. Hey, for
example, last night we were invited to bowling and show at the cinema.
You are tired and you say yes, but I went and we see how
the product is again two years ago in the halls, because tar to the
clear day and that invite you to the positions that if you are going to
see new materials, in order to take advantage of everything and for already yahar
as much as you can. Well, that' s a great big real
thing that you keep and learn a lot. No doubt about it. Thank
you very much for being with us and thank you for closing the season with
us. Thank you very much, thank you very much. Thank you for
not and well, thank you very much to the audience that was listening to
us all season, the first season. We listen to each other until autumn,
but John d' Radio doesn' t stay alone. Emiliano and Lorena
stay, who are about to premiere their programs. So summer' s still
here on D Radio. But I listen to each other in autumn for all
the events that are already coming and that we do high coverage here in Drreo.
Really, thank you very much to the audience. Remember that you can
listen to us for all the music streaming Spotify, Apple Music, Amazon Music,
Google Podcast. Everything that ends in podcast, of going, everything that
ends there with music, there we are, so there is no one,
but it is worth without them not being missed. And so again, thanks
to the architect PP like me for being here with us. Thank you very
much, thank you very much for the opportunity. See you later, bye bye.