WEBVTT 1 00:00:00.120 --> 00:00:02.919 Hello what? Tal? Good afternoon, I' m Karen Ramirez and we 2 00:00:03.000 --> 00:00:06.759 ' re in a new season of Radio. He designs in your ears and 3 00:00:06.799 --> 00:00:10.919 I am very happy to start this way the two thousand twenty- four, 4 00:00:11.160 --> 00:00:15.279 because apart from this new season of the program that we have here in designing 5 00:00:15.400 --> 00:00:19.559 ando, because we will have new programs and I am already very excited that 6 00:00:19.559 --> 00:00:21.359 they already know them to the new members of radio. And because I already 7 00:00:21.519 --> 00:00:27.280 started the strong season here, I invited an industrial designer who I am his 8 00:00:27.359 --> 00:00:30.280 fan of his work and, besides, he is a great friend and that, 9 00:00:30.679 --> 00:00:33.280 besides he had already been here with us on D Radio, but he 10 00:00:33.359 --> 00:00:38.280 does like for the two thousand seventeen, two thousand eighteen, then I need, 11 00:00:39.320 --> 00:00:42.960 like the refresh of all this time, that we have not been here 12 00:00:43.000 --> 00:00:47.359 as such in an interview because we have seen each other outside, but no 13 00:00:47.359 --> 00:00:52.439 more, not here Andy Radio and I am here with César pinter of mutable 14 00:00:52.560 --> 00:00:54.679 and how you are my dear Caesar. All right. Thank you very much, 15 00:00:54.759 --> 00:01:03.320 Karen, for the invitation. This one thrills me so much this season 16 00:01:03.399 --> 00:01:06.079 and thank you so much for inviting me. I didn' t say I 17 00:01:06.200 --> 00:01:10.519 ' m going to start strong and I' m going to start stopping man, 18 00:01:10.519 --> 00:01:12.439 because thank you very much. The truth is, it' s cool 19 00:01:12.480 --> 00:01:15.879 not to thank you very much for being here again. I' ve missed 20 00:01:15.920 --> 00:01:19.280 you so much already being here in the microphone with you. Yeah,' 21 00:01:19.519 --> 00:01:23.359 cause we put the gossip all of a sudden in the instagram. But yes, 22 00:01:23.640 --> 00:01:26.239 but we haven' t talked exactly. Yes, exactly, but it 23 00:01:26.280 --> 00:01:30.359 ' s good that you' re here again with me and in the first 24 00:01:30.439 --> 00:01:34.760 variation hereen mutable that I say is that now only you are up to the 25 00:01:34.760 --> 00:01:38.239 forehead of mutables. But before you tell me that, tell me because we 26 00:01:38.280 --> 00:01:44.079 already have new followers, etcetera. I mean, two thousand eighteen, so 27 00:01:44.200 --> 00:01:47.599 if we already have several, then I want to know who that paint is 28 00:01:47.719 --> 00:01:53.319 for the public. Okay, well, Caesar pinter is, first of all, 29 00:01:53.439 --> 00:02:01.840 a great lover of aesthetic design. I am a happy dad and that 30 00:02:01.879 --> 00:02:12.479 part of my life has led me as a teaching to be now in mutable, 31 00:02:12.719 --> 00:02:20.159 in a new stage, with new perspectives, with new things to do, 32 00:02:21.000 --> 00:02:25.800 with new furniture coming soon. Currently industrial designer, but I studied graphic 33 00:02:25.879 --> 00:02:30.240 design. That' s something, but I' m gonna talk to you 34 00:02:30.240 --> 00:02:37.280 a little bit. Yes, I' m an architect' s son and 35 00:02:37.319 --> 00:02:42.039 my brothers are industrialists. I really spent it at the kid' s workshop 36 00:02:42.199 --> 00:02:46.400 all the time. I don' t know why I studied graphic design. 37 00:02:47.240 --> 00:02:53.599 I don' t think I know if the rebel part of saying no. 38 00:02:53.759 --> 00:02:57.000 I' m not going to do what my brothers are or I' m 39 00:02:57.080 --> 00:03:00.039 not going to be an architect either. But, well, in the end 40 00:03:00.039 --> 00:03:08.879 it' s the school that comes from there and always all my designs are 41 00:03:08.879 --> 00:03:15.360 related to three- dimensional objects. It' s funny to note that this 42 00:03:15.520 --> 00:03:22.360 is like everything I could visualize so I don' t know at that time 43 00:03:23.400 --> 00:03:30.039 book covers, I always ended up solving them three- dimensionally and then I 44 00:03:30.080 --> 00:03:35.000 photographed them and then it was either to the cover. This is where this 45 00:03:35.560 --> 00:03:43.240 school of industrial design comes from, because with my brothers I read the books 46 00:03:43.280 --> 00:03:47.520 they were leaving them and by the time I arrived at graphic design, because 47 00:03:47.680 --> 00:03:57.919 I already had the question of the object, more than graphic, although I 48 00:03:58.400 --> 00:04:05.159 love the graphic. And from there, it was as if everything was detached, 49 00:04:05.319 --> 00:04:12.759 that is, seeing it now as a retrospective, it was very evident 50 00:04:12.879 --> 00:04:16.120 that the path was walking towards the object. Okay now I mean, it 51 00:04:16.199 --> 00:04:19.399 ' s nice that you and you realized that, but I think that' 52 00:04:19.439 --> 00:04:23.279 s your graphic designer training. Yes, it served you, that is, 53 00:04:23.959 --> 00:04:31.319 yes, yes definitely, that is, I have found that many people in 54 00:04:31.839 --> 00:04:38.720 the graphic and industrial guilds say that some are better than the others, but 55 00:04:38.720 --> 00:04:44.040 in reality we are looking for the same thing. Sure, we' re 56 00:04:44.079 --> 00:04:51.680 going to the same place and in the end, the rules of aesthetics are 57 00:04:51.839 --> 00:04:56.879 in the same places. He explained to me perhaps on one side, you 58 00:04:56.959 --> 00:05:01.079 learn then, I what I know this, because diagramming Y and on this 59 00:05:01.680 --> 00:05:11.560 other side, you learn because equally the structure ru furniture explained me clear then 60 00:05:11.560 --> 00:05:19.759 even to the same architects, i e, you know, it is the 61 00:05:19.839 --> 00:05:27.600 same joke that moves these create yes to create, and these three professions that 62 00:05:27.600 --> 00:05:30.319 somehow touch are closely related. Yeah, yeah, we give them you know 63 00:05:30.360 --> 00:05:35.319 exactly, because now you see a lot of architects who make some furniture. 64 00:05:35.360 --> 00:05:44.240 Well, it has always happened that the architects become their furniture and in the 65 00:05:44.279 --> 00:05:50.199 end is that a search towards aesthetics and towards the dialogue that the architect or 66 00:05:50.240 --> 00:05:56.120 graphic designer has or in the industrial. Okay very well, and then, 67 00:05:56.360 --> 00:06:00.959 when you realized that your thing was like the object, what did you decide 68 00:06:00.959 --> 00:06:04.519 to do? You decided to go to work with someone or learn the trade 69 00:06:04.519 --> 00:06:13.160 or what did you decide? It was funny because my first studio was graphic 70 00:06:13.519 --> 00:06:20.360 and photos. When I realized, I was doing a lot of photo and 71 00:06:20.360 --> 00:06:29.680 a lot of object, but all the objects made them like this because as 72 00:06:29.680 --> 00:06:35.600 for the house, you know, then I really liked to make furniture and 73 00:06:35.680 --> 00:06:41.319 we had a workshop, a first workshop that was like artistic exploration. In 74 00:06:41.360 --> 00:06:49.319 the end and that workshop was like the catalyst for what was subsequently mutable. 75 00:06:49.639 --> 00:06:55.560 I don' t errestus and I achieve we don' t spend incredible in 76 00:06:55.959 --> 00:07:04.199 the workshop, because doing a thousand things and as I tell you, it 77 00:07:04.240 --> 00:07:15.759 ' s an exploration of material processes and that creates the spark that resulted in 78 00:07:15.920 --> 00:07:23.360 mutable or even mutable is that, you know, that' s not just 79 00:07:23.439 --> 00:07:25.720 closely related to a single material or a single line of design. Not clear 80 00:07:25.800 --> 00:07:31.720 when the brand becomes more formal, because there are certain lines, but we 81 00:07:31.720 --> 00:07:43.000 have always maintained as alternative objects to the brand that allows us to continue creating 82 00:07:43.120 --> 00:07:50.000 or investigating processes or materials. And I think that' s the richest thing 83 00:07:51.399 --> 00:07:58.600 or what I enjoy most about the design part. Okay, this is nice, 84 00:07:59.680 --> 00:08:03.199 and I mean, it' s a story, it' s born 85 00:08:05.040 --> 00:08:07.639 mutable, rather good, mutable, being sor quality, but very good. 86 00:08:07.720 --> 00:08:20.160 Exactly yes, mutate this formally about two thousand fourteen more or less before that, 87 00:08:20.399 --> 00:08:28.759 because we did a thousand things, production, for art, for furniture, 88 00:08:28.120 --> 00:08:35.440 for projects of any kind. We can' t say no. So 89 00:08:35.519 --> 00:08:41.240 they said hey, because sometimes you know how to drive a plane, yeah, 90 00:08:41.000 --> 00:08:46.720 sure or let' s be exactly then we always went into everything. 91 00:08:46.799 --> 00:08:52.360 And that' s something that I' ve always liked, because coming in 92 00:08:52.480 --> 00:09:01.320 and because even if you don' t know it, you know that if 93 00:09:01.440 --> 00:09:05.360 you do a good investigation into what you' re going to face, that 94 00:09:05.360 --> 00:09:05.039 is, it' s not what I was saying either. So I do 95 00:09:05.120 --> 00:09:11.320 and I see how it goes, otherwise we have to investigate, we have 96 00:09:11.360 --> 00:09:18.360 to identify the problem and work on it. I think there' s always 97 00:09:18.360 --> 00:09:20.960 good fruit. Okay, all right, I perfect And now that it feels 98 00:09:22.000 --> 00:09:26.519 like nothing else, this immutable, because it' s a new stage, 99 00:09:26.519 --> 00:09:37.960 very interesting, very demanding. It' s very happy because there have been 100 00:09:37.080 --> 00:09:46.840 a number of challenges and alternate projects to just the brand of furniture that I 101 00:09:46.879 --> 00:09:54.519 ' ve never visualized doing it and I never mean it like it came very 102 00:09:54.240 --> 00:10:05.320 automatic after the pandemic and it was like a curious part that I think after 103 00:10:05.320 --> 00:10:09.879 the pandemic, many people realized the needs that they had of new spaces to 104 00:10:11.000 --> 00:10:18.000 work in their homes or in some more isolated places or where they were not 105 00:10:18.039 --> 00:10:26.440 prepared, and like there came a streak of work towards those kind of places. 106 00:10:28.879 --> 00:10:33.120 Okay and and it was like very automatic curious. Oh, what a 107 00:10:33.120 --> 00:10:37.600 father. Yeah, hey, but well, you could have decided to make 108 00:10:37.639 --> 00:10:41.519 good remarkable now I' m going to do it, but you might as 109 00:10:41.559 --> 00:10:43.000 well have been, because I' m going to do something completely different. 110 00:10:43.039 --> 00:10:48.559 But you remained very loyal to mutable. Yes, definitely, that is, 111 00:10:48.600 --> 00:10:54.799 I have always been very linked to the demutable design, to the aesthetics of 112 00:10:54.840 --> 00:11:01.840 mutable and in some way, it was something that, because I, at 113 00:11:03.279 --> 00:11:16.759 the moment I visualized mutable, at a time of friendly separation, I saw 114 00:11:16.879 --> 00:11:24.519 that, because I, what I wanted was to continue doing what we were 115 00:11:24.799 --> 00:11:33.480 doing, that experimentation on making the audio equipment or luminaires, or I don 116 00:11:33.600 --> 00:11:39.120 ' t know, until tornames and to continue experimenting on new materials. Yeah, 117 00:11:39.279 --> 00:11:43.159 it was something I said Wowa. This is what I like. I 118 00:11:43.639 --> 00:11:52.399 like to be here part of mutables. There is a workshop and for me 119 00:11:52.600 --> 00:12:00.440 it is very narrow to be in the workshop, to be working, to 120 00:12:00.480 --> 00:12:03.159 be linked with the materials and processes that are being carried out. Of course 121 00:12:03.159 --> 00:12:07.120 you know, and that I think was like the essence, because the very 122 00:12:07.159 --> 00:12:11.039 essence that I' ve had since childhood of always being in the workshop, 123 00:12:13.080 --> 00:12:22.320 of always doing something and is, as for me, an important part of 124 00:12:22.399 --> 00:12:26.799 developing a piece of furniture or something, of an OK object. Yeah, 125 00:12:26.879 --> 00:12:28.960 I think it' s elementary. I think for an industrial designer, as 126 00:12:30.000 --> 00:12:33.759 well as for an interesting architect to be in now, to be in the 127 00:12:33.279 --> 00:12:39.919 workshop, to be informed with contact with materials, as you well said, 128 00:12:39.080 --> 00:12:41.320 how it will be put together, etcetera. I think it' s elementary 129 00:12:41.320 --> 00:12:46.279 for you. Yeah, I definitely think I mean, I think the best 130 00:12:46.360 --> 00:12:56.440 designers I could visualize are people who are very closely related to processes, whether 131 00:12:56.440 --> 00:13:03.480 it' s in Mexico in others in the world, that is, being 132 00:13:03.679 --> 00:13:15.480 linked to processes always makes you see or makes you reflect on paths that in 133 00:13:15.519 --> 00:13:22.879 the future you' re going to go through, I mean, because I 134 00:13:22.879 --> 00:13:26.720 don' t know. I think that you are in the workshop, you 135 00:13:26.799 --> 00:13:35.159 see a process, you confront it, you solve it so that it adapts 136 00:13:35.480 --> 00:13:43.759 to the furniture or the object and that teaching is there. In the future 137 00:13:45.240 --> 00:13:52.279 you will use this resource again, but I feel it flows much faster and 138 00:13:54.120 --> 00:13:58.919 takes you to new horizons. Okay, I mean. That' s why, 139 00:13:58.159 --> 00:14:03.559 for me, it' s like a father to be in a workshop, 140 00:14:05.879 --> 00:14:13.399 to be with the materials, to be with all those of the day 141 00:14:13.480 --> 00:14:16.200 - to- day, manufacturing, designing or making a not clear prototype right 142 00:14:16.200 --> 00:14:22.039 now. I was just going to ask you about your design process, because 143 00:14:22.039 --> 00:14:26.000 now there were two people. Now it' s a very radical one. 144 00:14:26.679 --> 00:14:31.000 Change has been harder, easier. How it has been for you to change 145 00:14:31.080 --> 00:14:39.080 from your design process. Well, there was mainly less time, because now 146 00:14:39.440 --> 00:14:48.519 you had to attend to several things at once. But basically not. There 147 00:14:48.799 --> 00:14:58.240 was precisely a change that was slower and a learning process that had to be 148 00:15:01.360 --> 00:15:13.240 attended to. But part of the commissions that there were allowed me to explore 149 00:15:13.240 --> 00:15:24.240 material things and procedures that were not necessarily connected mutable, that is, and 150 00:15:24.279 --> 00:15:31.000 that resulted in everything that in this past year, in the twenty- three 151 00:15:31.000 --> 00:15:39.720 thousand, we have been preparing to think about a new line of furniture and 152 00:15:39.919 --> 00:15:46.840 leave the classics of mutable. And that' s like the part, as 153 00:15:48.279 --> 00:15:58.399 very much I could say that I' ve benefited a lot from it or 154 00:15:58.639 --> 00:16:08.799 because we experimented a lot with custom objects or furniture, which was a catalyst 155 00:16:08.799 --> 00:16:15.519 for new ideas. OK it' s hard, so it' s like 156 00:16:15.559 --> 00:16:18.399 the contrast, but I' m glad that you' re already intruding and 157 00:16:18.480 --> 00:16:25.240 just like you found that catalyst, because what follows comes to exactly what follows. 158 00:16:26.120 --> 00:16:29.799 Yeah, yeah, in the end, this one, he' s 159 00:16:29.799 --> 00:16:33.639 father. Because well, now, this, because I kind of missed this 160 00:16:34.720 --> 00:16:42.919 new stage of starting to develop new things, that much of what has been 161 00:16:44.000 --> 00:16:52.440 developed has been commissions and that have traveled well to Mexico and all of Mexico 162 00:16:52.519 --> 00:16:56.919 and some places you are, mainly the Angels and some little places. So 163 00:16:57.039 --> 00:17:04.720 I don' t know how the contacts went, but in the end it 164 00:17:04.839 --> 00:17:11.359 was achieved and like there was no commitment but to the client of that experiment, 165 00:17:11.920 --> 00:17:15.079 OK, that' s right, yes, she was very father. 166 00:17:15.119 --> 00:17:21.799 So like that part, because it' s the one that we' re 167 00:17:22.440 --> 00:17:29.400 now going to be working with new processes in I mean, I was just 168 00:17:29.440 --> 00:17:37.440 looking for a new material to incorporate like the OK line and not like I 169 00:17:37.440 --> 00:17:40.200 didn' t find exactly what it could be. But I found a material 170 00:17:40.319 --> 00:17:45.200 with which I feel very connected, with which we have worked a lot, 171 00:17:45.279 --> 00:17:52.960 with some little things of chemistry to make this patinas and all this, and 172 00:17:52.000 --> 00:17:56.559 that' s like the part that I like the most, because it' 173 00:17:56.680 --> 00:18:03.720 s like how I can give it a finish that I don' t know 174 00:18:03.720 --> 00:18:06.279 conventional finish of going to buy it and apply it. OK. And this 175 00:18:06.279 --> 00:18:11.440 one, then, with all this that I tell you about commissions, because 176 00:18:11.559 --> 00:18:19.799 it was given that part very well because a little experient, a little totally 177 00:18:19.799 --> 00:18:23.039 experiential. Yeah, that' s good, what a father, I mean, 178 00:18:23.039 --> 00:18:25.359 you' re so lame. That' s good. Besides, then, 179 00:18:25.400 --> 00:18:27.119 right now, we have Caesar, that is, Caesar is Moood, 180 00:18:27.799 --> 00:18:33.759 my first laboratory, of my joy, exactly in experiment. Yeah, definitely 181 00:18:33.480 --> 00:18:41.599 that, that' s like what it took to light up, like a 182 00:18:41.599 --> 00:18:48.240 new spark. It is not also to say mutable, it is still valid, 183 00:18:48.039 --> 00:18:52.519 yes, remarkable to follow people exactly for that, exactly fair. I 184 00:18:52.559 --> 00:18:59.599 mean, the idea was to find a new path, a new horizon of 185 00:18:59.680 --> 00:19:08.000 possible and independently of the classic furniture that we already have and that follow. 186 00:19:11.359 --> 00:19:17.640 People keep asking for it, so some new pieces, for example, a 187 00:19:18.079 --> 00:19:27.599 piece that I designed for unpublished in special edition that made me loved that Andy 188 00:19:27.720 --> 00:19:37.400 invited me a kiss Andy really, yes, exactly and it was a table 189 00:19:37.880 --> 00:19:44.599 that I love and that was a table that has had a success. Well, 190 00:19:45.240 --> 00:19:51.079 Father, because it was displayed there and it was kind of a long 191 00:19:51.599 --> 00:19:56.079 time saved and yes exactly and suddenly, one day a person spoke to me. 192 00:19:56.200 --> 00:19:59.880 Hey, I saw a table ah yes, of course and here I 193 00:20:00.319 --> 00:20:07.559 have it and so I already had a procedure of that table to be able 194 00:20:08.000 --> 00:20:15.000 to produce this one and it started to work very well and from there a 195 00:20:15.000 --> 00:20:22.640 second table was born. For reasons I don' t know why it evolved 196 00:20:22.759 --> 00:20:25.480 into a version three, I don' t mean, it' s version 197 00:20:25.480 --> 00:20:30.759 one. One was an attempt there in between that did not work and a 198 00:20:32.400 --> 00:20:37.799 third and that were as part of the experiments I was doing for projects. 199 00:20:37.119 --> 00:20:41.359 Wou exactly oy and how good you touch the topic of participating for example, 200 00:20:41.400 --> 00:20:45.960 in unpublished, because I have always seen mutable always, that is, since 201 00:20:47.000 --> 00:20:52.359 we opened and radio seven years ago, almost eight, I have always seen 202 00:20:52.440 --> 00:20:56.200 mutable in fairs, in exhibitions, that is, always. He' s 203 00:20:56.319 --> 00:21:00.119 like a lot of people in this. How important it is for you to 204 00:21:00.880 --> 00:21:04.960 be present at these kinds of fairs, at these kinds of events and above 205 00:21:06.000 --> 00:21:08.759 all, how beneficial it is, because one thing to be present, but 206 00:21:08.799 --> 00:21:15.519 there must also be a benefit. Tell me, look, the truth is, 207 00:21:15.519 --> 00:21:22.440 yes. I think it' s very important to find at the fair 208 00:21:22.440 --> 00:21:30.759 that suits you or. There are many formats, but if all to me 209 00:21:30.799 --> 00:21:37.559 have left something totally from expo habitat that were the first fair we went to, 210 00:21:37.960 --> 00:21:45.680 that has a format different to the format of no containers or unpublished or 211 00:21:45.039 --> 00:21:51.240 sonamaco. Even in the American Caravan we were yes, yes, yes. 212 00:21:52.119 --> 00:22:00.519 Each one has a different connection with the public and with the exhibits, but 213 00:22:00.559 --> 00:22:14.200 in the end, yes, I believe that supporting a brand is linked to 214 00:22:14.720 --> 00:22:21.400 the exhibition at these fairs. Yes, I mean, it' s not 215 00:22:22.039 --> 00:22:29.960 just Instagram, because I find that the biggest enrichment I remember, it' 216 00:22:30.000 --> 00:22:36.079 s one of the fairs, because you know the public, you know the 217 00:22:36.079 --> 00:22:38.440 end audience, the user, the end of your furniture or your objects. 218 00:22:38.640 --> 00:22:45.319 Yes, to target exactly and it leaves you with a lesson about what you 219 00:22:45.440 --> 00:22:52.880 can improve, what you can, what you like, what we like, 220 00:22:53.559 --> 00:23:00.400 what it is and that I think is not easy to acquire in others, 221 00:23:00.400 --> 00:23:04.920 in other ways. So I think that both being in stores or as being 222 00:23:06.119 --> 00:23:11.240 at fairs, in particular, in this case fairs, yes, it is 223 00:23:11.240 --> 00:23:18.680 very important. Each one is different from the other, and each one the 224 00:23:18.839 --> 00:23:26.960 public one looks for things different from other places, other fairs or other events. 225 00:23:29.839 --> 00:23:34.079 But in the end, if you manage to understand the audience of each 226 00:23:36.880 --> 00:23:44.640 fair, you succeed in making a successful fair. Well, yeah, I 227 00:23:44.640 --> 00:23:48.359 think the secret is to go a little bit, if you have to bet, 228 00:23:48.880 --> 00:23:52.759 of course you bet to go and say good. I' m going 229 00:23:52.440 --> 00:23:56.599 to take, I don' t know a bookseller, I' m going 230 00:23:56.880 --> 00:24:00.960 to take these objects, or I' m going to and sometimes you win, 231 00:24:02.160 --> 00:24:06.160 sometimes you don' t win, I mean you win the one that 232 00:24:06.160 --> 00:24:08.400 was right what you brought or not. But in the end I leave you 233 00:24:08.519 --> 00:24:14.559 a teaching and in the next time you go with the objective very clear. 234 00:24:14.880 --> 00:24:18.519 Yes, you are polishing it not participating exactly and, on the other hand, 235 00:24:19.200 --> 00:24:22.400 you reinforce the brand, that is, the truth reinforces being your product. 236 00:24:22.480 --> 00:24:29.039 You strengthen because people, because I don' t know, are like 237 00:24:29.519 --> 00:24:30.200 us when I don' t know. I like the art fair, because 238 00:24:30.279 --> 00:24:38.680 you go and see our new things, you see artists that you haven' 239 00:24:38.720 --> 00:24:48.880 t met and move a lot creatively and leave you many experiences. That' 240 00:24:48.960 --> 00:24:52.680 s part of what people who are going to say something to sound maco, 241 00:24:52.799 --> 00:24:57.119 who aren' t going to sound maco, thinking about buying a table or 242 00:24:57.119 --> 00:25:03.359 a bookseller. I know they' re going to see art and suddenly they 243 00:25:03.400 --> 00:25:10.079 meet a boot where there are interesting things. And because some end up meditating 244 00:25:10.200 --> 00:25:17.240 on buying for a livery by saying something clear, or they take an arrangement 245 00:25:15.559 --> 00:25:22.759 or an object that you have. That' s, that' s very 246 00:25:22.759 --> 00:25:26.960 enriching. Well, is that you do consider it a good investment? Yeah, 247 00:25:27.039 --> 00:25:30.640 I think it' s a good investment. All right. I think 248 00:25:30.720 --> 00:25:34.480 it did work out for them. I don' t really know how it 249 00:25:34.480 --> 00:25:38.680 worked internally. It was a mutable, but it' s very enriching to 250 00:25:38.720 --> 00:25:42.480 find you at every fair, every exhibition. I mean, he' s 251 00:25:42.480 --> 00:25:44.720 here It' s good he' s here. Nothing' s father, 252 00:25:45.079 --> 00:25:48.799 yes, he' s very father, really. Yeah, I miss it, 253 00:25:48.440 --> 00:25:52.119 because this year I didn' t get into anything good, but you 254 00:25:52.240 --> 00:25:56.000 were in the art week that I did, well, yeah, yeah, 255 00:25:56.160 --> 00:26:00.599 I always lost it I' m gonna scold, right now, who' 256 00:26:00.039 --> 00:26:03.599 s got the problem right, how barbaric that but yes, but well, 257 00:26:03.599 --> 00:26:10.480 this one was father. The place was amazing, it was a spectacular house 258 00:26:11.119 --> 00:26:15.839 of Porfirio Diaz, cursed of that yes and it was closed and it was 259 00:26:15.920 --> 00:26:21.799 abandoned like eighty years, I be cursed of and as it opened, they 260 00:26:22.000 --> 00:26:27.599 put things with the dust, just as it was found. That' s 261 00:26:27.640 --> 00:26:33.519 not how I' m repenting and that happened to me because I got sick 262 00:26:33.519 --> 00:26:34.480 things that will find it in my voice. He told me half- bitten, 263 00:26:34.599 --> 00:26:38.039 but it' s just that I got sick and I couldn' t 264 00:26:38.160 --> 00:26:47.519 help this one anymore I wasn' t there and it ended before, that 265 00:26:47.640 --> 00:26:48.039 is, two days before, but this one goes for other people' s 266 00:26:48.039 --> 00:26:52.559 reasons. This one didn' t have to end up seeing then how you 267 00:26:52.599 --> 00:26:56.759 did in that hell of a participative. There was a very, very good 268 00:26:57.559 --> 00:27:03.440 reception b these people, because father, very father, the truth very there 269 00:27:03.519 --> 00:27:11.720 were good, good contacts, good, this movement and an invitation that we 270 00:27:11.400 --> 00:27:15.920 will soon tell them. Oh, Father, how he did before and who 271 00:27:17.000 --> 00:27:21.759 else was participating in that exhibition. Okay. In that exhibition was every study, 272 00:27:21.880 --> 00:27:29.880 which is a friend mastri was good to the soon study represents us to 273 00:27:29.880 --> 00:27:38.680 good. He invited us both. He was seven studies, he was wandering 274 00:27:38.759 --> 00:27:49.039 gallery, he was home to Mimi and there was as multidisciplinary, there was 275 00:27:49.039 --> 00:27:53.559 fashion, there was art, there was object, there was furniture. It 276 00:27:53.680 --> 00:27:57.279 was very interesting. The truth that was and was very plural. There were 277 00:27:59.440 --> 00:28:03.119 foreign people, people from Mexico, people like everything else there were photographers, 278 00:28:03.440 --> 00:28:14.319 painters. Then he was very father, very, very interesting. The truth 279 00:28:14.680 --> 00:28:15.240 isn' t right. It' s a good thing you' re in. 280 00:28:15.319 --> 00:28:18.759 By the way. This is your first turnout, as the head of 281 00:28:18.799 --> 00:28:23.200 mutable no yes, it was neither you nor her. Yes, it wasn 282 00:28:23.240 --> 00:28:30.160 ' t unpublished. Then I was invited the first the first year that soon 283 00:28:30.279 --> 00:28:41.480 a studio made a gallery, a papop galerin this in that invitation ok exactly 284 00:28:41.640 --> 00:28:49.039 and we presented some objects. The table is the same table that we now 285 00:28:49.039 --> 00:28:55.440 present, but it is that they asked us and we were going to present 286 00:28:55.440 --> 00:29:00.960 a teresa at this one, but we decided to save it to present it 287 00:29:00.960 --> 00:29:03.680 later in the invitation that we have. There' s surprise, surprise, 288 00:29:03.400 --> 00:29:10.200 prey exactly. I like that then it was good. It was unpublished. 289 00:29:10.559 --> 00:29:18.759 It was unpublished. Containers to the short study, I believe again to the 290 00:29:18.759 --> 00:29:25.920 short study. There was a chair there that is that chair is already the 291 00:29:26.039 --> 00:29:33.440 product of all this experimentation, which is a chair inspired by the odyssey of 292 00:29:33.519 --> 00:29:45.480 man by reaching the moon that you do and it is with skated aluminum and 293 00:29:45.599 --> 00:29:52.039 wood and is a chair for exterior. Wow, then that piece. Let 294 00:29:52.160 --> 00:29:59.960 ' s just say it' s the piece that' s catalyzing these years 295 00:29:59.960 --> 00:30:03.960 of work. I said look at nothing else or it' s sounding pretty 296 00:30:04.440 --> 00:30:07.799 good or and yes, I' m very happy with it. Or it 297 00:30:07.920 --> 00:30:11.200 ' s good. It gives me a lot, exactly and has liked very 298 00:30:11.240 --> 00:30:18.079 much and it is the piece, a sister piece that we are going to 299 00:30:18.960 --> 00:30:22.839 present, because we were invited and it leaves, it goes until new. 300 00:30:23.720 --> 00:30:26.200 We' ll talk to them later. Oh, I' m gonna be 301 00:30:26.200 --> 00:30:33.880 the magi who tells us so, says it, but no, no, 302 00:30:30.559 --> 00:30:33.480 no, no, no, no, no, no, no, no, 303 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 304 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, no, 305 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 306 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, no, 307 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 308 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, no, 309 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 310 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, no, 311 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 312 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, no, 313 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 314 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, no, 315 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 316 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, no, 317 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 318 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, no, 319 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 320 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, no, 321 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 322 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, no, 323 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 324 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, no, 325 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 326 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, no, 327 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 328 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, no, 329 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 330 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, no, 331 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 332 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, no, 333 00:30:33.480 --> 00:30:33.480 no, no, no, no, no, no, no, 334 00:30:33.480 --> 00:30:37.119 no, no, no, no I' m so glad you' re 335 00:30:37.119 --> 00:30:41.319 experimenting. And besides, I like very much being very honest the Week of 336 00:30:41.319 --> 00:30:47.799 the art, because precisely they expose designers, architects, but in a way 337 00:30:47.839 --> 00:30:52.960 they expose in a more experimental way, just like to be a little linked 338 00:30:52.000 --> 00:30:56.759 to the experimental art that many times we see this week and it gives me 339 00:30:56.839 --> 00:31:03.359 great taste, like that this hextra exploration of each of the designers, both 340 00:31:03.400 --> 00:31:07.200 interior designers, designed, industrial, graphics, photographers, architects, that you 341 00:31:07.200 --> 00:31:10.519 say good. I' m going to make a piece for art week and 342 00:31:10.559 --> 00:31:12.400 there it shows up as your most creative side. I' m sorry, 343 00:31:12.519 --> 00:31:18.680 yes, I think it' s true. You feel less committed to making 344 00:31:18.119 --> 00:31:26.000 it so formal in the sense that I have to go in a line than 345 00:31:26.319 --> 00:31:33.720 you' ve been working on. I think it allows you to occupy all 346 00:31:33.839 --> 00:31:40.839 this baggage that you bring from what you' ve experienced before and add something 347 00:31:40.839 --> 00:31:48.640 new. Of course this talking right to me I think I' ve talked 348 00:31:48.680 --> 00:31:59.319 about it quite a few times with and it' s weapon that it' 349 00:31:59.480 --> 00:32:01.480 s just this one in unpublished, because it' s something that you have 350 00:32:01.480 --> 00:32:05.119 the possibility that it' s not there. It doesn' t have to 351 00:32:05.400 --> 00:32:08.680 be something necessarily married to what you' ve done before. If it doesn 352 00:32:08.759 --> 00:32:20.200 ' t allow you to explore a new object or a new furniture or new 353 00:32:20.240 --> 00:32:24.000 ways to reach the object, and that gives you that freedom. He explained 354 00:32:24.519 --> 00:32:28.680 no. That' s why it means no, no, no, no. 355 00:32:28.680 --> 00:32:31.960 No. If he won' t let you, well, that' 356 00:32:31.960 --> 00:32:39.119 s how I feel. It allows you to go experiment and give and feel 357 00:32:39.599 --> 00:32:45.599 approved of what the public thinks. Of course, you have to try something 358 00:32:45.599 --> 00:32:50.680 new exactly, you don' t exactly accept it, and then that' 359 00:32:50.960 --> 00:32:57.279 s the interesting part of participating in these events, that you can take what 360 00:32:59.000 --> 00:33:06.720 you already have and experiment with a new piece of furniture or object and perceive 361 00:33:06.720 --> 00:33:09.960 how people get it. Yeah, there' s exactly that. I am 362 00:33:10.000 --> 00:33:16.279 very enriched to make that clear, because you are visualizing, because sometimes you 363 00:33:16.359 --> 00:33:22.519 are stuck in your bubble and day to day and you do not allow yourself 364 00:33:22.599 --> 00:33:30.480 to visualize this part of the public' s acceptance of certain materials, that 365 00:33:30.480 --> 00:33:34.279 is, certain techniques. Yeah, of course this new proposal that, maybe 366 00:33:34.279 --> 00:33:36.880 you have and it' s to see how the audience sees it, because, 367 00:33:37.039 --> 00:33:39.160 maybe he' s married to see a certain face of I don' 368 00:33:39.200 --> 00:33:43.000 t know mutabla and upside down to see if he' s going to see 369 00:33:43.200 --> 00:33:45.720 it like that, if he likes it, no, we already turned it 370 00:33:45.720 --> 00:33:46.960 into a collection. Later, no, but that' s like your proof. 371 00:33:47.599 --> 00:33:51.720 I feel like this, I' ve felt it with the exhibitions. 372 00:33:52.000 --> 00:33:59.240 Yes, definitely exactly and, for example, I see incredible exercises Now, 373 00:33:59.319 --> 00:34:08.119 for example, the art weeks I saw incredible design exercises, which seemed to 374 00:34:08.400 --> 00:34:17.679 me to be very painful and I' m not so interested in knowing if 375 00:34:17.719 --> 00:34:25.440 they work as the object they pretend to be, but simply the day of 376 00:34:25.440 --> 00:34:36.119 having done it, of having proposed it, of curing your materials, that 377 00:34:36.199 --> 00:34:44.000 ' s what ultimately gives you an enrichment, that is, enriches you for 378 00:34:44.039 --> 00:34:45.599 future projects that you are going to carry out. Gro Yes, then, 379 00:34:45.679 --> 00:34:52.239 to creativity. Exactly then, yes, I saw some amazing exercises that I 380 00:34:52.360 --> 00:34:55.000 thought wow that father, what a nice vibe they got to do. This 381 00:34:57.440 --> 00:34:59.960 is it, Father. Yes, because then I think that the other exhibitions 382 00:35:00.159 --> 00:35:02.840 that come throughout the year are enough to formally present a collection, your line 383 00:35:02.880 --> 00:35:07.840 you' re following, etcetera. No, but I like men better, 384 00:35:08.199 --> 00:35:10.920 that' s like I' m more excited about art week, because there 385 00:35:10.920 --> 00:35:15.400 ' s veneers like one more creative side of each one, exactly, exactly, 386 00:35:15.440 --> 00:35:19.119 and just. That' s like the father part. And maybe the 387 00:35:19.159 --> 00:35:22.000 interesting thing is to see that, after what you saw there, maybe the 388 00:35:22.280 --> 00:35:25.599 next year, you see that that studio developed from that piece a clear, 389 00:35:27.119 --> 00:35:36.039 accurate collection, exactly. I don' t go to this little duck and 390 00:35:36.039 --> 00:35:38.079 then mutablin what you' re doing, now, what you' re doing, 391 00:35:38.440 --> 00:35:38.440 what you' re doing, what you' re sleeping with, now. 392 00:35:39.000 --> 00:35:45.920 Okay, well, mutable. He' s been working a lot on 393 00:35:45.920 --> 00:35:57.599 projects with interior designers, architects and we' ve been working on it almost 394 00:35:57.599 --> 00:36:05.599 very hard. But now comes a new time to generate new pieces, to 395 00:36:05.679 --> 00:36:14.199 generate already to resume the furniture line. They' ll know the furniture that 396 00:36:14.199 --> 00:36:16.760 ' s going to keep other furniture that, maybe we' ll keep them. 397 00:36:16.800 --> 00:36:27.280 But we are definitely working on a line to new furniture or in parentheses. 398 00:36:27.480 --> 00:36:38.960 Between these years we have learned by some commissions to be furniture traveling outside 399 00:36:39.000 --> 00:36:47.440 of Mexico, and that part I am very excited, because it took me 400 00:36:47.599 --> 00:36:58.360 a lot of work to understand, understand how to be able to do it, 401 00:36:59.079 --> 00:37:00.039 how to make objects or furniture that arrive without harm to their destination. 402 00:37:02.079 --> 00:37:10.119 So that' s what he' s been working on remarkable now, but 403 00:37:10.119 --> 00:37:13.960 curious. That' s two for free. I mean, this comes because 404 00:37:15.480 --> 00:37:20.480 many parts of the world are now turning to Mexico. What happens in Mexico, 405 00:37:21.239 --> 00:37:24.199 yes, is accurate reality. And what' s happening in Mexico is 406 00:37:24.239 --> 00:37:36.920 amazing, because it' s an explosion of design, a set of different 407 00:37:37.000 --> 00:37:45.519 techniques, different aesthetics that are happening at the same time. There are many 408 00:37:45.599 --> 00:37:52.800 people who are entering to set up their workshops or their studies. Sure, 409 00:37:52.039 --> 00:37:54.599 yeah, yeah, yeah, that' s really weird. And that really 410 00:37:54.599 --> 00:38:00.639 thrills me that Mexico is in everyone' s eyes exactly before we begged for 411 00:38:00.719 --> 00:38:05.920 it to happen and now it' s happening. It' s like exactly 412 00:38:05.960 --> 00:38:14.159 right and then surprising that you suddenly get an email you hear such and fruitful 413 00:38:14.280 --> 00:38:17.519 and you say wow which father I mean, it' s very interesting yes, 414 00:38:17.519 --> 00:38:24.559 and above all, that this dynamic is also happening in Mexico that before, 415 00:38:24.760 --> 00:38:30.119 when they were like exhibitions or something like that, we were hoping to 416 00:38:30.440 --> 00:38:35.960 see that because he brought this furniture from another side it mocks us, yes, 417 00:38:35.960 --> 00:38:37.440 but now it' s internal. It' s like this town, 418 00:38:37.639 --> 00:38:42.000 it' s someone' s from Puebla. We did this with Tlaxcala stuff. 419 00:38:42.760 --> 00:38:45.559 No, I mean, we' re looking inside. And that' 420 00:38:45.599 --> 00:38:46.920 s so lame. He' s a pain in the ass. That' 421 00:38:46.960 --> 00:38:53.199 s just the most, most beautiful part of the moment. It is that 422 00:38:53.440 --> 00:39:00.119 if Mexico is becoming a global spot, I feel that because of the nature 423 00:39:00.199 --> 00:39:07.519 of our industry in quotation marks, because I well, maybe there are people 424 00:39:07.599 --> 00:39:10.599 who don' t remember me, but I think that the furniture industry, 425 00:39:12.639 --> 00:39:19.159 as we know it in Mexico, are very few companies that have enormous production 426 00:39:19.199 --> 00:39:28.280 capacities and there are many that we can manufacture and we could call it good, 427 00:39:29.280 --> 00:39:38.320 we manufacture petit clear or we are butic not then this but it is 428 00:39:38.360 --> 00:39:44.159 part of our reality, because we have a lot of labor, because carpentry 429 00:39:44.320 --> 00:39:47.519 in Mexico is a trade that is very popular. You know, we' 430 00:39:47.519 --> 00:39:53.280 ve got, well, to say something left- palapa, that is, 431 00:39:53.800 --> 00:39:55.480 it' s full of carpenters who have inherited the trades. Of course, 432 00:39:55.840 --> 00:40:07.280 of course, then I think that' s about Mexico having an incredible moment, 433 00:40:07.960 --> 00:40:15.840 because it allows to make objects of small production very specialized or very particular, 434 00:40:17.719 --> 00:40:24.199 and that to the people who come from Mexico, it seems incredible. 435 00:40:25.119 --> 00:40:30.360 Why. Well, because, because they are no longer the big companies that 436 00:40:30.360 --> 00:40:37.679 hire a designer to make a chair in earnest exactly and not exactly, that 437 00:40:37.719 --> 00:40:45.840 is, of course, there are great designers and great brands making excellent furniture, 438 00:40:46.599 --> 00:40:52.199 but just what is happening in Mexico, which are very chas things made 439 00:40:52.239 --> 00:41:00.639 by hand. I feel like it' s the most attractive thing and then 440 00:41:00.639 --> 00:41:02.119 it becomes collectible. Sure. Yes, yes, yes, that a whole 441 00:41:02.199 --> 00:41:07.800 world wants to have exactly, but that you know that it' s something 442 00:41:07.880 --> 00:41:16.840 special exactly and that you know that exactly because to see through a workshop as 443 00:41:16.960 --> 00:41:22.159 the average in Mexico, that is, most of them are not very big, 444 00:41:23.000 --> 00:41:30.440 because maybe they can' t make more than if they exhibited all their 445 00:41:30.519 --> 00:41:35.840 energies to manufacture. I don' t know, maybe five hundred chairs every 446 00:41:35.880 --> 00:41:40.639 once in a while a very large period, when five hundred chairs in an 447 00:41:40.719 --> 00:41:44.519 Asian factory can be reproduced every week or more. I don' t know. 448 00:41:44.559 --> 00:41:47.639 Maybe I' m getting too short, but I think that level of 449 00:41:47.800 --> 00:41:52.960 industrialization. That' s not why they' re no longer aesthetic. But, 450 00:41:53.400 --> 00:42:00.159 but I think they' re starting to stop having the interest for people 451 00:42:00.320 --> 00:42:07.119 looking for unique things and the world now, with all this social networking opening, 452 00:42:07.960 --> 00:42:14.480 realizes the unique things they can have, that they' re foreign to 453 00:42:14.599 --> 00:42:19.079 their locality and they say wow is that look, that Maravilla is awesome, 454 00:42:19.119 --> 00:42:27.159 it' s really weird because it has a unique flavor and that one of 455 00:42:27.159 --> 00:42:30.559 these huge companies can' t grant it. Sure, I totally agree. 456 00:42:30.880 --> 00:42:34.159 But it' s a good thing they' re happening in our country, 457 00:42:34.440 --> 00:42:35.280 and it' s a good thing you' re part of it. Yeah, 458 00:42:35.440 --> 00:42:36.719 I mean, that' s what you do to me the most. 459 00:42:36.800 --> 00:42:42.159 Let' s say we' re telling pla that good gives me a lot 460 00:42:42.239 --> 00:42:46.079 of taste Hey, and who are you to see? Tell me your top 461 00:42:46.159 --> 00:42:50.639 Tree of your favorite industrial designers don' t have to be national. Let 462 00:42:50.639 --> 00:42:59.400 ' s see, there you go, Burleck. Of course, this feeling 463 00:42:59.400 --> 00:43:07.840 that it had to be me is that I really like your aesthetics definitely, 464 00:43:08.880 --> 00:43:16.039 that is, yes, 100% to see I know I' m going 465 00:43:16.039 --> 00:43:29.360 to look very very typical, but dicter rams. I like it very much 466 00:43:29.519 --> 00:43:39.679 because without synthesized its design so that it barely passes the time and they are 467 00:43:39.679 --> 00:43:50.440 still beautiful. Okay. That' s what I love. And well, 468 00:43:50.760 --> 00:43:54.800 he' s not a designer, but, well, yes, but no, 469 00:43:55.039 --> 00:44:00.480 but he' s getting sick. Or that inspires me a lot their 470 00:44:01.360 --> 00:44:13.800 medo- clear ways you know they' re like I say, there are 471 00:44:14.000 --> 00:44:16.199 thousands, but let' s say they' re like every one of them 472 00:44:16.199 --> 00:44:21.920 I see an object. Even if I' ve seen it and seen it 473 00:44:22.159 --> 00:44:29.159 again, it gives me an emotion and that' s the part that I 474 00:44:29.239 --> 00:44:34.119 like design when I feel it in a temporary way, of course, yes, 475 00:44:35.840 --> 00:44:38.880 yes, you know that you can see it and see it again and 476 00:44:38.880 --> 00:44:43.360 again and they cause that same emotion. And that' s something that I 477 00:44:43.480 --> 00:44:49.400 love about the neighbors that I just told you very well and national, national, 478 00:44:49.920 --> 00:44:54.719 because let' s say I love it. Well, I' m 479 00:44:54.719 --> 00:45:00.760 fascinated by tugs. What' s more, yes, hello, it' 480 00:45:00.760 --> 00:45:08.159 s rosemary, obviously, and the big malona coke is that it finds them. 481 00:45:08.719 --> 00:45:13.960 Thank you, yes, yes, Marta, the guns and the camanas. 482 00:45:15.159 --> 00:45:20.400 I like this one, for example, well, it' s not 483 00:45:20.880 --> 00:45:24.199 national, but it works in Mexico. It goes in hand bath well, 484 00:45:25.880 --> 00:45:31.800 this is Rawe has certainly done a great job. It seems to me that 485 00:45:34.400 --> 00:45:40.400 he has opened up in his aesthetics and in his particular design. He has 486 00:45:40.559 --> 00:45:53.280 already walked a few paths that new designers can visualize that path so clear that 487 00:45:53.360 --> 00:45:57.920 he has managed to open. Not sure, yes, exactly, that is 488 00:45:58.159 --> 00:46:07.360 as much as Rawt as with eh this definitely are not of which Emiliano spoon. 489 00:46:09.159 --> 00:46:17.599 Definitely. I love that, because it is always very persevering and it 490 00:46:17.719 --> 00:46:23.639 is a clear type, because what else. Jusk is a great friend. 491 00:46:24.519 --> 00:46:31.719 You know, for example, the adocs also that I see that because they 492 00:46:32.960 --> 00:46:40.360 experience and generate something new and I feel that they are a very brave office, 493 00:46:42.920 --> 00:46:47.599 that they design something new and they take it out, for example, 494 00:46:49.039 --> 00:46:52.400 no, but yes, basically they do. There are many others and I 495 00:46:52.480 --> 00:47:00.039 will not be offended by friends. Yeah, that' s exactly good. 496 00:47:00.199 --> 00:47:06.039 I' m so glad you' re following their work. But now to 497 00:47:06.079 --> 00:47:10.239 close the program which is the first of the season. Let me tell you, 498 00:47:12.280 --> 00:47:16.719 this man, what you' d say to the generations now that they 499 00:47:16.800 --> 00:47:21.320 ' re about to step in, do their own thing, that is, 500 00:47:21.719 --> 00:47:27.000 have their own office or they' re starting to do what you' d 501 00:47:27.000 --> 00:47:34.880 say to them, well, definitely, the first thing I' d tell 502 00:47:34.960 --> 00:47:36.000 them is that they have to go out, take advantage of this art week. 503 00:47:36.760 --> 00:47:43.519 They have to look for these niches that there are, that I feel 504 00:47:43.519 --> 00:47:47.320 there could be more, but well, they' re the ones that there 505 00:47:47.320 --> 00:47:50.000 are, they' re the ones that we count on. That is an 506 00:47:50.119 --> 00:48:00.320 important part of what we mentioned earlier. I also believe that the part of 507 00:48:00.440 --> 00:48:07.559 visualizing their brand on a path, in the character that they have, whether 508 00:48:07.760 --> 00:48:16.000 with experimentation or without experimentation, that if they approach processes, processes are taught, 509 00:48:16.519 --> 00:48:28.519 processes result in better reasonings for the approach of solutions, that you are 510 00:48:28.639 --> 00:48:37.000 not, that is, long ago. We talked about architects, because they 511 00:48:37.079 --> 00:48:46.119 are linked with their work, with the works, because they give better results 512 00:48:46.239 --> 00:48:52.880 than just projecting. I mean, maybe. There are wonderful geniuses that only 513 00:48:52.880 --> 00:48:55.760 project, and yes, surely they exist, but in general, the fact 514 00:48:57.079 --> 00:49:07.559 that we designers approach the pres processes definitely makes us better reason for the solutions. 515 00:49:07.360 --> 00:49:15.760 All right, no more. We dream of a concept that cannot be 516 00:49:16.199 --> 00:49:23.280 realized as we are visualizing it, because technically it cannot be. You can 517 00:49:23.320 --> 00:49:28.119 ' t structurally. That' s why the processes. That' s why 518 00:49:28.119 --> 00:49:37.599 getting closer, either with your carpenter or this blacksmith, allows you to better 519 00:49:37.599 --> 00:49:45.079 understand the structure of things well, very well, because thank you so much 520 00:49:45.119 --> 00:49:49.760 for being here with us. Again, my dear one, truly give in 521 00:49:49.760 --> 00:49:52.400 so much thanks. With you we open the two thousand twenty- four in 522 00:49:52.480 --> 00:49:55.239 this new season because we are three a year the first. So, thank 523 00:49:55.320 --> 00:49:58.880 you so much for being here with us. Thanks to IT Karen, many 524 00:49:58.960 --> 00:50:01.960 thanks to IT, to all two people who will listen to us. I 525 00:50:01.960 --> 00:50:07.960 send them a hug and up the design that and well, we are here 526 00:50:08.079 --> 00:50:13.280 very happy to start the new radio season because, because, not only another 527 00:50:13.360 --> 00:50:17.599 designing ando, but also new programs that soon are going to premiere. Remember 528 00:50:17.599 --> 00:50:21.920 that you can listen to us through all the music streaming platforms that we are 529 00:50:22.000 --> 00:50:25.719 in Spotify, Apple, Music, on Google Podcast, in everything that ends 530 00:50:27.360 --> 00:50:31.239 up in podcast music. There' s us, so there' s no 531 00:50:31.280 --> 00:50:36.320 excuse for them not to listen to us. And we are very grateful that 532 00:50:36.480 --> 00:50:42.079 this time, this season, we are recording in capo Labore, which is 533 00:50:42.320 --> 00:50:45.440 right in North Rome, in the street of St Louis Potosí one hundred and 534 00:50:45.440 --> 00:50:49.559 thirteen. So come and take a little turn because it has a high- 535 00:50:50.159 --> 00:50:52.360 design billionaire. Really, if you' re coming to take a turn, 536 00:50:52.039 --> 00:50:55.320 because now we' re here recording with them. And so, here we 537 00:50:55.559 --> 00:50:59.760 will be in North Rome, in that season. Thanks to estr for being 538 00:50:59.880 --> 00:51:02.719 or with us. Yes, thank you here for the prayer and until the 539 00:51:02.360 --> 00:51:02.719 next one.