CAPOLAVORO / G-NOVA

Hey. Good afternoon, I' m Karen Ramirez. We' re on one more broadcast of die radio the design in your ears here in the program of designing ando in the new season this year, that is, the first of the two thousand twenty- four, and I' m very happy to make it, along with Capo Laboro, who is here in San Luis Potosí one hundred and thirteen, here in Colonia Roma, so don' t miss it. If you see a little twist here the show rum because it' s amazing, it has high- design furniture, so don' t miss

it. And so we' re very happy to do the new season here at your facility and today I' m right with camp director Laboro, and he' s diego, diego, how you are. Thank you very much, Cbe That' s good. I am very happy to thank you for being here and, above all, thank you for allowing us to make this season of going radio here with you very well listen, because I want to start the interview strong and I would like to know who is diego. I

come from a good family. My mom is architect and basically, when they studied the career, there was like with the types of students who were the children of architects and the children of non- architects, OK, poor of the children of non- architects, how it helps. And that' s why I studied the race. I studied at the Ibero- American University.

I did an interior design theme and when I got out of the race, I devoted myself for a while to making interior design ok although at the same time I did construction and right now, because we do both things a little well, very well and how it was that you introduced yourself to architecture. You said I' m going to choose this. Yeah, well, as I was saying, I' ve seen architecture forever. I saw consruction in architecture, since always I played in works. Then he' s already with

you all your life. It' s you you know, I think, even though there are times that they say ay no. I don' t want to do this. They' re going for a totally overcomprehensible. The piss is hard. If the race has that approach of being very hard and cleaning it from many people that I never agreed with, I think reality plays very well perfect spot. So this and where you studied architecture in the I vera of city or what if it' s a good career. Today,

I would say the best exponents of Mexican architecture. They come out of there and well, as I was saying, it' s a tough race. I lived the transition between building the new wing that is now spectacular from an architectural department. But as that happened, we studied in anándale parking lot looking at it more likeáteras and echo, ah, güey with echo. Above all, he hears how exciting to see that transition and, suddenly see him and woe why there was not this in my time. I' ve

never been touched by the new building. He never touched me. You' ve seen it a lot of the world, once I went to college, but I never took a single class. So, yeah, well, but you got the good start. Yeah, he touched me. It was my turn to be a part of that. I who should be called like us, very true, very true hears and how were the beginnings of Diego Casanova in the world of architecture, that is, how you started, since you

got rid of the little bubble of the University. How was your good during college, a friend with whom, because you usually make lots of teams in the career, here your job and it' s always the same. During your career you don' t make a group and they take the same classes and are the same teams. So, a kid from my team told me, hey, they offered me a house. More like his dad' s office sees him of a house like this and he doesn' t have time

to do it. You' d do it with me. It was an impressive project for the age I was twenty- and- a- half and it was a house in bos that. The biggest take of course, good budget, with good dimensions, good terrain or in location. And it was an incredible challenge to do it, because I had to do it. So, we also call then, of course, as I say, the race is very immanent and the work is very demanding and the design too, and

the deal, especially the deal with customers, is very demanding. Yeah, yeah, you see it, but today and that' s good, that well, that you' re up to the wheel, it was complicated and it scared me, but we did it and that house had a publication when we finished, so where in a number of Mexican architects. So, I heard what a father, how good and how old you were when that happened, because she is the vice between the ages of twenty- one and twenty

- three. Today is super good your first house and twenty- one years is amazing. It' s a whole thing because it' s very good, but it has a negative part also because it places you a little ok because ending that house, you think you think you' ve already reached a peak in which you didn' t get there, because that house came to

you. It' s not like you' re gonna get more of those houses from that you end up doing a whole lot of bad work, getting customers, going talking and everything else that you never think about, you think that' s gonna happen alone. Not a bit, a valley of cold

water, though a great satisfaction. I remember. When I finished the house, you made more architectic and we left the house that I got to know her and I told her something, like I already reached the top, and she told me how many square meters you have built in your life, since those of this house seven hundred and fifty. I' ve built thousands and thousands of meters. He' s not gonna be on top. Uy is a strong güepe. It was a little strong for me, but that reality

was clear. Then, after I got it, I said, I' m not saying what a reason you were, Mom. Yeah, it' s true, Mom, I' m sorry and after that and what happened. I mean, you followed with interiors, they didn' t build a house and I made interiors without interference and then there I got customers, entering that world and no longer with an office that passes you a project, but

only where you have to deal with people that are often very complicated. It is very difficult to enter a family to make it their home, because it is a very big intimacy that you have with them, for which, in reality, it never prepares you the career. The race prepares you for technical factors, of course, not for such relationships. Sure, eat everything,

fights, reconciliations, break- ups in front of me. If it' s that then sometimes we do it as a psychologist or not, that part that tells you that no one tells you, no one tells you exactly. Then I was still working on it, and as I say to you, it' s not that I' m soft on her pretty hard. Then the work was very disciplined there, so I took off a little more, so if it was interior, but finally I went back to construction with it

and already works now. But I went back to that part. OK. That' s when you already made your own as such, your own office, which is today' s exact Look of Genoa Nova architecture OK. It ' s not that it' s not like the city is that I' ll innovate and you don' t go OK and right now the city and I said no. Oh, no, no, no, no, no, no, no, no, it' s not maybe the warrior and

it' s not exactly the case. All right, and now how old he is, because look it' s hard, it' s hard to split when that office starts OK. But I would say that we were at least eighteen, maybe eight years old. Okay, so you never worked for an outside office or anything. Just when I finished that house, shortly after my friend' s family office called me and I worked there, but I worked there ten months. Okay, I was working in companies. I hear,

I watch series programs and other companies. Like I say, for example, I never worked in a company. I have to ask myself. So that' s it, or is it parabdia that and we tell myself if it is, yeah, yeah, that? Yeah, that' s so boring, that' s what those struggles are, but my espposi works in a company. If those struggles of power and politics. And it puts you because I don' t know him. It makes me very strange to see how people fight to stand out by putting someone else' s foot at the

expense of the company. He usually slept in the company, of course, and they don' t care. That' s a little bit. The battle, the internal battles of that company. Yeah, sure, and what didn' t motivate you not to stay in the company, to say what better I do. I' m still doing my thing, because I think it' s the family line. Well, I think my mom used to tell me you don' t have to work at the company and I think

I turned it into my life. So, I, today for today, believe that the children of independents are independent, your children of employees are normally entered is what I have seen me or I do not say that it is a condemnation in that if you have a lifetime, but it is normal.

There' s what you' ve seen. Okay, okay, and after he' s out of je and it' s not going to decide what motivated you to do field work now capo labor capo labor worked that motivate you because I mean, I know that you made interiors, but because here moves furniture of high design. You tell me I started inside and in that house I got when there' s a race at the end, certain furniture. Yeah, yeah, yeah, yeah, me, I didn' t do that with the office. I made a table before lunch, a dining table

and a chair. I think he' s an architect. I think the architects are very bad, well, very good. Yes, the architects' furniture looks like building maquetitas. They' re always like architectural furniture. They are blankets, they are small buildings, they are usually very rough they are very straight, they are not very economical, because they are a maquetita. Then I realized that it was another subject, that it was something that had

to be studied a lot and had to be practiced a lot. And from there that was since I was about twenty- three years old to this day that I am forty- seven. Looks like after 40 to me. You don' t know well- conscious anymore. I have practiced making furniture and in the two thousand eight I was very eager to go to the furniture fair. A thousand had heard of her. Then I was a big fan of

Europe. My best friend went to live in Paris. Then I left, went to see him and said I' m going to the furniture fair. So I remember that I had a friend back then an old lady' s agency is what' s influencing me all about getting a hotel and when he told me the prices and movies not that you' re wrong, I' m not going to go there to see what I know, because usually that ' s how I did it. When he travels aha, then I took a treuno in turn from Paris. Quexales a station that no one knows is

called in Parillare. So, okay, I went into the old trains back then, Italy. It' s not like you' re dying of heat. I got to look at four o' clock in the morning. I remember waking you off because you mean I left your office at ten o' clock since four in the morning that' s all closed. Six, then, sixty waiting for the tourist office that I think I had to run and that I' m going to look for hotels around here always to say it ' s always like this. Man, they fill up on me all then

I said okay me. I hope it' s not a complication. I see the guy in the tourist cinema uniform sitting there. He buys coffee, I see it from afar, they walk, he takes his walking coffee. Walk open the office and sit me in and say hello to him how about I don' t. I didn' t speak Italian. I don' t know that' s it. Everyone who speaks Spanish thinks Italian is very easy. No, it' s not. You understand, you understand and you can communicate to him you put once in the end and you speak Italian

and igua is the hand. If Juanito and I don' t, don ' t go that way. Then I ask him. Hey, I' m looking for a hotel. Smile, he sees me smile and he tells me what the Sobrino furniture fair is. That' s why you' re crazy, like if I' m crazy at the furniture fair I get up along with the formula one more important that there is in Milan all year round. It' s going to be very difficult to meet on TV and more

at the price you' re looking for. Sure, if you go to hotels, you can find TVs of the price you' re getting expensive medication. I' ve quoted for five nights and there are hotels that cost you 300 thousand pesos in my life. Then start looking and I see how it starts to expand the radio and radio and it tells me no more, I ' m not in Milan anymore. How far he accepts true and then, going down encounters, he finally found in a place called Letze, which gives

the Lake of How, but is not near How. It' s near the ah ok. So, what do you understand me about the Move Fair for? I had to take a subway to the train station. That subway ' s so full. Then I didn' t know how to move there. You' re going to stop all the time and we' ll take you about fifty minutes, thirty more stations, twenty- six tentes are coming to the station. You have to take the last t that comes out like forty- five minutes ago, that arrived five by eight, because at eight

the last bus leaves. That' s right and that bus the train in another 45 minutes. Then we' ve been there in an hour and a half and that bus another hour and a half ago. Alec total with mezcalas and so on. It takes three hours to arrive and three hours in the

morning. In the mornings I saw him come out very early. There were all the children who went to school of all the Chapapa B family and the first in my case I was Chao and well, I went to that fair and it was a little like I opened up the world of the Decio to say wow. This is the exact Morilian design. There is the most important fair in the world in terms of design in novelties that there may be media fairs more exhibition in China. There are cities that always die in China,

but at the level of design and innovation trends. There' s no more important fair to watch. No. And there I' ve learned a lot of things From there decide every two years and I' ve gone every two years since two thousand eight and we' re already in two thousand twenty- four. So, except when it was the pandemic, it wasn' t accurate, because it was the only year it was suspended. If that' s how it is this year, you touch me ah ok, I went last year. Then I wasn' t the two thousand seven. The first

time I remember or go a year without peace. Ah well, then, from there I have been seeing, seeing, seeing and learning many things. It' s a lot, it' s a lot of work. Everyone tells me that the father you' re going to is not very tired, very thought out, that it' s endless. Not that. The fair is an event that the city turns towards the design is then you do not forget the fair, that continues before. The fair is no way to finish it, but there are days that you go to the city, several days

that you go to the city and divas go now. Right now, but then you' re discovering things that you say wow, here' s this father, so sea that' s what we say has now now, I already know where they are, but then it' s okay. But something I didn' t notice at the time, the Mexican presence was nonexistent.

There was no one. Little by little they have gone they have gone more Mexican hello already it seems that they organize us on tours, that they do a certain attitude and the cities do not know how much they paid to pay expensive, but they carry them and they make small groups, that they take them all. Not me, I don' t like all three of them. Then I' ll just go to whatever' s there. I ok

Ah, then, from that trip I decided to study Italian. Okay because when I went back, like I told you, my entire trajectory is back to Letze. No. When I got on the train at Milan station, I heard an announcement with that amplification systems that there were then ah and everyone said to and what did he say? What did he say? What did he say? What did he say? What did he say?“ What did he say,” the king said“ I was not going out? ” Didn' t he go out? Didn' t he go out?

And I was wondering what he said. Nobody. No one answered me. No one understood me. Of course, I meant it You don' t understand me. Then the train being was traced for an hour. So, when I got to How, there was nothing, no one, no trucks, no taxis, nothing. I came in with the dead city suitcase. There was nothing. If nothing' s like a polita. It took me an hour, an old man came in a cab and I already told the hotel with a little paper. He did take me and I saw that the

cab touched me. I ran and ran and ran and I tried to ask him several times in every language I know how much is missing. Okay, he couldn' t get me until we got there, which cost me more than the tax night than he did not. I think you do want to go back to this fair. You' re gonna have to speak Italian. Includingly I said I took a three- month course and that took eight- year classes. Totally. Okay. Yeah, nothing simple, no, it

' s nothing simple. But today I defend myself and I can go and I' m not telling you that it' s me they teligen, but I defend myself in italiet very well. It' s okay. I don ' t think it' s good that I' ve motivated you to mean it. I know it was a very little trip and, maybe, very, very intense, exact, but it motivated you, I mean, it didn' t discourage you. You learned my new language at the chondrot and continued to encourage you to go every two years and I continued to learn.

As the Mexican desire told you, the country to which I am company Mexico, which I feel was closer to be compared. Yeah, and now so, okay, we both have natural resources, we have exotic mavidas, we have a similar historical process, but from the beginning you don' t have it left. Brazil had much more exposure than we did. Okay, and then I went into some research every time I went. No, Brazil, you' ve got important moves stronger than us. They have international renova designers

that we do. We do not have the Campana brothers, who would be the greatest exponien classo what we have gone to. But no. There' s no Mexican designer like the Campana brothers. There' s no mover, not modeling aha level. Yes no, because if we talk about the world top ten of furniture designers, the brothers bells are definitely inside, i e, they are the designers of gaybra and work. He does crazy things. Yes for them, yes, yes, yes, yes, it is,

that is, the edra pavilion is very crazy. So it is. Yes, exactly. It' s very creative, a couch like melted, like those are campannes. Yes, it' s at the height of pathicating that wave. I don' t know there' s never that ingvel in Brazil, and there' s still no Mexican designer on those lines. I hope there is. I hope so. I hope no one else, too. But he' s right, I mean, comparing it like that on a

Latin American level with someone. Brazil is right. I hadn' t thought of it this way, it has a lot of similarity in terms of natural resources, but if we don' t have someone like the Campana brothers, representative of us, because, to say of architecture, architecture is another theme. Yeah, not totally. Yeah. Yeah, yeah, yeah, yeah, no. There are stronger than us in general, that is, their monkeyry, are stronger than the teachers. They have a greater international presence of

the linings. Without a doubt, then you feel that you lack furniture design here so that it is as important as the Campana sisters when you are at the University. It was once I do not remember the name of the person of a Spanish industrial designer who had won the King Moto Spain Prize. There ' s the same thing you guys did thirty forty years ago. What happened was that a design house came in, a house of production demolished and paid

for it by a renowned designer. Then that house discovered that it could compete with the rest of Europe and from there forced the others to do the same. Or me, I was once invited by most of your topole to do an event mostly in Palmas, along with some other designers that just sound something that is Maria helicoplan and each time dig a shirt. I' m not very social I in the middle is not that I got a lot with architects,

I' m interior designers. I would comment with them, I would say and above all I would comment with the owners of your captel and I would say you should encourage a student contest and you should produce the winning piece. I think it would be a good incentive for students or for Rideña, too, because what I see is that Mexico continues in that logic that design is expensive. I save it, as we complain all architect designers. I

' ll save it. I can do it straight. If the carpenter shows a picture of a trait free goes and I copy it as self- construction. I always tell people. People, I mean, the carpenter is a carpenter and he' s gonna understand what he' s seen. Sure, that carpenter I' ve never seen. It is the Iberian, because from the photo I interpret and it will be like this. I don' t do carpentry. When I insist on my Swedish wife, when you tell her

in dreams I make may is, they think you do it. Yeah, yeah, yeah, yeah, so I get the way of the letter and I warn father, no. No. I ah is a designer. Yes, exactly, exactly. I don' t know, but here, well, it' s the same person who does everything and I think the result, when you do that is not deficient notes, yes, nothing can be

noticed, but people are very used to it. Why do I think about strong mining in Mexico and YouTube and a lot of the grinds for this majority that we just opened up recently and great work to see what the strong ones are. I mean, yes, of course it was Pirwicker even opened Mirán, then closed modesta. At the time it was good, she didn' t fall behind. Yes, there was one that was made of wood that

was there where the palace of the palaces is now called inside. I think and I do not know why it has not been possible to consolidate an important majority or several. It should be vir vis the country gives for that, because the people who sought furniture in Mexico you seek go your house, you seek to furnish it, because it is that complicated. They end up shopping

in department stores like at home palace. And so nothing case palace, from the budget for house palace always, I always say the palace the first or the second step totally or do not even end up buying the liverpoollen you are do not give them importance from oy what or ay or what ah. The fact that, I repeat, my Swedish wife I have been doing well is that a lot of years ago. Then I had my own furrows before I knew my things and at some food I was there, it turns out that

there was a friend' s aunt very close in a barcant. The founder who worked there and who couldn' t possibly have this woman in front of him and went with her and I told him how much Mexico will open without life the market he has in Mexico. At that time it was about twelve years ago, explained we just opened Russia and we just opened Chinese and that we are a company that is on the Stock Exchange, its family company,

of course and it is your company that is doing very well. Then we like to consolidate markets, since we consolidate that market, we will think about other markets and said I done, opened Latin America until they had controlled their market, because they had the maximum capacity were production. If they open up everywhere, they' re gonna get crazy. Of course it' s not more. When they arrived in Mexico it was a serious cartastrophe they didn'

t have early because they arrived in the middle of a pandemic. Oh, yeah, yeah, that' s right, that' s right, that ' s right. Then they didn' t. I was making some houses in Tepostlán and they are rent houses the truth, because your prices are not going to compete with Ike. Then they' re way higher than that. So I said and if half the internity I made them, I half accessories things like that with my looks perfect. Then they had a page of followers

who called you diego, so he went to bed saying five arrived. Then from there running over there, to buy you as if it were Black Frideng how funny you people are. Yeah. Now it seems to me that they are consolidating it better. Yeah. I think so, because that did happen. I was also going to buy a furniture for my house, right in the pandemic and told me that there was no one. There weren' t people who wouldn' t with that I' d say no more today because

with people they call me fart there' s nothing. You' re not talking when they lived yes, nothing and it' s a great mark. They' re quality products. The slogan of valcamp pra was to make good design at affordable prices and thus managed to be among the five marrutas of the Fian world I do not know what they are in the middle of nothingness in Sweden, the video of the nothingness of don yes the little to the south

and they have their office there. They put their office there their offices, their small office, with an old desk, an old chair, their quaint one that was very austere. He died. He still died with his dust. In a thousand nine hundred and seventy orale fifth type. I remember in the world Wow was to buy islands and already Tessin and I' m going to buy my plane and month of Fanfarroner, not Austere Fanfarrado. He' s got the story of Queda and when he started, he took all his

employees to Ibiza. But when Ibiza was something from Sweden, it was unthinkable, it was very expensive. Okay and he took them all cool when people traveled it normally saw it clear wow. Yeah. It' s a four - year- old who knew which father. It is very interesting that the richest in the world are so austere and I say not all, but they are as relevant, as I don' t know mat Zuckenberg or the or Apol, that I ever wonder what motivated you in those leagues to that was

so. That doing more is no longer the money, you already have it exactly, but a book that said that from a hundred my scripts or my fears dollars, it is no longer anything that you can buy more than the other is that you can buy a car formed of diamond and you want it for what before. That is the means of those who want to compete to make them seem clear beings, because you already have to prove nothing. Well it' s sharing already come sonnets pacte. Yeah, I' m already

who I am. It' s a very good couch. Yeah, yeah, yeah, it' s reality and you hear how interesting, but yeah. As we return to the subject of the nobleries in Mexico, I think you are right that we need a stronger consolidated one and that you call the designers if we need, we need some of this a talk here that the students brought me downtown and I told you are students working on that there is

no one. We have no international representation, and if we have the workforce, we have the local materials, we don' t even have to bring them in. There are times when they bring us materials. What happens in countries like this you have the product, you have to take it to someone else to process it and they bring it back to you already processed and they see you sink it clear, because we do that certain things that we can,

in things that are very expensive, but in certain things. I think there' s this whole moe market in Guadalajara, but it' s a long way from there. I thought I' d go to the Molle de Guadalajara fair. Then I tell the milan don' t go, not hours. That' s a sudden confrontation. He what you did to go you get. There I was dying chocolate and more than if they were in fashion. But many years ago, we did, like, twelve years ago studying just when I made my house, in that ah Ok house in two thousand

three. There I am chocolate and I still am if I' m still twenty- one, twenty- two years old, I thought that fashion was going to end a life. Not yet that they like chocolate. And I really hate it at the time, because it gives a very easy solution, because painted the wood that went out and gave you the tone, you could use cheap wood and try the elegant going, no, but in Mexico there

are woods, so they are not tropical woods. Right now, there are problems with mothers dealing with everyone on tro has fallen a very rare thing that I want to get into. Greetings, or even the pine, which is most seen wine, is seen as a mother- to- mother. No, if it' s a good treatment, it' s a good way. If I believe, I knew earlier and remember I had clients who said I want the fine material i mean, I want an Italian stone, u. But there are Mexican stones. No. But a fine Italian is a

stone. The stones over there and the stones here and the zinc ones on the ground you do exactly. They don' t think God said I' m going to give Talia there the good stones to Mexico, the stones are here. It wasn' t Encende, yes, but that' s how the human being works, yes, it works as a good thing, but I' m seeing right now in cut marble, which is Mexican and medium - sized, which is Mexican and cheaper. But I' m told by those who sell that they don' t buy their carrara, because the race

is from Italy. It' s a stone, it' s a fart you find in the bush. Point yes, it' s not like it marks us in the bush, not whore, not anyone' s. There ' s another thing that I feel is happening in Mexico, that we just went to American Canadian now that was all this art week. I feel like Mexico still has the problem I call it, molcajete syndrome. Ok it'

s funny in montecajete alone of stone, without the stone. In Basaltica Volcanica it is funny if you love salsas and we continue presenting it as you are going to present to international fairs and present a molcajete, do not stop reinterpreting

the marker. It' s over. We already exploited that already leaving that behind and I played the mask of fighter and the figures of fighter in all those reinterpretations that carry those basic elements that end up being accessories, if exact, but since we have to compete with Brazil, for example, with furniture, we cannot, because you cannot compete a mulcajete against a Brazilian chair. Yeah, no, we don' t have to leave. It' s part of our culture. Okay, I accept it, but leave it where

it has to be. It' s not our main element. It' s an access. Yes, of course here what we wanted, that what we wanted to do was that it took so much work to find furniture and then I thought you had two parts between two sectors Mexico, you go to the wrongs of liberpolicides or you go to the European brands, with a huge difference my impression aha, then I thought I used a mall for me, I could buy if it was my house. Then we decided to make furniture, we and we own the games. It was a lot of work,

but here we go. I think we' ll see a very good producer. And then you said I' ve learned a lot from the Milan Fair, from the fairs here in Mexico. I' m already going to do what I look like and be interior today and so on, it' s not a bit of a foreword during the field and capo worked. How long? Do you? Do you have a little bit? Do you have a little bit? We opened in September last year. Ah has little, but it' s the result of a long time, I mean, it wasn

' t clear what we came up with last year. We have been here for ten years now since the year two thousand and seventeen. I think since two thousand seven you went to your first fair, since I had the idea. But there are many things that they do have to give, that they saw us clear until the pandemic, that helped as everything closed down. He helped us focus on this. Of course, yes, very accurate and what

you expect with capo elaborates where you want, what your goal is. I ' d like to sell furniture to people for them Uh- huh See, that' s more than selling to TVs and making grown- ups and selling five hundred chairs. The idea that we work to make products for people, for your house for you Ok you people who can afford it, but for them not. No, I wouldn' t want to sell in chains, either good or bad. I mean, it' s not our idea to

sell a lot of mons' bestial. They are specific products as they call it ra, they are potik products ajá bran mercante ok very well, n s ne believable, that has the truth many congratulations and well, well, I think it is a pretty complicated guild, because in Mexico, yes,

there really is not like a detachment. I do not think that just like the fairs that I have gone here, in Mexico, I have seen an evolution yes that we are already looking more inwards to take advantage of the resources here, not so much from other European sides, etcetera, but to look from here for example, say Wick already most of the Mexican furniture produced here. I don' t think that' s a good step, but there

' s still a lot more to be positioned. And besides that the other part is missing, which is to reassure people so they have a taste for design. Unlike a place in Italy, where last time I went to dinner with friends and friends, then I talked to a guy who said well,

yes, I do, I have a dining room for the lining. I mean, yeah, it' s very expensive, but I saved, saved, and finally I could buy it. So, if someone that idea and I want a good project for my house, I don' t want to get home and buy everything and start as cheap as possible, because that happens in Mexico. It also hates me that in castellist I stress that I want to worry about nothing and that they do not cost as little as possible and,

in the middle of clear cases, make more money. Yes, but at its level we could turn on that culture that we don' t have a pale, not a real culture of design. In Mexico see in tip. It' s starting, but it' s missing, there' s a lot of Tatarreja that has also evolved very well. And in Genero ge Innova, what are they doing right now in Gino Va we are building a building in the Narbarte and we are building you just started a building in the

beginning ok and that building is apartments. We almost departemen and what father if we do everything we all find the land, not get the permits to design it, build it and sell it. There' s no good, okay they do like the whole package they all enter parks and it was always your goal, always making apartments. Or life led you to function. I think

life goes into a lot of things, which is what you want. No, when I got out of the race and said I want to make a scratch, so okay I decided to make a Skyscrapers where the bibus is pulling out of s is a despised space. I still think it' s a scornful space. Yes, it is, but pure I say no. No, no, no, there' s a lot of things you lose control of. I mean, it' s got to be a lot of half - businesses they do. I saw through the wings of the destiny the construction

process of the Bancomer Tower, which is a very good project. But if between very large companies, everyone knows how to make their own clear and there is no one who is seeing precisely the detail. Each company does its part and in the end there is someone who closes a frame becomes difficult, very extraordinary, but you have no control over you have no control over your project.

Yes, neither the architect, the architect who in this case was to refuse to go along with Correta. I think Le Gorreta took over the task of landing it Mexican normivity and Le Gorrita did more of the project which is how manly it works. Yeah, yeah, yeah, yeah, but maybe Richard Rogers went to the opening They learned me by something next, the world skits. Yeah, no, it' s not a problem for him not to get other scratches. Nor is there that personalization that we do have with

our projects. I' m not saying we' re better than developments at all, but they' re two different aspects of design and victor. Greetings to Richard Rogers. It also doesn' t explain to anyone many things that you have to realize. He said things that take you a long time to figure out. Yeah, yeah, hey, and how' s your design process, both when you' re designing furniture and being designing, I don

' t know any apartment building is the way it is. I mean, if you have like a routine together with your team, something they do. I don' t think you' re fit for routine. I think you always start with paper. You definitely have to see first you start more than with stripes or written things, either written things of all kinds of ideas, or what you want, what you want to accomplish, or what you need.

There, in the case of departments, because you' re also part of a market, because you can' t do anything either and you can ' t get out of it, partner with the market and do whatever you want, because you finally have to sell it to me. Then see what is needed, what is working. And we try to do things that are different, little, things that have a certain quality. Also that it has led to problems too, so sometimes I say why I don' t do things more commercial or easier. It' ll be the same, but I

love to get good. Yes, it has, that in the end I say why we get so into trouble. That' s measuring satisfaction, and if I don' t suffer anymore, there' s a lot more head odors. Of course it' s the way it is. I think then if you start over there you write, then you go over the stripes and then you see it work, then you spin it around a lot. I call to let a project cool. You have to let it cool, you

have to distance yourself a little, you have to go back. Yeah, ' cause if you don' t marry the idea and you don' t get out of there and it gets a little bit like something, everything comes up. Anyone who knows why I' m a slug in there will know to God why you' re driving him changed that mistake. Yeah, and he' s got the best. Anyone who tells you something says yes, is that sometimes customers think it' s a very easy process that you get to go to plasmas and point is not that you' re right. Let

it cool down. Just this week we had three deliveries with clients and, suddenly, if it was like letting it cool and we focused on the other because I already married this, it has to mature a clear suisen, you have to do then you have to think, then you have to leave it, you have to come back when you have the time. It' s a bit, like the airport they did now at discharge. It' s

a project that they had to do something pop is very fast. A project is not done this way and it will surely have the mistakes that I have already built, as they will already notice. Right now, I think that ' s the coughing like the pilafón, for example, that there are greetings to the ipa, but it' s a very vital thing that no one I think has commented here that if you have to let it be offered suddenly,

it' s like I already put the door wrong. I haven' t noticed, let me get cold when I get back, I realize, and I don' t introduce you every year when we' ve gone wrong. Yeah, yeah, sure, and there are constructions that are really bad. You say no, I mean no. I' m not saying that they don' t go wrong, but if some little detail you say is correct. It' s very good and in the design process, well. While they' re designing, listening to music, or you' re motivated

by something so you can concentrate egg. I really like the story, very well you know the story and I' ve been watching history videos for quite some time. I hear history videos on YouTube really what a father. Then I' m hearing things. I accept that you don' t understand everything, because there are things that need to be paid a lot of attention. Uh- huh, but I go back there, I go back to the

same thing, like, eight times in the end you get it. It ' s a background sound, of course, of course, of course, and that' s like your motivation for all of a sudden, if they say something you say wait, that' s something I' ve heard. Oh, you have to see sochi chis and yes, but I see a lot of World War II documentaries. I' ve seen a lot like this.

Wow, I love things or unusual things, a christobanic wine that I talk a little bit like because if you did in history a little bit of a linear process say, a little bit like question you things that says yes, right, I' ve never worn it. Christopher Columbus recently arrived as a doctor. Just like that. I' m leaving all right, I come and it' s impossible for us, because no one had been able to do that before China. If it' s easy enough, I' ll be all right and I' ll get there. It wasn' t

that simple. He didn' t live in Madeiras and he says something. I don' t know if conspiracy theories are something like that and he says that when he lived in madrides that are in the Atlantic there they sometimes saw dry branches coming from plants that they had never seen and that he brought the current and once came a corpse of a race that they didn' t know. They start to question each other, because bringing the other side, something

will have been gone. And then he talks there about someone who could have

come back. I don' t know how true that is very bad, that he came back and he talked to him and told him about things that he had seen, of currents, that Christopher Columbus when he crossed his sailors, that imagine crossing and if he didn' t have riots and if he told me this crazy and he' s going to kill us all already knew that things were going to happen like they weren' t going to happen and thanks to that he was telling his sailors, this is going to happen and

it happened. He had that thing like he' s a sage, he knows he hasn' t been told. Ah look, uh, then, well, that' s how thumb sounds more logical. Well, that does, I mean, sound more human, not because at the same time we avenge her like a superhero. No, then, how easy to pay a cayak and rem as far as you can go or you' re going, you' re going to get to horitas dos o en tus manes. Yeah,

' cause the currents are coming back to you. So they come back to you, if you' re right, and but I find it very curious that you in your process of creating, designing to listen to history is really lame, because it' s like the usual is musical, not or something news, you don' t say to notice anything else and I' m usually selling a program. You' re not so stupid in your story, what a father you are. She' s amazing. That' s funny your design process of learning a lot of things, yes, because you

always keep learning all the time it was a lot of things. You like to learn truth. Yeah, which noticed the last thing I tried to learn that the truth didn' t go well, it was Swedish, no, it didn' t go well, no more. I didn' t understand some things that after those forty years is the same. You' ve been told that all your life. But until you' re there, there, we understand. Ah yes, I learned when I finished Prepa, I went

to France and learned French. Then, as I tell you, I learned Italian and I 15 to 16 years old mixed up and the Talian already questioned it more. But the Swede went after forty years and then he begins to question many things. How do you say such a thing? He was never an apprentice This is never going to happen. You don' t say relationship. I mean, ten million people talk about it. One thousand three hundred million speak in Spanish, because I am going to learn something that speaks ten

million people. They already speak to him the guys of English salt people. Or it' s very difficult the Swede, because because you climb me very well, you don' t get followed by a furrow. They answer you English, but you' ve had to go to a lot of family reunions. They are from me I have to be in the inner world for all and it is good that they all came more. When I go I have a daughter of four and a half years and I am learning Swedish and I

would have talks in which I do not understand anything. Learn with it. It couldn' t be done, and how hard it was. I' m gonna pick it up sometime, but I' m gonna put it on the floor. Let it cool, let it cool hey and who are your three favorite architects? And who are your three favorite industrial designers? Well, look at my international architects. When I was in the race adored Santiago Calatrava. To date I have seen several works of him. He' s had

certain scandals of works that have had problems. It' s given, it ' s given good. His works are very different, especially when someone does something you say to me that never happened to me. I don' t know how you can think of it. It is like the ton a whole that is in malmonts of it is in a co skyscraper that is in bad

mood here Copenhagen, a building turned like a torso. How no one came up with this, a rescuer who has a design, because in the cancillas are usually linear small boxes of New York can be a drawer with numbness, which is what they have done in Nuerio, for example founder mto put some in detail, but finally in the beginning that same is a rectangular box, as it was and here it turned that God me by very interesting circles.

That' s one with all the scandals we had those extraordinary Herzogne Neurón archtec from Switzerland. It makes me that they are architects who invent materials that do not exist, they did not exist before them. So it looks like his principle is that we' re going to invent things that haven' t been seen. If you see the bird' s nest of the Beijing Games, I imagine when the structuralist introduced him, that project must have renounced several crises. If he' s not here, he' s not coming out.

This is not the last one I say watching, because here in my engineer would never have done to me. I shouldn' t have done something like that. Yeah, yeah, yeah, yeah. Right. On the other hand, I also loved Saharis at the time. I don' t believe much in the fact that architects' name signatures continue. They' re not like clothing brands like amenu chingon. The architects' marks. They' ve

hardly ever been able to do that. It still exists, although it takes out a dome that some, some, eight or nine years or so ago. I can imagine the pressures that that woman has to experience. He died. Yeah, I don' t know if it was about that, but he died. But I remember Maxi Signing in Rome has a spectacular flying. It has that I think it was the one that went into the parametric architecture

that previously did not exist. Although the parametry has its problems, sometimes the spaces have to be orthogonal and the parametry is just a scenario of that square space that passes, for example, in the boom handy vill Bao defend then it is inside and you say no what joke your squad. Yeah, he loves it there for the whole thing. So outside you decorated it, but

you' ve got holes and inside it' s square. No. No. Although I think the google henes is an extraordinary piece that made that when I went to France, I met people from the bal I went to Va before Googhan and Bilbao did not exist, it was nothing, nothing, it was an industrial AIDS, nobody wanted to go ok. Since they put in Googlengham, people are going to live. As much as Vales made your city appear and exist there, people talked about it. How many years. Yes,

the increase, the plus was not basically project. You changed the physiognomy. It' s the right city. Few projects in the world that I can tell you right now the tower and happy at Cidney' s opera aha medan tipo. Yeah, yeah, yeah, how many a lot lift me up in town. Yeah, it' s a job, the truth is pray to him, and this is industrial raves or you know a lot. Yeah, yeah, yeah. Piter Son ok I like it. It'

s very linear, but it' s very clean. Patricio Quiola, if long ago for that, that which does everything is in everything, in everything, it is better. And Antonio Joke me too very linear and very clean, but all basic designs go through it. Okay. Piero li sony is the director of the life fair. That' s why it is, and then you get in if he' s the director of several brands. I don' t know community do to be directors of various brands. No. No. I don' t know how that Gremmy works either, really.

But those are great designers. Yes, yes, it is, and well, as I said earlier, the bells here for innovators, for things we wanted, if they dared and, because the world, well, they would captivate the world and keep doing it, they would do very timeless things. I' m sorry I like it being what I' m doing. I ' m a little bragged, who cron like that, yeah, he' s a little favor, but he' s talented. I mean, here he is and he' s dressed up and I mean, I don'

t know he looks much better. Many colors are used, these above all the rose. Yes, a hotel in Caco, El Temptation. Oh, yeah, Hinn' s the, yeah, it' s good, but it' s pretty much like you say Fanfarrón is a little bit, as Philip Stack also flaunts me a lot. Yeah, even though it' s a game, it' s double. Yes or no. We have to accept it. Greetings to Philipster, we must accept it. The three of us who stencil a teacher. That is the most serious and most yes,

most productive and you have no more or yes. I' m looking good. So and above all that functional things are done, that is, things that are used. They' re used exactly that they' re inside our environment. I think they have to see the logs. You have to see that piece of some impact that, maybe it' s not worth anything very expensive personal than having a lot of cursions. But behind that must be the pieces that do work. Of course it' s not a little more.

The architecture also has to be a raking that makes a very striking piece, because there has to be a kalache class that does work exactly, accurately, very well that will give face as a character to the city. It' s amazing, very good. There you have to drink a balance. It gives me a lot of thinking. I like to hear and finish, because it' s been a great talk and believe me I' ve learned a lot right now in this talk. Really. Thank you for being here with

us. Diego. What would you say to the new generations of architects and designers who are entering into having the same, as well as your own office? What would you say to them whenever you say you' re an architect of people you think you' re very loving. Oh what father I tell you work primarily involves dust and mud that that. You don' t see it when you finish a project, whether it' s an interior project or

a construction project, or my design. You' ve seen so much, you' ve already had so many problems that you' ve got us and you' re sick of it. You want to finish, and that' s where people say wow, that is, you get in here, you turn on the light, you don' t feel. That' s not my job. My job was to be with half- legged water in a casting, in rain or cutting marble or varnishing that that' s the worst, varnishing all pain, tremendous that' s the chamba you don' t

see. So I think you have to do a lot more research around that whole back that it' s like behind the loom to see how the whole show is set up and that you' re prepared for it and, above all, to succeed. You have to go through a lot of them going wrong. Several times they have to endure, they have to ride well, they have to have that resilience to get back up. Get back up because they' re not going I know a case that someone who hasn' t had a problem does, so they don' t see that because you get

a problem. It' s the end of the world to see more and sometimes you don' t get paid and sometimes you have to water the chamba and sometimes you have to hear stuff you' re never worth today and sometimes you don' t. I have customers who lie more about me and customers who flatter me, ok ok that thanks me very much for everything and try to always, even if you have that customer differences that your product is the best possible but to the circumstances in which you did not do aha. That

' s my recons very well. Diego, so thank you so much for being here with us on radio day and above all, allowing us to do this season with you in the labor field. The truth is that it' s amazing and I invite you to come and take a walk here to the show room that is in San Luis, Potosi one hundred and thirteen. The truth is, it' s amazing the design that you' re really happy about, and I know that labor field has a lot to offer around here. Very good. Thank you very much, Diego, and I' ll

see you next time. We' re at the beginning of the season. Don' t miss the other programs and remember that you can find us on all music streams. So there' s no, no excuse for not missing the new episodes. Thank you so much, Bye Bye.