Hello how very good afternoon, I am Karen Ramirez and we are in one more broadcast to go Radio design in your ears, in this new season, that we are recording from capo laboro in the street of San Luis, potosi one hundred and thirteen here in the colony Romas, and that they come to turn to the show room, because it is all furniture of high design. So come and take a little turn to see him. And because I am very happy because for the first time it will be with us a great architecture.
I admire very much for a very long time, that is, I was at the University when I admired his work and I am very happy to be able to share several events and meet and greet us. And now that he' s here talking to us. This is Elizabeth Gomez with a wave of architecture. How you' re doing All right, kareno, very happy to be here with you. Thank you so much for the batons. I mean, I' m not that rough. Now listen to what Karen, Karen knows me, but I think she was a primary at college. Hey,
I' m saying it. This really gave me red wall lessons at college. Oh, good I swear to you, yes, and I' m really glad you' re finally here with us, because you see how we wanted to schedule, but questions of time. One thing or another couldn ' t be done, but we' ve missed it. Last season we missed it. But look, you' re already peeing exactly twenty- four no, and the good thing is you don' t stop. Then there
' s always a season to come exactly. We never stop here. You know it' s not gonna be the last time you' re gonna be here telling me what you' re doing or architecture is okay. But I want to know first who Elizabeth Gómez Karen is Who I am, well, because I am a married woman today who loves animals, especially pets, cat
dogs. I didn' t study architecture. I always had like this anxiety, that is, since high school, to study something that had to do with the creative side, but I did go through different stages where I wanted
to be a graphic designer. Then I had a group of friends, industrial designers that made me very much draw attention and well, I finally ended up in architecture in some way, thinking that it was also a larger scale and I could embrace as other areas of design, which is a semi- wrong thought, not at all, but yes, each of the creative fields has its own scale and its own difficulties. Not then, but well, that
was like my thought. I found a university where there was architecture and I fell in love with the place, I mean, I said here what there is and there were the three races that I wanted. So, then, I ended up in architecture. Today I spent much of my time in that, in my office, in my work. I really like music, I really like photography. Then they' re like my hobbies. I like to read, I don' t read as much as I ever read, but
well, it' s just like I always do. It' s on my end- of- year and start- of- year list of my purposes and I have there a good stack of books that I hope to finish this we are already two, you have to finish this year. No, and I like the novel as much as a bit of history. Then we have to pass. I wanted to combine, because then with the laziness, because one stays with the novels, because then they are faster than digesting no yes, exact, yes, passes yes, and I also very much like
the series and the movies. I mean, the stupid box, like I used to tell my Chiquita mom when I was Chiquita, tell me what you want to see the idiot box for, if you knew, no, but then yes. I' m also very entertained by the truth. Yeah, he' s a pain in the ass. Good, because we have many very similar concerns. What you can share. Hey it' s very good And it' s good that you went well towards architecture and how was that foray into architecture. It was like that, it was hard. You were
able to adapt at the university. It wasn' t easy enough. I liked this part from the beginning as a complex part of devoting time to drawing the plans. Not because I had many semesters to make my plans by hand, to make models. I liked it, I like it, I still like it. I mean, I' m kind of manual. So that part didn' t cost me work too. On the other hand, people said it' s not that mathematics, because it' s not engineering.
I mean, I think they had more complicated mathematics in statistics that went to communications completely us in structures. Yeah, yeah, why isn' t it so complicated. I mean from logic and from learning formulas, from physics, but it' s by Book. It' s not that hard for me and we didn' t go that far in the race, because it wasn ' t engineering and architecture, just architecture. So the key I liked well
were small groups. I entered New World University and was fortunate enough to have great teachers where they gave us as a lot of creative freedom, where conceptual deliveries could be designed where we wanted. They didn' t have to be in the classroom, they didn' t have to be on a drawn plane.
Then they were tours like for the little mountain of the school to go to see the delivery of one and then to the basement of I don' t know what to see the delivery of another and another who had arranged a living room of something that had been asked of him and there mounted his delivery.
So I feel like that part was like a very filling part and when you go out into real life, it' s you going to land and you' re going to leave, take it down the flow, day- to- day, in the rush, in the deadlines, not and you get a little bit away from this more creative part than when you' re in college between age and time and you have less responsibilities, less worries. This one you can kind of encourage. Then I liked that a lot and enjoyed it. I enjoyed it, I even went to other races. I
was going to take art history with ale who gave it in communications. Which li I also wore art history, but I was having a different approach ok and alee Rodriguez. He was good, he' s still alive, but I don' t know if he' s still teaching. It was a thing where all the emotions, I mean, you could cry while I was explaining a piece to you and it was a projected transparency. No wow, then I had that chance. No, I mean, as you know, getting into other people' s classes or they weren' t yours. Nobody
told you anything. It was a little bit more Montesory. This one was like the society of dead poets, region four, but focused more on philosophy. Then, every Wednesday, in the library of the University of Rectory there was volter coffee, that' s what it was called, and the rector was a great philosopher. Two of his sons were also very philosophers. So this was the professor of semiology, philosophy, communications, this one I'
m telling you about art history. They knew they were your teachers very nailed and they went up to the library and it was like a theme on the table and we lived many students that we had to see in the position of blowing up a class or building shit. They almost reproved me. But clearly the subject of philosophizing at the university was more fun. But, well, that opened your mind a lot, so I spread out. But yes, they were very, very, very creative times, as I enjoyed it very
much and I like it. I didn' t work in college and when I left I did feel that was a disadvantage, but at the same time I enjoyed it very much. I mean, it' s like everything in life. You can' t have everything at once, yes, then you better have what you have and what you' re doing, because you do it at 100 the way it comes to you and the way you organize it. And so, well, then everything will have its time, of course,
yes, of course, and it arrives, because it arrives. And after that very nice stage just happened, how you faced now, yes, at the professional level where you started, how battled it was to adapt to the world of work already, well, let' s say it' s not that it' s been difficult for me, just if you go out like with a very different cloud in your head, like real life. Sure,
yeah, it' s basically nothing else. So, that' s where we were recruited for a Mexican transnational company to many new graduates from different universities and we went to give there. I was there for about a year, but it was actually a new company in which our functions were not well defined. It' s very focused on building materials and so I learned, so let' s just say that there I was enrolled in social security, this opened my bank account, that is, it served me to structure in
some way. But, well, it wasn' t what I wanted or what we all wanted that we were kidnapped for that job. And this one and you know people tell you, grown- ups tell you it' s a good opportunity, because right now. It' s difficult, it' s always difficult, the situation is always difficult. It' s never there, or whatever you see, they always tell you. It' s hard to get a job then take it and kind of feel like you' re starting to feel like a nimo, not really, yeah, of course not
to take your job. And it was a nice experience I tell you, I mean, it was a job raid, as very official, not with all the hard and necessary paperwork, I made great friends because we were more or less the same profile all of us, but we were out of the profile that the company was looking for, the truth and we left And well, many of us keep taking to date because we' re in the middle, ' t bad. That' s where I went into a real estate company.
because we' re architects and with that little school, like it wasn Then with the representation and marketing for the whole country, different brands, both European and some New Zealand Canadian from the United States, but they were all brands for both contract and triplea. Very much I am speaking that the
design in this country was not very valued, appreciated or understood. I mean, I feel like it has touched me like all that evolution and it was difficult, because both to sell it and to specify an entry furniture piece with that design as much more avant- garde than we had in Mexico, of very solid pieces in wood, nothing to do with metal pieces or in alumnino or colored crystals, that is to say as a design, because very avant
- garde for that time in Mexico and perhaps Central America and part of America, South America. I do not know then how to see this evolution as well as the design in Mexico, not so much of the appreciation of these brands that are already very long established in Europe, especially in Italy, as of all national industrial designers. And it was a good opportunity to approach me
on this scale of industrial design that I no longer studied. It allowed me to visit the Milan Fair on multiple occasions of work, but understand how everything that happens around interior design, which is marked mainly by furniture and all the other elements, And then I understood how this relationship between architecture, that is, the form, the container and the content that is interiorism. And I
think it was a very good journey. I developed a lot on the commercial issue, because we developed interior design projects, but they were more to sell our brands. I didn' t know much more people than I knew from the media, because I also looked a lot to specify on the subject of contract furniture. Then I met all the offices. So I was kind of in touch as with my area, but I was on the other side.
I think that and I never took my little worm out of really yes, design no in other words, be an architect and also be an interiorist. Then, when my path ended, there I partnered with two friends who at that time were also like seeing what to do, that is to say how to become independent, and so you know them Jorge Germán, they become known to me yes, and we put up an office that was red Moorish, what you talked about that you saw in your classes and we had the truth.
It was a conjunction like three very different talents that we added a lot that was very funny and it was very productive for the projects. We were fortunate enough to develop large, interesting projects where we were given as no broad letter in budget, perhaps, but yes in design in the creative part, as they trusted our work. Then we spent many years with that office together until the time came, because I don' t know how everyone starts to
take a little, their course, their way. No And from there, we become independent. And this was it. I think two thousand sixteen is running out of time. Karen Hey, yes, but very fast and already then, well, since everyone already put it as if, that is, their own office, no means, everyone left with their professional life project. And that' s how I started this architecture wave project more interiorism. And I don' t know why I left your question and your comment anymore.
But more as well you solved like three hey. But he' s a pain in the ass. What a father that, then, all that preparation, that you had, that experience, that you had working for other companies already after forming your own and then forming your own, you me, that is, we' re unraveling it. Very father, but now you'
ve faced making your own office on your own. How you felt, how it was to take that step, because the truth at the time for me was very obvious and very frank, that is, I knew perfectly how to handle office as to carry means, that is, the contact with media was carried by me. The contact with the educational issue is also with me then, as it became very easy for me, that is, really to think about it, because, I had no doubt and I did. But I ' m going to tell you if I missed how this tet a tet in
the creative proposals part or not, because you start forming a team. And because in my case it has always attracted me a lot of attention as this part, as mentoring, teaching, that is, not on purpose, but I alone fall into this all the practitioners who have passed through me in the different offices. I feel like they learn a lot. Some stay but stay to go and grow. I am now great friends and many friends and they are not even in Mexico, they are in London, others are in Spain.
What and have as well as advanced much. Not then I like that. Then I started to form a team, because as young promises, talents, not almost recently graduated, with little experience, and so it has been a great team and well, it has changed and I thank everyone very much.
But no one was arguing with me, because ideas or proposals. Of course the decision that, that is, no one felt clear, no one confronted me, no one, I mean, I don' t know, because it' s part of it can be a little that they had little experience, such but it' s also the topic as good, because the Chief? Not whatever the Chief says, because she' s in charge here or I don' t know, and that weighed me. He started to understand that I had to make the decisions myself, the creative decisions. Wow.
That was a big step, yeah, a big step, and but you went adapting. Sure, yeah, but it did cost me, which is like I had a hard time understanding it, you know, it' s like first something' s like this exact dynamic, yeah, sure and apart, because that' s when you visualize it' s that, yeah, I' m the only one that' s there. But, then,
clear among all, no yes. And well, little by little, well there will be people who stayed in the studio, who were growing up because they already had much more creative freedom, both from me and from them. At the same time, because you felt more authority to propose and say
something and everything did not. But yes, at first it was complicated, I imagine it was like changing my frame of mind completely yes and realizing that, because all those decisions, but it falls live on you not aha and where the face is and that you are everything yes and not that it is wrong, no, because it is not a decision in which a person will
die or fall into a house. Yeah, but, well, sometimes you say Chin maybe I could do better, maybe, I mean, I could have done different, I could have done it in a hundred different ways. Sure and how I know this is the best. She' s the best and the one I' m going to keep wanting in six months or a year, when they' re going to execute her. Me. I explain. Yeah, yeah, yeah, I believe you then that part was for me, it was like a big challenge that served me like I did.
I think I end up as my creative maturation process. And so good, but it' s following very well. Yeah, yeah, so life' s great. And now he' s making an architecture right now. We ' re working on some very different residential projects. We have one as more conventional, where the user is more generic. And it' s fun, because we never do projects so generic that somehow, that' s, like
with an unestablished user. So, I kind of tell you that it' s like thinking about a department shows, but with soul ok and cool not like the departments show are a great example of interiorism. But they lack soul, because it is obvious, it is a department and shows there is no user. No, then how to find this combo of something that can be adapted to more or less any user in matter of taste, style, not clear and but that does have soul, that has something, that has an
intention, that is, that it does have a clear concept. Yeah, that one' s funny. That' s why this one. On the other hand, there is an office project that is very fatherly, because it is not the typical corporate project and also gave me a game like mangancha for the creative proposal. Ah believe then this, those customers are worth gold. Yeah, the truth is, yes, and then we' re conjugating as
a corporate yes part. You' ve got us both administrative offices and creative offices as well as museums and so on, and then another part more as commercial, a show a little show manismo, and then a part already more as a workshop is very interesting. Yeah, we' re finishing it, and I think the play will start in about three four months. Even then it' s okay, so let' s see if by the twenty- five and that is, we can photograph it, because it' s always
like the ultimate end. You know how to get your bok out of the project. Yes, yes, yes, but it' s very interesting. I' m not really an expert on corporate projects, and your good has been like a cooperative or massive project and the Book in a tower. You don' t know I mean, I think I would have kind of joined up with some office of my colleagues friends, sure to do a collaboration,
for her to support the collaboration. Yes, but as it is very different and I was given as a chance to also make my offices non- offices. This one makes me look like a father. Yes, certainly something and as quite different, sounds very good then, as that was the intention and right now. We' re working a lot on that one and the other residential ones, well, they' re nice. These are the most complicated
projects. I mean, in the end, I get a lot of how you say this one, which is how it' s a great reward when you finish these projects. But the process is long, it' s long, the residential client with him you work like six times more in detail than any other project. You' ve got a lot more changes than business projects.
This is very, very weary, it becomes very backward. Yes, it is, then this I say that they are like miguiltiplasher, because in the end they are very comforting and I have had, well, very nice experiences and many of my clients are my friends or they have already been clients, that is, repetitive or clients in which, that is, I make someone and then their brother, but then the mom, but then the cousin, but then the brother you know, that is, you already know the
whole family. No yes, you, you understand then this because they are like very beautiful relationships, but the process is weary, well weary. Yeah, yeah, yeah, you understand the truth then this, well that' s what it is. No yes, the truth yes, and what father, what good? I am very pleased that they are very active in an architecture that pays, because yes and merely that is, you have focused on
interior design. These are not as much architectural as demos as interior. He ' s a more complete father, yes, Father, I' m so good. I' m very pleased. Listen to what your ideal project would be that you would like me to come to your office that you would say this would be the project of my dreams. I' ve always thought there ' s nothing else. One really looks at me like not- so- big scales. Okay, even if I didn' t, I mean, I wouldn' t refuse to do a project like that on a scale,
that is, a skyscraper. You know, but I really like going into detail and the smaller scale. So, okay, I mean, I' d like to, well, in this case, be skyscrapers to do everything inside and they' re like a million projects within this. But well, a project at the best cultural, that is, it already sounds to the
cliché. But a museum, some kind of museum that I have to get involved with an incredible team, that is, with different technologies where you can exploit the concept and that gives you a lot of visibility and you see how they live, even if they are inhabitants, itinerant, everyone who visits the space, that is, that it is open to the public you know and that it works. So I' d really like that and on a smaller scale, not necessarily, I have like two projects in mind that I'
ve always had. One is a set, a retirement complex, that is to say, for old seniors, as for me in a few years there is caba. Please, that' s what I would also like very much like to try to solve so many things and see how if all those ideas, how they can be carried out and then how they can also be maintained in reality and in the use of space and as more, an administrative issue that is not autopic, and also in developing as some kind of project as
for shelter, for dogs. Oh, that' s nice. Yes, because there are very few, I feel, the problem is in the country there are very few, because yes, I feel that it is of entry, because it is a necessity, or it is totally basic, although no one contemplates. But also most of the shelters, because they live on donations then they are always short of money in places where the land is cheaper, because to have more space, not by giving more insecure, there are no
services, etcetera, etcetera. It costs them a lot of work, because adapting there is room for so many animals. Then I feel that it is a great challenge because finding solutions to operate a shelter at no high cost and where resources can be optimized and where also the animals and carers and administrators of the shelter, as they can have easier day- to- day maintenance. It seems to me to be a very important challenge. If it is,
then this one right now. I' m trying to come up with a design, like shelter houses, for dogs, especially, and I' m just starting then. I want to make a collaboration with a friend of life who has a product he was recycling plastic with, you know, and so
on. So, like seeing the way to do something and maybe something father and good comes out, because it' s not going to be a shelter project, but it' s to be able to have something in cost, so that the shelters can enable houses for ten to twenty dogs, each house where they have relatively simple maintenance, but they are protected from the weather. And it' s not that easy, it' s not easy, but
it' s achieved, but it' s not impossible. And the joke of all this, because it is to optimize resources so that it is also the least expensive possible that they are easy to move easily armed. This is like there are several very well sounds, very well sounds very very father. Those projects, especially, that you' re thinking about solving problems. You know, yeah, you' re not going to totally solve it, but
you' re helping solve a problem. It is not this father, yes, because it is not only that you see the man of or architecture. It' s not giving a solution to something you' re seeing you want. Not that is father, yes, and well the truth, if you think about it, just as industrial designers solve, that' s basically the ultimate end. Not the architects, I think we also live by solving it,
and the interior designers, because also yes. Of course, I say of course, there will be those who give priority to aesthetics, but that is the ultimate end is the function and that the spaces work and if you design a bookcase, if you design a closet, it is based on the use that will be given to solve the user' s life clearly, of course, with an aesthetic reach. Obviously, because that' s already my
interest or it' s final aha exact. But the main interest is not that they have ease to open the drawer, to find their medicines, to find their samples or to find their catalogues or good, depending on the use of each of the gold elements, does not solve their exact day to day.
Yes, this father, very well hears and if what your design process is like when a new project comes to you since it starts and how you are developing it as it is, because look almost always you have already as ideas, not that, since the client or the prospect is talking to you and you are seeing it or you are seeing the terrain, or you are seeing the context or the space or the use Or I know you don' t start to marry some ideas, which is the same as we always prejudge
people or the moment you see someone, even if you don' t want to, you are already prejudging it by their appearance. No, I mean, you haven' t even talked to that person and you' ve already made an image of that, a first image of that person. Yeah, I' m sure you can change it, not that you' re marrying that. Then I feel like this happens a little bit with the projects that at the moment that you present yourself as this challenge, because you propose a
first idea in automatic. Why, because you are already full of ideas in your head and of solutions and aesthetic aspects and of or I don' t know, or resources, of coatings, of materials that you already want to apply and that suddenly you see something face to this project. But in spite of that, we usually do as a kind of dismember How it is said of dismemberment, if it is well said to use dismember. This depends on the use, depending on the type of project it is, as it will
be shredded in one way or another not. And from there we generate a concept, a concept that we base on four main points or pillars to the best that will support the project. And with this concept we always call ourselves with images and textures of inspiration that are not renders or can be photos, ours can be photos, that is from a photo bank, from projects of other architects, not as things of inspiration such as. Ah ok, not like a moootbor, a kind of moopor, but conceptual. Okay, yet
he doesn' t even talk to you about styles. Yeah, he talks about textures, but you don' t, but you' re not mentioning them well and sensations and it' s like this story. Not that it ' s like a narrative for the project. So the concept to me becomes very important and it' s hard to capture and land, because it' s conceptual and because you' re at that stage. I mean, you don' t want to take the next step, because you don' t want to confuse the client or confuse you, yes, yes, yes,
until you land your concept well, yes, yes, yes. So for me it' s an important phase and it' s where you end up in love with the client and wrap it around him and sell him the concept. Not then those that already have it within this concept can already begin to propose textures, materials, to work them, not that it is already all the same work of architect to exactly ordered. But without you or the customer getting out like the wacal you know about aesthetics, because there are so many
new things every day, so many proposals, so many forms. Not that you change your mind. I mean, I' m in constant contact with everything that happens, not and you' re seeing ideas, because all the time you want to see ideas. For me it' s always said that it' s like the I candy, I mean, it' s sweet
to my eyes. So I live in the I candy all the time and it' s so much information and then you see things so amazing that you already want them, I mean, you need a victim to put that to put that furniture in or it' s to the luminaire or that kind of light. You already want it somewhere, no yes, yes, you want to get it right, but it doesn' t always go with the concept
of the project. Then it serves me as a guide and the customer also because the client, because I don' t know he goes on vacation, goes to a friend' s house or goes to a hotel and then comes with ideas that are not bad. They just might not go with the concept of the projects and then not because it' s a good idea, you ' re going to force her into the tower to give her the character of
what you' re designing. No, then that also serves me a lot for the client to understand that it is not a whim of mine, but that it would be a whim to introduce that element or that space that he saw elsewhere, because he saw it in Valle de Bravo and we are designing something in a penthouse of the forty floor in the city. Not sure, yes, they are two very different contexts, two environments, two sensations and two concepts. Yes, making him understand that there must be a way,
there are like places for them to cement their ideas exactly. Then we always do that. And from there, then, I tell you we go with the palette of textures usually once you already have as much more contact and good of this experience, also like that already the feeling of the texture to the material comes up faster because you know more materials. Of course, but also the reality is that you never finish knowing the materials that are there. Every
day. There are a thousand things, new proposals for coatings of materials, of uses, not to say, every day, solutions even much simpler than those with which we work five or six ten years ago. No, then that leads us to a constant search for materials, not that. I don ' t have a material palette they work with, or okay, but it ' s changing. Yes, it goes according to the project, the client
and the concept. So it' s not like here are these ten sheets which we' re going to use of wood and these five marbles, because maybe I' m not looking for one that in my life I' ve seen clearly no, but that someone has to have it. So that' s when you start with all your sales contacts, because to scout or send
hey. I' m looking for something like that. So, but you do have it or in this format you don' t and you don' t know what it is, you don' t know how to define it, but you know what texture you' re looking for to generate what feeling
and what I use it for. Of course, then, that is very funny, it can be exhausting, but it leads us to a constant search for materials and coatings and solutions that have also helped us to be as much up to date, because in what is in the industry, yes, of course, it is updating exactly and already with that, because generally we present a physical moodport to the customer, because it is at the end, as my proof, that is where I sign everything for everything, the piece of
paper, upholstery, the bit of cloth, the bit of resin, the veneer of wood, the marble one, the marble two, the ceramic one, two and three. Everything. So, and I like that I can both physically see the materials and that the foot sees them. And we support ourselves, obviously, from digital mootbots because you already know that samples are of all sizes formats, sweet colors. Not then, in the digital moodword you can already balance the application of materials, textures. And with that already is,
well, here are clear father. Then that part is also very entertaining. And so, now, the rest is we can implement the projects or not. I have many customers who sometimes have builders and have as their own capabilities for execution. So, at that point nothing more. We do supervision and this quality control and so on, and we also come to execute many
of our projects, do all the purchasing management, coordination of specialties. For now we usually deliver them, because already to change, that is, they arrive with their move, which are usually their suitcases and few things, that is, already ready to dwell. Yeah, I mean, we specify everything up to whites, bathroom accessories, all WOW is amazing, it' s an extremely complete job. Yeah, Wow' s amazing, he' s toasty, yeah, he' s cute, very cute, worky, yeah,
a little bit, yeah. You don' t really hear that. But it' s really something you' re passionate about and it' s a plus because it does it all over the world. So you know clearly how there are different scopes totally and now it is, because until very n give you and as far as you want, yes, you almost made him dinner yourself, but it is very good. It' s very good your
reach and it' s very high. There' s a father, yes, then I happen to be from the hotel in Chihuahua, they keep writing to me, they don' t change the administration and you pass me the contact of the charulitas, of tea ay you seem to know of the contact of the whites, of the beds, of the suites, but of the dubet of I don' t know what, but because all that we specify. Wow, what a father, but well, what, cute, what ' s so funny. Hey, what a father and who your five favorite
architects are. Oh, I knew you were gonna ask me that. Who knows, because I' m very bad at lists and I' m very changing, but look at Mexican architects. I' m a big fan of
the work of Kallage, Alberto Callachi. I have been in some of his projects, both commercial, obviously, as private, i e residential, and level of solution and detail and everything, and at the same time of frank elements as inside a space I love, i e, how he manages to dress it very architecturally, then it seems to me that he is a great architect. There' s an office in the United States called Abroco, which is four partners, three men of a woman, and I don' t
remember their names. I don' t know them personally, but the work they do fascinates me and they do have like all this ability to do like all the branding, that is, they range from graphic design, marketing, the concept to all the elements, not just to the project as such. Above all, they do well interior design, and I like Jabobusherberg very much, I also like that they are architects, but above all they do interior design as well and I owe you two still, but what I can tell
you is that they don' t come to mind right now. I know one that you' re following a lot in instagram right now or that you ' re pretty much in his magnifying glass. No, well, a lot of rockstars I really like their work. Well, I don' t mean spaches, yes, yes, very big ones, but maybe I' ll take those three years. Is that all right? All right? It' s like because and not and I understand this part of me very changing and I think it goes to all the Argidics. We are not the same architects
all the time as the stages. And I' m going to interrupt you because yes, I have one that I really like, which is Lina Bobardi. All right, all right, I' m going on a date, Lina, all right, she' s very pretty. Yeah, but yeah. Then, well, you' re like discovering. Yeah, we don ' t always have different stages. Then let' s discover, let' s leave certain stages, starting others. Then our tastes change, yes, even our own architecture. No, it' s not the same Barragán of
Guadalajara as here in Mexico City. Not then is father. I' m very pleased with it. Hey, how cute? It' s so nice of you to be here with us on my radio. Please, don' t be the last time. It' s the first time, but not the first last time and it won' t be the wit. Please, hey, what would you say to the new generations of architects that yes, like you, they' re jumping to have their own office or they' re thinking about it. What would you say to them? I' d
tell them there' s no impossible. So no, I mean, I don' t know or queen, but you do have to have a little experience. So, if you make the straight jump to start your projects alone, you have to maybe, because you surround yourself like a team. I mean. I am referring to the subject as an indestructive execution that at the same time goes circularly back to the theme of design, because in order to design, you have to know how it is done to facilitate the design?
You need to know how it will be executed, both at the level of interior design and at the level of architecture. So this one if you have a chance to work in an office before, a couple of offices, two or three offices, which I didn' t do, for example. But I think that' s like a great learning. Not because, apart from each study, each company has its modus operandi and you learn like many things, both administrative operatives, even if you' re a sketch artist, you
know how it works. No, and that' s a great school. I mean, I think it would be the ideal now if you don' t want to or can' t or wasn' t given to you or then you finished the race and it' s already taking care of you.
Your aunt a project because you don' t like to make it clear, but I would recommend that you support yourself as a construction team that is good or literal is a master of works or a good plumber that you can ask him how we solve this, because that' s how I learned in the work ok then came the master of works that, by the way, that teacher already retired, but he was very good, but he was very culling and with me more, because I think he saw me more chavita than he
was and saw me woman. And, indeed, I had no experience in works. If I already had my office, but I had no work experience. And it' s not the same, and I learned a lot, that is, but from their doubts, and their doubts were so that I would answer wrong and do wrong, surely and say so the architect told me. Then I told him I never know I' ve ever done this.
I don' t know or I' m not getting it. I mean, let' s go to the roof, because I don' t understand this no and very simple details of masonry, two not that you learn on site. Then yes, you learn about practice. And all this is going to be one of the important points, as it is to design well not and goes as in a circle of hand practice and execution. Then you have to learn each day, learn more, if you can learn it from someone
you work with earlier. Better. There is an administrative issue that is important. Then don' t throw it in a broken sack I say that basic
administration. I think anyone with a certain mental order, because they can do it in a basic way when it' s starting out, but they are very rigorous, both with their expenses, that is, with their income, their discharges that always imitate a receipt, either for a payment that they received or a payment this they are going to give to someone, that is, maybe it sounds basic and silly, but you won' t believe it how
many people already with medianito offices, then neither receipts have and if there is how much you gave him. They were already aiming, who knows where in a little book. No. Then bringing order to projects is indispensable. Then
everything has to be signed. No, no, no, no, no, no, no, no, no, no, no, no, no, no. It is indispensable and they will say ay, but we no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, are super quates and already told me that yes twenty times there are no projects that are very fast of execution, that is, of projects and execute, And there are projects that take from that the client approved you, the space, the material, the coating, the furniture, the closet, whatever.
It' s been a year, a year and a half until people see it again and many times it' s happened to me there. It' s not me, it' s not me, it' s not me, I didn' t ask for it no more, that marble wasn' t me. He was no different. No, I mean, he remembered, he was the one who knows how. And then you have to have everything signed. Then the subject of order is important. Yes, and although they don' t need to have this paper labeled, whatever it is,
but have it in writing. Yes, it has been noticed then that one is the creative part, the other is the administrative part and the other, that it is important is that we have to learn to collect our work. True, and our work therefore is worth different, that is, especially in this country where the table of the college architects, because the truth is that no, well, it is a base, but it is not a reality.
So, in fact, every firm charges what it wants, I' m not saying it from a banal point of view, well, what it wants, what it can and what it takes to charge clearly according to its expenses, to its creativity, to its ingenuity. I know then, how
it can be a little abstract. Not that it is the creative theme how it is measured, because, in fact, a more creative architect becomes more popular, more famous, there is more demand and because it can charge more, because of course, it cannot charge what it wants, it is not a somewhat artistic topic. Then, now the asking is the giving and there will already be those who want to pay more, less, etcetera. But
there are basic expenses. No, then they have to have a list of their expenses, i e, whether they plot inhaus things or that they blow things up, that they are sent to plot, computers, gasoline, this, transports, the drafter or the cartoonists, this is, even if it is small, because usually you need one or two more people to help you or at work tons that have very well as defined those fixed expenses, not
that apart, they are allocated a salary for them within that project. I mean, no, because how much my time is worth, I say I ' m just a graduate, how much they would pay me in an office, because maybe that' s the minimum that I want to earn a month in this project. How many months will it take me to design it. Not two, and well, a profit. No, I mean, I have to win them something. Fifteen percent, twenty percent, thirty percent getting
a little guard. No. So neither did anyone tell me how and to date, I honestly don' t know about a formula, that is, every new project that comes to me, yes, it serves me to compare it with the previous project. But I kind of make another new formula, you know, and I say maybe here the reguries took us longer this or in the end they were more corrections. Then I better consider from now on two more corrections, because it always happens and that time how much it cost
me. No, yes, yes, truths, because it is not easy, but literal, at least, they have to know how much it will cost them real on one or two salaries, in gasoline, in time, in goings and taken from samples. Or I know then, because I don ' t know that you' re not suffixed and that you don' t want to find the table of how much to charge, because you' re
not going to find it. But you see how much your time is worth if you assign a salary and you have a salary assigned to the people who are collaborating with us, of course not then, like those three things do me good, yes, well important, yes, yes. And an extra, because we don' t cut our creativity because we' re usually very creative in school, which is the first thing I talked about at the beginning and so one comes out of reality. And because it already gives you the
budget, the time delivers the customer, grinche, etcetera, etcetera. No, then this same elizabeth heon then says I don' t care, bitch put them on a shelf whatever it is. You know, I' m
not designing shelves for that corner anymore. No, but not because all the details, that is, in the end they do count when you are in the process and in the rush and you stress and sometimes you don' t want to complicate and sometimes there are ideas, because it will take us a lot more time to solve, because, because it' s an idea that you don' t know how to execute. And you' re looking with
a supplier and another supplier and something different. But because that difference, because it can be the distinctive one it could be that those who help you to the following projects, try to keep proposing new or different things, or disruptive or more functional. Not then, like not getting tired of the day to day and the stress of everything that leads to carrying an office and leaving one side the creative, but keeping as our creative Guinea. I totally agree.
Lis a thousand thanks for being here with us on D Radio that last time please, and we remain in touch thanks to the audience for listening to us. Listen to all the podcasts of the new season and also the past. They can be found on all music streams, such as Spotify, Amazon, Google, dezer all. There' s no excuse they can' t hear us, so they can find them there. They' re already going into the new programs, so alert everyone because they' re already going into the
new radio announcers and lis. Thank you very much, very much already. On the contrary, Karen, very happy to be here and reach out to your entire audience. Not much, then, because I hope it will entertain you and serve you something like this, share a little bit of this way. No, thank you very much. I' m sure you are,
because your trajectory is incredible. Really follow your work, your social networks with that, because they are instagrat your blapado, with script under architecture, guide under perfect interiorism and there we go uploading our sopdates very well, so follow it to see your work. They know her and this one, for they follow their day to day. So do I. Thank you very much, thank you to the audience and, please, come and take a little turn
here. He collaborated here on the street of Sanluis Potosí one hundred and thirteen in the Colonia Roma to come to see the show room, which is full of high design furniture. Come for a ride. Thank you, Leash, thank you audience. Bye bye bye