Hey. How about a very good afternoon, I am Carlan Ramírez, and we are in a more broadcast dedir Radio design in your ears here in the new season of the year that we are recording with capo laboro here from the street of San Luis, Potosí one hundred and thirteen, here in Colonia Roma Norte. So come and take a little turn, see some high- design furniture, because it' s really amazing. Come and take a little turn to show room is always open Monday through Friday until 6 p m. So,
come and take a little turn. And I' m very happy because today we have a guest that the truth, for a long time I already wanted to be on R Radio, but we finally did it and he is David Dana, David how you are very well, it gives me great pleasure. Thank you for being here with us at last here on radio a pleasure. Not really, thanks to you for having you here a pleasure and good. I want to start the talk by asking you who David Dana is, who' s real. This one' s good at interlining a little bit
of your question. M is part of who I am. I have been wanting to communicate with people for a few years through my work, ok because I am a very hard worker and we have been doing a lot of time this exercise of sharing the creative process in planimetries, in axonometrics, in model drawing and then documenting also the constructive process, because I feel that, as
artist architects, it is very important that the work speaks for itself. Sure, however, Right now, I sit in a moment of my life with my wonderful wife and my four children, surrounded by more friends than ever, where I am delighted to talk to you a little bit about my experience and also to nourish myself from the experiences of other people, as in this case of Radio. Thank you. Oh, wow. It' s amazing and it' s good. I really like it and, above all, that
you take so much into account your family is always present. Yes, of course, how good and how is it that David Dana without architecture, at what time he said, then this way Look. I am a person who is very evident that my strongest hemisphere is the creative one. Since I was very small ok this also my father is architect, developer and I had an
approach to the profession throughout my life. OK. And I do remember that when it came time to decide the race, the first thing I did was eliminate architecture, because I am a very analytical person, I am very committed to what I do. I took my life very seriously and started thinking psychology. I love psychology, I like a lot of things. And finally, I was also given the opportunity to make a backpacker trip in that period of time and I said there is no doubt that I want to be an architect.
There' s no doubt about it. The problem I have is that the way I connect with architecture is different from what I have seen in my dad over time. That' s when it started as this personal process of how to start my career. OK, well, it was a relentless search. But in the end you fell into architecture, yes, no doubt, and it' s good that I fell into architecture. Oh, that'
s good and where you study architecture. I studied in Ibero, I loved the bachelor' s degree, I liked the generation very much and we joined a lot, because we talked to people from other generations who didn' t integrate. Not others do we integrate. Throughout the five years many very beautiful relationships are generated and we had a time in Libero where there were very good teachers who influenced us a lot. Okay then, Ibero, great race.
You know where I confirmed it. When I went on trade. My first test was in Australia, my boyfriend MIT and, of course, I was nervous. Yes, of course I confess that I didn' t know how to speak English very well. I went to a Hebrew school. I wasn ' t taught English at that school and the first semester was a challenge. I don' t mean, I have to learn to speak English. Today I speak it perfectly well, although I have lived a long time in the
United States. But it was a challenge and I wanted to prove myself and I realized that any student of laiber would have put you for you with any student of mit seriously, certainly the problem, certainly accurate. All right, so that helped me understand myself in context. I had that, let' s say that opportunity, that blessing, that gives you a lot of security, because you say today I' m crossing the world. I come with that restlessness to a very good university to know if I' m going to
be able to unwrap or not. And of course it is any student, at least the Leiber, for how I compared the work we did in projects against what she developed. Very, very even, very even. Wow. Yeah, the Hiberra prepared us pretty well. How cute, what a father that if the University did commit itself to in that way, it is compromising to have very very, very competitive generations. Out there good and then I lost the free lead. Luis de Villafranca was removed, and the selection of
teachers changed a lot. Today, I couldn' t tell you how she is. But when they had them they were all WOW. Then it was very good. And when I returned from the Master' s degree, after I had been living outside Mexico for a while, I went back straight to teach in free. I' ve been giving an urban planning workshop for 10th semester students for two years it will have been and it was a beautiful subject.
I was demanding, as I say, demanding with me, demanding with others, but we did a very good job and there was follow- up with some of the students. Very well what a father and I am very pleased to return to your soul ma already as a teacher that father was well, but at the same time I got together with the start of my office and at no time I imagined that it would be something as complex as it has been. I' m telling you in complete honesty. Then the class
would come. It was four hours on Fridays, starting at seven in the morning. Okay, but at a time when you start, when you have to risk the most and when you have to commit the most. Then I was already voiceless to the clear class, i e I literally arrived exhausted. I' m saying back then I' ve been 27 years old. I ' m already thirty- eight, ten years ago you' re still young, young, all your life. Hey now, well, tired marathon was
that then last semester. I confess that I could no longer do the activities they did for teachers. I had a lot of champagne, thank God, we were already saturated and it was a little bit bad for average leibero of low and since then I haven' t taken that back. And well this process opened up to me that I tell you to be very constant, to share the work, to communicate with the work itself and that' s already
what has happened over these ten years. Ok practice yog very well. So, when you got out of college, your incursion was later, then you went to your office or you started with someone else or you threw yourself in the ring, then I ended up applying to the master' s degree. Okay, I went to America. I had a very competitive master' s degree, very rich, very pleasant, unforgettable. He trained me as a human being in my personal and professional values. And when I was done,
I realized they were missing a lot. Mexico missed me in the dunes, my four strange dunes yesterday to David. Then I realized I couldn' t live without Mexico. So I did decide to go back, because my heart connects with Mexico and I love the United States very much, the Americans of any state. I understand myself well with them. I lived there for three and a half years. I don' t have a problem, but I ' m Mexico and besides, I missed the weather, I missed my language,
I missed food. Then I came back with the intention of starting with the project and we basically started very well. What a father, how I started. I recruited an intern who is a girl from Poland who was living in Mexico and invited him to do the Alquine contest. It was my first in two weeks that I arrived in Mexico. I was already literally teaching ibero
classes and I was already doing this project that we took second place. Yes and hello, this girl from Poland was happy that we took second place. I couldn' t believe it, really. I came back with a hearing mentality. You have to win the contest because, because you have to position yourself in Mexico, there is very good architectural level, very good artistic level and it is an industry that is saturated. We have to be honest. Yes, that is very saturated, the truth, but what a father,
that is, you arrived very active, then I arrived very artivistic. Hey, what parents and how that transition has been in those changes of ten years of abitana workshop so far, because the beginning was strong, I don' t doubt it. And, now, how are we doing? We' re going well, right now, I' m developing a shopping mall called Forest Pavilion. We are developing a building in South Rome, in Medellín,
three, three, five. Not very well, we are developing a pethouse in a building called Levia, an apartment in a building called Frondoso, and we have a project also here in South Rome, which is on the street of Puerto Mexico for moments on which we are focusing. And we also have some other projects, but mainly that is the agenda of WAW fear projects,
because very active always. Super well, I remember that I went to college and talked a lot about Vitana workshop always, always what they sent me to the wedding ay cos who I' m giving you I' m hesitating who you sent to scold him. I didn' t always grow up good at the university training, because they always had us as very alert of who was doing everything out there, No, because we also have to upgrade as students.
And then I was fortunate enough to have some teachers who made a lot of effort into it and in the subjects and offices that mentioned them a lot. It was a bitanal workshop that when I was almost out. Then, because I would like to work with David, No, but look yesterday I am interviewing you better hear and what would be like the jewel. I know you' ve done thousands of things over ten years of your office, but what would be the crown jewel, that is, of a project you said.
This would be the great Vitana workshop project. I say my mouth is watered, because everyone, the architect crector, has dreams, has desires for me would be a museum, museum wow. When I visit Tamayo, I go crazy. Yeah, and I' m doing a lot of good here, yeah, it' s a great museum, great museum, great place, there' s no such places anymore. Great architectural project, totally true.
It was a great project and it is still because it is very latent and I am very happy that they continue to have it in the constancy that they have exhibitions and that it remains in everyone' s mouth. But yes, it' s a project. And good thing it encourages you to say, because I want to do something like that too, but you' d like it here in Mexico. Yeah, yeah, you gotta go or in Mexico City, cool It' s amazing, it' s, that' s really dad. Hey and when you do what your design process is like
in your office. When he comes to you the client tells you I want this, how he' s unfolding it until it' s done. Andredes sure looks. Casually in recent weeks I have come up with this question with other people. I' ve been doing the same creative process for ten years now. We' re correcting it. The creative process is always I express myself very well by hand, I draw. I' ve got tables.
My computer is a digital lifter and apart, I have two tables. So, what I always do, undoubtedly in all projects is I request a model three D of the current state or of the land or property that we are going to intervene. And on that model three D, which is volumetric and monopromatic, there is no project. I make screenshots, both of the exterior facades and the interior spaces. And in my drawing table above that count giving
specification of material, of constructive procedure of everything not. And this is done with a group of architects who are part of my workshop, who model it in sketch. And in sketch it has been a tool that has worked for us, because you can work with materials, you can work with textures.
Then the creative process jumps from my deed to three D. And then we started working a lot on the three D. Of course we see similar cases, of course we look at Pintress and right now what happens with the revolution of artificial intelligence, which I don' t know if we' re talking enough in Mexico, but it' s something that' s already arrived and that' s going to stay. The creative process is going to change radically, no doubt, no doubt, and but you are ready to adapt to
this. We put our batteries on and now, we are in the process of rethinking the creative process. What I did was recruit a creative cell, because right now there are contests, investor projects, private client projects that I want to develop with them. We have already acquired four tools that we are experimenting with and were greatly influenced by a video from a Dutch office that surely knows your radioscutturs called vr DV. Sure well, they have a YouTube video
that I highly recommend to everyone. Or if not then I' ll send it to you that the director of his company, who carries an umbrella of artificial intelligence in many aspects of the office talks. How they implemented those tools of their creative process and I found it excellent, because it is a process
that is already taking it to buildings that are being built. The result is magnificent And one part that is very important is that they managed to make copyrights theirs and use a program that is called parrot, that what you do is that you teach it to produce architecture following a little bit of your architectural language. So, when you watch the Enbiardics video, some geniuses, obviously what
they start exploring at the schematic level or that Pintrest replacement. Instead of going to Pintrest, they already come to these tools that have a language of their own and then they land it in revits and build it oh very well, that is, spectacular shows sounds very ribla and apart something very complete, I mean, yes, it complements very much with all the tools that are using to make a projection. Yeah, I think I' m saying they'
re inevitable tools. I say I set the example when you were riding a bike and you were going up a climb and I didn' t have speeds and suddenly, one day you tried a bike with speeds and it was better to suffer it wasn' t faster. Yeah, I feel like these tools have a very direct analogy. Then you have to take advantage of them. We have to get familiar right now in the office we are bidding where we are forming a creative cell, where we want to rethink the creative process using
artificial intelligence tools. We want to see where this procedure gave us, always maintaining copyright and always maintaining the architectural value and architectural thinking behind each of our projects. That' s the main thing and that' s the first thing
they say in Virdty' s video. Ah. All right, well, yes, send me Lengens ec already, very very interesting and it is something that is already here, that is to say already arrived and to stay and because you are very right, that is, it came to revolutionize many things and, instead of stopping us from stopping and thinking about all the bad things that could happen best, how we can acquire it to our design processes, as you are clear. Look. It' s a discussion that I think
is going to start happening. If I go a little further, not that when Ubert came clear, the first response in Mexico was today in taxi drivers are going to run out of Chamba. Finally, today Huber is already in place, is already implemented, generated jobs, generated opportunities and changed the industry in a disruptive way. I don' t feel that changes are totally inevitable when change is a good tool for something people take it when it' s
not a good tool. There have been thousands of failed projects that no one will ever see again. I feel like the student doesn' t have to be afraid of him. On the contrary, you have to understand that right now a window of opportunity opens to rethink the profession, so that it is more accessible to all, because they are very economical tools and so that they can be better developed as artists and architects. I do not think they should
have a relationship with this change from a premise of fear. You have no premise of clear opportunity and creativity and exploration, and you have to use the tools yes clear. Of course, at some point it also happened to Irradia when we broadcast live as if we were a normal radio station and suddenly the podcast arrived. Now what do we do? Not sure, everyone' s going to want to do it now, because I can do it wherever it is and we' re going to take our shamba off. We' re
eight years old here. So it' s a question of adapting to changes, of letting yourself flow and seeing a chance to say no. Not this. They' re not gonna stop me. We will integrate, of course not to make the most solid, stronger in our work. No. And that' s good of you, because you' re at dawn on that. I mean, it gives me a lot of income. And I do remember looking at my first professional practice. Uh- huh I made it with an architect. I won' t say a name, because I admire him
very much, I love him very much. It' s very close here, but I' m going to sell it. That' s why I don' t say no and he did tell me about the renders and I didn' t come in. Ok was the new thing back then I told the renders, I didn' t come in. I' ll take the foil, with photoshop, with the collage, and I think it did and
it affected him. And today, of course, that uses it now is an architect that I admire very much and that is very, very good architect, but well, we' re not going to balconea it, but yes, I mean, they were right. When the renders arrived, there was just like me, when I got along, I was just as early as the render era and yes, there were a lot of offices that still didn ' t make them and they had their renderers on the outside and they were
starting to have them. And now, for there is already the illustration and even the rendering more than solid and to everyone it already does. And I think the offices, I think absolutely all, as well as the architect, that we won' t mention, adapted it, that is, I interested him to avoid that horita like playing exactly when he came to play. It was the same thing. Give the jump, the pull back to the exact
machine. It was the same thing. I mean, I think that the evolution of technology goes a lot hand in hand and not to see it as a problem, but to adapt the opportunity, an area of opportunity exactly. I' m very pleased. Hey, you mentioned a subject that really fascinates me. I, as an architect, do implement it in my office, but I would like someone like you to tell me how important your office is for you or for you, as an architect, to enter architectural contests.
Of course it' s a very good question, because look, we had a wave of time where I took everything that came in. Everything that came in, I grabbed very well. Right now, I learned after ten years to be more selective and mainly with the intention of re- entering competition calls. Then I come from a window of time where we stopped cor there was one over here, one over there. At first we were more constant in the contests and thank God we had, that is, we had results.
We had, like, three or four project contest results. You want me to tell you about them. Sure, of course, well. The first was Arquine, which I have, obviously, a very large sentimental value, because the office was my computer, me and Ola, and we started talking back then you had to do a rethinking of the housing project of German Miguel, Mario Pani Occupy and obviously we said the first thing we have to understand is that it has to be preserved, it can not be ground and we
have to give it an added value. So we started to investigate some hydroponic systems in Cuba and it was a very attractive creative process, very rich. And we took second place. All right, what other contests we have. Jesus on the Mount invited us a developer by invitation. We propel against Pascal architects, we take against three renowned architects and we win a project that we develop the whole complete project. Now, right now, we' re enrolling
in the contest. Right now, which mother. So I' m already leaving a window of my time so I can attend contest and not grab everything that comes in. I' m changing that habit in my office right now. All right. So, if you feel that it is a very important exercise for an architect in tar this type of contests. No doubt in what has enriched you, in research, in relapsing, in how it has helped
you in your office. The first thing is that you enjoy it. If I don' t think there are some projects that stop us from sticking to the money and then end up being the best projects where the money isn' t by means they end up being the new projects. Also an important issue is that it is an opportunity to test yourself. Sure, then, you participate I didn' t win, I don' t know what honorable mention, that I did right, that I did right, that I did wrong,
those who won, that made that I could have done better. Then, instead of doubt, an opportunity to test yourself and to compete exactly. I feel like it' s a great exercise. Unfortunately, I' m telling you very honestly. At the beginning of dir Ryan we got lots of calls and we published them all the time, especially in the summer. They received many calls from all sides of architecture and design. And now, unfortunately, for the past three years I have come well a considerable decrease that there
are not so many, no, but they already do. Right, no doubt, well you saw Arkin, Ahorita had an excellent answer. Yeah, sure. Yes, it also goes hand in hand with these changes that we talked about, which has a lot to do with visualization and creative process. Yeah, I want to think that it was because of the pandemic this low of contests, but yes. I hope that I agree with your word that there is a rise in contests, because yes, being something that is a
very important exercise. Yeah, one thing I' ve noticed is that there
are a lot of contests that have no cost. Right now, we signed up for a contest in Helsinki that has no cost, which is for the Museum of Contemporary Art, not Jorge so of Architecture, Museum of Architecture on a site Enjercinki Beautiful, which had the challenge that you had that some member of the team has to have passport of the European Union and mastery or of the European Union or of the United States, and we managed to get someone who, thank God is my wife. Ah very well, and the contest
does not have a registration fee. Also what we have noticed is that ten years ago to do a contest involved the best and to hire a model that took a cost to hire some renders that took time and cost half right now. I think you can win a contest by being very creative without wasting any weight. Yes, there are many tools available to express yourself creatively and you don' t have to put much on your side. So, that' s why you don' t give them that time to participate and it doesn
' t involve an additional expense. Of course, yes, exactly, only the disposition of your time and want to do it exactly. Wow, that ' s amazing and, well, all the luck in the world for this contest. That' s good. It' s good that your wife I ' m going to tell you,' cause I know the way in,
too. Yeah, yeah, wow, what a father hears, who are your five favorite architects or designers or who have a lot of eyes on you Now three would have David Hepperfield and I admire him very much while I was in Japan right now, I had the chance to bless going to Japan and I saw a lot of his work. Very much so that he has. I believe that he is the architect who has reached the climax of what you can do in this profession, for the amount of opportunities they gave him and
the number of places they offered him to work. Then, of course I have him up to the top, for having visited his work a lot and seeing what he has achieved and peter Suntor who is a Swiss architect, very artistic, very emotional, who I admire a lot Mexican, I admire very much Manuel Cervantes. He is a very good architect, he has an extraordinary trajectory. Yeah, and I couldn' t tell you another Mexican. I feel that Mexico has an admirable, intimidating level of architecture and has quite a
proposal. Then I could name you thirty architects, I mean, not one, but it would be those three. Manuel, Manuel, I think you have a very interesting proposal. Yes, I think it has stood out very well, Manuel Cervantes. We' ll have him here very soon, here on the radio, for our count. Yeah, sure, but yeah, surprisingly, well, not surprisingly. Yes, it has been a gradual change in Mexican architecture, where already more than one stands out and so yes,
that is not to say more than thirty. If I could tell you, they' re doing it incredibly. No problem putting Mexico in the magnifying glass. All right, very well, won and the truth is, well, there' s a lot of talent, especially how good he hears and what
you' d say to him. I loved having you here on die radio and I hope it doesn' t mean, it' s not the last time you keep telling me that it' s still a clear bitana workshop and how the implementation of artificial intelligence continues in your office, etcetera, that it comes to you, no yes, I publish news Lette States yes, I
don' t know what comes to you. Tujets come to us and we love to read the truth on the radio if it gets to us in the mail, because if that is, as well as our newspaper of the day you know, then the truth is that yes. I loved having you here for the first time in radios, but it' s not the last time you' ll keep telling us what your workshop is doing and I' d
like to finish this great conversation with you. What would you say to the architects that, just as you' re throwing yourself at the wheel of making your own office or that you' re already starting. What would you say
to them clearly look at the first thing they have. They have to answer a question, being honest and without lying to themselves that the question they have to ask is whether they are willing to sacrifice everything, because the architect who wants to start a company, wants to start as an architect and is not willing to sacrifice his hundred percent. It will not prevail, not prevail. It' s a very competitive industry. There is a very high level of
proposal. So I' d tell the students what to say if they tell you what I' m saying and you' re saying," Hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey. And what you are looking for is to be part hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, of some architectural office, some architectural workshop or look for some form of collaborator. But that' s what I said very well to me, so thank
you so much for being here. Conss thank you. Espudo has also liked field work. Yes, for me to be less visited here all of a sudden in the Shorro, and then how wonderful to have you. Really. Thanks to Jorge de inclementh tayer because we brought David here and not to be the last, please Jorge, I didn' t bring him to you anymore. I want to get her and we' ll have a drink tomorrow. Oh, no, that' s right, of course it is. That
' s already signed and they' ll hear it tomorrow. What a cost that we did throw ourselves the dragon tomorrow and that with photo and everything, with photo and everything, please, but yes. Thank you so much, David, for being here with us and for not being the last time thanks to the audience for listening to this new season of Irrradio. The other chapters are not lost. We are already in the middle of the season and we are already a few more guests to finish this season and we will see until
the fall that is not that long. Neither, and then remember that you can listen to us on all music streams. We' re in Google, Podcast, in Spotify, Amazon, deeazer Ihart, in everyone else. They can find us. So there' s no fault. I say goodbye, I' m kan Ramirez and thank you very much davitada, even later. Bye. Bye. Well,