Hey. Good afternoon, I' m Karen Ramirez. We are in one more issue of designing, I am here in D radio the design in your ears and we continue here transmitting the end of the season of the first season of the year, here in field work located in San Luis Potosí one hundred and thirteen, here in the Colonia Roma Norte, that I invite you to turn here to the Shorrón, because it is divine. It' s pure high- design mobile. So come and take a little turn' cause it
' s amazing. And we are already about to say goodbye to them. It doesn' t always happen, Dad always at once to listen to me raul. This does not always happen, but the season of a few holidays for us, because autumn is coming and you already know that it is loaded with many activities, of which we are participants and because we are already preparing
in these months. But don' t worry because Rie Radio isn' t going to stay that way alone, because the two new programs with Emiliano and Lorenas are coming and they won' t be lost again in these summer months, from the summer Hindo to start with the whole autumn in the activities. And I' m very happy because in this closure there' s pure prowess. It' s a talent that I said has to be with me. Yes or yes, and I encouraged them to give them a message in instagram.
I said to see if I hit and hit guys. Here' s the popular design workshop guys with me, and they' re Jonathan and Gaby and Gaby. How they' re doing. Good. Thank you so much for the very happy admission to be here. Oh, I' m not happier to meet you. No. We hadn' t met. It' s the first time we saw the faces exactly were we followed you in nets ay ay ay ay. I fa published pure barbarity. I said bear what
a barbarian really let me know or something to publish things we have. That was not and besides, it gave me a very nice surprise because Johnathas told me a short while ago other backstages, which is one that he listened to us from the first chapters of Dirray. I' m no longer crying and God, no sleep and not really how you guys are, how wonderful to
have you here. Well, thank you, it' s nice to be here with you, and I' m also honored that you don' t have us and that you consider us talented people, but that we' re not that many. Of course he does, of course he does, of course he does. Believe it because you really are. I' ve been following them and I' ve been following them lately, just like I don ' t know at what point I' m sleeping for not inviting them to
the podcast. I mean, I' m falling asleep right now. But good thing you' re here and I' d really like to start this conversation by asking you who GabrielaÁndale is this time, because Gabriela is a proud Mexican woman. I am a chimica, graduated, of design, integral of fine arts, because it also likes art, color, textures. Enjoy going to beautiful places accompanied from here by Jonathan rather nas this, because we
do enjoy very much. That' s not those little salts that you say visually, they don' t make you happy the day enters also yes, they nourish you not as a designer, as an architect, because they also make you think many things. Of course very well, Gaby, who is Jonathan or Nas, which is that you like the most to be told, because everyone knows me as Nas, all the exact ones. I mean, no one knows me as Jonathan or your mom. The only one who calls
Jonathan is just my mom, she' s the only person. So everyone knows me as Nash, because since I was kids, my friends gave me this nickname for cutting my name and because I didn' t stay ok and Nas is a very fearless person, extroverted, curious walk as an observer. I really like seeing things, watching the bike out the window experimenting with new things, daring things that maybe people kind of don' t take the courage.
I don' t also love the issue of identity, the Mexican tradition, because since, well, when we went out of good, I tell you that I told you that we lived in Chile for three years and, unfortunately, when we left, because we learned to value the country very much, not Mexico, we realized that Mexico has a lot of things that we
don' t take advantage of and that we don' t value. So, when we come back here, which was just about in the pandemic, because we also shut ourselves down and then we said what we have to do, that is, we have to do something, that is, we can ' t stay without doing anything, because we arrived at a pandemic without work and we said what to do, we have to occupy, there I think
they are something and there was also a workshop with design. So he' s four years old, he' s a popular Nacho design workshop with the pandemic. Yes, in fact, we were born rather like a rabbit studio or ok almost out of college. It' s just an adventure. There you go, but try it on. Yeah, yeah, yeah, yeah. I want to know first, on the other hand it' s the one that already intrigues me, like rabbit to see, let' s prepartes. Yeah, Gaby, tell me how you got involved in studying what you
' re dedicated to. You said what he calls me about that I' m going to get him in full. Why. Well, look, it was weird, because first I wanted physics or robotics ok and because I didn ' t stay in school no, and then I kind of think I don ' t know, but apart from something like that I said, because you don' t go, no, that' s like it was several things,
my mom just told me and why not. Design no, my uncle that this restorer and moralist that I now live in Chile studied in crafts, is that the school of design of fine arts perhaps no longer accepted in one, the same series. OK. So he, then, always kind of took me to his exhibitions, that is, I was always like there in the ambi and this, because I liked it And then, just he told me why you didn' t go into the design of fine arts. And I didn' t even know her. I didn' t know either,
I just knew the face wasn' t there and this wam too. Well, the joke is, I tried to take the test. And for this, then, I didn' t stay either, because it was very difficult to enter, it was practical and theoretical the examination I' m like very limited. Then I went to an art initiation school. It really helped me a lot. It also belongs to fine arts. He' s here for the doctors and that' s where I went for a year and just to a teacher who gave me a drawing, because he helped me a lot to
form my portfolio so I could get into design school. And then I' m still there, so I' m still there. I liked it very much because, because it is integral design, not only graphic, but also industrial, textile, publishing. There are workshops, there is not that then to me that I liked also to grab the tools. So, super good
for me he doesn' t hear. What good, then as very complete, super complete, Yes, very well, truths that yes more, how you entered the architecture, because I think I started from little to do, as I always said curious, to disarm the things of the house. I ' d decompose something or it wasn' t broken and I was the one who put his hand in it. My dad always had a lot of tools
at home. Then I was very curious to do the same thing as my dad did, that is, compose things and then I disarmed, sometimes composed them, sometimes decomposed them. No. Then, from there, I started to do quite skillful with curious hands with tools and bought me many away.
Okay, so I really liked putting things together. And like from there I said well, what something I didn' t go into after the water machimilco, thinking that I wanted to be an architect, thinking that it was going to be little houses, not that I was going to reveal so much very well exactly, but just like through this curiosity of doing things, I' m always doing as little things. Never focus quito, for example, Gaby always on his birthdays I arm something, a scenery for him to have a
different time. Oh, like my dad taught me a lot about that too, because he always made us themed parties. So he really liked making us set, that little toy stuff. So I said no I mean, this father, I like I have tools, I have the skill and I said well, let' s give them the architecture. I think it' s creativity and that' s what I like very well. Gaby' s got that better Christmas. Yes, it' s also clear what already, but
I' m also ready that more than yes. Besides, my mom also means, in the family there' s no one I mean, there wasn ' t one n ah Ok three. The first. In fact, really, like my family generation, hardly anyone was professional until our generation, cousin we started graduating, but no one design or everyone was more like the business trade issue Ok. So that' s when they told me well, you, what you' re gonna do about your video. Okay. I like
this. I think you make stables fix it I saw them with their briefcases and I said I want to be like them that do this kind of thing and that make the little houses not legos, but already real. Wow very well manifesting yes is the gy decreed to hear what and what happened to you or well, bon Gaby, right now, after the little university bubble,
that happened there. How you entered already professionally, because Mira was also funny, because just in my thesis at the University this one along with my partner I told him listen you know that what is this set of National Design Award Design Mexico, that you think if we put the project in, no,
then yes, we said this, we got the design. The project was this for a museum that is in Xochimilco, which is the Archaeological Museum of Santa Cruz, and we put together, because the graphic identity, diffusion, not in fographies, also signetetic. That is, it was very complete and from there we did not expect them and we won the National Design Award for the best thesis ora right there because we already had as an idea between Nasí and me to go to Chile, to visit my uncle, to be there
and see what happened. And this one, we ventured. It' s nothing, he' s quitting his job. I finished the project and this one we left for Esch sent his car, not because I didn' t win a prize. Oh yes, I had to sell my car to be able to, to good fortune I lost the prize and we left. The idea was to be there a year, six months or six that gave us split ok entered into three, turned into three. Eat with friends, well,
don' t forget one poyar j we do, friends. No. And there, just this because we already started as I told nas hears, because it is how doctors go out and put their offices. No and one as a designer and an architect, because he doesn' t throw himself like that. Not to have also his studio, his architect' s workshop, of design. And that' s kind of where we started, not just
finishing the race. We started with the pedestrian eura, not that it was like our first before we left here, we also entered a contest of a pedestrian congress that there was ok here in the Merced and sent a design to make paint a pedestrian saura. Then we were also chosen and painted a pedestrian seura. And this one already after we went to Chile, nothing. That ' s good, yes, and there in my case, because that'
s where I started as my professional life. As you say, she' s either going to run or she' s just graduated and won a prize. Yeah, you didn' t sell the prize. I didn' t sell the prize, of course. I went to spend it there, but Salta is fine, all right, she liked well spent. Let' s not blame you, yes and swim how he started his professional career, because anyway, after we went to Chile, we thought we' d just leave
for vacation. Not in the end, because we met the Beto, who is his uncle and he began to share with us the theme of design, art. And in a very small city called Chillán, near conception, because there were few exhibitions and when we went, they invited us and one day, walking in the center of that city, I passed and saw an architecture office walking and I said look, here is an office. Then I touched and there was no one. Then another day after we were exact, we
went and there was someone. Then I went and went to ask for a job. Then they gave me work and we made houses of wood with earth ok. Then there I started to do, like all the executive projects of the houses we were doing, construction with wood, stuffing with straw with land. The truth had its super interesting, because I too after social service,
I dedicated myself to doing it with traditional constructive systems. Ah very well, then I fell as I went and started to work there and started to work, actually laying flattened. They hired me to throw me to land plans because they knew that I knew the techniques and then they told me hey, I don' t mean to go to work in the office and they said I would be father. And then I started working as an architect, look at what a father. I have a question. This doesn' t come in
the office. How they knew each other. I want to know why I said well, he' s in the gua. I' ll take it from you as I die I don' t know it' s soap opera. Ay a chapter of the race, s fits me and prepares the Telitas, because we went in the prepa, we went together and Gaby wanted me a lot, but I actually talk drool at the party and in other things and skating then, I have always been very moved, not at that moment,
like I didn' t feel like having a boyfriend. Oh no, and after I caught her, like I said, but after a year she ' s gonna regret it, after a year, watching TV on Channel 11 I saw a girl come out at an event called the rather chosen flower and I told my mom I say I know, I know her and I say Gaby and I was at events. Then already after, already after I' m famous and enriquemos the Latin did not clear I wrote to her and yes it was the pole to that was of congratulations, congratulates, but then fell
to her. She, yes fell on me no, yes, no, right now, yes, I can think as a rite of how she says or can hear that, but so it is picture, she n she, yes, I fell, but this n ondita ay muy bien do. But at what point you said to see, yes, we function as a couple, but also intellectually and at work we are working. That is, at what time was it because we were going to see it was in Chile, it was in Chile, yes, yes, yes, I mean, we
arrived in Chile, because it also did not work in Tourists. We' ve run out of prize, we' ve already eaten the car, we ' ve already said what we' re going to do, we' re going to work ok ok. So, yes, this is just a friend of my uncle' s who recommends us to a lady. This was like the first one, not like the first job you insaí that had an apothec and this one didn' t say. Not because she' s looking for
not someone who wants to remodel my façade, to remodel its façade. And we thought you and us, well, yeah, not sure, just what we dropped as a hannibal finger and we did design your façade there as something very simple. Actually it was just, as well as morals, painting and
inside also something very simple that I wanted to make it also. And from there and from there this started us as we were, we started, we made the collective that is called Holy Hell, and we did cultural events in our house, we had Mexican food, look and we had talks about subtraction of the painting design. That' s exactly what you' re doing. Then that’ s when we also realized that, as we could do interesting things in sets, as well as food. If we start over there and
then they looked for us to make another façade of a nail aesthetic. It wasn' t the cinema first, it was the rest. A hundred of us did some nail clogging. Maybe we won' t be remolding a façade. And but as the good one I do not expect, but rather, as it is a very conservative society, as they are afraid to experience, then we brought as a more avant- garde idea, rather they kind of
came looking. Listen I want the design of some tarpaulins, this prints and we already said, well, no, why not, that is, why don' t we show you the then that' s not funny to us, gasoline, no, if it' s not going to look exactly. And then he said well, then, let' s see how it is, for the price is not. And yes, we just put together the branding and put together the design of its façade orale from the center of this one not because it is, it is very small. It wasn' t
a corner, it was mounted in the exact center. And there, then, Gaby, too, as a designer, hits the chart a little bit more. She is more dedicated to doing this whole branding theme, graphic image and all that. And I' m the one who gets the most into the tool or the one who makes the pain of texture. Yes, I ' m the mara. Yeah, yeah, yeah, yeah, I believe you. The truth is, yes, because right now we' ve made the altar and we' re done, so then we' re gonna make
it. In the end we all got him in. Not then. There too, Gaby loves to grab the tools. Even later in another project that we made of a facade in a cinema, people passed by and said they looked good on something. And like because that reason tools, not that I ' m a woman and why you go to what they' re tools if we' re at seventeen, or that then, I mean, Gaby' s always been thrown. Not that mass of tools, because there we do, I mean, we do match, we don' t match everything.
Yes, I' m very angry. I love you too, we crashed there. No. But then, but we understand each other a little bit. But, right now, they' re going to fight us right now, right now, we' re coming here well, good time, because,
right now, we' re going to start with marital problems. I said no, what else, but it is good that they do not macha in everything, because I have always said that in a society and I say it from experience, it is that if they always think the same is that one is left over, then they do have to think very differently in order, therefore, to have diversity of opinions and views. Not then it' s very good that they have that just to be pulling back on us.
So thank you, but because everything flows, then he' s very father, that well, I really like him. And then they started with some rabbit. How' d that go? I study rabbit, I study rabbit, what happened there, like why. That' s the name from there, ' cause I like rabbits. Okay, I' m a fan of having a rabbit. I' ve never had it, but I want to have it I don' t give it to you. It' s okay. This was the season everyone was studying. I don' t know what I' m studying. I don' t know it was everything. He
knows what it' s not. Andres Aha writes very well ok Ok So, daughter let' s study Rabbit, you are the rabbit, I am, the study and the net aha or what this is like. So that ' s where this one was born. So those projects we did in Chile were with studio and rabbit ok and then how it changed the name. It was when we returned here that it was already Pandemia and we decided how to open it as it was or a workshop and that here we are already the
workshop that was already like a workshop. We said what name, because we put the workshop in Sochimilco. We also wanted to get a little out of this area of Rome. There you are congratulate this one, yes, no, that is to say, yes, it was difficult, no, how to start there. The road has been difficult and just there came the name of a popular design workshop. All right, there' s congratulations to centralize
the city center. Yes, the truth is that because there are already many when when the pandemic forced us to have our own workshop and we wanted him to put the popular design workshop, because also the design has to be, it would have to be for the majority. Not exactly and we loved it good. I love that Chimilco, because it has a lot of things, it' s traditions, culture and entity, landscape. Then I told him today it is perfect design and that we share a little of what we know
with the people of our locality. All right. That' s why it ' s also called a popular digna batalle. People would say there and workshop that they' re fixing mechanic workshop, because we really recited a locothito, it was a bike shop. Okay, we set it up and across the street it was our office and back it was the tool shop. Then we have a tool for carpentry, mechanics, graphics of all of them. Or
we really started doing a lot of design stuff. OK, yeah, what comes in, so you know how to do this, no, but you tell her that yes, yeah, that' s who we all are. So that' s how we start and parents people kind of start realizing that they can also have access to design something more thought out, not clear and that we' re kind of globalized, you don' t know what I
do. Right now the rome, the countess the girl, kiso chapultepe and then being in that space, because they were like that super has something clear, not and I congratulate them because decentralizing not only from the city, but also from the design standard that only a certain range of people living or having a certain economic level can come to have some design in their homes. No, or you can hire an architect for a remodeling or something, because usually
in certain guilds I do. I don' t or contract to bathelly puns self- construction exactly, but I' m very happy that they decentralize it, because that' s the point that design has to reach everyone or the majority, not just a certain economic standard, that is to say it' s very fatherly and it' s good that they have it and that they soak it with just the popular stuff. Yeah, what you guys have a lot. That' s good. I' m so happy about that,
so good of you to invite them to that too. Another curious fact was that when we were in Chile in the seventeenth, when it was the earthquake here, because others were there and we didn' t know what to do if we returned, but from there we made a collection for life father, and I also communicated with my friends and you see that in San Gregorio the subject was very, very cannony there. Then we try to do as a
group of friends who can help over there. Father, I kept the truth with great desire to come, to help and to rebuild homes of families, because, unfortunately, they are the people who sometimes have less access to a
house worthy, of course, for economic or social reasons. No, but I did stay with that desire and when we came back, because this happened and I said, that is, I was delighted to be here, wow what a father, how good I am, they are very grateful for having this initiative to be able to help from wherever they are, because the help was needed here a lot and good that they had that initiative. Maybe there is no body and soul, as my meal details says, but yes in
question of moving in some way and that good. I' m so glad that speaks very well. You will see many thanks for doing so and, above all, in the Community where you do identify very much and which was also terrible to you that everyone was coming here to Rome. And it' s not like there' s also come from behind here, not all of them back, because it' s hit hard enough. So it was a subject there, but I' m very pleased with your initiative. I applaud
them very much. And a parenthesis. That day of the earthquake, the nineteen is my birthday or more earth I saw is not would be the worst birthday of my life. But it reminds me that you celebrate them, because of your petijo is a moment is that not anyone. That day he gave her the night before made movement, the exact birthday date, that' s exactly what rumbles, But I' m afraid, because no one wants to go out with me that day. It' s just that I' m
not gonna have with evol anymore what I have about a week later. Ah wey yes, because if not, it is that you changed it like the granny so that they have two cos to do on the birthdays of sectors that is my saint, is the other exact millon. So, I do it more or less like that, but that' s good, I' m
very pleased with your initiative. And how good that you' re decentralized and I want you to tell me how it is, because I' m holding quite the thread to how you work, but I would like you to detail it more how it is when the design process of you comes How is it that a project doesn' t come into your hands and you' re developing it, because you have the skill of architecture, but here my weasel has the life of design look, but here that sprouts the hands, then,
since you arrive, how are you unfolding it? What the process is like, because first conceptualize, not understand the client, not also talk to him, know how he wants, but also how to guide him. No, because many times it is not what they want, but they need to sound to me not and then to know it in walking this, for it does see references, for also how to see where we stand, not or who the person is and where I is from. I really like that context thing.
What depending on the context in which it develops, even if it is a graphic design, I really like how to grab details that we might not notice. For example, we made a logo with a textile icon. So I really like to work like from these things, like very traditional identity, like give them a spin and a dusty one so they kind of take it
back. That I quite like to do the same thing, to pry, to chat with friends, not to try to mess with me for a while and, as Gaby says, because sometimes also the job of convincing the client that this is what will work for him, because many times people like that are very square and they are very much like this. You want, you want, yes, yes, of course you always try to offer the best service so it works much better. Not then, I think the road is
going a little bit. I already stick more to the planes a bit also to the late nights and gabyes tend to stick the theme is like modbox and that a color lec colors in mundiario. Well, yes, we' re going to complement each other. And so, because we also get into the issue of construction and because we both don' t and we like to share with people as much. I believe that one of the things that has also
been lost in Mexico is that of the Community. Yes, for example, Alejandro told me no, because it is that my sectors greet each other here good morning, in good afternoon. I say, yes, that is, it is really our job to follow or strengthen it. No. So I think that community building, meeting the people in your neighborhood is super enriching. Then that' s the truth. I' m very happy to do it,
because in the end they would also say your sweep back. No. But it' s literally together, when we go on the street around Gaby, you tell him if you don' t know him, say hello and so you won' t do anything to them anymore, because you' re going to be left with the doubt that if you know him or you don ' t know him. Yeah, of course he' s a stranger.
I' m the milk. Then he is super father, because there too we start to know things that, perhaps, other people know how to do not, for example, at the altar, for example, the well, the sweeper the one who went through the garbage in the house told us that he loves to make electricity. Not then I told him, but what this is doing here, I don' t say hey come on and he made us the electricity installation. Oh, what a beauty of the altar. What
a beauty, then, that' s what I' m saying. I mean, just knowing people a little bit more we can ask them not to dare as to ask well you are born, like that part of the workshop, which is the one that is the one that is the most avant- garde. I am not more painful, but I am, for example, that you met Don Angel, who helped us to rescue Canoa, because they were abandoned in the canals and with them, because we made a family member for the altar. No, well, yes, or community, that'
s nice. That' s very smart, very rich. Yes, of course, and this is part of what I also identify at the workshop. No, we try as always to include people who do something within the Community or who can help more and who we can give them back with our professional knowledge. Or it' s very nice. That' s good to congratulate you on winning, winning it is nana. I make community too. That
' s super parents, being itinerant. Yeah, the truth is, we ' re not like back in the day, where you were all closed down, you were doing business and you were shutting down, and nothing else was inside. But, Ahorita, I think in this generation of us, I hurt the Asian one. It' s ayes the armadilla meters. Right now, this generation is more open to collaboration and community. Then that makes me so excited. Because it' s no longer working from the inside to the
inside, but it' s inside out and the other way around. Then the truth is that I really like that, because it makes us more moved and apart from seeing. I' m good at this, but you have that skill, too. We' d better get together and we' re a projector. So I think that' s happening a lot in our, in our, our, our day- to- day, our generation,
and I hope that they will continue generation after generation. Whether you stay because, I mean, it' s a win- win for everyone, that is, we all win, we pool skills and we do something extraordinary. That adds up to a lot of things. So I think you' re doing very well and I just want you to tell me to jump now, because I didn' t mention it. They mention it, and I already want me to mention it now. So, tell me how this idea of making the altar was born, how this project came about, because I know
you did it with one size to one that was already with us. Yes, and with the anti- hero I sent him a kiss and a soft and dear. Alexander already studied with us, too, because I was missing more from you. Yes, alas, I was given a divinima apostle. Thank you very much. Me, the postols I use for Holywood apart are then I really like it. Ay mucho so divine. Thank you very much. It' s divine, the altar was like that. Tell me how this project came when you said, because we' re going to collaborate with
them two, these two teams and make an incredible triad. Tell me about it. Yeah, well, that' s where the project is. Well, I' m gonna tell you like a little ropima story aha fast. Laugh yes, because it' s a little bit long, the chido gossip. This one is good, because here, that is, the altar was for the most important image of religious in Chiminico, ok where, because my grandmother had been waiting thirty- nine years to have him only for a year.
Not that this, for it was the year two thousand twenty- four. Then this one, then there the one in charge of making the altar was Beto, who was my uncle. But he' s not here, he' s in Chile, and that' s where we send him to us. You shouldn' t say good, because I have an architect and a designer here. Let' s see, tetra- coming, you know, you' re a lawyer, you end up with this bad boat almost doesn' t make it, but it runs high. That' s what
I said about the pc U. It' s not right. No, and this one, for he had told us as it was a year ago. But you know we like pressure. No And this one, and we already talked about it one day that we were also there, this is the mellow one. Not there this one we met Carlos, they detailed to one such a greeting, a greeting. This one, and we were also told, hears why I' m not invited. No, I mean, as I hear we were talking very curious Chinese, because we also, I mean,
came to melloose. Okay, well, because you, for then, among my things, I' m the one that if something nice goes, even if it' s not a restaurant or business place, I' m going to see it. So I said ah this is in San Luis clash chinitos we have to do remove go and there we know the Charlie And from there, Chanlie says, They didn' t invite me. I invited myself alone is not going to Charlie, yes, yes, but I want him bur and this one and we said well, we already talked to my grandma.
That' s it They wanted to go You give us a chance. Now the idea if we already have as a main idea, which was nothing we thought, which was very simple, we never thought of building anything or destroying part of the house. And this one and so, we started talking between Charlie, Gaby and me one day at his house and then he joined Alejandro, who came by the Holy Spirit was already in the house. It
came to me and also a greeting for the land now Peru. But the Arkin or Markimen Prize no longer because it is famous, you were no longer rich, famous and Latin. Then we start doing things and talking good, why don' t we sponsor it, why don' t we look for a sponsorship that can help us reach out. We' ve already consued something bigger. Then I said, well. I like to get over it too and I said let' s get it over with and Gaby told him I don' t know how we' re going to do this and I'
m going to teach time. I did, I got angry and told him you know what. If you' re not going to help me, if you' re not going to add up, don' t tell me anything and I need people who want to add up. The more. Let' s join in with this, so we managed not to make amic to us sixteen thousand partitions or also by the UNAM or the material, the teak or the architect. Maria Guadalupe made us a contact with anokal Ok, yes Querétaro
and we commented on the project and we were told it goes. We give them the stucco of the interior and then they give us the stucco, they give us the partitions and nothing more. We have to put the labor and
the hand of prayer, for we put it among the whole family. My mom also helped me a lot and this one and it also sent out the work of us and it erases everything, because besides, yes, I mean, and that was the intention of the project that people would help us, because when people participate, it' s done, that' s how I ' m going to say, I put the partition on and I say that ' s my little partition, I mean, I made it clear, yeah, yeah, so that would strengthen quite a lot. So also this idea
was a little forgiveness, this was a parenthesis. This is just to add to the Community, as by giving workshop for example, how to apply stucco. Of course, it didn' t work for us that much. No, please, it' s a call to apply stucco. And they did, but it didn' t reach the. He finally became a super father because Gaby' s mom came in, Gaby came in, another neighbor came
in, that is, they were like four people. We don' t know how to apply it, but we did what we wanted and this I don' t know what it is doing, but it' s not all happened to us. We missed quite a stucco. Plus, we wasted a lot worse. But it was left then that was enough. It nourished us a lot and united us as a family to achieve it. Not then too, Charlie, who suddenly wouldn' t give us the partitions when they gave
them to us and Charle had some partitions in store. Then you will plant my house and we will deal with it and then, who will carry us, then among all of us. No. Then there you have us loading partitions in a van that his wife lent us that everything moved like a truck. But we arrived, we made several trips, we already had material to start. Then we started the inside and then we got the outside one and we didn' t even know how we were going to tackle so many partitions
and they didn' t come this way out of nowhere. Two trips, twelve pales, partition not in twenty, as you see the tortillas. Give him two partitions we' re gonna pay whore. There were partitions in front, there were partitions back, there was still almost in the rooms the turn up us because everything was naran me guys. But in the end, he did. And the truth is that also the teachers who helped us, even they donated us a day' s work. That' s beautiful. Then
you were father. That' s right, it' s worth a lot of money. Well, it' s in a lot of value. The day we proposed to them, we went to the table and they know what this is about. We wanted to ask them if you could do it, too, and they said yes. Of course I do. I mean, the truth is that the kid stops at chimico moves mountains in series. Yeah, so people really appreciate it and offer you a lot of things. So he passed them with the door of the High, not the door, for
he did think we went with Don Angel. He introduced us to the few lords who continued to work the sawmills of the trajineras. Ah, you don ' t fix it. He did introduce who, Right now, you don ' t remember his name Theodore, I think it' s called good Sérchi, is that he introduced us and said what they need so much. He hit them. Then he gave us a piece of another engineer to make the altar door. Wow. So wow to me, that really excites me.
It happened to me, Right now, because it' s just that I love doing things today that I' m always making things up and then I said good. It is super, super father, that we can rescue the trajineras that are in the abandoned channels, literal and abandoned, that there are thousands that no one of the peels and know that type of people that are still engaged in these handicrafts. Sure, of course, they don' t
give you that easy I don' t know. It wasn' t there to move them because I imagine it wasn' t, but it took a lot of things. We met Don Angel A of the sawmills, all the garbage that put the electricity wow I father to other teachers, the teachers of Nanocal came Peter and Pedro JR. That even a greeting for them is Pedro Pedro, Pedro Jimena Pajico. They had camels with the super good people who came near and came to know the altar and were amazed when they saw it.
What we managed to do through moving is that we did not and you also know what. That' s the most important thing. I think here the project is from tradition, that is, how a tradition became the actor. Yes, I mean, how important is that tradition that everyone said,
because we' re going to get into what it is for these. Yes, and I also believed and also the other was that I want to show a little bit to the Community, as with a little creativity and with very basic materials we can create a space, because beautiful, dignified, uncomfortable for the use of design. Exactly then people asked me, my teacher told me
and how she' s going to accept it. Those people aren' t going to make them a chok, so because they' re used to the curtains that I hate, which is more to adorn the Christmas lights that never take them off, no and it' s already hul Then, yes, it was a pretty strong blow, but because also accepted, people accepted it
well. I believe that the fact of also the materials speak, that is to say, the choice of materials, which is the red brick, which is very typical of us, is not as from because they put me to board rock and right now. Looks like I don' t know the basilica. No, then it' s not like such a drastic cultural shock. I think the materials also helped to say, because this is very familiar to us. We use it in our homes. That' s very good.
Yes, other friends who were going told Chalilla, a partial charlilla such because chalí was moving the subject of the partitions and Meloso you know him a mellow his restaurant, but it is not made of partition that is okay, I have not met him, is that I have a tour pending with them. Then soon we organize it and we' ll see everything stays close to launching.
And Meloso brought the idea of the partition and had the contact. So, through what we managed to achieve and then they already said what they were going to put tabica on everything and they would tell us and what they would paint it or what they would do. No yes, oh, it' s not to show people that we don' t need to paint it that shines and that I know it covers it. Yes, exactly. No yes, even the gate of the house that we had a friend that we put
to dispainting. Then people would come by and say they don' t have to paint. Let' s see the food. But happy is that the truth is that the stewardships that are made are used as pinning houses, that is, they will remodel them and paint them to make one or even without
new houses. Camera, no, then these you don' t have to paint a lot, no or since they saw it dispainted, they start yelling at us hey, no, it' s no time to paint or it ' s not going to if they' re giving at the end it was the idea, i e, drawing it and giving it is that it' s rusty and right now, it looks super pretty. And the truth is that the project has given us quite a lot of joy and has filled us
because people are happy, of course not, people are happy. The main actor of this altorro is happy that he is the pas boy and that he goes out there. Wow, well, it' s amazing. The truth is that I have seen the photos that have been published by you as well as by a Hadana and our dear Alexander. Ah well this pardon also paulin aha Pabelín give us the photos. Ah look at that link. Yeah, super grateful to him. Also greetings to my Papelín has helped us also this
Sykes shares other photos. How good, no, and because the truth is that this project is not only a design project, but also a social project, totally social. The truth is that we have even more with that project. I mean, that project didn' t stay there. Oh, that ' s good, because it' s a temporary thing, that is, it' s a year that' s going to pass the stewardship and then the child stops being there a ok tempora. Yeah, and by the way, Güey, okay. So what we did was in the living room and
dining room of Grandpa Ok' s house. So now you have to kick and now you have to think about what' s going to happen after the afternoon. Then it' s the next project. Then it is interesting what the year is when, because if I am not going to arrive so much the year, it is the February two of the twenty- five thousand. Ah well, okay, you still have time. Well, visit, don ' t take it away from me yet, no, no, no, that' s good, no, I thought it was really past, it
' s temporary. So, yeah, that' s a big move, that' s how I said now that we' re making a big challenge, I said a big Güey squirt, because we already put all his heart like this and whether it' s later. It is a great challenge What a father, because I have seen the photos that you and I share the truth that I said and well, with ta comes one by one and I
get along very well and I said no manchens was amazing. And I, for the truth is that I' m always in love with the red brick, like I always put it in some way, some project and when I saw everything upholstered, I said God no. I was not very surprised and I congratulate them very much to do this community architecture, because it is community
architecture And wow, it is splendid, it is plenda and desplendida. And well they made this great enclosure that are out there and now what else has popular workshop saying what else it will do, what is more up to a hundred tell me, so, now, and we have been a little slow. Yeah, okay, like the altar, if it kind of moved us, because it was a project, well, big, that' s the biggest thing we have. But design work has arrived, as well as remodeling
work. There we have like two at the door what little jobs more like we' re planning, just like through the altar, like we' re left with enough ideas. Okay, so with Charlie, with Alejandro, we also participated in unpublished us and there we met José lo maderita. Yeah, and we got an idea, too. There with doing some of the trajineras. Oh, Father Jorcelo and Charle and Alejandro to sponsor other brilliant projects. So, more than doing the play. We' re creating, that is,
we' re in the creative process. From seeing what we can entertain ourselves in, because I really have my office work ok because, unfortunately, architecture does not feed us all very well. Then we have our works of Godin, of office valid and these small projects, which are the ones that already fill our soul, are created little by little, There is not even a very bad thing, that is, it is very valid. That'
s what' s important is that they don' t leave theirs. It ' s the most important thing not to leave yours because at some point I ' m sure they' re going to quit their Godine jobs and they' re going to be fully dedicated. That' s because there' s so much going on and if you' re going to pass them from being manifested, then the truth is that I congratulate them very much. Good that they are, they are not paused, they are in that creative process that everyone
has. It' s very good And that' s also movement, that ' s really lame And it' s good that you keep moving and collaborating with others more. I mean, that' s being a person like you, that' s if you saw us come here with Charlie, with this one, now that he opened his studio there in San Pedro Toppan as well. Yes, I also know other architects from Xchimilco ok and from a thousand
faults. Oh, so we' re good then, so I mean to see how it would be super father if we did something in the peripheral and southern form of the city, because there' s talent, I mean, there' s talent and there' s things that can come up quite interesting.
So don' t tell me that because things like that spring up to me and I' ve already started to sprout things and pick them up with Alejandro, because he has also shared with us a lot of his trips to Guadalajara and has met quite a lot of architects through his way of being and going into people and that I say is super going, very valid totally. Through that we have met quite a few people, architects, designers, painters, sculptors, erasists. Well, then joke is like seeing what we can
do there, what you can do to us, how moving. Right now, we talk, yes, it seems like we' re doing things because I don' t deserve those things and look at you starting to trouble me rich dir Ahorita, we talk, but I' m really glad you' re doing that community because I was just talking to Charles a little bit and the one that I tell you I have a tour pending with them and he told me is that we moved here at a thousand missing, because we don
' t like being in the countess, in Rome, more or less yours. And I liked the office here better and the egoist very well. It is, very good that you decentralize it because I am already a greeting to the Rome of Clothing. So the truth is, I see it as very promising. That is already many are migrating, for example, Atlampa who went to Santa María de la Rivera before or anyone and they are already giving it to go to San Rafael Azcapuzalco. Sometimes those places were not named as for
a place for architects' office or architects were not known. From there it is very sad that you have as it is that here too in the south are happening and sprouting things and it is very painful because at some point you look with here of my eyes. Yeah, something' s going to happen, something' s going to happen and so very soon because right now, then he' s really weird. I congratulate you very much. And so, well, that is, what would be for you then the star project
that you would like to see come to a popular workshop. They say they arrive this would be the jewel of the cordana of us. Which one would be good. I agree that, because not as well as that we wait only in specific, but rather, I think it would be like continuing to generate community, not collaboration. And yes, I mean, I think that ' s what makes a project very good. Yeah, I don' t
know that your family life has always been involved in the social issue. Just as we don' t say there' s good, come to another altar, come to me. Personally, I would love to do as a community thing, that is, a community center in Sochinito, because when I was at WAM we did a study that is the Villacopapa area, and that is the area with more shopping centers and fewer museums. Yeah, then there'
s nothing. We have a source of culture and tradition there and there is no space other than the pillars and there are some that made are very parents, but that have this power that can unite society and share design, culture, tradition. I think it would be like this for me and also the issue of working with local materials. I love the tule theme exactly, with that, yeah, I mean, something out there I think I' d
like to do right. For example, there is another super- plan project that also the wine space, since we are there, that is, there is no museum, yes, that was going to say how it goes and in your Chile, so it is necessary and the museum in which Gabin and Daniela did the thesis is very abandoned, that is, they are for example, the Dolores at least error four years ago you have each time you leave us eat museums. It is not true and very little dissemination that they make
it and because they are very worse. Well, that' s a pretty interesting topic because, yeah, they' re running out of cultural centers and they have a lot of culture. Yeah, so it' s as if it isn' t. Every time you open the street and start this you will find Spanish preis pieces. No, then. That doesn' t happen in Tendegua. Here we do, then, I say yes no, that is how much wealth we do not have there. Of course, she' s very buried and much to discover and melt. You have to do something,
you have to look, but I have already protogo. That' s either tickle, ombres, coffee, that' s drunk. Listen, it ' s unfortunate that you' re running out of cultural science. But that gives you a chance. That' s a source of opportunity. It' s not about becoming the victim, it' s about opportunity, and that ' s amazing. Do it. Do it? Do it, I support
you and I support the deceased. I' m serious now. Do it because yes already that I think one of the most important enclosures, which is the sommed pain that you have until and La is closed four years ago. It says a lot, they say a lot about the cultural part over there it' s like chin what' s going on. And apart from the fact that they want to pass it on right now, it' s the news, that is, that' s what the pieces that are in the
Olmedo Pain Museum want to pass to the park you plan. Then the director of the pains went away as it was, was, was to see, to see no, this is not going to happen. Guys, let' s see sometime, but that' s not gonna happen. Yeah, well, I' m not. But here it would be like the London Museum, the British Museum, which is stealing things from everywhere and has no identity of its own. Then don' t take it off better put a spotlight
on it to open it again and ready and spread more. I don' t think it' s the right solution and to pass it here the chapultepec when they should be in fun because if they already have a space, then just open it and manage it exactly, question it correctly and point. I mean, here we go, we get balls. Not then, yes, there are many things to do and it is good that you are with your finger, without removing it from the line, because it is really worrying,
but it is to be speeded up. It is also motivating for you. Yes, as well as, for example, you start pauperizing this whole area as magical villages. I mean Tepoztlan, it' s already a drinking street. Yes and, for example, sochemical, the trajineras also yes, it is already seen as ugly only thing, but you do mention ochumilco. The first thing that comes to mind are tragedies. But there' s so much,
so much, so much more. We' ve done military and if it' s getting less and less, and that' s why it' s getting more and more partying than tradition, because it' s already getting lost. And that' s what we have. I think we' re still our generation that we grew up with snaria, with traditions of yes no, because really young people don' t come out of the cell phone anymore. No, then this young Hahaha and look. But it' s true,
yes, it' s true. That is, I teach, I realize with my students that they do not leave their cell phone and ask them something that is happening in the city or some tradition of a festival. They don' t know yes, because they don' t come out, because they don' t exactly get to know us, they don' t come out curious. Curiosity is a basic element of an architect, of a designer,
of a creative. It' s curiosity is like one of the bases of the pyramid of that and they don' t have it because they already have all disk at hand, but they' re not taking advantage of it in what they should then. The truth is that, yes, young people are right now, it is the Asian woman who is hard for you. Unfortunately, they are intoxicating the technology badly they are not using it in their
favor. And it' s terrible, terrible, terrible, and I just think I' m a lot with you, that I' m not gender. That' s the last one against the fact that you know about traditions, yes, you mention something to him and he knows yes, that' s the way it is. It is therefore I of St Jude. Don ' t, for example, ask someone from the other generous which lities,
some you' re never going to see or run into then. And in addition to that we are also returning, notice, let us realize that the architecture also and the design is like returning to the origin, that is to say every time we are returning to the finishes with lime the paintings of the same natural, the dyeing totally, yes, the techniques of traditional ancestras of construction, that is, we are returning and it is what are selling us
very expensive, yes, and that here abounds and but it is becoming very exact. We ourselves are fondening it, but yes, exactly although there is something good that is happening a lot in design and architecture is that yes, we are just using techniques from before, but we are also seeing how to get in. For example, there was a design exhibition and all ah well, I' m going to put an Italian furniture or I' m going
to put a Danis and Ahorita furniture. It' s not like I' m going to do this at the indisiinhouses anymore, and now who of the Mexican designers is doing something, what furniture and stuff. I mean, we ' re already looking inside and it' s perfect. And that' s very good. It' s just that we don' t have to make things expensive. You don' t have to make them ducks always hear us
the same architects or we always have tellers. Very well understood. I think there is, there is a lot of talent, a lot of talent, and I think that in unpublished is one of the perfect examples to say there is more than one furniture designer, there is more than one and there come new ones. Then there' s nowhere to choose. Only I go inside and even things, please, because that' s how uy hurt in my pocket. Ah then if it is as if to think, because, then,
there is a lot to offer as designers, as Mexican architects. But this one, you have to pay attention in that you have to help us all and that the design reaches everyone, most by the, most by the, at least, as you say, and in which father I hear. I know you have a lot of opportunities to rerun culturally and also in your
fields, but what are your favorite designers and architects that you say. He makes me get my hands up, he makes me flow things, who it is who starts, because right now, that is, because what I' m seeing more Kallage, I love the landscape is also the workshop. It ' s called plain landscape tonatiu ay. That' s chimene. Well, there' s the chintos, done, but I love the landscape theme. Well, this merging architecture with the landscape seems surprising to me, because I
love plants very well. And what else, because also of the women have been excelling barely had. I think Christ was more of an echo with Gabriela Carrillo. Ah sure, in the echo aha Gabril, the carnalo Moris Rocho. They also have them, as well as on radar that are the ones I like as design, how they read the context. Of course, that
' s a great example of how lenin context. Gaby is one of them Dragona and to see the Gaby, the Gaby here I will add a designer and an artist to see Cediari and the Red is big designer and skiros, a great mural that we were just there in the Workshop, i e, this man. So every time we go there to Whenmaca, we try to visit the Workshop, also not China, it doesn' t have to see that space that you say wow like not every time we go like we see
something different and we like that. Yes, this father, yes I love the Workshopa also when I go to Cornavaca, as ay, I love I do yes I who has also raised quite the panso tea an ambito manzono the Museum of Art. There is also the garden color embroidered, the chocolates, the parish made by Felix Candela. There' s a lot to see, a lot of things all of a sudden, like when cow got to it.
Unfortunately, a footballer came to be Cuernavaca' s boss and did everything, but because look again he is re- emerging then yes, yes, but how good it is, he has very good references and very much of his own, very of his own, certainly to the very one of his own hear And I mean, this talk is amazing and I feel it' s not going to be the first and last time they' re going to
be that. But it' s manifestation. Manifestation is about to keep telling me, that it is still a popular design workshop, that they are doing, that another idea came to mind who else they are collaborating with, because look they are on the right track. But then, but on this occasion I would like to finish this great talk by asking you what you would say to the new generations of architects and designers who, like you, are launching
to undertake or who are already starting or are thinking about it. What they would say to them, because do not hesitate if they have an idea or if they want to undertake, because they do not hesitate to do so, not that he does not already have it insured. But there' s always
like a pocinline. Yes, always, because they will see ups and downs, not stoned, decalabradas, but the one who perseveres reaches, that is, if the idea is to create a space of their own, for they are not averted, but that they were not done to what we said to collaborate is not that they do not see them as competition, but as collaborating. We' re really allies. They would say in Chile, we are colleagues, we are in the field and the joke is to help us.
Then I would recommend that they walk a lot, that we learn to observe where we stand and I think that' s what works for me. Yes, let them also approach artisans, teachers, because also to these communities that have a lot of knowledge and that I don' t think they don' t, because we have gone to value it in this one without stealing you clear. Yeah, please, yeah, I toon out there, I create for that always where the credit. Yeah, that' s very important.
Also because then it' s how I look is going to be at nothing. You stole it. Yes, there are no limits to me. There are limits, no, because thank you very much, guys for being here with us for the first time, but not the last time. Thank you very much. I was really looking forward to meeting you guys It' s good that you' ve already given in. Yes, that the stars lined up and said. Now yes, this is the good day. Thank you very much, God, thank you for inviting me. No, thank you
very much for your time, because it comes from afar. Yeah, they come a little far, the truth from the south to the south shallows. I am very grateful for your time and, well, see you next time not only here in Dirra, we can also see you on an ordinary day to continue chatting, because it is amazing what you are doing. And so, as people, I also got super, super good, really, a thousand thanks for opening up with us. And so, well, I say
goodbye. We' re already on the final straight. They' re the last chapters of the new season, well, in the first season of designing ando don' t miss them. Remember that we are on all music streams, Spotify, Apple Podcast, Google Podcast, which has already become YouTube, Podcast, ih Hear, Spreaker, everything that ends in podcast. We' re there, and then, well, there we wait for them, there ' s no, but they' re worth it, don' t miss
them. And so thank you very much. Newly popular design workshop. Thank you Gaby, thank you Nas, thank you yes and a greeting to everyone and come and take a little Vueltecita Here. I work here in San Luis, Potosí one hundred and thirteen on the Roma hill. Thank you so much. Bye Bye.