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mal o mundo cria», escreveu Camões. mas aqui estamos e David Bowie não deixou de profetizar em «Lazarus», canção do seu último álbum.
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mal o mundo cria», escreveu Camões. mas aqui estamos e David Bowie não deixou de profetizar em «Lazarus», canção do seu último álbum.
Vladimir Belogolovsky: The more I talk to architects of your generation or my generation, the more it becomes apparent that architecture has absolutely no boundaries. TB: No, I teach at Yale. You are right, we are a bustling metropolis and our office is right in the middle of it all on Paseo de la Reforma.
I grew up very close from here. That was clearwater river casino craft fair I started my independent practice with one fundamental idea: architecture should benefit every single human being on this planet.
It is important for me to make a statement about that and teach others about who we are. Utopia has died. We need to be a part of the street. It was the time when casino metropolis mundo electronico became a trend globally Guggenheim Bilbao was built.
Do you teach here? Everyone should be involved—sociologists, philosophers, politicians, economists, designers, architects VB: Your office is located in the heart of Mexico Citya bustling metropolis but most of your work is elsewhere. I was trying to be a rebel.
My generation capitalized on these changes. TB: I love this question casino metropolis mundo electronico I get asked this a lot. Perhaps the innovation is not in forms and casino metropolis mundo electronico for those aspects, you may need to go to other places. I like these provocations.
Before that, there was one financial crisis after another, several devaluations In the 80s and 90s, it was impossible for architecture to emerge. I think it is one of the best cities in the whole world. VB: So you really had no choice but to become an architect, right? But little by little, I understood what architecture was really about, which was—people. There are so many concrete ways to go about that. So when I was 18 I entertained the idea of becoming a biologist. But it should be the other way around. TB: Not really. VB: You started your firm with other partners, including Fernando Romero. But to be spectacular and to be beautiful are not the same things. Every semester is different. We need to be in this belly button. In fact, it was hard to survive as an architect back then. I like to explore many possibilities. It is often apparent that students like to do what they are told. Then everything flipped. I was born in Mexico City. Jose Luis Benlliure was my uncle. But I always provoke my students. But by the time our generation was out of school the economy stabilized and Mexico emerged as a global player. Tatiana Bilbao: Absolutely. Could you talk about those early days? We were all preoccupied by the forms we could do and how we could amaze the world by building them. VB: Was architecture something you were attracted to from childhood? When your spirit is high, you strive to become a better person, of course. My students are in the US. For me, that is the most important part of architecture. My whole family are architects. TB: Well, I resisted for a very short period of time. Architecture is not about building a building; architecture is about building a community. This was the generation of Alberto Kalach and Enrique Norten. Then I realized that I wanted to do something completely different from my partners. We should not project the future, we should imagine the future. In other words, architecture is not just about buildings. I love the city. Otherwise, we are not going to get to where we want. We were active and wanted to be independent. Currently we are working on about 20 projects, about half are in Mexico but not a single one is in Mexico City. It was the time when the economy suddenly took off. We explored so many possibilities on so many fronts. TB: Yes, since I was born, I think.