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I think all of my cousins are architects. I want people who work here to be aware of the city and the reality that takes place around us every day. And my office, literally is my family business—my sister Catia Bilbao and my cousin Juan Pablo Benlliure are my office managers. Well, I think it is very important for me to teach abroad as a Mexican. We know so much more about America than Americans know about us. Beauty is important because it elevates our spirit. There are all kinds of celebrations, demonstrations, and cultural exchanges that take place right in front of our office. Mexican architecture has a very important legacy. I wanted to be right here and that is the reason why we have a lot of glass here in the office. We are witnessing an interesting intersection of different interests in architecture—people I went to school with, we were on the tail of the generation that was fascinated by spectacle, whereas now the shift is towards social aspects; this mix is generating very interesting results. There is very little knowledge about Mexico in the world and even in the US. There are forward-looking projects that are being done in Mexico City , Guadalajara, Monterrey, Tijuana, and other places. We did what everyone was doing—the blobs. TB: Maybe it is a contradiction but I feel like the most innovative projects are done in Mexico, all over the country. That experience allowed me to understand what I really wanted to do in architecture. TB: We started our firm in , right after my graduation. Why is that? People should think and propose new ideas that would make our lives better. To me, there is a difference. What I like most is the innovation in thinking about how architecture is done. My roommate there studied architecture, so I ended up helping her with all of her projects. But I always look forward to working on projects right here! More and more, architecture is about building communities. There is a lot of interest in innovation, particularly on the part of my generation and younger architects who are addressing issues of architecture that are sensitive to people. VB: You built projects outside Mexico, including in China and you travel and lecture internationally all the time. VB: You rarely build in Mexico City. For example, last semester I selected a site for them right here in Mexico City and I challenged them to design the place the way they see it in I asked them to think about the look of the place and architecture then, the role of public space, how community spaces can be reinterpreted, how social housing can be not just designed but reimagined, what will happen to parking garages, and so on. Then I went to Italy to study industrial design for a year. It was an interesting and important moment here in Mexico. I used to teach here in the beginning but later I was invited to teach abroad. VB: You just mentioned the spectacle. We organized exhibitions, invited important curators and architects to give talks and bring their exhibitions; we designed utopian houses for artists. When I came back to Mexico I knew what I wanted to study. Are you still interested in that kind of architecture? TB: I like to provoke, I like to extract ideas out of students. My grandfather was an architect. But in general, Mexico is incredibly innovative. TB: Of course, not! Where do you think you felt most energy and drive for innovation?

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.