 Okay, so we have the console here from Boston who will give, we will start off the evening, making a couple of, presenting a few words about the exhibit and kind of collaboration with Dino. And then after he speaks, I'll introduce Dino formally. So, console Drabasa. I would like to start by apologizing for keeping you waiting. Consoles are supposed to be always on time. And I checked several times in Google Maps and all the time they told me it was like an one hour and 15 minutes from Boston. And it took out that a gentleman called Kronos made it two hours, so I'm very, very sorry for being late. But it is really an honor and a privilege for me to be here. Thank you, Mr. Luis Carranza. I also want to thank Stephen White, the Dean and Professor of the School of Architecture, Art and Historic Preservation of Roger Williams University. And thank you distinguished guests and friends to be here this afternoon. It is a great, great privilege for the Mexican Consulate to meet again with a magnificent exhibition of the work of the Spanish Mexican architect, Feliz Candela. And I say magnificent because I've already seen it. I saw it for the first time in Guatemala. And then I took it. I was so impressed that I took it to Washington when I was Ambassador of the OAS to the Museum of the Americas in Washington, which was a just a standing success. It's Feliz Candela is a worldwide recognized architect, one of the most prominent figures of the 20th century architecture. His innovative experiments with reinforced concrete produce iconic buildings called shells, such as the Palacio de los Deportes, the Sports Palace for the 1968 Olympic Games in Mexico City. This work has been shown in several places in the American continent and in 2015, as I just mentioned, I presented it in Washington at the OAS Museum of the Americas. As you will see, Candela's work reflects a great visuals and the undeniable technique mastery of the use of the hyperbolic parableit, which gave him a recognition as a revolutionary in modern architecture in Mexico and other places. I would like to thank the following institutions for making this possible. First of all, the faculty of architecture of my National Autonomous University in Mexico. As you can see, I am a proud university of Unam, a member of Unam. I studied at Unam. I made my PhD at Unam. And now I'm still a researcher at the Legal Institute of Unam with license for diplomatic activity. Also, I'd like to thank the Mexican Agency for International Cooperation for Development of the Ministry of Foreign Affairs and most importantly, the Roger Williams University, School of Architecture, Art and Historic Preservation. I also want to acknowledge the invaluable support and enthusiasm of my friend, Architect Juan Ignacio del Cuedo, Coordinator of the Center for Research in Architecture, Urbanism and Landscape at Unam, who worked hard in organizing and assembling of this exhibition. I encourage you to observe the models on the work of architect Candela. There are splendidly complemented with virtual animations that have been made in the faculty of architecture of the Unam and have become a backbone of this exhibition. This is an enrich with plans, photographs from the University of Columbia, Princeton and Unam. The large format photos and frame prints were donated by the Institution Acción Cultural Española to the Unam in the framework of the celebration of the Felix Candela centenary that took place from 2010 to 2012 in Mexico, Spain and the United States. Presenting this work here in the School of Architecture, Art and Historic Preservation results completely accurate to disseminate and give continuity to the presentation of the work of architect Candela. His splendid architectural structures are admired throughout Latin America, Europe and the United States. So the university of his work, universality of his work, is a source of pride for all of us. Finally, it is important to highlight the academic activities of Candela in Mexico and the United States which contributed to the formation of several generations of architects. Without further premise, I invite you to take the tour of the work of Felix Candela and once more, thank you very much Juan Ignacio Del Queto for being here once more in the United States and also congratulations for your anniversary. Okay, great. Thank you very much, Council. So it's a pleasure to welcome you all of you here tonight. Thank you very much to Dr. Emilio Ravaza, general for the Boston Consulate for allowing and sponsoring and helping us get this great show. And Dino here, Michel Arroyo, the liaison for cultural affairs of the consulate as well. Of course, Juan Ignacio Del Queto for basically organizing and actually coming and setting up the show and leaving of course the nice Mexican city climate to be here in our great, wonderful, constantly shifting snowy thing. I think we have to thank Georgia Rhodes and her team. I don't know if they're here, who are, yes, there. I wasn't sure if you were here. Who not only prepared that great space after the kind of chaos that was the NAB craziness, which I can't believe that last week we had an accreditation, and for mounting the exhibit and even for some of the people from the crew, fixing some of the models that kind of got a little bit broken along the way. There's one, sadly, that we won't be able to see, which is probably one of the finest ones from the National University in Mexico. Any case, so beyond the things. So the work of Felix Candela that we're about to hear about tonight and to see outside is really what I would describe as an effect of the performativity of exile. That exile or being an exile, one removed out of one's country, becomes something positive, despite the kind of negative quality of this condition of being taken out. As an exile from Spain under the control of the Spanish nationalists, the Spanish fascists under Francisco Franco, Candela's work and innovations are as much a part of how an individual facing adversity can engage in a new environment and constructive tradition as well as develop something that is both expressive of place, people, and materials. While at the same time, it is a work that is seemingly unanchored, both literally and metaphorically to the place, the soil, to the history, to the architectural expressions that had happened there. And perhaps it is this kind of unanchoring that makes Candela's work so interesting within the context of Mexican modern architecture to which it falls into ultimately its canon. So how an exile becomes an impetus for being a discoverer, how being an exile allows one to be productive in different ways is this condition is really at the center of Juan Ignacio Del Cueto's work. We all call him Dino for short. It's a long story, apparently, the Dino thing. But anyway, so for the friends, for all of us who know him, please call him Dino. Juan Ignacio's way a little bit too complicated. So Dino is really, he studied architecture at the National University in Mexico City of Dunam at the School of Architecture. He has his PhD from the Etsab UPC in Barcelona, where he worked basically on, his dissertation was on Spanish exiles in Mexico. And where he basically, like Candela, investigated the myriads of stories of architects that were forced to live out of their homes and kind of develop new lives, new dreams, and new types of production that would happen in Mexico. Dino is a professor of architecture at the National University. We're among some of his students as his own son now, apparently, I'm sure he gets hard, it's a tough critic for him. He's also the senior researcher and coordinator for the Center for the Research in Architecture Planning and Landscape at the National University. And he's published various books and articles on Candela and the work of exiled architects, as well as their impact on Mexico and Mexican architecture. He has curated the show that we will see shortly, that is now here at Roger Williams, and which was a show that was part of a larger exhibit that was held between 2010 and 2012 in New York, Mexico City, and in Spain. Dino is a son of an exile, his mother was an exile, and it's important to kind of note because I think that his work, I think it being literally connected to this condition of exile, I think Dino's work shows how in the words of the writer and poet, as well as the daughter of Spanish exile, Angelina Muñiz Uberman, that which was broken in Spain, she says, found firm ground in Mexico. The ideals of the vanquished Spanish Republic could be accomplished and succeed on Mexican land, end of quote, and this is exactly how Candela succeeded here. So please help me welcome Dino Del Gueto. Okay, thank you very much, all of you for being here. I'm sorry because my English is very short and I ever, when I have to speak in English, I am a little nervous because when I speak in Spanish, I am very happy and I make jokes and, but in English for me it's a little difficult. Thanks to Ambassador Emilio Rabasa Gamboa, as the second time, I am in the exhibit of Candela's in the United States, thanks Ambassador Rabasa because he take the exhibit in Guatemala and brought to the museum, America's Museum of Art in Washington, D.C. Three years ago in January of 2015, sorry, 2015. Thanks to Luis Carranza because he came to Mexico we know two years ago and he proposed to Dean Weiss to take the exhibit in Guatemala and the exhibit to Royal Williams University and for me it's the opportunity to know Bristol, Rhode Island, I never have been here. Beautiful town. Okay, let's start, thanks to Nate Fash too because Nate is a great host and all the people here, especially Georgia, who works a lot for the, for more the exhibit, the exhibition. Okay, let's start, if you know what, I prefer to move. And let's see, I sure that you know this picture from Pablo Picasso, the famous Guernica, one of the most important paintings in the 20th century. Shows the way that civil war in Spain broke in a country, but only a few people know that this painting was in church of the Second Republic government to Pablo Picasso. To stay in the pavilion of Republic Spanish in Paris in exhibit, international exhibit in Paris in 1937. It was the first, it's considered the first architecture in exile in Spain, in Spain. There were around 50 architects who has to live Spain, where the architects most progressive, the heads of the ideas of the movement, modern movement in Spain. This is about 49, maybe you know, or sometimes you heard about Jose Luis Sert, who was chair in Harvard. Jose Luis Sert came to the United States like an exilid. And one of the jungles was Felix Candela. This is the 24 architects who arrived in Mexico. Architects very important in Spain. The first and the second generations was a, have a important work in Spain. And the third generation, about 30 years, was 30 years old when arriving in Mexico. And here Candela never built any in Spain and came to Mexico to build that works that give him international fame. This is Candela when I met him in Barcelona when I was studying there my PhD. Candela, it was in 1992, 25 years ago. And Candela have in that time 82 years, a very clear mind, a lot of remembers. When I saw, say him that I am working in the Spanish exilid architects, he told me, came to Madrid, I talk to you a lot and I went to Madrid and have a beautiful interview with Candela. He has a sense of humor, very interesting. And I catch by the life of Candela, I said that Candela lives three lives. First in Spain, he born in 1910, was his formative years. In 1939, have to leave Spain, arrive in Mexico and live a little more than 30 years. It was his golden age. He built in Mexico the buildings that give him a very important fame around the world. And his last part of, his last 30 years, almost 30 years was in the United States from 1971 to 1997 when he died in Raleigh, North Carolina. There's some images of his life. It's very impressive the documents that are in three archives in Columbia University in Avery Library, in Princeton University and in the UNAM. There are a lot of south ends of plants, letters, documents that with that could be reconstructed his life. He arrived in Mexico in 1939, in June of 1939. Between 1939 and 1942, arrives in Mexico around 25,000 exiled Spanish Republicans and have a very important influence in Mexico, in the cultural life in Mexico City. This is the Carta de Naturalización, the Candela makes Mexican, it's called Mexicano. Became a Mexican citizen in 1941. This is Mexico City when the Spanish arrives, a beautiful city that starts to grow, when arrived the Spanish, maybe there are one million of population in Mexico City, now we are around 20 millions. But it was a beautiful city and the country was a great field to develop architecture. 10 years after they arrived in Mexico, there are a very good modern architecture like Juan Segura or Francisco Serrano, Luis Carranza is a very good known about that period. Jose Villagran García, the father of the modern architecture in Mexico and the first public building of the Sanatorio de Tuberculosis Hospital, 1929, all the famous houses of Diego Rivera and Frida Kahlo. Houses of Diego Rivera and Frida Kahlo. This is Juan O'Gorman with Diego and Frida in a meeting of the Communist Partido Comunista. Mexico, in Mexico those years, the 30s, the 40s, there are very full of life period, very interesting. And those are some of the works that Candela made in his 10, in his first 10 years in Mexico, between 1939 and 1949. You can see different kind of works, his first important building in Mexico City, Hotel Catedral 1947, the projects that he made looking for a job, a perfect new baroque building or a new gothic church, and some other kinds of projects. One with a little idea of the thin concrete roofs. If Candela continues to make this kind of work, we don't speak today about Candela in Royal Williams University, because what is that quality of Candela? What is Candela arriving in Mexico with the idea of this, this was the works that Candela admired when he was a student in Madrid in the School of Architecture in Madrid. Eugene Fressinetti in France, Franz Dischenger and Ulrich Finsterwalder in Germany, Eduardo Torroja in Spain, Robert Maillard in Switzerland, engineers that was looking for the best way to have worked the concrete, the reinforced concrete shells. And Candela in Mexico built his first experimental shell in 1949, 10 years after he arrived in Mexico. And he patented this kind of shell, and founded his company, Cubiertas Ala. This is Cubiertas Ala and this is Felix Candela in two, at the first times of Cubiertas Ala, this is Candela, and he's two, two years old, two years old, two years old, two years old, Candela and he's two Mexican partners, Raul and Fernando Fernández Rangel, he was, they was brothers. And here in 1978, this is in 1950 and 1978 with Enrique Castañeda and Antonio Pedi, developing the project of Palacio de los Deportes, Port Palas for the Olympic Games in Mexico. This is the edge of the company, the foundation and the end of the Cubiertas Ala. This is a sample about some works of Candela. Maybe the 70% of his work was in the field of the industrial architecture. And here it resides some particular projects that we will see. Candela, understand the advantage of the hyperbolic paraboloid or hyper, that surface that made with straight lines who moved in the space and made a double-curbature surfaces. This is how the directrices and generatrices in Spanish, I don't know in English, directrices and generatrices, straight lines who made a double-curbature inverse curbated for one side and curbated for another. And his first work with hyper surfaces was the cosmic ray pavilion in the university city in Mexico. The climax of the work of the modern architecture in Mexico. 1951, in 1951, he built this little pavilion with three parabolic arcs, which support two subtle forms of hyper. And Candela experimented in the field the idea, he can't, at the beginning he can't, to calculate, but he knows that he can build that very thin surfaces. In that case, the thin in the most of the surfaces about half of an inch, 15 millimeters. This is how an hyper cut by a horizontal plan and two vertical plans made a subtle form of an hyper. And this is two subtle forms. And Candela in 1952 put this advertisement in the review, more important review in Mexico, Arquitectura Mexico, the review that direct Mario Pani, pabellón de rayos cósmicos en la ciudad universitaria, cosmic ray pavilions in university city, covered by a shell, concrete shell, of one and a half centimeters of thickness, half of an inch. Architect Jorge González Reina, a consultant or assessor, a structural consultant, architect Felix Candela. Cubierta sala, únicos especialistas en cubiertas laminares de concreto, call and we made your surface, no, your roof, you will make your roof. And Candela, well, cubierta sala began to receive a lot of encargos, how do you say encargos? Missions, commissions. Around 1, around 1,500, commissions in 20 years, that built around 800. This is a beautiful plan of Mexico City, the principal by Vialidades, no, the road works with the 25 favorite works of Candela. You make it, no, the place. And with the name of the building, the architect who did the commission, the address, and the duplication. And Candela made variations, no hyper variations of like a musician take a piece of bag and made the variations in bag. But with three principles, common sense, efficiency, and economy. And there are two big families, Mantos de Borde recto, if you cut in parallel with parallel plans, the straight lines, you have a straight edge surfaces. But if you cut with a plan perpendicular to the generatrices, I don't know, generating lines, you have a curved edge surface, curved edge surface. The umbrellas was an example of a straight line and the groin at volts was an example of the curved edge surfaces. The first experimental umbrella, here is Candela with his workers in, this is four high parts who, all the forces come to the central support and the basis, the basis made with this kind of surfaces too. This is the way that Candela built the zapatas, the cementaciones, this is the idea of this around 150 meters, one and a hundred square meters, I don't know in fits, square fits, I don't know how much is, but it's a big surface with only one support. And this uses Candela in a lot of, this is the idea of this around 150 meters, buildings, industrial buildings. And with the umbrella, with the principle of the umbrella, Candela resolved his first religious commission, La Iglesia de la Medalla Milagrosa, the Miracle Medal Church. This is the idea, an umbrella who would say distorsiona and distorts with this kind of, this is a simple plant, the plant, basilical plant with four supports in each side. And this is the support of the, you can see the support, the umbrella and the distortion, the one who took the soil, the floor, this is the way that Candela solved this solution with an incredible expression of concrete, this is Candela. And this is some idea of the cost of the construction, the shell built between, we have this beautiful document in Mexico in the Archivo de Arquitectos Mexican Architects Archive, Iglesia de la Milagrosa built between March 1st, 1944, 1954 and April 1st, 1955. And the cost was 666, 68 Mexican pesos, about 16,000 dollars. This is a neighbor, a driver, a driver inside. This beautiful negatives are in Felix and Dorothy Candela Archive in Princeton and this is the beautiful interior of Miracle's Medal Church. And this is Candela teaching at the University of Mexico in the School of Architecture of the Universidad Nacional Autónoma de México. He teaches there between 1953 until 1971 when he moved to Chicago to teach in University of Illinois in Chicago Circle. The most successful cooperation with Candela was with two very important, this one is very important architect in the history of modern architecture in Mexico, Enrique de la Mori Palomar and Fernando López Carmona with Candela made maybe the best work of Candela was with Enrique de la Mori. We will see some examples. This is the beautiful chapel of El Altillo in Coyoacán in a traditional neighborhood in Mexico City. The way to build with the straight lines and it is beautiful because it's a very pure hyper. In Monterrey in the north of the country they built San José Obrero Church with two straight line high parts. And in Coyoacán again this is a Google view of Coyoacán, a part of Coyoacán, this is El Altillo and this is San Vicente de Paúl with three straight lines high parts cover a beautiful chapel of the nuns of San Vicente. Inspired in her, how do you say this, her hat? This is the idea of, now we will see some of the mantos of Borde Curvo or Curvet edge surfaces. The beautiful capilla de Palmeira in Cuenabaca near from Mexico City with only one beautiful hyper. This is the impressive formwork with all the straight lines of wood and the finished work, the beautiful, the idea of the Greek theater to the Paralos Fieles, not to the first. And let's see now the hyper-growing vaults, very important and a portation of Mexican architecture to the history of construction because it was with Enrique de la Mora, Fernando López Carmona, Felix Candela built the first groin-net vault made with high parts between December 20, 1954 and July 21, 1955. This is the typical groin-net vault invented 2000 years ago by Romans, but here in the Mexican exchange building, there was 26 meters, maybe 26, around 90 feet, for 30 feet around. The idea of intersect two high parts to make this groin-net vault. This is Candela in this, and in San Antonio de las Huertas Church was the first time where Candela can build his first free-edge shape without reinforcement in the edges. It's a beautiful, a very beautiful interior in church. With this idea of the free edges, Candela makes his best works. This is in Acapulco, a beautiful palapa, a concrete palapa, like a sombrilla. And very impressive, the solution of the Bacardi bottling building in the north of Mexico City. This is the amazing interior of an industrial space. Now, when you go into this space, you feel like in a religious space, and the way the building is for bottling rum, for bottling, it's a religion for some. In Cuernavaca, the Hotel Casino de la Selva, sadly destroyed 15 years ago, in Guadalajara, the state sales pavilion, pavilion, very interesting pavilion. Another church with Enrique de la Mora, but in 1966, yeah, in the last times of Cuvierta Sala, another one in La Florida, in Ciudad Satellite in the north of Mexico City. And the famous one, the Manantiales Restaurant in Sochi, Milco, a beautiful place in the south of the city, a place with canals, like in the pre-Hispanic way of life in the Valle de Mexico, in Mexico City. This is like in plant, like a flower with petals, made with two squares who rotate in the intersection where they are the supports. And this is for a four-saddle form, a very alargada, it's very stretch. Let's see if this is the idea, no? The hyper cut with horizontal and inclined plants and the intersection of this kind of hypers made this beautiful flower, concrete flower, flows in the Sochi-Milco canals. And the way that it built, the principal part was the geometrical solution, but the strong part of the construction was the construction of the scaffolding and the formwork, no? This is the Spanish way, we said, las vigas maestras, no? To put, then, el molde para colar el concreto, no? Look what a beautiful view of this. Way to make here el armado, no? They're enforcing. Once the scaffolding and the formwork were built, the rest is very easy, no? Only to put the reinforced steel. And then with combotas, how do you say botas? Pockets, no? Maybe each one of these pockets or pails or have 20 kilos of concrete, no? And here the little revolvedora, no? The mishor and the army of workers, no? Put the concrete very, no? And finish, it was a very craft work, no? Artisanal work is like a low-tech solution, no? Then when, como se dice, desimbrar, when you take out the formwork, no? And then when Candela said, sir, I finished my work, architect, in this case, architect, Álvarez Ordoñez, I finished my work, here are your roof, your shell. And Álvarez Ordoñez said, well, where can I put now the kitchen and the bedrooms and they know that to don't, para no echar a perder esto, no? This is the idea of the modern architecture in a very traditional context. Last September, September 19 of last year, we have our second earthquake, terrible earthquake. And I don't know, this is the canals of the Chimilco, very quiet ever, no? But this is one of the most viewed videos in internet because it likes the, I don't know, like the sea of the, was terrible, no? And this beautiful building, shell have problems, no? With lost his or their geometry. The idea of the geometry in Spanish, we say, son, estructura resistentes por forma. Resistant, structural resist, resistant by form. This is the part that cracked with the, and it's terrible, no? That part, okay, return to Candela, the last important work of Candela in Mexico was the Palacio de los Deportes, an impressive solution with a steel structure, not any more concrete, but with a high pass, no? This is the principal structure of steel. Look the, the Scala humana, how do you say? The human scale, no? Five meters between superior and inferior part of the structure. And between these quadrados, no? These squares, the four hyper parts made with aluminum structure. This is, these are the, las felicitaciones, the Christmas cards, no? That cubiertas a la send to their Santa Claus approaching the high perform to make the siesta, no? Or looking for the chimney, for the chimney, or a aterrizando, no? With a parachute, no? The Manantiales Parachute. This is a Santiago Calatrava with Candela. It's very significant that the first book of Calatrava when he was only 34 years old, his first monograph he published by Gustavo Gili opened with this photograph. A Calatrava talking with his master, no? Candela with, Candela. This is some in black and white works of Candela and in color works of Calatrava. There, Calatrava is another genius of the structural art, but there are different in the philosophy of the structures, no? That I like to compare with this example. This is Candela, no? The athlete who, who, no puede tener un gramo más para correr 100 metros en menos de 10 segundos, no? I've seen 100 meters in less than 10 seconds. And Calatrava with Shrashenaga, no? With a lot of muscles, but he doesn't know for Parakele Sirven, no? For, what, therefore, yes. And this is another idea of the, of this, the estructura resistente por forma, no? Each one of these French fries maybe have the same material of two of these and one of these cover more, a lot of more space than the French fries, no? Well, we, in, in 2010, we celebrate the centenary of the Born of Candela and came from Spain and told me about the idea to make a very important exhibition and we have the idea to make a little treasures, Las Cajitas del Tesoro, little box treasures. And we began to explore the, I never worked with a 3D print, no? And it was the first exercises, no? The first, and we made 21 models of 21 select works of Candela. But this is only one piece, but we want to make this in a scale one to 100, no? And we have to do that to do little pieces and 3D puzzles, no? To make the models that you will see in the exhibition. A little like a Frankstein parts, joint parts. And this is the work that we have to make the models and send to Valencia in Spain to the exhibit. And there was a moment that we have to all the students that work in the structural laboratory, structural laboratory made the final work, no? This is the most big model, no? The Palacio de los Deportes Sport Palace made with all these little parts. And this is a beautiful picture because this is Juan Antonio Tonda, the right hand of Candela for a lot of years. Very excited with the models that we made in 2010. And this is that we will see, we will make the boxes, no? That Georgia knows very well. And sent to, first sent to Valencia, one of the most important museums of modern art in Spain. And we have there beautiful material, original material from the archives from Columbia, from Princeton, from Unam. And this is an idea, the beautiful Libretas, the Los Quaternos, notebooks of Candela when he was a student in 1932, 1933, publications, photos, the animation that we made, you will see in the exhibit, the models, the original plans in the exhibit. Now we have a photographic reproduction of these beautiful plans. Then came to Mexico, Museo de Arte Moderno in Chapultepec, one of the most important museum of modern art in Mexico. And we did Felix Candela with Macheto to exiled architects in Mexico, one from Germany, one from Spain. It's a beautiful exhibition. In the opening, there arrived around 1200 people, never in the history of the Museo de Arte Moderno were so a lot of people. And the last place of this exhibition, this big exhibition was Wallach Art Gallery in Columbia University, where we did a symposium on Candela with Angela Giral, David Bellington, Maria Garlock, a lot of, this architect doesn't participate, but came to her, this, Kenneth Frampton, no? And this is the exhibit in the place of Columbia University. And then only with the models and the big photographs who made in Spain the Spanish government, we made this itinerary exhibit, more easy to move without seguros, no? As a seguroances. It was in, excuse me, in Morelia, in Guadalajara, in Mexico City, and arrives in Guatemala. Arrives in Guatemala to the next stop after Guatemala should be Colombia, Bogota. But in Guatemala arrived the ambassador, Ravaza, saw the exhibition and he said, no. Colombia puede esperar, how do you say? Can't wait, Colombia can't wait. Came to Washington because in Washington all the Iber-American countries could be, could see in the museum of, art museum of the Americas. And came to Washington DC in a beautiful museum. Here is the inauguration with Ambassador Ravaza, and the exhibit came from Washington, went to New York, then San Antonin, Texas, the School of Architecture in Austin, Texas. Then to University of Illinois in Chicago, a very important, a very significant, because Candela lives eight years in Chicago, in this teaching in this university. And in Chicago was in January of this year, and from Chicago came to Rhode Island. And then I think the best way, this is the beautiful work that here is Georgia, I raise his legs. And okay, I think the best is to see the exhibit. Thank you very much. Will you take questions? Yes, if you want some question, yeah? The process to make the project, in the process, there are very important the architect who came with the commission, the commission, because if the architect were a good architect, Candela make the very good works. But when the architect is not very good, Candela maybe it only, maybe don't resolve with a very good solution. In the exhibit, we choose 21 works, and now in the exhibit only we have a 30, I think, because to make the tenor area in United States, we came only with 17 of these models, and here we can put 13. And the most, the best were built with Enrique de la Mora, with Joaquín Alvarez-Ordones, and with Guillermo Rosel and Manuela Rosa was maybe the best collaboration professional collaboration of Candela. And Candela listened the necessities, the program, and the idea of the architect, and Candela can convert ideas to translate those ideas in drawings, not like today that we have the 3D Max and put the finger and we have the 3D, no, we did that idea of the analytical and descriptive geometry, no? It's the way that Candela works with the architects. I don't know if there's another question. How many? Yes, in the first works, there are not a lot of calculation. They have to calculate with the regla de calculo. How do you say, slide, bro? Slide, bro, no, regla de calculo. After that, they, in the company, have said the first calculadoras electrónicas, no? Y de esas de que te sacan un papel, y si hay unas tiras de papel así, no, there are a big, but only is for the, for, there are calculations for the geometry and for the structural resistance, no? Candela said that this part of the work must be the most easy way to demonstrate that the shell could be stand up, no? If I may, just a very quick comment because I couldn't avoid in hearing Juan Ignacio's great presentation, thank you very much Juan Ignacio, thinking about the fact that this was possible because at a moment of great international distress, the civil war in Spain, then the totalitarian regime in Franco, 25,000 Spaniards, as Juan Ignacio mentioned, were drawn and received in Mexico by President Cardenas. This shows the greatness and the enrichness of migration. Those people, Juan Ignacio just presented a testimony in the field of architecture, but we could draw so many in the field of science, of music, of industry, of, I can tell you, for example, the story of Shirau, a great philosopher, who also went to Mexico at the age of Candela, son of a philosopher, and transformed the study of philosophy in my country, putting together philosophy with poetry. Very much in the way that Candela transformed the architectural landscape of Mexico with his hypers. That was possible because of migration. So migration benefits the societies, the communities that mingle. How sad it is that nowadays, there is a whole opposite attitude to that. I was so sad and yesterday to hear that now military forces are drawn to the frontier with Mexico to avoid migration. It's exactly the opposite that this can produce. Thank you very much. Yes, I thought about the example of Luis Buñuel in cinema, the Luis Buñuel, the best part of the Luis Buñuel produced in, was in Mexico, it's very interesting. Ah, okay. Okay, then let's go to the exhibit and to take some, thank you very much.