Designer Mario Ruiz was honored with the 2016 National Design Award. In his acceptance speech, he made public that eight years ago he detected that he is dyslexic. It has transformed este learning disorder into an opportunity and from there into a way of working. Supported by a full awareness of his virtues and defects, he sharpens his creative pencil and has already collected m of 40 international awards. Awards are not a goal for este designer from Alicante, they are a consequence. Graduated in industrial design from the Elisava University School in Barcelona, he shows himself as he is: transparent, coherent and honest, three adjectives that define the identity of his creations. Mario Ruiz is what he does.

On May 18th, you have the opportunity to discover what the designer Mario Ruiz thinks, says, does and feels in La Capell on the occasion of the Objecte de Desire lecture series. Moderated by the communicator Óscar Dalmau, Ruiz will share reflections with the reference of André Ricard design, awarded in 1987 - almost three decades before Mario Ruiz - with the National Design Award. This ser the first of a series of conferences that will bring together benchmarks and the main actors of the current design scene.

In Mario Ruiz's office, even chance is ordered. A gigantic table presides over a spacious and bright workshop full of delicate objects grouped by colors and shapes, by textures and materials, by their use and function. HAY tools, kitchen utensils, and toys. Mario Ruiz shows with fascination and pride cada one of these treasures bought in cada corner of the planet and that serve as inspiration for his creations. His skilled hands run through las pieces and his voice accompanies the m in the background in perfect harmony. In Mario Ruiz's office, even the lack of control is in sync.

How do you communicate with the customer?

Visually because I feel m comfortable showing things that tell what I am going to teach ar. I'm dyslexic and because of my way of ser I like everything to be muy controlled and that I don't forget anything. LAS words for m are ambiguous language. As a kind of eco. Choosing las words to m is a brutal effort and instead I have a visual facility. I have no memory of las words. I don't remember the names but I keep the clothes, the face, the socks, si has a tear or a stain. While I'm watching you now I'm seeing what's going on next door. It is a problem of concentration. Instead, it allows you a little m detective ace detail.

You have used the word effort. I believe that everything that involves a lot of effort tends to break. How do you see it?

I use that word because it's like a punishment. For many years I have heard that I did not make an effort and that I was worthless. It was a mantra in my life. At the National Design Award ceremony, I was asked what it meant to receive it. And I told the story of este disorder and how it has affected me. I detected that I was dyslexic eight or nine years ago because of my daughter. And este award is as si I had finally passed them all. It's not that I didn't make an effort, it's that I was dyslexic. When I was at the reception with the King and Queen we only talked about this. We're not even talking about design.

Well, let's talk about design.

My way of understanding and working is to look for objects that work better and above all that are honest. The focus of functionality is because I have an education that comes from the time of the 80s. And I think now everything has become m flashy ace, m glamorous in the negative.

How does Mario Ruiz create?

To m create and design ar is different. Designing ar for m means doing creative work with a process, an end and a few par meters that you have to adjust. It must ser harmonious, functional and with a characteristic that is tica. In my case, I devote twenty percent of my attention to the object.

And the remaining eighty percent?

In my opinion, where the real design is is to create a space where that object is going to be born. Create a habitat where hay constraints, issues, and obligations.

A context?

It's algo m ace. I create an atmosphere where that object must be born from a briefing. I adapt a habitat to the briefing and that atmosphere allows me to create. Design in the elements and in las solutions; In some way, the object is designed solo. When I work, I never hago it on an object at once. I work in details and in parts, and then las together making them coherent. The space created is responsible for softening and harmonizing what you create. I'm not making anything up. Whoever makes a book also does it like that. I don't believe in design per se.

I believe that the important thing goes from the inside out.

In industrial design, this is precisely how we work. I identify m with this form of design ar because I m master the t technical question than that of design ar m creative forms. The industrialist is m transparent ace. It does not attract attention or appear in las magazines. On the other hand, in the real estate world you work from the outside in, like a sculptor. Their products have a name and the business concept is different. I started in industrial design but currently I almost work m ace in real estate.

What is your relationship with objects?

Objects are my hobby. I travel a lot and I like to get to know las tools of cada country, its appliances, its toys, books, supermarkets or the way of preparing and serving food. I'm a consumer of objects. It gives me pleasure to have them and observe them. And they become clues to the places I've been. They are a common thread of things that have happened to me.

At what level is design in Spain?

Spain is a muy young country in design compared to cultures such as the Scandinavian, Japanese or the United States. There have been difficulties of understanding and certain envy and ghettos. However, we currently have a great opportunity because hay many people outside our borders who have an open-minded m vision. In other countries, a boom moment was taken advantage of and here we only focus on independent pieces.

And you don't think hay a gap due to lack of disclosure. I mean designers haven't explained enough what they do. I have the impression that your work is little known.

It may ser that there has been an excess of individualism. However, now hay many young designers who have a collective m bond and a not so individual identity by being away and united by the difficulty of developing here. They also leverage technology to reach everywhere. They tell everything through las social networks.

How does Mario Ruiz use this technology?

I don't use it because I don't control it.

Again I hear the concept of control.

It's a way of feeling that I have the upper hand and that I don't make mistakes. And yet, control is algo uncontrollable because you can't be one hundred percent sure.

A paradox.

In the system I use to weave a project, it is necessary to have control from the beginning because si you don't have everything tied up, that evaporates. Creating an atmosphere is complicated because it's all ethereal, it's all idea, it's a lie. When it comes to creating, a bond with the project is generated and a crush occurs. This causes you to lose your professional vision. I'll give you an example. When I go on a plane and drink a glass of wine, I sometimes take a notebook and draw sheets and sheets. Between the m used, the height and the glass of wine I am enthusiastic about what I hago. When I see what I've drawn later in another context, I don't like it so much anymore.

Hay a muy close relationship between believing and creating.

Control even reaches yourself because when you then introduce the client, it takes away and changes what you have created. When it comes out on the market, your idea has nothing to do with what you had thought. I'm never happy with the projects I've done, but I'm happy with the ones I'm doing and that are in that environment that we've talked about.