robertogreco + tijuana   155

Class Day Lecture: Teju Cole - YouTube
[See also: https://www.harvardmagazine.com/2019/05/commencement-teju-cole ]

"The GSD has named Teju Cole as its 2019 Class Day speaker. Teju Cole is a novelist, essayist, photographer, and curator. His books include Open City, Blind Spot and, most recently, Human Archipelago. He has been honored with the PEN/Hemingway Award, the Internationaler Literaturpreis, the Windham Campbell Prize, and a Guggenheim Fellowship, among many other prizes. His photography has been the subject of numerous solo exhibitions, and he was the photography critic of the New York Times Magazine from 2015 until 2019. He is the Gore Vidal Professor of the Practice of Creative Writing at Harvard."
tejucole  2019  commencementaddresses  design  refugees  tonimorrison  fascism  patriarchy  whitesupremacy  oppression  complicity  power  doors  sandiego  borderfieldstatepark  friendshippark  border  borders  migration  immigration  us  mexico  tijuana  borderpatrol  humanism  grace  chivalry  hospitality  humans  kindness  commencementspeeches 
june 2019 by robertogreco
Fonografia Collective
[via: https://clockshop.org/project/south-of-fletcher-fonografia-collective/ ]

"Fonografia Collective believes in empathetic and culturally-sensitive documentary storytelling about everyday people around the world. We find and craft compelling stories about human rights, politics, the environment, and social issues (or any combination thereof) and share them with the general public using radio, oral histories, photography, the printed word, multimedia, public installations, gatherings and events.

Since 2005, we've been working together to advance our vision of a more inclusive and diverse approach to nonfiction storytelling, focusing on communities across the U.S. and Latin America that are often underrepresented or misunderstood by the mainstream media or the public. As consultants with a variety of institutions, nonprofits, and individuals, we strive to do the same. We also run Story Tellers, a social media platform connecting storytellers from around the world to gigs, funding, collaboration opportunities, and to one another.

We are producers and board members of Homelands Productions, a 25 year-old independent documentary journalism cooperative. Until Spring 2017, we collaborated with public radio station KCRW on a year-long multimedia storytelling series about aging called "Going Gray in LA." At present, we are developing a storytelling project about the Bowtie in conjunction with Clockshop, an arts organization in Los Angeles, and California State Parks.

*******

Bios

Ruxandra Guidi has been telling nonfiction stories for almost two decades. Her reporting for public radio, magazines, and various multimedia and multidisciplinary outlets has taken her throughout the United States, the Caribbean, South and Central America, as well as Mexico and the U.S.-Mexico border region.

After earning a Master’s degree in journalism from U.C. Berkeley in 2002, she assisted independent producers The Kitchen Sisters; then worked as a reporter, editor, and producer for NPR's Latino USA, the BBC daily news program, The World, the CPB-funded Fronteras Desk in San Diego-Tijuana, and KPCC Public Radio's Immigration and Emerging Communities beat in Los Angeles. She's also worked extensively throughout South America, having been a freelance foreign correspondent based in Bolivia (2007-2009) and in Ecuador (2014-2016). Currently, she is the president of the board of Homelands Productions, a journalism nonprofit cooperative founded in 1989. She is a contributing editor for the 48 year-old nonprofit magazine High Country News, and she also consults regularly as a writer, editor, translator and teacher for a variety of clients in the U.S. and Latin America. In 2018, she was awarded the Susan Tifft Fellowship for women in documentary and journalism by the Center for Documentary Studies at Duke University.

Throughout her career, Guidi has collaborated extensively and across different media to produce in-depth magazine features, essays, and radio documentaries for the BBC World Service, BBC Mundo, The World, National Public Radio, Marketplace, Canadian Broadcasting Corporation, Orion Magazine, The Walrus Magazine, Guernica Magazine, The Christian Science Monitor, National Geographic NewsWatch, The New York Times, The Guardian, Virginia Quarterly Review, and The Atlantic, among others. She’s a native of Caracas, Venezuela.

*

Bear Guerra is a photographer whose work explores the human impact of globalization, development, and social and environmental justice issues in communities typically underrepresented in the media.

In addition to editorial assignments, he is consistently working on long-term projects, and collaborates with media, non-profit, and arts organizations, as well as other insititutions. His photo essays and images have been published and exhibited widely, both in the United States and abroad.

He was a Ted Scripps Fellow in Environmental Journalism for the 2013-2014 academic year at the University of Colorado - Boulder; a 2014 Mongabay Special Reporting Initiative Fellow; as well as a 2014 International Reporting Project Health and Development Reporting Fellow. In 2012, he was chosen as a Blue Earth Alliance project photographer for his ongoing project "La Carretera: Life Along Peru's Interoceanic Highway". Other recognitions have included being selected for publication in American Photography (2005, 2015, 2016) and Latin American Fotografía (2014, 2016, 2017); an honorable mention in the 2012 Photocrati Fund competition for the same project. Bear has also been a finalist for a National Magazine Award in Photojournalism (2010).

A native of San Antonio, TX, Bear is currently based in Los Angeles.

For more information, a CV, or to order exhibition quality prints please contact Bear directly.

Editorial clients/publications (partial list): The New York Times, The Wall Street Journal, Bloomberg BusinessWeek, Le Monde, The Atlantic, Orion Magazine, The Boston Globe Magazine, Virginia Quarterly Review, OnEarth, ProPublica, National Public Radio, BBC's The World, California Watch, High Country News, Quiet Pictures, Texas Monthly, Time.com, Earth Island Journal, O Magazine, Glamour, Ms. Magazine, NACLA Magazine, Yes! Magazine, SEED Magazine, The Sun, The Walrus, Guernica, and others.

Nonprofit/NGO clients & other collaborators: International Rescue Committee, Doctors Without Borders, Lambi Fund of Haiti, Children's Environmental Health Institute, Community Water Center, Environmental Water Caucus, Collective Roots, Other Worlds Are Possible, Immigration Justice Project/American Bar Association, Fundacion Nueva Cultura del Agua (Spain), Chinatown Community for Equitable Development, St. Barnabas Senior Services, Jumpstart, Global Oneness Project, Quiet Pictures."
bearguerra  ruxandraguidi  radio  photography  audio  storytelling  everyday  documentary  humanrights  politics  environment  society  socialissues  print  multimedia  oralhistory  art  installation  gatherings  events  inclusion  inclusivity  diversity  nonfiction  latinamerica  us  media  losangeles  kcrw  fronterasdesk  sandiego  tijuana  kpcc  globalization  sanantonio  fonografiacollective  srg  photojournalism 
september 2018 by robertogreco
City of Exiles — The California Sunday Magazine
"Every month, thousands of deportees from the United States and hundreds of asylum-seekers from around the world arrive in Tijuana. Many never leave."
tijuana  sandiego  cities  refugees  border  borders  us  mexico  2018  deportation  asylum  danielduane  yaelmartínez 
june 2018 by robertogreco
A new U.S.-Mexico border? At the Venice Biennale, imagining a binational region called MEXUS
"As part of their research into watersheds, Cruz and Forman have created an inventory of public lands in Los Laureles that can serve multiple purposes — as green space, environmental education center and natural buffers to mitigate flows of waste. And they are working to see how they can create a mechanism to invest in those spaces so that they might be preserved.

“Instead of the investing in the wall,” says Cruz, “can we invest to get the poor settlement to regulate the flow of waste? Can we get the poor residents to take care of the rich estuary?’

The subjects are tricky, but in these types of projects, Zeiger says she sees plenty of optimism.

“In architecture, if we don’t allow ourselves to visualize a condition that is different than the current condition, then we really cut off how we will impact the future,” she says.

For Forman, that consists of fomenting a new type of border culture.

“Citizenship,” she says, “is not an identity card. It’s about coexisting and building a city together.”"
teddycruz  fonnaforman  carolinamiranda  border  borders  us  california  mexico  sandiego  tijuana  texas  arizona  newmexico  2018  venicebiennale  architecture  citizenship  politicalequator  geography  geopolitics  mimizeiger  annlui  afrofuturism  architects  mexus  walls  nature  watersheds  land  maps  mapping  territory  ybca 
may 2018 by robertogreco
Is it inspired or irresponsible to call Donald Trump's border wall prototypes ‘art’?
"We reach the intersection of Cuahtémoc Norte and Juventud Oriente, where a small roundabout serves as memorial to those who have died crossing the border. A European curator who is working with Büchel on the prototypes project — but who declines to go on the record — points out the memorial to the group.

I ask her and Diers whether they had ever visited Tijuana before working on Büchel's prototypes project. Neither had.

Within 20 minutes, we are standing in a hilly colonia on the eastern fringes of Tijuana, just before the metal border wall.

On the Mexican side of the dividing line are the junkyards that contend with the overflows of waste generated by Tijuana's maquiladoras, which craft the cheap goods that will ultimately end up in the U.S. On the other — al otro lado — are the looming prototypes.

Just south of the fence sits one of the stone obelisks that marked the border during the late 19th century. Diers notes that the simple presence of the obelisk was once enough to mark the international dividing line: "It was a conceptual border more than a real border."

Since they were completed, the border wall prototypes have turned into architectural celebrities of sorts — debated on the news, filmed by drones and scrutinized by critics. The Times' architecture critic, Christopher Hawthorne, describes them as "banal and startling," a combination of "architectural exhibition and the new nativism rolled into one."

Beyond their political implications, it's easy to see why the structures have drawn so much attention: They are absurd — bloated security theater in a color palette befitting a suburban subdivision. (So many shades of putty.) It was only a matter of time before an enterprising artist horned in on the action.

All the attention has also had the effect of turning this humble settlement into a tourist attraction. A folding ladder is placed near the metal wall, and we each take turns climbing up to get unobstructed pictures of the prototypes.

Soon we are joined by Alexis Franco Santana, an ebullient 22-year-old tijuanense who lives in a small room across from the site. Santana, outfitted in white tank, red headphones and constantly pinging cellphone, says the structures have drawn visitors from all over the world.

He thinks the prototypes are laughable.

"It's like Donald Trump said, 'Go to Toys R Us and bring me all the toys, and I will choose the best one,'" he says. "They can make the wall from here to the sky and we can find a way to get around it. Los mexicanos tienen maña." Mexicans have knack.

His neighbor, Juan Manuel Hernandez Lozano, takes a dimmer view.

Hernandez was born in Mexico but was taken to Los Angeles without papers when he was about 5. He spent almost his entire life in Los Angeles and speaks English laced with the musical cadence of the Eastside. To prove his real-deal L.A.-ness, he shows me a Raiders tattoo.

Nine years ago, he was deported. His family lives in L.A., but he's stuck in Tijuana. In that time, he has missed the funerals of both parents and a brother.

"It's been hard," he says. "I got sick over here. I have cancer. I should have been dead a year ago."

I ask him what he thinks of the idea of turning the prototypes into a national monument.

"It's a racist thing," he replies. "Why would they do something like that? What are they getting out of it?"

When the Manzanar internment camp was designated a national historic site by Congress in the 1990s, it was not without controversy. The camp, in the Owens Valley, had once harbored upward of 11,000 Japanese Americans, who had been interned there during a period of intense anti-Japanese paranoia during World War II.

Japanese American activists — among them, former internees — had called for protection of this contentious site as a way to remember this dark episode in U.S. history. ("A national symbolic step that must go forward," activist Sue Kunitomi Embrey said at the time.)

But some groups fought the designation. In a letter to the National Park Service, which manages the site, one critic described the portrayal of Manzanar as an internment camp as "treason." Others preferred that the camp be depicted as the benevolent provider of wartime "housing" for Japanese Americans.

The efforts to sugarcoat history ultimately failed. Manzanar is today one of the most prominent sites in the U.S. to commemorate the internment of Japanese Americans.

The making of a monument is a messy business. It requires unflagging advocates, inevitable detractors and a majority vote in Congress.

It also requires time.

Manzanar was declared a national historic landmark in 1985, four decades after it was shut down. It became a national historic site seven years later. And it all came as a result of a groundswell of support for the idea that this was history worth commemorating.

In the case of the border, that history is still being written. The border prototypes could become monuments to racist folly or reawakened white supremacy. All of it leads me to wonder what the reaction would have been in 1943 if a European artist had visited Manzanar, and then described the place as a "land art exhibition" in a press release.

Toward the end of the tour, Dier gathers us in a circle and asks what we think of the idea of turning the prototypes into a monument. One person says they could serve as "a monument to hubris." Another says they could be preserved like an American Auschwitz. I suggest that in the spirit of the border, where U.S. goods and ideas are constantly being recycled by Mexico, perhaps we should allow the residents of Tijuana to dismantle the prototypes and use them to build something new.

Members of the group disperse to catch their final snapshots. I ask Santana, who has been hovering in the background, if he's OK with turning the prototypes into art.

Not in their current form, he says. "If it's going to be art, they should paint them. They could put a beach scene on one or a forest on the other. But they need to paint them, otherwise it's not art."

The group clambers into the van and we make our way back to the other side — the one where many of us, through accidents of fate, just happened to be born."
carolinamiranda  border  borders  sandiego  tijuana  california  us  mexico  art  2018  donaldtrump  policy  christophbüchel  renéperalta  gelarekhoshgozaran  whitesupremacy  race  racism  xenophobia  politics  history  berlin  berlinwall  manzanar 
february 2018 by robertogreco
YBCA: Visualizing Citizenship: Seeking a New Public Imagination
“Teddy Cruz and Fonna Forman

Visualizing Citizenship: Seeking a New Public Imagination

Mar 10 2017 — Jun 18 2017

The Mexico-US border is a geography of conflict from which a more inclusive political vision can be shaped, based on integration and cooperation, not division and xenophobia.” - Teddy Cruz and Fonna Forman

In the face of a new, more divisive, political landscape, the public narrative around borders surfaces fears on all sides of the political spectrum. Yet for architect and theorist Teddy Cruz and political scientist Fonna Forman, border communities are opportunities for civic and political creativity, rather than criminalization. These sites, to which they refer as “geographies of conflict,” are the basis of three projects that present case studies for more expansive and inclusive ways of thinking of the relationships between the United States and its neighbors, and more broadly propose that citizenship is organized around shared values and common interests, and not on the action of an isolationist nation with a homogeneous identity.

Composed of videos, diagrams, maps, and visual narratives designed in collaboration with Studio Matthias Görlich, the exhibition presents The Political Equator (2011), a video and wall diagram that captures a collective border-crossing performance through a drainage pipe joining two marginalized neighborhoods along the border wall that divides an informal settlement in Mexico from a natural estuary in California. Produced for this exhibition, a series of posters synthesize their work on the Cross-Border Citizenship Culture Survey (2011-ongoing), the result of a collaboration with Antanas Mockus, the former mayor of Bogotá, Colombia; his think tank, Corpovisionarios; and city officials in San Diego and Tijuana. Also featured is The Medellín Diagram (2012-ongoing), which presents a new political and civic model for creating public spaces that facilitate cultural, political, and knowledge exchange based on the example of the city of Medellín and its extraordinary social and urban transformation."

[See also:
https://www.instagram.com/p/BUKugmPB1ev/
https://www.instagram.com/p/BUKuesOhEW3/
https://www.instagram.com/p/BUKucvjBnb4/
https://www.instagram.com/p/BT91baWBDUT/
https://www.instagram.com/p/BT91XhMB1B5/
https://www.instagram.com/p/BT91TldB9-0/ ]
ybca  teddycruz  fonnaforman  border  borders  sandiego  tijuana  medellín  antanasmockus  bogotá  matthiasgörlich  studiomatthiasgörlich  corpovisionarios2011  2012  cities  urban  urbanism  transformation  us  mexico  politcalequator  conflict  integration  cooperation  politic  geopolitics  art  design  california  medellin 
may 2017 by robertogreco
The Best Thing About San Diego Is Tijuana - CityLab
"Across the border, I found a vibrant scene that helped me appreciate California."
2016  tijuana  sandiego  cities  saralibby  california 
february 2017 by robertogreco
America’s Love of Sprawl Starts Right at the Border - CityLab
"Every day, students living in Juarez cross the border to go to school in El Paso. Travelers flying into the Tijuana airport can walk over to San Diego on a pedestrian bridge. Folks living in Mexico work on the American side of the border every day to earn a living in dollars. Around 350 million such people cross the border every year, many through ports of entry designed to welcome rather than ward off. Among other reasons, that’s because the U.S.-Mexico border is a boundary separating several sister cities that are, essentially, one urban and economic unit.

But while these border cities have grown together in recent decades, that growth has manifested differently for a variety of economic and cultural reasons. The difference in their urban footprints is evident in a new map, created by cartography enthusiast Sasha Trubetskoy.

Using land use data, Trubetskoy, who’s studying statistics at the University of Chicago, has arranged 14 border cities (each pair with at least 15,000 residents) side-by-side:

[image]

What’s immediately apparent is that, by and large, the Mexican cities seem more densely urbanized. In an accompanying table, Trubetskoy also notes that these cities are generally more populous, and calls this clustering of folks on the dense, Mexican side of the border the “urban pileup effect.” On the American side, the cities tend to sprawl.

Among the 14 urban areas he maps, San Diego is an exception with more people (around 3.2 million) than its Mexican counterpart (1.9 million). That said, its residents occupy a larger area*:

[image]"
us  mexico  tijuana  sandiego  texas  california  cities  density  urban  urbanism 
january 2017 by robertogreco
What I learned from a week at the Mexico border wall | Fusion
"As I looked back over the footage I’d shot, I kept coming back to that far eastern edge of Tijuana, where the city is at its most emergent and the wall ends. Many of the roofs were covered by what appear to be recycled billboards. A random smattering of advertisements face skyward, targeting no one. Models’ faces, beer cans, cars, movie posters. A jumble of discarded messages from the culture: 1-800-GET-THIN, Toyota of Riverside, Ariel from the Little Mermaid, a Mercedes, More Energy, Party!, Jack Black, a trumpet, Bud Light, a robot crossed out, Lying Game, Choose Me, a truck cab, Ringer, Any ID, Want More?, Love the Artist, Man on a Ledge.

My border experience felt like this kind of boisterous collage. Two countries connected by global capitalism, by local culture, by Spanglish, by the weather and the sunset and tiny blue-tailed lizards, by the Raiders, by Juanes, by trucks and cargo containers and radio waves, by Tecate and Dos Equis, by Tinder, by Disney princesses, by skinny jeans, by hair dye, by checking the Border Wait app to see how long it’s gonna take to cross.

The border as a wall, as a line on a map, as a way of life, as something you never visit until relatives come from out of town, as the storehouse for all the pieces that seem to go missing from every immigration story, including my family’s own."
sandiego  border  borders  us  mexico  2016  alexismadrigal  tijuana  calexico 
october 2016 by robertogreco
Photos: Migrants From Around the World Come to Tijuana — to Wait - Voice of San Diego
"Rabiu Musah spent a long time getting to Tijuana.

“I took a flight from Ghana to Brazil. From Brazil I took a bus to Peru, then Ecuador, Colombia, Panama, Costa Rica, Nicaragua, Honduras, Guatemala, then Mexico,” said the 23-year-old Ghanaian native. “So I passed through 10 countries to make it up here.” He traveled by bus and on foot for more than two months.

Musah wanted to apply for refugee status in the United States, fleeing an increasingly unstable situation in his home country. Like thousands of others, he didn’t know of a better way to do it than to make his way to the U.S.-Mexico border and ask for help.

“I had some problems with my colleagues, when they tried an assault on me,” said Musah, who worked as a graphic designer in his home country. “So staying there might be a problem for me, so with the little money I had, I decided to leave.” He decided to try to get to New York, where some of his family lives.

Musah didn’t have anywhere to go while his application was processed by overwhelmed and backlogged United States border authorities.

“I slept at the park for five days,” he said, resting while he waited in line. Residents of Tijuana give him and hundreds of others waiting for a decision food and water. Now, he’s staying at the Desayunador Salesiano Padre Chava facility, one of the many migrant shelters in and around Tijuana that generally caters to deported people and those waiting to find out whether they can cross into the United States. The shelters are seeing an unprecedented surge in people stranded from all over the world as they await an answer from the U.S.

In these shelters, which are supported by donations and help from the Mexican government, refugees and migrants from Ghana are sharing tables with Haitians, Hondurans and others. Many of the migrants are Mexicans themselves – a large number of people from the violence-plagued states of Guerrero and Michoacan are among those trying to get to the U.S.

The story of Ghana’s diaspora is very much like the story others asking for humanitarian relief from other countries tell. Ghana has experienced political, economic and social instability for decades, resulting in widespread violence and lack of opportunity, particularly for trained professionals. Traditionally, Ghanaian refugees have tried to travel to North Africa or Europe, but as the refugee crises in both regions have worsened, more are traveling longer distances out of desperation and necessity.

The United Kingdom’s surprise decision last week to leave the European Union could mean even more people fleeing violence in their home countries choose to seek shelter in North America. Already there are people from eastern Europe showing up alongside those from Haiti, Mexico’s interior, Central America and across the African continent — refugees and migrants who might otherwise travel to Europe, but are either denied or choose instead come to the U.S.-Mexico border, where they can take their chances on the immigration systems in the U.S. but fall back on staying in Mexico.

More than a thousand migrants have arrived at the San Ysidro crossing in the past few weeks. Most of the people coming to cross from outside Mexico appear to be from Haiti. Some people here want to get to their families in the United States, said Father Jesús Árambarri, director of Desayunador Salesiano. Others are just in Tijuana because it was easier to get here rather than one of the other ports of entry. He said his facility, like other shelters in the region, is overwhelmed and in need of donations.

“Men’s clothes, men’s shoes, razors, other toiletries, there are hundreds of people coming through here every day, every day who could use those things,” Árambarri said. “Thanks to God, we’re getting through this difficulty.”

People staying in Tijuana say they’re not opposed to asking for humanitarian visas from Mexico’s government, should they be denied the opportunity to travel to the United States; people from Ghana say they are not certain whether they will be able to learn Spanish sufficiently to get a job. It is a concern not shared by Rabiu Musah, who said he has already picked some up.

“If I’m denied, maybe I will choose living here,” said Musah. “If I go back, it could be something like … it might end up with my life in danger. So going back to my country — maybe in a future time, but for now, no.”"
tijuana  border  asylum  migration  borders  refugees  2016  ghana  haiti  mexico  us  honduras 
june 2016 by robertogreco
Tijuana Shelters Help With US Immigration Backlog Of Haitians | KPBS
"U.S. Customs and Border Protection said in a statement that the agency will process these migrants on a “case by case” basis. While migrants await their turn, Tijuana's shelters offer food and a place to sleep. At Madre Asunta, the Haitian women made friends with women from Central America and southern Mexico, who were also staying at the shelter. Their children played together as they communicated in a mix of gestures, smiles, French, Spanish and Portuguese.

“We’re a family,” Mevil said.

She told a Mexican woman about her difficult journey through Latin America, concluding, “I have more lives than a cat.”

The Mexican woman responded, “That means you have six more,” and they giggled together.

Footsteps away from Madre Asunta, a men’s migrant shelter called Casa del Migrante is accepting Haitian men as well as some women and children, because there aren’t enough beds at the women’s shelter.

Director Pat Murphy called the influx of migrants a “crisis” and “an emergency.”

“People here have told us, ‘there are thousands of people coming behind us,’” Murphy said.

During an especially busy day last week, Casa del Migrante slept 56 Haitians in addition to about 150 migrants from southern Mexico and Central America.

In less than two weeks, Murphy said his shelter received migrants from 11 different countries, mostly from Haiti. Murphy said he considers them refugees.

Although these migrants seek to enter the U.S., Tijuana must address the surge during the immigration backlog.

Casa del Migrante and three other Tijuana shelters are offering the migrants food and beds. Mexican immigration officials let the shelters know when U.S. Customs and Border Protection is ready to process a few more people.

“When their place in the line is ready, they call us, and we transport them right to the front door of immigration,” Murphy explained.

But he said Tijuana officials are relying too heavily on the shelters, which depend on donations.

Haitian migrants came just as the shelter was seeing a spike in Central Americans and southern Mexicans fleeing violence, Murphy said. Some had to sleep on the floor.

He said he thinks Tijuana should open a shelter of its own, like those opened during heavy rains tied to El Niño.

“They have to just admit that this isn’t a temporary problem, that this is going to continue for a while,” he said.

In the meantime, Tijuana residents are bringing food, clothes and other donations for the Haitians, Africans and other migrants.

“The best news of all this was the generosity of the people, just showing up at the door, saying, ‘here’s food for 50 people,’” Murphy said. “Even though they’re not rich themselves, they realize, ‘I may have a little bit more to share.’”

Twenty-five-year-old Haitian Jeff Son Pascal arrived at Casa del Migrante in early June, also by way of a two-month journey departing from Brazil.

Like hundreds of other migrants, he slept on the sidewalk just south of the San Ysidro Port of Entry for the first few days. Then he was redirected to the shelter while awaiting his turn to see a U.S. immigration official.

He said he is grateful for Casa del Migrante, where he and other Haitians take turns helping with domestic duties, such as washing clothes and serving food.

“The Casa is very good, very good,” he said in broken Spanish.

Son Pascal embarked on his journey alone, without friends or family, but he said he has made many friends in Tijuana, both Haitian and Mexican.

He said he dreams of a better life in the U.S.

When asked how many people are coming behind him, Son Pascal sighed and said: “Many, many, many, many, many.”"
sandiego  haiti  immigration  border  borders  mexico  brasil  brazil  tijuana  refugees  casadelmigrante  2016  migration  sanysidro  us 
june 2016 by robertogreco
Experts Predict Spike In Migration From San Diego To Tijuana | KPBS
"San Diego has long been a popular place for Mexican immigrants to make their home. But real estate experts predict Tijuana will develop a large community of expatriates from the north.

“Each day I see more and more people from San Diego turning to Tijuana," said César Leal Partida, director of business development for Seica, a Mexican construction company based in Tijuana. "Before, I think they looked at us as not a nice part."

Leal was one of dozens of business leaders who attended the "The Future of U.S./Mexico Real Estate" conference at the Sheraton San Diego Hotel & Marina on Thursday. Among other topics, speakers discussed a predicted spike in Americans moving to Tijuana.

They said the cheaper cost of living in Mexico and the comparatively low unit prices are already inspiring numerous San Diegans to move south of the border.

"When they see what they can get — the quality of construction they can get, the quality of their building, the quality of life — they're like, 'Wow, and still I'm a 20-minute drive from downtown San Diego,'" Leal said.

He said San Diegans who move to Tijuana often continue working north of the border, which they cross using the trusted traveler program called Sentri. According to Leal, this new community is solidifying the San Diego-Tijuana identity as a region of literally cross-border citizens, adding that he considers himself one of them.

"I don’t live in Tijuana; I live in Tijuana and San Diego," he said.

Leal's company is behind Mexico’s second LEED certified building in Tijuana: VIA Corporativo, a skyscraper that has attracted unprecedented interest from foreign food lovers because it houses Misión 19, the city's most famous restaurant. Leal said the rising food scene — both street food and fine dining — is helping Tijuana capture the attention of foreigners.

Near VIA Corporativo, Seica is developing a large Tijuana condominium project called Arboleda Residencial, which Leal said is already luring American buyers.

Speakers at the real estate conference noted that Tijuana has long been a destination for migrants from lower-income areas of Central America and southern Mexico. But they said the city is starting to appeal to Americans.

Investments in Tijuana are also shifting from low-wage, low-skill industries to those that are higher-profile and higher-value, partly thanks to cross-border collaboration, said Cristina Hermosillo, president of Tijuana's Economic Development Corporation, which helped organize the real estate conference.

She said the conference is meant to provide a platform for industry leaders from both sides of the border to work together on the evolution of the region.

"We feel that putting together both of our strengths, we can actually market our region more efficiently as a globalized mega-region that integrates talent, innovation, infrastructure and advanced manufacturing," Hermosillo said.

Leal agreed, noting that Tijuana has a surplus of engineers graduating from university while San Diego has a deficit. He said cross-border companies and residents can turn local idiosyncrasies into regional strengths.

He recalled going to school in Monterrey, Mexico and encountering surprise when he told his friends he was moving back to his home town of Tijuana, a smaller city.

"They said, 'Why would you? Monterrey is bigger than Tijuana,'" Leal said. "And I said, 'Yeah, if you compare Tijuana with Monterrey, I agree. It's bigger and more important, whatever you want to call it. But if you put together Tijuana and San Diego, we burn Monterrey easily.'""
sandiego  tijuana  border  borders  housing  costofliving  realestate  2016  migration  viacorporativo 
april 2016 by robertogreco
On the Edge | Boom: A Journal of California
"To understand why the Dutch photographer Marie-José Jongerius wanted to photograph in the American Far West—in particular that part of it that runs from Los Angeles inland to Las Vegas, south to Tijuana, and north up through the Central Valley of California—it helps to know something about boundaries and contrast. To know why it’s important to behold her work, it’s critical to know about how that dividing line of sight is not a two-dimensional geometrical figure, but a four-dimensional zone we label the liminal.

Eighty percent of everything we know about the world comes through our eyes, such a vast amount of information (100 million bits per second) that the brain is forced to throw away 90 percent of what hits the surface of the eye, transmitting only 10 percent to the brain for processing. That one-tenth of the world is what we see, the light triaged into about two dozen basic shapes. Circles, ovals, rectilinear shapes such as squares, polygons such as triangles, and then more ambiguously, right angles and arcs. Everything we see in the world is assembled from those shapes, which are made by lines that create the inside and the outside, the left and right, the top and bottom. We are upright bilaterally symmetrical animals, and we organize the information received accordingly. What the lines define around vertical and horizontal axes is boundary contrast, perhaps the second oldest visual notion we own after undifferentiated light and dark. It’s a recognition of line that separates us from the cognition of plants.

Boundaries in the environment are what we tend to move along, as they are rich with information, food, and consequently danger. The edge of the forest where it becomes a meadow is where we find the small animals that are natural human prey. They hide in the safety of the forest, but when they creep and hop and run out into the meadow for food, they become visible and vulnerable. We aren’t so different from the raptors that fly overhead, seeking the same visual information and food source. It’s along the borders and boundaries of the world where photographers can often be found shooting, as well.

The human eye roves about a landscape in staccato movements called saccades. A saccade is a very quick sampling several times a second of what is in front of us; it allows us to identify where we are and what’s around us. Saccades follow general priorities in a rough order: What fits in, what’s anomalous, what displays the bilateral symmetry that can mean friend or foe, what’s in motion and in what direction. When we look at a photograph of a landscape, our eyes tend to follow that same prioritized pattern.

The landscape in which we are most secure while scoping out what’s in our environment is one where we can see and not be seen, and you can see how artists throughout history have intuited that scheme and used it. Claude Lorrain framed his landscapes in the 1600s with dark foliage in the forefront, the view of the artist and viewer alike peering out across the boundary of sanctuary and into the sunlit meadows and ponds beyond. American landscape artists three hundred years later were still using the same format, whether it was Thomas Cole along the Hudson River, Frederic Church in the Andes, or Albert Bierstadt in the Rocky Mountains. Anthropologists call this a conceal-and-reveal, or a refuge-and-prospect landscape. It’s our ancestral home, as well as the design of a contemporary living room, the drapes forming a natural screen from around which we peer onto the street.

The human gaze, whether in the landscape or looking at a picture of a landscape, follows rules shaped by our physical relation to the world, and when an artist takes us out to the edge of where our human neurophysiology is comfortable—out from behind the trees or curtains and into places where boundaries become ambiguous—both our unease and levels of alertness are heightened. When we enter the in-between place, where a line assumes three spatial and dimensions and time as a boundary zone—the liminal—we’re aware that we, too, could become prey, if not to actual threat, then to unnamed fears.

The edge of the shade cast by a tree is seldom a sharp edge, but instead a blurred line caused by the fractal arrangement of leaves overhead, the dappling of sunlight through a permeable crown of foliage, and limbs moving in the breeze. Daylight does not terminate in sudden darkness, even in the tropics where the sun seems to drop like a stone into the ocean; there is always a series of twilights—a civil twilight, a nautical twilight, an astronomical twilight. During the civil stage, the first planets and brightest stars appear. The second stage sees the horizon disappear from view to the navigator. The third is that time of the faintest reflected light high in the atmosphere when we think it’s dark, but it isn’t quite yet.

These are temporal zones of ambiguity that give us pause, and, along with the spatial ones, they have their parallels in everything from literature to architecture. Science fiction horror stories are rife with twilights when the world turns strange. Houses have anterooms, and cities have bridges and sidewalks, places where passage is made but people seldom live. Those people who inhabit such domains are referred to as the homeless. Purgatory is another shaded place of indeterminacy, a rite of passage. This is what is meant by the liminal, where the zone between states means to be both inside and outside, up and down, left and right—and yet none of those things. That is where Marie-José Jongerius searches for her images. The name of her project, Edge of the Experiment, was chosen for a reason.

When Joseph Campbell wrote The Hero with a Thousand Faces, he was working from the work done by the French ethnographer Arnold van Gennep, who in his book The Rites of Passage (1909) described the process of liminaire, the deliberate dislocation of your normal senses into a liminal state of confusion and openness through which pretechnological peoples would pass during initiation rituals in order to gain adulthood or sacred knowledge. The anthropologist Victor Turner (1920–1983), who expanded Gennep’s research, studied rituals and rites among the Ndembu tribe of Zambia. He noted how the experience of an ambiguous zone can lead to paradigm shifts for contemporary individuals as well as tribespeople and postulated that the theater was a liminal space too, suspension of reality during the performance enabling the audience to undergo a transformation.
To work as a writer with photographers in the field, when they are concentrating so hard they cannot talk, is to become entranced with the landscape, to participate in a shared trance.

Making art is a kind of ritual and never more so than for the photographer setting up a tripod and her 4×5 large-format Crown Graphic field camera, framing the view on the ground glass and bringing it into focus, selecting the moment to trip the shutter. Repeated over and over again, especially for those photographers who also do commercial work, such as Jongerius, it becomes an automatic yet hyper-alert, almost Zen-like discipline. To work as a writer with photographers in the field, when they are concentrating so hard they cannot talk, is to become yourself entranced with the landscape, to participate in a shared trance. To couple that mental discipline with a zone of visual ambiguity, a liminal space, is to risk taking your cognition where it hasn’t been before. This is the terrain where Jongerius is happiest."
photography  marie-joséjongerius  california  socal  lasvagas  losangeles  tijuana  liminality  liminal  williamlfox  borders  boundaries  border  landscape  josephcampbell  arnoldvangennep  victorturner  claudelorrain  albertbierstadt  thomascole  fredericchurch  centralvalley  liminalspaces 
january 2016 by robertogreco
Escuela Libre de Arquitectura
"Somos una institución educativa que ofrece estudios para la formación profesional de arquitectos de vanguardia que se proyecten a nivel estatal, nacional e internacional con propuestas innovadoras, sustentadas en la recuperación del entorno local, el respeto ecológico y la incorporación de su obra al contexto considerando los recursos naturales, los estatutos sociales y las tecnologías para el diseño y materialización de las ideas.

Queremos compartir nuestra visión invitando a que se incorporen a nuestro programa a los prospectos a estudiar arquitectura que deseen aprender nuestra propuesta filosófica, artística, sociocultural y profesional a través de una oferta educativa, congruente con la situación actual de la profesión, mediante un proceso educativo formalizado y sistematizado, a la vez que flexible e integral.

Nuestra intención es promover la formación de profesionales comprometidos con el desarrollo de la Arquitectura desde la perspectiva profesionalizante y reconocemos que la educación que impartimos tiene como fundamento una filosofía humanista, en donde la persona es la razón de ser; motivo por el cual, todos los procesos formativos y organizativos se sustentan en sus principios, aportando a la sociedad, a través de sus egresados, personas con capacidades y potencialidades intelectuales, físicas, sociales y culturales, con un acervo de valores que le permiten incidir para el desarrollo de la sociedad en donde se desenvuelven.

[video: https://vimeo.com/100450803 ]

MISIÓN

Formar integralmente a profesionales éticos y competentes, que aprenden haciendo, a través del autoconocimiento, autovaloración y detonando su talento humano- social, con sentido de pertenencia y lealtad hacia su ciudad a través de la Arquitectura, concibiendo proyectos sustentables e innovadores respetando el entorno, que tengan como fin el bien común, arraigados a la sociedad donde se desenvuelven, y que administren y gestionen todos sus recursos tangibles e intangibles, con responsabilidad y honestidad.

VISIÓN

Ser la institución educativa del arte de la Arquitectura de mayor trascendencia en la región, con alcance nacional e internacional, al estar involucrados en proyectos conjuntos con organizaciones sin fines de lucro y gubernamentales, con un fin: alcanzar el beneficio a la comunidad, que coadyuve a la formación de estudiantes competentes y competitivos, cuyos egresados destacan con sus obras de impacto artístico, social y cultural.

VALORES

• Respeto: Hacia el medio ambiente, los recursos, palpables e impalpables, así como hacia las personas individualmente y en grupos.
• Humildad: al proponer y formar parte de un colectivo que brinde un bien a la comunidad.
• Honestidad: al administrar y gestionar los recursos de un proyecto.
• Lealtad: hacia la sociedad, quienes depositan su confianza en ellos como arquitectos para realizar proyectos donde se ven involucrados y beneficiados.
• Pertenencia: hacia nuestro país, estado, sobre todo hacia nuestra ciudad y comunidad.
• Integralidad: al percibirnos como parte de un todo, donde cada quien realiza una actividad en específico que contribuye al crecimiento conjunto como sociedad."

[See also: https://vimeo.com/126544484 ]

[See also:
http://www.plataformaarquitectura.cl/cl/626033/escuela-libre-de-arquitectura-en-tijuana-una-escuela-de-arquitectos-para-arquitectos
http://curbed.com/archives/2015/11/16/tijuana-architecture-school-jorge-gracia-escuela-libre-de-arquitectura.php
http://www.sandiegouniontribune.com/news/2014/dec/07/arquitecto-construye-nuevo-estilo-de-escuela/
http://www.latimes.com/entertainment/arts/miranda/la-et-cam-tijuana-architecture-jorge-gracia-20151029-htmlstory.html ]

[via: https://www.eventbrite.com/e/vosd-experience-tijuana-tickets-19813003226 ]
architecture  education  tijuana  sandiego  design  mexico 
january 2016 by robertogreco
Amid Renaissance, Tijuana Looks to Improve Transit
"Tijuana may finally be making progress on improving its public transit.

It’s been a long time coming. The city’s current bus fleet, for instance, is made up of secondhand U.S. school buses, painted in multicolor and privately run. The city’s mayor has acknowledged the issue.

But Tijuana has begun construction on a 23-mile bus rapid transit system – a higher-quality bus service with dedicated lanes, larger and nicer stations and more regular service. It’s expected to be finished in less than a year and will run up to the Puerta Mexico, the Mexican side of the San Ysidro Port of Entry.

The city has also has laid out plans for a light-rail system that links up to the Mexican portion of the railroad known as the Desert Line, or the Via Corta, which is also being renovated for use as a cargo train at night and a passenger train during the day.

Those plans, however, are still just plans. It’s far from a sure thing they’ll ever come to pass.

Oscar A. Cortes, executive coordinator of Binational Relations for the Federation of Civil Engineers from Mexico, said these improvements were a long time coming, but now they’re needed to continue the urban revitalization Tijuana’s gone through in recent years.

“But to continue to do this, we need to pay attention to how we move people,” Cortes said in Spanish.

The BRT will go from Florido, in the southeastern part of Tijuana, to Puerta Mexico, running down Avenida Revolucion and on highways beside the Tijuana River Channel. The project has been in the planning stages for the past four years. It received a grant of roughly $50 million from the Mexican government. Known as La Ruta Troncal or Ruta 1, the BRT will provide service to an estimated 300,000 passengers daily, for the price of a little less than a dollar per ride, said Cortes.

The renovation of the Via Corta, a freight rail that runs from Tecate to Tijuana, is still in its conceptual stages, with plan proposals and studies under way.

The company that’s handling the renovation of the freight line, as well as the Baja government, both presented their visions for the cross-border train and urban light-rail line during the October meeting of a binational group focusing on bridge and border crossing issues, said a spokesperson of the Bureau of Western Hemisphere Affairs at the State Department.

“Right now, this railroad doesn’t do anything,” Cortes said, in Spanish. “It’s causing big economic delays in the region because we can’t use it.”

A trolley system proposal has also been laid out in a planning document from the Baja secretary of infrastructure and urban development. It is proposed to span about 20 kilometers in Tijuana and could serve 65,000 passengers and would ultimately connect with Via Corta. But it’s is in the very early stages and doesn’t have a funding source yet, Cortes said.

BRT projects have been the public transit of choice in many cities in Latin America, said Dario Hidalgo, director of integrated transport at EMBARQ, a World Resources Institute program that helps the Mexican government oversee public transportation projects it finances.

“Most cities have chosen BRT and bus improvements for its cost-effectiveness,” said Hidalgo. “There are some initiatives for light rail and rail in Tijuana, but as with any federal funding they need to go through an evaluation process and many projects don’t make a cut.”

San Diego’s business community is keeping a close eye on Tijuana’s public transit investments."
tijuana  sandiego  mexico  border  borders  transit  transportation  2015  mayasrikrishnan  busrapidtransit 
december 2015 by robertogreco
San Diego Developers See a New Frontier in Tijuana
"“My favorite disruptive theory is, Tijuana as an affordable housing market for San Diego,” Shannon said.

Tijuana is drawing San Diego developers’ attention for two reasons. One is the emerging market from a growing city undergoing a cultural revival. The second is how difficult and expensive it is to build in San Diego.

“Before there was zero interest from Americans in building here,” said Cesar Leal, director of business development at SEICA, a consulting company in Mexico. “Right now, in the last four months, there’s been a lot more interest showing up.”

Daniel Reeves, the senior vice president of economic development and public policy at Downtown San Diego Partnership, said he doesn’t think this will be a one-off trend for developers.

“You have these forward-looking developers, like Greg Shannon, seeing this,” Reeves said. “I think it is scary for a lot of developers to consider Tijuana, because it’s a different process. But once it pays off for one, we’ll see a flood of people.”

The trend carries its own risks.

While San Diego developers seek relief and opportunity in Tijuana, there is a risk they could shut Mexicans out of the housing market if this becomes a trend.

If more Americans begin building in Tijuana, it may impact housing affordability for moderate- and low-income Mexicans, said Lawrence Herzog, a professor at San Diego State University who focuses on city and regional planning around the U.S.-Mexico border.

Mexicans in the real estate and planning industry, like Leal, are excited about the opportunity to partner with Americans who need their help maneuvering the Mexican system. But affordable has different meaning in San Diego and Tijuana, Herzog said.

“We always have to be very aware of the huge socioeconomic differences between San Diego and Tijuana,” said Herzog.

A $400 to $1,200 rent might be affordable to moderate-income San Diegans; only the low end of that would help a similarly situated moderate-income Baja Californian.

“I would be slightly worried if developers were coming in and building higher-cost housing,” he said.

There are always concerns of gentrification when developers take interest in a new city or neighborhood, said Reeves.

“Anytime that occurs, there should be concerns,” Reeves said. “However, the flip side is those are all construction and service jobs.”

And those jobs can help raise the earnings of lower-income individuals, he said."

Outsourcing San Diego’s Housing Needs

Shannon sees both market-driven and cultural opportunities in Tijuana.

The U.S. Customs and Border Protection’s SENTRI program, which gives pre-screened travelers expedited clearance coming into the country, has made for a less painful border-crossing option. Security concerns have fallen considerably since Sept. 11 and the height of Mexican drug violence. And Baja California is going through its own revitalization – tech hubs, restaurants and local artwork are filling the once abandoned or sleazy storefronts in downtown Tijuana, and Valle de Guadalupe has become a premier wine and food travel destination.

But while Baja is becoming an increasingly appealing place to live, its real estate market needs to catch up.

There’s a dearth of rental units in Tijuana for between $400 and $1,200 per month— there’s high- and low-end, but little in the middle.

But that’s a range where there’s a need, for people on both sides of the border.

Projections from Softec, a Mexico City-based economic and real estate research firm, predict that between 2013 and 2025, Tijuana will need roughly 300,000 homes to meet demand from population increases.

Rental apartments are something new in Mexico, said Leal. Before, apartments were a family business and companies didn’t invest in them in a formal way.

Many Mexicans used to live outside of the city and commute to work, he said.

“But that’s changed a lot now,” Leal said. “People are realizing that the commute wasn’t worth it and people are moving into the city. And the people who moved to San Diego at the worst of the drug violence are moving back because downtown Tijuana is revitalizing.”

That is, some of the increased development could simply benefit those already living in Baja California, or those who relocated in recent years and are looking to come home."
sandiego  tijuana  mexico  border  borders  us  development  mayasrikrishnan  housing  2015 
december 2015 by robertogreco
Storylines TJ/SD
"Storylines TJ/SD maps subjective narratives from the past century that mark, trace, and challenge the transborder condition of Tijuana/San Diego, by highlighting bilingual stories of place-based resistance that have often gone underrepresented and bringing first person narrative to a region that is often interpreted through dehumanizing ideologies.

Organized by a binational editorial board of artists, art historians, and activists, Storylines: TJ/SD serves as a living narrative archive, manifesting as both live programming + public events accessible on both sides of the border, and as an interactive website and podcast released serially.

Storylines TJ/SD is:

Kate Clark (SD)

Misael Diaz (TJ)

Amy Sanchez (TJ)

Emily Sevier (SD)

Sara Solaimani (SD)

Adriana Trujillo (TJ)"
sandiego  tijuana  border  borders  stories  storytelling  bilingual  spanish  english  español  via:publichistorian  kateclark  misaeldiaz  amysanchez  emilysevier  srasolaimani  adrianatrujillo  art  history  events  mexico  us  activism  resistance  place 
april 2015 by robertogreco
Smugglers Use SENTRI Drivers To Move Drugs Across San Diego Border | KPBS
"Authorities have learned of at least three similar incidents in San Diego since then, all involving drivers enrolled in the popular SENTRI program, which stands for Secure Electronic Network for Travelers Rapid Inspection.

There were 12.6 million SENTRI vehicle crossings in 2013, more than double the 5.9 million four years earlier.

The program enables hundreds of thousands of people who pass extensive background checks to whiz past inspectors with less scrutiny. Signing up can reduce rush-hour wait times from more than two hours to less than 15 minutes at the San Ysidro Port of Entry, the nation's busiest land border crossing.

But like other pre-screening programs, there's a potential downside: The traveler can become a target, and such cases can be tricky for investigators when people caught with drugs claim they were planted.

Using magnets under cars isn't new, but this string of cases is unusual, said Pete Flores, field office director for the U.S. Customs and Border Protection.

"It's a cat-and-mouse game," Flores said. "Each change they make prompts a change from law enforcement, which in turn prompts them to again change their tactics."

The main targets are people who park for hours in Mexico and keep regular patterns, said Lauren Mack, spokeswoman for U.S. Immigration and Customs Enforcement. Smugglers track their movements on both sides of the border, figuring out their travel habits. It takes only seconds to attach and remove the magnetized containers."
sandiego  sentri  border  borders  drugs  2015  mexico  us  smuggling  tijuana  sanysidro 
january 2015 by robertogreco
The Rebirth of Tijuana - NYTimes.com
"Only a few decades ago, Tijuana was a blank slate, a small coastal outpost on the California border. It had none of the old elites, family business groups bent on preserving their power and wealth.

Instead, it was folks beaten down by Mexico who came by the millions to, and often through, Tijuana. Desperate and possessing only their own wits and capacity for work, they brought a dynamism that Mexico had stifled but Tijuana found use for. Those who stayed found a new world and many moved up into the middle class in a lifetime.

It helped that Tijuana is the Mexican city farthest from Mexico City. Tijuana tolerated far less of the desiccated pomp and protocol, the reverence for title, that has suffocated so many fine ideas and sharp minds in the capital, which is the center of the country in almost every way, good and bad. To be far from Mexico City, particularly to the north, was once considered to be virtually not Mexican at all. Federal bureaucrats from Mexico City for years only unwillingly left the center of power. They were paid extra to go to Tijuana. But that distance gave Tijuana oxygen. There’s an old saying about Mexico: So far from God, so close to the United States. There’s some truth to that. But the last few decades have shown that, for poor Mexicans, the truer riff is, “Farther from Mexico City, closer to God.”

Immigrants, fleeing north for decades, have demonstrated that. So has Tijuana, which has been Mexico’s best domestic factory at turning the poor into the middle class.

Crucially, of course, the city is face-planted up against the United States. Early in the town’s history, in fact, it was easier to get to Tijuana from San Diego than from elsewhere in Mexico, where the winding road from Mexicali took most cars a week. Until several decades ago, Tijuana used dollars, not pesos.

Ties to the Southern California economy created so many new chances that a poor, ambitious guy couldn’t help but find something new to do with his life. In Tijuana, risk-taking usually paid off. Among the first to learn that were the yeseros — the plaster-statue makers. They learned to shape plaster into everything from bulls to Mickey Mouse, and created an industry selling them to tourists. The misbehavior of drunk and horny Americans was also an opportunity for someone looking for an angle, and many grabbed it.

But Tijuana drew more from the United States than the dollars of debauched American tourists. Tijuanans had the graciousness to overlook tourists’ behavior as they peered north and glimpsed a different way of doing almost everything — art, business, government, education.

Today, the city has a deeper tradition of private giving than most in Mexico, where the central government discouraged philanthropy, seeing it as competition to its own power. Listening to San Diego public broadcasting, and drawing from the example of nonprofit arts groups there, Tijuana’s middle classes have created one of Mexico’s most vibrant opera scenes. They did this with very little government assistance — a rarity among Mexican arts groups. Their Opera in the Street Festival attracts close to 10,000 people every July. It takes place a few blocks from the wall between the two countries in Colonia Libertad, a vast neighborhood where the city’s human smuggling industry first took root and many houses have that sagging-wedding-cake look.

Tijuana does have a brutal, cynical side. Rural folks fled their destitute villages in Mexico’s interior. But in Tijuana, they were quickly mashed into an industrial work force, living in shantytowns without basic services such as sewers or drinking water, and doing tedious production-line work assembling goods for American consumers.

IN addition, Mexico’s corrupt political culture and American tourists’ taste for the forbidden allowed a sinister underworld to develop, trafficking people and substances to gringos. For a while, this side of Tijuana strangled the city.

By 2007, the reigning Arellano Félix family’s drug cartel was disintegrating, and a fight for control ensued. Bodies piled up. Evil men emerged. One’s nickname was El Muletas — Crutches — because he left people crippled. Another cartel member was known as El Pozolero — the Soupmaker. His job was to dissolve the corpses of rivals in a chemical soup; he admitted to liquefying some 300 bodies when he was captured in 2009. Tijuana was paralyzed by curfews, kidnappings of doctors and dentists, and reports of mass slaughters. American tourists ceased coming. Many in the middle class fled.

But the medieval bloodshed receded in 2010, and since then the town’s open and effervescent essence has revived.

Most shops selling velvet paintings and naked-lady playing cards died after the Americans stopped coming. But the tourist drag, Avenida Revolución, is now repopulating with daring restaurants, microbreweries, boutiques and art galleries. They are owned by hipsters using the strip’s now cheap rents, and the confident risk-taking culture that Tijuana handed down to them, to cater to the local market of middle-class young people just like them.

Ecosystems of high-tech start-ups and avant-garde artists are emerging. So, too, is a new generation of filmmakers, using Canon 60Ds to mine the documentary raw material the city offers.

Decades after rising from the coastal desert, Tijuana finally has something like a history. More important, it has emerged from its darkest days to return to its roots as that rare place within Mexico where poor people like Mari can find refuge and a future."
2014  tijuana  mexico  sandiego  history 
october 2014 by robertogreco
Tijuana: life on the political equator | Cities | theguardian.com
"In one of those speculative reports full of foreboding about our urban future, UN-Habitat has predicted that this century metropolises will start joining up like blobs of mercury, crossing international borders to form urban mega-regions. Tijuana-San Diego is an intriguing prospect because the border is not just national but forms part of an imaginary line dividing the global South and North, the developing and developed worlds. This is what Cruz calls the political equator. The question is how the two worlds on either side of it can influence each other?"



"Cruz has done pioneering work in Los Laureles. He was the first to point out that the waste from San Diego’s construction industry was being recycled into new homes here. Further along the valley, where the settlement is more precarious, the evidence is everywhere. “You see those yellow walls?” says Cruz, pointing to the side of a house. “Those are garage doors from San Diego.” Garage doors are a popular material in this canyon. The houses are works of assemblage, like habitable collages. Elsewhere, there are whole post-war prefab houses, simply transplanted from the San Diego suburbs by truck. In crowded areas these are sometimes raised up on metal stilts, right on top of another house – a phenomenon Cruz calls “club sandwich urbanisation". He was so captivated by this practice that at one point he collaborated with amaquiladora to cheaply manufacture space frames specifically for raising up old bungalows. It was a kit of parts for building club sandwiches.

The use of readymades like this has led Cruz to describe such neighbourhoods in Tijuana as purely productive, as opposed to the consumption-based model across the border. Here, San Diego’s waste is recycled to build new communities. Revealing this symbiotic relationship was one way of ascribing value to a type of settlement that is under-respected. “This level of activity needs to be amplified if we’re going to understand the sustainable city,” he says. But while Cruz celebrates such creativity, he is careful not to imply that such communities don’t still need help.

Most of Los Laureles is informal, technically an illegal squatter settlement, but many of the residents have begun the process of acquiring land titles. It is a slow process through which residents incrementally buy legal status and in exchange get the utility services and the political representation that come with it.

This is the kind of administrative process that Cruz has been at pains to engage with. For him, architectural design is far less important than the bureaucratic systems that determine whether communities are empowered or disempowered. And this is precisely one of those cases, where informal communities have the resourcefulness to build homes out of garage doors but not the bureaucratic tools – a legal address, for instance – to find employment outside of the informal sector."



"“This is the laboratory for me in the next five years,” says Cruz. “The first thing Oscar and I want to do is to build a community centre/scientific field station to work on the pollution and water issues.” The big question is whether he can get San Diego’s administration to invest in a place like Los Laureles, whose trash washes across the border into the estuary, as a way of protecting its own ecological interests. “Instead of spending millions on the wall, they could invest in this community so that the poor shanty town becomes the protector of the rich estuary.”

As the last informal settlement in Latin America, with its nose pressed against the window of the North, Los Laureles is already symbolic. But it is also significant as the nexus of three crucial issues. Firstly, it reveals the material flows across this border: San Diego’s waste flows south to be recycled into a barrio, while the barrio’s waste is washed north less productively. Secondly, by disrupting the watershed, the border is undermining the stability of an ecological system. And Cruz’s idea is that Los Laureles should be a micro case study in transnational collaboration, so that the barrio is seen not as a slum but effectively as the guardian of the local environment. Finally, the canyon is another potential testing ground for developing land cooperatively, much as Urban-Think Tank had imagined doing in San Agustín, so that the communal agenda is not lost in the formalisation process.

For Cruz, the collision of complex issues embodied by this easily overlooked community is of global significance. “Any discussion about the future of urbanisation will have to begin by understanding the coalition of geopolitical borders, marginal communities and natural resources,” he says. “That’s why this canyon is fundamental.”"



"Cruz recognises that social change and the creation of a more equitable city are not a question of good buildings. They are a question of civic imagination. And that is something that has been sorely eroded by the neo-liberal economic policies of recent decades. Cruz is a stern critic of America’s steady withdrawal from any notion of public responsibility. He talks of “the three slaps in the face of the American public” after the 2008 crash, namely: the Wall Street bailouts, the millions of foreclosures and the public spending cuts. “It wasn’t just an economic crisis but a cultural crisis, a failure of institutions,” he says. “A society that is anti-government, anti-taxes and anti-immigration only hurts the city.”

So what is to be done? For Cruz, the only way forward is not to play by the existing rules, but to start redesigning those institutions. In San Ysidro, he has been seeking to change the zoning laws to allow a richer and more empowering community life. And changing legislation means engaging with what has been called the “dark matter” – not just the physical fabric of the city, but its regulations.

This is the very definition of the activist architect, one who creates the conditions in which it is possible to make a meaningful difference. New social and political frameworks also need designing, and this i what Cruz has been doing in San Ysidro. “Designing the protocols or the interfaces between communities and spaces, this is what’s missing,” he says. It means giving people the tools they need to be economically productive, and giving them a voice in shaping how the community operates.

In one sense, this could be misinterpreted as just yet more deregulation. But this is not a form of deregulation that enables more privatisation. On the contrary, it would allow more collective productivity and a more social neighbourhood. Here, the architect and the NGO become developers not with a view to profit, but to improve the prospects of the community. “We need to hijack the knowledge embedded in a developer’s spreadsheet,” says Cruz.

In San Ysidro lies the seed of an idea, which is that the lessons of Latin America are gradually penetrating the border wall. What Cruz is trying to do is challenge the American conception of the city as a rigidly zoned thing servicing big business on the one hand and some quaint idea of the American dream on the other. Instead, the city could be more communal, more productive. And he’s drawing on the much more complex dynamics of informal economies, where no space goes to waste, where every inch belongs to a dense network of social and economic exchanges. That’s the model he’s using to try to transform policy in San Diego. The regulations need to be more flexible, more ambiguous, more easily adapted to people’s needs. This is not a Turneresque laissez-faire attitude, but an attempt to get the top-down to facilitate the bottom-up.

And while much of that may sound somewhat utopian, the San Ysidro project has had a stroke of luck that may soon make it a reality. Cruz is now the urban policy advisor to the mayor. As the director of the self-styled Civic Innovation Lab, he heads a think tank operating out of the fourth floor of City Hall, which means that San Diego now has a department modelled on the policy units that were so transformative in Bogotá and Medellín.

What we have here is a Latin American architect, steeped in the lessons of Curitiba, Medellín and Tijuana, embedded within the administration of a major US city. And it’s clear that Cruz is establishing a bridgehead for the lessons of Latin America to find new relevance across what was once an unbridgeable divide. It’s early days, but the implications may well be radical."
justinmcguirk  teddycruz  tijuana  border  borders  architecture  2014  mikedavis  politicalequator  loslaurelescanyon  sandiego  mexico  us  latinamerica  empowerment  bureaucracy  process  politics  geopolitics  squatters  oscarromo  infrastructure  medellín  curitiba  sanysidro  urbanism  urbanplanning  urban  cities  policy  economics  activism  medellin  colombia 
july 2014 by robertogreco
Bajalta California | Boom: A Journal of California
[Also posted here: http://www.kcet.org/arts/artbound/counties/san-diego/bajalta-california-boom-magazine.html ]

"The United States–Mexico borderlands are among the most misunderstood places on Earth. The communities along the line are far distant from the centers of political power in the nations’ capitals. They are staunchly independent and composed of many cultures with hybrid loyalties. Historically, since the borderline was drawn between the two countries, Texas border counties have been among the poorest regions in both countries. Those in New Mexico and Arizona were sparsely populated agricultural and mining districts; and in the more affluent west, Baja California was always more closely connected to California than to Mexico. Nowadays, border states are among the fastest-growing regions in both countries. They are places of economic dynamism, teeming contradiction, and vibrant political and cultural change.

Mutual interdependence has always been the hallmark of cross-border lives. After the 1848 Treaty of Guadalupe Hidalgo settled the Mexican-American War, a series of binational “twin towns” sprang up along the line, developing identities that are sufficiently distinct as to warrant the collective title of a “third nation,” snugly slotted in the space between the two host countries. At the western-most edge of this third nation is the place I call “Bajalta California.”¹

The international boundary does not divide the third nation but instead acts as a connective membrane uniting it. This way of seeing the borderlands runs counter to received wisdom, which regards the border as the last line of national defense against unfettered immigration, rapacious drug cartels, and runaway global terrorism. It is a viewpoint that substitutes continuity and coexistence in place of sovereignty and difference.

In 2002, I began traveling the entire length of the US-Mexico border, on both sides, from Tijuana/San Diego on the Pacific Ocean, to Matamoros/Brownsville on the Gulf of Mexico, a total of 4,000 miles. I voyaged in the footsteps of giants. Sixteenth-century Spanish explorers Cabeza de Vaca and Francisco Vásquez de Coronado came this way. Generals Santa Anna and Zachary Taylor fought important battles for these lands during the Mexican-American War.

What began as an impulsive journey of discovery was rapidly overtaken by events. I had the good (and bad) fortune to begin before the United States undertook the fortification of its southern boundary, and so I became an unintentional witness to the border’s closure, an experience that altered my understanding of the two countries. My experiences of the in-between third nation provide a powerful rejoinder to those who would relegate the borderlands to the status of surrogate battlefield against migrants, narcotraficantes, and terrorists.

In his 1787 biography of Fray Junípero Serra, Francisco Palóu included a map of the first administrative division of Baja and Alta California, indicating the Spanish allocation of mission territories between Franciscans to the north and the Dominicans to the south. That border was recognized on 2 February 1848, when a “Treaty of Peace, Friendship, Limits, and Settlement” was signed at Guadalupe Hidalgo, thereby terminating the Mexican-American War, which had begun in 1846 and was regarded by many (including Ulysses S. Grant) as a dishonorable action on the part of the United States. Article V of the Treaty of Guadalupe Hidalgo (as it came to be called) required the designation of a “boundary line with due precision, upon authoritative maps, and to establish upon the ground landmarks which shall show the limits of both republics.” The line would extend from the mouth of the deepest channel of the Rio Grande (known in Mexico as the Río Bravo del Norte); up river to “the town called Paso” (present-day El Paso/Ciudad Juárez); from thence overland to the Gila River, and down the channel of the Colorado River; after which it would follow the administrative division between Upper (Alta) California and Lower (Baja) California to the Pacific Ocean.²

In a multivolume history of the American West, historian Carl Wheat refers disparagingly to the post-war boundary survey as the stuff that “dime novels” are made of. To justify this characterization, he invokes yarns about political intrigue, deaths from starvation and yellow fever, struggles for survival in the desert, and the constant threat of violent attacks by Indians and filibusters. He also complained that the US field surveys seem to have been plagued by acrimony and personal vendetta: “if ever a mapping enterprise in the American West was cursed by politics, interdepartmental rivalries, and personal jealousies, it was the Mexican Boundary Survey.”³

It’s true that the letters, diaries, and official memoranda by individuals on the US team portray just about every American participant as a scoundrel or self-promoter. Yet to me the boundary survey is a story of heroism, skill, and endurance of epic proportions. It might lack the glamour of war, or the grandeur of Lewis and Clark’s opening of the lands west of the Mississippi in the early 1800s, but the survey is one of the greatest episodes in US and Mexican geopolitical history. It remains deeply etched in the everyday lives of both nations. Dime novel it most certainly is not; it is more a narrative of nation-building centered in American President James K. Polk’s vision of territorial hegemony extending as far as the Pacific Ocean, with all its momentous consequences."
california  sandiego  tijuana  mexicali  calexico  bajaltacalifornina  border  borders  mexico  us  michaeldear  bajacalifornia  2014  history 
may 2014 by robertogreco
Avenida Revolución’s renaissance
"Revamped Mexicoach Station is part of a new generation’s battle to reclaim downtown Tijuana"



"Buenrostro, a passionate 30-year-old filmmaker and photographer, says he’s tired of the telling and retelling of Tijuana’s recent history regarding the drug war and the common perception that the city is still mostly seedy and filled with urban decay. He wants people to focus more on the city’s future and the mass of young people like him who are reclaiming downtown spaces and opening businesses catering to locals instead of tourists.

“What is happening right now is that these spaces are being transformed into new purposes that are generating a big impact on the city,” he says as he heads south on Revolución toward Sixth Street and the iconic Mexicoach building, with its eye-catching stained-glass rooftop. “It’s changing…. You can see it.”

Buenrostro walks past the handful of folks on benches at the entrance of the Mexicoach Station waiting for busses. The building is still a transportation hub, but what once served somewhere around 20,000 people a week now serves just about 200, Buenrostro says.

He blazes by a large, stuffed ostrich, one of the bizarre items for sale at the last remaining curio shop located near the entrance of the large building, and heads back to the stairs leading to the second and third floors. The loud sounds of construction fill the raw space he and his partners are leasing and refurbishing, so he pauses before heading up to the second floor to show off what, come early May, will be HUB STN.

“This building, like any other building on Revolución, was focused only on tourism,” he says, pointing to several shuttered storefronts on the first floor. “Tourism stopped…. But, eventually, a new type of tourism will come. In our case, entrepreneurial tourism—the people who are interested in the things that are changing the city, not the things that’ve contributed to the negative cliché of this city.”

Buenrostro is a founder of Reactivando Espacios, the initiative that gained international attention when the group helped negotiate with landlords of Pasaje Gómez, a once-abandoned alleyway, and rebranded it as a vibrant cultural district by documenting the potential of the space with film and photography.

These days, however, unless there’s a big public event, both of the pasajes sit relatively empty. On a recent visit to Pasaje Gómez, just a handful of shops were open and only a few potential customers trickled through. A similar scene played out across the street at Pasaje Rodríquez, where, thanks to a popular bookstore and a brewery, a few more customers lingered. Buenrostro and a few tenants in the pasajes say the landlords of the alleyway shops began seeing the large number of people at events and raised rents, pushing some tenants out. Another issue is artists renting spaces in the pasajes who refuse to open during normal business hours because there isn’t enough foot traffic.

Buenrostro isn’t ready to write off the alleyways as failures just yet, but he does admit that, with the Mexicoach project, he and his partners needed to take a new and different approach: focusing on binational startup businesses and entrepreneurs in diverse sectors.

“This building will be revitalized from a more economical point of view,” says Buenrostro, who approaches redevelopment as he would approach a documentary film, by first researching the history of the space and then capturing the story of its transformation with film and photos. “We are already leasing spaces, and it isn’t even finished yet.”

Rene Peralta, a professor at Woodbury School of Architecture and the principal of Generica, an architecture firm in Tijuana, is advising Buenrostro and partners Miguel Marshall of Angel Ventures Mexico and Marco Soto of Startup Weekend Tijuana on how to make HUB STN a sustainable venture. While Peralta is supportive of the project, he has some serious doubts.

“Basically, nothing is going to work downtown until you get a critical mass of people living and working there,” Peralta says. “They want to be the saviors of downtown. They have good intentions, and they’re doing everything they can to try to make this work.”

The big challenge, Peralta says, is an older generation of landlords who own most of the property on Revolución—Mexicoach Station included—and can’t see the street becoming anything but a tacky tourist destination. They don’t see the value of lowering rent or redeveloping their spaces for entrepreneurial or creative ventures, he says.

Buenrostro knows that asking property owners to take a chance on new entrepreneurs for the greater good of the city is a hard sell. It was difficult to initially convince the landlords of Pasaje Gómez to lower rents in order to allow creatives to move in, but he thinks startup businesses and entrepreneurs from both sides of the border will help ensure HUB STN’s longterm viability.

“Entrepreneurs want to contribute to the whole revitalization of downtown,” he says. “They know the value of what it’s generating.”"
tijuana  architecture  2014  avenidarevolución  mexicoachstation  reneperalta  redevelopment  mexico 
april 2014 by robertogreco
BORDERLAND : NPR
"We Took A 2,428-Mile Road Trip Along The Mexico Border: Here's What We Saw"



"For now the party was bound for a Border Patrol station, though it was held up while agents awaited the arrival of a child’s car seat. That seat represented the ironies we found along the whole length of the border: how a child could make a perilous journey, possibly thousands of miles, finally to be held up for want of safety equipment. How the Border Patrol would carefully watch the safety of children before sending them back to some desperate situation."

[See also: Special Series: Borderland: Dispatches from the US-Mexico Boundary:
http://www.npr.org/series/291397809/borderland-dispatches-from-the-u-s-mexico-boundary ]
mexico  npr  journalism  storytelling  us  border  borders  photography  california  sandiego  tijuana  texas  newmexico  arizona  ethiopia  migration  immigration  immigrants  politics  geopolitics  food  culture  families  language  anthropology  law  tostilocos  spanish  español  english  spanglish 
april 2014 by robertogreco
pensamientos genericos - 10th Year Anniversary
"Tijuana’s Haunt
Rene Peralta

In Tijuana everybody seems to be a poet or a painter.
Anthem magazine (2004)1

Artistic practice in the border region has tended to be multidisciplinary in nature. The
mechanisms and infrastructures that support cultural production elsewhere are limited
or absent here, so this multidisciplinary model has been developed as a survival
mechanism, countering the lack of economic stability as well as academic and institutional
support. Economic and sociopolitical dynamics have encouraged the creation
of countless “alternative” praxes in the city of Tijuana, as artists have addressed contemporary
issues pertaining to the volatile life of the U.S.-Mexico border. The most
considerable experimentation has taken place in the realms of literature and visual art.
A search for an understanding of border identity has produced conceptual reflections
on the city from writers and academics alike, ranging from counterculture narratives to
works of postmodern theory.

The challenges that the region presents have led to an effort to reach a general or
open definition of “border” urban and social space. Néstor García Canclini became
an important influence in the rereading of social and urban space produced by an
incongruent urban visual system made up of constructions characterized by cultural
hybridity and their users. In his seminal text Hybrid Cultures: Strategies for Entering
and Leaving Modernity, hybridity is presented as an important concept through which
we can understand the processes that create the social and spatial conditions of
the border city. Canclini explains three processes that define the hybrid condition:
the breakup and mixture of the symbolic collections that organize cultural systems, the
deterritorialization of symbolic process, and the expansion of impure genres. Processes
combining decollection and deterritorialization have changed the structure of and
relationships between image and context as well as the semantic and historical references
that tie them together. In the space of the contemporary city, the lack of urban
regulation and a hybrid architectural culture create a mismatch of styles, together with
the interaction of monuments and advertising, situating the visual order and memory
of the city in heteroclite networks. Lastly, Canclini explains tensions of deterritorialization
and reterritorialization: the loss of innate relationships among culture, geography,
and social territories and at the same time territorial relocations of new and old
symbolic productions.2

Tijuana then is an example of this great hybrid experiment wherein the notion of
authentic culture and identity is no longer credible.



What is fascinating is the determination of the population to appropriate
urbanism and model it through their own idiosyncrasies. If a certain hybridism
characterized the informal self-built shacks, these mono-logical constructions include
seriality, production-line planning, and nonplace iconography as part of their pedigree. Architects have had a passive role in the construction of the urban realm. Major
urban developments have been made through forceful intervention, foreign and
national, in the name of decodifying the Mexican border with a national modern style
or marking it as a place of architectural decontextualization, as in the case of the Agua
Caliente Casino, designed in a Moorish/mission revival style for the mob by a San
Diego teenage draftsman named Wayne McAllister in 1928.6 Since its conception, this
city that the border created has had episodes of urban consolidation as well as
instances of rampant and irregular development. Art practices have evolved very efficiently
within the codes and concepts that define the urban border. It seems that urban
spatial practices still need to mature into elaborate multifunctional networks that can
find resources and mechanisms for a sense of criticality and adaptation. It may be that
in Tijuana everybody is (only) a poet or a painter, at least for now."
tijuana  2004  reneperalta  2008  art  design  architecture  urban  urbanism  nonplaces  border  borders  mexico  sandiego  multidisciplinary  survival  hybridity  deterritorialization  decollection  reterritorialization  culture  geography  heribertoyépez  néstorgarcíacanclini  literature  marcosramirezerre  jaimeruizotis 
april 2014 by robertogreco
A Conversation with Andrew Blauvelt and Tracy Myers | Worlds Away
[Found in Worlds Away: New Suburban Landscapes: http://www.amazon.com/Worlds-Away-John-Archer/dp/0935640908 ]

"AB: It’s the old cliché, but a picture is worth a thousand words. The symbolism around an image or around a building is so much stronger. Images tend to be more specific, and that carries with it much more baggage, while statistics and theories seem more abstract to most people.

TM: Surely people pass in their grocery store, or at the gas station, the new suburbanite: the immigrant, the African American family, or the Indian family, or whomever. But it might not really register. Although I don’t believe that artistic representation of something necessarily endows it with additional value, the fact that an artist pays attention to suburbia might cause a visitor to stop and say, “Wait a minute. If this is important or interesting enough for an artist to be exploring it, or for an architect to be thinking about it, then it must be meaningful, and maybe I need to stop and think about my own situation, my own neighborhood, my own environment.”

KS: And beyond that, you have work here that represents a rich critique. In what ways do you see the exhibition exploring, for example, the increasing cultural diversity of suburbia?

AB: Artist Laura Migliorino, who lives here in Minneapolis, travels past suburban development every day and was intrigued because she watched the sprawl happen—it just follows you to your workplace, down the highway, and it evolves over the years (pages 33–37). And then one day she decided to explore it. She started asking to photograph people there, and was surprised by the diversity she found. Some of that diversity is due to the fact that most immigrants used to settle in urban areas, in the city, which was the traditional place because it was the most convenient and cheapest place to live. Today, the settlement pattern is very different—now it’s suburban—and for different reasons.

TM: It’s also where the jobs are. Most of the job growth since the 1980s has been in the suburbs.

AB: And when you don’t have great public transportation, you have to live closer to work. Some of that might be fueled by basic housing needs. If you have an Asian immigrant culture that is based around multigenerational family life, and the family is all living under one roof (or wants to), then the house type that you’re looking for might be a first-ring suburban house. It’s a larger structure, there are many bedrooms, and it’s at a price point that is more affordable.

TM: Or people might build another structure on their property to accommodate multigenerational families or multiple individuals, not related, living within one house. One of the interesting things is that many of the conditions people thought they were leaving behind in the city now occur in older suburbs. Infrastructure is getting old, taxes are going up, and immigration is increasing density and diversity. In some places, this has led to overt hostility—it’s upending all the expectations of people who moved to the suburbs thirty or forty years ago.

KS: There are also the retail battles. If you’re going to fashion a new retail district in a culturally diverse suburb like Fremont, California, which has become an ethnoburb with large Chinese and Indian populations, what kind of retail will there be? Will there be a diverse range of restaurants and grocery stores, or will it be anchored with big box retail or national chains? There was some tension over this a few years ago. But then there’s architect Teddy Cruz . . .

AB: I was also going to bring him up because he offers a good example of how looking at patterns of habitation and dwelling in Tijuana might affect suburban development in San Diego and vice-versa (page 120).

TM: He’s very interested in not eradicating, or obliterating, the local immigrant culture’s particular practices and traditions, but rather allowing the architecture to respond to them and privilege them. As someone who is involved in community development, I know how very complicated it can be, and the thing that most fascinates me about Teddy’s work is the process-based nature of it. And this is what makes it so challenging to represent: he describes it as triangulation among the citizens, the architects, and the city government, trying to convince the city to accommodate these situations that fall outside the mental framework of what is an appropriate way to live, or what is an appropriate way to build. It’s multigenerational; it celebrates communal living outdoors. Some of the other architectural projects in the exhibition are actually rather neutral in the way they incorporate thinking about changing demographics. They’re not so much responding to a specific kind of population as they are responding to a specific physical and economic condition.

KS: Why do you think that is?

TM: Well, mostly it’s a matter of the scale of the condition those particular projects address: a dead mall, for example, or a larger exurban situation rather than a single residence. These are theoretical projects that could be realized.

AB: They tend to be pragmatic, yet visionary. And they’re not formally driven, which doesn’t mean that they look bad! It’s thinking about occupiable space, rather than simply the purity of space, for example.

TM: Another thing about the architectural projects is their incremental nature, as in the proposals of Lateral Architecture (page 235) and Interboro (page 225). I think this marks a big change in architectural thinking; whether or not it filters through the profession in general remains to be seen. Both of those projects accept given conditions and propose changes that either respond to those conditions and make lemonade out of lemons, as it were, or in some other way try to massage the condition.

AB: It’s very tactical, looking for opportunities when or where you can. Lateral Architecture, for example, examines the space between big boxes in what are called power centers and ways that it can be occupied or programmed differently. It’s not Victor Gruen’s utopian vision of the regional shopping mall. In fact, Interboro studied the activity patterns of a dead mall. The mall is not truly dead because people are still there; not a lot of people, of course, but it’s more about a mall’s afterlife, or half-life, while it is in economic transition.

TM: And some of the mall activity is very illicit. Recognizing that fact is a much more realistic way of thinking about any kind of change than trying to completely transform something.

KS: Another thing that strikes me with somebody like Teddy Cruz is that he is opening up opportunities for others to continue to transform the landscape.

AB: Exactly. He’s ceding control, or perhaps better, creating a framework. It’s not about mastery. You create a structure, and allow it to evolve and develop on its own terms. As an architect you have to be okay with that, but it demands a strong framework.

TM: The subtext is not the typical attitude that drove modernist planning: “This is all wrong. We have to change it.” Lateral and Interboro are saying, “Okay, the status quo might not be great, but this is what it is. What can we do with it, rather than trying to transform the attitudes that led to this situation?” I think that’s pretty radical, actually.

KS: It raises the issue of critique from the outside in as opposed to the inside out—about artists and architects who might have grown up in suburbia, who might be living in suburban conditions, engaging with them as they’re producing and examining the increasing complexity of their reactions to suburbia. Are you still seeing a cultural vanguard’s reaction very much from the outside?

AB: The cultural vanguard’s negative critique of suburbia, I believe, forms the normative position on suburbia. However, lived experience and firsthand knowledge of the place can produce more nuanced or complex, and even contradictory, reactions."
teddycruz  2007  suburbs  suburbia  andrewblauvelt  tracymeyers  katherinesolomonson  sandiego  tijuana  immigrants  culture  cities  urbanism  architecture  design  border  borders  lauramigliorino 
march 2014 by robertogreco
Centro de Enseñanza Técnica y Superior - Wikipedia
"El Centro de Enseñanza Técnica y Superior (CETYS) es una universidad privada mexicana comúnmente conocida como CETYS Universidad. La institución fue fundada el 17 de febrero de 1961 por el presidente municipal Fernando Macías Rendón en Mexicali, Baja California. El primer alumno registrado fue Eugenio Lagarde Camerón y las clases iniciaron el 20 de septiembre. El siguiente año se agregaron los programas académicos de ingeniería industrial, contabilidad y administración de empresas. El primer graduado fue Daniel Martín Campos en 1966. El campus de Tijuana se fundó en 1970, mientras que el de Ensenada en 1975.

La universidad es reconocida por contar con la acreditación de WASC (Western Association of Schools and Colleges), la cual es una organización que acredita a universidades estadounidenses de excelencia como lo son Stanford University, University of California - Berkeley, San Diego State University, University of Southern California, entre otras. Esta acreditación garantiza y asegura la calidad académica a la altura de cualquier universidad acreditada en EUA al evaluar todos los recursos de la institución. CETYS Universidad es la primera universidad en latinoamérica que cuenta con esta acreditación. Además, cuenta con otras acreditaciones nacionales como FIMPES que impulsan el desarrollo de la calidad educativa de esta institución.

CETYS cuenta con Bachillerato General y Bachillerato Internacional. Actualmente, CETYS es la mejor preparatoria de Tijuana y la segunda a nivel estatal de acuerdo a los resultados obtenidos en el examen de ENLACE.

Con un marcado carácter humanista, el CETYS Universidad busca, tal y como lo establece en su misión, "contribuir a la formación de personas con la capacidad moral e intelectual necesarias para participar en forma importante en el mejoramiento económico, social y cultural del país"."

[See also: http://www.pacificridge.org/podium/default.aspx?t=159680&rc=0 ]
mexico  tijuana  ensenada  education  wasc  highered  highereducation  mexicali  bajacalifornia 
november 2013 by robertogreco
Architect Peter Zellner's Tijuana Experiment | San Diego | Artbound | KCET
""I went to Mexico trying to figure out how to work differently," he explains. "What I took back was learning to work on the fly and learning to improvise, not entering the discussion with preconceptions about the right solution, and sometimes not even showing up with -- this sounds horrible -- with finished construction drawings. Often we worked out things in the field, making the drawings on site."

This is how Zellner found himself in the field with the stonemason, sketching out a tile pattern for the marble shower. Details and material selections were more collaborative than up north. "Some days there wasn't a right answer," he continues, describing an almost artisanal process. "The question was: What materials are available today, for instance knowing what sort of marble we can source, how can we cut it? When you are working with people with 40 years of stone working experience, they're not scared to not know the answer that day. They worked it out on the spot. I learned something from that sort of approach.""

Zellner's shift from a professional paradigm toward a more ad hoc approach may seem anachronistic in an era when digital tools are defining the cutting edge of architecture and the act of building a has become almost a conservative byproduct. (He teaches at technological powerhouse SCI-Arc, after all.) A long history of artistic and architectural precedents underscores his philosophy. For instance, ZELLNERPLUS has no physical office -- it's a post-studio practice. The trappings of the professional atelier have been traded in for a laptop and mobile devices. Zellner cites minimalist sculptor Tony Smith, who phoned in his early 1960s sculptures as instructions to fabricators, as one inspiration for applying art world methodology to conventional architecture practice. And the influence of the L.A. School -- Gehry, of course, but also Morphosis, Studioworks, and Fredrick Fischer -- is there. Beginning in the late-seventies, those architects found experimentation in everyday materials combined with new formal expressions and spatial relationships.

"Experimentation now is understood as kind of the byproduct of toying with software and fabrication techniques, but I'm less interested in this rarefied concept," Zellner explains. "Today, the venues for experimentation are galleries and museums, books, the Internet, and the academy. However, my understanding is -- at least as far as subjective experimentation in Los Angeles from Schindler to the Case Study architects to the L.A. School goes -- that experimentation occurred at the bequest of the client and with all of the associated work and responsibilities. So there was the degree of possibility that things could and should go wrong. I think an experimental approach to making architecture has to account for and embrace the possibility of chance."

"At Casa Anaya, Zellner points out where experiments in poured concrete worked, where they didn't, and where a window was moved during construction. It's the language of details, of process, of labor. "I've always believed that architecture was bracketed by certain things -- and this sounds so banal -- a site, planning, context, the culture that you work within, a budget that you have to address." he says. "But in today's culture none of this makes architecture radical , right? That is at best a little short sighted but in the larger picture somewhat tragic. Many architects have abandoned an interest in the things that give architecture is power and relevance."

Zellner's approach is not a radicalization of architecture, but a deviation--an attempt to reactivate quotidian practice. By delving back into building, he questions the very notion of experimentation."

[See also: http://www.laimyours.com/52800/zellnerplus-casa-anaya/
http://archinect.com/firms/project/102848/casa-anaya/79381640
http://instagram.com/p/ZohFjMRvYx/
http://instagram.com/p/ZohBWoxvYo/
http://instagram.com/p/Zog6_8RvYg/ ]
tijuana  mexico  architecture  construction  peterzellner  mimizeiger  practice  2013  design  craft  collaboration  sciarc  experimentation  materials  casaanaya  california  losangeles  learning  flexibility 
november 2013 by robertogreco
Tijuana Art Comes to Los Angeles | Los Angeles | Artbound | KCET
"The Mexican cultural critic Rafael Saavedra once wrote that "Tijuana moves faster than its artists and critics." The city certainly has inhabited many roles. Raffish border town. Frat guy party zone. Ground zero for spectacular acts of narco-violence. Lately, "la city" -- as Tijuana is affectionately called -- has taken on a new guise: percolating arts lab. In the last couple of years, the homicide rate has plummeted, but tourism remains relatively low, making plenty of fallow real estate on and off Avenida Revolución affordable to the creative classes. Artists, musicians, writers, designers and innovative chefs have set up shop in moribund commercial alleyways, empty bars and shuttered clubs for a cultural boomlet that has drawn notice on both sides of the border.

For Tijuanense, this moment has been about looking inward, about building institutions that cater to inhabitants of the city, not day-tripping American tourists. But that doesn't mean that what's happening in Tijuana is staying in Tijuana. A small exhibition at the Mexican Consulate in Los Angeles brings together a small sampler of what's happening on the border to L.A. "It's a presentation, not a full-blown survey," says curator Illya Haro, of the exhibition. "It's intended to highlight some of the artists who have been influential in the scene." The title of the show, "Tijuana Makes Me Happy," is taken from a 2004 essay by the critic Saavedra, an ode to the city's fractured identity. It was a piece of writing that also inspired a song of the same name by the musical group Nortec Collective. (Saavedra, sadly, passed away in September at the age of 46. The show, in many ways, is a tribute to him.)"



""Tijuana Makes Me Happy" is a tiny show -- a handful of works by 14 artists in total -- which means that Angelenos are only getting a taste of what is happening in "la city." Haro, however, hopes to do other shows of this nature around Southern California. "Something regular, in which we feature different groups of artists," she says, "something that shows the range of disciplines that Tijuana is home to." It may not be totally necessary. "Tijuana Makes Me Happy" may just inspire you to hop down to the border and take it all in for yourself."
art  tijuana  mexico  losangeles  2013  rafaelsaavreda 
november 2013 by robertogreco
4 Walls International
"4 Walls International’s goal is to promote sustainable community development around the globe. We provide clean drinking water, food access, and safe shelter while addressing infrastructure inadequacies, pollution, urban sprawl stressors, and economic growth opportunities, with one solution. These issues are interrelated, mutually enhancing, and require immediate action on all levels. Inspired by the work of green building inventor Michael Reynolds, we are currently focused on bringing the principles of sustainable development to the US-Mexico Border Region, specifically in our home town of San Diego-Tijuana."

[We met one of these guys at Border Field State Park.]
[See also: http://www.kpbs.org/news/2013/oct/07/building-trash-mend-border-environment/ ]
sandiego  tijuana  border  materials  sustainability  stevenwright  waylonmatson 
october 2013 by robertogreco
Everything Comes From the Streets- Finishing Funds by Alberto Pulido — Kickstarter
"The origins of lowriding in the Chican@ community have been commonly traced back to the streets of East Los Angeles or Española, New Mexico. San Diego and the surrounding borderlands are often overlooked for their rich car customizing lowrider history despite the fact that some of the earliest and most active lowriding car clubs in the country were started in this area. San Diego's world-famous Chicano Park, home to the country's largest outdoor collection of murals, was established by the people through peaceful protest at the height of the Chicano movement. Many participants in the land take-over that led to the creation of Chicano Park already were or later became lowriders. These connections add to the uniqueness of the evolution of lowriders in San Diego. The resistance and affirmation of the lowrider community, in the face of law enforcement and elected leaders who sought to delegitimize them and their expression of cruising, is a universal story of collective action and resilience that many communities can draw lessons from. 

Everything Comes From the Streets features men and women from San Diego and Tijuana who shaped and influenced the unique car customizing movement, defined by self-expression and cultural ingenuity. Our story traverses politics, self-preservation, and the emergence of critical spaces. The film provides a different perspective contrasting the belief that lowriding is tied to "gang banging" and violence. Instead lowrider car clubs can be an extension of families that affirm and build communities in the colorful and complex fabric of the borderlands of the American Southwest."

[See also: https://www.facebook.com/EverythingComesFromTheStreets ]
sandiego  lowriders  chicanos  tijuana  film  documentary  history 
october 2013 by robertogreco
Casa Familiar
"“The mission of Casa Familiar allows the dignity, power, and worth within individuals and families to flourish, by enhancing the quality of life through education, advocacy, service programming, housing and community economic development.”

Casa Familiar is a 501(c)(3), community-based, exempt organization incorporated in the State of California in 1973. We were originally organized in 1968 under the name of Trabajadores de la Raza, San Diego Chapter, to serve Spanish-speaking monolingual clients in the community of San Ysidro. Over the years, our services and target population have expanded to include all of South San Diego’s population. While area demographics virtually ensure that the majority of our clients continue to be Latino, Casa Familiar welcomes clients from all walks of life, regardless of race, ethnic background, national origin, religious beliefs, or sexual orientation.

Casa Familiar is a widely recognized authority when it comes to understanding the unique challenges faced by border communities. We respond to what is known to be a multidimensional concern with an appropriately holistic approach—We offer over fifty programs spanning the program areas of Human Services, Community Development, Recreation Services, Technology, Arts and Culture, and Education."

[See also: http://www.moma.org/interactives/exhibitions/2010/smallscalebigchange/projects/casa_familiar ]
sandiego  tijuana  sanysidro  teddycruz  housing  development  border  borders  communitydevelopment 
june 2013 by robertogreco
San Diego Mayor Building Economic Bridges to Tijuana - NYTimes.com
"“We need to make the border the center, not the end — but the biggest problem we have is not security, it is openness and communication,” Mr. Filner said in an interview in his City Hall office. “People have to understand that the infrastructure that we need should be an important part of any discussion on immigration. The volume here is so incredible, yet nobody understands how much this matters. People can’t go back and forth, and we’re losing out.”"



"There are still signs that the longstanding ambivalence about the border here remains. While other American cities along the border have deep ties — or even a reliance — with Mexico, many here say San Diego residents mostly have their back to the border and give little thought to their southern neighbor. A recent survey by one local group found that less than 10 percent of residents believed that strengthening the border region should be a priority for improving the local economy. By some estimates, more than 60 percent of San Diego residents have never crossed the border."



"Many business leaders here say that marketing San Diego and Tijuana as one large region can help attract jobs and have encouraged manufacturers to move operations from China to Mexico. They mention the success of DJO, an orthopedic company based in Vista, just north of San Diego, with a factory in Tijuana. Over the last several years, the company has added hundreds of jobs on both sides of the border, and several executives work in Tijuana but live in San Diego."
sandiego  tijuana  2013  border  borders  mexico  us  cities  bobfilner 
may 2013 by robertogreco
Tijuana's creative youth breathing new life into La Sexta, beyond - latimes.com
"Local entrepreneurs and artists are driving a cultural revival on the border city's most popular streets as they move past a wave of drug-related violence."
2013  tijuana  mexico  border  borders 
may 2013 by robertogreco
DEA seeks tips on drug traffickers | UTSanDiego.com
"While “smuggling efforts have changed a lot” in recent years, the San Diego border “has always been a gem, and will always be a gem for drug traffickers to bring drugs into the United States,” said Gary Hill, assistant special agent in charge of the DEA’s San Diego office."
sandiego  drugtrafficking  tijuana  border  borders  us  mexico  dea  2013 
may 2013 by robertogreco
On the Border - In Focus - The Atlantic
"The border between the United States and Mexico stretches 3,169 kilometers (1,969 miles), crossing deserts, rivers, towns, and cities from the Pacific to the Gulf of Mexico. Every year, an estimated 350 million people legally cross the border, with another 500,000 entering into the United States illegally. No single barrier stretches across the entire border, instead, it is lined with a patchwork of steel and concrete fences, infrared cameras, sensors, drones, and nearly 20,000 U.S. Border Patrol agents. As immigrants from Mexico and other Central and South American countries continue to try to find their way into the U.S., Congress is now considering an immigration reform bill called the Border Security, Economic Opportunity and Immigration Modernization Act of 2013. The bill proposes solutions to current border enforcement problems and paths to citizenship for the estimated 11 million existing illegal immigrants in the U.S. Gathered here are images of the US-Mexico border from the past few years."
sandiego  tijuana  tecate  nogales  ciudadjuarez  elpaso  arizona  california  us  mexico  border  borders  drones  fences  immigration  texas  droneproject 
may 2013 by robertogreco
TEDxTijuana - Aaron Gutierrez - Logica de enjambres - YouTube
"Born in Tijuana, Baja California, Aaron Gutierrez Cortes was raised in the dual sensibilities of the Tijuana-San Diego region. He studied at The Southern California Institute of Architecture [SCI-Arc] and at the University of London. Founded Amorphica Design Research Office in 1999. His body of work has been published internationally in publications such as Arquine [Mexico City], La Tempestad [Mexico City], Pasajes de Arquitectura y Critica [Madrid], Architectural Design [London] and Architectural Review [London] among others. Since 2006, Aaron has lectured at several universities and international institutions like the University of Calgary, MIT in Boston, Colegio de Arquitectos of Mexico City, Louisiana State University and the San Francisco Museum of Modern Art among others. Since 2009 he serves as professor of architectural design at the Universidad Iberoamericana del Noroeste. He is currently the Principal Architect at Amorphica, an emerging Architecture, Urban Design and Research collective studio that evolves projects internationally with the intention of developing reactive design intelligence passionately focused on social and spatial self-sufficiency."

[See also: http://amorphica.com/
http://amorphica.com/tierra.html
https://vimeo.com/25884670 ]
aarongutierrezcortes  tijuana  mexico  architecture  2011  schools  design  poverty  sandiego  amorphica  schooldesign  lcproject  sustainability  environment  studioclassroom  self-sufficiency 
may 2013 by robertogreco
The Journey to Border Monument Number 140 | San Diego | Artbound | KCET
"In 2007, I began photographing the monuments that mark the border between Mexico and the United States. My intent was to document each of the 276 obelisks installed by the International Boundary Commission following the Mexican/American War. The monuments locate the land-boundary as it extends west, from El Paso/Juarez to Tijuana/San Diego, through highly populated urban areas and some of the most remote expanses of Chihuahuan and Sonoran desert. The contemporary survey became reflective of a survey conducted by the photographer D.R. Payne between 1891 and 1895 under the auspices of the Boundary Commission. It also functions as a geographic cross-section of a border in the midst of change. Responses to immigration, narcotrafficking and the imperatives of a post-9/11 security climate prompted more change along the border in the early 2000's than had occurred since the boundary was established. Thus, the completed project exists as a typology, with the incongruous obelisks acting as witness to a shifting national identity as expressed through an altered physical terrain."
obelisks  us  mexico  border  borders  photography  sandiego  tijuana  2013  2007  texas  davidtaylor  elpaso  juarez  monuments  juárez  ciudadjuárez 
march 2013 by robertogreco
Around the Counties: Mapping San Diego County Arts with Kinsee Morlan | San Diego | Artbound | KCET
"What makes San Diego County so attractive?

It's desert meets beaches. You can literally be out hiking in 100 degree temperatures, enjoy cacti and native scrub and later that day you'll be at the beach swimming in 60 degree water. I think that's unique to San Diego. San Diego is known as the "City of Villages." One complaint about San Diego is that there's no heart or soul of the city but really there's like 100 different little hearts and souls in San Diego. You've got South Park, Normal Heights, University Heights, Golden Hill. You'll definitely run into someone you know and it's like you're in a little town instead of this big ol' San Diego. I really like that about our city."

"Do you see any art trends in San Diego County?

• We've got these giant universities in San Diego. I think that's probably the biggest influence on our art scene here. UCSD is turning out these highly experimental conceptual artists. Point Loma Nazarene University (PLNU) also has this amazing art program and they're turning out some really interesting conceptual work. San Diego State University and Woodbury University, an architectural university, both are creating furniture designers. They make these pieces that I would categorize as art rather than design. So, in terms of trends we're seeing more experimental conceptual and then really high quality furniture art. We have a lot of active artists and it's hard to be a working and living artist but when you're in school you kind of have that time to dedicate to just doing your work.

• Tijuana, Mexico is right there so, I would say, you definitely see the Mexican influence on art in San Diego."
kinseemorlan  sandiego  art  tijuana  museums  galleries  vozalta  mcasd  sdsu  ucsd  quintgallery  thumbprintgallery  meyerfineart  jdcfineart  architecture  design  pointlomanazareneuniversity  periscopeproject  space4art 
march 2013 by robertogreco
Borderblaster: Transmission 4 "Poetic Dérive" | San Diego | Artbound | KCET
"The fourth Transmission of the Borderblaster project takes listeners on a psycho-geographic journey through two neighborhoods surrounding the San Ysidro Port of Entry, communities that have been impacted and will continue to be shaped by the border crossing. The title of the transmission, "Poetic Dérive," pays homage to the technique developed by Guy Debord and the Situationist International to traverse and map urban spaces. Debord's theory of Dérive sought to deliver new and enlightening experiences of the urban environment by breaking with the logic of streamlined mobility of goods and bodies—instead calling for a drifting of sorts through spaces, guided only by the immediate phenomenological response to stimulus encountered on the way.

With this tactic as a model, we invited poets from San Diego and Tijuana to join us in mapping the psycho-geography of the neighborhoods to the East and West of the Port of Entry—the emotional and psychological effects of these neighborhoods clashing against the border fence, confronting the regulation of space and border surveillance. Colonia Libertad to the East and Colonia Federal to the West stretch parallel to the border and exemplify the negotiations that must be made when the border is in your backyard—in some cases literally."
borderblaster  art  sandiego  tijuana  dérive  guydebord  psychodeography  border  borders  situationist  coloniafederal  colonialibertad  surveillance  2012  derive 
march 2013 by robertogreco
Borderblaster: Transmission 6 'Mixtape for Crossing' | San Diego | Artbound | KCET
"What song comes to mind when you think of the border? We asked individuals who work at the crossing and live on either side of the border this question and compiled their answers for our final Borderblaster Live Recording Event: Mixtape for Crossing. The project's finale invited individuals to contribute songs along with the stories behind those songs to the creation of a collaborative mixtape that would be the basis of Transmission 6--the final transmission of Borderblaster."
borderblaster  tijuana  sandiego  2012  sanysidro  misaeldiaz  mixtapes  border  borders  djganas  music  bilingual  mexico  us 
march 2013 by robertogreco
The Tijuana Connection, a Template for Growth - NYTimes.com
"Shuttling between the two factories — in San Diego, where we engineer our drones, and in TJ, where we assemble them — I’m reminded of a similar experience I had a decade earlier. In the late 1990s and early 2000s, I lived in Hong Kong (working for The Economist) and saw how that city was paired with the “special economic zone” of Shenzhen across the border on the Chinese mainland in Guangdong Province. Together, the two created a world-beating manufacturing hub: business, design and finance in Hong Kong, manufacturing in Shenzhen. The clear division of labor between the two became a model for modern China."
manufacturing  mexico  outsourcing  tijuana  sandiego  2013  drones  maquiladoras  labor  electronics 
march 2013 by robertogreco
Drones: War machine today, helpful tool tomorrow | Marketplace.org
"Fast-forward five years, today they're running a multi-million-dollar cross-border company that produces and sells hardware and personal drones. The company, 3D Robotics, found success in Muñoz's misunderstood hometown, Tijuana.

"Prior to 18 months ago, I thought Tijuana was drug cartels and cheap tequila," Anderson said. "What Jordi knew and taught me was that Tijuana is the Shenzhen of North America.""
sandiego  tijuana  border  drones  manufacturing  2013  3drobotics  jordimuñoz  diydrones  engineering  chrisanderson  from delicious
january 2013 by robertogreco
In The Make | Studio visits with West Coast artists
"Founded in early 2011 by photographer Klea McKenna and writer Nikki Grattan, In the Make is a collaboration that offers an intimate look at current art practice. Through visiting artists in their studios we learn about each artist’s space, process, influences, and the behind-the-scenes elements that are often unseen in a gallery or museum setting. We document these visits with the hope of revealing both the richness and the daily realities of creative work. Our aim is to raise interest in art practice, while simultaneously debunking the romantic myth of the artist. We recognize that creative work is real work, done by real, passionate people in all sorts of different spaces. We are not art critics, but rather deeply curious observers; looking for the ways that each artist’s aesthetic pervades their environment and reveals their perspective.

Our focus on West Coast artists…"
via:ethanbodnar  mikkigrattan  kleamckenna  documentary  artists  glvo  profiles  art  westcoast  california  washingtonstate  oregon  mexico  canada  bajacalifornia  tijuana  britishcolumbia  bc  from delicious
november 2012 by robertogreco
Tijuana taco tour on Vimeo
"Be it birria, lengua, asada, cachete, carnitas, costilla, ojo, pescado or pastor, nothing compares to the international culinary icon that is the almighty taco. Turista Libre and Life & Food trek to the four corners of Tijuana in search of the city's most authentic, incomparable incarnations of Mexico's gastronomic superstar. On the menu: quesabirria tacos at Tacos Aaron in El Soler, New York strip and shrimp tacos at Mariscos Tito's in Playas, pastor and asada at Taqueria La Gloria in La Gloria, deliciously bizarre ice cream at Tepoznieves in Zona Rio and a local craft brew sampling at the new Baja Craft Beers Tasting Room in El Gabilondo. Video by Jorge Ledezma. ¡Provecho!"
mexico  sandiego  food  turistalibre  2012  tacos  tijuana  from delicious
august 2012 by robertogreco
An Education, Over the Border and Under the Radar - Slide Show - NYTimes.com
"Dozens of students — all American citizens living in Tijuana — cross the border daily to attend a public high school 11 miles away in Chula Vista, Calif., where they were born and where they still claim to live. These teenagers stand for hours in a human chain of 16,000 at the world’s busiest international land border."

[Article: http://www.nytimes.com/2012/01/17/us/young-us-citizens-in-mexico-up-early-to-learn-in-the-us.html?pagewanted=all ]
chulavista  bordercrossing  photography  slideshow  sandiego  tijuana  schools  border  mexico  us  education  2012 
january 2012 by robertogreco
ICON MAGAZINE ONLINE | Architecture Without Buildings
"A new generation of architects is demonstrating that we should stop and think before trying to solve a problem with a building.

They feel much more effective writing, researching, campaigning, occupying and performing than they do at the drawing board. They don't wait to be approached by clients; they see the potential to make a difference and they seize it. That might take the form of an installation, a book, a fireworks display or squatting for days in a condemned building.

Working in places such as Caracas, Tijuana, Zagreb and even Rome, Berlin and London, they operate at the limits of what we call "architecture". Yet in some way they can be seen as the conscience of their profession."

[via: http://nomadicity.tumblr.com/post/11946787180/ ]
unproduct  architecture  design  2008  practice  criticalpractice  teddycruz  anarkitektur  stalker  urbanthinktank  sandiego  tijuana  caracas  zagreb  from delicious
october 2011 by robertogreco
BorDocs '11
"…un espacio pionero en México en el campo de la educación y exhibición especializada en formas emergentes del cine y video agrupadas generalmente bajo el término documental.

…El Foro es…un sitio de encuentro entre jóvenes cineastas, productores, académicos y especialistas en la no ficción. Bordocs es también una oportunidad para degustar de los más destacado documentales y conocer las tendencias en el área.

El documental ha retomado su papel protagónico como una vía multifacética y vanguardista para contar historias, abordar temas de denuncia social o para emitir discursos reflexivos, personales a partir de formas interactivas o hibridas. En los últimos años el documental goza de un auge internacional y se ha convertido en el núcleo donde convergen múltiples disciplinas artísticas y educativas. Bordocs Foro Documental aporta en la frontera Tijuana-San Diego un granito de arena y propone un lugar común para la formación y el disfrute del este cine que nos mira."
togo  tijuana  2011  adrianatrujillo  joséinerzia  itzelmartínezdelcañizo  documentary  classideas  film  bordocs  nonfiction  education  toshare  billnichols  danielaalatorre  everardogonzález  joséluisfigueroalewis  robertocanales  danielrosas  claudiorocha  joepmaríacatalà  jenniferfox  sergiodelatorre  anapaolarodríguezespaña  borders  mexico  sandiego  from delicious
august 2011 by robertogreco
‪Teddy Cruz Presentation‬‏ - YouTube
"We can be the producers of new conceptions of citzenship in the reorganizing of resources and collaborations across jurisdictions and communities…We could be the designers of political process, of alternative economic frameworks."

[via: http://www.diygradschool.com/2010/06/professor-teddy-cruz-ucsd.html ]
teddycruz  cities  citizenship  sandiego  tijuana  watershed  conflict  borders  community  communities  militaryzones  military  environment  infromal  formal  collaboration  2009  housing  crisis  density  sprawl  natural  political  art  architecture  design  urban  urbanization  urbanism  recycling  openendedness  open  vernacular  systems  construction  economics  culture  pacificocean  exchanges  flow  landuse  neweconomies  micropolitics  microeconomies  local  scale  interventions  intervention  communitiesofpractice  crossborder  from delicious
july 2011 by robertogreco
La Stazione Café, My Most Favorite Coffee Shop Ever, Tijuana, B.C., Mexico «
"However, my ultimate coffee shop, my most favorite out of the 3489320842 shops I’ve tried in my life, has been 49th Parallel in Vancouver for a while now. That was until this past Saturday when 49th Parallel was dethroned as being my ultimate most favorite shop ever. That title now belongs to La Stazione Café, located in Tijuana, Mexico."
tijuana  togo  coffee  restaurants  food  drink  from delicious
july 2011 by robertogreco
ULI San Diego/Tijuana
"The ULI San Diego/Tijuana District Council provides leadership in the responsible use of land to enhance the total environment. The District Council addresses issues involving land use, real estate, housing, transportation and urban development."
sandiego  tijuana  uli  urban  urbanism  housing  transportation  development  urbandevelopment  realestate  landuse  from delicious
june 2011 by robertogreco
YouTube - Episode 1_ EXTRACTION: San Diego Art World Insiders
"Inspired by the open framework of the Agitprop project, Extraction: SDAWI (the reality show/art project) aims to promote integration, open dialogue, and cross pollination between some of the many diverse groups of artists and art organizations in the San Diego/Tijuana area.

In Episode One, Executive Director of the San Diego Fine Art Society, April Game, will be taken to the Voz Alta Project gallery space in Barrio Logan to see the work of artists from Studio 767, a tattoo studio in the Chula Vista neighborhood."
agitprop  sandiego  art  tijuana  documentary  chulavista  sandiegofineartsociety  vozaltaproject  barriologan  studio767  tattoos  from delicious
june 2011 by robertogreco
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