The back-and-forth movement of materials, people, and ideas across the United States–Mexico border between San Diego and Tijuana has long been an important focus of Teddy Cruz’s practice. In 2001 Cruz began working with the community-based nongovernmental organization Casa Familiar to develop a pilot housing project for an area of San Ysidro, an American city just north of the border. According to Casa Familiar—which advocates for and assists the marginal community in such areas as immigration services, education, and job placement—some two-thirds of San Ysidro’s homes are multifamily; the median income for residents is sixty percent lower than it is in the rest of San Diego County. In addition to providing a new type of affordable housing, the team sought to stimulate political, economic, and social transformation.
Having studied a variety of ad hoc uses of land in this formerly homogenous suburban area, Cruz aimed to create a complex system of housing, with integrated shared space that would acknowledge and exploit the dense, multiuse, and often illegal development that is standard there. This decade-long undertaking has resulted in the incorporation of alternative zoning categories in San Ysidro, appropriate to the city’s density and its citizens’ income levels, as well as designs for two small-scale projects to be constructed on abandoned or underutilized lots beginning in 2011: Living Rooms at the Border and Senior Housing with Childcare. Connected by pedestrian alleyways, the two projects will integrate affordable apartments with community centers and highly flexible multiuse indoor and outdoor spaces. In a radically pragmatic and integrative approach to architecture, Cruz has sought to understand the fabric of the neighborhood and create projects that institutionalize it.
Teddy Cruz studied architecture first at Rafael Landivar University, Guatemala City, and then at Harvard University’s Graduate School of Design. He founded Estudio Teddy Cruz in 2000 in San Diego, California. Based on extensive research on the urban dynamics at the U.S.-Mexican border, his projects engage in the socioeconomic impacts of architecture and urban planning. His work has long been focused on theorizing these conditions, but he recently started translating this research into projects, leading into building process. Teddy Cruz is currently Professor in Public Culture and Urbanism in the Visual Arts Department at the University of California, San Diego.
Among other waste items, small unwanted bungalows are trucked from San Diego across the border into Tijuana for reuse; they are often set up above street level on concrete frames, becoming two-story buildings with space for a storefront, garage, or other use below. This was the inspiration for Living Rooms at the Border, where a concrete frame creates multiuse space at ground level. In this mockup Cruz has collaged a house atop 15 Untitled Works in Concrete (1980¬–84), by artist Donald Judd, as installed in Marfa, Texas.
South to North: Pixelating the Large with the Small. 2010.
Designing Political Process. 2010.
Casa Familiar: The Performance of a Small Parcel. 2010.
San Ysidro: The Neighborhood as a Site of Production. 2010.
Monthly workshops with the public organized by Cruz and Casa Familiar were opportunities for the architect and organization to discuss and challenge local conceptions of building density, community, communal space, and financing. In this set of building projects Cruz aimed to redefine housing as a choreography of interaction on political, economical and social levels.
The earliest working drawings for Living Rooms at the Border, these dynamic plans are organized in swatches of color and texture. For Cruz the project was, from the very beginning, concerned with the fabric of the land as a whole, delineated here in stripes of gardens, alleyways, and divided outdoor space. This drawing also features the multipurpose frame that anchors the structure, rendered in perspective in the left-hand drawing, top right.
These two plans epitomize Cruz’s working method. He not only makes typical floor plans, showing a single, frozen moment in time, but he also envisions the design dynamically—in motion and in various applications and times of day. Here Cruz has laid the simple boxes of the Living Rooms at the Border plan atop a reproduction of a drawing by artist Barry Le Va, Three Activities (1968). The lines and the underlying chaos of Le Va’s drawing activate Cruz’s multidimensional plan and represent the movement associated with inhabitation and use.