Alexandra De Leon, Nicole Milla, Andrea Costello, & Shames Alrobia
Cycling Through San Diego
Yuri Silva & David Silva Perez
Is San Diego a Disconnected City?
Armenta
Why Multi-generational Housing is Sutainable
Camille Summers
Interview With A Punk!!
Victoria Baldenko
How Skateboarding Inspired Me
Emir TaheriRashti
What Makes a Taco Shop?
Zackary Brown
Survival Guide For Architecture Student An Essential Guide for Newschool (sort of)
Kaitlyn Wu
Graphic & Visual Designer : Mya Burlaza
Creative Director & Editor: Bruce Matthes
& Culture
To bring Volume 2 of Touché magazine to print, we changed things up. Where Volume 1 was created mostly by students enrolled in the former Fellows Program, this time around, we created a new Integrative Studies elective course (Touché Magazine) and opened the publication up to all NewSchool students. However, we kept the original spirit of the magazine, making sure that it remained creative and “Zine-like.” We also, made sure that it continued to represent our mantra “For student, by students.” What follows are snapshots of our region that attempt to capture the elusive concepts of Community & Culture. Whether it was covering the NewSchool student chapter of the AIAS annual napkin sketch auction, interviewing a faculty member who challenged San Diego’s support of “third places,” or intimate discussions with local artists, musicians, and residents, Volume 2 peeks into what NewSchool students find interesting and even bewildering about “Americas Finest City.”
A big thank you must go out to NewSchool alumni and Graphic & Visual Designer, Mya Burlaza, who spent countless hours laying out Volume 2. We hope you find something inside that piques your interest or stirs a question, even if only for a little while.
Sincerely,
Bruce Matthes Editor
Disclaimer: Opinions expressed are not necessarily those of NewSchool of Architecture and Design, nor is any guarantee made regarding accuracy of bylined articles and academic papers.
Newschool’s Annual Auction
Written by Emi Nevara & Hailee Strach
Photography by Emi Nevara
Napkin Sketches by Pauly De Bartolo & Tommy Hernandez
There is a story about Picasso in a cafe being asked to make a quick drawing for an admirer. He makes this drawing on a napkin, and offers it to the woman for a very high price. She was shocked at the price and allegedly said, “That only took you five minutes!” Picasso responds with
“No, that took me a lifetime.”
Perhaps there is a phenomenon of psychology, science, maybe even an experience to be studied about the practice of napkin sketches. From artists to architects, this well-renowned medium is a part of many artists and designers’ lives. When thinking about the significance of an architect and her/his napkin sketch, questions are drawn. For example, what is it that makes the sketch worth anything? Well, an architect can spend months or even years on a profound design and be celebrated. But, what if that same architect
has mastered the art of condensing complex thoughts into a coherent vision in just minutes? Imagine something drawn quickly using fast thinking and the logic of an architect, combining art with skill gained over years and illustrated on something tenous as a napkin and your get the gist. The napkin sketch can be a sneak peek into what the architect is thinking. A five-minute sketch from Picasso is a representation of what he spent his entire life mastering.
When looking at a napkin sketch, one might see all of the years of hard work contained in every stroke. Another glance might reveal the potential inside the lines. A great napkin sketch is more than a scribble. So let’s look into what makes some napkin sketches so special. NewSchool’s eleventh napkin sketch auction was held at Monikar Warehouse. It followed a tradition that NewSchool has carried for quite some time. It is one of the school’s largest annual
SKETCH INSIDE NOLITA HAL BY PAULY DE BARTOLO
events where students, faculty, and local architects and designers come together for a night of art & design.
To asquire sketches for the auction, NewSchool students request sketches from star architects around the world, from faculty, and from well-known local architects and designers. Envelopes with blank napkins are sent to each potetential artist, and if returned, the sketches are auctioned off during the event. AIAS NewSchool, a chapter of the American Institute of Architecture Students, acts as a the bridge to connect students with architects and designers. All funds raised at the auction go to help support their AIAS chapter of AIASF for activities such as visiting local firms, guest lectures open to students and the public, as well as to sending students to conferences across the states.
According to AIAS NewSchool, the
highest bid ever received was for a sketch done by the beloved former president of NewSchool, Marvin Malecha which went for $1,000. The AIAS Napkin Sketch auction is open to the public and usually held in June of each year, but preparation for the event begins in February. Those four months are usually the busiest time for the student organization. However, regardless of how much effort is puts into this event, the stars of the show are merely napkins with ideas on them. Some are masterpeices, others are doodles, but most sketches earn high bids because of the famous hand that crafted them. Auctioneer extradoinaire and NewSchool faculty member Alan Rosebbalum recently reported that year over year the quatity of napkin sketches has gotten better, and in his words the aution is now “a full on art show.”
Obviously the bidders see value in them.
But, what do napkin sketches mean to architects and designers?
Newschool’s former president Marvin Malecha once shared meaningful insight into the importance of napkin sketches among designers.
“Architects and designers are creative beings who can easily find inspiration at any moment. A napkin sketch is an elemental expression of thought.”
SKETCH OF LA SAGRADA FAMILIA BY PAULY DE BARTOLO
Since napkins can be found almost anywhere, the ability to give life to a vision becomes much easier. Napkins become a an accessible portal from mind to matter. Malecha explained, “Napkin sketches have been a go-to companion for those who find spur-of-the-moment inspiration allowing for the exploration of thoughts and ideas with their hands.” Similarly, authors also use napkins as an exploration of thoughts and ideas stemming from the spur-of-the-moment inspiration. But even before language, there were drawings. Since prehistoric times, humans have been expressing themselves through illustrations. A napkin sketch allows this to continue in modern life. A napkin has great power of accessibility, allowing architects and other designers or artists to do what humans have been doing for centuries, communicate.
Malecha added,
“Their sketches also demonstrate that good architects are also good communicators. They use sketches not only for self-reflection and selfthought, but also as communication.”
Recently, on an evening in June, Pauly De Bartolo and Tommy Hernandez, both from the local architecture firm DBRDS (and known as star sketchers in San Diego) sat down with us at Nolita Hall in Little Italy with their sketchbooks and pen cases in hands. To them, sketching is a huge part of communication. They completed complex sketches while we interviewed them, sharing appetizers and even a few drinks. De Bartolo believes sketching on napkins is a social element as he often grabs them and starts sketching whenever he is out, be it at lunch with other designers, or by himself at a café or even on a flight. He mentioned that,
“Napkin sketches are an accessible, fun, temporary, disposable way to be creative. I wouldn’t say I look at napkin sketches as being important. You just do it. Here is a pen, here is a napkin, you just draw. It takes away thinking about it. If it’s a ***** one you throw it away and you do another one. The medium encourages people to not worry about doing **** ones”. In other words, the valuelessness of napkins is the value for architects and designers.
De Bartolo started sketching La Sagrada Familia by Antoni Gaudi on a blank napkin, a request by fellow student Kathy Forrro. He claimed that he hadn’t looked at the famous Spanish project for quite sometime, but that didn’t matter because it’s just a napkin.
Why do napkin sketches bring money?
You may wonder, if napkins’ value is their valuelessness, why do they get bid on for such high prices? Alan Rosenblum shared his thoughts on this, and why although he is excpetional at selling them, he remains puzzled by napkins as a medium. “My argument is simple. It’s not only that napkins are not a good medium, but of course they are the worst possible medium in the universe to draw on. It was not meant to be drawn on. It is a material that is meant to disintegrate very quickly to dissolve. It is supposed to dissolve in water and dissolve in the landfill. I cannot imagine anything less appropriate as something
you are going to sell and people are going to pay for.”
On the other hand, Tommy Hernandez, who sketched the meatball appetizers in front of us, believes napkin sketches are precious because in a way that sketching on them requires more time than other mediums. “Depending on the type of pen that you are using, depending on a napkin you get, it’s a different feel, it’s a different sketch. For the ones I submitted this year, I had to use a ballpoint pen for some of the details and used a gel pen for others. If I use something that we normally use in the office, it saturates too much, it bleeds right through everything, and it tears easily, so a lot of the details get lost. It forces you to take your time. You have a new surface
of a new napkin so you are going to detail, but you are having to take your time with it because you can stretch the hell out of it and now it’s no longer precious. Crap, I have to do it again, but it’s forcing me to take my time. So that’s why I prefer the napkins. That’s why I appreciate that they are always there.”
In theory, like Rosemblum, many would agree that napkins are not the ideal medium to produce beautiful sketches. Though Hernandez sees this as the beauty of napkin sketches as they become unreplicable and precious in that sense. Hernandez also shared this with us.“My boss had brought up that she hates this whole notion of art being on display. She brought up the idea that art is supposed to be disposable. In
the past, when you purchased a work of art, it deteriorated, it went away, and there was something beautiful about having to recreate it, having to find your own style because there are no photographs and there were no way to copy it. You are really just gaging what it was and how it made you feel. Whereas now, what happens is, it’s no longer precious if you just have it replicated there”.
But the act of framing napkin sketches and selling them to the highest bidder is a way of elevating the medium and preserving the art on them, if at least for a little while longer. Rosenblum believes art should last long in a good condition especially if somebody is paying to get it. “If somebody is buying something and paying for something, even though this is a benefit and people do it largely for that aspect, I think it is better if they know what they are buying is going to last that it’s a keeper.” Rosenblaum expressed that
at some point, AIAS NewSchool might test out transitioning from accepting only napkins to any mediums including more durable surface ones, such as Japanese rice paper which is his preference.
De Bartolo agreed with this. He values napkins as a medium that gives him the ability to experiment but he is curious about the auction exploring different mediums. In fact, he confessed that he did not use any of the napkins that AIAS NewSchool had given to him, and instead, he used the ones that he found when he went out or on his flights, and he also donated one sketch to AIAS NewSchool that was done on a birch panel. “I’m gonna lean onto the idea of the value of sketching. And yes, there is the napkins as the medium, but I’m not gonna play by the rules. I’m not gonna give them back the couple of napkins they gave me”.
Rosenblum adds, “Art is only considered art if it’s signed by an artist, and it’s not something I made up. There is the historical precedent/anecdote of Marcel Duchamp’s readymades, perhaps the most famous of all being the urinal, that he presented to the art academy in Paris, in 1917. He presented a urinal put on a pedestal, called it ‘fountain’, and signed it ‘R Mutt’. The idea is that anything can be art if the artist sold the sign. For it to be considered art, it has to be signed by an artist, dated, and it needs to be known who made it, when, and how. Anonymous is difficult to sell.” Hernandez agrees with the value of signatures on the napkins and said, “it’s giving the whole aspect of the idea that it’s not a lot of money but it’s something precious that I can hold on to, especially when you consider there was Zaha Hadid, and there was Cesar Perry, and there was Thom Mayne, it’s the starchitects submitting their work, so for us it becomes precious”. As De
Bartolo and many others agree, napkins are cheap and available anywhere, however, when there is art on the surface of those cheap materials, it suddenly becomes valuable. Hernandez believes that is the reason AIAS NewSchool has been so successful in raising funds from these sketched napkins.
“It’s our own way of saying I have a piece of art, because just their signature alone makes it valuable. You don’t just get something off the shelf, if you have an architect’s signature now it’s precious. It’s San Diego being able to have its own little piece of art without spending millions of dollars”.
One thing worth mentioning, Rosenblum never sketches. Instead, Rosenblum draws with hard lines and he would rather not call them “sketches” because those drawings require much more time and thinking. “I do not draw from life. I only draw essentially from my head. I believe in the morality of work called thinking through making, which is something I have been practicing for a long time”. He says that there are two ways architects and designers use sketches, one is as a recording and observation tool, and the other is a process tool for thinking and designing. If he would categorize what he does into either of those two, his process is closer to the latter. For observation purposes, he replaced sketching with photography, which is something he has been into since high school, and instead of bringing a sketchbook, he carries his camera.
For a designer like Rosenblum, it makes sense not to admire napkins because the medium for sketches or drawings does not have to be instant and disposable. As De Bartolo mentioned, napkins allow sketches without thinking too much even though they could lead to deeper thinking in the end, his way of drawing requires deep thinking from the beginning phase. But Rosenbaluam’s drawings garner some of the highest bids every year at the auction. So, does the medium matter? We don’t know yet. Whatever the medium, we are just grateful that the NewSchool Annual Napkin Sketch Auctions attract a huge crowd every year and they bring together students, faculty, and local architects and designers to raise money for a great student organization. If you’ve never gone to one, we highly recommand you attend this years event.
Founding principal and designer at DBRDS, they served as PastPresident of the San Diego Architectural Foundation from 2015-2017 and again from 2021-2022. Their leadership has significantly contributed to the architectural community in San Diego.
A faculty member at NewSchool, they also serve as the auctioneer for the Napkin Sketch Auction.
Designer at DBRDS, he is also an alumni and faculty member of NewSchool. In 2023, they joined the San Diego Architectural Foundation’s Board of Directors.
Former NewSchool President (2016-2020)
President’s Blog – Marvin Malecha
DesignMind: The Importance of Napkin Sketches | NewSchool of Architecture & Design (newschoolarch.edu)
Pauly De Bartolo
Tommy Hernandez
Alan Rosenblum
Marvin Malecha
By: Alexandra De Loen, Nicole Milla, Andrea Costello, & Shames Alrobia
Who are you, where are you from, and what do you do?
Ok, my name is David Saavedra, but I am known as Mr. Bizar. I’m a muralist, an artist, lowrider painter, and I’m from here, from San Diego.
When did you start painting cars, and what did you do before that, like what led-up to it?
I was a graffiti artist, and a tagger. I got arrested and had to do some community service at a boys and girls club. While there, I met a group of counselors who were doing a play. Back then it was gangsters against taggers, and they were putting on a play about how that all went down. At the end of production, when we were ready to get the play out, they needed some banners/signs to promote it. They asked who could design some and I ended up doing some of them. One of the guys said I was a good artist, good with the airbrush.
Later, we went to Missouri to teach a couple of kids there how to airbrush. While there, I was offered a car to paint and that’s how the whole car painting thing got started.
How old were you?
I was 17.
And how long have you been doing it?
28 years. I started as an airbrush artist, not really painting cars, but doing murals and designs and eventually it built up into painting cars.
How did this mural opportunity arrive and how did it make you feel?
It was cool you know, just being part of Chicano Park period is cool. So, when they said they were looking for somebody who does lowriders because the mural is based on lowriders, of course I was interested. The car club that got offered the pillar to paint was
one of the first car clubs to be recognized by Chicano Park. So, being that I am known for what I do, lowriders, they called me up. I came over here and I just said: “hey, if we are going to do it, let’s do it the right way, top to bottom.”
I bought a bunch of gold flake, and we got 30 pounds of flake on it now. It was cool just to know that they picked me, there’s a lot of us, so many great artists in San Diego.
You mentioned 30 pounds of flake, what was the process?
This is the only building, mural that I have ever done like this. I’ve done murals on cars. I’ve done some on schools back in the day, but more than anything I do lowrider painting, the custom kind of paint job is what I do the most. So, that’s what we did with that one, it’s based on the lowrider style. The same procedure that we do on an actual car, we did on that pillar which is the only pillar that’s done like that here.
Did you know immediately that the mural would be gold?
No, not really. I came over here and I was like: “Dude that looks like a pyramid, let’s just get it GOLD; “And when I told them that, they were like: “are you serious? Like use flake on it?”.
I was like – “Yeah, yeah, let’s go” - “What does it take us?” – “It takes a lot of work, but if you want to make it different than everything, let’s go”. They were like – “this guy is loco, like what is he talking about”.
And I was like this is what we need, this, and that. It’s not just like the mural but the actual painting of the pillar so it can last. We sanded that for like two weeks and then we primed it and sanded it again. Because concrete is not like metal, like a lowrider. It’s a concrete wall. So for it to adhere and grab good there’s a lot of procedures. All these other ones, they
would just clean it up, power wash it, and start rushing on it and that’s it. But, 5 years, 10 years from now, they touching it up. Every so often they’ll come and touch up a mural because the paint flakes out, fades away. But, this one is hopefully going to last 40, 50 years without even touching it, without even doing anything. You can go over there and buff up the mural and it will shine more, but that’s a lot of work. That would be a lot of work. The letters on the top were the hardest ones, and those I did myself. Those were hard because it’s really windy up there and trying to do paint, the paint flies away. It was just hard, but, I did it.
How long did it take overall from start to end?
Start to end I believe it was 11 months. But it took 2 years of planning and putting a model together, and the approvals and all the stuff. And then putting up the scaffolding and all that. All together from when the scaffolding went up, about a year. Just to get permissions to start, it takes a while. Just to let them allow it. They gotta go with the city, the approval of the artwork and all of that stuff.
Cycling Through San Diego
by Yuri Silva and David Silva Perez
San Diego is a wonderful bustling city located along California’s southern shores. This metropolis is always active with constant concerts, sports games, popular restaurants, amusement parks, and many more activities. This makes San Diego a tourist attraction with as many as 35.8 million people visiting every year. But how do these visitors get around? Is it by car? By walking? Biking? Other modes of transit?
Truth is, there are many ways to get around the city, but arguably one of the best ways is by walking or biking. Unfortunately, this may be dangerous, or even treacherous. San Diego has big aspirations of being a “walkable city,” and a “cycling friendly city” a goal that the city has been trying to achieve for quite some time. In fact, San Diego has had a greenway revitalization plan since 2016, but little progress has been made. So are these aspirational plans just a dream?
Let’s analyze how walking or biking could be great ways to get around and explore San Diego. To do so, first we will analyze the current state of road conditions and bicycling routes. Then by reviewing San Diego’s current plans for the improvement of pedestrian travel throughout the city
DATE STREET
CEDAR STREET
BEECH STREET
ASH STREET
A STREET
B STREET
and reviewing how the current greenway design inherently does not favor cyclists, we can look at comparisons of similar cities that have been able to design efficient cycling routes while also focusing on walkability. These case studies will provide examples of how to implement some of these designs into the city scape of San Diego in ways that can be both economical and beneficial to the community and human health.
C STREET
BROADWAY
E STREET
F STREET
This map highlights the current layout of the city and areas of interest like green spaces, parks, and event spaces such Petco Park. The dashed red circles represent the distance that could be traveled from the Civic Center Core, and it quickly becomes obvious that the whole downtown of San Diego could be traversed from edge to edge in about 20 min if one were to bike. To test this theory, I biked it myself. From Petco Park to Little Italy only took me a little under 15 minutes to traverse, and it took even less time heading back because of the elevation difference (it was more downhill on the return trip). Although I was using an electric scooter during the test, it is limited to 15 miles per hour which is a very average cycling speed.
G STREET
HARBOR DRIVE
4.5 MINUTE RIDE
3 MINUTE RIDE
Using a scooter, or bicycle in an urban core, allows you to park your car on the outskirts, where most of the free parking is located, and this can be a huge money saver. In some downtown areas, walking and bicycling routes have been improved and remain desirable, however safety remains an issue. By looking at other cities around the world with a strong bike culture, we can see what decisions about infrastructure were made to improve and ensure safety. For example, Utrecht, Copenhagen, and Portland are cities that are well known for being “bike friendly” cities and it is interesting to see if some of these ideas can help improve cycling in San Diego.
Utrecht,
Netherlands
Great Cycling Infrastructure: Utrecht has an extensive and well-developed cycling infrastructure. The city has dedicated bike lanes, separate from motor vehicle traffic, that are designed to prioritize the safety and comfort of cyclists. The infrastructure includes bike-friendly features like traffic lights specifically timed for cyclists and ample bike parking facilities.
Bicycle-Focused City Planning: Utrecht has implemented city planning strategies that prioritize cycling. The city center is largely car-free, making it easier and more pleasant for cyclists to navigate. Utrecht has also implemented trafficcalming measures, reduced speed limits, and implemented bicycle-friendly infrastructure retrofits in existing neighborhoods, promoting a safer environment for cyclists.
Bike-Friendly Policies: The city government of Utrecht has implemented policies that actively promote and support cycling. This includes investments in cycling infrastructure, bike-sharing programs, and incentives for residents to choose bicycles as a mode of transportation. The government has set goals to increase cycling rates and reduce car usage, reflecting a commitment to sustainable transportation.
Cultural: Cycling is deeply ingrained in Dutch culture, and Utrecht is no exception. Bicycles are a common mode of transportation for both commuting and leisure activities. The city’s residents embrace cycling as a practical, efficient, and healthy way to get around, fostering a strong cycling culture and creating a sense of safety and acceptance for cyclists on the roads.
Compact City Design: Utrecht has a compact and dense urban design, which makes cycling an efficient and practical choice for many trips. The city’s relatively flat terrain and moderate climate also contribute to the appeal of cycling as a mode of transportation.
Integration with Public Transport: Utrecht has excellent integration between cycling and public transportation. Train stations and bus stops are equipped with large bicycle parking facilities, making it convenient for cyclists to combine bike trips with public transport for longer journeys. This integration provides flexibility and convenience for commuters and encourages the use of bicycles for the first and last miles of a trip.
Continued Improvements: Utrecht continues to invest in improving its cycling infrastructure and facilities. The city regularly evaluates and updates its cycling network to address changing needs and demands. Continuous
improvements ensure that Utrecht remains at the forefront of bicycle-friendly cities.
Copenhagen, Denmark
Infrastructure: Copenhagen has invested heavily in developing an extensive cycling infrastructure. It has an extensive network of dedicated bicycle lanes, separated from motor vehicle traffic, which makes cycling safer and more convenient. The city also has bike-specific traffic signals, bike bridges, and dedicated parking areas for bicycles.
Safety: Copenhagen prioritizes the safety of cyclists. The city has implemented various measures to protect cyclists, such as providing separate lanes, reducing vehicle speed limits, and ensuring clear intersections for cyclists. These efforts contribute to a safer environment for biking.
Culture and Attitudes: Bicycling is deeply ingrained in Danish culture, and Copenhageners have a positive attitude towards cycling. Many residents choose to cycle as a preferred mode of transportation, which creates a strong cycling community. This culture of cycling promotes awareness and acceptance of cyclists on the roads.
Compact City Design: Copenhagen’s urban planning emphasizes compactness and accessibility. The city center is relatively small, with many amenities and attractions within a short distance. This compactness, combined with efficient public transportation, makes cycling a practical and efficient option for getting around the city.
Government Policies: The Danish government has implemented policies that promote cycling as a sustainable mode of transportation. Investments in cycling infrastructure, education and awareness campaigns, and incentives for cycling contribute to the city’s bikefriendly environment.
Environmental Awareness: Copenhagen has a strong focus on sustainability and reducing carbon emissions. Encouraging
cycling helps reduce traffic congestion and air pollution, aligning with the city’s commitment to environmental sustainability.
Portland, Oregon
Extensive Bike Infrastructure: Portland has developed an extensive network of bike lanes, paths, and dedicated routes that cover a significant portion of the city. These facilities provide safe and convenient cycling options for residents and visitors alike. The city has also implemented innovative features such as bike boxes at intersections and bike-specific traffic signals.
Bicycle Master Plan: Portland has a comprehensive Bicycle Master Plan that outlines the city’s commitment to improving cycling infrastructure and promoting cycling as a viable transportation option. This plan guides the development and expansion of bike lanes, paths, and other cycling facilities throughout the city.
Strong Cycling Community: Portland has a vibrant and engaged cycling community. Local advocacy groups, such as the Bicycle Transportation Alliance, work actively to promote cycling, improve infrastructure, and educate the public about cycling safety. The presence of an active community helps foster a positive cycling culture and encourages more people to take up cycling as a mode of transportation.
City Planning and Design: Portland’s city planning incorporates principles of bikefriendly design. The city has implemented traffic calming measures, reduced speed limits, and created bike boulevards that prioritize cyclists’ safety and comfort. Additionally, Portland’s compact and grid-like street layout makes it easier for cyclists to navigate and reach their destinations.
Public Transportation Integration: Portland has integrated bicycles with its public transportation system. The city’s transit agency, TriMet, allows bicycles on buses and light rail, making it convenient for cyclists to combine biking with public transportation for longer trips or to bridge gaps in their cycling routes.
Supportive Policies and Initiatives: Portland has implemented various policies and initiatives to support cycling. These include bike share programs, bike parking requirements for new developments, bike-friendly business certifications, and incentives for employees who commute by bike. The city’s commitment to sustainability and reducing car dependency has contributed to a favorable environment for cycling.
What Can San Diego Do?
Expand and Enhance Bike Infrastructure:
Increase the development of bike lanes, protected bike paths, and multiuse trails throughout the city. Create a comprehensive network that connects key destinations, neighborhoods, and employment centers. Implement physical barriers, such as bollards or curbs, to separate bike lanes from vehicle traffic where possible, improving safety and comfort for cyclists.
Improve Bike Parking and Storage Facilities: Increase the availability of secure bike parking options, particularly in high-traffic areas, commercial districts, and transit hubs. Install bike racks, bike lockers, and bike-sharing stations to facilitate bicycle parking and storage. Encourage businesses and residential buildings to provide bike-friendly facilities, such as indoor bike parking or repair stations.
Enhance Integration with Public Transportation: Improve the integration of bikes with public transportation systems. Ensure that buses, light rail, and trains are equipped with bike racks or designated bike storage areas. Promote the use of bikes as a first-mile/last-mile solution to complement public transportation, making it more convenient for people to combine cycling with transit.
Encourage Employer Support for Cycling:
Work with local businesses to establish bike-friendly policies, such as providing secure bike storage, shower facilities, and incentives for employees who commute by bike. Encourage the adoption of bike commuting programs and partnerships with bike-sharing initiatives.
Implement Bike-Share
Programs:
Introduce or expand bike-share programs to provide accessible and affordable
bike-sharing options for residents and visitors. Strategically locate bike-share stations throughout the city, including near transit stations, popular destinations, and residential areas. There is an electric scooter network throughout downtown but with its private ownership, brands come and go, making it unreliable.
Prioritize Biking in City Planning:
Incorporate cycling infrastructure and considerations into city planning processes, including transportation plans, street design guidelines, and development projects. Ensure that bike-friendly design principles are consistently applied to new and existing roadways. The city’s new green network has a plan to expand the city’s transportation network but cyclists are not a priority. By implementing these strategies, San Diego can become a connected city with a healthier and more sustainable transportation system.
Cyclists need to be safe and feel safe. The infrastructure needs to protect cyclists from vehicles by reducing vehicle speed and/or providing a safe space for the cyclist. Public transport needs to be more interconnected. A world where you can bike a mile to the trolley station, take the trolley to downtown, and bike half a mile to work in the same time that it would have taken you to drive sounds great. No parking headaches, no stress of driving downtown one-ways, and it is environmentally friendly.
The only problem is, if only a handful of people decide to use it, the infrastructure fails. “I don’t want to be sweaty at work”, “Where can I leave my bike?”, and “I hope the bus rack has space for my bike” are all valid reasons. Reasons why some won’t try and reasons why we should change. If you build it, they will come.
By: Armenta
San Diego labeled itself “America’s finest city” over 50 years ago and whether readers agree with this or not, accepting the moniker promises the public that the city has many great things to offer. If you’re looking for a city with beautiful ocean views and a variety of places to get tasty food or if you’re looking to further your education or to engage in a new workplace, you’ll likely be successful here. However, if you’d like to find a tight-knit community to call your own, you might run into some challenges.
Those desiring to make a connection with a community in San Diego might need to set realistic expectations. It can be difficult for travelers to find their people or for those trying who to make it second home, or even for locals who have not yet experienced a connection to a community outside of their immediate social bubble.
Yes, we all share the same city, but we can easily be divided by socioeconomic status or ethnic backgrounds or locale within the geographically sprawled out city. San Diego has many community challenges that other cities don’t. For example, there is a steady influx of residents who are only here temporarily from anywhere from one to four years such as college students. The city is host to UCSD, one of the top research universities in the world and the SDSU which is among California’s largest state public universities. Additional colleges like NewSchool of Architecture and Design provide specialized skills with practitioner
based programs, and other local colleges prepare students for fields such as nursing or law.
The 16 main colleges within the city and 8 community colleges with over 100,000 students, continue to add to the regional population. And that doesn’t even include the many satellite campuses that add to the total. It’s no wonder that the number one employer in San Diego is the education sector. Combine this temporary student population with the active-duty service members and a concerning pattern emerges among San Diego’s population of approximately 1.3 million people.
Many of these temporary residents might not invest much energy into communities beyond their immediate ones. Students are more likely to join a student run organization on their own campus, ones that are convenient to attend and advertise specifically to them, rather than
step out of their comfort zones and join an organization outside of their school. The same goes for many military personnel, especially those who don’t settle in San Diego or have family here.
This tendency for some residents to be transient culminates into a central issue for the city. A sense of disconnectedness. Despite being one of the top ten largest cities in the country, San Diego’s often caters to pastiches created for tourists and hosts special events and promotes natural landmarks that the citizens of the city have little control over. If a city’s mangers are more invested in preserving the natural beauty and the aesthetics of a place for tourists, rather than building communities, than the emphasis on supporting its citizens, sometimes appears to go by the wayside. After all, the very core of the city should be rooted in the people who choose to stay, over those who are here temporarily or just visiting.
The other challenge of the city is that most residents migrate away from its urban core and settle in suburbia, drawing culture and resources away from rather than into the city’s center. It’s normal for a horse to be drawn to water and for the horse to then be drawn someplace else when the trough
empties or is relocated. The issue here is that for some, San Diego has failed to provide much beyond the original trough. This is to say that the average San Diegan has a home, a first place, a place of work (a second place) but struggles to find a third place. Some readers might be quick to cite their favorite cafe near campus as their third place but given that that the café directly across the street from the faculty parking lot has changed names and ownership three times in the past five years, it is hard pressed to call a local café a cherished third place.
Although the term “third place” has become a buzzword in recent years, the 1999 book The Great Good Place by Ray Oldenburg cites the following eight pieces of criteria to create a traditional third place:
• The third place must be neutral ground. A third place will welcome an individual without expected commitment.
• Third places are levelers, people from all walks of life can use a third place regardless of income and feel welcome.
• They are accessible and accommodating, third places are easy to access to those who frequent them.
• They’re low profile, third places do not aim to impress.
• Conversations are the main activity.
• They are a home away from home, they are comparable to one’s home in five defining ways: rootedness, feelings of possession, spiritual regeneration, feelings of being at ease, and warmth.
• They have regulars, returning members who invite new people.
• The mood of a third place is playful.
If these rules seem almost impossible to fulfill it’s because they are very challenging to find in the United States. American culture values individualism over almost everything and places that are free to attend are rare. Such places and spaces require volunteers and donations, and this may be contrary to the priorities of individualist mentalities. Add to this a population of over 200,000 people already mentioned who are less likely to use or demand third places and the disconnect within the city starts to reveal itself.
To get more insight on this phenomenon, I interviewed faculty member Alan Rosenblum who was nice enough to share his perspective on the topic.
Would you say that coming from Lima Peru has given you a perspective on what your home city has that San Diego does not?
Well first let me say one thing, I’ve lived in San Diego longer than I’ve lived in my hometown, so I can call this a hometown I guess, but it becomes a different animal. My early days in San Diego, among other kinds of cultural shock, were marked by an intense reaction against the physical reality of this place within the city; not of its physical nature of course because that’s always been beautiful, there’s not much to complain about there. But one of the first things that shocked me coming from a compact city, was how far apart everything is here, building to building, block to block, community to community, city to city. These are long distances; you might drive 20 miles to go to another neighborhood and this completely blew my mind. The separation between things and the difficulty that exists if you don’t have a car. As a student those days were quite difficult because I didn’t have one. My mobility was precarious, and living inside UCSD manifested this kind of isolating feeling.
However, San Diego does have highquality culture, various live shows, one of the top five schools of music in the world, a very well-known visual arts department at UCSD, so you have right there two powerhouses of culture. You also have many institutions in San Diego that promote art like Bread and Salt, and there’s the Athenaeum Music & Arts Library in La Jolla, aside from all the museums at Balboa Park. In that regard we’re not that bad. As a matter of fact, we are in a privileged place compared to many other places. So, the cultural part that I take issue with is the interhuman, or the difficulty that I’ve always perceived in San Diego as the ability to connect to people and with people, perhaps because of the physical distances I’ve already described.
There are many well-meant intentions or attempts at creating an urban culture here in San Diego. We have the “revitalization” of neighborhoods like North Park and Barrio Logan and Sherman Heights. Little Italy was the first one to get hyper gentrified. I’m using air quotes for “revitalized” because it usually means “gentrified.” There have been these kinds of intentions to create more urban culture in parts of the city, unfortunately they often come with an
enormous price tag and with displacement for people who were already living in the area, it’s a displacement of the community that they were trying to improve.
Those are the main issues I have. One thing that I see as catastrophic, is that San Diego has been unable to recover from the effects that Covid had on the cultural life of the city and I know this is not only San Diego, for it has also happened everywhere including Peru. For example, the fact that most places close early. I’ve always complained that San Diego closes too early and now it closes even earlier, everything closes at nine, that makes city life very difficult. Having places open later needs to return. Another issue is San Diego’s attitude towards informality, particularly towards street vending. A few years back street vending became legal in California, depending on its city’s regulations and San Diego (for the most part) has maintained city regulations that don’t allow it. That to me is extraordinary, and missed opportunity to create urban life. If you want actual urban life and not just the image of urban life, you need to have authentic smells, activity, and exchange; sure, there’s going to be noise, but that’s the stuff that city life and urban life needs.
That’s a tremendous thing, and if you add to that the layer of a “no loitering” culture and mentality which is the common denominator of almost all public spaces in San Diego, then you can expect public places to be barren and empty. There are some public parks where people are allowed, but for the most part, buildings with plazas are out of bounds at night. These are crucial elements because it doesn’t matter what form the city has, it doesn’t matter how spectacular the skyline is or how much the new urbanists want to make things look like a real neighborhood— when you don’t allow the actual life of a neighborhood to exist, looks won’t get you very far.
It only leads to explosive gentrification. San Diego has become one of the most expensive cities in the United States in terms of cost of living, but it’s not balanced by earnings. In the end when you have all these things, how pretty the city looks doesn’t matter.
So, the issue of San Diego is more an issue of how it’s structured than what it physically is?
I think it’s both. On the one hand it is how physically spread out it is, how far apart things are. When I was working with Teddy Cruz we won the competition for a plan for San Diego called the city of villages, which was precisely about this notion of San Diego being spread out, and trying to consolidate (or think of it in a way that perhaps consolidates) a polycentric city, something that never happened because the element of density (which was the most important element) was rejected. Now it’s been reconsidered in a negative way, what densification has become is towers of tiny units that cost more than people can afford. It’s amazing how we are dealing with this.
I guess one of the elements is the nature of San Diego as a dispersed city, it’s dispersed throughout a very large landscape. And the other thing is the software aspect, the decisions San Diego makes. The first years I was living in San Diego, I attended a show of drawings by architects. I don’t remember the title of the exhibition, but the last four words were “for a reluctant city.” That always stuck with me because if there is one adjective that describes San Diego perfectly it’s reluctant, it’s always reluctant to do anything that will turn it into an actual metropolis. Which actually it is because of the number of people that live in it, but it refuses to be a metropolis.
It wants to remain a little town, it has this sort of complex, that it wants to remain a child forever and doesn’t want to grow up. It’s the size of Godzilla already but it doesn’t want to grow up and I think it has to do with those things, there’s this very
conservative mentality about maintaining a certain village that doesn’t exist at all really. San Diego is an interconnected system of suburbs with a semi functioning downtown, that’s what San Diego is.
Do you think that San Diego being as dispersed as it is, and having the issues that it has makes it more difficult to build community?
Well, I think it goes back to the beginning, you’re not going to build community if you don’t allow the elements of community to happen, and the elements of community have nothing to do with museums, they have nothing to do with those things. The elements of community have to do with the day by day. The little stuff that allows people to connect to people. From spaces that allow people to connect to activities that will bring them together in places that they can meet. Not in a community center, where you must go to a place with a big arrow that says meet here, but actually just softening the city, softening the street. Allowing these connections to happen and people to run into each other buying a hotdog on the street.
Aside from the distance one must cover there’s also no reason to be in the places where you could meet others, which is outside. If you think about San Diego’s culture with the perfect weather, San Diego lives… indoors? or where? Because people are not outside all that much if you drive throughout many of the centers, and I’m not talking about the small downtown and the three blocks of Hillcrest and North Park or PB. I’m talking about general San Diego County. If you move around people are not outside. With Covid a little bit of what
happened was that restaurants started opening parklets to survive and this did do something good in the sense that it created a little bit of something on the street for a moment. But in general, the idea of the street is not something that is very familiar to San Diegans, and that’s the problem. That is where the community happens. The community happens on the street. I was talking in my theory class about the word community and how it is used essentially as a branding device by the real estate industry, they build “communities”.
I remember back in the day when they started building homes instead of houses. A house is not a home until it’s somebody’s home, so you cannot build a home unless it’s somebody’s home by definition. The same way you cannot build a community until the community happens to appear. Communities are not built with building materials, they are people, but it becomes this complete trivialization of what the word means, community, commune. It’s about communal living, it’s about the common good. That’s what community is, not putting one house next to the other, that’s not what that is. It’s not that the art or the culture affects San Diego’s capacity to create community. I think both are the same problem, because the culture is the community, it’s the same thing.
We are talking about the possibility of people relating to each other in a way that people don’t really understand because a lot of people haven’t seen the opposite, places where you do have a community, a natural community with different degrees of familiarity between people. There are the friends, there’s the family, there’s the people you see once a week, there’s the guy that sells you the bread but recognizes you and remembers your name. And all that is created in the little everyday things. I don’t think it’s a design thing and I don’t think it’s a revitalization thing.
Professor Rosenblum certainly provided us with a lot to ponder regarding San Diego’s community building issues and how they stretch far beyond the scope of any one person. While it would be counter intuitive to suggest that we can take action and improve the streets all by ourselves, it is our civic duty to do what
we can to influence the current system and try and make better communities. In what is often a hyper individualistic culture, finding community might mean having to drive to find one another. You might need to adopt a mentality that’s antithetical to individualism. You could start by researching and seeking out places and spaces where likeminded people congregate, or try to find events that match, or look through online forums, or even follow a flyer with vague instructions if it means finding that third place where you’d like to be.
WHY MULTIGENERATIONAL HOUSING IS SUSTAINABLE
by Camille Summers
Have you ever seen a vecindad?
Vecindads combine individual apartments that surround a courtyard, and residents often share common areas, usually kitchens and bathrooms. Vecindads became famous as grand Spanish structures. Later taken over by the Mexican working class, vecindads became the homes of many generations of Mexican families. Multi-generational housing is shared intergenerational housing that includes multiple generations living under one roof.
This style of housing aids sustainability because it not only allows for efficient energy and land use, but it also promotes the passing down of sustainable practices from generation to generation. To get a better understanding of just how multigenerational housing and sustainability work together, I conducted interviews with seven of my peers of different cultural backgrounds and asked them about their family life as well as sustainable practices they’ve used in their childhood and adulthood. But first, let’s talk about what sustainability is and what it looks like. Sustainability is defined as the ability to maintain or support a process continuously over time. This can be things like recycling and saving grocery bags— or even better, having reusable bags! For many of the people I interviewed, these were the two most common practices. Some other responses included donating clothing, carpooling, and being sure to make efficient use of their resources.
The one outlier in the interview responses came from my roommate, Izzy Lurie, a native of Northern Californian who grew up in San Francisco. Izzy explained that her parents were very adamant about teaching her and her brother the importance of composting and saving water. As a family, they would compost every week, and her parents made sure they were also as educated as possible about the water crisis in California. These kinds of practices and knowledge can easily be passed down from generation to generation, especially when multiple generations live in one household.
With multigenerational housing, younger generations get the opportunity to learn
from their elders. Many of the people I interviewed weren’t previously familiar with the term “multigenerational housing,” but they were readily accepting of the idea, including its potential association with living more sustainably. In addition to its benefit for limiting our footprint on the environment, multigeneration housing may also be beneficial in other ways to its families. About half of the people I interviewed said they wished they had grown up with grandparents and could imagine how multigenerational housing could have created a positive environment in their households, especially regarding family bonding and intergenerational relationships.
Perhaps the biggest “positive” of multigenerational housing is simply financial. One classmate, Tomas Galindo told me, “It is almost impossible not to live in a multigenerational house in today’s economy.” Multi-generational housing may save on the cost and use of many household resources. In fact, my older cousin, Tyra Rodgers, an African American woman with Caribbean roots, says she likes “the idea of an entire family pitching in to live in one space with only a small sense of separation,” and that along with saving resources and space and cutting down on costs, it also gives families the opportunity to maintain a sense of community. She and her partner, Kirklan Bryson, a west coaster with southern roots, agreed that multigenerational housing is also a great way to reduce a family’s carbon footprint.
Most people agreed that multigenerational housing helps build closer familial relationships. I asked each interviewee what typical quality time with their families might look like. Most said they bond with family by sharing meals, watching TV, or playing games. My roommate, Roya Akbari, who is originally from Afghanistan but moved to the Unites States in 2016, said she grew up in a family of five and understood how important it was culturally for her family to share breakfast, lunch, and dinner together every day. She talked about how different this was from the culture in the U.S. because here, most everyone works and families don’t always get to share meals together.
Tomas Galindo emphasized how important it was for his family to share meals together but stressed that it is challenging because
of conflicting work schedules. There was a consensus amongst interviewees that multigenerational housing, while beneficial, may also have some negatives. According to one of my roommates, Natalie Longoria who has Mexican roots, multigenerational housing, requires maintaining a positive environment which relies heavily on good communication between family members.
This feedback proved to be very informative, but I also wanted to know more so I decided to conduct a few more interviews with some people who had slightly older perspectives. I invited three people aged 51, 62, and 73 to share their stories. What I found was surprising yet encouraging. The older generation talked positively about the same sustainable practices from their childhoods as my peers. They all reported participating in recycling, donating clothes, using hand-me-downs, saving grocery bags, etc.
They all agreed that the behaviors they had learned as children living in multigenerational households carried over to adulthood. My older participants also stressed the importance of good communication amongst family members and how “everyone in the household must do their part”.
Multi-generational housing not only helps to aid familial relationships, but it also results in the passing down of practices that can aid more sustainable approaches to living.
I also gathered a bit more of background on my roommates:
Izzy Lurie is white American whose grandmother on her father’s side was firstgeneration with ancestry from Poland. Her maternal grandfather’s lineage is from Scotland and Ireland. She told me that her maternal grandmother lived with her family for five years from middle school to high school. When they lived in San Francisco, Izzy remembers the grandmother would usually be at home. Family dinners were always eaten together and everyone watched TV together.
Izzy remembers that as the kids got older, her brother started spending a lot of time going out with friends. Eventually, she did the same until less family time was spent together. This scenario is probably typical for most families.
Izzy also remembers that her family would compost food waste every week, recycle and save grocery bags as well as buy reusable bags. She said her family also tried to conserve as much water as possible and never used water bottles. Being from California, they were aware of preserving water and they’d take timed showers, avoid watering the lawn or washing cars in the summer. Izzy believes that having a multigenerational household opens your eyes to new experiences and finding ecofriendly solutions
Natalie Longoria said having a Mexican cultural background naturally lends itself to having multigenerational homes which are great to an extent, though there are definite pros and cons. She said that in her culture it is common for grandparents to live in the same house for many years with the family. Having more family members in a household can help raise children and provide more hands around the house to help with chores. Natalie’s mom always made her aware of proper recycling, minimizing waste when it came to household items and food, and they all had chores to do starting from a young age. This teaches basic life skills. She also stressed that her mom and aunt were similar because they both look at things and never view them as a “one time use” thing. Everything can be used again for something.
Tomas Galindo is also a student at NewSchool. He grew up in a Hispanic home, however it was one where most of his family spoke English, so he never learned Spanish. He has two sisters and one brother from his mom’s side, and a sister from his dad’s side. His parents divorced when he was two and he lived with his mom. Tomas feels that it is almost impossible not to live in a multigenerational house in today’s economy, especially with the cost of living being so expensive. He said that if one of his younger siblings ever needed a favor or ride, he was always available. That’s families support one another.
They all agreed that the behaviors they had learned as children living in multigenerational households carried over to adulthood
By: Victoria Baldenko
When I think of community and culture in San Diego, I can’t help but relate what that means to me personally. Community is a crucial part of who we all are as individuals, and my community has a foundation in the DIY punk scene. This is a subculture that historically has been overlooked, appropriated and popularized for capitalist ventures. But I wanted to shine a light on what the DIY punk community really represents. This is a subculture that is rooted firmly in getting intimate with live music although it is much more complex than just loud and aggressive music. The DIY punk scene has fundamental beliefs and philosophies based in community and caring for one another. While many individuals in the scene may feel outcasted from mainstream society, they find a sense of belonging amongst each other.
To get an inside look at how this community operates I’ve reached out to Collin Smith, a long-time veteran of the DIY punk scene. Collin is one of the owners and operators of the Print Shop, a screenprinting business located in San Diego. He describes this business as a refuge and a home for him and the other people who work there. While he adamantly states that the Print Shop is NOT a venue, they open-up their business to host DIY shows. These shows are completely self-sufficient and happening because Collin and his colleagues believe that there is a need to hold space for this music and to serve the DIY punk community in any way they can. This is what he had to say:
First off, did you grow up in San Diego? If not, where are you originally from and when did you move here?
I’d say I “finished” growing up here in San Diego. I was born in Massachusetts. My dad left me and my mom when I think I was somewhere around eight years old. My brothers and I would come out to SD every summer to visit him. When I was 16 my mom kicked me out and sent me to
“THIS WAS ALL AT THE SAME TIME I BEGIN USING HERION, SO THOSE BANDS QUICKLY DISSOLVED AS MY HABIT GREW.”
live with my dad and I finished high school out here. I’m 39 now, so I’ve spent most of my life living in San Diego. My two partners at the print shop grew up in Cincinnati, Ohio. Jon came out here when I was like 18 and Ron (we call him Woogy) came out sometime in his early 20’s.
How old were you when you first got into the punk music? What were some of your early music influences?
Getting into actual punk I was about 13. The obvious first taste was like Sex Pistols, Green Day, Rancid, then I was shown Crass and Dead Kennedys. Later I met my friend Ben who really showed me what was up with bands like Born Against, Filth, Crimshrine, Universal Order of Armageddon, Fugazi. I’d say some of my first musical influences as far as like wanting to play guitar in a band was probably Nirvana. That was when I was 11 and got my first guitar. And going to DIY shows in the New Bedford, MA area had a huge influence on me. Seeing folks book their own shows and make their own bands really showed me what was possible.
When did you first get involved in the music scene?
I tried to get involved when I first moved here, but I didn’t know anyone. I had been involved in the New Bedford scene before coming to San Diego. Playing shows in my first band, Dangerfield, was something that took up most of my time. I was hoping to find that in San Diego, but it was a little harder than I anticipated. My first show here was Run For Your ****** Life at the Che Cafe, I don’t remember what other bands played. I found some friends to jam with, but it didn’t amount to playing shows really. I began spending most of my time getting high and skating. After graduating high school, I met my friend Darrel who played drums and we started a band called Abduct Me. We only played
a few shows, Che being one of them, and a few in Fresno with this other band I was in called Taronto Gosh. This was all at the same time I began using heroin, so those bands quickly dissolved as my habit grew. What bands do you play in now?
Right now, I play in a couple bands, Se Vende and Deaf Club.
How would you describe the genre of music you play?
I’d call it just punk, save it for the genre snobs to figure that one out.
I know the print shop is an actual screen-printing shop; can you tell me how you got into that?
I started screen printing when I was 16 as an after-school job. My dad was friends with this person named Meg (and her then boyfriend Steve) worked at a print shop and asked my dad if I could work there after school. I first learned of screen printing outside a show in New Bedford. This older punk had a leather jacket with a perfect graphic on it and I asked how he got it so good, and he said, “screen printed it.” So that kind of got my interest rolling. The high school, I went to Point Loma High, had a screen-printing class, and I remember meeting my first friend there because he was wearing a very distinct Doom shirt and I asked him where he got it. He said he printed it.
So, once I was offered that print shop job I jumped at it. My intention was to learn how to print so I could print my own shirts. The first shirt I ever printed was of a Crimpshrine graphic in my dad’s garage in Ocean Beach. I worked at the shop from around the ages of 16 to 22 I believe, until they let me go. I was really strung out. I’d go to jail, clean up, get a job at another shop, relapse, get fired, do it all again for years. And then I got clean and was working at
Extra Graphic Screen Printing when I got out of jail in October 2015. Jon and Woogy would come hang out and thought it was cool and we started toying around with the idea of having our own shop. I was reluctant but they helped push me into it, we opened the shop march of 2020.
For people who don’t know can you describe what the print shop is?
The print shop is where I spend most of my time when I’m not touring. Basically, it’s a service based shop where we print custom shirts for clients, whether it’s a restaurant or a band (we love printing for bands) or whoever needs shirts. It’s just a custom print shop really, it isn’t really a “venue,” it’s pretty much like a house because we live there at times, so folks should treat it like a house rather than a regular venue type of thing. We’re just fortunate that we’re able to host shows here and there.
What genres of music are hosted at the print shop?
I guess like every variation of punk. DIY punk and stuff like that. We don’t have proper sound, our PA (it sucks, we need a new one). A lot of hardcore cause’ that’s what’s hot right now.
Try to stay away from “beat down “stuff cause’ that’s a little too macho for us and they usually wreck our space.
When did you decide to start booking shows at the print shop?
November 2021. A band called Lagrimas posted that they were needing help booking San Diego and didn’t wanna play a bar (music to my ears) so I reached out to them. And that was the first show 11/12/21
Since the print shop is a DIY venue, have you had any issues with the neighbors, law enforcement or the city when you’re putting on shows?
Fortunately, as of yet, we haven’t had any outside problems. Which is really nice. We’re lucky cause’ the part of town we are in no one really goes there at night so it’s kind of a ghost town. The only problems we’ve had are underage drinking and tagging. The tagging is a problem because there are other businesses in the compound we are in, and we have a property manager who can and will kick us out if things start getting messed up. The underage drinking hasn’t been a problem for the last year or so, but in the beginning it was wild. We quickly realized that we don’t wanna be the space for kids to get wasted at, for the sake of longevity and for the sake of the safety of minors.
What has your experience been with running a DIY music venue? Have there been any challenges?
I don’t know, we don’t really think of it as a venue because, like I previously mentioned, there isn’t any real sound, **** PA, it’s basically a garage, and it feels like we live there very often, but it does take a lot of work. Setting up for the show, cleaning up and putting the shop back together after the show, we’re usually there till about 1:00 or 2:00 am. Sometimes the shows are a bust and sometimes they are totally wild. We do it because we believe it’s important. Regardless of how tiring it is. Sometimes being in a small band is intimidating to try and get shows at a regular bar/venue, and that **** sucks, we want everyone to feel welcome at the print shop, we want everyone to feel included.
How would you describe the music scene in San Diego?
Ummm, the music scene in San Diego is cool. I often feel a little out of the loop, especially as of recently. We have Red Brontosaurus and the Che Cafe that are doing a lot of shows for the younger screamo bands which are cool to watch. There are some cool queer indie/emo bands that are playing all the time creating their own scene which is rad to watch. I mean, even though I play in bands and host shows at the print shop, I do feel really outta the loop most of the time, or feel like an outsider, maybe that’s just how I feel about myself in general.
What has your experience been like playing in bands in San Diego at the various local venues? Aside from the print shop, do you have a favorite venue or any honorable mentions?
Hmmmm, I don’t know, Se Vende played at the Che Cafe earlier this year and that was the first time we’ve ever played there so that was cool. I mean, Tower Bar can be
cool. I don’t really enjoy bars and anything like that, so I might not be the right person to ask. We (Se Vende) played the Atari Lounge at The Casbah last year and that was sick. Se vende is playing at The Casbah in august so that should be cool too. Red Brontosaurus is always cool. We really like to play other DIY spaces over bars any day.
I personally think there is a strong sense of community that is overlooked by mainstream society, could you tell me what your experience has been in the community?
Well, it’s all I really know. I mean, there was a period of about 12 years where I was a heroin addict so I wasn’t really involved in anything scene related, but since having been clean and being in active bands, there’s definitely a community. We’re all **** up’s in one form or another and mainstream society doesn’t appeal to us cause’ we just don’t fit into that any more than we absolutely have to. And I think we all have a spoken as well as unspoken respect and love for one another regardless of how close we may be in each other’s personal lives, we’re all here for each other I think, I hope that’s the case at least.
A lot of people that are going to read this article have never listened to punk and I think there’s a lot of misconceptions about the people in this scene. I personally found a strong sense of community and have some of the most healthy and loving relationships with these people. Have you had a similar experience? If so, please elaborate!
Yeah, I can relate. Most, if not all my close people in my life are involved one way or another in something “DIY”. Whether it be music, art, photography. Most, if not all my friends don’t fit into this mainstream society. I mean sure not everyone at these shows is there for the same reasons I am,
but that doesn’t matter. The folks I feel close to in this “scene” are here cause’ we want to be, not because we know why. It’s just in our DNA and it always has been and always will be. But, sure, there are ****** everywhere, and the DIY punk scene is no exception, I just think that those fools just move on eventually, or end of getting removed.
How has the music community in San Diego impacted your life in a positive way?
Well, in most cases it’s given me a purpose outside of myself, specifically having a space to host shows at. It’s a good feeling to be able to give something to something bigger. I don’t like taking all that much.
How do you feel about the younger generation and their involvement in the music scene?
The younger generation is sick, aside from how they always “crowd kill” at every show. I like how they are starting their own bands and booking their own shows, it’s cool to watch, I hope they stick with it and I hope they find what I’ve found within this lifestyle.
Do you plan on continuing to hold shows at the print shop for the foreseeable future?
Yeah, I mean, I don’t really see us not being able to continue to host shows there. I’d like to keep it going, that’s why it’s also really important that we all respect spaces like the shop and each other. I look at it like this: I was taught how to conduct myself within DIY spaces growing up, like clean up after yourself, don’t be an ***** and all that, so I think that if we can all keep DIY spaces near and dear to our own hearts, hopefully they can continue. But, when folks trash the shop, it kind of feels like a slap in the face, or when folks trash any DIY space it’s just kind of like “these are our
spaces let’s ***** nurture them not **** on them”.
What plans do you have for the future, whether it’s making more music, booking more shows, touring etc?
I guess more of what I’m doing. I’m currently on tour with Deaf Club right now. Se vende is releasing a split 7inch with Corrupt Vision at the end of June. Se Vende has a run of shows at the end of July and a tour at the end of august. There’s shop shows scattered throughout the summer. So yeah, pretty much this is where we’re at in life and wanna continue as long as we can.
Is there anything else you would like readers to know about you, the print shop, or the music scene that I haven’t addressed already?
Yeah. The Print Shop “staff” is myself, Jon, Woogy, his daughter Fern who works the door, and Uriel. We have various volunteers at each show which really help out so much. Our friends table anarchist literature and pass harm reduction supplies, which we feel is a much needed and important part of what we wanna do at shop shows. Sometimes, not often enough, there is free vegan food, if there is anyone reading this that is interested in helping in that department, we’d be forever grateful. Respect all DIY spaces. Treat them like your own. And respect each other. Up the punx. ...
The first time I attended the Print Shop I was overwhelmed by the sense of community this little ecosystem had to offer. Upon entering I was greeted by the individual working the door. I paid to get in and there were earplugs and water available for purchase. As I proceeded into the venue there was lively chatter amongst friends. There were tables lined up for bands and local artists to sell merch and art. There was a buzz of excitement as I located my
own friends, we embraced warmly and discussed the bands playing. They were all local and I was eager to discover new music. As I made my way into what looked like a storage shed I could hear the band sound checking. There was no stage or real sound system. Christmas lights were strung across the space, there was art that covered the walls, and screen-printing equipment stored haphazardly to the side.
Once the band began playing the space Filled up quickly. The music was loud and aggressive; the energy was swirling, and I felt at home.
People began moshing and there was a hint of danger.
Even though it was aggressive, people looked out for each other, if someone fell down everyone swarmed to pick him/her back up. There was definitely a sense of camaraderie and community in that space. I am grateful to be a part of this community in San Diego and I urge anyone who is curious about it to visit a show.
About three weeks ago, I was inspired by what we were learning in The Evolution of Surfing & Skateboarding class to try skateboarding. I would have done surfing, but judging by the fact that I cannot swim, I think it was a good call to stay on land. Through this, I connected with my friend Cole, who is a part of the skating community here in San Diego. I decided to step out of my comfort zone, and attend weekly skateboarding meets, “Dock Sessions” and “Taco Tuesdays”. The whole point of these meets is to encourage beginner skaters (like myself) to come out and meet new people and learn how to skate.
There are obviously more professional and skilled skaters, like Cole, who teach those of us starting out. I was blown away by how friendly the community is, and how understanding they were of me just starting out. Turns out, I wasn’t the only one. As I write this, I have attended my third dock session (pictures included), and I have been working towards learning how to Ollie for the first time. I have always wanted to do it. While skating down Mission Beach, we talked to a homeless guy who was carving out his own skateboard, which honestly was amazing.
I’m a huge believer in just doing what you love, regardless of what situation you are in. His passion for skating and surfing was evident, and his situation genuinely didn’t stop him from building his own board. It took him the whole afternoon, but he got on and started cruising with us, which was an experience I thought I wouldn’t never have. The genuine connection between people that skating has shown me, is something I haven’t felt in a while, which is a bit cheesy to say, but very true.
For the final project in class, I met up with Beau from Open Source Skateboards to not only talk, but to also pick up some materials to make my skateboard. Since beginning to learn how to skate, I have been particularly inclined to cruising on a longboard. Wanting to continue to attended the Dock Sessions, I kept speaking to Beau and Cole about making my own longboard. While they did warn me that creating one might result in it being more bendy than normal boards, I think it was great to just go for it and see how it went.
Worst case, I would keep it as an art piece. I teamed up with Beau for the veneers, and with another gentlemen named Max to help me get the art I wanted to create and put on the board. I also reached out to @bitchingrips, her name is Hannah, and she is incredibly talented at creating custom griptapes. I followed the theme of an old PS2 video game that I first bonded with my father over, which means a lot to me. I think this was be the perfect opportunity to do it.
My friend Cole has also recommended some trucks, bearings and other accessories I am excited that I made this happen. I am going to be meeting up with the crew on for Taco Tuesday. With the crew riding the skateboard I designed and built myself.
Making a longboard
By: Zachary Brown
I initially embarked on a journey to put together a student guide to tacos in the East Village because I thought it would be a great way to bolster our community and encourage students to venture out and find some quality, cheap eats in the vicinity of campus and engage in some of the local culture (In this context, tacos = culture). After visiting several taco shops and quickly realizing that a story like that lacked substance, I decided to pivot and grade some local shops instead.
Tacos are an important part of Mexican food culture, and are arguably one of the greatest foods on earth. And in my humble opinion, tacos are one of Mexico’s great food contributions to society, as well as Caesar Salad. Tacos are widely available in Southern California because of our close proximity to the Mexican border, and as such, we have many taco shops to choose from. In order to accurately assess the quality of each taco shop, I employed an arbitrary grading system that was loosely based on the taco shop itself (aesthetics and design), the tacos, and the overall customer experience.
“Tacos are an imporTanT parT of mexican food culTure...”
Taco cenTro: c+, meh
The first taco shop I visited was in the Gaslamp Quarter, and from a design perspective, this place had the goods. To be honest, I was already a little skeptical because of its location. Let’s be honest, Gaslamp is the most touristy area of town, and doesn’t really attract hole-in-the-wall restaurants that are usually known for flavor and authenticity. Gaslamp is where one might go to find a big corporate chain or a flashy, trendy restaurant experience. Taco Centro was just that. This shop featured an open kitchen behind glass that boasted a spit of Al Pastor (for our dear readers who might not know, Al Pastor refers to marinated pork that’s been stacked artfully on a vertical spit, topped with pineapple, slowly roasted, and is served by being shaved off with a knife, right into a freshly made corn tortilla) deliciously spinning. For decor there was a lunch counter, modern white tiles and signage, color coordination, a healthy section of draft beers, plenty of seating, and a salsa bar that truly went above and beyond. So what about the food? I obviously had to try the Al Pastor taco, and a carne asada taco to get a baseline. I also ordered a Topo Chico, which is a wonderfully effervescent Mexican mineral water that
is not only refreshing, but pairs exceptionally well with tacos. After a few short minutes, my order was ready, and I was very excited to dig in. Both of my tacos were drenched in sauce, but I still took a trip to the Salsa Bar because it was so beautifully appointed. The tacos were pretty good. The tortillas were fresh, the portions of protein were generous, the sauce was extremely heavily poured and flavorful, but I didn’t have the usual religious experience that I get from a really good taco. These were just okay. The meat was under-seasoned, there was grease dripping out all over my plate, and there was so much sauce on my tacos that I didn’t get to take advantage of the salsa bar. To be as objective as possible, I took a couple of sips of my Topo Chico between tacos, and the cool, clean, and rather prickly water cleansed my palette. Why have such an elaborate salsa bar if the customers can’t even use it? I guess what I’m trying to say here is that Taco Centro was flashy and nicely designed, and perfect for Gaslamp, but the tacos lacked soul (and seasoning), so I give them a C+, which to be fair, is generous.Two tacos and a Topo Chico were nearly $20.
For my next stop, I decided to try Azteca, which is
aZTeca: B, i’d go Back, BuT i’ve had BeTTer
a block away from campus, and one of the most conveniently located taco shops to Newschool. The decor is minimal and boasts graffiti style representations of famous Aztec imagery. There are 8 tables, and a counter with a plexiglass dividing wall which is a hold over from COVID, but seems like something they still like having around. The menu was simple and has all of the essential items you’d expect to see at a place like this. The prices were consistent with the feel of the venue and its location. This restaurant is right next to a bus stop, and gets a lot of foot traffic as a result. The customers were a real slice of the community. There was a quirky, chatty woman who complimented my glasses, a man who smelled like he stepped out of an ashtray, and a 4-top with 3 middle-aged people, and a small dog in a San Diego Padres jersey. I ordered two tacos again; a pollo adobado and a carne asada this time. These were full-sized tacos, and much bigger than a typical street taco size; I’m glad I didn’t order more. They
were generously portioned and came with green and red sauces on the side. The carne asada was okay. The beef wasn’t very tender (a sign that it’s either overcooked or of poor quality, or both), but it was overall a decent taco. Nice tortillas, and the expected toppings like chopped white onions and cilantro were all there, and everything seemed very fresh. It was also hot, which sounds like something obvious, but tacos are small and there’s not a lot of thermal mass in a taco, so it’s not uncommon to have a lukewarm experience when taking a bite. I’m really glad I had the carne asada taco first because I didn’t know it yet, but I saved the best for last. The pollo adobado was exceptional. Tender, well-seasoned chicken was the star of the show, and the red sauce really brought it home. It was fragrant and definitely a well-crafted, spicy accompaniment for any taco. Based on my arbitrary grading system, Azteca gets a solid B The last stop on my list is an old favorite, and a small
adalBerTo’s: B, i’d go Back, BuT i’ve had BeTTer
California chain of Mexican eateries with 10 locations across the state; three of which are right here in San Diego. I’ve been going to the Rosecrans Adalberto’s location on Point Loma for 20 years, and with a few exceptions they’ve been very consistent and overall a wonderful place to grab a quick lunch. I must confess that I’ve only ever had burritos from Adalberto’s, but for the important research that I’m conducting, tacos are a must this time around. Before I get to the tacos, it’s important to note that Adalberto’s, in my humble opinion, is the gold standard for a what a place like this should be like. Their salsa bar at the Point Loma location has the usual green and red sauces, sliced radishes, pickled carrots and jalapeños, and freshly made tortilla chips to enjoy while you wait for your order to be ready. But I guess not all Adalberto’s locations are created equally. I showed up to the downtown location for my next round of research, and from the outside, it seemed like the old familiar vibe that I was used to from Point Loma, only this location has a drive-thru window which was a nice touch. They also have a lovely outdoor seating area complete with umbrellas, so this place
was already off to a great start. As I walked through the door however, I was shocked to find that this particular shop was very small inside. There were only a few tables, no salsa bar, and it was pretty bare-bones overall. Everything I needed was available upon request, but the “help-yourself-to-whatever you-need” feel of Rosecrans just wasn’t the vibe here. I ordered a carne asada and a chicken taco, some pickled carrots, and one of each of their green and red sauces, and within a few minutes, my order was ready. Despite the strange vibe of this place, the food was good, but I think in the future I might as well stick with the drive-thru. This was B on my arbitrary grading scale, and I feel like I need to find a better taco shop to improve my Taco GPA. In conclusion, I wasn’t overly impressed with the quality of taco shops downtown. The variety and feel of taco shops has a broad range, and as it turns out, not all tacos are created equally. I truly love tacos, so this was definitely the most fun I’ve had conducting research. I feel like I need taco redemption, and this is going to require more research. A lot more research. *wink*
SURVIVAL GUIDE FOR ARCHITECTURE STUDENTS
AN ESSENTIAL GUIDE FOR NEWSCHOOL (SORT OF)
BY KAITLYN WU
We all know that being an Architecture student at NewSchool can be overwhelming. From supplies to consider, to understanding how to leverage campus amenities, we got you covered. Here’s some essentials you need to survive architecture school.
1. SUPPLY STORE LOCATIONS
When it comes to purchasing physical tools some of the favorite stores for NewSchool students are listed below. Most will give you a 10% discount if you show your student ID.
BLICK Art Material: Art supplies 1844 India St, San Diego, CA 92101
Artist and Craftsman Supply 3804 Fourth Ave, San Diego, CA 92103
2. RECOMMENDED PHYSICAL TOOLS
1. Flash drive
Tired of the process of saving and uploading your work to the cloud?
Spending hours and hours waiting for the upload to be finished and when you finally get home you realize your file failed to upload. Well, investing in a reliable flash drive is a must have backup plan for all students. it makes the process of transferring files from home to school faster and easier. Flash drives also allow you to print out your files at the NewSchool print center and at the printers in the student lounge.
3. Tracing paper
It is very important for students to have tracing paper. This semi transparent paper usually comes in a roll or sheets. The purpose of tracing paper is to create overlays or copying parts of your drawing. It is like a non-digital way of creating layers.
Tip: Align the architectural scale with the roll of tracing paper to tear a straight piece of tracing paper.
2. Architectural scale
The architectural scale will come in handy when drafting and measuring dimensions such as site plans, walls, doors, windows, ect. It is important that you buy an architectural scale not an engineering scale. Both are used for measurement but an architectural scale has numbers from left to right and from right to left. An engineering scale only has numbers that run from left to right.
4. Drafting lead pencils + refills
Normal pencils do not give that nice line weight that you are looking for. When it comes to drafting led pencils is #1 as this pencil will allow for different led thicknesses to be used perfect for that nice differentiation of line weight language in drawings.
The different thicknesses are 9b being the darkest and 9H being the lightest.
5. Painter’s tape + drafting dots
a. Both are good for taping tracing paper on top of your drawings.You can also use painters’ tape to hold together your physical models.
b. Drafting dots are very useful as well. It contains a small circle of tape that comes in a roll and is easily operable with just your thumb!
Best one recommended on the market today is drafting dots (500 dots) by the company ALVIN.
6. Clear push pins
Invest in a lot of push pins because in your whole student career. There is never a day where you would not have pin ups. When it comes to pins ups you would most likely share or lose half of your push pins after the quarter is over. So, it is best to start stocking up.
Disclaimer: This is a general list of what is needed as an architect student but these are not all the tools needed. Further research should be accounted for as well.
3. TECHNOLOGY
Being an architecture student doesn’t require always having the best or most expensive equipment. However, investing in a serviceable laptop can be crucial towards the start of your architecture career. This list includes the top 3 budget friendly laptops for architecture students.
A 120hz monitor with a 1920 x 1820 resolution. Best budgetfriendly laptop with high and fast performance. The 16 GB DDR5 Ram allows multiple apps to be open for more efficient work.
2. HP 2023 17.3” FHD Display Laptop [Under $600]
A 17.3” FHD laptop that has an LED-backlit IPS Display that will give your work a clear and crisp outcome This laptop is also ideal for multitasking with its high RAM. (Compatible with Windows 11 and Android apps)
14-inch laptop with a 1920 x 1080 resolution. A thin and light laptop that is easily portable with up to 6 hours of battery life. It also has a four-sided frameless display for better quality of work. Overall, when choosing a laptop look for these specifications:
• CPU processor
• GPU
• Ram (8GB+)
• STORAGE
More info about MacOS
Digital tools
1. Rhinoceros 3D
• Display/resolution
• USB Ports
• Battery Life
The application Rhino 3D is a 3D modeling software that is used at NewSchool as a beginner software for students. All computer labs at NewSchool have rhino installed.
For a personal license visit https://www.rhino3d.com/for/ education/ to sign up for the single-user rhino license which is only provided for students and teachers with a discount of 80% (Double check) from the original license price.
Plug ins:
• Grasshopper 3D
• kangaroo
• Auxpecker
• Mesh2surface
• V-ray
2. Autodesk: Revit, AutoCAD, and Sketchup
Software used by architects to create models from floor plans. Allows students to create, edit, and review 3D models. Students can also plan, design, visualize, construct and manage buildings and infrastructure with Revit along with 3D rendering with/or 3D rendering plugins.
3. Rendering Software
A. Lumion (Student edition)
- Creates realistic renders, walk through videos, images, and 360 panoramas with custom effects and elements from CAD models. When using Revit there is an option to do a real time live sync with lumion.
- At https://support.lumion.com/hc/en-us/articles/360007538494Download-Lumion-LiveSync-for-Revit.
B. Enscape
- Real time rendering software also compatible with revit as a plug in for live viewing. Enscape is designed for easy and quick renderings.
C. Twin motion
-A render software that allows architecture students easier navigation with a distraction free interface. Check with your instructors
4. Adobe Software
A. Adobe illustrator
- Used for creating the perfect line weights in digital drawings
B. Adobe InDesign
- Best for layouts and page designs
C. Photoshop
- Photo editing software that allows for students to adjust lighting, crop photos, adjust photo composition, and adding in different subjects.
