So much of what is built on the border is to contain, restrain, detain, constrain, restrict, wall off, fence up. When there is so much natural beauty there—the river, the desert, the mountains to enjoy and celebrate. So many families who want to be together, so many people who just want to be. I wish that we were building more bridges (flat, easier to cross and connect), tearing down the walls that we have; wish that we had immigration and asylum laws that matched our values and our interests so that we weren’t locking so many people up. Wish that there were no more private prison companies so that there wasn’t a profit motive to do that. —Beto O’Rourke, El Paso native, U.S. Representative for Texas's 16th congressional district, and the 2018 Democratic candidate for U.S. Senate in TexasTexas, the state with the longest continuous land border with Mexico, has been uniquely formative in the construction of spaces and narratives that define national dialogue in the borderland. The state is home to more ports of entry than any other state. These entry points are legible crucibles of bio-political power, routinely collapsing spaces of speculative commerce, incarceration, and the projection of national identity. Assessments for constructing a new border crossing, connecting Tornillo, Texas, with Guadalupe, Chihuahua, began in 2001. A new bridge, a 2,000-acre industrial park, and 300 acres of "border facilities" were initially meant to bring economic development to the remote area and improve regional health, reducing pollution from idling traffic at congested bridges in El Paso. A presidential permit was issued for the bridge in 2005, but its construction would be stalled, and its purposes changed. In 2008, the Juarez Valley, a remote collection of agricultural communities in Mexico south of Tornillo, saw one of the highest murder rates in the world, gaining it the reputation as the “Valley of Death.” Victims of the violence would increasingly flee to Tornillo to seek asylum. Some speculate that the rampant violence was a scheme sponsored by the Mexican government to evacuate residents in the area in preparation for, and to expedite construction of, the bridge. In 2010, modular detention facilities in nearby Fabens, Texas, built to accommodate the flow, were over capacity. Violence in the valley eventually stabilized and plans for the new crossing were rekindled. The Tornillo-Guadalupe International Bridge opened in 2016 and was hailed as an achievement in cross-border infrastructure. The adjoining U.S. checkpoint exemplifies an architecture designed to manage, block, and process bodies, an outpost at the edge of empire. The architects of the LEED Gold facility describe the materials and performance as specially suited to the site’s desert context, with integrated technologies promoting the efficient monitoring of populations, noting that the design “inspires the spirit of place.” The optimism for the port to rapidly realize a future characterized by collaborative binational security efforts was captured in its christening. It was named for Marcelino Serna, the most decorated U.S. soldier from Texas to serve in WWI, who happened to be an undocumented migrant. The anticipated traffic never came. Less than a year after its opening, U.S. Customs and Border Protection (CBP) had shut down the only lane dedicated for northbound commercial traffic. Without the economic engine to support the new complex, the overbuilt site quickly found new use in a growing economy of detention. Tornillo opened a temporary overflow center in 2016, typical of an increasingly common ephemeral incarceration infrastructure. These pop-up sites are rapidly installed and disassembled by specialist companies who navigate remote terrain in far-flung locales as easily as their practices navigate the constraints imposed on such facilities by case law. Tornillo continues to be an ideal site for such installations, far from the public eye yet enmeshed in the infrastructure of detention. In June 2018, Tornillo would be home to its most notorious tent city. The Tornillo checkpoint currently holds over 300 minors in tents just south of the bridge. As the Trump administration’s "zero tolerance" policy has separated families across the country, the Tornillo site grows as a center of life for the unwanted, the detained, and the displaced. For a few days, however, a contrasting occupation resisted the isolation, anonymity, and placelessness of the remote facility. On Father’s Day 2018 and the following Sunday, floods of protesters descended upon the border checkpoint, appropriating the isolated node as a center of active resistance. The site joins a growing host of detention sites in the border state, which index nationwide trends in detention. Taken collectively, the sites represent a growing impact of private speculation and profit models impacting the construction of detention facilities, all of which are adapting—and therefore helping to realize—a near future in which the remote, prolonged detention of families and children is commonplace. Since 2006, Texas has been home to the much-maligned T. Don Hutto Residential Facility, which, at the time it was built, was the only privately-run facility used to detain families. The largest detention site in the U.S., the South Texas Family Residential Center in Dilley, Texas, can house up to 2,400 women and children. The site is part of a constellation of for-profit, superscaled sites on a stretch of interstate highway between Laredo and San Antonio dubbed "detention alley." A new contract seeks a 1,000-bed center nearby—similar to a 1,000-bed facility built outside of Houston last year—which will be the eighth in the South Texas area. As military advisers advocate for detention centers on military bases to create even more “austere” and “temporary” environments, Texas leads the charge here as well. Lackland Air Force Base in San Antonio housed migrant children in 2014, repurposing a dormitory once used for recruits. El Paso’s Fort Bliss housed 500 unaccompanied Central American children in 2016. A June announcement revealed that two Texas military installations—Fort Bliss and Goodfellow Air Force Base—would be among the select sites to continue the trend. Other sites in the state, such as the now infamous former Walmart in Brownsville, signal a shift toward speculative investment in detention trickling down to private properties and actors. At the Paso Del Norte International Bridge, connecting downtown Ciudad Juárez with downtown El Paso, CBP is pushing the edge of U.S. jurisdiction beyond the spatial limits of the bridge. Although due process of asylum claims is guaranteed within the port of entry, agents have ventured onto—and reportedly across—the bridge to deny access to the port. Uniformed border agents ask for documents on the bridge to identify and turn away Central Americans seeking asylum, a few hundred feet from their destination. On June 27, CBP confirmed to El Paso immigration rights advocacy groups that this prescreening and advance rejection has become official policy borderwide. Without access to the legal framework enabled by the ports, many asylum seekers cross in unsanctioned locations. Those caught crossing outside the ports, some with otherwise credible asylum claims, face criminal charges and deportation. By denying a space for lawful entry, the policy artificially amplifies the numbers of illegal crossings and a myth of increased illegitimate entry. The port thus transforms from a site capable of processing identities to an instrument which actively constructs and deconstructs citizenship.
Posts tagged with "Iwan Baan":
#Tornillo Port of Entry and one of the 100(!) immigrant children’s shelters for the children #separated from their families. Here in #tornillo up to 200 separated children are housed in tents in the desert where temperatures easily rise to 100degrees #Fahrenheit during the day.. #mexico🇲🇽 #USA #border #2sidesoftheborder. And #antitrump #flyers in #elpaso #familiesbelongtogether
Bilbao and Baan have become frequent collaborators as of late, having released Landscape of Faith: Interventions Along the Mexican Pilgrimage Route, a photographic journey along La Ruta del Peregrino in Mexico earlier this year. The pair also worked together for The House and the City: Two Collages, an exhibition on display through August 5 at the Steven Holl-design T Space in Rhinebeck, New York. That show uses collages to juxtapose different ideas at urban and personal scales and to create new spatial interventions by reusing tried-and-true typologies in new contexts.
In 1995, Ramón Prat and photographer Jordi Bernadó published Atlanta, a book of images of that city on the edge of the 21st century. A generation later, a new volume titled Portman’s America & Other Speculations revisits Atlanta—and American urbanism at large in this not-so-new century—through the work of hometown architect John Portman.
Photographer Iwan Baan traveled to Portman buildings around the United States, documenting his work in New York, Detroit, San Francisco, and, of course, Atlanta.
The images reveal a humanism that’s lost in the Hunger Games films and the Walking Dead television series, which exposed Portman’s work to most of America. Lush shots of Entelechy I and II, the Georgia houses the architect built for his family, coexist among now-classic takes on his supersized atria and their stacked balconies. Amid the drama, Baan’s work captures the everyday: a woman on her phone outside the Atlanta Marriott Marquis, a guy perched on a curved red banquette at the Westin Bonaventure hotel in L.A., and the sculptures and furniture Portman created to enhance the spaces he developed and designed.
Four essays (including one by Portman himself), a conversation between the architect’s close friends and family, plus student work from a Portmanian architecture class at the GSD, complement Baan’s images.
“The resulting photographs,” wrote editor Mohsen Mostafavi, dean of Harvard Graduate School of Design (GSD), “capture the view as if in a state of distraction; Portman’s architecture, and by extension Portman’s America, is presented as it is today, for all to see.”
Portman’s America and Other Speculations, Lars Muller Publishers, $35, June 2017
This 100,000-square-foot, 14-story tower—the tallest realized by DS+R and one of the rare medical school facilities designed as an integral vertical structure—inevitably raises the question of how successfully DS+R has negotiated the jump to the larger scale and challenge of a Manhattan high-rise. Happily, nothing in the Roy and Diana Vagelos Education Center, except perhaps the somewhat perfunctory lobby, misses a beat, from the circulation and separation of complex programs to the small footplate that eliminates long, alienating corridors and the soundproofing that admits city sounds while maintaining a welcome silence. The "study cascade" side of the tower evokes the "folded noodle" of DS+R’s unrealized Eyebeam design. But here, it is subject to a rigorous logic that is likely to establish the Vagelos Center as a textbook example of a much discussed design strategy, in the late 1990s and early twenty-first century, but not often realized in an effective and definitive form.
Braving temperatures as low as -22°F, Iwan Baan is no stranger to shooting in the extreme. Armed with his camera, tripod, and Canada Goose Parka, the esteemed Dutch architectural photographer has produced a series on Beijing-based MAD Architects' Harbin Opera House in China's Northernmost province.
His work, unlike most in the industry focuses on people, not buildings. "My pictures are always very much about the users of the place," Baan says in a film covering the shoot. "I'm not trying to create timeless images which could be in any moment in time. They always should very much have a connection to a specific place, time, people, a context, a culture and this kind of thing."https://www.youtube.com/watch?v=xzvG8D-PI5M
"So people are, in that sense, a very important part," he explains. However, despite the alternative choice of focus, his work still conveys the fluid curvature of MAD's Harbin Opera House. Cast against a snow-white sky, the meandering white aluminum panels can be seen elegantly rising from the snow.
In this medium, the building's intentions of emulating the sinuous nature of its marshy surroundings and adjacent frozen riverbank are well and truly achieved. Even among fading light, the opera house's relationship with the site remains intact through Baan's lens from both interior and exterior perspectives.
“Harbin is very cold for the most of the year, so I envisioned a building that would blend into the winter landscape as a white snow dune arising from the wetlands,” says Ma Yansong, principal architect and founder of MAD Architects.
“Opera design normally focuses on internal space, but here we had to treat the building as part of its natural environment—one outside the urban context,” Yansong adds.
Traditionally, opera house photography evokes silent spaces, that, by contrast are designed to be anything but. Here, the acoustic properties of the space embedded within the theatrical grandeur are enhanced. With his uncanny habit of seeing things differently, Baan however, captures crowds on their feet in rapturous applause. Outside he shoots tourists, dog walkers, and local ice fishers setting an enlivened scene.
Purist's needn't worry though, as shots without any intrusive people also feature.
In related news, MAD has released a video showcasing their Invisible Border Installation for the Interni's Open Borders exhibition at the 2016 Milan Design Week. A descending veil, comprised of translucent polymer strips can be seen fluttering in the wind as it is loosely held in an undulating form, suspended from the Loggia of the Cortile d’Onore.https://www.youtube.com/watch?v=CwYvelwAlc4