Once we have gotten rid of the myth of natural space, 
the importance of architecture in our understanding of space becomes undeniable; 
specially when dealing with cultural and political spaces such as 
countries, cities and the like. 
The borders of these geopolitical beings work no just as physical strands 
but as rhetorical figures constructing the imaginary difference between
           here and there, 
                         inner and outer space, 
                                              Heimat and foreign land.
Traditionally,
it has been walls which have been seen as the architectonic incarnation of borders. 
However, no matter how closed borders are built to stand, they are also crossed; 
and each crossing, each migration, both obliterates and double blazes them. 
           Through borders, the distinction between us and them 
           becomes intimately connected to that of in here and out there. 

However, this connection is not a mere description, but a tension and a movement. 
           It is only through the distinction between inside and outside 
           that foreigners find their identity as outsiders inside. 
It is necessary, therefore, to redefine our understanding of architectural borders 
paying attention to their paradoxical relation with belonging and migration. 

		While walls oppose circulation, 
			doors advocate it. 
Between their extreme closure and openness, extends a broad range of penetrability. 
Just like our own skin,
			borders are porous and permeable. 
Just like the Crystal windows in Carlos Fuentes' La Frontera de Cristal, 
their function is not so much opening or closing the inside from the outside, 
but filtering and conditioning the circulation between them. 
		Like windows, 
			they are extremely fragile and cold. 

In the end, inside and outside are nothing but images framed by the borders/windows 
through which we see the other and her space.