If you were to visit the Alila Marea Beach Resort—the breathtaking hotel perched upon the bluff between Carlsbad and Encinitas—and walk into its poolside bar area known as The Pocket, you’d glimpse the history of surfboard design along the surrounding sapele mahogany–lined walls.
Encircling the bar and the coastal-inspired lounge area are 17 hand-shaped, surfboard-esque wall panels—each over seven feet tall and nearly two feet wide—that pay homage to board design of the late ’50s and ’60s. Each panel boasts a different resin colorway—vintage reds, teals, whites, and so on—using pigments found during that era of shaping.
The installation is crafted by Brian Szymanski, local shaper and owner of the long-established surfboard repair shop known as The Ding King. Rather than simply creating replicas of historic designs using today’s board-building technology, Szymanski wanted to craft each panel using the materials and methods that were authentic to that era.
Brian Syzmanski in the Shaping Room
Courtesy of Brain Szymanski & Alila Marea Beach Resort
“The type of resin that we used, the pigments that we used, the spread of the stringers, and the different types of wood that went into it were all extremely specific to that time period,” says Szymanski. “I had guys that were building boards during that time help me put together some of the wood boards and hand- mix some resin color so they were authentic to the ’60s. Those traditional techniques are only really known by the people that were doing it—or someone lucky enough, like me, to be trained.”
Over the past 30 years, Szymanski has fabricated custom shapes and done production work for big hitters in the surfboard industry like Channel Islands, Rob Machado Surfboards, and windsurfing company Starboard. Having learned to handshape all types of boards from local Encinitas legends like Tom Eberly and Ed Wright of Sunset Surfboards, Szymanski worked hard to create an installation that honors the craftspeople who paved the way and gives visitors a brief look at the area’s rich surf culture.
Courtesy of Brain Szymanski & Alila Marea Beach Resort
“He was always eager to learn,” says Eberly. “He is a great surfer and very intelligent human being, so it doesn’t surprise me that he wanted to replicate those boards as perfectly as possible. He knows his surfing history and he knows who came before him. [If ] you don’t know your past, [you] won’t know your future. He knows the difference between making a surfboard and making a quality surfboard.”
Perhaps one of the most recognizable pieces in the installation—a gorgeous glue-up of balsa and redwood— is an ode to the late Pat Curren’s celebrated rhino chaser that he rode at Waimea Bay (the famed big-wave spot on the North Shore of Oahu). Curren, in addition to shaping icons like Ben Aipa, Jim Phillips, Renny Yater, Mike Diffenderfer, John Kies, Gary McNabb, and more, once shaped boards in the same building Szymanski now works out of.
In alcoves of the hotel, Szymanski created additional resin pieces that highlight the typical colors, tints, and pin lines of surfboards from the ’70s, tapping the founder of Moonlight Glassing, Peter St. Pierre, to do the pin lines. With both projects, Szymanski’s main goal was to celebrate the cadre of artists and experimenters who have molded the direction of board design over the decades.
Brian Syzmanski Shaping Surfboard
Courtesy of Brain Szymanski & Alila Marea Beach Resort
“With a beautiful hotel going in on the beach, it’s important to represent that part of the community. I mean, Encinitas is known for surfing,” says Szymanski. “I [chose to do this] out of respect for all the craftsmen before me. It’s a tight industry. There’s a comradery, passion, and respect for each other. It’s just a big family of board builders no matter where you end up going. I pay a lot of respect to the people who took the time to teach me.”
How Scrojo Became One of Rock’s Most Prolific Poster Artists
The San Diego designer has created more than 3,000 concert posters over nearly 40 years for artists including the Rolling Stones and the Red Hot Chili Peppers
When he was in high school, he and his friends were trying to come up with the perfect name for their punk band that would encapsulate all their personas. Nicaragua. The Freds.
One of his friends said he was going to go by Jimmy Stacks and called it “the perfect rock and roll name.” Their names changed so much that Haskett erupted: “Fine, I’m f—ing Scrotum Joe, the true defender of the Open West.”
Their response: Wow, that’s a great name.
As a teenager, he drew chalkboards for Del Mar’s Pannikin coffee shop and would design T-shirts for surf/skate brand Life’s a Beach. He signed the shirts with his moniker, but even in punk rebellion, who wants a shirt with the words Scrotum Joe on it? “They just cut out the ‘t-u-m,’ and the next thing you know, a client referred to me as that, and it stuck,” he says.
Courtesy of Scrojo
Scrojo could have been part of a band as iconic as The Misfits—had he been able to learn the famously cumbersome bassline to The Kingsmen’s “Louie Louie.” Becoming one of the most renowned concert poster designers—someone who quite literally designed the cover of Art of Modern Rock: The Poster Explosion—is a pretty good Plan B.
“To my knowledge, he’s done more rock posters than anybody else alive,” says Dennis King, whose D. King Gallery in Berkeley, California, serves as one of the largest private rock poster collections in the world. “He’s the hardest-working guy in the poster business.”
King not only co-authored the sequel to music historian Paul Grushkin’s The Art of Rock, but he also handles distribution and sales for all of Scrojo’s work. That’s more than 3,000 different posters over nearly 40 years. (That’s over one poster each week. For four decades straight.)
For anything from boxing matches to rodeos, posters have long been used as promotional items. Toulouse-Lautrec’s famous lithographs advertised Moulin Rouge in the late 1800s. Around the same time, Hatch Show Print in Nashville was making handbills for the Grand Ole Opry.
“I propose this: Cave paintings are the first poster art,” Scrojo says.
Courtesy of Scrojo
Rock and roll posters took off in the 1960s, when the hippie counterculture era replaced conformity and suburbia. Artists like Jimi Hendrix and the Grateful Dead used their vibrant, psychedelic prints as a form of rebellion from the mainstream. Posters were promotional, commemorative, collectible, and especially expressive.
If the name Scrojo is any indication, he doesn’t shy away from imagery that toes the line of being too provocative. He focused more on what inspired him instead of trying to be offensive for the sake of getting attention.
“Didn’t want to show it to my grandmother, but my parents were fine with it,” Scrojo says with a laugh.
“We’ve had to ask him to put a Band-Aid over a nipple every now and then,” says Chris Goldsmith, president of Belly Up Tavern in Solana Beach, where Scrojo started out and hundreds of his posters currently line the walls.
Scrojo spent six weeks at Otis College of Art and Design for a summer semester before drugs, alcohol, and a self-described lack of discipline prevented him from enrolling full time. Still, he taught himself concepts like text hierarchy and later found his niche at the Belly Up and in the surfing and skating world, working with brands like Quiksilver, Rip Curl, Scorpion Bay, and DGK.
His first concert poster was for North County band Borracho y Loco, of which Goldsmith was bass guitarist. Scrojo drew an abstract version of the Belly Up’s iconic shark with colorful calypso and tiki themes.
Early on, he would craft using a pencil, pen, non-reproduction blue pencil, X-Acto knife, rubber knife, and proportion scale to create each poster, and the finished product could take a week or even longer.
Courtesy of Scrojo
“I recommend every artist coming up to do that for like six weeks,” Scrojo says. “It forces you to think about every design decision as you’re going along.”
He has since mastered vector imagery through Adobe Illustrator to the point where, depending on the level of detail needed, he could finish two projects in a day. Still, he fills sketchbook after sketchbook to blueprint.
“I liked his line in particular, and he knows how to draw, which a lot of people don’t really know how to do these days,” King says.
Scrojo would research what each musician’s merchandise looks like to get a feel for each artist’s tone and voice. Once he has his central image in mind, he focuses on what and where to place the text.
He doesn’t have one specific style, ranging his talents from art deco to psychedelic and everything in between (and outside the lines). Want a pop surrealist comic book cartoon devil with splattered paint textures, halftone dot patterns, and pure chaos? Red Hot Chili Peppers, February 1986. Want a minimalist graphic portrait with bold strokes and graffiti text? P!nk, October 2023. Want a carnival sideshow style piece with a tasteful caricature of Jeff Bridges? The Big Lebowski, August 2011.
Scrojo calls himself a jack of all trades because he can create posters for all music genres. King calls him a chameleon for his ability to adapt his voice to new eras.
Courtesy of Scrojo
“The variety of his skillset makes it possible for us to put 50 of his posters on a wall next to each other and have it look compelling, not just a bunch of the same thing over and over,” Goldsmith says.
Some of Scrojo’s favorite posters are when he feels a personal connection to the artist or the album. He has a vivid memory as a child of being trapped in a closet filled with marijuana leaves while playing hide and seek and staring at Jimmy Cliff’s “The Harder They Come” LP. “For whatever reason, as a kid, that sparked a desire to do graphic design,” Scrojo says.
Fast forward to February 2012, Cliff is performing at Belly Up. Scrojo decided to modify Cliff’s original album cover from rainbow gradient fills to classic reggae psychedelia while preserving Cliff’s striped pants and bold hat. Cliff’s manager called him and said they wanted to use it for the rest of their tour.
“We always get artists requesting that he does their posters,” Goldsmith says. “A lot of artists don’t want venues to go all rogue because they want to control how they’re being presented. With him, they’re like, ‘Let him go nuts.’”
Matt Eisenberg is an award-winning writer and photographer based in San Diego. A former ESPN editor, his work has also been published by CNN, Bleacher Report and the New York Daily News.
The initial project will be a landmark September edition of San Diego Magazine—fully dedicated to the people, ideas, and identities of the city’s creative community. After its release, those stories and more will extend across six months of integrated digital, social, and multi-platform coverage. Art & Design District and SDFC Playmakers will serve as co-publishers of the expanded editorial vision.
The Art & Design District is evolving into San Diego’s first home for the performing arts at iconic downtown venues like the Civic Theatre and Jacobs Music Center alongside research and development programs focused on artist live/work spaces, galleries, studios, and New School of Architecture & Design.
“[The Art & Design District initiative] is a long-term investment in San Diego’s creative life and the creative workforce that powers our cultural experiences and creative industries here at home and across the world,” says Jonathan Glus, Prebys Senior Fellow for Art & Design in Residence at Downtown San Diego Partnership. “But infrastructure alone is not enough. The public needs to see, understand, and participate in what’s being built and why. Joining as co-publisher of this issue means helping ensure that the story of San Diego’s creative community—its artists, its institutions, its future—gets told at the level of ambition the moment requires.”
San Diego has entered a defining chapter in how the region invests in its creative community, with civic and philanthropic leaders working alongside artists, brands, institutions, and people to chart a new model of public-private support for arts and culture.
As digital co-publishers of San Diego Magazine‘s arts and culture coverage, SDFC’s Playmakers partnership will include a six-month integrated collaboration designed to sustain the visibility of San Diego’s creative community well beyond a single issue.
“The Playmakers program was built on the belief that the creative community is essential to what makes San Diego, San Diego,” says Sebastian, San Diego FC’s SVP of Brand and Innovation. “Investing in local media that tells those stories—and reaches the audiences who need to hear them—is one of the most direct ways we can support the artists, organizations, and cultural leaders shaping this city’s future. We’re proud to step in as digital co-publishers of San Diego Magazine‘s arts and culture coverage and the founding partner of this new editorial program.”
Under the partnerships:
The Art & Design District joins as Co-Publisher of the September 2026 Arts & Culture Issue, undwriting San Diego Magazine‘s most ambitious editorial event of the year.
SDFC Playmakers joins as Digital Co-Publisher of San Diego Magazine‘s arts and culture coverage, founding a six-month integrated partnership that includes co-publisher presence in the September issue.
The partnership represents a new model for regional media: civic and cultural institutions providing the resources required for sustained, ambitious, local editorial media focused on the neighborhoods it serves.
“For 78 years, the magazine has told the story of arts and culture here,” says Claire Johnson, CEO of San Diego Magazine. “But the fragmentation of traditional media has made it harder than ever to cover this community at the depth and scale it deserves. SDFC Playmakers and the Art & Design District have recognized something critical: Media is not separate from the civic conversation, it’s the stage for the conversation.”
San Diego Magazine retains full editorial control over all reporting, features, and original content produced under both partnerships.
“Our role in this ecosystem is to tell the story of San Diego’s culture and provide context for our readers.” says Johnson. “These partnerships give us the resources to do justice to that responsibility—and to extend that commitment well beyond a single issue. Our readers also deserve to know exactly how this work was funded. I’m grateful to our partners, and to the arts and culture community in San Diego for letting us tell this story.”
The September Arts & Culture Issue will be released early September 2026, with digital, social, video, and podcast coverage rolling out through early 2027.
ABOUT SAN DIEGO MAGAZINE For 78 years, San Diego Magazine has been the region’s leading lifestyle and culture publication, reaching approximately 6 million readers monthly across print, digital, newsletter, and social platforms. Owned and operated locally, the magazine has been the connective tissue of San Diego’s cultural conversation since 1948.
ABOUT SDFC PLAYMAKERS The Playmakers program is an ongoing initiative that seeks to identify and showcase the talent of San Diego creatives who are contributing to the culture, substance, and flow of our community. We want to bring the San Diego community together by marrying football and creativity to provide a platform for these Playmakers who are positively impacting our culture by pushing the boundaries through innovative ideas. The goal is to create a program that consistently provides growth and exposure opportunities for San Diego creatives, while shaping an authentic direction for San Diego FC’s brand and community-building process. Through this program we hope to contribute to the creative fabric of our city by providing paid jobs, projects, collaborations, as well as networking opportunities for Playmakers.
ABOUT THE ART & DESIGN DISTRICT The Art & Design District is a Downtown San Diego Partnership initiative, supported by the Prebys Foundation, working to shape a connected, vibrant arts and design district in downtown San Diego. Led by Art and Culture Expert Fellow Jonathan Glus, the initiative convenes artists, cultural leaders, civic stakeholders, and residents in service of a downtown that reflects the creativity, identity, and diversity of the region. Learn more at downtownsandiego.org.
Chefs have done gobs of thankless, lumbar-breaking work over years to land the role. Restaurateurs put their entire livelihoods on the line, microdosed sleep, took ultimate responsibility for every minor stress. They earned the spotlight they get. But ask one of them, and they almost always defer to a line cook who’s showed up for years, been deep in the thing, and whose absence would bring the kitchen to its knees. Or the bartender with a warmth that draws people whether they’re thirsty or not. Or the noble and spreadsheetable soul in charge of purchasing everything needed for the nightly show.
Roger Feria Krile is not only the guy you want to be friends with at work, but also the guy you want to hire: respectful, nose-to-the-grindstone, versatile. And he’ll drop off a fresh batch of cinnamon rolls at your house for the holidays. Born in Tijuana, Krile moved to the US with his mom and sister when he was in elementary school. He saw the sacrifices his mother made to give her children a better life, and he pushed himself to live up to that brighter future.
He came to cooking during the pandemic, asking himself, “What do I really love to do?” His answer: “Bake cakes for friends and break bread with people,” he says. That led to a culinary school degree and a stint in a Michelin-starred NYC kitchen, where he grew to “love and understand” fine dining. Now back in San Diego, Krile’s showing up at Animae in a major way. He does prep work three mornings a week and comes later in the day twice a week for dinner service. Most line cooks do one or the other, but he requested both tours of duty.
“Gotta get my reps, keep my skills sharp,” Krile says, “and I don’t want to miss the rush.” Prep work in the mornings helps him learn how Executive Chef Tara Monsod uses each ingredient to the fullest. Krile’s not just a line cook. One-quarter Filipino (and learning about his culinary heritage from mentor Monsod), he’s building his own Mexican-Filipino pop-up concept. Look for Sarsa—Filipino for salsa—where every dish is a play on words fusing Mexican and Philippine Spanish or Tagalog. He’s already R&D’d a breakfast sandwich, the tortantalong: a torta filled with a signature Filipino eggplant omelette called a tortang talong. Friends in the industry say it’s unexpectedly delicious.
“He shows up every day with a clear goal of one day opening his own restaurant, and that drive pushes him to go above and beyond,” says Monsod. “He is constantly learning, asking questions, and absorbing as much as possible, all while leading by example on the line.”
Photo Credit: Matt Furman
Ruben Martinez
Purchasing Manager, Mister A’s
Ruben Martinez knows every bottle of wine at Mister A’s—not necessarily by taste (though he was on the tasting committee for years), but by where they are in storage and whether they need replenishment. Owner Ryan Thorsen wants the wine list at 100 percent available every night, and Martinez’s job is to make that a reality. He’s been keeping inventory on Mister A’s wines since the 1970s, back when he worked for founder John Alessio. And it’s not just vino: Martinez also procures the ingredients, arriving at 5 a.m. to meet delivery trucks, stock shelves, and alert chefs if anything’s amiss.
Then he hits the dining room for a once- or twice-over to find any imperfections. If a light is out, if the plumbing acts up, if something major happens after he leaves in the afternoon, he’ll fix it all. He’s the best guy to ask, anyway; he knows every inch of Mister A’s. “Before ‘Google it,’ there was ‘Call Ruben,’” Thorsen says.
Martinez started out in hospitality at 17 with his father at Hotel Del. “I thought it would be easy working with my dad,” he says. “But early on, he caught me fooling around with the boys and told me, ‘We’re here to make money for the company. If you’re not willing to work, get out of here.’” That set him straight and set the foundation for Martinez’s lifelong dependability.
He moved to Mister A’s a couple years later, and after over five decades, he’s now the indispensable purchasing manager who worked with Alessio, Betrand Hug, and now Thorsen. Later this year, he’s planning on retiring—though he’s already offered to keep showing up a couple days a week and help out with Thorsen’s new project at Liberty Station.
Thorsen knows this man is a gem. “I don’t think we fully grasp what it will feel like without him,” he says. Last year, he threw Martinez a surprise birthday party in Mister A’s Blue Room, inviting Martinez’s family and a whole cast of coworkers going back to Alessio days. Martinez says he had to leave the room to hide his tears.
Photo Credit: Matt Furman
Patrick Mattoon
Lead Prep Cook, Ironside Fish and Oyster
There’s an hour most people never see, when a restaurant’s technically awake but not yet accountable, and that’s where Patrick Mattoon lives. He’s been the foundation of Ironside’s prep team for the past five years, quietly guiding the day toward success. He and his team are the first in, and they turn on ovens, check deliveries, catch mistakes before they become problems, and fix everything without ceremony so the chefs and line cooks walk into a day that already works.
Mattoon organizes, but more importantly, he owns. There’s no job too small, no detail beneath notice. In a kitchen, bad prep’s the one thing you can’t fix later, no matter how talented of a chef is at the helm.
Five years in, Mattoon still approaches each day with the same care and intensity that he had on day one. He takes every task seriously and sees it through completely—the kind of consistent work that doesn’t draw attention but makes everything else possible. When the restaurant got a soft serve machine, a notorious maintenance nightmare, he taught himself how to clean and run it just to make sure it never broke, not for credit but because that’s just how he’s wired.
“He is a silent leader who has the respect of the entire team due to leading by example,” says Ironside chef Jason McLeod.
Photo Credit: Matt Furman
Arturo Celestino
Lead Line Cook, A.R. Valentien at the Lodge at Torrey Pines
Through 23 years, three executive chefs, and a recent kitchen remodel, lead line cook Arturo Celestino is a constant at A.R. Valentien. He’s there at 6:30 a.m. five days a week—sometimes six—for the Lodge’s breakfast service. That means he’s up early prepping potatoes, slicing mushrooms, whisking pancake batter, and stirring sauces “always with a smile,” says Owen Beatty, the restaurant’s new chef de cuisine. “He’s a good leader.”
Celestino shows the younger guys how to make the eggs fluffy, so the omelettes are always perfect (don’t stop twirling the spatula!). He keeps his line in line when their spirits start to naturally droop during the morning shift home stretch when his crew just wants to get out of there. As the lead, he’s also the one chefs turn to when newbies need motivation.
His secret sauce: “mucho talking!” It keeps people happy, and it also helps the chefs retain talent in the kitchen.
Celestino learned to cook out of “necesidad,” he says. He cut his teeth on fine dining at Pacifica Del Mar at the Hyatt and moved to A.R. Valentien in 2003, just a few months after it opened in 2002.
“I’ve had good jefes,” Celestino says of the three executive chefs he’s known at A.R. Valentien: Jeff Jackson, Kelli Crosson, and now Michelin-starred Eric Sakai. Under Jackson—who’s known for pioneering farm-to-table dining in San Diego—Arturo learned to appreciate local ingredients.
“My favorite is basil,” he says, “added to tomato sauce with garlic, it’s mmm.” Fresh basil plays the supporting role in A.R. Valentien’s signature brunch plate, which is also Celestino’s top choice on the menu (to make and to eat), via the Bull’s Eyes: slow-roasted eggplant with sunny-side-up eggs, tomato sauce, and La Quercia prosciutto.
“I love my job,” Celestino says as he flashes that smile. “It’s not just a plate of food. It’s an experience.”
Photo Credit: Matt Furman
Tony Suarez
Bartender, The Marine Room
If you’ve been to The Marine Room, you’ve probably met bartender Tony Suarez. With his charming Cuban accent and dapper vest and tie, he makes it his business to regale guests coming and going—even while he’s pouring, mixing, shaking, polishing glasses, and taking orders.
“Over 90 percent of our guests are celebrating a special occasion,” he says. “So I keep up the celebration throughout their whole visit.” He’ll make you a sparkling toast and a customized cocktail, and on your way out, he’ll wish you a happy birthday (again) and invite you back for drinks on him.
“My goal is always to delight the guest,” he says. “I like to discover how you feel and lead you to what you would like to drink.” That spirit of experimentation has led to new signature cocktails, such as the Gerald—crafted for a neighbor who’s a regular—featuring housemade pomegranate puree and bourbon, or the I Drink of You with local Bebemos tequila, Gran Marnier, and Green Chartreuse. You won’t find this anywhere else.
“[Suarez] has mastered the art of the personalized guest experience,” says Marine Room’s Executive Chef Ananda Bareño. “He remembers the small details and favorite orders that make our regulars feel like family.”
Suarez’s tenure at the Marine Room started with a walk on the beach and a knock on the door. He was impressed by the beautiful location, and he asked if they were hiring. He immediately started as a server assistant—right before Valentine’s Day. The bartender took Suarez under his wing, and he took to the books to learn all about spirits.
He’s taken on the bartender role with wisdom and grace, offering a sympathetic ear, a pick-me-up, and a “human to human connection,” he says. Ten years into his career, the surroundings still inspire him as much as they did on day one.
“The Marine Room, the windows onto the ocean, [all] have a healing effect,” he says.
Renewable energy companies building hundreds of power plants. Biotech startups using artificial intelligence to create personalized medicine for children with rare diseases. Hospitality companies quietly powering thousands of local events. Consumer brands growing from beach-town startups into national businesses. These are the kinds of companies driving San Diego’s economy today, and the businesses recognized at this year’s San Diego Business Impact Awards offer a snapshot of where the region is headed.
Hosted July 23 by San Diego Regional Economic Development Corporation (EDC) and JPMorganChase, the second annual awards event honored four local companies for innovation, growth, and economic impact. More than 100 nominations from San Diego’s middle-market businesses were reviewed by a 10-person judging committee, with winners selected across four categories: startup, early-stage innovator, rising star, and established heavyweight.
Two-time honoree Jimbo Someck, founder of Jimbo’s organic grocery stores, also joined the event for a fireside chat on buying local, supporting emerging brands, and giving back to the community.
“San Diego’s strength comes from its makers and builders—the resilient people who endure great risks and overcome obstacles to build and scale a company,” says Aaron Ryan, San Diego Region Manager and Middle Market Banking at JPMorganChase & Co. “These awards aren’t just recognition; they spotlight the talent, grit, and innovation shaping our region’s future. By celebrating those who create and build, we foster connections and fuel the growth that keeps San Diego thriving.”
Photo Credit: Matt Furman
Building the Infrastructure Behind Clean Energy
Heavyweight honoree SOLV Energy has grown alongside the country’s rapid investment in renewable power. “It’s an exciting time for SOLV Energy as we are experiencing significant growth,” says CEO George Hershman. “The business has doubled over the last year and has almost double-digit growth since its inception.”
The Rancho Bernardo-based company designs, builds, operates, and maintains utility-scale solar and energy storage facilities. Since its founding in 2008, SOLV Energy has built more than 500 power plants.
Growth has translated directly into hiring. About 200 employees work from the company’s local headquarters, including roughly 20 interns. “Our intern program is a big part of the way that we grow our workforce,” Hershman says. “Last year, 43 percent of our interns became full-time employees. We believe San Diego is a great community to build and grow a high-tech infrastructure and technology company because of the incredible workforce—the ability to attract top talent and draw from world-class universities.”
Photo Credit: Matt Furman
Developing Medicine One Patient at a Time
Startup honoree La Jolla Labs is tackling one of medicine’s biggest challenges by developing personalized RNA therapeutics for patients with rare diseases—many of them children with neurological disorders like ALS. Using proprietary artificial intelligence and machine learning tools, the biotech company develops treatments tailored to each patient’s specific genetic mutation.
CEO Tamar Grossman says the recognition reflects how far the company has come despite limited resources. “We’re honored to be recognized for our ability to change and save patients’ lives and turn our lean startup into a clinical company with very minimal resources,” she says.
Grossman credits San Diego’s concentration of research institutions—including UC San Diego, the Salk Institute, and Scripps Research—with creating a pipeline of talent and collaboration. “San Diego is one of the world-leading centers for technology, genomics, and RNA therapeutics,” she says. “We have over 30 RNA therapeutics companies here, and we support each other and help with anything related to drug discovery.”
She says that collaborative spirit extends beyond formal partnerships. “You can walk around Torrey Pines, go into a café, and find colleagues from the industry and have an ad hoc conversation,” Grossman says. “That’s something very unique to San Diego.”
While Snake Oil Venue Company may not be a household name, chances are many San Diegans have attended one of its events. The early-stage innovator honoree has expanded from beverage catering and mixology consulting into venue management, operating Julep Venue in Mission Hills, Bramble Bay Venue in Imperial Beach, Vesper Venue, the Chapel at Liberty Station, and five outdoor venues throughout Liberty Station—more than 500,000 square feet of event space altogether.
“We do a lot of launch parties for corporations and new products,” says CEO Mike Esposito. “I really like working on the entrepreneur side of things, where new businesses are entering the San Diego market and looking to make a splash.”
Snake Oil has executed more than 16,000 events, employed more than 1,000 people, and partnered with more than 900 local vendors, including caterers, florists, photographers, entertainers, and other hospitality businesses. The company also works with many of San Diego’s nonprofits, museums, and cultural institutions. “We get to celebrate people’s most important moments,” Esposito says. “Whether that’s a wedding, celebration of life, or quinceañera, we’re fortunate to be involved in the community in so many different ways.”
Photo Credit: Matt Furman
Growing a Beach-Town Brand into a National Business
Rising star honoree ALOHA Collection is proof that a simple idea can grow into a thriving company. Founded by two roommates who wanted a better way to carry wet swimsuits after a day at the beach, the lifestyle brand has grown into a business while maintaining strong year-over-year growth.
Now headquartered in Carlsbad, ALOHA Collection employs more than 100 people and operates its California flagship store in Encinitas, which is slated for a remodel. With roots in Hawaii, the company is known for its lightweight, splash-proof travel bags that have become a familiar sight on beaches in San Diego and beyond.
“‘Aloha’ is part of our name, but it’s also how we move through the world,” says CEO Lynna Barnard. “It’s how we show up for people, the way we travel, the way we give back.” Since day one, the company has maintained a 5 percent giveback to Hawaii conservation efforts, contributing millions of dollars over the years.
“I think what’s so inspiring about ALOHA Collection, and the founders in particular, is when you dream big, those dreams can come true when you work hard and trust in the universe,” Barnard says. “It’s inspiring to be a role model for other people wanting to start businesses from humble beginnings. Start small and watch it grow.”
Together, businesses like these form a cornerstone of San Diego’s economy—not only through the jobs and revenue they generate—but through the local workers they hire, vendors they support, and investments they make in the region. Their growth doesn’t happen in isolation; it ripples outward, strengthening the broader business community and the people who call San Diego home.
When Swizz Beatz (Kasseem Dean) and Alicia Keys bought a home in San Diego in 2019, culture creatures buzzed about the potential impact. Expectations were tempered; we’d seen this before. A litany of celebrities own homes in San Diego, but most understandably treat them as hideouts to escape public life—not as base camps from which to explore local goings-on.
But the Deans are different. In February, Mr. Beatz bought out an entire photography exhibition at Por Vida coffee shop in Barrio Logan. The gesture signaled a genuine interest in the San Diego art world—in an artistically prolific but often overlooked neighborhood, at that. Days later, they announced the only West Coast showing of Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys at MCASD. This peek into their personal art collection, featuring more than 130 genre-defying works by Black American and diasporic heavyweights under one public roof, is a metaphorical opening of their home.
Courtesy of Amy Sherald & Hauser Wirth. Photo Credit: Joseph Hyde.
Originally organized by the Brooklyn Museum, Giants delivers the piercing photojournalism of Gordon Parks, the raw charge of Jean-Michel Basquiat, the interior emotion of Amy Sherald (we’re still obsessed with her portrait of Michelle Obama), the radical pastiche of Mickalene Thomas, and the transformative work of 33 other mostly-living artists. From photography and painting to collage and sculpture, Giants promises to have us up in our feelings. It seems obvious the Deans collect—and think it’s important to share—art that at once provokes and challenges, champions and celebrates. We plebes are certain to enjoy a collective historical interrogation we would otherwise not get to see, and the Deans are showing us their commitment to—and investment in—art by the people, of the people, for the people.
We’re lucky this dynamic duo has chosen to live in San Diego, to engage with its culture and people, and to let us view the masterpieces that usually hang on their walls. Because what good is art if people can’t see it?
Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys is on view at MCASD from April 18 to August 9.
Aaryn Belfer is a writer and editor specializing in nonfiction across art, architecture, and culture. Once upon a time, she wrote a provocative column for San Diego CityBeat (RIP). She was a runner up in the 2025 Matchbook Stories contest at the San Diego Central Library and is irrationally happy about it. Currently in her Soft Girl Era, Aaryn has expensive taste in (mostly flat) shoes and will choose a great art exhibit or live jazz concert over almost anything else. Except, possibly, Javier Bardem.
We live in a world of shapes. Look up, and you’ll notice it: the clean lines of your office building, the sharp angles of the neighborhood gym, the tidy symmetry of the bungalow down the street. San Diego architecture is woven together by angles, lines, and shadows, quietly doing their thing as we rush past.
At least, that’s how photographer Maha Bazzari sees it. A multi-disciplinary artist, architectural designer, full-time commercial photographer, and professor of photography for the San Diego Community College District, Bazzari has long been attuned to the overlooked shapes of the world.
With a childhood rooted in science—her father was a geophysicist for the United States Geological Survey in Saudi Arabia—Bazzari first built her career in the more structured world of commercial architecture. After more than a decade in that world, she pivoted to commercial photography around 2010, starting in fine art photography before naturally blending her architectural expertise with a creative eye. She has documented everything from the architectural progression of Little Italy in 2007 (and boy, has it changed since then) to the otherworldly geometry of the Salk Institute in La Jolla.
Her method is meditative: arrive in stillness, absorb, sit. Notice the way light slices through concrete or pools in a corner. See the shapes, capture the feeling, then click.
Here, you can browse some of her home and architecture images that moved us. We hope they make you tilt your head, squint your eyes, and never look at a parking garage the same way.
All Photos Credit: Maha Bazzari
Science Complex, Point Loma Nazarene University
Point Loma, San Diego | Carrier Johnson + CULTURE
“This building holds personal meaning for me. When I first moved to San Diego, I worked in architecture at Carrier Johnson, where I saw early design development and material studies for the Science Complex at Point Loma Nazarene University. I remember mockups of the perforated metal panels and façade systems long before the building existed onsite. Years later, after transitioning into architectural photography, I returned to photograph the completed project overlooking the Pacific. It felt like a full-circle moment, documenting the final expression of a project I had once known only as drawings, materials, and prototypes.”
Dr Pepper Bottling Company Wall
Little Italy area, Downtown San Diego
“I photographed this building near Little Italy not long after moving to San Diego in 2007, when I began documenting the city’s changing urban landscape. The faded painted advertisements and low industrial structure stood in contrast to the growing skyline behind it. Over time, many small warehouses and commercial buildings like this have disappeared as downtown neighborhoods have continued to develop. Images like this feel important to me because they preserve fragments of San Diego’s visual history and reflect my early years exploring the city through photography.”
Ironside Fish & Oyster
Little Italy, San Diego | BASILE Studio
“I framed the oyster bar as a complete composition, letting the patterned floor lead the eye toward the counter and the shelving beyond. I made sure to include the rolling library ladder along the back bar, a distinctive design element that emphasizes the height and density of the floor-to-ceiling shelving. I photographed the space at a time of day when daylight enters through the windows while the warm interior lighting still reads, balancing natural light with the glow of the bar. I approach restaurant interiors by deciding what to include and what to leave out, so the atmosphere and structure of the space can come through in a single frame.”
Nolita Hall
Little Italy, San Diego | Tecture
“This project was meaningful to me because it brings my design background and my photography practice into the same frame. While working part-time at Tecture, I helped design and fabricate custom lighting and bar seating components for the space, developing sketches, building 3D models, wiring fixtures, and installing them onsite with the team. Later I returned as a photographer to document the completed restaurant. Being involved in both the making and the photographing of a space is where my work feels most complete. It lets me bring an architectural mindset to the camera and photograph with a deeper understanding of how the space was built.”
St. David’s Episcopal Church & Preschool, Interior Detail
Clairemont, San Diego | Rob Wellington Quigley Architects
“This image was made while documenting sacred architecture across San Diego for the La Jolla Historical Society. With private, individual access to the building, I spent time observing how light moved through the structure and illuminated its materials. The layered wood framing and warm translucent panels create a rhythm of structure and glow that feels both architectural and contemplative. Photographing spaces like this reminds me how architecture can shape moments of stillness through light, proportion, and materiality.”
Neurosciences Institute
La Jolla, California | Tod Williams Billie Tsien Architects
“This campus stands out within San Diego architecture for its sculptural concrete forms, warm wood elements, and quiet courtyards that frame the surrounding eucalyptus trees. I am drawn to spaces where architecture can feel monumental and intimate at the same time. Photographing here is less about coverage and more about observing how light moves across concrete surfaces and how material and form create a sense of calm within the landscape.”
Islamic Center of San Diego
Clairemont Mesa, San Diego | La Jolla Historical Society Sacred Architecture Commission
“The repetition of the arches immediately drew my attention. By centering the composition and removing surrounding context, the architecture becomes about rhythm, proportion, light, and subtle shadow. Islamic architecture often uses geometry and repetition to create a sense of calm, and focusing on this detail allowed the photograph to reflect that quiet balance.”
Richard Wheeler Residence Renovation
Mission Hills, San Diego | Kristi Byers Sklar Studios
“Photographing this Mission Hills midcentury renovation was especially meaningful because the project balanced preservation and transformation so thoughtfully. Originally designed by architect Richard Wheeler, the home reflects an important period of residential architecture in San Diego. The updated interiors maintain the warmth and material richness of midcentury design while feeling fresh and livable. I photographed the project for the architect and designer, and it was later featured on the cover of a special edition design publication Projects like this remind me how architectural photography can document not only buildings but the continued life of design across generations.”
Neurosciences Institute, Stair Courtyard
La Jolla, San Diego | Tod Williams Billie Tsien Architects
“I was drawn to the alignment of the two staircases rising between tall concrete walls, forming a quiet, balanced composition. The blue glass softens the weight of the concrete and catches the coastal light that defines this part of La Jolla. Introducing a figure adds scale and a moment of color within the restrained palette. This is one of the ways I photograph architecture: by using structure and repetition to create a frame, then allowing a small human presence to activate it.”
Kindred Restaurant
South Park, San Diego | BASILE Studio
“Kindred is one of those interiors people in San Diego remember—[it’s] bold, moody, and unapologetically its own. I was drawn to this booth vignette because it captures that signature contrast: black tufted seating against pink patterned walls, framed by repeating arches and reflective ceiling panels that amplify the lantern glow. When I photograph restaurants, I focus on more than wide angles. I look for intimate moments where the design language is distilled into a single frame. This is where the personality of a space lives—in the textures, color, and atmosphere guests experience up close.”
San Diego Zoo Wildlife Explorers Basecamp, Block Wall Detail
San Diego Zoo, Balboa Park | HGW Architecture
“While documenting the Wildlife Explorers Basecamp project at the San Diego Zoo, I was drawn to this patterned block wall and the shifting grid of shadows created by the afternoon sun. I love photographing moments where light reveals the geometry of a surface and a small detail becomes the subject. This image captures a design element that might otherwise go unnoticed.”
Lili Kim is a content coordinator and writer for San Diego Magazine, with experience highlighting local businesses and communities. When not writing or shooting film, she is likely brewing her seventh cup of tea of the day or strolling along Sunset Cliffs.
San Diego seniors are redefining retirement. In an era where staying active and connected is more important than ever, San Diego seniors are empowered to spend their golden years living life to the fullest. Aging gracefully in America’s finest city means luxury living, access to exceptional healthcare, and thoughtfully planned social activities that bring people together and build supportive networks. From vibrant, resort-like communities built around everyday life to senior-friendly ventures spanning city and shore, San Diego is full of opportunities to remain happy and healthy. Retirement isn’t the end—it’s just the beginning.
The Right Retirement Community
San Diego is home to some of California’s most sought-after retirement communities. Many of these communities feel more like luxury resorts than traditional senior housing, and focus on active aging, meaning overall well-being and quality of life are just as important as medical care. Amenities often include ocean views, fine dining, concierge services, wellness spas, lifelong learning programs, and full continuum-of-care options with specially trained medical staff. These communities ensure that San Diego seniors enjoy independence as well as a level of assistance appropriate to their individual needs. When it comes to aging gracefully, San Diego is the place to be.
Belmont Village Senior Living
Belmont Village Senior Living communities combine luxury hospitality and higher-acuity care services, including memory care and cognitive support. Experiences are tailored to each resident, including couples requiring different levels of care. Residents can expect chef-prepared dining, fitness and wellness programming, transportation services, social activities, and spaces designed to encourage connection and engagement. The community also works with thought leaders in the field to develop initiatives that empower residents to live life to the fullest.
Lantern Crest Senior Living
At Lantern Crest Senior Living, retirement is an opportunity to thrive. Nestled on over 30 beautifully landscaped acres in East County, Lantern Crest offers a variety of living options within a premier resort-style community. Residents enjoy an exceptional collection of amenities, including heated pools, fitness & wellness centers, movie theaters, chef-prepared dining, putting greens, dog parks, salons, social clubs, an on-site Sharp clinic, pharmacy services, and countless opportunities to connect, learn, and thrive. Lantern Crest is dedicated to delivering personalized service, meaningful experiences, and a lifestyle that empowers residents to live with purpose, independence, and joy.
Senior Resource Group
A chef-curated menu with healthy plant-forward options, holistic wellness programs, lifelong learning seminars, and a variety of thoughtfully designed social activities help set Senior Resource Group’s properties apart from the pack. Its La Vida Del Mar community in Solana Beach offers residents a high-end coastal lifestyle a stone’s throw from Old Del Mar and the Cedros Design District. La Vida Del Mar provides independent living and assisted living options, and as the CARF-accredited community in North County, prioritizes personalized onsite medical care, exceptional hospitality, and celebrating every resident.
Vi at La Jolla Village
Vi at La Jolla Village offers a resort-style retirement lifestyle in the heart of San Diego’s cultural attractions. Exceptional accommodations, upscale dining, and thoughtfully designed amenities support well-being and help residents live each day to the fullest. Plus, with a continuum of on-site care available at no additional charge,* residents can feel confident knowing that if their needs change, assisted living, memory support and skilled nursing are available right here. Dedicated rehabilitation services are also available to non-residents in a Medicare® certified environment.
*Care options are subject to ancillary fees for items such as extra meals and supplies. Annual, community-wide monthly fee increases also apply.
Aging Well … In Place
Homewatch CareGivers
Some seniors prefer the comfort of their own homes over retirement communities—no matter how luxurious the lifestyle may be. Homewatch CareGivers in northwest San Diego and Santee provides compassionate in-home care for peace of mind. With no minimum hour requirements, Homewatch makes it easy to get support, whether it’s a few hours a week or around-the-clock care. Care plans and services are tailored to help each senior maintain independence while accommodating their lifestyle, medical needs, and preferred living environment. Homewatch also offers technology solutions that connect clients with 24/7 support when they’re home alone.
