1
3 DRIVER’SWALKING APPThe space in which we think is the space with which we think. What is the space that contains personal space, public space, navigational space? What is space like for you, today? What use can you make of public space?
2 SEARCH : I’M FEELINGSPECIES OF MOBILITYMobility changes with consequences for density. So the question is how do you make density mobile?
Music is sometimes the only space we can really imagine. And that space is sometimes just like the feeling of a city. So what would it be like to make a city in the same way you make a song?
LOWER MANHATTAN
PEtER MAcAPIA/ l a b d O R A
Search:We listened to Stevie Wonder’s video LIVING for the CITY.
Inspired by the relation between the city, mobility, and geopolitics and the problem of conflict and congestion.
Really liked BIG’s smart tiles and flexibility of the road as an urban SPACE: the road with many identities.
MOBILIZE used to be a military term. It’s now urban and geo-
political and means the question of public space as freedom and debate.
Pushed far enough, road becomes PLAZA, a site of creative endeavor - art, commerce, or coffee and conversation.
A NETWORK is flexible and allows for different areas to COMMUNICATE, to become.
PUBLIC SPACE is an essential democratic element. Architecturally, buildings need to let the ground flow underneath it.
Sustainability is about FLOWS of matter and energy which are social, cultural, and political as well as spatial.
And we asked ourselves: What would it be like to cut through the grid and discover something different?
FIRM PROFILE Peter Macapia/labDORA is an experimental studio. Members come together for specific projects exploring architecture, urban density, and culture to invent new problems and insights. We use computation, geometry, algorithms, music, video, art, internet. We make propositions that introduce us to new experience, which range from publications to installations to buildings.
PROjEct cREdIts Peter Macapia, Bryan Rietter, Matt Lightner, Laurent Dubuis, Nikos Patsopolous, Eleni Karanicola, Cheyenne Lau, Annamaria Kasimati, Maurizio Huayla, Tuan Nguyen, Amanda Rivera, Mike Hoak, Fabien Saura, Dale Strong PeterMacapia/labDORA/Downtown
MISSISSIPPI SU
RROU
ND
ED BY FO
UR
WALLS THAT AIN' T SO
PRE
TTY
HIS
PA
REN
TS G
IVE
HIM
LOVE AND AFFECTION TO KEEP HIM
STRON
G M
OVIN
G IN
THE RIG
HT DIRECTION LIVING JUST
EN
OU
GH
, JU
ST E
NO
UG
H F
OR
THE CITY...EE HA! HIS FATHER W
ORKS SO
ME D
AYS FOR F
OURTEEN HOURS A ND
YO
U C
AN
BET
HE
BARE
LY M
AKE
S A DOLLAR HIS MOTH
ER GO
ES TO SCRU
B THE FLO
OR
FOR MAN
Y A
ND
YO
U'D
BES
T BE
LIEV
E SH
E H
ARDLY GETS A PENNY LIVIN
G JU
ST ENO
UG
H, JU
ST ENO UGH FOR
THE CITY...YEAH HIS
SISTER'S BLAC
K BU
T SH
E IS
SH
O 'N
UFF
PRETTY HER SKIRT IS SHO
RT BUT LO
RD H
ER LEGS A
RE ST
URDY TO WA
LK T
O S
CHO
OL
SHE'
S G
OT
TO G
ET UP EARLY HER CLOTHES A
RE OLD
BUT N
EVER ARE TH
EY DI
RTY LIVING JUST
ENOUG H, J
UST ENO
UG
H F
OR
THE
CITY...UM HUM HER BROTHER'S SMART H
E'S GO
T MO
RE SEN
SE THA
N MANY HIS
PATIE NCE
'S L
ON
G B
UT
SOO
N H
E W
ON
'T H
AVE ANY TO FIND A JO
B IS LIKE A H
AYSTACK NEED
LE C
AUSE WH
ERE
HE
LIVES THEY DON'T USE COLO
RED PE
OPLE LIVI
NG
JUST ENOUGH, JUST
ENOUGH FOR THE CITY... LIVI
NG J UST
EN
OUGH... FO R THE CITY...OOH,OOH . H
IS H
AIR
IS L
ON
G, H
IS F
EET
ARE
HARD AND G
RITTY HE SPEN
DS H
IS LOVE W
ALKIN
G THE STREETS OF N
E
W YORK CITY HE'S ALMOST DEAD FR OM BREATHING
ON
AIR
PO
LLUTION HE TRIED TO VO
TE BU
T T O H
IM THERE'S NO SO
L UTIO N L
IVIN
G JU
ST E
NO
UG
H, JUST ENO
UGH FOR TH
E CITY...Y EAH
, YE
AH, YEA
H! I
HO
PE
YOU HEAR INSIDE MY VOIC
E OF SORROW A ND THAT IT M
OTIVATE
S YOU TO MA
KE
A BETTER TOMORROW THIS PLACE IS CRUEL NO W
H
ERE COU
LD BE MUCH COLDER IF WE DON'T CHANGE THE WO
RL
D WI LL S
OO
N B
E O
VER LIVING JUST
ENOUGH, JUST ENO UG
H FOR THE CITY!!!!
STEVIE WONDER "LIV
ING FOR
THE
CITY
" / A
BO
Y IS
BO
RN IN
HARD TIMES IN
THE DEATH
AND L
IFE OF
GRE
AT A
MER
I CA N CIT IES JANE
JAC O
B"The
more successfully a city mingles everyday
diversity of u
ses
and
user
s in
its
ever
yday streets, the mor e
succ
essf
ully
, cas
ually (and economically) its people thereby enliven an
d support well-located parks that can thus give back grace and delight to their ne
ig hbor
hood
s in
stea
d of
vac
uity
.“ "N
eue
Idee
n br
auch
en a
lte G
ebäu
de
" The point of cities is multiplicity of choice //"To genera
te exuberant diversity in a city's st reet
s an
d di
stricts four conditions are indisp
ensable: 1. The di stric
t, an
d in
deed
as
many of its internal parts as possible, must serve m
ore than o
ne primary function; preferably more tha
n two... 2. Most blocks mus
t be short ; tha
t is, streets and opportunitie s to turn
cor
ners
mus
t be
freq
uent
. 3. T
he d
istr
ict m
ust m
ingl
e bu
ildin
gs th
at vary in age and condition, including a good proportion of old ones so th
at they vary in the econom
ic yield they mus
t pro
duce
. Thi
s m
ingl
ing
mus
t be f ai
rly c
lose
-gra
ined. 4. There must be a su�cientl
y dense concentration of peop
le, for w hate
ver p
urp o
ses they may be there..." " Citie
s ha
ve th
e ca
pabi
lity
of p
rovi
ding
s
omething for everybody, only because, and only w
hen, they are cre
ated b y e very
body." ///"You can neither lie to a neighb orho
od
park, nor reason with i t. 'A rtist's conceptions' and persuasive rend
erin gs can put pictures of life in
to pro pose
d ne
ighborhood parks or p
ark malls, and verb
al ra
tionalizations can conjure up users w
ho
TH EORY O F
THE
DER
IVE // SOCIETY O
F THE SPEC
TA CLE
" Whe
re th
e re
al w
orld
changes into simple images, the simple images become real beings and e�ective motivations of hypn
otic behavior. The spe
ctac
le, as a tendency to make on e
see
the
wor
ld b
y m
eans
of v
arious specialized mediations (it can no longer be grasped dir
ectly), naturally �nds vision to be the privileged human sense which the s ense of touch was for other epochs; the most abstract, the most m
ysti�able s
ense corresponds to the ge nera
lized abstraction of present-da y so
cie ty. B
ut th
e sp
ecta
cle is not id
enti�
able
with
mer
e ga
zing
, eve
n co
mbined with hearing. It is that which escapes the activity of m
en, that which es
capes reco
nsid
er atio
n an
d co
rrec
tion by their work. It is the opposite of dial
ogue. Wherever ther
e is independent representation, the spectacle rec onstitutes itsel f. //
/The
word psychogeography, suggested b
y an illi tera
te K
abyl
e as
a g
ener
al term for the phenomena a few of us were investigating a
round the summer of 1953, is n ot too in
appr
opria
te. I
t doe
s not contradict the m
aterialist perspec
tive of the conditionin
g of lif e an
d th
ough
t by
obje
ctive nature. Geography, for example, deals with the determinant action of ge
nera l nat
ural
f orc
es, such a s
soil composition or c limatic conditio
ns, on the ec onom
ic s
truc
tures of a society, and thus o
n th e co
rres
pond
ing conception that such a
SESAME STREET Sunny Day Sweepin' the clouds away On my way to where the air is sweet Can you tell me how to get, How to get to Sesame Street Come and play Everything's A-OK Friendly neighbors there That's where we meet Can you tell me how to get How to get to Sesame Street t's a magic carpet ride Every door will open wide To Happy people like you-- Happy people like What a beautiful Sunny Day Sweepin' the clouds away On my way to where the air is sweet Can you tell me how to get, How to get to Sesame street... How to get to Sesame Street How to get to... Hi-ho, this is Kermit the Frog here, reporting for the Sesame Street News.-Kermit Scram!
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