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!

SECTION THROUGH LOWER MANHATTANS