The drift The Situationists were also practitioners of a special urban-analytic walking style, the dérive—the “drift”—which Debord described as “a technique of transient passage through varied ambiences. The dérive entails playful-constructive behavior and awareness of psychogeographical effects; which completely distinguishes it from the classical notions of the journey and the stroll.” “In a dérive,” Debord deadpans, “one or more persons during a certain period drop their usual motives for movement and action, their relations, their work and leisure activities, and let themselves be drawn by the attractions of the terrain and the encounters they find there." The dérive joins the free association of surrealism, the LSD of hippiedom, and cinematic montage as tactics for overcoming the fixity of received ideas of order and logic. By putting progress through the city into a state of constant indeterminacy, it represents a schooled “style” of being lost. Michael Sorkin, 20 Minutes in Manhattan PsychogeographyRaindrops leaving an erratic trail psychologymovement
The axis of movement Moving in the city means constantly changing the axis of movement. In general, lateral movement is confined to a single plane, what’s called grade, the ground level. Because circulation in multistory buildings is fundamentally one way—which is to say from the bottom up—the condition at the top is invariably different from that at the bottom. Rooftop circulation is the domain of Fantômas, of cat burglars and fleeing criminals, of lovers, and of those acrobatic enough to negotiate the gaps between buildings. Michael Sorkin, 20 Minutes in Manhattan A Burglar's Guide to the City movement
Two Hundred Fifty Things an Architect Should Know An Essay by Michael Sorkin www.readingdesign.org The distance of a whisper.CornersWant, need, affordWhat the brick really wants.Borders+3 More 136 things every web developer should know before they burn out and turn to landscape painting or nude modelling architecturedesigncollections
Want, need, afford What the client wants. What the client thinks it wants. What the client needs. What the client can afford. What the planet can afford. ux
What the brick really wants. The material finds the right objectWe are working against the grain of the woodThe joy of the humble brick material
Logjam That there is a big danger in working in a single medium. The logjam you don’t even know you’re stuck in will be broken by a shift in representation. creativitymedia