Geoff Manaugh Quotes

As a cop trying to anticipate how burglars might use the city, you have to think three-dimensionally. Volumetrically. You have to think in a fundamentally different spatial way about the city laid out below, including how neighborhoods are actually connected and what the most efficient routes might be between them. After all, this is how criminals think, Burdette explained, and this is how they pioneer new geographic ways to escape from you.

burglars are idiot masters of the built environment, drunk Jedis of architectural space.

In one sense, burglars seem to understand architecture better than the rest of us. They misuse it, pass through it, and ignore any limitations a building tries to impose. Burglars don't need doors; they'll punch holes through walls or slice down through ceilings instead. Burglars unpeel a building from the inside out to hide inside the drywall (or underneath the floorboards, or up in the trusses of an unlit crawl space). They are masters of architectural origami, demonstrating skills the rest of us only wish we had, dark wizards of cities and buildings, unlimited by laws that hold the rest of us in.

Nevertheless, to commit burglary you must cross some imaginary border, or invisible plane, and enter another clearly defined architectural space - a volume of air, an enclosure - with the intention of committing a crime there. Without walls and thresholds - without doorways, floors, and window frames, or even roofs, awnings, and screened-in porches - burglary would not be legally possible. It is a spatial crime, one whose parameters are baked into the very elements of the built environment.

In another sense, however, burglars are idiots, incapable of using a door when cutting through drywall for twenty minutes will do the trick. But then they'll get stuck in the insulation, or they'll trip and plummet through the roof into the wrong grocery store, or they'll accidentally set fire to the very place they've been trying so hard to enter (it's happened).

For the burglar, every building is infinite, endlessly weaving back into itself through meshed gears made of fire escapes and secondary stairways, window frames and screened-in porches, pet doors and ventilation shafts, everything interpenetrating, everything mixed together in a fantastic knot. Rooms and halls coil together like dragons inside of dragons or snakes eating their own tails, rooms opening onto every other room in the city. For the burglar, doors are everywhere. Where we see locks and alarms, they see M. C. Escher.

People usually focus on what burglars take, but it's how they move that's so consistently interesting. Burglars explore. They might not live in a city full of secret passages and trapdoors - but they make it look as if they do. They have their own tools and floor plans, their own ways to get from A to B. They'll curl up inside refrigerators, climb through ceilings, use garbage chutes and fall twenty-one floors straight into the emergency room when they could simply have taken the stairs. They'll slip through porch screens and stow themselves inside clothes dryers till the police come busting in to find them.

What's unique about Wright's disdain for endlessly proliferating microdefinitions inspired by and based on other microdefinitions is that he eventually, casually, and seemingly offhandedly suggests at the end of his article that we could simply rewrite the law altogether and eliminate the crime known as burglary. Some men just want to watch the world burn. His logic rests on the fabulous conclusion that, legally speaking, architecture is a form of "magic," one that has no place in an otherwise rational system. Architecture is the "magic of four walls," he writes, referring to its power to fundamentally transform how certain crimes are judged

Mason was a first-rate spatial voyeur, an autodidact of architectural exteriors.

It's hard to know which is more dystopian: the idea that your every move is being studied by occasionally malign figures of anonymous government authority, or that everything you've done in the public sphere has for years now been secretly recorded for no particular reason, by people who would rather be doing almost anything else, in an apotheosis of archival bureaucracy that you yourself pay for through tax. I

It was, from the burglar's perspective, easy money. At this rate, from one shop alone, he could pull in $60,000 a year. If the only thing standing between him and the middle class was a few pieces of Sheetrock, why not? What's the point of work when you can just pop through a wall at 3:00 a.m. to collect your pay?

Architecture is the "magic of four walls," he writes, referring to its power to fundamentally transform how certain crimes are judged and how their perpetrators can be sentenced. He

That NASA was involved suggests that L.A. was considered so alien both to police officers and to scientists that it resembled the landscape of another world. There is Mars, there is the moon, and there is Los Angeles.

To put this another way, burglary requires architecture. Not infrequently, only because of some aspect of a building's design is burglary even possible. A blind spot, a vulnerability, a badly placed window, a shadowy alcove, an unlocked skylight, a useful proximity between one structure and the next - the burglar sees this opportunity and pounces.