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“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.”
Geoff Manaugh, A Burglar's Guide to the City

“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.”
Geoff Manaugh, A Burglar's Guide to the City

Michel Faber
“There was a red button on the wall labeled EMERGENCY, but no button labeled BEWILDERMENT.”
Michel Faber, The Book of Strange New Things

Tom Stoppard
“The bad end unhappily; the good, unluckily. That is what tragedy means.”
Tom Stoppard, Rosencrantz and Guildenstern Are Dead

“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.”
Geoff Manaugh, A Burglar's Guide to the City

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