Practicing parkour to better imagine the city of tomorrow

For urban spaces that are able to move, adapt, evolve, and inspire their inhabitants and designers, there is much to learn from the art du déplacement, as exemplified by the approach of Danish traceur, architect, and designer Mikkel Rugaard.

Originating in France in the mid-1980s and primarily practiced in urban settings, parkour involves moving from one point to another using only one’s body and the surrounding environment. The term “parkour” is derived from the parcours du combattant, initially suggested as military training by French soldier Georges Hébert.

Often perceived merely as a game, parkour is indeed a genuine art known as l’art du déplacement, translating to the art of displacement. In the precise motion of their bodies, traceurs and traceuses, the athletes, unveil the concealed potential of space. Frequently pushing beyond its confines, they transform obstacles into opportunities for exploration and creativity.

BGI academy, Hornsyld, Denmark, 2012. Photo courtesy of Andy Day / Mikkel Rugaard STUDIO & WORKS

As space and city enthusiasts, we naturally wondered if parkour’s perspective could inspire new urban possibilities. We interviewed Mikkel Rugaard, an architect and designer, and seasoned traceur holding a bachelor’s degree in physical education and a master’s degree in architecture and industrial design. Mikkel is one of the pioneers of parkour design and co-author of the European standard for parkour equipment, many of which he has designed. Sharp-faced, sharp-eyed, and brisk-talking, he welcomes Domus for a morning interview with a distinctly clear (and surprising) stance on the subject: “In parkour, the city is just a circumstance; people only see it as an urban phenomenon, but it’s not. Spatial characteristics don’t dictate a traceur’s practice; it’s their ability to creatively interpret the context”.

Let’s delve into the topic: the city has a chance to embrace parkour as a means to “stimulate people to think differently, to inspire them to move, which is also fundamental to health, to demonstrate that pushing boundaries is possible and that introducing the unexpected into space has potential. In my work I focus on designing spaces and objects for the moving human body: my practice covers everything from concept development to production and execution, from objects to landscapes”.

Spatial characteristics don’t dictate a traceur’s practice; it’s their ability to creatively interpret the context.
Mikkel Rugaard

From a certain perspective, traceurs offer a way to place the body at the center of space, treating it as a tool for understanding and measuring its quality. They provide tools to nurture spatial creativity, particularly in public spaces that often lack flexibility and vision. Paolo Sendra and Richard Sennet echo this criticism in their recent book, Designing Disorder, highlighting that “the ability to think urban spaces that, when necessary, are able to go beyond function, allowing people to imagine and experiment with unexpected uses and activities, is fundamental to improving their relationship with the environment and to developing that sense of belonging to the city that underlies the much sought-after sustainability”.

When discussing sustainability, Mikkel shares a very interesting insight: “I am a fan of interdisciplinarity in the sense of respecting other fields, skills and knowledge without arrogance. This approach is a sustainable way to tackle things. For example, the fact that I can speak many languages, that of architecture, design and athletics, and understand technical, economic and design issues, has allowed me to cultivate a contextual sensitivity. It keeps me connected to and able to interpret the needs of all the dynamics surrounding a space”.

I believe that, just as with skateboarders, traceurs will gradually succeed in being recognized as urban actors. It takes time and patience; we cannot expect a change of perspective overnight.



“I invest a lot of time in understanding a place and its happenings”. The fusion of design, urban environments and parkour that Rugaard has pioneered is still very young. While his studio is thriving in Denmark, its presence overseas is less pronounced, though design prospects from abroad are now starting to emerge. Rugaard notes, “Although it remains a challenge to gain a seat at the project tables, I believe that, just as with skateboarders, traceurs will gradually succeed in being recognized as urban actors. It takes time and patience; we cannot expect a change of perspective overnight”.

The strategy is to patiently instill curiosity and vision in those who live in and design the urban environment. A sustainable city requires bodies in motion and places that can adapt and evolve, becoming smarter and more aware of their present and future.

Inspired by nature

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