To our day, the workplace is still under critical judgement weighted by the efficiency in its operative success. Furniture design and planning for the workplace is not fully immune from this mentality either. In the quest for a better workplace, both designers and engineers have come up with many solutions to make life easier, through objects that adapt to the human body, such as adjustable desks, extra ergonomic task chairs, etc. While this brings practicalities to our daily life, it also hinders the human body from the capacity of motion which is otherwise inherent in its nature.

It is imperative to remind ourselves that in nature, nothing adapts to human or animal body postures, on the contrary bodies adapt themselves to alternating topographies. Yet this adaptation process is the way organisms are kept active. And it is exactly through this adaptation that bodies are dynamically moving, while changing places in the rich topography of nature adapting to different positions at different times.

With the theme "the beautiful nature of disorder", we wish to propose a work habitat with a rich topography, where people can choose from alternative heights to work on; standing around a bar table, sitting on a chair in front of a table, or sitting on a personal sofa and using a low bench as the worktop, all requiring different body postures. None of these positions pretend to be the correct ergonomical proposition, the real argument is in the mix that they are composed.

Another critical characteristic quality of natural environments is the chaotic order in which living creatures inhabit. This again stands as a great contrast to contemporary layout plans in the workplace. The classical layout of the orderly workplace with lined up benches and workstations planned in an orthogonal style is basically the product of the industrial revolution.

This may have worked for the automated tasks of the time, but is nearly irrelevant considering the world in which we live today. The same problem exists considering the typical classroom plan with orderly planned benches in rows that has not changed since the beginning of classical education programmes designed to educate children to partake in the industry of the times.

When we consider the changes in technology that shaped transport and communication in the last 150 years, we see a giant leap. It is therefore much more surprising to see that the classrooms and workplaces have not been subject to a considerable change in comparison at all. Disregarding the interior decoration aspects that stays merely as a modern make-up; the homogenised organisation of the evenly distributed worktops per person, implies that everyone thinks, acts and works in the same way. As a matter of fact, treating every individual in the same way and expecting them to work in the same attitude, not only fails in educational systems but also at the workplace.

Under the thematic approach of "The Self-Organised Workplace", the aim is to bring people together in alternative postures and even unexpected sequences that may result in chance encounters, a way to stimulate ideas in a work place that enriches the qualities of each person, team or department, etc. Alternative spots of communication as well as isolation are scattered in the work plan, in a very chaotic and un-orthogonal style, which trigger an urge to move around, rather than settling in the same spot every single day, if one may say; in the Kafkaesque sense.

We wish to propose a philosophy to help us handle the related themes in a more metaphorical level to drift away from the dry definitions and stimulate some excitement and imagination for every single attendee..

The theory of Dérive has first been published in the second issue of Internationale Situationniste, in 1958 December. Dérive is the situationnist style of flaneire that is the passion of every avant-garde movement in opposition with rationalism, since Baudelaire. It also discloses the interest of the situationists' interest with urbanism and psychogeography. In 1957 Guy Debord publishes a Situationist Paris Map in nineteen pamphlets: The Naked City. Composed of a collage of cut outs from city maps of Paris, The Naked City represents the surrender of the rationalist, functionalist, and router qualities of the city to feelings of; lust, passion, experimental behaviours, social movements, playful creativity, in short to art and poetry. This Naked city is the "image" of derive.