In his 1925 Bauhaus book, Painting Photography Film, artist and designer László Moholy-Nagy included his design for a film titled “Dynamic of the Metropolis.” Originally conceived with filmmaker Carl Koch in 1921, this sketch represents the filmic space of the street using typophoto, a novel combination of typography and photography to visually associate simultaneous, synaesthetic urban phenomena. On the street, disconnected events intersect momentarily (non-narratives), while participating in larger rhythmic behavioral patterns (narratives). As an example of such non-narrative intersectionsIntersections, in “Simultaneous or Poly-Cinema,” Moholy-Nagy described the cacophonic experience of crossing Potsdamer Platz in Berlin: “[t]hey are talking, they hear simultaneously: the horns of the motor-cars, the bells of the trams, the tooting of the omnibuses, the halloos of the coachmen, the roar of the underground railway, the shouts of the newspaper sellers, the sounds of a loudspeaker, etc. and can keep these different acoustical impressions separate from one another.” With the installation of electric street lights in 1882, Potsdamer Platz had become the heart of Berlin nightlife by the Weimar period. Although unnamed and idealized, Potsdamer Platz appears to figure in the middle of their film sketch as a further example of urban, narrative rhythms: “[t]he vehicles … travel in quick time from the central point outwards, then all at once they change direction; they meet at the center.” Although unable to raise the funds to realize their film, its typophotographic representation influenced, among others, Walter Ruttmann’s “Berlin: Symphony of a Metropolis” (1927) and provides the theoretical basis for the filmic space of the street.