Transmobility, part I

This is a quickish post on a big and important topic, so I’d caution you against taking any of the following too terribly seriously. Blogging is generally how I best think things through, though, so I’d be grateful if you’d bear with me as I work out just what it is I mean to say.

In the Elements talk I’ve been giving for the past year or so, I make a series of concatenated assertions about the near-future evolution of urban mobility in the presence of networked informatics. What I see happening is that as the prominence in our lives of vehicles as objects is for most of us eclipsed by an understanding of them as networked services, as the necessity of vehicular ownership as a way to guarantee access yields to on-demand use, our whole conception of modal transportation will tend to soften into a more general field condition I think of as transmobility.

As I imagine it, transmobility would offer us a quality of lightness and effortlessness that’s manifestly missing from most contemporary urban journeys, without sacrificing opportunities for serendipity, unpressured exploration or the simple enjoyment of journey-as-destination. You’d be freer to focus on the things you actually wanted to spend your time, energy and attention on, in other words, while concerns about the constraints of particular modes of travel would tend to drop away.

When I think of how best to evoke these qualities in less abstract terms, two memories come to mind: a simple coincidence in timing I noticed here in Helsinki not two weeks ago, and a more richly braided interaction I watched unfold over a slightly longer interval during a trip to Barcelona last year.

The first was something that happened as I was saying goodbye to a friend after meeting up for an afterwork beer the other day. It was really just a nicely giftwrapped version of something I’m sure happens ten thousand times a day, in cities across the planet: we shook hands and went our separate ways at the precise moment a tram glided to a stop in front of the bar, and I had to laugh as he stepped onto it without missing a beat and was borne smoothly away.

A whole lot of factors in space and time needed to come into momentary alignment for this to happen, from the dwell time and low step-up height of the tram itself to the rudimentary physical denotation of the tram stop and the precise angle at which the bar’s doorway confronted the street. Admittedly, service and interaction designers will generally only be able to speak to some of these issues. But what if we could design mobility systems, and our interfaces to them, to afford more sequences like this, more of the time?

The second image I keep in mind speaks more to the opportunities presented by travel through a densely-textured urban fabric, and how we might imagine a transmobility that allowed us to grasp more of them.

This time, I was lucky enough to capture the moment in a snapshot: the woman on the bicycle casually rode up to the doorway, casually engaged a friend in conversation, casually kissed her on the cheek and casually pedaled away. The entire interaction, from start to end, may have taken two minutes, and the whole encounter was wrapped with an ineffable quality of grace, as if we’d stumbled across some Gibsonian team of stealth imagineers framing a high-gloss advertisement for the Mediterranean lifestyle.

Again, the quality I so admired was enabled by the subtle synchromesh of many specific and otherwise unrelated design decisions: decisions about the width of the street and its edge condition, about the placement of the doorway and the size of the bike wheels. But it also had a great deal to do with the inherent strengths of the individual bicycle as a mode of conveyance, strengths shared with skateboards, scooters and one’s own feet — among them that the rider has an relatively fine degree of control over micro-positioning and -routing, and that she alone decides when to punctuate a trip with stops and starts.

Watching what happened spontaneously when people were afforded this degree of flexibility made it clear to me that this, too, was a quality you’d want to capture in any prospective urban mobility system. And that to whatever extent we possibly could, we ought to be conceiving of such systems so they would afford their users just such moments of grace.

So on the one hand, we have just-in-time provisioning of mobility, via whatever mode happens to be closest at hand (or is otherwise most congenial, given the demands of the moment). On the other, a sense that any given journey can be unfolded fractally, unlocking an infinitude of potential experiences strung along its length like pearls. It’s not hard to see that these desires produce, at the very least, a strong tension between them, and that we’ll have to be particularly artful in providing for both simultaneously.

How might we balance all of these contradictory demands, in designing networked mobility systems that represent urban space and the challenge of getting through it in terms human beings can relate to? This question brings us to something we’ve discussed here before — the classically Weiserian notion of “beautiful seams” — and it’s a topic we’ll take up in Part II of our series on transmobility.

8 responses to “Transmobility, part I”

  1. Igor Schwarzmann says :

    “… without sacrificing opportunities for serendipity, unpressured exploration or the simple enjoyment of journey-as-destination.”

    Wouldn’t such a system actually increase the opportunity for serendipity? It seems to me that especially your example from Barcelona was a serendipitous moment that could have only happened with a more flexible way to move around through a city. And we succeed to establish your vision of transmobility, it is likely that we can increase opportunity for serendipity, because we would increase the overall unpredictability of human behaviour by increasing the unpredictability of how people move through a city.

  2. AG says :

    That is my hope, yes.

  3. msheller says :

    Ahhhh, that’s beautiful. You’ve captured those moments perfectly in their kinaesthetic and rhythmic completeness – it’s like a kind of surfing through urban space and interactions. I think some of those tiny multiplied design decisions are the condensation of generations of wisdom about how best to live… so its serendipity with a collective memory informing it.

  4. Simon Painter says :

    Thank you.. very nice.

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