Mobilities Design by Ole B. Jensen Ditte Bendix Lanng

Mobilities Design by Ole B. Jensen Ditte Bendix Lanng

Author:Ole B. Jensen, Ditte Bendix Lanng [Ole B. Jensen, Ditte Bendix Lanng]
Language: eng
Format: epub
ISBN: 9781138852983
Barnesnoble:
Publisher: Taylor & Francis
Published: 2016-09-08T00:00:00+00:00


Accordingly, our point here is to use atmosphere as an important sensitizing device that contributes to expanding what counts as relevant design consideration in sites of mobilities. When applied to urban mobilities design, atmosphere draws our attention to the diffuse embodied-emotional sensations of mundane mobilities sites and thereby supplements focus on cognitive, semiotic and functional design. Hence, through highlighting atmosphere, we can challenge some of the taken-for-grantedness and invisibility of many a mobilities site, herein the tunnel, where the affective relation between mobile users and the tunnel architecture can indeed comprise a significant share of how they are used and experienced, and merge into the urban environment. Atmosphere therefore points us to target the affective resonance of mobilities sites, and to seek to work with the designerly staging of mobile experiences.

In the following section we will tease out a useful, yet essentially simplified, way of addressing atmosphere in relation to urban mobilities design, unfolding an imaginary alternative future for the tunnel design. To bring an operational order on the affective tonality of spaces in an urban context is obviously not an easy task. Yet, the scholarship of Thibaud and related works in the scholarly interdisciplinary ambiance network (www.ambiances.net) present efforts to work with atmospheres through the heuristic separation of multisensorial ecologies into singular senses. This resonates with Bille et al., who suggest that ‘[i]n order to get to grips with atmosphere we have to engage more actively and analytically with architecture, colours, lighting, humidity, sound, odour, the texture of things and their mutual juxtaposition’ (2015: 36).



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