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Norwich City Council is introducing a system of parking permit charges determined by the length of the vehicle:

The move away from flat-fee permits will penalise drivers who own vehicles more than 4.45 metres (14½ft) in length, such as the Vauxhall Vectra.

Brian Morrey, vice-chairman of the Norwich Highways Agency Committee, a joint initiative between the city council and Norfolk County Council, said: “We want to encourage more people to drive smaller cars. It is far more environmentally friendly and would also generate more parking space on the roads.”

(Quote from the Times; image from the Daily Mail)

From the Daily Mail - the parking permit charge bands for some common cars

Media reactions have largely been negative, with the measure being seen as a stealth tax, penalising larger families with larger vehicles, and so on; even the Green Party’s Siân Berry (London mayoral candidate and anti-4 × 4 activist) criticised the measure on the BBC News this morning for not being linked to the cars’ CO2 emissions.

Nevertheless, from a ‘design with intent’ point of view, this is an interesting strategy. The Council is clearly addressing the problem which it perceives – too many large cars in a city with “narrow, mediaeval” streets, rather than the ‘wider’ problem of CO2, and it’s addressing it directly, by making it less desirable to own a larger vehicle in Norwich if you’re going to park it on the street. Whether that’s ethical, sensible, or anything else is another matter: there are always unexpected consequences, and if, for example, more people decided to lay tarmac over their front gardens to avoid having to pay to park on the road outside, the impact of the permit costs might be felt long after the price had been forgotten (much like the window tax). While legal/economic/policy mechanisms for changing user behaviour, such as fines and permits, are perhaps outside the usual purview of ‘design with intent’, the idea here is still relevant: it’s a rather rare example of a direct response to a problem, and it – potentially – has that ‘trimtab‘ characteristic that is so fascinating about certain solutions.

An obvious physical-psychological mechanism analogous to the permit pricing structure might be to construct city car parks and parking spaces so that there were only a few spaces long/wide enough to take larger vehicles (making this very obvious), thus adding a little extra inconvenience every time a driver of a larger vehicle wants to park. Over time, that thin end of the inconvenience wedge might have an effect, even if it simply means that when the owner comes to replace the car, he or she thinks “Driving a big car’s so inconvenient nowadays; I’ll get something smaller.” On a large scale, those small decisions can have a significant impact. Has this been done anywhere?

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HMS Furious
The dazzle painting of HMS Furious, c. 1918. Image from A Gallery of Dazzle-Painted Ships

A couple of weeks ago we looked at casino carpet design – a field where busy, garish graphic design is deliberately employed to repel viewers, and direct their attention somewhere else. Ben Hyde commented that deliberately unattractive “background music, lighting, seating, and color schemes in large malls” may be used to drive shoppers into the quieter surroundings of the actual stores, which certainly rings true in some cases I can think of.

On another level, though, A comment by Kenshi drew my attention to the dazzle camouflage used in the First World War, which is quite startling, in a brilliantly bold way. Roy R Behrens‘ book, False Colors: Art, Design and Modern Camouflage, from the website of which I’ve borrowed these images, looks extremely interesting, and I will certainly be ordering a copy when I have the budget.

Developed in Britain by Norman Wilkinson and in the US by Everett Warner and Frederic Waugh, the dazzle techniques were intended to make “a single thing appear to be a hodgepodge of unrelated components,” as Behrens puts it in this fascinating article. The aim was that such visual disruption would cause confusion and make it difficult for the enemy to identify what kind of ship – and what size – it was from a distance, with the use of ‘reversed perspective’ in the patterning a part of this. The ship’s course – and angle to the viewer – would also be problematic to identify, with colouring including bright whites, blues and sea-green alongside black, darker blue and grey selectively helping parts of the ship to blend into the seascape, and other parts very much stand out.

Breaking the enemy’s ability to distinguish elements of the ship properly, and generally to cause distraction and make it difficult to concentrate on observation for protracted periods, were all part of this plan; painting ships with different dazzle patterning on each side made identification even harder.

Despite being likened to Cubism disdainfully by some contemporary journalists, the processes used for designing the camouflage were developed both analytically and empirically, and extensively tested before being applied to the real vessels. Nevertheless, there are certainly elements in common between dazzle techniques and parts of Picasso’s and others’ work; Behrens has written further on the interactions between Cubism, Gestalt theory and camouflage (both in nature and man-made).

From A Gallery of Dazzle-Painted ShipsFrom A Gallery of Dazzle-Painted Ships
Left: The Mauritania in dazzle paint camouflage. Right: Those blue and white stripes are familiar to UK shoppers today. Images from A Gallery of Dazzle-Painted Ships

Intriguingly, the right-hand image above, with the bold blue and white stripes, has something in common with an everyday livery familiar to tens of millions of British shoppers: the iconic Tesco Value branding (below), at least in its original form. I’m not suggesting an actual link, but as we will see, there is something in common in the intentions behind these disparate methods of influencing viewer behaviour.

Image from Plap man
Tesco Value Beans. Image from Plap man on Flickr.

The same Tim Harford article quoted in my recent post about defaults suggests that the “infamously ugly” Tesco Value packaging is intended as a tool to facilitate price discrimination:

The difficulty is that if some of your products are cheap, you may lose money from customers who would willingly have paid more. So, businesses try to discourage their more lavish customers from trading down by making their cheap products look or sound unattractive, or, in the case of Starbucks, making the cheap product invisible. The British supermarket Tesco has a “value” line of products with infamously ugly packaging, not because good designers are unavailable but because the supermarket wants to scare away customers [from the Value products] who would willingly spend more [on other brands, or Tesco's 'normal' private label products].

Whereas the dazzle camouflage was intended to confuse and disconcert the viewer, the thinking behind the Tesco Value graphics (I would love to know who designed the original style) thus appears to be to disconcert or repel certain viewers (customers) so that they pick a higher-priced alternative (usually on the shelf just above the Value items – Tesco’s planograms have thinking behind them), while allowing immediate segmentation – those customers looking for the cheapest products possible find the Value products easily.

There can’t be many retail situations where pretty much the same products can be sold successfully at two different prices on the same shelving unit just because of differing packaging graphics, but it seems to work for Tesco, in the process creating a significant meme.

Image from B3ta threadImage from Boakes
Left: a ‘Tesco Value’ tattoo, from this B3ta thread There have been many others. Right: Rich Boakes’ ‘Tesco Value’ greetings cards have been widely imitated, and could even have inspired this effort from Asda.

Updates to the Tesco Value branding in recent years have reduced the intensity of the blue stripes and brought the style closer to other supermarkets’ ‘value’ brands, which all tend to be similarly sparse (e.g. Sainsbury’s Basics, below), but the Tesco style is still the most distinctive.

Adequate biscuits

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Heathrow: Skyport for the Seventies

Mags L Halliday – author of the Doctor Who novel History 101 – let me know about an ‘interesting’ design tactic being used at Heathrow’s Terminal 5. From the Guardian, by Julia Finch:

Flying from the new Heathrow Terminal 5 and facing a lengthy delay? No worries. Take a seat and enjoy the spectacular views through the glass walls: Windsor castle in one direction; the Wembley Arch, the London Eye and the Gherkin visible on the horizon in the other.

But you had better be quick, because the vast Richard Rogers-designed terminal, due to open at 4am on March 27 next year, has only 700 seats. That’s much less than two jumbo loads, in an airport designed to handle up to 30 million passengers a year.

There will be more chairs available but they will be inside cafes, bars and restaurants. Taking the weight off your feet will cost at least a cup of coffee.

I suppose we should have expected this. If they weren’t actually going to remove the seats, they’d have used uncomfortable benches instead. In itself, it’s maybe not quite as manipulative as the café deliberately creating worry to get customers to vacate their seats that we looked at a few days ago, but as Frankie Roberto commented, “airports seem to be a fairly unique environment, and one that must be full of architectures of control.”

Heathrow: Skyport for the Seventies

Nevertheless, aside from the more obvious control elements of airport architecture – from baggage trolley width restrictors to the blind enforcement of arbitrary regulations, the retailers themselves are keen to make the most of this unique environment and the combination of excitement, stress, tiredness, and above all, confinement, which the passengers are undergoing:

The new terminal may have been heralded as a “cathedral to flight”, but with 23,225 sq metres (250,000 sq ft) of retail space, the equivalent of six typical Asda stores, it is actually going to be a temple to retail. Heathrow may be packed with shops, but when the £4.2bn Terminal 5 opens the airport’s total shopping space will increase by 50% overnight.

After security, two banks of double escalators will transport potential shoppers into a 2,787 sq metre (30,000 sq foot) World Duty Free store… Mark Riches, managing director of WDF, believes his new superstore has the best possible site to part passengers from their cash: “About 70% of passengers will come down those escalators”, he said, “and we will be ready”.

He recognises he has a captive audience: “If we can’t sell to people who can’t leave the building, then there’s something wrong with us”.

Mr Riches, a former Marks & Spencer executive, is planning “to put the glamour back into airport retailing” with plans for gleaming cosmetics counters and a central area reserved for beauty services such as manicures.

“We are moving away from just selling stuff to providing services. This should be real theatre,” he said.

He is also planning what he calls “contentainment” – the music will change according to where you are in the shop and a 14-metre-long “crystal curtain” “bigger than a double decker bus and thinner than a calculator” will show videos, advertising and sports events.

Heathrow: Skyport for the Seventies

Everything about this story – from the location itself out on the bleak badlands between the M25 and A30, to the way the customers are coerced, channelled, mass-entertained and exploited, to the odd hyperbolic glee of Mr Riches’ visions for his mini-empire – seems to scream J G Ballard. If Kingdom Come hadn’t riffed off the Bentall Centre, it could surely have been about a Terminal 5.

Back to the practical aspects: the deliberate removal of public seating to force passengers to patronise restaurants and cafés is in no way isolated to Heathrow. In a coming post – also suggested by Mags – we’ll look at First Great Western’s policy of doing this in some of its railway stations, with none of the glitz of Terminal 5 but all of the cold-eyed distaste for the customer.

Heathrow: Skyport for the Seventies

Images from a leaflet published by the British Airports Authority, 1970.

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English Heritage, officially the Historic Buildings and Monuments Commission for England, and funded by the taxpayer and by visitors to some of its properties, does a great deal of very good work in widening public appreciation of, and engagement with, history and the country’s heritage.

But its ViewFinder image gallery website* sadly falls into the trap of trying to restrict public engagement rather than make it easy. Yes, someone specified the old ‘right click disabled‘ policy:

English Heritage Viewfinder: right-click disabled
Screenshots of this page, launched from this page.

Now, the image in question – here’s a direct link – which happens to be an engraving of the former Datchet bridge**, in 1840 according to this page (with a colour image) is, even taking English Heritage’s “1860-1922” suggested date range, surely out of copyright, so presumably there cannot be any ‘legal’ question over ‘letting’ people save a copy (which is easiest to do by right-clicking on the most common operating systems and browsers). Using Javascript to remove the browser toolbars and menus also hides the ability to print the image for most users, presumably also deliberately.

Yes, of course, many (most?) readers of this post will know how to get around the no-right-click architecture of control, but you’re reading a technology blog; think of whom the site is presumably aimed at. It is supposed to be a resource to encourage public engagement with history and heritage. Most users will be computer-literate enough to know how to search and probably familiar with right-clicking, but not to mess round with selectively disabling Javascript. Why should they have to? Incidentally, if you do disable Javascript entirely, you can’t even view an enlarged image at all:

English Heritage Viewfinder

What actual use to the public, other than for momentary on-screen interest, is a photo archive website where nothing can be ‘done’ with the images? What is a child doing a local history project supposed to do? Order a print at £18.80 for each photo and then scan it in? Does English Heritage really think that the ability for someone to save or print or e-mail a low-resolution 72 dpi image is going to devalue or compete with the organisation in some way?

It’s ridiculous: such a short-sighted, narrow-mindset policy removes a significant proportion of the usefulness of the site. I don’t know whether the site developer did this with or without English Heritage’s instruction or cognizance (and it was in 2002, so perhaps different thinking would apply today), but it seems that no-one bothered to think through what an actual user might want to get from interacting with the site.

In fact, regardless of the fact that this particular image (as with many others on the site) is in the public domain, even the images which are still under copyright (or “© English Heritage.NMR” as the site puts it, NMR being the National Monuments Record) should, of course, be freely downloadable, printable, and do-whatever-you-want-able. Their acquisition, preservation and cataloguing were paid for by the public, and they should all be available as widely, and easily, as possible. As it is, I would call the website a waste of public money, since it does not appear to offer what most intended users would expect and need.

Still, at least the site’s not one giant bundle of Flash. That would make it marginally more hassle to extract the images.

*Partially funded by the Big Lottery Fund, and thus not entirely directly taxpayer-funded, unless one regards the National Lottery as an extra tax on the hopeful and desperate, which some commentators would.
**Almost exactly the spot where I’ve been testing a prototype radio-controlled toy for a client this very afternoon, in fact, though the bridge is long gone.

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UPDATE: See this more recent post for information and photos of how to get a 2-pin bulb to fit in a BC3 fitting.

This may well be the example which involves the most different ‘architecture of control’ issues so far – by a long way. It is a complex case with a number of aspects, intentions and effects to consider. My mind isn’t made up on the rights and wrongs of this: it’s certainly an architecture of control, it’s certainly devious and it’s certainly a case of introducing a razor-blade model (product lock-in) into a field where there was previously none; it will also end up costing many consumers more money, yet it’s founded in an attempt to ‘encourage’/force more environmentally friendly behaviour.

A couple of weeks ago, George Preston let me know about Eaton MEM BC3 light bulbs and fittings. These are compact fluorescent lamps (CFLs or ‘energy-saving’ bulbs) which have their own kind of three-pronged bayonet connector (left), as opposed to the standard two-pronged bayonet (right):

BC3 lamp, photo by George Preston
BC3 lamp, photo by George Preston
BC3 fitting - image from MEMLITE brochure
BC3 CFL and standard bayonet CFL compared, and a BC3 fitting. Upper two photos by George Preston; lower photo from BC3 brochure [PDF].

Notice those three prongs are irregularly spaced. A normal bayonet bulb won’t fit in a BC3 fitting, and a BC3 bulb won’t fit in a normal bayonet fitting.

What’s the rationale behind this?

From Approved Document L1 [PDF], an amendment to the UK Building Regulations, which came into force in April 2002 (applying to new-build houses):

1.54 Reasonable provision should be made for dwelling occupiers to obtain the benefits of efficient lighting. A way of showing compliance with the requirement would be to provide at a reasonable number of locations, where lighting can be expected to have most use, fixed lighting (comprising either basic lighting outlets or complete luminaires) that only take lamps having a luminous efficacy greater than 40 lumens per circuit-watt. Circuit-watts means the power consumed in lighting circuits by lamps and their associated control gear and power factor correction equipment. Examples of lamps that achieve this efficacy include fluorescent tubes and compact fluorescent lamps (not GLS tungsten lamps with bayonet cap or Edison screw bases).

The idea is, then, that since ‘normal’ bayonet fittings can take normal tungsten incandescent filament bulbs as well as normal CFLs – something which has of course driven the more widespread adoption of CFLs – there is the likelihood/possibility that householders might replace any pre-installed CFLs with filament bulbs, for whatever reason (the usual reasons are the colour of the light, the aesthetic appearance of the bulbs, and the warm-up time). To prevent this possibility, a new type of light fitting and associated CFL cap design were required which were uniquely compatible, so that anyone with this kind of fitting would have to fit bulbs with the new cap design, which would only be available on CFLs.

(Note that the same objective could have been achieved by fitting these rooms solely with fittings for commonly available standard linear fluorescent tubes, i.e. strip lights.)

So, Eaton’s MEM 250 division created the BC3 (bayonet-cap-3?) range, being nominated for an Electrical Product Award for Contribution Towards Energy Saving in the process.

What’s interesting is that as well as complete BC3 CFLs and BC3 fittings, the BC3 range includes BC3 base units (with the ballast and control electronics in them) into which a four-pin CFL tube can be plugged:

BC3 lamp unit, from EthicalProductsDirect.com BC3 base unit, from EthicalProductsDirect.com
Left: A tube unit with four pin connector; Right: A BC3 base unit (including ballast) to allow the tube to be attached. Images from Ethical Products Direct.

This allows the tube to be replaced independently of the electronics – thus saving resources – but does not appear to be the focus of the BC3 system. (Just a thought: if more new houses were pre-fitted with these base units, or simply standard 2-pin bayonet base units, within the light fittings, so that a householder would simply go out and replace the tube rather than the whole lot, similarly to the linear fluorescent tube suggestion above, would it not have made for a more environmentally friendly solution?)

Some interesting claims are being made for the BC3 system. Somehow the idea of forcing the householder to buy one particular brand of CFL has been transmuted into a misguided suggestion that the BC3 system actually makes the houses more energy efficient – e.g., from a housing association magazine [PDF] in Wiltshire:

Residents in some of Westlea’s newer homes will know that we now fit special three-way bayonet lamp fittings as one way to make the property more energy efficient. Although the ‘BC3 eco bulbs’ needed for these lamp fittings are more expensive than ordinary lightbulbs, using them in a ‘standard’ house could save the resident around £100 each year because they use less electricity than ordinary lightbulbs. Some residents have told us they have had difficulty buying the three-pin eco bulbs locally, but we’re pleased to report that the following outlets are able to supply them from £6.35 upwards…

From £6.35 each is a lot of money. Standard ‘Tesco Value’ 2-pin bayonet CFLs started at 88p each (Tesco, Egham, Surrey) the last time I looked – that’s especially cheap, and they were only 11W, but 15W units are commonly available from about £2 – £3. Searching Froogle shows that BC3 bulbs start from around £10. Even Ethical Products Direct, to whom Eaton MEM’s own website directs visitors wanting to buy BC3 bulbs, charges £9.36 for the cheapest complete BC3 unit.

This is a lot of money for something which provides the householder with exactly the same function as a standard CFL a quarter the price. (It’s not as if the BC3 bulbs last much longer, for example, or are more efficient. They just have a non-standard fitting and are only supplied by one manufacturer.) In fact, one might suggest that standard CFLs offer the householder more benefit, since they can be swapped around, fitted all over the place, even fitted to replace incandescent filament bulbs in standard fittings, should someone – shock – actually want to choose a CFL without being forced into doing so.

The housing association quote above demonstrates an important point about the use of BC3s. Many householders’ first encounter with them will be when they notice a CFL going dim or actually failing, or want to increase the light levels in a room, and find that they have to spend much more than they were expecting to spend on a CFL anyway. George’s story demonstrates this well:

We have recently moved into a new flat which is part of a modern development in London. A few lightbulbs needed replacing when we moved in, so I went out and bought some (they’re all energy-efficient ones so I bought the same to replace them with). But oddly, none of them would fit in the fittings. I was under the impression that there were just Bayonet and Screw Cap fittings? These fittings were bayonet, but needed three, irregularly-spaced pins instead of the standard two.

I’m no stranger to energy efficiency, and it wouldn’t be so annoying were it not for the fact that the bulb I had bought as a
replacement was an energy-efficient type anyway, but it seems illogical and a shame that properietary fitting sizes have been introduced into something that has always been so simple – choosing a lightbulb.

(Equally, there is the problem of actually getting hold of BC3 bulbs. I went to the enormous B & Q in Slough on Sunday and couldn’t see any on the shelves. While the 8,000 hour lifetime may mean that there’s not a massive demand for them yet from the public, ordering online and waiting for delivery is not really a great option when a light bulb fails. It often causes inconvenience, and can be dangerous – until Incluminate‘s a production reality (!), the best option is to keep spare bulbs in the cupboard. But if you don’t realise that you need to keep special BC3 bulbs, and that these aren’t available from every corner shop or even every massive DIY store, this is going to be extremely inconvenient. The BC3 brochure does mention a “householder card… which can be left with the homeowner highlighting the ‘energy saving’ aspects of their new home” but how many people will remember to stock up on BC3 bulbs as a result?)

Anyway, I think the main issues are:

  • Razor-blade model: monopoly on fitting type means higher prices can be charged for same function, consumers locked in
  • Non-standard fitting likely to cause significant inconvenience to householders
  • But:

  • System does force householders to use ‘energy saving’ bulbs*
  • The BC3 range is also made in the UK, which aside from actually supporting local jobs, means that the units are not transported from China as, say, Tesco Value CFLs are. That saves on transportation energy, at least, and while – looking briefly – I couldn’t find a patent for the BC3 system, I presume Eaton have it protected somehow, otherwise there would surely be cheaper BC3-compatible bulbs available.

    (Another thought is what other proprietary systems – if any – have manufacturers evolved to meet the regulations in part L1? Are there lower-profile rival systems with their own fitting and cap designs? What would the implications be if a particular type were no longer available a few years down the line?)

    Conclusion

    Overall, this is a clever commercial attempt to respond to a governmental decision made with environmental protection in mind, and as such probably ought to be filed along with optimum lifetime products as something where the intention is to benefit society as well as benefit the manufacturer, at the expense of additionally inconveniencing the user. I feel focusing on a system of built-in base units, with readily available standard replacement tubes (either CFLs or linear fluorescent format) would have been more user-friendly as well as reducing the amount of electronics needlessly thrown away, but it would not have permitted a razor-blade model to the same extent.

    It will be interesting to see how the BC3 story develops in the years ahead: will they become commonly available, and how high will public awareness be? There will probably be many more similar products and systems in the next few years using technology to enforce government policy, particularly in an environmental context, and the Eaton MEM BC3 will be an important case study.

    *Of course, there’s a lot that ought to be said about the real merits of a large-scale shift to ‘energy saving’ bulbs, particularly in relation to Australia’s decision to phase out incandescent filament bulbs entirely, the European Lamp Companies’ Federation’s focus on the same, Gordon Brown’s announcement on this, and campaigns such as Ban The Bulb.

    As a designer and engineer, I would suggest that in cold climates, 100W from an incandescent filament bulb means simply that 100 joules per second of heat is going into my room (probably wasting another 200 joules per second at the power station, but that’s another matter). Light bulbs do heat our homes. If we lose 80W from the light bulb, the heating will probably get turned up by 80W instead. Better insulation, so that that heat isn’t lost, may well turn out to be just as good, or better, than mass-replacement of thousands of millions of light bulbs with CFLs requiring significantly more resources to manufacture (and dispose of). Those electronics in the base don’t come from nowhere, and are likely to outlast the fluorescent tube: hence why the idea of replaceable tubes is much more sensible than throwing away and replacing the base unit each time as well. But the bandwagon’s set off and with heavyweight government and heavyweight manufacturers on board, it’s got a lot of momentum…

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    Anti-user seating in Oxford
    Anti-user seating in Oxford
    Anti-user seating in Oxford
    Anti-user seating in Oxford
    Top two photos: A bench on Cornmarket Street, Oxford; Lower two photos: A bus stop seat perch on Castle Street.

    While from a very narrow specification point-of-view ‘they do their job’, what utter contempt for users these two seating examples demonstrate! The benches on Cornmarket Street are clearly intended to prevent anyone lying down on them (armrests, small radius of curvature) or indeed sitting for very long at all in comfort (height off the ground, vertical backrest, small radius of curvature). Why? Why despise the public so much?

    The designer must have been given a specification requiring all the above features: I can’t believe they just arose out of aesthetic or manufacturing considerations. That bench has been engineered to restrict, control and discipline users. Was it really necessary? Does forcing the homeless to lie on the ground instead, or preventing people sitting comfortably and watching the world go by really ‘solve’ any problems?

    The bus stop perch – in this particular location intended at least partially for Park & Ride users – is perhaps even worse. It’s angled such that a young child couldn’t easily sit on it without sliding off. An adult has to stretch out his or her legs just to perch. A parent couldn’t sit next to a young child. A shopper would have to put down his or her bags on the ground, since they’d slide off the perch. My girlfriend and I couldn’t rest our drinks on the bench next to us; we had to put them on the ground. OK, that’s not much of a hardship, but it’s just frustrating design, intended to serve objectives other than the users’ benefit or convenience.

    You wouldn’t want to wait any longer than necessary at that bus stop. If you were making the decision about whether to drive into Oxford or take the bus to go shopping (assuming cycling not to be an option for this) the unattractiveness of perching at an angle for 15 minutes on that mean strip of perforated sheet would begin to weigh heavily against the public transport option. Sure, you might end up sitting in your car in heavy traffic for 15 minutes, but it’s your car. The seats are comfortable, it’s warm, and you can shape and adjust the environment to suit you.

    I don’t want to go off on one here about solving (or easing) Britain’s transport problems, but I do feel that this kind of situation embodies some of the very important issues. By making bus users feel unwanted – despised even – you don’t enhance the image or desirability of the mode of travel. Little details such as this can make a huge difference to perceptions. The buses themselves are great, but if the experience of using the service seems to demonstrate contempt for the user, the user may develop contempt for the service.

    Japan may have some of the most explicitly user-unfriendly public benches we’ve come across so far, but there’s also something rather disturbing about the sheer blandness of the bench implementations shown above. Their starkness embodies the thinking behind the design: all possible interaction methods to be reduced down to one sole, pre-defined utility function, with the user not permitted to do anything outside that intentionally myopic definition.

    (Incidentally, to be fair, there were some lower seats with horizontal platforms on the other side of the bench in Cornmarket Street. They still had armrests to prevent lying down (or even sitting close to someone), but were not as awful as the curved ones.)

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