Categories
Apple Cars iPhone Travel

The Custody of the Map

The screen on the dashboard knew the way home before I did. We were coming back from dinner, a left turn already glowing blue two blocks before I would have thought to make it, and I caught myself watching the little arrow slide along the road instead of watching the road. Somewhere behind that ease, an old reflex stirred. I found myself wondering, of all things, what had happened to the Thomas Guides.

There was a time when finding your way through San Francisco meant a spiral-bound book the size of a phone directory, kept in the door pocket or wedged under the seat, its cover gone soft and slightly oily from years of glove-compartment heat. You looked up a street name in the index, found a page number and a letter and a number — page 132, grid D3 — and turned to a small black-and-white rectangle of the city that resolved, for that moment, into something you could hold. Thomas Bros. had been drawing Southern California since 1915, when George Coupland Thomas and his brothers sold wall maps out of Oakland, and by 1945 the company had shrunk the whole sprawling region down to something that would fit in a car door. The timing mattered. The subdivisions were multiplying faster than the old fold-out maps could keep up with them. George Thomas liked to say his maps were accurate to within ten feet, which was a claim worth making and, it turned out, a claim worth stealing.

That’s where the trap streets come in. A company vice president named Barry Elias explained the trick in an interview years later: scattered through the guides were streets that did not exist. Short, usually a single block, dead-ended, drawn with a broken line as though still under construction — the visual grammar for not finished yet, so no one following the map too literally would drive into a field. The San Bernardino and Riverside County editions were said to be the thickest with them, low hundreds of invented streets tucked into real neighborhoods. Some were named to sound plausible, Spanish-inflected phrases that belonged to the landscape — La Taza Drive, Loma Drive. Others, according to people who worked there, carried the names of a cartographer’s child or dog, a private joke folded into public infrastructure. If a rival mapmaker’s cheap knockoff showed the same nonexistent cul-de-sac in the same place, there was no arguing about where it came from. The fiction was the proof.

I like that a business built on precision needed, here and there, a small deliberate lie to protect the truth of the rest of it. It’s the kind of quiet craft that doesn’t announce itself, and I don’t think I would have gone looking for it if I hadn’t been sitting in a car that no longer needed any of it — no index, no grid square, no glove box, just a screen that already knew.

Before any of this, before I’d heard of Thomas Guides or would have understood what a trap street was for, there were the free maps. Gas stations gave them away. You pumped your gas and the attendant handed you a folded map of wherever you were, no charge, the company’s logo across the top like a small act of civic generosity that happened to also be advertising. And then, sometime in the 1970s, they mostly stopped. I’ve always assumed it had something to do with the oil crisis — gas itself getting scarce and expensive enough that a company stopped throwing in a free map with it — though I’ve never been sure that’s the real reason and it may just be the story I’ve told myself because the timing fit. Whatever the cause, the free map disappeared, and after that, if you wanted one, you either bought it or you joined something. AAA required a membership, dues, an envelope in the mail. Being oriented had quietly become a thing you paid for, one way or another.

I knew the free maps first from the back seat. In the summer of 1960 my father packed my mother, my sister, and me into a blue Dodge Dart station wagon and drove us from Ohio to California and back, camping the whole way. Every evening before dark he would spread that day’s map out — hood of the car, picnic table, wherever we’d stopped — and study tomorrow’s drive. My mother kept the maps in the front seat, in charge of them the way someone is put in charge of the medicine or the money, and my father, who usually knew the way, would drive on his own certainty until he didn’t. That’s when the sparks flew. She’d try to get him to pull over and look. He’d think he already knew. I can’t tell you now what any particular fight was about, or how it resolved, only that it happened rarely enough to be memorable and that it always had the same shape: his confidence against her custody of the paper.

At home he had a Rand McNally road atlas of the whole country, the kind that lived on a shelf and got pulled down for no reason at all. I came to like it for its own sake, apart from any trip. I’d trace the roads we’d actually driven that summer, find the towns we’d camped near, follow the thin red lines out from Dayton toward places I now knew the taste of the air in. It wasn’t studying, the way my father studied. It was closer to rereading a book you already loved, tracing your own path back through it just to feel the shape of where you’d been.

I think about that atlas now next to the dashboard screen, and I don’t feel the loss I expected to feel when I started turning this over. What I actually feel, watching Apple Maps or Google Maps do instantly and without complaint what used to take my father twenty minutes of squinting at fine print by a Coleman lantern, is closer to plain amazement — that this much orientation now sits in a pocket, free again in a way the gas station maps never quite were, more accurate than any trap street was ever built to catch. My father’s confidence and my mother’s custody have both been absorbed into a piece of glass that argues with no one.

What I can’t decide is what got lost in the trade, if anything did. Maybe nothing. Maybe the studying itself — the folding, the tracing, the mild domestic argument over who really knew the way — was never really about the map at all, and the map was only ever the excuse two people needed to be lost together for a minute before deciding, out loud, where they were.

Categories
Cars Design Honda

The Shape of Fear

There’s a red-and-silver Honda CRX that shows up in a parking lot near a park I walk regularly. Not always — it’s not a daily thing — but often enough that I’ve started to look for it. When it’s there, I stop. I stare longer than a car deserves. I’ve owned other Hondas. I never owned this model, and by the time I could have, I was a family man, and a two-door coupe with a back seat that barely qualifies as a suggestion wasn’t a thing you brought home. That’s still true. I still love it anyway.

For a long time I thought the pull was nostalgia — an artifact from a specific decade doing what artifacts from specific decades do, standing in for the whole era around them. But nostalgia doesn’t usually make you stop walking.

Something more specific was going on, and I only located it recently, looking at a rendering of Tesla’s Cybercab: the same silhouette. Not the same car, not the same era, not the same anything except the one thing that matters most in a side profile — the roofline. Low nose, a peak over the front seats, one continuous downward sweep to a short, cropped tail. No break at the B-pillar to speak of. Glass that continues the line of the roof instead of interrupting it.

Two cars, forty years apart, arriving at the identical answer to a formal problem. That’s the kind of coincidence that isn’t really a coincidence — it’s a shape that keeps getting rediscovered whenever the constraints line back up.

The Cybercab gets there because there’s no driver’s compartment to package around, no B-pillar structure fighting for space, nothing back there to make room for. The roofline can just fall away because there’s nothing left to interrupt it.

The CRX got there from the opposite direction — not by subtraction of function but by subtraction of everything else. Weight. Drag. Ornament.

What I didn’t expect, going looking, was how much fear was baked into that shape.

The CRX wasn’t dreamed up in some skunkworks with time to spare. It came out of what Honda’s own people described, at the time, as something close to an image crisis — the third-generation Civic was about to launch into a market with sharper competitors than the last one, and the man responsible for small-car development at Honda R&D was worried the company’s whole small-car identity was aging out from under it. The response was billed internally as a kind of renaissance, and the CRX was its opening statement — not a side project, but the leading edge of an “all-out attack.”

The person who actually shaped it, Hiroshi Kizawa, had already put his career on the line once, on the original Civic — a car he believed Honda’s future as a real manufacturer depended on. He came back and did it again, smaller and stranger this time: a two-seat coupe, under 900 kilograms, wrapped in plastic body panels molded in-house, chosen partly because they could someday be recycled — Honda thinking, in 1981, about what happened to the car after its life was over, which is its own small strangeness worth sitting with.

The reception at home was lukewarm in a way I find almost endearing now. One Japanese trade magazine at the time called it a dehydrated Camaro with some boy-racer posturing, allowing that it might not be beautiful but was at least likeable. That’s a strange epitaph for a car I’d call one of the most purely resolved shapes of its decade. But maybe that’s how it goes with real design — the people closest to it, watching it get made under pressure, can’t yet see what it will look like from forty years out, parked in a lot, still stopping people who weren’t even born when it launched.

Less than six months after the CRX reached showrooms, Honda started work on what would eventually become the NSX. The unglamorous little economy coupe, born from institutional anxiety and injection-molded plastic, turned out to be the warm-up act for the most serious sports car the company would ever build. Fear, it turns out, is not a bad place to start, if the people afraid of it are good enough to turn it into something worth being afraid for.

Which makes me think of Ferrari’s own version of this moment, playing out right now. Their first electric car, the Luce, is exactly the kind of institutional fear the CRX was born from — a company that has to prove it still belongs to the future, using a technology it didn’t choose. And where Honda answered that fear with a shape, a single unbroken line that turned scarcity into style, Ferrari answered it with a four-door liftback, roomy and glassy and, by most early accounts, nobody’s idea of a Ferrari silhouette. I wish they’d gone the other way. I wish somebody at Maranello had looked at what a wedge does when you strip a car down to its constraints — no engine bay to hide, no B-pillar to interrupt, nothing left but the line from nose to tail — and had the nerve to make the Luce look like it was afraid of something, the way the CRX clearly was.

I think about that shape differently now — not as a wedge from the eighties, and not as a preview of some robotaxi’s rendering either, but as a shape that seems to arrive whenever a design team is left with almost nothing to hide behind. No engine bay to speak of. No back seat to protect. No driver at all, in one case. What’s left, both times, is the same honest line — nose to tail, unbroken — and I wonder what it says that the shape survives every reason for making it, outlasting the fear and the plastic and the market anxieties that produced it, showing up again decades later for reasons nobody involved the first time could have guessed.

Categories
Cars Living San Francisco/California

Riding Solo: My Driverless Waymo Experience in San Francisco

I had the chance to experience the future of transportation yesterday by taking my first ride in a Waymo autonomous vehicle from Tadich Grill to the Caltrain station in San Francisco. Let me tell you, it was a pretty mind-blowing experience!

After ordering the ride through the Waymo app, it took about 7 minutes for the sleek, electric Jaguar to pull up across the street. With no designated pickup zone, the car had to park a little distance away. As I approached, the doors remained locked until I used the app to unlock them remotely. Once inside the luxurious cabin, buckling up and tapping the “Start Ride” button on the center console was all it took to embark on this journey into the future.

As we glided through the city streets, the car’s displays provided a real-time view of our route and surroundings, not unlike the experience in a Tesla. But what really struck me were the reactions from pedestrians and other drivers. At every stoplight, people would do a double-take, point, and wave enthusiastically at the backseat occupant (me!), clearly amazed to see a car navigating entirely on its own.

The whole experience felt seamless, almost eerily so. The music playing in the car seems purposely designed to be very soothing too. You can select your own music if you prefer but I was enjoying the peacefulness of Waymo’s default selections.

The autonomous system handled every turn, stop, and merge with a level of precision that even the most skilled human driver would struggle to match. And the best part? No awkward small talk or dealing with a distracted Uber driver! Oh, one other benefit – no tipping the driver!

Waymo’s autonomous ride service in San Francisco is truly a glimpse into the future of mobility. If this is just the beginning, I can’t wait to see what other technological marvels await us down the road.

Categories
Cars

That Car with the Manual Transmission

Thanks to Niklas Garnholz for sharing his work on Unsplash.

Did you have one? When you were younger? Or did you start out in Drive?

The sound, feel and thrill of driving are to be relished, not relegated to the trash heap and memories along with carburetors, fender skirts, steel wheels and hubcaps. Drive the Blue Ridge Parkway in a sports car with a manual transmission and you too will become a believer.

David L. Scott writing in the Wall St. Journal, September 12, 2020
Categories
Cars Lightroom Photography Photography - Nikon D600 Photoshop San Francisco/California Street Photography

Classic 1947 Chevrolet in San Francisco’s Saint Patrick’s Day Parade

Chevrolet - San Francisco - 2013 by Scott Loftesness

I felt a bit like I was back in Havana watching some of the classic cars that turned out yesterday to carry dignitaries in the annual Saint Patrick’s Day parade in San Francisco. This 1947 Chevrolet was one of the beauties!

I had fun processing this image in Photoshop – tweaking the background a bit to bring the car out more and adjusting the luminosity a bit. I love the angle of the car – the beauty of the chrome on the front grill – and that tail flying off of the radio antenna!

Categories
Cars Cuba Photography Photography - Nikon D600 Street Photography Travel

Look Through My Window in Havana

On the Street - Havana - 2013

Here’s another “window shot” – this time looking out my hotel room window at the street corner below.

On my last day in Havana, I woke up really early, finished packing for the trip home and then looked out my window at the street corner intersection below. Loved the light – and took this shot! I processed it as a square image to better focus on the car lights, etc.

Only thing I wish had been different is that the car had been one of the older classic cars seen almost all the time in Havana!

Categories
Cars Cuba Photography Photography - Nikon D600 Travel

Jump Starting the Cuban Green Machine

Rock and Roll - Havana - 2013

Last Sunday, we had an amazing walk around the neighborhood in Central Havana with Raúl Cañibano. Along the way, we came across this beautiful green Chevy (at least that’s what I think it is!) which had a dead battery. The owner quickly recruited three guys to help with a classic jump start – while we photographers were standing on the sidewalk directly across the street.

Talk about a perfect photographic opportunity! This image will always bring me back to that moment – just a week ago – in Havana, Cuba – walking with old and new friends in a special neighborhood in Havana.

Categories
Cars iPad Photographers

That Ford Again!

20121213-053627.jpg

Up early and having fun playing with various iPad photo editing apps. This is that Ford pickup truck shot from yesterday but tweaked a bit in Painteresque and Photoshop Touch.

A lot more interesting with this treatment!

Categories
Cars Honda Civic Hybrid

New IMA Battery, Like New Car!

2006 Honda Civic Hybrid WindmillsThe IMA battery (Integrated Motor Assist) in my 2006 Honda Civic Hybrid started acting up a few months back – suddenly having a very low charge and then, a few minutes, saying it was fully charged. Finally, the Check Engine and IMA fault lights showed up – and the verdict was in. I needed to have the IMA battery replaced.

Fortunately for me, in California the IMA battery is warranted for 10 years or 150,000 miles – so Honda replaced it at no cost to me.

The difference in performance of the car – no surprise – is significant. That electric motor boost from standing stops is back and things feel almost like new!

Categories
Cars Honda Civic Hybrid

The Bane of Batteries – My 2006 Honda Civic Hybrid

I’m back from our local Honda dealer where I got the news that my 2006 Honda Civic Hybrid needs a new IMA battery. That’s the big battery (behind the seat in my Civic) the helps boost acceleration in concert with the small gasoline engine in this car. It’s a core component of the hybrid technology.

Earlier this week, the Check Engine and IMA lights popped on on my dashboard – although, curiously, when I headed out to the dealer this morning both lights were off! But the codes were still set – which the dealer readout – and pronounced the verdict. The battery needs to be ordered and then installed – a half-day downtime.

I shouldn’t complain too much about this – it’s covered under warranty and the car really has been trouble-free to this point. I ride it hard and put it away wet – so it’s proven its worth. I’ll be interested to see how it performs after the new IMA battery is installed.