Above ground, the people live. Below, the cars.

The parking robots are coming.

Over the past decade, automated parking systems have become quite common in Europe and Asia, where land use constraints are tighter and many areas more congested than the US.

Automated parking systems can fit up to 20 cars in the footprint that would traditionally house just four.

The number of automobiles produced worldwide may actually be on the decline, but we still crank out over 50 million cars each year.

Along with the new trend of “bright flight“, American city developers are feeling the capacity crunch, and auto-auto-lots have begun to appear here as well.

Although the first of these facilities — built in Hoboken, NJ in 2006 — was plagued by technical glitches and failures (little things, like dropping an unoccupied Cadillac 6 stories…), the technology has advanced quite a bit since then. Working automated lots are in use in Washington DC and New York City, with more planned for other locations.

The fourth automated lot in the country — and the first in Philadelphia — has just opened below ground at 1706 Rittenhouse Square Street.

Garage entrance

The compact, underground lot was crucial in getting the luxury, single-residence-per-floor tower approved and built. The small space, just off of Rittenhouse Square behind the Curtis Institute, had been a surface parking lot owned by Philly-based Parkway Corporation for the past several decades.

Parkway teamed with Scannapieco Development Corp and asked Cope Linder Architects to come up with a design that would maximize potential of the parcel. The group’s plan was to fit into the historic neighborhood and keep the tower’s footprint relatively small and set-back by incorporating an underground automated garage.

1706 Rittenhouse’s is the most advanced model on the market, designed by German manufacturer Wohr, who have been building automated garages since the 1970s. “It’s run by incredibly sophisticated software,” said Cope Linder partner David Ertz.

Koi pond & garden, instead of a surface lot

As residents of the building swipe a fob past a reader next to the elevator, the garage robot searches out their car, slides its pallet onto a lift, moves over to the entrance and raises the selected car to ground level, facing the street. A rep from Quality Elevator, in charge of maintaining the system, estimated the time it takes the car to arrive at 60 seconds or less. “It’s really just a big elevator,” he said. [6ABC has a video of the process]

The parking lot, like the rest of the tower’s design, is understated. The limestone facade that echos design cues of the older buildings on the small alleyway transitions to concrete on the upper floors, and is so minimal it’s in danger of being boring. But the 360-degree windows on each level and the attractive curbside koi pond and garden make up for it.

And they certainly look better than a gaggle of automobiles, sunning on the surface.

There is something universally pleasing about a cube. The symmetry is easier to grasp and to describe than a sphere’s. Cubic forms are primary building blocks both in physical construction and in the realm of thought.

The cube can be an elucidatory shape, such as in The Emperor’s New Mind, where physicist Roger Penrose falls back on the familiar cube to explain higher dimensions, as does Carl Sagan in Cosmos.

[Viz: if we recognize that a two-dimensional line drawing of a cube really shows us a "shadow" of the actual 3D cube, we can think of the 3D cube as a "shadow" to imagine the 4D version, and so on up the dimensional ladder.]

The cube can also be a form that connotes mystery and intrigue, such as the Bene Gesserit‘s pain box in Dune, or the puzzle box in Clive Barker’s Hellraiser.

Manufacturer Arca-Swiss has a cube that’s a bit of both. A few years ago, the company, which is well-known for ball-head tripod attachments, released the C1 cube [PDF], which “simultaneously achieves mastery of control with an appearance approaching the status of jewelry.”

The elegant C1 is a precision geared tripod head that can hold and position heavy, professional camera rigs, and weighs less than 25% of anything comparable.

Outfitted with bubble levels, the head adjusts on two sets of x-y axes, and allows for tilt and pan, all while keeping the image plane — or lens nodal point — in pretty much the same spot. (Jack Flesher has a great review with more details from a photographer’s perspective.)

The only drawback to this cube is that Arca-Swiss appears a bit snobbish. The company eschews an online presence, having no website and contact emails with addresses like aol.com and swissonline.ch. And, the price tag: yours for only $1,699.

But compared to $5000 for an ugly, large, mechanized auto-adjusting tripod head, the cube seems a better choice. And as Swiss-designed tabletop sculpture goes, it’s probably quite cheap.

[h/t Shao for reminding us this particular cube is on our wishlist]