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| [[33|TransMiCable]] is a cable car system in Bogota, Colombia, primarily designed to facilitate easier access for [[14|residents]] of Ciudad Bolívar from the mountaintop to the foot of the mountain. The cable cars utilize electrically driven cable technology, resulting in zero emissions and seamlessly integrating with Colombia's power grid (70% powered by renewable hydropower)(TransMilenio S.A., 2018). | [[33|TransMiCable]] is a cable car system in Bogota, Colombia, primarily designed to facilitate easier access for [[14|residents]] of Ciudad Bolívar from the mountaintop to the foot of the mountain. The cable cars utilize electrically driven cable technology, resulting in zero emissions and seamlessly integrating with Colombia's power grid (70% powered by renewable hydropower)(TransMilenio S.A., 2018). |
| [[33|TransMiCable]] forms part of Bogotá's integrated public transport system, having facilitated [[14|residents’]] journeys since its completion (TransMilenio S.A., 2018). However, behind the construction project—completed in just 26 months with a USD$100 million investment for the city's mass transit system (Maricio Osorio, 2019)—[[27|waste]] has been generated. This includes [[27|observable]] waste from vehicles and [[36|tyres]] post-completion, which cannot be overlooked. Indeed, the project's convenience has had negligible impact on compulsory activities (Cardona-Urrea, Soza-Parra and Ettema, 2025) and has not altered social structures or deeper societal aspects. While one cannot demand such outcomes from a transport project, it still warrants reflection on its underlying implications. | |
| | [[33|TransMiCable]] forms part of Bogotá's integrated public transport system, having facilitated [[14|residents’]] journeys since its completion (TransMilenio S.A., 2018). However, behind the construction project—completed in just 26 months with a USD$100 million investment for the city's mass transit system (Maricio Osorio, 2019)—[[27|waste]] has been generated. This includes [[27|observable waste]] from vehicles and [[36|tyres]] post-completion, which cannot be overlooked. Indeed, the project's convenience has had negligible impact on compulsory activities (Cardona-Urrea, Soza-Parra and Ettema, 2025) and has not altered social structures or deeper societal aspects. While one cannot demand such outcomes from a transport project, it still warrants reflection on its underlying implications. |
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| | {{:transmicable1.jpg?400|}} |
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| | //TransMiCable (TransMilenio S.A., 2018)// |
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| **TransMiCable - Pollutants - tyre - museum - Museo Libre - artwork ** | **TransMiCable - Pollutants - tyre - museum - Museo Libre - artwork ** |
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| With the emergence of more convenient transportation options in the area, traditional public transport gradually fell into disuse. Tyres During the operation of the cable car, aside from the [[27|waste]] generated from maintenance, the largest source of [[27|waste]] are the [[36|tyres]] that are replaced and cannot be effectively reused; if not properly [[37|managed]], they can become a source of urban [[19|pollution]]. The local art museum, [[17|Museo Libre]], utilized parts from these abandoned public transport vehicles, primarily using discarded [[36|tyres]] as a form of artistic expression. This approach both reduced [[19|pollution]] and allowed the [[19|pollutants]] to be regenerated within the [[14|local]] culture. | With the emergence of more convenient transportation options in the area, traditional public transport gradually fell into disuse. Tyres During the operation of the cable car, aside from the [[27|waste]] generated from maintenance, the largest source of [[27|waste]] are the [[36|tyres]] that are replaced and cannot be effectively reused; if not properly [[37|managed]], they can become a source of urban [[19|pollution]]. The local art museum, [[17|Museo Libre]], utilized parts from these abandoned public transport vehicles, primarily using discarded [[36|tyres]] as a form of artistic expression. This approach both reduced [[19|pollution]] and allowed the [[19|pollutants]] to be regenerated within the [[14|local]] culture. |
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| **TransMiCable - Manitas station - museum - Museo Libre - exhibition ** | **TransMiCable - Manitas station - museum - Museo Libre - exhibition ** |
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| [[17|Museo]] Libre previously held exhibitions in the undercommons of [[33|TransMiCable]]. | [[17|Museo]] Libre previously held exhibitions in the undercommons of [[33|TransMiCable]]. |
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| The [[15|Manitas station]] has previously been used to exhibit the La Rueda exhibition. | The [[15|Manitas station]] has previously been used to exhibit the La Rueda exhibition. |
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| The city of Bogotá is now actively promoting deeper integration between [[33|TransMiCable]] and cultural and social development (TransMilenio S.A., 2018). [[33|TransMiCable]] is not merely a transport route or part of the public transport system; it can also extend its reach to surrounding areas, facilitating cultural exchange and conveying intangible values. | The city of Bogotá is now actively promoting deeper integration between [[33|TransMiCable]] and cultural and social development (TransMilenio S.A., 2018). [[33|TransMiCable]] is not merely a transport route or part of the public transport system; it can also extend its reach to surrounding areas, facilitating cultural exchange and conveying intangible values. |
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| | {{:transmicable2.jpg?400|}} |
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| | //Artistic corridors in TransMiCable: A cultural initiative in Ciudad Bolívar (TransMilenio S.A., 2018)// |
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| **TransMiCable - Pollution - Lighting interruption - nearby locals’ privacy** | **TransMiCable - Pollution - Lighting interruption - nearby locals’ privacy** |
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| The operation of the cable car also produces more subtle relational impacts. Vibrations and lighting from the running cabins affect [[14|residents’]] daily rhythms and bodily experiences, while the cable line’s proximity to upper-floor apartments compromises their privacy. In this context, we can consider its impact on [[14|local residents]] as a form of [[19|pollution]] (Natalia Rojas, 2020). | The operation of the cable car also produces more subtle relational impacts. Vibrations and lighting from the running cabins affect [[14|residents’]] daily rhythms and bodily experiences, while the cable line’s proximity to upper-floor apartments compromises their privacy. In this context, we can consider its impact on [[14|local residents]] as a form of [[19|pollution]] (Natalia Rojas, 2020). |
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| Reference: | __Bibliography:__ |
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| Cardona-Urrea, S., Soza-Parra, J. and Ettema, D. (2025). Activity participation among disadvantaged communities and the impact of an aerial cable car: The case of TransMiCable, Bogotá. Cities, 169, p.106568. doi:https://doi.org/10.1016/j.cities.2025.106568. | Cardona-Urrea, S., Soza-Parra, J. and Ettema, D. (2025). Activity participation among disadvantaged communities and the impact of an aerial cable car: The case of TransMiCable, Bogotá. Cities, 169, p.106568. doi:https://doi.org/10.1016/j.cities.2025.106568. |