This article studies the idea of rhythm performance and perception as a tool for mobility places studies. Starting from the analysis of H. Lefebvre classification it introduces observer/actor dichotomy that allows to refer to marginal aspects in rhythmanalysis discussion, such as: mobility places, idea of atmosphere, dichotomy of rhythm/improvisation and applicability of rhythmanalysis to the bigger-scale territories. That allows broadening the limits of disciplinary field of “new urbanism”.