The Dutch Structuralist architect Aldo van Eyck left his mark in Amsterdam – not only in the form of buildings but also, perhaps surprisingly. One of them is Aldo van Eyck, who designed a large number of public playgrounds for the city of Amsterdam. His playgrounds are something. Explore Sara Angelini’s board “aldo van eyck-playgrounds” on Pinterest. | See more ideas about Architecture, Playground design and Street furniture.
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Cooperative activity—looking out for cars, shouting, lots of shouting—becomes a matter of keeping safe […]. To encounter the city is to rediscover the child. Keeping It un Real Behind the facade of starchitect video marketing. Playgroundw a gap between two jumping stones is crossable depends on the gap width relative to the jumping capabilities of the child. At that time, some playgrounds existed in the city, but almost all of them were of a private nature and based on membership of the fortunate few.
In Amsterdam, Cornelis van Eesteren, longtime president of the CIAM, was to implement his General Extension Plan Algemeen Uitbreidingsplan — AUP ofone the first playgroujds urban masterplans to be based on extensive statistical forecasts of demographic and transport developments 1. sldo
How to feel at home in the modern city, this machine of mass rationalization? Van Eyck designed a sandpit bordered by a wide rim.
As mentioned earlier, van Eyck created playgrounds in existing parks, squares, and other empty places in the city, taking into account the constraints that were provided by these places. However, it is argued that the standardization e. Because the Site Preparation Service of the Department of City Development, working together with local associations, wanted to give every neighbourhood its own playground, they often had to be alod in vacant, derelict sites.
Immediately after the Second World War, Dutch cities were in a state of dereliction. As van Eyck put it poetically:. In the period between andhe designed no less than playgrounds in Amsterdam. The idea that pplaygrounds is an illusion divorced from real life must therefore be abandoned. Inthe architect Aldo van Eyck built his first playground in Amsterdam, on the Bertelmanplein.
Canonical affordances in context.
Human Structures and Architectural Archetypes: Aldo Van Eyck’s Playgrounds ( – ) – SOCKS
Situating the embodied mind in a landscape eeyck standing affordances for living without chairs: The Growth of a New Tradition. William Collins Sons and Co.
Indeed, a recent study indicates that the affordances provided by messy structures appear to have a greater appeal to playing children.
This was rather exceptional in the s and s. Aldo van Eyck played an important role in defining what would follow.
Very few means are put into play, reflecting the postwar lack of resources for public works, but also a specific ethics and aesthetic research which characterized a group of architects at the time, an interest in materials used for their specific meaning, or, as synthesized by the French word: Here, his ideas on interstitial space, non-hierarchical composition, and participative planning led to an architecture that could easily mold into the existing tissue of the neighborhood.
In developing his theory, van Eyck emphasized that concepts are needed that have a bearing on the daily life of people. If the child rediscovers the city, the city will rediscover the child — ourselves.
An exhibition of the work of Aldo van Eyck, Nils Norman and Yto Barrada – uncube
Contributions for Social and Cultural Psychologyeds V. First, van Eyck created play elements using mainly metal and concrete. Moreover, many parents use the rim as a thing to sit on while looking after their children. Sun Publishers The syck was a success. Much like Aldo van Eyck, he was deeply critical of the functionalist architecture of the postwar period.
These authors were inspired by an earlier study that revealed that children created varying distances between vab stones if they were the architect of their own playground Jongeneel et al. At that time the eycj playgrounds were generally isolated places—they were surrounded by a fence olaygrounds a gate, and children had to pay a little fee or be a member to enter it.
In his search for the essence of things, Brancusi generally ended up with abstract, powerful geometrical shapes. In it he placed four round stones and a structure of tumbling bars. The standardized configuration consisted of nine equal-sized stones that were symmetrically organized within the form of a square. Van Eyck consciously designed the equipment in a very minimalist way, to stimulate the imagination of the users the childrenthe idea being that they could appropriate the space by its openness to interpretation.
The Ecological Approach to Visual Perception. Van Eyck, on the other hand, strived at merging the playgrounds with the city.
Van Eyck developed his play elements primarily for children between 4 and 7 years of age van Lingen and Kollarova, and was really concerned with creating the proper distances between, for example, the bars in his climbing frames—experimenting with his own children, he aimed to determine the spacing Strauven, Van Eyck recognized and implemented a connection between an archaic system of forms and the research of avant-garde artists into abstraction and archetypes.
Leave a Reply Cancel reply Your email address will not be published. The Schmela House itself is a case in point, containing some extraordinary spatial moves, yet with a somewhat grim institutional feel in its texturing and detail, with bare unforgiving concrete-block walls even in the living spaces of the top-floor apartment.
The Selected Essays of James J.
This standardization, which was arguably the result of the aesthetic motives of the designer, might be appealing to children when simply looking at the equipment, but it is not of overriding importance to them when playing in it. Moreover, when the children were asked to rate how much they enjoyed playing on the configurations, they reported that they liked the non-standardized configuration better.
Out of the organizing group of the Otterlo conference emerged a new platform: Relativity in the sense that connections paygrounds elements were determined by their mutual relationships rather than by a central hierarchical ordering principle.
Interestingly, and contrary to the above-mentioned studies on aesthetics, Sporrel et al.