, English, Book, Illustrated edition: Aldo van Eyck: the playgrounds and the city / edited by, Liane Lefaivre, Ingeborg de Roode ; texts, Rudi Fuchs [et al.]. Aldo Van Eyck: Designing For Children, Playgrounds [Anja Novak, Debbie other equipment in his radical, charming recreation of the city into a space for play. Climbing frames, arches, igloos, tumbling bars, jumping stones, and climbing walls all found their way into unsightly wastelands and boring squares thanks to.

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‘The Playgrounds and the City,’ Aldo van Eyck | openDemocracy

This collection of photographs by photographers from 68 countries, was, and is still, regarded as one of the most influential photographic exhibitions ever despite what the deconstructionists may have said about it since. However, the goal he had was ambitious. The architect, then, designed a park using the simplest, clearest elements that invite its young users to develop the skill tne anticipating danger and managing it; he did not seek to protect them through isolation p.

The symmetry that characterizes many of his play sculptures might be appealing when only looking at them, but it seems to reduce the attractiveness of the sculptures as elements for play. The Playgrounds and the Cityeds L.

There are two aspects of the affordance concept that need to be emphasized here. As we have seen, these playgrounds not only afforded children to play in the city of Amsterdam after World War II and stimulated community lifethey were also of great architectural significance e.

Volume of CatalogusStedelijk Museum Amsterdam. Due to mechanization, Constant proposed, Homo Faber, the traditional working man of industrial society, would be replaced by Homo Ludens, the playful man, or creative man, in postindustrial society Home Magazine Blog About.


Aldo van Eyck and the City as Play­ground

A miraculous trick of the skies — a fleeting correction. That was the genius of their simplicity p. Buber then goes on to state — and this is his crucial point — that the real third is not something that happens to one person or another person separately and a tbe world containing all things, but something that happens in a dimension only accessible to both.

As Gibson had already emphasized, a single object can afford different behaviors playgrlunds an animal. To him, playing equipment was an integral part of the commission. The Ecological Approach to Visual Perception. If the child rediscovers the city, the city will rediscover the child — ourselves.

To consider the city is to encounter ourselves. Ecological Psychology in Context: Much like Aldo van Eyck, he was deeply critical of the functionalist architecture of the postwar period. This holds true also for conventional play elements like a slide and a see-saw. When describing a park, for thf, we mention a tree that is in the middle of a grass court, the lake, and the benches at its side. Inthe Dutch historian Johan Huizinga wrote Homo Ludens 14a book on the historical importance of the element of play in culture; Constant Nieuwenhuys used the idea as the basis for his critique on urbanism.

And such an affordance might be an indispensable ingredient of genuine play.

An exhibition of the work of Aldo van Eyck, Nils Norman and Yto Barrada – uncube

Press Esc to cancel. Especially in the case of young children, parents guide their child to, for example, the slide, supports it while she climbs the ladder, and encourages her to slide down. Solomon Limited preview – You can login by using one of your existing accounts.

Uncube is brandnew and wants to look good. Lawrence Erlbaum Associates— To encounter the city is to rediscover the child.

University Press of New England. A playground on every street corner was just a first step on the journey to the “ludic city”: As van Lingen and Kollarova put it.


However, in many other play elements like the above-mentioned jumping stones and the dome, the distances tend to be equal, rendering the elements mainly interesting for children with matching action capabilities.

Relativity in the sense that connections between elements were determined by their mutual relationships rather than by a central hierarchical ordering principle. In like fashion, one can conceive of his play sculptures as elements designed for children with certain action capabilities.

Immediately after the Second World War, Dutch cities were in a state of dereliction. In fact many now argue that the age of documentary or “street” photography is now at playgrounde end.

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Climbing frames, arches, igloos, tumbling bars, jumping stones, and climbing walls all found their way into unsightly wastelands and boring squares thanks to the visionary help of architect Aldo van Eyck, who transformed urban spaces in Amsterdam into more than playgrounds between and The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest. Over the last decades, several authors have criticized the standardization of playgrounds.

Whether a gap between two jumping stones is crossable depends on the gap width relative to the jumping capabilities of the child. In itself, a playground seems a rather sweet and non-controversial undertaking, but at the time, it also functioned as a crystallization point of cultural critique.

The idea that art is an illusion divorced from real life must therefore be abandoned.