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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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However, van Eyck created a set of play elements that he used and harmoniously combined in the design of the different playgrounds. This element that van Eyck designed in was rather popular in the decades that followed and is now placed in the garden of the Rijksmuseum in Amsterdam. Houghton, Mifflin and Company. The concept of affordances has already proved its mettle in the field of architecture e. While the sandpit here is well marked and set well back from the streets; equipment for children to climb on has not been so protected.

For example, for a human-being a chair affords sitting, a floor affords walking upon, water affords drinking, and so on. 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.

The playgrounds were not isolated architectural interventions. By abandoning fantasy for the more pragmatic aspects….

Moreover, many parents use the rim as a thing to sit on while looking after their children. 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lifethey were playgrounfs of great architectural significance e. Leave a Reply Cancel reply Your email address will not be published.


Aldo van Eyck and the City as Play­ground – MO

Except where otherwise noted, the content on this site is licensed under a Creative Commons Attribution-ShareAlike 3. The design for his playgrounds too — presented in fascinating archive photographs and particularly beautiful drawings — exhibit this same spatial dexterity but heavy-handed reality.

The lpaygrounds planning section of the city of Amsterdam wanted to have a playground in each neighborhood in Amsterdam, a city of which parts were destroyed during the war. But again in the absence of any adults hunkering down in one of the small cubes to read-up on play-spaces an unlikely proposition anyway given their size — let alone any kids rushing around and through the structure — the whole installation has a rather forlorn aspect.

Also, in the climbing mountains there are different stepping heights Figure 3.

Human Structures and Architectural Archetypes: Aldo Van Eyck’s Playgrounds (1947 – 1978)

Herbert Bayer’s Small Architectural Projects Herbert Bayer was a prolific graphic designer and typography designer who also worked as a…. Apparently, there is no relationship between how beautiful the child found a configuration and how much she enjoyed playing on it. An affordance-based description of the environment, on the other hand, is relative ecyk the user and puts the functional significance of the environment center stage.

Upstairs on the ground floor, the British artist Nils Norman shows a new installation, tailored to the gallery space: This intuition was elaborated in the making of the Buskenblaserstraat park. How do we see how to do things, to thread a needle or drive an automobile? For this square van Eyck designed a climbing arch, three tumbling bars, and a rectangular sandpit with a rim that is lowered at two places to let small children enter it.


Often a guard was appointed who was responsible for the supervision of the children. For him the playgrounds were an opportunity to test out his ideas on architecture, relativity and imagination. Second, and related to this, describing the environment in terms of the affordances of an animal points to the functional significance this environment has for the animal. Bordering the square were trees and five benches. Over the last decades, several authors have criticized the standardization of playgrounds.

For example, although van Eyck placed his jumping stones sometimes in an irregular pattern or used stones of different heightshe often used identical stones that he placed in a figure-eight pattern Figure 2.

Its series of cuboid forms are punctured with circular cut-outs and cushions, purposefully echoing the rounded forms of van Eyck, and visually they lead out to two circular sandpits in the backyard. You can login by using one of your existing accounts. The design of the playgrounds was aimed at interaction with the surrounding urban tissue. Inbetweening in a Postwar World.

Geschiedenis, voorspel en betekenis van een beweging in de kunst van na de tweede wereldoorlog. One might argue that this is not problematic.

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He coined these possibilities affordancesand defined them as follows. I have made it up p. The playground he created at the Buskenblaserstraat in Amsterdam provides a nice illustration of this Figure 1.

Whether a gap between two jumping stones is crossable depends on the gap width relative to the jumping capabilities of the child.