But in the initial caricature these planes were intended not literally, but as a simple metaphor. In their place could be substituted any other element used to define limits and offer opportunities for use. Wide cills, contoured benches, flowing staircases, sculptured handrails and many other elements may all be necessary for a really useful and comfortable building. Das Gebäude am südlichen Stadtrand von Amsterdam gelegen, IJsbaanpad 3B Bereich, Holland Anfang des zwanzigsten Jahrhunderts wurde von H. P. Vorschlag der Süd-Plan beeinflusst Berlage für die Erweiterung der Stadt. Er war unter der Autobahn A10 und das Stadion der Olympischen Spiele 1928 auf dem flachen Land ohne benachbarte Gebäude. While he graduated in 1942 his, first commissions were in Zurich where he remained until autumn 1946. This first project, although enthusiastically received in Noordwijk, did not get the approval of the executive board in Paris, largely because in making the program for ESTEC had underestimated the space needs of the facility constantly expanding. As a result, the program for the restaurant, library and conference center nearly doubled by adding a number of new office spaces, forcing the relocation of new additions to the large developing area southwest of existing buildings near From the main entrance to the complex down the road.

In 1946 he and his wife moved to Amsterdam, where he joined the Public Works Department, for which by the time he left in 1955 he had designed over 60 playgrounds in the interstices of the city. They set out on a series of travels to Africa, to pursue his lifelong fascination with non- European cultures. He became intimately involved with the Cobra group of artists. Much that is wrong with modern architecture is due to its superficial closeness to the caricature of pure planes’ In the autumn of his life, Gibson developed an alternative theoretical framework, focusing on the animal, the environment, and their relationship at an ecological scale. A central tenet of Gibson’s ecological approach is that the environment we live in does not consist of matter in motion in space; rather it consists of possibilities for action. He coined these possibilities affordances, and defined them as follows. In 1961, the International Play Association was born in Copenhagen, Denmark. In 1974, Arvid Bengtsson, the Swedish landscape architect and then president of the association, published The Child’s Right to Play, in which he campaigned for playgrounds to be close to where children live. The vocabulary of the playgrounds is based on geometric concrete sandpits, which appear like small archipelagos and groups of stepping stones, both massive and anchored in the ground, and lighter structures, arches, domes and frames made of tube steel resonating with archetypes of architecture. The arrangement of the elements in the playgrounds is always non-hierarchical and based on a careful compositional balance which is able to create tension and intensity between the objects while allowing a multiplicity of paths around the forms.In 1946 the young family settled in Amsterdam where CIAM secretary Cor Van Eesteren, the city architect and planner of Amsterdam, whom Aldo had met in Zürich, engaged him as an architect and designer, to assist in the Urban Development section of the Public Works department (1946–51). Imagine being on a flat and featureless desert. There is no escape either from the sun that beats down by day and the cold wind that blows by night, or from the gaze of any marauder who may pass. Then imagine that in this desert is a vertical plane a few paces long and a few paces high – a wall. During most of the day there would be shadow on one side or the other; at night there would be some shelter from the wind from most quarters; and it would be possible to hide from the view of passing marauders. Some of the domes are covered with skylights that allow the entrance of natural light. The rays of light penetrate the semi-dark rooms creating images of great visual interest. Along the main corridors are glass walls that overlook the many courtyards of the building, allowing for beautiful views, in addition to providing light to most areas of the orphanage They had the first of their two children: a daughter, Tess (born in Zurich in 1945) and in 1948 a son, Quinten (born in the Netherlands).

Steel and paint are closely allied: one tends to forget this, taking it for granted. Ships, railway engines, motor cars, bicycles, bridges-a host of things-are painted and repainted for protection according to custom, tradition or, if they happen to be pipes, like those which run up, down, along and across the Beaubourg, just for fun: for where there are no pipes there is no fun!’Allen had been inspired by a trip to Denmark in 1945, where she saw the work of architect Carl Theodor Sørensen. His skrammellegepladsen, or junk playgrounds, were visions of creative chaos, made mostly by children themselves. She helped set up 17 trial junk playgrounds in the UK, equipped with makeshift treehouses, walkways, nets, ropes and rubber tyres. The very first, at Lollard Street in London’s Kennington, is still going strong. In recent years there has been a renewed interest in Structuralism and the group of architects who associated themselves with the movement. In 2014, Het Nieuwe Instituut in Rotterdam dedicated an exhibition to Dutch Structuralism and initiated a study of its history and contemporary relevance. As an alternative to the technocratic planning that characterised post-war reconstruction, the buildings and plans from the 1950s and ’60s resonate strongly with a younger generation of architects and activists who are facing a new wave of large-scale urban developments and the privatisation of public space. The construction of the pavilion is a careful 2D drawing exercise. Six parallel walls almost 4 meters high are placed with a distance of 2.5 meters from each other. The walls bend, forming semicircular spaces, and the sudden cuts transform this simple pattern into a sophisticated spatial device. Until its reconstruction, this work stood as a model of paper architecture. Ideas about play haven’t changed much since then,” says Nicola Butler, chair of Play England, who co-authored the charity’s Design for Play guidance in 2008 – and then discovered that Allen had written a pamphlet of the same name in 1962, outlining almost identical principles. “The more objects that children can actually manipulate themselves, the more enjoyment they will get out of a playground.”

This is a book about how we see. How do we see the environment around us? How do we see its surfaces, their layout, and their colors and textures? How do we see where we are in the environment? How do we see whether we are moving and, if we are, where we are going? How do we see what things are good for? How do we see how to do things, to thread a needle or drive an automobile? Why do things look as they do? (p. 1). Whatever space and time mean, place and occasion mean more. For space in the image of man is place, and time in the image of man is occasion. 1 The affordances of the environment are what it offers the animal, what it provides or furnishes, either for good or for ill. The verb to afford is found in the dictionary; but the noun affordances is not. I have made it up (p. 127; italics in original).The central area of the project is covered with a hundred pyramidal domes of square base, 3.36m of side, prefabricated in concrete and some of them with a central skylight. The domes are supported by a grid of equal dimensions created by round pillars and concrete T-shaped jigs made in situ.

CIAM’s analytical method of measuring life in the city and land use by density and the mapping of just the so-called four main Functions – dwelling, work, recreation and transport – were considered by Team X to be too simplistic as it did not show the overlapping and intertwining of uses, events or the details of its richness and sensitivity and reasons why certain neighbourhoods had and should be allowed and continue to thrive as an integral part of the developing and expanding urban form. Small scale elaborations were introduced here and there throughout the building. Localised colour concentrations – the small within the large’ Make it your own’ … teepees and a pirate ship in Diana’s memorial playground. Photograph: Andrea Jones/Garden Exposures Photo LibraryWhat is due now is to move step by step toward enclosure by means of – or through – transparency. Not for stylistic reasons, no no no, for style comes as a reward, but for what it can still provide on a human level’ All sensations, when they take artistic form, become immersed in the sensation of light, and therefore can only be expressed with all the colours of the prism. The small domes form a grid that extends evenly throughout the building so that the general pattern can be read at each point. Along the axial lines of this grid, pillars, architraves and solid walls mark a series of well-anchored and enclosed spaces: the adjacent lounges and courtyards, the party room, the gymnasium and the central courtyard. Transparency and colours. I have been busy for some years now re-evaluating the notion of transparency in the light of that other notion – enclosure, convinced as I am that architecture misses the mark and evades its purpose by reverting in turn to the one at the cost of the other for little more than stylistic reasons; the fact that my client – an admirable one if ever there was one – desired an open house came just at the right moment, nourishing a notion already growing in my mind: that it would be expedient, both in this particular case and in general, to bypass trying in vain to arrive at the right kind of openness (which presupposes the right kind of enclosure and vice-versa) in spite of, as it were, transparency. We all call this view: artistic expression of light-spherical expansion of light in space. In this way, we will have a spherical expansion of colour in perfect accord with the spherical expansion of forms’